Search results - CEJSH

1

'JAGGEDNESS' - A NEW CONCEPTUALIZATION OF CITY SPACE AND ITS ARCHITECTURE

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Kalitko K.

Kultura i Społeczeństwo

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2005

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vol. 49

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issue 1

37-46

EN

The idea of chaos, disorder, incidentality of phenomena and their disjoined and ambivalent presence have gained notoriety. In contemporary architectural discourse and urbanism, the author proposes to define these phenomena as 'jaggedness' which fits contemporary architecture always trying to dismantle, break, or abandon the present nurture of construction. It departs radically from its foundation as in the projects of Coop Himmelblau, Woods, Hadid, Koolhaas or Libeskind, where the relation between the building and the ground become a complex and refined game. The category of 'jaggedness' is suitable for the description of modern city space - the space of rapidly developing cities surrounded by a complex suburban space. Cities with a center defined by a break in urbanistic continuity. On the one hand, there emerge off-limits areas, monitored spaces, commercialized places, yet the long-forgotten and abandoned pieces of old architecture. However, in each such zone there may appear perfectly designed visions of cities or suburbs such as 'Stary Browar' (The Old Brewery) in Poznan or the Museum of Contemporary Art in Barcelona. Such intriguing contrasts which disregard the architectural chaos or whole blocks of dilapidated buildings become synonymous with the modern jagged city in East-Central Europe.

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Siedziby dziekanów dekanatu brzeźnickiego w diecezji kujawsko-kaliskiej w XIX w.

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Szkutnik P.

Kwartalnik Historii Kultury Materialnej

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2011

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vol. 59

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issue 2

167-181

EN

The article surveys the residences of the deans of the Brzeźnica deanery in the 19th c. The seats of the deans were parsonages in the parishes in which they acted as parish priests. The source basis of the article are inventories customarily drawn up at the introduction of a new parish priest. At the time in question the deans resided in Kamieńsk, Pajęczyn, Brzeźnica, Wiewiec and Dobryszyce, primarily in town parishes. Their residences were wooden parsonages with shingled roofs, except for one brick building. The value of the brick parsonage exceeded the sum value of the other four ones. The buildings were not very old but they often needed repairs. On the average, a parsonage was 163 square meters in area; it had a porch, a vestibule, rooms, a hall, a dressing room, closets, a kitchen, a larder and servants rooms. One of the parsonages had a garret, the other had lofts. The parsonages also had cellars. The inventories mention various parts of the interior, such as ceilings, walls, floors, doors, windows and stoves, which were usually of higher quality and in a better condition in the priest’s rooms than in the servants quarters. Priests leaving parsonages often left them in a condition that required renovation.

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Jan Wolff. Architect's Monography In Sight Of The Analysis Of Prefabricated Stucco Decoration Elements

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Kurzej M.

