Search results - CEJSH

1

Architektura v regionech: metoda, hodnocení a topografický impuls

100%

Rampley M., Pastýříková L.

Umění (Art)

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2022

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vol. 70

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issue 1

92-105

EN

This article is a historiographical reflection on a tradition within Czech art and architectural history. Specifically, it is an analysis of the tradition of local architectural history. It argues that this tradition is without parallel in international scholarship, in terms of the volume of publications written by trained scholars about the architectural of regional towns, cities and regions. On the one hand, it argues that this is a highly welcome phenomenon, since it contradicts the focus on the metropolis that so often dominates scholarship on the history of architecture. At the same time, however, it argues that this large literature suffers a systemic weakness, in that little goes beyond topographic documentation of buildings and sites. This ‘topographic impulse,’ as the article terms it, is a product of nineteenth-century positivism, and suffers the same shortcomings, namely, the lack of a critical conceptual apparatus that can enable it to make judgements about architectural significance. The culmination of this can be seen in the production of vast scholarly works of architectural history that may seem out of proportion to the significance of their subject. Or, to put it in a different, vast scholarly works in which the significance of the subject is never spelled out. The article thus concludes by emphasising the hermeneutic inter-dependence of the individual building / structure and wider historical, social, cultural or political frameworks.

CS

Tento článek je historiografickou reflexí jisté tradice českých dějin umění a architektury. Zaměřuje se obzvláště na analýzu tradice lokálních dějin architektury, jež v mezinárodním měřítku nemá obdoby, pokud jde o množství publikací o dějinách architektury krajských měst, městeček a regionů napsaných kvalifikovanými badateli. Uznává, že jde o velmi vítaný jev, protože tvoří protiklad k převažující koncentraci vědeckého výzkumu dějin architektury na metropoli. Zároveň však tvrdí, že tato rozsáhlá literatura trpí systémovým nedostatkem, neboť jen málokdy přesahuje úroveň topografické dokumentace staveb a lokalit. Tento „topografický impuls“, jak jej článek pojmenovává, je produktem pozitivismu 19. století a má i stejné nedostatky. Postrádá především kritický pojmový aparát, který by umožnil posuzovat architektonický význam. Za vyvrcholení této tendence lze pokládat produkci rozsáhlých vědeckých prací z dějin architektury, které se jeví neúměrné k významu jejich předmětu. Anebo jinak řečeno, obsáhlé vědecké publikace, v nichž význam tohoto předmětu nikdy není objasněn. V závěru článku je pak zdůrazněna hermeneutická provázanost jednotlivých budov/staveb a širších historických, sociálních, kulturních nebo politických rámců.

2

Gmach Urzędu Wojewódzkiego i Sejmu Śląskiego w Katowicach. Architektura narodowa w formie i treści

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Syska A., Woźniakowska A.

Estetyka i Krytyka

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2012

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issue 2(25)

163-182

XX

The political consequences of the 2nd World War resulted in part of Upper Silesia being taken over by the Polish administration. It required a new building to house the provincial administration office and the Silesian Assembly. The architects from Cracov designed a building of monumental mass decorated with symbols of nationality and the power of state. The building of the Office was to become a landmark of the new Silesian province and a clear sign of its national status and historical background.

3

Considerations on the Origin of Monumental Architecture in Egypt

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Lipińska J.

Rocznik Orientalistyczny

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vol. Rocznik Orientalistyczny, T. 41, Z. 2 (1980)

4

Architect Marko Vidaković, the Zagreb exhibition of Contemporary Czechoslovakia architecture (1928)

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Damjanović D.

