The main goal of this project is to find new use of former monastic grange for archaeological base and exhibition combined with multipurpose building containing gallery space, workshop room, accommodation and restaurant. The courtyard should become new public space (during opening hours). Znojmo-Hradiště (also known as Hradiště sv. Hypolita) is an important archaeological site with numerous finds from the period of the Great Moravia. The monastery and the grange are situated in the centre of former fortress. The complex of the monastery and all its buildings with few exceptions are cultural monument.

Public urban space Přednádraží Brno is a busy thoroughfare near the center. This space has its own specifics and its own life. It's one big open-air theater with hidden potential and individual impact. The concept of solution thus lies in maintaining his main traffic routes in terms of visual enhancements and functional effect on visitors.

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Catherine the Great, The Empress of Russia, considered herself to be an enlightened ruler. Like many enlightened minds of the eighteenth century, she was fascinated with classical antiquity, especially with ancient Rome. In 1779, she invited a Scottish architect named Charles Cameron to complete a series of building projects for her that would create a "second Rome" in Tsarskoye Selo and in Pavlovsk, Russia. Cameron, an expert on classical antiquity because of his studies of the Roman ruins and the publication of his book, The Baths of the Romans, had a special interest in and a dedication to classical antiquity, desiring to make Catherine's Rome as "authentic" as possible. Cameron's expertise was not the only reason why Catherine hired him and made him her imperial architect; Catherine was also fascinated with his background as a Scottish aristocrat and the leader of the Lochiel clan in exile. However, Cameron falsified his identity as a Highlander to make himself more attractive to Catherine; in addition, his own skill in creating an entirely new identity made him more qualified to produce a simulation of Rome that would seem real. Catherine's fascination with Cameron could also be explained by the fact that both Catherine and Cameron were foreigners trying to validate their presence in Russia through their identities. But regardless of Cameron's true identity, his wonderful buildings are great contributions to the eighteenth century neoclassicism.

The snow galleries along the Iron ore railway line in northern Sweden have had major problems in recent years due to increasingly large snow loads. Despite great efforts reducing the loads by shoveling off the snow, several of the galleries have been damaged. Due to these incidents, the Swedish Transport Administration (TRA) has asked Luleå University of Technology (LTU) to make an evaluation of galleries 4, 9 and 13A in the neighborhood of Vassijauri. TRA has asked for a way to monitor the load on these galleries with a trigger system that gives a warning message when the galleries are exposed to a critical load. Measurement systems have been installed in galleries 9 and 13A during the autumn of 2021 such that the snow load in one mainframe per gallery could be monitored. In this thesis, work has been performed by assessing how much snow load each gallery can handle before it collapses. The restrictions for the project are set based on the drawings that is available from the TRA's information database, BaTMan. A literature study is performed on snow load, how it was changing over the years, both back and forth, how snow load is calculated according to today’s regulations and how the density of the snow affects the intensity of the snow load. The distribution of the snow on the galleries has been performed based on the Eurocodes and National Standards. Models of the galleries in two- dimensional have been created for all frames in all the galleries to find the weakest frame in order to compute the critical load. Some of the frames are not stable when they are analyzed as individual members, therefore the decision was made to also construct 3D models to see how the cobweb effect influenced the galleries' capacity. Before the main frames have reached their full capacity, the secondary construction elements (roof beams) have been damaged and therefore has no major collapse taken place. From the 3D model, it is clear that the secondary construction that lacks capacity. The