Historicism in Architecture Research Papers

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- by Dragan Damjanovic
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- 52
  Art History, Art, Architecture, Nineteenth Century Studies

Zusammenfassung Unserer Stadt zur ehre. Architektonische entwürfe des deutschen Hauses in Brünn Aufgrund der zeitgemäßen Presse werden in dem Beitrag verschiedenste architektonische Entwürfe des Deutschen Hauses in Brunn erwähnt,... more

Zusammenfassung

Unserer Stadt zur ehre.
Architektonische entwürfe des deutschen Hauses in Brünn
Aufgrund der zeitgemäßen Presse werden in dem Beitrag verschiedenste architektonische Entwürfe des Deutschen Hauses in Brunn erwähnt, charakterisiert und aus heutiger Sicht betrachtet. Im ersten Teil handelt es sich um das Projekt von J. Laizner aus dem Jahre 1872, welches sich aufgrund seiner nächsten Werke in groben Zügen rekonstruieren lässt. Weiter wird der Entwurf von F. Wannieck und seiner Fachgenossen aus dem Jahre 1882 dargeboten — einschließlich der verschiedensten, in der Presse publizierten Varianten, die schematisch auf den herausgegebenen Karten präsentiert wurden. Zweiter Teil des Beitrages konzentriert sich auf den architektonischen Wettbewerb im Jahre 1887 wie auch auf die Umstande, die ihm vorangingen. Detailliert wird das Bauprogramm behandelt und es wird auch erläutert, dass die Ausrufung des Wettbewerbs für alle Architekten der deutschen Angehörigkeit eher Vorteil als Begrenzung wurde. Erläutert wird weiter, warum in der Kommission T. von Hansen und K. von Hasenauer fehlten und wie großes Interesse für den Wettbewerb herrschte. Aufgrund des zeitgemäßen Textes von A. Prokop versuchten wir zu rekonstruieren, nach welchen Kriterien die Kommission ihre Stellung nahm. Wie sich zeigte, wurde zum wichtigsten Punkt die finanzielle Seite, weil die meisten Projekte den maximalen Geldbetrag überschritten. Ähnlich wichtig waren auch die Bedürfnisse, die den Stil betrafen, welcher, obwohl nicht geplant, auf die nordische Renaissancearchitektur hingewiesen hat. Einzelne Wettbewerbsprojekte wurden zusammengefasst und aufgrund der zuganglichen Informationen vorgestellt. Die größte Aufmerksamkeit wurde natürlich den 5 Siegerprojekten (von H. Ende und E. Böckmann, G. Wanderley, M. Haas, F. Schachner wie auch von S. Neckelmann und A. Hartel) gewidmet, die auch herausgegeben wurden. Bei jedem Projekt wird sein Grundriss wie auch die Seite des Stils erwähnt und es wird seine innere Gestaltung und äußere Wirkung bewertet. Im breiteren Kontext wurden die möglichen Vorlagen gesucht (z. B. Wiener Staatsoper als Vorlage des Entwurfes von Wanderley oder die Waffenkammer in Gdansk als Vorlage des Projektes von Ende und Böckmann) und die zeitgemäßen Kommentare und Meinungen zitiert. Der Beitrag bemüht sich auf den Entschluss der Kommission das Licht zu werfen und kommt zum Resultat, dass der Wettbewerb ein hohes Niveau präsentierte. Weil aber die meisten Projekte den Bedingungen nicht entsprachen, wurde also auch die Auswahl begrenzt. Zum Glück gehörte zu den Projekten auch das sorgfältig entworfene Projekt der hohen Qualität von Ende und Böckmann, das auch zu Recht den ersten Platz gewann.

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- by Jan Galeta
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- 19
  Art History, Architecture, Nationalism, Architectural History

The Concept of Gesamtkunstwerk in Architecture and Architect A. W. N. Pugin (in Russian). The concept of Gesamtkunstwerk or total work of art formulated by Richard Wagner is rarely applied to architecture, apart from 20th-century... more

El termalismo es un aspecto de la cultura estrechamente vinculado con la Historia del Arte por los extraordinarios ejemplos arquitectónicos levantados para acoger a un público doliente u ocioso. En Aragón, junto con el de Panticosa... more

Neo-Gothic emerged in Croatian architecture rather late in comparison to Great Britain and the majority of countries in mainland Europe. Crucial in spreading the use of the style were the influences from the areas of present-day Germany,... more

lanak govori o dvojim orguljama danaπnje -akovaËke katedrale, ranijima iz 1882., izraenim kod bavarske tvrtke Steinmayer s kuÊiπtem izraenim prema projektima beËkog arhitekta Friedricha Schmidta i njegovog uËenika Hermana Bolléa, koje... more

