Main task of the diploma project is design of conversion strategy and revitalization of former textile factory PERLA 01 in Ústí nad Orlicí. The construction program consist conversion of existing building to cafébar, assembly hall, office space, shoping hall, bistro and craftsman´s workrooms. New building is infocentrum, gallery, textilmania, entrance hall of assembly hall, cycling shop, library reserve space and club centrum. The project design new square and public space.

La communauté des maîtres peintres et sculpteurs parisiens a connu une importante évolution entre les XVIIe et XVIIIe siècles. La création de l’Académie royale en 1648 correspond à un temps de bouleversement : l’ancien et le nouveau corps se joignent alors, et tentent de cohabiter dans une même structure. La fin du XVIIe siècle correspond à l’essor de la population de la maîtrise, à la publication des listes de ses membres, ainsi que des statuts, dans une remise en ordre globale de la communauté. C’est donc une corporation forte d’une nombreuse population et bien organisée qui obtient en 1705 une déclaration de Louis XIV lui permettant d’ouvrir une école de dessin fondée sur le modèle vivant. La toute nouvelle Académie de Saint-Luc peut s’installer durablement dans le paysage artistique de la première moitié du XVIIIe siècle. Installée dans des nouveaux locaux dont elle se porte acquéreuse, rue du Haut-Moulin en la Cité, elle transforme considérablement ses statuts, en accordant une place importante en son sein à un corps d’artistes, chargés d’assurer l’enseignement de l’école. Les années 1750 à 1775 sont des années où les évènements se précipitent, pour l’Académie de Saint-Luc. Des expositions, suivies du public, permettent de faire connaître nombre de ses membres, et d’inscrire la petite académie dans les débats artistiques du milieu du XVIIIe siècle. Le perfectionnement de l’école d’après le modèle, permet dans les années 1765-1775 de reconnaître davantage encore un statut propre pour les artistes, au sein de la communauté. L’évolution est donc spectaculaire sur plus d’un siècle, et témoigne d’une adaptation remarquable de la vieille corporation, qui a su assimiler ainsi un fonctionnement académique à l’organisation hiérarchique d’une communauté de métier. / The community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community.

