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‘Absolute Physical Patterns’ in Nili Portugali’s Holistic Phenomenological Approach in Arts
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‘Absolute Physical Patterns’ in Nili Portugali’s Holistic Phenomenological Approach in Arts

Author(s): Sylvia Borissova / Language(s): English Issue: 2/2022

The article is dedicated to the Israeli architect Nili Portugali’s holistic-phenomenological approach in the planning process in architecture, the creative process in arts and life as a whole. This approach is based on the British-American architect and design theorist Christopher Alexander’s empirical study on ‘absolute physical patterns’ and the common and ‘entire’ language which the pattern language is. Respectfully, a holistic phenomenology of architecture, organic order, sense of belonging, timeless quality, beauty and the ‘one value’ of the One Self—are integral part of this pattern language.

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“Don’t Tell Me It Cannot Be Done; We Must Reach an Acceptable Solution!” Politics, Professionals, and Architectural Debates in Socialist Romania

“Don’t Tell Me It Cannot Be Done; We Must Reach an Acceptable Solution!” Politics, Professionals, and Architectural Debates in Socialist Romania

Author(s): Liliana Iuga / Language(s): English Issue: 6/2018

In September 2009, architect Eugeniu Pănescu addressed an invitation to his fellow colleagues from the Chamber of Romanian Architects in Cluj. Following a grant obtained from the Union of Romanian Architects to document the professional activity in the city, Pănescu asked his colleagues to prepare materials regarding architectural projects they had developed between 1960 and 2010, regardless whether these had been built or not. He advertised it as a unique opportunity that should not be missed: “We are still alive,” wrote Pănescu in the post-scriptum of his letter. “Let’s not allow others to ‘analyze’ what we did.”

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“IN MEMORIAM” – PROFESORUL NOSTRU DR. ARH. GABRIEL CRISTEA

“IN MEMORIAM” – PROFESORUL NOSTRU DR. ARH. GABRIEL CRISTEA

Author(s): Daniela Rădulescu-Andronic,Adrian Spirescu,Ion Dan Teodorescu,Alexandra Chiliman Juvara,Lucian Ghișe,Răzvan Luscov,Dana Chirvai / Language(s): English,Romanian Issue: 8/2016

În esență o școală performantă nu se structurează doar pe metode, concepte, programe sau strategii. Ea se dezvoltă și se impune prin vocația personalităților, profesorilor care participă efectiv la evoluția sa, pe un traseu cu specific de continuitate. Suntem un mic grup de arhitecți: cadre didactice sau profesioniști (prof. dr. arh. Daniela Rădulescu-Andronic, prof. dr. arh. Adrian Spirescu, lector dr. arh. Ion Dan Teodorescu, arh. Alexandra Chiliman, conf. dr. arh. Liviu Gligor, arh. Lucian Ghișe, conf. dr. arh. Răzvan Luscov, prof. dr. arh. Dana Chirvai) care dorim să evocăm amintirea și activitatea profesorului doctor arhitect GABRIEL CRISTEA (1931-1998). Liantul care ne unește este facultatea de a admira, de a aprecia, a respecta calitățile de excepție ale mentorului nostru. Profesor al școlii de arhitectură pe parcursul a peste 30 de ani Gabriel Cristea a reprezentat pentru colegi, colaboratori sau studenți un model cultural aparte. Dubla sa pasiune, pentru proiectarea de arhitectură și îndrumarea studenților a modelat în timp, o personalitate complexă, care a participat și la organizarea procesului de învățământ, în calitatea de decan, pe perioada a două mandate 1981-1989. S-a bucurat de un talent deosebit pentru arhitectură, o vocație a stilului, a proporției și a inventivității. Puține sunt momentele în care îți este oferită posibilitatea prezentării unui dascăl de valoare. Am inițiat astfel, un dialog postum cu profesorul, în prezența invitaților, colegilor, precum și a tinerelor generații, care nu au avut șansa să-l cunoască.

