Sedan en lång tid tillbaka har människor nyttjat minnespalats för att komma ihåg information med hjälp av spatial struktur och associationer med miljöns framträdande karaktärsdrag. Denna studie undersöker om en narrativ komponent inom dessa minnespalats kan vara förmånlig för informationsinkodning och återkallelse. Resultaten visar, med statistisk signifikans, att en narrativ komponent leder till en ökad minneskapacitet vilket indikerar intressanta utvecklingsmöjligheter för framtidens virtuella minnespalats.

An markanten historischen Einschnitten wiederholen sich diskursive Modellierungen und experimentelle Entwürfe zu Aufführungs-Architekturen, die einer Diversität von Spielweisen und Präsentationsformaten zwischen Kunst, Wissen und Entertainment Rechnung tragen wollen. Sie verbinden Zeigen, Handeln und Schauen diverser Akteure mit Entwürfen zu variablen Räumen und temporär genutzten Orten, die sich den Bedürfnissen der Nutzer*innen anpassen, von ihnen angeeignet werden können. Die historischen Markierungen reihen sich nicht zu einer chronologischen Kette, sondern mäandern in wiederkehrenden Referenzen auf- und zueinander, geprägt von je zeitgenössischen Diskursen zum Stadtraum, zu Auffassungen von Spiel und Wissensgenerierung, zur Vielfalt künstlerischer Aufführungsformate, zum baulich Improvisierten und Zwischengenutzten.

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.

[pt] Dentro da trajetória profissional de Ângelo Murgel foi selecionado recorte temporal caracterizado por sua afinidade com o Art Déco, aproximadamente entre os anos de 1932 e 1939. Foram selecionados para estudo três obras projetadas pelo arquiteto no referido período e modelo arquitetônico: Cine Theatro Brasil, Hospital São Lucas e Brasil Palace Hotel. Do exame do contexto cultural vivenciado por Murgel até sua formação, do estudo da conjuntura de anseio por modernidade existente em Belo Horizonte especialmente durante a década de 1930 e da análise dos três projetos selecionados, pretende-se relacionar nosso objeto de pesquisa, Ângelo Murgel, ao modelo de arquitetura Art Déco muito difundido na capital mineira entre as décadas de 1930 e 1940. Sendo projetos de um mesmo arquiteto, que se consolidou como o primeiro profissional a desenvolver um projeto no estilo em Belo horizonte, o estudo é feito de maneira a compreender a formação tanto de sua pratica projetual, contemplando a apropriação das formas tradicionais e modernas, como também do seu discurso, discutindo o aproveitamento das novas técnicas e tecnologias construtivas nas construções. / [en] Within the professional career of Angelo Murgel was selected time frame characterized by its affinity for Art Deco, approximately between the years 1932 and 1939 were selected to study three works designed by the architect in the period and architectural model: Cine Theatro Brazil, Hospital Luke and Brazil Palace Hotel. Examining the cultural context experienced by Murgel to their training, the study of existing modernity by longing situation in Belo Horizonte especially during the 1930s and the analysis of the three selected projects, would seek to link our research object, Angelo Murgel, the architecture model Art Deco widespread in Belo Horizonte between the 1930s and 1940. as projects of the same architect who has become the first professional to develop a project in style in Belo Horizonte, the study is done in order to understand the formation of both its practice architectural design, considering the appropriation of traditional and modern forms, but also of his speech, discussing the use of new techniques and construction technologies in construction.

