19-20th Century (Architecture history) Research Papers (original) (raw)

There are several buildings in The Bronx that were built in the early twentieth century and which now stand as vestiges of an era when the borough served as a center of charitable "homes" that provided refuge and aid to people with... more

There are several buildings in The Bronx that were built in the early twentieth century and which now stand as vestiges of an era when the borough served as a center of charitable "homes" that provided refuge and aid to people with special needs.

Izložba Etnografski muzej-palača s potpisom organizira se povodom završetka obnove Etnografskog muzeja kojom je rekonstruirana dekoracija pročelja ove građevine. Jedina u secesijskom stilu namjenski podignuta muzejska zgrada u Hrvatskoj... more

Izložba Etnografski muzej-palača s potpisom organizira se povodom završetka obnove Etnografskog muzeja kojom je rekonstruirana dekoracija pročelja ove građevine. Jedina u secesijskom stilu namjenski podignuta muzejska zgrada u Hrvatskoj time je dobila izgled koji joj je podario njezin arhitekt Vjekoslav Bastl početkom 20. stoljeća. Cilj je ove izložbe prikazati, s jedne strane, povijest izgradnje zgrade koja je prvotno udomljavala Trgovačko-obrtnički muzej, a s druge njezinu recentnu obnovu kroz arhivske projekte, stare fotografije, fotografsku i drugu dokumentaciju te artefakte.

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... more

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.

U Zagrebu je, od 1926. do 1942., djelovala Skola za arhitekturu pri Umjetnickoj akademiji, kroz koju je proslo oko sedamdeset, a diplomiralo osamnaest studenata, medu kojima su neki od najzanimljivijih autora hrvatske arhitekture 20.... more

U Zagrebu je, od 1926. do 1942., djelovala Skola za arhitekturu pri Umjetnickoj akademiji, kroz koju je proslo oko sedamdeset, a diplomiralo osamnaest studenata, medu kojima su neki od najzanimljivijih autora hrvatske arhitekture 20. stoljeca (Mladen Kauzlaric, Stjepan Planic, Lavoslav Horvat, Zvonimir Pozgaj, Drago Galic, Neven Segvic i drugi). Izuzetan po svojoj osobnosti i oblikovnoj kulturi, skolu je vodio arhitekt Drago Ibler, koji je u nas preuzeo Gropiusovu ulogu odgajati sredinu i drustveno angazirane arhitekte. Model skole bio je nov i eksperimentalan, a selekcija studenata stroga. Nastava je bila radionicka, a profesor i studenti radili su na aktualnim arhitektonskim zadacima i ucili iz otvorenih debata, cime je bilo omoguceno smanjenje broja kolegija. Ovo je ujedno prva skola u nas koja prekida s tradicijom i uvodi modernu arhitekturu izravno u svoj program. Poticani su bili kreativnost, individualni pristup oblikovanju i socijalna osjetljivost. Drago Ibler, "kao motor skole", stvorio je katedru koja se veze uz pojavu radikalne moderne arhitekture u nasoj sredini. Usporedno djelovanje "Iblerove skole" i Odjela za arhitekturu Tehnickog fakulteta doprinijelo je izuzetnoj zivosti zagrebacke i hrvatske arhitektonske scene. Fenomen Iblerove arhitektonske skole poslije rata, bitan je s aspekta kontinuiteta modernizma u nasoj sredini.

Usually focused on tangible projects, cataloguing them in a progressive manner, scholars do not always show more holistic, qualitative nature of Pietilä’s fluctuating evolving process. By studying Pietilä’s generative strategy that stems... more

Usually focused on tangible projects, cataloguing them in a progressive manner, scholars do not always show more holistic, qualitative nature of Pietilä’s fluctuating evolving process. By studying Pietilä’s generative strategy that stems from his personal experience, this essay is presenting selected unbuilt projects as the architect’s intellectual and conceptual starting points toward his materialized work - withstanding test of time.

Staranne opracowanie reprezentacyjnych wnętrz obiektów użyteczności publicznej, handlowych czy kamienic było w okresie międzywojennym ważnym zadaniem każdego szanującego swoją sztukę architekta. Oprócz ciekawego i funkcjonalnego... more

Staranne opracowanie reprezentacyjnych wnętrz obiektów użyteczności publicznej, handlowych czy kamienic było w okresie międzywojennym ważnym zadaniem każdego szanującego swoją sztukę architekta. Oprócz ciekawego i funkcjonalnego rozwiązania układu oraz współgrającego wystroju plastycznego na etapie projektu, autor zazwyczaj dbał o doprowadzenie realizacji swojego zamysłu do ostatniego detalu. Dopiero całość rozwiązania estetycznego dawała kompletny obraz autorskiego dzieła architektonicznego. Składało się na nie oprócz aranżacji przestrzennej, doboru kolorystyki, wyprawy czy okładziny ścian i posadzek, także stolarka, wystrój klatek schodowych, oświetlenie i szereg nierzadko wyjątkowych detali.