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“SOCIALISM. HAPPINESS.” The “NEW WAY” of the Haller Castle in Coplean after 1950

Author(s): Ioana Rus-Cacovean / Language(s): English Issue: 1/2017

The State’s confiscation of castles and mansions after 1948 and their transformation into offices for the Cooperative of Agricultural Production (CAP) had severe consequences on the conservation of these historical residences, that were stripped of their heritage (looted or systematically destroyed), while the remaining architecture was at best neglected, or rather abused for decades on end.The title of this study was inspired by an old photograph showing the northern façade of the Coplean Haller Castle in the ‘60s, where the words “SOCIALISM. HAPPINESS” and “NEW WAY” can be seen under the ground floor windows. Thus, the paper aims at presenting the “new” and “happy” fate of one of the most remarkable Transylvanian mansions during the totalitarian regime of the 20th century, that may be reconstructed on the basis of the vast correspondence held by Dej’s Regional Council with The Directorate of Historical Monuments from 1964 to 1982, claiming urgent reparation and conservation works, that were unfortunately always delayed and rejected for various reasons, like the lack of funds, lack of function for the edifice or its old age.

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”PARCUL URBAN” DE LA CONCEPT LA PROIECT. METODĂ ȘI REZULTATE

”PARCUL URBAN” DE LA CONCEPT LA PROIECT. METODĂ ȘI REZULTATE

Author(s): Angelica Stan / Language(s): English,Romanian Issue: 7/2015

With the increase in complexity of cities, urban parks - both central and peripheral ones - have changed their roles and feel the need to adapt themselves to the new conditions. Consequently, the issue of urban park - both at conceptual level and as design methodology level has expanded and enriched in recent decades, including both principled issues and aspects of its relationship within the entire urban system. The research conducted through the discipline named “The Urban Park - Integrated Project”, program existing in the fourth year of the Faculty of Urban Planning - Department of Landscape, aimed synthesizing the perceptual options of students, highlighting how we can relate to this topic. The project has consisted in a debate on the park’s role within the actual city, on the possibilities of intervention in the meaning of a closer relationship with the needs of the population for which it is addressed, and also a tool for innovation in an integrated design methodology (urbanism- landscape). From this point of view, the investigation started by students’ capture of the population options related to the project site - according to certain categories of users considered relevant. Formulating a significant intervention concept was the most difficult stage and at the same time the most attractive - here being synthetically addressed all layered analyzes issues, and the responses were the most diverse. The result of this research has materialized in a public presentation of the projects carried out partly in team, and partly individual, by commenting solutions and scenarios of intervention.

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„ASTRA”, SIBIU: UN MUZEU LA LIMITĂ

„ASTRA”, SIBIU: UN MUZEU LA LIMITĂ

Author(s): Anda-Ioana Sfintes / Language(s): English,Romanian Issue: 7/2015

The theme of my diploma project, submitted in 2010, was the design of The Museum of Transylvanian Civilization (MCT) „Astra”, in Sibiu and it has been elaborated under the guidance of Mrs PhD prof. arch. Daniela Rădulescu Andronic. The conception of this project evolved around the chosen site and its history. From city gate, to Austro-Hungarian infantry barracks and now parking space, the site – situated on one side of the Unirii Square – accumulated successive layers of history, becoming an identity landmark of the city. Though this project I followed the exploitation of this history, but also the integration of the building at the city level by solving dysfunctions caused through the interventions made in the communist period. In this context, the building, situated on the boundary between the old and the new city, becomes a spatialized boundary itself, emphasizing the missions of the museum and its role of creating connections in time and space, beginning, first of all, from the acceptance of the history.

