Wyniki wyszukiwania - Biblioteka Nauki

1

'JAGGEDNESS' - A NEW CONCEPTUALIZATION OF CITY SPACE AND ITS ARCHITECTURE

100%

Kalitko K.

Kultura i Społeczeństwo

|

2005

|

tom 49

|

nr 1

37-46

EN

The idea of chaos, disorder, incidentality of phenomena and their disjoined and ambivalent presence have gained notoriety. In contemporary architectural discourse and urbanism, the author proposes to define these phenomena as 'jaggedness' which fits contemporary architecture always trying to dismantle, break, or abandon the present nurture of construction. It departs radically from its foundation as in the projects of Coop Himmelblau, Woods, Hadid, Koolhaas or Libeskind, where the relation between the building and the ground become a complex and refined game. The category of 'jaggedness' is suitable for the description of modern city space - the space of rapidly developing cities surrounded by a complex suburban space. Cities with a center defined by a break in urbanistic continuity. On the one hand, there emerge off-limits areas, monitored spaces, commercialized places, yet the long-forgotten and abandoned pieces of old architecture. However, in each such zone there may appear perfectly designed visions of cities or suburbs such as 'Stary Browar' (The Old Brewery) in Poznan or the Museum of Contemporary Art in Barcelona. Such intriguing contrasts which disregard the architectural chaos or whole blocks of dilapidated buildings become synonymous with the modern jagged city in East-Central Europe.

2

Siedziby dziekanów dekanatu brzeźnickiego w diecezji kujawsko-kaliskiej w XIX w.

100%

Szkutnik P.

Kwartalnik Historii Kultury Materialnej

|

2011

|

tom 59

|

nr 2

167-181

EN

The article surveys the residences of the deans of the Brzeźnica deanery in the 19th c. The seats of the deans were parsonages in the parishes in which they acted as parish priests. The source basis of the article are inventories customarily drawn up at the introduction of a new parish priest. At the time in question the deans resided in Kamieńsk, Pajęczyn, Brzeźnica, Wiewiec and Dobryszyce, primarily in town parishes. Their residences were wooden parsonages with shingled roofs, except for one brick building. The value of the brick parsonage exceeded the sum value of the other four ones. The buildings were not very old but they often needed repairs. On the average, a parsonage was 163 square meters in area; it had a porch, a vestibule, rooms, a hall, a dressing room, closets, a kitchen, a larder and servants rooms. One of the parsonages had a garret, the other had lofts. The parsonages also had cellars. The inventories mention various parts of the interior, such as ceilings, walls, floors, doors, windows and stoves, which were usually of higher quality and in a better condition in the priest’s rooms than in the servants quarters. Priests leaving parsonages often left them in a condition that required renovation.

3

Jan Wolff. Architect's Monography In Sight Of The Analysis Of Prefabricated Stucco Decoration Elements

100%

Kurzej M.

