Antipode de la lumière, le noir est pourtant indissociable du cinéma. Qu'est-ce que le noir du cinéma ? Figure de l'ombre ou de l'obscurité à l'image, il y est aussi présent en tant que tel, un noir sans représentation et avec sa réalité physique singulière. Ce noir-là est avant tout une condition technique, que l'on cache, mais qui joue un rôle décisif dans la production des illusions d'optique et la création de la fiction. Il est également omniprésent dans tout le processus de fabrication de l'image cinématographique. Le noir joue avec la lumière, conditionne la visibilité et l'invisibilité et, en ce sens, invente le cinéma. Le noir propose une autre manière de comprendre ce qu'est le cinéma ainsi que son fonctionnement. Cette étude traitera d'abord l'aspect matériel de l'image argentique : le noircissement photochimique et les idées qu'il suggère en tant que processus de la formation et de la dissolution de l'image. On évoquera ensuite, au travers du noir formel, outil rhétorique et mécanique, les effets produits par le noir, lorsqu'il intervient en tant que forme dans l'image, de l'image, et entre les images. Enfin, en tant que dispositif envahisseur de l'écran et de l'espace de projection, le noir révèlera son rôle dans le dispositif du spectacle visuel : la construction d'un accès à l'illusion et à la révélation. Chaque partie se déploiera dans un parcours à la fois historique, technique, et esthétique. On verra notamment dans des tentatives artistiques et expérimentales que la mise en avant du noir permet de révéler les caractéristiques du médium cinématographique, voire de ré-inventer le cinéma. Cette quête du noir se révèle comme une quête sur la nature du cinéma, nature que l'industrie du cinéma tente d'effacer. Le noir fait voir, et il fait voir autrement. / Even though black is the antipode of light it is nevertheless inseparable from the world of cinema. What is black in cinema? A figure of shadow or darkness in the image that is also present as such. Black without representation and with its singular physical reality. This blackness is above all a technical condition which is hidden but which plays a decisive role in the production of optical illusions and the creation of fiction. It is also omnipresent in the entire process of making the cinematographic image. Black plays with light and conditions visibility and invisibility. In this sense it invents cinema. Black also offers another way of understanding what cinema is and how it works. This study will first deal with the material aspect of photography: photochemical blackening and the ideas it suggests as a process of image formation and dissolution. I will then portray the different effects produced by black- the black shape a rhetorical and mechanical tool. When it intervenes as a form in the image, of the image, and between the image. Finally, I will discuss how black can be an invading device of the screen and the projection space and reveal its role as a visual spectacle apparatus: the construction of an access to illusion and revelation. Each part of this outline will be dealt with in a historical, technical and aesthetic way. We will see in particular in artistic and experimental attempts that the emphasis on black makes it possible to reveal the characteristics of the cinematographic medium or even to re-invent cinema. This quest for blackness is revealed as a quest for the nature of cinema. A nature that the film industry is trying to erase. Black makes you see but it makes you see differently.

Sport Airport complex Brno-Medlánky is nestled in the undulating hilly terrain in fields just beyond populated areas in Brno-Medlánky. The history of the airport dates back to 1924 when it was built the first wooden hangar for training purposes glider flights. Current state urban of airport is orderless. The aim is to streamline the complex and give it the order, allowing easy and efficient orientation in the space. The main intervention was the creation of a new central building - Aviation Museum. The concept of the design is based on the division of the whole area into two branches - communication axes, based on the mass preserved historic wooden hangars. Between the two communication arms is inserted a central axis on which is located the heart of the complex - Aviation Museum. It is a building organic form, inspiring axially symmetric wingspan (bird, airplane, beetle). It is this symmetry axis of the building creates a view towards building on the runway. Mass of the building used by the sloping terrain and is partially sunk under the ground. Building volume follows an upward slope from the outside and blends with the surrounding terrain. The internal layout consists of three floors, one of them is completely sunk below ground level and second half. The main entrance to the gallery is located in the uppermost floors, the direction of the exhibition is therefore directed downwards into the basement. The exposition is divided into six parts: RC models exposure, gliders exposure, powered aircraft exposure, screening room, children's exposure and air trainers. Other areas consist of building technical facilities. In the basement there is a workshop with aircraft lift, with the possibility of placement unexposed aircrafts. The supporting system of the building consists of two parts: reinforced concrete tubs and arched steel structure with a span of 50m.