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The attic of Häme Castle has many undefined shapes because of structural deformation or weathering which is very difficult or impossible to represent accurately using parametric BIM objects. The historic styles of Häme Castle include organic shapes, which again can be more time consuming or difficult to model accurately using simple solid geometry. Häme Castle was scanned in the form of point cloud which was helpful to find the location of the structural components, but the 3D modelling could make it more beneficial. The features, such as heritage importance and values can be combined into the 3D model in a structured and consistent way which allows easy information uprooting and the production of deliverables. BIM offers a robust information management framework that can be highly beneficial for Häme Castle. Häme Castle has one of the oldest building trusses in Europe. It is assumed that the trusses of the main castle are 500 years old. By absorbing high-quality digital survey datasets, BIM does not only represent the image of the existing historic framework, but will also allow the investigating, quality checking and complex analysis of proposed involvement in various scenarios of the castle. The calculations done by the software are faster, more efficient, and easier to correct than the manual calculations. The amount of material needed for the building could help us to know the amount of money needed for the renovation or reconstruction of the building. The adoption of BIM in Häme Castle may drive by significant gains in terms of efficiency and cost savings during capital and operational stages in terms of spatial coordination and conservation planning through improved visualisation, analysis, and options appraisal. Working with BIM will experience reduced project risk, improved timelines, and better project outcomes. BIM appears less popular in terms of adoption by heritage professionals. If the information model of the Häme Castle is maintained, it can be an invaluable decision making and management tool for the castle throughout its life cycle. The purpose of this Bachelor's thesis was to demonstrate how to design the 3D model and conduct structural analysis of a historical building (Häme Castle) using Building information modeling (BIM) software. The analysis was done for trusses in a three-dimensional arrangement in RFEM software. As the result of the project work, the results were positive which proves that the main castle trusses are strong enough to bear all kind of loads.

The purpose of this thesis was to understand the concept of periphery in relation to areas and environments, and to gather information on the benefits of exposure to peripheries. A series of artworks was created to accompany the written thesis. The study was conducted to support the artworks by giving them a conceptual framework. The process of making a twenty-artwork series called Periphery Talismans (now my daydreaming is spontaneous) is described in the case study as a part of the thesis. The sources used for the written part include books, articles and essays on topics that relate to peripheries. Wilderness, natural environments, abandoned places and wastelands and the aesthetics of peripheral places are all explored further. The theoretical foundation for the thesis is based on the writings of Marko Leppänen, the founder of The School of Esoteric Geography and Periphery Therapy. Other authors referenced include environmentalist and Pulitzer Prize winning poet, Gary Snyder, artist Jenny Odell and author and translator Ville-Juhani Sutinen. The study revealed the importance of peripheral areas as equalizers. It was made clear that areas that have peripheral qualities are not only havens for wildlife, but also important places of rest and recuperation for humans became evident. Furthermore, it was revealed that seeing our minds and bodies as wild, instead of the normalized view of seeing them as civilized, can help humans experience healing and live more balanced lives.

