19th Century Architecture

Image de couverture : Accademia di architecture, USI with close-up photo of matrix background; Original photography by Enrico Cano, @ Accademia di architettura-USI, Mendrisio; Matrix background Markus Spiske (licence CC). Tous les liens publiés dans ce numéro ont été consultés le 20 mars 2025. https://www.historismus.ch/e-journal

In France during the July Monarchy (1830-48), the nation's heritage authorities initiated several projects to complete unfinished medieval churches. Many of these projects fall into a gray zone between restoration and new construction which challenged their successful outcome. This article focuses on one example of this type of project: the completion of the Church of Saint-Just in Narbonne, undertaken by the French architect Eugène Emmanuel Viollet-le-Duc between 1838 and 1842, at the beginning of his career. After only a few years, Viollet-le-Duc began to oppose the project, eventually disavowing it altogether. Previously unpublished archival materials illuminate the practical, political, and theoretical reasons for his decision.

Gli anni della Restaurazione furono cruciali per la definizione dell'immagine di Santa Croce: oltre alla riscoperta di importanti cicli pittorici trecenteschi, tra cui i celebri dipinti murali di Giotto nelle cappelle Bardi e Peruzzi, la prima metà dell'Ottocento portò a una totale ridefinizione della facies architettonica della Basilica. Il saggio, quindi, affronta alcuni aspetti del cantiere di Santa Croce e l'attività dell'architetto Leopoldo Veneziani, architetto dell'Opera dal 1815 al 1856.

João Carlos de Bragança e Ligne, Duke of Lafões (1719 – 1806), was one of the most unique Portuguese characters of his time. An aristocrat of royal blood, he spent most of his life abroad, travelling for decades between influential European courts and meeting (and in many cases maintaining close ties with) persons such as Catherine of Russia (1729 – 1796), Joseph II of Austria (1741 – 1790), Benjamin Franklin (1706 – 1790), and other important figures in the intellectual, political, and artistic life of Europe during the second half of the eighteenth century. His primary residence was Vienna, where he lived for about twenty years. Extraordinarily cultured and passionate about music and literature, he played an important role as a protector and patron of the arts and sciences, in particular by stimulating the cultural life of the elites among which he lived – whether in Lisbon, Rome, or Vienna – and establishing the Royal Academy of Sciences in Lisbon. Like no other Portuguese personality of his time, the Duke of Lafões is a fascinating example of the dynamics of cultural transfer between Vienna and Lisbon. In the form of a comic strip, this article offers an initial approach to this historical figure in a relaxed manner, going over the most important aspects of his biography while at the same time proposing a reflection on his actions and – hopefully – instilling in the reader a desire to know more about this intriguing individual.

Ottoman architecture begin to change around the beginning of the 18th century. The main factors influencing this change were the opening out to the West of Ottoman culture, relations with the West, and the inclusion of western architects in Ottoman society. The new look that classic Ottoman architecture assumed was to evolve under the thematic influence of European architects. Modifications were manifested not only in civil architecture but even in religious structures, which represented the breaking point of tradition. One of the cultural dynamics that represented the driving force of the changes in Ottoman architecture in the 18th century, producing innovatively novel effects under the European influence, was the various imported styles. The influence of Western art continued to make a mark on Ottoman architecture as from the start of the 18th century up until the end of the 19th century. The Edict of Reform (Tanzimat Fermanı) proclaimed in 1839 added momentum to the westernization movement, bringing with it new cultural dynamics and new types of structures as a result of the changing social clime. One of these architectural types was represented by buildings that housed diplomatic missions. The aim of this article is to examine the architectural and decorative characteristics of one of the important representations of the type of embassy architecture prevailing in the era of Ottoman westernization-the former American Embassy building in Istanbul, originally called the "Palazzo Corpi." Toward this purpose, we will introduce in detail the plan and spatial organization of the building, the features of its mass, facades and interior.

