Este trabalho compreende duas partes distintas. Na primeira, dispõe-se, contrariamente aos teóricos pós-modernos e contemporâneos, uma definição geral de pós-modernismo: é pós-moderna a obra de arte ou de arquitetura que reproduz imagens com significados conhecidos e lhes dá um outro, imprevisto. Com tal enunciado, obtido dos dois livros de Robert Venturi, mostra-se que é possível conceituar o pós-modernismo, não obstante as suas múltiplas expressões. Como não existem normas para a escolha do tipo de imagem a ser duplicada pelos artistas ou pelos arquitetos, nem para o significado que elas devem apresentar, as peças pós-modernas podem assumir quaisquer configurações. Logo, a fim de indicar o que é (ou não) pós-moderno, é preciso considerar os atributos subjacentes à forma e aos materiais de cada obra. Na medida em que identificar o pós-modernismo a partir da observação direta é impraticável, os conceitos de arte e de arquitetura (que, de fato, condizem com todos os estilos artísticos e arquitetônicos existentes, inclusive com o pós-moderno) também contam quesitos que não são prontamente acessíveis ao olhar. O advento do pós-modernismo invalidou as teorias que justificavam o estatuto de arte e de arquitetura das obras com base na sua aparência; com efeito, há pares de objetos iguais, coincidentes ponto por ponto, mas que diferem entre si porque este tem valor artístico e arquitetônico, enquanto aquele não tem. Para falar sobre a natureza das obras de arte e de arquitetura, toma-se a filosofia estética de Georg Wilhelm Friedrich Hegel; conforme a doutrina hegeliana, o pós-modernismo corresponde a um novo estágio do processo de desenvolvimento do espírito, em que a humanidade vai aprofundando a sua consciência de si e do mundo e em que a arte e a arquitetura vão passando da percepção sensorial à reflexão. Finalmente, recusa-se a tese pós-moderna sobre o término das narrativas, com uma defesa da história da arte e da arquitetura. Na segunda parte, apontam-se algumas causas do movimento pós-moderno em Minas Gerais, destacando o ambiente político e cultural no estado e a atuação de Éolo Maia. / This essay comprises two distinct parts. In the first one, contrary to the postmodern and the contemporary theoreticians, it is set a general definition of postmodernism: we must name as postmodernist the work of art or architecture that reproduces very well-known images and gives them unexpected meanings. With this statement, which is presented in two books of Robert Venturi, it is proved the possibility of defining the postmodernism, despite its multiple expressions. Since there are no rules for choosing the type of images that artists and architects will duplicate nor for changing their original meanings to new ones, the postmodern pieces can assume any configurations. Therefore, to indicate what is (or is not) postmodern, we shall consider the features behind the form or the materials of each work. As it is impracticable to identify the postmodernism looking at the pieces, the concepts of art and architecture (which have to match all the existing styles of art or architecture, including the postmodernism) count some points that are not immediately accessible to the eyes. The arrival of the postmodernism invalidated all the theories that used to justify the status of art or architecture of a work on its appearance; in fact, there are exactly alike objects that differ from each other because only one of them has a real artistic or architectonic value. To talk about the nature of works of art and architecture, it is taken the Georg Wilhelm Friedrich Hegel\'s aesthetics into account; according to the Hegelian doctrine, postmodernism corresponds to a new step on the process of spiritual development, through which humanity has increased its consciousness of itself and the world, and art and architecture have left perception for reflection. Finally, it is contested the postmodern thesis concerning the end of narratives, with a defense of art history. In the second part, it is pointed the causes for the postmodern movement in Minas Gerais, Brazil, remarking its political and cultural environment in the 80\'s and the leadership of the Brazilian architect Éolo Maia.

This thesis explores the system of architectural education in the Middle East Technical University Department of Architecture between 1956 and 1980. The formation and the transformation of the system of architectural education in the school are investigated with references to the evolution of the social, political, economic and architectural context of Turkey in the period and the systems of architectural education applied in the country. The education in the Department of Architecture not only formed its system according to the Bauhaus program as applied in the postwar American context, but also transformed it with changing architectural theory and the design methodology. Both the school&#039 / s system of architectural education and the institutional identity established by the school provided significant contributions to the institutionalization of architectural education in Turkey. Besides, in the following decades, the school&#039 / s system of education became basic model for other institutions in the country in re-structuring their systems. In this respect, by focusing on the M.E.T.U. Department of Architecture&#039 / s system of architectural education, this study aims to be a history of the Middle East Technical University and the social, political, economic and architectural context of the period as well.

