A study of how contrasting architectural elements can create a sense of presence. Contrasts constitute movement, feeling, and energy and are what could be the basis of an architecture that illustrates these principles. The transition between extremes creates a balance. Through the use of contrasting elements such as rectilinear and curvilinear, light and shadow, density and sparsity, transparency and opacity, small and large, light and heavy, and compression and tension, there is a static pulse, where architecture may live. / Master of Architecture

In order to achieve a uniform impression of proposed territory, I connected to my previous work, in which I solved a space of biocenter. A proposal of off-road ramparts, which optically connected to hills behind a factory, was the main idea of the biocenter. Consequently, the huge area of factory objects was decomposed. During proposing of presentation pavilion a building in the form of off-road ramparts was created. This building then will be naturally harmonized with character of park in the solved green belt.

This dissertation examines the preservation of Chinese kunqu, one of China’s indigenous operatic genres, in recent years with a special focus on renowned writer Pai Hsien-yung’s new adaptation of classic kunqu play The Peony Pavilion (Mudan ting). I use this adaptation as a case study to demonstrate how the actual shape of a stage production can be determined by a producer’s choice between tradition and innovation. The contention between the two variables can be identified in the hundreds of years of kunqu history. The introduction provides a brief overview of the ascension of kunqu to its dominance as a national opera between late Ming and early Qing dynasties (late sixteenth century to early nineteenth century). The first two chapters analyze the downfall of this genre and its struggle for existence and development from mid-Qing through the turbulent twentieth century with particular emphasis on exploring the interplay between tradition and innovation. The next two chapters focus entirely on Pai Hsien-yung’s stage production of Peony and its wide distribution. The last chapter examines the latest kunqu production modes developed under the influence of Pai’s approach. Through this detailed analysis of Pai’s kunqu production and its impact, this research identifies one of the most prominent trends in kunqu preservation and development in the twenty-first century. It explores the dialectical approach adopted in this trend to handle the relationship between tradition and innovation, and the particular redefinition of audience construction. A renewed wave of kunqu preservation efforts within China during the past decade created a favourable environment for Pai’s productions. The success of his works has drawn new attention to the opera and eased kunqu crisis to a fairly large extent. The most significant contribution of Pai’s works to Chinese kunqu discourse can be seen from the expansion of audience base, particularly among the educated youth, and the increasingly varied and creative strategies for kunqu production and distribution. These changes have greatly transformed the overall Chinese kunqu scene, and ushered in a new era when new kunqu stage works are made into collages of intrinsic kunqu aesthetics and certain traditional artistic values. Pai’s ability to negotiate a space for kunqu amidst fierce competition against the many different forms of modern entertainment has restored people’s confidence in both kunqu and Chinese cultural traditions at large. Pai’s experience of finding a particular balance between tradition and innovation, between art and market, has contributed critically not only to the emergence of more hybridized kunqu productions, but also to the preservation and development of other forms of traditional Chinese performing arts genres in the age of globalization and commercialization.

The assignment was to create a design of a tropical pavilion at the Brno Zoo. The most important aspect influencing the overall solution is the unique location of the existing pavilion, located at the top of the hill. In the wider area there is a forested landscape. There is an opportunity to build new exhibition spaces with regard to the future development of the zoo. So how to proceed with such assignment? The exhibition of the pavilion focuses on fauna and flora of the rainforest: Central America and the Amazon. The proposal envisages the demolition of the existing pavilion, which is currently unsuitable and obsolete. Part of the new pavilion is also the design of outdoor exposure areas. The main inspiration for the new pavilion was the Mayan Pyramid in the jungle. The outdoor expositions are inspired by the relief of the Amazonian landscape.

The goal of the thesis is an architectural study of the main building entrance to the zoo in Dvůr Králové. Building combines functions of cash, various refreshments, sale of souvenirs, art workshops, lecture hall and central toilets. Thanks partly covered outdoor spaces, visitors can use the adjacent sleeping and sitting activities, such as a playground or a safari train. Area meets the criteria for a large number of visitors during the peak season.

