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Extensive changes in cities and their population has led to population and environmental crises. New strategies including the smart growth have been proposed to overcome this challenge. In fact, the smart growth strategy is an attempt to lead the cities toward sustainable and environmental approach. Principles and strategies of smart growth create effective solutions for improving transportation and urban land use. This research investigates the compatibility of the regions and districts of Rasht (A northern city in Iran) with the smart growth criteria in a case study using Shannon analytic model, Holdern Model, and TOPSIS multi-criteria decision making model. The results of the Holdern model analysis indicates a dispersed growth of Rasht and displays its sprawl. Shannon entropy coefficient confirms a horizontal and dispersed growth of the city in its four districts and demonstrates that district 2 has the highest population and building density. The results of TOPSIS multi-criteria decision making model and entropy weighing method present dispersed and unpleasant urban growth and show district 3 has the highest density and compatibility with the urban smart growth criteria, and district 4 has the lowest density and the maximum difference comparing to the urban smart growth criteria.
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Kożuchów is a unique town, not only in the Lubusz Voivodship but also in the whole country. The well-preserved defence system, consisting of two rings of curtains and a moat, distinguishes this town from hundreds of others. It is also one of the oldest towns in the Middle Oder Region. Nearly the entire circumference of the fortifi cations has been prevented, which makes it impossible to merge the centre with the suburbs. For this reason, the original layout of this part of the town and its historical character have been preserved. However, these factors are a big challenge for urbanists and architects in terms of urban-planning. The old town has become a central point in the spatial layout of Kożuchów. Moreover, there are a number of additional important objects such as buildings of signifi cant cultural value: the castle, the town hall, the gothic church and the residential buildings as well as the fortifi cation system with the well-preserved curtains, bastion, fortifi ed towers and moat. The historical layout of the streets makes walking and driving diffi cult in the Old Town. The green areas have enormous potential. Unfortunately, there are also a number of elements spoiling the look of the town: the business buildings, the neglected yard, the modern buildings – so called blocks of fl ats, the commercial pavilions, the undeveloped plots and quarters. The paper presents an attempt to analyse the problems and to provide suggestions for changes so as to preserve the unique character of the town and, at the same time, to add value resulting from the introduction of new architectural and urban-planning ideas.
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Rybicka outlines the relationship between the city and nature in two spheres: contemporary art and the history of urban greenery. Symptomatically, both tend to depart from the paradigm of exploiting nature and move towards strategic cooperation between the human and natural environments. This development allows Rybicka to formulate the notion of the biopolis, a postulative concept that integrates the city’s material, social and political life with the natural environment.
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Misao dizajna opravdano je postala središnja tema u suvremenom diskursu i retorici dizajna. Misao dizajna u praksi vodeće svjetske dizajnerske i inovacijske tvrtke IDEO, primjena ovih načela u uspješnom dizajnerskom obrazovanju na prestižnom fakultetu za dizajn, Institutu za dizajn na Sveučilištu Stanford, a svakako i u časopisu Change by Design, u kojem direktor IDEO-a Tim Brown razrađuje koncepcije o misli dizajna u toj tvrtki, nagnala je dizajnersku zajednicu da razmišlja izvan okvira svemoćnog dizajnera i opsesije proizvodima, predmetima i stvarima. Umjesto toga predlaže se: (1) da dizajneri trebaju više sudjelovati u općoj koncepciji o društvenom inovativnom dizajnu, izvan ekonomske svrhe; (2) da je dizajn zajednički napor u kojem proces dizajniranja obuhvaća razne participacijske sudionike i kompetencije i (3) da se ideje moraju osmisliti, kreirati kao »prototipovi«, aktivno analizirati i iskušavati u početnim fazama procesa dizajniranja na načine za koje je svojstvena usredotočenost na čovjeka, suosjećajnost i optimizam.
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Kunstiteaduslike Uurimuste erinumbri „Keskaegse Liivimaa visuaalkultuur” sissejuhatav artikkel annab põgusa ülevaate keskaja visuaalkultuuri uurimisest Eestis ja Lätis. Kõigepealt tutvustatakse medievistika üldiseid suundmusi, seejärel analüüsitakse lähemalt Eesti ja Läti keskajauurijate panust Liivimaa kui terviku ning eraldi Eesti ja Läti keskaegse pärandi uurimisse. Lõpuks antakse ülevaade käesoleva erinumbri koostamisest ja esitletakse artikleid.
