Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-04-16Bitstream added on 2014-06-13T19:27:55Z : No. of bitstreams: 1 cabanaspedro_cc_me_ia.pdf: 5295856 bytes, checksum: a8c9a5039b8aa9967830938958a1f32a (MD5) / Universidade Estadual Paulista (UNESP) / O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por “não-arquitetos”. Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista. / The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by non-architets This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The Master's thesis comes with an idea of general renovation of the building and its surroundings of Elementary art school in Valašské Klobouky. To expand the insufficient and inappropriate space, the new building will be added to present monumental art nouveau Bratmann's villa which will be completely restored to its former appearance from year 1896. The thesis contains widespread analytic part aimed on theoretical preparation for restoration. The plan was to create harmonious changeover between the old building used for musical education and the new building used for the rest of the art education.

This project is called “Searching for the Grandiose” and consequently dives into this both historical and contemporary field of architecture. With a basis in architectural history, architectural theory and popular culture the project aims to understand and create grandiose architecture.  Both built and imaginary, this area of architecture has always inspired and pushed the boundaries for the possibilities of our profession. Furthermore, in the search for the grandiose also follows a possibility of the limitless – both economically, technically and mentally. In trying to design the grandiose, the architect must loosen the chains of reality and strive for the impossible and awesome. Consequently – a vast architectural fantasy is here created on an imaginary site with no restrictions in regards to size, program or economy.

Lördagen den 26:e maj år 2018 sätts första spaden i marken för ett av vår tids största bostadsprojekt. Årstafältet, en i dag lantlig lunga i närmaste Söderort, skall under de nästkommande tolv åren bebyggas till två femtedelar med bostäder och i en avsevärt mer urban kontext erbjuda boende till 15 000 nya stockholmare – ett bostadsprojekt vars omfattning motsvarar hela Nynäshamns befolkning, eller en femtedel av Kungsholmens. Den nya detaljplanen, vars motto är "en plats för möten" och vars ledord är "variation", förordar att den nya bebyggelsen skall präglas av variation i höjder, former och stilar. I enlighet med detaljplanens ledord och kandidatarbetets program har vi gestaltat en skolbyggnad för 540 elever i åldrarna 10 till 16 år, som med en postmodern, eklektisk ansats förenat element och inspiration från många olika stilbildningar, och där de varierande miljöernas utformning ej underordnar sig någon enskild arkitektonisk princip, utan också i sig utgör en plats för möten – mellan tider, stilar, material och element. Esplanadskolan har utformats som ett postmodernt skolpalats, där kunskapens enastående värde och institutionens oerhörda vikt befästs i sin monumentalitet. Esplanadskolan riktar sig utåt till såväl den nya som befintliga stadsdelar som ett landmärke och symbolbyggnad, där en stor del av lokalerna är öppna för allmänheten utanför skoltid, och avser i sina inre rumsligheter att erbjuda skolungdomen intresseväckande och varierande lokaler, med ett vinterträdgårdsatrium, en monumental spiraltrappa och en fresnelprismatisk ljusobelisk som sammanbindande nav. / On Saturday May 26th, A.D. 2018, the ground work is initiated for one of our time’s most expansive housing projects. Årstafältet, a predominately natural park in southern Stockholm, will during the next twelve years be urbanized to two fifths of its total area, giving context for an entirely new urban quarter, accomodating 15 000 new Stockholmers. The scale of the housing project is comparable to the whole population of Nynäshamn, or one fifth of Kungsholmen’s. The new zoning plan has the motto “a place for meetings”, and its main principle is “variation”. The zoning plan requests that the new buildings should be characterized by a variation in different heights, forms and styles. In accordance with the main principle of the zoning plan, and with the program of the degree project, we have designed a school building for 540 pupils in the ages of 10 to 16 years, which embodies a postmodern, eclectical approach, in uniting diverse architectural elements and inspiration from many different historical styles, and in the standpoint that the diversity of elements and physical environments is not subordinated to any one architectural principle. The school is in itself a place of meetings – between epochs, styles, materials and elements. Esplanade Elementary School has been designed as a postmodern, monumental school, where the awesome dignity of knowledge, as well as the massive importance of the school as a societal institution, is fortified in the architecture’s monumentality. Esplanade Elementary School directs itself as a landmark and symbol to both old and new contexts in its urban vicinity, opening up its doors for the public in many aspects outside of school hours. It also aspires to offer its pupils physical environments which evoke their immersive interest and in its diversity allow for the phenomenological compatibility of equally diverse environmental preferences. The main elements which make up the directional essence of the interior environments are the Botanical atrium, the monumental spiral staircase and the Obelisk of Light, composed of hundreds of naturally and artificially lighted fresnel prisms.

