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Texas is home to many dance halls, but only 18 are known to have been built with a “round” (non-orthogonal) plan. Their common design was first conceived by the Austin County carpenter Joachim Hintz in 1897 for the twelve-sided Bellville Turnverein Pavilion. For the next 40 years, variations on the building type were disseminated and constructed exclusively in Central and South Texas farming communities settled by German and Czech immigrants. These structures were probably based on the octagonal barn plans promoted heavily in the agricultural press at the end of the nineteenth century, yet they look nothing like the round barns of New York and New England or the domed masonry dairy barns of the upper Midwest. This building type is unique to Texas. The majority of the state’s six-, eight-, and 12-sided dance halls were built in a line along State Highway 36 and the Gulf, Colorado and Santa Fe Railroad. This thesis explores the architectural history and physical characteristics of these very special Texas dance halls. / text

Šiame bakalauro baigiamajame darbe suprojektuotas komercinės paskirties vieno aukšto su rūsiu pastatas – maisto produktų prekybos paviljonas, kurį numatyta statyti Šiaulių mieste esančiame sklype. Pirmajame aukšte planuojama prekyba, rūsyje – automobilių aikštelė. Priešais paviljoną taip pat numatoma aikštelė automobiliams, šaligatviai pėstiesiems, atskiras privažiavimas aptarnaujančiajam transportui, o likusi sklypo dalis apželdinama. Projektą sudaro architektūrinė, konstrukcinė, technologinė-ekonominė dalys bei brėžiniai. Pirmojoje – architektūrinėje – dalyje aprašomas sklypas, pastato charakteristika, jo inžineriniai tinklai bei konstrukciniai ir apdailos sprendimai. Brėžiniuose pateikiami sklypo ir pastato planai, fasadai, sklypo trimatis vaizdas, pjūvis bei mazgai. Konstrukcinėje dalyje projektuojama medžio-metalo santvara S-24 ir gelžbetoninis daugiaangis rygelis R-70. Pridedami šių konstrukcijų darbo brėžiniai. Technologinėje-ekonominėje dalyje pateikiami kai kurių darbų technologijos, technologinė kortelė, darbų kiekių žiniaraštis bei pagal tuos kiekius parengta lokalinė sąmata, kiti žiniaraščiai. Grafinėje dalyje pateikiamas statybvietės planas, kuriame numatytas eismas statybų teritorijoje, medžiagų aikštelės, darbuotojų buitines patalpos, parinktas kranas. Priede pateikiamas gelžbetoninės kiaurymėtosios nepertraukiamo formavimo perdangos plokštės PP-250 projektavimas. Projektas atliktas vadovaujantis LR statybos įstatymu (SĮ), statybos techniniais reglamentais... [toliau žr. visą tekstą] / This is Bachelor’s Work of designing a commercial single storey with underground building - Trade Pavilion of Food Products, which will be situated in the town of Siauliai. Trade is intended on the ground floor, parking – underground. In addition, parking, some walking paths are planned in the front of the pavilion. Remaining site is swarded and forested. The project consists of architectural, constructional, technological-economical parts and some architectural and constructional drawings. The first – architectural – part is description of the site, building, engineering networks, construction and finishing. Plans of the site and building, elevations, 3D view of the site, section and details can be found in the drawings. In the constructional part, there is engineering of a wooden-metal truss S-24 and a reinforced concrete beam R-70. In addition, production drawings of these constructions are attached. The third – technological and economical – part contains technological card, a list of quantities for overground works and an estimate for them. There is a plan of a building lot in the technological drawing, where traffic, areas for building materials, workers’ rooms are planned. Also a crane for building is chosen. Designing of a reinforced concrete floor slab PP-250 is added in Addition. Project is made with reference to Lithuanian Building Codes, standards and laws.

With the rising influence of digitalization and its immense penetration intoeven everyday life, the last decade of the 20th Century addressed to a critical threshold in the successive transformation process of the spatiality in its long-term run. The advanced digital technologies of ubiquitous computing and generative design, as well as the invention of smart materials in late 90’s (particularly the nano-technological materials that emerged as the programmable matters with their ability to evolve continously) have all provoked the fluid characteristics of spatiality, and strengthen the transformative capacities of the architectural space through the emergence of computer-augmented territories. Additionally, while they are becoming as the body extensions, the advent of novel apparatuses and gadgets further enhanced the inte- gration of the corporal and incorporal bodies with the spatio-temporal multiplicities, where the hyperdimensionality of the space has been triggered to its outmost range, in relation to the “soft and smart technologically augmented immanent millieu”, in Spuybroek terms. Thus, like Spuybroek points out as the “haptonomist” presence of the body merges itself with these diverse bodily extensions on one hand; and on the other hand, as the rising influence of nomadic view of the world further stimulates the unboundedness and endless fluidity of space, so that the spatiality becomes a landscape of successive transformations, a topology of emergence or a plane of becoming, which is merely defined by lines of forces, and occures as an alive territory rather than a limited space of predefined boarders. Therefore, this evolvable territory which is affectable and being affected by the lines of forces –inner and outer forces–, emerges as an animated existence, an interactive organism. So, by interacting with the Deleuzian Philosophy and their notions like lines of forces, folding, becoming, smooth space, territory, spatium, this article aims to reveal the relevance of these notions in architectural discourse, as well as the emergence of the smooth space in the contemporary architectural practice, by magnifiying one of the very initial examples of its kind; in terms of unfolding the Fresh Water Pavilion of NOX Architecture by Lars Spuybroek into question to reveal the essences of thecontemporary transformable-evolvable architectural spatiality.

