Dissertations / Theses on the topic 'Historic house museums'
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Wise, Emily D. "Development Strategies of Historic House Museums." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1216866930.
Full textBarker, Lesley Aileen Pendleton. "Repurposing museum interpretation in American historic house museums." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/41082.
Full textBassett, Jennifer Leigh. "Hurricanes and historic house museums discovering the essential guidelines in a historic house museum disaster plan /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024629.
Full textMaust, Theodore. ""Most Historic Houses Just Sit There"| Activating the Present at Historic House Museums." Thesis, Temple University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793092.
Full textHistoric house museums (HHMs) are contradictory spaces, private places made public. They (often) combine the real with the reproduction. Drawing from object reverence, taxonomy, and tableaux over a century and a half of practice, the American HHM arrives in the present as a Frankenstein's monster of nostalgia.
Chamounix Mansion has been a youth hostel since 1964. It has also been a historic house museum, though when it became one and when—if—it ever stopped being one is an open question. Chamounix is a space where the past, present, and future all share space, as guests move through historic spaces, have conversations about anything or nothing at all, and plan their next day, their next destination, their next major life move. It is a place that seems fertile for meaning-making. It also provides a fascinating case study of what HHMs have been and what they might become.
The Friends of Chamounix Mansion employed the methods of other HHMs as it tried to achieve recognition as an HHM in the 1960s, but by the 1980s, they began claiming the hostel’s usage as another form of authenticity.
As HHMs face a variety of challenges today, and seek to make meaning with visitors and neighbors alike, the example of Chamounix Mansion offers a case study of how embracing usage might offer new directions for meaning-making.
Pollinger, Maegan. "PLANTING SEEDS OF CHANGE: GARDEN SPACES AND THE SURVIVAL OF HISTORIC HOUSE MUSEUMS IN CRISIS." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/442350.
Full textM.A.
This study explores the use of gardens and agricultural spaces at historic house museums, and the potential these spaces have for supporting positive change. At the turn of the twenty-first century, house museums grappled with a crisis of limited funding and ever shrinking visitor capacity, which continues to affect the success of these spaces today. I argue that garden spaces can provide interpretive revitalization, community relevancy, and increased income for historic house museums that can positively support a house museum. By surveying house museums throughout New Jersey and Pennsylvania, I show that garden spaces provide a tool for house museums to gain stability amidst crisis.
Temple University--Theses
Jay, Bethany. "The representation of slavery at historic house museums : 1853-2000." Thesis, Boston College, 2009. http://hdl.handle.net/2345/1365.
Full textThis dissertation examines the development of historic house museums in the United States from the mid-nineteenth century to the present to unravel the complex relationship between public presentations of slavery and popular perceptions of the institution. In conducting the research for this project, I examined the historic and contemporary public programming at nineteen separate museums. This sample of museums includes both publicly funded and private sites in both the North and South. By bringing together a diverse group of museums, this project examines national trends alongside regional traditions as well as the role of organizations such as the National Trust for Historic Preservation, the National Park Service, and a host of private institutions in determining different interpretive foci
Thesis (PhD) — Boston College, 2009
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: History
Smith, Charlotte H. F. "The house enshrined : great man and social history house museums in the United States and Australia /." Online version, 2002. http://bibpurl.oclc.org/web/24545.
Full textDeSantis, Lisa, and n/a. "Engaging with the past : structuring historic house museum visits for young children." University of Canberra. Resource, Environmental & Heritage Sciences, 1999. http://erl.canberra.edu.au./public/adt-AUC20060704.151238.
Full textBrown, Lyndsey S. "Founding Force, Forgotten Focus: A Case Study of Gender Influence Within the Preservation of Historic House Museums, with Emphasis on the Jacobsburg Historical Society's Boulton Historic Site in Pennsylvania." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/162987.
Full textM.A.
