19th Century Architecture

The article introduces the biographic notes of the countess Klementyna Tyszkiewicz (born Potocka, 1856 1921), the owner of an impressive city residence near the river Neris, known today as the Wróblewski Library of the Lithuanian Academy of Sciences. Neither the building nor the countess have been studied by researchers before. The article aims to present this aristocratic personality, the early influences on her character formation and explicate how her personal traits and taste shaped Vilnius cultural life during 1882–1913. The countess was born in Lviv into the influential Galician family of Alfred Józef Marian Potocki (1817– 1889) and Maria Klementyna Sanguszko (1830–1903). Most of her youth was spent in Vienna due to her father’s employment. Growing up in Vienna meant that she was introduced to the highest circles of society and maintained a close relationship with the children of Emperor Franz Joseph I of Austria. She married a Lithuanian nobleman Jan Leon Tyszkiewicz (1852–1901) in 1878 and moved to Paris, spending approximately 4 years there. The couple came back to Vilnius in about 1882 where she gave birth to a son Alfred (1882–1930). Initially they resided in luxury apartments decorated by the famous architect Friedrich Gustaw von Schacht. In 1884, the construction of a new residence began following the project of Cyprian Maculewicz. The need for a personal residence was grown out of the countess’ desire to become an influential person in local society replicating her mother’s successful example back in Lviv. Klementyna Tyszkiewicz also wished to recreate a similar environment to the one she experienced in earlier days while living in Vienna and Paris. A big Renaissance style residence in the central part of Vilnius was completed in 1888. A new type of lifestyle typical of Europe’s richest aristocratic circles was introduced. It included endless receptions, visitations, luxurious banquets followed by dances, amateur theatre performances, billiard games and discussions. All feasts and gatherings were intended for a close circle of people, mainly the polish speaking aristocracy, as a way of discerning their identity and rejecting the regulations of the dictating tsarist government. A few important changes took place in the early 20th century. Having buried her daughter and husband in 1901, the countess closed the residence and left for Paris. Visiting only briefly, Klementyna Tyszkiewicz finally returned in 1905 upon hearing that Tsar Nicholas II had published a manifesto proclaiming “the civil liberty to the people based on individual inviolability, freedom of faith, speech, and social gatherings and associations”.
The Tyszkiewicz residence was reopened and gained a significantly wider social and cultural importance. It housed a Warsaw Art School students’ exhibition in 1907, an exhibition of Polish artists living locally and in Poland in 1908. The residence lodged Vilnius Science and Art Museum Association chaired by Władysław and Antoni Tyszkiewcz in 1907–1914, and organised many other charitable events. The public life of Klementyna Tyszkiewicz was not restricted to the palace as she was also a member of the Music Association and the main initiator of the Polish Theatre in Vilnius. The countess was regarded as a cultural patron of Vilnius until 1913 when she left the city for the last time. She died in Paris in 1921. The residential property was inherited by her son Alfred Tyszkiewicz who sold the palace to the Ministry of Polish Religion and Public Education, which later established the Wróblewski Library there.
Despite the contributions to Polish culture, Klementyna Tyszkiewicz was criticised by her contemporaries for leading a hedonistic lifestyle. This was claimed to be inappropriate in Vilnius at the times of resistance to the dictating tsarist government. Many years later history proved that the western lifestyle introduced by Klementyna Tyszkiewicz had significantly influenced the aristocratic and local culture at the turn of 19th and 20th centuries.

