Architecture history (Architecture)

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 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.

Mosque in Isfahan, Iran was the most valuable monuments with unique architectural decorations and designs are technically. Decorations, including the provisions that the technique Toopi bed located in the lower bottom of plaster bricks brick known as the hub. This research aimed at understanding more decorative arts in architecture in Iran attempted to collect and categorize them according to all the designs. In terms of both graphics and line graphs, descriptive and analytical methods to be paid on them.
The oldest examples of these motifs in the southeast entrance of the mosque are Shabestani and corridors that are related to the period and Samanids. These samples and samples of designs available in North Shbstanhay Seljuk mosque, which is related to the courses and the techniques are just a few examples of stamp conducted on the mortar is simple; But most of the decorations in the eastern porch of the mosque are two Trfynsh corridors that are related to the period Ilkhanate. Other examples of this very diverse and decorations that are applied directly to the tool on the mortar. In addition to these decorations motifs, independently or in combination with the various calligraphy motifs designed and expressions with a variety of conventional sols and Kufic Building built in his time.
The results can be said of the total number of 255 samples of different designs, motifs calligraphy over 136 types and 119 different types of make up.
Key Words: Stamp Stucco, Jameh Mosque of Isfahan, Motifs, Calligraphy.

Il volume raccoglie gli esiti della ricerca PRIN finanziata dal Ministero dell’Università e della ricerca scientifica “Danni bellici e restauro. Opere di difesa, pratiche d’intervento edilizio e urbano nel secondo dopoguerra” che ha visto il contributo di docenti universitari e studiosi in collaborazione tra le Facoltà di Architettura e Società (Politecnico di Milano), Facoltà di Architettura (Università degli Studi di Napoli “Federico II”), Facoltà di Ingegneria (Università degli Studi di Brescia), Facoltà di Architettura (Politecnico di Torino), Facoltà di Architettura (Università Iuav di Venezia).
In oltre cinquanta saggi sono affrontate le questioni relative all’impostazione teorica in tema di restauro architettonico alla data del conflitto e la loro evoluzione a fronte delle vicende belliche e dell’entità dei danni, sulla scorta della disamina della pubblicistica di settore (in particolare mediante un capillare spoglio dei contributi apparsi su riviste e periodici) non mancando di approfondire le ricadute imposte dalla complessiva politica economica adottata nella ricostruzione postbellica.
Sono descritti, grazie ai materiali emersi dalle ricerche d’archivio, in gran parte inediti, gli interventi preventivi di difesa antiaerea, i danni, gli interventi di messa in sicurezza, di restauro e di ricostruzione di importanti monumenti di città quali Milano, Brescia, Torino, Vicenza, Verona, Treviso, Napoli, Bari (solo per citare le principali) gettando nuova luce sull’attività delle istituzioni preposte alla tutela, degli enti locali, delle commissioni alleate, dei professionisti e delle imprese, anche sotto il profilo delle soluzione tecniche e delle modalità operative.
Un ricco apparato bibliografico ed uno spoglio dei principali contributi apparsi sui periodici corredano il testo, che, si ritiene, si qualifica come un importante punto di arrivo delle conoscenze in materia.

KEY-WORDS: Second World War, Monuments, Reconstruction, Historical Cities, Italy, MFAA

This research wish answer this question: what is social, political, economical, and cultural background caused evaluation of Iranian urban spaces from Ilkhanid until Safavid and formation of Isfahan Urbanism School? Method of this research is interpretational-historical method and based on librarian data. For the answer question of research, cities of Iran that have urbanism works in this era are selected. These cities include Tabriz, Soltanie, Samarkand, Herat, Mashhad, Neyshabur, Yazd, Kerman, Qazvin, Shiraz, and Isfahan. Then urbanism evaluations, alterations and changes of these cities are survey and compare by social, cultural, political and economical evaluations from Ilkhanid until Safavid era. These evaluations from Ilkhanid era prepared appearance urban evaluations; completion old urban spaces and formation of new town besides old city and new urban spaces and elements (include governmental square, boulevard, garden-palace complex, Sufism religious complex). Establishment of Safavid Empire, especially shah Abbas's works prepared Isfahan Urbanism School. Therefore urban elements that formed in previous era completed and then prepared to combine them and to form Isfahan Urban School in Safavid era. Too, commercial complex or religious complex (related to canonical Shiism) in Isfahan School was becomes the core of city in lieu of Sufism religious complex in pervious era.


