History (Architecture)

Cette communication a eu lieu le 31 mars 2017, dans le cadre du séminaire doctoral d'Alexandre Gady. Elle fut l'occasion de révéler une documentation inédite permettant de porter un nouveau regard sur le projet de place Louis XVI destiné à la cité du Ponant en 1786.

Članak govori o Bijelom gradu, četvrti Tel Aviva s brojnim reprezentativnim primjerima građevina podignutih u stilu internacionalne moderne arhitekture u razdoblju između dva svjetska rata, a u povodu izložbe održane u Architekturzentrumu u Beču u prvoj polovini 2008.

Italomodern 1 and Italomodern 2 are extensive surveys of modern architecture in northern Italy from 1946 to 1976. The authors — Vienna-based architect Martin Feiersinger and his brother, artist and photographer Werner — started this collaborative project in 2004. Although these volumes are an excellent survey of post-war Italian architecture, the books could have documented the ideological positions of the architects in more depth.

Tekst govori o povijesti izgradnje i opremanja župne crkve Imena Marijina u osječkom Donjem gradu u 18. stoljeću na temelju arhivskih, kartografskih, grafičkih i drugih izvora. Istraživanjima se pokazalo da je današnja građevina podignuta tijekom dviju građevinskih kampanja na mjestu starije crkve iz 1714. Sjeverni dio, zvonik s korom, podignut je između 1758. i 1763., a potom je 1768. – 1775. uslijedilo podizanje broda i svetišta. Stilsko rješenje arhitekture crkve, ponajprije zvonika i zapadnog pročelja, povezuje se s mogućim uzorima u baroknoj arhitekturi Italije i Srednje Europe, a opremanje s djelokrugom umjetnika-obrtnika koji su sredinom i u drugoj polovini 18. stoljeća radili u Osijeku. U tekstu se donosi niz imena raznih umjetnika koji su radili za donjogradsku crkvu koji se do sada u literaturi nisu vezali uz ovu građevinu (graditelj Joseph Hatzinger, kipari Georg Egger i Joseph Erdt, stolari Heinrich Kessler i Thomas Firtler, slikar Franciscus Antonius Witz).

The earthquake that hit Zagreb on 9th November 1880 was one of the most important breakpoints in the history of architecture and urban planning of the city. It was estimated that in its epicenter, which was northeast of Zagreb, earthquake was of magnitude 6.2 on the Richter scale. Barely any building in the city remained undamaged, and many buildings had to be completely removed due to the danger of collapse. On third day after the tragic event, Zagreb photographers began photographing significantly damaged or destroyed buildings. Otto Dasch made the first photographs and was soon after followed by other esteemed Zagreb photographers: Hinko Krapek, Gjuro Varga, Hermann Fickert and Johann (Ivan) Standl. Photographers played a key role in disseminating visual information about the earthquake, which was the only event that enticed a rather great interest of the world press for the Croatian capital in the second half of the 19th century. Although the earthquake did not have catastrophic effects, early reports of the majority of German, Hungarian, French, Italian, English and Slovenian dailies were rather unreliable, and often replete with exaggeration. The news appearing after the primary fear toned down, was completely contrary to the previous reports in that they minimized the damage. The aforementioned photographers thus tried with their photos to contribute to the objective view of the situation. However, they shot almost only those buildings which were most severely damaged by the earthquake, not so much because they wanted to overemphasize the scale of the destruction but because such scenes were the most interesting for the audiences. That was the same reason illustrated magazines from different parts of the world published images showing the most damaged buildings. During 1881, three albums were made which showed photographs of the earthquake damaged buildings. Two of them contain works of Standl and Fickert respectively, while the third album is a collection of works by four photographers: Standl, Fickert, Varga and Dasch. Standl's album “Photographs of the Zagreb Earthquake“ is characterised by a great quality of photos. It contains 25 works which were mostly commissioned by the Yugoslav (today Croatian) Academy of Sciences and Arts where Standl worked as an official photographer. Academy's Institute for Mathematics and Physics started gathering information about the earthquake in mid-November, at the same time when Standl was commissioned to take photographs of damaged buildings. The aim was to keep memory on the earthquake and to facilitate its scientific research. Standl’s album has been preserved in a rather large number of copies in various public institutions (archives, museums) and in private collections. Contrary to Standl, Fickert created his album “Memories on the Zagreb earthquake on 9th November 1880“ through his personal efforts and initiative. Each buyer of the album could choose 15 photographs from Fickert's collection and thereby create his or her own album, which consequently led to the creation of several different compilations of Fickert's works. The album containing the works of all three photographs bears the title “Photos of the Zagreb Earthquake on 9th November 1888“. It was created most likely due to the efforts of a public institution, probably the Zagreb City Council. Its special value lies in the photographs taken by Gjuro Varga which show damaged buildings on Zagreb's main city square. The aim of this presentation is an analysis of the creation and content of the photos from the albums and an attempt to present the ways in which the photos influenced the formation of the event’s image.

