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Kilka uwag na marginesie ustaleń Józefa Maroszka
A quarter of a year ago the regional journal Białostocczyzna [Białystok Land], issued under the auspices of the Scientific Society in Białystok, there was published an article written by Józef Maroszek titled Sentimental Vocluse park near Białystok set up in 1767. The author of the publication put forward theses concerning not only the garden itself, but also Gotski House [Dom Gotski] situated in the park. Nowadays, there are no remains of the building erected over a spring which ejected water from below the house, nor after the whole garden complex referred to as Bażantarnia. Nevertheless, the pavilion seems to play a major role in the history of Polish art as it constituted the early sign of interest in Neo-Gothicism. Perhaps it would not make sense to some back to the old findings but for the fact that they have appeared in the Internet and are not free from mistakes: the castellan of Cracow Jan Klemens Branicki (1689–1771) had nothing to do with Dom Gotski in Bażantarnia, which was built many years after his death. Dom Gotski in Bażantarnia was constructed at the beginning of the second half of the 1780s upon the foundation of the widow of the Cracow castellan – Izabela Branicka née Poniatowska (1730–1808). The designer remains unknown, but the style of the work may indicate that the building was designed by the architect Szymon Bogumił Zuga (1733–1807), specializing in garden constructions. The idea of the Białystok park referred to the tradition connected with the retreat where the Italian poet Francesco Petrarka, the author of Sonnets for Laura used to spend his time. The analogy was found and exposed in the poem Na Wokluz, wody i dom gotski pod Białymstokiem by the Polish sentimental poet Franciszek Karpiński (1741–1825), who was a friend of Branicka’s and frequently visited the Versailles of Podlasie. Dom Gotski, which played the role of a bath, constituted a picturesque element of the garden complex. It was to be the temple of “thinking” allowing the thinker to reflect on the human condition. It was also the site of the homage to the benevolence of Izabela Branicka. The Neo-Gothic form of the building contributed to the popularization of this “ancient”, but at the same time modern style. It might affect the preferences of concrete people who had an opportunity to spend time in Białystok, the example of which are the drawing by Anna Potocka-Wąsowiczowa née Tyszkiewicz (1779–1867). The article written by Józef Maroszek, which was the main reason for starting the debate and formulating totally different theses, may constitute a model of how not to write a scientific article. The fact of the author’s referring to written and iconographic sources ostensibly gives it the reliability, but the conclusions made on the basis of cursorily read and examined sources reveal that all the conclusions were drawn not exactly on their grounds and were exclusively the subjective projection of the author’s vision. He did not make an effort to verify and compare documents, to analyse and confront facts, or to look closely at the people participating in the above mentioned event, which should be the foundation for any reliable research activity. The failure to follow the above mentioned rules led to a number of interpretation mistakes, which do not allow us to defend neither the details nor the general idea of the article.
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The conservation state of archaeological wood can be defined by its preservation conditions: either in dry medium, either the wood preserved underwater that has developed stability in this medium. The evaluation of the conservation state of the archaeological wood saturated with water was based on results from measuring the maximum humidity content, mass density, loss of wooden mass and the maximum contraction index of the analysed samples. After comparing the values obtained for the five samples it was established to which degree the archaeological wood is affected by the raise of humidity content in relation to the mass density value. The archaeological wood contraction is higher than the raw wood’s and it can reach values that justify the deforming, the cracking or even the breakage of the object. Thus, the drying of the objects that have been lingering under water becomes the main issue in the conservation of archaeological wooden objects.
More...Catedrala romano catolică „Sfântul Iosif” București – studiu de caz
The urbanistic approach in our country according to the legislation in effect, states that the built heritage is protected by the historical monument status and its protection zone. The article is focused on presenting the notion of visibility as a tool to define, limit and bring under judicial regulation the protection zone and it is made of two parts. First part deals with the notions of visibility from an urbanistic perspective and the second part presents the case study of the Roman-Catholic Cathedral St. Joseph in Bucharest. The study illustrates the necessity to approach the visibility criterion in the foundation of the construction conditions regarding the emplacement of new buildings in relation with the built heritage. Conclusively, the visibility notion must be part of the specific regulations in effect, and the results of the visibility studies should be reflected in the restrictions and permissions of urbanism documentations regarding the historical monuments and the protected built areas.