-Delgado García, A. (2024). “El “Mármol de San Pablo”, encargos regios para espacios funerarios: la cripta de San Lorenzo de El Escorial, y la tumba de Santa Teresa en Alba de Tormes”. en  Revista de Estudios Monteños, 185, 2024, 24-34. ISSN: 2341-328X ISSN-e: 2341-3298 D.L. TO.172-1978 https://descargasarchivo.toledo.es/viewer.vm?id=78098&view=global&lang=es&page=4&search=Monteños

The Starčević House is a key example of late historicism in Zagreb architecture. With its specific stylistic solution, which represents a combination of elements of the Neo-Renaissance and Neo-Romanesque, as well as a freely interpreted Croatian national style on dome, it is an example of the eclecticism of the architecture of that period. The lavishly designed, only partially preserved roof zone, the plasticity of the façade and rich decorations, reflect the aesthetic approach of late 19th century, which tended towards abundant decoration.
It was built by the Croatian Party of Rights, right wing late 19th-century party for its leader Ante Starčević. It is located on the corner of two squares in the Zagreb city centre, opposite the main railway station building.
The building was erected in 1894-1895 according to the design of the then most important Zagreb architectural firm Hönigsberg & Deutsch.  The spatial organization of the interior demonstrates the skill of these architects to include a whole range of contents in one relatively small space - Starčević's apartment, the editorial office of the daily Hrvatska, a social hall, an inn, private apartments and a number of other smaller facilities.
The sculptural groups in the roof zone of the house were created by the Zagreb sculptor Dragutin Morak. With their content, they allegorically testified to the political program of the Croatian Party of Rights. The dome is crowned by an allegory of Freedom or Education, the author of which is unknown.
The main spaces in the interior, primarily the central hall on the first floor, were representatively furnished in the Rococo style. They were painted by the Trieste painter Napoleone Cozzi, and decorated with sculptures by Croatian sculptor Ivan Rendić. Ante Starčević's apartment was furnished by the then key furniture manufacturing factory in Croatia, Bothe & Ehrmann.

Art Deco is a visual arts, architecture, and product design style. It first emerged in Paris in the 1910s, shortly before World War I. This style reached its height in Europe and the United States in the 1920s and early 1930s. The early to mid-1930s saw the emergence of Art Deco architecture in India, which ended in the mid to late 1950s. Indian cities like Mumbai, Pune, Chennai, Jaipur, Jodhpur, and Patiala are home to Art Deco structures. In terms of architecture, the Art Deco movement represented a dramatic departure from the colonial Neo-Gothic/Victorian Gothic model. The pursuit of modernity, multiculturalism, and cosmopolitanism were all reflected in Art Deco architecture. UNESCO declared the Victorian Gothic and Art Deco ensembles of Mumbai (Maharashtra's capital) a UNESCO World Heritage Site in June 2018. Nevertheless, Pune City's Art Deco buildings are not recognized as heritage buildings or documented. The study involved photographic documentation of Art Deco buildings in Deccan, Swargate Prabhat Road, Bhandarkar Road area of Pune. This paper examines the various motifs and their underlying symbolism that can be seen in Pune's Art Deco buildings. The results of this study show that the Art Deco buildings in Pune are now on the verge of extinction due to the age of the building, structural deformities and lack of awareness of the conservation of this historical heritage. The art deco features on the elevations of many buildings have been hidden/erased by renovation and commercial hoardings.

Toute reproduction, traduction, adaptation ou reproduction même partielle, par tous procédés en tous pays, faite sans autorisation préalable, est illicite et exposerait le contrevenant à des poursuites judiciaires (loi du 11 mars 1957 sur la propriété littéraire et artistique).