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This special issue of Studies on Art and Architecture is dedicated to the study of medieval visual culture of a historical region called Livonia (approximately corresponding to present-day Estonia and Latvia). The introductory paper gives a brief overview of the historiography and research projects of this topic in the two Baltic countries. The authors point out that, since the emergence of their nation-states in 1918, Estonian and Latvian scholars have often chosen to study medieval buildings and works of art in their own countries instead of analysing the entire region. Another problem which makes it difficult for scholars of both countries to share their research results is the language barrier.
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This article is devoted to the medieval castle research in Latvia throughout the 20th century. In particular, the major archaeological excavations undertaken during the Soviet period in connection with the construction of the hydroelectric power stations are discussed and their results analysed. Over forty castles have been studied and over thirty conserved during the 20th and early 21st century. The most important outcomes of this research are given in the conclusion. The shortcomings of the present-day castle studies are also mentioned.
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Artikkel käsitleb Läti linnuste uurimist 20. sajandi jooksul, pöörates eriti tähelepanu nõukogude ajal toimunud suuremahulistele arheoloogilistele kaevamistele ning nende tulemuste avaldamisele ja analüüsile. Välja on toodud olulisemad uurimistulemused ja viidatud linnusteuurimise kitsaskohtadele tänapäeval.
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Der vorliegende Beitrag untersucht die Entstehungsgeschichte des Rigaer Domensembles im 13. Jahrhundert. Das ambitionierte Bauprojekt, ursprünglich von dem Bischof Albert von Buxhövede begonnen, musste offenbar in seinem Verlauf unterbrochen werden. Die quellen- und stilkritischen Analysen führen zu dem Ergebnis, dass die Arbeiten am Bauwerk, der in seiner Anfangsphase unter westfälischem Einfluss stand, um die Mitte des 13. Jahrhunderts mit lokalen Mitteln und Ressourcen fortgesetzt wurde. Infolgedessen fügt sich das Rigaer Domensemble schließlich in einen weiten Kontext europäischer Einflüsse ein.
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Artikkel käsitleb Riia toomkiriku kompleksi kujunemislugu 13. sajandil. Lahatakse piiskop Albert von Buxhövede algatatud ambitsioonika ehitusprojekti kulgu ja katkestusi. Allika- ja stiilikriitilise analüüsi tulemusena jõutakse järelduseni, et algusjärgus pooleli jäänud Vestfaalipäraseid ehitisi jätkati 13. sajandi keskpaigas kohalike jõududega, kelle taust ja kogemus pärines laiemast Euroopa kunstikontekstist.
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Artikli eesmärgiks on analüüsida kolme toomkiriku – Haapsalu, Tartu ja Tallinna – altareid ja nendega seotud vikaariaid. Tehakse kindlaks, kui palju kõrvalaltareid kirjalikes allikates nimetatakse, kes olid nende rajajad või hilisemad toetajad, millistele pühakutele need olid pühitsetud ja milliseid teenistusi neil peeti. Arutletakse ka selle üle, kus altarid võisid paikneda ja kuidas see peegeldas hiliskeskaja sotsiaalseid hierarhiaid. Ehkki toomkirikute funktsioon oli sarnane, erinesid kõik kolm kirikut üksteisest pindala ja ruumiliigenduse poolest, pakkudes seega erinevaid võimalusi altarite paigutamiseks. Peatutakse ka kõrvalaltarite säilimise küsimusel pärast reformatsiooni, sest erinevalt linnade kogudusekirikutest jäid toomkirikud veel aastakümneteks katoliiklikeks. Esmalt analüüsitakse nende pühakodade altareid kirjalike allikate põhjal, seejärel käsitletakse säilinud mensasid ja altaritega seotud kunstiteoseid.
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The aim of the article is to analyse the medieval altars and chantries in three cathedrals – Haapsalu, Tartu and Tallinn. On the basis of written sources, it is possible to examine how many side altars are recorded, who their founders and later supporters were, to which saints they were dedicated, and what kind of liturgy was celebrated there. The locations of the side altars reflects not only the religious needs of the time but also social hierarhies. All three cathedrals were different from one another in size and spatial structure and thus offered different possibilities for the foundation of new altars.