Despite the fact that in the history of Croatian architecture of the interwar period Expressionism neither took firm hold nor had the significance and reception like it had in Germany, there exists a whole series of architectural designs which display a pronounced influence of this style. In Croatian architecture Expressionism appeared roughly from around 1922 until the end of the 1920s and in the work of some architects even later, in the course of the 1930s. It occurred mainly under the influence of German and partly Austrian architecture and as a reflection of the incursion of Modernism, not as a result of the chaotic post-war climate, inflation or other economic changes. Architects of Croatian Expressionism did not form a homogenous group – they neither shared the same formation or social convictions, nor belonged to the same political circles. What they had in common were aspirations for the accommodation of architecture to the new world, its new needs and technical possibilities. Two German architects had a profound influence on the emergence of Expressionism in Croatian architecture – Hans Poelzig and Peter Behrens. Hans Poelzig trained three Croatian architects who in the course of the 1920s produced designs influenced by Expressionism: Drago Ibler, Zdenko Strižić and Josip Pičman. Especially important is the oeuvre of Drago Ibler, who created a whole series of Expressionist projects, most of which remained unbuilt. Particularly significant are his designs for the Epidemiology Institute (1922), for the Central Workers’ Insurance Office (1923) and for the Trading High School (1928) in Zagreb. His most important executed work of the 1920s was the interior of the theatre section of the pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in Paris. Between 1926 and 1943 Ibler was the head of the Department of Architecture of the Academy of Fine Arts in Zagreb. Some of the architects trained at the Department, like Stjepan Planić, embraced Expressionist aesthetics. Peter Behrens’s influence on the emergence of Expressionism in Croatian architecture occurred through the work of his disciples educated at the Viennese Akademie der bildenden Künste (his most important Croatian disciple was Juraj (Georg) Neidhardt), as well as through his participation in the construction of the Zagreb City slaughterhouse complex. Behrens was the representative of architect Walter Frese from Berlin, who in 1928 produced the design for the city’s slaughterhouse, constructed between 1929 and 1931. Stylistic features of the buildings of this complex display a combination of elements of Expressionist and Neue Sachlichkeit architecture. Besides Behrens’s and Poelzig’s disciples, a number of Zagreb architects of the older generation also designed under the influence of Expressionist aesthetics. Among the most important is Ignjat Fischer, designer of the interior of the City Café at the Ban Jelačić Square in the very centre of Zagreb. It was executed in the years 1929-31 and represents the most important example of Expressionist architecture in Croatia. The City Café was designed under the influence of Poelzig’s works, more precisely of his most important building, the Grosses Schauspielhaus in Berlin. Almost at the same time, in 1928-30, the same square was embellished by the hotel and department store building owned by Svetozar Milinov and designed by Dioniz Sunko, which originally included an advertising tower with elements of Backsteinexpressionismus. A number of designs related to Expressionist architecture can be associated with the so-called Foundation block planned in the centre of Zagreb in late 1920s and early 1930s (among which stand out designs by Stjepan Planić, and Josip Pičman and Josip Seissel). From that time on, the International Style started to become fully dominant in Croatian architecture.

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 the early 19th century, his older son Heinrich spent almost a decade as a professor at the Genie-Akademie (Military Academy of Engineering) in Vienna and designed two important Early Neoclassical churches at Terezin and Josefov fortresses in Bohemia. His younger son Paul, after a brief period as a lecturer at the Genie-Akademie, worked as an engineer in various parts of the Habsburg Monarchy during the first half of the 19th century, from Galicia, across Dalmatia, to Vienna and Lower Austria in the final phase of his career. Finally, his great-great-grandson Gusztáv Kasper, the grandson of Paul Hatzinger Jr, became a Hungarian railway engineer at the turn of the 20th century.

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 neobizantskom stilu od romantičarskog perioda (pravoslavna crkva u Zagrebu arhitekta Franje Kleina) do djela visokog i kasnog historicizma na prijelazu iz 19. u 20. stoljeće (ostvarenja Hermana Bolléa, Janka Holjca i Vinka Rauschera). Djela nastala za pravoslavnu crkvu kontekstualiziraju se s političkim prilikama i nacionalnim ideologijama te s općim zbivanjima u tadašnjoj hrvatskoj arhitekturi, ponajprije s revivalom interesa za bizantski stil u prvim desetljećima 20. stoljeća u djelima Viktora Kovačića i Stjepana Podhorskog.