Umění (Art)

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2015

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vol. LXIII

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issue 1-2

79-91

EN

Czech modern architecture exerted a considerable influence on Croatia owing to the work that Czech architects did in Croatia (e.g. the construction of the Bata factory in Borovo), and more importantly to the many Croatian and Yugoslav architects who studied at the Technical University in Prague. Marko Vidaković (Golubinci, 18 July 1890 - Zagreb, 5 January 1976) was one of the most important such architects. After attending the Vienna University of Technology for a year (1909-10), Vidaković studied intermittently at the Czech Technical University (Česká vysoká škola technická) in Prague from 1910 to 1919. He played a key role in the emergence of modern architecture in Croatia by organising Czechoslovakian Contemporary Architecture exhibition in Zagreb (17 March - 1 April 1928), which he did with the help of Zdenĕk Wirth from the Czechoslovak Ministry of Schools and Public Education. Soon after the exhibition, Vidaković designed and built one of the first buildings designed in the international style in Zagreb, a villa owned by Ljudevit Pfeffermann and located at 27a Jurjevska Street (1928-1929). This and his later architectural designs (such as a never built design for the 1931 pavilion at the Zagreb Fair) show the influences of Czech architectural work. Although the Pfefferman Villa was his last built project, the unrealised designs he created for various buildings and structures in Zagreb (tram stop shelters, 1930; an art pavilion, 1930) provide clear evidence of the great talent of this architect, who adopted the vocabulary of modern architecture. He also played a major role in helping to spread the international style in Croatia and Yugoslavia through his many writings, which were published in the Ljubljana-based magazine Architecture and in daily newspapers in Zagreb and Belgrade. During the Second World War he actively participated in campaigns to save Serbian children in the pro-fascist Independent State of Croatia.

5

Wewnętrzne drogi przez budynek – architektura i sfera emocji

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Nyka L.

Estetyka i Krytyka

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2012

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issue 1(24)

113-133

XX

From the architectural tendencies and styles of the last decades new phenomena are emerging – buildings are not designed on a basis of formal transformations but rather as intricate arrangements of interior pathways. Simultaneously, there is a noticeable pursuit towards achieving specific quality of architecture – where it does not remain neutral, exerts an impact on the observer and evokes emotions. The article explores the two above mentioned tendencies as mutually interrelated. It discusses their origins and reveals that while outlining the important characteristics of the contemporary architecture they arise from early modern concepts. Today’s abysmal foyers where different species of ramps and trajectories let the observer go through space and experience various environments are the continuation of the aesthetic and architectural ideas that evolved in the beginning of twentieth century. The currently ongoing process in which buildings are trespassing the characteristics of stable structures and rather refer to imaginative geographies and landscapes is one of the immediate effects of that continuation. While deeply imbedded in history – it also opens architecture to new spheres of explorations.

6

Architektoniczna moda

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Mazur R.

MAZOWSZE Studia Regionalne

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2016

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issue 19

109-116

PL

Artykuł stanowi refleksję na temat mody w architekturze. Począwszy od jej zdefiniowania, przedstawiony został ambiwalentny charakter tego zjawiska, które towarzyszy procesowi projektowemu od początku cywilizacji. Na przykładach z ostatnich dziesięcioleci moda zostaje pokazana jako element wzbogacający rozwój architektury oraz jako element, który nierzadko przejmuje kontrolę nad wyobraźnią architektów.

EN

The article is a reflection on fashion in architecture. It is a presentation of an ambivalent nature of this phenomenon, which accompanies the design process since the beginning of the civilization. For examples of recent decades, the fashion is shown as an enrichment development of architecture and as an element that often takes control of imagination of the architects.

7

An inherited mirage: tracing theory, architecture, and ideologies of the ‘Neo-Byzantine’ style between France and Central Europe (1820s-1890s)

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Palladino A., Galeta J.

