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Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Članek na podlagi analize znanih in novoodkritih arhivskih virov, novih spoznanj o srednjeveških poslikavah, sklepnikih z grbi ter o arhitekturni in stavbnoplastični pričevalnosti kapele prinaša spremenjeno razlago o srednjeveški stavbni zgodovini kapele. Opravljena raziskava kaže, da je bila konjiška kapela zgrajena kot enotna gradnja oziroma kot štiripolna bratovščinska kapela, ki je bila že v zadnji tretjini 14. stoletja tudi obokana. Grbovni sklepniki grofov Celjskih, gospodov Wallsee ter, kot je predlagano v tem prispevku, duhovnika in pozneje arhidiakona Jakoba Dürra kažejo na tesno povezavo z vplivno bratovščino, ki je imela v kapeli svoj sedež, hkrati pa prosopografske študije izpričujejo njihovo tesno prepletenost prav v času gradnje kapele.

Copyright of Zivot Umjetnosti is the property of Zivot Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mostariensia: Journal of Social Sciences & Humanities is the property of University of Mostar and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Knjiga Arhitektura i vizuelne umetnosti u jugoslovenskom kontekstu: 1918 – 1941. objedinila je radove autora iz Slovenije, Hrvatske, Bosne i Hercegovine, Crne Gore i Srbije, što joj daje međunarodni karakter i značaj. Povijesna distanca od gotovo tri desetljeća nakon nestanka jugoslavenske države s međunarodne scene omogućila je da se iskustvo suživota i stvaralaštva u prvoj Jugoslaviji sagleda u svojoj ukupnosti, te da u okviru jedne publikacije objedine partikularne umjetničko-arhitektonske prakse.

The specificity of architectural activity in the process of creation lies in its abstraction of reality. Architects, who often do not know the context within which they operate, define goals, problems and tools based on professional analytical methods. The traditional educational system emphasizes the role of the expert as a “conductor” who controls the outcome with a drawing. At the same time, authorship and creativity enable the designer (company or project client) to determine how the newly built context functions, its appearance, and the way it is used by the end users. An even more common phenomenon is intuitive spatial activity, where due to the pressure of modern parameters of time and money, decisions are made based on the unconscious process of creation. The results are responses to fragments of reality or reckless actions on existing complex spatial relationships. During the entire process of creating a new reality, experts – who are members of the system and the macro-social level, act on the micro-social level and implement the values of the system. Ultra-subjective alienation from reality and the manipulative practice of narrative design solutions serve individuals instead of common interests. What are the possibilities of resisting the ideological construction of the new reality? If we want to improve the existing context with architecture, we should solve contradictions through spatial activity instead of hiding them ideologically. By including the subjective and objective realities of the context within which the architect operates, the possibility of strengthening the user and the community is realized. It is necessary to include reality in the creative process, in the way of their mutual interweaving instead of differentiating. It should not be the final stage of the process, but a parallel part of its initiation, development and completion. [ABSTRACT FROM AUTHOR]

Copyright of Acta Historiae Artis Slovenica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hercegovina. Journal of Cultural Heritage & History (Since 2018) is the property of Sveuciliste u Mostaru, Filozofski fakultet and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Creativity Game / Igra Ustvarjalnosti is the property of University of Ljubljana, Faculty of Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revija Šport is the property of Sport: Revija Za Teoreticna in Praticna Vprasanja Sporta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revija Šport is the property of Sport: Revija Za Teoreticna in Praticna Vprasanja Sporta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revija Šport is the property of Sport: Revija Za Teoreticna in Praticna Vprasanja Sporta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revija Šport is the property of Sport: Revija Za Teoreticna in Praticna Vprasanja Sporta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Članak donosi pregled urbanističkog razvoja i izgradnje Vinkovaca od sredine 18. do sredine 19. stoljeća. Zamah u razvoju grada bio je potaknut proglašenjem Vinkovaca zapovjednim mjestom Brodske pukovnije 1747 godine., a potom i statusom vojnog komuniteta 1765. kojim su regulirani pravni odnosi i obveze vojnog i civilnog stanovništva. Vojnokrajiške su vlasti poduzele izgradnju velikog broja vojnih zgrada, u početku većinom oko glavnoga gradskog trga, gdje su podignute kuće pukovnika, brigadira, prvog i drugog bojnika, vojnog suca i glavna straža, no gradnja se nastavila tijekom čitave prve polovine 19. stoljeća, pri čemu je gotovo pedesetak zgrada bilo u funkciji vojne administracije. Taj intenzitet pratilo je i građenje civilnih građanskih kuća, trgovaca i obrtnika, mahom srpskog podrijetla, na prijelazu 18. u 19. stoljeće, koje su bile karakteristične po arkadnim trijemovima na pročeljima. U članku se pokušavaju odrediti osnovna prostorna i oblikovna obilježja ove arhitekture kojom je naposljetku i formirano današnje povijesno središte Vinkovaca.

