Architecture History

Članak govori o Bijelom gradu, četvrti Tel Aviva s brojnim reprezentativnim primjerima građevina podignutih u stilu internacionalne moderne arhitekture u razdoblju između dva svjetska rata, a u povodu izložbe održane u Architekturzentrumu u Beču u prvoj polovini 2008.

Tekst govori o povijesti izgradnje i opremanja župne crkve Imena Marijina u osječkom Donjem gradu u 18. stoljeću na temelju arhivskih, kartografskih, grafičkih i drugih izvora. Istraživanjima se pokazalo da je današnja građevina podignuta tijekom dviju građevinskih kampanja na mjestu starije crkve iz 1714. Sjeverni dio, zvonik s korom, podignut je između 1758. i 1763., a potom je 1768. – 1775. uslijedilo podizanje broda i svetišta. Stilsko rješenje arhitekture crkve, ponajprije zvonika i zapadnog pročelja, povezuje se s mogućim uzorima u baroknoj arhitekturi Italije i Srednje Europe, a opremanje s djelokrugom umjetnika-obrtnika koji su sredinom i u drugoj polovini 18. stoljeća radili u Osijeku. U tekstu se donosi niz imena raznih umjetnika koji su radili za donjogradsku crkvu koji se do sada u literaturi nisu vezali uz ovu građevinu (graditelj Joseph Hatzinger, kipari Georg Egger i Joseph Erdt, stolari Heinrich Kessler i Thomas Firtler, slikar Franciscus Antonius Witz).

The earthquake that hit Zagreb on 9th November 1880 was one of the most important breakpoints in the history of architecture and urban planning of the city. It was estimated that in its epicenter, which was northeast of Zagreb, earthquake was of magnitude 6.2 on the Richter scale. Barely any building in the city remained undamaged, and many buildings had to be completely removed due to the danger of collapse. On third day after the tragic event, Zagreb photographers began photographing significantly damaged or destroyed buildings. Otto Dasch made the first photographs and was soon after followed by other esteemed Zagreb photographers: Hinko Krapek, Gjuro Varga, Hermann Fickert and Johann (Ivan) Standl. Photographers played a key role in disseminating visual information about the earthquake, which was the only event that enticed a rather great interest of the world press for the Croatian capital in the second half of the 19th century. Although the earthquake did not have catastrophic effects, early reports of the majority of German, Hungarian, French, Italian, English and Slovenian dailies were rather unreliable, and often replete with exaggeration. The news appearing after the primary fear toned down, was completely contrary to the previous reports in that they minimized the damage. The aforementioned photographers thus tried with their photos to contribute to the objective view of the situation. However, they shot almost only those buildings which were most severely damaged by the earthquake, not so much because they wanted to overemphasize the scale of the destruction but because such scenes were the most interesting for the audiences. That was the same reason illustrated magazines from different parts of the world published images showing the most damaged buildings. During 1881, three albums were made which showed photographs of the earthquake damaged buildings. Two of them contain works of Standl and Fickert respectively, while the third album is a collection of works by four photographers: Standl, Fickert, Varga and Dasch. Standl's album “Photographs of the Zagreb Earthquake“ is characterised by a great quality of photos. It contains 25 works which were mostly commissioned by the Yugoslav (today Croatian) Academy of Sciences and Arts where Standl worked as an official photographer. Academy's Institute for Mathematics and Physics started gathering information about the earthquake in mid-November, at the same time when Standl was commissioned to take photographs of damaged buildings. The aim was to keep memory on the earthquake and to facilitate its scientific research. Standl’s album has been preserved in a rather large number of copies in various public institutions (archives, museums) and in private collections. Contrary to Standl, Fickert created his album “Memories on the Zagreb earthquake on 9th November 1880“ through his personal efforts and initiative. Each buyer of the album could choose 15 photographs from Fickert's collection and thereby create his or her own album, which consequently led to the creation of several different compilations of Fickert's works. The album containing the works of all three photographs bears the title “Photos of the Zagreb Earthquake on 9th November 1888“. It was created most likely due to the efforts of a public institution, probably the Zagreb City Council. Its special value lies in the photographs taken by Gjuro Varga which show damaged buildings on Zagreb's main city square. The aim of this presentation is an analysis of the creation and content of the photos from the albums and an attempt to present the ways in which the photos influenced the formation of the event’s image.