The chapel of St Peter and Paul in Zagreb`s central cemetery Mirogoj belongs to a group of the most interesting sacral buildings erected in Croatia`s capital at the end of the 19th century. It is one of the first monumental mausoleums ever built outside the Mirogoj`s arcades and one of the fi nest works by the architect Herman Bollé in his version of the neo-Byzantine style. It was erected in 1891 to serve as lieutenant general Petar Kukulj`s mausoleum by his widow Judita. Petar Kukulj was an Austro Hungarian field-marshal. Since such mausoleums were used by a small number of worshippers, there was no need to make them large. Moreover, the locations where they were going to be built were often very limited in order to leave more space for the cemetery. Therefore, during historicism such cemetery chapels were often erected as centrally planned buildings whether the mausoleums in question were Catholic, Orthodox, Evangelical or Jewish. Hence, Bollé was provided with an opportunity to practice designing centrally planned neo-Byzantine buildings. Since he had been working for the Orthodox Church he was mostly compelled to restore earlier buildings and build new ones of a longitudinal plan which could facilitate a greater number of believers. On those churches he hadn’t had a chance to build domes. The chapel of St Peter and Paul at Mirogoj cemetery is one of the Bollé`s most signifi cant neo-Byzantine centrally planned domed buildings. Looking at his work, we can see that Bollé`s neo-Byzantine style is infl uenced by Byzantine, Romanesque and even Renaissance elements. He also found a great inspiration in late Rundbogenstil (Round-arch style) of Berlin architecture of the 1860s and 1870s. Orthodox bishop Miron Nikolić commended his work in the chapel and it seems that it had convinced him to entrust Bollé with a comprehensive renovation work on his cathedral in Pakrac, as well as some other buildings in Pakrac eparchy (parish church in Bjelovar for example). Thanks to his work on Kukulj chapel and renovation work on parish church of Transfi guration in Zagreb, Bolle was later commissioned to renovate the Orthodox monastery Grgeteg on Fruška Gora, and the Church of Holy Spirit, Ruma, and so on. Immediately after the work in the chapel of St Peter and Paul was fi nished, the walls were painted and the interior was furnished. Zagreb Crafts School professor Josip Bauer is the author of all decorations on the walls and icons on the iconostasis. All the icons were made on a gold background showing Bauer`s relation to the Byzantine art of drawing. The author attended the Academy in Munich. Therefore, compositions of his works are inherently in correlation with the tradition of western painting but there is also a very strong infl uence of the Nazarenes. Bauer was obviously familiar with the orthodox iconography which resulted in numerous commissions by the Orthodox Church in Croatia. The position of icons on the iconostasis follows the usual rules of the Orthodox Church, but still there are some differences. In the bottom line we can see Annunciation in imperial court with icons of enthroned Christ and Virgin by its side. On the side doors we can see Michael the Archangel and Gabriel the Archangel. Saint Peter and Paul, to whom the chapel is dedicated, are painted on the left end of the row and Saint John the Baptist is on the right end. Two central rows of icons on the iconostasis depict the scenes from the life of Christ and Virgin Mary. The top of the iconostasis shows the prophets painted in round medallions and in the central axis we see the crucifixion of the Christ flanked by the Virgin Mary and Saint John the Baptist) painted above the icons showing the Holy Trinity and God the Father. Herman Bolle is the author of the design for the iconostasis as well as the entire chapel project. The estimated cost of the chapel was 14.000 forints (28.000 krones) which was a substantial amount in that time.

Mosque in Isfahan, Iran was the most valuable monuments with unique architectural decorations and designs are technically. Decorations, including the provisions that the technique Toopi bed located in the lower bottom of plaster bricks brick known as the hub. This research aimed at understanding more decorative arts in architecture in Iran attempted to collect and categorize them according to all the designs. In terms of both graphics and line graphs, descriptive and analytical methods to be paid on them.
The oldest examples of these motifs in the southeast entrance of the mosque are Shabestani and corridors that are related to the period and Samanids. These samples and samples of designs available in North Shbstanhay Seljuk mosque, which is related to the courses and the techniques are just a few examples of stamp conducted on the mortar is simple; But most of the decorations in the eastern porch of the mosque are two Trfynsh corridors that are related to the period Ilkhanate. Other examples of this very diverse and decorations that are applied directly to the tool on the mortar. In addition to these decorations motifs, independently or in combination with the various calligraphy motifs designed and expressions with a variety of conventional sols and Kufic Building built in his time.
The results can be said of the total number of 255 samples of different designs, motifs calligraphy over 136 types and 119 different types of make up.
Key Words: Stamp Stucco, Jameh Mosque of Isfahan, Motifs, Calligraphy.

The paper presents a short account of the policy of monuments’ preventive protection, promoted by the Italian government before the Second World War. In fact, since the late twenties, the Italian Ministry of National Education adopted safeguard measures for the protection of monuments in the event of armed conflict through the preparation of a «mobilization plan of  works of art in case of war» by which all movable works of art were transferred to deposits selected for their isolation and distance from military objectives. Immovable works of art and monuments were protected against blast or collapse by elaborate brickwork or timber and sandbag frameworks. In spite of the system could not be employed on a large scale - also due to the lack of funds – and the superintendents had to select  the most important buildings, whereby anyway hundreds of monuments up and down Italy were cased in protective layers of sand-bags, masonry, or ferro-concrete. On balance this programme of preventive protection must be judged a success.