Come, quando e perché il Palazzo dei principi di Carignano, in Torino, si è trasformato da residenza nobiliare seicentesca in sede mai compiuta del Parlamento nazionale italiano, nell'Ottocento, e in luogo di memorie risorgimentali, nel... more

Come, quando e perché il Palazzo dei principi di Carignano, in Torino, si è trasformato da residenza nobiliare seicentesca in sede mai compiuta del Parlamento nazionale italiano, nell'Ottocento, e in luogo di memorie risorgimentali, nel Novecento. // How, when and why the Palace of the Princes of Carignano, in Turin, was transformed from a 17th century noble residence into an unfinished seat of the Italian national Parliament, ,in the 19th century, and a place of memories of the Risorgimento, in the 20th century.

Utjecaj češke na hrvatsku arhitekturu 20. stoljeća izuzetno je velik, djelom zahvaljujući djelovanju čeških arhitekata u Hrvatskoj (na primjer u izgradnji kompleksa Batine tvornice u Borovu), no još više stoga što je cijeli niz... more

Utjecaj češke na hrvatsku arhitekturu 20. stoljeća izuzetno je velik, djelom zahvaljujući djelovanju čeških arhitekata u Hrvatskoj (na primjer u izgradnji kompleksa Batine tvornice u Borovu), no još više stoga što je cijeli niz hrvatskih i jugoslavenskih arhitekata završio školovanje na njemačkoj ili češkoj politehnici u Pragu. Među najvažnije od njih spada Marko Vidaković (Golubinci, 18. 7. 1890. – Zagreb, 5. 1. 1976.). Nakon jedne godine studiranja na Visokoj tehničkoj školi u Beču (1909. – 1910.), na Česká vysoká škola technická u Pragu studirao je s prekidima između 1910. i 1919. Vidaković je odigrao ključnu ulogu u pojavi moderne u arhitekturi Hrvatske organiziranjem izložbe Čehoslovačke savremene arhitekture u Zagrebu (17. 3. – 1. 4. 1928.) koju je priredio uz pomoć Zdenĕka Wirtha iz Čehoslovačkog ministarstva za školstvo i narodnu prosvjetu. Nedugo poslije izložbe projektirao je i podigao jednu od prvih građevina internacionalnog stila u Zagrebu, vilu Ljudevita Pfeffermanna (Jurjevska 27a, 1928. – 1929.). I u ovome i u kasnijim njegovim projektima (poput nerealiziranog projekta paviljona za Zagrebački zbor iz 1931.) osjeća se utjecaj radova čeških arhitekata. Iako nakon vile Pfeffermann Vidaković neće imati prilike realizirati važnije građevine, iz projekata koje je izrađivao (tramvajska stajališta, 1930. ; umjetnički dom, 1930. ; klinika za otorinolaringologiju, 1940., sve u Zagrebu) očito je kako se radilo o vrlo talentiranom arhitektu koji je potpuno prihvatio leksik moderne arhitekture. U širenju internacionalnog stila u Hrvatskoj i Jugoslaviji odigrao je važnu ulogu i putem svojih brojnih tekstova publiciranih u časopisu Arhitektura iz Ljubljane, te u zagrebačkim i beogradskim dnevnim novinama. Tijekom Drugog svjetskog rata aktivno je sudjelovao u spašavanju srpske djece u profašističkoj Nezavisnoj Državi Hrvatskoj.

The late 19th and early 20th century was a period of transition architecturally, marking the entrance into a new era of building. This was the beginning of forward looking architectural design with styles not based on previous building... more

The late 19th and early 20th century was a period of transition architecturally, marking the entrance into a new era of building. This was the beginning of forward looking architectural design with styles not based on previous building forms. Changes in construction techniques, especially the development of sky scraper technology, and a desire to create houses that fit visually into the natural environment influenced the developing styles of this era.

The Valley of the Fallen – the great monument that Francisco Franco devised, in those dead during the 1936-39 Spanish Civil War’s honour – enjoys a leading position amongst the memorials erected along the warlike 20th century, not only... more

The Valley of the Fallen – the great monument that Francisco Franco devised, in those dead during the 1936-39 Spanish Civil War’s honour – enjoys a leading position amongst the memorials erected along the warlike 20th century, not only because of its impressive size and technical display but also because of its unwonted conception. With a symbolic background of High Middle Ages echoes, it joins architectural approaches from ideas arisen at the end of 18th century with scenic aspects already romantic but full of symbolist and expressionist tendencies, from the end of 19th century and the beginning of 20th century.