Despite the fact that in the history of Croatian architecture of the interwar period Expressionism neither took firm hold nor had the significance and reception like it had in Germany, there exists a whole series of architectural designs which display a pronounced influence of this style. In Croatian architecture Expressionism appeared roughly from around 1922 until the end of the 1920s and in the work of some architects even later, in the course of the 1930s. It occurred mainly under the influence of German and partly Austrian architecture and as a reflection of the incursion of Modernism, not as a result of the chaotic post-war climate, inflation or other economic changes. Architects of Croatian Expressionism did not form a homogenous group – they neither shared the same formation or social convictions, nor belonged to the same political circles. What they had in common were aspirations for the accommodation of architecture to the new world, its new needs and technical possibilities. Two German architects had a profound influence on the emergence of Expressionism in Croatian architecture – Hans Poelzig and Peter Behrens. Hans Poelzig trained three Croatian architects who in the course of the 1920s produced designs influenced by Expressionism: Drago Ibler, Zdenko Strižić and Josip Pičman. Especially important is the oeuvre of Drago Ibler, who created a whole series of Expressionist projects, most of which remained unbuilt. Particularly significant are his designs for the Epidemiology Institute (1922), for the Central Workers’ Insurance Office (1923) and for the Trading High School (1928) in Zagreb. His most important executed work of the 1920s was the interior of the theatre section of the pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in Paris. Between 1926 and 1943 Ibler was the head of the Department of Architecture of the Academy of Fine Arts in Zagreb. Some of the architects trained at the Department, like Stjepan Planić, embraced Expressionist aesthetics. Peter Behrens’s influence on the emergence of Expressionism in Croatian architecture occurred through the work of his disciples educated at the Viennese Akademie der bildenden Künste (his most important Croatian disciple was Juraj (Georg) Neidhardt), as well as through his participation in the construction of the Zagreb City slaughterhouse complex. Behrens was the representative of architect Walter Frese from Berlin, who in 1928 produced the design for the city’s slaughterhouse, constructed between 1929 and 1931. Stylistic features of the buildings of this complex display a combination of elements of Expressionist and Neue Sachlichkeit architecture. Besides Behrens’s and Poelzig’s disciples, a number of Zagreb architects of the older generation also designed under the influence of Expressionist aesthetics. Among the most important is Ignjat Fischer, designer of the interior of the City Café at the Ban Jelačić Square in the very centre of Zagreb. It was executed in the years 1929-31 and represents the most important example of Expressionist architecture in Croatia. The City Café was designed under the influence of Poelzig’s works, more precisely of his most important building, the Grosses Schauspielhaus in Berlin. Almost at the same time, in 1928-30, the same square was embellished by the hotel and department store building owned by Svetozar Milinov and designed by Dioniz Sunko, which originally included an advertising tower with elements of Backsteinexpressionismus. A number of designs related to Expressionist architecture can be associated with the so-called Foundation block planned in the centre of Zagreb in late 1920s and early 1930s (among which stand out designs by Stjepan Planić, and Josip Pičman and Josip Seissel). From that time on, the International Style started to become fully dominant in Croatian architecture.

The article is about the work of Joseph Hatzinger, son of builder Paul (Pál) Hatzinger from Székesfehérvár (Hungary), and Joseph’s sons Heinrich and Paul. Joseph worked in Osijek and in Slavonia in the second half of the 18th century. In the early 19th century, his older son Heinrich spent almost a decade as a professor at the Genie-Akademie (Military Academy of Engineering) in Vienna and designed two important Early Neoclassical churches at Terezin and Josefov fortresses in Bohemia. His younger son Paul, after a brief period as a lecturer at the Genie-Akademie, worked as an engineer in various parts of the Habsburg Monarchy during the first half of the 19th century, from Galicia, across Dalmatia, to Vienna and Lower Austria in the final phase of his career. Finally, his great-great-grandson Gusztáv Kasper, the grandson of Paul Hatzinger Jr, became a Hungarian railway engineer at the turn of the 20th century.

