19th-Century architecture

The article is about the work of Joseph Hatzinger, son of builder Paul (Pál) Hatzinger from Székesfehérvár (Hungary), and Joseph’s sons Heinrich and Paul. Joseph worked in Osijek and in Slavonia in the second half of the 18th century. In the early 19th century, his older son Heinrich spent almost a decade as a professor at the Genie-Akademie (Military Academy of Engineering) in Vienna and designed two important Early Neoclassical churches at Terezin and Josefov fortresses in Bohemia. His younger son Paul, after a brief period as a lecturer at the Genie-Akademie, worked as an engineer in various parts of the Habsburg Monarchy during the first half of the 19th century, from Galicia, across Dalmatia, to Vienna and Lower Austria in the final phase of his career. Finally, his great-great-grandson Gusztáv Kasper, the grandson of Paul Hatzinger Jr, became a Hungarian railway engineer at the turn of the 20th century.

(BG) Нова перспектива към българо-турските архитектурни взаимодействия: работата на Фичев в контекста на късния османски барок.

(TR) Bulgar-Türk mimari etkileşimlerine yeni bir perspektif: Fichev'in eserlerini Geç Osmanlı Baroğu bağlamında anlamak

Abstract:
The Bulgarian architectural historiography of the 20th century has attributed numerous anti-Ottoman characteristics to Nikola Fichev (Kolyu Ficheto)’s architecture. Notwithstanding, his work reflects a deep familiarity and remarkable continuity with what was being built in the Ottoman capital, Istanbul. This essay highlights the contribution of Fichev’s stay in Istanbul and Edirne (1837-1841) to his architectural background, thanks to a detailed analysis of the religious buildings that the architect built from 1840s onwards. Analogies with architectural and ornamental features of the so-called Ottoman Baroque sultanic buildings of the 18th and 19th centuries, reveal the importance of this stay in Fichev’s training as an innovative architect and master builder, which are extensively discussed in this study. This contextualization allows at the same time a better understanding of his role as an architect who greatly influenced the Bulgarian architecture of his era.

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

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.

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

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

La intención de este artículo es ofrecer una visión sintética y comprensible del complejo fenómeno
que constituye la arquitectura ecléctica, explicando así el origen del concepto, el debate que
suscita en los medios académicos y su difusión mediante la prensa y las exposiciones universales.
A continuación repasamos las tres variantes más significativas: el estilo segundo imperio, el
ringstrassenstil y la arquitectura victoriana, haciendo énfasis en los diferentes puntos en común que
presentan.
Palabras clave: arquitectura ecléctica, estilo Segundo Imperio, Ringstrassenstil,
arquitectura victoriana, exposiciones universales

Članak govori o upotrebi sgraffita kao tehnike ukrašavanja pročelja u historicizmu Hrvatske od 1870-ih do početka 20. stoljeća. Njegova se pojava tumači utjecajem arhitekta Gottfrieda Sempera, kako njegovih teorijskih radova tako i arhitektonskih, ponajprije zgrade Politehnike u Zürichu. Semper je snažno utjecao na širenje sgraffita u bečkoj arhitekturi toga vremena, preko koje, zahvaljujući prvom hrvatskom povjesničaru umjetnosti Isi Kršnjavome, sgraffito počinje prodirati i u hrvatsku arhitekturu. Kršnjavi je počeo poticati upotrebu sgraffita kao dekoracije pročelja u Hrvatskoj 1875. godine, no prve su građevine sa sgraffitom u zagrebačkoj arhitekturi realizirane 1879. Do danas ostao je sačuvan sgraffito na osobnoj kući arhitekta Franje Kleina koji je izveo slikar Eduard Haase navedene godine. Ubrzo dolazi do velikoga širenja sgraffita zahvaljujući arhitektu Hermanu Bolléu koji ga primjenjuje kao dekoraciju pročelja krajem 1870-ih i početkom 1880-ih na većini svojih djela: Samostanu magdalenki na Josipovcu (1879.), zgradi Evangeličke crkvene općine i škole u Gundulićevoj ulici (1880. – 1882.), prebendarskim kurijama na Novoj Vesi 5 (1880. – 1881.), kanoničkim kurijama na Kaptolu 6 (1881. – 1882.) i Kaptolu 21 (1886.), Kemijskom laboratoriju Sveučilišta u Zagrebu (1883. – 1884., danas Knjižnica Hrvatske akademije znanosti i umjetnosti na Strossmayerovom trgu 14), Vili Živković-Adrowski-Lubienski (koju radi s Kuno Waidmannom, Jurjevska 27, Zagreb, 1880. – 1881.), itd. Najkvalitetniji sačuvani sgraffito u Zagrebu nalazi se na kući Gustava Wellera u Đorđićevoj 10 koju je projektirao Kuno Waidmann (1885.), dok se najveći broj sgraffito ukrasa može naći na zgradi društava Kolo i Sokol (arhitekti Aleksandar Seć, Ferdinand Kondrat, Matija Antolec, Fellner & Helmer, Trg Republike Hrvatske 5-6-7, 1883. – 1885., 1895.). Zgrada C. K. Poljodjelske škole i pokušališta u Splitu (1903. – 1904.), pokazuje kako se sgraffito širio i u arhitekturi drugih dijelova Hrvatske, a ne samo u Zagrebu.