Umění (Art)

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2025

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vol. 73

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issue 3

292-308

EN

The study examines the revival of Byzantine architecture in France and Central Europe (German lands and the Danube Monarchy) during the 19th century. A complex interplay of cultural, political, and scientific influences characterised this revival in both regions. The knowledge of Byzantine architecture at that time, as well as the application of its various elements in contemporary buildings, occurred against the backdrop of a somewhat sceptical Enlightenment perspective, which generally regarded this era as a decline in classical artistic values. Despite this scepticism, Byzantine elements began to emerge in various regions, each reflecting different ideological intentions. Four main factors motivated the rediscovery and reapplication of Byzantine art and architecture: the systematic study of the past and the establishment of art history as a scientific discipline based on the categorisation of styles; the use of historicising architecture by various political and social classes as a means for legitimising their own histories and shaping external representation; architects‘ efforts to achieve originality and novelty in their search for artistic expression, not only in terms of decoration, but also in terms of materials and construction techniques; and, finally, contemporary tastes and artistic trends. The study highlights the contrast between the reception of Byzantine elements in France-integrated into state narratives - and in the Habsburg Monarchy, where they served to express a distinct identity within a multi-ethnic empire. The analysis is structured into three parts: it first examines debates about Byzantine art in contemporary French and Germanophone (and partly Czechophone) scholarship; then it looks at the architectural manifestations of these ideas in France; and finally, it discusses their implementation in Central Europe. The study emphasises that terminology and opinions concerning Byzantine architecture circulated between France and Central Europe within broader cultural and political contexts, shaping identities and manifestations of authority, rather than being merely an aesthetic endeavour.

CS

Studie pojednává o revivalu byzantské architektury ve Francii a ve střední Evropě (německé země a podunajská monarchie) v průběhu 19. století, přičemž v obou těchto oblastech se tato recepce vyznačovala komplexní souhrou kulturních, politických a vědeckých vlivů. Tehdejší poznání byzantské architektury, stejně jako uplatnění jejích různých prvků v soudobých stavbách se odehrávalo na pozadí poněkud skeptického osvíceneckého přístupu k byzantskému umění a dějinám obecně, kdy tato perioda bylo považována za úpadek klasických výtvarných hodnot. Nicméně byzantské prvky se začaly objevovat v různých regionech, což odráželo různé ideologické záměry. Objevování a nové uplatnění byzantského umění a architektury bylo poháněno čtyřmi hlavními faktory: systematickým poznáváním minulosti a konstituováním dějin umění jako vědeckého oboru založeného na kategorizaci stylů; užíváním historizující architektury různými mocenskými či společenskými vrstvami coby nástroje legitimizace vlastních dějin a vnější reprezentace; snahou architektů o originalitu a novost při hledání uměleckého vyjádření nejen z hlediska dekorací, ale i materiálů a konstrukcí; a nakonec také dobovým vkusem a uměleckou „módou“. Studie zdůrazňuje kontrast recepce byzantských prvků ve Francii - integrovaných do státních narativů - a Habsburské monarchii - sloužících k vyjádření specifické identity v rámci multietnického impéria. Analýza je rozdělena do tří částí a zaměřuje se na debaty o byzantském umění v soudobé francouzské a německojazyčné (a částečně také české) vědě, na architektonické projevy těchto myšlenek ve Francii, a nakonec na jejich implementace ve střední Evropě. Studie zdůrazňuje, že terminologie a názory týkající se byzantské architektury cirkulovaly mezi Francií a střední Evropou v rámci širších kulturních a politických kontextů a pomáhaly formovat identitu i projevy autority, spíše, než aby byly pouhým estetickým úsilím.

8

Contemporary architect’s self-education on the issues concerning architecture history. Selected problems

87%

CHRZANOWSKA O.

Interdyscyplinarne Konteksty Pedagogiki Specjalnej

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2019

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issue 25

403-417

EN

Olga Chrzanowska, Contemporary architect’s self-education on the issues concerning architecture history. Selected problems. Interdisciplinary Contexts of Special Pedagogy, no. 25, Poznań 2019. Pp. 403-417. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2019.25.17 The aim of this text is to describe the risks faced by contemporary architects when undertaking to learn, either directly or indirectly, about architecture in the era of the Internet and mass consumption of culture. The role of architect’s self-education on the issues concerning architecture history and aesthetic empathy theory in the context of everyday architectural landscapes. As an example, the historical foundations for the thinking on modernity in designs of the three architects: Peter Zumthor, Christian de Portzamparc and David Chipperfield

9

„Święte życie” na Lizbońskiej. Architektura i sacrum w poezji Mirona Białoszewskiego

87%

Grądziel-Wójcik J.