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Keskaegse Euroopa jaoks kujutas Liivimaa paljuski ääremaad, kuhu ka kogu õhtumaine arhitektuur oli jõudnud kohale omamoodi koloniaalkunstina – olles pidanud siin ümber kohastuma, lihtsustuma, vulgariseeruma ning seda eriti siis, kui suurem osa siinsetest ehitistest ehitati valmis kohalike põlisrahvaste hulgast võrsunud ehitusmeistrite käe all. Põhimõtteliselt sai siin juba 14.–15. sajandil teoks see, mida muidu võib veidi hiljem täheldada ka paljudes Aasias, Aafrikas ja Ameerikas asunud koloniaalmaades: neissegi oli eksporditud üksteise järel mitmesuguseid euroopalikke kõrgstiile, mis aga seal, kohalikes oludes, kontamineerusid sedavõrd, et meenutasid oma algseid eeskujusid lõpuks ainult kaudselt. Ka hiliskeskaegsele Tallinnale omane ehituslaad ehk -koolkond leiab siinses artiklis vaatlemist kui iselaadi koloniaalstiil, kusjuures põhjalikuma analüüsi alla on võetud kaks 15. sajandi algupoolel toimunud mahukat ehitustööd – 1420. aasta paiku alustatud ja ilmselt 1425. aastaks valminud Oleviste kiriku koori ümberehitus ning sellesama kiriku pikihoone ulatuslik laiendamine aastail 1436–1450.
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For medieval Europe, Livonia largely constituted a hinterland where the whole of Occidental architecture arrived as a kind of colonial art. As is typical of colonial arts in general, it had to adapt in Livonia, become simpler and more vulgar, especially as most local buildings were constructed under the supervision of master builders who were members of the indigenous people. The same happened here which occurred a bit later in many colonial countries in Asia, America and Africa: various European high styles were introduced, which in the hands of local masters were gradually contaminated to the extent that they resembled the originals only indirectly.
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The article is focused on a conceptual vision for Naissaar Island (1992–1996) by Tõnis Vint in the context of the public sphere in the making. The project may be seen as an intersection of a conceptual utopia and a pursuit of actual social intervention. The article considers the project in the context of the artist’s creative output in general, as well as in relation to contemporary international economic policies and trends, and the New Age ideology, highlighting the incoherence and ambivalence characteristic of the transition period.
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Artikkel vaatleb Tõnis Vindi Naissaare ideeprojekti (1992–1996) üleminekuaja avaliku sfääri kujunemise kontekstis. Autori senist kunstipraktikat edasi arendavas ja laiendavas projektis põimuvad kontseptuaalne utoopia ja reaalsete ühiskondlike muutuste taotlused. Artikkel käsitleb projekti nii kunstniku senise loomingu, rahvusvaheliste majanduspoliitiliste suundumuste kui ka uusvaimsuse ideoloogia vaatepunktist, tuues esile projektis väljenduva üleminekuajale iseloomuliku katkendlikkuse ja ambivalentsuse.
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This article analyses the state of nineteenth-century Lithuanian art historiography. It reviews how the nationalist paradigm prevalent in the humanities in the twentieth century was transformed into the writing of multi-national history at the end of the century, and in the early twenty-first century how it was increasingly replaced by a non-ethnocentric approach focused on the problems of urban culture, regional art, social class and gender. It examines the attempt to overcome the concept of the ‘shift’ espoused by Lithuanian art history research that asserts a strict division between the nineteenth and the twentieth centuries. At the same time, this article discusses why the progress of studies of nineteenth-century art considerably lags behind the vigorous development of research observed in studies of the baroque era, the first Republic of Lithuania and the Soviet period.
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At the end of the eighteenth and beginning of the nineteenth centuries there was an emerging trend of orientalism in Europe. In a wider sense this term included the passion of members of Western society for oriental cultures and the intention to get acquainted with, to study, to describe and to depict these cultures. The term orientalism refers to the places where the culture of Islam was or had been dominant. Orientalism was at its peak during the second half of the nineteenth and first decades of the twentieth centuries and in this period it also found its place in architecture and visual art in the territory of Latvia, which creates an opportunity for a variety of investigations, as there are still a lot of questions to be answered and facts to be discovered. Thus, the article is focused on the most significant examples of orientalist art and buildings influenced by neo-Islamic architecture in the territory of Latvia, as well as some objects from other Baltic countries.
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The art of the socialist period is still an area where Latvian art historians do not linger too long. The reason for this could be partly due to traumatic experiences of this time for many who lived under its system and later the breakdown of the system, but also due to ambiguous perceptions of this period, and methodological and other difficulties dealing with it. Still, researches, explorations and interpretations of socialist art are essential to understanding the genesis of contemporary art, as well as the complexity of modernism and its transition to postmodernism in Eastern Europe. This complexity also derives from geopolitical circumstances, which had a strong impact both on art language and on its relationships with reality. My research is an attempt to contextualise the visionary dimension in modernist and neo-avant-garde art of this region in a broader perspective, including geopolitical relations between art and reality, as well as the role of their power structures.
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