Este trabalho compreende duas partes distintas. Na primeira, dispõe-se, contrariamente aos teóricos pós-modernos e contemporâneos, uma definição geral de pós-modernismo: é pós-moderna a obra de arte ou de arquitetura que reproduz imagens com significados conhecidos e lhes dá um outro, imprevisto. Com tal enunciado, obtido dos dois livros de Robert Venturi, mostra-se que é possível conceituar o pós-modernismo, não obstante as suas múltiplas expressões. Como não existem normas para a escolha do tipo de imagem a ser duplicada pelos artistas ou pelos arquitetos, nem para o significado que elas devem apresentar, as peças pós-modernas podem assumir quaisquer configurações. Logo, a fim de indicar o que é (ou não) pós-moderno, é preciso considerar os atributos subjacentes à forma e aos materiais de cada obra. Na medida em que identificar o pós-modernismo a partir da observação direta é impraticável, os conceitos de arte e de arquitetura (que, de fato, condizem com todos os estilos artísticos e arquitetônicos existentes, inclusive com o pós-moderno) também contam quesitos que não são prontamente acessíveis ao olhar. O advento do pós-modernismo invalidou as teorias que justificavam o estatuto de arte e de arquitetura das obras com base na sua aparência; com efeito, há pares de objetos iguais, coincidentes ponto por ponto, mas que diferem entre si porque este tem valor artístico e arquitetônico, enquanto aquele não tem. Para falar sobre a natureza das obras de arte e de arquitetura, toma-se a filosofia estética de Georg Wilhelm Friedrich Hegel; conforme a doutrina hegeliana, o pós-modernismo corresponde a um novo estágio do processo de desenvolvimento do espírito, em que a humanidade vai aprofundando a sua consciência de si e do mundo e em que a arte e a arquitetura vão passando da percepção sensorial à reflexão. Finalmente, recusa-se a tese pós-moderna sobre o término das narrativas, com uma defesa da história da arte e da arquitetura. Na segunda parte, apontam-se algumas causas do movimento pós-moderno em Minas Gerais, destacando o ambiente político e cultural no estado e a atuação de Éolo Maia. / This essay comprises two distinct parts. In the first one, contrary to the postmodern and the contemporary theoreticians, it is set a general definition of postmodernism: we must name as postmodernist the work of art or architecture that reproduces very well-known images and gives them unexpected meanings. With this statement, which is presented in two books of Robert Venturi, it is proved the possibility of defining the postmodernism, despite its multiple expressions. Since there are no rules for choosing the type of images that artists and architects will duplicate nor for changing their original meanings to new ones, the postmodern pieces can assume any configurations. Therefore, to indicate what is (or is not) postmodern, we shall consider the features behind the form or the materials of each work. As it is impracticable to identify the postmodernism looking at the pieces, the concepts of art and architecture (which have to match all the existing styles of art or architecture, including the postmodernism) count some points that are not immediately accessible to the eyes. The arrival of the postmodernism invalidated all the theories that used to justify the status of art or architecture of a work on its appearance; in fact, there are exactly alike objects that differ from each other because only one of them has a real artistic or architectonic value. To talk about the nature of works of art and architecture, it is taken the Georg Wilhelm Friedrich Hegel\'s aesthetics into account; according to the Hegelian doctrine, postmodernism corresponds to a new step on the process of spiritual development, through which humanity has increased its consciousness of itself and the world, and art and architecture have left perception for reflection. Finally, it is contested the postmodern thesis concerning the end of narratives, with a defense of art history. In the second part, it is pointed the causes for the postmodern movement in Minas Gerais, Brazil, remarking its political and cultural environment in the 80\'s and the leadership of the Brazilian architect Éolo Maia.

