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Article deals with a group of reliefs from the church in Mramba village. Their were dated by the paleochristian period. New findings of the last ten years permit to adjust this version. They can be now referred to the Medieval period (10 – 11 century).
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In 2008–2009 the Department for History of Architecture and of Monuments of the Budapest University of Technology and Economics had made a true-to-form architectural survey on the southern tower of the Cathedral of Saint Michael in Gyulafehérvár (Alba Iulia, RO). The true-to-form architectural survey is based on the method used in “Bauforschung”, the building archaeology practice developed and widely used in Germany. In this context, survey is not only a tool of documentation but is considered as a research method in itself. We had the possibility to piece together the on-the-spot analysis with the research of archives, too. In the following study we try to add new opinions and to modulate the formerly known building-history of the southern tower. The building of this part of the Cathedral begun in the second part of the 13th century, the last bigger work was taken in 1856. Our research makes an attempt to divide the different periods of the design, and the various restorations on the facades. The work undertaken is not completed, we expect to carry on the survey of the interior in the immediate future.
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Monasteries typically have a structure and layout that suits both the spiritual and mundane needs of their communities: a central area that has a place of worship or meditation, a kitchen, refectory, dormitory, guest house, library, and basic work space; an outer layer with more specified workshops, stables and animal hutches, huts for solitary practice, memorial hall, and cemetery; and a third, most outward ring with orchards, fields, mills, and manufacturing sites. Studying the specific layout and organization of medieval Daoist monasteries, which came to flourish from the sixth century onward, it becomes evident that they follow mainstream Chinese models in their basic layout, imitate Buddhist structures in their buildings and their names, and continue traditional Daoist community centres and meditation retreats. In addition, one can also compare them to ancient Indian and medieval Western institutions, recognizing thereby the unique nature of the Daoist monastery. Planned and executed to imitate celestial landscapes and palaces, it served to attract immortals from above and prepare earthly aspirants for a more divine form of life, while also providing spiritual support for the state and a venue of merit-making for aristocratic sponsors.
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A reprezentáció tere mint nyitott konstelláció
Imola Csizmadia deals with the significance of (the search for) space in the context of the theatrical performance. She states that the search for space has become a central and crucial question of contemporary art and theatre since performances try to liberate themselves from the institutional theatrical frames, as well as since contemporary art practices have been looking for completely new ways of seeing and showing, manifested in the abolition of previous conventions defined by space. The study analyzes how space can change due to the gesture of artistic “designation”. All this is demonstrated through the example of the Tg-Mureș street-performance Curva periculosa (dir.: Erzsébet B. Fülöp).
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The rural architecture of the Niraj Valley region, Mures county had witnessed a considerable change between the 18–20 century. First the architecture has been similar to the whole central Transylvanian region. In the nucleated villages plots were reversed. These houses were built with timber frame structures, roofs were covered by straw. One entered the middle room that had a baking oven, the main room was heated by a tiled open fi re place. At the beginning of the 20th century a series of local architectural features were developed partly due to influences of nobiliary and urban architecture. The effect of the rural architecture of neighboring regions (Chair of Odorhei and the Small Tarnava valley) can be as well identified. The houses became larger and more complex, richly decorated porticos and gable walls being added to them. New ancillary building types as well as carved gates also emerged.
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Kata Demeter’s art history study begins with the enumeration of old theatre buildings in Cluj. After this, the author turns towards the main topic of her research, the presentation of the building in which the Hungarian State Theatre of Cluj-Napoca presents its special performances. The author speaks about the builders, the inner and exterior spaces of the building, lost and preserved ornaments and about reconstructions. She illustrates old conditions and the present situation with pictures and postcards.