Poznańskie Spotkania Językoznawcze

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2015

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issue 30

EN

The article presents the late authorship of Miron Białoszewski, especially his poems collected in the book Odczepić się (1978) and a diary Chamowo (2009) that are a document of the poet’s life in the block of flats after his removal to the flat in a tower block at the Lizbońska Street in Warsaw in 1975. In these texts we may notice the new way of writing that was formed by new accommodation and living arrangement that influenced the poets’ life. On the other hand the room on the ninth floor occurs the place that was marked with sacrum and it puts an impact on the poets’ metaphysical and supernatural experience. The flat in the tower block has also influenced the author’s perspective and the way of writing, so that Białoszewski has experienced terminal situation – being between the two forms of living, balancing between the earth and heaven, profanum and sacrum. The removal starts to resemble a ferry across Styx, and the ninth floor becomes an unwanted porch of eternity. The titled word odczepianie się (disconnecting, separating) from the past and being at the top of the tower block means the new beginning for the poet, and writing becomes an imitation of the God’s act of creation that helps Białoszewski to accommodate in the world after heart attack and removal.

10

Znikający powojenny modernizm — czy prawo powinno szerzej chronić dobra kultury?

80%

Kuzia W.

Studenckie Prace Prawnicze, Administratywistyczne i Ekonomiczne

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2017

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vol. 21

191-203

EN

The aim of the article is to analyze the problem of demolishing valuable objects of modernist architecture. It raises a question of the scope of protection needed. The author analyzes the requirements of the legal statutes, which leads to the conclusion that there is indeed a great need for new and effective protection measures, as well as the establishment of appropriate evaluation criteria. The author discusses certain examples of demolished buildings, pointing out the features that made them unique and exceptional. Moreover, the article compares those “never recognized nor acknowledged” monuments with the buildings which has taken their space. Due to the fact, that the demolition of the most of the post-war modernism buildings happened because of the lack of appropriate and effective conservation efforts, the author calls for greater involvement of architectural critics in the process of qualification of monuments and their protection.

11

Gli anni romani di Giovanni Battista Gisleni

80%

Mossakowski S.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 1-2

35-56

EN

Giovanni Batistta Gisleni (1600-1672), Italian architect, stage designer, and musician, left his home town of Rome in search of work in order to settle in 1629 for 36 years in Poland where he was employed at the court of three subsequent kings. The article focuses on his stays in the Eternal City: two shorter ones (in 1643 and in 1656(57?)-1664), and the third longer one in 1667. On his first trip, Gisleni was busy employing musicians for the Royal Orchestra that he himself played in. During his second stay, he busied himself organizing the Academy of Saint Luke to which he was elected in March 1656. From 1659, Gisleni lived in Via della Croce where he had his own house built; it featured the coat of arms of Poland and Lithuania on the façade. At the same time, he remained in touch with the country he had stayed in for long, serving in Rome as Poland’s informal diplomatic agent. He eagerly met with Poles coming to Rome, arranging for them to meet some outstanding personalities and taking them round the city sights. A good example of such an activity is the visit young Prince Aleksander Ostrogski-Zasławski paid to Rome in 1669, recorded by his entourage member Kazimierz Wojszanorowicz. That very year, Gisleni published the description of the election of King Michał Korybut Wiśniowiecki. It seems that by the end of his life, Gisleni no longer pursued his career. His only works from that period are the design of church decoration for the Quarantore Service, possibly unaccomplished, and the design (1670) of his own tombstone erected in the Church of S. Maria del Popolo. The final part of the article is dedicated to the tombstone; the Author attempts at deciphering its ambiguous content expressed in a Baroque form and the extensive Latin inscription. The Polish version of the article was published in the proceedings from the Conference: ‘Poland and Europe in the Modern Era’ (Royal Castle in Warsaw, 16-17 December 2008), dedicated to Prof. Juliusz A. Chrościcki.

