Dissertations / Theses on the topic 'Zevi'
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Dulio, Roberto. "Introduzione a Bruno Zevi /." Roma ; Bari : Laterza, 2008. http://catalogue.bnf.fr/ark:/12148/cb413128063.
Full textBibliogr. p. 149-[176].
Oser, Asher Charles. "The Ha'amek Davar of Naftali Zevi Yehuda Berlin /." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99739.
Full textCarvalho, Waleska Almeida de. "O armário do arquiteto: o diálogo de Bruno Zevi com a história." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/12280.
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Essa trabalho gira em torno de considerações sobre a história da arquitetura e as relações que podem ser estabelecidas entre esta e a prática arquitetônica atual, tomando como referência central a obra do italiano Bruno Zevi. Utilizando os parâmetros fornecidos pelo próprio autor na construção de sua crítica, nos propomos a indicar caminhos que, fundamentados em seu próprio discurso, abram possibilidades para uma reavaliação de seu juízo sobre a arquitetura moderna brasileira.
Salvador
Németh, Márian. "Rating zemi." Master's thesis, Vysoká škola ekonomická v Praze, 2007. http://www.nusl.cz/ntk/nusl-883.
Full textKadioglu, Dilek. "Salih Zeki'." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615620/index.pdf.
Full textlfü
nun Konferanslari which consists of a series of lectures that were delivered by Salih Zeki in 1914 &ndash
1915 in Ottoman State. These lectures were on geometry, its history and especially on the discovery of non-Euclidean geometries. And the purpose of this thesis is to propose the sufficiency and the legitimacy of these lectures as an account on the history of geometry. As a preliminary to analyzing Salih Zeki&rsquo
s lectures, different views on geometry&rsquo
s history and progress will be analyzed and compared. The results of this comparison will be the guide by means of which Darü
lfü
nun Konferanslari will be examined. This thesis also serves as a source that makes Salih Zeki&rsquo
s ideas accessible, by presenting an English summary of his lectures which were originally published in Ottoman Turkish.
Kocaata, Zeki [Verfasser]. "Essays on Empirical Banking / Zeki Kocaata." Bonn : Universitäts- und Landesbibliothek Bonn, 2019. http://d-nb.info/1203310285/34.
Full textKolbabová, Irina. "Analýza systému zdravotnictví ve vybrané zemi (Rusko)." Master's thesis, Vysoká škola ekonomická v Praze, 2008. http://www.nusl.cz/ntk/nusl-15565.
Full textOndrová, Tereza. "Tanec na zemi pro děti ve věku od 8 do 12 let." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78835.
Full textSoučková, Kateřina. "Komparace systému nepřímých daní v ČR a ve vybrané zemi mimo EU." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-201898.
Full textBello, Celia Vieira Vitali. "ZERI - uma proposta para o desenvolvimento sustentável, com enfoque na qualidade ambiental voltada ao setor industrial /." Florianópolis, SC, 1998. http://repositorio.ufsc.br/xmlui/handle/123456789/77918.
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Ryba, Jakub. "Vliv plánovaného zařízení KIC Odpady (ZEVO) v Karviné na postoje obyvatel a síla vlivu NIMBY efektu." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-198600.
Full textZhang, Zeli [Verfasser], and Carsten [Akademischer Betreuer] Münk. "The battle of human restriction factor APOBEC3 with SIV and HIV Vifs / Zeli Zhang ; Betreuer: Carsten Münk." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2018. http://d-nb.info/1160441863/34.
Full textGonano, Ciro Mattia. "Un'esperienza di rappresentazione di dati di cataloghi digitali in Linked Open Data: il caso della Fondazione Zeri." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7257/.
Full textBoyacioğlu, Beyza. "Zeki Müren, a prince from outer space : reading Turkey's gender-bending pop legend as a transmedia star." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106744.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (pages 94-99).
