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The largest church of the Kurpie Region: the Collegiate Church of the Holy Trinity in Myszyniec, was initially considered a work of Adolf Schimmelpfennig. However, on the grounds of archival sources it has been ascertained that it was Franciszek Przecławski who was its designer, and that the Church was raised in 1909-1922. Analysing the reasons for Schimmelpfennig's name having been associated with the Myszyniec Collegiate Church, the forms of its free-standing belfry, socalled gate tower, are analysed; the Author concludes that it is Schimmelpfennig who was responsible for the remodelling of the belfry in 1867-1868.
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A monograph study on the Orthodox Monastery of the Holy Trinity at Markowo near Witebsk (Vitebsk) is presented. It shows the Monastery's history as seen against religious conflicts between the followers of the Orthodox and Uniate Churches in the 17th cand 18th centuries, the conflicts particularly vivid in Witebsk where the memory of the assassination of Archbishop Jozafat Kuncewicz (1623) made the restitution of the Orthodox Church a sensitive issue. The Ogiñski family were the founders and benefactors of the Markowo Monastery in the 17th century. In harmony with the Eastern monastic tradition, the complex of buildings grouped around a courtyard created an almost self-sufficient separate town. It was composed of the following: two Orthodox churches: the wooden one of the Holy Trinity (after 1685-1690), richly furnished, and the brick one of the Intercession of the Theotokos (1754-1755), together with monastery buildings. Additionally, two wooden Orthodox churches belonged to the Monastery: the cemetery one of St Nicholas and of St Praxedes (both ca 1730).
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The Gothic murals and medieval architectural details recently discovered in St Hedwig's Church in Bolków have shed new light on the early history of the church's architecture. They proved the church was transformated in the 3th quarter of the 14th century into a two-aisle hall, and not as it was supposed into a three-aisle layoud. Among remains of Gothic murals dating to three or four historical phases, survived the representation of the Our Lady Jointly Carrying the Cross with Jesus. This is the oldest in Polish pictoral interpretation of the compassio Mariae idea. The painting dating from ca 1360, displays clear iconographic affiliation with the scene On the Way to Golgotha of the Passion cycle from ca 1350 in St Leonard's Chapel in Landschlacht (Altnau) on Lake Constance.
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The ship pulpit from the Church of SS Peter and Paul in Antakalnis in Vilnius is considered in literature a woodcarving project executed in 1803 by Giovanni Boretti and Niccolo Piano said to have been brought from Milan to renovate and refurbish the church. Actually, they were simple masons who came to Vilnius already in the late 18th century; Piano died in 1802. Meanwhile, the formal features of the pulpit show that it was executed in the 1720s, most likely after the design of Pietro Perti who co-created the exquisite stucco décor of the Antakalnis church. This happened shortly following his death in 1714, while the initiator of the works was the Antakalnis Provost Piotr Procewicz, doctor of philosophy and an appraised preacher who in 1737 became the Provost of the congregation of Corpus Christi. He commissioned a ship pulpit modelled on that raised in Vilnius for the church of the Canons Regular of the Lateran in Kazimierz in 1740-1745.
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An attempt at describing the profile of the architect Abraham, most likely bearing the family name of Würtzner (before 1700-1758) is undertaken. Archival sources confirm that he came from the «Imperial Countries». Highly likely father of the son Ignacy, also an architect, he was additionally a relative of Johann, a goldsmith, who came to Vilnius from Lidzbark Warmiñski. Furthermore, the sources confirm the participation of the architect Abraham in the creation of the majority of works promoting the ideas of Borromini and Guarini, lately attributed to Glaubitz or to an «anonymous Italian architect». Abraham thus authored unusual Carmelite edifices in Vilnius and Głêbokie, he raised the towers of the £ukiszki Dominican Church, and the genuine church of the Piarist College at £u¿ki near Głêbokie (1742). Furthermore, he raised some edifices in Minsk and Nowogródek. Despite any direct references lacking with respect to definite projects, Abrahams distinctive style allows to attribute to him a number of buildings both within Vilnius itself (façades of the Churches of the Visitation Nuns, the Franciscans, and of the Augustines), in Minsk (façades of the Dominican and Bernardine Churches, the tower in front of the Jesuit College), and in Nowogródek (Orthodox Church at the Castle?), as well as in the provinces, e.g., the Iwieniec Parish Church or the Zdziêcioł Palace of the Radziwiłłs (1729-1731?).