Članak govori o povijesti neobizantske arhitekture na području Hrvatske od sredine 19. stoljeća do početka Prvog svjetskog rata. Najveća pozornost posvećena je arhitektonskim rješenjima pravoslavnih crkava. Analiziraju se ostvarenja u neobizantskom stilu od romantičarskog perioda (pravoslavna crkva u Zagrebu arhitekta Franje Kleina) do djela visokog i kasnog historicizma na prijelazu iz 19. u 20. stoljeće (ostvarenja Hermana Bolléa, Janka Holjca i Vinka Rauschera). Djela nastala za pravoslavnu crkvu kontekstualiziraju se s političkim prilikama i nacionalnim ideologijama te s općim zbivanjima u tadašnjoj hrvatskoj arhitekturi, ponajprije s revivalom interesa za bizantski stil u prvim desetljećima 20. stoljeća u djelima Viktora Kovačića i Stjepana Podhorskog.

The chapel of St Peter and Paul in Zagreb`s central cemetery Mirogoj belongs to a group of the most interesting sacral buildings erected in Croatia`s capital at the end of the 19th century. It is one of the first monumental mausoleums ever built outside the Mirogoj`s arcades and one of the fi nest works by the architect Herman Bollé in his version of the neo-Byzantine style. It was erected in 1891 to serve as lieutenant general Petar Kukulj`s mausoleum by his widow Judita. Petar Kukulj was an Austro Hungarian field-marshal. Since such mausoleums were used by a small number of worshippers, there was no need to make them large. Moreover, the locations where they were going to be built were often very limited in order to leave more space for the cemetery. Therefore, during historicism such cemetery chapels were often erected as centrally planned buildings whether the mausoleums in question were Catholic, Orthodox, Evangelical or Jewish. Hence, Bollé was provided with an opportunity to practice designing centrally planned neo-Byzantine buildings. Since he had been working for the Orthodox Church he was mostly compelled to restore earlier buildings and build new ones of a longitudinal plan which could facilitate a greater number of believers. On those churches he hadn’t had a chance to build domes. The chapel of St Peter and Paul at Mirogoj cemetery is one of the Bollé`s most signifi cant neo-Byzantine centrally planned domed buildings. Looking at his work, we can see that Bollé`s neo-Byzantine style is infl uenced by Byzantine, Romanesque and even Renaissance elements. He also found a great inspiration in late Rundbogenstil (Round-arch style) of Berlin architecture of the 1860s and 1870s. Orthodox bishop Miron Nikolić commended his work in the chapel and it seems that it had convinced him to entrust Bollé with a comprehensive renovation work on his cathedral in Pakrac, as well as some other buildings in Pakrac eparchy (parish church in Bjelovar for example). Thanks to his work on Kukulj chapel and renovation work on parish church of Transfi guration in Zagreb, Bolle was later commissioned to renovate the Orthodox monastery Grgeteg on Fruška Gora, and the Church of Holy Spirit, Ruma, and so on. Immediately after the work in the chapel of St Peter and Paul was fi nished, the walls were painted and the interior was furnished. Zagreb Crafts School professor Josip Bauer is the author of all decorations on the walls and icons on the iconostasis. All the icons were made on a gold background showing Bauer`s relation to the Byzantine art of drawing. The author attended the Academy in Munich. Therefore, compositions of his works are inherently in correlation with the tradition of western painting but there is also a very strong infl uence of the Nazarenes. Bauer was obviously familiar with the orthodox iconography which resulted in numerous commissions by the Orthodox Church in Croatia. The position of icons on the iconostasis follows the usual rules of the Orthodox Church, but still there are some differences. In the bottom line we can see Annunciation in imperial court with icons of enthroned Christ and Virgin by its side. On the side doors we can see Michael the Archangel and Gabriel the Archangel. Saint Peter and Paul, to whom the chapel is dedicated, are painted on the left end of the row and Saint John the Baptist is on the right end. Two central rows of icons on the iconostasis depict the scenes from the life of Christ and Virgin Mary. The top of the iconostasis shows the prophets painted in round medallions and in the central axis we see the crucifixion of the Christ flanked by the Virgin Mary and Saint John the Baptist) painted above the icons showing the Holy Trinity and God the Father. Herman Bolle is the author of the design for the iconostasis as well as the entire chapel project. The estimated cost of the chapel was 14.000 forints (28.000 krones) which was a substantial amount in that time.