Bilo da je riječ o površnim poznavateljima povijesti ili profesionalnim povjesničarima, kod spomena plemstva u Međimurju prva pomisao biti će grofovi Zrinski, veliki junaci hrvatske i mađarske povijesti, koji su sredinom 16. stoljeća pretvorili Čakovec u svoj matični posjed. Međutim, taj je prostor nakon stabilizacije granice sa Štajerskom bio dom najuglednijim i najbogatijim plemićkim rodovima i obiteljima Ugarskog kraljevstva. Kroz ovaj ćemo rad kronološki popratiti njihove sudbine na prostoru današnjeg Međimurja, ali i šire. Prvi od takvih je rod Haholda, koji je i najzaslužniji za stabilnost na tom području. U njihovo vrijeme u ispravama pronalazimo i starosjedilačko plemstvo Međimurja, kraljeve graničare ili gradokmete, koji s novopridošlim rodom ubrzo ulaze u sukob, a nakon toga, po svemu sudeći, i u njihovu službu. Uvidjet ćemo da je upravo član tog roda ostavio ime središtu županije. Jednu ćemo granu tog roda na promatranom prostoru pratiti sve do kraja srednjeg vijeka. U zadnjoj četvrtini 13. stoljeća, granični je prostor doživio novu destabilizaciju i pustošenja, a samo Međimurje na određeno razdoblje palo u ruke štajerskog kapetana. Nakon što je 1328. vraćeno ugarskom kralju, vlastelinstvo je očito bilo u lošem stanju i tek 1350. godine nalazi novog stalnog vlasnika u obitelji Lacković. U hrvatskoj su povijesti Lackovići najpoznatiji po sukobu sa Sigismundom Luksemburškim, koji je završen u Križevcima, poznatim Krvavim saborom na kojem Stjepan Čakovečki biva ubijen. Nakon Lackovića, posjed uživa obitelj Sečenji, koja potječe od hrvatskog plemenitog roda Kačića. Sečenjiji se nisu dugo zadržali i najvećim djelom 15. stoljeća posjedom gospodare znameniti Celjski, a kasnije umjesto njih njihov kapetan Fridrik Lamberg. Završit ćemo s Ernuštima, skorojevićima kralja Matije Korvina, i time zaključiti zanimljivu povijest srednjeg vijeka prostora Međimurja.

Rad se bavi jednim od najvažnijih arhitektonskih rješenja kasne moderne u Bosni i Hercegovini, odnosno nerealiziranim projektom akademika Zlatka Ugljena za mostarsku katedralu. Naime, natječajni zadatak je od arhitekata zahtijevao da uz katedralu projektiraju objekt župnoga ureda, kao i izgled trga pred crkvom. Objasnit će se potrebe nastanka toga projekta, kao i društveno-povijesna pozadina koja je uvjetovala njegovu (ne)realizaciju. Detaljnom, formalnom analizom projektnih nacrta, slobodnih crteža i makete, objašnjava se raspored kompleksa i njegove osnovice, zatim zamišljeni konstruktivni sustav te materijali od kojih bi se realizirali objekti. Analiza projekta nužno dovodi do njegove interpretacije u kojem će se iščitavati ideja kompleksa, njegovo simbolično pozicioniranje u specifičnu ambijentalnu sredinu te će se navoditi mišljenja autora koji su se kritički i analitički osvrtali na projekt mostarske katedrale arhitekta Z. Ugljena. Konačna valorizacija u okvirima bosanskoherce...

Gaudí, gaudinismes, gaudinistes i gaudinians, el títol que he volgut donar a aquesta conferència, no és només un joc de paraules. Vull compartir amb vostès una reflexió entorn de la difusió, divulgació-i fins tot, el consum, entès en termes moderns-, de les obres i la figura d'Antoni Gaudí a la ciutat de Barcelona. Faig aquestes reflexions des de la meva condició de ciutadana de Barcelona i de resident-en horaris laborals-en el barri del Raval, però també com a professora i investigadora sobre el Modernisme català 1 , una situació que ens posa en una situació delicada, i bel•ligerant alhora, enfront de les continues agressions al nostre patrimoni.

Die Chronik des Instituts für Geodäsie und Geoinformationstechnik umfasst die historische Entwicklung an der Technischen Universität Berlin und ihren Vorgängerinstitutionen seit dem Ende des 18. Jahrhunderts bis heute. Zu den Vorgängerinstitutionen gehören das Oberbaudepartment, die Bauakademie, die Landwirtschaftliche Hochschule zu Berlin und die Technische Hochschule Berlin. Zahlreiche Professoren, oftmals über die Grenzen Deutschlands bekannt, haben an den Bildungseinrichtungen unterrichtet und ihr wissenschaftlicher Lebenslauf wird am Ende eines jeden Kapitels beschrieben. Die Ausbildung von Feldmessern, Landmessern, Diplomingenieuren der Vermessung bis hin zum heutigen Studiengang „M.Sc. Geodesy and Geoinformation Science“ wird dabei detailliert erörtert und durch Statistiken der Studienzahlen und zahlreichen Fotos ergänzt.