台灣資通訊產業面臨毛利率與獲利屢創新低的困境，但國內部分企業仍能維持高於同業的毛利率與獲利水準，本研究將這類企業稱為「藝匠型企業」，研究問題包括：（1）藝匠型企業應如何定義？（2）藝匠型企業的核心能耐為何？（3）藝匠型企業如何培養與延伸新的核心能耐？有哪些途徑？如何選擇？ 本研究採個案研究法，在手機產業設定五家企業為個案進行分析研究，發現藝匠型企業在擴大事業範圍前，會優先深耕特定領域的技術深度；具有主動實驗未來的精神和常態的知識創造活動，因此能把握先機，優先布局下一階段事業成長所需的技術；和該領域全球龍頭業者有深厚的供應商或客戶關係，除了是穩定訂單來源外，也能掌握或共同定義未來技術趨勢。 因此，藝匠型企業的核心能耐資產不斷提升，具有長期競爭力，而非短線的機運或能力，這也是能維持高水準毛利率和獲利率的原因。 藝匠型企業的核心能耐是實體技術系統、管理系統、員工知識與技能和價值觀的組合，這項組合深受創辦人與經營團隊專長影響，且藝匠型企業傾向以師徒制自行培育人才，員工需熟練公司專屬的流程與常規，這也使得外界不易以挖角形式取得該藝匠型企業的核心能耐。 藝匠型企業傾向朝產業上游延伸新核心能耐，延伸途徑可分為內部研發、外部併購與聯結研發三類；又以內部研發、深度聯結研發最能形成長期核心競爭力。 1. 內部研發是在既有資源（人員、時間、資金）充足、目標是重點新能耐時的第一選擇，通常可形成長期競爭力； 2. 外部併購或合資通常是為了快速卡位（快速取得新核心能耐及市場），併購是完整移轉其他企業的核心能耐，若整合成功可形成長期競爭力，合資則僅移轉其他企業的部分核心能耐，因此通常只是短期競爭力； 3. 聯結研發的速度與成本介於中間，有助於借外界長處、同時培養內部專屬知識。其中強勢網絡的深度聯結研發，表示參與者均投入較強的組織承諾，有機會帶來長期競爭力，弱勢網絡則因多方的組織承諾不同，通常只是短期競爭力。 / While the IT and Telecom Industry in Taiwan generally suffers from low gross-margin rate and profit, some companies still sustain these at a higher level than others. In this thesis, these outstanding companies are defined as “Modern Craftsman Companies.” The aim of this thesis is to find out: (1) How to define “Modern Craftsman Company”? (2) What are the core capabilities of a Modern Craftsman Company? (3) How does a Modern Craftsman Company develop its core capabilities and extend into new ones? What are the paths? How to make the choices? Research was conducted using case studies of five companies in the mobile phone industry. The results show that when Modern Craftsman Companies extend the scope of their businesses, they devote themselves to a certain area of technology and go deep into it. Also, their spirit of actively experimenting along with regular knowledge-creating activities results in their ability of foreseeing great opportunities. Lastly, long and strong relationships with leading suppliers and major clients not only brings stable and sustainable orders, but also help these companies have control over or even co-define the trends of future technology. Thus, Modern Craftsman Companies have an ever-improving core competence position and long-term competence, not just luck or abilities that only work in short-term. This is how Modern Craftsman Companies can keep a higher margin rate and profit rate. The core competence of Modern Craftsman Company is the combination of physical technical systems, the managerial system, employee knowledge and skill, and its values and norms. This combination is deeply influenced by the founders’ and management’s expertise. Because this kind of company tends to cultivate its talents using a mentor system and the employees need to know the process very well, it is very unlikely that it obtains its core competence simply by recruiting its staff. Modern Craftsman Companies tend to extend their core competence to the up-stream part of the industry. The paths include internal development, acquisition & development, connection & development: 1. Internal development is the best choice when the existing resources (human resource, time, capital) are abundant and the new aim is an important competence. 2. Acquisition and joint venture are usually used to gain a new core competence and market quickly. Acquisition is to have the other firm’s core competence fully transferred. If successfully integrated into the acquirer itself, a long-term competence is formed. Joint venture is used only to transfer some part of the other firm’s competence and usually merely brings short-term competence. 3. Connection & development works somewhere between the two above-mentioned principles in perspective of speed and cost. It helps by utilizing external expertise as well as developing internal exclusive knowledge. When the network of connection & development is strong, the involved parties commit more and therefore there is greater chance of forming long-term competence. On the other hand, when the network is weak, commitments on different parties bring only short-term competence.

Ce mémoire propose d’explorer quel(s) statut(s) sont accordés aux compositeurs contemporains dans le contexte musical parisien des premières années du XXe siècle à travers une analyse de la presse musicale spécialisée de l’époque. Le corpus de notre recherche est constitué de trois revues, chacune ancrée dans des sphères de sociabilités bien distinctes : La Revue musicale (histoire et critique), une « revue savante » proche du milieu de la Schola cantorum ; Le Mercure musical, une « petite revue » d’avant-garde militant en faveur de la musique de Maurice Ravel ; et Musica, une « grande revue » destinée à un lectorat issu de la petite bourgeoisie en plein essor, essentiellement féminin et pratiquant la musique en amateur. Cette étude révèle que la traditionnelle opposition entre la conception du compositeur-artisan et celle du compositeur-génie issue de la fin du XVIIIe siècle et du XIXe siècle voit apparaître un troisième joueur à l’aube du XXe siècle : le compositeur-vedette, un statut qui était jusqu’alors généralement réservé aux interprètes. Ces trois statuts coexistent dans le panorama de la presse musicale du tournant du XXe siècle, et leur promotion par certains organes de presse spécifiques répond à une logique tantôt esthétique, tantôt économique. Il se dégage de cette étude que la presse musicale constitue non seulement un indice des variations qu’a subies la figure du compositeur dans le spectre de la grandeur en culture, mais qu’elle a également joué un rôle actif dans ces transformations. / This master thesis proposes a look of various statuses given to contemporary composers in the Parisian musical context at the beginning of the 20th century, through an analysis of the specialised press of that period. The corpus of my research consists in three different journals, each one with its own distinct sphere of sociability: La revue musicale (histoire et critique), a scholarly publication close to the Schola cantorum; Le Mercure musical, an avant-garde publication which has championed Maurice Ravel’s music; and a third, Musica, a magazine with a much larger audience, intended for the growing middle class, and which readership is mostly constituted of women and music learners. This thesis reveals that the traditional opposition between the concepts of craftman-composer and of genius-composer — a concept deriving from the end of the 18th century and the 19th century — sees the rise of a third component at the beginning of the 20th century: the star-composer, a status which was until then only limited to performers. Those three statuses coexisted throughout the musical press during the early 20th century. Their promotion by specific publications was in some cases done for aesthetic reasons and in others for economical motives. The outcome of this study reveals that the musical press is not only an indicator of the changes in the composers’ status within the array of cultural greatness, but it has also played an active role in these transformations.

