3 STUDII DE CAZ – O DISCUŢIE ASUPRA AMBIENTULUI SUSTENABIL

LONDRA: CITY HALL, SWISS RE, THE SHARD

Author(s): Ştefan Mihăilescu,Marina Mihaila,Mihaela Grigorescu Zamfir / Language(s): English,Romanian Issue: 6/2014

The article puts into discussion the possible links between the architecture implant features in notable sites, and the characteristics of the public space, location, urban environment, urban body design and volumetric design, between the dimension and community perception on the new altimetry and city representation. If London City Hall is by definition a model for Thames pedestrian esplanade, and becomes a new landmark of the development milestone of 2000, it is also a building that targets the plus energy efficiency, getting to produce a surplus in some seasons. As design it is the contemporary landmark that diversifies the specific presence of the London Bridge. Swiss Re is itself a technological invention in every significance urban layer: it is a iconic landmark for the London downtown high developed area, on the opposite side of the Thames Riverview, and in the neighborhood of Building 42 and Lloyd’s Building. As a landmark, it physically replaces another building with a tragic end. Swiss Re Building design is in fact a license of the architect – Sir Norman Foster, and of the structural engineers from ARUP – as in the first example. The Shard is the newest icon of London signed by architect Renzo Piano (building inaugurated in 2012), situated on the opposite with Swiss Re building from the Thames, and closed to London City Hall. Actually the building is a macrostructure, and it doubles the existent landmarks height, having the characteristics of a vertical city.

3.153.600

Author(s): Dejan Ilić / Language(s): Serbian

Toliko, više od tri miliona osoba dakle, pogine u Sjedinjenim Državama tako što padne s prozora. To Vučić kaže ovako: „U SAD na svakih deset sekundi pogine jedan perač prozora“. Što znači da ih 8.640 pogine na dan i 3.153.600 za godinu. I za državu od preko 300 miliona žitelja, 3 miliona stradalih na prozorima je previše. Vučić je potegao hiperbolu, reći će dobronamerni čitalac, hteo je da kaže da se nesreće događaju (u Sjedinjenim Državama rekli bi – shit happens, naročito kad se peru prozori). Ali, zašto je potrebno da pogine preko tri miliona perača prozora da bi se smrt dvojice radnika predstavila kao događaj na koji ne treba obratiti previše pažnje jer zaista – nesreće se događaju?

4 EPOCI, 4 CINEMATOGRAFE. O ANALIZĂ COMPARATIVĂ A 4 CINEMATOGRAFE DIN CLUJ-NAPOCA

Author(s): Razvan Poting / Language(s): Romanian Issue: 1-2/2019

Cinema, although it is one of the newest architecture programs (appeared in the early twentieth century), has seen a rapid and continuous evolution of unexpected complexity. The history of cinemas, albeit relatively short, becomes a true story of glory, decadence and reinvention, somehow similar to the scenarios of films projected on its screens. The complexity of this history has been determined by a wide variety of factors: the development of technology, the evolution of architectural styles, the changes in the public’s way of life and taste and, finally, the cinema’s commercial side.In the city of Cluj, since 1910, there have been 14 historically documented cinemas. Of these, 7 are still working today and the 8th one is near the end of a rehabilitation and reopening process. The large number of functional cinemas make Cluj a special and happy case among the other cities in the country, which are suffering from the lack of functional halls.Of the 8 functional cinemas, four examples were selected for this study, each of them relevant for a different era: Arta Cinema - the pre-war period; Victoria Cinema - the interwar period; Cinema Florin Piersic (Republica) - the communist period and Cinema City Iulius Mall - the contemporary period. The opportunity to study 4 cinemas from different epochs, operating in the same city and sharing the same cultural sphere and the same public, enables us to do analyzes and comparisons with a significant degree of relevance.The history of the four examples will be briefly presented, highlighting the most important moments from opening to the present. Their current situation will be analyzed by highlighting the way they function and are being managed, the networks they are part of, the problems they are facing and their degree of adaptation to the requirements of the current public.The comparative analyzes will be made from a variety of points of view: architectural, urbanistic, social, operational, and cost-effective. These comparisons will also be based on a series of analysis sheets done by the author in the last two years of study at various screenings and events hosted by the four cinemas.