The overall aim of the thesis is to discuss cultural significations and notions of colour in Swedish post-war architecture. More specifically, the purpose is to analyse the question of colour in architecture linked to the polychrome walls of Årsta Community Centre, including background, intentions, cultural context and debate. Årsta Community Centre, situated just south of Stockholm, was built in 1947-53. The buildings as well as the colourful paintings covering the walls facing the square were designed by architects and brothers Erik and Tore Ahlsén. Newspapers and journals showed a clear indignation concerning the colourful exterior walls. Why did the polychrome walls at Årsta raise so much attention and cause such criticism? And how are these reactions related to contemporary ideas of colour in architecture in general? The thesis is divided into six chapters. The introductory chapter is followed by a historical retrospect with examples of use and notions of colour in architecture, in order to present a prelude to post-war thoughts and design. This text leads up to two central concepts developed for this thesis: Structural and independent colour effect. The third chapter presents Årsta Community Centre with focus on the polychrome walls at Årsta square, analysing the role of the architects and the cultural and social environment in which they were interacting. Special attention is paid to the important inspiration provided by the thoughts of the Danish artist and writer Asger Jorn. The forth chapter deals with the critique of Årsta square as well as arguments in contemporary debates concerning colour in architecture (as for example in the Apollo and Dionysus-debate). Chapter five discusses the role of independent colour effect in art and architecture of the 1940´s and 50´s related to examples of contemporary ideas and use of history. The conclusions of the study are presented in the sixth chapter. It contains an interpretation of the polychrome space, mainly focusing on two themes: The first is the understanding of the square as a theatre, based on historical social and urban patterns. The second is the suggestion of a modernistic language of colour and architecture for common man that is universal and time-less, challenging established social and material hierarchies. The thesis finishes with an analysis and a summary point by point of the critique directed at the colours of Årsta Community Centre with main emphasis on the underlaying political motives. / <p>QC 20101112</p>

Föreliggande avhandling syftar till att utveckla läsningen och tolkningen av inskrifterna på de i dagsläget 46 kända vikingatida runblecken. Målet är att ge en så tydlig bild som möjligt av inskriftsgenren vikingatida runbleck. I detta syfte har upprepade fältundersökningar av runblecken genomförts med stereomikroskop. På grundval av på så vis etablerade nya läsningar föreslås nya tolkningar till de mest problematiska ställena i de tidigare tolkade runblecksinskrifterna. Nya tolkningsförslag ges även för runblecksinskrifter som tidigare har ansetts vara olexikaliska. Utöver nya läsningar och tolkningar resulterar denna studie i en kartläggning av relationen mellan runblecksinskrifternas innehåll och form å den enda sidan och runbleckens fyndmiljöer och utseende å den andra. / The aim of this dissertation is to represent as clearly as possible the genre of Viking-Age runic plates by developing readings and interpretations of the inscriptions on the 46 metal plates with runes from the Viking Age known today. Several investigations of the runic plates have been conducted with a stereomicroscope for this purpose. On the basis of the new readings thus established, new interpretations have been proposed for the most problematic sections of previously interpreted inscriptions. New interpretations are also offered for inscriptions on runic plates which have previously been considered non-lexical. As well as providing new readings and interpretations, this study has resulted in clarification of the relationship between the form and content of the inscriptions on the runic plates on the one hand and on their find circumstances and appearance on the other.