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Throughout the last two decades we were able to research or evaluate the mural paintings from an impressive number of churches from Târnave area. These former catholic churches turned into protestant ones after the Reform and, therefore, they were conformed to the aniconic rigors of the community’s new adopted religion. Summarizing the conclusions of these studies, we are surprised by the large number of medieval mural paintings in a relative narrow geographical area and also by the fact that most of these paintings are unfamiliar to both owners and specialists. The paintings from Mălânclav, Ighișul Nou, along with the recently identified painting from Bratei, pan out a group of pictorial ensembles, the work of a group of painters unknown until today. Even though they were painted by the same group of painters, the pigments’ range being almost identical, one can notice considerable differences between the current appearance of the two ensembles as a result of circumstances and distinct interventions of the two monuments.
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The paper discusses the artistic setting of funerary ceremonies mounted by Michael Casimir ‘Rybeńko’ Radziwiłł as exequies of James Louis Sobieski (son of John III) in Żółkiew in 1743 and the funeral of Anna Katarzyna Radziwiłł née Sanguszko held in Nieśwież in 1747. The decorations of both ceremonies, ranked among the most sumptuous in the 18th-century Polish-Lithuanian Commonwealth, have not as yet been thoroughly discussed in the literature on the topic, despite standing out as examples of the architectural castrum doloris, a rare type in Poland. Both catafalques designed by Antonio Castelli and Maurizio Pedetti respectively, referring to the form of the Roman Baroque tempietto, remain genuine and important examples of late Baroque European funerary art.
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The Holy Trinity Church in Florești, registered on L.M.I. with code no.: PH-II-m-A-16491, was built by Gheorghe Grigore Cantacuzino, the main sponsor of the most famous architectural objectives in Prahova area: The Little Trianon Palace, the pavilions and the Water Tower. The mural was decorated by the painter Gheorghe Tattarescu in 1888.The complex information collected during the current conservation-restoration interventions in this monument favoured the optimal conditions for researching the artist’s creation in terms of execution technique, previous interventions, conservation state and operations performed.
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This article is devoted to the problem of the influence of ideological attitudes on the iconographic programs of the medieval Macedonian monuments at the end of the 13th – the first quarter of the 14th century. This period is associated with the reign of the Serbian king Milutin (1282–1321), who conquered a number of Macedonian territories from Byzantium and married the daughter of the Byzantine emperor Andronicus II Palaeologus (1282–1328). Close kinship with the imperial family and Milutin’s active policy towards Byzantium become the key factors for the reorientation of Serbian ideology from a national platform to an imperial one. The process of «byzantinization» affects all the areas of the life of the Serbian kingdom, including art. Establishing his presence in Macedonia, Milutin, with the help of the Greek masters, actively builds and restores churches, rebuilds the Greek buildings and invites the Greek artists, Michael and Eutychios, belonging to the progressive artistic movement to paint churches. Thus, the architectural and pictorial ensembles of this time arise within the framework of the Byzantine artistic tradition and correspond to the main currents of the Byzantine art. Fresco paintings are created in accordance with the stylistic principles of the advanced trends of the Paleologian Renaissance and are replete with fresh iconographic solutions, new semantic accents and compositions. Good preservation of the most of Milutin’s monuments ensured close attention of the researchers. However, with a thorough study of the Byzantine traditions in the Serbian cultural paradigm, the fact of embedding national specifics into the Byzantine imperial theme remained unnoticed, as evidenced by a number of the iconographic features of the monumental paintings considered in this article.