Modus. Prace z historii sztuki

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2009

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vol. 8-9

31-103

EN

Jan Wolff, a guild mason who was active in eastern Malopolska and in Ruthenia , has until now been unjustly regarded as a contractor who realized the projects of Jan Jaroszewicz. However, he should rather be regarded as the author of the majority of buildings which were erected by him and the allegation that he cooperated with Jaroszewicz finds no sufficient support in facts. Among the most characteristic features of Wolff's architecture are the decorations of the ceiling consisting of wooden trims and plates which were impressed by means of dies. On his most spectacular works Jan Wolff had placed his own seal as well as initials and date of completion. Among the buildings which bear his seal are, among others, the churches in Czemierniki (whose construction he took over after another mason and which he completed in 1614), Turobin (completed: 1623?) and Leszniow (1629-1631). Wolff is also attributed with the authorship of the church in Uchanie (completed in 1625), the Firlej family chapel in the Dominican church in Lubin (completed in 1630), the Orthodox church of St. Nicolas in Zamosc (completed in 1612), and the restructuring of the parish church in Rohatyn. On the basis of an analysis of the plates, one may broaden his ouvre to include the decoration of two rooms in the convent of the St. Brigid in Lubin (circa 1612) and participation in the decoration of the presbytery of the church of the same order, of the church in Czerniejow (1608-1611), the decoration of the church of the Order of the Discalced Carmelites in Lublin (1635-1644), the completion of the construction of the Franciscan church in Szczebrzeszyn (completed in 1638) and of the parish church in Radzyn Podlaski ( completed in 1641?). Jan Wolff was also employed on prestigious construction sites of lay buildings on the territory of the Zamojski entail. In the years 1641-1642 (construction of the palace in Zamosc and in the years 1639/1640 -1651 restructuring the town hall in Zamosc). He was also the author of a few historic tenement houses (Nos 4 and 21 in the Grand Market Square and at No 15 Staszica St.) and may be attributed with the authorship of buildings at Nos 10 and 17 in the Grand Market Square as well as with the grandest of them all, at No 26 Grand Market Square. A careful analysis also allows one to rule out Wolff's authorship in several cases: the ceilings in the collegiate church in Zamosc of the tower in the parish church in Szczebrzeszyn, and the churches in Dysa and Leczna; also, he was not the author of the extension of the Firlejs' palace in Dabrowica and of the tenement buildings at No 19 and 25 in the Market Square in Zamosc. Apart from the decorations, the buildings erected by Wolff share similar proportions and systems of architectural articulation; they also share patterns of the decoration of the ceiling. His creative work had remained under the influence of the collegiate church in Zamosc and the works of Jacob Balin. A wider context for the architecture of Wolff is provided by German art, whereas the analogies between his work and that to be found on the territory of Lower Saxony, allow one to suppose that the architect was well acquainted with this milieu.

4

CALLIGRAPHIC INSCRIPTIONS IN THE SEHZADE, SÜLEYMANIYE AND SELIMIYE MOSQUE

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Zübeyde C. Ö.

Rocznik Orientalistyczny

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2008

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vol. 61

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issue 2

103-116

EN

The mosques are very similar to art galleries due to the architectural and decorative properties. The calligraphy art was profound and applied on specific spots following specific rules. The calligraphy at the mosques of Sinan the Architect was written by the famous calligraphists of the time, Ahmet Karahisari, Hasan Celebi, Demircikulu Yusuf and Hasan Üsküdari. In this article, the calligraphy in the mosques of Istanbul Sehzade (1544-1548), Süleymaniye (1550-1557) and Edirne Selimiye (1569-1575) is researched to reveal the arrangement of calligraphy art in Sinan's mosques. The writings, almost resembling jewelry, in the mosques of Sinan complement the architecture. We wish that these writings will be preserved for the future generations.

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CZECHOSLOVAK STUDENTS OF ARCHITECTURE AT THE BAUHAUS

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Svobodova M.

Umění (Art)

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2006

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vol. 54

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issue 5

406-432

EN

The text 'Czechoslovak Students of Architecture at the Bauhaus' is part of a longer work treating students from Czechoslovakia, of Czech, Slovak, German and Jewish-German nationality, who attended this modernist art school. The study tries to fill in the gaps in the history of architecture - the names, dates, designs and buildings of the Czechoslovak students. It therefore does not consider philosophical aspects, the extensive commentary on this school in the Czechoslovak press, or the influences of the Bauhaus on Czech culture generally. The study is based on extensive research in archives in the Czech Republic and abroad, for example: Stiftung Bauhaus Dessau, Bauhaus Archiv Berlin, the Archive of Andrej Sacharov in Moscow, the National Archive of the Czech Republic, the Prague Municipal Archive, the Archive of the Academy of Fine Arts, the Brno Municipal Archive, the Architecture Archive of the National Technical Museum, the Collection of Architecture and Town Planning of the Brno Municipal Museum, etc. The text addresses the multicultural milieu of the interwar Czechoslovak Republic. It adds the names of other students, men and women, to the list of seven students mentioned in earlier literature on the subject. In the broader context, study at this school does not seem as unusual as had previously been assumed. The Czechoslovak students who studied there came from various cultural and social backgrounds. Often, they wanted to supplement a traditional university education. The Bauhaus offered them new, modern pedagogical methods and opportunities to test their skill in practice. The school attracted most students when Hannes Meyer was head. This is as one would expect, given the left-wing orientation of society in the First Republic and the intensive personal contacts with the Czechoslovak avant-garde, in particular Karel Teige, Jaromir Krejcar, and so on. The reason why the students trained at the Bauhaus did not erect more buildings has nothing to do with an inability to adapt or make a name for themselves. (Upon returning, most of them worked in established architectural offices or building firms.) The financial crises of the 1930s were really to blame. Despite this difficult situation, the radically pragmatic, functionalist designs and buildings by Antonin Urban, Josef Hausenblas, Zdenek Rossmann, Václav Zralý and Josef Pohl were far superior to the average work produced at that time. The text also treats the activities of architects/Bauhaus graduates of other nationality on the territory of Czechoslovakia.