V současnosti je při návštěvě Vlašského dvora možné vybrat si ze tří prohlídkových tras. Expozice Královská mincovna představuje ucelený pohled na vznik, vývoj a provoz královské mincovny v Kutné Hoře a také na vývoj mincovnictví na území Čech. Druhý návštěvnický okruh s názvem Královský palác vede prostorami bývalé královské rezidence – audienční síně, královské kaple a zamíří také do komnat, které jsou v současnosti vybaveny jako filmové ateliéry představující významné události spojené s českými panovníky a jejich pobytem v Kutné Hoře. Poslední trasa je koncipována jako interaktivní hra především pro dětské návštěvníky, jmenuje se „Záhada ztraceného stříbra“, hráče zavede do nově zpřístupněných sklepních prostor pod mincovnou a seznámí je s kutnohorskou pověstí o ztraceném pokladu. V únoru letošního roku měli členové ČNS – pobočky Pražské groše možnost navštívit Vlašský dvůr a absolvovat organizovanou prohlídku zdejších nových expozic. Hlavní pozornost byla pochopitelně věnována expozici Královská mincovna. Od počátku na ideovém námětu i na realizaci těchto expozic v rámci širšího realizačního týmu pod režií Západočeského institutu pro archeologii, o. p. s., pracoval i člen ČNS a též zakladatel a člen naší pobočky Ing. Jiří Hána, Ph.D. Nemalý podíl J. Hány spočíval především v přípravě podkladů pro části expozice shrnující vývoj mincovnictví před velkou mincovní reformou krále Václava II. a dále se podílel na realizaci prezentující tuto mincovní reformu zavádějící pražský groš.

During the past 18 years, my archaeological assessment company, This Land Archaeology Inc., has investigated more than 80 19th century homesteads and farmsteads. There are similarities in what we reveal in our excavations. Most often, we discover a 19th century cellar which may represent the second-generation home on the property and sometimes
we find evidence of the much smaller cellar of the firstgeneration log house which preceded the frame house. We also uncover a variety of other features such as wells, cisterns, drains, and posts or post moulds representing the remains of fences. Privies are a welcome find in that they contain different kinds of artifacts, including liquor bottles and broken
treasured items such as a mother’s favourite candy dish. What a better place to hide something that one hopes another will not find. These privies also often produce thousands of raspberry seeds, a byproduct of the making of raspberry jellies or cordials, which were discarded in the privy to avoid attracting flies. There are other features in the subsoil as well, such as natural depressions which were filled in with soil, sometimes
containing artifacts in an attempt to level the surface of the land. Occasionally, we find evidence of ancient treefalls likely toppled by strong winds, also leaving a natural depression in the ground which had to be levelled.
    We discover a diversity of artifacts which normally include nails, window glass, mortar and plaster, and building materials remaining from the former dwellings. There are varying amounts of dinnerware—plates, bowls, cups, and saucers, discarded after being broken—along with cutlery mainly including knives, forks, and spoons. A smaller number of other items such as fragments of white clay smoking pipes, buttons, coins,
and pieces of slate writing tablets and slate pencils have surfaced too. The number and variety of all these items differs depending on the nature and extent of the excavations.
    We also uncover the bones of mammals, birds, and sometimes fish, evidence of the diet of the site’s occupants. These are examined by specialists, faunal analysts, who tell us what the preferred sources of meat were, the extent of the use of chickens, ducks, and geese in the diet, and whether fish was an important source of food.
    As part of the investigation of each homestead or farm stead, we search the historical records to find out who originally received the grant to settle the land, what conditions had to be fulfilled as part of the land grant, and who the subsequent owners of the land were during the 19th and 20th centuries.
    As I reflect on the dozens of such sites excavated since 2005, I am continually intrigued by the differences we find during our investigations. I recall two sites that were exca vated in Bowmanville where one of the cellars dug had wooden planks to hold back the sandy soils in the cellar walls. Down the street we dug another cellar and in one corner, dozens of buttons were found, suggesting a seamstress must have lived there.
    This is the fourth volume in Our Lands Speak popular series of books on the excavations undertaken by my company. Each book examines one or more of the sites excavated and tries to convey to the general public the fascinating knowledge, and subsequent contributions to local history, derived from our investigations. As readers of the first three volumes will
realize, there are significant differences in these contributions which again, are quite unique from the stories told by historians based on written documents. Each tells a special part of the story which would be less complete without the other.
    Our work at the Philip Eckardt Log House, the oldest standing residence in the City of Markham, provides yet another example of the diversity of information gained from the extensive excavations at the site. Included were the evidence for not one, but two sequential kitchen wings on the southern end of the site, the presence of a second dwelling south of the
log house, perhaps occupied by a hired hand and his family, and a wider than normal range of unusual artifacts found among the assemblage of the 105,939 artifacts recovered.
    However, this book in particular has benefited greatly from my collaboration with George Duncan, an Architectural Historian, recently retired as heritage planner for the City of Markham. George originally assisted in helping to define the extent of the excavations around the house in 2012. His documentation of the interesting process by which this
distinctive small log house survived for more than two centuries, includes the life of Philip Eckardt, one of the Berczy Settlers who emigrated to Markham township in the late 18th century. He also details the architecture of this remarkable house and the modifications to it, not only since 1948, but in the late 19th or early 20th centuries. I certainly have a much greater appreciation for this log house and its history because
of my alliance with George.
    I conclude by reiterating my reasons for creating Our Lands Speak popular series of books. As was the case with other volumes, my intention is to provide recognition to the land developers, in this case Upper Unionville Developments (TACC Developments), for their part in funding the excavations and their efforts in preserving the house. In too many
cases, the results of such excavations end up as a report on file with the Ministry of Heritage, Sport, Tourism and Culture Industries where it is seen by very few. Further, I wish to share with the general public the intriguing results of archaeology of 19th century sites in southern Ontario.
    The opportunity to revisit excavations conducted years ago and reconsider the artifacts found, as well as the knowledge gained, is a most rewarding experience.