Nella seconda metà dell’ottocento Cagliari vide nascere il suo nuovo assetto urbano che si completò e delineò in maniera netta agli inizi del XX secolo. I progetti per i quartieri storici, le prospettive di espansione fuori le mura spagnole, la successiva demolizione di parte di esse, determinarono un grande fermento dell’architettura. In quel periodo era attiva all’Università di Cagliari la Scuola di Architettura a Disegno facente parte della Facoltà di Scienze. Il professore più rappresentativo fu Gaetano Cima (1805-1878) che insegnò per lungo periodo nella facoltà e ne fu anche preside. Sotto la sua guida molti studenti furono dichiarati Architetti Civili discutendo tesi di architettura. Il professor Cima che ricoprì per un lungo periodo anche la carica di Architetto della Città fu molto attivo anche come professionista e i suoi progetti sono oggi elementi determinanti del paesaggio urbano di Cagliari. Formatosi a Torino sotto la guida di Ferdinado Bonsignore e Giuseppe Talucchi, si perfezionò poi a Roma all’Accademia di San Luca e trasferì nei suoi insegnamenti la formazione neoclassica. Si propone qui una sintesi dello studio da me condotto sulle le carte relative ai corsi da lui impartiti e dei temi di laurea da lui assegnati agli studenti. Il raffronto di tali documenti con i suoi progetti per la città di Cagliari, o in generale con le prospettive di espansione e di abbellimento della città che in quegli anni nutrivano le amministrazioni cittadine, mostra uno stretto legame tra la didattica e le realizzazioni. In alcuni casi siti e tipologie indicati ipoteticamente come sede di particolari edifici coincidono con le realizzazioni successive operate da altri progettisti sia per scelta architettonica che ubicazione nel contesto urbano, come se le idee dell’architetto di metà ottocento avessero condizionato di fatto le scelte delle amministrazioni o al contrario tali progetti fossero già in fieri all’epoca del Cima ma vennero realizzati a decenni di distanza.

AWá* ;:*,e;g;1 1. Jusepe Leonardo (atribuido): El palacio del Buen Retiro en 1636-1637, detalle. A la derecha, el monasterio de San Jerónimo el Real LA RESTAURACIOI{ DE SA¡/ JEROIVIMO E,L REAL POR IVARCISO PASC(IAL Y COLOMER PoT NIEVES PANADERO PEROPADRE El monasterio de San Jerónimo el Real. construido durante el reinado de los Reyes Católicos, quedó convertido durante el siglo XVII en uno de los elementos integrantes del conjunto palaciego del Buen Retiro paia, tras el declive de éste y la reforma acometida por Cárlos III en el

Knjiga donosi pregled povijesti te sakralne baštine osječkog donjega grada od kraja 17. stoljeća do druge polovine 20. stoljeća. Posebna je pozornost posvećena povijesti Donjega grada u 18. stoljeću kada je on bio samostalna gradska općina. Specifične političke okolnosti utjecale su snažno na podizanje brojnih sakralnih građevina: župne crkve Imena Marijina, pravoslavne parohijske crkve Uspenja Presvete Bogorodice, kapela svetog Roka i Gospe Snježne. U drugoj polovini 19. stoljeća u Donjemu su gradu također podignute brojne nove sakralne građevine: katoličke kapele Uzvišenja svetog Križa i Gospe Snježne, te pravoslavna svetog Nikole, kao i kasnohistoricistička sinagoga.

Neo-Gothic emerged in Croatian architecture rather late in comparison to Great Britain and the majority of countries in mainland Europe. Crucial in spreading the use of the style were the influences from the areas of present-day Germany, Austria, the Czech lands and Hungary.
The history of Croatian Neo-Gothic can be divided into three phases. The first, Romantic, phase lasted from the beginning of the 1800s to the end of the 1860s and was marked by naïve approach to the Gothic style. The second phase of the so-called High Neo-Gothic, in the 1870s and 1880s, showed a considerably greater tendency for achieving stylistic purity and drawing on High Gothic buildings.
Since the early 1890s Neo-Gothic entered its third phase characterized by frequent imitations of Late Gothic, propensity for extravagance and occasional combination with other styles, mostly the Viennese Secession.
Neo-Gothic was significant primarily for the Catholic Church which used it to distinguish its buildings from Orthodox Neo-Byzantine churches or synagogues built mostly in the Neo-Moorish style. Since Catholicism was an important part of Croatian national identity there were endeavours, though unsuccessful ones, to make (Neo-)Gothic the basis for a particular national architectural style.
Croatian architecture of the second half of the 19th century can enrich the historical context of Neo-Gothic on the European mainland with several accomplishments.
Especially interesting are Herman Bollé’s restoration of the Greek
Catholic Cathedral in Križevci in the mixed Neo-Gothic and Neo-Byzantine style and the restoration of the Zagreb Cathedral which was a radical attempt in establishing its assumed original Gothic state by removing almost all Baroque architectural elements and furniture.
Most important architects of Gothic Revival in Croatia were Viennese architect Friedrich von Schmidt and his students, Croatian architects Herman Bollé and Josip Vancaš.

