The Monaco shore extention project consists of few housing resorts, floating breakwater, commertial zones and a harbour. The largest and most complex is the Skyscraper resort on an artificial semifloating island in the middle of a lagoon between the shore and the floating breakwater. Its main purpose is housing which is situated to several floors of the base ring, to the white wings protruding from the skyscraper and to the skyscraper itself. There is also a hotel for 500 visitors in this structure as well as the visitors center, observation platform, technical support, wellness and fit centrum. The resort is accesible via two main connecting streets – one going from the Hercule harbour, second comming to the resort from the main Monaco roundabout next to the Fairmont hotel. Traffic is than in front of the skyscraper redirected either to the hotel frontyard or to the underground parking wings for visitors, or to the parking zones for residents or to the supply zones. Other functions the resort offers are 2 commertial promenades on the gound and 2np floors accesible from the perimetr of the island’s harbour, other commertial zone is more to the the middle of the island, where the visitor, cultural, wellness and restaurant centers are also situated. The cultural multipurpose center accompanies cinema, theater and exhibition features as well as the School of fine arts. For the residents themselves the resort features several facilities – endless swimming pool, the chapel, relaxation pools, 2 parks and all the facilities accessible also for visitors. The island is constructed as semifloating – partly supperted by large piles and coissons, partly floating. Energetic selfsufficience is provided by desaltation plant, solar fotovoltaic plant, energetic piles and gray water treatment plant.

Genericamente, esta tese busca identificar a relação entre arquitetura e cultura de consumo, como definidora da identidade da arquitetura moderna de Miami no segundo pós-guerra. O conceito de cidade-balneário de Miami Beach foi transformado durante o decorrer da sua história. Os seus hotéis de inverno de meados da década de 1910 até 1945--destinados aos milionários associados à indústria automobilística--dão lugar a uma nova tipologia de hotel no pós-guerra, o hotelbalneário para a classe média norte-americana. Especificamente, este trabalho analisa os hotéis-balneários de Morris Lapidus (1902-2001) em Miami Beach na década de 1950, que definem a identidade da arquitetura moderna da cidade e que, por sua vez, caracterizam a sua própria imagem como cidade-balneário. A obra do setor da hospitalidade de Lapidus surge como informante de uma arquitetura com atenção máxima à escala humana do usuário. Suas lojas, construídas na época da Depressão, e seus hotéis do segundo pós-guerra, meticulosamente projetados para a classe média, surgem como veículos que contribuíram para a formação da cultura nacionalista, otimista e progressista, incentivada pelo governo federal de Franklin Roosevelt nesses períodos históricos. A histórica polêmica gerada sobre essa obra hoteleira de Lapidus, associada aos paradoxos presentes na composição arquitetônica de seus edifícios, está dividida entre a dogmática interpretação moderna do International Style e a leitura pós-moderna centrada na recuperação humanista. A narrativa da tese está fundamentada nessa polêmica cujo cerne está na questão sobre gosto e qualidade em arquitetura instigada por essa obra controversa. Este trabalho interpreta os paradoxos desses hotéis-balneários como uma metodologia de projeto de Lapidus, centrada na dialética de elementos de projeto contrastantes. Dessa dialética compositiva, nasce uma arquitetura híbrida, acessível à emergente classe-média, consumista e móvel, do pós-guerra. Esse hibridismo é estrategicamente elaborado como metodologia de projeto--uma colagem. A arquitetura como colagem nasce das escolhas de elementos extraídos de fontes diversas, que são apropriados e recriados pelo arquiteto. A diversidade de fontes de projeto advém da circulação de ideias--exposições, publicações e viagens. O apogeu da carreira de Lapidus é o hotel Fontainebleau (1954), o primeiro edifício do arquiteto de interiores que foi validado pelo seu conjunto de lojas da Main Street norte-americana. Os interiores derivam do método de projeto desenvolvido para as suas lojas, enquanto que a arquitetura do Fontainebleau descende da obra formativa de Oscar Niemeyer. A arquitetura moderna tropical do edifício contribuiu para a tipologia de hotel-balneário de Miami Beach no segundo pósguerra que, por sua vez, redefiniu o seu conceito de cidade-balneário. Após meio século, a arquitetura moderna hoteleira de Miami, originada com o Fontainebleau, está \"preservada\" sob a denominação Miami Modern-MiMo. No terceiro