Zeki Müren is Turkey's beloved queer pop star whose career spans a period between his first radio emission in 1951 and his death during a live television program in 1996. He is a pioneer of 'Turkish Art Music', a trailblazer in utilizing novel mass communication tools, a proud nationalist who donated half of his estate to Military Veterans Organization, and an LGBTQ solidarity symbol whose gender-bending image has been an inspiration to queer individuals in Turkey. Müren's artistic production and his star image contain multiplicity of meanings that have rendered him accessible to publics from various backgrounds, subcultures, and generations. This thesis examines Zeki Müren as a media text that is scattered across music (radio and records), cinema, gazino nightclub performances, and television, during his lifetime, and deconstructed and appropriated by fans, artists, musicians, and media makers after his death. Based on their ideological and representational affordances, these media together create a polysemy - multiple meanings that Müren's star image signifies - whose elements are often in tension with each other, while providing different entry points for different audiences. With the guidance of Richard Dyer's work on intertextuality and structured polysemy of star images, and Henry Jenkin's theory of transmedia storytelling, this research follows the traces of Müren's transformation from his radio days, to cinema, gazino, and television performances, while situating these textual analyses within Turkey's political, media, and LGBTQ histories. In addition, two media components in-production - a feature-length film 'A Prince from Outer Space: Zeki Müren' and a participatory and interactive documentary 'Zeki Müren Hotline' are interwoven into this intertextual and cross-generational conversation, emphasizing the generative polysemy of Müren's star image.
by Beyza Boyacioglu.
S.M.
Kalkatechi, Maryam. "Material means of architectural event /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1248085997.
Full textSá, Priscila Zeni de. "O Código de defesa do consumidor e a defesa das coletividades / Priscila Zeni de Sá ; orientador, Antonio Carlos Efing." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2005. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=304.
Full textInclui bibliografia
O Código de Defesa do Consumidor e a defesa das coletividades representa um tema atual e que merece estudo e aprofundamento, ante a sua atualidade e utilização cada vez maior no cotidiano do Poder Judiciário. Para tanto, busca-se o fundamento constitucion
Kardoš, Juraj. "Návrh systému Auto Taxi pro letoun." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2015. http://www.nusl.cz/ntk/nusl-234930.
Full textShterbachenko, Kristina. "Investice v Rusku ? příležitosti a omezení." Master's thesis, Vysoká škola ekonomická v Praze, 2007. http://www.nusl.cz/ntk/nusl-1413.
Full textBagnoli, Annalisa. "Estensioni trascendenti di campi." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9116/.
Full textJanourková, Tereza. "Sluneční biodomy jako součást přírody - zahrady, krajiny." Master's thesis, Česká zemědělská univerzita v Praze, 2016. http://www.nusl.cz/ntk/nusl-258087.
Full textSoggie, Neil A. "Ai, a temporary city at "the ruin" the revision of Vincent's framework as a rational and adequate alternative to the conclusions of Albright, Marquet-Krause, Callaway and Zevit /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
Full textSalas, Delgado Eduardo. "Actualidad y futuro de la arquitectura de bambú en Colombia : Simón Velez : símbolo y búsqueda de lo primitivo." Doctoral thesis, Universitat Politècnica de Catalunya, 2006. http://www.tdx.cat/TDX-0205108-154624.
Full textARQUITECTURA
En su primera etapa es característica la manera como afronta las construcciones desde el punto de vista espacial. Existe una preocupación constante hacia la búsqueda de un diseño «complejo,» sobre todo en la manera como resuelve las secciones; no obstante, a nivel planimétrico adopta una posición más «simple». A esta etapa corresponden sus primeras obras, que están representadas en viviendas unifamiliares construidas la gran mayoría en madera aserrada. La segunda etapa de su producción se inicia a partir de su descubrimiento, con la inyección del mortero de cemento portland en los entrenudos de la guadua, donde proyecta una arquitectura mucho más «estudiada» pero a la vez más «fluida». También hay que resaltar que sus últimos proyectos obedecen a emplazamientos sobre terrenos llanos y no de topografía variable, como los primeros. Durante la última etapa, finales de la década de los noventa y en la actualidad lo más destacable e interesante de su propuesta desde el punto de vista arquitectónico es el propio diseño y la solución de las «cubiertas». La cubierta en sus últimas obras ha pasado a convertirse en un tema de «diseño especial» dentro del edificio.
