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Chains of Causality Associated with the Environmental Impact of Road Transport System

Author(s): Mihaela Condurat / Language(s): English Issue: 1/2016

Given the growing interest in the promotion of sustainable transport worldwide, the measurement and assessment of sustainability associated with systems and transport policies had become an increasingly important area, its measurement being performed through the environmental indicators.The paper presents the main environmental indicators assign to the road transport system and the corresponding chains of causality. Also, the energy performance and the Global Warming Potential,expressed in quantities of CO2 equivalent, related to the construction and maintenance of flexible road pavements, determined based on a Life Cycle Assessment (LCA) analysis embedded in the asPECT software, developed by TRL Laboratories, are given within this study. This paper aims to emphasize the necessity to take appropriate measures for road pavements maintenance and intervention, intended to prolong their life in order to minimize the overall ecological impact associated with the reconstruction of road pavement, which involves the release into the atmosphere of polluting emissions, usage of enormous granular materials quantities and energy consumption and thus, the exponential increase in the greenhouse effect.

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Plzeňský architekt a výtvarník Klement Štícha

Plzeňský architekt a výtvarník Klement Štícha

Author(s): Petra Cinkaničová / Language(s): Czech Issue: 1/2014

The study discusses one of the major representatives of Pilsen postwar architecture and art Klement Štícha. Štícha noticeably published his work not only in Pilsen, but in the entire region. The author of the study tries to capture his biography in particular by the methods of oral history.

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Zadužbine članova porodice Sokolović u Osmanskom carstvu sa posebnim osvrtom na Mehmed-pašin odnos prema svom poreklu i prvobitnoj religiji

Zadužbine članova porodice Sokolović u Osmanskom carstvu sa posebnim osvrtom na Mehmed-pašin odnos prema svom poreklu i prvobitnoj religiji

Author(s): Uroš Dakić / Language(s): Serbian Issue: 3/2017

The article deals with the significance of Sokollu Mehmed Pasha and his family members observedthrough the vision they shared and implemented by means of their building endeavors. The aim of this paper is to present this vision deprived of all romantic narratives which are still existent in the works of the Ottoman historiography written in Serbian and Bosnian languages and to portray Sokollu Mehmed Pasha primarily as an Ottoman statesman who was the bearer of this ambitious vision. Statements that Sokollu Mehmed Pasha restored the Patriarchate of Peć or that he commissioned the bridge over Drina river due to his alleged attachment to the region or people of his origin have no foundation in historical facts. On the other hand, it is manifest that both close and distant members of the Sokollu family marked the territories of Bosnia and Serbia, and even those of Croatia and Hungary, by constructing public buildings of various types which is well documented in historiographies of the respective countries. The vision of Mehmed Pasha was a multi-confessional world empire under the umbrella of Islam, an empire interconnected by channels and bridges utilized by pilgrims, merchants, missions, expeditions, and armies, and in the service of establishing the Ottoman soft power in the entire world of Islam. The most significant projects of Sokollu Mehmed Pasha were not conducted in the Balkans. Those were the Volga-Don and Suez channels and the expedition to the Far East and these projects could be interrupted only due to political and geopolitical circumstances.

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Kai Kurie Estetiniai Aikščių Formavimo Aspektai Ir Jų Identifikacijos Lietuvos Miestų Aikštėse

Kai Kurie Estetiniai Aikščių Formavimo Aspektai Ir Jų Identifikacijos Lietuvos Miestų Aikštėse

Author(s): Gintautas Tiškus / Language(s): Lithuanian Issue: 86/2016

The article provides an overview of the concepts related to a work of art and environment aesthetics, theoretical and esthetic aspects of formation of squares and defines the concept of a square. The first attribute of the square is a boundary which distinguishes a square from other spaces. Yet, boundaries do not only separate one location or space from the other, but also lay down certain rules of conduct suited to this area or location. Crossing the threshold is a certain event, when the established dimension, quality or state is transferred into a different one, so the other space identification attribute, which distinguishes the area from the rest and which establishes the rules of conduct is the mission of the space (its function). These two key attributes of a square – boundaries and the mission - determine the third attribute of the square, which is the architectural and aesthetic expression of the square. Beautiful or aesthetic is not only the object that we realize or feel, but also the object that makes us feel emotional satisfaction and we are delighted to see it. This means that the the process of designing this object requires know-how – awareness of the rules that help to create beautiful and aesthetic objects. The squares of Lithuanian historic towns were formed in accordance with the principles of proportionality. According to their primary function squares can be divided into a Market Square, and a Town Hall Square. A study of present-day town squares shows that there are almost no monofunctional squares. The squares where the focus is put on ideological accents (monuments, memorials), the artistic expression signals ideological colors can lay a certain “load“ which will interfere with the multifunctional use of the square.