critical frames are completely different in the 3D model as compared to the 2D model as the stability of the entire gallery changes due to the cobweb effect (the load re-distribution between the neighboring elements, due to both the 3D interaction and the cable link effect) and, as a result, the capacity of the main frames is increased significantly. The study visits to gallery 9 and 13A have been made to gain an understanding on how snow accumulates on and around the galleries and how well the Eurocodes correspond to reality. The pattern shows that the snow drifts from the mountains towards the valley over the galleries, which forms accumulations against the walls. The snow accumulates to a large extent where the galleries geometry changes from high to low angled walls. At locations where the gallery has a wide roof between the grounds, the snow accumulates to a much greater degree compared to the locations with narrow roofs on high-angle walls, see, Figure 73. To be able to improve the model and to obtain more accurate critical loads, it is necessary to review the structures to obtain more precise dimensions, attachments, geometry and exact distances. In the current state, the design plans and descriptions of the galleries are incomplete as modifications and repairs have been made without proper documentation. Hence difficulty arises in the accurate evaluation of their exact capacity. / Snögallerierna längs malmbanan har haft stora problem de senaste åren på grund av stora snölaster. Flera snögallerier har skadats och behövt repareras trots stora insatser av skottning, i samband med snöfall. Trafikverket har efter dessa händelser bett LTU att göra en grundlig utvärdering av gallerierna 4, 9 och 13A. De har efterfrågat ett sätt att följa belastningen av dessa gallerier med ett triggersystem som gör att Trafikverket får ett varningsmeddelande innan gallerierna utsätts för större laster än vad de klarar. Mätsystem har monterats i galleri 9 och 13A under hösten 2021 för att kunna följa snöbelastningen på en huvudram per galleri. I detta examensarbete har ett arbete med att göra en utvärdering av hur mycket snölast varje galleri klarar innan det går sönder. Begränsningarna för projektet är satta utifrån hur mycket information som fanns tillgänglig i Trafikverkets informationsbas BaTMan. En litteraturstudie är gjord på snölast, dess förändring i tid både bakåt och framåt, hur snölasten beräknas enligt regler idag och hur densiteten av snön påverkar för snölastens intensitet. Antaganden om hur mycket snölast varje del av galleriet upptog och dess fördelning gjordes utifrån eurokoder och de nationella standarderna. Modeller av gallerierna i 2D har gjorts för alla ramar i alla gallerierna för att hitta den svagaste ramen och utifrån den ta fram den kritiska lasten. När insikten om att några av ramarna inte är stabila vid enskild analys och att kapaciteten av dessa är extremt låg bestämdes det att modeller i 3D skulle göras för att se om spindelnätseffekten påverkade galleriernas kapacitet. De sekundära konstruktionerna har gett vika innan huvudramarna nått upp till sin fulla kapacitet och därför har hittills har ingen större kollaps skett. I 3D modellen syns det tydligt att det är främst den sekundära konstruktionen som saknar kapacitet. Den kritiska ramen blir en helt annan i 3D modellen än för 2D modellen då stabiliteten för hela galleriet förändras på grund av spindelnätseffekten. Det är tydligt att kapaciteten på ramarna för alla gallerierna ökar på grund av spindelnätseffekten. Studiebesök vid galleri 9 och 13A har genomförts för att få en förståelse för hur snön ackumuleras på och kring gallerierna och hur väl eurokoderna stämmer överens med verkligheten. Det visade sig att snön driver från bergen ner mot dalen över gallerierna vilket bildar driver upp mot väggarna. Snön ansamlas till stor grad där gallerierna ändrar geometriskt form från hög till låg vinkel på väggar. Där galleriet har ett brett tak samlas snön i mycket högre grad än vid smala tak på väggar med hög vinkel, se Figure 73. För att i framtiden kunna göra en bra modell och få fram mer exakta kritiska laster krävs det en noggrann genomgång av alla konstruktioner för att få fram dimensioner, infästningar och exakta avstånd. Den dokumentation som finns på gallerierna idag är ofullständiga, på grund av att reparationer och modifikationer ej har dokumenterats. Detta gör det svårt att göra en noggrann och tillförlitlig utvärdering.