Tänk, en plats, ett palats för kunskap. En byggnad gjord för lärande, förståelse och insikt: Kunskapspalatset! Kunskapspalatset är först och främst ett vuxengymnasium där man läser in kurser från grundskolan eller gymnasiet. Parallellt är det en byggnad för konferenser, mässor, möten, föreläsningar och annan kunskapsspridning. Jag tog utgångspunkt i Rafaels Skolan i Aten som inspiration, där kunskapen finns som i luften. Kunskapspalatset är ett försök på att i nutiden skapa en realitet av den bilden. Byggnaden ger plats åt och släpper in parken utanför, och är inspirerad av en kombination av antik arkitektur och postmodernism. För att anknyta till det antika har jag också haft i åtanke Vitruvius grundelement för arkitektur: firmitas (kvalitet/hållbarhet), utilitas (användbarhet/funktion) och venustas (det vackra/skönhet), som tillsammans skapar en välfungerande helhet. Av olika arkitektoniska stilar är det den antika, med de klassiska kolonnerna, som kanske mest associeras med värdighet och stolthet, något som vuxenutbildning förtjänar mer av. Genom att leka med arkitektoniska traditioner med ett eftertänksamt förhållande till platsen skapas en byggnad som både sticker fram näsan och ger utrymme, och kombinationen av det antika och klassiska med det postmoderna och nyskapande blir en självklarhet. Folkflödet längs det centrala stråket genom parken mellan de två noderna Medborgarplatsen i öst och Södra Station i väst hälsas nu av Kunskapspalatsets front av vad jag har kallat för ”inverterade pelare”. Byggnaden är avlång, ren, helgjuten, utan utstickande delar. En byggnad som triggar tänkande. Vuxenutbildningen står där med stolthet och dignitet i hjärtat av Södermalm. Tänk om man kunde stiga in i Kunskapspalatset ... / Imagine, a place, a palace, made for knowledge. A building made for learning, understanding and insight. A Palace of Knowledge! The Palace of Knowledge is a building for adult education, for grown-ups taking up courses from ordinary school. It is at the same time a building for conferences, trade fairs, events, meetings, lectures and other means of the growth of knowledge. As an outset for the project I took inspiration from Rafael’s School of Athens, where knowledge is to be felt in the air. The Palace of Knowledge is an attempt to, in present time, make it a reality. The building lets the park outside in while at the same time giving it room. It is inspired by a combination of antique architecture and postmodernism. In order to link to the antique, I have had in mind Vitruvius’ elements of architecture: firmitas (strength) utilitas (utility) venustas (beauty), that together form a unified whole. Among the variety of architectural styles, it is the antique, with its classical columns, that perhaps is most readily associated with dignity and pride—something that adult education deserves more of. Through a playfulness with architectural traditions and a thoughtful relationship with its context, a building is formed that makes a bold mark while simultaneously giving room, and the combination of the antique and classical with the postmodern and original is thereby given. The constant flow of people along the central path through the park between the two nodes Medborgarplatsen in the east and Södra Station in the west is now greeted by the Palace of Knowledge and its front with what I have termed “inverted pillars”. The building is clean, as if cast in one piece, without protruding parts. A building that triggers thinking. Adult education is now standing with pride and dignity in the heart of Södermalm. If only one could step inside the Palace of Knowledge ...

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Esta tese pretende investigar a produção da arquitetura no período entre as décadas de 1960-70. Adota como premissa inserir-se nas questões de cunho metodológico da história da arquitetura, partindo do entendimento de que a arquitetura é fruto da dialética entre a autonomia do projeto e o estado das forças produtivas em determinado momento histórico. As reflexões aqui propostas tentam articular múltiplas relações dentro do processo da produção da arquitetura - o que significa incluir desde a concepção, o desenho, o canteiro e até mesmo seu uso - corroborando para um entendimento mais amplo, aquém da própria disciplina da arquitetura. O Parque Anhembi, um centro de exposições ligado ao turismo de negócios em São Paulo, permite analisar três níveis de produção: a industrialização da estrutura metálica, a pré-fabricação do concreto e a adoção de novas tecnologias do concreto armado executado no canteiro, temas que podem caracterizar a \"pluralidade\" da produção do período pós-Brasilia, ou mesmo, explicitar a preocupação construtiva que intermediava muitas pranchetas naquele momento. A possibilidade que se abre na investigação do objeto tido como uma nova centralidade urbana e a analise de como seria possível abarcar o tema das práticas projetuais naquele momento em que se fortalecia uma relação importante entre urbanismo, arquitetura, engenharia e construção no meio da busca de uma nova produção. Busca que continha um discurso político e ideológico sobre o seu tempo suscitados principalmente pelas questões urbanas evidenciadas com máxima urgência. / This thesis intends to investigate the production of architecture in the Between the decades of 1960-70. It is a premise that it should be included in the Methodological approach in the history of architecture, starting from the understanding that architecture is Of the dialectic between the autonomy of the project and the state of the productive forces in Certain historical moment. The reflections proposed here attempt to articulate multiple Relationships within the architecture production process - which means including from the Design, design, and even use - corroborating Understanding, rather than the discipline of architecture itself. Anhembi Park, an exhibition center linked to tourism Business in São Paulo, allows us to analyze three levels of production: the industrialization of Structure, the pre-fabrication of concrete and the adoption of new Reinforced concrete executed in the bed, themes that can characterize the \"plurality\" Of the post-Brasilia period, or even to explain the constructive concern Which interwoven many boards at that moment. The possibility that opens in the Investigation of the object considered as a new urban centrality and the analysis of how It would be possible to embrace the theme of the design practices at that moment in which Strengthened an important relationship between urbanism, architecture, engineering and construction. In the middle of the search for a new production. It sought to contain a political discourse and Ideological issues about their time that have been raised mainly by urban Evidenced with maximum urgency.

