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PALYGINTI (NE)PALYGINAMĄ: TARPUKARIO IR SOVIETMEČIO BŪSTO MODERNIZAVIMO KAMPANIJOS LIETUVOJE, JŲ VERTYBINIAI ORIENTYRAI IR IDĖJŲ SKLAIDA

Author(s): Regina Lakačauskaitė-Kaminskienė / Language(s): Lithuanian Issue: 40/2017

In this study, housing modernization campaigns of the interwar and Soviet periods are examined through the declared value system and public relations programs. The interwar period and the Soviet period were absolutely opposite in terms of politics, ideology, economy and many other aspects. But in talking about the modernization campaign of housing and the everyday life, we can find many surprising similarities. The aim of this study is to examine the fundamental similarities and differences of the two modernization campaigns. We can state that the aesthetic and functional values were exactly the same during both of the campaigns, the main two differences being that during the interwar period, the campaign was geared toward Western culture as a way of integration. In the case of the Soviet period, the idea of modernization, as a Western “product,” was rejected. The second main difference can be seen regarding the state’s involvement in the campaign of public modernization: during the interwar period, the state’s participation was less important than that of the private initiatives; on the other hand, during the Soviet period, the role of the state become crucial.

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Hallways

Author(s): Nele Brökelmann / Language(s): English Issue: 1/2020

Entering the former American Embassy for the first time was like going into a haunted house. It was grey and cold. There were bars on the inside of all the glass parts, cables hanging from the ceilings and rooms we were warned not to enter. In these kinds of moments, I always seem to observe from a part deep within myself, perceiving the people and situation around me to be rather disconnected. The blending in comes later, when things start to become familiar – after I have walked through those hallways often enough.

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W KLASZTORZE WIEŚĆ ŻYCIE PIELGRZYMA – INTERPRETACJA ARCHITEKTURY I WNĘTRZA KOŚCIOŁA ŚW. RICHARIUSZA W CENTULI (ST. RIQUIER) W CZASACH ANGILBERTA (799-814) W KONTEKŚCIE LITURGII STACYJNEJ I KULTU RELIKWII

Author(s): Janusz Nowiński / Language(s): Polish Issue: 2/2021

By the decision of Charlemagne in Centula, over the tomb of St. Richarius was erected one of the finest churches in the Carolingian state characterised by innovative architecture. The church has an impressive collection of relics, representing the holy objects of totius christianitatis, among which the largest group are the relics of Christ the Savior. The relics were meant to give the foundation a unique quality and the attribute of a “holy place”. The description of the liturgy celebrated in Centula informs that the relics deposited in eleven altars and four memorials presented the most important places and events from the Holy Land related to vita Christi, as well as the saints. As part of the practice of circuire altaria, the monks visited altars and their relics like pilgrims. The example here was the Roman station liturgy and the Iro-Scottish practice of peregrinatio.

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TRABZON/ARAKLI’DA GEÇ DÖNEM OSMANLI CAMİİ MİHRAPLARINDA TİPOLOJİ VE BEZEME

Author(s): Raziye Çiğdem Önal / Language(s): Turkish Issue: 13/2021

Trabzon, which is open to both land and sea transportation and trade due to being one of the Silk Road's ancient stops and having ports, is one of the cities that has retained its significance throughout history. The town of Araklı dating back to the history of the historical city and being 33 kilometers from the city center is significant because it has a harbor and the city's highways opening to the east since ancient times. With the conquest of the Ottoman Empire in 1461, the district, which had retained its significance since the Roman period, took on Islamic identity, and its population mobility and architectural structures changed its identity in this direction. Although they are few in number, monuments of late Ottoman art can be found in Araklı. The present article focuses on the four mihrabs that reflect those traces and are located in Central Küçük (Hacı Hasan) Mosque (1859-60), Konakönü Quarter Mosque (1884), Central Grand Mosque (1907-08) and Kalecik Quarter Mosque (1910). It was aimed that the findings of the present study, in which the mihrabs are explained in chronological-catalog order and the text is accompanied by drawings and photographs, would contribute to the current literature. While the examined mihrabs share some typological similarities, they differ in terms of the return of Western styles and the decoration program incorporating local elements unique to the Eastern Black Sea Region in a mixed order. These mihrabs, which have reached the present day and inspired intellectual readings about the provincial practices of late Ottoman art, are among the rare works that have taken their place in Turkish cultural memory as precious works of art shaped on the basis of material and spiritual necessity.