Study deals with attempt to build a seat of Moravian Diet in Brno, Moravia. The project of August Prokop (and also of Josef Blitzfeld and Joseph Hudetz )were appreciated in first competition (1868), and in the second (1874) the joint... more

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- by Jan Galeta
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- 17
  Art History, Architecture, Architectural History, History of Art

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- by Jan Michl
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- 12
  Design, Design education, Abstract Art, Functionalism

In: Ostrava. Příspěvky k dějinám a současnosti Ostravy a Ostravska, Ostrava 2016, ISBN 978-80-906091-7-4 The oldest part of Nádražní street in Moravská Ostrava has udergone a series of transformation during the course of its history -... more

In: Ostrava. Příspěvky k dějinám a současnosti Ostravy a Ostravska, Ostrava 2016, ISBN 978-80-906091-7-4

The oldest part of Nádražní street in Moravská Ostrava has udergone a series of transformation during the course of its history - from rural outskirts, to a quarter known for its exclusive villas, ultimately become todays wide urban boulevard. This article fosuces on the socond of the above-mentioned phases, characterised by a pastiche form of architecture known as Historicism. During the 1850s and 1860s a number of Ostravas prominent citizens built theirs villas here - ranging from local politicians, builder Josef Kraus, builder Franz G. Böhm and doctor Otto Andrée, in the 1890s a villa of stonemason Josef Becke was built here and in the first decade of 20th centurythe villa for Josef Krauss son Karl was built. The article traces the historical development of this part of Nádražní street in terms of its architecture, urban planning, and transport system - including the widening of the street due to tramline in 1890s or the construction of the new streets in vicinity. The autor then focuses on the architectural history of individual villas - their layout and funcional use, the people who lived in them, a stylistic analysis, and deails of theirs owners and architects.

Počáteční úsek Nádražní ulice v Moravské Ostravě se během své existence proměnil od venkovského předměstí, přes vilový okrsek, k velkoměstskému bulváru. Předmětem článku je ona prostřední etapa doby historismu v architektuře, kdy zde na přelomu 50. a 60. let 19. stol. vyrostly vily místních politiků, stavitele Josefa Krause, stavitele Franze G. Böhma a báňského inženýra Rudolfa Sauera. V 80. letech pak vila politika a lékaře Otto Andréeho, v 90. letech vila kameníka Josefa Beckeho a v 10. letech 20. stol nová vila Krausova syna Karla. Článek jednak ukazuje, jak se toto místo na začátku Nádražní vyvíjelo stavebně, urbanisticky i komunikačně, zabývá se rozšířením ulice pro výstavbu tramvaje v 90. letech, či trasováním nových ulic v okolí. Jednak se vilu po vile zabývá stavební historií objektů, jejich půdorysným rozložením a využitím, obyvateli, stylovou analýzou a zaměřuje se na postavy majitelů a architektů.

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- by Jan Galeta
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- 14
  Czech History, Architectural History, Art Nouveau, Moravia

Vladislav Degtyarev. Architect Augustus Welby Northmore Pugin and the Category of Historicism (in Russian). Turning to the past in order to solve the problems of the present is a very fruitful, though not the only strategy for the... more

Vladislav Degtyarev. Architect Augustus Welby Northmore Pugin and the Category of Historicism (in Russian).

Turning to the past in order to solve
the problems of the present is a very fruitful, though not
the only strategy for the development of cultural identity.
The activity of the English architect Augustus Welby Northmore Pugin is interpreted in literature as one of the key phenomena of historicism in the 19th century. However, the picture of the world, revealed in the writings of the architect, is decidedly non-historical. A.W.N. Pugin, whose activities unfolded in the 1st half of the 19th century, could have chosen between three strategies of using the past — classicism, historicism and antiquarian tradition (passeism). Classicism is actively changing the world in the name of ideal outside of the historical context. Historicism
deals with cultures of the past, but does not pretend to total transformation of the world on the model of any of them. Among many models, he is looking for one, which is not ideal, but complimentary to his mood or to the mood of the moment. Antiquarian tradition deals with some previous state of its culture and seeks (in some cases) to restore it. The figure of A.W.N. Pugin is important in that context as an example of serious and straight connection to the historical prototypes, combined with the aesthetic criticism of the contemporary society. Due to the peculiarities of his upbringing and way of life, A. W. N. Pugin took the architecture of the 1st half of the 19th century from the sidelines as the outcast or underdog. Nevertheless, he managed to have a significant impact on it, and the article attempts to show that this influence was a natural consequence of his views. World vision of A. W. N. Pugin and his writings (especially in “Contrasts”) are entirely anachronistic to his time, since they extend antiquarian traditions of the 16th and 17th centuries. It is paradoxical, but it is this anachronism allowed him to become a reformer of architecture: not recognizing the significance of the changed social conditions, he tried to return architecture to a kind of ideal condition, assuming that was the Gothic.

