The area of the former barracks lies near Sokolnice falling into the periphery of Brno. It is a picturesque village that has a rich history. The barracks are located on a hill called Stará hora, there are several cadastral areas. Near the building, we can find a radar that manages the nearby Brno airport, or the Peace Mound built on the Prateck Hill, soldiers fall to remembrance. The design principle was based on the given operation and its related functions. Dining room, rehabilitation, barber, pedicure, buffet and, last but not least, a multifunctional hall with a small library. The destruction of the unnecessary transformer station and the replenishment of the mass was a logical solution to the situation. It is an assembled reinforced concrete frame 8x8m. Inside the half-block we find a terrace with a pool, which is trying to create a specific microclimate and humidify the surroundings. The pool also serves as a retention tank and the house effectively manages rainwater. Within the lifetime, because of the corrosion of reinforced concrete and the unclear condition of the structure, I designed the exterior cladding to demolish and build a new cladding, a brick made of ceramic blocks. The house is designed in a minimalist spirit and cooperates with the greenery in its surroundings. Especially in long-distance views of integration into the landscape, this greenery is valued. The spirit of place in heavy air bears a strange whiff of dragging death that, when thinking about the history of a place, froze and freezes ... so perhaps while resting before the last journey ... that house discourages and breathes a little life into dying ...

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Le peintre, soldat et mémorialiste Louis-François Lejeune (1775-1848) entendait faire de son corpus de peintures de bataille et de ses Souvenirs d’un officier de l’Empire (1851) des témoignages historiques de la période napoléonienne, destinés à la postérité. Or, cette conjugaison entre peintures et mémoires renvoie aussi à la dualité médiale de la propagande napoléonienne, qui diffuse un récit unique des événements militaires à l’aide d’organes d’information inédits tels que les Bulletins de la Grande Armée. Ce récit, déjà médiatisé comme étant historique, est repris en images par le mécénat impérial. Ce mémoire vise à démontrer comment Lejeune contribue à ce récit historicisant, d’abord à un niveau individuel en construisant son identité par rapport à sa participation aux guerres napoléoniennes, puis aussi à un niveau étatique. Son Bivouac d’Austerlitz, présenté au Salon de 1808, est une commande du gouvernement. Il sera question de la façon dont ce tableau de Lejeune s’insère d’abord dans sa carrière, ensuite dans son corpus de peintures de bataille, puis finalement dans le récit napoléonien sur Austerlitz. La forme épisodique du tableau, empruntée à la ligne narrative du 30e bulletin de la Grande Armée, où Napoléon rapporte la victoire d’Austerlitz, peut s’expliquer par la complémentarité voulue entre récit textuel et visuel. Ce tableau contribue ainsi à la construction historique de la bataille. Au milieu des transformations profondes du monde académique et de la hiérarchie des genres, la dualité peintre-soldat de Lejeune répond en tous points à la vocation historique attribuée à la peinture sous Napoléon. / Painter, soldier, and memorialist Louis-François Lejeune (1775-1848) conceived his battle paintings and his memoirs, Souvenirs d’un officier de l’Empire (1851), as historical testimonies of the Napoleonic period, destined for posterity. This twinning of paintings and memoirs mirrors the duality of Napoleonic propaganda as a whole, which disseminates a single version of military events with the help of unprecedented information tools such as the Bulletins de la Grande Armée. This written narrative, already thought of as historical, is picked up again in the paintings commissioned by the government. This master’s thesis argues that Lejeune contributes in a unique way to this historical narrative, first at an individual level by constructing his identity from his participation in the Napoleonic wars, and also at a state level. His Bivouac d’Austerlitz, presented at the 1808 Salon, was commissioned by the government as part of a larger order. It is shown that this painting fits first into Lejeune’s career, then into his cycle of battle paintings, and finally into the narrative of Austerlitz that Napoleon himself promoted. The episodic form of this painting can be explained by the deliberate pairing of written and pictorial narratives, which borrows from the 30th bulletin de la Grande Armée where Napoleon recounts the victory at Austerlitz. This painting thus contributes to the historical construction of the battle. As deep transformations threatened the academic genre hierarchy at the turn of the nineteenth century, the duality of Lejeune’s persona as soldier and painter helped promote the historical function given to paintings under Napoleon.