A considerable collection of historical illustrated postcards is held by the Fattoretto family in Villa Badoer Fattoretto in Sambruson (Venice). It has been used by the authors to enhance some architectural, artistic, urban and landascape... more

A considerable collection of historical illustrated postcards is held by the Fattoretto family in Villa Badoer Fattoretto in Sambruson (Venice). It has been used by the authors to enhance some architectural, artistic, urban and landascape features in the Riviera del Brenta in the 19th and 20th century.
The patient collection work was started by Luigino and is still being carried on by his heirs.

Título: La revalorización del medievo en la estética masónica: Inglaterra y Escocia

Ochrona międzywojennej architektury przemysłowej na tak specyficznym obszarze jak funkcjonujący port morski, jest zadaniem trudnym - niezbędne są kompromisy pomiędzy względami konserwatorskimi i użytkowymi. Artykuł prezentuje architekturę... more

Ochrona międzywojennej architektury przemysłowej na tak specyficznym obszarze jak funkcjonujący port morski, jest zadaniem trudnym - niezbędne są kompromisy pomiędzy względami konserwatorskimi i użytkowymi. Artykuł prezentuje architekturę portu gdyńskiego oraz złożoną problematykę jej ochrony konserwatorskiej.

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... more

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.

Franz Stauffert (1807-1867) war Architekt, Geometer, Baubeamter und wissenschaftlicher Redakteur. Er stammte aus Preußen. Anfang 1834 reiste er nach Griechenland und erhielt eine Stelle im Innenministerium als Geometer. In dieser Funktion... more

Franz Stauffert (1807-1867) war Architekt, Geometer, Baubeamter und wissenschaftlicher Redakteur. Er stammte aus Preußen. Anfang 1834 reiste er nach Griechenland und erhielt eine Stelle im Innenministerium als Geometer. In dieser Funktion korrigierte er den von Hauptmann August Giacomo Jochmus entworfenen Stadtplan von Sparta und setzte ihn um. Er entwarf die Pläne für drei öffentliche Gebäude in Sparta und erstellte Studien über die Wasserversorgung der Stadt. Er überarbeitete auch den Stadtplan von Petalidi auf der Peloponnes, der ebenfalls von Hauptmann Jochmus stammte, und führte die Absteckung der Grundstücke aus. Im Januar 1836 wurde Stauffert zum Stadtarchitekten von Athen ernannt und beschäftigte sich mit allen Bauproblemen der Hauptstadt. Im selben Jahr fertigte er einen partiellen Stadtplan von Athen an, der die Baulinien im nördlichen Abhang der Akropolis festlegte. Stauffert war der Architekt des Zivilspitals und der ersten Primarschule in Athen. Am 5./17. September 1843 wurde er aus dem Stadtdienst entlassen. Nachher verließ er Griechenland in Richtung Wien, wo er als Redakteur der Fachzeitschrift Allgemeine Bauzeitung arbeitete. Er starb am 21. April 1867 in Wien.

L’Accademia Nazionale di San Luca, in collaborazione con il Centro di Studi per la Storia dell’Architettura, dedica un convegno internazionale alla figura e all’opera poliedrica progettuale, didattica, teorica e legislativa – di Gustavo... more

L’Accademia Nazionale di San Luca, in collaborazione con il Centro di Studi per la Storia dell’Architettura, dedica un convegno internazionale alla figura e all’opera poliedrica progettuale, didattica, teorica e legislativa – di Gustavo Giovannoni (Roma 1873 - 1947), nella ricorrenza dell’ottantesimo anniversario del Congresso internazionale degli architetti svoltosi nel 1935 a Roma presso Palazzo Carpegna, la nuova sede dell’Accademia di San Luca appena restaurata dallo stesso Giovannoni con Arnaldo Foschini e inaugurata il 24 aprile 1934.
Laureatosi in ingegneria civile nel 1895, Gustavo Giovannoni è il principale protagonista della codificazione della professione dell’architetto in Italia. Il convegno indaga non soltanto il ruolo di promotore e innovatore che Giovannoni ricoprì nell’ambito delle problematiche del restauro architettonico e della storia e critica dell’architettura, ma anche la sua influenza nella progettazione architettonica per il cosiddetto regionalismo e barocchetto, come pure per l’ingegneria strutturale e l’attività antisismica dei suoi esordi professionali.Quindi, oltre ai tradizionali ambiti di ricerca legati alla sua figura, nel convegno si affronteranno tematiche strettamente connesse sia alla sfera dell’ingegneria, sia a quella della tradizionale progettazione architettonica (in opere quali la fabbrica della Birra Peroni, le chiese di Salerno e Formia, il villino Torlonia, le case a piazza Caprera e la Città Giardino Aniene a Roma, solo per citarne alcune), cercando di valutare il suo vero o presunto apporto all’architettura della prima metà del XX secolo. Gli interventi dei relatori approfondiranno poi l’attenzione di Giovannoni alla città e al paesaggio e il suo ruolo di maestro per una miriade di allievi coevi e postumi, tenendo in primo piano l’orizzonte variegato che caratterizza la sua produzione, l’insegnamento e il suo pensiero programmatico e propositivo di progettista integrale.