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Імпульси дизайну України в умовах поступу та соціокультурних трансформацій проєктної культури ХІХ – початку ХХІ століть

Імпульси дизайну України в умовах поступу та соціокультурних трансформацій проєктної культури ХІХ – початку ХХІ століть

Author(s): Stanislav Mygal,Olha Borysenko,Ruslan Skrynkovskyy / Language(s): Ukrainian Issue: 01/2022

The article studies the features and patterns of progress in the design of Ukraine in terms of socio-cultural integration transformations in the context of the formation and development of project culture. The research is based on transdisciplinary methodology, a post-classical paradigm of scientific knowledge, principles of determinism, conformity and complementarity, analysis of sociohistorical and socio-cultural preconditions, integration and development of design in Ukraine as a whole fragment of reality, formation of project culture objects in European context progress design. The impulses and peculiarities of the progress of design in Ukraine in the conditions of socio-historical and socio-cultural integration transformations as a phenomenon of project culture and a component of the national and European cultural space are presented. A set of socio-cultural preconditions, impulses of formation and periodization of design progress in Ukraine, dualistic direction and introduction of professional education in design, translation of European values and national traditions of material and spiritual culture in the environment of project activities, which determined the specific path of its development are revealed.

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ТВОРЧА ДІЯЛЬНІСТЬ МИКОЛИ САМОКИША В КОНТЕКСТІ КУЛЬТУРНО-МИСТЕЦЬКОГО ЖИТТЯ ПОЛТАВЩИНИ ТА ХАРКІВЩИНИ КІНЦЯ ХІХ – ПОЧАТКУ ХХ СТ.

ТВОРЧА ДІЯЛЬНІСТЬ МИКОЛИ САМОКИША В КОНТЕКСТІ КУЛЬТУРНО-МИСТЕЦЬКОГО ЖИТТЯ ПОЛТАВЩИНИ ТА ХАРКІВЩИНИ КІНЦЯ ХІХ – ПОЧАТКУ ХХ СТ.

Author(s): Olga Olegivna Petrenko / Language(s): Ukrainian Issue: 33/2018

The purpose of article is to understand the creative activity of Mykola Samokish in the light of socio-cultural interactions of the period of the national Ukrainian renaissance, determination of the artist's personal contribution to the development of the national style in art, as an outstanding phenomenon of Ukrainian artistic culture at the end of the 19th and the beginning of the 20th century. Methodology. The methodological basis of the research is the general scientific principles on which the modern analysis of cultural-artistic heritage is based. Applied theoretical, culturological, analytical, art studies, comparative methods for achieving the stated purpose of the study. Scientific novelty. The phenomenon of M. Samokish's work in the discourse of Ukrainian "national romanticism" as a conceptual and cultural-artistic direction of the end of the 19th and the beginning of the 20th century was first explored in this article for the first time by taking into account regional specifics.

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Творчість Бернарда Меретина на Прикарпатті

Author(s): Nadiya P. Babiy / Language(s): Ukrainian Issue: 17/2010

Article considers monuments of sacral building, which were built using architect Bernard’s Meretyn direct plans in Pre-Carpathian in the middle of the XVIII century. Analysis of this artist’s creative work is exposed from two contrary points of view in disquisitions of Ukrainian and Polish researchers. Author of the article is trying to track the difference and to find common characteristics.

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Тврђава на Позоришном тргу (Изградња и симболика Ратничког дома 1929–1932)

Тврђава на Позоришном тргу (Изградња и симболика Ратничког дома 1929–1932)

Author(s): Danilo Šarenac / Language(s): Serbian Issue: 2/2009

The article uses the case of one of the Belgrade’s central buildings to demonstrate two processes which can be understood as the consequences of the Great War. The Warriors Hall was built by the main veteran organization of the former Serbian Royal Army, the Society of the Reserved Army Officers and Warriors, thus the construction of the edifice can be treated as the case study of the functioning of the Society. The interest of that organization was focused towards the improvement of the material position of the veterans, but the preservation of the memory of the conflict was priority as well. In this sense, the Warriors Hall testifies about the numerous delicate war memories about the 1912–1918 period. The construction of the Warriors Hall started in 1930 and was officially opened in 1932. The main argument of the article is that the veterans of the old Serbian Royal Army were keen to maintain the memories of the Serbian participation in the war. Consequently, it can be argued that this process was conflicting with the supranational Yugoslav identity.