6

RÍMSKA STAVEBNÁ KERAMIKA Z NESKOROANTICKÉHO OHRADENÉHO DVORCA V BRATISLAVE-PODUNAJSKÝCH BISKUPICIACH

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Hrnčiarik E., Kolon T., Horňák M.

Študijné zvesti

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2023

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vol. 70

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issue 1

149 – 166

EN

The article deals with the analysis of findings of Roman architectural terracotta from a late antique enclosed residence in Bratislava-Podunajské Biskupice. The main goal is to evaluate the subject collection in the context of the identified archaeological situations. An equally important part is the search for answers to questions related to their purpose, dating, as well as the provision of relevant information about the nature and type of assumed constructions and procedures used in the construction of this enclosed area. Despite the rare occurrence of fragments of Roman roofing on the site, based on the current state of research, it does not seem likely that this type of building material would be used in Bratislava-Podunajské Biskupice on archaeologically examined objects based on the layout and floor plan of the so-called ancient Roman tradition. On the contrary, the customer and the contractor apparently chose different construction solutions based on a combination of organic materials (wood, wicker or reed) and unburnt clay.

7

ARCHITECTURE OF MOVEMENT

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Nawrocka K.

ESPES

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2017

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vol. 6

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issue 2

50 – 61

EN

This paper describes the general concepts of Arnold Berleant's urban metaphors (garden city, forest city, asphalt jungle, wilderness) in order to use them as a background for presenting a different perspective on the aesthetics of engagement through the prism of contemporary dance strategies and design practices in architecture and urban planning.

8

SURVEY DRAWINGS OF IKSKILE CHURCH IN THE STATE ARCHIVES IN STOCKHOLM (Ikskiles baznicas uzmerijumi Valsts arhiva Stokholma)

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Grosmane E.

Makslas Vesture un Teorija

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2006

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vol. 6-7

98-101

EN

The article presents survey drawings of Ikskile Church made in 1927 and now held by State Archives in Stockholm. In 1977 they were granted to the Archives by Professor Helge Kjellin who supervised archaeological excavations in Ikskile.

9

SACRED ARCHITECTURE: BETWEEN ART AND REALITY (Architektura sakralna. Miedzy sztuka a rzeczywistoscia)

80%

Bialkiewicz A.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2008

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vol. 1

73-77

EN

Analysis of tasks of designing contemporary sacred architecture in view of the author's own designing experience in the field encourages an attempt at a synthetic presentation of a number of problems. After 1970, obtaining planning permission for sacred objects was much easier than it had been before in Poland, e.g. in cases when the building area did not exceed 250 m2. Such a church was then called a 'chapel'. Another range covered buildings with an area not exceeding 600 m2. Designers often tried to circumvent those regulation by designing two-storey churches with the lower storey partly sunken into the ground. It seems that the legal regulations relating to the designed church area to some extent influenced also their form. Despite its large diversity of form, the church architecture of that time did not entirely free itself from the traditional patterns. The process of church construction involved an investor, a contractor and a designer. In many cases the construction was carried out according to a do-it-yourself method, and the architect was often surprised by changes made without his consent. The actual building created under such circumstances often significantly deviated from the design as he was excluded from the very process of construction. However, it should be emphasized that these problems occurred only in the implementation of some of the sacred buildings. However, many outstanding examples of religious architecture have also been built in Poland. Since 1989, a planning permission to build a church has not required special procedures to bypass the building code, and the designer now has a much greater influence on the ultimate outcome of his work. Therefore the majority of the problems discussed herein, characteristic of church architecture of the nineteen seventies and eighties, have already passed.