CONSTRUCCIÓN
Es importante anotar que Simón Vélez además de un excelente arquitecto es un gran constructor. Apoyado en su oficio de constructor ha conseguido grandes logros. En su primera etapa, Simón Vélez utilizaba la madera aserrada como material principal hasta su iniciación con la guadua, habiendo conseguido realizar medianas estructuras. Es después, donde apoyado en su innovación con la inyección de mortero cemento, que inicia su segunda etapa, como él mismo explica: Hace unos veinte años diseño pequeña estructura en guadua. La experiencia que tenía trabajando con la madera no le servía para un material tan diferente. Debía construir un voladizo que exige esfuerzos a tracción, pero no encontraba cómo hacer una conexión para un material hueco como la guadua. De repente se le ocurrió que llenando de cemento la cámara del entrenudo donde ocurría dicha conexión, que a su vez tenía tornillos de hierro, podría funcionar y funcionó, Ese fue el descubrimiento que partió en dos su oficio como diseñador y constructor.
CUBIERTAS
Los acabados y el diseño interior en sus últimas construcciones se han convertido en un factor clave y predominante en la obra de Vélez, toda vez que desde el punto de vista de interiorismo se ha traducido en una propuesta interesante de sobriedad y color. Además de producir una sensación de confort en las edificaciones si tenemos en cuenta el contraste que produce un material como el bambú con una superficie irregular, se convierte además en una excelente alternativa, en cuanto permite la libre elección del tipo de acabado de pintura y color. Estas obras son un buen ejemplo de arquitectura de interiores en lo que se refiere a decoración e interiorismo. Es importante recalcar la razón de ser de la construcción de este tipo de cubiertas, aparte de ser una decisión de diseño. Generalmente son cubiertas solucionadas a dos y/o cuatro aguas, además de ofrecer los resultados señalados, obedecen a una razón de tipo técnico, ya que la cubierta, aparte de convertirse en un «tema de diseño» dentro del edificio, tiene una connotación especial desde el punto de vista estructural. Por ser la cubierta un elemento «muy pesado» dentro de la estructura, le concede una mayor rigidez y estabilidad al edificio, que le permite un mejor comportamiento estructural. Finalmente hay que decir también que la guadua es un material «ideal» para realizar los diseños con grandes voladizos en sus cubiertas, que ya es una constante en su obra.
INGENIERÍA
Es necesario explicar el avance significativo que ha logrado en sus proyectos, sobre todo los que se refieren a la última etapa o etapa actual. En un principio Vélez utiliza la guadua trabajando sólo a compresión, con uniones simples y venciendo luces máximas de 10 metros. El siguiente paso fue combinar la guadua con otros tipos de maderas como el aliso o el mangle se encuentra de 9 ó 10 m de longitud frente a los 2.5 o 3 m de la madera rolliza que se consigue generalmente como material industrial lo que le permite seguir evolucionando en el sistema constructivo, con otro tipo de construcciones mucho audaces.
GRANDES ESTRUCTURAS
Durante la última etapa de su obra, desde su experiencia en la Expo de Hannover -Alemania en 2000 con el pabellón Zeri, El sistema utilizado ha sido suficientemente probado a través de cálculos estructurales, pruebas de ingeniería y pruebas de carga de todo tipo, a las que fue sometido el «Pabellón Zeri». Al edificio, que inicialmente se construyó en Manizales-Colombia se le practicaron pruebas por parte de ingenieros alemanes de la universidad de Stuttgart. Es necesario anotar, que sus últimas obras corresponden a edificios de «granTamaño», en el campo de la construcción y la ingeniería. Entre estas, podemos mencionar el Pabellón Zeri, la sede para la Carder (Pereira), algunos puentes (Colombia China), un complejo hotelero (China) y una iglesia (Pereira). Las grandes estructuras que ha proyectado difícilmente se podrían construir con un material diferente a la guadua, ya que sus propiedades físicas son tan extraordinarias que lo convierten en un material «ideal», para realizar los diseños con grandes voladizos en sus cubiertas. La tesis ha servido para demostrar que la "Guadua Angustifolia" es un material con propiedades mecánicas suficientes, que le permiten participar en obras de gran dimensión, dando lugar así a la ingeniería de la guadua.