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Театрал эпохи Реставрации — С. Пипс

Author(s): Vladimir Aleksandrovich Evseev / Language(s): Russian Issue: 3/2016

The article is devoted to Samuel Pepys (1633—1703), a well-educated representative of London society middle class. The author of the famous diaries of Restoration era shows changes in theatre business; in particular, he notes changes in the general architecture of the theater, new effects of a theatrical scene, appearance of actresses which can be considered as innovations of Restoration era theatre.

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Театърът на Баухаус

Театърът на Баухаус

Author(s): Violeta Decheva / Language(s): Bulgarian Issue: 40/2020

How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.

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ТЕКТОНІЧНІ СТРУКТУРИ В ДИЗАЙНІ ПАКУВАНЬ

ТЕКТОНІЧНІ СТРУКТУРИ В ДИЗАЙНІ ПАКУВАНЬ

Author(s): Vadym Abizov,Oksana Chuyeva / Language(s): Ukrainian Issue: 4/2014

The author sees it appropriate to apply the concept of "tectonics" according to the requirements, imposed on the creation of an artistic image of packages. One should draw an analogy in using of the term "tectonics" in architecture and in the packaging design.The term "tectonics" borrowed from architects is powerfully maintained in the artistic design, although people use it much less in the design than in the architectural design. According to the dictionary-directory "Architecture", the term "tectonics" has several definitions. It refers to the building structure, and to the correlation between supporting structures and features of the materials and the method of distribution of the load on them; it also refers to the principle of the physical structuring of architectural forms depending on the nature of the system design[2, 284]. In our opinion the most appropriate for the design packages, the concept of "tectonics" fits the process of formation packages.Formula that was derived by ancient Roman architect Vitruvius: benefit, reliability, beauty, never better suits to the requirements imposed on packaging design.Set of successfully visualized characteristics, provides more persuasive influence on the consumer than everyday advertising messages. Hence, we get the opportunity to see the process of forming as a powerful and original way of presenting and promoting products on the consumer market. Thus, using the concept of aesthetic-constructive-technological system is logical and appropriate for the understanding the concept of "tectonics" in designing packages. It will clearly define the factors influencing the organization of packaging design work. This has methodological importance.Based on the analysis of existing packages on the market, select and combine them into groups according to the tectonic characteristics. In packaging design tectonics finds its expression through the characteristics of the material, rational design, efficiency and newness, through artistic and graphical visualization of objects in the package, i.e., color, graphical techniques, text and other components.We take into account the tectonic principle as a required item in the design process that serves as additional proof in favor of creating additional classification of the packaging according to tectonic characteristics . It is tectonics structure that confirms the unity of form, design and functionality.In a broad sense, such unity determines the ratio of major and minor elements of the overall composition in any work of art. As it is in architecture, the quality of tectonic solutions is based upon common methodological principles, which ensure the implementation of complex social, technical, technological, environmental, economic, aesthetic, and other requirements. Perfection in the packaging design is achieved by the harmonious combination of structure, by optimal use of the material, by manufacturing technology, its economy (including recycling) and artistic solutions. The study identified four tectonic type of packaging designs: unified, shell, expositional and imaginative types. Each type has its own characteristics and differences, both technical and aesthetic design and visual design. We propose the classification of packaging designs on tectonic features based on the character of creation three-dimensional structure due process of interaction with material goods, which is inside the package.Analysis of samples of packages and division them by tectonic types demonstrates an example of successful solutions for design problems by modifying the functional characteristics due to tectonic features material. One can strengthen the overall impression of the package, by offering to use multiple types of materials simultaneously in a single package, although this is not for each of introduced types.We defined tectonic types of the packages. This will help to predict the future path for the introduction of volumetric-spatial structures. This indicates the dependence of the development of communicative function of the packages on the material-technical base and printing facilities, as well as the level of training of graphic designers. Deeper study of the packaging design mechanism with observing the tectonics of materials and construction will be useful for the creative development and for the project developments.