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Kai Kurie Estetiniai Aikščių Formavimo Aspektai Ir Jų Identifikacijos Lietuvos Miestų Aikštėse

Kai Kurie Estetiniai Aikščių Formavimo Aspektai Ir Jų Identifikacijos Lietuvos Miestų Aikštėse

Author(s): Gintautas Tiškus / Language(s): Lithuanian Issue: 85/2015

The article provides an overview of the concepts related to a work of art and environment aesthetics, theoretical and esthetic aspects of formation of squares and defines the concept of a square. The first attribute of the square is a boundary which distinguishes a square from other spaces. Yet, boundaries do not only separate one location or space from the other, but also lay down certain rules of conduct suited to this area or location. Crossing the threshold is a certain event, when the established dimension, quality or state is transferred into a different one, so the other space identification attribute, which distinguishes the area from the rest and which establishes the rules of conduct is the mission of the space (its function). These two key attributes of a square – boundaries and the mission - determine the third attribute of the square, which is the architectural and aesthetic expression of the square. Beautiful or aesthetic is not only the object that we realize or feel, but also the object that makes us feel emotional satisfaction and we are delighted to see it. This means that the the process of designing this object requires know-how – awareness of the rules that help to create beautiful and aesthetic objects. The squares of Lithuanian historic towns were formed in accordance with the principles of proportionality. According to their primary function squares can be divided into a Market Square, and a Town Hall Square. A study of present-day town squares shows that there are almost no monofunctional squares. The squares where the focus is put on ideological accents (monuments, memorials), the artistic expression signals ideological colors can lay a certain “load“ which will interfere with the multifunctional use of the square.

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GRADITELJSKA OSTAVŠTINA ITALIJANA CORDIGNANO I CANDOTTI U TUZLI

GRADITELJSKA OSTAVŠTINA ITALIJANA CORDIGNANO I CANDOTTI U TUZLI

Author(s): Tihomir Knežiček / Language(s): Bosnian Issue: 6/2013

Cordignano and Candotti are Italians in origin civil engineering entrepreneurs who designed and built significant number of government and private building in Tuzla during Austria Hungarian empire. The buildings are built in romantic and neoromansa stiles, and represent the grandeur of ornaments and new living styles initiated by appearance of Austria-Hungarian empire in Bosnia and Herzegovina. Tuzla was considered as the center of North-east Bosnia and Herzegovina, and the locality closest to the empire's border towards Serbia. This causes intensive movement of citizens from the Europe, the parts of the Monarchy, and among them masters for construction and civil engineering works. Those masters were invited to build buildings for various purposes, for government and citizens needs. Established construction company “Cordignano and Candotti”, owned by Tuzla civil engineering entrepreneurs Cordignano and Candotti, was imposed by their quality and speedy dynamics of works. Their presence in Tuzla they remarked by designing and building Grand gymnasium in Donja Tuzla (Tuzla), County post office, Catholic church, Trade academy – school, and a number of building for combined business and private purposes. They upgrade the monastery in Plehan near Derventa, build own family houses, and houses for important persons in Tuzla during that time.

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IZLOŽBA „KUĆA SJEVEROISTOČNE BOSNE“

IZLOŽBA „KUĆA SJEVEROISTOČNE BOSNE“

Author(s): Tijana Veljković / Language(s): Bosnian Issue: 6/2013

U ponedjeljak, 25.08.2014., upriličeno je otvorenje izložbe „KUĆA sjeveroistočne Bosne“, sa ciljem podizanja svijesti građana o značaju tradicionalne stambene arhitekture za kreiranje i jačanje kulturnog identiteta. Izložba je bila postavljena u prostorugalerije „Mandžić“ u Tuzli.

