Aujourd’hui disparu, le château de Choisy-le-Roi reste bien souvent dans les esprits un symbole des fantaisies coûteuses de Louis XV et de Mme de Pompadour, idée répandues par la littérature et les chroniques des XVIIIe et XIXe siècles. Choisy occupe cependant une place majeure dans l’histoire de l’architecture des programmes mis en place pour les besoins de la vie de cour de la deuxième moitié du XVIIIe siècle. Proche de la forêt de Sénart, le château devient d’abord une résidence conviviale où se retrouve, après les parties de chasse, une « cour particulière », composée des familiers du roi et de la favorite. Louis XV convie par la suite à Choisy ses enfants, auxquels il consacre de courts séjours dans un cadre moins protocolaire. La suite nombreuse attachée à leur service transforme cet espace auparavant « privé », et le rend plus accessible aux courtisans. Cette augmentation de la fréquentation entraîne de nombreux travaux dirigés par l’architecte Ange-Jacques Gabriel. En conséquence de cette perte d’ « intimité », d’autres lieux particuliers sont alors aménagés ; ainsi, le Petit-Château, premier pavillon d’habitation de Louis XV, est construit. C’est là où prend place la table « volante ». À travers l’étude du domaine royal, on perçoit également le fonctionnement quotidien du château, où vivent de nombreux employés attachés à l’administration des Bâtiments du roi. Le travail sur le terrain est coordonné par un contrôleur des Bâtiments, dont les lettres échangées avec le Directeur de l’administration délivrent de précieuses informations sur la gestion et le personnel. Ainsi, le château de Choisy apparaît comme une pièce majeure pour la compréhension de la cour et de la sociabilité de Louis XV. / Today disappeared, the castel of Choisy-le-Roi remains as a symbol of the Louis XV and Mme de Pompadour’s expensive whims, idea spread by the 18th and 19th centuries literature. However, Choisy has an important part in the history of the programs architecture set up for the needs for the life of court of the second half of the 18th century. Close to the forest of Sénart, the castel becomes at first a friendly residence where finds itself, after the hunting trips, a " particular court ", made up of the king ’s close friends. Louis XV invites later to Choisy his children, to whom he dedicates short stays in a informal settings. The numerous entourage attached to their service transforms this space previously "private", and makes it more accessible to the courtiers. This increase of the company produces many construction works by the architect Ange-Jacques Gabriel. As a result of this loss of "intimacy", other intimate places are then fitted out; so, the Petit-Château, the first detached house of Louis XV, is built. It is where takes place the table « volante ». Through the study of the royal domain, we also notice the daily functioning of the castel, where live numerous employees attached to the administration des Bâtiments du roi. The field works is coordinated by a controller des Bâtiments, from whom letters exchanged with the Director of the administration give valued informations on management and staff. So, the castel of Choisy appears as a major part for the understanding of the court and the sociability of Louis XV.

Esta dissertação tem como foco central o estudo de edifícios pavilhões e sua relação com a produção tridimensional - entendida como instalação e escultura. Para tanto, articula-se o conceito de \"campo ampliado\", elaborado por Rosalind Krauss em texto de 1979 para abarcar as transformações da escultura a partir dos anos 60, com seu recente deslocamento, para o âmbito da arquitetura por parte de alguns autores, nomeadamente Antony Vidler. A pesquisa não se resume apenas a uma investigação da contribuição do espaço arquitetônico para a escultura ou da escultura para a arquitetura, mas foca especialmente a linha que as separa, visto que a tendência de convergência das duas disciplinas faz com que seu elo de reciprocidade se dissolva numa produção intersticial, realizada por artistas, arquitetos ou mesmo por ambos em colaboração. O pavilhão sempre foi entendido como um campo experimental para os arquitetos, especialmente ao longo do século XX quando ajudou a consolidar as premissas da arquitetura moderna. Hoje, apresenta grande visibilidade através de diversos programas que oferecem condições únicas de encomenda e concepção pressupondo uma arquitetura singular, que configura uma produção desvinculada do binômio forma-função e cujo assunto autorreferente é a própria arquitetura. Do ponto de vista das artes o pavilhão representa uma expansão da instalação para um todo espacial que passa a envolver também o edifício e, quando tomado como meta arquitetura, opera também como plataforma de afrontamento crítico. O embate teórico acerca dos desdobramentos do \"campo ampliado\", bem como a investigação sobre aspectos essenciais do termo \"pavilhão\", de natureza maleável, são confrontados com uma análise crítica de casos selecionados em três instituições com características bem distintas- Bienal de Veneza, Instituto de Arte Contemporânea do Inhotim e Serpentine Gallery -, e possibilitam alinhavar conclusões sobre esta produção contemporânea no limiar dessas duas disciplinas. / This dissertation is focused on the study of pavilions and their relationship with the three-dimensional production - understood as installation and sculpture. Therefore, the concept of \"expanded field\", elaborated by Rosalind Krauss in the 1979 essay to encompass the transformation of sculpture from the 60\'s, is articulated with the recent shift of this same concept into the realm of architecture by some authors, namely Antony Vidler. The research is not just an investigation on the contribution of the architectural space for sculpture or, on the other hand, from sculpture to architecture, but focuses especially the line that separates them, understood as a disposition of convergence by the two disciplines which dissolves the reciprocal bonds in a interstitial production, performed by artists, architects or even both together. The pavilion has always been understood as an experimental field for architects, especially during the twentieth century when it helped consolidate the assumptions of modern architecture. Today it has gained great visibility through several programs that offer specific conditions by commissioning and assuming a unique architecture design that sets up a production untied from the binomial form-function, resulting in a self referent building whose subject is the architecture itself. From the point of view of the arts, it represents an expansion of the installation configuring a spatial whole that also implicate the building and, when taken as meta architecture, also operates as a platform for critical confrontation. The opposition on theory about the ramifications of the expanded field, as well as a research on the essential characteristics to a malleable term, are faced with a critical analysis of selected cases in three institutions gathering rather distinct characteristics - the Venice Biennale, the Institute of Contemporary Art Inhotim and the Serpentine Gallery -, and allow conclusions on this contemporary production in a disciplinary threshold.