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Темата за рисунката в съчинението на Вазари „Жизнеописания на най-знаменитите архитекти, живописци и скулптори в Италия от Чимабуе до наши дни“
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Темата за рисунката в съчинението на Вазари „Жизнеописания на най-знаменитите архитекти, живописци и скулптори в Италия от Чимабуе до наши дни“

Author(s): Biser Damianov / Language(s): English,Bulgarian Issue: 2/2016

The paper deals with the issues of drawing, which Vasari developed in his The Lives of the Most Excellent Painters, Sculptors, and Architects, from Cimabue to Our Times. In his second revised and enlarged edition of 1568, Vasari in his introduction to the three arts of drawing commented on draughtsmanship and the role of drawing in arts, Vasari developed a basis for the theory of drawing and gave some central theses: ‘father of our three arts, architecture, sculpture, and painting’ drawing ‘extracts from many things an universal judgment, like a form or an idea of all the things in nature, who is most specific in her measurements’; draughtsmanship is essential to an artist’s creative achievements in art; draughtsmanship takes a very long time to practice, including drawing from life.

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Тенденциозни разлики между Европа и Америка при композиранена обекти от предметно-материалната среда

Тенденциозни разлики между Европа и Америка при композиранена обекти от предметно-материалната среда

Author(s): Rumen Kozhuharov / Language(s): Bulgarian Issue: 5/2018

Distinctive features of American culture European peculiarities in composing spatial layout can be traced in public spaces. Different ideals for space design and saturation of the environment with different visual noises are directly related to accumulated cultural values. Among the examples of restaurants, bars and cafés we have selected prominent establishments of rich history. Many of the presented venues have been part of storylines in the film industry, they have found place in world famous magazines and albums - as samples for successful design of interior of public establishments.

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ТЕОРЕТИЧНА ТА ТВОРЧА СПАДЩИНА ВОЛОДИМИРА СІЧИНСЬКОГО (ЛЬВІВСЬКИЙ ПЕРІОД 1920–1923 РР.)

ТЕОРЕТИЧНА ТА ТВОРЧА СПАДЩИНА ВОЛОДИМИРА СІЧИНСЬКОГО (ЛЬВІВСЬКИЙ ПЕРІОД 1920–1923 РР.)

Author(s): Roksolana Patyk / Language(s): Ukrainian Issue: 1/2020

The purpose of the research is to thoroughly study the scientific, theoretical, artistic, and pedagogical and creative activity of Ukrainian art historian and architect V. Sichynskyy during the period 1920–1923. Methodology. The comparative-typological method of analysis of the creative and theoretical works of V. Sichynskyi is used. The methods of scientific research of texts, in particular, the method of classification, are also chosen for research of its theoretical heritage. This method contributed to a detailed study of the theoretical heritage of the researcher, its division by subject and problem. The scientific novelty of the research is that for the first time a thorough analysis of the scientific, theoretical, pedagogical, and creative activity of V. Sichynsky during the period 1920–1923 is carried out. Conclusions. It was established that Lviv became a platform for the formation of a young scientist and architect V. Sichynskyi. The result of the scholar's activity during the period 1920–1923 was a series of scientific works that made a significant contribution to the development of national art history, the history and theory of architecture, fine arts and crafts, engravings and Ukrainian culture in general.

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Терминологический аспект в изучении однонефных храмов средневекового Крыма

Терминологический аспект в изучении однонефных храмов средневекового Крыма

Author(s): Vladimir P. Kirilko / Language(s): Russian Publication Year: 0

Smaller churches with one apse and the nave rectangular in plan — undomed and without pillars to divide its internal space in bays — are the most common type of medieval churches in the Crimea. Such religious structures, rather diversified, are spread across the peninsula and include the majority of all existing churches today. The choice of terminology plays an increasingly important role in their studies, due to controversial use of such terms as ‘basilica’, ‘single-nave basilica’ or ‘basilica-type building’ to define them. The present study led to the following three conclusions. 1. When making a choice between functional and architectural approach, if a definition of an archaeological object is required, the second approach should be preferred. 2. It is unacceptable either to refer to those church structures, which do not have such characteristic features as ‘basilican section’ and ‘basilican lighting’, as basilicas, or to attribute them to ‘basilican type’, in order to avoid distorting the mere idea of it as a structure and its architectonic. 3. ‘Single-nave temple’ seems to be the most suitable term to use for the typological identification of such buildings (or, the full term would be: ‘a church, rectangular in plan, with one-part nave and a semicircular/faceted ‘apse’), or a ‘chapel’.