10

Gmach Komisji Obwodowej w Olkuszu. Przykład powstawania i funkcjonowania gmachów rządowych w Królestwie Kongresowym

80%

Dettloff P.

Kwartalnik Historii Kultury Materialnej

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2012

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vol. 60

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issue 1

55-72

EN

The building of the District Committee in Olkusz, erected in 1827-28, provides important historical evidence, being also a valuable piece of architectural heritage. As a seat of government offices, functioning uninterruptedly since its erection to the 1990s, it is a testimony to the political and economic changes in the history of the town, region and state. First of all, it is connected with the important period of change after 1815, when the devastated town gained new opportunities to develop, as did other towns of the Kingdom of Poland (called the Congress Kingdom). The building is classicist, perfectly representing the style dominant in the Congress Kingdom. The best known illustrations of Congress Kingdom classicism are located in Warsaw and central Poland, therefore the Olkusz edifice is a rare token of this style in Little Poland, as well as an example of public buildings from the 1820s testifying to the high quality of architectural, administrative and economic undertakings in the Kingdom. The documents concerning the financial problems connected with its construction provide a good illustration of state building investment in the Kingdom and its being influenced by the need to economize. The exterior of the edifice has remained in its original shape, and the interior has only been slightly changes since the 2nd quarter of the 19th c. The classicist body of the building with its stylish, stately facade, is an important and consciously composed element of the market square. Due to its location, it has played a vital role in the layout of the historic town of Olkusz until today. It should be stressed that it is counted among the oldest surviving buildings in Olkusz, together with the parish church and a few burgher houses. The building has also many original stylish and valuable interior decorations. Relics under the edifice include fragments of mediaeval stone cellars and interesting remains of the royal mint, which functioned here in 1578-1601.

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RIGA CHIEF ARCHITECT JOHANN DANIEL FELSKO AND THE PINKI ST. NICHOLAS'S CHURCH (Rigas pilsetas buvmeistars Johans Daniels Felsko un Pinku Sveta Nikolaja baznica)

80%

Lace D.

Materiali Latvijas makslas vesturei

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2003

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vol. 3

44-54

EN

The old, deteriorated wooden churches were replaced with new stone buildings in the Riga Patrimonial District during the 19th century. Churches at the Pinki estate (Pinkenhof) that belonged to the Riga city were designed by the Riga chief architect and builder Johann Daniel Felsko (1813-1902). In 1856, Felsko designed the project of the St. Nicholas's Church in the so-called semi-circular arch style (Rundbogenstif). It was a hall church with a nave, two aisles, a polygonal apse and a Western tower. The complicated arrangement of premises at the Eastern side of the church coincides with designs of the Danish Neo-Classicist Christian Frederik Hansen (1756-1845), Felsko's instructor at the Copenhagen Royal Academy of Art. In 1862 the Cash Board of the Riga City Council examined the second, Neo-Gothic project of the St. Nicholas's. Considering the previous objections, the architect had prepared a design with a simple planning and ascetic, early Gothic decoration. If the project was accepted in general, except some small comments on decoration, financial and technical problems were just coming to the fore. In 1864 the parish members wrote to the City Council that it is impossible to build the church with their own powers. The State Inspectorate for Heritage Protection of Latvia keeps the third variant (photocopy) of the St. Nicholas's project. Dated by the year 1871, this one was used for building of the church. The architect had especially elaborated on the composition of tower and the arrangement of decorative elements. The foundation stone of the Pinki St. Nicholas's Church was laid on May 25, 1872, and the consecration took place two years later, on June 16, 1874. It is a hall church with a Western tower and a polygonal apse with symmetrical extensions. Rubble was used as the main building material but decorative elements are made in red brick. The church interior has retained most of Felsko's ideas from the first project - rood-screen (Lettner), direct ascent from the priest's dressing room to the pulpit and elevation in the covering of the central part of the nave.