The construction of the Vukovar's old water tower, built in 1913 by Banheyer & Son Company based on the design of the Vukovar engineer Fran Funtak, is described in the paper. It is a fine specimen of the late secession architecture in Croatia. The water tower is made of reinforced-concrete and was built according to construction principles that were considered highly advanced at that time. Its capacity is 50,000 litres and it is 19,00 metres high. The water tower was damaged during the 1991-95 war and was rebuilt in accordance with the original plans immediately after the end of hostilities.

Vieux château d'eau de Vukovar bâti en 1913
La construction du vieux château d'eau de Vukovar, bâti en 1913 par Banheyer & Son selon le projet d'ingénieur de Vukovar M. Fran Funtak, est décrite dans l'ouvrage. Il s'agit d'un monument intéressant de l'architecture fin de l'époque de sécession en Croatie. Le château d'eau est fait en béton renforcé et a été bâti selon les principes de construction considérés très avancés à l'époque. Sa capacité est de 50.000 litres et sa
hauteur est de 19.00 mètres. Le château d'eau a été endommagé pendant la guerre 1991-1995, et a été reconstruit, conformément aux plans originaux, immédiatement après la fin des hostilités.

Der alte Wasserturm von Vukovar aus dem Jahr 1913.
Im Artikel beschreibt man den Bau des alten Wasserturms in Vukovar aus dem Jahr 1913., den die Firma Banheyer u. Sohn nach dem Entwurf des vukovarer Ingenieurs Fran Funtak erbaute. Es handelt sich von einem interessanten Denkmal der Ingenieurarchitektur des späten Jugendstils in Kroatien. Der Turm wurde aus Stahlbeton nach den damals modernsten Prinzipen erbaut, mit Kapazität von 50 000
Liter Wasser und Höhe von 19,00 Meter. Der Wasserturm war während des Krieges 1991./95. beschädigt, wurde aber sofort danach in Originalform erneuert.

Župna crkva u Đakovu pripada skupini najvažnijih sakralnih spomenika Slavonije. Riječ je o u sjevernoj Hrvatskoj jedinoj većim dijelom sačuvanoj džamiji (podignutoj sredinom 17. stoljeća) te rijetkom primjeru očuvanoga historicističkog neomaurskog interijera (izvedenoga pri obnovi iz sredine 1880-ih), a ujedno se radi i o jednom od najvažnijih spomenika klasicizma toga područja. Klasicistička faza njezinih pregradnji do sada nije bila dobro istražena. Izvori pronađeni u Dijecezanskom arhivu u Đakovu te Arhivu đakovačke župe svjedoče kako su u vrijeme dominacije toga stila realizirane dvije veće pregradnje: 1819. i 1837. – 1839. U ovome tekstu analizira se ponajprije dogradnja crkve iz 1819. jer oblikovno rješenje pokazuje da je pri tome zahvatu većim dijelom realiziran projekt Bartola Felbingera iz 1816. koji je bio namijenjen za kapelu na Svetom Duhu u Zagrebu. Felbinger je dobio ovaj posao jer je u to vrijeme bio najvažniji projektant gotovo svih prestižnijih građevina đakovačkog biskupa Emerika Karla Raffaya (izradio je dvije nerealizirane varijante projekata za đakovačku katedralu, realizirao je projekt za dogradnju zgrade sjemeništa te za južno krilo biskupske rezidencije). Zahvatom iz 1819. đakovačkoj župnoj crkvi dograđen je novi toranj s korom. Glavni portal postavljen je u plitku nišu raščlanjenu oblikovno kvalitetnim jonskim pilastrima. Svojim rješenjem novo glavno pročelje ove crkve ubraja se u najvažnije realizacije „čistog“ klasicizma u arhitekturi Slavonije čijom sakralnom arhitekturom u to vrijeme dominira barokni klasicizam ili vrlo jednostavni „pločasti stil“ (Plattenstil). Oblikovno rješenje pročelja nadovezuje se na zbivanjima u bečkoj arhitekturi toga vremena, osobito na takozvane crkve podizane iz nužde (Nutzbaukirche) koje su građene u novim župama u predgrađima toga grada, a stanovite sličnosti mogu se naći i u djelima tršćanskog arhitekta Mattea Pertscha i budimpeštanskog arhitekta Mihálya Pollacka.

The content of this monograph on the Djakovo cathedral is concentrated on its interior - frescoes, sculptures, altars, furnishings. The content of some frescoes in the cathedral reflects the political ideology of Bishop Strossmayer. The book was edited by Mr. Žorž Draušnik.