Made available in DSpace on 2016-03-15T19:22:45Z (GMT). No. of bitstreams: 1 Marianna dal Canton Martignago.pdf: 41549778 bytes, checksum: 7ed8685a952b1d808aa6b190fd0ab213 (MD5) Previous issue date: 2015-01-22 / Several architectural and artistic movements transformed the first half of the twentieth century. In this scenario the architect Mies van der Rohe (1886-1968) turned out to be, through his textual and architectural discourse, a spokesman for the spiritual quest in architecture. Therefore this research aimed, at first, to outline the career of the architect. Secondly,it sought - through the articulation of studies of textual speechs on spirituality of Mies van der Rohe and the architectural design analysis of the Barcelona Pavilion (1929-30), designed by the architect - to understand the dimensions of the yearning for the expression of the spiritual dimension, and which were the spiritual nature decisions that could raise the architecture to the status of art. / Diversos movimentos arquitetônicos e artísticos marcaram de modo transformador a primeira metade do século XX. Neste cenário o arquiteto Mies van der Rohe (1886 1968) acabou se tornando, por meio de seus discursos, um porta-voz da "busca espiritual" na arquitetura. Diante disso o presente trabalho buscou, em primeiro lugar, traçar uma trajetória profissional do arquiteto e, em segundo lugar, buscou por meio da articulação dos estudos do discurso textual acerca da espiritualidade de Mies van der Rohe e a análise projetual do Pavilhão de Barcelona (1929-30), projetado pelo arquiteto, compreender as dimensões do anseio pela expressão da dimensão espiritual , e em que constituíam as "decisões" de ordem espiritual que poderiam elevar a arquitetura ao status da arte.

The subject of the diploma thesi is the design and assessment of the pavilions supporting structure for exhibition and other purposes. The building is located close to Zlin. Preliminary designs of supporting structure were created. One of these was selected and detaileddesigned and assessed. Generallythere are two structures that are extended between themselves. A design and assessment of the entrance portal for the exhibition pavilion was created. The entrance portal is an atypical structure that was created from a combination of hyperboloid and cylinder. The entire portal is formed of welded parts and it is completely from glass. The entrance portal has a variable height, where the highest point is 8,258m. The entrance portal is 20,394m long and has a variable width, where the largest width is 12,000m. The exhibition hall, which is located behind the entrance portal was designed from flat arched truss trusses. The arched trusses are made of several radii and hasa overall impression of an elliptical truss. The trusses have a range 37,000m and they are axially distant 6,000m. The height of the arched trusses is 10.530m. In the leading position of the construction were designed pillars and construction for possible connection of the entrance portal, or for the location of the gate system. Whole construction of the exhibition pavilion, without the entry portal, is 54,000m long and 37,000m wide. The built-up area of both structures is approximately 2200m2. Construction are designed according to normative requirements of CSN EN for limit state of load capacity and usability. The main material of the supporting structural parts was used S355JR steel.

