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[ES] La presente tesis es desarrollo de una investigación sobre promociones residenciales del siglo XX surgidas como parte de un centro de producción industrial privado, inmersas en un proceso de in- dustrialización creciente y en el marco de una estructura de capitalismo paternalista. La investigación se centraba en las comarcas de la Plana y en concreto en la empresa Segarra. En la fase de establecer la contextualización internacional del fenómeno, se descubrió un caso con una profundidad teórica y pragmática mucho mayor que aconsejó centrar en él los objetivos. Un caso absolutamente paralelo, no solo en la trayectoria sino también en los métodos e incluso en el mismo sector productivo preferente: el calzado. Se trata de la empresa de calzados Bat'a, nacida en el seno del desaparecido Imperio austrohúngaro y desarrollada mayoritariamente en el tiempo político de la antigua República Checoslovaca. Este centro de producción, propiedad de la familia que encabezaba Tomáš Bat'a , desarrolló un interesan- te programa residencial alrededor de lo que fue su sede inicial, la ciudad morava de Zlín. Y consiguió expandir en su fase de desarrollo este modelo de asentamiento coordinado entre residencia e indus- tria por otros puntos de Europa e incluso del mundo. El sucesor forzoso de Tomáš en la dirección, su hermano Jan Antonín, requirió durante un breve período de tiempo de los servicios del estudio parisino de Pierre Jeanneret y Le Corbusier. Fue este último quien llevó la interlocución con la empresa y quien se desplazó para atender las diferentes demandas y ofrecer sus frustradas propuestas. La tesis consiste en describir y contextualizar la labor de la empresa Bat'a dentro de la cultura europea y checoslovaca de entreguerras tanto en la dimensión fabril (Puntos de producción), en la construcción de viviendas y equipamientos (Puntos de reposición) así como en lugares de venta (Puntos de distribución); todos ellos proyectados por arquitectos formados en la Escuela de Arquitectura de Viena y conectados activamente con el racionalismo checo. Consiste también, sobre todo, en identificar especialmente el bienio 1935 1936, los años de contacto entre el industrial y el estudio, analizando exhaustivamente los trabajos realizados por este para la firma Bat'a, insertándolos dentro del conjunto de los desarrollados por Jeanneret y Le Corbusier en este período de tiempo. Quiere ser una descripción exhaustiva y crítica, significando adicionalmente algunos trabajos de este período muy poco estudiados,¿e incluso ignorados¿ por la crítica arquitectónica especializada. Incluye también algunas restituciones infográficas de los proyectos realizados para Bat'a. / [EN] Abstract This thesis arises as a consequence of research on 20th century residential developments, conceived as part of a private production center, within a process of increasing industrialization and in the framework of paternalistic capitalism. The focus of investigation was La Plana region, specifically the Segarra Company. A case of greater theoretical and pragmatic depth was discovered in the phase of international contextualization of the phenomenon; and we decided to focus on it. A completely parallel case, not only in its trajectory but also in the methods, coinciding in the same main productive sector: footwear. It is the Bat'a shoe company, born in the heart of disappeared Austro Hungarian Empire and developed mainly in the political time of the former Czechoslovak Republic. This production center, owned by the family head Tomáš Bat'a, developed an interesting residential program around what was its initial headquarters, the Moravian city of Zlín. And it managed to expand in its development phase this model of settlement coordinated between residence and industry in other parts of Europe and even in the world. Tomáš forced successor at the management, his brother Jan Antonín, required for a short period of time the services of the Parisian studio of Pierre Jeanneret and Le Corbusier. It was the latter who led the dialogue with the company and who went to meet the different demands and offer their frustrated proposals. The thesis consists in describing and contextualizing the work of the company Bat'a within the European and Czechoslovak culture of the interwar period, both in the manufacturing dimension (Production points), in the construction of housing and equipment (Replacement points) as well as sales outlets (distribution points); all of them designed by architects trained at the Vienna School of Architecture and actively connected with Czech rationalism. It consists also, above all, in identifying especially the biennium 1935 1936, the years of contact between the industrialist and the study, analyzing exhaustively the works carried out by this for the firm Bat'a, inserting them into the set developed by Jeanneret and Le Corbusier in this period of time. It wants to be an exhaustive and critical description, meaning additionally some works of this period little studied, and even ignored, by specialized architectural criticism. It also includes some infographic refunds of the projects carried out for Bat'a. / [CA] La present tesi és el desenvolupament d'una investigació al voltant de promocions residencials del segle XX, sorgides com a part d'un centre de producció industrial privat, immerses en un procés de industrialització creixent i en el marc d'una estructura de capitalisme paternalista. La investigació se centrava en les comarques de la Plana i, concretament, a l'empresa Segarra. Establint la contextualització internacional del fenomen, es va descobrir un cas que comptava amb una profunditat teòrica i pragmàtica molt més intensa, el que va aconsellar centrar en aquest els objectius. És un cas absolutament paral¿lel, no solament en la trajectòria sinó també en els mètodes i inclús en el mateix sector productiu preferent: el calçat. Es tracta de l'empresa de calcers Bat'a, nascuda al si del desaparegut Imperi austrohongarès i desenvolupada majoritàriament en el temps polític de la antiga República txecoslovaca. Aquest centre de producció, propietat de la família que encapçalava Tomáš Bat'a , generà un interessant programa residencial al voltant del que va ser la seua seu inicial, la ciutat moraviana de Zlín. I aconseguí expandir en la seua fase de creixement aquest model d'assentament coordinat entre residència i indústria per altres punts d'Europa i àdhuc del món. El successor forçós de Tomáš en la direcció, el seu germà Jan Antonín, requerí durant un breu període de temps dels serveis de l'estudi parisenc de Pierre Jeanneret y Le Corbusier. Fou aquest darrer qui portà endavant la interlocució amb l'empresa i qui es desplaçà per atendre les diferents demandes i oferir les seues frustrades propostes. La tesi consisteix a descriure i contextualitzar la labor de l'empresa Bat'a dins de la cultura europea i txecoslovaca d'entreguerres, tant en la dimensió fabril (Punts de producció), en la construcció de habitatges i equipaments (Punts de reposició) com en llocs de venda (Punts de distribució); tots aquestos projectats per arquitectes formats a l'Escola d'Arquitectura de Viena i connectats activa- ment amb el racionalisme txec. Consisteix així mateix, sobretot, a identificar especialment el bienni 1935 1936, els anys de con- tacte entre l'industrial i l'estudi, analitzant exhaustivament els treballs realitzats per aquest destinats a la firma Bat'a, inserint-los dins del conjunt dels elaborats per Jeanneret i Le Corbusier en aquest període de temps. Pretén ser una descripció exhaustiva i crítica significant, a més a més, alguns treballs d'aquest interval molt poc estudiats ¿i fins i tot ignorats¿ per la crítica arquitectònica es- pecialitzada. Inclou, també, algunes restitucions de infografia dels projectes realitzats per a Bat'a / Prior Y Llombart, J. (2020). Un cliente y un arquitecto: Jan Antonin Bat'a y Le Corbusier [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/149402 / TESIS

Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm.  Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan?   Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet?    Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö.      Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen      Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse.  Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.

SANTOS, Elis Denise Lélis. Uma leitura de mão dupla: leituras e influências na poesia de João Cabral de Melo Neto. 2008. 86f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2008. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T13:06:22Z No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-23T12:27:15Z (GMT) No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) / Made available in DSpace on 2012-07-23T12:27:15Z (GMT). No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) Previous issue date: 2008 / The goal of our work is to investigate the influences reading from the poet Joao Cabral de Melo Neto and possible overruns through the conquest of a unique style. Contextualizaremos the production of literary and intellectual author, working with the "field", "context" and "paratopia" based on readings of The rules of art (1996), Pierre Bourdieu and The context of literary work (2001), Dominique Maingueneau, respectively. Abordaremos the influences received by the poet in the literature and other fields such as visual arts, architecture, mathematics, philosophy and the different places where resided and the travel he has done. Use the categories "influence" and "overrun", systematized by the American literary critic Harold Bloom works in The anguish of influence (1991) and A map of desleitura (2003). So with the idea of overcoming, we want to examine The work Education by stone (1966) which marks the poetry of John Cabral a more mature by their experiences with the language. First, we will see the context of production in prose and verse of the author. Then mapeamos their influences, and a third time, investigate how the poet surpassed, building an individual and own poetic. / O objetivo de nosso trabalho é investigar as influências de leitura do poeta João Cabral de Melo Neto e a possível superação através da conquista de um estilo próprio. Contextualizaremos a produção literária e intelectual do autor, trabalhando com as categorias de “campo”, “contexto” e “paratopia”, com base nas leituras de As regras da arte (1996), de Pierre Bourdieu e O contexto da obra literária (2001), de Dominique Maingueneau, respectivamente. Abordaremos as influências recebidas pelo poeta na literatura e de outros campos como o das artes plásticas, da arquitetura, da matemática, da filosofia e dos diferentes lugares em que residiu e das viagens que realizou. Utilizaremos as categorias “influência” e “superação”, sistematizadas pelo crítico literário americano Harold Bloom nas obras A angústia da influência (1991) e Um mapa da desleitura (2003). Assim, com a idéia de superação, pretendemos analisar a obra A educação pela pedra (1966) que marca a poética de um João Cabral mais amadurecido por suas experiências com a linguagem. Primeiro, veremos o contexto da produção em prosa e verso do autor. Em seguida, mapearemos suas influências e, em um terceiro momento, investigaremos como o poeta as superou , construindo uma poética própria e individual.