Đakovo Cathedral is one of the most significant buildings of historicism in Croatia. It replaced an earlier rather small cathedral, a Baroque adaptation of a the remains of a medieval church. (ealy 18th ct.). It is less known that before the plans made by Rösner and Schmidt for the present-day building (1866 – 1882), a whole series of stylistically interesting designs was proposed. Between the end of the 18th and the middle of the 19th century. Although none of then was carried out, they offer an interesting insight into the history of Central European religious architecture of the period.
The first attempt was made under the Bishop Franjo Matija Krtica (1773–1805), who commissioned a project which could be probably identified with the one in State Archives of Croatia (figs. 1–3). It was made around 1800, and it is typical of the late Central European Baroque with small touches of Classicism. Krtica’s successor, Bishop Antun Mandić (1805–1815) abandoned the project and commissioned a new one. The first one, from 1806, was provided by the Hungarian Court Chancery, but it did not seem to have met the Bishop’s wishes, so he ordered another project in 1814. This provided for a sumptuous baroque-classicist building. Mandić embarked on preparation of building material but he died in 1815. His successor, Mirko (Emerik) Karlo Raffay (1816.–1830.) followed the lead of his predecessors. He was determined to build the new cathedral, but he rejected the earlier projects, and ordered new ones.
He entrusted the project to the Zagreb architect, Bartol Felbinger. Felbinger’s first design for the cathedral dates from 1817, and provides for a representative two tower Wandpfeiler church with a crypt. Both in spatial conception and detail of composition this design closely follows the Cathedral of Temišvar (1736–1773) by Emanuel Fischer von Erlach. Only in some details of the architectural composition which bear a stronger classicist flavor did Felbinger depart from his model. Just two years later, in 1819, Felbinger offered another design, the reasons for which remain unclear. Possibly, the first project was too costly. It is interesting that the two proposals by the same architect are very different. In terms of space, it is still a Wandpfeiler church, but architectural organization of the 1819 design is truly classicist, and closer to the contemporary European developments.The project was, however, rejected by the Vienese Hofbaurat, the well-known architect Peter von Nobile, primarily because of an incomplete expense account. The Hungarian Court Chancery and the Vienese.Hofbaurath would try to impose their own new design on Bishop Raffay in 1821, but the latter would refuse it. Thus the building was postponed until the election of Bishop Josip Juraj Strossmayer.

Il volume raccoglie gli esiti della ricerca PRIN finanziata dal Ministero dell’Università e della ricerca scientifica “Danni bellici e restauro. Opere di difesa, pratiche d’intervento edilizio e urbano nel secondo dopoguerra” che ha visto il contributo di docenti universitari e studiosi in collaborazione tra le Facoltà di Architettura e Società (Politecnico di Milano), Facoltà di Architettura (Università degli Studi di Napoli “Federico II”), Facoltà di Ingegneria (Università degli Studi di Brescia), Facoltà di Architettura (Politecnico di Torino), Facoltà di Architettura (Università Iuav di Venezia).
In oltre cinquanta saggi sono affrontate le questioni relative all’impostazione teorica in tema di restauro architettonico alla data del conflitto e la loro evoluzione a fronte delle vicende belliche e dell’entità dei danni, sulla scorta della disamina della pubblicistica di settore (in particolare mediante un capillare spoglio dei contributi apparsi su riviste e periodici) non mancando di approfondire le ricadute imposte dalla complessiva politica economica adottata nella ricostruzione postbellica.
Sono descritti, grazie ai materiali emersi dalle ricerche d’archivio, in gran parte inediti, gli interventi preventivi di difesa antiaerea, i danni, gli interventi di messa in sicurezza, di restauro e di ricostruzione di importanti monumenti di città quali Milano, Brescia, Torino, Vicenza, Verona, Treviso, Napoli, Bari (solo per citare le principali) gettando nuova luce sull’attività delle istituzioni preposte alla tutela, degli enti locali, delle commissioni alleate, dei professionisti e delle imprese, anche sotto il profilo delle soluzione tecniche e delle modalità operative.
Un ricco apparato bibliografico ed uno spoglio dei principali contributi apparsi sui periodici corredano il testo, che, si ritiene, si qualifica come un importante punto di arrivo delle conoscenze in materia.

KEY-WORDS: Second World War, Monuments, Reconstruction, Historical Cities, Italy, MFAA