Keywords: Pugin, historicism, architecture, history, concepts of the past.

There has been an increasing need to explain the geometric representation of the Pyramid of Cheops in Egypt. Some divergent approaches have been attempted, which need further exploration. The aim of this research paper is to unfold the... more

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- by Fouad Ghoussayni, Ph.D.
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- 6
  Geometry, Void, Symmetry, Cheops

Župna crkva u Granešini pripada skupini najoštećenijih građevinama u potresu od 22. 3. 2020. Ovaj članak, objavljen 2011., s priloženim ilustracijama, nastoji podsjetiti o kojem se važnom spomeniku neogotike u Hrvatskoj radi. The parish... more

Župna crkva u Granešini pripada skupini najoštećenijih građevinama u potresu od 22. 3. 2020. Ovaj članak, objavljen 2011., s priloženim ilustracijama, nastoji podsjetiti o kojem se važnom spomeniku neogotike u Hrvatskoj radi.
The parish church in Granešina belongs to the group of the most damaged buildings in the earthquake that hit Zagreb on 22 March 2020. This article, published in 2011, with the accompanying illustrations, seeks to remind us of this important Neo-Gothic monument in Croatia.

Slijedi sažetak teksta:
Župna crkva Rođenja Blažene Djevice Marije u Granešini, mjestu sjeveroistočno od Zagreba (danas u granicama grada), na obroncima Medvednice, jedan je od najvažnijih spomenika sakralne arhitekture historicizma središnje Hrvatske. Zahvaljujući patronatstvu zagrebačkog Stolnog kaptola nad župom projektiranje nove građevine, na mjestu starije srednjovjekovne barokizirane crkve stradale u potresu 1880. godine, povjereno je arhitektu Hermanu Bolléu koji je, usprkos ograničenim sredstvima koje je imao na raspolaganju realizirao u Granešini jednu od svojih najranijih i najkvalitetnijih novosagrađenih sakralnih građevina.
Crkva je podignuta 1885. – 1886. kao trobrodna jednotoranjska neogotička bazilika s transeptom i poligonalnim svetištem. Oblikovno rješenje Bollé je izveo pod snažnim utjecajem crkve svete Brigitte u Brigittenauu, predgrađu Beča, podignute prema projektima Friedricha Schmidta 1867-1874. godine.
Tijekom 1887. opremljena je novim oltarima, propovjedaonicom, orguljama, klupama i ispovjedaonicama, izvedenima po Bolléovim projektima od strane uglednih zagrebačkih obrtnika (Slavoljuba Wagmeistera, Friedricha Häckera, Antuna Mesića i drugih). Od značajnijih dijelova opreme stare crkve zadržana je u novoj građevini samo kasnogotička skulptura Bogorodice s Kristom u naručju, izrađena vjerojatno u drugoj polovini 15. stoljeća.
Unutrašnjost je oslikana 1899. najvećim dijelom dekorativnim oslikom s nekoliko figurativnih polja. Izradu oslika započeo je Richard Rojnik, no, zbog sukoba sa župnikom, završio je samo svodove. Skupina slikara koje je nadzirao Ivan Tišov: Josip i Mijo Butković, Ivan Zenc, Antun Špende i Neihäusler izveli su ostatak dekorativnog oslika zidova brodova i svetišta crkve, a Lovro Sirnik figurativne kompozicije. Bogata polikromija oslika i variranje motiva daju postavljaju dekorativno slikarstvo granešinske crkve na istaknuto mjesto u umjetnosti historicizma u Hrvatskoj.

No está permitida la reproducción total o parcial de este libro, ni su tratamiento informático, ni la transmisión de ninguna forma o por cua lq uier medio, ya sea electrónico, mecánico, por fotocopia, por reg istro u otros métodos, ni su... more

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- by Javier Pérez Gil
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- 19
  Art History, Art, Architecture, Architectural History

Knjiga predstavlja zbornik radova povodom dovršetka dugogodišnje obnove crkve sv. Marka u Zagrebu. Kroz šest članaka različitih autora (Zorislav Horvat, Petar Puhmajer, Dragan Damjanović, Zrinka Marković, Vladanka Milošević, Edita Šurina,... more

Conservator in the Conservation Department of the Royal Institute for Cultural Heritage (IRPA-KIK, Brussels), Wivine Wailliez is at the origin of the wallpaper inventory for this institution. Contacted to suggest wallpapers for the Maison... more

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- by Wivine Wailliez and +1
  Shanna Caboz Cabeleira
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- 10
  Heritage Conservation, Art Nouveau, Restoration of Historical Buildings, Aesthetic movement

Iako je utjecaj Ise Kršnjavoga na arhitekturu historicizma u Hrvatskoj podrobno istražen kroz knjige i članke Olge Maruševski, pojedini segmenti njegova upliva tek su fragmentarno analizirani. Pokazalo se, naime, detaljnim pregledom... more

