Academic literature on the topic 'Theaters – Conservation and restoration – Indiana'

The Chicago Wilderness Biodiversity Recovery Plan has won state and national awards for its farsighted approach to regional biodiversity protection. Inspired by Daniel Burnham's Plan of Chicago, the Green Infrastructure Vision takes a step beyond the Recovery Plan by mapping an on-the-ground vision of what could and should be protected in the regional landscape. This Green Infrastructure Vision (GIV) identifies 1.8 million acres of macro-scale resource protection areas that span a region that includes southeastern Wisconsin, northeastern Illinois, and northwestern Indiana. This ambitious vision will require an integrated array of land protection techniques, including acquisition, conservation easements, greenway connections, restoration, and conservation development. Its implementation is being pursued at a range of spatial scales, including regional comprehensive plans, county and municipal plans and ordinances, and at the neighborhood and individual development level. The Vision presents unique opportunities and challenges for both the development community and local governments as progressive new approaches to sustainable land use and conservation development are considered and implemented.

Abstract Spring migration is an important life stage for ducks because their ability to find and acquire nutrients can affect subsequent reproductive success. Therefore, providing sufficient habitat to support the energetic needs of ducks and facilitate efficient feeding is a goal of habitat management and restoration. The rapid, unpredictable flood events that regularly occur in highly modified landscapes can make habitat management challenging and justify diverse management strategies. We examined the effect of habitat management on dabbling duck behavior and distribution during spring migration in southwest Indiana. We investigated three management options for wetlands: active management, passive management, and unmanaged agricultural food plots. We assessed duck behavior and density on 14 wetlands at Patoka River National Wildlife Refuge and Management Area. The agricultural food-plot areas had the lowest estimates of food availability followed by the actively managed areas; the passively managed wetlands had the greatest estimate. Dabbling duck density was greatest on the actively managed wetlands followed by food plots coming in second and passively managed wetlands third. Most dabbling ducks fed more intensively while on the passively managed wetlands followed by the actively managed and food-plot wetlands. Conservation prioritization of passively managed areas would provide larger areas for dabbling ducks to feed, but active management provides habitat regardless of climatic variability. Moving forward, wetland complexes encompassing diverse wetland management approaches would be the best option for spring-migrating waterfowl as these complexes can provide high-quality habitats and buffer against uncontrollable climactic conditions.

Abstract Context Conservation for the Indiana bat (Myotis sodalis), a federally endangered species in the United States of America, is typically focused on local maternity sites; however, the species is a regional migrant, interacting with the environment at multiple spatial scales. Hierarchical levels of management may be necessary, but we have limited knowledge of landscape-level ecology, distribution, and connectivity of suitable areas in complex landscapes. Objectives We sought to (1) identify factors influencing M. sodalis maternity colony distribution in a mosaic landscape, (2) map suitable maternity habitat, and (3) quantify connectivity importance of patches to direct conservation action. Methods Using 3 decades of occurrence data, we tested a priori, hypothesis-driven habitat suitability models. We mapped suitable areas and quantified connectivity importance of habitat patches with probabilistic habitat availability metrics. Results Factors improving landscape-scale suitability included limited agriculture, more forest cover, forest edge, proximity to medium-sized water bodies, lower elevations, and limited urban development. Areas closer to hibernacula and rivers were suitable. Binary maps showed that 30% of the study area was suitable for M. sodalis and 29% was important for connectivity. Most suitable patches were important for intra-patch connectivity and far fewer contributed to inter-patch connectivity. Conclusions While simple models may be effective for small, homogenous landscapes, complex models are needed to explain habitat suitability in large, mixed landscapes. Suitability modeling identified factors that made sites attractive as maternity areas. Connectivity analysis improved our understanding of important areas for bats and prioritized areas to target for restoration.