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Tuna Nehri Kıyısında Bir Kasaba: İsakçı’da Sultan Osman Han Vakfı

Author(s): Filiz Yıldırım / Language(s): Turkish Issue: Spec. Iss./2021

The Ottoman city architecture was created by sultans, pashas, gentlemen, military and wealthy people, and especially, by the top governmental personnel. This architecture consisted of structures that served the public such as inns, baths, caravanserais, bridges, fountains, soup kitchens, mosques, masjids, walls, castles, etc. The maintenance of these spatial structures, which were created with the status of foundations, depended on the support with uninterrupted revenue. In this study, the foundation that was built on the banks of the Danube River during the short reign of Osman II was introduced. The most important building in the Sultan Osman Han Foundation is undoubtedly the castle. This military base, which encountered attacks from the north of the Danube River, also facilitates the defense of Dobruja. Nevertheless, there is also a mosque, which is a socialization area in Ottoman culture besides its quality of being a place of worship. Although the presence of the bathhouse, which is one of the most important structures of Turkish architecture, and the school, which provides information about education, are known, the castle and the mosque were emphasized more. With this study, which was prepared based on the archival sources, the geography, employees, and socioeconomic dimension of the foundation were investigated.

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Етичні проблеми реставраційної та експертної діяльності

Author(s): Natalya Nikolaevna Revenok / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to highlight the ethical problems and requirements for the restoration of historical and cultural monuments in the practical work of a museum restorer, to identify scientific and methodological issues in the preservation of works of museum value, to determine the need for a theoretical analysis of international codes for the restoration, conservation, and examination of monuments. The methodology is based on the historical-comparative method; the method of art history analysis for the processing of historical, cultural, scientific literature. The scientific novelty of the research lies in the theoretical substantiation of the conclusions regarding the limits of permissible restoration intervention. Conclusions. Scientific restoration is inextricably linked with a comprehensive study of works of art, the conditions of its existence in a cultural and historical context. The discrepancy in the definition of the concept of «restoration» provides a more accurate formulation and pays attention to the tasks and methods of restoration. The development of international codes of ethics, domestic laws in the context of the study of terms such as «restoration», «conservation», «expertise» shows that all regulatory documents emphasize the special role of the restorer, who must constantly improve his professional skills.

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«Entertainment» як мистецький феномен у контексті дискурсу Ренесансу

Author(s): Olena Petrovna Chumachenko / Language(s): Ukrainian Issue: 3/2021

The purpose of the article consists of exploring carnival as a form of “Entertainment” in Renaissance discourse. The research methodology consists in the application of analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of "Entertainment" in the discourse of Renaissance; formalization method - to formulate the concept of "Entertainment" within the subject field of art; we use historical and cultural method for studying the phenomenon of «Entertainment» as a form of individualization of collective experience on the example of carnival in the context of the Renaissance discourse. The scientific novelty of the work is that for the first time the essence of the phenomenon of “Entertainment” as a form of individualization of collective experience on the example of carnival in the context of the Renaissance culture. Conclusions. Since the late Middle Ages, the carnival has become a prominent phenomenon in the culture of laughter, offering an antithesis to the religious attitudes that monopolized culture and art. Carnival, as a form of «Entertainment» in the discourse of the Renaissance, contributes to the identification of laughter elements in the culture of the Renaissance and helps to determine the significance of the laughter aspects of socio-cultural processes for society as a whole. The body image, as the main image of the carnival, creates a tendency for organizing "mass laughter", that is, a category that is actively used in our time on the example of the KVN format, which has become all-encompassing in modern society. Carnival, from the point of view of the cognitive perspectives of historical and anthropological research, outlines the features of the mentality of a Renaissance person. The carnival, as a form of «Entertainment», created conditions for the individualization of the collective experience, which was reflected in the culture of laughter, that is, «another reality» at certain times every year. Carnival formulated a concentrated universalistic formula for life and historical process. A street style of speech and imagery was formed, which became the «implementation» of the opposition to the official culture of the Renaissance.