The purpose of this study was to document and define symbolic imagery found within the grounds of the Colon Cemetery in Havana, Cuba. Memorials erected to the dead use symbology to tell stories about the departed, giving us clues to the deceased’s values and philosophies, as well as their religion, ethnicity, social memberships, occupations, education, level of wealth, and thoughts on the afterlife (Keister, 2004). Using images of Colon Cemetery from a photographic documentary series, Havana: Behind the Facade, architectural and cemetery symbology was grouped into categories, researched for meaning, and sought for interpretations to reveal clues about Cuban culture and beliefs in the late 19th and early 20th centuries. In general, these symbols revealed that this society believed in religious fervor, an afterlife, and a merciful God. This study serves to guide anyone who wants to interpret cemetery symbology. It opens the door to future studies on specific Cuban families and tombs. ...

Architectural atlas of Zagreb contains overview of the history of Zagreb architecture and 900 entries on buildings from all parts of the city.
The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town - Centre, Lower Town - West, Lower Town - East, Savska street, Vukovarska street and Slavonska avenue, New Zagreb, etc. Each of these neighborhoods has been split into streets, and the buildings are organized according to their official street number. Along with each city area, a map showing the locations of all the marked buildings mentioned in the atlas is also attached.
The buildings in this atlas have been selected primarily according to their importance to the history of Zagreb’s architecture, while also bearing in mind their interest to the average visitor to Zagreb. The city center (Lower Town, Upper Town, and Kaptol) has been covered in most detail.

Župna crkva u Đakovu pripada skupini najvažnijih sakralnih spomenika Slavonije. Riječ je o u sjevernoj Hrvatskoj jedinoj većim dijelom sačuvanoj džamiji (podignutoj sredinom 17. stoljeća) te rijetkom primjeru očuvanoga historicističkog neomaurskog interijera (izvedenoga pri obnovi iz sredine 1880-ih), a ujedno se radi i o jednom od najvažnijih spomenika klasicizma toga područja. Klasicistička faza njezinih pregradnji do sada nije bila dobro istražena. Izvori pronađeni u Dijecezanskom arhivu u Đakovu te Arhivu đakovačke župe svjedoče kako su u vrijeme dominacije toga stila realizirane dvije veće pregradnje: 1819. i 1837. – 1839. U ovome tekstu analizira se ponajprije dogradnja crkve iz 1819. jer oblikovno rješenje pokazuje da je pri tome zahvatu većim dijelom realiziran projekt Bartola Felbingera iz 1816. koji je bio namijenjen za kapelu na Svetom Duhu u Zagrebu. Felbinger je dobio ovaj posao jer je u to vrijeme bio najvažniji projektant gotovo svih prestižnijih građevina đakovačkog biskupa Emerika Karla Raffaya (izradio je dvije nerealizirane varijante projekata za đakovačku katedralu, realizirao je projekt za dogradnju zgrade sjemeništa te za južno krilo biskupske rezidencije). Zahvatom iz 1819. đakovačkoj župnoj crkvi dograđen je novi toranj s korom. Glavni portal postavljen je u plitku nišu raščlanjenu oblikovno kvalitetnim jonskim pilastrima. Svojim rješenjem novo glavno pročelje ove crkve ubraja se u najvažnije realizacije „čistog“ klasicizma u arhitekturi Slavonije čijom sakralnom arhitekturom u to vrijeme dominira barokni klasicizam ili vrlo jednostavni „pločasti stil“ (Plattenstil). Oblikovno rješenje pročelja nadovezuje se na zbivanjima u bečkoj arhitekturi toga vremena, osobito na takozvane crkve podizane iz nužde (Nutzbaukirche) koje su građene u novim župama u predgrađima toga grada, a stanovite sličnosti mogu se naći i u djelima tršćanskog arhitekta Mattea Pertscha i budimpeštanskog arhitekta Mihálya Pollacka.