V mednarodnem univerzitetnem okolju se ustvarjajo različne inovacije, med drugim tudi na področju oblikovanja vključujočih kampusov. V članku avtor proučuje ključne dejavnike prostorskega načrtovanja na urbanistični in arhitekturni ravni ter predstavi funkcionalna priporočila za oblikovanje kampusov, ki podpirajo dobro počutje in omogočajo kognitivni dostop osebam z intelektualno oviranostjo. Cilj je spodbuditi razvoj vključujočih okolij in okrepiti občutek pripadnosti kraju, pri čemer je poudarek na psihološkem in čustvenem zaznavanju univerzitetnega okolja. Avtor proučuje niz vključujočih načrtovalskih smernic in arhitekturnih tipologij, pri čemer se najprej osredotoči na dve zgodovinski univerzitetni prostorski paradigmi: križni hodnik in kampus. Nato proučuje re šitve, ki so lahko zgled za celostno načrtovanje kampusov in krepitev socialne vključenosti: učne skupnosti, razne tipologije prostorske kompozicije, človeško merilo, robove, naravo, estetiko in funkcionalne strategije. Na koncu predstavi, kako se lahko zadosti opisanim merilom, na podlagi česar se lahko kampusi bolj kakovostno načrtujejo in preobrazijo v vključujoča okolja, ob tem pa ponudi napotke za njihove izboljšave in prilagoditve najrazličnejšim uporabnikom.

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Libri & Liberi is the property of Croatian Association of Researchers in Children's Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Filozofija i Drustvo is the property of University of Belgrade, Institute for Philosophy & Social Theory and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Letonica is the property of University of Latvia, Institute of Literature, Folklore & Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

U ovoj se studiji donosi niz novih arhivskih dokumenta i novopronađenih skulptura kojima se dopunjuje opus riječkog majstora Antonija Michelazzija (Gradisca d’ Isonzo, 1707. – Rijeka, 1771.). Također, na temelju nepoznatih izvora nadopunjuje se i njegov dosad malen broj arhitektonskih djela. Majstor je u Rijeku došao kao član radionice svojeg učitelja Paola Zulianija krajem 1724., a u gradu se trajno nastanio od 1727. godine. Razlog preseljenja bile su pogodnosti obećane patentom cara Karla VI. od 19. prosinca 1725. godine. Michelazzi je surađivao na manje zahtjevnoj kiparskoj opremi oltara Presvetog Sakramenta koji je u riječkoj Zbornoj crkvi oko 1725. podizao njegov učitelj Zuliani. U ranu samostalnu majstorovu aktivnost ovdje su uvršteni kipovi svetog Mihovila, svete Agate i svete Margarete, danas razmješteni na širem području Gradskog groblja Kozala. Novi arhivski dokumenti pokazuju kako je Michelazzi od 1733. imao baraku za klesanje kipova smještenu na obali pred južnim gradskim vratima za koju je plaćao najam u iznosu od dva zlatnika godišnje. Kao majstorov rad prepoznata je mramorna skulptura svetog Karla Boromejskog i stipes s reljefom Mučeništva svetog Ivana Nepomuka, danas u dvorištu samostana sestara milosrdnica svetog Vinka Paulskoga u Kresnikovoj ulici 15 u Rijeci. Utvrđeno je da su te skulpture izvorno pripadale kapeli svetog Karla Boromejskoga u sklopu nekadašnjega istoimenog lazareta u Rijeci. Michelazzijevoj je ruci pripisan i mramorni kip Gospe Žalosne u župnoj crkvi u mjestu Cavriè nedaleko od Trevisa, a pronađena je i isplata iz 1763. u iznosu od 150 fjorina za kip svetog Martina u riječkoj Zbornoj crkvi. Recentna su istraživanja pokazala kako je 1755. Michelazzi bio imenovan od strane carice Marije Terezije carsko-kraljevskim arhitektom zaduženim za obnove i poboljšanja luka Senj i Karlobag. Na temelju novopronađenog dokumenta utvrđeno je da je on autor barokne obnove riječke augustinske crkve svetog Jeronima iz 1768. godine, a koja je bila teško oštećena u potresu 1750. godine. Otkriven je i majstorov osobni pečat s monogramom, kao i dosad nepoznati podatci o njegovom angažmanu na gradnji kapelanijske crkve svetog Filipa Apostola u Mrkoplju, a koja je stradala u bombardiranjima tijekom Drugoga svjetskog rata.

