The subject undertaken in my dissertation work is the gallery painting collection from the aristocratic family 'Kolowrat', which is located within the family's palace in Rychnov nad Kněžnou. The Kolowrats established their gallery in the 16th century, the foundation of which was made to contain family member portraits. During this time portrait paintings comprised the main element and went on to create the portrait collection. The collection contains the oldest Bohemian aristocratic portraits from the Renaissance with portraits influenced by artists from the court of Emperor Rudolf II. It includes portraits from important artists as Karel Škréta, David Schultz or Philip Ch. Bentum and more. The portraits of family members document the history of the Kolowrat clan through the ages. At first this dissertation describes the history of the gallery and goes on to present select portraits from the beginning of the gallery until the 18th century. Keywords Aristocracy, the Rychnov nad Kněžnou palace, the Kolowrat family gallery, portrait collection, aristocracy portrait.

Los objetos artísticos expuestos en museos y galerías de arte son manifestaciones de la actividad humana. La información sobre estos elementos es amplia y se utilizan resúmenes explicativos, folletos y audio guías para ayudar a los asistentes a entender la historia de un determinado objeto en una colección. Sin embargo, estas herramientas son catalogadas como obsoletas por ser poco atractivas y no llegan a cumplir el objetivo de informar al público. Uno de los mayores retos de los mencionados establecimientos es mantener una asistencia relevante, y esto se logra brindando una experiencia distinta a la convencional. Diferentes soluciones tecnológicas ya están siendo utilizadas en establecimientos culturales para atraer, informar y entretener de maneras no tradicionales e innovadoras. En el caso de la realidad aumentada, existen muchas razones para implementar dicha tecnología en un museo o galería de arte. Puede utilizarse para mostrar información de lo que un visitante observa en un museo mediante paneles digitales. También, la realidad aumentada permite hacer que objetos inertes cobren vida con animaciones, lo cual podría ser provechoso en galerías de arte con colecciones que requieran mayor interpretación. Asimismo, podríamos observar cómo modelos tridimensionales se muestran en un dispositivo con el fin de guiar al asistente mediante una narración. Estas ideas darían un valor agregado a las colecciones mostradas y atraerían un mayor público objetivo. El uso de este tipo de soluciones ayudaría a los establecimientos a adaptarse, evolucionar y conectarse con sus principales clientes, logrando generar experiencias únicas y memorables. / The artistic elements exhibited in museums and art galleries are manifestations of human activity. The information on these elements is extensive and explanatory summaries, brochures, and audio guides are used to help attendees understand the history of a particular object in a collection. However, these tools are classified as obsolete for being unattractive and they do not meet the objective of informing the public. One of the greatest challenges of the establishments is maintaining relevant assistance, and this is achieved by providing a different experience than the conventional one. Different technological solutions are already being used in cultural establishments to attract, inform and entertain in non-traditional and innovative ways. In the case of augmented reality, there are many reasons to implement such technology in a museum or art gallery. It can be used to display information of what a visitor observes in a museum through digital panels. Also, augmented reality allows inert objects to come to life with animations, which could be useful in art galleries with collections that require more interpretation. Likewise, we could observe how three-dimensional models are displayed on a device to guide the assistant through a narration. These ideas would add value to the collections displayed and would attract a larger target audience. The use of this type of solutions would help establishments adapt, evolve and connect with their main customers, generating unique and memorable experiences. / Tesis

Die vorliegende Arbeit widmet sich der Darstellung des Kunstmarktgeschehens und der Entscheidungsfindung von Galeristen. Ziel ist es aufzuzeigen, welche Auswirkungen Erfahrung und Expertise sowie ein begrenzter Informationszugang auf die angewandte Entscheidungslogik und das Entscheidungsverhalten von Galeristen haben. Sie behandelt die Thematik der kausalen und effektualen Entscheidungslogik und der unterschiedlichen Entscheidungsansätze von Novizen und Experten. Gemäß Sarasvathy (2001) tendieren Novizen zu kausaler und Experten zur effektualer Logik. Sie unterscheiden sich durch ihren Grad an Expertise, welche auf Deliberate Practice, Erfahrung und kontinuierlich erbrachter überragender Leistungserbringung basiert (Ericsson 2006; Mitchell et al. 2005:3, Dew et al. 2009: 289). Gegenstand der Untersuchung war die Beantwortung der Fragen, ob sich die Berufserfahrung, das Geschlecht und der akademische Werdegang des Galeristen auf die angewandte Entscheidungslogik auswirken. Die Ergebnisse belegen, dass die Berufserfahrung einen signifikanten Einfluss auf die angewandte Entscheidungslogik der Galeristen hat: Novizen-Galeristen präferieren die kausale Entscheidungslogik, Experten-Galeristen die effektuale. In Bezug auf das Geschlecht ist nachweisbar, dass Galeristinnen am häufigsten die kausale Entscheidungslogik anwenden. Dasselbe Bild stellt sich bei Galeristen – ungeachtet ihres Geschlechts – ohne akademische Ausbildung ein. Die Arbeit setzt zudem ihren Fokus auf die experimentelle Untersuchung des Preisbildungsverfahrens durch Galeristen, wobei insbesondere der etwaige Einfluss der Overconfidence im Mittelpunkt steht. Die Studienergebnisse lassen darauf schließen, dass ein signifikantes Maß an Overconfidence dazu führt, dass die Preise für Kunstwerke niedriger gesetzt werden. Zudem konnte ein Wissenseffekt festgestellt werden: Je versierter ein Galerist im Kunstmarkt ist, desto höher setzt er den Preis für ein als „ausstellungswürdig" deklariertes Kunstwerk. / The objective of this dissertation is to shed more light on the primary art market and the decision-making processes of its protagonists, the gallery owners. The doctoral thesis focuses on the potential impact of experience and expertise on the gallerists‘ applied decision-making logic and the consequences of limited access to information for the gallery owners‘ decision-making behaviour. In particular, the distinction between novices and experts and their decision-making is addressed. According to Sarasvathy (2001), novices tend to use a predictive decision-making logic (causation), whereas experts apply a non-predictive logic (effectuation). They differ in their level of expertise, which is based on deliberate practice, experience and continuous outstanding and superior performance in a particular domain (Ericsson 2006; Mitchell et al. 2005:3, Dew et al. 2009: 289). The studies conducted examined whether the professional experience, gender and academic career of the gallery owner affects the applied decision-making logic. The results show that professional experience has a significant influence on the applied decision-making logic of the gallery owner: novice-gallerists prefer the causal approach, expert gallery owners favour the effectual decision-making logic. With regard to gender and the academic career, it can be proven that female gallery owners and gallerists without academic training most often apply the causal decision-making logic. This dissertation also focuses on the experimental analysis of the influence and impact of overconfidence on the price setting processes of gallery owners. The results indicate that a significant level of overconfidence leads to lower prices for works of art. In addition, a knowledge effect could be observed: the more sophisticated the gallery owners are, the higher will be the price they set for an art work they consider to be suitable for an exhibition.