История на строителството на сградата на Народното събрание в София.
https://sofiazanas.blogspot.com/2014/11/130.html

Construction history of the edifice of the National Assembly in Sofia on the occasion of the 130th anniversary from its inauguration.

In: Ostrava. Příspěvky k dějinám a současnosti Ostravy a Ostravska,  Ostrava 2016, ISBN 978-80-906091-7-4

The oldest part of Nádražní street in Moravská Ostrava has udergone a series of transformation during the course of its history - from rural outskirts, to a quarter known for its exclusive villas, ultimately become todays wide urban boulevard. This article fosuces on the socond of the above-mentioned phases, characterised by a pastiche form of architecture known as Historicism. During the 1850s and 1860s a number of Ostravas prominent citizens built theirs villas here - ranging from local politicians, builder Josef Kraus, builder Franz G. Böhm and doctor Otto Andrée, in the 1890s a villa of stonemason Josef Becke was built here and in the first decade of 20th centurythe villa for Josef Krauss son Karl was built. The article traces the historical development of this part of Nádražní street in terms of its architecture, urban planning, and transport system - including the widening of the street due to tramline in 1890s or the construction of the new streets in vicinity. The autor then focuses on the architectural history of individual villas - their layout and funcional use, the people who lived in them, a stylistic analysis, and deails of theirs owners and architects.

Počáteční úsek Nádražní ulice v Moravské Ostravě se během své existence proměnil od venkovského předměstí, přes vilový okrsek, k velkoměstskému bulváru. Předmětem článku je ona prostřední etapa doby historismu v architektuře, kdy zde na přelomu 50. a 60. let 19. stol. vyrostly vily místních politiků, stavitele Josefa Krause, stavitele Franze G. Böhma a báňského inženýra Rudolfa Sauera. V 80. letech pak vila politika a lékaře Otto Andréeho, v 90. letech vila kameníka Josefa Beckeho a v 10. letech 20. stol nová vila Krausova syna Karla. Článek jednak ukazuje, jak se toto místo na začátku Nádražní vyvíjelo stavebně, urbanisticky i komunikačně, zabývá se rozšířením ulice pro výstavbu tramvaje v 90. letech, či trasováním nových ulic v okolí. Jednak se vilu po vile zabývá stavební historií objektů, jejich půdorysným rozložením a využitím, obyvateli, stylovou analýzou a zaměřuje se na postavy majitelů a architektů.

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.

This paper examines the design of educational institutions in Athens and its vicinity during the first decade following Greek Independence. The revival of ancient architectural forms played a key role in this development. Still, the selection of ancient models and their fusion with nineteenth-century design paradigms have not yet been studied sufficiently. The present article aims to fill this lacuna by focusing on the educational institutions designed by two major architects of the 1830s: Christian Hansen and Stamatios Kleanthis. These buildings are used as case studies to understand each architect’s choice and modern interpretation of ancient models. This helps to gain a better sense of the variety of architectural idioms that marked the reception of classical architectural canons in nineteenth-century Greece.