12

Prudential i pokusy wymazywania

80%

Wójcik A.

Res Publica Nowa

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2013

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issue 1

58-61

EN

“Prudential” – one of first and most well-known skyscrapers of Warsaw – showcases both the power and fragility of architecture as a device of social memory. Upon its completion, the building became an icon of the monumental capital of the thirties, only to achieve status as a symbol of wartime resistance several years later. Reconstructed as an upscale hotel in the postwar People’s Republic of Poland, it gained a decorative entrance with caryatides – a proper ex ample of social realist architecture. The caryatides were demolished Turing refurbishment in the 2010s. The article discusses this act in the wider framework of interferences in the visual sphere and showcases its importance to the politics of memory.

13

Miasto przetworzone – paryska fantasmagoria Waltera Benjamina

80%

Pilecka A.

Estetyka i Krytyka

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2012

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issue 1(24)

135-150

XX

In the Walter Benjamin's works the modern city is one of the most important and constantly present themes. Due to it's sudden metamorphosis brought by nearly total reconstruction in 19'th century, Paris was made a model on which and through which Benjamin has shown decay of totality once united by tradition, creation of a new form of experience as well as modern principles of living in the urban space. The New Paris is a city created for an appreciating eye; the town full of dreams. This dream-like, phantasmagoric aspect of Paris is represented in the arcades, those sensual and seducing streets defined by trade. The nineteenth century is a period when arcades bring about collectivity to dwell into the ever deeper dream. Arcades themselves are shown as an "objective materialization of phantasmagoria" – mythical and equivocal, simultaneously the street and home, where merchandise are shown like ornamental homewares, shining and seductive. Arcades are material dream.

14

Unnamed Forms of Protection for Immovable Monuments Classified as Architectural Works as Implied by the Act on Copyright and Related Rights

80%

Tylec G.

Roczniki Nauk Prawnych

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2017

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vol. 27

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issue 4 English Online Version

57-77

EN

This article addresses issues of legal protection for architectural works which qualify as monuments. The research problem is related to answering the question under what circumstances the regulation of the Copyright Act is applicable to architectural monuments. The Author presents the currently binding definitions of “monument” and “architectural work”. Issues concerning the duration of protection for architectural works, with regard to both economic rights and moral rights, are investigated. Particular norms of the law on copyright work agreements related to architectural works, regulated by the Polish act on copyright and related rights. Specific legal problems are indicated with respect to the revaluation of historical architectural monuments which are no longer liable for copyright protection.

15

Z dziejów budowy toruńskiego kampusu uniwersyteckiego 1967–1973

80%

Pszczółkowski M.

Zapiski Historyczne

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2010

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vol. 75

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issue 2

151-172

EN

The university district in Toruń belongs to one of the first Polish complex examples of a university campus – a popular phenomenon in the post-war period. The idea to build an academic ‘town’ or ‘district’ appeared at the very beginning of the university’s existence. Binding decisions in the matter were not made until 1963, in connection with the world celebration of the 500th anniversary of the patron’s birth, planned for 1973. The investment was located in Bielany, the town’s peripheral district situated in the north-west part of Toruń. The Department of Architecture of the Warsaw University of Technology was to prepare the urban and architectural plan, whereas Docent Ryszard Karłowicz became the main designer. The spatial form of the campus is original and it does not follow any direct models. It is a concept bearing the optimal functional features, following the characteristic world tendencies in western architectural practice in the first post-war decades. The design of a homogeneously shaped system with a visible functional division was based on grouping scientific-didactic buildings and residential-social buildings along two perpendiculars to the axis. Both axes were connected by the buildings of the library, the Main University Office Building (Rektorat) and the university aula – the centre of the university in the scientific, administrative and cultural sense. On account of the magnitude of the venture, the investment process was divided into three stages: 1967–70, 1971–75, and 1976–80. The work was planned so as to create the whole complex until 1973. Undoubtedly, it was feared that after the end of the Copernicus celebration there might be insuficient funds for subsequent stages. That is why it was important to construct a general university complex, some didactic buildings, and necessary social buildings in the first stage of the construction. The works lasted over 5 years. The ceremonial opening of the campus took place on 2 October 1973. The schedule of the construction process was based on the so-called association network PERT (Program Evaluation and Review Technique). This special method of planning, earlier used in Poland only in theoretical designs of residential districts, was designed in the USA for space projects. Later the association network PERT was used in civilian projects, for example to carry out major construction investments. Thanks to the method, despite delays typical of the socialist economy, all buildings planned in the first stage of the construction of the campus were completed.

