"…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.

(Neo)modernist architecture of Madrid: between form and theory

Author(s): Ewa Kubiak / Language(s): English / Issue: 18/2016

In the beginning of the 21st century, a number of buildings with neomodernist elements were erected in Madrid. Modernist theory of forms should be juxtaposed with such residential buildings as Mirador (2005) and Celosia (2009) in the district of Sanchinarro, which were designed by the renowned Dutch office MVRDV in collaboration with the Spanish architect Blanca Lleó. Equally notable are the achievements of the Madrid-based architectural office, A-Cero (Joaquín Torres and Rafael Llamazares). Its main activity focuses on designing residential buildings: both entire complexes and individual houses (Vivienda 10, Moka House). The paper will not only present some of such buildings, but also the context of their creation, both in the formal and ideological terms. It is also worth considering the theoretical reflection on architecture whose authors are the architects themselves. The most interesting of them not only design, but also seek to present their artistic philosophy, in which we can find many neomodernist threads.

15 March 1939 and the occupation of Prague Castle

Author(s): Pavel Zeman / Language(s): English / Publication Year: 0

The occupation of the Czech lands in March 1939 and Adolf Hitler’s stay in Prague on 15 and 16 March 1939 have been described in both specialist and memoir literature. Yet new archival materials relating to these events are still emerging. These include the report on the occupation of Prague Castle from May 1939 by JUDr. Karel Strnad, an official of the President’s Office, and two German documents: on President Emil Hácha’s return from Berlin on 15 March 1939 and on Adolf Hitler’s stay at Prague Castle.

1578 m. Zapyškio parapijos aprūpinimo aktas

Author(s): Guoda Gediminskaite / Language(s): Polish,Lithuanian / Issue: 4/2014

The paper aims to examine Povilas Sapiega’s donation for Zapyškis parish in the year 1578 as it is the oldest known historical written source of the parish and its churches of Zapyškis and Gelgaudiškis. First, the text of the donation copy and its translation into Lithuanian language are given. Then, the publication is supplemented by a comment. Special attention is paid to the issues of the origin of the document. It is suggested that the donation copy was done in the year1796 in the context of foundation of a new diocese of Vygriai. The paper also tries to comment the content of the document, which reveals historical circumstances of the development of Zapyškis parish and church. It is offered that in the year 1578 Povilas Sapiega supplied for the first time the parish and church, which had been founded by his father Jonas Sapiega. Moreover, the details of supply are disputed.

1900. Prvi urbanistički plan Pule

Author(s): Emil Jurcan,Attilio Krizmanic / Language(s): Croatian / Issue: 1-2/2013

Interview with Attilio Krizmanić by Emil Jurcan

1935. / 1939. Civilizacija rimskih temelja

Author(s): Emil Jurcan / Language(s): Croatian / Issue: 1-2/2013

Dvadeset godina nakon pripojenja Istre Italiji, Pula se nalazi u snažnoj gospodarskoj krizi, a stanovništvo joj postepeno opada. U 30–im godinama fašistički režim pokreće niz radova u cilju razvoja istarskog gospodarstva; 1933. godine započinje izgradnja vodovoda, 1937. godine gradi se rudarski grad Raša, a 1942. godine Podlabin. Moderniziraju se ceste Trst — Pula i Rijeka — Izvor: časopis Pula, a u sklopu tih akcija od 1935. do 1939. godine izrađuje se generalni urbanistički plan grada Pule.