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Lietuvos Sakralinės Architektūros Tyrėja Algė Jankevičienė

Lietuvos Sakralinės Architektūros Tyrėja Algė Jankevičienė

Author(s): Vytautas Levandauskas / Language(s): Lithuanian Issue: 83/2015

This spring the society of architecture historians of Lithuania lost one of the most famous researchers of sacred architecture – Algė Regina Jankevičienė. Her field of research involved a wide range of objects – gothic public buildings, residential and defensive architecture, wooden manor houses, belfries and churches, the iconography of architecture and building techniques. The article examines the main field of her research – sacred architecture. Significantly Jankevičienė revealed the history and attributes of the gothic architectural monuments in the Grand duchy of Lithuania. Also, the wooden sacred architecture was one more field of her research. She made typological analyses, covered the evolution of still existing sacred buildings and also ruined ones. She revealed the peculiarities of wooden churches in ethnic regions of Lithuania and estimated the influence of professional architectural styles on the wooden rural churches. A. Jankevičienė created the school of architectural research that continues her work.

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Vandens funkcijos architektūroje: istorinis aspektas

Vandens funkcijos architektūroje: istorinis aspektas

Author(s): Antanas Stančius / Language(s): Lithuanian Issue: 82/2015

This article considers the place of water in architecture and discusses historical aspect of its representation in the Lithuanian landscape architecture. As a composing element of landscape architecture, water reflects different aesthetic concepts and functional attitudes of various historical periods. Water is used not onlyin landscape architecture (artificial ponds, isles, etc.) but also in the objects of small architecture (fountains, bridges, etc.). New approach to this design element (e. g. water in Wright’s building Falling water) opens the opportunity for the expansion of space forms and creation of unusual artistic effects. In the contemporary architecture, such water appliance unites newest technologies and landscape, causes aesthetic attractiveness and engenders emotions. In the Lithuanian architecture water is seldom used. This can be explained by some historical, cultural and psychological circumstances.

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Vytauto Didžiojo Muziejus Geismas

Vytauto Didžiojo Muziejus Geismas

Author(s): Audrius Novickas / Language(s): Lithuanian Issue: 81/2014

By applying concepts of psychoanalysis to the research of architecture, this article delves into the uncanny of the Vytautas the Great museum in Kaunas. Both architecture of the museum as well as its mediated images and narratives are constructs of representation and should be understood in those terms. The analysis is contextualized by linking the architectural programs of the museum to some of social and artistic programs of Western culture which had great importance to the development of modernity during last three hundred years. Through deconstruction of the aura of monumentality, the contradictions of the museum are revealed in its discursive space of subject and object relations. This fragmented space of image construction and interplay is further discussed as signifying its own continual movement. This leads to conclusion that modernity of Vytautas the Great museum should be detected in its structure of references, and less so in its style as referencing the form of the object.

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О могућој првобитној функцији цркве успења пресвете богородице у Смедереву