There are many historical gardens and parks in Hungary. The current state and future aspects of the sites is dependent on their location. Sites that are widely visited are more likely to get renovated. Main principles for the renovation of historical gardens are known, but finding funds for the projects in a country that is dealing with economical crisis is often hard. Project started in spring 2010 while I was an exchange student in Budapest. The work was commissioned by the municipality of Iszkaszentgyörgy. The main aim for the project was to lay down guidelines for the future development of the site. The outcome of the project is the map data of a division of the developed area and analysis maps of the current state of the site (vegetation and structures). The development plan was made based on these maps. The future of the site is unclear at this point and therefore schedule and funding for the development are not there to be found. The thesis report covers also the history of the site and different phases in Hungarian garden art. Unkarissa on useita historiallisia puisto- ja puutarhakohteita. Kohteiden nykytila ja tulevaisuudennäkymät vaihtelevat suuresti. Suuremmat kohteet ovat usein matkailijoiden suosiossa ja näin ollen niitä on restauroitu. Historiallisen puutarhan kunnostamisen periaatteet ovat alalla toimijoille tuttuja, mutta rahoituksen löytäminen hankkeille on talousvaikeuksien kanssa kamppailevassa maassa usein vaikeaa. Opinnäytetyö käynnistyi keväällä 2010 Budapestissä vaihto-opiskelujeni aikana muodostuneiden kontaktien kautta. Tilaajana työllä toimii Unkarissa sijaitseva Iszkaszentgyörgyn kunta. Työn tavoitteena on löytää ratkaisumallia pahoin laiminlyödyn puutarhan ennallistamiseksi. Työn tuloksena syntyi esiselvitysvaiheessa kartta-aineistoa kohteen kasvillisuuden sekä rakenteiden, kalusteiden ja varusteiden nykytilasta, aluejako kehittämissuunnitelman pohjaksi sekä edellisten pohjalta valmisteltu kehittämisehdotuskartta. Kohteen tulevaisuudesta ei ole tällä hetkellä varmaa tietoa ja näin ollen alueen kehittämisen aikataulu ja rahoitus eivät ole vielä selvillä. Opinnäytetyöraportissa kerrotaan lisäksi historiallista taustaa kohteesta sekä käydään läpi unkarilaisen puutarhataiteen vaiheita.

The purpose of this study was to investigate the use of 3D imaging applications in conservation in a manner accessible to conservators. In order to do this, the basics of 3D imaging, as it applies to conservation, had to be discussed and explained and the history of 3D imaging in cultural heritage and conservation examined. Case studies were used as examples of the most relevant applications for this technology in conservation. Finally, a theoretical look was taken at the broader meaning of 3D imaging in the conservation field. The study found that a wide variety of applications are available in the conservation field, namely those of documentation, analysis, and monitoring. Some applications are currently accessible, while others will become more appropriate as costs are established and developments made. Conservation theories were examined to place 3D imaging into the broader context of conservation and to push for more cooperation and resources spent on the adoption of 3D imaging into the conservators’ toolbox. Tutkimuksen tarkoitus oli pohtia 3D mallintamisen sovelluksia konservoimisen puitteissa tavalla, joka tukisi konservaattoreiden työtä. Jotta tämä olisi mahdollista, 3D mallintamisen perusteet ja historia kulttuuriperinnön ja konservoimisen työkaluna piti käsitellä ja selittää. Tapaustutkimuksia käytettiin esimerkkeinä siitä, miten tätä teknologiaa voi soveltaa konservoinnin kannalta. Lopuksi 3D mallintamisen laajempaa merkitystä konservoinnissa tarkasteltiin teorian kautta. Konservoinnin teorioita tutkittiin, jotta 3D mallintamista voitaisiin tarkastella konservoinnin laajemmassa kontekstissa ja jotta yhteistyö ja resurssit tällä saralla lisääntyisivät niin, että 3D mallintamista pidettäisiin yhtenä konservaattoreiden työkaluista.

Socially engaged practice is a relatively young artform compared to other practices in contemporary art, evolved from avantgarde movements in the early 20th century to the 1960s, 1970s performance and conceptual art. In spite of its late presence, the gravitation of contemporary art towards social framework has been rapidly increasing around the world to almost a global phenomenon during the last decades. Although collaboration and participation in art are not exceptionally innovative, they bring a new trend of redefining art’s role in modern life. The objective of this study was to assess the artistic process, approach, experience as well as acquire general knowledge and explore possible challenges of working with people experiencing homelessness in the artmaking context. This thesis provides an overview of the socially engaged practice from the 1990’s and explores various prevalent arguments about social practice art in criticism: how should it be considered art, its aesthetic elements, participatory artists interchangeable roles with activists and ethical evaluation. The research was conducted by analyzing a collection of various literature sources, in which an analysis of the art historian and critic Claire Bishop’s Artificial Hells: Participatory Art and the Politics of Spectatorship played an essential part. An interview with the artist Willie Baronet was also organized to study his working process in his decade-long project ‘We Are All Homeless’. Several artworks of contemporary artists in the US and Europe using participatory art to raise political issues such as homelessness and poverty were also examined. Lastly, the author’s socially engaged artwork Home was carefully analyzed and self-reflected upon. Home is a participatory artwork exhibited in the graduation show Kaleidoscopers 2021 which explores the theme of relationships and home to the subjects of homelessness.

