Diploma thesis analyzes and evaluates the status and change of the functional use of the historic centre of Trutnov in the transformation period 1992-2015. The thesis is focused both on the development of structures and the importance of retail and services of the center, so on the processes that determinate this development. The theoretical part of the thesis is devoted to the issue of the general processes that took place in the socialist city, their impact in the present, and also the processes associated with the postsocialist city or the transformation period. Apart from this issue, it is focused on retail trade and its development in the transformation period in the Czech Republic and the role of public space in the centre. The theoretical framework contents characteristics, the historical development and specifics of the centre of Trutnov and the town as a whole. The empirical part deals with the development of features in the center of Trutnov. The bottom line of the empirical part is an evaluation of the data from the database of the establishments since 1992 by 2015. The empirical part contents data about the number, spatial distribution and specialization of premises for each house within a defined territory. Processes that operate on functions in the center of the town are discussed in...

Ankara has experienced a radical transformation after 1950s, in which the identity of the highly planned capital has been erased, emphasizing homogenization, blankness and similarity. The Apartment Block was the object of this condition and the subject of the transformation in the urban identity, both with its physical existence and with the mind-set it has radiated to the whole levels of the society. It has stripped out the identity of the city with its &quot / endless reproduction.&quot / This transformation has led the Apartment Block to be accused of transforming Turkish cities to deformed agglomerations, deprived of aesthetics. In this sense, architectural discipline has been criticized for its impotence to respond the economical, social and cultural conditions that traverse the urban setting. This criticism has questioned the generative role of architecture in the Early Republican period as a social engineering and discouraged any relation between architecture and the city, which has manifested the reduction of the architecture to a formal discipline. Ankara, with its dazzling transformation within few decades proposed its own urbanism and its own architecture, with the mutation of the Apartment Block first to a resilient frame than to a multi-programmed infrastructure. This study will consider this transformation as &amp / #8216 / another&amp / #8217 / manifestation of a new kind of urbanism that was mainly declared by Rem Koolhaas and OMA, claming that the resilient and neutral objects are the dominant and extensive forms of the contemporary urbanism. Hence, the study presents a cross reading of the urban development of Ankara together with Rem Koolhaas&amp / #8217 / book Delirious New York and his essay The Generic City in SMLXL. The utmost goal is to explore a possible &quot / reciprocal relation&quot / between architecture and the city and to explore the limits of architectural intervention in the particular case of Ankara. Such an objective inevitably requires extending the limits of architectural thinking to the city scale. Thus, Ankara goes beyond a case study in an inquiry that aims to undertand the mechanisms of the building production in the contemporary urbanism.

Lançado em 1916, A casa de penhores é uma síntese dos curtas-metragens de Chaplin e funciona como um laboratório cômico, no qual o artista e sua equipe desenvolvem experimentos subversivos, desafiando valores burgueses. O primeiro capítulo desta dissertação apresenta uma análise de A casa de penhores, seu contexto e suas afinidades eletivas com o surrealismo francês, a biomecânica desenvolvida por Meyerhold e o teatro épico de Brecht, mostrando o potencial revolucionário do cinema num tempo de crescentes conflitos entre capital e trabalho. Essa análise detalhada fornece outra perspectiva para Tempos Modernos (que discutimos no capítulo dois), diferente de uma teleológica. Lançado vinte anos depois, em 1936, Tempos Modernos é o último filme silencioso de Chaplin. Nessa obra, Chaplin reflete sobre o fordismo, a mecanização do homem, os problemas sociais da Grande Depressão e as contradições do capitalismo. E, através da autorreferencialidade, o filme tenta sabotar o sistema, refuncionalizando-o num sentido progressista. / Released in 1916, The Pawnshop is a synthesis of Chaplins short-films and functions as a comic laboratory, in which the artist and his crew develop subversive experiments, that defy bourgeois values. The first chapter of this dissertation presents an analysis of The Pawnshop, its context and its elective affinities to French surrealism, as well as the biomechanics developed by Meyerhold and Brechts epic theater in order to show the revolutionary potential of cinema in a time of increasing clashes between capital and labor. This detailed analysis provides another perspective to Modern Times (which we discuss in the chapter two), different than a teleological one. Released twenty years later, in 1936, Modern Times is Chaplins last silent film. In this work, Chaplin reflects on fordism, the mechanization of man, the social problems of the Great Depression and the contradictions of capitalism. And through self referentiality, the film tries to sabotage the system, refunctioning it in a progressive way.

Lançado em 1916, A casa de penhores é uma síntese dos curtas-metragens de Chaplin e funciona como um laboratório cômico, no qual o artista e sua equipe desenvolvem experimentos subversivos, desafiando valores burgueses. O primeiro capítulo desta dissertação apresenta uma análise de A casa de penhores, seu contexto e suas afinidades eletivas com o surrealismo francês, a biomecânica desenvolvida por Meyerhold e o teatro épico de Brecht, mostrando o potencial revolucionário do cinema num tempo de crescentes conflitos entre capital e trabalho. Essa análise detalhada fornece outra perspectiva para Tempos Modernos (que discutimos no capítulo dois), diferente de uma teleológica. Lançado vinte anos depois, em 1936, Tempos Modernos é o último filme silencioso de Chaplin. Nessa obra, Chaplin reflete sobre o fordismo, a mecanização do homem, os problemas sociais da Grande Depressão e as contradições do capitalismo. E, através da autorreferencialidade, o filme tenta sabotar o sistema, refuncionalizando-o num sentido progressista. / Released in 1916, The Pawnshop is a synthesis of Chaplins short-films and functions as a comic laboratory, in which the artist and his crew develop subversive experiments, that defy bourgeois values. The first chapter of this dissertation presents an analysis of The Pawnshop, its context and its elective affinities to French surrealism, as well as the biomechanics developed by Meyerhold and Brechts epic theater in order to show the revolutionary potential of cinema in a time of increasing clashes between capital and labor. This detailed analysis provides another perspective to Modern Times (which we discuss in the chapter two), different than a teleological one. Released twenty years later, in 1936, Modern Times is Chaplins last silent film. In this work, Chaplin reflects on fordism, the mechanization of man, the social problems of the Great Depression and the contradictions of capitalism. And through self referentiality, the film tries to sabotage the system, refunctioning it in a progressive way.