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The National Temple of Divine Providence in Poland has been a source of fierce arguments, even though it was meant to become a symbol of freedom, harmony, reconciliation and solidarity among the Polish people; a votive offering of the nation for the resumption of Polish independence and the pontificate of John Paul II.1 The idea of erecting the building was originally conceived after the signing of the Polish Constitution of 3 May 1791, but for the next 200 years it was not possible to implement the project. It was only in 1999 that a committee supported by the Union of Polish Architects invited tenders for the design of the shrine. The jury selected three winning works from over 100 proposals. Of those three, in May 2000, the Primate of Poland, Cardinal Józef Glemp, who was also the originator of the competition, selected the design by Professor Marek Budzyński. The work was viewed as a very interesting concept, complying with international standards. However, the Management Board of the Foundation for the Building of the National Temple of Divine Providence took a surprising decision to reject the design and announced another, closed tender, inviting only selected architectural teams to participate and thus excluding many distinguished architects, among others one of the previous three winners.
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Our study analyses the 18th century Marosvásárhely (Târgu-Mures) craftsman society through an approach from the perspective of architectural history based on archival sources, and with special emphasis on the development of the status of masons, not ignoring however the situation of carpenters, joiners, locksmiths and potters, who were in close relation with the construction industry. The results of the study unequivocally state that from the mid 18th century onwards there is a definite headcount increase within the construction industry and pertaining to this, within masonry as well. A key role in this process is held by the mostly German craftsmen migrating to the city. Their linguistic and religious separation makes them clearly distinguishable within the society of the city in this period, bringing thus validation and also a special connotation to the concept of “Craftsman Circle”. Hence, the linguistically isolated, mostly Catholic immigrants (especially in the first decades) have necessarily formed a sort of separated community in the predominantly Hungarian and typically reformat society of the city. We must emphasize that the immigration processes in Marosvásárhely are in line with the contemporary phenomena specified by Margit B. Nagy in other Transylvanian cities such as Kolozsvár (Cluj-Napoca) or Szamosújvár (Gherla). In comparison with Kolozsvár discrepancy can be determined only in the intensity of immigration (number of the immigrants) or in the temporal distribution of the process. The Baroque patterns have permanently spread in Marosvásárhely as a result of the activity of these craftsmen. Arriving from Austria, Bavaria, Silesia, Hungary and from various regions of the German linguistic areas, these craftsmen had already been familiar with the forms and technical solutions of the Baroque, and this knowledge was continuously refreshed and enriched by other influences (even if springing from similar artistic roots) of the various craftsman centers of Transylvania, here it is enough if we mention Anton Schuchbauer working at the Toldalagi-palace, or Romanus Lehr the stucco-modeler from Szamosújvár, or the inevitable import of the products delivered by the stone-cutter workshops from Kolozsvár. Being aware of the rather obsolete architectural circumstances previously prevailing in Marosvásárhely, these immigrants, bearers of a new kind of architectural knowledge, must unquestionably be considered factors of modernization. This basically Late Baroque architectural tradition established due to the 18th century craftsmen was afterwards successfully conserved and prevailed firmly in the city even in the first decades of the 19th century.