The purpose of this thesis was to analyse representations of the horse in art history and examine ways in which representations of the horse could be used to posit new positive representations of power. The theoretical section explored the lineage of horse imagery in art history; this section also explored power imagery as well. The portrayal of the horse in Western art was analysed from the Renaissance onwards in order to have a firm historical understanding. From this base of understanding, the potential for new image creation was discussed. Paintings and statues were the primary focus of the thesis for its analysis. Possibilities for new and more positive images of power were explored through visuals featuring horses. The analysis suggested that because of the horse’s roots in art history as well as its powerful physical strength, status as a prey animal, and its gentle sensitivity, the horse was an image eminently suited for use in positing new and positive non-toxic images of power. Further, the analysis suggested that these new explorations stand in opposition to power images and power conceptualisations based in toxic masculinity and patriarchy. This contrast of new imagery and socially constructed expectations provided the starting point for critiquing current power imagery and moving beyond toxic imagery.

Uudet teknologiat otetaan vastaan usein tunneperäisesti, toiset ovat kiinnostuneita, toiset epäilevät. Uudet keksinnöt ja teknologiat oikein käytettyinä avaavat meille uuden maailman, tehostavat toimintoja, lisäävät luovuutta ja mahdollistavat asioita. Tämän työn tilaajat olivat sovelluskehitysyhteisö Viastar ja kulttuurialan toimija Carnivale. Tilaajia kiinnostavat uudet teknologiat kulttuuriperinnön sovelluksissa ja hankkeissa. Tämä kehittämistyö tutki ja tarkasteli, miten voimme paremmin hyödyntää uusia teknologioita sukututkimuksen apuna. Työssä tutkittiin, miten voimme yhdistää perinteisen ja DNA-analyysiin pohjautuvan sukututkimuksen. Tässä työssä käytiin myös läpi muita uusia teknologioita, joita voidaan hyödyntää sukuhistorian ja kulttuuriperinnön tallennuksessa, tutkimuksessa sekä myös yleisemmin kulttuurituotantojen tukena. Kehittämistyötä tehtiin tutkimalla ja kokeilemalla uusia teknologioita sekä käymällä läpi laajasti opinnäytetyön tekijän sukuun liittyviä sukututkimuksia ja niiden kautta esiin tullutta kulttuuriperintöä, vanhoja kuvia, karttoja ja paikkoja. Geneettisen sukututkimuksen avulla tutkittiin isä- ja äitilinjoja eri tekniikoilla ja jäljitettiin eri sukujen kulkureittejä menneiden vuosisatojen aikoina. Tässä opinnäytetyössä analysoitiin tekijän omasta suvusta teetettyjen DNA-testien tuloksia ja osoitettiin, miten ne toimivat käytännössä sukututkimuksen välineinä. Tässä työssä käsiteltyjä muita kulttuurituotannon tekniikoita olivat drone-kuvaus, lidar-kuvaus, virtuaali- ja lisätty todellisuus. Tutkimusmenetelminä käytettiin aineistotutkimusta, DNA-testejä, havainnointia, haastattelua ja kenttätyötä kokeilemalla käytännössä erilaisissä ympäristöissä uusia teknisiä välineitä. Työn tuloksina todettiin, että uudet tekniikat toimivat sukututkimuksessa ja kulttuuriperinnön tallentamisessa erittäin hyvin. Uudet tekniikat avaavat uusia sisältöjä ja osallistavat kulttuurin tuottajan sekä kuluttajan tuotantoihin syvällisesti. Toimenpide-ehdotuksena esitettiin, että sukututkimuksessa ja kulttuurituotannoissa otettaisiin rohkeasti uusia tekniikoita laajasti käyttöön toiminnan parantamiseksi ja tehostamiseksi. New technologies are often embraced emotionally: others show interest and others doubt. It is a fact that new inventions and technologies, when used properly, open up new worlds for us, streamline operations, increase creativity and enable things. This thesis was commissioned by the application development company Viastar and the cultural sector enterprise Carnivale. Both commissioners are interested in new technologies on cultural heritage applications and projects. The objective of this study was to explore and examine how new technologies can better be utilized in genealogy. The study explored how to combine traditional and genetic genealogy research. It also reviewed some other new innovative technologies that can be used on cultural heritage research and in cultural productions. The study was carried out by exploring and experimenting new technologies and going through extensive genealogy and cultural heritage materials, old images, maps, and places that have emerged through genealogy research. In terms of genetic genealogy, lineages have been studied using different DNA techniques and the pathways of different genera have been traced over the past centuries. The study analyzed the DNA research results from the author's own lineage and show how they work in practice as a tool for genealogy. Other cultural production techniques covered in this study include drone imaging, lidar imaging, as well as virtual and augmented reality. The research methods used were document analysis, observation, interview and fieldwork by experimenting new technical tools in different environments. The results indicate that the new technologies work very well in genealogy and in saving cultural heritage. New technologies open up new content and deeply involve producers, researchers and cultural consumers in productions. The thesis proposes that genealogists and cultural sector make widespread use of new technologies to improve and increase their efficiency.

