Renaissance arcades typology of royal architectural works in Bohemia around 1550 A.D. Kostelec nad Černými Lesy, Poděbrady, Brandýs nad Labem. Chateaux owned by ruler Ferdinand I. and situated outside of Prague served as a hunting residences. The buildings became king's property in the 1540th . Various reasons for rebuilding led to conversion from gothic castles to comfortable renaissance chateaux. Renaissance appearance of chateaux with an emphasis on the form of courtyards and arcade's corridors are the main topic of this thesis. Types of arcades are examined on three selected buildings, chateaux in Brandýs nad Labem, Kostelec nad Černými Lesy and Poděbrady. For entire overview of morphology used in renaissance arcades passages it is important to point out noble mansions in whose courts the arcade's corridors were used as well. This thesis specifically attempts to bring the analogy to the selected buildings in the Czech environment and also in foreign countries. The examples in the treatises and the inspiration for certain types of arcades from Antique to the Renaissance period are also reminded.

The purpose of the urban design is to solve the traffic problems of the area and design new parts of the Main Railway Station, with a program of accompanying functions connected with the use of the water element of the Morava River. The proposal involves join the train and bus stations to one separate building located at the historic train station. Nearby is the proposed modular marketplace, train museum and café.

Made available in DSpace on 2016-04-04T18:21:27Z (GMT). No. of bitstreams: 1 giuliano Orsi.pdf: 7189306 bytes, checksum: 3e27811820390e84e5233583a48ed37c (MD5) Previous issue date: 2006-03-27 / Universidade Estadual Paulista J?lio de Mesquita Filho / This work intends to analyze the role played for the arcades in the constitution of the urbanity of the central area of Juiz de Fora. The case in question if becomes sufficiently significant for perceives that it inside presents as particular of the current Brazilian urban reality - while the majority of average cities of the country tries process of urban decentralization, in that city the process is another one: each time more the center accumulates, it diversifies e, for consequence, it becomes more important before the remain of the city. The research, therefore, intends to analyze the transformations of the downtown urban net understood by the central triangle conformed by the three main avenues of the city. This region was focused at three historical moments: First, the analysis approaches the constitution of the urban nucleus, from the transformation of important roads of the period of the Empire in the main avenues of the area in question. The second part privileges the modifications of the central public mesh with the advent and proliferation of the arcades, over all enters the decades of 1950 and 1990, that they had been consolidated as specific traces of the urbanity of Juiz de Fora. Finally, the study concentrates in the current period, analyzing the aesthetic alterations printed to the net of arcades, which would confer to the center of the city a new appearance. / A disserta??o tem por objetivo analisar o papel desempenhado pelas galerias na constitui??o da urbanidade da ?rea central de Juiz de Fora. O caso em quest?o se torna bastante significativo por percebemos que ele se apresenta como particular dentro da atual realidade urbana brasileira enquanto a maioria de cidades m?dias do pa?s experimenta processo de descentraliza??o urbana, naquela cidade o processo ? outro: cada vez mais o centro se adensa, se diversifica e, por conseq??ncia, se torna mais importante perante o restante do munic?pio. A pesquisa, portanto, teve por objetivo analisar as transforma??es do tra?ado urbano do centro da cidade compreendido pelo tri?ngulo central conformado pelas tr?s principais avenidas da cidade. Esta regi?o foi enfocada em tr?s momentos hist?ricos: Primeiramente, a an?lise aborda a constitui??o do n?cleo urbano, a partir da transforma??o de importantes estradas do per?odo do Imp?rio nas principais avenidas perimetrais da ?rea em quest?o. A segunda parte privilegia as modifica??es da malha p?blica central com o advento e prolifera??o das galerias comerciais, sobretudo entre as d?cadas de 1950 e 1990, que se consolidaram como tra?os espec?ficos da urbanidade de Juiz de Fora. E, por fim, o estudo se concentra no per?odo atual, analisando as perman?ncias de caracter?sticas tradicionais e as altera??es est?ticas impressas ? rede de galerias, as quais confeririam ao centro da cidade uma nova fei??o.