While the Neo-Byzantine style was in 19th -century architecture in Croatia exclusively used for architectural projects funded by the Serbian Orthodox Church (such as parochial churches in Zagreb, Dubrovnik and many other towns and places), in the period shortly before the First World War, it also started to be used in the architecture of the Catholic Church. The crucial role in spreading the use of the style was played by the pioneer of Croatian modernist architecture Viktor Kovačić and his design for St Blasius' Church in Zagreb (built in 1910-13). Neo-Byzantine appeared primary due to ideological and political reasons, because it served as a reference to the period of Croatian political independence. Along with political reasons, the Neo-Byzantine style emerged also as a response to the extreme ornamentalism of the Vienna Secession. Early medieval architecture in Croatia, or more precisely Dalmatia, and Byzantine architecture in general, featured elements whose simplicity matched the sensibilities of increasingly permeating modernism. During the 1920s the Neo-Byzantine style became dominant in church architecture, primarily owing to architect Stjepan Podhorsky who applied the style in his numerous church building designs. The popularity of the style flourished especially in relation to the millennial celebration of the Croatian kingdom (925 – 1925), connected to which a large Neo-Byzantine church was built in Duvno (present Tomislavgrad in Bosnia and Herzegovina) sponsored by the Yugoslav Karađorđević dynasty. The Neo-Byzantine style at the same time turned into the main national style of Serbs in the Kingdom of Serbs, Croats and Slovenes. However, it appropriated motifs mostly from late medieval Serbian church architecture, which was characterized by much more lavish decoration than early medieval architecture in Croatia. The last Neo-Byzantine churches were built during the 1930s and in the early 1940s. Since modernism began pervading Croatian architecture, the majority of architects turned to designing modernist or some sort of mixed Neo-Romanesque, Art-déco and modernist church buildings.

In the mid-twentieth century the voyeur, a cinematic impostor, began to lurk around the perimeters of modern American domestic architecture. Like the dark and troubled plots of the contemporaneous film noir, this impostor put an ordered and controlled appearance on the architectural import of modern (and foreign) architectural ideals and materials. Like the desert mirage, architectural photography conjured visions of a new way of living. An indoor-outdoor fantasy for the American family. The camera, and the photographer behind it, cased the new glass houses in the hills of Southern California. These black and white chiaroscuro scenes, framed through transparent widescreen window walls, revealed to the popular American audience who they wanted to be and what they wanted others to think they were. Clean, modern, stylish, happy and democratic. While the family was rarely seen (except in advertisements—another impostor) it was suggested in the carefully set dining table, the angular oversized house plants, and most often, the warm burning lights.

During the reign of Rusa II in the first half of 7th century BC, Lake Van Basin underwent a remarkable process of urbanization and reconfiguration of its political landscapes through the construction of new cities. The urban spaces that were eventually created were demarcated with a particularly powerful and innovative
architectonic culture: finely carved stone masonry. I argue in this article that monumental building activity, as a historically conspicuous event, creates a medium of exchange of artisanal knowledge and technological innovation. The dramatic
urban landscape of the Iron age city at Ayanis (ancient Rusahinili-Eiduru-kai) in Eastern Turkey on the Eastern shore of Lake Van, features an impressive fabric of such architectonic culture, not only a product of long-term building technologies
in the region, but also that of a series of innovations associated with the reign of its founder Rusa II. This paper specifically focuses on the complex set of stone masonry techniques in the monumental structures at Ayanis, and attempts to reflect
on the multi-faceted aspects of symbolic technologies of production in the context of the foundation of the city. It argues that the highly refined stone masonry in Urartu was a symbolically charged architectural technology that effectively operated as royal insignia in the public sphere, but it also derived from the local corpus of building knowledge in the Lake Van basin.

The 3rd International Conference on "Architectural History and Theory" addresses all the aspects of history and theory studies aiming to discuss the related subjects from different perspectives and research areas. The meeting attracts a substantial number of participants from all over the world. Thus, the Conference establishes an ideal platform to recent advances and research results in the fields of architecture, history and all interdisciplinary areas such as urbanism, education , interior architecture, technology, business, gender studies, politics, social sciences and so forth. The scientific quality of the Conference provided by SPACE International Advisory Board and the variety of the topics are the most important reasons behind this success of the series.

Il volume è il risultato di una ricerca biennale avviata nel 2007 dall’Università di Bologna, in collaborazione con la Fondazione Carisbo. Lo scopo è di restituire alle professioni liberali italiane e all’istituto universitario lo spessore della loro presenza millenaria nel nostro paese. Vengono ripercorse le vicende storiche e le implicazioni sociali di giureconsulti, notai, avvocati, architetti, ingegneri, medici, farmacisti, veterinari, dottori commercialisti, evidenziando i processi che ne hanno permesso l’integrazione nell’immaginario collettivo nazionale. La forma espositiva dell’atlante consente di intrecciare il racconto delle professioni con la loro rappresentazione nello spazio nazionale e locale attraverso carte e immagini. Un complesso lavoro di ricerca che evidenzia il radicamento e la forza del mondo delle professioni italiane nelle nostre istituzioni e all’interno della società.  Il testo è arricchito da un imponente e interessante apparato di grafici e carte tematiche, oltre a una preziosa sezione iconografica che ricostruisce la storia della rappresentazione delle professioni nell’arte e nella società dalle miniature medievali alle foto contemporanee.