Author(s): Dejan Crnčević / Language(s): Serbian Issue: 54/2007

The Church of the Ascension of the Holy Mother of God represents the only entirely preserved sacral topos of the last capital of the Serbian medieval state — the fortified city of Smederevo. The last capital, the fortified city of Smederevo, originated after the decision by the new Serbian ruler, Đurađ Branković, in tumultuous historical circumstances of the end of the medieval Serb state, following the loss of both capitals of his predecessors — Kruševac and Belgrade. It was made of three clearly distinct parts: 1) a smaller fort — the castle (the so-called Small Town), which was primarily residential; 2) the fortified urban core (the so-called Big Town); and 3) the inhabited suburb, beyond its fortifications. However, the issue of the sacral sites of this medieval city is much more complex. The written sources (two prose works on the account of the transfer of remains of St. Luke the Apostle to Smederevo in 1453), as well as archaeological and architectural research point that there used to be two churches within the city walls — one designated as courtly, and the other, the Cathedral Church of the Smederevo Metropolitan, designated as the Archdiocese, and dedicated to the festival of Good Word, built and decorated by the Despot Đurađ Branković himself. The third and until today the only completely preserved sacral object related to the medieval city of Smederevo, the Chirch of the Ascension of the Holy Mother of God, was built several hundred meters outside the city walls, at the flat terrain by the nearby heights (today known as so-called Karađorđe's Hill). Many questions related to the architectural plan of the church, as well as its earliest history, still remain unresolved. One of them regards its possible original function. All the hitherto pronounced opinions about this problem could be rejected; these include that it could have been: 1) the same as the Cathedral Church of the Smederevo Metropolitan; 2) the church where the remains of St. Luke the Apostle were buried; 3) a chapel of the medieval cemetery; 4) the grave church of the Despot Đurađ Branković; or 5) the grave church of the Metropolitan Atanasije. A writing from Memories of a Janissary or the Turkish Chronicle, by Konstantin Mihailović, an Ostrovica Serb who later had successful career in the elite units of the Turkish Army, could provide a somewhat more precise answer О првобитној функцији цркве Успења Пресвете Богородице у Смедереву 87 to this problem. When writing about the fortified city of Smederevo, Mihailović also mentions a request by Đurađ Branković to the Turkish Sultan, “that he be allowed to build a monastery without any interference.” Analysis of this statement in light of what we know of the facts about the sacral sites of this medieval city, its architectural grid, especially its rather small size, and the fact that it functioned as a monastery church during its later history, point that we could establish with greater certainty that the Church of the Ascension of the Holy Mother of God in Smederevo was originally built as a church of a nearby monastery. Finally, this also enables one a more complete insight into the sacral topography of the last Serbian medieval capital, the fortified city of Smederevo, made of two sacral topoi within the city walls (the court and the cathedral churches), and one beyond them (a suburban monastery).

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Типологија рановизантијских цркви салонитанске митрополије oд iv до vi века

