El presente trabajo de investigación se realizó con el objetivo de confirmar si existe una relación entre las características del eWOM, imagen de marca y la intención de compra de los millennials en las principales tiendas por departamento online. La metodología incluyó una investigación de tipo cualitativa y cuantitativa, con un muestreo no probabilístico por conveniencia. En primera instancia, se realizó un focus group como herramienta de investigación cualitativa, para conocer el comportamiento de los millennials en el e-commerce y el boca – oído electrónico. Luego, como instrumento de investigación cuantitativa, se aplicaron 339 encuestas para analizar la relación entre las variables de estudio. En el primer capítulo, se presentará el marco teórico, donde definimos las principales variables de estudio: el eWOM, la intención de compra y la imagen de marca. Así mismo, se analizarán los papers consultados para la elaboración del estudio y sus principales hallazgos de investigación. En el segundo capítulo, presentaremos las hipótesis, objetivos y determinaremos la problemática del estudio. Mientras que en el tercer capítulo hablaremos de la metodología, detallando el tipo de investigación, la operalización de las variables de estudio, el proceso de muestreo y los instrumentos metodológicos para el recojo de investigación. En el cuarto y quinto capítulo se analizarán los resultados de la investigación, junto a los análisis estadísticos, como el coeficiente de correlación de Spearman, y se realizará una comparativa entre los resultados y la teoría dentro de los papers de referencia. Por último, se brindarán las conclusiones y recomendaciones de la investigación. / The objective of the present study was to discover the impact of eWOM on the purchase intention of the millennial consumer towards the main online department stores. The methodology included a qualitative and quantitative research, with a convenience non-probability sample. In first place, we perform a focus group, as a qualitative research tool, to learn about the behavior of young millennials in the peruvian e-commerce, and their relationship with eWOM. After that, we used an online survey as a quantitative research instrument, that was applied to 339 users with the objective to verify the relationship between eWOM, brand image and purchase intention. In the first chapter, we’ll study the theoretical framework, where the variables of eWOM, purchase intention and brand image are defined; and the research findings of papers consulted for the investigation. In the second chapter, we’ll present the hypotheses, objectives and the study problems. While, in the third chapter, we’ll talk about the methodology used, the operationalization of the main variables, the sampling process and the methodological instruments for research. In the fourth and fifth chapter, the results of the investigation will be analyzed using statistical systems such as the Spearman Correlation Coefficient. Also, we´ll see a comparison of the results with the theory and the conclusions and final recommendations of the investigation. / Tesis

Les Grands Magasins du Louvre naissent en 1855 à l’ombre du Grand Hôtel du Louvre, dans un quartier en expansion suite aux travaux de Haussmann, deux ans seulement après la création du Bon Marché. Leur création est fortement liée au projet et au réseau des frères Pereire qui souhaitent développer le commerce et le tourisme de luxe à Paris. Les Grands Magasins du Louvre s’imposent rapidement comme l’un des principaux grands magasins, voire même le plus important par le chiffre d’affaires dans les années 1870-1880, ainsi que par l’espace occupé. En effet, d’abord enclavé par l’hôtel, le magasin conduit par ses deux gérants, Chauchard et Hériot, va engloutir toutes les boutiques environnantes, et s’emparer de l’hôtel en 1875. Ils adoptent ainsi le slogan les « plus vastes magasins du monde ». Ce premier pied dans l’hôtellerie va inciter ses dirigeants à poursuivre leur expansion dans ce domaine en exploitant trois hôtels supplémentaires, le Terminus Saint-Lazare, l’hôtel d’Orsay et le Crillon. Les Grands Magasins du Louvre sera donc le seul grand magasin à avoir investi dans un autre secteur que le commerce pour diversifier ses activités. A la fin du XIXème siècle, le magasin semble connaître son apogée étendant son influence sur le territoire national comme à l’étranger et s’approvisionnant en marchandises du monde entier. Mais la Première Guerre mondiale et surtout la crise économique des années 1930 lui porte un coup dur dont il ne se relèvera pas. En 1939 il dépose une première fois le bilan, avant que cette fermeture soit interrompue par la guerre. Il continuera à survivre après le Second conflit mondial, avant de disparaître définitivement en 1974. / The Grands Magasins du Louvre was born in 1855 in the shadow of the Grand Hôtel du Louvre, in an expanding area following the works of Haussmann, only two years after the creation of the Bon Marché. Their creation is strongly linked to the project and the network of the Pereire brothers who wish to develop trade and luxury tourism in Paris. Louvre shops are quickly becoming one of the leading department stores, and even the most important by turnover in the 1870s and 1880s, as well as occupied space. Indeed, at first locked by the hotel, the store led by its two managers Chauchard and Hériot will engulf all the surrounding shops, as well as the hotel in 1879. They adopt the slogan of "the largest stores in the world". This first foot in the hotel industry will encourage its leaders to continue their expansion in this area by operating three additional hotels, the Terminus Saint-Lazare, the hotel d'Orsay and Crillon. The Grands Magasins du Louvre will therefore be the only department store to have invested in a sector other than commerce to diversify its activities. At the end of the nineteenth century, the store seems to know its heyday extending its influence on the national territory and abroad and sourcing goods from around the world. But the First World War and especially the economic crisis of the 1930s brought him a hard blow which he will not recover. In 1939 it first filed the balance sheet, before the closure was interrupted by the war. It will continue to survive after the Second World War, before finally disappearing in 1974.

