This paper examines how and to what extent the District Six Museum has contributed the current redevelopment of the District Six site. Since its inception, the Museum has challenged accepted definitions of heritage and has transcended common museological practices through its initiative as an institution to go beyond nurturing the memory of one of the most iconic sites of forced removal in South Africa, but to also contribute to the site’s redevelopment. The Museum grew out of an organisation that was dedicated to protecting the empty wasteland that the District had become since it was announced a ‘white area’ by the apartheid government and bulldozed. The same group of people became passionate not only about protecting the site, and conducting “memory work” surrounding it but eventually contributing to a process of restitution and rebuilding the homes and lives of those whose houses where destroyed and communities were fragmented. This paper considers such an initiative, which began in a pre-democratic environment where the concept of heritage was ill-defined and cultural institutions often served apartheid agendas. This consideration will involve an examination of the way in which the District Six Museum developed; the Museum’s role and how this role has evolved and the District Six that has been re-imagined through the Museum and how this “idea” is contributing to re-development.

Genom en deltagande observation undersöks hur tre museum använder digitala verktyg i sitt publika arbete i museet genom appar och på deras hemsida. En kombination av Duncan F. Camerons och Shannon och Weavers modeller för kommunikation används för att undersöka de olika stegen i processen. Kommunikationen undersöks med fokus på hur museet vill nå fram till besökaren.

O conceito de interatividade tem sido amplamente utilizado como premissa para a estruturação institucional de museus, sendo comumente introduzido no espaço museológico nas décadas recentes. A museografia interativa frequentemente aparece como alternativa para a apresentação de acervos formados a partir de bancos de dados digitais, participando ativamente da constituição de museus encarados como centros de referências e da criação das narrativas museais. O estudo pretende analisar a interatividade entendida como diálogo entre arquitetura, museografia e museologia, investigando sua relação com a concepção e recepção do espaço expositivo contemporâeo. Para tanto, possui como foco principal a análise do contexto brasileiro a partir dos casos de referência selecionados: Museu do Futebol (São Paulo, 2008) e Museu do Amanhã (Rio de Janeiro, 2015). A partir da análise proposta, pretende-se aprofundar o entendimento sobre a consolidação do campo da museografia interativa no Brasil, verificando suas implicações para o projeto de arquitetura de museus ao avaliar como se configura a relação entre acervos digitais, museografia interativa e arquitetura de museus. / Interactivity has been a widely used concept for the structuring of institutional museums. It has been frequently introduced in the museological space as an important point of consideration by the exhibition´s design, markedly in recent decades. The interactive museography is a common solution used to present digital collections, having assumed an important role to reference center museums. Although interactivity in museums has been a recurring theme developed in recent studies, the relation between interactivity and architectural design has not yet been enough analyzed. For this reason, this is the central question addressed by this article: to investigate the interactivity concept known as the relation between architecture, museography and museology, focusing on the relation between the creation and the reception of the exhibition contemporary space. For this reason, the study intends to deepen the analysis of the Brazilian context, especially in the lights of the Museum of Football (São Paulo, 2008) and the Museum of Tomorrow (Rio de Janeiro, 2015). By this research, we intend to deepen the present comprehension of interactive museography in Brazil, investigating the relation between digital collections, interactive museography and museum contemporary architecture.

Esta dissertação debate algumas das contribuições do arquiteto à construção do pensamento sobre a casa-museu, ao considerar o edifício como acervo nesse tipo de instituição museal, operando como mediador entre a coleção num sentido ampliado, que poderia conter ângulos diversos na biografia, mesclados por visões entre público versus privado, dados emulados do ambiente doméstico, usos e adaptações ocorridos na residência, seu entorno e por sua localização na cidade. Assim, a atuação colaboraria para conectar memórias individuais àquelas coletivas de distintas comunidades, operar na tensão entre museu e monumento, ao lado de potencializar a relação entre a casa-museu e a cidade; igualmente, a formação, a prática e a frequentação de museus se direcionariam para qualificar a relação entre o museu e diferentes segmentos de receptores, voltando-se às demandas técnicas e operacionais dessas instituições. / This thesis analyze some of the architect\'s contributions to the house-museum concept construction. It considers the building as an asset in this type of museum institution that operates as a mediator between the collection -- in an amplified sense -- that could hold diversified points of view from the biography, mixed with perspectives of \'public\' versus \'private\', as well as data from the domestic environment, the uses and adaptations done in the house, its surroundings and its location in the city. Thus, the architect\'s activity would serve to connect individual to collective memories of various communities. It would also operate in the tension between museum and monument, intensifying the relationship between the house-museum and the city; it would equally enhance the creation, practice and attendance to museums, acting as means to qualify the relation between the museum and different types of recipients, serving the technical and operational demands of these institutions.