Malatesta A. (editor)

Lisa Landrum's paper "Modus Operandi of an Architectus Doli: Architectural Cunning in the Comic Plays of Plautus"  appears as Chapter 15.  Also in the book are essays by Karsten Harries, Marco Frascari, David Leatherbarrow, Kenneth Frampton, Juhani Pallasmaa, Steven Holl, and other colleages and former students of Alberto Perez-Gomez including: Ricardo L. Castro, Tracey Eve Winton, Robert Kirkbride, Paul Emmons, Indra Kagis McEwen, Santiago de Orduña, Caroline Dionne, Lily Chi, Louise Pelletier, Lawrence Bird, Lian Chikako Chang, Natalija Subotincic, Stephen Parcell, Graham Livesey, Juan Manuel Heredia, Anne Bordeleau, Peter Olshavsky, and David Theodore.

Paper summary/excerpts: "At least five of Plautus’ twenty extant comedies involve what classicists call an architectus doli, an “architect of trickery.” … Plautus’ elaboration of the cunning slave character has long been considered one of his most original contributions to Latin drama; but the “architect” terms associated with these slaves (and with Jupiter) were likely transposed from the now largely lost Greek comedies that Plautus adapted and translated into Latin. These five imported “architects” were generally ignored in early studies of Plautine inventiveness. They eventually gained attention, however, in an important 1952 study on The Nature of Roman Comedy. Since then, Plautus’ architectus figure has been interpreted in a variety of ways within classical scholarship: as a euphemism for the play’s lowly agent of intrigue; as a proxy for the scheming playwright; and as a media-reflexive figure associated with other craft imagery used throughout Plautus’ plays to qualify and vivify not only acts of scheming and plot construction, but also moral edification. Yet, there are further interpretations to be made and important questions to be asked…This essay cannot answer these questions in full, but it will initiate an interpretation of Plautus’ architectus doli with such questions in mind. By lifting this Roman dramatist up out of the footnotes of architectural scholarship (where he is sometimes merely credited with providing the earliest extant use of the Latin term architectus), the following study prepares the grounds for discovering how the cunning agents and agencies of Plautus’ comedies meaningfully illuminate the modus operandi of architects..."

Book Review:
Koseoglu, Emine, 2010, Modern Turkish architecture: 1900–1980, by Renata Holod, Ahmet Evin and Suha Özkan, Ankara, Chamber of Architects of Turkey, 2005, 194 pp., 80 TL (Turkish Liras) for 2 volume boxed set (paperback), ISBN 975 395 872 4 Architecture in Turkey around 2000: issues in discourse and practice, by Tansel Korkmaz, Ankara, Chamber of Architects of Turkey, 2005, 175 pp., 80 TL (Turkish Liras) for 2 volume boxed set (paperback), ISBN 975 395 890 0, Planning Perspectives, Volume 25, Issue 3, pp.383-408.
July 2010.

(https://www.tandfonline.com/loi/rppe20)

In the period between the two World Wars the urban tissue of the town of
Vukovar marked a relatively fast and significant growth. Still, as in other places, this
growth could only go hand in hand with the economic trends then prevalent in the
town and the country at large. What was marked as the period of more aggressive
economic development – 1920s and the second half of 1930s, was characterized by
an intense activity of contruction industry, which later subsided and virtually perished
during the Great Depression (1931 – 1934). Besides a number of new residential
buildings, a significant number of industrial plants and similar production facilities
emerged at the time in the new industrial zone on the fringes of the western and
northern part of Vukovar (Priljevo and other parts of the so-called New Vukovar).
Despite the aforementioned no significant advances were made at the time in
respect of a planned urban development of Vukovar. The first regulatory document
stemming from the 1920s was of a completely unofficial character, while the other
one, dating from 1934 was too general to be feasible. The town grew on the basis of
partial blueprints which only had relevance for individual streets and zones. In the
second half of 1930s, there finally came to the establishment of city engineering,
whose experts acted as contractual technical managers. This position was filled by
Fran Funtak, the most significant project manager in Vukovar in the period between
the two Wars.
1920s saw significant investments in the community infrastructure – which was
a prerequisite for the establishment of the system of water supply and for the completion of the paving and electrification of the town. During the 1930s this trend in
investments slowed down for shortage of funds – still a new bridge was built in the
town center, after the old Baroque one had been destroyed in a flood. Towards the
end of 1930s a new market place was errected.