Zna ~e nje svjet skih izlo `a ba u cje lo ku pnoj dru{ tve noj, ekonom skoj i kul tur noj po vi je sti 19. sto lje }a nije po treb no poseb no na gla {a va ti. Bila su to u osno vi je di na mje sta koja su omo gu }a va la ve }em bro ju lju di uvid u naj zna ~aj ni je no vi tete, od izu ma na po lju teh no lo gi je, zna no sti, do (pre ma on -da{ njim su do vi ma) naj zna ~aj ni jih dje la li kov nih umjet no sti. Su vre me na pro met na in fra struk tu ra (`e lje zni ca) i op }e nit na pre dak ko mu ni ka cij ske teh no lo gi je (br zo jav na po lju verbal ne, fo to gra fi ja na po lju vi zu al ne ko mu ni ka ci je), te eu ropska ko lo ni za ci ja svi je ta, 1 po prvi su put u po vi je sti omo gu -}i li in ten ziv nu kul tur no-gos po dar sku raz mje nu ci je lo ga ~ovje ~an stva. Or ga ni zi ra nje svjet skih izlo `a ba naj u vjer lji vi ji je po ka za telj po ~et ka pre tva ra nja svi je ta u jed nu cje li nu, mate ri jal no utje lov lje nje po ~et ka glo ba li za cij skog pro ce sa.

Među brojne teme o kojima je pisala Lelja Dobronić spada i prvi monografski tekst o svakako najvažnijemu graditelju romantizma u Zagrebu i Hrvatskoj Franji Kleinu. Zahvaljujući njezinim istraživanjima osnovne su konture Kleinove biografije postale poznate, no cjeloviti uvid u plodnu djelatnost ovoga arhitekta još nedostaje. U ovome će se izlaganju pozornost posvetiti do sada manje poznatim aspektima djelovanja te opusa Franje Kleina nakon preseljenja u Zagreb 1859. godine, ponajprije pitanju točne godine osnivanja zajedničkog ateljea s Jankom Nikolom Grahorom. Riječ je o jednoj od najplodnijih arhitektonskih tvrtki zagrebačke povijesti koja je izvela u 25 godina postojanja oko 120 građevina u tada još uvijek prilično malenome Zagrebu. U izlaganju će se pokazati kako datum osnivanja zajedničkoga ateljea, do sada obično definiran 1867. godinom, treba pomaknuti na znatno raniju 1861. godinu. Govorit će se i o kadrovskim promjenama u ateljeu 1886., te o pojedinim Kleinovim radovima.

This article examines the birth of the urban development known as Colonia del Carmen, in Coyoacán, from 1890 to 1910, during the Porfirio Díaz Regime, in Mexico. To do so, the main source analyzed here is the Bosquejo Histórico de Coyoacán of Francisco Sosa, one of the most famous Mexican writers and historians of the time. Indeed, although this text is written by this author as an innocuous historical narrative of Coyoacán, the fact that it was specifically written to commemorate the inauguration of the Colonia by Porfirio Díaz and his wife Carmen reveals a lot of the ideological climate that was behind this type of development at the end of the nineteenth century. Contrasting Sosa's narrative with the official archives related to the development of the Colonia shows how Sosa tried to inscribe the commercial enterprise it represented within the myth of the Pax Porfiriana.

Depuis les années 1970, de nombreuses études ont éclairé d’un jour nouveau, par des approches biographiques, institutionnelles, stylistiques ou typologiques, l’architecture du XIXe siècle, restée jusqu’à alors en grande partie méconnue. Aujourd’hui la question de la culture architecturale permet à nouveau de reconsidérer l’architecture du XIXe siècle : comment la culture visuelle de l’architecte du XIXe siècle a-t- elle pu influencer ses conceptions architecturales ? A l’inverse, de quelle façon les représentations architecturales ont-elles permis à un large public d’appréhender les édifices du passé et du présent ?
L’étude de l’image architecturale et de ses moyens de diffusion permet de suivre les modes de circulation autonomes de la culture architecturale : la présence de l’architecture aux Expositions universelles, la diffusion des dessins d’architecture dans les revues, les débats publics autour de la polychromie, sont autant de sujets qui permettent de jeter un regard désenclavé et neuf sur cette discipline.

In the 19th century, one of the most important national events in Hungary was the 1896 millennial celebration of the Hungarian conquest of the Carpathian Basin. A central act of the festivity’s symbolical episodes was the erection of the so-called Millennium Memorial (or Millennial Monument) at Heroes’ Square in Budapest. The monument consists of a colonnaded architectural framework that embraces a sculpture gallery featuring Hungarian leaders and rulers. My paper presents the history of the monument from concept to completion. Besides the artistic patterns of the architectural framework designed by Albert Schickedanz, special attention is given to the sculptures of the Hungarian sculptors who worked under the direction of the artist György Zala, as well as to the relations between the sculptors and the artistic scene of Vienna, and to the models they used. In addition to these primarily art historical aspects, my paper discusses the cultural context of the Memorial. It seeks answers to the questions of how the Memorial became a symbol of national identity already at the stage of planning and what ideas about the shaping of the national self-image defined the final form of the Memorial.

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

This volume was created as a self-guided tour book to showcase the buildings and art collection in the Embassy of the United State's of America's compound. The art collection contains about 80 pieces of sculpture, among statues, busts, and items, from the Loduvisi collection.
pdf file of the publication is available upon specific request.