12

MAX DVORAK, FRANCESCO BORROMINI AS A RESTORER

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Svacha R. e.

Umění (Art)

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2007

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vol. 55

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issue 2

145-149

EN

The concerns of art history and the preservation of monuments intersect in Max Dvorak's article about Borromini's reconstruction of the Basilica di S. Giovanni in Laterano in Rome (Beiblatt für Denkmalpflege, 1907). There, Dvorak follows the ideas in Alois Riegl's book 'Spätrömische Kunstindustrie' (1901) and defines architecture as shaped space and shaped mass. This conception undoubtedly resonated with the trends of early Modernist architecture at the beginning of the 20th century. Nonetheless, Dvorak sees its predecessor in the Baroque, in the architectural work of Michelangelo and Borromini. Both of these artists deviated from the 'objective' tectonics of the Renaissance. Borromini moulded the mass and space of a building in a more daring manner than Michelangelo. According to Dvorak, what distinguishes Borromini's reconstruction of the Laterano basilica is the architect's ability to integrate the old part, in particular the Gothic and Renaissance tombstones, into the new whole and complement them in a totally modern style. In this presentation of Borromini, one can hear Dvorak's polemic with the architects of historicism, who returned old monuments to a hypothetical original state, guided by their own ideas about the old styles. Reacting against this, Dvorak suggests that modern architects should restore old monuments in a manner similar to that of Borromini: with piety, but also with additions that are totally modern. Of course, Dvorak's emphasis on the piety of Borromini's renovation of the Laterano basilica is exaggerated. The architect's client, Pope Innocent X, showed more piety than the architect in deciding about the matter.

13

JOHANN DANIEL FELSKO AND RECONSTRUCTION OF THE SMALL GUILD HALL IN RIGA (Johans Daniels Felsko un Mazas gildes parbuve Riga)

80%

Lace D.

Makslas Vesture un Teorija

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2004

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vol. 3

17-28

EN

The basic publications on the Riga Small Guild (or St. John's Guild) so far have not considered the different versions of the reconstruction project offered by the architect in the 1860s. However, the history of the Small Guild published in 1902 says that City Architect (Stadt-Architekt) Johann Daniel Felsko (1813-1902) had repeatedly prepared three such projects. An unrealised project, intended to supplement the old building of the artisans' guild with Neo-Gothic decoration, has survived from 1858. Small Guild members wanted more spacious premises and even considered choosing a construction site on Riga's ring of boulevards. In spring 1862, the Small Guild Building Commission invited Stadt-Architekt Johann Daniel Felsko to provide an estimate for a new building on the historical site of the Small Guild Hall. In spring of 1862 Felsko submitted a particularly splendid Neo-Gothic project. It envisaged a monolithic three-storey building with a prolonged, rectangular basic planning. The main entrance portal was placed in the longitudinal facade. Felsko's decorative finish for the second project is much simpler. Events took a turn in spring 1864. Felsko was still working on his third project but at the same time he signed agreements with particular groups of craftsmen on the construction works of the Small Guild's new building. The project was approved on 3 March 1864. The third project was realised without significant alterations. Examining the project, one discovers the compromise between the architect's respect for the requirements of the commission and his opponents while retaining his initial conception as far as possible. The decades after the consecration of the building have proved that architect Felsko's initial solution had been farsighted. Unfortunately, the financial situation and opposition's stance stopped its realisation. But the completed building became too small and competitions for its enlargement had to be organised again. Unfortunately 20th century wars wrecked these plans and the guild halls retained their 19th century appearance.

