[pt] Esse trabalho se dedica a uma análise de ordem projetual e construtiva do Pavilhão João Lyra Filho, edifício principal do Campus Francisco Negrão de Lima, sede da Universidade do Estado do Rio de Janeiro (UERJ). O campus, objeto de um concurso realizado pela Universidade em 1968, no qual os arquitetos Flávio Marinho Rêgo e Luiz Paulo Conde foram os vencedores, tem origem em um período de transição da arquitetura moderna brasileira e de expansão da estrutura voltada para o ensino superior no Brasil e no mundo. Nesse período, surgem no cenário internacional propostas inovadoras de campi que dialogam com a ideia de megaestrutura. Stefan Muthesius, autor do livro The postwar university: Utopianist campus and college, publicado no ano 2000, reconhece esses campi como single structure campus, em uma tradução livre campus de estrutura única. Essa classificação remete à campi em que o complexo programa universitário se concentra majoritariamente em um único edifício. Nesses casos, campus e edifício se confundem em uma única estrutura, impossibilitando dissociarmos um do outro. / [en] This work is dedicated to an analysis of the design and construction order of the João Lyra Filho Pavilion, the main building on the Francisco Negrão de Lima Campus, headquarters of the Universidade Estadual do Rio de Janeiro (UERJ). The campus, the object of a competition held by the University in 1968, in which the architects Flávio Marinho Rêgo and Luiz Paulo Conde were the winners, has its origins in a period of transition of modern Brazilian architecture and expansion of the structure aimed at higher education in Brazil. During this period, innovative proposals for campuses that dialogue with the idea of megastructure emerged on the international scene. Stefan Muthesius, author of the book The postwar university: Utopianist campus and college, published in 2000, recognizes these campuses as single structure campus. This classification refers to campuses such as UERJ, where the complex university program is concentrated in a single building, in the case of the University in the João Lyra Filho Pavilion. In these cases, campus and building are confused in a single structure, making it impossible for us to dissociate from each other.

The subject of this diploma thesis is based on the specific intention of the town Žďár nad Sázavou to rebuild the original nursery school at Okružní street to the community center. The building of former crches is located on the border of Stalingrad and new locations with family houses Klafar. The design of the building modification of the existing building is based on the perception of the continuity of the development, especially of the building structure. The aim of the project is to create a multifunctional community center with operational and administrative facilities. With regard to the capacity of the current building, it was necessary to extend the extension to meet the spatial requirements of each site. The construction program was specified by the developer and extended by two new facilities - the community center and the headquarters. It also includes the solution of outdoor areas, sufficient parking capacity and, in particular, the creation of a clear identity of the community site.

The last few years have seen an increasingly infected public debate about the appearance of contemporary buildings. Regardless of where one personally stands, this ought to be cause for architects to examine their own understanding of aesthetics. This project is an exercise in articulating and examining questions of architectural form. The project is divided into three parts; Theory, Observation, and Design. The first aims to establish a broad overview of the theoretical discourse surrounding the subject of aesthetics in architecture, as well as formulate a position within it. The second part is an observation of aesthetic experiences in practice, in which three existing works of architecture are broken down into component formal properties, and the experiences these evoke are put into words. The final part is an exercise in articulating the reasoning behind aesthetic design decisions. A small self-imposed design task serves as the catalyst for a sequence of explicitly formulated and documented design choices, leading from inception to finished design.

Diploma project develops the intention to build up an ecological project based on renewable resources utilization of energy and materials recycling in Zábřeh. The study is engaged in possible area extension and tries to divide it into functional zones, when zone of main production remains the same (already elaborated project) and the zone of extension where there is settled production storages, alt.production hall extension. Third zone, so-called green zone, is developed in more detail. The green zone is a belt of plot separating the production area from second-class road nr.315, and also creates entrance gateway and lungz of the whole area. The green belt is conceived as a sojourn park with water elements(biotopes, lake, water basin), which is intersected by wooden footbridge, that connects object of multifunction pavilion and office building and ends at articifial island, or more precisely as a torso in the lake waters, symbolizing the science, which´s end is far away for human beings. The footbridge is also an axis between planned science-technological centres for the direct processing of waste materials. Administration building and pavilion are conceived as a „second nature“, purely human artifact, whih is also clearly expressed in „non-natural“ materials used. Their concept tries to saturate client´s requests and use the renewable resources of energy with observance of building biology principles (author´s request) at the same time.