Historic house museums are the focus of an ideological tension between preservation and interpretation within the public history community. At a time where many house museums are failing, preservationists advocate for solutions to the house museum dilemma focused on saving the building. Historians and other museum professionals point to the importance of the value of the collections, memories, and documents preserved within the house as critical tools for understanding and teaching American history. Of specific focus in this thesis is the role gender influence played in the formation of historic house museums and how an examination of its continuing effect on agency within heritage sites creates access points for cutting-edge public history and interpretation. This is done through a case study of the history of the Jacobsburg Historical Society's Boulton Historic Site in Nazareth, Pennsylvania. The site was the location of the Boulton Gun Works, built in 1812 by the Henry family, manufacturers of the Pennsylvania Longrifle and key members of the early industrial community of Jacobsburg, located just north of the Moravian community of Nazareth.
Temple University--Theses
Henderson, Ashley S. Hafertepe Kenneth C. ""The ace of clubs" a social and architectural history of the Draughon-Moore House, Texarkana, Texas, 1885-1985 /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5246.
Full textWebber, Mary M. "Planning for a learning society : Minnestrista Cultural Center and Oakhurst Gardens in Ball State University's professional development schools network." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1167801.
Full textDepartment of Educational Leadership
Brinkman, Donna. "The Dufour-Baldwin historic house museum." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/59.
Full textJourdan, Katherine Marie. "Demise or survival of historical house museums." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/445623.
Full textDepartment of Architecture
Miller, Kelly H. "The Dufour-Baldwin House Historic Museum & Gardens, Inc." ScholarWorks@UNO, 1997. http://scholarworks.uno.edu/aa_rpts/42.
Full textBalboni, Paula E. "The Dufour Baldwin House Historic Museum & Gardens, Inc." ScholarWorks@UNO, 1996. http://scholarworks.uno.edu/aa_rpts/53.
Full textParno, Travis Gordon. ""With the quiet sturdy strength of the folk of an older time": an archaeological approach to time, place-making, and heritage construction at the Fairbanks House, Dedham, Massachusetts." Thesis, Boston University, 2013. https://hdl.handle.net/2144/34331.
Full textHistoric houses function as the stages for, and central figures in, processes of place-making and heritage construction. I offer the case site of the Fairbanks House (completed in 1641) in Dedham, Massachusetts as the subject of my investigation into these issues. Touted as the "oldest timber frame house in North America," the Fairbanks House is widely regarded as a significant example of early colonial architecture in the United States; it has operated as a house museum since it was purchased by the Fairbanks Family in America, Inc. stewardship group in 1904. This study expands beyond antiquity to include all eight generations of Fairbanks families who lived on the property. I argue that longevity, and a durational perspective that links the past with the present, is equally vital to peoples' understanding and appreciation. I trace the biography of the Fairbanks House from its creation in the early 17th century to its current use as a heritage site. This perspective emphasizes the continued saliency of accumulated individual decisions and actions, reified by both material culture and immaterial processes such as tradition and memory. I use archaeological, architectural, documentary, and oral sources to reconstruct the landscape of the Fairbanks farm and I demonstrate how residents made day-to-day choices, such as land purchases or neighborly socializing, to improve their socio-economic standing and establish a future for their children. In doing so for eight generations, they established a legacy that was celebrated beginning in the 19th century, when Fairbanks women living in the house promoted their family's history through storytelling and published media. These processes of heritage construction remain continuous and personal, as shown by the results of an ethnographic study that I designed, which reveals that Fairbanks House museum visitors define historicity not through specific facts about the Fairbanks family but through their own narratives based on their engagement with the site's material culture. In addition to providing an important example of how generations of modestly-successful New England farmers adapted their surroundings to fit their values and goals, this study positions local house museums as dynamic spaces for creative, personal engagements with the past.
O'Malley, Lori L. "The restoration and operation of two historical house museums at Todmorden Mills." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0015/MQ51607.pdf.
Full textClark, Jessica C. "Women's History in House Museums: How Using Local Archives Can Improve Their Histories." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/143944.
Full textM.A.
