Purpose: The purpose of this study is to examine how a company with a single brand is perceived as uniform, as well as how they use internal brand building to reconcile various competing actors within one brand. Furthermore the aim is to examine how staff, through internal brand building processes, perceives and identifies themself with the values of the common brand. Method: A case study with method triangulation was conducted at Nordiska Kompaniet department store in Stockholm. Quantitative data through a questionnaire survey with employees combined with two observations. Qualitative data was given through an email interview with a responsible manager of digital channels and PR from NK AB. Theories: This study has used the following theories; Destination marketing, Corporate brand, internal branding, corporate identity, corporate culture, brand value, service brand values, brand citizenship behaviour. Conclusion: This case study of NK has shown that internal branding building in a department store is a comprehensive work, which all involved must have a unified perception and understanding of the brand, in order to successful unite under one brand. Internal brand building is done primarily to employees through various recurrent trainings and meetings, with the purpose to create behaviour consistent with the brand values. However, there is a lack of communication since staff did not correctly perceive and understand the actual brand values. This results in that staff identify with incorrect values, which means that they have a brand citizenship behaviour that is not consistent with the brand values. / Syfte: Syftet med studien är att undersöka hur ett företag med ett gemensamt varumärke uppfattas som enhetligt, samt hur de använder intern varumärkesuppbyggnad för att förena olika konkurrerande aktörer under ett varumärke. Syftet är således att undersöka hur personalen med hjälp av intern varumärkesuppbyggnad, uppfattar och identifierar sig med det gemensamma varumärkets värden. Metod: En metodtriangulering genomfördes på Nordiska Kompaniet i Stockholm. Kvantitativ data gavs genom en enkätundersökning med anställda kombinerat med två observationer. Kvalitativa ansatsen var genom en e-post intervju med ansvarig chef för PR och digitala kanaler på NK AB. Teori: Studien har använt följande teorier; Destinationsmarknadsföring, företagsvarumärke, intern varumärkesuppbyggnad, företagsidentitet, företagskultur, varumärkesvärden, servicevarumärkets värden samt varumärkesorienterade beteende. Slutsats: Fallstudien på Nordiska Kompaniet har visat att intern varumärkesuppbyggnad i ett varuhus är ett omfattande arbete, där alla inblandade måste ha en enhetlig uppfattning och förståelse av varumärket, för att de framgångsrikt ska förenas under ett varumärke. Intern varumärkesuppbyggnad sker framförallt till anställda genom olika återkommande utbildningar och möten, för att således skapa ett beteende förenligt med varumärkets värden.  Däremot finns en brist i kommunikationen när personalen inte korrekt uppfattar och förstår varumärkets faktiska värden. Det leder till att personalen identifiera sig med felaktiga värden. Vilket gör att de uppvisar ett varumärkesorienterande beteende som inte är förenligt med varumärkets värden.

The diploma thesis deals with construction technological project of department store in Mohelnice town – hypermarket Kaufland. It compiles in detail the most optimal proposal of technological construction process, working machinery, traffic proposal for transport, construction site equipment, schedule of work, inspection and test plan, safety of work, environment, and finally costing including bill of quantities etc. The thesis deals specifically main building object SO04, object of hypermarket, which is consisted of prefabricated reinforced concrete skeleton of single-storey building. I focus primarily on realization of gross building.