40 години преподаване на социология в Архитектурния факултет

Author(s): Iskra Dandolova / Language(s): Bulgarian Issue: 3-4/2017

45 de ani de la constituirea „sistemului românesc pentru conservare şi restaurare a patrimoniului cultural” - un scurt istoric

Author(s): Dan Octavian Paul,Luminița Paul / Language(s): Romanian Issue: 10/2021

This paper presents a history of The Romanian System for Conservation and Restoration of Cultural Heritage, in its 45 years of operation. The data are presented in two periods, 1975-1990 and from 1990 to the present. The system has organizational-functional elements and its own education and professional accreditation within the Ministry of Culture.

50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”E

Author(s): Dominika Macocha / Language(s): English Issue: 9/2020

This richly illustrated text is a descriptive introduction to Dominika Macocha’s video-sculptural installation, detailing the idea behind the work, the process of its creation, and its suggested interpretations. The file is concluded with a link to the film The Mystery of Forest Lakelet.

65 de ani de cercetare în construcţii, arhitectură şi urbanism

Author(s): / Language(s): Romanian

History of NIRD URBAN-INCERC: research in civil engineering, architecture and spatial planning.

7 pitanja za gradonačelnika

Author(s): Author Not Specified / Language(s): Serbian

Još u oktobru 2015. godine, u svojoj Drugoj deklaraciji koja se bavi Beogradom na vodi,Akademija arhitekture Srbije uputila je 7 pitanja stručnoj i širokoj javnosti, predstavnicima lokalne samouprave Beograda i vlastima Republike Srbije. Od tada je prošlo skoro godinu dana, a da ni na jedno od ovih pitanja nije dat nikakav odgovor iako je bilo prilika. Na brojnim javnim nastupima glavnih zagovarača ove poslovne avanture,premijera i gradonačelnika, ponavljane su tvrdnje, brojke i računice koje jednostavno neodgovaraju Ugovoru o ulaganju u projekat Beograd na vodi. Ova pitanja još jednom su dobila na aktuelnosti nakon gostovanja gradonačelnika Siniše Malog u emisiji Insajder emitovanoj 20. septembra 2016. godine.

A barokktól a neobarokkig. A marosvásárhelyi Rózsák tere 52. szám alatti ház történetéből

Author(s): János Orbán / Language(s): Hungarian Issue: XIV/2019

Our study presents the history of a house from the middle of the eighteenth century until the end of the Austro-Hungarian period, located under no. 52 in the Trandafirilor Square (Rózsák tere). Today’s Revivalism style building was formed through the unification of two old land plots in 1897. On the northern plot, which today is a closed down alley and once stood in the vicinity of the Kisköz, around 1770 Imre Teleki, royal side judge, had built a two-storey building. In the first half of the nineteenth century this passed on to the wife of Baron József Bánffy, and later entered into the possession of apothecary István Kováts. Around the middle of the century it was already owned by the Armenian merchant Antal Gáspár, who in the 1870s had bought the neighboring house as well. The latter, in the last decades of the eighteenth century, belonged to lawyer Zsigmond Jánó and his wife Zsuzsanna Bodó. It seems that they were the ones, who in 1979 had built a house that survived until the end of the nineteenth century. Later, on both land plots merchant Gyula Gáspár, a well-known public figure and an enthusiastic patron of industrial development, also owner of the bathhouse in Corund (Korond), had developed the building which can be seen today in 1897. The small Jánó house was demolished and the house of Teleki was incorporated into a new, representative building, which on the ground floor gave place to shops and the upstairs contained the living quarters of the family. The building was expanded towards the back yard with additional premises. The proportions of the new building fit well into the line of Baroque and Historicism style two-storey houses that stood on the square. The constructed façade did not follow the authorization plan in its entirety. Nevertheless, it can still be considered one of the important local monuments of Baroque Revivalism, especially through its sophisticated façade sculpture (which could have been the work of the young Károly Székely, who had finished the local industrial vocational school at this time and later became a renowned sculptor). The master builder was Mihály Szarvadi, who in 1896 worked in many places in the town: he built for merchant Géza Petrás and doctor Elek Hints as well as for the writer István Petelei. The Baroque Revival architecture flourished in Târgu Mureş starting from the middle of the 1890s. Its main features are represented by a dynamic mass formation and rich stucco decoration of the façade, which were frequently inspired by the Austrian Baroque world. In the period of the analyzed architecture the following houses were built in this style: in 1896 the Makariás house, in 1897 the houses of brewery owner Albert Bürger, banker Hugó B. Tauszik, doctor Kálmán Marosi, and master builder Pál Soós, and in 1899 the magnificent two-storey tenement house of Béla Bányai on the main square. This style influenced the architecture of the town even in the first decades of the twentieth century.