In this thesis the behaviour of dry, storaged archaeological objects were compared to the behaviour of fresh, moist objects from a single hillfort site in Finland, Hangastenmäki in Janakkala, Tavastia Proper. The chosen desalination method was alkaline sulfite, 0,1 M NaOH + 0,05 M Na2SO3. Chloride contents of the treatment solutions were monitored with a Merck quick measurement kit (Aquamerck® 1.11106.0001) and an ion chromatography analysis unit (Metrohm 761 Compact IC). A clear difference was discovered in the behaviour of the two sets of objects, moist objects releasing their chlorides more slowly than the oxidised ones. Residual chloride or structural changes in the objects could not be measured within the scope of this thesis, so reasons for the differences had to be sought from contemporary desalination theory. It was concluded that the most likely reason is the greater physical integrity of the fresh finds, that acts as a greater diffusion barrier for the chloride ions. Alltogether 72 archaeological metal objects were treated, including photography, X-ray investigation, mechanical cleaning and coating. The practical part of the project was carried out between October 2015 - April 2016. Tässä opinnäytetyössä verrataan arkeologisen raudan suolanpoistoprosesseja kuivilla, hapettumaan päässeillä löydöillä, sekä kosteina kaivauksilta suolanpoistoon säilytetyillä löydöillä. Projektissa käytettiin Hangastenmäen linnavuorelta (mj-numero 1000023482) vuosina 2013 ja 2014 nostettua 26 metallinilmaisinlöytöä, sekä syksyllä 2015 arkeologisilla kaivauksilla löydettyä 46 metalliesinettä. Suolanpoisto suoritettiin molemmille esine-erille ns. alkalisulfiittimenetelmällä, jossa esineitä säilytetään 0,1 M NaOH ja 0,05 M Na2SO3 –liuoksessa noin 50 asteen lämpötilassa kloridien poistamiseksi. Opinnäytetyöprojektin aikana käyttöliuokset vaihdettiin kahden-kolmen viikon välein, kunnes liuoksen kloridipitoisuus oli vähintään kolmen vaihdon yhteydessä ollut alle 10 ppm. Suolanpoistoprosessien etenemistä seurattiin käyttöliuosten kloridipitoisuuksia mittaamalla. Mittaukset suoritettiin Merckin valmistamalla pikatestisarjalla (Aquamerck® 1.11106.0001) sekä ionikromatografianalyysilaitteistolla (Metrohm 761 Compact IC). Ionikromatografilaitteistossa päädyttiin käyttämään dialyysiyksikköä näytteille, joiden kloridikonsentraatio oli yli 20 ppm. Näin pyrittiin suojaamaan herkkää analyysilaitteistoa näytteiden sisältämiltä epäpuhtauksilta. Alle 20 ppm kloridipitoisuuden sisältävät näytteet analysoitiin ionikromatografilla suoraan. Kuivuneiden ja kosteina säilytettyjen löytöjen käyttäytymisessä suolanpoistoprosessin aikana havaittiin selkeä ero. Kuivuneista löydöistä ehdottomasti suurin osa klorideista poistui jo ensimmäisen kaksiviikkoisen käsittelyjakson aikana, kun taas kosteina kentältä suolapoistoon säilytetyistä löytöistä kloridit poistuivat huomattavasti hitaammin ja tasaisemmin. Koska projektin yhteydessä ei ollut mahdollisuutta mitata jäännöskloorin määrää esineissä tai tehdä rakenteellista analyysiä säilyneille löydöille, oli syytä erolle haettava teoriapohjalta. Todennäköisimmin ero selittyy kosteana säilytettyjen löytöjen korroosiokerrosten kiinteydellä – nämä muodostavat diffuusiolle kuivuneiden löytöjen halkeilleita korroosiokerroksia suuremman esteen. Projektin yhteydessä käsiteltyjen 72 esineen konservointi suoritettiin loppuun saakka. Suolanpoiston jälkeen löydöt puhdistettiin mekaanisesti, ja suurin osa aineistosta suojattiin mikrokidevahalla. Käytännön osuus toteutettiin välillä lokakuu 2015 – huhtikuu 2016.