Made available in DSpace on 2016-04-16T00:15:06Z (GMT). No. of bitstreams: 10 Joana Sarue Machado1.pdf: 2875375 bytes, checksum: 2ea6c80845c2b2b37a16cc724a0ce5d4 (MD5) Joana Sarue Machado2.pdf: 2543694 bytes, checksum: 083f88bc0bb56116f012a32f804c3e73 (MD5) Joana Sarue Machado3.pdf: 2926003 bytes, checksum: b8bfb7a6c30c807c852693174d6df562 (MD5) Joana Sarue Machado4.pdf: 2151609 bytes, checksum: 964268b5fcb59519c0bea520a5381fb9 (MD5) Joana Sarue Machado5.pdf: 2352007 bytes, checksum: 30ec435dc0f20406cde01b94c9f7342e (MD5) Joana Sarue Machado6.pdf: 2661126 bytes, checksum: c6186df18e1b2fa050ca9ad1a0eaf00c (MD5) Joana Sarue Machado7.pdf: 1296493 bytes, checksum: 3045b81f4f754d33e02c1d4a04a8a270 (MD5) Joana Sarue Machado8.pdf: 1272144 bytes, checksum: 40f6d41246f5f528c8effa6cafd8ca13 (MD5) Joana Sarue Machado9.pdf: 952078 bytes, checksum: 76ec475c2d33af8a93800a235b572f19 (MD5) Joana Sarue Machado10.pdf: 239653 bytes, checksum: 85893339f0227b78630cddfaf99dbc0e (MD5) Previous issue date: 2008-08-13 / Analysing the ancient spaces designed for commerce in the history of civilisation it is possible notice that such places were not just used for the exchange of goods, but were also a place for meeting and for public life of citizens, as was the case of the Arabian bazaar, the Greek ágora and the Paris markets. This use of public space for commerce will undergo great changes after the Industrial Revolution, when products began to be produced in large scale and when population as a whole started to have access to the the places that sold these goods. It is the time of the appearance of big department stores and commercial arcades. Arcades, also called passages, first appeared in Paris, in the end of the 19th century, and spred throughout the world, modifying the relations between public and private in the urban space of cities. Being a private facility, accessible to the public in general, it was possible to browse through it without buying something. Differently from indoor shopping centres these spaces related in a more open way with the city, without visible barriers between public, private or semi-private spaces. In São Paulo commercial arcades appeared in the 20th century, following the Frnech idea of increasing the "profitable" areas of buildings. Most of them exist up to now and are located downtown. With their uses focused on commerce, many of them have specialised in one type of product. They are still used as passages by pedestrians who only wish to cross blocks through their interior. This research aims to analyse some of these places from the point of view of the relation established between public and private spaces taking into consideration the access, internal circulation and other important items in the project of each one of these arcades. / Ao analisar os antigos espaços destinados ao comércio na história da civilização mundial pode-se notar que esses locais não só se destinavam à troca de mercadorias excedentes, mas também funcionavam como lugar do encontro e da vida pública dos cidadãos, como era o caso do bazaar árabe, da ágora grega e dos mercados de Paris. Este uso do espaço público para o comércio irá sofrer grandes modificações com a Revolução Industrial, quando as mercadorias passaram a ser produzidas em grande escala e a população como um todo passou a ter acesso ao local de venda destes produtos. É a época do surgimento das grandes lojas de departamento e das galerias comerciais. As galerias, também chamadas de passagens, surgiram em Paris, no século XIX e se espalharam pelo mundo, modificando as relações entre público e privado no espaço urbano das cidades. Por ser um espaço privado, acessível ao público em geral, pôde-se transitar nele sem que a necessidade de consumir algo. Diferentemente dos centros de compras fechados, estes espaços se relacionavam de forma mais aberta com a cidade, sem barreiras tão definidas entre os espaços públicos e privados ou semi-privados. Em São Paulo as galerias comerciais surgiram no século XX, tendo como base a idéia francesa e com a intenção de aumentar as áreas "rentáveis" dos edifícios. A grande maioria delas existe até hoje e está localizada no Centro Novo da cidade. Com seus usos destinados ao comércio e serviços, muitas delas acabaram por se especializar em algum tipo de produto. São utilizadas também como passagem para os pedestres que querem apenas cruzar as quadras através de seu interior.Esta pesquisa visa a análise de alguns destes lugares, do ponto de vista da relação que estabelecem entre os espaços público e privado, levando em conta os acessos, circulação interna e outros pontos importantes do projeto de cada uma dessas galerias.

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Annotation Old Brno - City instead of factory The project deals with partially and untimely used area in Brno - city district Old Brno. The main goal of the project is to offer a valuable alternateve to living in the central part of the city. Raise Brno image of modern developing city. Raise Brno image of great place to live and prevent non-conceptual growing of the city to periphery. The new design creates compact city part with commercial areas and shopping arcades. The new city part will get an appearance of an historically grown city. Building tradition of compact city urban structures lasts for many centuries not only in czech cities.

"The word Type represents not so much the image of a thing to be copied or perfectly imitated as the idea of an element that must itself serve as a rule for the Model... The Model, understood in terms of the practical execution of art, is an object that must be repeated such as it is; Type on the contrary, is an object (an idea) according to which one can conceive works that do not resemble one another at all. Everything is precise and given in the Model; everything is more or less vague in the Type." (Quatremere de Quincy, 1832) "The rustic hut ... is the model on which all the magnificent achievements of Architecture have been imagined. It is by moving closer, in the execution of work, to the simplicity of this first model that we avoid the essential defects and attain the true perfections ...It is the essential parts which contain all the beauties ... " (M.-A. Laugier, 1755) / Master of Architecture

Indiana University-Purdue University Indianapolis (IUPUI) / Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.