U članku se razmatraju prostorne i oblikovne značajke stambene arhitekture Osijeka u 18. stoljeću. To su većinom građanske kuće obrtnika, trgovaca, gradskih i vojnih činovnika, koje nastaju na parcelama unutar planski izgrađenoga grada-tvrđave. Kuće imaju karakteristična tlocrtna obilježja koja čine nizovi i grupe prostorija, kod kvalitetnijih u prizemlju redovito s vežom, koja može biti centrirana ili decentrirana u odnosu na središnju os, a na katu reprezentativni salon. Identificiraju se pojedinačni primjeri kuća, s obzirom na vrijeme nastanka i naručitelje, kao i arhitektonska rješenja, uz bitnu odrednicu da je riječ mahom o reprezentativnim katnicama višeg standarda koje su se isticale u vizuri grada. One u izvjesnoj mjeri preuzimaju elemente s javnih i vojnih zgrada što se tumači djelovanjem istih graditelja i projektanata – vojnih inženjera koji su bili angažirani na gradnji tvrđave, a koji dokumentirano projektiraju i građanske kuće.

Na primjeru dviju vila građenih početkom 20. stoljeća, vile Frangeš, pojedinačno zaštićenoga kulturnog dobra, i vile Peroš, koja predstavlja ambijentalnu vrijednost Povijesne urbane cjeline Grad Zagreb, autorice iznose problematiku njihove zaštite i stanja spomeničke baštine u okolnostima nakon potresa 2020. godine u Zagrebu. Pritom “osobni dosjei” vila otkrivaju mnoge otežavajuće okolnosti u provedbi zaštite kulturnog nasljeđa, od zapuštanja i opstruiranja konstruktivnih i inih sanacijskih mjera samih vlasnika, do dovođenja u pitanje temeljne opstojnosti spomenika. Namjera je člankom upozoriti na ono što bi se u izvanrednim postpotresnim okolnostima moglo događati pri sanacijskim zahvatima u zaštićenoj spomeničkoj cjelini, kao i koji bi se naslijeđeni problemi, iščitani u “normalnim” okolnostima zaštite baštine, mogli nastaviti. Vila Frangeš godinama je zatvorena, zapuštena i nedostupna, propada u očekivanju temeljite sanacije i predviđene muzealizacije, a dodatno je oštećena u potresu. Vila Peroš također je godinama zapuštena i premda je dobro podnijela potres, devastirana je ubrzo nakon njega te je u posljednji čas spašena od potpune destrukcije. U ovom je članku vila Peroš prvi put povijesno-urbanistički kontekstualizirana i stilski valorizirana. Oba primjera svjedoče o kompleksnom odnosu svih sudionika u procesu zaštite, prenamjene i čuvanja kulturnih dobara, bilo da je riječ o pojedinačno visoko vrednovanim i zaštićenim primjerima ili o ambijentalnim vrijednostima kojima tek treba dodatnim istraživanjima potvrditi atribuciju i donijeti valorizaciju.