La presente tesi si propone di comprendere come le organizzazioni chiamate ad agire in mercati complessi siano in grado di produrre, sedimentare, utilizzare, condividere e rendere disponibile la propria conoscenza. La ricerca si focalizza sulle organizzazioni creative legate all'artigianato d’eccellenza in quanto realtà ancora poco esplorate e all'interno delle quali il tema proposto è percepito in misura crescente. Dallo studio emergono due risultati significativi raggiunti grazie all’elaborazione di una review della letteratura e di un’indagine qualitativa condotta sul campo. Il primo risultato è la constatazione di un recente interesse da parte degli studi accademici per il tema della conoscenza e del suo trasferimento con riferimento alle industrie creative dell’artigianato d’eccellenza. Il secondo risultato mette in risalto la relazione tra trasferimento del saper fare e creazione di manufatti d’eccellenza, e riconosce il maestro d’arte come figura cruciale di questo processo di trasferimento della conoscenza (knowledge transfer) in quanto detentore di un sapere che costituisce ed alimenta il valore unico ed esclusivo dei manufatti. Il lavoro proposto riconosce quindi nel sapere dei maestri d’arte una risorsa cardine da valorizzare e trasmettere, in quanto leva di sviluppo di sistemi produttivi basati sulla qualità, sull’eccellenza e sulla differenziazione. / The goal of this study is to understand how organizations operating in a complex market are able to produce, leave sediment, use, share and make available their knowledge. The focus is on arts & crafts creative industries as still insufficiently investigated organizations, although the proposed theme is increasingly perceived. This study presents two significant results achieved thanks to a literature review and a qualitative field research. The first result is the identification of a unprecedented interest of academic studies for the issue of knowledge and its transfer relevant to arts & crafts creative industries. The second result focuses on the relationship between knowledge transfer and creation of artifacts of excellence. In this second part of the study, the craftsman is a critical factor in the process of knowledge transfer as holder of a knowledge which constitutes and nurtures the sole and the exclusive value of the products. In the present dissertation the knowledge of these craftsmen emerges as a key resource that must be valued and transmitted as lever of development of production systems based on quality, excellence and differentiation.

Main task of the diploma project is design of basic conversion strategy and revitalization of former textile factory area PERLA 01 in Ústí nad Orlicí. The architecture study itself deals with utilization of a part of the area with most valuable and characteristic attribute. The study links to previous urbanistic – architectural solution of the area. The area is surrounded by new or preserved objects which line of main roads. New public places are created inside of the area with calm pedestrian zones. Selected area is compose of more objects which creating individual diverse group with own character. The main idea was keeping industrial appearance of the building which reflecting important historical period for town, and harmonic connection with new structures or buildings as well. First part is creating by historical buildings nearby big chimney, with mainly administrative use, which are preserved and reconstructed. Together with reconstructed boiler house and engine house which where transform to social hall, was created small square around chimney with dominated steps which created representative entrance. Next part is creating by partly reconstructed or demolished and rebuilding old producers halls. These halls are used for craftsman´s workrooms or as gallery with shed roofing. In the end there is new building created with commercial charge, respecting surrounded buildings and addicting street line with cover arbour with columns . New structure are characterized by the industrial appearance especially by using final surfaced layer of exposed concrete or metal façade formed from aluminum perforated sheet as contrast to existing historical buildings.

