"…the professional culture is also about the numerous books piling on top of one another". Interview with Nicolae Lascu

Author(s): Monica Sebestyen / Language(s): English / Issue: 1/2013

In the inauspicious ideological climate of 1980s, professor Nicolae Lascu, at the time assistant-professor in our School’s Urban Planning Department, was one of the very few architects of his generation (the classes of the 1970s) who dared address in writing the architectural thinking and culture. Generally speaking, the architectural books of that period (and also those of the previous decades) were authored by acknowledged figures of Romanian architecture and historiography and were dedicated, with very rare exceptions, to architectural history or to the architectural achievements of the moment; theory of architecture was allotted very limited space. Neither the translations from foreign literature (very few), nor the articles published in the architectural magazine Arhitectura were inclined to favour purely theoretical matters or reflective approaches to architecture. Or, Nicolae Lascu’s two annotated anthologies – Architecture as Art (with Monica Mărgineanu-Cârstoiu) and Function and Form, – published in the prestigious Art Library collection of the Meridiane Publishing House, brought to the fore the architectural thinking in its universal cultural bearing. Likewise, the earlier Aesthetic Thinking in Romanian Architecture (with Gheorghe Săsărman) was the first critical approach to Romanian theory of architecture, while the monograph Florea Stănculescu: Contributions to Affirming Romanian Architecture was the first real critical study dedicated to this Romanian architect, thinker and editor. It has to be said that the first two titles are still, to this very day, singular in our architectural culture and publishing activity. After 1989, Nicolae Lascu particularly focused on the local forms of architectural modernisation and on the past and present transformations of the city of Bucharest, which resulted in many research-projects and other volumes: Horia Creangă Centennial (with Ana Maria Zahariade), Marcel Janco Centennial (with Anca Iliescu-Bocaneţ and Ana Maria Zahariade) and, especially, the monumental work “Bucharest’s Boulevards before World War I” (Bucharest: Simetria, 2011). The latter is actually a deeper investigation in the research field of his doctoral thesis, Legislation and urban development. Bucharest, 1831-1952, which is an inescapable key to understanding the city; this work is still unpublished but largely referenced in the research milieus. All of Nicolae Lascu’s works are seminal, which is why we decided to open the Printed in Red dossier with the interview that he so kindly gave our colleague Monica Sebestyen.

"Fabryka" kościoła p.w. Świętego Ducha w Warszawie w latach 1707-1730 w świetle źródeł paulińskich. Przebieg prac, projektanci, wykonawcy

Author(s): Jakub Sito / Language(s): Polish / Issue: 04/2011

The Pauline Fathers’ Church of the Holy Spirit in Warsaw is representative of the late-17thcentury tradition of Warsaw architecture, mostly created by the milieu of North Italian masters working in Poland. The typical features of such projects are the slim facade with two side towers, and the basilical organization of the interior - called Warsaw basilica. It was defined by its compositional compactness and the extent of space integration. What makes the Church of the Holy Spirit different from other Warsaw churches of that time is that the history of its architectural origin and construction is recorded perfectly in the Archives of the Polish Province of the Pauline Order at Jasna Góra. The most important and the most abundant sources of information concerning the artistic and construction-related details can be found in two accountancy book for the church construction for the years 1707-1729 (AJG 468 i AJG 471). The construction of the Warsaw church for the Pauline Fathers was initiated by Fr. Innocenty Pokorski (1656-1734), responsible for numerous Paulines’ construction projects. At a later stage of the construction project, he was accompanied by Fr. Konstanty Moszyński – Provincial Superior of the Polish Paulines, a well-known patron of art and founder of numerous artistic projects.