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The old buildings of the Reformed College in Marosvásárhely (Târgu-Mureș, RO) were significant role players in the Transylvanian protestant public education, but proved to be less functional for educational institutions at the early 20th century. The directorate of the college commissioned a leader of the government’s architectural program, the Budapest based architect Sándor Baumgarten (1864–1928), to propose a project for the new building. He realized the project plans between 1906–1908, and the construction took place between 1908–1909. This study pursues the so far unknown construction process and interior furnishing of the main building, investigating reports from the directorate meetings of the school, documentations related to the abundant planning material. Thanks to rich written resources and the well preserved furnishing, the assembly hall is discussed in an individual chapter as it is the most ambitiously created, organic Art Nouveau interior of the building. Baumgarten took into consideration the local conditions of the site, as well as the expectations of the directorate when planning the building. As a follower of Ödön Lechner applied the national style, borrowing design elements and patterns from the Hungarian Art Nouveau style. To carry out the construction plans, young Lajos Csiszár, a building contractor from Marosvásárhely was commissioned, along with other local craftsmen. The foundation stone was celebrated on September 10th, 1908, with the construction procedures coming to an end in the autumn of 1909. The inauguration took place in June 1911, once the annexed buildings (primary school, sports-court), both planned by engineer Győző Nagy, and the renovation of the 19th century boarding school were completed. The three storey central building has a U-shaped layout. The unity of its wings is given by the characteristic execution of the facades and the harmoniously applied details. The various fixtures of the building (fences, chandelier etc.), the interior furnishings and the annexed building all celebrate the talent of engineer Győző Nagy. He applied the style of Baumgarten in the design of the furniture belonging to the directorate’s office and the teaching room, and took significant responsibility in shaping the assembly hall too. (The furnishing of the assembly hall dating back to 1910 was complemented in the interwar period with furniture that animated the ornamental language of their Art Nouveau ancestors, while keeping the integrity of its interior style.) The project received a governmental support of three-hundred thousand crowns, but its expenses reached almost half a million crowns by the time its construction and interior furnishing had been completed. With its neat floor plan, inner division striving for functionality, luminous rooms, wide and airy passageways, the building complex is a representative work of this architectural programme. The style and execution of details recall the features of the rest of the gymnasiums planned by Baumgarten (from Zilah/Zalău, Rozsnyó/Râșnov, Máramaros/Sighetu Marmației [RO], etc). However, by being an assignment and investment of the church, and thanks to its adaptation to the irregular, sloping site and local context of the already existing buildings, this work has contributed to the achievement of an original and independent work of Sándor Baumgarten in Marosvásárhely. The building-complex founded in the early 20th century hosts today the Reformed College and the Bolyai Farkas Theoretical High School.
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The article deals with the examples of a syncretism of thetraditional believes and Christianity in the Middle Ages. There is arepresentation of the bull’s head in the architectural decoration of some ofthe medieval churches (f. i. Svetitskhoveli in Mtskheta, XI c., Georgia;the Holy Cross Cathedral on the Island of Akdamar, X c., Turkey;monasteries of Geghard, XIII c. and Sanain, XII c., Armenia); it isobviously connected with an ancient cult of the bull wide-spread in theMediterranean world from the Neolithic period until modern time.
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One of the significant moments of the 18th century reorganising of the Roman Catholic diocese of Nagyvárad (Oradea, RO) was the building of the first bishop’s residence. Bishop Miklós Csáky (1737–1747), differently from his predecessor’s only partly or not at all achieved ideas, built his palace in the New City (“Újváros”), pertaining to the chapter. The one-storey building built with two inner courtyards through the uniting of several houses and plots was created presumably based on chamber architect Fortunato de Prati’s plans or suggestions, between 1737 and 1744, in several phases. Its major expansions took place during Bishop Adam Patachich’s first years, when in the second courtyard, a second floor was built for the Consilium Basilitarum of the Greek Catholic clergy. The activity of the local and foreign craftsmen, who took place in its building and the creating of its interiors can be clearly followed from the available resources. Thus besides the names of stonemasons who arrived under bishop Csáky and those of the Italian stonemasons and German carpenters from Budapest, who were invited under Forgách and Patachich, the names of local craftsmen, who took part in the leading of neighbourhoods also emerge. After the completion of the new baroque bishop’s palace designed by Franz Anton Hillebrandt, the old building gave place to different educational institutions, then workshops. Its demolition took place in 1901, yielding space for the new City Hall. Its appearance and layout can be reconstructed in detail, based on the 18th century drawings of the group of buildings.