The object of the thesis was to construct a profile or profiles of the typical customers of the Oulu Museum of Art. The thesis was commissioned by the Museum and Science Centre Luuppi, located in Oulu, Finland. This thesis contains one of the first public art museum customer profiles made in Finland. Traditionally, museums have enjoyed one of the world’s most satisfied and loyal customer bases. While the museums have changed with the passing of time, their customer base has stayed relatively the same at least since the 80s. However, the expectations set for a museum experience have shifted towards modern-day consumption. Art is no longer a hobby for only the elite and people from all walks of life are invited to art museums. Modern technology is making its way into museums, offering an opportunity to better serve all the different customers. However, art museums still carry an air of a traditional and old-fashioned institution, which might play a part in making both customers and employees wary of modern digital solutions. In this thesis, the customers of the Oulu Museum of Art are profiled through the means of a qualitative content analysis and a customer survey. The content analysis was conducted from past ticket sales while the customer survey was implemented as an online survey, spread primarily through social media. The theoretical background of the research was gathered from modern-day sources, from both general cultural tourism research and studies meant to profile customers of other art museums. While cultural tourism has grown during recent years, this growth was not visible in the amount of art museum research available. As a result of the research, two customer profiles for the Oulu Museum of Art were made. While the demographics of the two sample customers are the same, they lead different lives and face different obstacles before and during art museum visits. They however share the same values. The service development suggestions are made based on the discovered customer profiles and the issues that arose during the research, especially the existing obstacles. The customers are still reserved towards digital services but they are not completely out of the question either. Most of the developments desired by the customers themselves were rather basic, such as extended opening times or new exhibitions.

The concept of identity has been ever-present since humans have been living in societies. People have identified themselves with their work, their families, their church, or religion as well as with their Nation or state. All of these identities that people have adopted throughout time have had various impacts on how those people have seen and understood themselves as well as how they have orga nized themselves and acted. As such an influential concept it has been of particular interest to many artists, which have explored it in their own artworks and have also analyzed and re searched it as well. This research relies on the findings and works that have come before, such as Bachelor’s and Master’s Theses, research papers, lectures, ex pert interviews, articles, books as well as on artworks that are informative and relevant to the topic of Identity. The aim of the thesis is to contribute to the awareness of the impact of Identity, show its importance in the field of arts and explain how the author is playing with identity as an artist and a storyteller and to open a semiotic and symbolic discus sion of the author’s artistic work. The findings show the complexities of human identities and how particular indi viduals have creatively formed and shaped their identities in order to serve them. As our identities are constantly in the process of change, and while we continue to ask who we are, we should not forget who is it that we want to become.