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The main portal of the Dominican Church of St James in Sandomierz (after 1226 - before 1253?) was bricked with a specially designed brick (shallow portico, ca 12-cm-thick) and regular ones (tympanum, ca 8-cm-thick) with the use of several stone blocks. The types of the portal supports, motifs of their decoration, and numbers involved show that the workís composition was based on the principles of Christian time measuring (19-year moon cycle and 28-year solar cycles). The conversion of the cyclical time calculation to the linear one enables to decipher the period 1167-1233 in the portal. If seen within that time limit, the decoration motifs allow to initially identify e.g., Duke Leszek the White (d. 1227) and his wife Grzymisława (d. 1258), as well as Bishop Iwo Odrowπż (d. 1229).
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Considerations around the urban status of the westwork of St Maryís Church are presented. The Church is placed diagonally to the Market Square, while its western tower protrudes in front of the street frontage in the way optically blocking the view on the axis of Floriaòska Street. The church's towers were raised at the turn of the 14th century in the course of intense development and transformation of the city. It seems likely that such a location of a parish church was intentional and meant to maximally expose a building important for the city's commune.
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Despite its high artistic quality, the architecture of the Parish Church of St Mary Magdalene at Zamysłów (Hinzendorf) has not as yet been separately studied. The foundation of the building was initiated by Fr Philip Valentin Hoffman, and it was financed by the Poor Clares of the Głogów Convent with construction works having been completed by 1752. The conducted formal analysis allows to identify the resemblance of the church's layout to that of the Benedictine Church at Legnickie Pole (1727-1731) designed by Kilian Ignaz Dientzenhofer.
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Research into the German occupation of Poland has in recent years benefited from a number of new methodological impulses. Different studies have converged on the topic with new questions and research perspectives. One approach, which has generated a quite lively discussion among researchers in Poland and Germany, looks at the architectural history of the occupation. In view of the immeasurable atrocities committed by the Germans in occupied Poland, a focus on architectural history might at first sight seem rather peripheral. Therefore, a few comments on the relationship between architecture and occupation policies seem apropos. That Poland had a special place in National Socialist ideology and policies is well known. The Second World War began with the German army’s invasion of the country on 1 September 1939, and from the very beginning, the occupation was plainly a colonization project. Stereotypes of “Polish economy,” anti-Slavic racism, and supposedly historically-based territorial claims to a region imagined as the “German East” all made essential (from the viewpoint of the German occupier) a setting in motion of a radical and broad reshaping of the region. The phantasm of a German Drang nach Osten serving the claimed need for Lebensraum was the underlying premiss in the various versions of the General Plan East (Generalplan Ost), which envisioned a complete Germanization of the annexed Polish territories and large parts of the General Government.
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This text attempts to present a general view of the architecture of occupied Warsaw between 1939 and 1944. Based on both existing publications and new primary source material from the collections of the Department of Polish Architecture at the Faculty of Architecture of the Warsaw University of Technology, the article discusses the design and construction activities of the German occupation administration (i.e., those officially operated and recognized by the Germans authorities of Warsaw), private investors, and individual designers working in secret.In this context, the projects the City Board commissioned are particularly interesting. These included the reconstruction of public buildings destroyed in September 1939 (theaters and the interior of the town hall) and urban plans for the transformation and reorganization of the center of Warsaw (e.g., the design of the north-south route). These projects went far into the postwar future. Strictly connected with the design activity was the documentation of the city’s monuments (especially those destroyed or damaged at the beginning of the war). The preparation of this documentation was supported and partially financed by the city authorities. After the war, these plans served—as their authors had intended—as the basis for reconstructing these buildings.