In the second half of the 19th century, after the establishment of the military arsenal, La Spezia experienced an extraordinary growth that launched it among the emerging cities of the newborn Italian Kingdom. The issue of providing the town with a new ‘civic palace’ suited to the new size of the city, as well as to the new tasks entrusted to municipal administrations, arose in this context. The paper discusses the renovation of the old communal seat (1900-1907) and the violent controversies that accompanied it, focusing on the ‘artificial stone’ cladding of
the building: questioned not so much for aesthetic reasons, as for its costs, judged utterly exorbitant, as a result of the incompetence of local authorities and their technicians. The political crisis that followed, culminating in the commissioning of the municipality, may be considered emblematic of the tensions, conflicts and fragilities
revolving around the renovation of Italian town halls at the turn of the 19th and 20th centuries.

Based on the architectural production of the Imperial and Royal Ministry of Public Works, founded in 1908, and on its successor institutions in the Austrian and in the Czechoslovak First Republics, this article deals with the question of the representational value and the linguistic and expressive capacity of state architecture in the first half of the 20 th century. Selected examples show the differentiated picture with which this state architecture presents itself to us, its stylistic plurality as a continuum across temporal and spatial boundaries, and the decisive influence of the building environment and the actors involved on form and architectural language.

The case study deals with the professional and social rise of the Czech architect Alois Turek among the new elite of the 19th century. With the help of the prosopographic method of collective biography of elites, the architect’s changing social and professional profile is monitored in connection with increasing his economic and symbolic (social and cultural) capital and improving his position in the social field. Within his career, his social background, course of education, construction practice and public work are described. The next part of the text deals with Turek’s patronage legacy in the context of the development of the foundation movement in the conditions of the emerging national-civil society of the 19th century.

Der Artikel beschäftigt sich mit der Gründerzeit des Burgenlandes, d.h. der Zeit ab 1921, als das Gebiet des heutigen Burgenlandes zu Österreich kam. Ein Schwerpunkt liegt auf Aufbauprogramm der Landesregierung, mit Schwerpunkten im Ausbau des Verkehrsnetzes, der Suche nach einer Hauptstadt, die 1926 zur Erhebung der Freistadt Eisenstadt zum Sitz der Landesregierung des des Landtags führte. Mit der zunehmenden Urbanisierung der Stadt erfolgte eine intensive Bautätigkeit, die vor allem von Wiener und Grazer Architekten getragen wurde. Auch die Bautätigkeit in anderen, nunmehr zu Verwaltungszentren erhobenen Gemeinden wird näher untersucht. Ein eigener Abschnitt widmet sich dem Bau von Schulen und die Bautätigkeit im sakralen Bereich. Als planende Architekten treten Rudolf Perthen, Josef Csastka, weiters Franz Kaym und Alfons Hetmanek als Vertreter der Schule Otto Wagners in den Vordergrund. Vertiefend wird das Wirken Anton Plischkes beleuchtet, der vor allem in Literatur von und über seinen wesentlich berühmteren Sohn Ernst Plischke greifbar wird. Die "Gründerzeit" des Burgenlandes wurde zur Leistungsschau der besten Vertreter der großen Architekturschulen.