This presentation aims to give an overview of the history and architectural solutions of Zagreb's hotels built in a hundred-year-long period, from the 1830s to the early 1930s and the emergence of modern architecture. The first hotel called Pruckner was built in Zagreb in 1830. It reflected the city's economic growth, which occurred mostly because of wheat trade that went through this city on the routes from South Hungary and Slavonia to the North Adriatic coast. Since rich traders primarily used the hotel, it is not surprising that it was one of the biggest and most lavishly decorated buildings in the town. It was only after the 1862 construction of the South Railway system (Südbahn) that connected Zagreb with Vienna and Trieste that a larger number of people started visiting Zagreb. Consequently, a new hotel (called At the Austrian Emperor) was built in 1865 – 1866 according to Franjo Klein's design with a lavishly decorated Romantic facade. The construction of another railway route, which from 1872 connected Budapest and Rijeka via Zagreb, led to a subsequent increase in the number of visitors and the construction of new hotels at the turn of the century (Grand hotel, 1890 – 1891 ; Palace Hotel, 1907). The dissolution of the Austro-Hungarian Monarchy and the creation of a joint state of South Slavs was at first beneficial to Zagreb that turned into the main financial and economic centre of the new state. In 1922 – 1925 the luxurious Esplanade Hotel was built for the new entrepreneur elite, according to designs made by Berlin architect Otto Rehnig (who had built a hotel of the same brand in the centre of Berlin, not far from Potsdamer Platz) that were greatly modified by Zagreb architect Dioniz Sunko. Somewhat later, the Milinov Hotel (1928– 1930) was erected on Zagreb's main square, whose design had also been entrusted to Sunko, who used a mixture of Art Deco and German Expressionism for the facades of this building. After its completion, the Milinov Hotel was the tallest secular building in Zagreb, and the only one crowned with a large illuminated advertisement. Zagreb hotel buildings stood out by their splendour and size. They helped this city foster a metropolitan culture, new styles, and new ways of advertising, as well as provided entrepreneurs with an opportunity to stay longer in the city. Their construction was related to the economic development of the city and primarily the needs of entrepreneurs, and not tourism.

Dans l’histoire de l’architecture des théâtres, trois grands chantiers parisiens marquent le XVIIIe siècle : la Comédie-Française de Marie-Joseph Peyre et Charles De Wailly, la Comédie-Italienne de Jean-François Heurtier, et l’Opéra de Pierre-Louis Moreau. Pour chacune de ces réalisations, le temps de la construction est précédé par une longue période de réflexion durant laquelle s’opposent architectes et promoteurs. À l’inverse du chantier de la Comédie-Française (Théâtre de l’Odéon), les différents projets architecturaux pour la Comédie-Italienne ne bénéficient pas d’une historiographie extrêmement fournie. Dans l’ouvrage de référence "Apollon dans la ville", Daniel Rabreau note que la Comédie-Italienne « n’a jamais vraiment retenu l’attention des historiens de l’architecture comme elle le mérite ». L’article publié par Yoann Brault dans le Bulletin de la Société de l’histoire de Paris et de l’Île-de-France, bien qu’il se concentre principalement sur le chantier du lotissement de l’hôtel de Choiseul entre 1781 et 1783, a permis de faire un bilan des différentes propositions qui ont émaillé la seconde moitié du XVIIIe siècle .
La vétusté et l’incommodité du local que les comédiens italiens occupaient, à l’hôtel de Bourgogne — dans le quartier des Halles — depuis la fin du XVIIe siècle, les poussent à envisager en 1772 « un changement de salle pour se procurer un local plus grand, et plus de facilités pour les débouchés […] dans un lieu plus commode, sans cependant l’éloigner trop des quartiers de la ville les plus fréquentés ». Le vœu des comédiens italiens suscite une série de propositions dont la première semble être celle de François-Joseph Bélanger (1744-1818) et de Claude Jean-Baptiste Jallier de Savault (1739-1806). Ces deux architectes, anciens élèves de l’Académie royale d’architecture, vont proposer d’implanter la nouvelle Comédie-Italienne sur une parcelle faisant face au couvent des Filles du Calvaire, aux abords des boulevards du nord-est.

Il  volume  indaga il processo di trasmissione e ricezione del sapere costruttivo snodatosi tra Otto e Novecento lungo la via Emilia, ad opera di grandi "maestri e allievi" e di grandi scuole, che ha consentito lo sviluppo - da Milano a Bologna alla Romagna - di un linguaggio architettonico “moderno” originale e autonomo, vero "specifico novecentista" locale. Si tratta di un tema "storico" che presenta due risvolti di grande attualità nella fase di transizione alla Città Metropolitana di Bologna: il primato della costruzione e gestione del territorio quale luogo d’elezione delle scelte politiche della comunità e la conseguente necessità di riconoscere e valorizzare la “memoria disegnata” del territorio, e quindi gli archivi e i fondi di architettura.  L'istituzione nel 2002 dell'Archivio Museo Giuseppe Mengoni di Fontanelice ha segnato un'importante tappa di questo processo così come l'avvio della sua attività come Centro studi per l'architettura del territorio, di cui le Giornate Mengoniane rappresentano la punta di diamante.

Guccini A.M. (editor), Attraverso gli archivi dell'Architettura - La trasmissione del sapere: maestri e allievi lungo la via Emilia, Atti delle Giornate di Studi Mengoniani (Fontanelice, 9-10 November 2006), Tipografia Metropolitana, Bologna 2011