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The monograph on the architect Juraj Neidhardt stimulates comprehensive research and critical evaluation of both the work of Juraj Neidhardt and the social, cultural and the style context of his work. The significant phenomenon which deserves attention is a sort of encounter of Juraj Neidhardt - his works, life and influences which fully reflect ideology of modernisam in Europe - and Bosnian land in the period when its identity was contextualized in the Yugoslavian socialism. The character of that encounter was determined by the category of Utopia. It seems that the most concise understanding of this complex phenomenon is coming from the perspective of Le Corbusier’s preface to the book Arhitektura Bosne i put u suvremeno (Architecture of Bosnia and the Path to Modernity). Through the appraisals and characterizations given within the preface Le Corbusier accurately anticipated the architectural and theoretical path of Neidhardt, which is described as a kind of architectural movement and labeled as Neidhardtism in this paper. Le Corbusier affirms Neidhardt›s concept of conecting the modern architecture with the Bosnian traditional culture, which might be considered as a pretty questionable connection at the time. Le Corbusier confirms that the specific method of modernist creativity in Juraj Neidhardt›s architecture enables him to follow universal principles, and he thus gave impetus to his further work.
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Many aspects of architecture (style, ornaments, urban planning etc.) are symbolic in nature, resulting in similarity between the art of erecting structures and language understood as the relationship between signifé and signifant. Hence, architecture has its own grammar, semantics and dialectic variants. The grammar is expressed in the context of articulation form and pattern language. The semantics can be found in the relatively more superficial aspects like metaphors likening this branch of art to books or the owners of specific buildings in their appearance or demeanour. Such an approach is shared across centuries and can be found for example in ancient and Victorian texts. Additionally, the message conveyed by buildings and structures might serve as a form of propaganda while many elements like styles, ornaments and locations depend on the ideas expressed by the architects and the founders. This aspect is common to various ideas, beliefs and societies, whether consciously or subconsciously. Moreover, the realisation of different styles of architecture varies depending on the times and the specific needs of the community in which a particular building is erected in the same way language may vary depending on similar factors. Thus, architecture presents the same qualities that are expressed by various dialects
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The history of the Szczepański Square is directly connected with several periods important for the city, and events which exerted particular influence on St Stephen's Church, from which the square derives its name. Undoubtedly, the place is related to Krakow history, and, like the city, has gone through different changes and regulations.
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Lithuanian cities architecture politics development and strategic aims implementation are impossible without global integrated accomplishing systems of country management and official plan observation (monitoring, operative planning, consequence modelling). Important development strategy problem is rational resort of resources especially financial for the country needs. Solving these problems has to be reasoned with the country development strategy by adjusting long-term and short-term city economic development aims, when preparing and implementing developing complex programs for the most important city life areas. When realizing the country architecture strategic level aims, it is necessary to improve constantly city development department organizational-managerial structure by evaluating new functioning principles in democratic planning conditions, also e-autonomy, e-government conception and opportunities. Research of these problems is important for seeking natural, economic-social environment and country architecture harmony. It is necessary to give an appropriate working freedom for government workers and to raise their responsibility for decisions. Rational control system of making, taking and proceeding solutions is in need. It will make assumptions for responding operatively to raising problems and solving fast the most important national affairs and city economy development problems.
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This paper analyses the complex process of constructing the building of the King Peter I the Great Liberator cultural centre, a multi-purpose edifice that had to meet the needs of several cultural institutions, the largest of which was the National Theatre of the Vrbas Banovina. Founded through a political decision during the dictatorship of King Alexander I Karadjordjevic, in an extremely poor social environment ofthe Vrbas Banovina, the Banovina Theatre went through an extremely unstable period from the moment of its foundation to the day of entering new premises, in constant threat of being closed. The construction of the King Peter I the Great Liberator cultural centre made it possible for this institution to exist and provided room for theatrical art to continue to develop and for Banja Luka to become the centre of theatrical development of the Vrbas Banovina, that is, the region of Kraina, the presentday Republic of Srpska. Using the historiographical method to research into the extensive technical documentation, whose analysis makes for the bulk of this study, the data that is relevant for creating an accurate image of the overall process of constructing the building is pinpointed. Based on the data presented, the inductive method led provides insights not only into the problems encountered by the builders, but also into the way of functioning of theatrical life, which is defined both by artists and by the space and financial setting The analysis shows that the building was divided into sections designated for different cultural institutions (National Theatre; Museum, “Zmijanje” Cultural Society, Banja Luka Academic Club), into sections to accomodate audiences, and sections for the staff . The audience section is indicative of class divisions among spectators. The blueprint designs show that the intentions of the creators were to build the facility in a modern and quality way, and that the speed and non-professional contractors were responsible forcountless mistakes during the construction..The speed was conditioned by Tisa Milosavljevic’s intention to complete the entire process before he left the Vrbas Banovina. Unplanned, the completion of the construction of the building takes place at the time of the assassination of King Alexander I Karadjordjevic and the change of the political and social atmosphere in the Kingdom of Yugoslavia.