Iako je utjecaj Ise Kršnjavoga na arhitekturu historicizma u Hrvatskoj podrobno istražen kroz knjige i članke Olge Maruševski, pojedini segmenti njegova upliva tek su fragmentarno analizirani. Pokazalo se, naime, detaljnim pregledom zagrebačkog dnevnog tiska s kraja 19. stoljeća, da je Kršnjavi objavio daleko veći broj tekstova nego što je ranije bilo poznato. U ovome se članku pozornost usredotočuje samo na vrijeme kada je na polju pisane riječi bio najaktivniji – kraj 1870-ih i početak 1880-ih godina. Nastoji se na prvome mjestu pokazati na koji je način utjecao na pojavu visokog historicizma u hrvatskoj, ponajprije dakako zagrebačkoj arhitekturi, zatim kojim se sredstvima služio pri pokušaju unošenja promjena u hrvatskoj arhitekturi te naposljetku koje je stilove preferirao. U vrijeme kada se Kršnjavi nalazi na školovanju u Beču i Münchenu, te na studijskim putovanjima po Njemačkoj i Italiji, krajem 1860-ih te u prvoj polovini i sredinom 1870-ih godina demografski, gospodarski pa i kulturni uzlet Zagreba tek je započinjao. Gradilo se dosta, međutim, neusporedivo manje u odnosu na situaciju s kraja 19. stoljeća. Po uzoru primarno na Beč, koji je za Kršnjavoga najvažnija prijestolnica arhitekture 19. stoljeća, koja kvalitetom daleko nadmašuje dva druga, po njemu, ključna umjetnička središta toga doba, Pariz i München, on pokušava unijeti suvremene tendencije i višu kvalitetu u zagrebačku arhitekturu. Nekoliko je osnovnih načina kojima je pokušao pokrenuti reformu, „obnovu“ hrvatske arhitekture i umjetnosti uopće: osobnim vezama te utjecanjem na organe vlasti i crkvene institucije, neposrednim uplivom na arhitekte (ponajprije Hermana Bolléa), osnivanjem institucija, te naposljetku tekstovima u novinama i časopisima. Eugene Emmanuel Viollet-le-Duc, Rudolf Eitelberger von Edelberg, Georg Gottlob Ungewitter, August Reichensperger, Augustus Welby Northmore Pugin, Karl von Lützow, samo su neki od istaknutih povjesničara i teoretičara arhitekture te arhitekata čija je djela, kako je jasno iz korespondencije, članaka i knjiga, Kršnjavi izuzetno dobro poznavao. Niti jedan autor, međutim, nije na njega imao takav utjecaj kao nesumnjivo najvažniji teoretičar arhitekture druge polovine 19. stoljeća, Gottfried Semper, osobito njegovo djelo Der Styl in den technischen und tektonischen Künsten oder Praktische Ästhetik. Od Sempera preuzima teoriju o porijeklu arhitektonskih oblika u tekstilnoj umjetnosti, nazore da svi ornamenti moraju na građevini biti povezani s konstrukcijom, naklonost prema intenzivnoj polikromiji, itd. Poput Sempera, odbacivao je miješanje elemenata raznih stilova na jednoj građevini karakteristično za arhitekturu ranog historicizma - romantizma, kao i neuspjele pokušaje stvaranja posve novoga stila. Smatrao je da arhitektura treba biti utemeljena na tradiciji, no da se treba oslanjati samo na najbolje realizacije stilova iz prošlosti. Od stilova na prvome je mjestu preferirao gotiku, slijede potom renesansa (u svojim raznim, nacionalnim varijantama), bizantski te takozvani hrvatski narodni stil. Svoje će arhitektonske nazore u Hrvatskoj realizirati ponajprije preko arhitekta Hermana Bolléa, kojega je smatrao jedinim kvalitetnim zagrebačkim arhitektom i kojemu je osigurao realizaciju cijeloga niza važnih javnih i sakralnih građevina.

Tekst govori o arhitekturi i prostornom planiranju groblja u Hrvatskoj od vremena vladanja Josipa II do danas. Obrađeni su najvažniji primjeri grobljanskih kompleksa, te važnije grobljanske kapele i mauzoleji.