While scholarship in recent decades has begun investigating women's history, museums and historical sites have been slower to do so. Although house museums are more open to interpreting women's history, the histories present often remain limited to the family and the house. In this thesis, I argue that by exploring local archival collections for women's voices, house museums can improve their presentation of women's history. Specifically, I investigate connecting nursing history to upper middle class lifestyles through the Chew family at Cliveden, historical house museum. This paper begins by exploring three local Germantown sites to analyze how women are currently presented on the house tour. Next, I investigate the letters and records of two Chew women, Anne Sophia Penn Chew and Mary Johnson Brown Chew for health concerns, care giving, and the presence of hired nurses. I then explore early nursing training programs at collections housed at the Barbara Bates Center for the Study of the History of Nursing. Using the records of nursing training programs, including the Woman's Hospital, Presbyterian Hospital, and the Visiting Nurse Society of Philadelphia, connections are made between the new trend for educated nurses and upper middle class women and lifestyle, specifically the Chews. Based on my findings, I then propose a method to interpret nursing history on the current house tour at Cliveden. For sources, I especially rely on the documents of the Chew family housed the Historical Society of Pennsylvania. I also draw heavily on the various nursing program records at the Bates Center.
Temple University--Theses
Dahm, Kerry. ""To Preserve, Protect, and Pass On:" Shirley Plantation as a Historic House Museum, 1894–2013." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3282.
Full textJacqueline, Tugman. "The Revitalization of Pump House Park: An Adaptive Reuse of an Historic Industrial Landmark." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2793.
Full textNagy, Christopher D. "Maintenance plan for the Moore-Youse House Museum at 122 East Washington Street, Muncie, Indiana." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722782.
Full textDepartment of Architecture
Santos, Andréa Maria Zabrieszach Afonso dos. "A Casa do Bandeirante como espaço museológico (1954-1964)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-25102016-105146/.
Full textThis dissertation aims to approach, historically, the physical and symbolic construction of The Bandeirante House, an evocative museum of the time of \"bandeiras\" (former Brazilian settlers). It was inaugurated in 1955, at the end of the celebrations of the IV Centenary of the City of São Paulo, with its restoration being carried out under the responsibility of the organizing committee of those festivities. The first of the \"historical homes\" belonging to the city hall, it is part of the current architectural collection of São Paulo\'s city museums. The time covered in this project extends from 1955 to 1964, during the first period of the Museum, under the direction of Paul Camilher Florençano, when this cultural space was designed to present a scenario of the way of living in São Paulo during the colonizer period. At that moment, The Bandeirante House conceived heroically the \"Bandeirante Cycle\", dealing with as a myth by the presentation of an exhibition by period room, conceptual guidelines of the exhibition held until 1978. The goals of this dissertation are to analyze the conceptual and institutional creating process of the Bandeirante House, to understand and document its acquisition policy and to discuss the first long term exhibition of the institution, based the \"sertanista myth\" and its museum references.
Seabela, Motsane Getrude. "Un-silencing Histories of Black Servants at Zwartkoppies Farm : a Transition from the Sammy Marks House to the Sammy Marks Museum." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/75855.
Full textDissertation (MSoSci)--University of Pretoria, 2020.
University of Pretoria Bursary and DITSONG Museums of South Africa Bursary
Historical and Heritage Studies
MSoSci (Heritage and Museum Studies)
Unrestricted
Ribeiro, Rodrigo Alves. "Moradas da MemÃria:a construÃÃo de um museu na Casa de Gilberto Freyre." Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4479.
Full textA propriedade de Gilberto Freyre (1900-1987), situada no bairro de Apipucos, subÃrbio da capital do Estado de Pernambuco, adquiriu a qualidade de PatrimÃnio Nacional Brasileiro, em 1988. Residindo por mais de quarenta anos na casa de Apipucos, Gilberto Freyre, paulatinamente, acumulou objetos e sentidos como forma de delinear as suas ancestralidade e intelectualidade. Frente a este colecionismo, o presente trabalho procura compreender a construÃÃo, historicamente situada, de uma memÃria particular e ao mesmo tempo coletiva, gestada nas dependÃncias de uma construÃÃo de Ãpoca.
The writerâs property was situated in Apipucos, a suburban area of the state capital of Pernambuco. It acquired the status of Brazilian national patrimony in 1988. Having lived for more than 40 years in his house in Apipucos, Gilberto Freyre (1900-1987), collected, little by little, objects and senses as a way of delineating his ancestrally and intellectuality. This way, the house in Apipucos, is marked by the colectionism. By memory wish, facing such panorama, the present research aimed at understanding the construction, situated historical, of a particular memory, with collective intention and managed inside a time construction space, from where a âmemory place is bornâ.