The content of this monograph on the Djakovo cathedral is concentrated on its interior - frescoes, sculptures, altars, furnishings. The content of some frescoes in the cathedral reflects the political ideology of Bishop Strossmayer. The book was edited by Mr. Žorž Draušnik.

While the Neo-Byzantine style was in 19th -century architecture in Croatia exclusively used for architectural projects funded by the Serbian Orthodox Church (such as parochial churches in Zagreb, Dubrovnik and many other towns and places), in the period shortly before the First World War, it also started to be used in the architecture of the Catholic Church. The crucial role in spreading the use of the style was played by the pioneer of Croatian modernist architecture Viktor Kovačić and his design for St Blasius' Church in Zagreb (built in 1910-13). Neo-Byzantine appeared primary due to ideological and political reasons, because it served as a reference to the period of Croatian political independence. Along with political reasons, the Neo-Byzantine style emerged also as a response to the extreme ornamentalism of the Vienna Secession. Early medieval architecture in Croatia, or more precisely Dalmatia, and Byzantine architecture in general, featured elements whose simplicity matched the sensibilities of increasingly permeating modernism. During the 1920s the Neo-Byzantine style became dominant in church architecture, primarily owing to architect Stjepan Podhorsky who applied the style in his numerous church building designs. The popularity of the style flourished especially in relation to the millennial celebration of the Croatian kingdom (925 – 1925), connected to which a large Neo-Byzantine church was built in Duvno (present Tomislavgrad in Bosnia and Herzegovina) sponsored by the Yugoslav Karađorđević dynasty. The Neo-Byzantine style at the same time turned into the main national style of Serbs in the Kingdom of Serbs, Croats and Slovenes. However, it appropriated motifs mostly from late medieval Serbian church architecture, which was characterized by much more lavish decoration than early medieval architecture in Croatia. The last Neo-Byzantine churches were built during the 1930s and in the early 1940s. Since modernism began pervading Croatian architecture, the majority of architects turned to designing modernist or some sort of mixed Neo-Romanesque, Art-déco and modernist church buildings.

This article traces an African Housing Renaissance through the Trabantenstadt (Satellite City) vision for Kigali embedded in the Gacuriro Valley Satellite, which is composed of two settlements (or umudugudu, in Kinyarwanda): Kigali 2020 (2001–2005) and Kigali Vision (2013–2016). While the Kigali 2020 is an integrated Trabant (Satellite) which is able to interact with the existing context and trace the future built and unbuilt developments, the Kigali Vision adopts the idea of a protected compound, morphologically connected with the older settlements, but unable to tackle and solve spatial and social issues due to its ‘defensive’ character. The particular topography of the hillside receives an ambivalent interpretation: in the first umudugudu, the slope inspires the whole project, an organic raumplan, and in the second it has been denied, having been leveled for flat houses’ foundations and consequently a flat spatial indoor distribution. Nevertheless, this article argues that despit...

From Skarkos to Poliochni: observations on the socio-economic development of the EBA settlements in the Cyclades and the islands of the Northeast Aegean

On the basis of the most recent excavation data from the Cyclades and the islands of the Northeast Aegean, a comparative study between the settlements of the two regions during the EBA is attempted. The aim of the study is to understand better the similarities and differences at the level of material culture and, by extension, at the level of socio-economic organization, between the two areas. Skarkos on Ios and Poliochni on Limnos are used as representative examples for the Cyclades and the islands of the Northeast Aegean respectively, and, where necessary evidence from other settlements are included as well. At Skarkos only one phase of habitation, corresponding chronologically to the end of the Keros-Syros group period, has been confirmed by excavation to date. At Poliochni, the phases of occupation start from the Neolithic era, span the whole of the EBA and continue to the later periods.

The size of Skarkos is estimated at approx. 1.1 hectares, whereas the extent of Poliochni Green and Red (periods III-IV) is estimated at approx. 1.385 hectares and that of Poliochni Yellow (period V) at approx. 1.5 hectares. Consequently, Poliochni was approx. some 0.3 to 0.4 hectares larger than Skarkos. However, this does not necessarily imply that the population of Poliochni was proportionately larger than that of Skarkos, because Poliochni consisted of one-storey buildings.