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- by Dragan Damjanovic
- •
- 107
  Art History, Romanticism, Architecture, Landscape Architecture

Originating from the fields of philosophy and history, the term historicism is often used by architectural historians. In historiography about 20th century architecture, the term historicism is most commonly associated with traditionalist... more

Originating from the fields of philosophy and history, the term historicism is often used by architectural historians. In historiography about 20th century architecture, the term historicism is most commonly associated with traditionalist pre-Second World War buildings, designed with the eclectic use of historical styles. Considered anachronistic and outdated, this architecture is widely neglected in architectural histories of the 20th century, most of which are focused on the Modern Movement, or other modernising tendencies leading toward it. However, in reality, modernising architecture constituted the minority of the overall building construction during the first four decades of the twentieth century. Inspired by architectural history, the traditionalist – or historicist, as numerous historians have dubbed it – architecture was the period’s mainstream. Aiming to contribute to the comprehensiveness of the histories of 20th-century architecture, this research addresses this issue. It is focused on the pre-Second World War architectural production inspired by principles, forms, and elements from history. The main commercial throughway of the New Zealand’s biggest city, Queen Street in Auckland, was selected as a case study. Attracting some of the largest public and private investments in the country, Queen Street architecture was designed by the most renowned architects of the period and widely appreciated by the public. Therefore, it is considered as a representative sample that reflects broader architectural tendencies in New Zealand.
To develop a theoretical framework for the analysis of historicism in the example of Queen Street architecture, the thesis explores the meaning of the concept in its native fields of philosophy and history. It continues by discussing the use of the term in the context of architectural historiography. The thesis answers the questions whether historicism can be applied in research of architecture, and, if so, what is its meaning in the context of architectural history? Attempting to understand the essence of traditionalist design methodology, the thesis seeks to find the motivation behind the eclectic use of forms from the architectural past. What were the sources of influence and the main principles that these architects were following?
This thesis shows that a clear distinction should be made between two topics from architectural history – (1) historicism and (2) the pre-Second World War traditionalist architecture of the 20th century. This thesis argues that an historicist outlook marked wider creative achievements of an epoch, and that architecture of the period approximately ranging from the 1750s to the 1950s did not evade its influence. In comparison, the topic of the traditionalist historicist architecture of the 20th century is a narrower one, exclusively focused on the pre-Second World War architectural production inspired by history, and developed on historicist principles. This thesis considers traditionalist architecture as but one of the many historicist modes.

Mało kto spośród oglądających ołtarz głów_ ny w katedrze na Wawelu zdaje sobie spra\Mę' że ,ma przed sobą jedynie kopię ('wykorra'ną z wykorzystaniem oryginalnych elemerrtów) retabu-Ium ufurrdo\ł/anego w połowie XVII wieku przez biskupa... more

Con la aparición de corrientes historicistas europeas que buscaban revivir el pasado artístico, a menudo se sacrificaba la veracidad por el amor a exóticas influencias provenientes de ultramar. Este es el caso del neomudéjar que se cuajó... more

juin 2024 : ajout de nouvelles découvertes et illustrations, avec des hyperliens vers celles-ci

M. Babey

os gabinetes árabes realizados en el siglo pasado en las residencias de la aristocracia y de la alta burguesía constituyen una de las manifestaciones más características del neoarabismo que, más como una moda que como una seria... more

Within the Austro-Hungarian Monarchy, Zagreb was always a receptive area – a city that imported, mainly with a certain delay, technological innovations, new concepts of urban planning, novel approaches to the construction of municipal... more

Knjiga govori o povijesti građevnog sklopa Velike stancije u Savudriji, zvane još i vila Cesare. Riječ je je ladanjsko-gospodarskom zdanju podignutom u 19. stoljeću, kojeg čini velika palača s tornjem te gospodarski objekti, danas većinom... more

Knjiga govori o povijesti građevnog sklopa Velike stancije u Savudriji, zvane još i vila Cesare. Riječ je je ladanjsko-gospodarskom zdanju podignutom u 19. stoljeću, kojeg čini velika palača s tornjem te gospodarski objekti, danas većinom u ruševnom stanju. Knjiga se temelji na povijesnim i konzervatorsko-restauratorskim istraživanjima, provedenima u svrhu obnove stancije. Razmatra se povijest vlasnika kroz arhivske dokumente, građevni razvoj stancije, arhitektonske značajke i regionalni kontekst izgradnje. U prvom dijelu obrađuje se vlasnička kronologija stancije koja se iščitava iz arhivskih zapisa te kartografskih i drugih prikaza. Analiza građevinskih struktura pokazala je da je stancija građena u više faza. Prva faza predstavlja zapravo raniju građevinu, čiji su elementi sačuvani u zanemarivoj mjeri, a druga se datira u sredinu 19. stoljeća, kada stancija dolazi u vlasništvo piranskog plemića Angela Fabrisa, koji ondje uspostavlja imanje za uzgoj dudova svilca. Podiže ladanjsku stambenu palaču (vilu), veliku staju i svilogojsku manufakturu. Godine 1877. vlasnikom postaje tršćanski brodovlasnik i industrijalac Carlo Cesare koji znatno nadograđuje palaču i podiže visoki toranj u karakterističnom stilu gotico quadrato, nadahnut dvorcem Miramare i zgradom arsenala Lloyd Triestino u Trstu. Cesare kontinuirano obnavlja stanciju te ondje uređuje i raskošni ladanjski vrt. U kontekstu prostornih i oblikovnih značajki stancije, detaljno se razmatra njezino unutrašnje uređenje, u svjetlu novopronađenih dekorativnih zidnih slika s kraja 19. i početka 20. stoljeća, a kojima su, u više navrata, bile oslikane brojne prostorije. Ističu se kompozicije vegetabilnih ornamenata i arabeski, zatim oslici koji oponašaju izgled tapeta, dok su posve osebujni prikazi groteski na stropu spavaće sobe u tornju, s prizorima zmijolikih zmajeva i urni sa ženskim glavama, nastali početkom 20. stoljeća. Knjiga također govori o stilskim osobinama arhitekture stancije i stilu gotico quadrato u okviru regionalne arhitekture, te primjerima iz osobito referentnog područja Istre i Furlanije. U zaključku se utvrđuje loše današnje stanje stancije i perspektive za obnovu.