Abstract Stopover sites provide crucial habitat for waterfowl to rest and refuel during migration. Knowledge of which land-cover types are of greatest importance to migrating waterfowl and how the surrounding landscape influences their use can inform management decisions and conservation plans to adequately meet resource requirements. Specifically, spring migration habitat is essential for waterfowl preparing for breeding yet is an understudied period of the life cycle. We placed radio-transmitters on Mallards (Anas platyrhynchos) and Green-winged Teal (Anas crecca) between January and April 2016–2017 in the Wabash River Valley of Illinois and Indiana to assess habitat use and movement patterns. Both Mallards and Green-winged Teal primarily used emergent and woody wetlands, with 89% of use points in these land-cover types even though they made up <5% of the study area. Use of both dry and flooded row crops was minimal. While habitat selection of Mallards was similar for diurnal vs. nocturnal periods, Green-winged Teal used emergent wetlands at a higher rate during the day and shifted to woody wetlands at night. In general, sites surrounded by greater amounts of open water, upland forest, and upland herbaceous/grassland cover were more likely to be used than areas surrounded by row-crop agriculture. Additionally, private and public lands enrolled in conservation easement programs (such as the Wetlands Reserve Program) were frequently used by migrating waterfowl compared to other protected or public lands. These findings highlight the importance of a landscape-level approach to conservation, specifically focusing on wetland restoration while minimizing reliance on agricultural fields to fulfill habitat needs during spring migration in the Midwest.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). They are sociocultural phenomena that emerge through interactions and negotiations among multiple actors and institutions to envision and enact a Chinese imagination of “journeying abroad” from and to the country.ReferencesBakhtin, M.M. The Dialogic Imagination: Four Essays. Austin, Texas: University of Texas Press, 1982.Bohlman, Philip V. “World Music at the ‘End of History’.” Ethnomusicology 46 (2002): 1–32.Davis, Sara L.M. Song and Silence: Ethnic Revival on China’s Southwest Borders. New York: Columbia University Press, 2005.Duan, Wenjie. “The History of Conservation of Mogao Grottoes.” International Symposium on the Conservation and Restoration of Cultural Property: The Conservation of Dunhuang Mogao Grottoes and the Related Studies. Eds. Kuchitsu and Nobuaki. Tokyo: Tokyo National Research Institute of Cultural Properties, 1997. 1–8.Faxian. A Record of Buddhistic Kingdoms. Translated by James Legge. New York: Dover Publications, 1991.Herzfeld, Michael. Ours Once More: Folklore, Ideology, and the Making of Modern Greece. Austin: University of Texas Press, 1985.Kuang, Lanlan. Dunhuang bi hua yue wu: "Zhongguo jing guan" zai guo ji yu jing zhong de jian gou, chuan bo yu yi yi (Dunhuang Performing Arts: The Construction and Transmission of “China-scape” in the Global Context). Beijing: She hui ke xue wen xian chu ban she, 2016.Lam, Joseph S.C. State Sacrifice and Music in Ming China: Orthodoxy, Creativity and Expressiveness. New York: State University of New York Press, 1998.Mair, Victor. T’ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction and Drama in China. Cambridge, Mass.: Council on East Asian Studies, 1989.Pollack, Barbara. “China’s Desert Treasure.” ARTnews, December 2013. Sep. 2016 <http://www.artnews.com/2013/12/24/chinas-desert-treasure/>.Polo, Marco. The Travels of Marco Polo. Translated by Ronald Latham. Penguin Classics, 1958.Rees, Helen. Echoes of History: Naxi Music in Modern China. Oxford: Oxford University Press, 2000.Shelemay, Kay Kaufman. “‘Historical Ethnomusicology’: Reconstructing Falasha Liturgical History.” Ethnomusicology 24 (1980): 233–258.Shi, Weixiang. Dunhuang lishi yu mogaoku yishu yanjiu (Dunhuang History and Research on Mogao Grotto Art). Lanzhou: Gansu jiaoyu chubanshe, 2002.Sima, Guang 司马光 (1019–1086) et al., comps. Zizhi tongjian 资治通鉴 (Comprehensive Mirror for the Aid of Government). Beijing: Guji chubanshe, 1957.Sima, Qian 司马迁 (145-86? B.C.E.) et al., comps. Shiji: Dayuan liezhuan 史记: 大宛列传 (Record of the Grand Historian: The Collective Biographies of Dayuan). Beijing: Zhonghua shuju, 1959.Sivak, Alexandria and Amy Hood. “The Getty to Present: Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road Organised in Collaboration with the Dunhuang Academy and the Dunhuang Foundation.” Getty Press Release. Sep. 2016 <http://news.getty.edu/press-materials/press-releases/cave-temples-dunhuang-buddhist-art-chinas-silk-road>.Stromberg, Joseph. “Video: Take a Virtual 3D Journey to Visit China's Caves of the Thousand Buddhas.” Smithsonian, December 2012. Sep. 2016 <http://www.smithsonianmag.com/smithsonian-institution/video-take-a-virtual-3d-journey-to-visit-chinas-caves-of-the-thousand-buddhas-150897910/?no-ist>.Tian, Qing. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology 3 (1994): 63–72.Tuohy, Sue M.C. “Imagining the Chinese Tradition: The Case of Hua’er Songs, Festivals, and Scholarship.” Ph.D. Dissertation. Indiana University, Bloomington, 1988.Wade, Bonnie C. Imaging Sound: An Ethnomusicological Study of Music, Art, and Culture in Mughal India. Chicago: University of Chicago Press, 1998.Wong, Isabel K.F. “From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.” Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology. Eds. Bruno Nettl and Philip V. Bohlman. Chicago: University of Chicago Press, 1991. 37–55.Wu, Chengen. Journey to the West. Tranlsated by W.J.F. Jenner. Beijing: Foreign Languages Press, 2003.Wu, David Y.H. “Chinese National Dance and the Discourse of Nationalization in Chinese Anthropology.” The Making of Anthropology in East and Southeast Asia. Eds. Shinji Yamashita, Joseph Bosco, and J.S. Eades. New York: Berghahn, 2004. 198–207.Xuanzang. The Great Tang Dynasty Record of the Western Regions. Hamburg: Numata Center for Buddhist Translation & Research, 1997.Yung, Bell, Evelyn S. Rawski, and Rubie S. Watson, eds. Harmony and Counterpoint: Ritual Music in Chinese Context. Stanford: Stanford University Press, 1996.

