This study discusses the evolution of the English country-house poem from its inception by Ben Jonson in "To Penshurst" to the present. It shows that in addition to stylistic and thematic borrowings primarily from Horace and Martial, traditional English values associated with the great hall and comitatus ideal helped define features of the English country-house poem, to which Jonson added the metonymical use of architecture. In the Jonsonian country-house poem, the country estate, exemplified by Penshurst, is a microcosm of the ideal English social organization characterized by interdependence, simplicity, service, hospitality, and balance between the active and contemplative life. Those poems which depart from the Jonsonian ideal are characterized by disequilibrium between the active and contemplative life, resulting in the predominance of artifice, subordination of nature, and isolation of art from the community, as exemplified by Thomas Carew's "To Saxham" and Richard Lovelace's "Amyntor's Grove." Architectural features of the English country house are examined to explain the absence of the Jonsonian country-house poem in the eighteenth century. The building tradition praised by Jonson gradually gave way to aesthetic considerations fostered by the professional architect and Palladian architecture, architectural patronage by the middle class, and change in identity of the country house as center of an interdependent community. The country-house poem was revived by W. B. Yeats in his poems in praise of Coole Park. In them Yeats reaffirms Jonsonian values. In contrast to the poems of Yeats, the country-house poems of Sacheverell Sitwell and John Hollander convey a sense of irretrievable loss of the Jonsonian ideal and isolation of the poet. Changing social patterns, ethical values, and aesthetics threaten the survival of the country-house poem, although the ideal continues to reflect a basic longing of humanity for a pastoral retreat where life is simple and innocent.

This thesis analyses the carbonised remains of the great hall building in Gamla (old) Uppsala, Sweden, which burnt down sometime between 7th to 8th century AD. It is easily assumed that the people of Gamla Uppsala, who lived in one of the most important central places in Iron Age Scandinavia, had both the economy and power to build a most spectacular hall. Previous research on halls has focused on architectural changes as well as the power and rituals such buildings might have represented. However, no previous Swedish archaeological studies have discussed the quality of construction wood as an indication of a well-built hall building. Wood can rarely be analysed in-depth as it is most often decomposed, or only a few charred pieces remain from the constructions. The hall in Gamla Uppsala provides an unusually large amount of charcoal remains. Therefore, an anthracological analysis is used in this thesis to discuss the quality of the hall construction based on the choice of timber. The purpose of this thesis was to identify what kind of wood the builders used to construct the great hall, how much timber and time it would take to build the 50 m long hall building and if the required timber could be found in the area surrounding the hall. The purpose was also to try to identify whether the construction wood was of good quality. The results show that the large timbers were of scots pine (Pinus sylvestris), and the wattle walls were made of juniper branches (Juniperus sp.). The great hall required at least 6250 scots pine trees, which is 4–5 hectares of clear-cut logging. As the landscape at Gamla Uppsala mainly consisted of large open fields, there were not enough trees that would grow locally to get this amount of timber for the hall. Junipers would, however, grow in the open landscape, and the builders would have gathered a minimum of 3600–5300 branches for the wattle walls. It would have taken around four months or less to build the hall, not including the time it would take to prepare the building material. The identified construction materials suggest that the timber was carefully chosen for the great hall building in Gamla Uppsala. / I denna uppsats har förkolnat virke analyserats från hallbyggnaden på kungsgården i Gamla Uppsala, som brann ner någon gång mellan 600- och 700-talet e.Kr. Det är lätt att anta att människorna i Gamla Uppsala, som då bodde i en av järnålderns viktigaste centralplatser, hade en tillräckligt stor social och ekonomisk makt för att bygga en spektakulär hallbyggnad. Tidigare forskning om hallbyggnader har fokuserats på arkitektoniska förändringar samt på den sociala makt och de rituella ceremonier som hallbyggnader ofta är förknippade med. Det finns däremot inga arkeologiska studier i Sverige som har fokuserats på virkeskvalitet från byggnader med sådan dignitet som hallbyggnaden i Gamla Uppsala. Möjligheten att utföra djupare analyser på arkeologiskt trä är sällsynt då det ofta hunnit förmultna, eller endast utgörs av några få förkolnade bitar av ursprungsvirket. Hallen i Gamla Uppsala har efter branden en ovanligt stor mängd förkolnat virke som bevarats i gott skick. Genom vedartsanalyser på de arkeologiska trälämningarna kan kvaliteten på hallbyggnaden diskuteras baserat på val av virke. Syftet med denna uppsats var att identifiera vilka vedarter som användes för att konstruera hallen, hur mycket virke som krävdes, hur lång tid det skulle ta att bygga den 50 m långa hallbyggnaden och om virket kunde hämtas i närområdet kring hallen. Syftet var också att försöka identifiera om konstruktionsvirket var av god kvalitet. Resultaten av analysen visar att majoriteten av virket var av furu (Pinus sylvestris), medan flätverksväggarna var gjorda av ene grenar (Juniperus sp.). För att bygga hallen krävdes minst 6250 tallar, vilket skulle motsvara 4–5 hektar avverkad skog. Eftersom landskapet vid Gamla Uppsala huvudsakligen bestod av stora öppna fält kunde det inte ha funnits tillräckligt med träd som växte i närområdet för att samla in den mängd virke som krävdes för konstruktionen av hallen. Ene var tillgängligt i närområdet i det öppna landskapet, och byggarna behövde minst 3600–5300 grenar till flätverksväggarna. Det skulle ha tagit cirka fyra månader eller mindre att bygga hallen, frånsett den tid det skulle ta att förbereda byggmaterialet. Virket verkar ha valts ut noggrant för hallen på kungsgården i Gamla Uppsala.

This study addresses the design of a new cultural center in the Moravian Square – a polyfunctional object with a great concert hall, a small multifunctional hall with operating and technical facilities, parking, customer services for visitors, and areas for employees and musicians. Also, a restaurant & cafe is a part of this proposed project. New space replaces the unsatisfactory conditions of the current residence of Brno Filharmony in Besední dům – too small, unsatisfactory acoustics, and complicated operation. The cultural center, also, serves as a congress center that is currently missing in Brno - a city of trade fairs and exhibitions. The proposition respects the existing character of the park. The capacity of the new proposed design is from three-quarters underground, and therefore makes a way (nebo „space“) for greenery and pedestrians. The designed object consists of one ground and two underground levels. It has a simple shape with a greenery roof, and is incorporated into the existing spaces of the square. The distinctive element of the design is an open outside atrium in the first underground level. The facase is covered with boards (nebo „panels“) made out of Corian® material in a white shade of Glacier White in contrast to glass windows. The supporting construction is designed from monolithic iron concrete.