Modus. Prace z historii sztuki

|

2009

|

tom 8-9

31-103

EN

Jan Wolff, a guild mason who was active in eastern Malopolska and in Ruthenia , has until now been unjustly regarded as a contractor who realized the projects of Jan Jaroszewicz. However, he should rather be regarded as the author of the majority of buildings which were erected by him and the allegation that he cooperated with Jaroszewicz finds no sufficient support in facts. Among the most characteristic features of Wolff's architecture are the decorations of the ceiling consisting of wooden trims and plates which were impressed by means of dies. On his most spectacular works Jan Wolff had placed his own seal as well as initials and date of completion. Among the buildings which bear his seal are, among others, the churches in Czemierniki (whose construction he took over after another mason and which he completed in 1614), Turobin (completed: 1623?) and Leszniow (1629-1631). Wolff is also attributed with the authorship of the church in Uchanie (completed in 1625), the Firlej family chapel in the Dominican church in Lubin (completed in 1630), the Orthodox church of St. Nicolas in Zamosc (completed in 1612), and the restructuring of the parish church in Rohatyn. On the basis of an analysis of the plates, one may broaden his ouvre to include the decoration of two rooms in the convent of the St. Brigid in Lubin (circa 1612) and participation in the decoration of the presbytery of the church of the same order, of the church in Czerniejow (1608-1611), the decoration of the church of the Order of the Discalced Carmelites in Lublin (1635-1644), the completion of the construction of the Franciscan church in Szczebrzeszyn (completed in 1638) and of the parish church in Radzyn Podlaski ( completed in 1641?). Jan Wolff was also employed on prestigious construction sites of lay buildings on the territory of the Zamojski entail. In the years 1641-1642 (construction of the palace in Zamosc and in the years 1639/1640 -1651 restructuring the town hall in Zamosc). He was also the author of a few historic tenement houses (Nos 4 and 21 in the Grand Market Square and at No 15 Staszica St.) and may be attributed with the authorship of buildings at Nos 10 and 17 in the Grand Market Square as well as with the grandest of them all, at No 26 Grand Market Square. A careful analysis also allows one to rule out Wolff's authorship in several cases: the ceilings in the collegiate church in Zamosc of the tower in the parish church in Szczebrzeszyn, and the churches in Dysa and Leczna; also, he was not the author of the extension of the Firlejs' palace in Dabrowica and of the tenement buildings at No 19 and 25 in the Market Square in Zamosc. Apart from the decorations, the buildings erected by Wolff share similar proportions and systems of architectural articulation; they also share patterns of the decoration of the ceiling. His creative work had remained under the influence of the collegiate church in Zamosc and the works of Jacob Balin. A wider context for the architecture of Wolff is provided by German art, whereas the analogies between his work and that to be found on the territory of Lower Saxony, allow one to suppose that the architect was well acquainted with this milieu.

4

Pohledem otevřít: Rozhledna jako specifický estetický objekt

80%

Drlik L.

Estetika: The Central European Journal of Aesthetics

|

2007

|

tom 44

|

nr 1-4

45-56

EN

By analyzing and subsequently synthesizing two aesthetically relevant aspects of the observation tower, the author seeks in this article to uncover the special nature and relevance that the observation tower has for aesthetics. The article aims to demonstrate (1) how the characteristics of this special work of architecture correspond to its mission to be the centre of surveying the landscape (the 'external' aspect), (2) what kind of insight into our own existence such experience may provide (the 'internal' aspect), and (3) why the observation tower, together with the view of the landscape, forms a single aesthetic situation (the synthesis of the two aspects).

5

WHAT IS THE USE OF THE RUINS OF MODERNISM? FROM WOLA TO HOTEL PALENQUE - AND BACK AGAIN (Cóz nam po ruinach modernizmu? Z Woli do Hotelu Palenque i z powrotem)

80%

Szerszen T.

Konteksty - Polska Sztuka Ludowa

|

2010

|

tom 64

|

nr 2-3(289-290)

252-262

EN

'While thinking about the space of Warsaw and the heritage of socialist realism - including the non-extant 10th-Anniversary Stadium and the soon to be demolished fountains in the Edward Szymanski Park in the Wola district - I simply cannot evade a particularly evocative phantom. I have in mind a vision of Hotel Palenque on the Yucatán Peninsula. A place that became famous (probably only virtually: has anyone actually seen Hotel Palenque?) thanks to Robert Smithson'. The presented text is an attempt at looking at modernistic architecture via the context of its disintegration - the processes of destruction and entropy. This motif seems to play an essential part in contemporary art: it emerges both in the works of the classics (Smithson, Gordon Mata-Clark) and the young artists (Cyprien Gaillard). The point of departure for these reflections is the local example of a 'socialist realistic-modernistic' park in Warsaw, once extremely 'modern' and today - decaying and sentenced to modernisation (tantamount to recomplete redesigning).

6

ARCHITECTURE OF MOVEMENT

80%

Nawrocka K.

ESPES

|

2017

|

tom 6

|

nr 2

50 – 61

EN

This paper describes the general concepts of Arnold Berleant's urban metaphors (garden city, forest city, asphalt jungle, wilderness) in order to use them as a background for presenting a different perspective on the aesthetics of engagement through the prism of contemporary dance strategies and design practices in architecture and urban planning.

7

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

80%

Wierzbicka A. M. , Arno M.