Huser, William A. "Archaeology and socioeconomic evaluation of the William Conner House Site (12H608) : a 19th century rural residence in Hamilton County, Indiana." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/845925.
Full textDepartment of Anthropology
Kronblad, Hanna. ""Prakiskt taget orubbade miljöer" : En jämförande studie av Charlotte Berlins museum, Hallwylska museet och affektiv autenticitet." Thesis, Uppsala universitet, Institutionen för ABM, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-387419.
Full textDelassus, Justine. "Visiter les oeuvres littéraires au-delà des mots; des maisons d'écrivains aux parcs à thème, l'impossible pari de rendre la littérature visible." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV054.
Full textOften classified as an immaterial art, literature however offers real and visible tracks of its existence as evidenced by writers’ houses, museums and literary exhibitions spreading all over France. The increasing number of theme parks and the development of literary theme parks offer new interesting perspectives. In a multidisciplinary approach involving cultural history, sociology of literary practices and literary theories, the aim of this research work is to question the representations of literature conveyed by these literary spaces. This reflection results from the following paradox: what can be shown to evoke an art of words, only accessible in the act of reading?
Régnier, Marie-Clémence. "Vies encloses, demeures écloses. Le grand écrivain français en sa maison-musée (1879-1937)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040140.
Full textThe reflection undertaken in the thesis offers an archaeology of the collective representations relating to the writer’s domestic space and work, by means of a socio-criticism of the texts in which they materialise. From the notion of “house-museum”, the writer’s house-museum is considered a real place, as well as a mental and material structure where « images of the writer » are invented, organised and displayed. Albeit varied, even heterogonous, these images define a coherent imagination and imagery of the writer’s figure. In the thesis, the discursive dimension of the writing place′s “paratopia” is put into perspective with scenographic and postural approaches that are centred on the figure of the writer. To that end, the study predicates that the arrangement of objects in house-museums is based on these ‘‘sceno-mythographies,’’ which are then transposed into the museum space thanks to various display devices. Right from the start, the thesis shows that the writer’s stagings perpetually constitute an essential lever of the writers’ collective memorial appropriations and their works because they crystallise successful mythical representations, which are actualized in the spirit of the age. More broadly, they take part in writing the literary history that is institutionalised in the 19th century: they put the emphasis on certain writers, on a mythology of the literary creation, and on works that came to life in “high literary places.” Finally, the thesis tackles the issues of poetics and reception that link the writers’ houses to their literary work
Drexhage, Glenn. "The future of our past : inside the 2008 B.C. Digitization Symposium." British Columbia Library Association, 2009. http://hdl.handle.net/2429/8545.
Full textBeaulieu, Rebekah Anne. "Accounting for the past: historic house museums and America's urban Midwest." Thesis, 2017. https://hdl.handle.net/2144/26441.
Full textBolliger, Serena Gigliola. "Harmony in marriage: integrating sustainable solutions into historic house museums without interfering with the historic fabric." Thesis, 2014. http://hdl.handle.net/2152/25794.
Full texttext
Ghosh, Deepannita. "Illuminating the past artificial lighting in America (1610-1930) and a guide to lighting historic house museums /." 2004. http://purl.galileo.usg.edu/uga%5Fetd/ghosh%5Fdeepannita%5F200405%5Fmhp.
Full text"Transformation of Mei Ho House to Museum of Public Housing + youth hostel." 2007. http://library.cuhk.edu.hk/record=b5893142.
Full text"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2006-2007, design report."
"Museum in youth hostel, youth hostel in museum"--Dissertation t.p.
Includes bibliographical references (leaf 101).
