"…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.

"AT THIS SITE, A MONUMENT WILL BE INSTALLED": CHISINAU MONUMENTS AND COMMEMORATION PRACTICES DEDICATED TO FORCED SOVIET DEPORTATIONS

Author(s): Kateřina FUKSOVÁ / Language(s): English Issue: 33/2020

The article deals with the politics of memory in Moldova, emphasizing the memory of the forced Soviet deportations from Moldova in 1941–1951. The article aims to analyse contemporary Moldovan politics of memory and discuss it on the example of Chisinau monuments and commemoration practices dedicated to the forced Soviet deportations. As the main theoretical concept for the analysis of the monuments serves Pierre Nora's term lieux de memoire, which is defined as the symbolic elements of the memorial heritage of any community (Nora, 1989). In the article, three monuments are discussed: 'Monument to the Bessarabians massacred by Bolsheviks', 'Monument in the Memory of Victims of the Soviet Occupation and Totalitarian Soviet Regime' and the 'Train of Sorrow'.

"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.

"Różne sztuki wód” i Bernini. Wersal Ludwika XIV w relacjach polskich podróżników (1661–1715)

Author(s): Anna Markiewicz / Language(s): English,Polish Issue: 20/2020

"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.

"Наполеоновская египтология": специфика формирования представлений о египетской культуре в Европе начала XIX века

Author(s): Evgenii Aleksandrovich Chiglintsev,Natalja Anatolevna Shadrina,G. Yu. Artyukh / Language(s): Russian Issue: 3/2022

This article discusses how the views about the heritage of Egyptian culture were shaped in the minds of the European participants of Napoleon’s Egyptian campaign. The origins of European Egyptology are considered. The extensive contribution of the Arab-Islamic culture of Egypt, which retained both the archaic traces of ancient Egypt and the traditions of Hellenistic and Christian Egypt, into this process is analyzed. The term “Napoleonic Egyptology” is introduced. We defined it as a system of authentic written and visual sources that had a major influence on the initial perception of the ancient Egyptian culture and became the basis of subsequent Egyptological studies carried out by special institutions and destined to help Europeans to have a better understanding of the value of the ancient Egyptian civilization. Of particular interest is how the cultural layers of Egyptian culture of that time either stood out or merged in the image of the East that was developed by the Europeans who took part in the Egyptian campaign. It is emphasized that scholars who accompanied Napoleon’s troops had no idea of any connection between the ancient (Egyptian) and modern (Islamic) components of the regional culture. This hypothesis is substantiated by the structure of the book “Description of Egypt” with its separate volumes devoted to Egyptian antiquities and the Islamic Egypt. In this work, the images of ancient Egypt and modern East are parallel. The idea largely underpinned the evolution of European studies of the ancient Egyptian civilization.

"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.

#MUZEULDEARHITECTURA CA FORMĂ DE EDUCAŢIE

Author(s): Marina Mihăilă / Language(s): English,Romanian Issue: 8/2016

Education in architecture field is an important constituent of the global society we live in, and architecture museum could be a collection of images, models, architects, histories and goings-on; it could take the form of internet tags and could be a measure of popularity. Or it could function as institution developing activities based on collection it represents. Between the passion for future technology and musical trends, testing the taste for architecture is one of the 21st century fashions. Knowing the models and architectures is not any more the narrow architects’ domain, and understanding urban spaces is far away an issue of cultural integration. To know and recognize buildings is a question of trend, and architects have come very close to these common tastes of experimenting iconic forms, particular textures, or attractive interactions. From travelling for seeing, knowing and photographing funny perspective errors with unique architectural elements, to understanding architectural gestures, it is a whole range of discussions in which a global world participates, desirous to appreciate the extraordinary, spectacular, and supremacy, all expressed in forms, landmark and budget. Above all, DAM Frankfurt and Arhitektur-Zentrum Vienna are two of the architectural museums that overcome the preoccupation for local models.