Der Artikel beschäftigt sich erstmals ausführlich mit dem Wettbewerb für den größten öffentlichen Bau der Zwischenkriegszeit in Österreich. Präsentiert wird eine Auswahl von ausgeschiedenen und prämiierten Projekten, darunter auch das Siegerprojekt von Karl Dirnhuber und Fred Bartosch. Zur Ausführung kam der mit dem zweiten Platz ausgezeichnete Entwurf von Rudolf Perthen, einem Schüler Otto Wagners. Seiner Person und weiteren Wirken wird ein zusätzliches Kapitel gewidmet.

At the end of the 19th century Hirschberg (now Doksy), a small town in the north of Bohemia, started to benefit from the increasing tourism. To attract more tourists many institutions, organisations and individuals in and outside of Hirschberg constructed an idealistic image of the town defining it as a spa in the centre of a beautiful countryside. In this paper we focus on how the new image of Hirschberg was formed, what it was like and how it differed from the reality. We also try to analyse the influence of this image on the memory of the Germans who had to leave Czechoslovakia after the Second World War. In their commemorative literature many parts of the erstwhile advertising material often reappear. Published in this new context they seem to have created from Hirschberg and its surroundings a local memory space that symbolizes the beauty and harmony of the lost home land.

Szoborroncsok Bonchidán és Kolozsváron. Johannes Nachtigall (1717–1761) bonchidai barokk szobrainak maradékai digitális felületen „találkoztak” újra 2024-ben, a Kolozsvár-Sétatér szökőkútjának 19. századi kerámiaszobor-roncsai egy parkolóba lassan 10 éve várják sorsuk beteljesülését. Szoborsorsok Erdélyben.

Godine 1960. izrađen je Urbanistički plan, a to je razdoblje zabilježeno kao razdoblje izrazito velike deagrarizacije i urbanizacije. Težilo se ekonomičnoj i racionalnoj gradnji, koja traži veću koncentraciju stanovnika na određenom području te bolje iskorištavanje infrastrukture. Grad je određen kao funkcionalno-prostorna cjelina, gdje su pojedine gradske funkcije odvojene (stanovanje, rad, promet i rekreacija) u zasebne 1

e tutte le Città di second'ordine della Toscana hanno un Palazzo Comunale che, per la centrale situazione, per l'ampiezza dei locali e per il carattere della Fabbrica, soddisfa pienamente alla sua destinazione. La sola capitale della Toscana che per sua maggiore importanza esigerebbe di essere anche in questa parte meglio provvista delle altre città è in peggiore condizione di tutte. 1 Con queste parole, il 14 novembre 1845, il gonfaloniere Pier Francesco Rinuccini (1788-1848) introdusse alla Comunità di Firenze il progetto di trasferire l'ufficio comunale in una nuova sede, "degn[a] di questo nome e di questa Nobil Istituzione" 2 . Fino a quel momento, le stanze del municipio si trovavano infatti all'interno del Palagio di Parte Guelfa, conosciuto anche come Palazzo di San Biagio. Si trattava di una struttura di fondazione trecentesca, con alcuni ambienti tradizionalmente attribuiti a Filippo Brunelleschi, che aveva ospitato il municipio fin dai tempi della dominazione francese 3 . Rinuccini notava che il Palagio di Parte Guelfa, nonostante si trovasse a poca distanza da piazza della Signoria e dal duomo, era nascosto negli stretti vicoli del centro ed era inaccessibile alle carrozze. Le sue dimensioni erano ridotte, gli ambienti non erano adatti a ospitare tutte le funzioni necessarie allo svolgimento delle attività del comune e la sua struttura non permetteva di immaginare crescite nell'organico. Per questo motivo, nel novembre 1845 l'ingegnere di circondario Flaminio Chiesi (1800-1884) aveva progettato un ampliamento della struttura, in relazione al prolungamento di via Vacchereccia, prevedendo 1

The Architecture of the German-speaking Community of Carniola and Styria in the Light of Artistic Connections with the Czech Lands

The paper discusses selected architectural commissions from the German-speaking community in Carniola and Styria at the turn of the 20th century. It focuses on specific examples of public buildings, such as the German Houses (Deutsches Haus), i. e. social centres for the German community, theatres, and evangelical religious buildings, highlighting the propagandistic role of these structures. Special attention is given to the artistic connections with the German-speaking community in the Czech lands (especially Moravia and the Sudetenland), which are reflected both in the architectural influence of local buildings and in the fact that the same architects worked in both areas.