The level of town planning appears to be equal at Skarkos and Poliochni. The adaptation of the town plan to the geomorphology, specifically the low hill on which each settlement was built, is excellent. There is also a correspondence in the separation of areas of private and common use in both sites. Recent research at the settlement of Markiani on Amorgos has shown that there were walled settlements in the Cyclades already from the Keros-Syros group period and possibly from the earlier Grotta-Pelos group period. The latter corresponds partly to Poliochni period II (Poliochni Blue period) during which the walls of the town were erected. At Poliochni there were communal wells for drawing water, whereas in the Cycladic settlements the source of drinking water was outside the site, as the evidence from Ayia Irini on Keos demonstrates. Both Poliochni and some Cycladic settlements, such as Ayia Irini on Keos and Markiani on Amorgos, featured drainage systems for rainwater.

Skarkos and Poliochni both developed in an agglomerative manner, yet the different geomorphology of the heights on which they were built and the different architectural tradition resulted in: two-storey buildings with independent external walls at Skarkos and one-storey buildings with common external walls with the neighbouring buildings at Poliochni. At both sites, some of the buildings are larger and more complex than others, a feature indicating social stratification. The houses in both settlements are otherwise similar in architectural arrangement and basic functions. The courtyards were used, apart from their other functions, as cooking areas at Skarkos on Ios, Kastri on Syros and Emborio on Chios.

Certain similarities between the artefacts of Skarkos and Poliochni are present as well. Large barrel-shaped pithoi for the storage of goods and ellipsoidal stone querns for the grinding of cereals were common in both settlements. Clay spoons, disk-shaped objects made of potsherds, simple or pierced, bone tubes and pointed tools are included in the household equipment at both sites. Finally, in both settlements a statement of ownership or personal identity was necessary, as the seals found at Poliochni and the seal-impressed rectangular clay objects excavated at Skarkos reveal.

... Inspired by Rabun Taylor's article [1], which proposes that Hagia Sophia's original vaulting system consisted of an upper dome supported by a fenestrated drum, the present team of authors, which includes both engineers and scholars of Byzantine Greek, undertook to analyze ...

Abstracts - ICAR 2012. ICAR 2012 International Conference on Architectural Research: (re)writing history. Book · May 2012 Edition: 1, Publisher: Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait, Editor: UAUIM, Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, ISBN: 978-606-638-022-5 Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait authors: Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, Adham Abulnour, Ileana Apostol, Maria Boştenaru Dan, Dragoş Horia Buhociu, João Paulo Cardielos, Stefania Chirico, Laura Vivola, Luigi Chirone, Cristina Constantinescu, Mihaela Hărmănescu, Ilinca Constantinescu, Cerasella Craciun, Cristina Enache, Giuseppe Gangemi, Cristina Olga Gociman, Sever Georgescu, Tiberiu Florescu, Artan Hysa, Bob Jarvis, Valbona Koçi, Andrei Eugen Lakatos, Vera Marin, Ana Opriş, Gabriel Pascariu, Simona Pascariu, Alexandru-Ionut Petrişor, Andreea Popa, Alexandru Calcating...

The 3rd International Conference on "Architectural History and Theory" addresses all the aspects of history and theory studies aiming to discuss the related subjects from different perspectives and research areas. The meeting attracts a substantial number of participants from all over the world. Thus, the Conference establishes an ideal platform to recent advances and research results in the fields of architecture, history and all interdisciplinary areas such as urbanism, education , interior architecture, technology, business, gender studies, politics, social sciences and so forth. The scientific quality of the Conference provided by SPACE International Advisory Board and the variety of the topics are the most important reasons behind this success of the series.

Abstracts - ICAR 2012. ICAR 2012 International Conference on Architectural Research: (re)writing history. Book · May 2012 Edition: 1, Publisher: Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait, Editor: UAUIM, Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, ISBN: 978-606-638-022-5 Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait authors: Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, Adham Abulnour, Ileana Apostol, Maria Boştenaru Dan, Dragoş Horia Buhociu, João Paulo Cardielos, Stefania Chirico, Laura Vivola, Luigi Chirone, Cristina Constantinescu, Mihaela Hărmănescu, Ilinca Constantinescu, Cerasella Craciun, Cristina Enache, Giuseppe Gangemi, Cristina Olga Gociman, Sever Georgescu, Tiberiu Florescu, Artan Hysa, Bob Jarvis, Valbona Koçi, Andrei Eugen Lakatos, Vera Marin, Ana Opriş, Gabriel Pascariu, Simona Pascariu, Alexandru-Ionut Petrişor, Andreea Popa, Alexandru Calcating...

