Library 2020. Program for a corner site of one of three horizontal platforms in Lausanne. It's nessesary to use a bigger site, when the program is complemented by another function. Multifunctional gallery completes the cultural use of the platform.

Diploma thesis deals with embankment of the river Svratka in Brno. The project follows two previous semesters when I elaborated the analysis of embankment and also designed small interventions. The project tries to support the activities along the river to attract people to visit its embankment. One of the designed interventions is the "Sculpture Park" - nature gallery of sculptures. The thesis also deals with the design of objects which are dedicated to housing for the elderly. This housing is supplemented by public facilities which serve both accommodated people and people nearby.

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Optofluidic sensing utilizes the advantages of both microfluidic and optical science to achieve tunable and reconfigurable high-performance sensing purpose, which has established itself as a new and dynamic research field for exciting developments at the interface of photonics, microfluidics, and the life sciences. With the trend of developing miniaturized electronic devices and integrating multi-functional units on lab-on-a-chip instruments, more and more desires request for novel and powerful approaches to integrating optical elements and fluids on the same chip-scale system in recent years. By taking advantage of the electrowetting phenomenon, the wettability of liquid droplet on micro/nano-structured surfaces and the Leidenfrost effect, this doctoral research focuses on developing high-performance optofluidic sensing systems, including optical beam adaptive steering, whispering gallery mode (WGM) optical sensing, and surface-enhanced Raman spectroscopy (SERS) sensing. A watermill-like beam steering system is developed that can adaptively guide concentrating optical beam to targeted receivers. The system comprises a liquid droplet actuation mechanism based on electrowetting-on-dielectric, a superlattice-structured rotation hub, and an enhanced optical reflecting membrane. The specular reflector can be adaptively tuned within the lateral orientation of 360°, and the steering speed can reach ~353.5°/s. This work demonstrates the feasibility of driving a macro-size solid structure with liquid microdroplets, opening a new avenue for developing reconfigurable components such as optical switches in next-generation sensor network. Furthermore, the WGM sensing system is demonstrated to be stimulated along the meridian plane of a liquid microdroplet, instead of equatorial plane, resting on a properly designed nanostructured chip surface. The unavoidable deformation along the meridian rim of the sessile microdroplet can be controlled and regulated by tailoring the nanopillar structures and their associated hydrophobicity. The nanostructured superhydrophobic chip surface and its impact on the microdroplet morphology are modeled by Surface Evolver (SE), which is subsequently validated by the Cassie-Wenzel theory of wetting. The influence of the microdroplet morphology on the optical characteristics of WGMs is further numerically studied using the Finite-Difference Time-Domain method (FDTD) and it is found that meridian WGMs with intrinsic quality factor Q exceeding 104 can exist. Importantly, such meridian WGMs can be efficiently excited by a waveguiding structure embedded in the planar chip, which could significantly reduce the overall system complexity by eliminating conventional mechanical coupling parts. Our simulation results also demonstrate that this optofluidic resonator can achieve a sensitivity as high as 530 nm/RIU. This on-chip coupling scheme could pave the way for developing lab-on-a-chip resonators for high-resolution sensing of trace analytes in various applications ranging from chemical detections, biological reaction processes to environmental protection. Lastly, this research reports a new type of high-performance SERS substrate with nanolaminated plasmonic nanostructures patterned on a hierarchical micro/nanostructured surface, which demonstrates SERS enhancement factor as high as 1.8 x 107. Different from the current SERS substrates which heavily relies on durability-poor surface structure modifications and various chemical coatings on the platform surfaces which can deteriorate the SERS enhancement factor (EF) as the coating materials may block hot spots, the Leidenfrost effect-inspired evaporation approach is proposed to minimize the analyte deposition area and maximize the analyte concentration on the SERS sensing substrate. By intentionally regulating the temperature of the SERS substrate during evaporation process, the Rhodamine 6G (R6G) molecules inside a droplet with an initial concentration of 10-9 M is deposited within an area of 450 μm2, and can be successfully detected with a practical detection time of 0.1 s and a low excitation power of 1.3 mW. / Doctor of Philosophy / Over the past two decades, optofluidics has emerged and established itself as a new and exciting research field for novel sensing technique development at the intersection of photonics, microfluidics and the life sciences. The strong desire for developing miniaturized lab-on-a-chip devices and instruments has led to novel and powerful approaches to integrating optical elements and fluids on the same chip-scale systems. By taking advantage of the electrowetting phenomenon, the wettability of liquid droplet on micro/nano-structured surfaces and the Leidenfrost effect, this doctoral program focuses on developing high-performance optofluidic sensing systems, including optical beam adaptive steering, whispering gallery mode (WGM) optical sensing, and surface-enhanced Raman spectroscopy (SERS) sensing. During this doctoral program, a rotary electrowetting-on-dielectric (EWOD) beam steering system was first fabricated and developed with a wide lateral steering range of 360° and a fast steering speed of 353.5°/s, which can be applied in telecommunication systems or lidar systems. Next, the meridian WGM optical sensing system was optically simulated using finite difference time domain (FDTD) method and was numerically validated to achieve a high quality-factor Q exceeding 104 and a high refractive index sensitivity of 530 nm/RIU, which can be applied to the broad areas of liquid identification or single molecule detection. Lastly, a SERS sensing platform based on a hierarchical micro/nano-structured surface was accomplished to exhibit a decent SERS enhancement factor (EF) of 1.81 x 107. The contact angle of water droplet on the SERS substrate is 134° with contact angle hysteresis of ~32°. Therefore, by carefully controlling the SERS surface temperature, we employed Leidenfrost evaporation to concentrate the analytes within an extremely small region, enabling the high-resolution detection of analytes with an ultra-low concentration of ~10-9 M.