Cette thèse étudie la place des Galeries Lafayette dans l’échange marchand entre l’offre et la demande, au cœur du système de la mode. Elle réévalue le rôle de la distribution en général et du grand magasin en particulier comme intermédiaire créateur de valeur dans la relation entre le producteur et le consommateur. Au tournant du XXe siècle, sur le marché de la nouveauté et le segment émergent de la confection, l’enseigne répond aux attentes des consommateurs qui cherchent à se distinguer et se différencier en suivant de près les phénomènes de mode. Alors que les maisons de couture exercent un monopole sur les tendances, et limitent leur diffusion en France à un cercle de clientes privilégiées, les Galeries Lafayette ont fait « entrer la mode dans le grand magasin ». Elles fabriquent et vendent sous leur propre marque des modèles inspirés de ceux des couturiers. Cette appropriation efficace de la création construit la légitimité de l’entreprise en tant qu'intermédiaire ainsi que le pouvoir prescripteur de la marque sur le marché de la mode. Elle fait aussi des Galeries Lafayette un acteur de l’économie de la contrefaçon, au centre des enjeux de l’industrie du vêtement dans l’entre-deux-guerres. La thèse montre cependant qu’il existe plusieurs régimes de management de la création aux Galeries Lafayette. A travers l’analyse des investissements de l’entreprise dans les industries créatives et en particulier les cas des Parfums Chanel, des maisons Madeleine Vionnet et Jean Patou, elle se saisit pour la première fois de la question du financement de la couture et décloisonne l’étude des principaux acteurs du système de la mode. La période couverte, de la fin du XIXe aux années 1960, rend compte des transformations de l’industrie du vêtement, mais aussi de la plasticité de la stratégie et des structures de l’organisation. Après la Seconde Guerre mondiale, l’intégration verticale de la fabrication laisse progressivement la place à de nouvelles modalités de construction de l’offre. Dans un contexte marqué par la modernisation de la filière habillement, la « révolution » du prêt-à-porter, et l’émergence de nouvelles capitales de la mode, la centrale d’achats élargit ses approvisionnements aux marques et à l’international. La mise en place pionnière d’un bureau de style au début des années 1950 est centrale dans cette transformation pour faire le lien entre les créateurs, les industriels et les clients avec lesquelles les Galeries Lafayette sont en contact direct.Une partie des développements est consacrée aux associations professionnelles internationale qui sont le véhicule privilégié des transferts transatlantiques mais aussi de la construction d’un réseau européen favorisant la circulation des idées et des marchandises. Ces échanges montrent que la diffusion des méthodes nouvelles d’organisation, importées et adaptées des États-Unis, ne s’est pas limitée à l’industrie. Les efforts des Galeries Lafayette pour rationaliser l’organisation sont une nouvelle démonstration de la nécessité de réévaluer le rôle de la distribution et des intermédiaires du système de la mode longtemps négligés au profit de la figure du créateur. / This thesis researches the role of Galeries Lafayette at the heart of the French fashion system. It re-evaluates the role of retail and department stores as value-creating intermediaries in the relationship between producer and consumer. Additionally, the research highlights the innovative capacity of a family business and shows that the introduction of new organizational methods in retail trade along the 20th century, imported and adapted from the United States, was as much present as in manufacturing enterprises. In the first part, the thesis looks at the foundation of the company, its competitors and its customers. To differentiate themselves, Galeries Lafayette manufactured and sold models inspired by those of the couturiers under the store private label. At the turn of the twentieth century, while fashion houses claimed a monopoly on trend setting, Galeries Lafayette introduced fashion in department store. This effective appropriation of fashion design built the legitimacy of the company as an intermediary, and posited the prescribing power of the brand in the fashion market. It also made Galeries Lafayette a player in the economy of counterfeiting, a major issue for the apparel industry in the inter-war period. The thesis shows, however, that various management regimes for design exist at Galeries Lafayette. In a second part, we analyze the investments of the company in the creative industries and in particular the cases of Chanel Perfumes as well as Madeleine Vionnet and Jean Patou fashion houses. In doing so, for the first time, the thesis analyzes the financing of fashion houses thus unbundling the study of the main actors in the fashion system. In a third part, the thesis studies competitive and market change from World War II onwards: the modernization of the clothing industry, the ready-to-wear revolution, and the emergence of new capitals of fashion besides Paris. The dismantling of the vertical integration in manufacturing, the opening of central purchasing to new suppliers, the pioneering establishment of in-house fashion forecasting office in the early 1950s induced a new organization and changes in the link between creators, designers, industrialists and customers for Galeries Lafayette.

The subject of the thesis is an architectural study of the reconstruction and extension of the "Centrum" department store in Brno. It is a dominant building designed by the famous czech architect Vladimir Karfík, which is located at the Urban Conservation Area Brno. Object wasn´t realized with the full extent of the original proposal, so in the project is planned a completion of it. The new solution respects the historical quality of Urban Conservation Area Brno with a concurrent view of the location on the lucrative land in the city center. The architectural concept is based on a return to the original idea of the architect and the addition of my own creative contribution within the extension of the new floors. Draft of the extension is intended so that the individual parts of an object communicate with each other, but they are easily recognizable as well. This idea was filled by both parts linked together visually by horizontal lines and ripple, which is used on balconies of the extension and behind the facade of the current building by shielding walls. However it is emphasized the contrast between an enclosed mass and a free-flowing space. The existing part of the building is used especialy as a leasable area of trade and services. On the upper floors there are areas of administration. Furthermore, there will be a restaurant and cafe with exhibition galleries and apartments are designed on the new added floors. The building is adapted to use by person with limited mobility. Newly added uses in the object will increase the attractiveness of the building and its surroundings.