«nocciolo delle nostre discussioni era sempre l'architettura; e, ad essa vicinissime, le arti figurative da un lato, la configurazione degli oggetti del mondo attorno a noi dall'altro. su questi problemi giungevamo sempre all'accordo, e... more

«nocciolo delle nostre discussioni era sempre l'architettura; e, ad essa vicinissime, le arti figurative da un lato, la configurazione degli oggetti del mondo attorno a noi dall'altro. su questi problemi giungevamo sempre all'accordo, e concludeva regolarmente le discussioni un'espressione tipica di ernesto, che finimmo così per scambiarci: "accordeon"».

This article investigates how Istanbul's architecture and its landscape have been described and interpreted by various authors.

Este artículo presenta la relación de Lluís Domènech i Montaner con el arte japonés a través del fenómeno del japonismo difundido en Cataluña a finales del siglo XIX poniendo especial énfasis en los vínculos entre su obra, su biblioteca y... more

Este artículo presenta la relación de Lluís Domènech i Montaner con el arte japonés a través del fenómeno del japonismo difundido en Cataluña a finales del siglo XIX poniendo especial énfasis en los vínculos entre su obra, su biblioteca y su colección particular de libros ilustrados japoneses.

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

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 möchte mich bei Prof. Ba³us für die Hilfe bei der Entstehung dieser Arbeit herzlich bedanken. 2 Sein Vater, Johann Evangelist Goetz, kam 1845 in Galizien an, um hier mit einem Teilhaber eine kleine Brauerei in der Stadt Okocim zu eröffnen. Jan Albin hat nach dem Tod seines Vaters die Brauerei aufgekauft und ausgebaut. 1881 erhielt er den Adelstitel und ein Wappen mit seinem Namen.

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.

El s. XIX en Granada fue propicio para la consolidación del carácter filantrópico de la masonería. Numerosas logias se crearon en la provincia, cifrándose en 475 sus miembros en la ciudad. Este artículo pretende ser una aproximación a uno... more

El s. XIX en Granada fue propicio para la consolidación del carácter filantrópico de la masonería. Numerosas logias se crearon en la provincia, cifrándose en 475 sus miembros en la ciudad. Este artículo pretende ser una aproximación a uno de los arquitectos masones más relevantes de este período, Juan Monserrat. El Arzobispado, la Universidad y el Ayuntamiento de Granada, fueron algunos de sus comitentes institucionales. También realizaría obras para la burguesía granadina como los Rodríguez-Acosta. El ejemplo presentado es el de una casa de estética masónica, obra paradigmática que repercutirá en la construcción de la Gran Vía de Colón.

Such was the development of cinema architecture in Spain during the course of the 20th century that the country boasted one of the highest number of functioning picture halls in Europe. Founded on travelling cinemas and music halls in the... more

Such was the development of cinema architecture in Spain during the course of the 20th century that the country boasted one of the highest number of functioning picture halls in Europe. Founded on travelling cinemas and music halls in the early part of the century, the Spanish cinema industry eventually saw the emergence of a wide variety of permanent facilities, among them the large halls of the 1950s and 60s. Those buildings adopted the latest architectural trends, chief among them Art Nouveau, Art Deco and modernism, with the aim to stand out in the urban landscape and ultimately to attract people to venture inside. This architectural heritage, which played a key role in the modernising of Spanish society and its cities, is now an integral part of 20th-century social history, a manifestation of what was the most popular form of mass entertainment at the time

The stylistic and historical analysis of the Croatian bridge design and construction of the 19th and first half of the 20th century has not yet even been tackled. This paper presents the work of the Vukovar - based engineer - architect... more