THIS THESIS DEALS WITH A DESIGN OF PRESENTATION PAVILION OF WANEMI, A.S. PAPER-MILL IN ZÁBREH. Project of the factory includes plans of green zone where are located administrative facilities, restaurant, temporary pavilion and permanent pavilion. Presentation pavilion is designed as multifunctional building where is placed the permanent exhibition of company Wanemi as well as temporary exhibitions. This facility can be also used for different kinds of events, such as seminars, exhibitions, cultural events and conferences. Hall with terraced auditorium and seminar room with variable wall positioning system is designed in this facility for such occasions. The building is equipped with appropriate facilities for visitors buffet. The visitors can also use nearby standing terraces connected with water reservoir.

The motto of the Expo 2015 in Milan, is "Feeding the planet, energy for life." The main idea of the design of the pavilion is Food – energy for life. The attempt of the thesis lies in pointing on rational eating and a healthy lifestyle. Not only is the reason the influence on an individual, but the influence on a whole society. The thesis is devoted to a solution of a thematic function of the pavilion, a way of presentation, a detailed solution of the pavilion construction and subsequent recycling of the pavilion.

This thesis is about openness in the architecture. After traveling and experiencing many different cities in Europe, I was intrigued with open spaces in cities, which offer a stage for different public interactions. I discovered that all these public spaces are formed by the surrounding architecture. This made me wonder about how architecture, as it becomes more independent today, could express and embody this openness within itself. I picked up my site at the end of the King Street in Old Town, Alexandria, Virginia, which is currently unappealing to the public. I decided to create a urban plaza for the waterfront in an architectural way by generating a pavilion, which will provide various kinds of information and satisfy needs to the visitors and public. The pavilion has several different services and lies in an area with flood issues. In response to these conditions, I made all the projects suspended between columns and assigned them different heights according to the context of the site and their own functions. The different levels of the projects generate vertical open spaces in order to let the surrounding environment flow seamlessly into the pavilion. The entire project has been organized under a glass structured roof with a central staircase that ascends from King Street to the Potomac River, which has all the accesses to each level. There is a designed channel in the middle bay, placed within the girder to direct rain back into the river. / Master of Architecture