Glavna zgrada Akademije likovnih umjetnosti u Zagrebu građena je u različitim etapama od 1895. do 1957. godine. U članku se prvi put detaljno analiziraju sve faze gradnje, počevši od Umjetničkih atelijera koje je 1895. projektirao Herman Bollé, dograđenih za potrebe Više škole za umjetnost i umjetni obrt po nacrtima Victora Grossa 1907. godine. Prema projektu Ćirila Metoda Ivekovića sklopu je 1921. prigrađena dvokatnica s visokom mansardom, a kao posljednja velika intervencija uslijedila je trokatna dogradnja 1957. godine prema projektu Ive Geršića. Sveukupno pet objekata različitih autora i razdoblja gradnje čini današnji jedinstveni arhitektonski sklop. Osim arhitekata projektanata, u članku se spominju i graditelji izvođači, Kuno Waidmann, Pilar, Mally & Bauda, Josip Dubsky, Wutte i Mihok. Navode se i interpretiraju i nerealizirani planovi i nacrti koje su izradili arhitekti Viktor Kovačić i Hugo Ehrlich (1908., atribucija), Rudolf Lubynski (1912.) te Srećko Florschütz (1914.). Tijekom prvih šezdesetak godina, od kraja 19. do sredine 20. stoljeća planirana je i izgrađena središnja zgrada u dvorištu Ilice 85, a u njezinoj su arhitektonskoj koncepciji i realizaciji sudjelovali tada najpriznatiji hrvatski arhitekti i graditelji.

Copyright of Hercegovina. Journal of Cultural Heritage & History (Since 2018) is the property of Sveuciliste u Mostaru, Filozofski fakultet and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Industry / Industrija is the property of Economics Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the Baraga Seminary in Ljubljana, conceptually designed in 1936 by the architect Jože Plečnik. On the basis of new facts discovered in archival records, mostly in the legacy of the bishop dr. Gregorij Rožman and other relevant files and plans at the Archiepiscopal Archives in Ljubljana, construction documents and minutes of the city construction board at the Historical Archives Ljubljana, the article defines circumstances affecting the financing and the location choice. It also explains the architectural design of the seminary building and the bishop's role at its planning. [ABSTRACT FROM AUTHOR]

Iako je udio fotografije u oblikovanju slike svijeta u eri vizualnog obrata postao notorna činjenica, usprkos intenziviranju istraživanja ovog medija pojedine su teme u kulturnoj povijesti još uvijek nedostatno zastupljene. Karakterističan je primjer arhitektonska fotografija, gdje osim studija autorskih opusa pojedinih protagonista fotografije u Hrvatskoj, još uvijek nema cjelovitih historiografskih uvida. Polazeći od interaktivne dinamike odnosa fotografije i arhitekture kao komplementarnih medija, u tekstu se analiziraju kompleksne uloge fotografije u bilježenju i (re)kreiranju značenja arhitektonskih prostora, urbanih ambijenata, javnih i privatnih prostora. S težištem na karakterističnim žanrovskim, medijskim i autorskim primjerima iz arhitektonske publicistike (albumi, periodika, monografije, katalozi izložbi), primjenom usporedne analize rasvijetlit će se značenja fotografije u medijaliziranju arhitektonskog diskursa i vizualiziranju urbanog identiteta Zagreba. Na osnovi analize modela sagledavanja prostora koji generiraju novu dinamiku odnosa slike i teksta, cilj je doprinijeti kontekstualiziranju arhitektonske fotografije unutar konstruiranja moderne kulture i oblikovanja kolektivne memorije grada Zagreba.

U članku se objavljuje dvanaest nepoznatih nacrta i projekata riječkog kipara i altarista Antonija Michelazzija (Gradisca d’Isonzo, 1707. – Rijeka, 1771.). Najranija dva nacrta su iz 1750. i vezani su za otok Krk, a čuvaju se u Archivio di Stato u Veneciji. Riječ je o tlocrtu i procjeni jedne javne ruševine u gradu Krku te o panoramskom prikazu zaljeva u Omišlju. Novootkriveni dokument pojašnjava Michelazzijev angažman od strane Tršćanske uprave zadužene za gradove Rijeku, Senj i Karlobag budući da ga je 1755. carica Marija Terezija imenovala carsko-kraljevskim arhitektom. U tu svrhu Michelazzi 1757. i 1758. radi desetak planova i projekata za javne gradnje u Senju i Karlobagu. Za Senj crta tlocrt grada s projektom modernizacije gradske luke i njezine obrane od bure. Posebno se izdvaja plan za njegov veliki zahvat, skretanje i gradnju novog korita potoka koji teče kroz grad te se ulijeva u senjsku luku. Tu su i projekti za zatvore u kaštelu, zdravstveni ured, klaonicu te mesnice. U Karlobagu radi projekt obnove kaštela, mesnice, novu cisternu te javni administrativno-stambeni objekt na glavnom gradskom trgu. Posljednji nacrt i projekt nastao je 1770., a riječ je o zgradi nove klaonice s mesnicama u Rijeci. Iako najveći dio Michelazzijevih planova zbog financija nije izveden, ovdje objavljeni nacrti prvi su takvi poznati u njegovom opusu, a on će svakako rasti s obzirom da se je majstor osim kiparstvom te altaristikom bavio i arhitekturom.