Ce travail présente une nouvelle analyse des bas-reliefs des palais néoassyriens du premier millénaire av. J.-C. Elle combine une analyse spatiale, basée sur la restitution à l’aide de l’imagerie 3D des palais d’Assurnazirpal II et Sargon II, qui permet la remise en situation des images dans l’architecture, et une analyse sémiologique.L’analyse de la structure de ces images, couplée à une étude sémantique des textes des palais qui leurs sont associés permet de montrer que les décors, ainsi que les textes, forment des portraits de rois, dont la synthèse se trouve dans la salle du trône, centre du palais et du royaume, les thèmes des images présents dans les autres salles étant concentrés dans celle-ci.Mais les portraits ainsi mis en évidence sont partagés entre un portrait de la royauté, traditionnel et stéréotypé, et le portrait du roi. Ils se situent également entre deux conceptions du temps, le premier circulaire, manifesté par les images faisant le tour des salles, ainsi que par l’inscription des Fastes chez Sargon II racontant les campagnes militaires du roi selon un découpage géographique, et un temps linéaire, manifesté par les textes des Annales.Le portrait du roi se ferait ainsi dans ce temps linéaire, et le portrait de la royauté dans le temps cyclique, les événements s’y reproduisant, sources de traditions, comme la forme des salles du trône, les thèmes utilisés et les conventions employées dans la représentation. Le portrait du roi se manifestant dans le choix de tel ou tel thème au détriment des autres, comme les scènes rituelles sous Assurnazirpal II, qui laissent la place à la chasse au lion sous Assurbanipal, concrétisant un éloignement du rituel dans les images entamé sous Sargon II. / This work presents a new analysis of low reliefs of neo-Assyrian palaces from the first millennium B.C. It combines a spatial analysis, based on 3D restitutions of Assurnazirpal II and Sargon II palaces, which permits to replace images in the architecture, and a semiological analysis.Structural analysis of images associated with a semantic study of texts present in palaces too, permits to demonstrate that the decoration and texts make portraits of kings. Throne rooms are synthesis of these portraits, as centre of the palace and kingdom, themes of images in other rooms being concentrated in this one.But these portraits are divided between a portrait of royalty, traditional and stereotyped, and the portrait of the king. They are so between two conceptions of time. One circular, shows by images going round rooms, and by the Display Inscription from the palace of Sargon II which tells of king’s military campaigns according to a geographical cutting. The other time is linear, as showed in annals of kings.The portrait of the king would take place in this linear time, and the portrait of kingship in the cyclical one, events to recur in, sources of traditions, like the throne room plans, themes used and conventions employed in representations. The portrait of the king isapparent in themes chosen among the others. So, ritual scenes with Assurnazirpal II left place to hunt scenes with Assurbanipal, who concretizes a distance with ritual images started under Sargon II.