A bolgár ajkú magyarok legnagyobb temploma

A vingai római katolikus templom építészeti tervpályázata

Author(s): Nóra Németh,Katalin Marótzy / Language(s): Hungarian Issue: X-XI/2016

After the Austro-Hungarian Compromise the state establishment worked as a stable system until World War I. The immovable scheme of the Austro-Hungarian dual monarchy state-system and the economic prosperity induced building operations. The society became more and more civilian thus the architectural competitions, as a phenomena of the free-market economy, spread widely. This process was favoured by the Association of Hungarian Engineers and Architects. Among the architectural competitions the ecclesiastical ones frame a different group. In these cases, the constitutor is not a faceless state organization or a capitalist company but a community who considered its church as an expression of their identity. The city of Vinga which is located near to Arad advertised a competition for designing a new catholic church in 1886. Vinga was founded at the middle of the 18th century when Bulgarian refugees won the right to settle down in the uninhabited territories of Temes County. They preserved their Bulgarian identity thus they regarded themselves as a part of the Hungarian nation, too. Their biggest town Vinga was built with wide roads according to a planned urban structure and they raised a neoclassical Roman Catholic church. The economic prosperity and the growth of the population induced the need for a bigger and representative church at the end of the 19th century and they decided to organize an architectural competition to find the most magnificent plan. In the same time, they were quite tight-fisted, thus this two aspects resulted a knotty situation. The process of the design competition and its criticism was not only published in the local newspaper: the bilingual Vingánska Nárudna Nuvála / Vingai Néplap, but also in the most prominent Hungarian architectural journal: Építési Ipar. As it was ordered the plans were designed in Gothic style. In the Hungarian historicism the neo-Gothic influence came from Viena. The architects, as Imre Steindl, who studied from Friedrich von Schmidt brought this trend to Hungary, and later as teachers propagated this to their students. The Vinga Church Building Comitee found Ottó Szehlo’s – a Steindl-follower’s – neo-Gothic proposal the best but they wanted to reduce the costs. After some complication the construction plans were made by Eduard Reiter, an architect from Timișoara (Temesvár). Examining the original drawings we can follow the alterations, how the concept and the details changed. From the elegant competition design Reiter made a cheaper and a bit provincial church and in some forms it is possible to find his own taste. The Roman Catholic church in Vinga became a huge three-bayed building with a low-keyed crossnave, the white walls and rib vaults are emphasized with a decorative, ornamental painting. The furniture and the altars were made in the same style, giving us a magnificent general impression. The façade with two high towers determines the view of the city up to this day.

A Bonchidai Bánffy-Kastély – Integrált Védelmi Projekt

Author(s): Tímea Berki,Zsolt Csók,Árpád Furu,Csilla Hegedüs,Balint Szabo,Attila Weisz / Language(s): Hungarian Issue: 2/2017

The authors present the efforts of the Transylvania Trust Foundation for the professional training for the Transylvanian monument protection, centred around the Bonțida Castle (Bonchida, Cluj County), where a workshop on art history and archaeology is periodically held.