milênio, o MiMo, transformado em \"marca\" de consumo, é o veículo imobiliário da preservação da arquitetura moderna de Miami. / Generally, this dissertation aims at identifying the relationship between architecture and consumer culture, which defines the identity of Miami\'s modern architecture in the second post-war. The concept of Miami Beach as a seaside resort has been transformed throughout its history. Its winter hotels from the mid-1910s to 1945--intended for the auto industry millionaires--are replaced by a new typology of post-war hotel, the hotel-resort for the American middle class. Specifically, this work examines Morris Lapidus (1902-2001)\' hotel-resorts in Miami Beach in the 1950s, which define the identity of the city\'s modern architecture and which, in turn, characterizes the image of the city as a seaside resort. Lapidus\' hospitality industry work emerges as an informant of an architecture with maximum attention on the user\'s human scale. Its stores, built in the Depression era, and its post-war hotels for the middle class, both meticulously designed, have emerged as vehicles that contributed to the formation of the optimistic and progressive nationalist culture encouraged by the Franklin Roosevelt federal government in these historic periods. The historical polemic generated on such Lapidus\' hotel work, associated with the paradoxes present in the architectural design composition of its buildings, is divided between the dogmatic modern interpretation of the International Style and the postmodern review, centered on the rediscovery of humanism. The narrative of the thesis is based on this controversy, whose core is the question about taste and quality in architecture instigated by this controversial work. This work interprets the paradoxes of these hotel-resorts as a Lapidus\' design methodology, centered on the dialectic of contrasting design elements. From this compositional dialectic, a hybrid architecture is formed, accessible to the emerging middle-class, consumerist and mobile, of the second postwar. This hybridism is strategically planned as a design methodology--a collage. Architecture as collage is assembled from the choices of elements drawn from diverse sources, which are appropriated and recreated by the architect. The diversity of project sources comes from the circularity of ideas--exhibitions, publications, and travel. The heyday of Lapidus\' career as an architect is the Fontainebleau Hotel (1954), the first building by the then interior designer, who was validated by its collection of American Main Street stores designed during the Depression. The Fontainebleau Hotel interiors are derived from the design method developed for his stores, while its architecture descends from the formative work of the Brazilian architect Oscar Niemeyer. The tropical modern architecture of the Fontainebleau established the typology of the post-war Miami Beach hotel-resort, which in turn redefined its seaside resort concept. After half a century, Miami\'s modern hotel architecture, originated with the Fontainebleau Hotel, is \"preserved\" under the slogan Miami Modern-MiMo. In the third millennium, the MiMo, transformed into a consumer brand, is the real estate vehicle for the preservation of the modern architecture in Miami.

Genericamente, esta tese busca identificar a relação entre arquitetura e cultura de consumo, como definidora da identidade da arquitetura moderna de Miami no segundo pós-guerra. O conceito de cidade-balneário de Miami Beach foi transformado durante o decorrer da sua história. Os seus hotéis de inverno de meados da década de 1910 até 1945--destinados aos milionários associados à indústria automobilística--dão lugar a uma nova tipologia de hotel no pós-guerra, o hotelbalneário para a classe média norte-americana. Especificamente, este trabalho analisa os hotéis-balneários de Morris Lapidus (1902-2001) em Miami Beach na década de 1950, que definem a identidade da arquitetura moderna da cidade e que, por sua vez, caracterizam a sua própria imagem como cidade-balneário. A obra do setor da hospitalidade de Lapidus surge como informante de uma arquitetura com atenção máxima à escala humana do usuário. Suas lojas, construídas na época da Depressão, e seus hotéis do segundo pós-guerra, meticulosamente projetados para a classe média, surgem como veículos que contribuíram para a formação da cultura nacionalista, otimista e progressista, incentivada pelo governo federal de Franklin Roosevelt nesses períodos históricos. A histórica polêmica gerada sobre essa obra hoteleira de Lapidus, associada aos paradoxos presentes na composição arquitetônica de seus edifícios, está dividida entre a dogmática interpretação moderna do International Style e a leitura pós-moderna centrada na recuperação