Born in Mumbai, earlier known as Bombay, and studying in Chicago since 2018
made me connect to both the cities because of their close resemblance to art and architectural cultures.
This thesis is a qualitative study of the architectural style known as Art Deco that
occurred between the years 1920 and 1940. During this period, both Chicago and Bombay were developing their art deco architecture, but in very different ways. Art Deco evolved in Westernized societies, such as Chicago, where the influences of major institutions such as the Chicago School and Modernism were monumental. However, my interests lie within the translation of art deco from a Western environment to an Eastern, colonial influenced environment; where do the ‘gaps’ arise when importing a style such as art deco. By doing this thesis I hope to find similarities and differences in the development of Art Deco style from both the sites. My thesis will be completed in two parts. The first being a historical analysis, including economic, historical, and political developments within Chicago and Bombay between 1920 and 1940. The second part of my thesis will revolve around four case studies, two from each city. These will include analyses of architectural developments, material, technology, and the density of that area.
I am narrowing my scope to interpret two case studies from each city, which will be
analyzed based upon the above parameters. Specifically, my case study models from Chicago will be the Chicago Board of Trade Building (on Jackson Boulevard in Chicago, 1930) and the Lake Theatre (on the Lake Street Oak Park, 1936); while the examples from Mumbai will be the New India Assurance Building (on Ballard Estate, 1936) and the Metro Cinema (on Mahatma Gandhi Road in Marine Drive, 1938). This study also intends to understand and bridge the blind spots in protecting Art Deco buildings in both the cities by using improvised Historic Preservation laws as its tool to do so.

Knjiga predstavlja zbornik radova povodom dovršetka dugogodišnje obnove crkve sv. Marka u Zagrebu. Kroz šest članaka različitih autora (Zorislav Horvat, Petar Puhmajer, Dragan Damjanović, Zrinka Marković, Vladanka Milošević, Edita Šurina, Branimir Rašica i Ivan Jengić), prikazan je razvoj crkve od prvotne, još uvijek nedovoljno rasvijetljene izgradnje u srednjem vijeku, preko obnova u 17. i 18. stoljeću, zatim velike Schmidt-Bolléove obnove u drugoj polovici 19. stoljeća, potom obnove između dva svjetska rata te nizu konzervatorsko-restauratorskih zahvata od 1967. do danas. Uz građevinsku povijest crkve usko je vezana i povijest njezina likovnog opremanja pa se u člancima, osobito onih koji se tiču obnova u novom vijeku i u novije doba, govori tehničkim i likovnim aspektima unutrašnjeg uređenja, koje je obuhvaćalo postavljanje i izmjenu oltara, oslikavanje zidova i drugo.

U svrhu izrade članaka provedena su opsežna arhivska i povijesna istraživanja crkve, pa se u zaključku knjige donose i dva značajna arhivska izvora za njezinu povijest (protokoli kanonskih vizitacija od 17. do 19. stoljeća te izvještaj o radovima iz 1937. godine), dok je slika razvojnog procesa izgradnje crkve dodatno upotpunjena saznanjima dobivenim tijekom građevinskih i konzervatorsko-restauratorskih radova, kada su in situ bilježeni nalazi u strukturama. Time je ujedno stvorena i osnovna konzervatorska, arhitektonska i povijesna dokumentacija o crkvi, koja može poslužiti kao temelj svih budućih istraživanja i obnova.