Simón Vélez is a Colombian architect whose work is very uncommon: he designs and constructs with Guadua angustifolia, the Colombian bamboo (known there simply as 'guadua'), which is a well-known resource in South America and an increasingly appreciated raw material in Europe and Asia. Simón Vélez has used this 'vegetal steel' to raise houses, bridges, churches and many other structures for more than twenty years. He was born in Manizales (Colombia) in 1949. He studied architecture and art at the Universidad de Los Andes in Bogotá between 1969 and 1975, and he graduated there in 1980 as an architect. Simón Vélez was born into a family of builders andthus his first interest was focused upon the cons-tructive tradition of the coffee-producing re-gion of Viejo Caldas, although he later focused on primitive and popular constructive traditions.
Guadua has always been present in the proposals of Simón Vélez, even more during his last epoch to the extent that "he has been engaged in bringing up again guadua as a constructive mate-rial and as a result his original and exclu-sively Colombian architecture is recognized and demanded abroad." The architecture of Simón Vélez has its own identity. Its main traits are its whole contextualization within the landscape something we can refer to as local environment architecture (arquitectura del lugar) ,its use of the Colombian tradition as architectonic language and, what's more important, its recovery of the guadua as a constructive material. Besides his experimentation with guadua and his trust on its possibilities guadua means poverty in Colombia , Simón Vélez has been a forerunner in the combi- nation of this bamboo with other materials and techniques. Simón Vélez himself has been decisive for our understanding of the goodness and possi-bilities of the guadua due, in part, to it being a constant and a part of the history of his own city Manizales. Evolution of his constructive system the evolution of the constructive system proposed by Simón Vélez has been a critical factor for his work, which can be divided into two phases: a first one dominated by his use of wood and a second one characterized by his use of guadua. Despite the continuum architecture, cons-truction and engineering constitute in the work of Simón Vélez, we will consider these three lines separately in our analysis.
ARCHITECTURE
The first phase in the work of Simón Vélez is characterized by a peculiar spatial point of view: he had a permanent concern for searching a 'complex' design, above all for solving the sections, though his plans still were 'simple.' During this first phase he built sawn-wood one-family houses, usually located in settings with variable topography. The second phase of his work begins with his discovery of the possibility of refilling the between-nodes gaps of the guadua stems with concrete, what allowed him to propose a much more 'studied' and 'fluid' architecture. His experimentation with bamboo was first applied to rural constructions such as saladeros, enclosures or store rooms, and it gradually shifted to a much more pragmatic architecture placed in plains. The investigations of Simón Vélez on structures of wood and guadua have progressed at the same time as he developed a new constructive system based on 'mechanical unions' (using different systems of screws, washers and bolts), which allowed him being even bolder.
Since the late 1990s Simón Vélez turned his attention to designing and solving the problems of roofs, which became a 'special design' theme within the buildings.
CONSTRUCTION
Simón Vélez has also succeeded as a constructor. He used sawn wood as the main material for his first buildings, but he later shifted to guadua, with which he was able to construct medium-sized structures until he discovered the technique of refilling the bamboo with concrete.
ROOFS
The process for constructing roofs Simón Vélez uses is as follows: - once the structure of guadua (cerchas) is assembled, a metallic electro-welded mesh (malla de vena) is attached to it - a 3cm-thick layer of 'poor mortar' (made ofPortland concrete with a dissolution 1:2) is poured on the metallic electro-welded mesh, which is held within the concrete once it is forged- then a 2mm-thick asphalt net is applied over the whole mortar surface to waterproof the roof-a 15cmx15cm wire (alambre dulce) grid is applied over the asphalt net to allow a better fixing of the mud tiles lastly This process of construction and waterproof also results in the finish of the inner surface of the roof, which has become a key and prevailing element in the work of Simón Vélez. At the same time it has become an interes-ting, temperate but colorful proposal from the point of view of interior decoration. The contrast of bamboo against the irregular, inner surface of the roof also produces a sense of comfort, whereas it becomes an excellent deco- rative alternative since it permits the election of color and kind of finish of the paint. But roofs are not only a 'theme of design' in the work of Simón Vélez; they are an essential technical element for the building from the structural point of view. Roofs are very weighty structural elements which give rigidity and stability to the building, allowing a better structural performance. Simón Vélez has taken advantage of the lightness of the guadua stems to design and construct two- and/or four-slopes roofs with large projecting wings, a feature which have become characteristic of his work.