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Being remarkablethrough the monumentality andelegance of proportions, thearchitecture of the Church “SaintJohn the Baptist” from Bârnovaderives from the so-called oldWallachian style, skillfullyreshaping a structure whichcombines elements which arespecific to Byzantine Balkanicecclesiastical buildings. Theunseen pictural work of ȘtefanConstantinescu is characterized bythe attempt to associate the resultsof experiencing freedom ofinterpretation and expression withthe rules of the iconographiccanon, inside the same ensemble.Its representations do notreproduce the traditional Byzantinemanner, nor it is delivered as aform of quoting reality, but it is filtered and interpreted. From a theologicalpoint of view, the author respects the iconographic program, except for thetopographic placement of some episodes, adapting the discourse accordingto the configuration and features of the liturgical space. We are in front ofa case which places us in the position of managing the relationship betweenthe value of artistic creation and the meticulosity of theologicalinvolvement. Neither Byzantine, nor realistic, the artistic solution of themural painting from Bârnova is closer to the manner of iconictransfiguration than to the one of improvisation or artistic intermediationthrough which the daily tridimensional world is reflected.
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Constantin Brâncuşi brought the art of wood sculpting to its highest peaks. His technique is that of a master at work, turning wood into amazingly beautiful and yet modern shapes. His knowledge of the different textures of wood and its qualities enabled him to create organic sculptors that transcende modernity. His art combines the philosophy of life with that of the material. Brâncuşi provides fine arts with authenticity, force and sacredness. He searched and found the ideal shape, the psychedelic proportions and the Olympian equilibrium. The shape of the carving whose, is and will remain a human ennoble art performance, building unmatched value and the final result. In skiing, the carving is a technique to cornering furthers what an ideal installments and perfect balance. With every movement outlines a special symbolic cornering, overtaken and its level of personalized training.
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Die erste Information über die Moschee von Pascha Ferhád in Pécs findet sich 1663 bei Evlia Cselebi, dem Einzigen, der das besetzte Ungarn detailliert beschrieben hat. Nach Evlia gehörten zur Stiftung von Ferhád auch ein Kloster und ein Bad. Die Stiftungsgebäude stehen zumeist nahe beieinander und bilden einen Stadtteil (mahalle). Die Plätze der drei bedeutendsten Bäder in Pécs sind gut bekannt. Das eine stand innerhalb des Szigeti- Tors und war von Bei Memi gegründet worden, das andere gehörte zur Stiftung von Pascha Kászim und stand am NO-Ende des heutigen Széchenyi-Platzes. Das dritte befand sich in der Király-Gasse und wurde am Ende des 18. Jahrhunderts abgerissen. Auf Grund der Angaben von Evlia Cselebi und der Vermessung Joseph de Haüys vom Oktober 1686 können die Gebäudereste auf dem Grundstück der heutigen Kazinczy-Gasse 4 eindeutig mit der Moschee von Pascha Ferhád identifiziert werden. Berücksichtigt man, dass sich im mündlichen Gerede die Ränge eventuell ändern, müssen wahrscheinlich auch die Angaben der türkischen Sandschak-Konskription (sog. tahrír-defter) des Jahres 1579 beigezogen werden, denen gemäß ein Stadtviertel nach Bei Ferhád benannt war. Die Moschee selbst erscheint bei der Beschreibung eines Hauses: „No 635. Das Haus der Tútí, Tochter von Abdullah, im Stadtteil der Marodeure, nahe der Ferhád- Moschee.“ Der Stadtteil der Marodeure ist auf Grund der Pécser Häuserregistrierung von 1687 in der SW-Hälfte der Stadt, vielleicht an der Stelle der heutigen Zrínyi- Gasse, zu lokalisieren.
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Founded by the first Basarab princes, the “Saint Nicholas” Princely Church of Curtea de Argeș is a valuable part of Wallachia’s history due to its exceptional documentary and artistic value. The church is of a Byzantine art influence with its elegant and sober appearance, the cross-in-square plan, as well as its iconography and stylish frescos. This paper is focusing on the scene painted on the walls of the narthex, scene that represents the Consecration of Saint Nicholas as a bishop. The frescos of several monuments of Byzantine art found in the Balkans or Greece are, in part, similar with the scene from Curtea de Argeș; however, their compositions might differ from case to case. The innovative character of the Curtea de Argeș’ fresco consists of presenting the personages attending the consecration of the saint. While, according to the Herminy, this consecration should be attended by three bishops, at Curtea de Argeș the three characters present at the consecration of the saint are two psaltai and a cantor. We suggest that the portraits of the two psaltai are executed after real life personages, i.e. the first Metropolitan of Ungro-Wallachia, Iachint of Vicina (1359-1372) and the Metropolitan Antim, which was consecrated in 1370. They are singing hymns of glory to Saint Nicholas, the patron saint of the Princely Church of Curtea de Argeș. Thus, he painting of the narthex can be dated around 1370-1372, with the consecration scene holding an outstanding documentary value.