Esta tese se refere ao estudo do edifício do Museu Paulista, identificando as características da técnica construtiva tradicional de alvenarias, quanto ao sistema estrutural e os materiais empregados. Descreve as circunstâncias históricas, a evolução do emprego da taipa para o emprego do tijolo, e a inserção do edifício do Museu Paulista na cidade de São Paulo em meados do século XIX. Analisa as características que diferenciam um edifício histórico de um edifício moderno relativo às soluções estruturais e a natureza dos materiais. O sistema estrutural tem como elementos principais paredes e pés-direitos, arcos e abóbadas, colunas e pilastras, pisos de assoalho e abobadilha, e fundações. Os materiais são analisados quanto à presença de umidade constante, devido à inexistência de impermeabilização das fundações, a presença de sais solúveis, a porosidade dos materiais, a presença de microrganismos, e a relação com o tipo de tinta utilizada na pintura. Através do levantamento do histórico das intervenções, verifica-se que entre elas há aquelas que causaram danos ao edifício, pelo fato de não considerar as características específicas que o definem. Através de ensaios exploratórios, se reconstitui os traços das argamassas e identificam processos de danos / This thesis refers to the study of the building of Museu Paulista and identifies the characteristics of the traditional masonries constructions techniques that involves the structural systems and the materials used. It describes the historical circumstances and of the evolution of taipa to brick and the inclusion of the building of Museu Paulista in the city of São Paulo in the middle of XIX th Century. It also analyses the characteristics that differs one history and modern build structural solutions and the nature of materials. The main structural systems are constituted by walls, right feet, arch and vault, pilaster and colums, wooden floor, abobadilha, and foundation. The materials are analysed in the several aspects such as the presence of constant humidity, that occurs when there isnt the impermeabilization of the foundations; presence of solubles salts; the porosity of materials; the presence of microorganism and the type of paint used in the painting. Through the history intervations it is verified that amount them there are some generated caused damage to the building due the fact that the specified characteristics were not taken account of. Through the exploratories essays it is reconstructed the composition of the mortars and the identification of the damages process.

This dissertation reconstructs and investigates the origins of the Pérez Art Museum Miami. In 2013, the museum re-opened in a new, county-funded building to great acclaim and international attention, but the museum’s origins in the 1970s have been largely forgotten. A result of the 1972 “Decade of Progress” bond vote by county taxpayers that allocated funds to build a new art museum, the museum opened as the Center for the Fine Arts in 1983 as a non-collecting institution dedicated to displaying traveling exhibitions. The new institution represented the combined efforts of local government, business, and art to construct not only a place in which to view art but also as part of an overall plan to create a great metropolitan area. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

This thesis is about four historical collections of Haida argillite carvings now at the National Museum of Scotland, the University of Aberdeen Museums and the Perth Museum and Art Gallery. Since the early nineteenth century Haida artists have carved argillite, a carbonaceous shale, into objects featuring Haida and European-inspired motifs, for trade or sale to non-Haida others. Scots Colin Robertson, William Mitchell, James Hector and John Rae acquired argillite as part of broader collections from the Northwest Coast of Canada made during the middle decades of the nineteenth century. Each of these men was employed by, or affiliated with the Hudson’s Bay Company. This thesis questions how the meanings and statuses of these objects, collected and deposited in Scottish museums between the 1820s and 1860s, have changed over the nearly two centuries of their existence. Research at these three museums, and at British and Canadian archives, provided the material that shed light on the historical circumstances of the approximately 30 objects constituting these collections. Semi-structured interviews with Haida carvers, community members and experts, and with museum curators elicited insights into the ways these objects are made meaningful today. The thesis examines the collections in four key contexts. First, it explores the ways in which they have been displayed and interpreted at the three museums, shedding light on the trajectories by which museums have represented the objects of others. Secondly, it describes the context in which the argillite carvings were produced, circulated and collected by sketching the social and political character of the Northwest Coast as it transformed through the decades of the fur trade to European colonization. How these objects transformed in status and value according to the agendas of their collectors is the third context, which reflects the character of relationships between Indigenous peoples and newcomers. Finally, I resituate these collections in the context of contemporary Haidas’ perspectives on the value and meaning of argillite carving(s), and propose that these objects can be understood as “inalienable commodities.” The argillite carvings in these Scottish museum collections are objects of exchange, produced and circulated in the contact zone of the mid-nineteenth century Northwest Coast. As such, they are windows into relationships between Indigenous and European people during this period. Collected as curiosities but remade into objects of science, biography and art, this study traces their shifting statuses as they have moved through various regimes of value. This thesis therefore characterizes the exchanges that have occurred around these objects as ongoing and dynamic.