Dissertation thesis "How to think Architecture in a new way. Late though of Peter Eisenman and his critical theory of architecture" tries to summarise and analyse the key thoughts of architect and thinker Peter Eisenman in his late oeuvre. The point of departure of his theoretical thinking seems to be refusal of any timeless essence of architecture and a will to "dislocate" architecture from influence of metaphysics. The way to this is "criticality", a notion constituted with three basic terms: interiority (the interiority of architecture defines the discipline, what it is that makes architecture singular), exteriority (external concepts that change architecture by being internalised into the discipline and changing it) and anteriority (anteriority is the sedimented history of architecture; history of interiority). These three terms are according to Eisenman connected in a notion of "undecidability" that serves as a central criterium to criticality and in a "diagram" that is a mean to overcome metaphysical implications of architecture. At the end of the thesis there is a summary of Eisenman's theoretical work and its importance and an attempt is made to set so conceived whole in its entirety to the thought of "end of metaphysics". In this context is Eisenman seen to be in a position similar from...

Dissertation thesis "How to think Architecture in a new way. Late though of Peter Eisenman and his critical theory of architecture" tries to summarise and analyse the key thoughts of architect and thinker Peter Eisenman in his late oeuvre. The point of departure of his theoretical thinking seems to be refusal of any timeless essence of architecture and a will to "dislocate" architecture from influence of metaphysics. The way to this is "criticality", a notion constituted with three basic terms: interiority (the interiority of architecture defines the discipline, what it is that makes architecture singular), exteriority (external concepts that change architecture by being internalised into the discipline and changing it) and anteriority (anteriority is the sedimented history of architecture; history of interiority). These three terms are according to Eisenman connected in a notion of "undecidability" that serves as a central criterium to criticality and in a "diagram" that is a mean to overcome metaphysical implications of architecture. At the end of the thesis there is a summary of Eisenman's theoretical work and its importance and an attempt is made to set so conceived whole in its entirety to the thought of "end of metaphysics". In this context is Eisenman seen to be in a position similar from...

Gegenstand der vorliegenden Arbeit ist das Bürgerhaus in Brandenburg-Preußen im 18. Jahrhundert. Ausgangspunkt ist die These, daß die Interessen des preußischen Staates im 18. Jahrhundert die städtebauliche Ordnung ebenso wie die äußere und innere Gestalt der Häuser in den brandenburgischen Provinzialstädten des 18. Jahrhunderts geprägten, daß die Bürokratie des modernen Staates Preußen sich in diesem Jahrhundert als Auftraggeber und Organisator eines umfassenden Stadtumbaus etabliert. Ziel ist es, die Gestalt dieser für das Land Brandenburg noch heute prägenden Häuser zu begreifen. Dazu ist es einerseits erforderlich, den Zusammenhang von Hausgestalt, städtebaulicher Disposition und Fassadenkultur genauer zu erfassen. Andererseits unterlag das bürgerliche Stadthaus ideologischen Einflüssen, staatliche Ordnungsversuchen und dem architekturtheoretischen Diskurs. Zur Analyse der Hausgestalt bedurfte es daher der Synthese von empirischer Arbeit und theoretischer Reflexion. Um dieses Ziel zu erreichen, wird in der Arbeit die Erfassung der Bauten vor Ort flankiert von der Auswertung umfangreicher Verwaltungsakten und von Untersuchungen zur Geschichte der Staats- und Architekturtheorie. Anfang und Ende dieses Entwicklungsweges werden jeweils anhand eines besonders aussagekräftigen Beispiels analysiert: Der Wiederaufbau der Stadt Templin nach dem Brand von 1735 steht als Modellfall für den Anfang der „bürokratischen Stadterneuerung“; der Wiederaufbau der Stadt Zehdenick nach einem Brand von 1801 ist ein charakteristisches Beispiel für die Krise dieses Stadt- und Hauskonzeptes um 1800. / This PhD dissertation analyzes baroque and 18th-century town houses in Brandenburg and Prussia. Taking as its starting point the influential role of the Prussian state and its governmental interests, this thesis demonstrates the ways in which these administrative bodies impacted the the general urban character as well as the more specific façades and ground plans of the town houses during the 18th century. I argue, therefore, that in Prussia it was the bureaucracy of the modern state that initiated and organized a widespread urban redevelopment. My aim in this dissertation is to provide a close examination of these houses in order to understand the ways in which they shaped – and continue to shape – the cultural landscape of Brandenburg. To undertake this it is necessary on the one hand to precisely characterize the interrelation between the basic form, the culture of the facade, and the surrounding urban character of the town houses. On the other hand, it is important to take into account the ideologies, governmental regulations and architectural theory pertaining to domestic architecture. Thus, crucial to this project is a methodology that combines careful on-site examinations of the houses with archival research into the files of Prussian administration. This then allows for an integrated historical anaylsis of both the theory of state and the theory of architecture. My dissertation frames this interesting period of urban development with two significant events. Following the destruction of a great fire, the reconstruction of the small city of Templin after 1735 offers an outstanding example for the successful beginning for the new urban program. The reconstruction of the city of Zehdenick after 1801 characterizes the crisis that marked the end of this bureaucratic concept of town planing and town houses.