In order to trace the shifting cultural value(s) of photographic documentation, in this paper we present selected outcomes of a series of workshops hosted by The Photographers’ Gallery, London (TPG),which developed around the question: How can institutions engage with this expanded field of visual documentation, and what are the implications for art history and cultural memory? In the paper we consider the ways in which documentation is diffused, operationalized and valorized by different agents in contemporary visual culture.

Micro-technology relies on a highly parallel fabrication of 2D electronic and/or microelectromechanical devices, where in most cases silicon wafers are used as substrates. In contrast 3D fabrication shows unique advantages, such as footprint reduction or the possibility to obtain additional functionalities. For example, in the case of a sensor, knowledge of the acceleration in all possible directions, the surrounding electric or magnetic field among other quantities can help to determine the exact position of an object in 3D space. To do that it is crucial to retrieve all components of a vector field, which requires at least one out of plane component. In other fields like integrated optics three dimensional structures can enhance the coupling efficiency with free space interactions. As such 3D micro-structures will be crucial for upcoming products and devices. A highly parallel fabrication is required to enable mass-adaption, self-assembly is an emerging technology that could deliver this purpose. Examples of 3D structures created by self-assembly include polyhedrons like cubes, pyramids or micro tubular structures such as tubes or spirals. Following a self assembly scheme, 3D devices would be created through the fabrication of standard 2D structures that are reshaped through a self-assembly step into a 3D object. In this thesis a novel dry release protocol was developed to roll-up strained nanomembranes from a silicon sacrificial layer employing dry fluorine chemistry. This way a wet release is totally circumvented thus preventing damage of the created structures due to turbulent flow or capillary forces. Additionally the developed process enabled the use of standard CMOS deposition and processing tools, leading to a high increase in yield and quality, with yields exceeding 99% for microtubes. Building on the developed technology various devices where fabricated, for example rolled-up micro capacitors at a wafer scale with an increased yield and a low spread of electrical characteristics. For the E12 industrial standard more than 90% of devices behaved within the required performance characteristics. Furthermore the yield and Q-factor of roll-up whispering gallery mode resonators was strongly improved, making it possible to self assemble 3D coupled photonic molecules, which showed a mode splitting exceeding the FSR, as well as hybrid supermodes at points of energy degeneracy.:Contents Bibliographic Record i List of Abbreviations vii List of Chemical Substances ix 1 Introduction 1 1.1 Microelectromechanical Systems 1 1.2 Strain Engineering 2 1.3 Rolled - Up Nanotechnology 3 1.4 Objective and Structure of the Thesis 5 2 Materials and Methods 9 2.1 Fabrication Techniques 9 2.1.1 Substrates 9 2.1.2 Plasma Enhanced Chemical Vapor Deposition 9 2.1.3 Dry Etching12 2.1.4 Deep Reactive Ion Etching 18 2.1.5 Atomic Layer Deposition 19 2.1.6 Lithography 20 2.2 Characterization Techniques 22 2.2.1 Strain Measurement 22 2.2.2 Ellipsometry 23 3 Dry Roll-Up of Strained Nanomembranes 25 3.1 Rolled - Up Nanotechnology 25 3.2 Fabrication 26 3.2.1 Release 29 3.3 Conclusions 33 4 Rolled-UpMicro Capacitors 35 4.1 Micro Capacitors 35 4.2 Fabrication 38 4.3 Characterization 39 4.4 Conclusion 41 5 Optical Micro-Cavities 43 5.1 Optical Micro Cavities 43 5.2 Theorectical Background 45 5.2.1 Quality - factor 49 5.2.2 FDTD 52 6 Optical Microtube Resonators 55 6.1 Optical Whispering Gallery Mode Microtube Resonators 55 6.2 Fabrication 57 6.3 Active Characterization 60 6.4 Conclusions 64 7 Photonic Molecules 65 7.1 Coupled Photonic Systems 65 7.2 Fabrication 68 7.3 Device Characterization 71 7.4 Multimode Waveguides 84 7.5 Conclusions 85 8 Conclusions and Outlook 87 8.1 Conclusions 87 8.2 Outlook 88 Bibliography 91 List of Figures 109 List of Tables 117 A Equipment 119 Cover Pages 121 Selbstständigkeitserklärung 123 Acknowledgements 125 List of Publications 127 List of Presentations 129 Curriculum Vitae 131

English abstract: In this my master thesis I attempt to depicture comprehensively the life-work of Viktor Barvitius (1834 - 1902), one of the Czech Pioneers of Modern Realism. Tracing the fates and influences that had formed the oeuvre of this fancier of urban turmoil helps us to figure out his positron within the kontext of period art. Barvitiuses creation embraces all main domains of painting of the time: portrayals, historical painting, genre; it has reached its peak during his stay in France between 1865 and 1867. For his immediate reaction to the French Modern Realism and together with Karel Purkyně and Soběslav Pinkas, Barvitius represents one of the prophets of the Czech Programme Realism. In 1877, Barvitius got a commission as an inspector of the SVPU Art Gallery; Czech museum culture is a great deal due to his activity on the field. Barvitiuses whole life artistic work, both theoric and practical, make him an important figure of Czech cultural history. Hooked illustration and period and later reviews make an integral part of my thesis. It also includes the list of Barvitiuses art pieces owned by Czech museums and galleries, Czech National Gallery in Prague, the art pieces that were the subjects of auction-sale and the inventory of his art work.

Exhibition room: How the experience of art is affected by the exhibition room design at Liljevalchs art gallery and Fotografiska. This thesis explores the effect the exhibition design presented in two of Stockholm ́s art galleries has on the viewer. This study investigates Liljevalchs exhibition Vårsalongen and Fotografiskas exhibition The Extraordinary World of Christian Tagliavani. It conducts how the rooms in these two exhibitions relate to each other, and also compare the design of each exhibition room, one by one. This report is based on space syntax theory combined with observations and interviews with both the curators of these two exhibitions and people who has visited both of the exhibition rooms. This analysis show how the exhibition rooms in Liljevalchs and Fotografiska relate to each other. It also shows that the design in the exhibition room, such as the colour on the walls, lights, noises, how the art pieces are hanging as well as the spatial of the room has a big effect on the viewers experience. This thesis describes how these elements above affect the viewer in these two art galleries.

<p>The focus of this essay is to investigate if there lies a difference between graffiti art that is placed in the public spaces and graffiti art that is sited in an institutional art setting; in this essay exemplified in a gallery space. My thesis is that graffiti art derives a great deal of its meaning and substance from its situation consequently making a change of cultural context also a change of connotation and understanding of the graffiti art itself.  Meaning that graffiti art situated in a communal space is different from graffiti art situated in the gallery space. They share aesthetic expression but their connotations differ; i.e. one being illegal and the other permissible making their meanings dissimilar. I have used a comparison between site-specific art and graffiti art to further strengthen my thesis concerning the importance of understanding how a change of context critically changes the substance of graffiti art.</p>