humanista. A narrativa da tese está fundamentada nessa polêmica cujo cerne está na questão sobre gosto e qualidade em arquitetura instigada por essa obra controversa. Este trabalho interpreta os paradoxos desses hotéis-balneários como uma metodologia de projeto de Lapidus, centrada na dialética de elementos de projeto contrastantes. Dessa dialética compositiva, nasce uma arquitetura híbrida, acessível à emergente classe-média, consumista e móvel, do pós-guerra. Esse hibridismo é estrategicamente elaborado como metodologia de projeto--uma colagem. A arquitetura como colagem nasce das escolhas de elementos extraídos de fontes diversas, que são apropriados e recriados pelo arquiteto. A diversidade de fontes de projeto advém da circulação de ideias--exposições, publicações e viagens. O apogeu da carreira de Lapidus é o hotel Fontainebleau (1954), o primeiro edifício do arquiteto de interiores que foi validado pelo seu conjunto de lojas da Main Street norte-americana. Os interiores derivam do método de projeto desenvolvido para as suas lojas, enquanto que a arquitetura do Fontainebleau descende da obra formativa de Oscar Niemeyer. A arquitetura moderna tropical do edifício contribuiu para a tipologia de hotel-balneário de Miami Beach no segundo pósguerra que, por sua vez, redefiniu o seu conceito de cidade-balneário. Após meio século, a arquitetura moderna hoteleira de Miami, originada com o Fontainebleau, está \"preservada\" sob a denominação Miami Modern-MiMo. No terceiro milênio, o MiMo, transformado em \"marca\" de consumo, é o veículo imobiliário da preservação da arquitetura moderna de Miami. / Generally, this dissertation aims at identifying the relationship between architecture and consumer culture, which defines the identity of Miami\'s modern architecture in the second post-war. The concept of Miami Beach as a seaside resort has been transformed throughout its history. Its winter hotels from the mid-1910s to 1945--intended for the auto industry millionaires--are replaced by a new typology of post-war hotel, the hotel-resort for the American middle class. Specifically, this work examines Morris Lapidus (1902-2001)\' hotel-resorts in Miami Beach in the 1950s, which define the identity of the city\'s modern architecture and which, in turn, characterizes the image of the city as a seaside resort. Lapidus\' hospitality industry work emerges as an informant of an architecture with maximum attention on the user\'s human scale. Its stores, built in the Depression era, and its post-war hotels for the middle class, both meticulously designed, have emerged as vehicles that contributed to the formation of the optimistic and progressive nationalist culture encouraged by the Franklin Roosevelt federal government in these historic periods. The historical polemic generated on such Lapidus\' hotel work, associated with the paradoxes present in the architectural design composition of its buildings, is divided between the dogmatic modern interpretation of the International Style and the postmodern review, centered on the rediscovery of humanism. The narrative of the thesis is based on this controversy, whose core is the question about taste and quality in architecture instigated by this controversial work. This work interprets the paradoxes of these hotel-resorts as a Lapidus\' design methodology, centered on the dialectic of contrasting design elements. From this compositional dialectic, a hybrid architecture is formed, accessible to the emerging middle-class, consumerist and mobile, of the second postwar. This hybridism is strategically planned as a design methodology--a collage. Architecture as collage is assembled from the choices of elements drawn from diverse sources, which are appropriated and recreated by the architect. The diversity of project sources comes from the circularity of ideas--exhibitions, publications, and travel. The heyday of Lapidus\' career as an architect is the Fontainebleau Hotel (1954), the first building by the then interior designer, who was validated by its collection of American Main Street stores designed during the Depression. The Fontainebleau Hotel interiors are derived from the design method developed for his stores, while its architecture descends from the formative work of the Brazilian architect Oscar Niemeyer. The tropical modern architecture of the Fontainebleau established the typology of the post-war Miami Beach hotel-resort, which in turn redefined its seaside resort concept. After half a century, Miami\'s modern hotel architecture, originated with the Fontainebleau Hotel, is \"preserved\" under the slogan Miami Modern-MiMo. In the third millennium, the MiMo, transformed into a consumer brand, is the real estate vehicle for the preservation of the modern architecture in Miami.