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- by Pierfrancesco Palazzotto
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- 48
  Art History, Architecture, Conservation, Medievalism

Having no political independence, Croatia rarely had an opportunity to build its own pavilions at great exhibitions in the 19th century. Exceptions were only the exhibitions organized on the territory of the Austro-Hungarian Empire among... more

Having no political independence, Croatia rarely had an opportunity to build its own pavilions at great exhibitions in the 19th century. Exceptions were only the exhibitions organized on the territory of the Austro-Hungarian Empire among which the most important was the Millennium Exhibition in Budapest in 1896 where Croatia was represented with four large pavilions. The participation in the exhibition reflected the then political situation in which Croatia was part of Hungary and as such it was obliged to be involved in the exhibition in order to demonstrate the political connection between the two countries. It was also an opportunity for the Croatian political representatives headed by the pro-Hungarian viceroy (ban) Dragutin Károly Khuen-Héderváry to show their loyalty to Budapest. The Croatian opposition tried to organize a boycott of the exhibition but it failed in that attempt because Khuen was supported by many important intellectuals, especially by the first Croatian art historian Iso Kršnjavi. All four of Croatian pavilions for the 1896 exhibition in Budapest were envisaged to be constructed on the site covering 11000 m². Three pavilions were designed by Zagreb- based architect: Vjekoslav Heinzel designed the main pavilion for exhibits related to industry, crafts and agriculture, the tasting pavilion was the work of Hönigsberg and Deutsch Architectural Office, while the forestry pavilion was designed by Herman Bollé. Design of the art pavilion was entrusted to the Budapest-based architects Flóris Korb and Kálmán Giergl, and its construction to the Danubius building company. The characteristic features of all the pavilions were rich decoration and a dynamic articulation of the facades and roofs. However, the major differentiating element among the four structures was the style. The main “industrial” pavilion was built in a style which was a cross breed between Neo-Renaissance and metal-and-glass structures, the tasting pavilion was Neo-Baroque, and the forestry and hunting pavilion was marked by features of a special “Croatian vernacular style”. With its mixed Neo-Renaissance and Neo-Baroque motifs and early Secessionist decoration the style of the art pavilion was the most modern. The structure of the pavilion was transferred to Zagreb and situated on King Tomislav Square were it still stands serving as a gallery under the name of Art Pavilion. The original designs by Korb and Giergl for the pavilion were modified by Ferdinand Fellner and Hermann Helmer when it was erected in Zagreb. The aim of the paper is to provide an analysis of these architectural projects as well as the political circumstance of the Croatian participation in the 1896 exhibition in Budapest.

Ironia, distanza e contrasto tra il poeta e il mondo. Ariosto e Tasso aIle soglie della modernlta Christian Rivofetti 213 245

Art exists and changes through time, but in what form is such change encoded in time, and vice versa? How are we best to describe and understand the restless and turbulent currents, tides, and storms of artistic movement that unfold... more