Farmland, Indiana, located approximately twenty (20) miles east of Muncie, has been successfully engaged in a revitalization effort since the early 1990s. Although several significant historic buildings have been adaptively reused, others, including the Opera House, are only partially occupied. The continuation of future redevelopment efforts rests on whether these buildings can be preserved and adaptively reused in a manner that supports the revitalization goals the town has established and in which they are committed.The structure was constructed in 1889 and owned by P.M. Bly. Bly and John H. Thornburg, owned a drugstore together in the north retail space on the first floor and the south retail space was rented out to other businesses. Presently the first floor of the Opera House, which was constructed in 1889, is occupied by a Pizza King, which has been there for since the early 1990s. The second floor, which was originally used as an opera house, has been sitting vacant for over twenty years.This creative project documents the current condition of the building and proposes two options of adaptive reuse for the building owner to consider. The format and content of this project was modeled after adaptive reuse studies by two Indianapolis, Indiana architecture firms. Also, a synopsis of several interviews the author had with professionals who deal with the adaptive reuse of historic buildings is included. Architects, contractors, historic preservationists, and a market analyst were among those interviewed and their views afford the reader an insight into current attitudes among professionals involved in historic preservation and adaptive reuse.The project portion of this proposal includes: a brief history of the building; a conditions assessment through photographs and written text; existing floor plans and elevations; a synopsis of the American Disabilities Act (ADA) accessibility evaluation; and preservation and adaptive reuse recommendations. In addition, two schemes, or concepts, of adaptive reuse are included, with each containing: floor plans and elevations; a preliminary cost estimate and pro forma; and a summary of historic tax credits and grant programs that are applicable. Furthermore, the option which is most desirable for the historic context of the building and the future economic development of Farmland has been developed through design with an interior design package, which includes a furniture plan, furniture options, and a color scheme.This project is primarily an academic exercise intended to help the author learn the process of preparing a comprehensive adaptive reuse proposal. However, this project was also chosen with the hopes of inspiring the current building owner to develop the property by providing a substantial amount of objective and professional quality information and documentation. Thus, the format developed is that which a professional design firm would use, as opposed to an academic format. Through dissemination of this project to local leaders of preservation and redevelopment efforts, it is also hoped that it will aid in garnering public support to preserve and reuse.
Department of Architecture

The retention of historic structures and the information which they contain, the basic goals of historic preservation, has occurred with increasing frequency in the twenty-year period following the passage of the National Historic Preservation Act of 1966. Admittedly, the ideal scenario involves the retention and reuse of architecturally or historically important structures. However, occasionally notable buildings are found which are located upon sites earmarked for new construction or which have deteriorated to a condition which makes restoration or adaptive reuse not economically feasible. Adequate documentation prior to the destruction of such buildings not only preserves the information therein contained, but also may encourage reuse of some structures by making the owner aware of their contribution to the streetscape, to local history or to the architectural history of a community or region.Although parameters for adequate documentation exist at the national level for national landmarks, state and local standards are vague at best, leaving both the professional and the non-professional preservationist to determine the level of documentation and the amount of research required. Difficult at best for the professional, documentation in the absence of guidelines frequently proves disastrous for the non-professional.This thesis is the product of a documentation project conducted between September 1984 and October 1985 to provide "adequate documentation" for a client of the College of Architecture and Planning at Ball State University, Muncie, Indiana. Having no established guidelines or precedent to follow, and instructed to produce "adequate documentation" for 28 structures at six Indiana State Hospitals, the documentation team learned much during the fourteen-month process of producing both written and graphic documentation.The author presents this descriptive analysis of one component of the documentation process - the preparation of the 331-page written text which accompanied photographs and H.A.B.S. drawings. While each project differs, the Indiana State Hospital Project established a precedent which may be referred to By the C.A.P. when faced with similar projects in the future.