"Panský dům" v Týnci nad Labem: vzestupy a úpadky jednoho domu

Author(s): Michael Rykl / Language(s): Czech / Issue: 2/2016

The study of small-town houses is not a very common topic among researchers. The analysis of the development of the historical house "Panský dom" (literally house of nobility) in the town of Týnec nad Labem has been highly informative. The aim of the article is to show the individual development phases of house construction according to research into material and written sources. Reconstructions, the building use, as well as individual structural changes can be analysed from the late Middle Ages to the 20th century.On the basis of the research performed, it can be stated that the use and purpose of the building changed with each new owner, related to his social status (suzerain house; inn; house of reeve and aristocratic officers; uninhabited; house of a noble with a regular income that led to the construction of a dance hall; semi-agrarian farmers; the transformation to an apartment building and hotel; bakery; etc.). The function of the courtyard also adapted to the desires of the new owner and the quality of life the residents changed accordingly. The quality of life of its residents illustrates the ability to exploit the potential for the house (including loft, farm buildings in the courtyard, etc.), to express the fashion and trends of the particular period. The vision of the owner, the structural possibilities and especially the methods of modification that embody the fashion of the particular period can be appropriately illustrated. Individual structural modifications describe the ambitions and situation of the owners.In this case, it is not a "great" history, but it is a study of the traces of life left in the house that surrounded its owners. At certain points, general history overlaps with the micro-history of "Panský dom" and together they influenced the form of house construction. The research identified several building phases and reconstructions when the modus operandi accurately corresponded with the social status of the owners. The informative value grows from the early periods to the later periods, in proportion with the number of written sources, as well as the material source – the house itself.

"Seramik Tasarımında Güzeli Arayış Sürecinde Yerel Değerlerin Esin Kaynağı Olarak Kullanımı"

Author(s): Mehmet Fatih Karagül / Language(s): Turkish / Issue: Special/2017

The beauty that has been tried to be addressed with such fields as mathematics, architecture, geometry has been among the subjects of philosophers since antiquity. Although the concept of beauty varies according to the periods, beauty is in fact related to the conception of the people. According to Aristotle, the values we can grasp will be beautiful, otherwise considered as non-aesthetic. Although 144 there is not a formula of the ideal beauty, the concept of beauty changes in an abstract and concrete way, according to the persons who monitoring. Throughout the ages, we can see that the Anatolian coasts have been governed by different civilizations and are a source of rich cultural composition. With its strategic and geopolitical importance, Çanakkale shores also witnessed a significant part of this process. Foreign powers always want to possess these lands and the beauty of the richness of these lands. The word "Hellespont" is one of the names used throughout the history of the Dardanelles. Hellespont is a local value for Çanakkale as geographical environment, cultural wealth and sense of meaning. A series of thematic works on using Hellespont as inspiration in designs will be addressed in this notice.

"Trulli" na području grada Alberobello i problemi njihove zaštite

Author(s): Marija Gamulin / Language(s): Croatian / Issue: 3/1972

Der "Truli” ist ein Bau mit stufenförmigem Gewölbe, ausgeführt mit trockenem Gemäuer, meistens auf quadrati scher Basis, ähnlich unseren Bauten genannt "hunje" und "kažuni". Die grössten Gruppierungen der "Trulli" befinden sich in der Stadt Alberobello, in der ob zwei unter Schutz stehende Denkmal-Gebiete gibt (MONTI mit 1450 "Trulli" und gegen 4-500 Einwohnern und AIÄ FIOCOLA mit 400 "Trulli" und gegen 1500 Einwohnern; für nationale Denkmäler wurden auch einzelne Qbjekte ausserhalb dieser Gruppen erklärt (TROLLO SQVRAHO aus dem 17 Jahrhundert; CASA. D ’AMOHE aus dem 18.. Jahrhundert, das erste Hsub in Alberobello, das mit Mörtel erbaut wurde und das doch sichtbare Kennzeichen des Systems der Bauart der "Trulli" aufweist). Die historischen Angaben weisen darauf hin, dass der Bau der "Trulli" in Alberobello auf das Verbot des feudalen Herrn, die Wohnstätten der Kolonen mit Mörtel zu bauen, zurückzuführen ist. Im Aufsatz sind auch zahlreiche Probleme dargelegt, die verbunden mit der Begründung und der Behandlung der Präge des Schutzes entstanden sind; es wird auch auf die Bestrebungen hingewieeen, diese Probleme zu beseitigen, wie auch auf die Wege der Lösung, die sich bereits abzeichnen.

"Vidi coelum novum et terram novam". Treści ideowe i geneza form Kaplicy Matki Boskiej Karmelitańskiej we Frydmanie