Iako je utjecaj Ise Kršnjavoga na arhitekturu historicizma u Hrvatskoj podrobno istražen kroz knjige i članke Olge Maruševski, pojedini segmenti njegova upliva tek su fragmentarno analizirani. Pokazalo se, naime, detaljnim pregledom zagrebačkog dnevnog tiska s kraja 19. stoljeća, da je Kršnjavi objavio daleko veći broj tekstova nego što je ranije bilo poznato. U ovome se članku pozornost usredotočuje samo na vrijeme kada je na polju pisane riječi bio najaktivniji – kraj 1870-ih i početak 1880-ih godina. Nastoji se na prvome mjestu pokazati na koji je način utjecao na pojavu visokog historicizma u hrvatskoj, ponajprije dakako zagrebačkoj arhitekturi, zatim kojim se sredstvima služio pri pokušaju unošenja promjena u hrvatskoj arhitekturi te naposljetku koje je stilove preferirao. U vrijeme kada se Kršnjavi nalazi na školovanju u Beču i Münchenu, te na studijskim putovanjima po Njemačkoj i Italiji, krajem 1860-ih te u prvoj polovini i sredinom 1870-ih godina demografski, gospodarski pa i kulturni uzlet Zagreba tek je započinjao. Gradilo se dosta, međutim, neusporedivo manje u odnosu na situaciju s kraja 19. stoljeća. Po uzoru primarno na Beč, koji je za Kršnjavoga najvažnija prijestolnica arhitekture 19. stoljeća, koja kvalitetom daleko nadmašuje dva druga, po njemu, ključna umjetnička središta toga doba, Pariz i München, on pokušava unijeti suvremene tendencije i višu kvalitetu u zagrebačku arhitekturu. Nekoliko je osnovnih načina kojima je pokušao pokrenuti reformu, „obnovu“ hrvatske arhitekture i umjetnosti uopće: osobnim vezama te utjecanjem na organe vlasti i crkvene institucije, neposrednim uplivom na arhitekte (ponajprije Hermana Bolléa), osnivanjem institucija, te naposljetku tekstovima u novinama i časopisima. Eugene Emmanuel Viollet-le-Duc, Rudolf Eitelberger von Edelberg, Georg Gottlob Ungewitter, August Reichensperger, Augustus Welby Northmore Pugin, Karl von Lützow, samo su neki od istaknutih povjesničara i teoretičara arhitekture te arhitekata čija je djela, kako je jasno iz korespondencije, članaka i knjiga, Kršnjavi izuzetno dobro poznavao. Niti jedan autor, međutim, nije na njega imao takav utjecaj kao nesumnjivo najvažniji teoretičar arhitekture druge polovine 19. stoljeća, Gottfried Semper, osobito njegovo djelo Der Styl in den technischen und tektonischen Künsten oder Praktische Ästhetik. Od Sempera preuzima teoriju o porijeklu arhitektonskih oblika u tekstilnoj umjetnosti, nazore da svi ornamenti moraju na građevini biti povezani s konstrukcijom, naklonost prema intenzivnoj polikromiji, itd. Poput Sempera, odbacivao je miješanje elemenata raznih stilova na jednoj građevini karakteristično za arhitekturu ranog historicizma - romantizma, kao i neuspjele pokušaje stvaranja posve novoga stila. Smatrao je da arhitektura treba biti utemeljena na tradiciji, no da se treba oslanjati samo na najbolje realizacije stilova iz prošlosti. Od stilova na prvome je mjestu preferirao gotiku, slijede potom renesansa (u svojim raznim, nacionalnim varijantama), bizantski te takozvani hrvatski narodni stil. Svoje će arhitektonske nazore u Hrvatskoj realizirati ponajprije preko arhitekta Hermana Bolléa, kojega je smatrao jedinim kvalitetnim zagrebačkim arhitektom i kojemu je osigurao realizaciju cijeloga niza važnih javnih i sakralnih građevina.

Este trabajo pretende dar a conocer la relevancia del modernismo de Lisboa a través de la figura de Manuel Joaquim Norte Júnior, arquitecto cuya trayectoria, cronología y lenguajes formales se encuentran cercanos a Enrique Nieto y Nieto . Al mismo tiempo, y debido a la filiación masónica de Norte Júnior se analizará sucintamente su estética. Toda su obra tiene un marcado componente simbólico, cuestión que es interesante abordar desde una perspectiva científica, observando los paralelismos con otros arquitectos modernistas europeos que también formaron parte de esta asociación filantrópica y filosófica.