Art exists and changes through time, but in what form is such change encoded in time, and vice versa? How are we best to describe and understand the restless and turbulent currents, tides, and storms of artistic movement that unfold through time? Can our histories be histories yet avoid arresting and sedimenting the time-of-art into a lithic epochal stratigraphy? Despite the strong self-critical trends and powerful new methodologies of recent decades, the history of art at the turn of the millennium remains in many ways closely attached to a nineteenth-century stratigraphie practice (with origins stretching back to Vasari and Petrarch): the familiar system of Romanesque, Gothic, Renaissance, Baroque, and so on, and subcategories (and parallel systems in non-Western zones). One might think that this system would by now have been fully historicized, manifest mainly as quaint traces of an archaic discourse. This is far from being the case. Most scholars, of course, realize that all of these terms are problematic and that they are interrelated in a tangle of often perverse, perplexing hierarchies, yet it seems difficult for many of us to imagine art history without this mapping. This group of essays grew out of a College Art Association session (2000) that I chaired, which sought to interrogate this antiquated diachronic system, posing two questions: In concrete terms of specific case studies, how does it continue to affect art historical practices? Second, is such a stratigraphy of discrete historical spaces, defined stylistically or otherwise, necessary to chronology and the diachronics of practice, or are there possible alternatives? These questions were not conjured out of thin air but stemmed from problems that deeply affect my own work in the trecento, early Renaissance, and northern Gothic architecture. It is out of the transhistorical perspective of my teaching and scholarship that metacritical questions have emerged and risen to a state of urgency in my thinking. In Dominion of the Eye, for example, one of my principal aims was to deconstruct the hierarchical, stratigraphie layering of quattrocento over trecento, the still all-to-widely practiced submergence of the medieval by the Renaissance in the domain of urbanism as well as in major aspects of the other arts, despite all the protests of self-reflective awareness about this question.

In the late 1870s the dominance of the Italian Neo-Renaissance style in Croatian residential and public architecture and the Gothic style in church architecture was superseded by the German Neo-Renaissance style introduced by architect... more

1 Dieser Artikel ist eine verkürzte und umgearbeitete Version der Magisterarbeit, die unter der Aufsicht von Prof. Dr. hab. Wojciech Ba³us geschrieben und im Kunsthistorischen Institut der Jagiellonen-Universität verteidigt wurde. Ich... more

Obitelj Pongratz pripada najvažnijim poduzetničkim obiteljima Hrvatske i Slovenije u drugoj polovici 19. i prvoj četvrtini 20. stoljeća. Usprkos njezinoj izrazitoj važnosti ne samo za gospodarsku nego i za kulturnu povijest ovih prostora,... more

Obitelj Pongratz pripada najvažnijim poduzetničkim obiteljima Hrvatske i Slovenije u drugoj polovici 19. i prvoj četvrtini 20. stoljeća. Usprkos njezinoj izrazitoj važnosti ne samo za gospodarsku nego i za kulturnu povijest ovih prostora, njezine naručiteljske aktivnosti do sada su izuzetno slabo istražene. Među brojne gotovo nepoznate epizode ubraja se i naručivanje triju projekata za rezidencijalne objekte ove obitelji kod jednog od najslavnijih arhitektonskih biroa kraja 19. i početka 20. stoljeća u Austro-ugarskoj Monarhiji, ateljea Fellner & Helmer, projektanata brojnih kazališnih zgrada, ali i robnih kuća, bankovnih zgrada, obiteljskih mauzoleja, dvoraca, gradskih stambenih palača i hotela na području čitave Srednje Europe, pa i šire. U povijesti materijalne kulture Zagreba, sjeverozapadne Hrvatske i Slovenije Pongratzi počinju igrati ključnu ulogu ponajprije zahvaljujući rodonačelniku većine obiteljskih poduzetničkih poduhvata, Guidi vitezu Pongratzu (Zbelovo, 4. 1. 1822. – Zagreb, 31. 12. 1889.). Zahvaljujući nevjerojatnoj poslovnoj spretnosti i beskrajnoj energiji u nešto više od četiri desetljeća rada utemeljio je niz izrazito uspješnih poduzeća raznorodnoga karaktera (bavio se građevinarstvom, bankarstvom, rudarstvom, industrijom, trgovinom …). Uz najstarijega Guidina sina i nasljednika glavnine obiteljskog bogatstva i poduzeća Gustava Pongratza (24. 6. 1851. – Zagreb, 6. 10. 1925.), vezuju se dvije od tri intervencije ateljea Fellner & Helmer na građevinama obitelji Pongratz. Očev poduzetnički duh, kao i ženidba sa Zorom (Zorkom) Živković, kćeri dugogodišnjeg hrvatskog podbana i jednoga od autora Hrvatsko-ugarske nagodbe baruna Jovana Živkovića Fruškogorskog koja je ojačala političke veze obitelji, omogućili su Gustavu da i nekoliko desetljeća nakon Guidove smrti nastavi voditi niz poduzeća i dalje širi obiteljski portfelj poduzeća i nekretnina. Za Gustava Pongratza atelje Fellner & Helmer izveo je 1902. adaptaciju glavne obiteljske palače u Visokoj ulici br. 22 u Zagrebu. Tom je prilikom dograđen salon za pušenje za samoga gospodara kuće te erker na sobi spomenute Gustavove supruge Zore. Zgrada se ovim dogradnjama prilagođavala idealtipskom modelu prostornog ustrojstva rezidencijalne građevine visokoga građanstva. Istome ateljeu Gustav Pongratz povjerio je 1901. godine dogradnju tornja obiteljske vile na Bledu (gdje su Pongratzi posjedovali tri reprezentativna rezidencijalna objekta), dok će njegov brat Max sa suprugom Fanny Fellneru & Helmeru povjeriti 1902. znatno proširenje – dogradnju novoga krila i tornja – dvorca Šenek (Schönegg) u Polzeli kod Celja u Sloveniji. Sve tri dogradnje izvedene su u neobaroknom stilu. Provedene su iz težnje za osiguranjem veće reprezentativnosti rezidencijalnih objekata obitelji i njihova prilagođavanja suvremenim potrebama. Povjeravanje projekata za dogradnje Fellneru & Helmeru, jednom od najvažnijih bečkih arhitektonskih ateljea koji je paralelno radio za neke od najbogatijih plemićkih i građanskih obitelji u Austro-ugarskoj Monarhiji (poput Lanckorońskih, Rotschilda ili Károlya), predstavljao je svojevrsni manifest o financijskoj moći i položaju Pongratza, a s ciljem jasnog učvršćivanja položaja obitelji u društvu, karakterističnoga za tu generaciju privredne elite Zagreba i drugih srednjoeuropskih prostora.