The car represents an unmissable symbol of the modern age. Even though the history of automobilism is becoming increasingly popular, it is mainly limited to the cars themselves. In contrast, the segment which is as much interesting – represented by motoring buildings – regrettably still remains on the margins of the motoring public’s interest. The rapid onset of motoring remarkably affected the urbanism of cities and, at the same time, brought a whole variety of problems that were unknown until then and that needed to be solved rapidly. The specialized motoring buildings partly became the answer – garages, parking houses, and gas stations. In particular, parking was considered one of the main problems. That manifested in the construction of garages which developed from the knee rails into monumental “temples of automobilism” and eventually became an indispensable and inevitable part of modern cities. Northern Bohemia, industrially developed, belonged to the most motorized areas of former Czechoslovakia. That is one of the reasons why a higher number of signs of the beginnings of automobilism have been preserved and can be found in the districts of Liberec and Jablonec in comparison with the other regions – whether they are tollbooths, gas stations, or garages hidden behind magnificent facades of houses and industrial villas. The presented set of motoring buildings eloquently illustrates the precipitous and dynamic development of automobilism during seven decades in the 20th century. That explains as well architectural solutions of each one of the objects ranging from a purely utilitarian concept, going hand in hand with being strictly functional, to more complex buildings which also fulfilled a representative function. The history of architecture is not only a presentation of significant buildings by significant architects but also various building types and more modest, often anonymous, purely utilitarian objects. These objects, considered uninteresting at first glance, often hide precious information enriching the usual historical image of the cities and villages. They include garages and gas stations, which show us the different changes in their formal appearance, and, similarly, the stabilization of the layout of buildings. This complicated and multi-layered problematics is mirrored even by the book’s conception that tries to cover the phenomenon of automobilism from different points of view. Therefore, more general parts dedicated to club activities, designing of cars, vanity plates, and pavement toll, along with chapters related to the motoring buildings themselves, are presented. The text offers as well the necessary look abroad, which enables the local development to be placed in a broader context in a way that allows us to get an insight into the history and development of automobilism from a greater perspective.

El presente artículo analiza los proyectos y las operaciones del ingeniero Arsène Lacarrière Latour en la isla de Cuba. Este participó en la planificación y dirección de determinadas obras públicas por encargo del Ayuntamiento de La Habana y el Real Consulado. El objetivo es examinar cada una de las intervenciones para identificar los procedimientos técnicos, conocer su influencia con relación a la formación y experiencia del facultativo, averiguar el grado de consecución y, asimismo, descubrir la gestión de las corporaciones locales en cada caso. La documentación consultada para este estudio se ha obtenido del Archivo Histórico de la Oficina del Historiador de la ciudad de La Habana, del Archivo General de Indias, del Archivo Histórico Nacional, de la Biblioteca Nacional de España y de la Cartoteca del Archivo General Militar de Madrid.

Catalogue of the unique collection of 19th century manuscript maps found in the Graphic Archive of the Barcelona School of Architecture of the UPC and which come from the Llotja collections. These documents, created by architects, master builders and surveyors, offer an exceptional view of the cartographic techniques used at the time.

El alumbrado público de gas como práctica tecnológica en la sociedad cienfueguera . Universidad y Sociedad, 11(3), 96-103. Recuperado de index.php/rus RESUMEN La relación tecnología-sociedad evidencia aún poca presencia en las investigaciones históricas nacionales. En consecuencia, el artículo presentado se propone explicar la integración del alumbrado público de gas, como práctica tecnológica, a la sociedad cienfueguera entre 1857 y 1890. En el proceso investigativo, fue necesario acudir a los presupuestos teóricometodológicos articulados por la historia social de la tecnología, en particular la noción de Práctica Tecnológica. En la memoria presentada, se identifican los elementos organizativos y técnicos que distinguieron la integración del alumbrado público de gas en la sociedad cienfueguera. Asimismo, se argumentan los efectos generados por este para el proceso de urbanización, la salud y seguridad de los cienfuegueros, la economía y la vida cultural centro-sureña. La base informativa de la investigación está compuesta por fuentes documentales, bibliográficas y hemerográficas ubicadas en instituciones locales, nacionales y extranjeras. El estudio revela su novedad, en primer término, en el orden empírico, a través de los elementos que se exponen acerca del alumbrado público cienfueguero y particularmente el de gas: su despliegue técnico y organizativo en el entorno urbano cienfueguero y sus interacciones con la economía, la política y la cultura. Por otra parte, se ofrece además una orientación metodológica interdisciplinar que puede resultar útil en investigaciones con objetos de estudio afines, que se acometan en lo adelante. Palabras clave: Alumbrado de gas, práctica tecnológica, sociedad cienfueguera, historia social de la tecnología.