Keyword: URBAN SPACE OF IRAN, HISTORICAL BACKGROUND OF IRANIAN URBANISM, ISFAHAN URBANISM SCHOOL, URBANISM OF ILKHANID ERA, URBANISM OF TIMURID ERA, URBANISM OF TURKMEN ERA
این پژوهش درصدد پاسخ به این سؤال است که چه تحولاتی در فضاهای شهری از دورة ایلخانی تا ظهور مکتب اصفهان در دوره صفوی صورت گرفت و زمینه‌های اجتماعی، سیاسی، اقتصادی و فرهنگی این تحولات چه بود؟ برای پاسخ به این سؤال با رویکردی تفسیری- تاریخی و بر اساس مطالعات کتابخانه‌ای، تحولات شهرسازی در شهرهای واجد آثار شهرسازی این دوره با تحلیل تأثیرات تحولات اجتماعی، سیاسی، اقتصادی و فرهنگی بررسی گردید. این دگرگونی‌ها از زمان ایلخانان زمینه تحولات شهرسازی و شکل‌گیری فضا‌های شهری جدید در شهرسازی ایران را فراهم نموده است. تأسیس حکومت صفویه و به‌ویژه اقدامات شاه عباس، زمینهساز ایجاد مکتب شهرسازی اصفهان شد. به این ترتیب عناصر و فضا‌های شهریی که در دوره‌های پیشین شکل گرفته بود، تکامل یافتند و با هم ترکیب شدند. همچنین در مکتب اصفهان، ارسن‌های تجاری ـ خدماتی یا مذهبی تشیع رسمی به جای ارسن‌های مذهبی صوفیه، هسته‌های گسترش و توسعة شهری شدند.
واژه های كلیدی

فضاهای شهری ایران، زمینه‌های تاریخی شهرسازی ایران، مکتب شهرسازی اصفهان، شهرسازی دوره ایلخانی، شهرسازی دوره تیموری، شهرسازی دوره ترکمانان.

Lisa Landrum's paper "Modus Operandi of an Architectus Doli: Architectural Cunning in the Comic Plays of Plautus"  appears as Chapter 15.  Also in the book are essays by Karsten Harries, Marco Frascari, David Leatherbarrow, Kenneth Frampton, Juhani Pallasmaa, Steven Holl, and other colleages and former students of Alberto Perez-Gomez including: Ricardo L. Castro, Tracey Eve Winton, Robert Kirkbride, Paul Emmons, Indra Kagis McEwen, Santiago de Orduña, Caroline Dionne, Lily Chi, Louise Pelletier, Lawrence Bird, Lian Chikako Chang, Natalija Subotincic, Stephen Parcell, Graham Livesey, Juan Manuel Heredia, Anne Bordeleau, Peter Olshavsky, and David Theodore.