(NE)LIEČENÁ ARCHITEKTÚRA

Author(s): Mária Novotná / Language(s): Slovak Issue: 3-4/2020

Review of: MARTIN ZAJIČEK, ANDREA KALINOVÁ, PETRA HLAVÁČKOVÁ (EDS.) ARCHITEKTÚRA STAROSTLIVOSTISLOVENSKÉ KÚPELE V DRUHEJPOLOVICI 20. STOROČIA, 2019, Bratislava: Archimera. 344 p. ISBN: 978-80-972341-5-7

(Wild)haus w Bezławkach (Bayselauken, Bäslack)

Uwagi na temat budownictwa warownego zakonu niemieckiego w późnośredniowiecznych Prusach

Author(s): Krzysztof Kwiatkowski / Language(s): Polish Issue: 2/2016

The article constitutes a collection of remarks concerning military aspects of the construction and functioning of the Teutonic castle in Bezławki (Bayselauken, Bäslack) in the last decades of the 14th century. Speculations included in the article refer to opinions expressed by the authors of the collective monograph about the late medieval settlement complex in Bäslack published in 2013. It presents the findings of archeological research in the castle and the village in the years 2008-2012. Remarks presented in the article concern three out of six problems which are considered the most essential. While it goes beyond doubt that the castle played an important defensive role, the hypothesis of it being a “fortified camp” for the army during military actions of the Teutonic Order against the Lithuanians and Ruthenians has been undermined. It is not possible to consider it to play a military role on a significant strategic level, as do the authors of the monograph of 2013. In the second part of the article the author undermines the hypothesis about the “systematic” character of the complex of fortifications situated on the eastern Prussian border. If the castle in Bäslack was indeed part of some defensive system, it could operate on the local level and consist of an insignificant number of elements including longitudinal fortifications constituting the so called “Landwehr”. The next issue addressed by the author was a problem of the typology of the term “wildhaus”. As in the 14th century the term connoted the location of the fortification on the border of the forest, the author shows a far-reaching morphological diversity of fortifications on the eastern outskirts of the Prussian state, which were or could be classified as “wildhauses”. Thus, a “wildhaus” cannot be classified as a morphological type of a fortification. The typology of fortifications based on the morphological criteria cannot be connected with the typology based on the administrative and terminological criteria. Archeological examination of the Bäslack fortification evinces its major cognitive potential and makes us aware of how little is known about the functioning of minor fortifications in late medieval Prussia. Further research in this field belongs to one of the most important elements of historical science in the Prussian regional dimension and related branches of science.

... Modernism survived on the dream of austerity and the dream of not playing the game of consumerism

A conversation with Stanislaus von Moos on the rooftop terrace of the Getty Research Insitute

Author(s): Celia Ghyka / Language(s): English Issue: 7/2019

Interview with Stanislaus von Moos by Celia Ghyka.

...A la recherche d’un temps présent…

Author(s): Čedomila Marinković / Language(s): Serbian Issue: 1-3/2010

/STĂM SĂ NE GÂNDIM – EVENIMENT MANIFEST

Un dialog despre necesitatea spațiilor publice în București

Author(s): Ruxandra Păduraru / Language(s): English,Romanian Issue: 13/2021

1870-2018. Russia and the Balkans. The Case of the Unbuilt Orthodox Church in Cetinje, Montenegro

Author(s): Miloš Stanković / Language(s): English Issue: 6/2018

The process of the creation of the national states in the Balkans in the 19th century was followed by the political reforms and revitalization of church life, that had been suppressed in the Ottoman period. During the 19th century, Serbs, Greeks and Bulgarians, in different periods, have staged uprisings, waged independence wars, gained autonomy, then sovereignty, and were internationally recognized. During their liberation fight, these countries have been supported by the great European powers, above all by Russia, whose assistance was particularly directed towards Bulgaria, the Principality of Serbia and the Principality of Montenegro, aiming to emancipate the Balkan Christians. Following the 1876 – 1878 wars, the 1878 San Stefano Treaty and the Berlin Treaty, the Balkan countries were recognized as fully sovereign states.

18TH CENTURY SERBIAN ARCHITECTURAL PRINCIPLES IN THE FORMER PROVINCES OF THE HABSBURG EMPIRE, A CASE STUDY ON BANAT AND HUNGARY

Author(s): Mihaela Vlăsceanu / Language(s): English Issue: 3/2017

The baroque style has been often regarded by specialists as one of the first international movements transcending the limits of time and space, manifesting in areas found far from the centre that set the trend. The ideological discourse promoted by the Habsburgs had as a model the scenery of the great cities in the empire, with urban principles that stated the importance of the parochial church, or the main square adorned with monumental sculptures as visual rhetoric. It was quite a fashion to assert allegory and symbols as forms of power manifestation, having didactic and decorative values at the same time. The image instructs, the form sets boundaries to what is seen, and becomes a model to be followed in a manner that sets the prototype. The architectural prototypes of the churches raised in Hungary and Banat in the 18th century were configured by Lipót Kollonich. During Leopold I the Serbs were allowed to build churches made of stone replacing the wooden ones from the previous century. The study aims to present a comparison between the Serb architectural topography and style in two of the provinces found in the boundaries of the Habsburg Empire. How the central European models were received and set as trends in religious architecture is the main target of this research.