1944. / 1945. Nestali grad

Author(s): Emil Jurcan / Language(s): Croatian / Issue: 1-2/2013

Pred kraj II. svjetskog rata, Pula je pretrpjela niz savezničkih bombardiranja. Prvo, od ukupnih 23 bombardiranja, uslijedilo je 9. 1. 1944. godine, a posljednje 6. 5. 1945. godine. U tim razaranjima poginulo je oko 280, a ranjeno oko 800 osoba, do temelja je srušeno 235, a teže ili lakše oštećeno 2.170 objekata. Nakon poslijeratnih sanacija nestalo je 67% ondašnjega grada, a brodogradilište, koje je bilo jedan od glavnih ciljeva, gotovo u potpunosti je razoreno. »I sama starogradska povijesna jezgra Pule izgubila je dio svojeg bogatstva u razaranjima koja su osobito pogodila prostor današnjeg Parka grada Graza, gdje se nalazio velik broj stambenih objekata čije su ruševine nakon rata definitivno sanirane prema već otprije postojećem planu ’ozdravljenja’ povijesne jezgre, budući da je prostorni plan, kojeg je između 1935. i 1939. godine izradio arhiekt Luigi Lenzi, predviđao planska rušenja građevina u starom gradu.« piše povjesničar Raul Marsetič u svojoj knjizi »I bombardamenti aleati su Pola 1944–1945, Vitime, danni, rifugi, disposizioni delle autorità e ricostruzione« u izdanju Centro di ricerche storiche — Rovigno, 2004.godine.

1957. / 1966. Selidba na jug

Author(s): Emil Jurcan,Radovan Mišcevic / Language(s): Croatian / Issue: 1-2/2013

Interview with Radovan Miščević by Emil Jurcan

1978. / 1983. Prvi urbisov plan

Author(s): Emil Jurcan,Dragan Radolovic / Language(s): Croatian / Issue: 1-2/2013

Interview with Dragan Radolović by Emil Jurcan

2000. / 2008. Lažna slika grada

Author(s): Emil Jurcan / Language(s): Croatian / Issue: 1-2/2013

Sadašnji prijedlog generalnog plana prolazi kroz niz preinaka, dorada i rasprava, a karakterizira ga potpuni raspad klasične metode planiranja koja postaje neprimjenjiva u današnjim gospodarsko/ političkim uvjetima. Promjenom vlasničke strukture i temeljnim nedostatkom razvojnih projekcija grada, koje bi bile prilagođene današnjoj ekonomiji, urbanizam se svjesno povukao iz svih segmenata društva i usmjerio se prema vrlo neobičnom cilju — stvaranju imidža grada. Temeljne pretpostavke na kojima se današnji GUP zasniva, streme ka svođenju Pule na »imidž grada kao atraktivne turističke destinacije«. Riječ imidž (image) označava sliku, predodžbu, a stvaranje imidža pretpostavlja stvaranje slike grada — slike koja bi zamijenila onu realnost, u kojoj njegovi građani žive. Tim činom planiranje se povuklo duboko u zamišljanje nerealnosti, zanemarujući trenutnu situaciju i probleme s kojima se grad suočava. Taj pomak stremi ka stvaranju postmodernog grada — grada koji jasno komunicira isključivo preko reklamnih prospekata.

2011 m. apgintos menotyros disertacijos

Author(s): Lina Balaišyte / Language(s): Lithuanian / Issue: 4/2011

A Biennale of Knowledge

Author(s): Cristina Sucala / Language(s): English / Issue: 2/2014

A comparison of approaches to art in the constitutions of the Orders of the Discalced Carmelites and Trinitarians

Author(s): Miroslawa Sobczynska-Szczepanska / Language(s): English / Issue: 1/2016

The reform process of the Order of the Most Holy Trinity (Trinitarians) developed under the strong influence of the Teresian Carmel, which is reflected in the dependence of the first constitutions of the Discalced Trinitarians (1614) on the statutes of the Spanish Congregation of the Discalced Carmelites (1604). The article discusses the regulations on the artistic activity contained in the aforementioned texts and in the later statutes of both orders (including the unpublished constitutions of the Outside-Spain-Family of the Discalced Trinitarians compiled in 1770) that have as yet not been studied by historians of the Trinitarians Order. The analysis of these provisions leads to the conclusion that Trinitarian approach to art was determined by the legislations of the Spanish Discalced Carmelites and by the third point of the Trinitarian Rule, ordering that their churches were of simple construction. Unlike the Spanish Discalced Carmelites, the Discalced Trinitarians systematically modified their regulations, adapting them to the changing circumstances in which the religious buildings were constructed.