This thesis discusses the specific effects of single sourcing methodologies on the role of the technical communicator, his or her job responsibilities, qualifications, collaboration with coworkers, employee and employer expectations, and the effects on career progression. The methodologies discussed included all types of single sourcing methods for technical documentation (such as XML-based), advanced and non-advanced Content Management Systems (CMS), and Digital Asset Management (DAM) systems. Other topics explored are an overview of single sourcing for technical documentation, a comparison of the "craftsman model" to the current trend of single sourcing and structured content, specific effects on technical communicators such as role changes, the effects of incorporating XML into a technical communicator's daily work environment, and the effects of other emerging technologies such as advanced CMS and DAM systems on technical communicators. General findings include that the practice of single sourcing, whether a positive or negative development, has continued and likely will continue to increase in technical communication groups within organizations. Single sourcing, especially for dynamic, customized content is also increasing because of the current marketplace, but works best via the use of a CMS and other systems used by large organizations. Single sourcing is also best implemented after extensive strategic planning and training of employees. Many technical communicators will have to accept new roles and positions, the direction of which is greatly impacted by the extent of their skills. Recommendations are made for additional research on the effects of single sourcing implementation on the technical communicator, and how to adapt to changes. Additional research is also needed on XML, DITA (Darwinian Information Typing Architecture), and DAM systems, all related specifically to technical communication.

Since then, the modern technology and its achievements has served the nature of trade to begin with, the middle class asks, whose core forms the hand worker movement, as the center of interest for science and politics. A craftsman movement, which is since 1848 rolling along, is today still not ended and the movement still exists and is alive. The hand worker asks, who arose to 1848 to meet, the chronic suffers who became so for decades. The physician, who saw a chronic person, can usually indicate not alone by looking at on welfare. One must look at the developing story for Evil and his life story to know the patient, in order to point to a way to recovery.More over the craftsmen and the craftsmen movement spoken about daily, indicated, in order to find a symptom, which makes itself too faulty in the given instant to be disturbingly most valid, is written to cure and to leave. A detailed connection, an end representation of the craftsmen movement is, however, up to the hour still not finished.In the following still the attempt of such a representation is to be made, for the too the period of 1848/1869.Our sources are particularly purely beside from national commission collections and congresses, are from the Craftsman, who are the other persons, who wanted to take position in the problem of the Craftsman or had daily papers, magazines and books, which are dedicated partly to individual branches of industry, partly the entire Handwork industry of the individual country. In addition to the facts, which follow from flight writings and from one-sided combat literature, come one sided in the pursuit of religion and on politics.An important source in the history of the Handworker Movement must be the legislation. As soon as the craftsmen movement forms, they accepted the seriously public damage the government issuing a new law could bring, an order in such a way could pour Oil onto the waves. The relation between cause and effect between the particulars far the craftsman movement can never clearly completely be, when a factor this important is let out. But not only the finished industrial law, also its developing story and its motives must be regarded, in order that the movement of the German Handwork Movement be completely known.