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Differentiating itself from the civil law individualist vision of theconcept of patrimony, as a specific mark of economic liberalism, theconcept of common heritage – national, European and world –, bothcultural and natural, much more conservative and unproductive, has knownan extraordinary development in the past few years, under the impulse oftwo factors: the globalization and its uniformity, on the one hand, and thedangers and menaces that threat the environment, on the other hand. Thisspecial type of patrimony or heritage (depending on the legal system ofreference) introduces an element both moral and legal, in the preservationof cultural and environmental values, as collective heritages, egalitarianand solidary, transgenerational, and non-economic. Moreover, they allserve three main functions: common usage, preservation, and passing overto the future generations.The protection, the preservation in view of passing over, and ensuring a fairaccess to their benefits make up the contents of a bulk of regulations thatare about to be structured into both a new branch of law, and an originalscientific field: cultural and natural heritage protection law. We are alsowitness to the emergence of a right to fair access to these heritages. Thespecifics of this new branch of law are revealed by the proximal genus(administrative law, cultural law, environmental law, urban planning law)and the expression of the specific difference.
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This article addresses the Soviet pavilion at the World Exhibition in New York City, 1939, especially the architectural and artistic image of the Soviet pavilion, including its search and implementation. Archival documents from the Soviet section of the International exhibition in New York, as well as professional periodicals of the 1930s, analyzed to interpret and evaluate the New York exhibition and the Soviet pavilion in the Soviet public field, make up the main database for the article. First, the competitive practices of the 1930s and their hidden mechanisms, ruled by party-state power, are shown through the case of the New York Pavilion. Further, the stylistic peculiarities of the pavilion are considered, and ideas among the power circles about worthy forms of the “export” representation of the USSR by architectural and artistic means are shown. With the example of an “Americanized” style of the Soviet pavilion, the practice of appropriating alien architectural forms was demonstrated as a way to emphasize the involvement of Stalinist culture in current global trends. Attention is also drawn to the contradiction between official “internal” discourse, with its main thesis of turning to “classical heritage”, and the choice of a modern language for “export” architecture.
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Book-Review: Percepția tactilo-chinestezică a spațiului arhitectural [The Tactile-Kinesthetic Perception of Architectural Space] / Alexandra VIȘAN; Paideia, Bucharest, 2018, 134 p. ISBN: 978-606-748-267-6 (Paul MUTICĂ)
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Les investigations et les études de notre architecture populaire réalisées principalem ent durant ces dernières décennies ont atteint une telle largeur et profondeur qu’on peut dire que déjà sont analysés tous ses aspects dans de divers régions et centres. Les principales tâches que visaient à étudier et à résoudre les études sur l’héritage des constructions furent: la classification typologique sur la base des critères fondamentaux, l’étude de la dynam ique du développement, de la consolidation et du changem ent des types dans de différentes périodes historiques, la définition des limites de l’extension de la structure typologique, les aspects différents et variés des types particuliers dans des régions ou centres différents, la précision des traits architectoniques, constructifs et décoratifs des types et des variantes, ainsi que d’autres problèmes de ce caractère.
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L’édification de la société socialiste est un processus multiple et varié où l’essor de la production est en unité au renforcement de l’ordre social, à la satisfaction des besoins matériels et culturels de tous les ouvriers et à l’accroissement ininterrompu de leur bien-être.
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