A Case Study on the Construction of a CLT Building Without a Preliminary Roof

Author(s): Eneli Liisma,Babette Liseth Kuus,Vilu Kukk,Targo Kalamees / Language(s): English Issue: 2/2019

This paper focuses on cross-laminated timber (CLT) and how it is affected by the dynamic properties of moisture during installation in the cold and humid climate of Estonia. The moisture safety principles are designed using a case study of comparable activities with 4-D principles and on-site water content monitoring. On-site water content monitoring was done on the CLT elements that were installed and a parallel polygon specimen. Polygon testing was arranged with reduced size CLT elements subject to different conditions, with some exposed to the climate, some protected from precipitation, and some covered with film. The moisture content (MC) of the uncovered horizontal CLT element that was exposed to the climate reached over 25% after higher precipitation and the MC after prolonged direct exposure can reach up to 40% in a week, giving a clear signal of high risk areas for moisture safety. Installing a partly weather protected CLT element without a preliminary roof is a high-risk arrangement, but is essentially possible in a cold and humid climate. Moisture safety planning and a lean strategy must be applied with timber construction.

A city at a turning point

Author(s): Klemen Senica / Language(s): English Issue: 1/2021

Review of: Matjaž Uršič and Heide Imai, Creativity in Tokyo: Revitalizing a mature city, Palgrave Macmillan, Singapore, 2020, 248 pages. DOI: 10.1007/978-981-15-6687-5 Reviewed by: Klemen Senica.

A Constructive and Speculative Case of Bullshit Art: the Etchings of G.B. Piranesi

Author(s): Sarp Tanrıdağ / Language(s): English Issue: 4/2021

This article analyzes the constructive and speculative forms of bullshitting in the art field through the etchings of G. B. Piranesi. In reviewing the historical context and the allegorical and technical aspects of his etchings compared to H. Frankfurt’s definition of bullshit, the study contends these artworks’ propositional and unique rhetorical languages. Consequently, it explores a potential form of bullshit art that is manipulative and fictional but also constructively critical.

A few indications on the architecture of Sarmizegetusa Regia. About the andesite columns and the measurement unit

Author(s): Virgil Apostol / Language(s): English Issue: 10/2019

The archaeological research undertaken at Sarmizegetusa in time has indicated or discovered a number of plinths, drums and bases of andesite columns. Several reconstruction hypotheses are proposed for the architecture of the Great Andesite Temple, the Small Rectangular Temple and the Large Rectangular Temple, based on the analysis of these architectural elements preserved in situ, in a secondary position or reused in Roman buildings. In the end an important archaeological discovery in the area of Orăștie Mountains is presented, a bronze square with markings (lines and dots) preserved on its arms, which indicate precisely the measurement unit used at the Dacian monuments at Sarmizegetusa Regia.

A forgotten architectural scenario. The removal of the Regent’s Quadrant colonnade in 1848

Author(s): Noemi Mafrici / Language(s): English Issue: 27/2020

The removal of the colonnade of the Regent’s Quadrant not even thirty years after its construction is a critical matter within the architectural history of Regent Street and the social history of London as well. The Quadrant is the most known part of the street for its impressive architectural features and its peculiar shape. The original design was by John Nash, architect responsible for the improvement of the whole street and the development of Regent’s Park. Starting from 1848 and during the last two centuries, the street suffered several changes that hugely modified its architectural design. The paper discusses the chronology of the Quadrant, focusing at the years that led to the first transformation of the street. The contribution investigates this demolition and the motivations that led to it, through an analysis with sources that belong to the history of the city, among which correspondence of inhabitants, private petitions,newspapers and architectural sketches. The study looks at the subject not only from an authorial point of view but also from the city perspective with all the social and cultural implications. It argues forms of organisation of people and their role in urban matters, examining the formation and interest of an association involved in the process of demolition of the colonnade. Finally, an analysis of the reconstruction of the image of the Quadrant, before and after its modifications, both part of London urban memory.