Diploma thesis completes with its design large project of Wanemi company, a.s. in energetics sphere and paper industry. The area of planned paper mill in Industrial zone „Leštinská“ in Zábřeh is logically divided into three functionally graduated zones- zone of production, zone of extend and enter zone. The enter zone makes up some „green“ borderline between road lined ground of paper factory and production areal itself. The task of diploma thesis was to design complex solution of this enter „green“ zone, included situation and design of presentation pavilion and administration building objects.

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乾隆年間蘇州曲家葉堂刊行的《納書楹曲譜》，為戲曲工尺譜之首，不僅在曲譜的發展脈絡中具有開創意義，且兼具選本性質，又為崑曲音樂作法集大成之作品，故筆者以其為研究對象，期對乾隆時期崑曲劇目的內容、作曲手法的發展，及葉譜承先啟後的重要性，展開翔實且深刻的論述。 葉堂於乾隆49年（1784）至60年（1795）間陸續刊行的曲譜，包括初刻《西廂記譜》、《納書楹曲譜》（正續外補四集）、《四夢全譜》、重鐫《西廂記全譜》，皆為帶曲文、板眼及工尺，不帶科白的樂譜，一時風行，號稱「葉譜」，其內容豐富，計收566齣／套曲，且訂譜成就向受稱道，影響深遠。筆者於撰述時，首先梳理乾隆時期蘇州的崑曲活動、葉堂之志趣及交遊、葉譜的刊行及影響，以為全文論述之基礎；繼而開展兩個主要的關注面向，第二章為葉譜選錄的內容，第三、四章則為葉堂訂譜的作法，為集中焦點，乃選擇最具曲樂創作意義之《四夢全譜》為核心，討論葉堂如何為馳騁才情、不拘格律的湯顯祖《四夢》曲文訂譜，以見在曲律及曲樂發展上的重要意義。 就葉譜選錄的內容，筆者歸納其特色有三：（一）「散齣」與「全本」兼收：《納書楹曲譜》選錄自元至清前期，名家名作與時俗流行的散齣，而《西廂記譜》與《四夢全譜》則為全本劇作。（二）「劇」與「曲」雙重觀照：除大量選入有曲可唱之演劇散齣，兼及新興時劇，又收錄部分可供清唱的散曲及散齣，尤其好尚北套曲。