Author(s): Irena Cvijanović / Language(s): Serbian Issue: 53/2006

The typological classification given in the paper comprises the entire Early Christian architecture in the Metropolitanate of Salona. Three cultural spheres, with centres in Salona, Jadera and Narona, can be distinguished. They developed different forms in response to specific liturgical requirements. As regards the ecclesiastical organization, the Roman province of Dalmatia was under the jurisdiction of the Pope, who confirmed the archbishop of Salona. Jadera, as part of the north Adriatic area, inclined to the Western and Salona gravitated to the eastern Christendom. The close relations with Aquileia probably contributed to the dogmatic theological attitude of the Church of Jadera, which was characterized by orthodoxy, while Salona was a veritable nursery of heresies. The community of Jadera received influences from the north Adriatic sphere, and Salona constantly enriched its heritage by adopting elements of Eastern material and spiritual cultures. The churches in the hinterland were not modelled on classical urban basilicas; their architecture was adjusted to the requirements of the complex ager liturgy and the religious practice in general. Typical churches of the inland regions of Dalmatia are the so-called complex churches – single-nave buildings with a naos and narthex, and lateral additions on the north and west sides. In ager churches the length is considerably reduced in relation to the width. The narthex is exceptionally large, and connected with the baptistery, which is usually a chamber on the northern side of the basilica. The ager churches belong to the DalmatianNoricium type which emerged in Narona in the early fifth century and spread up the Neretva valley into the interior of the Balkan Peninsula. It originated in the East, and the earlier examples are in Greece. They also appear in Dalmatia, Istria, Slovenia and Austria. The Salona church type is rectangular in base, twice as long as it is wide. Variants of this type are the longitudinal church with an inscribed apse and the church with three separate or linked apses. The Salona church type developed under the influences of Ravenna, Aquileia and the East, particularly Syria. The longitudinal church with a prominent apse is most common in Dalmatia, and it is also found throughout the Mediterranean area. It is usually of the single-nave type, aisled basilicas being generally built in major centres, such as Salona and Jadera. The Early Christian architecture of the two east Adriatic centres, Jadera and Salona, differ in two elements of liturgical importance – the sanctuary and the narthex. The Jadera type is represented by longitudinal churches with a prominent semicircular apse; its design, which lays no particular emphasis on the liturgically important spaces of the east and west fronts, is in harmony with the simple rites of the Roman liturgy. On the other hand, the narthex and the sanctuary are in the focus of the eastern liturgies, and this is reflected in the design of the Salona church type. Salona is characterized by greater typological diversity and has a number of elongated and central plans. The predominant type is the socalled Salona basilica, a longitudinal aisled building with a semicircular apse, narthex and pastoforium. A great number of churches were built on the foundations of earlier secular structures, so that the typological variety of the early Christian buildings was partly determined by the autochthonous pre-Christian heritage. Eastern influences are reflected in the dimensions of the building, the tripartite sanctuary, the open southern narthex and some other elements. Salona developed out of a Greek core and Greek was long spoken in it. The first missionaries and bishops came from the East, primarily from Syria and Mesopotamia. People from the eastern provinces came to Dalmatia attracted by its trade and mines, and they influenced the sacred architecture in the mining and commercial centres. The cult of the martyrs was one of the pillars of the new faith. Graves of martyrs were an integral part of graveyard basilicas, and as time went on they began to appear in town churches as well. A greater number of apses were necessary for the greater number of altars. The churches and baptisteries with a three-apse design came from the East. A considerable number of oratories, memoriae, martyria, basilicas and other sacred structures were built in the territory of the Metropolitanate of Salona.Salona is the episcopal seat with the greatest number of shrines. Four great building periods can be distinguished in it: late 3rd century - early 4th century and early 5th century (the episcopal centre); late 5th century – early 6th century (all the other churches in the town); and the first half of the 6th century (the buildings with a central plan, designed under the influence of the Justinian epoch). The origin of the Christian town is documented in the records of bishops, builders and eminent citizens. The chronological difference between the churches of the episcopal centre and the other churches in the town shows that the number of Christians greatly increased in the latter half of the 5th century, and a similar increase was recorded in the entire Salona region. As early as the beginning of the 6th century monasteries were built outside the town, at Rižinice and Crkvine in the north, and in the southern cemetery or Crkvine in the south, as well as on the islands. The Salona and the Dalmatian-Noricum types are basically similar, although there are some differences in style, in the arrangement of auxiliary rooms and in interior design. Double churches are characteristic of Dalmatia. Architecturally, a double church is actually a twin church. They are of both Salona and Dalmatian- Noricum type. Examples of the Salona double church are found in the episcopal centre of Salona and in Split, and the DalmatianNoricum type is represented at Čipuljići near Bugojno, Dabravina, Žitomislići near Mostar, Zenica, Mogorjel, Varošluk near Travnik, and Srima near Šibenik. The churches in Dalmatia mostly have semicircular apses; polygonal apses, characteristic of Italy and Istria, are very rare. There are also some examples of U-shaped apses, as in the basilica at Lovrečina on the island of Brač and at Muline on the island of Ugljan, but they are very rare. Three-apse churches originated in the East. The dimensions of the longitudinal churches shows that they were designed for large congregations and that they were used also by people living outside the city walls. The Dalmatian- Noricum type provides smaller space for the believers and it was not associated with towns. The only exceptions are the churches at Narona and Blagaj on the Japra, which were related to the town community.

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Likovne umjetnosti i obitelj Kosača

Likovne umjetnosti i obitelj Kosača

Author(s): Tatjana Mićević Đurić,Valerija Soldo Rešetar / Language(s): Croatian Issue: 3/2017

The paper presents an attempt to reconstruct the lost heritage.We will analyze the relation of the family members of Kosaca to painting. Art-designed objects have been the symbols of power and prestige throughout history, and it is quite certain that the Kosacas also possessed a large number of artworks. Regrettably, as judged by the sources,from the rich treasures of Kosaca there has not been preserved anything to the point that we can safely recognize as the artistic legacy of this great feudal family.However, there are relatively many references to the members of the Kosaca family in the documents from the Dubrovnik archives, which include artistic items such as icons of the Herzog Stjepan, icons of Jelena, wife of Sandal Hranic and icons of Queen Katarina, jewelry, clothes,and expensive pottery. The Kosacas were also mentioned as architects. There is evidence that Herzog Stjepan raised churches in Stipan field and in Sopotnica near Gorazde. Itis well known that Sandalj Hranic owned a palace in Dubrovnik and was fascinated by the work of Ivan Ugrinovic,whom he invited to decorate his residence.This paper will try to illuminate the Kosaca family relationship with art, their phenomenon of collecting, as well asto point to the strength and importance of the connections between Zahumlje and Dubrovnik and to analyze the modes of artistic influences and tastes between Dubrovnik and the Zahumlje hinterland.