A kolozsvári Marianum Római Katolikus Leánynevelő Intézet épülete

Author(s): Zsófia Gál / Language(s): Hungarian Issue: X-XI/2016

This article deals with the Romano Catholic Institute for girls (also known as ”Marianum”), in a historical, architectural perspective. The building of the Romano Catholic Institute for girls ”Marianum” from Cluj-Napoca (Kolozsvár) is a significant example of the school buildings erected in the second part of the dualist period. It was founded thanks to some favorable terms. On one hand, the need for new middle-level educational institutes for girls, emerged from the ministerial decree of Gyula Wlassics, which allowed women to enroll to universities. On the other hand, the cause of the education of women found a devoted upholder in the person of the parson József Hirschler. Due to his refined artistry and economic sense, Hirschler managed to assure all the needed material and spiritual resources. The volume of the building was masterfully adapted to the oblong plot, creating a symmetric and modern structure. The building has met both sanitarily and technically all the expectations of the period. When shaping the building, and articulating the special structure, there was a great emphasis on functionality, respectively on ensuring the natural lightning and ventilation of the classrooms. These favorable conditions were completed with a modern ventilation- and heating systems. The backyard was shaped as a playground − that in the winter could be converted into a skating rink − and on the elevation there was a filagory. It’s individual character was given by the mixture between the religious and the woman’s institutes specificities. These two special ingredients required some specific rooms, that one could not find in other educational institutions in the city: the spacious kitchen, necessary for the household classes, which had to be roomy enough to receive a whole classroom, the multifunctional room, that was both gymnasium, assembly hall and a chapel for the pupils, respectively a separate chapel for the nuns. The furniture was of a great value, fulfilling the needs of a high standard and comfortable education. Hübner, who was not widely known in Transylvania, was most probably helped by his father-in-law, Ignác Alpár a star-architect of the time, to receive the commissioning. The school complex is one of the latest works of Hübner. The modernity and the openness towards the new architectural trends set on a solid historicist ground that defines the architects oeuvre is characteristic for this building as well. The style of the facades and of the interior details fits in the conservative art nouveau stream defined by the Árpád-bath from Székesfehérvár and by the tenement house from Üllői street 119, Budapest. In this period, his individual art nouveau style was already tangible through the ornamentation that reinterpreted in a creative manner the architectural decoration of the historicism. Hübner applied decorative and clear solutions using simple materials like brick and plaster. The over-all impression of this facades is reserved and elegant, due to the extensive use of the brick a bit somber, the classical frame being filled with a modern content. Even though both the interior and exterior decoration could give us the impression of a vast a decorative program that refers clearly to the function of the building, the evident parallels with the tenement house from the Üllői street (owl decorations), disclaims this kind of interpretation.

A kultúra közjó

Author(s): Virág Buka,Kristóf Nagy / Language(s): Hungarian Issue: 27/2020

This article focuses on the emergence of the paradigm of solidarity economy and of the commons in the field of professional cultural production. We unfold the possible mutual cooperation of cultural producers and commoning social movements by examining the case studies of the Resonate music streaming co-op and of the Dutch Stad in de Maak housing-initiative. The case of the Resonate exemplifies how cultural producers can reorganize their industry in a cooperative way to hinder capitalist value extraction. Another type of encounter takes place between culture and commons when cultural producers utilize their knowledge and skills in various solidarity economy projects. We demonstrate this possibility through the case of the Rotterdam-based Stad in the Maak, where the artist-architect founders launched a long-term community housing initiative.

A műemlékvédő Roska Márton

Author(s): Zoltán Vincze / Language(s): Hungarian Issue: 1/2020

The study deals with the well-known archaeologist', Márton Roska' work as the protector of Transylvanian momuments.

A NAPSUGÁRMOTÍVUMOS FÜR-FALAKTÓL A HOMLOKZATI VAKOLATDÍSZEKBE, VASKAPUKRA MENTETT NAPJELEKIG

A magyarkanizsai napszimbólumok újabb kori megjelenési formáiról

Author(s): Zoltán Valkay / Language(s): Hungarian Issue: 2/2020

The importance of solar symbols that play a key role in the decoration of street space in the national construction of Kanjiža and the coast of the Tisza River, their role in non-verbal communication, as well as their character of local color I see as a flourishing representation of the plains principle of the sun. The condensation of cosmological knowledge of the ancient sun cult, influenced by Baroque religiosity and its local forms that were influenced by Szeged sun gates is becoming weaker, but is being incorporated into ever firmer materials as abstract ornaments of facade architecture, as atavistic remains of symbolic but highly abstracted meanings on gates and idolatrous artificial stone pillars, in my opinion, exemplify the transmission of symbolic messages. Because the building environment is a mirror in which we can see ourselves, I find it extremely important to be able to bring awareness to and to read these symbols...