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The paper analyses architects as a professional group in General Government (GG) during the Second World War. It showcases some of their design work, projects, employment, education, and other aspects of everyday life in an occupied country. The focus is on architects working in three cities: the former Polish capital of Warsaw, the GG’s new capital city of Cracow, and Zakopane, localized in the Tatra Mountains, which was intended to become a modern resort and sport center. The paper also mentions cases from Zamość and Radom. Most of the projects were realized by Polish architects employed by the German authorities. In Zakopane, Polish architects had a stronger position and more freedom in their work than in the other cities of GG. The article investigates the relationships between architecture and politics as well as the ideological impact of the architects’ work. Using unpublished archival sources, it evaluates the post-war requitals of the German architect Hubert Groß and a Polish colleague Stefan Żychoń. Neither of the two had to face a court after the war due to his activity as an architect during the occupation. Groß was accused of having been a member in different Nazi organizations, and Stefan Żychoń was suspended from the Association of Polish Architects for one year. For political reasons, both German and Polish architects seldom included war-related activities in their official curricula after 1945. In Poland they remain a taboo until today.
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The traveling exhibition “The Beautiful Town—Entschandelung and Design,” initiated by the Deutscher Heimatbund under Werner Lindner (1883–1964), toured the German Reich starting in 1938. Selected buildings of the organizing municipalities were integrated into the exhibiton. The Lehrschau visualized “bad buildings,” “advertising excesses” and their “ridding of disgraces” (Entschandelung), and attempted to present design principles. Werner Lindner and the German League for Homeland Protection thus positioned themselves alongside the official monument authorities. They succeeded in establishing legal foundations for these measures, which were mostly aimed at the facades of buildings. In 1943, the exhibition was discontinued due to the war, but its traces can still be found in surviving buildings until today. The design goals propagated were significant for German architecture in the postwar period. The exhibition can be seen as a counterpart in the field of architecture to the well-known propaganda show “Degenerate Art.” The starting point was the Entschandelung of Semlower Street in Stralsund in 1937. This term refers to the phenomenon of modern building cleanup, to the ideas of the German homeland security movement, and to the redevelopment of old towns in the first third of the twentieth century, which can only briefly be touched upon here. The special relationship to the “German East” became clear in Lindner’s design principles. These, with the works of ancient Prussian master builders and examples of site-specific building in the March of Brandenburg, had their basis in a building culture that was seen as inspired by the “German East.” The plans for the reconstruction of East Prussia during the First World War were another factor that has to be taken in account here. The conception of the “East” as an area in need of reorganization and planned settlement was shared by the exhibition initiators with other National Socialist protagonists of the “German East,” thus “The Beautiful Town” became part of Heinrich Himmler’s Volkstumspolitik. The presentations of the exhibition in Poznań (Posen), Łódź (Litzmannstadt) and Litoměřice (Leitmeritz) serve as examples of this.
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The building construction and design activity in Poznań, which was annexed to the Third Reich during the Second World War as the capital of Gau Wartheland, largely encompassed residential and landscape architecture. This begs the question about the ideological significance of the private space created for the Germans settling in the region of Greater Poland. The starting point for the discussion of this issue are the terms Heim and Heimat, which highlight the interwoven relationship of home and the surrounding spaces. The consideration of these terms provides the basis for analyzing the forms and scale of residential construction and how it was related to transformed landscape of Poznań, as well as for reflecting on how apartment layouts and their typical furnishings defined the roles and places of women and men within the system. The titular relationship between Heim and Heimat introduces the problem of the landscape and everyday lives of “ordinary” Germans serving the regime into the sphere of architectural studies and leads to the conclusion that ideology influenced everyday architecture just as much as official spaces. It also shows that the concept of Neugestaltung (redesigning) pertained both to urban planning and landscape, which together were intended to create a model landscape on the occupied lands. Scholars in search of answers to the questions outlined here would be well advised to consider various interpretative tropes that might enable a more comprehensive understanding of the relationships between architecture, landscape, and ideology.
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Using Ciechanów and Płock as examples, this article discusses the different strategies German urban planners pursued in occupied Poland to adapt the existing cities in terms of infrastructure, aesthetics, and ideology. Characteristic here is the multitude of actors involved and the far-reaching consequences of their decisions on the reality of occupation for the civilian population. This leads to the question of the extent to which architecture and urban planning should be understood as an integral part of German occupation policy.