Chapter Part 1 - --- Study of MARK I Design
HISTORY
MARK I
THE FORMAL PRINCIPLES
GENERAL CHANGES OF MARK I
STRUCTURE
SPECIFIC CHANGES OF MARK I - VARIATIONS & TYPE SOCIAL DETAILS
Chapter Part 2 - --- Programme Study
HOUSING AUTHORITY EXHIBITION CENTRE STUDY
PRELIMINARY PROGRAMME
Chapter Part 3 - --- Exploration of the Trasformation
"MEI HO HOUSE - PLAN, SECTION, ELEVATION"
PRELIMINARY IDEA FOR TRANSFORMATION
Mbhele, Hlengiwe Witness. "An appreciative inquiry approach into the post-merger Campbell Collections-University of KwaZulu-Natal." Thesis, 2010. http://hdl.handle.net/10413/9667.
Full textThesis (M.Com.)-University of KwaZulu-Natal, Westville, 2010.
Moon, Allison. "Assessing the feasibility of using Arnocroft as an historic house museum." 2004. http://purl.galileo.usg.edu/uga%5Fetd/moon%5Fallison%5Fa%5F200405%5Fmhp.
Full textCurtin, Abby. "Rethinking Landscape Interpretation: Form, Function, and Meaning of the Garfield Farm, 1876-1905." Thesis, 2014. http://hdl.handle.net/1805/5852.
Full textThe landscape of James A. Garfield’s Mentor, Ohio home (now preserved at James A. Garfield National Historic Site) contains multiple layers of historical meanings and values. The landscape as portrayed in political biographies, political cartoons, and other ephemera during Garfield’s 1880 presidential campaign reveals the existence of the dual cultural values of agrarian tradition and agricultural progress in the late nineteenth century. Although Garfield did not depend on farming exclusively for his livelihood, he, like many agriculturalists of this era participated in a process of mediation between these dual values. The function of the landscape of Garfield’s farm between 1876 and 1880 is a reflection of this process of mediation. After President Garfield’s assassination in 1881, his wife and children returned to their Mentor home. Between 1885 and c. 1905, Garfield’s widow Lucretia made numerous changes to the agricultural landscape, facilitating the evolution of the home from farm to country estate. Despite the rich history of this landscape, its cultural complexity and evolution over time makes it difficult to interpret for public audiences. Additionally, the landscape is currently interpreted exclusively through indoor museum exhibits and outdoor wayside panels, two formats with severe limitations. I propose the integration of deep mapping into interpretation at James A. Garfield National historic site in order to more effectively represent the multi-layered qualities of its historic landscape.
Pereira, Ana Paula Hostin. "Casa Museu Carlos Reis: a busca da identidade construída em décadas de história." Master's thesis, 2019. http://hdl.handle.net/10316/98404.
Full textThe proposed dissertation aims to be a simple contribution to safeguarding the house museum of a Portuguese naturalist painter in the 19th century, with an abundant historical value and own identity. Planning an intervention proposal with the aim of rescuing the painter's past and reconciling it with the rules ruled in Portugal will be the great challenge of this work. Carlos António Rodrigues dos Reis was born on February 21, 1863 in Vila de Torres Novas, in the parish of Santiago, Portugal. When he was only thirteen years old, he left for Lisbon, where he worked in a tobacconist's shop. In his spare time, he sketched everything he observed, which aroused interest in some of the customers who frequented the place. Carlos Reis was one of the most outstanding painters of the second generation of naturalist painters in Portugal. Influenced, of course, by Silva Porto, his first and great artistic mentor, he collaborated with the maintenance of Portuguese naturalist art. Besides being a painter, Carlos Reis was a teacher at the Lisbon School of Fine Arts. In 1913, on a visit to Lousã, the painter fell in love with the city and its landscapes and decided to build his painting studio and later his house, which he attended for seasons that alternated with his life in Lisbon. In 1937, a series of facts shook his health. On August 21, 1940, Carlos Reis could not bear a bronchopneumonia and eventually died in Coimbra. After his death, there were some internal but unfinished interventions in the residence. The main objectives of this work are to recognise the historical importance of the building and its values with a sensitive, rigorous and systematic look, to analyse what the building was, how it is and its possible interventions to preserve its identity and to draw up a proposal that complies with the RGEU (General Regulation on Urban Buildings), with regard to the organisation of space, the dimensional perspective, as well as the accessibility standards and fire safety regulations. This is the only way to comply with the current collective design of enshrining the building in question as the house museum of Carlos Reis. The study of this work will be based on a more in-depth analysis of the building, in search of documents and information that help to find other important points of the house that were not discovered at an earlier stage. On-site visits will be necessary to observe and obtain new measurements, visual inspection and photographic records. Drawings and details, will be essential to analyze intervention strategies, design intentions, as well as recognize the values about the residence. In addition to the analysis of the Portuguese standards, RGEU, accessibility and fire safety standards, so that an assessment can be prepared in conjunction with the proposed intervention. Finally, and as a conclusion, an analysis will be made of the data obtained to make it possible to create the House Museum Carlos Reis.