Author(s): Maria Kazimiera Staniszewska / Language(s): Polish / Issue: 17/2017

The paper deals with the chapel located by the parish church in Frydmanin the Spiš (Scepusium) region, founded by the local parish priest Michał Lorencs in 1764.The interior of the octagonal building, is fitted with a homogeneous set of furnishingsconsisting of a centrally located two-sided retable surmounted by a unique shrine inthe form of a glazed star, and numerous wooden sculptures decorating niches in the walls.The chapel used to be a pilgrimage site and became the founder’s resting place. The paperdiscusses the history of the chapel, the religious and political context of its foundation aswell as problems explored in earlier studies, both popular and scholarly ones, with specialattention devoted to the article by Jan Białostocki and Adam Miłobędzki, from 1957, thathas served as a crucial point of reference in the existing interpretations of the chapel.Further, the article attempts to elucidate the still unresolved problem of the origins of thechapel’s plan and forms of its retable, pointing to the traits they share with the sacred architectureof pilgrimage sites, particularly shrines. The Chapel of the Holy Shroud in Turin hasbeen suggested as the closest counterpart for the Frydman chapel as far as its architecturalplan, the retable type and the way of displaying relics are concerned. The soft, flowing linesof the a-tectonic forms of the retable, in turn, seem to resemble South-German small-scalearchitectural church furnishings from the mid-eighteenth century.As far as the message carried by the decoration of Our Lady of Mount Carmel Chapel isconcerned, selected Old- and New Testament figures, depicted in the retable and wall niches,have been identified, and particular themes represented in the above decoration have beendetermined. The first, sepulchral, theme is manifested in the unmarked burial site of FatherLorencs, located ad sanctos, in the immediate proximity of the relics of catacomb saints.The next, Carmelite, theme is related to the Scapular Confraternity that had been associatedwith the chapel and church. The paper discusses also the Marian symbolism of the chapel,already explored to some extent in earlier literature, and its prominent Christological andEucharistic themes, which have hitherto not been adequately examined. In conclusion, OurLady of Mount Carmel Chapel is considered as a symbolic representation of the HeavenlyJerusalem and a powerful profession of faith in the intercession of saints and the Virgin Marybefore God.

"Пластика" та "пластичність" як мистецтвознавчі категорії

Author(s): Rada Mykhailova / Language(s): Ukrainian / Issue: 28/2015

Identification of the content of certain terms and concepts as раrt of categorical apparatus, is one of the important tasks of science. The basic terms of art history is "plastic" and "plasticity" related graphic, decorative, design, architectural, stage entertainment perspective. Disclosure of the nature of their content, the analysis of a specific interpretation of professional, scientific and general educational level show that both terms are widely used in different areas of artistic practice, but most of the wording of the explanation is schematic and superficial. The current level of science to clarify and deepen this scientific definition. The term "plastic" often associated with the visual arts, which include spatial, visual (apparent), based on the fact that their works are substantive in nature, there are material by treating the material and are thought to exist in space. Traditionally, visual arts include painting, sculpture, graphics that make up the complex visual arts, architecture and applied art that reflect the real world materialized in specific forms of artistic activity – utilitarian three-dimensional objects endowed with artistic features. The spatial forms of plastic volumes and lines are essential, as this quality is their basis is the fundamental difference from other art forms such as music, literature, theater, cinema, whose works were perceived by ear, "expanding" in time are synthesized with a variety of visual representations. However, plasticity is an important component of synthetic, entertainment arts – screen and stage, including ballet-dance. The main quality of plasticity is the ability to deform under mechanical stress. In visual and spatial arts – a specific processing of materials in different ways is to achieve spatial configurations, identify their sculpture and paintings, material and texture, imagery and stylistic properties of structuring work and so on.

3.153.600

Author(s): Dejan Ilić / Language(s): Serbian / Publication Year: 2018

Toliko, više od tri miliona osoba dakle, pogine u Sjedinjenim Državama tako što padne s prozora. To Vučić kaže ovako: „U SAD na svakih deset sekundi pogine jedan perač prozora“. Što znači da ih 8.640 pogine na dan i 3.153.600 za godinu. I za državu od preko 300 miliona žitelja, 3 miliona stradalih na prozorima je previše. Vučić je potegao hiperbolu, reći će dobronamerni čitalac, hteo je da kaže da se nesreće događaju (u Sjedinjenim Državama rekli bi – shit happens, naročito kad se peru prozori). Ali, zašto je potrebno da pogine preko tri miliona perača prozora da bi se smrt dvojice radnika predstavila kao događaj na koji ne treba obratiti previše pažnje jer zaista – nesreće se događaju?