ENGINEERING
On his earliest works, Simón Vélez used guadua in a very simplistic manner working by compression with simple unions. He was only able to reach maximum lights of 10m, and thence able to project more complex structures with larger projecting wings, since his discovery of the injection of concrete within the guadua stems. His next step was combining guadua with other woods such as alder or mangrove-tree (they usually are 9-10m in length, much more than the 2.5-3m of the cylin-drical wood available in the market), which permit this constructive system to continue evolving with new, bolder constructions.
LARGE STRUCTURES
Since the invitation Simón Vélez received to build a guadua pavilion to represent the ZERI at the international fair at Hanover (Germany), different structural calculations, engineering and load tests have been applied to this material concluding that with this "[.] mixed constructive technique where the structure is subjected to
traction, the balanced interaction of the struc-tural elements makes the building function and have stability as a whole, satisfactorily achie-ving its structural requirements." His last pro-jects involve large masterpieces of construc-tion and engineering: the ZERI pavilion, the CARDER headquarters in Pereira (Colombia),bridges in Colombia and China, a hotel complex in China, and a church in Pereira (Colombia). He has also desig-ned the future airport for Manizales (Colombia). After the analysis of the work of Simón Vélez we can conclude that guadua has been a critical element in his architecture, above all in the last years, when he has shifted his atten-tion to roofs. The large structures he has lately projec- ted wouldn't have been constructed without a material like guadua, whose physical properties are ideal for designing and constructing roofs with large projecting wings. Furthermore, it has been demonstrated that guadua has mechanical properties enough for being applied in large constructions and consequently giving rise to an engineering of guadua.
Hegedus, Phil. "Evaluation and Prediction of Elastohydrodynamic Lubrication Film Thickness Under Conditions of Severe Sliding and Zero Entrainment." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1513786919757098.
Full textLeontsinī, Maria. "Le souci d'appartenance : idéologie et rapport de sexe dans le roman grec de l'après-guerre (Le Troisième anneau de Costas Taktsis, Printemps perdu de Stratis Tsirkas, La Fiancée d'Achille d'Alki Zei)." Paris, EHESS, 1991. http://www.theses.fr/1991EHES0315.
Full textThe structure of the three novels that form the corpus of this thesis have forced us to restore the history of modern greece to the axiom of allusions that exists in the texts; allusions that not only aswer to the intention og legitimizing the collective memory of of the recent past, but which also contribute to the evolution of the fictional narrative. The relationships between textualized ideology and myth and the sacred have made the links of dependence between them as well as the distinctions which are manifest each time that certaim notions which come from different regists coexist. Explicit the study of gender relations has been imposed by the themes of no vels themselves. Representation and evolution within the narrative of relations between the sexes arises from slow temporality of mental structures and constitutes a a field of thought which is s parate from ideology
Salas, Delgado Eduardo. "Actualidad y futuro de la arquitectura de bambú en Colombia." Doctoral thesis, Universitat Politècnica de Catalunya, 2006. http://hdl.handle.net/10803/6130.