In early modern Italy, the “town hall” did not represent a clearly defined or recognizable category or term, let alone a specific architectural typology. It was only after the French Revolution that the foundations were laid for a profound rethinking of the role of municipal buildings, not only as administrative centers but also as symbolic spaces. This established a model that was soon adopted in Italy as well. To simplify a more complex evolution, we could say that the history of 19th-century Italian town halls is the story of the spread of this new French-inspired typology and its
hybridization with the old ancien régime’s local models. This gave rise to two recurring but contradictory trends: on the one hand, the growing demand for space for municipal bureaucracy; on the other, the need to turn the town hall into a highly patriotic monument. The tension between these two trends is the leitmotiv thread of the history of Italian
town halls at the turn of the 19th and 20th centuries.

Всеки град има своите „топоси“ – забележителни места, свързани с история и знаци на паметта, със специфична атмосфера и с активно присъствие на местните хора. Целта на текста е да се представят най-интересните „топоси”, разположени в главните площади на обединения през 1960 г. град Смолян. Смолян (до 1934 г. Пашмакли), Райково и Устово имат продължително самостоятелно селищно развитие със собствена история и много
достойнства, които са вписани в пространството на съвременния град. Направен е опит за тематично представяне на обособени пространства и знаци на идентичност, различни по време на изграждане и с различни инициатори, разнообразни по вид и по идеен смисъл. Акцентирано е върху силата им за
притегляне на публика и отношението на местните хора към тях – обща идея и грижа, присъствие в колективната памет и в празнични прояви.
Ключови думи: паметник, скулптура, градско пространство, празнуване, Смолян

Sažetak U radu se govori o stambenim zgradama obitelji Vranyczany-Dobrinović što ih je u Zagrebu i Laduču projektirao bečki arhitekt Otto von Hofer. Na temelju novonađenih nacrta Hoferu se pripisuje i (su)autorstvo dviju zgrada kojima se dosad nije znao ili se pogrešno određivao autor. Pokušava se rasvijetliti i utjecaj Hoferova poslodavca, arhitekta Carla von Hasenauera, te-na temelju fotografija i arhivskih izvora-rekonstruirati način uređivanja interijera hrvatskoga visokoga plemstva.

U pojedinim prostornim rješenjima, ali primarno u oblikovanju pročelja i uređenju unutrašnjosti sjemeništa, arhitekt pokazuje izniman senzibilitet prema kontekstu. On uvažava lokalnu folklornu tradiciju, a-prema vlastitim riječima-susjedstvo biskupskoga dvora potaknulo ga je da u projektu koristi i elemente baroknoga oblikovnoga govora. U opremi enterijera i u detaljima na fasadi naći će se i secesijski i motivi bliski art décoovskom ekspresivnom stilskom izričaju. Takvo smjelo kombiniranje različitih stilskih elemenata jedinstveno je u hrvatskoj arhitekturi prvih desetljeća 20. stoljeća.

U radu se obrađuje razvoj (Kraljevske) Nautičke škole u Bakru od njena osnutka 1849. godine pa do kraja Prvog svjetskog rata. Kroz kratki povijesni kontekst prikazuje se Bakar kao važno pomorsko središte 18. stoljeća, ali i problemi u kojima se grad zatekao u posljednjoj četvrtini 18. i početkom 19. stoljeća. Nakon pregleda razvoja škole i reorganizacija, koje su školu zatekle u tih gotovo 70 godina, obrađuju se teme kao što su pitanje hrvatskog jezika, školskih brodova, političkog djelovanja profesora i učenika škole te stvaranje kadra trgovačke mornarice. U zadnjem dijelu donosi se zaključak i ideje za buduća istraživanja.