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Purpose: The purpose of this study is to examine how a company with a single brand is perceived as uniform, as well as how they use internal brand building to reconcile various competing actors within one brand. Furthermore the aim is to examine how staff, through internal brand building processes, perceives and identifies themself with the values of the common brand. Method: A case study with method triangulation was conducted at Nordiska Kompaniet department store in Stockholm. Quantitative data through a questionnaire survey with employees combined with two observations. Qualitative data was given through an email interview with a responsible manager of digital channels and PR from NK AB. Theories: This study has used the following theories; Destination marketing, Corporate brand, internal branding, corporate identity, corporate culture, brand value, service brand values, brand citizenship behaviour. Conclusion: This case study of NK has shown that internal branding building in a department store is a comprehensive work, which all involved must have a unified perception and understanding of the brand, in order to successful unite under one brand. Internal brand building is done primarily to employees through various recurrent trainings and meetings, with the purpose to create behaviour consistent with the brand values. However, there is a lack of communication since staff did not correctly perceive and understand the actual brand values. This results in that staff identify with incorrect values, which means that they have a brand citizenship behaviour that is not consistent with the brand values. / Syfte: Syftet med studien är att undersöka hur ett företag med ett gemensamt varumärke uppfattas som enhetligt, samt hur de använder intern varumärkesuppbyggnad för att förena olika konkurrerande aktörer under ett varumärke. Syftet är således att undersöka hur personalen med hjälp av intern varumärkesuppbyggnad, uppfattar och identifierar sig med det gemensamma varumärkets värden. Metod: En metodtriangulering genomfördes på Nordiska Kompaniet i Stockholm. Kvantitativ data gavs genom en enkätundersökning med anställda kombinerat med två observationer. Kvalitativa ansatsen var genom en e-post intervju med ansvarig chef för PR och digitala kanaler på NK AB. Teori: Studien har använt följande teorier; Destinationsmarknadsföring, företagsvarumärke, intern varumärkesuppbyggnad, företagsidentitet, företagskultur, varumärkesvärden, servicevarumärkets värden samt varumärkesorienterade beteende. Slutsats: Fallstudien på Nordiska Kompaniet har visat att intern varumärkesuppbyggnad i ett varuhus är ett omfattande arbete, där alla inblandade måste ha en enhetlig uppfattning och förståelse av varumärket, för att de framgångsrikt ska förenas under ett varumärke. Intern varumärkesuppbyggnad sker framförallt till anställda genom olika återkommande utbildningar och möten, för att således skapa ett beteende förenligt med varumärkets värden.  Däremot finns en brist i kommunikationen när personalen inte korrekt uppfattar och förstår varumärkets faktiska värden. Det leder till att personalen identifiera sig med felaktiga värden. Vilket gör att de uppvisar ett varumärkesorienterande beteende som inte är förenligt med varumärkets värden.

The diploma thesis deals with construction technological project of department store in Mohelnice town – hypermarket Kaufland. It compiles in detail the most optimal proposal of technological construction process, working machinery, traffic proposal for transport, construction site equipment, schedule of work, inspection and test plan, safety of work, environment, and finally costing including bill of quantities etc. The thesis deals specifically main building object SO04, object of hypermarket, which is consisted of prefabricated reinforced concrete skeleton of single-storey building. I focus primarily on realization of gross building.

