Search results - CEJSH

1

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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'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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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.

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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)

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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.

5

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.

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

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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.

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

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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

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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.

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

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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.

10

DIVADELNÁ SCÉNOGRAFIA ARCHITEKTONICKÝCH OBJEKTOV

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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.

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

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Doleżyńska-Sewerniak E.

Kwartalnik Historii Kultury Materialnej

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2012

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vol. 60

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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.

12

LOOKING FOR THE CONCEPT OF STYLE (1753 – 1953)

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Bakoš J.

ARS

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2020

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vol. 53

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issue 2

99 - 111

EN

A number of authors have written about the history of the concept of style, one of the key formulating concepts of art history. Those deserving special mention here are Jan Białostocki (‘Styl’, in: BIAŁOSTOCKI, J.: Historia sztuki wśród nauk humanistycznych. Wrocław-Warszawa-Kraków-Gdańsk 1980, pp. 36-55), Willibald Sauerländer, (‘From Stilus to Style: Reflections on the Fate of a Notion’, in: Art History, 6, 1983, no. 3, pp. 253-270), Carlo Ginzburg, (‘Stil. Einschließung und Ausschließung’, in: GINZBURG, C.: Holzaugen. Über Nähe und Distanz. Berlin 1999, pp. 168-211), and Robert Suckale (‘Stilgeschichte’, in: Kunsthistorische Arbeitsblätter, 11, 2001, pp. 17-26). The present study is an attempt to map in greater detail the efforts of several generations of scholars to define style, starting with the ‘discovery’ of the history of style in the mid-eighteenth century and ending with the crisis that ensued after the end of the Second World War.

13

DESCRIPTIONS OF NEO-GOTHIC ARCHITECTURE IN THE LITERATURE (Neogotikas arhitekturas atspogulojums literatura)

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Zilgalvis J.

Materiali Latvijas makslas vesturei

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2001

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vol. 2

55-68

EN

Neo-Gothic architecture has never been studied separately from other styles in Latvia. It has been reviewed as one of a number of styles in several publications. The first serious studies were done by the Rigensian architect and art historian Wilhelm Neumann, who understood the need to preserve information for future generations about work that young architects were doing during his time. In publications about the history of architecture that appeared in the 1920s and I 930s, there was much criticism of buildings that had been put up in the latter half of the 19th century, but here, too, we find a considerable amount of information for the architectural research of that period. Information about the work of architects and builders in Kurzeme and Vidzeme between 1400 and 1870 was provided by the architect Pauls Kampe. A book by Heinz Pirang, 'Das baltische Herrenhaus', which was written in the 1920s and 1930s, provided the first overall look at the way in which manor houses in Latvia developed from the Middle Ages until 1914. In the 1950s and 1960s there were several publications in which authors looked at the architecture of specific manor houses or concrete eras in time, but the objects that were studied were all built far before the mid-19th century. New breezes in the study of architecture from the period of Eclecticism appeared in the 1970s, when Janis Krastins began to publish his studies. In the 1970s and 1980s, Imants Lancmanis, IIze Janele and other specialists studied the architecture of manor houses. This process continued in the early 1990s. Lancmanis is continuing to study the architecture of specific manor houses, and his books and articles lead the field when it comes to researching the 18th century and the early 19th century. Work by Dainis Brugis and Ojars Sparitis, both of whom have focused on the same period, is also worthy of attention. In 1996, there was a very significant event in the research of manor house architecture in the latter half of the 19th century and in the early 20th century - the publication of the monograph 'Manor Houses of the Historicism Period in Latvia' by Dainis Brugis.

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ADAPTATION OF PLACES OF WORSHIP TO SECULAR FUNCTIONS WITH THE USE OF NARRATIVE METHOD AS A TOOL TO PRESERVE RELIGIOUS HERITAGE

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Wierzbicka A. M., Arno M.

Muzeológia a kultúrne dedičstvo

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2022

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vol. 10

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issue 4

63 - 77

EN

Sacral objects are an important part of the Europe’s religious heritage. For centuries, temples have constituted a key element in the urban morphology; they fit into the urban fabric of European cities and are permanently embedded there. Due to the current laicization of Europe, the adaptation of sacred buildings into secular functions has become a necessity for economic reasons. Their owners, architects, conservators and historians are faced with a dilemma: whether to preserve an object or transform it into another function? Places of worship cannot be considered in solely economic terms due to the identity of the place, its current function and its symbolism. Sacred spaces, apart from their function, structure and form, also have meaning. In holy sites, the symbol becomes a narrative tool. The purpose of a narrative in the cultural context is related to the site, the narrator, the recipient and the time of the narrative. Narrative research into semantic architecture, as one of the means of researching sacred architecture, has potential both in analysis and as a tool to facilitate design processes for the appropriate transformation of sacred buildings to serve secular functions.

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NEOCLASSICISM IN THE ARCHITECTURE OF RIGA (Klasicisms Rigas arhitektura)

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Zilgalvis J.

Materiali Latvijas makslas vesturei

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2004

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vol. 4

57-72

EN

In the 1770s Baroque and Rococo styles were replaced by Neoclassicism in Riga architecture. The first public building that embodied the new stylistic ideas was the Town Hall (1750-1765, arch. Johann Friedrich von Ettinger). In the 2nd half of the 18th century Old Riga started to change more rapidly. In 1785 Mater Dolorosa Catholic Church was erected, a new volume was added to the Riga Castle, creating a new facade (1783, arch. Johann Peter Bock), and a new square - the public centre of the town - was laid out in front of the castle. Adjacent buildings were supplemented with the Imperial Lyceum at Castle Square 2 (1785-1787, arch. Matthias Schons). In the Latvian architecture Neoclassicism has spilt in two trends. The first trend was influenced by the German and Russian Neoclassicism while the second was the so-called Civic Neoclassicism that had grown out of the local cultural-historical and social conditions. The main representative of the Civic Neoclassicism was Christoph Haberland (1750-1803). He designed dwelling houses at Miesnieku Street I (1779), Pils Street 6 (1795), Maza Pils Street 1 and 3, Teatra Street 6 (1785), Zirgu Street 28, merchant Morrison's house at Smilsu Street 5 (1787-1794), Johann Samuel Hollander's house at Skunu Street 17 (1787) and others. An important event in Riga was the library reconstruction at the Eastern wing of the Dome Cloister ( 1778-1787, arch. Christoph Haberland) that resulted in a spacious two-floored hall. Johann Hermann von Vietinghoff in his turn created the Musse House at Riharda Vagnera Street (I 78 I 1782, arch. Christoph Haberland). It was a kind of club for aristocracy where the first Riga theatre was housed. The development of Neoclassicist architecture in Riga influenced also sacred buildings, like St. Gertrud's Lutheran Church (1779-1781), St. Peter and St. Paul's Orthodox Church in the Citadel (1781-1785, arch. Sigismund Seege von Laurenberg) and Katlakalns Lutheran Church (1791-1792, arch. Christoph Haberland). As towns of the Russian Empire developed, there was a need to create a stylistically and compositionally unified environment. For this reason albums of exemplary facades were published in 1809 and 1812. They were used in Riga up to 1850.

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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.

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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.

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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.

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

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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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CALLIGRAPHIC INSCRIPTIONS IN THE SEHZADE, SÜLEYMANIYE AND SELIMIYE MOSQUE

80%

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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