Full textSimón Vélez is a Colombian architect whose work is very uncommon: he designs and constructs with Guadua angustifolia, the Colombian bamboo (known there simply as 'guadua'), which is a well-known resource in South America and an increasingly appreciated raw material in Europe and Asia. Simón Vélez has used this 'vegetal steel' to raise houses, bridges, churches and many other structures for more than twenty years. He was born in Manizales (Colombia) in 1949. He studied architecture and art at the Universidad de Los Andes in Bogotá between 1969 and 1975, and he graduated there in 1980 as an architect. Simón Vélez was born into a family of builders andthus his first interest was focused upon the cons-tructive tradition of the coffee-producing re-gion of Viejo Caldas, although he later focused on primitive and popular constructive traditions.Guadua has always been present in the proposals of Simón Vélez, even more during his last epoch to the extent that "he has been engaged in bringing up again guadua as a constructive mate-rial and as a result his original and exclu-sively Colombian architecture is recognized and demanded abroad." The architecture of Simón Vélez has its own identity. Its main traits are its whole contextualization within the landscape something we can refer to as local environment architecture (arquitectura del lugar) ,its use of the Colombian tradition as architectonic language and, what's more important, its recovery of the guadua as a constructive material. Besides his experimentation with guadua and his trust on its possibilities guadua means poverty in Colombia , Simón Vélez has been a forerunner in the combi- nation of this bamboo with other materials and techniques. Simón Vélez himself has been decisive for our understanding of the goodness and possi-bilities of the guadua due, in part, to it being a constant and a part of the history of his own city Manizales. Evolution of his constructive system the evolution of the constructive system proposed by Simón Vélez has been a critical factor for his work, which can be divided into two phases: a first one dominated by his use of wood and a second one characterized by his use of guadua. Despite the continuum architecture, cons-truction and engineering constitute in the work of Simón Vélez, we will consider these three lines separately in our analysis.ARCHITECTUREThe first phase in the work of Simón Vélez is characterized by a peculiar spatial point of view: he had a permanent concern for searching a 'complex' design, above all for solving the sections, though his plans still were 'simple.' During this first phase he built sawn-wood one-family houses, usually located in settings with variable topography. The second phase of his work begins with his discovery of the possibility of refilling the between-nodes gaps of the guadua stems with concrete, what allowed him to propose a much more 'studied' and 'fluid' architecture. His experimentation with bamboo was first applied to rural constructions such as saladeros, enclosures or store rooms, and it gradually shifted to a much more pragmatic architecture placed in plains. The investigations of Simón Vélez on structures of wood and guadua have progressed at the same time as he developed a new constructive system based on 'mechanical unions' (using different systems of screws, washers and bolts), which allowed him being even bolder.Since the late 1990s Simón Vélez turned his attention to designing and solving the problems of roofs, which became a 'special design' theme within the buildings.CONSTRUCTIONSimón Vélez has also succeeded as a constructor. He used sawn wood as the main material for his first buildings, but he later shifted to guadua, with which he was able to construct medium-sized structures until he discovered the technique of refilling the bamboo with concrete.ROOFSThe process for constructing roofs Simón Vélez uses is as follows: - once the structure of guadua (cerchas) is assembled, a metallic electro-welded mesh (malla de vena) is attached to it - a 3cm-thick layer of 'poor mortar' (made ofPortland concrete with a dissolution 1:2) is poured on the metallic electro-welded mesh, which is held within the concrete once it is forged- then a 2mm-thick asphalt net is applied over the whole mortar surface to waterproof the roof-a 15cmx15cm wire (alambre dulce) grid is applied over the asphalt net to allow a better fixing of the mud tiles lastly This process of construction and waterproof also results in the finish of the inner surface of the roof, which has become a key and prevailing element in the work of Simón Vélez. At the same time it has become an interes-ting, temperate but colorful proposal from the point of view of interior decoration. The contrast of bamboo against the irregular, inner surface of the roof also produces a sense of comfort, whereas it becomes an excellent deco- rative alternative since it permits the election of color and kind of finish of the paint. But roofs are not only a 'theme of design' in the work of Simón Vélez; they are an essential technical element for the building from the structural point of view. Roofs are very weighty structural elements which give rigidity and stability to the building, allowing a better structural performance. Simón Vélez has taken advantage of the lightness of the guadua stems to design and construct two- and/or four-slopes roofs with large projecting wings, a feature which have become characteristic of his work.ENGINEERINGOn his earliest works, Simón Vélez used guadua in a very simplistic manner working by compression with simple unions. He was only able to reach maximum lights of 10m, and thence able to project more complex structures with larger projecting wings, since his discovery of the injection of concrete within the guadua stems. His next step was combining guadua with other woods such as alder or mangrove-tree (they usually are 9-10m in length, much more than the 2.5-3m of the cylin-drical wood available in the market), which permit this constructive system to continue evolving with new, bolder constructions.LARGE STRUCTURESSince the invitation Simón Vélez received to build a guadua pavilion to represent the ZERI at the international fair at Hanover (Germany), different structural calculations, engineering and load tests have been applied to this material concluding that with this "[.] mixed constructive technique where the structure is subjected totraction, the balanced interaction of the struc-tural elements makes the building function and have stability as a whole, satisfactorily achie-ving its structural requirements." His last pro-jects involve large masterpieces of construc-tion and engineering: the ZERI pavilion, the CARDER headquarters in Pereira (Colombia),bridges in Colombia and China, a hotel complex in China, and a church in Pereira (Colombia). He has also desig-ned the future airport for Manizales (Colombia). After the analysis of the work of Simón Vélez we can conclude that guadua has been a critical element in his architecture, above all in the last years, when he has shifted his atten-tion to roofs. The large structures he has lately projec- ted wouldn't have been constructed without a material like guadua, whose physical properties are ideal for designing and constructing roofs with large projecting wings. Furthermore, it has been demonstrated that guadua has mechanical properties enough for being applied in large constructions and consequently giving rise to an engineering of guadua.