Cette thèse étudie la place des Galeries Lafayette dans l’échange marchand entre l’offre et la demande, au cœur du système de la mode. Elle réévalue le rôle de la distribution en général et du grand magasin en particulier comme intermédiaire créateur de valeur dans la relation entre le producteur et le consommateur. Au tournant du XXe siècle, sur le marché de la nouveauté et le segment émergent de la confection, l’enseigne répond aux attentes des consommateurs qui cherchent à se distinguer et se différencier en suivant de près les phénomènes de mode. Alors que les maisons de couture exercent un monopole sur les tendances, et limitent leur diffusion en France à un cercle de clientes privilégiées, les Galeries Lafayette ont fait « entrer la mode dans le grand magasin ». Elles fabriquent et vendent sous leur propre marque des modèles inspirés de ceux des couturiers. Cette appropriation efficace de la création construit la légitimité de l’entreprise en tant qu'intermédiaire ainsi que le pouvoir prescripteur de la marque sur le marché de la mode. Elle fait aussi des Galeries Lafayette un acteur de l’économie de la contrefaçon, au centre des enjeux de l’industrie du vêtement dans l’entre-deux-guerres. La thèse montre cependant qu’il existe plusieurs régimes de management de la création aux Galeries Lafayette. A travers l’analyse des investissements de l’entreprise dans les industries créatives et en particulier les cas des Parfums Chanel, des maisons Madeleine Vionnet et Jean Patou, elle se saisit pour la première fois de la question du financement de la couture et décloisonne l’étude des principaux acteurs du système de la mode. La période couverte, de la fin du XIXe aux années 1960, rend compte des transformations de l’industrie du vêtement, mais aussi de la plasticité de la stratégie et des structures de l’organisation. Après la Seconde Guerre mondiale, l’intégration verticale de la fabrication laisse progressivement la place à de nouvelles modalités de construction de l’offre. Dans un contexte marqué par la modernisation de la filière habillement, la « révolution » du prêt-à-porter, et l’émergence de nouvelles capitales de la mode, la centrale d’achats élargit ses approvisionnements aux marques et à l’international. La mise en place pionnière d’un bureau de style au début des années 1950 est centrale dans cette transformation pour faire le lien entre les créateurs, les industriels et les clients avec lesquelles les Galeries Lafayette sont en contact direct.Une partie des développements est consacrée aux associations professionnelles internationale qui sont le véhicule privilégié des transferts transatlantiques mais aussi de la construction d’un réseau européen favorisant la circulation des idées et des marchandises. Ces échanges montrent que la diffusion des méthodes nouvelles d’organisation, importées et adaptées des États-Unis, ne s’est pas limitée à l’industrie. Les efforts des Galeries Lafayette pour rationaliser l’organisation sont une nouvelle démonstration de la nécessité de réévaluer le rôle de la distribution et des intermédiaires du système de la mode longtemps négligés au profit de la figure du créateur. / This thesis researches the role of Galeries Lafayette at the heart of the French fashion system. It re-evaluates the role of retail and department stores as value-creating intermediaries in the relationship between producer and consumer. Additionally, the research highlights the innovative capacity of a family business and shows that the introduction of new organizational methods in retail trade along the 20th century, imported and adapted from the United States, was as much present as in manufacturing enterprises. In the first part, the thesis looks at the foundation of the company, its competitors and its customers. To differentiate themselves, Galeries Lafayette manufactured and sold models inspired by those of the couturiers under the store private label. At the turn of the twentieth century, while fashion houses claimed a monopoly on trend setting, Galeries Lafayette introduced fashion in department store. This effective appropriation of fashion design built the legitimacy of the company as an intermediary, and posited the prescribing power of the brand in the fashion market. It also made Galeries Lafayette a player in the economy of counterfeiting, a major issue for the apparel industry in the inter-war period. The thesis shows, however, that various management regimes for design exist at Galeries Lafayette. In a second part, we analyze the investments of the company in the creative industries and in particular the cases of Chanel Perfumes as well as Madeleine Vionnet and Jean Patou fashion houses. In doing so, for the first time, the thesis analyzes the financing of fashion houses thus unbundling the study of the main actors in the fashion system. In a third part, the thesis studies competitive and market change from World War II onwards: the modernization of the clothing industry, the ready-to-wear revolution, and the emergence of new capitals of fashion besides Paris. The dismantling of the vertical integration in manufacturing, the opening of central purchasing to new suppliers, the pioneering establishment of in-house fashion forecasting office in the early 1950s induced a new organization and changes in the link between creators, designers, industrialists and customers for Galeries Lafayette.

This thesis analyzes the commercial real estate market in Brno, with a focus on the fol-purchasing center. It also deals with determining the marketing strategy of OC Olympia. The marketing strategy was created SWOT analysis, and from it created proposals or recommendations for increasing visitor center. Next been created a competition analysis and market research around the center.

The subject of the thesis is an architectural study of the reconstruction and extension of the "Centrum" department store in Brno. It is a dominant building designed by the famous czech architect Vladimir Karfík, which is located at the Urban Conservation Area Brno. Object wasn´t realized with the full extent of the original proposal, so in the project is planned a completion of it. The new solution respects the historical quality of Urban Conservation Area Brno with a concurrent view of the location on the lucrative land in the city center. The architectural concept is based on a return to the original idea of the architect and the addition of my own creative contribution within the extension of the new floors. Draft of the extension is intended so that the individual parts of an object communicate with each other, but they are easily recognizable as well. This idea was filled by both parts linked together visually by horizontal lines and ripple, which is used on balconies of the extension and behind the facade of the current building by shielding walls. However it is emphasized the contrast between an enclosed mass and a free-flowing space. The existing part of the building is used especialy as a leasable area of trade and services. On the upper floors there are areas of administration. Furthermore, there will be a restaurant and cafe with exhibition galleries and apartments are designed on the new added floors. The building is adapted to use by person with limited mobility. Newly added uses in the object will increase the attractiveness of the building and its surroundings.