Este trabajo pretende reflexionar sobre los efectos sociales de los hitos urbanos masónicos de Canarias, analizando su integración democrática en el paisaje urbano. En la concepción de la ciudad como entidad multicultural, es necesario divulgar los avances, pues se sigue tropezando con mitos de la memoria colectiva, que hacen peligrar la simbología masónica de paradigmas internacionales existentes: Logia de Añaza, Mausoleo de la Quinta Roja. Palabras Clave: Masonería. Arquitectura. Estética. Canarias. Franquismo. Sociedad. Restauración. Lan honek Kanarietako hiri-itu masonikoen gizarte-eraginari buruzko gogoeta eragin nahi du, hiri-paisaian bere integrazio demokratikoa aztertuz. Kultura aniztun entitate bezala hiriaren kontzeptuan beharrezkoa da aurrerakuntzak hedatzea, nazioarte mailako paradigma masoien sinbologia galdu arazten duten kolektiboaren oroimeneko mitoekin estropezu egiten jarraitzen baitute: Añazaren Logia, Bosgarren Logiaren Mausoleoa. Giltza-Hitzak: Masoneria. Arkitektura. Estetika. Kanariak. Frankismoa. Gizartea. Berrezarpena.

The first attempts at defining what was perceived in the 19th century as a “Romanian” architectural style and at creating a national architectural heritage had at the forefront the 16th century monastery of Curtea de Argeş. Its 19th century discovery in the first modern architectural studies, its display in world exhibitions and finally its restoration illustrate how old monuments in Romania came to be used as proof and visual illustration of the country’s national history and thus as symbols of the new state. The paper aims to show that architecture gradually came to prominence in the process of nation-building through the example of Curtea de Argeş and, at the same time aims, to draw a new light on the way in which national ideologies are constructed. The example of the architectural heritage reveals a dual impetus from both local and foreign actors, events or publications, proving how national histories and ideologies are constructed at the borderline between foreign ideas and actors, on the one hand, and local decision-makers, on the other. The paper looks at Curtea de Argeş monastery as the central subject to a number of events and publications from mid to late 19th century. It starts with the first art history study on an artwork from Romania, the volume on Curtea de Argeş by the Habsburg scholar Ludwig Reissenberger. Reissenberger’s work raised awareness of the architectural heritage, stirred debates and responses from the Romanian intellectuals like, for instance, the writings on architecture of Dimitrie Berindei and Alexandru Odobescu. All these three works have only been briefly mentioned in the literature and are for the first time considered at length. The next part culminates with the display of Curtea de Argeş at the 1867 Paris Universal Exhibition where for the first time the monument stood as a symbol of the new Romanian state. In the final chapter the paper looks at the long but lavish restoration of Curtea de Argeş. Carried out between 1875-1886 by the French architect Andre Lecomte du Noüy, it marked the moment when the monastery became the landmark of the new Romanian state. The paper concludes at the end of the 19th century when the Romanian architectural heritage began to take shape and fulfil its role as support for the national narrative and basis for the future National Style in architecture. Overall, the architectural heritage emergences at the crossroads of foreign and local inputs, involving writings, exhibitions, restorations and research, all focused around Curtea de Argeş Monastery.

os gabinetes árabes realizados en el siglo pasado en las residencias de la aristocracia y de la alta burguesía constituyen una de las manifestaciones más características del neoarabismo que, más como una moda que como una seria alternativa arquitectónica, surgiría entre las variadas opciones estilísticas decimonónicas, prolongándose hasta los primeros decenios del siglo XX.

Within the Austro-Hungarian Monarchy, Zagreb was always a receptive area – a city that imported, mainly with a certain delay, technological innovations, new concepts of urban planning, novel approaches to the construction of municipal utility infrastructure, and architectural designs from bigger and more progressive cities, most of all Vienna, despite the fact that the 1867 Compromise placed Croatia under direct Hungarian administration within the Monarchy. This paper aims to show that this occurred primarily because the majority of Croatian architects and members of the national political and economic elites had studied in Vienna, and partly due to the opposition towards Budapest that had been caused by a perception of Croatia’s unsatisfactory economic and political position within the eastern part of the monarchy. Furthermore, the knowledge transfer from Budapest to Zagreb was hampered by the fact that few people spoke Hungarian or were ethnically Hungarians, that Budapest’s architectural developments were largely unfamiliar in Zagreb and that Hungarian architects and engineers did not enjoy the equal amount of prestige as Viennese ones. Influences from Budapest grew stronger only after 1883 and the rise to power of Viceroy Károly Dragutin Khuen-Héderváry, an adherent of Hungarian politics. The Croatian government tried to strengthen the ties between Zagreb and Budapest and during the same period, Hungarian institutions (Royal Hungarian State Railways, Ministry of Finance, Ministry of Posts) launched several major architectural building projects in Zagreb. Buildings of these institutions reshaped the image of Zagreb in the late 19th and early 20th centuries. Hungarian institutions built some of the biggest Zagreb public building in the given period, which significantly contributed to the diversity and monumentality of Zagreb’s architecture.

