Waterfronts in post-socialist cities have became under the influence of post- socialist transformations an areas of conflict, which are full of contradictory pressures based on the different actors and their views. This diploma thesis deals with plans and waterfront regeneration projects in Bratislava from the perspective of discursive practices and representations of investors, developers, city government and citizens. The work also examines the role of the actors involved in the formation of new identities of regenerated areas via different representations. It focuses on the process, which leads to the formation of new identities in the plans and projects of waterfront regeneration. The work uses an interpretative analysis of text segments. It examines both the process of discursive construction of place through a variety of discursive practices and offers an insight into the backstage relationships of actors involved. Key words: discourse, representation, identity, Bratislava, waterfront, regeneration

The thesis aims to design a suitable structure at valuable area near the river Ostravice in Frýdek-Místek, which is currently under-utilized. Part of the area in question is treated in more detail to the level of urbanistic detail.

The waterfronts of major rivers play an important role in the development of settlements. On the territory of Slovakia, however, there are many more small flows whose potential remains unused. It also includes the river Domanižanka, which forms one of the main urban axes of Považská Bystrica and is a significant element of the whole region. At present, it is designed for a flood flow with a trough recessed into supporting stone - concrete walls. In the built-up area of the city, this river flows through a diverse territory. In my diploma thesis I focus on six spaces with their own atmosphere and varying degrees of intimacy. These spaces lie along the flow on the busy line of the main city center with its local center at the SNP. To these spaces I assign a certain character, or, on the contrary, I support the existing one. I respect the existing values of places and I try to integrate their interventions into parts. The basis of the proposal is to create an adequate pedestrian and cycling link between these sites with regard to the quality of the individual stories of these places. Where water still represents the primary element of shared viability between nature and its inhabitants, humans. Water as a basic condition for the existence of life. Water as one of the elements, used to regenerate the body and the soul. To cleanse the city and the place.

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This project was an exercise in aligning my intuition, community experience, and design sensitivities under the pretext of an architectural expression. My desire was to work endogenously, or out of my home environment, on a project that had no clear programmatic or formal requirements or limitations. I began by assessing a prevalent issue in my home town (a connection between the river and the town center) both from the top down and the bottom up. Throughout, I sought to challenge my preconceived notions of what might be, and allow a design process to emerge out of the layers of information I had absorbed as a participant in this holistic landscape. Inflection and change became a driving force in this pared down design process, and through them came a working territory that framed the programmatic and formal specificities of the South River P.O.R.T.

Master 's thesis Městská knihovna v Přerově is developing the new city library for town Přerov. This project is based on semestral project strategy for library, which was searching for the best place for the building. Master's thesis is situating the new city library in waterfront area Na Marku, near the new Tyršův most.

LEISURE CENTRUM ON THE BORDER OF TWO TERRITORIAL UNITS. RIVER SVRATKA AS A BORDERLINE, RIVER SVRATKA AS A CONNECTION POINT. DESIGN OF A BUILDING AND URBAN STRUCTURE IS BASED ON THE MOVEMENT OF THE RIVER AND ON THE VISUAL CONNECTION OF THE TWO RIVER SIDES. TWO WAYS ARE CROSSING AND IN THE MIDDLE CREATING DOMINANT. POINT OF INTEREST. PLACE OF RELAXATION. IDEAL HAPPY DAY.

The fast growth of the urban population affects city life by degrading natural and social resources. Urban developments modify resources such as forest, land, and water, but also modify the intimate relationship of people with the landscape. Many times, the damage of those resources is irreversible, and provokes dramatic changes in the natural landscape and the uniqueness of the place is missing. Despite the intense discussion that landscape architects and scientists worldwide hold about social and environmental aspects in urban environments, many questions about how to support natural and cultural landscapes, or why to keep them are not answered in the existing waterfronts and re-developments at the water's edge. For this reason, the recovering of urban waterfronts is an opportunity to promote ecologically healthy environments, address sense of place, support human gatherings, and encourage economic revitalization. This thesis and its research analyzes the components of the natural regional landscape in recovering waterfronts in order to avoid the loss of the uniqueness of a place. A section of beachfront in St. Augustine Beach, Florida that has suffered beach erosion and development pressures was chosen for the study. The result is an alternative proposal to costly dredging and beach reclamation that includes a series of tools, interventions, and landscape modifications of this threatened site. This proposal aims to return the site to a balanced and friendly landscape. Waterfronts in cities are an opportunity to reconnect communities with their cultural and geographic landscape. / Master of Landscape Architecture