La « fluidité architecturale » est un oxymore, délibérément choisi, pour mettre l'accent sur les valences de fluidité par rapport aux caractéristiques intrinsèques de l'architecture : comparée aux autres domaines artistiques (littérature, arts plastiques, danse, théâtre, cinéma, photographie, etc.), l’architecture n'est pas seulement pensée, interprétée ou illustrée, mais elle est également construite, habitée et solide. Puisque la fluidité architecturale est une métaphore et la notion de fluidité est abstraite par rapport à l’architecture, ce terme est relié, par une analogie à la mécanique des fluides, aux processus plus concrets qui peuvent être retrouvés en physique. En admettant que l’association des termes « fluide-solide » peut être confuse, la première partie de cette thèse est consacrée à définir la « fluidité » et à identifier ses racines dans l’histoire de l’architecture. La deuxième partie se concentre sur l’analyse « fluidique » d’une série de vingt projets contemporains. Cette analyse, fondée sur les discours architecturaux des concepteurs, détermine le degré de fluidité présente dans la production architecturale contemporaine et établit de nouvelles correspondances entre les différents projets. Cette thèse constitue à la fois un travail sur un concept théorique (par l’analogie avec la mécanique des fluides) et sur une manière de représenter la pensée du projet (par l’analyse fluidique). / "Architectural fluidity" is an oxymoron, chosen deliberately in order to emphasize the fluidity expressions related to the intrinsic characteristics of architecture: compared to other arts (literature, visual arts, dance, theater, cinema, photography etc.), architecture is not only thought, interpreted or illustrated, but also is built, inhabited and solid. Considering architectural fluidity as a metaphor and the idea of fluidity as an abstract architectural concept, this term is associated by analogy to fluid mechanics to processes with accurate explanations found in physics. Assuming that the association of the two terms "fluid-solid" can be confusing, the first part of this thesis concerns with the definition of "fluidity" and the identification of its origins in the history of architecture. The second part focuses on the "fluidic" analysis through twenty contemporary projects. This analysis, which is based on the architectural dissertation of designers, determines the degree of fluidity in contemporary architectural production and establishes new connections between different projects.This thesis focuses on both theoretical concepts (by analogy to fluid mechanics) and developing a method to represent the conceptual process of the project (the fluidic analysis).