A felvinci református templom újonnan feltárt középkori freskója

Author(s): Tekla Szabó / Language(s): Hungarian / Issue: II/2007

On the medieval walls built in the 19th century church of Unirea (Felvinc) a significant Passion-cycle has been found. The frescoes found on the eastern and the southern walls of the sanctuary - in the area of the gallery supporting the organ - have been conserved between 2002 and 2007. The work will continue in the area beneath the gallery. The upper row of the south wall includes two fragmentary scenes before the Crucifixion: the Flagellation and the Trial of Christ. The Passion-cycle continues in the apex of the eastern wall with a large Crucifixion scene. The 19th century vault of the chancel covers the upper part of the scene. The two scenes of the second row - on either side of a window with the iconic representation of Kosmas and Damian - are the Deposition and the Entombment of Christ. The Resurrection and Anastasis of Christ are represented in the lower row, partly covered by the gallery. The scenes of the post-Resurrection incidents continue on the south wall with the Assumption. An apostle head depiction has been found under the Trial of Christ scene. The masterfully composed fresco full with emotions resembles the sparse compositions of the Middle Byzantine era, which lived throughout and influenced the art of the duecento. This is the heritage of the painters who fled Constantinople after 1204, and who found their new maecenas in the young Balkan and Crusade states, or further in Western Europe. It is interesting to note that at Unirea many depictions merge two scenes of the Holy History. The Deposition of Christ scene supports elements from the Lamentation of Christ, while the Anastasis Christ's victory pose refers more to the Resurrection. A Christ in victory is also represented a Resurrection. The scene blended this Western component with the Byzantine style: an angel points towards the empty grave and supposedly towards the three women, but that scene probably was covered by the 19 century structure. Other scenes prove the circulation of Franciscan patterns widespread in Italian painting from the middle of 13th century. The new images enhancing the sufferings like The Flagellum, the Trial shows the transformation process of the Byzantine imagery for Western use. We also find direct allusions to friars in the representation of the cord-bounded hands of Christ in the scene of the Trial, or the cord legged clothes of the holy personages in the Anastasis scene. The technique used is secco-fresco with sepia. The giornates follows the frame of the scenes. Considering the wall paintings, one can recognize the characteristics of the "Italo-Byzantine style". The figures with red haloes tend to fill out the red frames of the scenes. In the space between them, western architectural patterns were inserted. The "horror vacui" is proved by the preference for the numerous decorative patterns, mostly painted al secco. The almost sculptural forms of the figures are painted with different saturations of the same colours, creating a chiaroscuro effect. On the frescoes left, one can identify three masters. One of them, who painted mainly the women side figures and the medical saints, had also the characteristics of the "Linear Gothic Style". The interference of the two styles can be observed also at Cecejovce, Cserkút and Sânta Măria Orlea. Both styles have Byzantine features, but it appears that one should not necessarily search for a direct influence of either style. The discovery of the Unirea frescoes helped to reconsider the importance of the Italo-Byzantine style at the beginning of 14th century. Together with other new discoveries (Văleni de Mureş, Crăciunel) and the reanalysis of the ones which were already known (Sântimru, Cricău, Cecejovce, Cserkút,) the circle of the Italo-Byzantine wall paintings (mostly Sânta Măria Orlea, Spisská Kapitula, Dravce, Ghelniţa) became wider. One can find common features in almost all works of the style circle, but the Unirea fresco is closest to the fresco of Sântimbru, Criău and Sânta Măria Orlea. This is due to the relatively common painting technique and the common source of the iconography. The diversity and the high quality of both styles and composition are raising the question of a possible local mixing of styles.