U radu se analizira povijest građevnih mijena dvorca Cernik od prvotne izgradnje u 16. stoljeću, osmanske okupacije, pa sve do obnova 18. stoljeća kada je dvorac poprimio današnji izgled. Utvrđuje se kontinuitet čitavog tog razdoblja korištenjem najranijih građevnih struktura sa zadržavanjem osnovnog koncepta četverokrilnog tlocrta s četiri ugaone kule. Zbog konstantnih nemira na granici, izgradnje vojnih tvrđava u Slavoniji u 18. stoljeću, ali ujedno i memorije na »herojska« ratna vremena, zadržava se predturski koncept osnovnog perimetra, ali se dodaje barokna osovina sa dvoranom u središnjoj osi, svodovi u obliku čeških kapa te plošna žbukana raščlamba pilastrima i trakama kao izrazitim obilježjima baroknog stila. Dio obnoviteljskih radova poduzimaju general Maksimilijan Petraš i njegova supruga, a dio novodoseljena obitelj Marković od 1752. s kojom nastupa dugo i mirno razdoblje dvorca kao sjedišta vlastelinstva. Na primjeru Cernika jasno se uočava novi polet izgradnje u 18. stoljeću kada se starije obrambene strukture oplemenjuju konstruktivnim i stilskim preinakama svojstvenima baroknom razdoblju.

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Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Otto Piper (1841–1921) was a seminal student of castle architecture in Europe and a pioneer of professional topographic documentation and research of medieval castles in the territories of Slovenia, including Istria. Yet, his work is currently almost completely forgotten. The present paper, written for the 180th anniversary of the birth and the centenary of the death of Otto Piper, relies on an analysis of available sources and literature to valorise Piper as the researcher who, at the beginning of the 20th century, laid a solid foundation for further and more in-depth research of the heritage of castle architecture as a material source of medieval history in Slovenia (and Istria). Between 1902 and 1910, Piper, a lawyer by profession, a German by nationality, and a central European castellologist by occupation, topographically studied and presented 22 castles or castle ruins from the territories of today’s Slovenia, and Croatian Istria. His analyses, published in a monumental book series about Austrian castles shortly before the beginning of the First World War, encouraged further, even more detailed, semi-monographic presentations of fortified buildings. At the same time, his encyclopaedic volume Burgenkunde (Study of Castles) aroused such a wide interest in Slovenia as to give rise to intensive research and preservation of castle architecture and heritage, influencing also the work of the first Slovenian academic art historian, Avguštin Stegenšek. [ABSTRACT FROM AUTHOR]

North Macedonia's traditional houses have been extensively studied, including those in Tetovo, yet very little is known about the experiential qualities of the traditional house as sensed by its inhabitants. Since it is difficult to find a traditional house in Tetovo that is habitable today, the paper explored its experiential qualities through dwellers' memorable impressions as significant descriptors of the house's qualities. The research employed a qualitative approach to study inhabitants' memorable impressions and suggests that the experiential qualities of the traditional house in Tetovo are closely related to how the spatial properties of the house as a whole fulfil the inhabitants' multiple psychological and socio-cultural needs. [ABSTRACT FROM AUTHOR]

In Croatia, as elsewhere, significant changes have occurred in the landscape over time, due to changes in land use, climate change, and general anthropogenic activities. Accordingly, the need for deeper and more intensive understanding of landscape properties has arisen, in order to ensure adequate land management and protection. The aim of this study is to give an overview of the state of scientific landscape research in Croatia, and determine the stakeholders, methodologies, various research topics, and degree of research and knowledge regarding Croatia’s landscapes. Over the past decade, there has been an increased interest in landscape research, with two clear landscape research approaches emerging: geographic approach and (landscape) architecture approach, that differ in terms of the issues examined, methodologies applied, and spatial context. [ABSTRACT FROM AUTHOR]

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Copyright of Filozofski Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