（三）「流行」與「追憶」並存：除選入當時流行的劇目，又有《千鍾祿‧慘睹》等，當是因葉譜收錄而引領演出風潮，至於《桃花扇》等漸次退出劇壇的散齣，葉譜的記錄則帶有追憶性質。再將葉譜收錄的內容與其前《九宮大成譜》等、其後殷溎深傳譜等刊行的曲譜相較，則可見收錄內容頗為相近；然而，曲譜的性質，則由重「曲」轉而至重「戲」，頗可比喻為「加上板眼、工尺的《綴白裘》」，由以記錄唱腔為主之樂譜，變為於演出頗有助益之臺本。 關於葉堂訂譜的作法，筆者以《四夢全譜》為核心，第三章先論「宛轉相就」之法，討論葉堂如何改調就詞，在譜曲時妥貼適應湯顯祖不盡合律的曲文。首先析論其中較富變化的集曲作法，以見不同曲牌的摘句如何銜接為集曲；其次，取鈕少雅《格正還魂記詞調》、馮起鳳《吟香堂牡丹亭曲譜》、劉世珩《雙忽雷閣彙訂還魂記曲譜》，與葉堂《納書楹四夢全譜》共同參照，綜論並評議各譜宛轉相就的處理方式，相較於諸家的作法往往較向「律」傾斜，葉堂訂譜的特殊之處在於：追求文、律、樂之間的平衡，故可見增刪部分曲文字句、移動板位以使語氣更為流暢、致力於以樂傳情，某些作法甚至遊走於合律邊緣，葉堂的手法固有獨到之處，然宜置入清前期曲律及曲樂發展的背景下考察，由《南詞新譜》、《南詞定律》、《九宮大成譜》漸次收錄《四夢》曲牌，可見曲律鬆動之趨勢，這些迥異於往的曲牌，無法套用既有腔調，故需曲譜記錄唱腔，然而，曲譜的刊行，雖便傳唱，卻也形同「定譜」，若過度襲用，反而侷限曲調發展。 第四章則比較諸譜《四夢》之曲腔，切入點有二：其一乃葉譜本身作法之比較，葉堂於相同曲牌，鑑於情境不同，各有變化發揮，展現曲牌音樂在律定字句及點板之下的活腔作法；其二乃與其他曲譜之比較，取葉堂為《四夢》所訂之曲腔，與其前《南詞定律》、《九宮大成譜》、其後《遏雲閣曲譜》等相同曲牌比較，固不乏曲腔一脈相承者，然亦見細節處的板眼、行腔參差變化，甚至腔句、曲牌之音樂構思不盡相同者，可見乾隆時期曲腔活潑變化之情形。最後，藉由比較的結果，探討曲樂相關問題，在曲文字聲與曲腔旋律方面，「依字行腔」雖是原則，然遇韻腳等處，則往往需配合全曲的結音；在曲牌行腔與固定曲調方面，每一牌調雖有其音樂框架，但實際的行腔，則是字聲與曲調互相調適而成；而綜觀葉譜的音樂成就，除首次為《四夢》訂定完整的工尺譜，更在於其作法有繼承亦有開創，可謂集曲樂作法之大成。 本文最後以「葉堂之曲樂觀點」、「葉譜之價值」綰結全文。就葉堂的觀點而言，重樂輕律，以盡度曲之妙；雅俗兼備，適度採錄時俗唱法、流傳劇目，俱見一代曲家的朗闊襟懷。就葉譜之價值而言，於刊行曲譜具有開創意義，為首度刊行之崑曲戲齣唱譜，收羅甚廣，兼有選本性質，乃藉譜以傳曲；且於曲樂發展具獨特貢獻，藉實際的訂譜成果，彰顯「不合律即不可歌」之謬，並將訂譜的觀照對象，由單隻曲牌之行腔，擴展為套內諸曲的和諧，其所譜曲腔，不僅穩稱湯顯祖揮灑才情之曲文，促成《四夢》在舞台上展演流傳，且安腔訂譜之法亦成為典範。