14

HOW TO SEE ARCHITECTURE (IN GOMBROWICZ AND OTHER MODERNIST AUTHORS) WHEN IT IS BEING READ?

80%

Lesniakowska M.

Teksty Drugie (Second Texts)

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2005

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issue 3(93)

38-57

EN

This article is the first-ever analysis of Gombrowicz's (and other modernist authors') liaisons with architecture in the history of Witold Gombrowicz scholarship. The authoress inspects into these issues from the standpoint of so-called critical history of art, which positions her paper also within the area of methodological issues and new trends in studies of arts. In her opinion, absence of questions regarding Gombrowicz's connections with architecture, the topic being absent/precluded from literary scholars' papers, has to be deemed a 'significant omission'. The question about a 'presence' of architecture in Gombrowicz has been based on an assumption that any work of art offers a model for recognising something, an epistemology of some sort. Attempt has been made at replying to the question about the actual place of architecture in Gombrowicz's aesthetic and/or ethical system, and about the role he has programmed for it in his texts. Gombrowicz was namely positioning architecture in the 'zone of a subculture', of 'secondary forms'. In his concept of architecture as a secondary form, a structure of mythology and a repressive effect of the myth become revealed. Thus, architecture is perceived as a language, as a 'meaningful' fact, a narration that 'projects' the internal space, in line with the rules (cultural and iconographical) of permanence of pose and attribute. In Gombrowicz's discourse, architecture as a representation becomes one of his masks, a crypto-text. This is how it might be 'seen' whilst being 'read', the authoress concludes.

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TOWARDS UNDERSTANDING VISUAL STYLES AS INVENTIONS WITHOUT EXPIRATION DATES: HOW THE VIEW OF ARCHITECTURAL HISTORY AS PERMANENT PRESENCE MIGHT CONTRIBUTE TO REFORMING EDUCATION OF ARCHITECTS AND DESIGNERS

80%

Michl J.

ARS

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2015

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vol. 48

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issue 1

3 – 21

EN

The main thesis of the article is that there are good reasons for seeing the pre-modernist architectural and design idioms as still valid and feasible visual inventions, in contrast to the modernist view that has considered them as stone-dead expressions of past historical periods. The thesis is backed up by philosophical arguments developed by the late British philosopher Karl Popper. The present author concludes that there are no reasonable arguments for why the present schools of architecture and design should keep limiting the education of future architects and designers to the modernist visual idiom alone, as they have been doing since the 1950s.

16

THE KABILE 'FEAST HOUSE' AND ITS FLOOR TILES (Kabiles 'Dziru nams' un ta gridas flizes)

80%

Dirveiks I.

Makslas Vesture un Teorija

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2003

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vol. 1

39-41

EN

This material focuses on a two-floor building located at the centre of the Kabile (Kabillen) manor complex in Kurzeme. The peculiar name 'Roe House' seemingly points to the function of keeping roes in the building. The brick building with four-pitched, tiled roof is a unique typological and architectonic example dating from the 17th century. The ground floor is vaulted and contains a decorated part of stove heating system, so far called a fire-place and dating from the 2nd half of the 17th century. The first floor features a wooden ceiling above the beam construction, later complemented by decorative ceiling made of yellow profiled boards. The floor covered with clay tiles has survived from the 2nd half of the 17th century. Several tiles feature imprints where two subjects can be discerned. One consists of two figures, a tree trunk and two dogs or wolves. The other displays a knight on horseback with a whip in his hands. The origins of imprints are unclear. They could be made by some 16th-century wooden object because sides of imprints have retained signs of wooden tissue. The Kabile 'Feast House' has no close analogies in Latvia. After the Nordic War, during the 2nd quarter of the 18th century, manor ensembles acquired more open layout. The new manor house in Kabile was more representative and adequate to the new circumstances - the old Feast House became outdated and presumably was used for household needs of storing grain and spirits. In the 1950s and 1960s mechanic workshops were housed in this building. The original window openings of the first floor were broken out. Additional openings caused wall deformation and water tank set up in the loft seriously damaged the roof construction. And yet the building will persist because since 2002 it has a proprietor who has carried out the most urgent restoration works. This object is still to be explored in respect to the history of the Kabile manor, especially concerning the less-known 17th century and the landlord Berch's family who was the former owner.