Aujourd’hui l’Union européenne favorise la règlementation de la médiation par une démarche générale sous la directive n° 2008/52/CE sur certains aspects de la médiation en matière civile et commerciale et par une démarche sectorielle sous la directive n° 2013/11/UE relative au règlement extrajudiciaire des litiges de consommation et le règlement n° 524/2013/UE en ligne des litiges de consommation. Cette tendance législative apparaît comme une exigence d’améliorer l’accès à la justice en réduisant son coût, sa lenteur et sa complexité. La question qui se pose est de savoir dans quel cadre juridique la médiation facilite la résolution amiable des différends ainsi que l’accès à la justice en réduisant le déséquilibre qui caractérise les rapports juridiques, dès lors qu’on écarte la protection juridictionnelle. La réponse appelle l’analyse de la règlementation de la médiation dans le droit de l’Union européenne et dans les droits nationaux examinés. Le droit de l’Union implique que les États membres prennent les mesures nécessaires pour l’application correcte d’une directive (article 288 § 3 TFUE) ; l’application du droit de l’Union européenne devant être assurée sous le respect des principes d’équivalence et d’efficacité. Comment cela peut-être garantie ? La réception du droit de l’Union européenne a contribué à atténuer les ambivalences préexistantes autour du concept de la médiation et a ainsi facilité la mise en place d’une référence commune à la médiation, si elle n’a pas permis une transposition homogène. Dans les trois systèmes étudiés la médiation se manifeste globalement en tant que « phénomène conventionnel », mais qui se situe au carrefour du droit substantiel et processuel. Si l’entier du processus s’exprime de manière conventionnelle, la convention de médiation, acte fondateur du processus, relève d’une dimension duale, à la fois conventionnelle et processuelle Quelle sera la liaison future entre médiation et justice traditionnelle ? La volonté de ne plus laisser la règlementation de la médiation au domaine privé, mais de lui réserver une place centrale dans les règles étatiques parait claire dans les trois systèmes nationaux. Cette « processualisation » de la médiation conduira-t-elle à l’émergence d’« un droit à la médiation » ? Quel rôle contient désormais le droit d’accès au juge (article 6 § 1 Convention EDH et 47 de la Charte européenne des droits de la Charte des droits fondamentaux) autour du développement législatif de la médiation ? Les réponses nécessitent l’analyse du régime qui donne accès à la médiation et du cadre processuel qui garantit l’accomplissement « légitime » de son processus. Le développement opportun de la médiation exige que les personnes qui assurent sa mise en œuvre puissent justifier d’une formation sérieuse en la matière, ainsi qu’un statut fiable pour inciter les intéressés d’y recourir. Quel est le statut du médiateur ? La comparaison des droits nationaux nous permettra d’envisager le meilleur modèle régulateur pour encadrer les compétences du tiers intervenant. Mais un système de médiation réellement efficace s’est traduit par un aboutissement efficace. Comment se valorise-t-il l’ « accord amiable », l’issue négociée en droit, voire en résolution extrajudiciaire d’un différend ? Y a-t-il un contrôle de légalité de l’accord issu de la médiation et si oui, comment ce contrôle se manifeste-t-il ? Les réponses relèvent de l’analyse du régime de l’accord issu de la médiation. / With regard to the Directive n° 52/2008CE of the European Parliament and the Council of 21 May 2008 in certain aspects of mediation in civil and commercial matters, as well as the Directive 2013/11/EU of the European Parliament and of the Council of 21 May 2013 on alternative dispute resolution for consumer disputes and amending Regulation (EC) No 2006/2004 and Directive 2009/22/EC also the Regulation (EU) n°524/2013 of the European Parliament and the Council of 21 May 2013 on online dispute resolution for consumer disputes and amending Regulation (EC) No 2006/2004 and Directive 2009/22/EC (Regulation on consumer ODR), this thesis examine the main lines for the development of mediation set out by the European Union. How the tendency to develop mediation within Europe, represented by the directive the European texts above has been reflected in the three legal systems examined? How mediation works in systems where law is rigid and its infringement is being severely sanctioned (civil law applied in France and Greece) and how does it work in common law (applied in the United Kingdom)? Mediation law is nowadays largely presented as a flexible way to avoid court’s costs, longevity and complexity. But should it be integrated in procedural law as a kind of complementary justice within the courts? Can positive law, courts and amiable dispute resolution cooperate in an effective manner? An effective cooperation of public justice and mediation could be of major importance for the improvement of procedural law, as access to justice is not always guaranteed. Public justice has not always being successful, since the severe application of law has been proven unable to create a social and dynamic legal system. Thus, it often cultivates “bitterness” against judicial adventure. In this regard, mediation promises a profound change in the way of settling disputes. However, the idea of a “private” justice based in contract law does not go without mistrusts. The imbalance between the parties is usually obvious in contract law and fosters the strongest party. The question then is to know if a secure legal framework of mediation based on the particularities of national legal systems could facilitate its proper implementation. The main concept of the thesis is to present a legal structure of mediation combined by the European law’s directives and their implementation in the three national laws. But the nature, the process, as well as the relation of mediation with courts are examined in parallel with the conformity of mediation in the article 6 § 1 of the European Convention of Human Rights, the fundamental right of a public hearing by a tribunal.