Hasbani-Villard, Monique. "Imagerie médicale et création artistique." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010571.
Full text« Medical imaging and artistic relation » is concerned by the relationship forged between art and medicine, since prehistoric representations of the body, till modern medical imaging. My double experience of radiologist and visual artist was the starting point of this reflection for this research. I aimed to understand how medical imaging contributed, over history, to the artistic representation of the human body, be it as subject or as material, as well as it is a way of cognitive investigation in the process of creating and adapting an artwork. Artistic creation is both a subject and an object. I look up at the corpus of current techniques and the artworks incorporating medical imaging based of the anatomical knowledge available at a given period. The rapid development of medical imaging techniques contributed to the development of neurosciences and to the understanding of the cognitive areas related to artistic creation. The neurosciences are allowing to analyze the most intimate processes of artistic creation, and to describe the different brain mechanisms, used while developing and implementing artistic artifacts. I will therefore look at neurocogniticians scientists who were particularly interested in the process of artistic creation, such Semir Zeki, Jean-Pierre Changeux, Antonio R. Damasio, aiming to clarify how the artistic process is generated, and how it could, at times, be associated with various pathologies. Medical imaging has evolved considerably in recent years and is still progressing very quickly. Functional imaging has therefore enabled considerably the development of neurosciences
Wadhawan, Subhah. "Living Under Security Certificates: Experiences of Securitization of Detainees and their Families." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38539.
Full textPanascí, Marco. "Vliv dlouhých optovláknových tras na polarizační stav světla a jejich využití pro napájení polarizačních senzorů." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2021. http://www.nusl.cz/ntk/nusl-442367.
Full textGillern, Jan. "Ukrajina - ústavní model pro rozdělenou zemi." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350231.
Full textGuerra, Vanessa Marques. "Relatório de Estágio: Empresa Zeva Green S.A." Master's thesis, 2019. http://hdl.handle.net/10400.26/25996.
Full textThis report was drafted in the context of the completion of the European University's Master of Business Management and Strategy - Laureate International Universities. The objective of this draft, is to make the description of the activities carried out in the Marketing area throughout the internship at Zeva Green, S.A., as well as to make a presentation of improvements for the company, guided by the Administrator and Chief Financial Officer, David Duarte. The report is divided into two parts, each of which includes sub-chapters, in order to become more clear and concise. The first part is allusive to the literary revision that meets the themes developed during the internship. The second part concerns all the information of the company, as well as the functions performed during the internship, and finally the proposals for improvement according to my vision. In order to achieve the proposed objectives of the report, and as a way to support the premises and suggestions, it was carried out the collection of information based on scientific articles was carried out, such as the analysis of the interview conducted to the company administrator in order to obtain the relevant information, as well as the notes successfully withdrawn during the probationary period.
Perry, David. "Cizinci v cizí zemi: Americké životy pod sovětským dohledem." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-410387.
Full textSimonis, Tomáš. "Inspirace dílem Richarda Rohra v pastoraci v naší zemi." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-276543.