The aim of the work is to design steel structure exhibition pavilion. The building is situated in Brno. The construction is processed in two options. The option A is designed in variant of arched space frame. The internal ground plan dimensions of the building are 42 x 72 meters. Space frame is hinged to the structure of columns. Height in the top of the ship is 16,834 metres. The option B is designed in variant arched truss. The internal ground plan dimensions of the building are 42 x 70 meters. Arched truss is hinged to the structure of columns. Height in the top of the ship is 18,334 metres. The spatial rigidity of the structure is ensured by cross braces. Roof cladding and walls will be made using sandwich panels of KINGSPAN. The main material will be used steel S235.

This diploma thesis presents a project documentation for construction of a zoo pavilion with a restaurant. The structure has to be designed in compliance with regulations for buildings with almost zero energy consumption. Its construction site is located within the existing compound of Prague’s zoo on plot no. 1491/1. The pavilion is proposed to house giant pandas. The building has three floors- one underground and two above. It is covered by a flat green roof. In terms of circulation, the structure is composed from two parts. The first one is formed by premises for the pandas, including necessary facilities for their wellbeing and their breeding; and the second part is visitors’ part, including restaurant, gift shop and amenities. The building is enclosed by two exterior expositions for pandas which are connected with the interior exposition premises by two ramps- tunnels. There is a roof terrace adjacent to the restaurant for visitors to enjoy the view of pandas in their exterior grounds. The vertical structure of the pavilion for giant pandas is a combination of load bearing brick walls and cast-in-place concrete walls- the underground floor and the ground floor is formed by the cast-in-place concrete walls and the upper floor is formed by the brick walls made out of autoclaved aerated concrete blocks. The horizontal structures are formed by prestressed concreted floor panels or in the case of the upper floor by cast-in-place reinforced concrete slabs.

The diploma thesis deals with design of two separate buildings, stands in the new entrance area Zoo Brno. This is the entrance building, which has two floors and it is designed as a wooden house. The wooden supporting structure is complemented by Isover mineral insulated and sheathed gypsum boards Fermacell. The hipped roof truss with a slope of 20 °. Built-up area is 261.2 square meters. This is followed by pavilion of reptiles. It has a basement floors of reinforced concrete walls and on one side recessed into the hillside. The first floor is designed as a wooden house again. The hipped roof truss. Built-up area is 276.7 square meters. The main entrance is situated on south.

Conversion object ex-foundry pavilion of mammalia and birds with live exposition. Exhibition pavilion is oriented at fauna and flora of asia.

The main subject of the thesis is the development of the architectural study of the new Zoo entrance pavilion in Dvůr Králové. This Zoo specializes in breeding of African animals. The emphasis is placed on wide program of associated functions, on exhibition and multipurpose premises with restaurants and facilities for the visitors. Prerequisite is usage of progressive and unconventional principles of exhibiting with application of newest technologies in order to inform visitors of the main theme - Africa, before they start the tour around the zoo.

[pt] Dentro de determinado evento histórico, as Exposições Internacionais, foram selecionados para estudo dois projetos de pavilhão brasileiro, para a Exposição da Filadélfia em 1926 e a Exposição de Nova Iorque, em 1939, ambas nos Estados Unidos, de autoria do arquiteto Lucio Costa. Da análise do contexto cultural, da conformação do concurso público e por fim da composição do projeto, pretende-se conectar o tema da representação nacional - específica do programa de pavilhão - ao estudo do desenvolvimento do discurso da arquitetura brasileira em dois momentos distintos de sua história no século XX: o período neocolonial e o moderno. Sendo projetos de um mesmo arquiteto, que consolidou-se como um dos maiores representantes da profissão no Brasil, o estudo é feito de maneira a compreender a formação tanto de sua prática projetual, contemplando a apropriação das formas tradicionais de um passado colonial, como também do seu discurso teórico, discutindo arte e técnica no pensamento contemporâneo. / [en] Within a given historical event, the International Expositions (also called World Fairs), two Brazilian s pavilions projects by architect Lucio Costa were selected for study, to the Philadelphia World Fair in 1926 and the New York World Fair in 1939, both in the United States. The analysis of the cultural context, the conformation of the architectural competition and finally the composition of the projects aims to connect the issue of national representation - program-specific of exposition pavilions - with the Brazilian architecture s discourse development in two different periods of its 20th century s history: the neo-colonial and modern period. As projects of the same architect, who has established himself as one of the greatest representatives of the profession in Brazil, the study is done in order to understand the formation of both his design practice, contemplating the appropriation of traditional forms of a colonial past, as well as his theoretical discourse, understanding art and technique in contemporary thought.