<p>’Dalens Ande’ är ett kommunalt konstprojekt i Säter. Enligt den ursprungliga planeringen skulle det pågå under tre somrar. Det ingår i hela Säterdalsprojektet, vilket syftar till att lyfta fram en säregen miljö och natur.</p><p>Konstutställningen Dalens Ande var redan den första sommaren (1998) mycket uppmärksammad, inte minst i lokalpressen.</p><p>Efterhand följde den affekterade insändardebatt som lett till den ’etiska vändning’ som denna uppsats huvudsakligen avser att belysa och analysera.</p><p>De tolv berörda konstnärerna har beslutat att avsäga sig vidare samarbete med Säters kommun sedan den insändarskribent som de sett sig kränkande behandlade av utsetts till kommunens kulturpristagare.</p><p>Här presenteras förutom ett urval av nämnda skriverier även som referenser en kort sammanfattning av Kants sedelära samt övrigt artikelmaterial som behandlar problemställningens delfrågor; yttrandefrihet kontra ärekränkning, pressetik och begreppet ’konstskandal’.</p>

’Dalens Ande’ är ett kommunalt konstprojekt i Säter. Enligt den ursprungliga planeringen skulle det pågå under tre somrar. Det ingår i hela Säterdalsprojektet, vilket syftar till att lyfta fram en säregen miljö och natur. Konstutställningen Dalens Ande var redan den första sommaren (1998) mycket uppmärksammad, inte minst i lokalpressen. Efterhand följde den affekterade insändardebatt som lett till den ’etiska vändning’ som denna uppsats huvudsakligen avser att belysa och analysera. De tolv berörda konstnärerna har beslutat att avsäga sig vidare samarbete med Säters kommun sedan den insändarskribent som de sett sig kränkande behandlade av utsetts till kommunens kulturpristagare. Här presenteras förutom ett urval av nämnda skriverier även som referenser en kort sammanfattning av Kants sedelära samt övrigt artikelmaterial som behandlar problemställningens delfrågor; yttrandefrihet kontra ärekränkning, pressetik och begreppet ’konstskandal’.

This final work is practically oriented. It consists of painting series of eight landscapes with vertical themes. These are large format oil paintings. In the theoretical part I deal with the current perception of the relationship between man and land, which is based on the current concepts of landscape-painting. The examples of contemporary Czech landscape show some topics that have appeared in the last forty years. For example it is a landscape as a specific interface and abstract paintings, a landscape inside us, a landscape of our civilization. The thesis also discusses vertical motif, which marks the space between the two main elements of the landscape ? the sky and land, which is a fundamental area of human existence.

This dissertation investigates to use and increase existing vibrancy to revitalize an urban environment. The urban response is to consolidate existing functions within Rua De Bagamoyo, as a night- life precinct through the introduction of gaming as an extension of the existing night- life activity. The architectural response is to focus on a building that houses a casino and facility for prostitutes that challenges the private-public relationships of place by extending the street into the built form and the form into the street through a series of threshold spaces that explore the notions of visual and physical access. / Dissertation (MArch(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

The project oh high school, located on the outskirts of Barcelona on site, where plain seashore turns into upland. The project encourages the potencial of its location. New building structures form the public space, which becomes the centre of the distrikt.

Object of the thermes is located in a compact cube surrounded by water, which is located in the park. Baths are divided vertically into five levels according to function. Public baths, wellness, rehabilitation, physiotherapy.

Master's thesis is devoted to the topic of urban planning and the city of Rome. The aim of the thesis is to explore the ways of depicting urbanism in contemporary fine arts, forms and topics in which it is presented. Furthermore, the essential part of the work is the history of urbanism, the principles and deviations of urbanism and especially the Eternal City (Rome). As far as Rome is concerned, the author discusses her foundations, the growth of the city from the very beginning of the foundation, the influences of urbanism, the demonstration of the characteristics of the ancient "urbe" and how today's contemporary artists solve new ways of urbanization, or how and in what way they are inspired by Roman cities? An important element of the cities is not only the city planning itself, but also its Genius loci, the spirit of the place, the author separates and explores the cities of the day and the night cities and explores what are their differences in character. An important part of the thesis will be: How do today's children perceive cities, what do they mean to them? What do they think is important and what is the function of a city? How can a city educate a child culturally? The author will propose a set of art assignments for primary and secondary school pupils, which will present the...