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The topic of this study is the concept of the European Green Deal, especially, in relation to the Common Agricultural Policy (CAP) as well as to the role of agriculture in the greening processes, in particular in the pursuit of maintaining environmental protection, biodiversity, and preventing climate changes. Currently, the concept of the green economy implemented in the EU is known as the European Green Deal. The special function in the implementation of the Green Deal is attributed to the greening of the CAP, to the modernised strategy of the food flow “The Farm to Fork” in shortening of the supply chains, to creating the new forms of circular economy and to various actions taken to tackle climate change. All these green concepts are connected with the paradigm of sustainable development and they have become the form of the sustainable development execution in the strategies developed. This study is based on the relevant scientific literature and the official documents provided by the EU and UN agencies, and other international institutions and organisations. The implementation of the Green Deal in agriculture and in the agricultural areas requires creating a new architecture of connections between the production tasks in agriculture and the actions that improve the environment and climate, as well as requiring an efficient system of non-productive activity evaluation, measuring its effects and costs. The involvement of agriculture in creation of public goods should be appropriately rewarded. The green concepts of the sustainable development implementation require investment and educational support. The green concepts of development embrace many ambitious assumptions and can thus be considered too optimistic.
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Resilient Planning of the Therapeutic Landscape, involves the integrated balance between natural and anthropogenic elements. Emphasis is placed on the spatial aesthetic and functionality, through the relationship between social, economic and cultural elements. Taking into account the pressures of modern society and the poor degree of adaptability to the social environment, the Therapeutic Landscape development responds to these needs, intending to improve the quality of life, of the physical and mental health. Starting from the history of the restorative gardens, the typologies of “healing” green spaces, definitions of scientific terms and ideas in the field of urban development, the Resilient Landscape and the Therapeutic Landscape, it is desired to establish some basic principles for a coherent evolution of the specific integrated spaces in the urban tissue. All of these being relevant for improving and raising the quality of community life, as well as for the urban metabolism of contemporary cities, with an effect on urban pathology and public health. The article aims to achieve a scientific approach of the impact that Therapeutic Landscape and curative green spaces have on the macro, mezzo or detail level, on the urban-territorial environment, urban pathology, community health and on life in general.
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This text explores the subject of minimalist renovations in the sacred interiors of the Roman Catholic Church, based on a selection of representative examples, geographically and culturally diversified. Starting from the assumptions of the Second Vatican Council and the artistic and socio-cultural changes that could be observed as early as the 19th century, the article analyses the factors that led to an extreme formal reduction in church decoration. Apart from the obvious issue of interior architecture, a reflection is undertaken on the way in which art, which is both a cult and an aesthetic element, is displayed. Legal factors, liturgical and psychological aspects are also taken into account. To analyse the problem, realisations and projects from the circle of European architecture have been used.
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The article describes the usefulness of the language corpus resources and the corpus platform during the creation of the Polish-Russian dictionary „Architecture and urban planning.” The following tools were used: National Corpus of Polish Language, National Corpus of Russian Language, Polish-Russian Corpus of the University of Warsaw and Sketch Engine platform. It has been shown that the implementation of resources proceeds with varying intensity at different stages of dictionary development Language corpora (together with available tools) are most helpful at the first stages, i.e. building dictionary entries (basic entries and their derivatives). To a much lesser extent, language corpora are used in the process of searching for Russian equivalents due to the relatively poor collection of specialised and even applied texts available in parallel corpora. Often the results obtained have only a probing value. It is important to combine data obtained from different corpus resources in order to obtain information relevant to the content of the headword article of the designed dictionary.
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Prague's Loreto is one of the oldest Baroque pilgrimage sites in the Czech lands. It became a distinctive spiritual centre of Baroque Prague in its heyday. Since its foundation in 1626, Loreto has been next to the Capuchin monastery in Hradčany, whose brothers it was officially entrusted in 1651. The whole complex developed until 1737, but partial works of artistic decoration were still worked on thereafter. The spiritual guide Lauretanischer Blumen-Garten was published in 1700. It was written by Loreto´s sacristian P. Josef of Bílina. The text leads the reader through the pilgrimage site and offers him several prayers to local chapels. Some of these prayers are accompanied by graphic images. The aim of this text is to prove, based on a comparison of preserved artistic decoration and print Lauretanischer Blumen-Garten, that the basic layout of Loreto was established as early as 1691. And the place is thus one of the early evidence of the development of religious reverence in the Czech lands returning to Catholicism during the 17th century, moreover with an emphasis on Franciscan spirituality. The text of some prayers was based on the fact that the reader simultaneously contemplated the altar canvas or statue (so works of art that has been preserved in Loreta to this day) to deepen its spiritual experience.
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