4 EPOCI, 4 CINEMATOGRAFE. O ANALIZĂ COMPARATIVĂ A 4 CINEMATOGRAFE DIN CLUJ-NAPOCA

Author(s): Razvan Poting / Language(s): Romanian / Issue: 17-18/2019

Cinema, although it is one of the newest architecture programs (appeared in the early twentieth century), has seen a rapid and continuous evolution of unexpected complexity. The history of cinemas, albeit relatively short, becomes a true story of glory, decadence and reinvention, somehow similar to the scenarios of films projected on its screens. The complexity of this history has been determined by a wide variety of factors: the development of technology, the evolution of architectural styles, the changes in the public’s way of life and taste and, finally, the cinema’s commercial side.In the city of Cluj, since 1910, there have been 14 historically documented cinemas. Of these, 7 are still working today and the 8th one is near the end of a rehabilitation and reopening process. The large number of functional cinemas make Cluj a special and happy case among the other cities in the country, which are suffering from the lack of functional halls.Of the 8 functional cinemas, four examples were selected for this study, each of them relevant for a different era: Arta Cinema - the pre-war period; Victoria Cinema - the interwar period; Cinema Florin Piersic (Republica) - the communist period and Cinema City Iulius Mall - the contemporary period. The opportunity to study 4 cinemas from different epochs, operating in the same city and sharing the same cultural sphere and the same public, enables us to do analyzes and comparisons with a significant degree of relevance.The history of the four examples will be briefly presented, highlighting the most important moments from opening to the present. Their current situation will be analyzed by highlighting the way they function and are being managed, the networks they are part of, the problems they are facing and their degree of adaptation to the requirements of the current public.The comparative analyzes will be made from a variety of points of view: architectural, urbanistic, social, operational, and cost-effective. These comparisons will also be based on a series of analysis sheets done by the author in the last two years of study at various screenings and events hosted by the four cinemas.

65 de ani de cercetare în construcţii, arhitectură şi urbanism

Author(s): / Language(s): Romanian / Publication Year: 2015

History of NIRD URBAN-INCERC: research in civil engineering, architecture and spatial planning.

7 pitanja za gradonačelnika

Author(s): Specified No Author / Language(s): Serbian / Publication Year: 2016

Još u oktobru 2015. godine, u svojoj Drugoj deklaraciji koja se bavi Beogradom na vodi,Akademija arhitekture Srbije uputila je 7 pitanja stručnoj i širokoj javnosti, predstavnicima lokalne samouprave Beograda i vlastima Republike Srbije. Od tada je prošlo skoro godinu dana, a da ni na jedno od ovih pitanja nije dat nikakav odgovor iako je bilo prilika. Na brojnim javnim nastupima glavnih zagovarača ove poslovne avanture,premijera i gradonačelnika, ponavljane su tvrdnje, brojke i računice koje jednostavno neodgovaraju Ugovoru o ulaganju u projekat Beograd na vodi. Ova pitanja još jednom su dobila na aktuelnosti nakon gostovanja gradonačelnika Siniše Malog u emisiji Insajder emitovanoj 20. septembra 2016. godine.

A bolgár ajkú magyarok legnagyobb temploma

A vingai római katolikus templom építészeti tervpályázata

Author(s): Nóra Németh,Katalin Marótzy / Language(s): Hungarian / Issue: X-XI/2016

After the Austro-Hungarian Compromise the state establishment worked as a stable system until World War I. The immovable scheme of the Austro-Hungarian dual monarchy state-system and the economic prosperity induced building operations. The society became more and more civilian thus the architectural competitions, as a phenomena of the free-market economy, spread widely. This process was favoured by the Association of Hungarian Engineers and Architects. Among the architectural competitions the ecclesiastical ones frame a different group. In these cases, the constitutor is not a faceless state organization or a capitalist company but a community who considered its church as an expression of their identity. The city of Vinga which is located near to Arad advertised a competition for designing a new catholic church in 1886. Vinga was founded at the middle of the 18th century when Bulgarian refugees won the right to settle down in the uninhabited territories of Temes County. They preserved their Bulgarian identity thus they regarded themselves as a part of the Hungarian nation, too. Their biggest town Vinga was built with wide roads according to a planned urban structure and they raised a neoclassical Roman Catholic church. The economic prosperity and the growth of the population induced the need for a bigger and representative church at the end of the 19th century and they decided to organize an architectural competition to find the most magnificent plan. In the same time, they were quite tight-fisted, thus this two aspects resulted a knotty situation. The process of the design competition and its criticism was not only published in the local newspaper: the bilingual Vingánska Nárudna Nuvála / Vingai Néplap, but also in the most prominent Hungarian architectural journal: Építési Ipar. As it was ordered the plans were designed in Gothic style. In the Hungarian historicism the neo-Gothic influence came from Viena. The architects, as Imre Steindl, who studied from Friedrich von Schmidt brought this trend to Hungary, and later as teachers propagated this to their students. The Vinga Church Building Comitee found Ottó Szehlo’s – a Steindl-follower’s – neo-Gothic proposal the best but they wanted to reduce the costs. After some complication the construction plans were made by Eduard Reiter, an architect from Timișoara (Temesvár). Examining the original drawings we can follow the alterations, how the concept and the details changed. From the elegant competition design Reiter made a cheaper and a bit provincial church and in some forms it is possible to find his own taste. The Roman Catholic church in Vinga became a huge three-bayed building with a low-keyed crossnave, the white walls and rib vaults are emphasized with a decorative, ornamental painting. The furniture and the altars were made in the same style, giving us a magnificent general impression. The façade with two high towers determines the view of the city up to this day.