Optical resonators, which confine light by resonant recirculation, serve as the basis for a wide variety of optical components. Though they appear in many geometric forms, the most effective of optical resonators show axial symmetry in at least one dimension. A popular variation that finds broad application is the dielectric sphere. Acclaimed for their high quality (Q) factor and small modal volume, spheres owe credit of these attractive features to their support of whispering gallery mode (WGM) resonances. The sensitivity of a resonance's frequency and Q to strain, temperature, and other parameters of the surrounding medium can be the basis for ultracompact modulators and sensors. Physically, WGMs are special optical modes which can be understood as light rays that orbit the equator of the sphere guided by total internal reflection. Like a smooth stone can be skipped along the surface of a pond, light can be confined to the inside of a sphere by successive reflections. To best excite WGMs, the source light should initially trace a line tangent to the sphere's circumference. But incorporating a tiny sphere with such nanometric tolerances into a practical sensor structure has its challenges and the prospects for microsphere applications have suffered because of the plight of this problem. The work in this dissertation details the fabrication and function of three new "press fit" spherical resonators. These etched fiber micro-devices were developed to meet the demand for a robust, self-integrated means of coupling light between an optical fiber and WGMs in a microsphere resonator. The etching processes have been tuned to enable secure storage of a microsphere while also providing efficient excitation and interrogation of WGMs. Furthermore, the methods have been designed to be staightforward, quick, and repeatable. Using standard etchants on common polarization-maintaining fiber with readily purchased microspheres, the press fit resonators demonstrated here can be batch-fabricated and assembled. The press fit spherical resonator offers an alignment-free and conveniently pigtailed WGM coupler that has great potential for bio-science sensing applications and studies of resonant bispheres. / Ph. D.