Paper summary/excerpts: "At least five of Plautus’ twenty extant comedies involve what classicists call an architectus doli, an “architect of trickery.” … Plautus’ elaboration of the cunning slave character has long been considered one of his most original contributions to Latin drama; but the “architect” terms associated with these slaves (and with Jupiter) were likely transposed from the now largely lost Greek comedies that Plautus adapted and translated into Latin. These five imported “architects” were generally ignored in early studies of Plautine inventiveness. They eventually gained attention, however, in an important 1952 study on The Nature of Roman Comedy. Since then, Plautus’ architectus figure has been interpreted in a variety of ways within classical scholarship: as a euphemism for the play’s lowly agent of intrigue; as a proxy for the scheming playwright; and as a media-reflexive figure associated with other craft imagery used throughout Plautus’ plays to qualify and vivify not only acts of scheming and plot construction, but also moral edification. Yet, there are further interpretations to be made and important questions to be asked…This essay cannot answer these questions in full, but it will initiate an interpretation of Plautus’ architectus doli with such questions in mind. By lifting this Roman dramatist up out of the footnotes of architectural scholarship (where he is sometimes merely credited with providing the earliest extant use of the Latin term architectus), the following study prepares the grounds for discovering how the cunning agents and agencies of Plautus’ comedies meaningfully illuminate the modus operandi of architects..."

"The article reviews a collection of Persian paintings of Ilkhanids, Timurid, and early Safavid periods (995 AD/619 AH to 1587 AD/1218 AH). The paintings which all depict some kind of architectural space are analyzed with respect to their visual structures. These are then compared to formal structures of Persian (Iranian) architecture of the same period to explain the visual cognition of architectural space.

word Keys: Persian Painting, Iranian Architecture, formal structure, Timurid art, Safavid art, Ilkhanid art."

The documents of Iranian Islamic architecture especially visual documents are few and diffuse. However these documents were attended little. Considerable paintings of the Islamic era, especially Ilkhanid, Timurid and early Safavid period have remained that can be evaluated and searched. This study, wants to show how Persian paintings (Miniature) as historical documents can be used for cognition Iranian Islamic architecture. What ways can be used for analysis them? What kinds of historical data can be apprehended and how validity them to be assessed? For answering these questions, "language" of Persian paintings must were understood.
The research based on historical method. For understanding language of Persian painting applied three strategies:
1) History of architectural representation was evaluated and tow ways of representation of architecture in painting were obtained.
2) Expressive features of Persian paintings were reviewed. Therefore, Persian paintings that represented well-known buildings were compared whit the building. For example three paintings from Nezami's quintuplet poem (khamse) were selected and compared by Taq-e-Bostan and also three Persian painting that were represented Mecca.
3) Persian paintings were compared whit samples of extant Iranian and other Islamic architecture. For example, representation of house in a Persian painting was evaluated.
In each of parts a case was evaluated. Cases review process include: dating represented architecture and dating Persian painting; evaluating validity of the painting as historical document; attention to features manuscript; evaluating purports of text and determining the general topics and themes; measure the degree of match with the reality of architecture by evidence; comparing the Persian painting and contemporaneous extant architecture or other Persian paintings same version or school; detecting architectural elements and details in painting, rereading represented architecture and interpreting it.
Finally, expressive features Persian paintings in representation of Iranian architecture are presented. Briefly Persian paintings features in the expression of Islamic architecture include: the use of multiple simultaneous isometric perspective; illustrating simultaneously inside and outside the space; imaging asynchronous events in an image; refer the three-dimensional two-dimensional; representing walls up to ceiling indoor; equal importance floor and wall display; components with respect to total of real space; independence scale of building and the human's scale; remove walls to see them back; reduce distances and compact show to space; choose the smallest component of architectural space for illustrating while maintaining a whole room due to limited spaces in the painting; display main elements and display some minor elements; use a virtual frame as metonymy of the inside and outside architecture. In addition, review showed that the difference representation (painting) and reality (building) in known buildings was significant. Referring to other texts (paintings and architecture) and compare those (intertextuality) by methods of historical semantics and symbolic show social meaning of the represented architecture. Using Persian paintings and relying on evidence in other fields can be readout architecture, to pay (for example a house of Ilkhanid period was readout). Persian paintings can be as "cognitive maps" to examine and review aspects of environmental psychology concepts such as "personal space", "proximity ", and "territorial behavior".

Keywords: history of Iranian Islamic architecture, visual historical documents of architecture, Persian painting, Miniature, representation of architecture