Muzeológia a kultúrne dedičstvo

|

2022

|

tom 10

|

nr 4

63 - 77

EN

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

8

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

80%

Lace D.

Makslas Vesture un Teorija

|

2004

|

tom 3

17-28

EN

The basic publications on the Riga Small Guild (or St. John's Guild) so far have not considered the different versions of the reconstruction project offered by the architect in the 1860s. However, the history of the Small Guild published in 1902 says that City Architect (Stadt-Architekt) Johann Daniel Felsko (1813-1902) had repeatedly prepared three such projects. An unrealised project, intended to supplement the old building of the artisans' guild with Neo-Gothic decoration, has survived from 1858. Small Guild members wanted more spacious premises and even considered choosing a construction site on Riga's ring of boulevards. In spring 1862, the Small Guild Building Commission invited Stadt-Architekt Johann Daniel Felsko to provide an estimate for a new building on the historical site of the Small Guild Hall. In spring of 1862 Felsko submitted a particularly splendid Neo-Gothic project. It envisaged a monolithic three-storey building with a prolonged, rectangular basic planning. The main entrance portal was placed in the longitudinal facade. Felsko's decorative finish for the second project is much simpler. Events took a turn in spring 1864. Felsko was still working on his third project but at the same time he signed agreements with particular groups of craftsmen on the construction works of the Small Guild's new building. The project was approved on 3 March 1864. The third project was realised without significant alterations. Examining the project, one discovers the compromise between the architect's respect for the requirements of the commission and his opponents while retaining his initial conception as far as possible. The decades after the consecration of the building have proved that architect Felsko's initial solution had been farsighted. Unfortunately, the financial situation and opposition's stance stopped its realisation. But the completed building became too small and competitions for its enlargement had to be organised again. Unfortunately 20th century wars wrecked these plans and the guild halls retained their 19th century appearance.

9

RÍMSKA STAVEBNÁ KERAMIKA Z NESKOROANTICKÉHO OHRADENÉHO DVORCA V BRATISLAVE-PODUNAJSKÝCH BISKUPICIACH

80%

Hrnčiarik E. , Kolon T. , Horňák M.

Študijné zvesti

|

2023

|

tom 70

|

nr 1

149 – 166

EN

The article deals with the analysis of findings of Roman architectural terracotta from a late antique enclosed residence in Bratislava-Podunajské Biskupice. The main goal is to evaluate the subject collection in the context of the identified archaeological situations. An equally important part is the search for answers to questions related to their purpose, dating, as well as the provision of relevant information about the nature and type of assumed constructions and procedures used in the construction of this enclosed area. Despite the rare occurrence of fragments of Roman roofing on the site, based on the current state of research, it does not seem likely that this type of building material would be used in Bratislava-Podunajské Biskupice on archaeologically examined objects based on the layout and floor plan of the so-called ancient Roman tradition. On the contrary, the customer and the contractor apparently chose different construction solutions based on a combination of organic materials (wood, wicker or reed) and unburnt clay.

10

CALLIGRAPHIC INSCRIPTIONS IN THE SEHZADE, SÜLEYMANIYE AND SELIMIYE MOSQUE

80%

Zübeyde C. Ö.

Rocznik Orientalistyczny

|

2008

|

tom 61

|

nr 2

103-116

EN

The mosques are very similar to art galleries due to the architectural and decorative properties. The calligraphy art was profound and applied on specific spots following specific rules. The calligraphy at the mosques of Sinan the Architect was written by the famous calligraphists of the time, Ahmet Karahisari, Hasan Celebi, Demircikulu Yusuf and Hasan Üsküdari. In this article, the calligraphy in the mosques of Istanbul Sehzade (1544-1548), Süleymaniye (1550-1557) and Edirne Selimiye (1569-1575) is researched to reveal the arrangement of calligraphy art in Sinan's mosques. The writings, almost resembling jewelry, in the mosques of Sinan complement the architecture. We wish that these writings will be preserved for the future generations.