The water's shore, used for defense, trade, transportation and industry, always plays an important role in a city's development. Buildings were built there to fulfill related practical functions, such as barns, factories or piers. However, at the present time, the functions mentioned above are not the only purpose of the shore, now more entertainment activies happen along the water's edge. Therefore, architecture's roles are changing. The site is in a small town called Riva San Vitale, which is located at the south end of Lake Lugano, Switzerland. For this small town, lake's shore is usually used by local people as a place for relaxation. Based on my four-month long living experiences there, I decided to design an art center on the lake to enrich residents' daily life. / Master of Architecture / A folding method was used in form processing to reflect the mountains' shapes surrounding the town. Through this whole process, my thesis explores how the architecture is used as an instrument to bring art into people's daily life and, at the same time, extend people's life into nature. As a result, the Art Center will become a new plaza of Riva San Vitale.

In a recent study of the geometric analysis of various masterpieces of many periods dating from early Egyptian to contemporary times, the author noted with particular interest the structure of the paintings of the German Renaissance masters. It seemed that the Germans used a simpler geometric plan in their compositions than did the Italian Renaissance painters. The writer was inspired to make further investigation to determine if such a theory were true.

Dans le cadre de la célébration du nouveau millénaire, la National Gallery de Londres a organisé l'exposition Encounters: New Art from Old (14 juin - 17 septembre 2000). La formule consistait à inviter vingt-cinq artistes contemporains à choisir une œuvre de la collection permanente du musée et à s'en inspirer afin d'en créer une nouvelle. Certaines des œuvres produites pour l’occasion ont été exposées près de leurs sources dans les salles historiques de la collection du musée. Ce mémoire examine comment la formule de cette exposition et son accrochage anachronique agissent de façon directe sur la temporalité de la collection historique en invitant à sa réactualisation, et à la mise en valeur de la création. Il situe cette formule dans le cadre d’un regain d’intérêt pour les collections, décortique la sélection des artistes par le musée et la sélection des œuvres de la collection par les artistes. Il propose aussi une classification des modalités par lesquelles ceux-ci ré-interprètent la tradition. Enfin, en s’appuyant sur la théorie de la réception, ce mémoire considère les réponses générées par l’exposition : celles des artistes aux œuvres de leurs prédécesseurs, celles des critiques et celles du public. / As part of the celebration of the new millennium, the National Gallery of London organized the exhibition Encounters: New Art from Old (June 14 to September 17, 2000). The concept was to invite twenty-five eminent contemporary artists to choose a painting from the permanent collection of the museum in order to create a new artwork. Some of the works produced for the occasion were displayed near the works that inspired them in the historic galleries of the museum. This dissertation examines how the anachronistic hanging of the works of art helped Encounters in shedding new light on the permanent collection of the museum and in showcasing the contemporary artists' interpretations. The dissertation seeks to situate Encounters in the context of a new interest in museum collections, to reflect on its selection of artists as well as on the selection of works chosen by the artists. It then proceeds to classify the new creations in four modalities of intervention and in conclusion addresses the reception generated by the exhibition: that embodied by the new works created and those of the press and the public.

quatro artistas paulistas: Luiz Paulo Baravelli, Frederico Nasser, Carlos Fajardo e José Resende, antes alunos de Wesley Duke Lee. A Escola existiu entre 1970 e 1974 em São Paulo. Os quatro fundadores eram nos anos 60 estudantes de arquitetura; três deles participaram da Rex Gallery & Sons, criada por Geraldo de Barros, Nelson Leiner e Duke Lee. A galeria os colocou em contato com o meio artístico brasileiro, especialmente o paulista, e seus debates. Os pressupostos conceituais e a experiência social da Escola Brasil: apresentam pontos de intersecção com experiências e projetos artísticos (e culturais) situados entre os anos 50 e 70, dois pontos altos da modernização brasileira; e é esse o eixo temporal, histórico, em que se procura situar criticamente sua existência. Os principais nexos de relação entre a Escola e este recorte temporal são as sintonias que apresenta, tanto do ponto de vista da produção artística como da experiência de ensino, com o projeto construtivo e o Tropicalismo. / This work is about Escola de arte Brasil: (two points), one institution founded by four artistis from São Paulo: Luiz Paulo Baravelli, Frederico Nasser, Carlos Fajardo and José Resende, that before studied with Wesley Duke Lee. The Escola existed between 1970 and 1974 in São Paulo. The four founders were on the 60s architecture students; three of them participated of Rex Gallery & Sons, created by Geraldo de Barros, Nelson Leirner and Duke Lee. The gallery got them in touch whit the Brazilian artistic environment and pleading, specially with the scene from São Paulo. The conceptual assumptions and the social experience of the Escola Brasil: presents points of intersection with artistic (and cultural) experiences and projects situated between the decades of 50s and the 70s, two highlights of the Brazilian modernization process; and this is the temporal axis, historical, that this work try to situate critically its existence. The main links of relation between the Escola and this temporal axis are the tunings that presents, both from the point of view of artistic production as the teaching experience, with the constructive project and with the Tropicalismo.

