National Repository of Grey Literature 3 records found  Search took 0.00 seconds. 
Historic Interiors and the Speech of Materials
Cichrová, Kateřina ; Lukášová, Eva ; Ourodová-Hronková, Ludmila ; Tejml, Ladislav ; Troupová, Ivana ; Raichlová, Michaela ; Caran, René ; Němec, Luděk ; Čekalová, Antony Sylva ; Bukovjanová, Radka ; Pešek, Vít ; Soukup, Libor
The methodology is a continuation of the work of the team of authors titled Metodika tvorby interiérových instalací a reinstalací (Methodology for Interior Installation and Reinstallation Design), published by the National Heritage Institute in 2011 (ISBN 978-80-87104-86-6). Individual chapters deal in more detail with several phenomena that, in addition to their undeniable and sometimes essential aesthetic role, had a primarily practical purpose in historical interiors. Historic floors, heating elements or upholstery have their irreplaceable place in interiors and they objectively testify to important details of the contemporary lifestyle. With the language of the material they testify to the taste and practical needs of their owners and they are a tangible testimony not only to the technical skills but also to the level of aesthetic sensitivity of their creators. In individual chapters, the publication deals in detail with these phenomena and the impact of their quality on the integrity of the historic interior and its narrative value. One part also describes how to use modern 3D technologies to reconstruct the no longer existing phases of the historic interiors. As an example, the publication presents the reconstruction of two interiors from the Manětín and Veltrusy Castles. The publication mainly provides practical information and instructions on how to apply and implement the maximum respect for the authenticity of the monitored elements (floor covering, historic heaters, all upholstered elements) within the framework of the rehabilitation of historic interiors. The informations are given on the basis of practical examples of possible solutions and supplemented by a large number of illustrative illustrations.
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Everything's Gonna Be Alright
Tejml, Ladislav ; Vaněk, Vojtěch (referee) ; Krekovič, Slavomír (advisor)
My diploma thesis follows the unfinished EGBA cycle, which started in late October 2016. The name EGBA is the result of the uncertainty, anxiety and loss of trust in man as a healthy individual. I see the EGBA project as a candy with a filling, the content of which is composed of taste that influences one another. Even though it's a great advertisement, the great packaging itself looks great, the candy itself is inedible. The first of the mixed tastes is the term postcapitalism, as a constantly persistent system of capitalism, which, despite all possible peripetions, can not and does not overcome. Despite the growing interconnection of influential entrepreneurs with the state apparatus into the incomprehensible web of ties and relationships associated with deepening financial inequality among people, high indebtedness of countries, degrading environment, etc. The second taste is the temporality in which I am the primary acceleration as an alleged tool of progress. Accelerating is a long-term process that comes with modern times as a result of the Industrial Revolution. Today's time brings us a freneticly fragmented reality in which we try to squeeze as many acts or performances as possible into shorter time intervals. Speed has become a sign of success, so it's no surprise that many of us end up on the pill of hope as it is clear that our biorhythm can not be stretched indefinitely. The current, accelerated society can be likened to a swamp. The faster it rotates its gear, the faster it sinks in the liquid period. The third taste is posthumanism, which we have achieved by constantly simplifying and reducing the problems that nature poses before us. This relief has led us to create a machine that is so effective in reducing it, that it also creates its own problems. Technology keeps coming close to us, constantly evolving new technological advances that are increasingly "more sophisticated, useful and smarter". The inconspicuous disappearance of human nature gradually transforms into the form of Thésa's ship. The fourth taste is anthropocene. The theme of anthropocene circulated most of the news channels. Yes, it is serious and undeniable, although in many conspiracy theories it is completely misunderstood, for example, the blue, not the green palette, Donald's tricks, etc. In short, a long-term game of chess, man versus nature seems to be more advantageous for blacks. The last ingredient is a binder named Internet, like saliva flowing through all of these tastes. All of these candy essences are frustrating for me, and the best solution to me was the theme of apocalypse in my previous work. Dystopic thinking, however, does not last long and I have begun to overflow the hopes of hope that it could all have some positive effect. So if I come somewhere to see a bowl of candy, I will not hesitate and taste it. Most of these are places where it is necessary to wait, to withstand, or to buy something, so I will enjoy plenty of time and quiet to enjoy the tastes of candy and wait for the rainbow.
Tejml, Ladislav ; Šrámek,, Jan (referee) ; Krekovič, Slavomír (advisor)
This is an interactive installation in which I focused on the social network Twitter, where i detect the keyword Refugees. If this word appears in a comment on Twitter, immediately it is transformed to the real environment. It becomes, that the word gets from virtuality to physical act. Specifically starts triggers at Children's Spray Gun. The gun splashed the plant in front of it, also it waters the plan. I consider the question, to what extent influences and shapes on our thinking structure has the Internet, to which we are constantly connected. Part of the installation is also a 3D animation, with surreal conceptualy story about national thinking. About the sense of insecurity, cunfusion in the global divide and losing of positions on critical issues shaping our surrounding. Animation is realized in 3D software.

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