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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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Типологія ландшафтного дизайну в міському середовищі

Author(s): Nataliya But / Language(s): Ukrainian Issue: 18/2010

Offered typology of elements of landscape design municipal environments and new categories of typology differentiation, which show an aesthetic factor in forming of structure of the planted trees and shrubs spaces and their functional filling.

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Топография Симонаса Даукантаса в Санкт-Петербурге

Топография Симонаса Даукантаса в Санкт-Петербурге

Author(s): Karina Čarykova / Language(s): Russian Issue: 23/2021

Simonas Daukantas spent 15 years (between 1834 and 1850) living in St Petersburg, where he worked as an assistant registrar at the Senate. This article highlights the exact addresses of where Daukantas lived and published books in St Petersburg. The address of the place where Daukantas lived in 1837 is published for the first time; the drawing of the building has been obtained, the landlord identified. Apparently, in 1837 Daukantas lived in the building owned by Marya Nelsen, the wife of chief (regiment) doctor Gavrila Nelsen, at the intersection of Kazanskaya street and Voznesensky prospect (or Voznesensky avenue; the exact address: Voznesensky Ave 15–17/Kazanskaya St 45). The article features the drawing of this building and contains information about its condition, which shows that in late 1830s and in 1840s the building was in an appalling state of repair. Marya Nelsen died in 1840, and the building was assigned to a care agency. Some of the tenants continued to live at the building for some time, only to move out later; apparently, Daukantas was among those who vacated this residence. More details are provided about Daukantas’s place of residence in 1842 (address: Malaya Masterskaya 9, the building near the Church of St Stanislaus), providing the drawing of the building and publishing pictures of how it looks today, revealing the characteristics of the building’s architecture, including those from the time when Daukantas lived there. The building next to St Stanislaus Church at Malaya Masterskaya 9 was built in 1841–1842. In one letter of 1842 Daukantas claimed his residency at this address, so we suggest that he might have moved in right after the completion of construction. The addresses of three printing houses where Daukantas published his books have been identified. On top of that, details of what the buildings looked like during Daukantas’s time there have been obtained. Christian Hintze’s printing house was located at Durygina’s house at Nevsky prospect 8. The building has survived to this date virtually intact. Ivanov’s lithograph based on Sadovnikov’s picture represents the view of the building in 1830s, the approximate time of Daukantas’s book publications at Hintze’s printing house. Later, the enterprise was acquired by Merkushev. The printing house of Karl Kray was located in the corner of Frost’s building at Malaya Morskaya 12/Gorokhovaya 9. Analysis of the archive drawings of the buildings has provided some insights into what the building’s appearance was during Daukantas’s time in St Petersburg. Before 1850, Gretsch’s house (current address: Moika 92; the building was demolished in early 1960s) was home to Eduard Pratz’s printing house. The blueprints of the building that were found in the archives shed a light on what the building looked like in 1840s and 1850s, when Daukantas would publish his books there. Gretsch’s own publishing house was in the same building. The archives contain blueprints of Gretsch’s house on Moika riverfront, showing the appearance of the building at the time of Daukantas’s printing his books there: the façade off Moika, the courtyard, and the plan of the building. Giedrius Subačius has noted that 1841–1845 were the years when Daukantas was the most consistent in his orthography. Βetter living conditions in the new building constructed in 1842 most probably had allowed Daukantas to improve the quality and efficiency of his work. It is also worth noting that the publishing houses were close to the places where Daukantas lived and worked. All these buildings are located in the Admiralteisky district of St Petersburg.

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