The main purpose of the diploma project is to redesign an object of the Brno Grand Prix areal. The design case study is a second step after an urban project analyses created in the pre - diploma project phase. The main aim of the diploma design studio is to produce a new impulse in the whole nearby area of the Brno Grand Prix by finding a new purpose for the city's iconic areal and creating a decent and representative place for exhibition of the extensive history of Czechoslovak Motor sport.

It is necessary to ask the question of the relationship and the corresponding forms of buildings of the faculty of architecture and faculty of fine arts with the public. Due to the efforts of the faculties to open up to the public, I find it undesirable to place new objects in the courtyard and hide behind the walls of historic buildings. Much more meaningful is the use of existing buildings at the boundary of the plot. It is important to protect our history, but the protection of existing buildings should not get to the point where it will defend the presence, be on the same level, and thus ensure its quality and together to shape the future. The newly allocated creative use of the original barracks has greater demands on space, whether capacity or its generosity. Therefore, it is necessary to customize the objects for the current function. The superstructure will help keep faculties in one building. An advantage is also the connection to existing networks or vertical communications. The proposed minimalist intervention is in contrast to the historic building, making it stand out, while the verticalism of the superstructure raises the object of the original barracks to the desired institution of the Faculty of Architecture and the Faculty of Fine Arts.

The project solves transformation of the old buildings on Údolní street into the new campus for The Faculty of fine arts and the Faculty of architecture.

The Renewal Project of the Mikulov Town Center focuses primarily on its cultural heritage, consisting of reconstruction of the original Národný dom on the main square and new buildings of the Cultural House supplemented by the Art Multifunctional Gallery at the Kapucínská Street. The social cultural complex of buildings is a solution to the problems of cultural and physical connection between the city center and its immediate surroundings. After the reconstruction, the Národný dom has a supranational position in the form of conference rooms, a tourist-information center and an educational center. The present building is complemented by a new building of the Cultural House, which houses a multifunctional social hall suitable for theater performance, lectures or dance entertainment. Another kind of art experience offers Galleries on the Walls, which open their premises directly on the street and also shelter smaller outdoor cultural events in the city. The main idea of the project is to connect the square with the alley and then the city park. The building is a passage that directly connects to the original Národný dom and opens the possibility of moving from the main square to Kapucínska street. The exposed renovated bastion then interconnects the level of the park with the street level and is complemented by a view overlooking the St. Kopeček.

The aim of this work is to create arts campus for the Faculty of fine arts and Faculty of Architecture from the complex of buildings of BUT at Údolní street. Current buildings (formerly army barracks houses) don't have sufficient capacity and are not suitable for the arts departments. Inner part of the campus is nowadays without urbanistic concept and is formed of many buildings of differnt purposes. This work deals with the urbanistic solution of the campus, new use of the current buildings and creation of the new buildings, needed for teaching and exhibitions. I am adding annexes to the historical buildings that will be used by artists. There is main entrance and common gallery in the center of those buildings on the busy crossroad. In the inner part of the campus, between buildings of Faculty of Fine Arts and Faculty of Architecture, there will be the gipsoteca and drawing rooms that will be used by both faculties.

The aim of the project is to design a public building in the place, where phenomena of Pálava mountains, reflecting water surface and wine tradition meet. It is right in the area of Strachotín village. Project is trying to harness the power of these qualities to create a special attractive house. But also, the house is showing the viewer new perspective on these entities, which would not be seen without it. The location and concept of this wine house is strengthening the link between village and Pálava reflected in water. Therefore, the main part of interior is oriented exactly on the axis between these two poles. Secondarily, house contains the small museum of local history. In terms of technical aspects, we are dealing with the floating house, which is not affecting the building of dyke in no way.

Strachotín is a village on the edge, not just from geological point of view, but in the sense it´s next development too. Currently it´s main problem is, that it does not offer anything specific to become interesting for turists. There are not the best wine, architecture, accomodation, catering or public services. What it does have is undoubtedly the best view of Palava massif. It is not used at all and that was the main reason that led me to think of building at the pier so this attribute could be finally used for further development of this village. For this purpose i chose the object gallery of wine which is missing here and is also welcomed by it´s citizens.