The article is about the work of Joseph Hatzinger, son of builder Paul (Pál) Hatzinger from Székesfehérvár (Hungary), and Joseph’s sons Heinrich and Paul. Joseph worked in Osijek and in Slavonia in the second half of the 18th century. In... more

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- by Dragan Damjanovic
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- 122
  Civil Engineering, Art History, Architecture, Czech History

The aim of this paper is to present a complex relationship between applied arts and architectural design, made through the development of styles in the Serbian architecture of the second half of the 19th and the first half of the 20th... more

The aim of this paper is to present a complex relationship between applied arts and architectural design, made through the development of styles in the Serbian architecture of the second half of the 19th and the first half of the 20th century. It is based on previous conclusions and new perspectives arising from research of archival material and legacies of builders and applied artists, as well as present observations and conclusions. Observing the parallel development of architecture with the economic , political, social and cultural phenomena of the period, one can notice qualitative and quantitative rise of the applied arts, which in their various forms are a reflection of the time. The bond between applied arts and architecture had shown a significant role in shaping the styles of the Serbian architecture prevalently in Belgrade, largest Serbian city and the capital of The Principality of Serbia (1830–1882) and The
Kingdom of Serbia (1882–1918) and The Kingdom of Yugoslavia (1918–1945), as well as The Federal People’s Republic of Yugoslavia (1945–1963), through developing stylistic flows of Academicism, Secession, Art Deco, Modern and Socialistic realism, as well as many transient stylistic phenomena depending on local and foreign influences. Although it was not widely open to constructive experiments, the architecture of Serbia embraced the spirit of contemporary aestheticism adapting it to the local taste, expressing it with various sophisticatedly designed stylistic elements of applied arts. Stained glass, mosaic, wall painting, sculpture and relief, modern locksmith work, furniture and interior design, as well as the concept of facade composition in relation to the personal creative sensibilities of the author, taste and wishes of the clients, were given particular motifs and characteristics that determined the identity of the building in terms of style. Despite the importance of applied art and its significance for the development of the Serbian architecture of the noted period, insufficient knowledge of its opulent corpus, its authors and tendencies, conditioned by poorly preserved and rarely presented documentary material, puts to historiography the conclusion of the
need for more thorough research and of publication of the knowledge about applied art in Serbia. Pointing to this specific collaborative practice of applied arts with architectural design is an attempt to contribute to this aim.

Članak govori o povijesti neobizantske arhitekture na području Hrvatske od sredine 19. stoljeća do početka Prvog svjetskog rata. Najveća pozornost posvećena je arhitektonskim rješenjima pravoslavnih crkava. Analiziraju se ostvarenja u... more

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- by Dragan Damjanovic
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- 79
  Art History, Art, Romanticism, Architecture

U samom središtu Zagrebačke zelene potkove u bloku zgrada omeđenih s južne strane Žerjavićevom ulicom, arhitekt Herman Bollé podigao je prema vlastitim nacrtima reprezentativnu stambenu najamnu zgradu u kojoj je s obitelji živio od 1899.... more

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- by Dragan Damjanovic and +1
  Irena Kraševac
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- 9
  Nineteenth-century Art, Austro-Hungarian History, 19th-Century Art, 19th Century Architecture

Libro en el que participan numerosos especialistas de América y Europa. Como capítulos centrales se analiza el fenómeno en Inglaterra, España, Estados Unidos, México, Centroamérica y Caribe, y Sudamérica, incluyéndose varios apartados... more

Nineteenth-century German architecture was characterized by a conflict between the availability of multiple historically derivative styles and the demand for the establishment of a culturally appropriate normative one. This conflict... more

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- by Nicholas Halmi
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- 26
  Intellectual History, Romanticism, German History, Historicism

Historicism in Architecture

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