19. YÜZYIL SAVUNMA YAPILARI: TRABZON TABYALARI ÜZERİNE BİR İNCELEME

Author(s): / Language(s): Turkish Issue: 13/2021

Trabzon maintained its importance and strategy throughout history because of its geographical position and harbour. The defense of the city against attacks and threats has been an important issue since it is an important location of Silk Road trade, which serves as a gateway to Europe and Russia by sea and a passageway to the inner parts of Anatolia, Caucasus and Iran. The city has witnessed the construction of a bastion which has changed the military architecture with the invention of firearms and emerged as a new type of building. The spatial organization of the local, which is now Kalepark/Ganita, has brought the castle to the fore and it became the military committee and command center. Trabzon and Çömlekçi bastions were built to protect especially harbors, coasts and regions where is concentrated active trade, including the main bastion in Güzelhisar. Hagia Sophia, which is the most important structure of the city and has many ideological and symbolic meanings, is located quite far from the city walls so it had to be defended against the attacks and dangers from the sea. For this reason, a bastion was built in front of Hagia Sophia. Also, another basiton was built in Polathane Harbour. Polathane Harbour, which was used in both commercial and military purposes, had been a strategic point especially in the 19th centruy as it was the first defence point in the sea aganist to Trabzon. So there were built Kireçhane and Sargana bastions due to Russian invasion to protect for harbour in the 19th centruy. Within the scope of the current study, a research was carried out regarding the bastions situated in Trabzon, and their importance was explained. This research employs archival material from Presidency of The Republic of Turkey Directorate of State Archives - Ottoman State Archives and Ottoman and French maps and plans. Bastionss are discussed in the light of archive documents in the context of repairs and reconstructions, budgets, construction decisions and architectures. Some financial difficulties in the construction of the buildings, have security problems caused by the location of bastions and sent from the central authority in the organization of the construction works and assist the city administrators were determined in the study.

1900’LÜ YILLARDA DOĞU’NUN ART NOUVEAU ÜSLUBU: İSTANBUL VE BAKÜ MİMARİ ÖRNEKLERİ

Author(s): Terane Burnak / Language(s): Turkish Issue: 49/2021

In the 19 century, the Turkish and Azerbaijani architecture covered a way basically parallel to the development of architecture in the West. Since 1830s, the classicism in the Turkish and Azerbaijani architecture, and in the same way in the West European one, was forced out by retrospective imitations of historical architectural styles. With that in mind, architects pursued the objective to renovate and enrich full range of tools and methods based on outdated decorative fixtures. In the late 19- by the turn 20 centuries, aspirations to bring the architecture and construction together and thereby form an appropriate estimate gave an impetus to the advent of a new trend in architecture referred to as Art Nouveau. At the same time, the reviewed period was marked by formation of main principles and methods of the Turkish and Azerbaijani architecture that had sway over the new architecture of these countries. Testifying to the development of cultures of these countries later 19-earlier 20 centuries was enhanced diversity of edifices and buildings. Note that these structures preserved their genuineness along with local variations and in keeping with European cannons.Proceeding from the analysis of stylistic peculiarities of Turkish and Azerbaijani traditional forms and methods, technical and stylistic specificities of Art Nouveau, decorative-artistic solutions and symbols of forms in the architecture of Istanbul and Baku, it can therefore be concluded that the reviewed period mattered most in the architecture development. In view of this, the novelty of studies comes not from traditionalism but new approaches to the insight into forms, architectural planning and constructive peculiarities through identifying a place of the Turkish and Azerbaijani architecture in the history of the world architecture.The foregoing revealed the fact that the Turkish and Azerbaijani architecture made a weighty contribution to the development of the world architectural heritage of the end 19-beginning 20 centuries. The point at issue is about conditions predetermining the development of new spatial-dimensional, architectural-design and constructive peculiarities of the Turkish and Azerbaijani architecture, as well as the development of residential-public buildings and basic typological groups of these edifices.