A Bonchidai Bánffy-Kastély – Integrált Védelmi Projekt

Author(s): Tímea Berki,Zsolt Csók,Árpád Furu,Csilla Hegedüs,Balint Szabo,Attila Weisz / Language(s): Hungarian / Issue: 2/2017

The authors present the efforts of the Transylvania Trust Foundation for the professional training for the Transylvanian monument protection, centred around the Bonțida Castle (Bonchida, Cluj County), where a workshop on art history and archaeology is periodically held.

A Case Study on the Construction of a CLT Building Without a Preliminary Roof

Author(s): Eneli Liisma,Babette Liseth Kuus,Vilu Kukk,Targo Kalamees / Language(s): English / Issue: 2/2019

This paper focuses on cross-laminated timber (CLT) and how it is affected by the dynamic properties of moisture during installation in the cold and humid climate of Estonia. The moisture safety principles are designed using a case study of comparable activities with 4-D principles and on-site water content monitoring. On-site water content monitoring was done on the CLT elements that were installed and a parallel polygon specimen. Polygon testing was arranged with reduced size CLT elements subject to different conditions, with some exposed to the climate, some protected from precipitation, and some covered with film. The moisture content (MC) of the uncovered horizontal CLT element that was exposed to the climate reached over 25% after higher precipitation and the MC after prolonged direct exposure can reach up to 40% in a week, giving a clear signal of high risk areas for moisture safety. Installing a partly weather protected CLT element without a preliminary roof is a high-risk arrangement, but is essentially possible in a cold and humid climate. Moisture safety planning and a lean strategy must be applied with timber construction.

A few indications on the architecture of Sarmizegetusa Regia. About the andesite columns and the measurement unit

Author(s): Virgil Apostol / Language(s): English / Issue: 10/2019

The archaeological research undertaken at Sarmizegetusa in time has indicated or discovered a number of plinths, drums and bases of andesite columns. Several reconstruction hypotheses are proposed for the architecture of the Great Andesite Temple, the Small Rectangular Temple and the Large Rectangular Temple, based on the analysis of these architectural elements preserved in situ, in a secondary position or reused in Roman buildings. In the end an important archaeological discovery in the area of Orăștie Mountains is presented, a bronze square with markings (lines and dots) preserved on its arms, which indicate precisely the measurement unit used at the Dacian monuments at Sarmizegetusa Regia.

A forgotten architectural scenario. The removal of the Regent’s Quadrant colonnade in 1848

Author(s): Noemi Mafrici / Language(s): English / Issue: 27/2020

The removal of the colonnade of the Regent’s Quadrant not even thirty years after its construction is a critical matter within the architectural history of Regent Street and the social history of London as well. The Quadrant is the most known part of the street for its impressive architectural features and its peculiar shape. The original design was by John Nash, architect responsible for the improvement of the whole street and the development of Regent’s Park. Starting from 1848 and during the last two centuries, the street suffered several changes that hugely modified its architectural design. The paper discusses the chronology of the Quadrant, focusing at the years that led to the first transformation of the street. The contribution investigates this demolition and the motivations that led to it, through an analysis with sources that belong to the history of the city, among which correspondence of inhabitants, private petitions,newspapers and architectural sketches. The study looks at the subject not only from an authorial point of view but also from the city perspective with all the social and cultural implications. It argues forms of organisation of people and their role in urban matters, examining the formation and interest of an association involved in the process of demolition of the colonnade. Finally, an analysis of the reconstruction of the image of the Quadrant, before and after its modifications, both part of London urban memory.