This project deals with the relationship between Stockholm and the water, investigating its history and searching for a definition of its future. As a city, Stockholm is defined by water; it creates physical distance in the city, but at the same time visually ties it together. Looking specifically at Söder Mälarstrand, an undefined waterfront with great potential, this project seeks to understand the current state of this site and propose a new use for it. How can this urban landscape be defined to accommodate a contemporary use of the waterfront? What should such a development look like architecturally? As a research method, this project looks beyond the physical extension of the site to the images of it constantly reproduced. Without romanticizing the past, the research searches for the character of the site to find a potential for its future use. The project proposes a new use of the waterfront. The quay is widened, and the new space that is created is anchored by the addition of three new volumes programmatically linked to the existing activity on the site, while also allowing new uses in the future. This approach aims to create a more defined public space, making the site permeable.

The art of theatre has been classified and critiqued as being a mimetic art which is different from architecture. The mimetic arts, such as the performing arts, occur in performance spaces concealed in the physical architecture of a theater building. This fixed location of the theatre has led to the elements of the theatre to be hidden and contained within the box of the architecture. These elements could be referred to as the "troupes of theatre" in the tradition of a group of thespians being considered a troupe. The performing arts have been traditionally confined as temporary entertainment whose lasting value is situated by virtue of existing only while being on stage within the building. Architecture, on the other hand, holds tectonic value by being present as a real, physical addition to the built environment and the world, yet it also performs as a mimetic art. This creates disconnect and discrimination against theatre, as a mimetic art, which is evident through the neglect and concealment of these troupes of theatre within architecture. This is present in contemporary architecture by the location of the portions of theatre's performances spaces being hidden and concealed within. There is a disconnect between the physical theater and the physical architecture of the building that houses it. The question then arises, could these parts of the theatre, the troupes of theatre, participate in the design of the whole building? In this thesis, the troupes of theatre are celebrated and brought into the same light as the rest of the building that normally confines them to be revealed to the world. Those troupes of the theatre that typically are contained within the box of architecture, are expressed to influence the form of the building. This thesis project seeks to reveal these troupes of theatre that are typically hidden. The troupes that are usually concealed are revealed; the stage rigging, the repetition of the level changes of the seating within a proscenium theater, the curvature of the upper levels of seating, the form of the fly space for stage rigging, the form of the house of the theatre, and the support spaces necessarily for a theatre to properly operate. They become visual design features of the building, and directly influence the architecture by being incorporated into the design. Highlighting these troupes of the theatre allow them to provide didactic information to the public through the architecture. The public is allowed to experience these troupes of the theater, regardless if they are fortunate enough to see a performance or not. Typically, contemporary theatre invites the public into the theatre to have a dialogue within and on the stage of the theatre, within the architecture. But through the troupes of theatre being directly incorporated into the design of the architecture, they invite all to participate. Contemporary theatre acts a public space in its urban framework. It invites and welcomes people of all backgrounds to move throughout, congregate, and experience the troupes of theatre in the city. This theatre encourages and welcomes the public to gather and utilize a previously, uninviting and restricted site along the waterfront in Old Town Alexandria, Virginia. This dialogue and direct connection between the theatre and architecture allows for endless variations in the design of a physical theater with interpretation left open intentionally to unrestricted creativity. Rather than, the design of a theatre as a simple, concealing container for the mimetic arts to create and display this dialogue only on the stage and behind closed walls, it is through expressing the troupes of the theater mimetically and tectonically that clearly identifies the typology of the building to the public and encourages all to be included. / Master of Architecture / This thesis explores the design a proscenium style theatre with all of its necessary support spaces. The proscenium theatre requires dressing rooms, rehearsal rooms, storage, lobby, box office, event space, conference rooms, meeting rooms, a scene shop, crew rooms, offices, and many other support spaces in order for the theatre to perform properly. Typically, many of these support spaces and the actual theatre, where performances occur on stage and the audiences gathers, are hidden or concealed within the architecture of the building. The typology of the building is unknown to the public because of these support spaces are hidden in the shadows. This thesis seeks to celebrate all aspects of the theatre and have them directly influence the design of theatre building, itself. There is more of a connection between the theatre and its support spaces and the architecture of the building. The architecture takes influence from these elements of the theatre. The word “troupes” is used as a pun in reference to a group of thespians, called a troupe, to refer to the elements of the theatre that make a theatre. These troupes of theatre are clearly expressed and celebrated throughout the design of architecture for all, regardless of financial situation, to view these troupes of theatre and gain an understanding of how a theatre actually performs. The design of the physical theatre then because mimetic, imitates, learns, and celebrates, the troupes clearly and outwardly to all. This clearly identifies the typology of the building and is inclusive to all.