The main goal of this project is to fill the potential of the place, that is hidden behind the church wall. A proposal that will benefit not only the place itself but also the village community and visitors. A project that revives the spirit of the place but preserves its intimate atmosphere. The design itself includes a bistro, an art gallery, accommodation with sauna and a wine gallery. Between all of this is a Provence-style garden.

The main topic of the work is the interpretation of feelings related to the issue of disappearing landscape values at the expense of uncontrolled extensive development of suburban areas. It is a subjective thought product of several years of experience in architectural practice, including, among other things, one's own participation in a similar invasive construction. This empiricism has resulted in the constant questioning of ethical conduct and responsibility. The key terms are suburbanization, urban sprawl, development, satellite town, outskirts, transformation of the aura of a place in „non-aura“. An integral part of the work is represented by considerations about the general position of the object within the hierarchy of (sub)urban space. The object does not mean only positive examples in the form of aesthetic, orientation or vegetation elements. The focus is also on its averted form — waste, utilitarian technical and functional elements or, for example, the seemingly endless colonization of public space by cars. Colonization of our minds. All spatial objects are also psychotropic. Their mental impact can be beneficial, arousing affect or emotion. But what if the objects in the public space are completely missing? The urban object is not far from the position of an artifact, a prop of everyday life, which does not belong to a person physically, but mentally.

Silser See, Engadin (1927) est un paysage qui fait partie des œuvres les moins connues de Gabriele Münter. La marginalisation de ce tableau dans le corpus de l’artiste s’explique d’une part par le fait que celui-ci est toujours resté à l’intérieur du cercle restreint des collections privées, et d’autre part, du fait qu’il s’inscrit dans une phase peu productive de Münter. Cette phase correspond aux années 1920-1930, soit une décennie durant laquelle la production de Münter se trouve grandement affectée par les nombreux bouleversements que la Première Guerre mondiale entraîne dans sa vie personnelle et artistique. Le but de ce mémoire est de réfléchir la signification Silser See, Engadin pour Münter et de démontrer comment ce tableau s’intègre dans le dénouement de la crise qu’elle connait en 1920-1930. Pour ce faire, j’explore d’abord les différents événements qui ont défini le développement artistique et personnel de Münter. J’approfondis ensuite l’importance du paysage dans son œuvre en étudiant son rapport à la nature et à Murnau. Puis, je m’intéresse au genius loci de Sils-Maria et à l’influence de Friedrich Nietzsche sur Münter. En tenant compte de l’ensemble de ces éléments, j’analyse finalement les différents symboles contenus dans Silser See, Engadin et démontre comment Münter s’est appropriée les composantes du paysage de Sils-Maria pour exprimer sa renaissance après une longue période de crise. Ce mémoire s’inscrit dans un désir de contribuer à la réflexion sur l’importance de la nature et des lieux dans l’épanouissement de l’être humain. / Silser See, Engadin (1927) is a landscape painting that is among the least known works of Gabriele Münter. The marginalization of this painting in her corpus can be explained on one hand by the fact that it has always remained within the restricted circle of private collections, and on the other, by the fact that Silser See, Engadin is part of a less productive phase of Münter’s work, which has so far received little interest from art historians. This phase corresponds to the years 1920-1930, a decade during which Münter’s production was greatly affected by the many upheavals that the First World War brought about in her artistic and personal life. This thesis argues for the importance of Silser See, Engadin for Münter, and demonstrates how this painting fits into the resolution of the crisis she went through during that decade. To do so, I first explore the various events that defined her artistic and personal development. I then establish the importance of landscape in Münter’s work by examining her relationship to nature and Murnau. Next, I study the genius loci of Sils-Maria and the influence of Friedrich Nietzsche on Münter. Taking all these elements into account, I finally analyze the different symbols contained in Silser See, Engadin and demonstrate how Münter transformed the components of the Sils-Maria landscape to express her rebirth after a long period of crisis. This thesis invites the reader to consider the importance of nature and places in relation to the development of the human being.