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Following the political breakthrough of 1989 architects were faced with completely new challenges. After the lethargy of the 1980s Polish architecture experienced a real turn. A remarkable transformation was taking place along with the general cultural, social, political and economic changes. The opening to the trends in Western culture, the establishment of numerous private architectural studios, the appearance of development companies or foreign investors, coupled with new technological possibilities resulted in the change of Polish urban landscape. As a result, Polish municipal authorities had to review their way of thinking about their cities. The paper aims at analysing the changes stimulated by the “turn” which took place in Polish architecture in the 1990s. It presents some observations on the transformation and the emerging challenges and problems of Łódź urban space.
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Still far from providing a comprehensive picture of the architectural variety and creativity of the nineteenth century Wallachia, specialist works have mainly concentrated on buildings dating from the last quarter of the nineteenth century, subsequent to the coronation of Carol I. The case of Arnota Monastery, in Vâlcea County, is interesting and important firstly because the alterations led by “monastic architect” Johann Schlatter to this complex during the nineteenth century inaugurated the autonomous programme of prison architecture in Wallachia, and, secondly, they illustrate, among numerous other examples still preserved, the beginnings of modern practices of restoring old architecture. At the same time, the recent reconstruction and extension work undertaken at the monastery brings to light contemporary issues connected with the lack of understanding of the conservation and restoration of a heritage still little valued.
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In the geotechnical field it is possible to encounter very complex phenomena, which are hardly analyzed by analytical methods based on physical laws. Classical methods, such as empirical correlations have too little power to efficiently generate them. Nevertheless, geotechnical engineers have successfully adopted different experimental methods of identifying parameters based on in situ and laboratory tests. Several studies have employed new empirical mathematical approaches for treating and estimating soil parameters, in order to overcome the relatively expensive and time-consuming in situ and laboratory tests; they are called “artificial intelligence techniques”. This work presents a literature review of many applications aimed at estimating some soil parameters considered crucial to the decision-making process and important for the identification of geotechnical hazards. We focus on the artificial neural networks technique. This method is selected because it has been proved to be the most successful artificial intelligence approach applied to geotechnical engineering. As an example, two applications aimed at estimating the compressibility and swelling coefficients have been illustrated. The findings clearly indicate that ANN methods are of great importance for geotechnical engineering, as they have yielded cost-effective and valuable results for simulating the complex heterogeneous behavior of soil and efficiently estimated the geotechnical parameters.
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The spatial frame of the investigation is the Carpathian Basin and especially its Great Plain areas inhabited by Hungarian-speaking people; and the period it covers, which can be documented with buildings, is the 150–200 years from the second half of the 18th century to the first half of the 20th century. Examining all the elements of form which played a role in shaping the architectural image of the market town, it can be found that some of them are only barely, while others are very definitely expressions of the semiosis of market town architecture. The criteria of form are suitable for the simultaneous realisation of the following triadic relations: 1) the architectural functions archived through the technical-technological and structural solutions of building practice; 2) meanings related to the communicative nature of architecture; 3) representation of the architectural solutions of aesthetic content accepted by the taste of the community, artistic aesthetics (of architecture). As a final conclusion it can thus be said that a relative and absolute horizontal and vertical dynamics – realised with architectural signs and visually codable – operate in shaping the architectural image of the market town.
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