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Reinforcing Place Attachment Through its Disruption: An Ethnographic Example from the Solidarita Housing Estate in Prague

Author(s): Tereza Hodúlová / Language(s): English Issue: 10/2021

The Solidarita housing estate was built during the years 1946–1951 as one of the first post-war housing estates in Prague, former Czechoslovakia. Inspired by Scandinavian urban standards, architects designed Solidarita as an urban architectural experiment that combined innovative urban strategies, new technologies, collective approach, and cooperative financing. The sociospatial structure of Solidarita was influenced by the ideology of socialism – the production of an egalitarian society through a centrally planned economy and collective ownership. As a result, the estate was self-sufficient and conducive to neighborly meetings, and it strengthened their relations through its form. The political transformation, commercialization, and privatization in the 1990s caused a gradual change of the socio-spatial image of the neighborhood. Some elements of the housing complex started to lose their original function and the community character of Solidarita could be jeopardized. Using the theoretical concept of place attachment and the concept of social production of place, the aim of this paper is to show how residents of the Solidarita housing estate in Prague are attached to the place of their home and neighborhood and how this attachment is reconceptualized through the post-socialist socio-spatial changes of the place.

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Kolegiata w Myszyńcu w świetle nowych ustaleń i atrybucji

Author(s): Tomasz Grygiel / Language(s): Polish Issue: 4/2021

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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Monaster Świętej Trójcy w Markowie pod Witebskiem

Author(s): Marta Boberska,Wojciech Boberski / Language(s): Polish Issue: 4/2021

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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Czternastowieczny fresk z motywem Matki Bożej współdźwigającej krzyż w architektonicznej przestrzeni dwunawowej fary w Bolkowie

Author(s): Aleksander Jankowski / Language(s): Polish Issue: 3/2021

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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Ostatnia pierwszą, czyli o ambonie łodziowej z kościoła pw. św. św. Piotra i Pawła na Antokolu w Wilnie

Author(s): Anna Sylwia Czyż / Language(s): Polish Issue: 3/2021

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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Architekt Abraham Würtzner (?). Przyczynek do dziejów wileńskiego baroku

Author(s): Wojciech Boberski / Language(s): Polish Issue: 3/2021

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, Abraham’s 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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Portal główny kościoła św. Jakuba w Sandomierzu. Zawiązek interpretacji treści dzieła

Author(s): Tadeusz Jurkowlaniec / Language(s): Polish Issue: 2/2021

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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Północna wieża kościoła Mariackiego w Krakowie w perspektywie ulicy Floriańskiej. Przyczynek do badań nad planowaniem osi widokowych w średniowieczu

Author(s): Piotr Pajor / Language(s): Polish Issue: 2/2021

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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Refleks dzieł Dientzenhoferów na pograniczu Wielkopolski. Architektura kościoła pw. św. Marii Magdaleny w Zamysłowie

Author(s): Aleksander Stankiewicz / Language(s): Polish Issue: 1/2021

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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Architects in the General Government: Activities, Reckoning, Memory

Author(s): Małgorzata Popiołek-Roßkamp / Language(s): English Issue: 4/2021

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 Propaganda Exhibition “The Beautiful Town—Entschandelung and Design”: Stops in the “German East”, 1940–1942

Author(s): Anja Wiese / Language(s): English Issue: 4/2021

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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Heim and Heimat — Poznań during the Second World War as a Starting Point for Possible Paths of Interpretation

Author(s): Hanna Grzeszczuk-Brendel / Language(s): English Issue: 4/2021

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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New Construction or Reconstruction: Town Planning in the Administrative District of Zichenau (1939–1945)

Author(s): Christhardt Henschel / Language(s): English Issue: 4/2021

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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