O trabalho de dissertação proposto pretende ser uma singela contribuição para a salvaguarda da residência museu de um pintor português naturalista do século XIX, com abundante valor histórico e uma identidade própria. Planear uma proposta de intervenção com o intuito de resgatar o passado do pintor e conciliar com as normas regidas em Portugal, será o grande desafio deste trabalho. Carlos António Rodrigues dos Reis nasceu a 21 de fevereiro de 1863 na Vila de Torres Novas, na freguesia de Santiago, em Portugal. Com apenas treze anos de idade, partiu para Lisboa, onde trabalhou numa tabacaria. Nos seus momentos de folga, fazia esboços de tudo o que observava, o que despertou interesse em alguns fregueses que frequentavam o local. Carlos Reis foi um dos mais destacados pintores da segunda geração de pintores naturalistas de Portugal. Influenciado evidentemente por Silva Porto, seu primeiro e grande mentor artístico, colaborou com a manutenção da arte naturalista portuguesa. Além de pintor, Carlos Reis foi professor na Escola de Belas Artes de Lisboa. Em 1913, numa visita à Lousã, o pintor apaixona-se pela cidade e suas paisagens e decide então construir seu atelier de pintura e mais tarde sua residência, que frequentava por temporadas que alternava com sua vida em Lisboa. Em 1937, uma série de factos abalou, e muito, a sua saúde. Em 21 de agosto de 1940, Carlos Reis não suportou uma broncopneumonia acabando por falecer em Coimbra. Após sua morte, houveram algumas intervenções internas na residência porém inacabadas. O presente trabalho tem por principais objetivos reconhecer a importância histórica do edifício e os seus valores com um olhar sensível, rigoroso e sistemático, analisar o que foi o edifício, como está e as suas possíveis intervenções para preservar a sua identidade e elaborar uma proposta que venha de acordo com o Regulamento Geral das Edificações Urbanas, no que respeita à organização do espaço, à perspetiva dimensional, bem como às normas de acessibilidade e à normativa de segurança contra de incêndios. Só assim se poderá cumprir o designo coletivo atual de consagrar a edificação em causa como a casa museu de Carlos Reis. O estudo deste trabalho será fundamentado numa análise mais aprofundada do edifício, em busca de documentos e informações que auxiliem a encontrar outros pontos importantes da casa que não foram descobertos numa fase anterior. Serão necessárias visitas in situ para observação e obtenção de novas medidas, inspeção visual e registos fotográficos. Desenhos e pormenores, serão imprescindível para analisar estratégias de intervenção, as intenções de projeto, assim como reconhecer os valores acerca da residência. Além de análises das normas portuguesas, RGEU, norma de acessibilidade e de segurança contra incêndio, para que seja elaborada uma avaliação em conjunto com a proposta de intervenção. Por fim, e em jeito de conclusão, será feita uma análise dos dados obtidos para que se faça possível criar a Casa Museu Carlos Reis.
Pereira, Ana Paula Hostin. "Casa Museu Carlos Reis: a busca da identidade construída em décadas de história." Master's thesis, 2019. http://hdl.handle.net/10316/98275.