16

Main characteristics of 11th -15th centuries bricks from monumental buildings of the Pechersk monastery in Kyiv

80%

Makhota O. O.

Slavia Antiqua: rocznik poświęcony starożytnościom słowiańskim

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2023

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issue 64

305-333

EN

The relevance of the proposed work lies in the fact that the powerful collection of building materials has been assembled in the scientific funds of the National Preserve „Kyiv-Pechersk Lavra” over a 100-year history of archaeological research into architectural monuments from the 11th-15thcenturies (the Dormition Cathedral, chapel of St. John the Baptist, Trinity Gatech church, a brick refectory, and a stonewall from the 12thcentury). It consists of bricks (plinthois), ceramic tiles and stone floor slabs, roof tiles, glass hutters, frescoes, mosaics, samples of stones and solutions, marble decorative elements, etc. Among the most massive and informative materials is a plinthoi. The study of its characteristics and historical and cultural significance is aimed at acquiring a body of knowledge about building materials. M. Kholostenko, G. Ivakin, O. Syromyatnikov, and D. Jolshin were engaged in the study of bricks from the Pechersk monastery. However, no generalizing work on construction materials of the 11th-15th centuries of these monuments of ancient Kyiv has been carried out till now.

17

Obra total. Wpływ twórczości Cesara Manrique na krajobraz przyrodniczo-architektoniczny Lanzarote

80%

Szulc M.

Studia Europaea Gnesnensia

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2023

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issue 25

185-198

EN

This paper discusses the oeuvre of the Spanish artist Cesar Manrique, who lived and worked in Lanzarote from the 1970s until his death in 1992. His versatile art (the artist created buildings, sculptures, paintings, prints and other art forms) changed the island’s appearance and the attitude of its inhabitants towards the landscape and the fusion of nature and architecture. Manrique’s work was innovative and continues to inspire architects, sculptors and painters today. The aim of this article is to outline selected examples of the solutions proposed by Manrique and their impact on the notions of how nature can be combined with architecture.

18

The Architectural Place Identity – an Authorial Proposal of a Measurement Indicator

80%

Dudzik-Deko P., Rzeźnik J.

Studia Miejskie

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2022

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vol. 43

83-96

EN

The architectural place identity belongs to the historical and cultural heritage related to landscape architecture. It exerts a great impact on both the observers’ perception of the given space and their emotional attitude. The authors’ main goal was to create a tool that would enable objective assessment and measurement of the place identity phenomenon. Accordingly, the aim of this article is to present the result of accepting this approach – an architectural place identity indicator, as well as to discuss and promote conducting more research into this subject. It also provides the definition and clarification of the analyzed term. The measurement indicator of the chosen phenomenon has been presented against the background of the City of Wrocław and its urban public areas. The applied method allowed examining the analyzed issues within the given spatial range. The article comprises a complete theoretical description of the research and reveals all the options of its use in practice.

19

Jan Baptysta Dessieur - inżynier, architekt czy plenipotent hetmana Adama Mikołaja Sieniawskiego?

80%

Nestorow R.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 3

319-360

EN

This text concerns the activities of a military architect and engineer in the service of grand crown hetman Adam Mikołaj Sieniawski. Jean-Babtiste Dessieur was initially employed by Sieniawski in 1689 at the family residence at Brzeżany now in the Western Ukraine. The earliest works carried out by Dessieur at Międzybóż, the next were Zinków, Stara Sieniawa, Satanów, Szkłów and Sieniawski’s Warsaw residence.