Full textPokorný, Petr. "Nedávné rozpady asteroidů a akrece jejich prachu na Zemi." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-286259.
Full textKoďousková, Lucie. "SOČ jako motivace nadaných žáků pro studium věd o Zemi." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436012.
Full textExnerová, Marie. "Problematika začleňování žáků cizinců se zaměřením na zemi jejich původu." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336698.
Full textOpatrná, Sylvie. "Nemoci z povolání ve vybrané zemi. Legislativa, srovnání s ČR." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-285091.
Full textMAROUŠEK, Kamil. "Historie volnočasových organizací v naší zemi v letech 1911 - 1900." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-47567.
Full textJANOUŠKOVÁ, Lucie. "CHARAKTERISTIKA ROZMÍSTĚNÍ BIOMŮ NA ZEMI - VZDĚLÁVACÍ PROGRAM PRO ZŠ A SŠ." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-85479.
Full textLYSÁKOVÁ, Jitka. "Analýza zdanění příjmů právnických osob v ČR a vybrané zemi EU." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-85537.
Full textHong, Jia-yong, and 洪嘉勇. "The Artistry of Zhao Zei-Chan’s Calligraphy Works." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/22542088514529959242.
Full text國立中興大學
中國文學系所
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Zhao Zei-Chan was the headline figure who revived the research of tablets in Ching Dynasty. He was good at any form of calligraphy, and he was skilled in painting, seal cutting and literature, too. Zhao blended calligraphy and art in one. Japanese calligraphers pay much attention to Zhao’s works and it also caused the study highly on Zhao in Taiwan and China at the same time. In order to know more about Zhao, there were more and more information published. They introduced Zhao’s background, his life story, his creations and learned journals about him. Of course, the more we know about him, the less misunderstanding we will get and we will know him well. In this thesis, I made an introduction about Zhao’s period and time. My main point is to explain Zhao’s contribution in art and thoughts in calligraphy, and I collected lots of Zhao’s letters, paintings, calligraphy, seals and his chronicle to know more about his development in calligraphy. By knowing that, we may have a distinct opinion for what he was and it may be easier to research his works for the later. . We can study any handwriting to learn more, and knowing how and why they were. Of course, there are still lots of doubts waiting for releasing and that is what I have to do in the future.
KUČEROVÁ, Lucie. "Toho času velikej strach v zemi byl. Morava v tureckém ohrožení (1605-1683)." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-44545.
Full textNOVÁ, Michaela. "Analýza finančních produktů pro studenty v České republice a vybrané zemi Evropské unie." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-153504.
Full textChrzová, Barbora. "Rétorika občanství v Bosně a Hercegovině: Ustanovení občanství a národnosti v rozdělené zemi." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-384239.
Full textMichvotová, Andrea. "Školství pro žáky s mentálním postižením v Německé spolkové zemi Severní Porýní-Vestfálsko." Master's thesis, 2006. http://www.nusl.cz/ntk/nusl-267600.
Full textMichnová, Jaroslava. ""Tuto zemi dám tvému potomstvu" (Gn 12,7): Dar země jako téma Starého zákona." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313455.
Full textKrál, Pavel. "Zařazení technik boje na zemi do systému do systému boje zblízka v AČR." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-326470.
Full textLipman, Ilya. "Epidemiologie rakoviny prsu v mé zemi. Porovnání epidemiologických podobností a rozdílů s Českou republikou." Master's thesis, 2009. http://www.nusl.cz/ntk/nusl-275846.
Full textHnath, Martin. "Vztah mezi menovym kurzem a primymi zahranicnimi investicemi: empiricka evidence z rozvijejicich se zemi." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-339596.
Full textUrbaníková, Marcela. "Perspektiva členství Turecka v EU: Kondicionalita EU a její vliv na vnitropolitický vývoj v zemi." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-430854.
Full text"Zeri Uma Proposta Para O Desenvolvimento Sustentável Com Enfoque na Qualidade Ambiental Voltada ao Setor Industrial." Tese, Programa de Pós Graduação em Engenharia de Produção, 1998. http://www.eps.ufsc.br/disserta98/bello/index.html.
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