Les espaces fortifiés médiévaux du Velay (diocèse médiéval du Puy-en-Velay), sont analysés dans leur constitution et leur utilisation. L’enquête concerne un corpus de sites castraux, bourgs fortifiés, maisons fortes, prieurés et églises fortifiées de 145 communes situées en majorité dans le département de la Haute-Loire (France- Auvergne). Les changements que ces espaces fortifiés opèrent sur la période XIIIe-XVe s. sont mis en avant : morphologie spatiale et choix d’occupation des espaces, évolution de l’habitat individuel seigneurial et des enceintes en contexte rural et urbain. L’ensemble est documenté par des textes qui indique la nature des relations entre les différents groupes sociaux, acteurs de la construction du territoire fortifié : relations entre les seigneurs et l’évêque du Puy ou le roi, relations entre les seigneurs et les communautés urbaines ou rurales, émergence de nouveaux groupes sociaux (la petite noblesse). L’accent est mis sur l’articulation de ces espaces et le rapport social et symbolique que chacun des groupes sociaux entretient avec la fortification. Les intentions de dominations et les résistances de chacun des groupes sociaux sont ainsi mis en évidence par l’analyse du parcellaire, des édifices et de la forme de la fortification. / The fortified medieval areas of the Velay (medieval diocese of Puy-en-Velay) are analysed in their constitution and their use. The survey concerns a corpus of castle sites, fortified towns, fortified houses, priories and fortified churches in 145 communes, mostly in the department of Haute-Loire (France-Auvergne). The changes that these fortified spaces operate during the 13th-15th centuries are highlighted: spatial morphology and choices of occupancy of these areas, evolution of individual seigneurial habitats and enclosures in rural and urban context. The nature of the relations between the different social groups building this fortified territory is mainly documented by texts : relationships between the lords and the bishop of Le Puy or the king, relationships between the lords and the urban or rural communities, emergence of new social groups (the small gentry). The purpose focuses on the articulation of these areas and the social and symbolic relationships that each of the social groups has with fortifications. Thus, the intentions of domination and the resistance of each of the medieval social groups are revealed by analysing the plots, the buildings and the form of the fortification

Brno will continue to be the city and the centre of the fairs. The historical part around the pavilion A is opened to public and the fairs are concentrated around the pavilion Z, where a new city entrance is planned within a linear park, also a new pavilion and a superstructure with residence of BVV is planned. Newly, the terminal Lipová is designed with the cableway station, which is not only an attraction over the valley of Pisárky, but also represents a form of transport to the campus Bohunice and back to the trade fair center. The design of an exhibition pavilion is situated in a part of Brno-Pisárky, in western area of BVV. The Pavilion contains an exhibition hall and an entrance edifice on a new axis directed from an Anthropos over an superstructure on a significant pavilion Z. The entrance edifice in a central of pavilion is surrounded by exhibition area and its centre is plaza with natural woody plants and colonnade. Entries are leaded on galleries on this level. Galleries are opened into the exhibition hall. A restaurant has a specific view on the dominant-pavilion Z. A visitor goes through the plaza and descends on monumental stairs to the pavilion Z into area of BVV in a primary direction. The visitor descents from the plaza over each galleries to the exhibiton area in a secondary direction. The proposal offers to the visitors and exhibitors not only gathering outdoor relaxation area on the plaza, but moreover interesting experiences from galleries. The total built area of the pavilion is almost equal to the exhibition area, because the design creates the entry level on the third floor. The new building meets the requirements of modern exhibitions and will be used for social and educational events - balls, weddings, conferences, cultural events - concerts, theater, opera performances and sports events. The Pavilion will be visited by inhabitents of all ages not only from Brno, from near and distant surroundings, but also by visitors from abroad.

The architectural project of Exhibition Hall is located in a part of Brno-Pisárky, in northern area of BVV. The objective of the land-use planning and architectural proposal was to integrate the Hall in proximity to the second entry of BVV. The pavilion is situated on the primary northen axe, which perpendiculary join the pedestrian bridge. The binding foot-bridge is used for path between the entry of BVV and the western entry into the exhibition section. Surrounding the building is situated green park. There are open areas for pedestrian, tree-hemmed paths and relaxation spots around the entire building. The exhibition hall combines four basic parts: the western entrance connected with the pedestrian bridge, public part, storage part and the multi-purpose exhibition space in between. There are two-floor restaurant and snack bars with an open view to the south part of BVV, in particular to the Hall Z. The pavilion was concieved as a ruled rectangular volume. The creative proposal was to involve the ruled surface geometry, which is formed by connecting two curves with a series of straight lines and covers the entire building. The outer curtain wall is implied «the Curtains», reveals a lightness and airiness by dynamic effect. Geometrical curved profiles clearly point the basic entry spaces outside the exhibition hall. The western entry section allows two different points of entrance: from the pedestrian bridge to the first level and from the ground level. In time of trade fairs there are possibilities to use industrial doors along northern and southern elevations as a secondary entrances. There is a lobby space with the monumental staircase in the centre of public section. The circular shape of staircase rises towards atrium. A collaboration of atrium and natural lighting optically extends and makes easier the foyer space. In addition to the trade fairs, the multi-purpose exhibition hall permits diverse possibilities of using – in time of cultural and sports events u