U članku se tumače arhivski izvori o povijesti zgrade na Koblerovu trgu u Rijeci koja je od 16. do 19. stoljeća služila kao gradska vijećnica. Od prvotne stambene kuće, prenamijenjene za vijećnicu 1532. godine, zgrada je doživjela brojne promjene. Najvažnija je bila ona iz 1740.–1745. prema projektu arhitekta Antonija de Vernede, kada je nadograđen drugi kat, pripojena susjedna kuća, pročelja u cijelosti preoblikovana u baroknom stilu, te je kao takva, uz manje preinake, zgrada ostala sačuvana do danas. Nakon toga oštećena je u potresu 1750. te je ponovno obnovljena u nekoliko navrata. U kasnom 18. stoljeću nalazimo da se njezine prostorije koriste za razna društvena i javna događanja. Kao vijećnica služila je sve do 1833. godine, a zatim se gradska uprava preselila u bivši augustinski samostan te je zgrada prenamijenjena u trgovačke i stambene svrhe. S položajem na križanju glavnih ulica i središnjega trga, stara vijećnica ima i urbanističko značenje. U članku se također donose rezultati konzervatorskih istraživanja kojima su razlučene faze njezina građevnog razvoja.

Sigismund grof Attems Petzenstein (1708–1758) je sredi 18. stoletja svojo rodbino »povzdignil do take veličine, kakršne ni dosegla v vseh preteklih časih« (G. Guelmi, Storia genealogico-cronologica degli Attems austriaci, 1783). Na novo pridobljeni ugled je pospremil s postavitvijo mestne rezidence na Kornu (1745) in vile v Podgori (1747–1748) ter z obnovo dvorca na Jazbinah (1747). Leta 1750, ob imenovanju brata Karla Mihaela (1711–1774) za prvega goriškega nadškofa, pa je dal modernizirati pročelje mestne palače. Za gradbene podvige je Sigismund praviloma zaposlil arhitekta Saveria Giannija, kar dokazujejo prvič objavljeni podatki iz zapuščinskega inventarja. Slikarsko opremo je naročal pri goriških slikarjih (Johann Michael Lichtenreit, Antonio Paroli), le za oltarno sliko družinske kapele v nekdanji cerkvi sv. Frančiška se je obrnil na veronskega umetnika Giambettina Cignarolija. Čeprav Sigismund ni dočakal namestitve slike, se je ravno s tem umetniškim podvigom vpisal v elitni krog evropskih naročnikov Cignarolijevih del.

Arheološka dediščina nujno terja sodelovanje med arheologijo in arhitekturo, saj lahko le interdisciplinarno sodelovanje zagotovi poglobljeno raziskavo, sodobno dediščinsko interpretacijo ter posledično celostno in dolgoročno varovanje in upravljanje arheološke dediščine. Takšen postopek torej nudi kakovostnejšo obravnavo, mnogoplastne informacije, konservacijo, restavracijo in prezentacijo arheološke dediščine, česar ena ali druga veda sama ne zmore zagotoviti. Želje sodobne družbe ter uporabnikov arheološke dediščine, kakor tudi sodobni pristopi k ohranjanju in zaščiti, so pripeljali do postopnega obujanja intenzivnejšega sodelovanja med arheologi in arhitekti, kar se kaže tudi v počasnem razvoju teoretičnih temeljev za sodelovanje med obema strokama in sprejemanju nacionalnih (slovenskih) ter mednarodnih listin in priporočil o raziskavah, interpretaciji, varovanju ter prezentaciji arheološkega dediščine, ki spodbujajo sodelovanje in inkluzijo.

Prispevek obravnava različne nacionalne arhitekturne sloge, značilne za arhitekturo zadnjih desetletij Habsburške monarhije, na območju Slovenije, jih umešča v sočasno avstro-ogrsko arhitekturno produkcijo in skuša opredeliti njihovo propagandno vlogo. Predstavljeni so poskusi Ivana Jagra, Cirila Metoda Kocha in Ivana Vurnika za oblikovanje slovenskega nacionalnega sloga, obravnavani pa so tudi primeri češkega in nemškega nacionalnega sloga (nemške neorenesanse). V zaključnem delu avtor ovrže opredelitev opusa Lászla Takátsa v Murski Soboti za primer madžarskega nacionalnega sloga.

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Copyright of Creativity Game / Igra Ustvarjalnosti is the property of University of Ljubljana, Faculty of Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)