Il volume è il risultato di una ricerca biennale avviata nel 2007 dall’Università di Bologna, in collaborazione con la Fondazione Carisbo. Lo scopo è di restituire alle professioni liberali italiane e all’istituto universitario lo spessore della loro presenza millenaria nel nostro paese. Vengono ripercorse le vicende storiche e le implicazioni sociali di giureconsulti, notai, avvocati, architetti, ingegneri, medici, farmacisti, veterinari, dottori commercialisti, evidenziando i processi che ne hanno permesso l’integrazione nell’immaginario collettivo nazionale. La forma espositiva dell’atlante consente di intrecciare il racconto delle professioni con la loro rappresentazione nello spazio nazionale e locale attraverso carte e immagini. Un complesso lavoro di ricerca che evidenzia il radicamento e la forza del mondo delle professioni italiane nelle nostre istituzioni e all’interno della società.  Il testo è arricchito da un imponente e interessante apparato di grafici e carte tematiche, oltre a una preziosa sezione iconografica che ricostruisce la storia della rappresentazione delle professioni nell’arte e nella società dalle miniature medievali alle foto contemporanee.

Malatesta A. (editor)

... Inspired by Rabun Taylor's article [1], which proposes that Hagia Sophia's original vaulting system consisted of an upper dome supported by a fenestrated drum, the present team of authors, which includes both engineers and scholars of Byzantine Greek, undertook to analyze ...

Abstracts - ICAR 2012. ICAR 2012 International Conference on Architectural Research: (re)writing history. Book · May 2012 Edition: 1, Publisher: Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait, Editor: UAUIM, Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, ISBN: 978-606-638-022-5 Editura Universitară „Ion Mincu” Bucureşti, Beatrice-Gabriela Jöger, Andra Panait authors: Beatrice-Gabriela Jöger, Andra Panait, Marina Mihaila, Daniel Comşa, Adham Abulnour, Ileana Apostol, Maria Boştenaru Dan, Dragoş Horia Buhociu, João Paulo Cardielos, Stefania Chirico, Laura Vivola, Luigi Chirone, Cristina Constantinescu, Mihaela Hărmănescu, Ilinca Constantinescu, Cerasella Craciun, Cristina Enache, Giuseppe Gangemi, Cristina Olga Gociman, Sever Georgescu, Tiberiu Florescu, Artan Hysa, Bob Jarvis, Valbona Koçi, Andrei Eugen Lakatos, Vera Marin, Ana Opriş, Gabriel Pascariu, Simona Pascariu, Alexandru-Ionut Petrişor, Andreea Popa, Alexandru Calcating...

Critical Regionalism as expounded by Kenneth Frampton has found its use in many parts of the world as a reaction to the international architecture practised in the Western world. India, which was deprived of exposure to the advanced developments in architecture in the US and Europe was at one stroke brought into world contact after gaining independence. This paper traces the exposure of the Indian architects to Western training and philosophy and how they developed their works to suit the regional context. Important aspects of the paper are mentioned below: ‒ International exposure of the Indian architects after independence. ‒ Their designs and their approaches to the creation of an Indian flavour on their return to homeland. ‒ Examined the works of a few prominent architects and inferred on their special regional contributions.

This paper aims to accentuate an interesting aspect within the Seljukid architecture: Individuality. In different regions, buildings and scales seem to give each architectural element an own identity and hence becoming an artistic principle. Due to the scarce scientific research about the Seljukid period, especially the lack of interdisciplinary analysis, and the Seljuk’s experience of a rapid development in political and cultural sense, it is difficult to clarify the reasons of the mentioned principle. In this essay some examples will be displayed of the mentioned phenomenon and possible explanations of some scholars. The research question of the author is: Is the principle of individuality in architectural elements in Seljukid architecture based on the weltanschuung and philosophy of Sufism?