17

DIVADELNÁ SCÉNOGRAFIA ARCHITEKTONICKÝCH OBJEKTOV

80%

Mazalán P.

Slovenské divadlo (Slovak Theatre)

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2018

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vol. 66

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issue 1

41 - 51

EN

Since the beginning of the 20th century theatre has developed a completely different form of expression tools. The development of architectural methods has reached the point where it is continually moving apart from its archetype to newer and newer intellectual encryption. The method of its creation and perception have been radicalised by means of new media to offer a greater extent of its own representation. Architecture in the context of our study will be represented by the scenography. Architecture will be explored in relation to a space and its inherent characteristics by means of heterotopy and synaesthesia. Space with its specific role becomes a sphere of imagination for the audience. The study does not consider the classical term of architecture as the building and scenography as a staging of decorative mise-en-scéne.

18

GMACH BIBLIOTEKI PUBLICZNEJ W WARSZAWIE

80%

Popławska-Bukało E.

Ochrona Zabytków

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2006

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issue 2

57-68

EN

The historical building in 26 Koszykowa Street is the seat of a Public Library established almost a hundred years ago for the capital city of Warsaw. In 2007 this institution will be celebrating its round anniversary. Created in 1907 thanks to the initiative of the Public Library Society, it has been almost uninterruptedly gathering and rendering available scientific collections and the belles lettres. From 1914 it is housed in an object erected due to the funds and efforts of Eugenia Kierbedz, born Kierbedz, the daughter of Stanislaw, an outstanding communications engineer and the author of the first permanent bridge across the Vistula in Warsaw. The Library was designed by acclaimed architects: Jan Heurich Junior and his collaborators - Wladyslaw Marconi and Artur Gurney. The building is composed of the two-storey main part which occupies the whole width of the front of the lot, and a single-storey outbuilding in the back, connected by means of a narrow and also one-story passage, perpendicular to the north-south axis. The most representative is the front fragment and the passage built on a ground plan similar to the letter T, which originally served predominantly library purposes. It still houses the large reading room featuring lavish architectural outfitting, harmoniously corresponding to the monumental facade which refers to the principles of Classical architecture. The outbuilding adjoining the passage and granted two wings of different width and height (on the ground plan of the letter L) formerly contained book storerooms, which burnt down during the second world war. Almost from its very outset the Library has been forced to tackle assorted problems involving available space. Successive postwar transformations (such as the erection of a new reading rooms building on the spot of a non-extant house in 28 Koszykowa Street) managed to meet the constantly growing needs of this institution for only a brief space of time. This is the reason why despite numerous failures, up to this day the Library has not resigned from efforts to expand and modernise its facilities. The results of a competition organised by SARP have been announced in December 2005. First prize for a conception of enlarging the Library went to the Bulanda, Mucha Architekci Sp. z o.o. studio. The adaptation of the Library buildings complex will be carried out in stages, and its completion is foreseen for 2007. Will it be conducted with due respect for the historical substance, or shall it assume the form of a successful integration of the new with the old; finally, will it add splendour to the anniversary of the hundred-years old institution? We still do not know the answer.

19

A Few Remarks On The Architecture Of St. Jacob's Church In Toruń

80%

Adamski J.