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 thesis deals with the design of the architectural study of the Caribbean pavilion in Brno Zoo. The building will be located in the area of Mniší hora on the site of today's greenhouse pavilion from the 1960s which is ending its life expectancy I designed a comprehensive pavilion presenting the tropics ecosystem, fauna and flora from the Caribbean, Central America and Amazon. The building also includes a restaurant, a view point and a sanitary facility. The study also deals with the urban design of the entire section of Caribbean in the Brno Zoo and the design of exterior furniture. The designed solution creates space for animal breeding in harmony with current zoological trends like being as close as possible to their natural environment in which man and animal are equal. It also offers other zoo features such as visitor education, a meeting place, rest and relaxation.

In 2018, the roof of the old dancing pavilion in Dala-Floda collapsed due to a heavy snowfall. Situated in the folk park Strandbacken, the pavilion was an important node in the local community. It was of course used for dances, but also other kinds of events such as parties, concerts and movie nights. But as of 2018, the more than 60 year old pavilion has been passed on to history. Plans for a new pavilion are on their way and in this thesis project I have used this park to investigate places for gatherings in rural Sweden. Folk Parks (approximately ‘community parks’) are open air centres for leisure and gatherings still functioning within many rural communities around the country. The folk park will work as a point of departure for this thesis project. Questions through this project have been how the parks like this one worked in the past, how the situation is now and what can the parks become in the future. The findings of the research phase have synthesized to become an architectural proposal that takes the historical and cultural values of the site into account and still works as a modern space for meetings and events.

This thesis aims to investigate copying in architecture in relation to context. Is it possible to copy a building?With the advances of 3D-scanning and digital fabrication, the possibilities for copying form and material are constantly increasing. However, more so than the artistic object, architecture is always contextual - a building exists on a specific site. Therefore, when investigating copies in architecture, context becomes crucial. How does context change the specifics of the building?While studying the copy in relation to context and the adaptations, the relation between the original and the copy is highlighted. At what point does the copy detach itself from the original? Is there a copy or just multiple originals?In relation to these questions, there are several issues that surface, that might be defined by studying the subject. What is architecture? What is a building? What makes a building a piece of architecture? Who has authorship over a piece of architecture? And most importantly: where in a building lies the originality?

Gu Taiqing 顧太清 (1799-1877) is one of the most famous and prolific female writers in the late Qing. In this thesis, I focus on her poems and lyrics on three important subjects, self-portrayals, plum blossoms, and Qingfengge 清風閣 (Clear Breeze Pavilion), in her two poetry collections, Tianyou geji 天遊閣集 (Collected Poems of Heavenly Travels Studio) and Donghai yuge 東海漁歌 (Songs of the Fisherman of the Eastern Sea), in order to advance the current scholarship on this female author and Ming-Qing women’s writings and reveal the uniqueness of Gu’s poetry. My study addresses how she represents herself, recounts her life experiences, and engages in the poetic tradition established by men. By examining her voices and images embedded in her poems, I argue that she creates her own expressions of female voices as an elite woman, a mother, and a female companion for her friends and her husband through the incorporation of her life experiences, both inside and outside her inner quarters. Most female figures portrayed by male poets are desired, static, subordinate, and longing for their absent lovers in their boudoir. Differentiating from the common women’s image, Gu shows her literary creation and women’s subjectivity by taking an active role, as opposed to a passive one. She describes a self-contented life and creates a delightful atmosphere in the spatial setting of her inner quarters. She also writes about her activities outside her boudoir and narrates her travel experiences as a female poet in her poems, in which she constructs her image as a subject that appreciates nature and is emotionally attached to her family. Moreover, my study discovers the approaches that she takes to negotiate between her reputation as a talented poet and her image as a learned lady, given the high moral standard expected from the late Qing elite women. Constructing her image associated with Confucian morality, she highlights her dedication to womanly learning and suggests that women’s literary talent and virtue are reconcilable.

The buildings people inhabit everyday frame their existence and provide a backdrop for life. This relationship is inextricable and, as such, begs the question as to whether buildings can function as more than mere containers for life or whether they, at some point or in some capacity, can begin to bare influence over the life or quality of life of their patrons. This project is an intention to explore this qualitative, unquantifiable aspect of building. Through a manipulation of volume and mass, constriction and expansion, solid and void, light and shadow, and the qualities of interiority and exteriority an occupied space will begin to impress itself upon the user. The main objective of this project is to use these architectural properties to create a place that fosters introspection through self awareness. By choosing presence over practicality and content over convention, the construct proposed in this thesis attempts to create spaces that are imposing and unfamiliar yet somehow emotionally reminiscent. Confronted by these contradictions and juxtapositions, this building will stand as an object, in opposition to the occupant, and through that opposition inspire and promote a greater awareness of, and possibly a reflection upon, normally unconscious thought processes. / Master of Architecture