Agriculture has played and continues to play a vital role in the livelihood of Indiana; therefore, farm structures are present in nearly every section of the state. However, with advances in technology and commercial and residential development, historic farm structures are quickly being lost to demolition and neglect. Although Indiana is known as a leader in historic preservation, historic farm structures of the state do not receive the attention that they deserve from preservationists. This thesis serves to inform preservationists of the importance of Indiana's historic farm structures and to present suggestions on ways that the current programs and activities could be improved. This is accomplished by discussing the history and current state of farming in Indiana, by examining farm structure preservation organizations in Indiana and across the nation, and by presenting farmland preservation and the documentation of rural historic districts as two alternative tools to protect historic farm structures.
Department of Architecture

This proposed thesis is essentially a methodology for producing and assembling the graphic photo/documentation package of a large group of structures distributed over a broad geographic area. During the 1984/85 Indiana State Hospital Documentation Project, Department of Architecture, College of Architecture and Planning, it became evident that neither standards nor precedent existed within the State of Indiana for establishing appropriate levels of documentation for individuals, firms and/or agencies applying to the State Review Board/Division of Historic Preservation and Archaeology for Certificates of Approval for demolition of historic structures.This thesis will begin with brief discussions of: 1) various levels of documentation, including identifying one (or several) levels appropriate for this project; 2) preliminary field survey of the sites and structures, including photography, field notes and the acquisition of historic architectural drawings; and, 3) planning and contract development stages.Following this introduction the thesis will treat, in detail, the development of graphic materials (photo and line) utilized i n both the printed text and its accompanying photo/data package. Of note will be sections pertaining to: 1) the development of a sequential format, treating the project as both a written document and a graphic product; 2) field photographic techniques; 3) acquiring/developing/utilizing maps/site plans; 4) obtaining historic architectural drawings; 5) producing H.A.B.S. drawings; 6) reducing for reproduction and subsequent archiving of historic and H.A.B.S. drawings; 7) completing approved survey cards; and, 8) developing a comprehensive indexing system for all graphic materials.A summary will include, but not be limited to: 1) an assessment of the project's immediate ability to satisfy contractual requirements; 2) the project's long term value as both a written and graphic thematic study; 3) suggestions for the establishment of a hierarchy of levels of documentation for structures of recognized or potential historic significance facing certain demolition; and, 4) recommendations for the establishment of minimum state standards of graphic documentation for each specific level identified in 3).
Department of Architecture

This creative project has been initiated and researched out of the need for development of historic district guidelines for Anderson, Indiana's wonderous West Eighth Street and West Central Historic Districts. This study included the consultation, involvement and approval of the Anderson City Planning Department, the Anderson Historic Preservation Commission and district residents.In addition, this guideline document has intended to be used as a reference and resource tool in the legal development of district control of regulations and enforcement procedures. The purpose of this project has been to protect the integrity and maintain the character of Anderson's districts while providing education as to the importance and value of preserving our historical treasures.
Department of Urban Planning

The purposes of this creative project were (1) to develop a stone conservation plan for some of the markers in the "Old Part" of Beech Grove Cemetery, (2) to bring attention to the plight of a sampling of the cemetery stone markers in the "Old Part," and (3) to provide a written and photographic database for those individuals who are concerned with the preservation/conservation of Beech Grove Cemetery, in the hopes that a conservation plan can be implemented throughout the cemetery.Results revealed that a vast majority of Beech Grove's markers are deteriorating due to several natural factors such as weathering and erosion, as well as to neglect and vandalism. I have included, in this project, 195 stone inventory forms with a correlating map and photograph of those stones surveyed. The results also confirmed my theory that little conservation has taken place in the cemetery. Some conservation efforts that have been applied to the stone markers have further damaged them due to inappropriate methods.
Department of Architecture