20

1920s and 1930s Prague architecture with special focus on the German cultural circle: Adolf Foehr, Fritz Lehmann, Rudolf Hildebrand

80%

Kerdová L., Vichnar D.

Umění (Art)

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2020

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vol. 68

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issue 4

365-377

EN

The interwar Prague architecture scene was a very heterogeneous milieu where Czech, German, and Jewish architects met but also missed each other. The study focuses on Prague’s German-speaking group, which formed a unique and complicated structure. Prague’s German-speaking architects included Czech Germans (Deutschböhmen), Jews from Czechoslovakia as well as the rest of the former monarchy, Germans, and Austrians. Given this high level of diversity within this broadly conceived group, the author presents a division of German-speaking architects according to their orientation towards a specific cultural environment, i.e. into a German-oriented group and a circle on the borderline between the Czech and German cultural milieu. The first group, on which the article focuses, exhibits more common characteristic traits, creating certain mini-centres within Prague’s cultural scene. On the basis of three exemplary cases of architects from this German cultural milieu, the article introduces important moments defining Prague’s German architecture scene. In the case of Adolf Foehr, this has to do primarily with the activity of Prague’s German housing associations. In some parts of Prague, German apartment buildings had a major impact on the character of the quarter. Also important in addition to a certain stylistic specificity are personal connections among architects and construction builders, as well as between architects and Prague authorities. One of the methodological backbones of the entire research consisted in reconstructing this imaginary network of ties and relations. Fritz Lehmann’s example illustrates the complicated situation at Prague’s German Technical University and the backdrop of rivalry within the German-speaking milieu. Architect Lehmann is also author of the reconstruction of the German House (Deutsches Haus) and a few published articles that untangle the complicated welter of Czech-German connections and potential nationalist antagonisms. Rudolf Hildebrand, the article’s last exemplary architect, corroborates its proposed observations in his uniquely preserved personal memoirs.

CS

Meziválečná pražská architektonická scéna byla velmi heterogenním prostředím, kde se nejen setkávali, ale také míjeli především čeští, němečtí a židovští architekti. Studie se zaměřuje na německojazyčné prostředí, které v Praze vytvářelo dosti výjimečnou a komplikovanou strukturu. Mezi německy mluvící architekty patřili čeští Němci, Židé z Československa i území bývalé monarchie, Němci a Rakušané. Vzhledem k velké různorodosti takto široce pojaté skupiny předkládá autorka studie rozdělení německojazyčných architektů do dvou okruhů na základě jejich kulturní orientace - na německý kulturní okruh a na okruh na pomezí českého a německého prostředí. První jmenovaný okruh, na který se příspěvek zaměřuje, vykazuje více společných charakteristik a vytváří určitá malá centra v rámci pražské architektonické a kulturní scény. Na základě tří vybraných příkladů architektů tohoto německého kulturního okruhu jsou postupně představeny jednotlivé významné momenty, které pražskou německou architektonickou scénu definovaly. U architekta Adolfa Foehra jde především o činnost pražských německých stavebních družstev. Německá bytová výstavba se v některých částech Prahy výrazně propsala do charakteru čtvrti. Kromě jisté stylové specifičnosti jsou však důležité osobní vazby mezi architekty a stavebníky, ale také mezi architekty a pražskými úřady. Jedna z metodologických páteří celého výzkumu spočívá právě v rekonstrukci této pomyslné sítě vztahů a vazeb. Na příkladu Fritze Lehmanna je přiblížena komplikovaná situace na Pražské německé technice a pozadí rivalitních vztahů v rámci německojazyčného prostředí. Architekt Lehmann je také autorem přestavby Německého domu a několika publikovaných článků, které rozkrývají složité pozadí česko-německých vazeb a případných nacionálních antagonismů. Poslední vybraný architekt Rudolf Hildebrand nastíněné teze stvrzuje ve svých vzácně dochovaných životních pamětech.

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