The main objective of this thesis is to analyze the market accommodation and food services market in the tourist region of Central Bohemia ? South. Another objective of this thesis was to formulate recommendations for the development of services in selected area. . The aim was also to identify the needs and requirements and satisfaction of visitors with accommodation and boarding services in selected recreation centre Nová Živohošť. To achieve the objectives it was necessary to study secondary sources, writing review of the literature and knowledge on the subject. Then situational analysis was performed. Here is defined and characterized a recreation centre Nová Živohošť, located in the tourist region of Central Bohemia ? South. The situational analysis is also a market analysis of accommodation and boarding services in the recreation centre Nová Živohošť. Another part of the work is questionnaire survey and interviews with worker in tourist information centre in Neveklov and owner Juniorcamp Tobogán and Caravan Club in Nová Živohošť. Final proposals, recommendations and business concept should increase the attractiveness of an offer, the quality of the resort and meet the needs and wishes of customers.

The main target of this diploma thesis is to confirm the hypothesis that the project "Ski resort Lipno regional winter sport centre" has an unquestionable and a region wide impact on social and economical development of the municipality Lipno nad Vltavou as well as on the whole micro region Lipensko. Within the assessment of social and economical costs and benefits and based on a set of methods used to evaluate projects of ROP NUTS II Southwest which was also a financial source of this project, it was possible to prove the existence of significant and positive impacts on social and economical development of both municipality Lipno nad Vltavou and the whole micro region Lipensko (new jobs, increase revenue of other tourism subjects in this area etc.). Total social and economic effect of the investment is financially positive. It was confirmed by means of the cost- benefit analysis. Present value (PV) is 330 million CZK, net present value (NPV) of the project is about 133 million CZK. Economic rate of return (ERR) reached 11.47 %, profitability index (NPV/I) reached 0.67 CZK net discounted profit per 1 CZK invested in 8 year payback. All these values are positive and it is possible to state that this project has a great value added and it brings good societal benefits.

De nombreux travaux académiques se sont penchés sur les facteurs influençant le niveau de générosité des bénéfices du soutien financier minimal dans les pays de l’OCDE dans les vingt dernières années. Les études ont ainsi découvert que la générosité des prestations pouvait être positivement liée avec un PIB élevé, un haut de degré de centralisation du régime d’assistance sociale et le développement d’un régime d’assurance sociale de type universel. De même, l’approche budgétaire comme méthode de détermination du niveau minimal des prestations d’assistance sociale a attiré davantage l’attention du monde académique dans les dernières années et on semble redécouvrir les vertus d’une approche budgétaire basée sur les besoins des prestataires. Toutefois, aucun chercheur ne semble avoir vérifié si l’utilisation de l’approche budgétaire comme déterminant du niveau de bénéfices d’aide financière de dernier recours était positivement ou négativement corrélée avec le niveau de générosité des bénéfices accordés. C’est cette vérification que ce travail s’est appliqué à faire. La conclusion principale de cette recherche est qu’en soi, l’utilisation d’une approche basée sur les besoins des prestataires pour établir le niveau des prestations d’assistance sociale n’est pas suffisante pour assurer un haut niveau de générosité des bénéfices. Il faut qu’un État fasse le choix de se baser sur un standard budgétaire qui permette d’atteindre un niveau de vie raisonnable ou décent pour garantir un degré de générosité de soutien financier minimal élevé. Les cas du Québec et de la Suède démontrent d’ailleurs comment le recours, pour le premier, à un budget de référence dit « de subsistance » peut influencer à la baisse la générosité des bénéfices, alors que celui d’un budget « raisonnable », pour le second, a influencé à la hausse le niveau de générosité des prestations. / In the last two decades, many academics have studied factors that have an impact on the generosity level of minimum income protection in OECD countries. Studies have shown, for example, that benefit generosity was positively linked with high GDP, a high level of centralisation of social assistance schemes, and the presence of universal social insurance programs. Likewise, in recent years, academics have shown a rising interest about the budgetary approach based on beneficiaries’ needs as a mean of determining the minimum social assistance benefit level. However, no important study has verified if the use of reference budgets for determining and adjusting social assistance benefits was correlated with a high or low benefits level. This correlation is what this paper attempts to ascertain. The main conclusion of this research is that the simple use of reference budgets is not directly linked with a high level of benefit generosity. However, if a state uses a budgetary model that allows to achieve a decent and reasonable standard of living, it is very probable that the generosity of assistance to the able-bodied poor will be high. The case of Quebec shows moreover that the use of a reference budget aiming to reach a minimum level of subsistence can contribute to a decrease of benefit generosity. The Swedish case, however, demonstrates that the use of a reference budget allowing a decent living standard and social participation has influenced positively the generosity of social assistance benefits. This study also shows that political and economic concerns and pressures have had important, and generally negative, impacts on the generosity level of social assistance benefits over time.