The dissertation explores the history and activities of the Brno-located Town and Country Planning Department of The Research Institute for Building and Architecture (RIBA) since its foundation in 1954 until its abolishment in 1994. As a part of the department functioning, a description of its main research tasks and publications, which had played an essential part while formulating theory and methodology of urban planning after the 2nd World War in Czechoslovakia, are introduced. Special attention is paid to tasks and publications whose authors and research workers applied interdisciplinary approaches and – in spite of the prevailing totalitarian regime – managed to apply their experience acquired abroad to produce highly influential works such as The Principles and Rules of Spatial Planning. Another objective of the dissertation is the creation of a complex bibliography of texts that were produced by the department (books, reports on the outcomes of research tasks that had been explored at the Town and Country Planning Department and that were released internally as handbooks serving research workers of the institute and other institutions focusing on building and architecture). Depictions of the Brno department of RIBA from the perspective of two of its significant representatives who have outlived the institution they had witnessed to be founded and to the functioning of which they had significantly contributed, become a key part of the text: Ing. arch. Vladimír Matoušek, CSc., the second head of the Town and Country Planning Department of RIBA and Ing. arch. Dušan Riedl, CSc., a theoretician of architecture and urban planning and a top expert on Czech national herritage. As the topic has not yet been subjected to scholarly research, the main objective of the work is to create the very first complex text on the Brno department of RIBA and its activities. The circumstances surrounding the constitution of RIBA in the context of other similarly functioning research institutes are pursued with a special focus on the fields of building, architecture and urban planning as well as legislative embedding of its foundation and functioning, its organization structure, staff, definition of taskmasters and the way the tasks were approached, relations to other institutions in the field, publishing activities and transfer of theoretical research outcomes to practice. The text also deals with the state of present-day research of architecture and urban planning. Archive material and publications released by the institute represent a predominant source of information about RIBA activities. They are now stored at the archive of ABF Foundation in Prague (the foundation has been administering both the archive and library of the Prague department of RIBA since its abolishment), at the library of The Institute for Spatial Development in Brno (the institute administers the library of the former Brno department) and at the Moravian Land Archive in Brno. Both of the archives have been thoroughly researched by the author. Critical reflections upon the urban-planning department of RIBA occurring in contemporary publications and periodicals are another important source of information which help to specify the character of its activities (recent literature mentions RIBA scarcely, a complex evaluation is still missing). Oral history reported by former employees of RIBA, who had contributed to the first-rate quality of its research activities.

The thesis has been written on the basis of main architectural concepts and their application in real life within a historical context investigation. Main architectural concepts are represented in a harmony of architectural composition that deals with relations among form, structure and space in the unique art work. Genius loci play very important role in the architectural creation - it represents a special and extra-ordinary urban locality and its architectural value in the historical, geographical and cultural context. The origin of Ostravice village within the historical frame concept of Moravia domain is the topic of this thesis. Other historical documents gave information about Bruneswerde as the Brno Castle. That means Brno Castle had to be founded not in Brno (as it has been consid-ered for many years) but it was located in Beskydy at Ostravice. The sacred city – Civitas Dei had been located in Bruneswerde region in early ages as the centre of European culture, education and spiritual life. Civitas Dei – divine Jerusalem in the transcription of St. Augustine's book De civitate Dei – is not only glorification of God and religious fantasy. It is also one of significant clues for recognition of historical architecture. The depiction of unknown settlement from the book of unde-fined origin is a superb testimony about extinct architectural works. They are legible from cadastral maps. Brno Castle - residence of nobility and power served shelter to St. Vojtěch, St. Prokop, St. Václav and St. Ludmila as it is obvious for the mentioned picture. Three major temples, three com-position axes symbolized by three towers on coins are in analogical relation to Brno triangle of four saints - the Saint family of Brno temples. Powerful ambitions of Brno City principals and clergy are inscribed into the urban structure in the way of composition relations which are legible to them who devoted themselves to the mystery of harmony. The absence of historical continuity affects personal attitudes and also identity of the whole community. The architecture truly reflects the past state of polis and it is eloquent even after its death. The architectural composition relations influence the natural environment for long time, longer than the architectural work existence. The geometric order of Renaissance Brno existence has not been in attention of architects so far. The features were discovered in characteristic paintings by Albrecht Durer. They are evidently secret works of the genius. A meaningful collaborator and follower in the extensive project was also his friend Jan Čert from Brno and lately from Vienna. His noble genealogy played a significant role in history of Silesia and Moravia for centuries. It is tendency to consider him as Austrian or even German architect. It is because of the fact that the genealogy tree of his noble family had roots in Moravia. It is supposed that Durer with Jan Čert´s support created the extraordinarily monumental architectural and urban works in Brno. A remarkable consensus in the urban composition of two squares and transition of traditional urban structure of Ostravice Civitas Dei into the modern Brno is also confirmed due to the identification of noble creators and owners, who were at the foundation, transformation and extinction of elements of the Moravian urban structure.