This thesis deals with Czechoslovakian pavilion architecture at the world exhibitions in the first half of the 20th century. The thesis is divided into three sections. The first section deals with a participation of Czech artists at the world exhibitions before the creation of independent Czechoslovakia. Next two sections focus on Czechoslovakian representation at the world exhibitions in the twenties and thirties of the 20th century. The thesis deals closer with preparations, looking for a basic solutions, choosing of architects and requirements which have been imposed on them. In the conclusion there is outlined development of our participation at the world exhibitions in a given period and its way to the famous EXPO 58.

隨著時代的演進，政府與民間的合作形式以從傳統契約關係轉變為公私關係（Public- Private-Partnerships,PPPs），強調參與者或利害關係人間創造共贏賽局的ㄧ種組織性關係。時至今日，公私協力關係的實踐仍有賴更多個案研究去發掘各種參與者與利害關係人的互動關係與合作模式。 　　以地方文化館－芝山文化生態綠園公辦民營為例，跨及政府部門、企業、非營利組織與社區，透過彼此互動、解決歧見與尋求合作，達成共識與協調，形成跨部門治理的模式。因此本研究透過三個構面去分析：(1)公辦民營的管理機制；(2)委託人與受託人雙方以及其他利害關係人之間的互動關係；(3)這些互動關係如何影響營運組織的目標發展與運作，從中釐清跨部門協力治理的問題。 　　為探究芝山文化生態綠園的個案探討，本研究透過文本分析法與質性訪談法進行資料的統整與分析。經由分析公辦民營實施的利弊，以及公私協力的互動模式，以探析芝山文化生態綠園在經營目標執行與各方看法，並重新思考芝山文化生態綠園未來的發展與再定位，以作為發展地方文化館委外營運相關計畫的參考。 本研究結果發現：(1)委外管理與評鑑機制完備，惟政策目標寬鬆，造成代理人的自主發展；(2)委託人、代理人雙方偏向以維持契約的互動關係；(3)本研究對象與利害關係人關係互動情形為若即若離。而本研究針對芝山文化生態綠園的協力治理的建議為：(1)評選機制宜整合在地團體與有力人士的聲音；(2)進行跨部門溝通，增加多方合作渠道；(3) 建立社區為主的溝通平台，整合利害關係人間管理的歧見，可提供環境教育推廣或地方文化發展管理者的思考。 / With the changing of the times, cooperation between government and the people have shifted from traditional contractual relationships into public-private-partnerships (PPPs) to create a win-win situation and form organizational relationships between the participants or stakeholders. Yet, the PPPs in operation today are still highly dependent on the analysis of individual case studies to ensure the greatest collaborative efforts among the various participants and stakeholders. The Zhishan Cultural and Ecological Garden ia an example of a cross-sector partnership among government, enterprise, NPOs and community. To resolve the differences and seek cooperation among the different sectors, a case study was made on three levels: firstly, the private management of public management and evaluation; secondly, the interaction between both the client and the trustee and other interested parties; and thirdly, how those interactions affect the operation of the organization's goal development and operation. The Zhishan Cultural and Ecological Garden's local cultural pavilion was contracted out by the Taipei Department of Cultural Affairs. Through text analyses and detailed interviews, data was collected, integrated and analyzed. Analysis of the pros and cons of the PPP operation's interactions revealed the multiple perspectives and executing objectives among those involved with the project to provide reference to better the future management of the local cultural pavilion. This study discovered that: (1) the outsourcing management and evaluation mechanisms were good, but the loose policy goals caused the agent of independent development; (2) bilateral relations tended to maintain contract-oriented-interactions in PPPs; and (3) the NPOs, various parties of interest and the community worked side-by-side instead of together. Thus, the following PPPs recommendations for the Zhishan Cultural and Ecological Garden were suggested: (1) listen to the voice of a strong leader; (2) build cross-sector communication;(3)establish community-oriented communication platform, alongside promotions of environmental education and help local cultural development managers develop new philosophies.

El propósito de este estudio es abordar el concepto de espacio y, en particular, su desocupación, a través de tres obras: Caja Vacía/Metafísica de Jorge Oteiza, Who´s afraid of red, yellow and blue de Barnett Newman y el Pabellón de Alemania de Ludwig Mies van der Rohe. El discurso se construye a través de un transitar sobre la banda de Moebius y en su vaivén y en su doblez aparecen y desparecen imágenes, ideas y textos sobre los que fluye la voluntad de construir una interpretación nueva sobre el objeto descrito. Martin Heidegger, Gilles Deleuze y Gaston Bachelard son los tres sostenes teóricos de esta estructura. Y más cerca y más lejos de este texto siempre se mantiene la difícil tarea de entender cuál es la forma de habitar y de ser (Ich bin) del hombre en la tierra. / The purpose of this study is to address the concept of space and, in particular, its disoccupation through three different pieces of work: Empty/Metaphysical Box by Jorge Oteiza, Who´s afraid of red, yellow and blue by Barnett Newman and German Pavilion by Ludwig Mies van der Rohe. The discourse is constructed through a move on the Moebius band, its swing and double apparition and disappearance of images, ideas and texts which build a new interpretation of the subject matter. Martin Heidegger, Gilles Deleuze and Gaston Bachelard are the three theorists of this structure. The difficult task of understanding what is the way of living and being of man (Ich bin) on earth always remains what is closer and further away from this text.