A first Attempt to Determine the Partial Factors According to Eurocodes for the Verification of ULS of Steel Elements for Conditions of the Republic of Belarus

Author(s): Vitali Nadolski,Viktar Tur / Language(s): English / Issue: 1/2016

The aim of the study is to develop science-based methodology for estimation the values of the partialfactors for design of steel structures for the conditions of the Republic of Belarus, taking into account the specified values of reliability levels. The object of the study is steel structural elements. Methods:mathematical modeling, numerical and analytical methods, parametric and graphic analysis. In January 2010 European standards (EN standards, Eurocodes) for the design, fabrication and erection of building structures were introduced in the Republic of Belarus. The system of European standards (EN 1990) recognise the responsibility of regulatory authorities in each country and guarantee their right to determine values related to regulatory safety matters at national level. According to the reliability concept of building structures adopted in the standard ISO 2394, EN 1990 the target reliability levels for designed structures are set. It caused a necessity to calibrate the partial factors of steel structures for Belarusian National Annex to Eurocode 3 based on the target reliability level using probabilistic methods.

A foundation of voivode Radu of Afumaţi (1522-1523; 1524; 1524-1525; 1525-1529) in the precinct of the Argeş Monastery

Author(s): Maria-Venera Radulescu / Language(s): English / Issue: 8/2017

The church of the Argeş Monastery, founded by voivode Neagoe Basarab (1512-1521) in 1517, was enclosed since its beginning by precinct walls and surrounded by buildings belonging to the monastery. In the first half of the 16th century, on the eastern side of the monastic complex one could find the chapel and the princely house – foundations of voivode Neagoe Basarab, and beside them the princely house and chapel with two towers – erected by voivode Radu of Afumaţi (1522-1529). These buildings are mentioned in archive documents, writings of foreign travelers, drawings and engravings.The restoration of the Episcopal Church in Curtea de Argeş (The Court upon Argeş), between the years 1875 and 1885, made possible the discovery of a fragmentary plate tile from the 16th century, on which an equestrian soldier is portrayed in a battle scene, with a church with two spires. The composition is probably a representation of voivode Radu of Afumaţi and his foundation within the enclosure of the monastery. This ceramic piece synthesises, through its iconography, the political programme of the voivode, namely protecting the Orthodox Church in a period of intense military confrontation with the Ottoman army. The voivode is similarly portrayed as a warrior for the Christian faith on his tombstone in the Argeş Monastery.

A gyulafehérvári székesegyház déli tornya

Author(s): Balázs Halmos,Katalin Marótzy,Gergely Domonkos Nagy / Language(s): Hungarian / Issue: VI-VII/2012

In 2008–2009 the Department for History of Architecture and of Monuments of the Budapest University of Technology and Economics had made a true-to-form architectural survey on the southern tower of the Cathedral of Saint Michael in Gyulafehérvár (Alba Iulia, RO). The true-to-form architectural survey is based on the method used in “Bauforschung”, the building archaeology practice developed and widely used in Germany. In this context, survey is not only a tool of documentation but is considered as a research method in itself. We had the possibility to piece together the on-the-spot analysis with the research of archives, too. In the following study we try to add new opinions and to modulate the formerly known building-history of the southern tower. The building of this part of the Cathedral begun in the second part of the 13th century, the last bigger work was taken in 1856. Our research makes an attempt to divide the different periods of the design, and the various restorations on the facades. The work undertaken is not completed, we expect to carry on the survey of the interior in the immediate future.

A kurgan grave or an orange squeezer? A matter of personal preference

Author(s): Julia Sowinska-Heim / Language(s): English / Issue: 12/2010

The National Temple of Divine Providence in Poland has been a source of fierce arguments, even though it was meant to become a symbol of freedom, harmony, reconciliation and solidarity among the Polish people; a votive offering of the nation for the resumption of Polish independence and the pontificate of John Paul II.1 The idea of erecting the building was originally conceived after the signing of the Polish Constitution of 3 May 1791, but for the next 200 years it was not possible to implement the project. It was only in 1999 that a committee supported by the Union of Polish Architects invited tenders for the design of the shrine. The jury selected three winning works from over 100 proposals. Of those three, in May 2000, the Primate of Poland, Cardinal Józef Glemp, who was also the originator of the competition, selected the design by Professor Marek Budzyński. The work was viewed as a very interesting concept, complying with international standards. However, the Management Board of the Foundation for the Building of the National Temple of Divine Providence took a surprising decision to reject the design and announced another, closed tender, inviting only selected architectural teams to participate and thus excluding many distinguished architects, among others one of the previous three winners.