Full textThe proposed dissertation aims to be a simple contribution to safeguarding the house museum of a Portuguese naturalist painter in the 19th century, with an abundant historical value and own identity. Planning an intervention proposal with the aim of rescuing the painter's past and reconciling it with the rules ruled in Portugal will be the great challenge of this work. Carlos António Rodrigues dos Reis was born on February 21, 1863 in Vila de Torres Novas, in the parish of Santiago, Portugal. When he was only thirteen years old, he left for Lisbon, where he worked in a tobacconist's shop. In his spare time, he sketched everything he observed, which aroused interest in some of the customers who frequented the place. Carlos Reis was one of the most outstanding painters of the second generation of naturalist painters in Portugal. Influenced, of course, by Silva Porto, his first and great artistic mentor, he collaborated with the maintenance of Portuguese naturalist art. Besides being a painter, Carlos Reis was a teacher at the Lisbon School of Fine Arts. In 1913, on a visit to Lousã, the painter fell in love with the city and its landscapes and decided to build his painting studio and later his house, which he attended for seasons that alternated with his life in Lisbon. In 1937, a series of facts shook his health. On August 21, 1940, Carlos Reis could not bear a bronchopneumonia and eventually died in Coimbra. After his death, there were some internal but unfinished interventions in the residence. The main objectives of this work are to recognise the historical importance of the building and its values with a sensitive, rigorous and systematic look, to analyse what the building was, how it is and its possible interventions to preserve its identity and to draw up a proposal that complies with the RGEU (General Regulation on Urban Buildings), with regard to the organisation of space, the dimensional perspective, as well as the accessibility standards and fire safety regulations. This is the only way to comply with the current collective design of enshrining the building in question as the house museum of Carlos Reis. The study of this work will be based on a more in-depth analysis of the building, in search of documents and information that help to find other important points of the house that were not discovered at an earlier stage. On-site visits will be necessary to observe and obtain new measurements, visual inspection and photographic records. Drawings and details, will be essential to analyze intervention strategies, design intentions, as well as recognize the values about the residence. In addition to the analysis of the Portuguese standards, RGEU, accessibility and fire safety standards, so that an assessment can be prepared in conjunction with the proposed intervention. Finally, and as a conclusion, an analysis will be made of the data obtained to make it possible to create the House Museum Carlos Reis.
O trabalho de dissertação proposto pretende ser uma singela contribuição para a salvaguarda da residência museu de um pintor português naturalista do século XIX, com abundante valor histórico e uma identidade própria. Planear uma proposta de intervenção com o intuito de resgatar o passado do pintor e conciliar com as normas regidas em Portugal, será o grande desafio deste trabalho. Carlos António Rodrigues dos Reis nasceu a 21 de fevereiro de 1863 na Vila de Torres Novas, na freguesia de Santiago, em Portugal. Com apenas treze anos de idade, partiu para Lisboa, onde trabalhou numa tabacaria. Nos seus momentos de folga, fazia esboços de tudo o que observava, o que despertou interesse em alguns fregueses que frequentavam o local. Carlos Reis foi um dos mais destacados pintores da segunda geração de pintores naturalistas de Portugal. Influenciado evidentemente por Silva Porto, seu primeiro e grande mentor artístico, colaborou com a manutenção da arte naturalista portuguesa. Além de pintor, Carlos Reis foi professor na Escola de Belas Artes de Lisboa. Em 1913, numa visita à Lousã, o pintor apaixona-se pela cidade e suas paisagens e decide então construir seu atelier de pintura e mais tarde sua residência, que frequentava por temporadas que alternava com sua vida em Lisboa. Em 1937, uma série de factos abalou, e muito, a sua saúde. Em 21 de agosto de 1940, Carlos Reis não suportou uma broncopneumonia acabando por falecer em Coimbra. Após sua morte, houveram algumas intervenções internas na residência porém inacabadas. O presente trabalho tem por principais objetivos reconhecer a importância histórica do edifício e os seus valores com um olhar sensível, rigoroso e sistemático, analisar o que foi o edifício, como está e as suas possíveis intervenções para preservar a sua identidade e elaborar uma proposta que venha de acordo com o Regulamento Geral das Edificações Urbanas, no que respeita à organização do espaço, à perspetiva dimensional, bem como às normas de acessibilidade e à normativa de segurança contra de incêndios. Só assim se poderá cumprir o designo coletivo atual de consagrar a edificação em causa como a casa museu de Carlos Reis. O estudo deste trabalho será fundamentado numa análise mais aprofundada do edifício, em busca de documentos e informações que auxiliem a encontrar outros pontos importantes da casa que não foram descobertos numa fase anterior. Serão necessárias visitas in situ para observação e obtenção de novas medidas, inspeção visual e registos fotográficos. Desenhos e pormenores, serão imprescindível para analisar estratégias de intervenção, as intenções de projeto, assim como reconhecer os valores acerca da residência. Além de análises das normas portuguesas, RGEU, norma de acessibilidade e de segurança contra incêndio, para que seja elaborada uma avaliação em conjunto com a proposta de intervenção. Por fim, e em jeito de conclusão, será feita uma análise dos dados obtidos para que se faça possível criar a Casa Museu Carlos Reis.