This thesis uses the lens of building technology to examine cultural exchange and its relationship to the building crafts. By focusing on masonry vaulting in India, my research brings together two worlds – one that shines light on the variety of innovative masonry shell construction techniques that exist in the county and another that seeks to evaluate the scope of tile vaulting, an over 600-year old Mediterranean building technique, within India’s evolving building crafts culture. This thesis is organized in three parts: PART ONE Tile Vaulting and Relevance Today | A Brief History of Masonry Shells in India Part one introduces tile vaulting’s unique principles compared to other vaulting traditions while contextualizing its relevance to present day India. A survey of varied masonry vaulting techniques and modules, endemic and imported, practiced across India is presented against the backdrop of what is a predominantly reinforced concrete-based construction industry. PART TWO Modules, Methods and Motivations The second part of this research comprises case studies that include some of India’s most iconic buildings such as the Villa Sarabhai by Le Corbusier, the National Institute of Design by Gautam Sarabhai and Sangath by B.V. Doshi, each of which employed innovative construction techniques for its vaults. The production and use of the enigmatic ceramic fuses in India is examined for the first time alongside their indigenous cousins: burnt clay tubes. Together with Muzaffarnagar vaulting, the case studies reveal cultural motivations for architectural expression and production in postcolonial India. PART THREE Prototypes | Comparatives | Limitations & Extension of Research Part three presents five tile vaulting prototypes in India constructed with local artisans to gain understanding of its cultural reception, assess effective transfer of skills and potential internalisation. Recommendations for tile vaulting’s potential uptake into mainstream architectural production is evaluated by comparing findings against prevalent building methods and by contextualizing current architectural trends and social policy. Limitations and scope for extension of research are also discussed.

This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.

This thesis explores the architecture, interior design and furniture design of Greta Magnusson Grossman (1906-1999), a pioneering Swedish Modernist who emigrated to the United States in 1940 and became part of the design movement California Modern in Los Angeles. Despite a productive and acclaimed career, her work was more or less forgotten until rediscovered in the early 2000’s.In this thesis, Greta Magnusson Grossman’s broader context is understood through literature studies of the 1930 Stockholm Exhibition, the introduction of Swedish Modern at the 1939 New York World’s Fair, the postwar design movement California Modern, and the International Competition for Low-Cost Furniture Design organized by the Museum of Modern Art in New York in 1948. Similar needs for well designed, low cost housing and furniture in the two countries are found.To further examine the work of Magnusson Grossman, her 1949 residence at Waynecrest Drive in Los Angeles is visually analyzed and compared with contemporary Case Study House #8 by American design couple Charles and Ray Eames from 1949, and Swedish furniture designer and architect Bruno Mathsson’s Exhibition Hall from 1950. Several correlations between the three environments are identified, and confirms Greta Magnusson Grossman’s progressive contributions in the fields of architecture, interiors and furniture design.

The doctoral thesis is concentrated on housing as selected manner to convert the released textile factories. In the first part was attention given to history which confirmed the high recovery factor of Brno´s industrial past to reuse. Next part was focused on analysis of the XXth century forms of collective housing, especially the loft housing, to characterize the perspective habitation in selected factories. Finally was the contemporary housing observed through three specific aspects to aim the conversion of Brno´s textile factories.