Le droit de la propriété industrielle peut apparaître comme un droit assez récent dans le pay-sage juridique français, mais ce présupposé n’est qu’un leurre. Sa présence est attestée dès le commencement des pratiques artistiques et artisanales pendant l’Antiquité. La prise de conscience de son existence et de son utilité au sein de la société a toutefois été exacerbée au XVIIIe siècle, notamment lors de la révolution française de 1789, moment de sa construc-tion et de sa reconnaissance juridiques.Le droit de la propriété industrielle, à partir des événements révolutionnaires devient en effet l’enjeu d’une élaboration aussi bien intellectuelle que juridique. De nombreux débats de la part des créateurs et inventeurs font rage auprès des institutions politiques afin que ce droit soit reconnu et normalisé. L’aboutissement de ces combats intellectuels, grâce aux multiples ré-flexions de la doctrine et de la jurisprudence transforme le droit de la propriété industriel en un droit normatif s’inscrivant dans l’ordonnancement juridique.Au-delà de cette organisation législative, le droit de la propriété industrielle est également le sujet de nombreuses interrogations quant aux circonstances politiques et économiques qui ont permis son éclosion. Le droit de la propriété industrielle se module selon l’ensemble des lois, des jurisprudences, de la doctrine, de la politique et de l’économie qui tente de lui donner des structures juridiques stables. Il s’affirme comme un droit protéiforme, dont la portée na-tionale relative aux inventeurs et aux créateurs dans la reconnaissance de leur droit, prend une dimension internationale, aspirant à organiser et harmoniser les relations économiques des Nations. / : The right of the industrial property seems like a recent right in the French legal landscape, but this assumption is wrong. Its presence was confirmed as of the beginning of the artistic and artisanal practices during the Antiquity. The awakening of its existence and its utility wi-thin the company however was intensified at the XVIIIth century, in particular at the time of the French revolution of 1789, during the moment of its legal construction and its recognition.The right of the industrial property, starting from the revolutionary events became the chal-lenge of an intellectual development as well as a legal development. Many debates on behalf of the creators and inventors show rage regarding the political institutions, so that this right is acknowledged and standardized. The result of these intellectual combats, thanks to the mul-tiple reflections of the doctrines and jurisprudence transforms the patent right into a normative right falling under legal scheduling.Next to this legislative organization, the right of the industrial property is also the subject of many interrogations as for the political and economic circumstances, which allowed it's blos-soming. The right of the industrial property modulated according to the whole set of laws; ju-risprudences; the doctrines; politics and economics, tries to give him stable legal structures. He affirms himself as a protean right, whose national range relating to the inventors and the creators in the recognition of their right, takes an international dimension, trying to organize and harmonize the economic relations of the Nations.

This thesis uses the lens of building technology to examine cultural exchange and its relationship to the building crafts. By focusing on masonry vaulting in India, my research brings together two worlds – one that shines light on the variety of innovative masonry shell construction techniques that exist in the county and another that seeks to evaluate the scope of tile vaulting, an over 600-year old Mediterranean building technique, within India’s evolving building crafts culture. This thesis is organized in three parts: PART ONE Tile Vaulting and Relevance Today | A Brief History of Masonry Shells in India Part one introduces tile vaulting’s unique principles compared to other vaulting traditions while contextualizing its relevance to present day India. A survey of varied masonry vaulting techniques and modules, endemic and imported, practiced across India is presented against the backdrop of what is a predominantly reinforced concrete-based construction industry. PART TWO Modules, Methods and Motivations The second part of this research comprises case studies that include some of India’s most iconic buildings such as the Villa Sarabhai by Le Corbusier, the National Institute of Design by Gautam Sarabhai and Sangath by B.V. Doshi, each of which employed innovative construction techniques for its vaults. The production and use of the enigmatic ceramic fuses in India is examined for the first time alongside their indigenous cousins: burnt clay tubes. Together with Muzaffarnagar vaulting, the case studies reveal cultural motivations for architectural expression and production in postcolonial India. PART THREE Prototypes | Comparatives | Limitations & Extension of Research Part three presents five tile vaulting prototypes in India constructed with local artisans to gain understanding of its cultural reception, assess effective transfer of skills and potential internalisation. Recommendations for tile vaulting’s potential uptake into mainstream architectural production is evaluated by comparing findings against prevalent building methods and by contextualizing current architectural trends and social policy. Limitations and scope for extension of research are also discussed.