This essay aims to explore the transformational writing of ¡§emotion¡¨ and ¡§women¡¨ embedded in The Peony Pavilion and The Dream of The Red Chamber in the field of Chinese women study during the Ming and Qing Dynasty of China, attempting to testify that text is writer¡¦s grand work to establish humanitarian caring. The research purposes lie in the following areas. First, the contemporary research leans toward the integrative approach. Hence, how can traditional text and contemporary research subject be well blended to generate continuous interpretations? Second, in light of text, what is the most significant meaning of the text while deciphering The Peony Pavilion and The Dream of The Red Chamber from the perspectives of time and space? Third, how to evaluate the continuality and transformation of the textual spirit embedded in The Peony Pavilion and The Dream of The Red Chamber? In terms of the scholarship, this essay hopes to expand the author¡¦s early work entitled ¡§Illustrated Fine-lined Portrait Novel of The Dream of The Red Chamber in the Qing Dynasty¡¨ (1992), which investigates the aesthetic views of illustrated fine-lined portrait novel of The Dream of The Red Chamber. On the other hand, this essays combines the author¡¦s recent research on Chinese gender study. Consequently, this essay attempts to study two ¡§Romance¡¨ Classics¡XThe Peony Pavilion from the Wanli period of the Ming Dynasty in the 17th century and The Dream of The Red Chamber from the Qianlong period of the Qing Dynasty in the 18th century. The essay deepens its caring about emotion and women in order to discover the consistent remote sound of life value crossing from the Ming-Qing era to the contemporary period, highlighting the humanitarian significance of text. Moreover, it explores the theme of caring to pinpoint the meaning of text, providing an innovative approach for the frequent but weak interpersonal caring attitude in our contemporary life. This essay examines texts in an attempt to integrate texts and gender with field of caring ethics to some extent, expanding the plausibility of interpreting texts to multiple explanations and extending rich and coexisting meanings. In particular, it analyzes female images written by male writers. It first probes into the emotion writing and women writing in The Peony Pavilion and The Dream of The Red Chamber respectively. Then it compares and contrasts the emotion writing and women writing of these two classics as well as the comparison and continuality of activity space. These two classics are known for its emotion characteristics. For instance, the emotion of Du Li-niang and the emotion of Jia Bao-yu both denote writers¡¦ experiences and status, the components and levels of endorsements, emotion between Du Li-niang and Liu Meng-mei, background, ending, and application of emotion between Jia Bao-yu and Lin Dai-yu, as well as Du Li-niang¡¦s and Liu Meng-mei¡¦s female experiences, activities, space, and skills. Put differently, this essay respects and promotes women¡¦s consciousness. The main characters in The Peony Pavilion and The Dream of The Red Chamber, such as Du Li-niang, Liu Meng-mei, Jia Bao-yu, and Lin Dai-yu, speak for the writers and turn themselves into ¡§ideal lovers.¡¨ ¡§Typical Lady¡¨ is the ¡§ideal woman¡¨ created by the writers for the female roles. While shaping the ideal image for Du Li-niang and for Lin Dai-yu, the long-term gender dilemma of women is also highlighted as the important description of the texts. In addition, the earlier studies on Ming-Qing women¡¦s situation and image have biased conclusion that male texts tend to be presented with flair of patriarchal domination. In contrast with female texts, male texts deserve further exploration. Furthermore, some men held positive views on women during the Ming-Qing era. Coincidentally, these men overlapped with the writers who stressed the importance of emotion. Consciousness often takes precedence over implementation. Scholars remark that prior to the booming of Western feminism in the 18th century, women¡¦s consciousness was already popularized during the Ming-Qing Era in the 16th and 17th century, which not only paved the way to the new women¡¦s thinking but also set up foundation for introducing Western feminist concepts. This essay is divided into five chapters. Chapter One includes research purpose, research focus, research methodology, and research questions. In particular, it discusses writers¡¦ psychological basis of caring via emotion and women, including the discussion and molding of emotion and women in the long-term Chinese thinking. The focus of this chapter consists of impact of Confucianism, politics, and education on emotion writing and women writing, thinking background of writing on emotion and women in late Ming Dynasty, positive views of emotion, as well as women¡¦s confinement, reflection, and representation. Chapter Two investigates writing and caring about emotion and women as described in The Peony Pavilion. The focus of this chapter includes Tang Xian-zu¡¦s life story and his life-long emotion-oriented writing transformation and determination, the content and level of emotion theme in The Peony Pavilion as well as the pursuit of true emotion process and aesthetic significance occurred between Du Li-niang and Liu Meng-mei. Chapter Three discusses writing and caring of emotion and women, including textual pursuit of Grand theme emotion as described by writer Cao Xue-qin, implication and level of theme emotion as portrayed in The Dream of The Red Chamber, the pursuit process of emotion alliance and aesthetic significance occurred between Jia Bao-yu and Lin Dai-yu as well as significance of female artistic ability as found among Lin Dai-yu, Wang Xi-feng, and Jia Tan-chun. Chapter Four compares these two classic texts, including text inheritance, meaning and difference of emotion and women caring, and transformation and contrast, such as meaning of transformation among emotion, ideal emotion, ideal women, and women space. Chapter Five concludes male texts of The Peony Pavilion and The Dream of The Red Chamber, analyzing its value on oneself, female caring, and contemporary meaning.

Today, designing in digital environment is far less limiting than the physical reality that the product will end up in - stresses and forces, physical material properties, manufacturing possibilities, economic considerations and etc. are to a large extent not present in digital design tools. With many of these being directly computable it would make sense to introduce these restrictions from the physical world to the digital design environment. By doing this with we could take account of the inevitable restrictions from the very initial design phases and considerations, hopefully enabling us to make better informed decisions and designs. / Idag, designar i digitala miljön är betydligt mindre begränsande än den fysiska verkligheten att produkten kommer att hamna i - spänningar och krafter, fysikaliska materialegenskaper, tillverkningsmöjligheter, ekonomiska överväganden och etc. är i stor utsträckning inte finns i digitala designverktyg. Med många av dessa är direkt beräkningsbar det skulle vara meningsfullt att införa dessa restriktioner från den fysiska världen till den digitala designmiljö. Genom att göra detta med vi kunde ta hänsyn till de oundvikliga begränsningar från mycket ursprungliga utformning och överväganden, förhoppningsvis gör det möjligt för oss att fatta bättre underbyggda beslut och designer.