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Arguing that one of the multiple dimensions of a Museum’s role is as a landmark of cultural pilgrimage, this Master’s Thesis uses notions of pilgrimage and journeying to develop a Museum of Medieval and Contemporary Art in Bruges, Belgium.

Morphogenesis A Museum proposal for the Carnival of Blacks and Whites. Today, museums are principally designed as regards their use, urban design and function, but it can also be seen as cultural instrument, capable of serving contemporary architecture’s demands and being a landmark for people’s cultural-values. Morphogenesis is an architectural methodology used to analyze a new concept for a museum by studying traditions developed in a popular festivity: The Carnival of Blacks and Whites. This methodology is a medium of engaging regenerative architecture into a carnival world with the purpose of designing a new museum capable of balancing new trends of avant-gardism and functionality.

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The military has a long tradition of distributing honors to its soldiers in a calculated and uneven way, all to reinforce internal hierarchies it finds necessary. For example, officers have nicer uniforms, are shown more respect, and are awarded medals at a higher rate than the soldiers they command. “Normal” soldiers used to be similarly privileged over their auxiliary “colored” counterparts. In the 20th Century a new line of demarcation was created between front-line combatants (infantrymen, artillerymen, and so on) on the one hand, and rear-echelon support soldiers (supply clerks, cooks, and so on), on the other. This new line of demarcation creates a two-tier system of honor, with support soldiers debased in social standing to show greater honor to their combatant brethren. Before the 20th Century, there were hardly any support soldiers to demean, as the logistical needs of the U.S. military were provided for by civilian camp followers. Now uniformed support soldiers constitute roughly seventy percent of the military. The front-line combatant soldier, once the typical soldier, has become a minority within the military, but a prestigious minority. The two-tier system of honor that privileges combatant soldiers over their support counterparts finds enthusiastic support among combatant soldiers, support soldiers, and in the civilian world. It is reasonable to show the most respect to soldiers who have suffered the most, and undeniably combatant soldiers are killed and wounded at the highest rate. Yet the nature of the two-tier system of honor has qualities that suggest that it is based on more than simply logical and just deference. First, support soldiers (the majority of the military) are not so much shamed as invisible: the fact that the new “median” soldier is today not an infantryman, but a cook, clerk, or water purification specialist rarely enters into public discourse. Secondly, while some uniformed service members are denied military honor, certain civilians have begun making unprecedented claims to military honor. By analyzing recent commemorative art about war, including the Washington D.C. memorials, the Quartermaster Museum at Fort Lee, VA (a museum founded to honor support soldiers), and local commemorative projects that aspire to national recognition, I will show that the social narrative of combat, long the dominant storyline of the military, has been fused with the related personal (and more inclusive) narrative of trauma. This new storyline of trauma-combat has discredited competing storylines. Technical competence, contribution to victory, and belief in the system one defends have become irrelevant, and these were the pathways to military honor open to support soldiers as such. The new narrative of trauma-combat also makes it possible for a war widow or a disabled contractor to claim the honor formerly reserved for soldiers. Loss related to war is the ultimate and only sign of a soldier, and who best embodies this loss than a war widow or a civilian contractor paralyzed by war wounds? At the beginning of the 20th Century, military authority asserted direct control over its camp-followers by placing them in uniform, thus creating a body of support soldiers that would eventually outsize the combat component it was designed to support. At the beginning of the 21st century, the periphery of the military continues to be militarized, while within the military itself, the typical soldier ceases in many ways to be a soldier at all.

This study explored the use of a dichotomous key as a scaffolding tool in the museum setting. The dichotomous key was designed as a scaffolding tool to help students make more detailed observations as they identified various species of birds on display. The dichotomous key was delivered to groups of fifth and seventh graders in two ways: on a mobile platform and by museum educators. Data was collected in the forms of pre- and post-testing and observations to compare the two methods. Findings suggest the Mobile Dichotomous Key (MDK), developed by educators at the Bean Life Science Museum at Brigham Young University, was equally as effective as a teacher (museum educator) in assisting students in a learning activity designed to improve or develop scientific observation skills. While both groups' outcomes were the same, data from observations made during the learning activity showed that there were significant differences in the experience for the students. Students using the MDK were more engaged, could work at their own pace, and were more likely to work with their peers than students working in groups led by a museum educator. In contrast, students in the educator-led group were able to receive immediate feedback during the learning activity, as museum educators were able to make assessments and answer questions or expand the learning experience. A feedback mechanism is suggested for a future version of the Mobile Dichotomous Key app.

Physically speaking, contemporary urban environments exist on top of older ones. A perfect variation of layers remain hidden in the soil on which we walk. In European cities, the center remains a stagnant historical exhibit for tourists and locals alike. Change happens on the periphery affecting different areas that surround the center. Stockholm is an exception to this notion, where rebuilding happens in the very city center. LowerNorrmalm remains a nucleus of constant change-drastically affected by the demolished past. The museumoffers a framework for the proposed narrative. Α transcendent structure that ignores selectively the form of the city and therefore the architecture. At its core, the exhibit consists of elements of engagement that translate the scale of the city to the inhabitant's everyday encounters. This urban museum creates a new layer that binds the area through a factory of urban experiences that establish a dynamic environment.

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