Esta pesquisa compreende uma reflexão teórica e uma produção em artes que pensa a complexidade do olhar e os fluxos do corpo do espectador dentro do museu. Busca compreender os dispositivos que determinam o movimento e o comportamento do público nos espaços expositivos e estabelece um diálogo com obras de outros artistas que também têm o museu como questão. O processo de construção da obra parte de um arquivo pessoal com imagens, registros sonoros e outros materiais coletados em museus. A pesquisa se desdobra na instalação Vértices|Vetores, proposta ao Espaço das Artes da USP. Essa obra ressignifica imagens e sons apropriados desse arquivo, articulados com projeção de luz. A dissertação assume o formato de um livro de artista, uma caixa-arquivo composta de cinco cadernos, nos quais se articulam reflexões teóricas, anotações do processo e uma leitura da obra. Parte da pesquisa é também compartilhada na seção \"Rede\" da plataforma on-line do Fórum Permanente. / This research comprises a theorical reflection and production in arts that looks up to the complexity of the sight and the expectator\'s body flows inside the museum. It aims to understand the \'dispositifs\' that determines the public\'s movement and behavior in the exhibition spaces and sets a dialogue with other artists\' work which also have the museum as a matter. The process of the work construction starts with a personal archive with images, sound records, among other materials collected in the museum. The research develops into the Vertices/ Vectors, proposed to the arts space at USP. This work reinforces images and sounds appropriated from this archive, articulated with light projection. The dissertation is set up like an artist\'s book, a file-box composed by five brochures, in which theoretical reflections, process notes and a commentary about the work are articulated. Part of the research is also shared on the section \"Rede\" of the on-line platform of the Fórum Permanente.

Este ensaio apresenta as principais idéias e metodologia que têm orientado os trabalhos de Conservação de Têxteis Históricos no Museu Paulista da Universidade de São Paulo. Através dessa discussão específica, todavia, é repensado o papel da conservação/restauração de bens culturais frente à sensibilidade, atitude e ideário deste fim de milênio. / This paper presents the main ideas and method which have been guiding the textile conservation works at Museu Paulista, Universidade de São Paulo. Through this specific discussion, however, the author reconstructs the role of conservation/restoration of cultural heritage related with the sensibility, atittude and ideas brought by the end of the millennium.

This essay presents a qualitative study of how an interactive audio guide can influence the experience of art in an art museum. The study was performed at Moderna Museet in Stockholm, by testing the audio guide of Moderna Museet and two self-produced audio guides at the exhibition Samlingen. Observation studies combined with interviews were conducted to understand how the visitors are using the audio guides and what advantages and disadvantages the different design parameters had. The results showed that there where specific advantages and disadvantages within the different parameters. It also indicated that an audio guide should not contain too much or too little interaction and should thereby concentrate on frictionless operating. A usage that was cancelled resulted in making the user feel misplaced and unwilling of understanding the art. When the usage was frictionless, the audio guide also served mediating and contributed to the overall experience. / Denna uppsats presenterar en kvalitativ studie av hur en interaktiv audioguide kan påverka upplevelsen av konst på ett konstmuseum. Studien utfördes på Moderna Museet i Stockholm, genom att testa Moderna Museets audioguide och två versioner av en egenutvecklad audioguide på utställningen Samlingen. Djupgående studier där observationer kombinerat med intervjuer gjordes för att skapa förståelse för hur besökare använde audioguiderna och vilka för- samt nackdelar de olika designparametrar i dessa hade. Resultatet innehöll data där specifika för- och nackdelar med de olika parametrarna kunde identifieras. Framförallt framgick det att en audioguide inte bör innehålla varken för mycket eller för lite interaktion, utan bör fokusera på att fungera friktionsfritt. Ett användande där avbrott skedde resulterade i att användaren kände sig bland annat malplacerad och oförstående inför konsten. Ett friktionsfritt användande bidrog till att audioguiden fungerade medierande och bidrog till en helhetsupplevelse.