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Architektūros Modelis „Nuo Medžio Prie Mūro“ Remiantis Lietuvos Didžiuoju Naratyvu

Architektūros Modelis „Nuo Medžio Prie Mūro“ Remiantis Lietuvos Didžiuoju Naratyvu

Author(s): Viktorija Varanauskaitė / Language(s): Lithuanian Issue: 79/2014

This article analyses the oldest masonry supported by the grand narrative in Lithuania, gives archaeological and historical data of the oldest masonry in Lithuania, investigates the possible reasons the resulted in the grand narrative, and analyses the transition from wooden to masonry architecture. This article the following aspects: first, it gives an assessment of the grand narrative position on the oldest masonry in Lithuania ; second, it analyses the transition from wooden to masonry architecture by the chronological principle; third, it gives empirical data of the oldest masonry in Lithuania and suggests possible reasons for the grand narrative approach to masonry.

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Ранохришћанске крстионице јустинијанске епохе (527-565)

Author(s): Irena Cvijanović / Language(s): Serbian Issue: 51/2004

Despite the fact that the early Christian baptisteries of the Justinian epoch are typologically very diverse, they exhibit a number of common aesthetic and structural characteristics. Sometimes they are architectural masterpieces, but often they are quite simple, functional buildings. Christianity first spread in the cities in the littoral areas of the Balkan peninsula, penetrating inland only very slowly, so that some parts were christened only in the 4th and 5th centuries. Baptisteries were usually components of larger architectural complexes, and only seldom were they self-standing structures next to basilicas, such as is the case in Caričin grad, Gamzigrad, Taliata, Trebinje and Peter’s Church near Novi Pazar. Quatrefoil baptisteries typologically hail from the East. In the territory of today’s Serbia, Montenegro and Bosnia and Herzegovina, quadrangular baptisteries are the most frequent. This type of baptistery is among the oldest, and the first examples are from Aquillea and Truyere. If baptisteries are within the framework of basilicas, as a rule they are located in the northern section. Some baptisteries had an apsidal niche with an altar, as the eucharistic rite would be performed after the baptism. Several baptisteries in the narthex have been noted, namely in Remesiana, Gradac, Lepenica and Majdan. Octogonal baptisteries are characteristic of the western parts of the Empire, but in Nerezi a baptistery was registered that was rectangular on the outside and octogonal on the inside. The piscinas are as a rule cruciform, and this type belongs to the Salonitian circle of monuments. Apart from that, there exist oval, circular and octagonal piscinas. Quatrefoil piscinas originate in the Orient. The first baptisteries were built next to episcopal basilicas characterised by monumentality and rich decoration. In the beginning only episcopes could baptize, but later this right was vested in lower-ranking clergy as well. That is when baptisteries appeared also in basilicas distant from urban centres. The baptismal rite was performed by immersion and very rarely by infusion, as for instance, in Vrba. Initially, mainly adults were baptized, and as of the 6th century, children started to be baptized as well. With the introduction of children’s baptisms, the dimensions of the piscina became smaller. Once Christianization had gained foothold, children started to be baptized. The dimensions of the baptisteries were reduced and traces of such adaptations are observable on some of them.

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Karolio Podčašinskio Dailės Teorijos Darbai

Karolio Podčašinskio Dailės Teorijos Darbai

Author(s): Nijolė Taluntytė / Language(s): Lithuanian Issue: 78/2014

The first works of fine art criticism in Lithuania appeared in the first half of the 19th c. and are associated with activities of Vilnius University. Architect Karolis Podčašinskis was among the first who authored publications in this field. This article researches two of his theoretical works on fine art. In the first one About Beauty of Industry (1821) Podčašinskis enunciates esthetic viewpoints on the works of fine art and provides “his own approach on evaluating beauty”, based on utilitarian viewpoints. The second publication Applying Common Beauty Principles for Works of Painting and Sculpture Crafts and for Creating Palatial Gardens and Parks (1838) discusses the principles and classification of fine arts and architecture. At his time Podčašinskis used a pioneering method to recognise works of fine art – by contrasting fine art and literature. Both of Podčašinskis’ publications exhibit utilitarian ideas mastered at the Paris Polytechnic School.