11

SACRED ARCHITECTURE: BETWEEN ART AND REALITY (Architektura sakralna. Miedzy sztuka a rzeczywistoscia)

80%

Bialkiewicz A.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

|

2008

|

tom 1

73-77

EN

Analysis of tasks of designing contemporary sacred architecture in view of the author's own designing experience in the field encourages an attempt at a synthetic presentation of a number of problems. After 1970, obtaining planning permission for sacred objects was much easier than it had been before in Poland, e.g. in cases when the building area did not exceed 250 m2. Such a church was then called a 'chapel'. Another range covered buildings with an area not exceeding 600 m2. Designers often tried to circumvent those regulation by designing two-storey churches with the lower storey partly sunken into the ground. It seems that the legal regulations relating to the designed church area to some extent influenced also their form. Despite its large diversity of form, the church architecture of that time did not entirely free itself from the traditional patterns. The process of church construction involved an investor, a contractor and a designer. In many cases the construction was carried out according to a do-it-yourself method, and the architect was often surprised by changes made without his consent. The actual building created under such circumstances often significantly deviated from the design as he was excluded from the very process of construction. However, it should be emphasized that these problems occurred only in the implementation of some of the sacred buildings. However, many outstanding examples of religious architecture have also been built in Poland. Since 1989, a planning permission to build a church has not required special procedures to bypass the building code, and the designer now has a much greater influence on the ultimate outcome of his work. Therefore the majority of the problems discussed herein, characteristic of church architecture of the nineteen seventies and eighties, have already passed.

12

VERSAILLES – ARCHITEKTONICKÝ A UMELECKÝ SKVOST ĽUDOVÍTA XIV

80%

Kniezová M. , Pecníková J.

ESPES

|

2014

|

tom 3

|

nr 1

11 – 18

EN

The article is focused on one of the largest and the most glorious jewels of world architecture – Palace of Versailles. This place is famous not only for the architectonic and decorative components, but also for a very special life style around the king, which is connected with this place. In the article we are orientated on the architectonic and artistic aspects of Versailles, especially on the baroque and classical forms.

13

RIGA CHIEF ARCHITECT JOHANN DANIEL FELSKO AND THE PINKI ST. NICHOLAS'S CHURCH (Rigas pilsetas buvmeistars Johans Daniels Felsko un Pinku Sveta Nikolaja baznica)

80%

Lace D.

Materiali Latvijas makslas vesturei

|

2003

|

tom 3

44-54

EN

The old, deteriorated wooden churches were replaced with new stone buildings in the Riga Patrimonial District during the 19th century. Churches at the Pinki estate (Pinkenhof) that belonged to the Riga city were designed by the Riga chief architect and builder Johann Daniel Felsko (1813-1902). In 1856, Felsko designed the project of the St. Nicholas's Church in the so-called semi-circular arch style (Rundbogenstif). It was a hall church with a nave, two aisles, a polygonal apse and a Western tower. The complicated arrangement of premises at the Eastern side of the church coincides with designs of the Danish Neo-Classicist Christian Frederik Hansen (1756-1845), Felsko's instructor at the Copenhagen Royal Academy of Art. In 1862 the Cash Board of the Riga City Council examined the second, Neo-Gothic project of the St. Nicholas's. Considering the previous objections, the architect had prepared a design with a simple planning and ascetic, early Gothic decoration. If the project was accepted in general, except some small comments on decoration, financial and technical problems were just coming to the fore. In 1864 the parish members wrote to the City Council that it is impossible to build the church with their own powers. The State Inspectorate for Heritage Protection of Latvia keeps the third variant (photocopy) of the St. Nicholas's project. Dated by the year 1871, this one was used for building of the church. The architect had especially elaborated on the composition of tower and the arrangement of decorative elements. The foundation stone of the Pinki St. Nicholas's Church was laid on May 25, 1872, and the consecration took place two years later, on June 16, 1874. It is a hall church with a Western tower and a polygonal apse with symmetrical extensions. Rubble was used as the main building material but decorative elements are made in red brick. The church interior has retained most of Felsko's ideas from the first project - rood-screen (Lettner), direct ascent from the priest's dressing room to the pulpit and elevation in the covering of the central part of the nave.

14

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

80%

Dettloff P.