A kolozsvári Marianum Római Katolikus Leánynevelő Intézet épülete

Author(s): Zsófia Gál / Language(s): Hungarian / Issue: X-XI/2016

This article deals with the Romano Catholic Institute for girls (also known as ”Marianum”), in a historical, architectural perspective. The building of the Romano Catholic Institute for girls ”Marianum” from Cluj-Napoca (Kolozsvár) is a significant example of the school buildings erected in the second part of the dualist period. It was founded thanks to some favorable terms. On one hand, the need for new middle-level educational institutes for girls, emerged from the ministerial decree of Gyula Wlassics, which allowed women to enroll to universities. On the other hand, the cause of the education of women found a devoted upholder in the person of the parson József Hirschler. Due to his refined artistry and economic sense, Hirschler managed to assure all the needed material and spiritual resources. The volume of the building was masterfully adapted to the oblong plot, creating a symmetric and modern structure. The building has met both sanitarily and technically all the expectations of the period. When shaping the building, and articulating the special structure, there was a great emphasis on functionality, respectively on ensuring the natural lightning and ventilation of the classrooms. These favorable conditions were completed with a modern ventilation- and heating systems. The backyard was shaped as a playground − that in the winter could be converted into a skating rink − and on the elevation there was a filagory. It’s individual character was given by the mixture between the religious and the woman’s institutes specificities. These two special ingredients required some specific rooms, that one could not find in other educational institutions in the city: the spacious kitchen, necessary for the household classes, which had to be roomy enough to receive a whole classroom, the multifunctional room, that was both gymnasium, assembly hall and a chapel for the pupils, respectively a separate chapel for the nuns. The furniture was of a great value, fulfilling the needs of a high standard and comfortable education. Hübner, who was not widely known in Transylvania, was most probably helped by his father-in-law, Ignác Alpár a star-architect of the time, to receive the commissioning. The school complex is one of the latest works of Hübner. The modernity and the openness towards the new architectural trends set on a solid historicist ground that defines the architects oeuvre is characteristic for this building as well. The style of the facades and of the interior details fits in the conservative art nouveau stream defined by the Árpád-bath from Székesfehérvár and by the tenement house from Üllői street 119, Budapest. In this period, his individual art nouveau style was already tangible through the ornamentation that reinterpreted in a creative manner the architectural decoration of the historicism. Hübner applied decorative and clear solutions using simple materials like brick and plaster. The over-all impression of this facades is reserved and elegant, due to the extensive use of the brick a bit somber, the classical frame being filled with a modern content. Even though both the interior and exterior decoration could give us the impression of a vast a decorative program that refers clearly to the function of the building, the evident parallels with the tenement house from the Üllői street (owl decorations), disclaims this kind of interpretation.

A kultúra közjó

Author(s): Virág Buka,Kristóf Nagy / Language(s): Hungarian / Issue: 27/2020

This article focuses on the emergence of the paradigm of solidarity economy and of the commons in the field of professional cultural production. We unfold the possible mutual cooperation of cultural producers and commoning social movements by examining the case studies of the Resonate music streaming co-op and of the Dutch Stad in de Maak housing-initiative. The case of the Resonate exemplifies how cultural producers can reorganize their industry in a cooperative way to hinder capitalist value extraction. Another type of encounter takes place between culture and commons when cultural producers utilize their knowledge and skills in various solidarity economy projects. We demonstrate this possibility through the case of the Rotterdam-based Stad in the Maak, where the artist-architect founders launched a long-term community housing initiative.

A műemlékvédő Roska Márton

Author(s): Zoltán Vincze / Language(s): Hungarian / Issue: 1/2020

The study deals with the well-known archaeologist', Márton Roska' work as the protector of Transylvanian momuments.

A new double foundation deposit in the Hathor Shrine of Tuthmosis III at Deir el-Bahari

Author(s): Nathalie Beaux,Mariusz Caban,Dawid F. Wieczorek / Language(s): English / Issue: XXVII/2018

A double foundation deposit was found in the souteastern part of the Tuthmosis III Hathor shrine at Deir el-Bahari. The architectural features, a pit with a niche at the bottom, confirm the dating of both of these deposits to the times of Tuthmosis III. An original feature of the southeastern one is the initial circular cavity changed into a semicircular one by the building of a mudbrick wall in the east. Several courses of mud bricks built up the rim of the pit above the rock-carved cavity. The whole structure was plastered inside with mud plaster. The bricks were mostly reused from the Middle Kingdom structure of Mentuhotep II. The content, although disturbed, still consists of organic offerings as well as ceramics, but no inscribed material.