Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 91-97). Also available in electronic format on the Internet.

Konformen har tidigare under arkitekturhistorien ofta använts för att skapa rum enligt en cellulär logik. Projektet ämnar ompröva användandet av konformen för att organisera rum, i det här fallet applicerat på en konsthall i Solna, genom att gå utanför enbart ett repetitivt arrangemang av vertikala koniska moduler för att uppnå en variation av skalor och riktningar som spänner från stora horisontella koniska rum till mer intima småskaliga vertikala rumsbildningar. Rummen skapas genom en adderande process där koner genomskärs med varandra och med plana element som adderas i operationen. Detta tillåter på så sätt en samexistens av två olika rumsliga logiker vilket leder till en komplex och tillåtande arkitektur som kan svara mot behoven i programmet och som även lyfter fram och förstärker formen hos byggnaden. Projektet utforskar även möjligheterna med att använda konen i egenskap av att vara en enkelkrökt yta och dess betydelse för digital modellering, ritningar och konstruktion. / The cone in architecture has often been used to shape and generate space with a cellular structural logic. This project reconsiders the use of the cone for organizing space, in this case applied on an Art Centre in Solna, going beyond the mere repetitive logic of conic modules, to allow for a variety of scales and directions, ranging from large span horizontal conic spaces to more intimate smaller scaled vertical conic rooms. The spaces are created through an additive process of intersecting cones with planar elements added into the operation, thus allowing the coexistence of two spatial logics, leading towards a manifold and allowing architecture that can handle the requirements of the program and that reinforces the perception of the shape. The project also explores the possibilities of the cone as a single curved unfoldable surface and it’s implications on digital model making, drawing and physical construction.

Fragmented and heterogenous space of Mariánské náměstí needs a new unifying element that will not compete with its surroundings, and yet not blindly respectful. It will simply stand there and in time become a natural part of the area. Rough massive volumes with minimum of windows boldly face surrounding urban blocks. Its dynamic facades emphasize the opennes and chaos of the area. Rough raw boulders with single elegant crystal inserted amongst them. Like a diamond amongst coal. It is interconnected through bridges. People and life flows through the whole structure.

České Budějovice struggles with unsuitable spaces for the Theatre and the Philharmonic. It is also confronted with urbanistic challenges of underused public spaces. This diploma thesis sets out to remedy these challenges and offer a possible solution through the design of Platform of live arts – opera and philharmonic halls at Mariánské náměstí. I approach this problematic area with an effort of creating a distinctive feature, that propagates new spatial relationships and changes the existing perception of space. The center of gravity, two performance halls, are placed in the utmost tip of the plot in confrontation with historical skyline of the old city. Counterweight of this expansive volume is a park, theatrical gardens at the opposite and. The idea is to preserve quality free space around which similar institutions might find their place in the future, thus creating a cultural oasis.

This dissertation critically evaluates the intersections of tourism, heritage conservation, and visual communication by exploring the display materials and Museology within the Didima Rock Art Centre, at Cathedral Peak, southern Drakensberg, KwaZulu-Natal. The text consists of three chapters. The first chapter introduces rock art and current research and conservation concerns in relation to heritage and rock art. The second chapter serves as an introduction to the Didima Rock Art Centre. A discussion raises important issues about visual communication in regard to the representation of the Southern San and rock art as material culture both in this museum context. Chapter three investigates and analyses the museum practices that have been used as a visual communication within the Centre by discussing methods that have been used in the museum and its auditorium. A conclusion follows that summarizes the candidate's findings regarding museum display within the Centre, and its impact on tourism and heritage conservation in relation to the Southern San and rock art. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.