Kwartalnik Historii Kultury Materialnej

|

2012

|

tom 60

|

nr 1

55-72

EN

The building of the District Committee in Olkusz, erected in 1827-28, provides important historical evidence, being also a valuable piece of architectural heritage. As a seat of government offices, functioning uninterruptedly since its erection to the 1990s, it is a testimony to the political and economic changes in the history of the town, region and state. First of all, it is connected with the important period of change after 1815, when the devastated town gained new opportunities to develop, as did other towns of the Kingdom of Poland (called the Congress Kingdom). The building is classicist, perfectly representing the style dominant in the Congress Kingdom. The best known illustrations of Congress Kingdom classicism are located in Warsaw and central Poland, therefore the Olkusz edifice is a rare token of this style in Little Poland, as well as an example of public buildings from the 1820s testifying to the high quality of architectural, administrative and economic undertakings in the Kingdom. The documents concerning the financial problems connected with its construction provide a good illustration of state building investment in the Kingdom and its being influenced by the need to economize. The exterior of the edifice has remained in its original shape, and the interior has only been slightly changes since the 2nd quarter of the 19th c. The classicist body of the building with its stylish, stately facade, is an important and consciously composed element of the market square. Due to its location, it has played a vital role in the layout of the historic town of Olkusz until today. It should be stressed that it is counted among the oldest surviving buildings in Olkusz, together with the parish church and a few burgher houses. The building has also many original stylish and valuable interior decorations. Relics under the edifice include fragments of mediaeval stone cellars and interesting remains of the royal mint, which functioned here in 1578-1601.

15

NEOCLASSICISM IN THE ARCHITECTURE OF RIGA (Klasicisms Rigas arhitektura)

80%

Zilgalvis J.

Materiali Latvijas makslas vesturei

|

2004

|

tom 4

57-72

EN

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

16

CZECHOSLOVAK STUDENTS OF ARCHITECTURE AT THE BAUHAUS

80%

Svobodova M.

Umění (Art)

|

2006

|

tom 54

|

nr 5

406-432

EN

The text 'Czechoslovak Students of Architecture at the Bauhaus' is part of a longer work treating students from Czechoslovakia, of Czech, Slovak, German and Jewish-German nationality, who attended this modernist art school. The study tries to fill in the gaps in the history of architecture - the names, dates, designs and buildings of the Czechoslovak students. It therefore does not consider philosophical aspects, the extensive commentary on this school in the Czechoslovak press, or the influences of the Bauhaus on Czech culture generally. The study is based on extensive research in archives in the Czech Republic and abroad, for example: Stiftung Bauhaus Dessau, Bauhaus Archiv Berlin, the Archive of Andrej Sacharov in Moscow, the National Archive of the Czech Republic, the Prague Municipal Archive, the Archive of the Academy of Fine Arts, the Brno Municipal Archive, the Architecture Archive of the National Technical Museum, the Collection of Architecture and Town Planning of the Brno Municipal Museum, etc. The text addresses the multicultural milieu of the interwar Czechoslovak Republic. It adds the names of other students, men and women, to the list of seven students mentioned in earlier literature on the subject. In the broader context, study at this school does not seem as unusual as had previously been assumed. The Czechoslovak students who studied there came from various cultural and social backgrounds. Often, they wanted to supplement a traditional university education. The Bauhaus offered them new, modern pedagogical methods and opportunities to test their skill in practice. The school attracted most students when Hannes Meyer was head. This is as one would expect, given the left-wing orientation of society in the First Republic and the intensive personal contacts with the Czechoslovak avant-garde, in particular Karel Teige, Jaromir Krejcar, and so on. The reason why the students trained at the Bauhaus did not erect more buildings has nothing to do with an inability to adapt or make a name for themselves. (Upon returning, most of them worked in established architectural offices or building firms.) The financial crises of the 1930s were really to blame. Despite this difficult situation, the radically pragmatic, functionalist designs and buildings by Antonin Urban, Josef Hausenblas, Zdenek Rossmann, Václav Zralý and Josef Pohl were far superior to the average work produced at that time. The text also treats the activities of architects/Bauhaus graduates of other nationality on the territory of Czechoslovakia.

