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Urban Space and Place as a Phenomenon
Trojanová, Kristýna ; Sládeček, Svatopluk (referee) ; Kristek,, Jan (advisor)
What is a memory? What is the past? A memory is not happening in terrain, in section or in plan. All what matters is taking place in a range of our sight. I reject a „unlimited“ surface of a drawing as well as a tyrany of a scale. Instead I start designing from details, from lost memories of an inhabitation of places. In my mind I am walking through rooms and houses, which are part of a fluid space of my memory. The time creates relationships among things, furnitur, buildings. When the layers are overlapping, peculiar moments of fusion are emerging. Forgotten objects, blinded windows, things that are laying on the same spot for decades without a „function“ just of a habit. Memories are similar to an unfocused view of a camera. Although this is not the case of romantic nostalgia but a existencial need for a continuity. The narrative of early Modernism about a rejection of either the past or a illusion of the ornament, which was replaced by a „truthfulness of a material“, later took the direction of an abstraction, optimalization and effectivity. Apart of a mass-production, norm dimensions of spaces and a prefabrication this made a paradoxical opportunity for a material’s return as a decoration and ornament. The project is happening in-between the paradoxes of a Modernism: it neither masks the present nor it rejects the past.
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Teresa of Avila and Augustinus: God inside
Čadilová, Anna ; Sánchez Fernández, Juan Antonio (advisor) ; Zatlkajová, Katarína (referee)
This thesis deals with the topic of God's presence in human's soul in the work of St. Teresa of Avila taking into account the same idea in St. Augustine's work. It situates the author in the context of social changes in the 16th century and then in the literary context. The latter is studied firstly from a diachronic point of view, as a tradition of mystic literature to which both Augustine and Teresa pertain, subsequently from the synchronic point of view, i.e. the Spanish mystic literature of the Golden Age. Also, it depicts the family environment of St. Teresa that led her to the spiritual literature and the chivalric romances, her entering in a monastery and the "second conversion", related to Augustine's Confessions. Afterwards, Teresa's production is described and especially her social position which required obedience towards authorities but also it allowed to share her opinions and enjoy her writing. It is of special interest that Teresa could reach the work of Augustine, originally written in Latin. Therefore, first her reading is presented as an aggregate including both spiritual and chivalric literature, then in particular the production of Augustine, to which Teresa referred only rarely but during the entire creative career. Finally, the thesis brings into focus Augustine's Confessions,...
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Urban Space and Place as a Phenomenon
Trojanová, Kristýna ; Sládeček, Svatopluk (referee) ; Kristek,, Jan (advisor)
What is a memory? What is the past? A memory is not happening in terrain, in section or in plan. All what matters is taking place in a range of our sight. I reject a „unlimited“ surface of a drawing as well as a tyrany of a scale. Instead I start designing from details, from lost memories of an inhabitation of places. In my mind I am walking through rooms and houses, which are part of a fluid space of my memory. The time creates relationships among things, furnitur, buildings. When the layers are overlapping, peculiar moments of fusion are emerging. Forgotten objects, blinded windows, things that are laying on the same spot for decades without a „function“ just of a habit. Memories are similar to an unfocused view of a camera. Although this is not the case of romantic nostalgia but a existencial need for a continuity. The narrative of early Modernism about a rejection of either the past or a illusion of the ornament, which was replaced by a „truthfulness of a material“, later took the direction of an abstraction, optimalization and effectivity. Apart of a mass-production, norm dimensions of spaces and a prefabrication this made a paradoxical opportunity for a material’s return as a decoration and ornament. The project is happening in-between the paradoxes of a Modernism: it neither masks the present nor it rejects the past.
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