The stylistic and historical analysis of the Croatian bridge design and construction of the 19th and first half of the 20th century has not yet even been tackled. This paper presents the work of the Vukovar - based engineer - architect Fran Funtak thus covering at least a small part of this topic. As a scholarship holder of the National Government, Fran Funtak graduated from the Polytechnic in Budapest. Being employed in the Josip Banheyer and Son company as an expert in reinforced concrete construction, he quickly turned this small trading and construction company into one of the leading Croatian bridge and other reinforced concrete construction companies. This was the result of his talent as well as the quality and beautiful design of his bridges. The Zagreb-based firm Josip Dubsky was the company’s major competitor for large construction projects. His design work started as early as 1903 during his studies. It was, however, not until 1906 that the bridge across the river Vuka won the company a reputation of a reliable constructor. In the period before World War I a large number of reinforced concrete bridges were built as a part of the measures undertaken by the Croatian National Government to modernise transportation system. The Banheyer and Son company with its leading architect Fran Funtak received a large number of these commissions. Until 1910 Funtak’s bridge design was mainly engineering-based without many stylistic features except for a secessionist inscription on the bridge beam with a date of its construction. In the subsequent period until 1914 and the company’s termination, his bridges became lavishly decorated in the Secessionist style. Date and year are still noticeable on the beam but the usual motifs became rings „suspended” on the bridge cantilevers, rectangular projections, disc motifs, shallow horizontal and vertical cuttings. All these elements were also coloured. Bridge parapet ends became more massive, at first with strengthened banisters but later mostly built in reinforced concrete. Remarkable examples of secession-style constructions were the bridges across the canal Voćinska - Drava (1911) and the bridges in Orahovica, Čačinci, Sunja as well as drawings for some unknown bridges in the Vinkovci region, all of them with specific trapezoid openings. A special example is the arch bridge across the Biđ near Vrpolje not only for its specific construction (arch bridge) but also for the quality of expressiveness with obelisks at the bridge parapet ends and the specific division of fields between the intrados and the road. Funtak built bridges throughout northern Croatia (about 60 of them between 1903 and 1914) and in this way brought modern materials and types of reinforced concrete constructions as well as modern Secession-style vocabulary into the smallest and most remote regions. This paper is based on the research conducted mainly in the Construction Engineering Department of the Internal Department of the National Government of the Kingdom of Croatia, Slavonia and Dalmatia between 1903 and 1914. Archive data are combined and compared with data from the publications of that period particularly the annual reports for individual counties as well as the newspapers.

The article is on Byzantine Revival in 19th century church architecture in Croatia. The neo-Byzantine style first appeared in the sacral architecture of the Orthodox Church in the territory of present-day Croatia in the mid-19th century,... more

The article is on Byzantine Revival in 19th century church architecture in Croatia. The neo-Byzantine style first appeared in the sacral architecture of the Orthodox Church in the territory of present-day Croatia in the mid-19th century, in the period of Romanticism, reaching its quantitative and qualitative peak, in the last two decades of the 19th and the beginning of the 20th century, in the time of so-called high and late historicism.

Доклад в рамките на юбилейните тържества по случай 100-годишния юбилей от основаването на БАУХАУС, представен на 22.10.2019 г. в Художествената галерия "Капана" в Пловдив по покана на Камарата на архитектите в България,- клон Пловдив. A... more

Доклад в рамките на юбилейните тържества по случай 100-годишния юбилей от основаването на БАУХАУС, представен на 22.10.2019 г. в Художествената галерия "Капана" в Пловдив по покана на Камарата на архитектите в България,- клон Пловдив.
A presentation within the celebrations on the occasion of the 100th anniversary of the founding of BAUHAUS, delivered on October 22, 2019, at the "Kapana" Art Gallery in Plovdiv after the invitation by the Chamber of Architects in Bulgaria - Plovdiv Branch.

Architectural atlas of Zagreb contains overview of the history of Zagreb architecture and 900 entries on buildings from all parts of the city. The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town... more

Architectural atlas of Zagreb contains overview of the history of Zagreb architecture and 900 entries on buildings from all parts of the city.
The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town - Centre, Lower Town - West, Lower Town - East, Savska street, Vukovarska street and Slavonska avenue, New Zagreb, etc. Each of these neighborhoods has been split into streets, and the buildings are organized according to their official street number. Along with each city area, a map showing the locations of all the marked buildings mentioned in the atlas is also attached.
The buildings in this atlas have been selected primarily according to their importance to the history of Zagreb’s architecture, while also bearing in mind their interest to the average visitor to Zagreb. The city center (Lower Town, Upper Town, and Kaptol) has been covered in most detail.