17

SURVEY DRAWINGS OF IKSKILE CHURCH IN THE STATE ARCHIVES IN STOCKHOLM (Ikskiles baznicas uzmerijumi Valsts arhiva Stokholma)

80%

Grosmane E.

Makslas Vesture un Teorija

|

2006

|

tom 6-7

98-101

EN

The article presents survey drawings of Ikskile Church made in 1927 and now held by State Archives in Stockholm. In 1977 they were granted to the Archives by Professor Helge Kjellin who supervised archaeological excavations in Ikskile.

18

JEWS AND ARCHITECTURE (FROM THE PERSPECTIVE OF POLISH NATIONALISM OF THE 1930S) (Zydzi i architektura (z perspektywy polskiego nacjonalizmu lat trzydziestych XX wieku))

80%

Konstantynow D.

Kwartalnik Historii Żydow

|

2009

|

nr 4(232)

411-425

EN

In the years 1937-39, anti-Semitism thrived among Polish architects. Young architects graduating from Warsaw Technical University, sympathizing with the extreme nationalist right-wing, were pressing for the adoption of the so-called Aryan article in the Association of Architects of the Republic of Poland (SARP). The General Meeting of SARP Delegates held in Warsaw in June 1938 accepted the motion. Architects of Jewish nationality were to be expelled from the Association and persons with Jewish roots were to be screened by a vetting commission. The resolution came into force a year later and the ousting of Jews from individual SARP branches started in July 1939. In attacking the Jews, the nationalists were arguing about the allegedly destructive influence of the latter on Polish architecture. They accused the Jewish architects of promoting modern style, devoid of elements rooted in national tradition. True to tradition, the Jews were also accused of greed and a materialist attitude.

19

GMACH BIBLIOTEKI PUBLICZNEJ W WARSZAWIE

80%

Popławska-Bukało E.

Ochrona Zabytków

|

2006

|

nr 2

57-68

EN

The historical building in 26 Koszykowa Street is the seat of a Public Library established almost a hundred years ago for the capital city of Warsaw. In 2007 this institution will be celebrating its round anniversary. Created in 1907 thanks to the initiative of the Public Library Society, it has been almost uninterruptedly gathering and rendering available scientific collections and the belles lettres. From 1914 it is housed in an object erected due to the funds and efforts of Eugenia Kierbedz, born Kierbedz, the daughter of Stanislaw, an outstanding communications engineer and the author of the first permanent bridge across the Vistula in Warsaw. The Library was designed by acclaimed architects: Jan Heurich Junior and his collaborators - Wladyslaw Marconi and Artur Gurney. The building is composed of the two-storey main part which occupies the whole width of the front of the lot, and a single-storey outbuilding in the back, connected by means of a narrow and also one-story passage, perpendicular to the north-south axis. The most representative is the front fragment and the passage built on a ground plan similar to the letter T, which originally served predominantly library purposes. It still houses the large reading room featuring lavish architectural outfitting, harmoniously corresponding to the monumental facade which refers to the principles of Classical architecture. The outbuilding adjoining the passage and granted two wings of different width and height (on the ground plan of the letter L) formerly contained book storerooms, which burnt down during the second world war. Almost from its very outset the Library has been forced to tackle assorted problems involving available space. Successive postwar transformations (such as the erection of a new reading rooms building on the spot of a non-extant house in 28 Koszykowa Street) managed to meet the constantly growing needs of this institution for only a brief space of time. This is the reason why despite numerous failures, up to this day the Library has not resigned from efforts to expand and modernise its facilities. The results of a competition organised by SARP have been announced in December 2005. First prize for a conception of enlarging the Library went to the Bulanda, Mucha Architekci Sp. z o.o. studio. The adaptation of the Library buildings complex will be carried out in stages, and its completion is foreseen for 2007. Will it be conducted with due respect for the historical substance, or shall it assume the form of a successful integration of the new with the old; finally, will it add splendour to the anniversary of the hundred-years old institution? We still do not know the answer.

20

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

80%

Zilgalvis J.

Materiali Latvijas makslas vesturei

|

2001

|

tom 2

55-68

EN

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