Pinho, Jacqueline Lira Vianna. "Método e intervenção no edificado existente. A Casa do Pintor Carlos Reis." Master's thesis, 2021. http://hdl.handle.net/10316/97972.
Full textCurrently in Portugal there is an increasing concern about the rehabilitation of old buildings of current architecture, as it has been happening in other countries for a longer time. Although they are not emblematic buildings, the rehabilitation of current buildings is important to safeguard their values and for the aspect of sustainability whose relevance is so evident in our days. The interventions in the pre-existence are important in the valorisation of the relationship of the present with the past and assume great responsibility for the need to understand the best way to intervene in the existing architectural object. For this, a set of intervention strategies and thoughtful constructive actions are necessary to preserve its identity and integrity. In this context, the dissertation deals with an intervention in the former residence of the painter Carlos Reis in Lousã. The artist had an affective connection with the city and decided to build his studio there in 1918, later expanded to include his holiday residence. The house has cultural relevance and valuable architectural features, but is inactive and degraded inside. In order for the building to resume its function in society it was proposed in this study to change the use of the building to a house-museum.The main objective of this work was to rehearse, develop and make explicit an intervention method in which all the steps considered in this kind of action were considered in a sequential way. The second focus was the definition of a consistent programme capable of bringing the house back to the community. This programme started from a discussion and investigation of what a house-museum is today, which was done through the analysis of case studies. The aim was also to develop a foreshadowing of the intervention proposal, based on the information gathered, which was used to draw up a master plan with the intervention actions for the house.
Atualmente em Portugal observa-se um aumento na preocupação com a reabilitação de edifícios antigos de arquitetura corrente como já ocorre em outros países há mais tempo. Apesar de não se tratar de edifícios emblemáticos, a reabilitação do edificado corrente é importante para salvaguardar seus valores e pelo aspeto da sustentabilidade cuja relevância é tão evidente em nossos dias. As intervenções na pré-existência são importantes na valorização da relação do presente com o passado e assumem grande responsabilidade pela necessidade de perceber a melhor maneira de intervir no objeto arquitetónico existente. Para isso faz-se necessário um conjunto de estratégias de intervenção e ações construtivas ponderadas para preservar a sua identidade e integridade. Nesse contexto, a dissertação trata de uma intervenção na antiga residência do pintor Carlos Reis na Lousã. O artista tinha uma ligação afetiva com a cidade e decidiu ali construir o seu atelier em 1918, posteriormente ampliado para incluir sua residência de férias. A casa apresenta relevância cultural e características arquitetónicas de valor, mas encontra-se inativa e degradada no seu interior. Para que o edifício retome a sua função na sociedade foi proposto neste estudo a mudança de uso do edifício para casa-museu.O principal objetivo deste trabalho foi ensaiar, desenvolver e explicitar um método de intervenção em que foram consideradas de forma sequencial todas as etapas consideradas neste tipo de ação. O segundo foco foi a definição de um programa consistente capaz de trazer de volta a casa para a comunidade. Esse programa partiu de uma discussão e investigação do que hoje é uma casa-museu, o que foi feito por meio da análise de estudos de casos. Foi objetivo também desenvolver uma prefiguração da proposta de intervenção, a partir do conjunto de informações reunidas que serviu para a elaboração de um plano diretor com as ações de intervenções para a casa.