Modus. Prace z historii sztuki

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2009

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vol. 8-9

5-29

EN

The church of St. Jacob in Torun is an outstanding example of brick Gothic architecture; it was erected with the assistance of the Teutonic Order as a parish church in Nowe Miasto between the year 1309 and 1341. The aim of the present article is to present a few of the observations of its author, concerning chiefly the possible analogies between the arrangement of its nave and its articulation, as well as the layout of the pseudo-polygonal eastern part of the church. The problem of the origin of the articulation of walls in the main nave of the church has been interpreted in various ways in literature. Teresa Mroczko perceives in it the influence of Anglo-Norman architecture, whereas Marian Kutzner on the other hand, regards the Torun corpus as a copy of the Marian church in Lübeck. A characteristic feature of the articulation in the main nave are big wall-side arcades on the upper floor of the wall which are joined with each other by passages in the thickness of the wall. Entrances to these passages are underscored in the face of wall-side arcades by small blends which is a characteristic motif of the majority of the churches using the 'Lübeck system'. This hardly noticeable analogy undoubtedly testifies to the influence of the Lübeck style on the arrangement used in Torun, yet contrary to Kutzner's view, one cannot speak of a simple imitation in this case. The wall-side pillar which separates the wall-side arcades in the Lübeck churches, has simply taken on the shape of a fragment of the wall, although the sources of the above inspiration are quite clear. This testifies to the artistic attitude of the architect who created a work with an individual stylistic expression. His use of a larger surface of the wall may be regarded as an archaizing feature, similarly as the occurrence of rolls in the arcades. The arrangement of the eastern bay of the presbytery is totally innovative. In spite of the application of a closure by means of a plain wall, the use of a pseudo-polygonal vault was to suggest the appearance of a polygonal closure - as was suggested by many researchers who quoted numerous analogies of similar solutions. Among the significant solutions which underscore this type of illusionism, one finds asymmetrical window edges and doubled buttresses which, contrary to the published plans of the church, are anything but parallel. An analysis of the correctly drawn plan of the presbytery shows that the axes defined by the supports and window edges converge in the central point of the vault of this part of the church, which testifies to a considerable degree of sophistication of the architecture of this monument. The complexity and compositional cohesion of this architectural creation tend to rule out Szczesny Skibinski's hypothesis, who having observed the different shape of the responds half-way through the length of the church, expressed the view that originally a hexagonal ceiling was to have been constructed here. Yet in the period under discussion, the alternating arrangement of the responds did not at all have to be associated with this type of ceiling; this is best borne out by the construction of the presbytery of the Dominican church in Elblag. Whereas when hexagonal ceilings were introduced, as in the church of St. Nicolas in Grudziadz, the shape of the responds corresponded to the number of ribs which were supported by them; in the church of St.Jacob in Torun no such link can be observed.

20

Stolarka okienna zabytkowych budynków z przełomu XIX i XX wieku Olsztyna i małych miast Warmii i Mazur – zarys typologii i kolorystyka

80%

Doleżyńska-Sewerniak E.

Kwartalnik Historii Kultury Materialnej

|

2012

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vol. 60

|

issue 1

89-119

EN

The article presents the results of several years of studies of types and colours of historic building windows in Olsztyn area and small Warmia and Masuria towns, carried out by the author of this publication between 2007 and 2011. The reason for undertaking the studies are extensive repairs and building works, resulting in removal of often damaged and unusable historic windows, as well as loss of the authentic appearance of historic buildings, where the joinery was often the only decorative form. The analysis of joinery types showed that the windows used in the area were characteristic of a specific period. The most common are double casement windows, as well as standard casement windows used in staircases and hallways, whereas dual windows are rare and usually preserved in small tenements. In most windows, the joinery includes vertical mullions, horizontal transom bars and infill bars, dividing windows into smaller lights. The style and division of the windows depends on the architectural style of a building. Window colour schemes were usually intense, with the most common colours including green, brown, grey, ecru, beige, blue, violet, yellow, greyish green and white. The colour is usually different on the outside and on the inside, with lighter tones prevailing on the inside. Window paint composition studies showed that the paints contain pigments characteristic of the period. The analysis of typology and colour schemes of joinery of historic buildings also provides information on fashion and trends popular in the area. The inventory studies of joinery and paintwork stratigraphy are the basis for reconstruction and recreation of damaged or removed historic joinery.

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