I följande essä, Konstens olika horisonter – ett möte med bildkonst från Senegal, Mali och Mocambique, diskuterar jag rollen som gallerist och curator i mötet med det som är okänt och främmande i konsten. I essän refereras till möten med konst och konstnärer från Senegal, Mali och Mocambique. Texten utgår dels från mina upplevelser på konstbiennalen i Dakar, dels från arbetet med två olika utställningar på Galleri Flach i Stockholm. Med utgångspunkt i min roll som kurator reflekterar jag över situationer när konstens sammanhang framstår som främmande och okända. Hur bemöter jag situationen? Vad ser jag i den och vad bidrar den med i mitt kuratoriska arbete i gallerirummet? Med stöd bland annat i hermeneutiken och filosofer som Hans-Georg Gadamer och Marcia Sa Cavalcante Schuback, beskrivs en bildningsprocess i vilken jag reflekterar över det geografiska och kulturella avståndet. I texten diskuteras också ett så kallat hermeneutiska mellanrum som uppstår i skarven mellan det välkända och det främmande. Diskussionen införlivar även tankar om hur normer i den västerländska konsthistorien påverkar mitt möte med konsten och vad jag uppfattar som konstnärlig kvalitet. I essän konstateras att mina möten och konfrontationer med det som är okänt i konsten, är betydelsefullt. Det påbörjar en process mot ny kunskap i vilken jag tydligare får syn på mig själv och mina medvetna och omedvetna föreställningar. I texten beskrivs hur jag i gallerirummet prövar mina reflektioner i praktiken i en dialog med mig själv och de konstnärer med vilka jag samarbetar. Jag betonar dialogens och den inre reflektionens betydelse för utställningens tillblivelse. Utställningen blir ett mellanrum, ett begränsat sammanhang, där dialogen och reflektionen tar form. / The following essay, Different horizons - Encounters in visual arts from Senegal, Mali and Mozambique, discusses how to encounter what is unknown and unfamiliar within art in my role as a gallerist and curator. The essay refers to encounters with art and artists from Senegal, Mali and Mozambique. The text is partly based on my experiences at the biennial in Dakar, partly from working experiences with two exhibitions at Galleri Flach in Stockholm. On the basis of my role as curator, I am reflecting on the situation when art appears unfamiliar. How do I act? What do I learn in these situations and what do they bring to my curatorial work in the gallery space? With support from hermeneutics and philosophers such as Hans-Georg Gadamer and Marcia Sa Cavalcante Schuback, I describe a learning process that takes the geographical and cultural distance into consideration. The text reflects also on the so-called hermeneutical gap (a room in between) that occurs in the joint between the familiar and the unfamiliar. The discussion incorporates thoughts on how standards in the Western art history affect my encounters with the art object and what I perceive as artistic quality. I note in the essay how these meetings and confrontations with the unknown in the art are important. It sets in motion a process towards greater knowledge in which I see myself more clearly, not the least my conscious and unconscious beliefs. The text describes how I use the gallery space to put my reflections into practice, in a dialogue between myself and the artists with whom I work. I emphasize the dialogue and the importance of an internal reflection in creating an exhibition. The exhibition offers a room within a room, a limited context, where dialogues and reflections take shape.