This study examines the status and distribution of rail populations in northern Indiana. Because rails are secretive and difficult to study, there have been few attempts in Indiana to determine the impact of wetland loss on the populations of rails and other marsh-nesting birds. There can be little doubt, however, that the loss of Indiana wetlands during historic times has caused a dramatic decline in rail populations.Using tape-recorded calls to elicit vocalizations, the status and distribution of five species of rails were studied in a 25,900 km2 area in northern Indiana in 1993 and 1994. A total of 107 surveys were conducted at 46 natural wetlands and 42 restored wetlands. The species surveyed were Sora (Porzana carolina), Virginia Rail (Rallus limicola), King Rail (Rallus elegans), Yellow Rail (Coturnicops noveboracensis), and Black Rail (Laterallus jamaicensis). Playbacks were also used to detect American Bittern (Botaurus lentiginosus), Least Bittern (Ixobrychus exilis), Marsh Wren (Cistothorus palustris) and Sedge Wren (Cistothorus platensis). Data were also collected on all other species of marsh-nesting birds detected during this study.Rails exhibited a patchy distribution. A total of 25 Soras, 33 Virginia Rails, and 1 King Rail was detected in natural wetlands in 1993. In 1994, 75 Soras, 46 Virginia Rails, and 1 King Rail was detected in the natural wetlands. A total of 30 Soras and 9 Virginia Rails was found in the restored wetlands studied in 1993 and 1994. No Yellow or Black Rails were found. Ten Least Bitterns, 31 Marsh Wrens, and 6 Sedge Wrens were detected in natural wetlands, but these species were not observed in restored wetlands.The occurrence of rails in natural wetlands was positively correlated with wetland size, presence of shrub vegetation in the watershed, amount of emergent vegetation, proximity of other wetlands, and extent of cattail cover. Negative correlations were found for human disturbance, amount of open water, and watershed characteristics. The strongest negative correlationswere found for human disturbances in or around the wetland.In restored wetlands, a significant difference was found between the occurrence of Sora and Virginia Rails with Soras occurring more frequently than Virginia Rails. A near significant difference in rail occurrence between natural and restored wetlands was also found, with rails occurring more frequently in natural wetlands, suggesting that natural wetlands surveyed may be a more suitable habitat for rails than the restored wetlands surveyed.Restored wetlands surveyed in this study failed to attract American Bitterns, Least Bitterns, Marsh Wrens or Sedge Wrens. American Bitterns were reported in natural wetlands during this study, but they were not observed.
Department of Biology

This thesis examines the present historical resources of the Rushville Commercial Historic District. After tracing the history of the central part of Rushville from its founding in 1822 to the present, the study describes the present condition of the district and identifies four issues hindering optimal use of the district. These issues include building use, condition, infrastructure and economic vitality. Suggestions for revitalizing individual buildings and the district as a whole are given, along with potential sources of funding. Typical problems observed in the district, such as damage from water, are more specifically covered. This thesis demonstrates how individual property owners, private organizations or public entities such as the municipal government can use historic preservation to combat urban decay and economic stagnation and spur a rebirth of the Rushville Commercial Historic District by capitalizing on its important built resources.
Department of Architecture

Since territorial days, agriculture has been an important and vital aspect of life in Indiana. Developments in the field gradually transformed agriculture from a way of life into an agribusiness, thus positioning agriculture in the mainstream U.S. economy. One of the phenomena that developed as a result of agriculture's evolution was the practice of constructing round and polygonal barns. Such structures were intended to increase the efficiency and thus economic return for the farmers.Between the years 1850 and 1936, some 222 round and polygonal barns were built in the state of Indiana, probably more than in any other state in the Union. Today, only 110 of the barns remain and three to four are destroyed annually. The reasons for the destruction of these agricultural icons are varied but often new machinery and farm practices have rendered the barns obsolete. Additionally, in these economic times, many owners cannot justify spending the money to restore what they consider to be interesting but impractical structures.A large number of owners, however, are interested in saving their round or polygonal barns but are uninformed as to where to turn for help. Therefore, it is necessary to give the barn owners guidance on the qualifications for the Investment Tax Credit Prcgram. These farmers want to know what actions the state and federal agency consider in keeping with the Secretary of the Interior's Standards and what the process entails.In response to this issue, this creative project will deal with preservation planning for Indiana's round and polygonal barns. The method of investigation will consist of documenting the overall history of the barns, compiling a survey of the barns that remain and developing a usable preservation plan. This plan will deal with specifics as to suitable replacement materials for roofs and walls, adapting interior spaces to accommodate modern uses and an explanation of the application process for the Investment Tax Credit program. The research and suitability analysis will be developed in conjunction with authorities at the Indiana Division of Historic Preservation and Archaeology, specifically Frank Hurdis and David Kroll.In summary, I feel strongly that my chosen field of preservation needs to address the problem of saving structures in a more proactive way. Preservationists have been accused, justifiably so, of merely asking for people to spend vast sums of money to save structures but not offering any viable action plan. I feel that this document is at least a step in the direction of giving these round and polygonal barn owners a practical and understandable guide for saving an important part of our heritage.
Department of Architecture