The main subject of the diploma project was to create architecture study for new building of a Gallery for sport aircrafts and their traditions and other equipment that cooperate with this topic. The Gallery is designed in Brno´s Medlanky municipality and it is incorporated on current local sport airport. This project was preceded by studio project on the same area, which included reconstruction and development of this airport area. In this diploma project I was trying to continue with this development and establish a design which would react to my earlier design. The site has a sloped character and it separated from a dense city area. Starting point for the design was to gently touch the landscape and also trying to find certain references directly in the closest surrounding. From the views to surrounding was created the idea to preserve the horizontal lines and with a landscape and constructions demands was created the main idea to continue with the landscape over the spatial structure. The need to cover large-scale exhibit items like aircrafts and other items from this topic led to a starting point of my design. The structure is formed as a spatial truss structure and dominates the exhibition space. Building is connected by program and structure to services and other areas like conference hall, coffee, study room, work room and administration. As a one building it teems mainly from arrival at the airport area when the roofing is an organic, monolithic surface disappearing in surrounding. But gallery itself emerges from the ground and opens towards the aircraft take off and departure area where it is also direction of a main view to the surrounding. The building is also unique for its entering, such as the main entrance through narrow staircase gap in the roof. This entrance should evoke to people an aircraft landing, where while descent plane dive in to the clouds and appear underneath above a whole new landscape. Thus a person sore in to the roof surface a

The aim of this thesis was to summarize the theoretical knowledge related to the concept of organizational culture, describing the most important functions, elements, structures, typology and methods for its analysis. Based on the analysis of organizational culture in the organisation was outlined the current organizational culture through the use of systematic observation and investigation using interviews, written methods of interviewing and document analysis of the organization. Then the deficiencies in the organizational culture of the organization have been detected and the actions and recommendations for improving the current situation towards the desired organizationa culture have been suggested.

This thesis presents the use of the uppermost place in Znojmo - Hradište . The objective was to create a center of archeology at the heart of Hradiště with connection to cycling and walking routes , but also attract visitors and revive the whole Znojmo. Archeological museum needs three functions ( research, culture , recreation) that complement each other . The main gist of the division is the fact that cultural are is created by research but used by recreational areas. There are designed three buildings , each of which has a different function. In account is the historic environment and the overall concept of settlement. The area is designed with the aim of developing and transferring nature of philosophy from archeology to architecture. Buildings in the south notionally closed top shape and follows on shape neighboring monastery.Division into two units allow connection of streets Mašovická and Křižovnické . Schematic plan view of the southern part of the site is designed with the recreational areas in shapes inspired by human bone under a microscope. Culture uilding located in the northern part of the site follows the curvature of the final contour . By using complementary cultural remains ( foundations ) Moravian stone church , the highlighted field . Inspiration unit is based on archaeological finds ruins . The building is divided into several unequal masses, each of which performs a specific function . Trying transcript archaeological finds in architecture is also designed in detail. The proportions of wall and grassy areas before entering the cultural building is inspired by the shape and proportions of the graves that were found at the Great Moravian Slavic necropolis .