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Pokoljenja nekog grada: sjećanje, proročanstvo, odgovornosti
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Pokoljenja nekog grada: sjećanje, proročanstvo, odgovornosti

Author(s): Jacques Derrida / Language(s): Croatian Issue: 1-2/2017

Što je to prag nekog grada? Vrata, zidovi, administrativna granica, prirodna zaštita, granica carinske postaje? Je li dovoljno reći prag kako bi se iskazao identitet nekog grada? I kako prenijeti tu figuru praga iz prostora u povijest? Pokadšto se grad i sam nahodi na pragu, ne samo u figuri praga nego na pragu nove figure, još nevidljive konfiguracije koju grad tek mora sebi dati, to jest ne dopustiti da mu je nametne zakon nekog drugoga.

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Deleuzeova ontologija i kreativnost: Postajanje u arhitekturi
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Deleuzeova ontologija i kreativnost: Postajanje u arhitekturi

Author(s): James Williams / Language(s): Croatian Issue: 1-2/2017

U jednoj od ranih moralnih pripovjetkih o devastaciji talijanske obale, Italo Calvino dramatski opisuje sukog između partikularnog i općenitog u planiranju i arhitekturi. Calvino opisuje udaljenost koja razdvaja majku i sina u kontekstu obiteljskih planova na kojima radi sin, a koje majka njeguje...

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Algirdo Dovydėno Vitražai Sakralinėje Architektūroje: Temų Prasmės Ir Stiklo Iškalba

Algirdo Dovydėno Vitražai Sakralinėje Architektūroje: Temų Prasmės Ir Stiklo Iškalba

Author(s): Raimonda Kogelytė-Simanaitienė / Language(s): Lithuanian Issue: 75/2013

The author analyses the stained-glass works of artist Algirdas Dovydenas which are integrated in many sacral areas. The works decorating Rainiai Martyrdom chapel and the Franciscan Monastery chapel near the Hill of Crosses are analyzed in detail. Also great attention is paid to the stained-glass works embedded in St. Nicholas church in Vilnius, church of Lithuanian Martyrs in Domeikava, and church of Blessed Virgin Mary Christian Relief in Nida. The thematic peculiarities and plastic expression of the before mentioned works are presented. Moreover, the author’s great knowledge and original usage of the techniques of glass art will be emphasized. Lastly, the development of A. Dovydenas sacral stained-glass works is summarized by highlighting the evolution of his works towards an innovative artistic approach.

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,,Vietos Dvasia“ Christiano Norberg-Schulzo Architektūros Fenomenologijoje

,,Vietos Dvasia“ Christiano Norberg-Schulzo Architektūros Fenomenologijoje

Author(s): Almantas Samalavičius / Language(s): Lithuanian Issue: 71/2012

During recent decades there have been attempts in urban theory and urban discourse at large to revisit and reconsider a number of concepts that have been marginalized or even suspended because of the rise of scientist ideology in academic research. The concept of spirit of place, known since Roman era as genius loci, is one of the key catogories that had been lost and regained in the history of urban planning and its theoretical reflections. Architectural historian and theorist Christian Norberg-Schulz has made the most significant contribution to the revival of this old Latin idea of spirit of place in urban and environmental studies. The article focuses on the impact of Norberg-Schulz in developing the interest in the spirit of place as an intellectual endeavor of his phenomenology of architecture and place. The author of the article notes that the concept of genius loci or „spirit of place“ remains a useful analytical tool in advancing the discourse on contemporary urbanism so that material and non-material elements that make the true character of urban place in contemporary urbanity can be adequately evaluated in urban research. Norberg-Schulz later reconsidered his attitude about modernist dogmas (as professed by Le Corbusier, Sigfried Giedion et al.) of the limitless capacity to transform spaces. He became a spokesman for the symbiotic relationship between the human being and the natural/urban space humans and reconsidered the archaic idea of genius loci as imperative for contemporary city-building. His theoretical insights might be of use in developing theoretical study of the development of urban structures in contemporary Lithuania.

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