Having no political independence, Croatia rarely had an opportunity to build its own pavilions at great exhibitions in the 19th century. Exceptions were only the exhibitions organized on the territory of the Austro-Hungarian Empire among which the most important was the Millennium Exhibition in Budapest in 1896 where Croatia was represented with four large pavilions. The participation in the exhibition reflected the then political situation in which Croatia was part of Hungary and as such it was obliged to be involved in the exhibition in order to demonstrate the political connection between the two countries. It was also an opportunity for the Croatian political representatives headed by the pro-Hungarian viceroy (ban) Dragutin Károly Khuen-Héderváry to show their loyalty to Budapest. The Croatian opposition tried to organize a boycott of the exhibition but it failed in that attempt because Khuen was supported by many important intellectuals, especially by the first Croatian art historian Iso Kršnjavi. All four of Croatian pavilions for the 1896 exhibition in Budapest were envisaged to be constructed on the site covering 11000 m². Three pavilions were designed by Zagreb- based architect: Vjekoslav Heinzel designed the main pavilion for exhibits related to industry, crafts and agriculture, the tasting pavilion was the work of Hönigsberg and Deutsch Architectural Office, while the forestry pavilion was designed by Herman Bollé. Design of the art pavilion was entrusted to the Budapest-based architects Flóris Korb and Kálmán Giergl, and its construction to the Danubius building company. The characteristic features of all the pavilions were rich decoration and a dynamic articulation of the facades and roofs. However, the major differentiating element among the four structures was the style. The main “industrial” pavilion was built in a style which was a cross breed between Neo-Renaissance and metal-and-glass structures, the tasting pavilion was Neo-Baroque, and the forestry and hunting pavilion was marked by features of a special “Croatian vernacular style”. With its mixed Neo-Renaissance and Neo-Baroque motifs and early Secessionist decoration the style of the art pavilion was the most modern. The structure of the pavilion was transferred to Zagreb and situated on King Tomislav Square were it still stands serving as a gallery under the name of Art Pavilion. The original designs by Korb and Giergl for the pavilion were modified by Ferdinand Fellner and Hermann Helmer when it was erected in Zagreb. The aim of the paper is to provide an analysis of these architectural projects as well as the political circumstance of the Croatian participation in the 1896 exhibition in Budapest.

"Technology is more beholden to architectue".
In this short research paper, I will argue that architecture and techne are not mutually exclusive. Foremost, I will provide confirmation that the development of techne throughout the 19th century is more beholden to architecture, than that of the engineering realm

O artigo tem como tema a remodelação
da exposição permanente do Palácio
Nacional da Pena desde 2010 numa
perspetiva historicamente informada.
É descrita a estratégia para esta
remodelação, elencando as fases
do método para a nova abordagem:
delimitação temporal das diferentes
gerações que habitaram o Palácio,
constatação dos principais momentos de
alteração do acervo nos seus interiores,
estudo das fontes e do próprio acervo e
aproximação ao mercado de antiguidades
com vista à incorporação de objetos
originais. Seguidamente descrevem-se os
passos de remodelação, ainda em curso,
da exposição permanente. Critérios
importantes neste trabalho foram o
equilíbrio entre a exposição do acervo e
a perceção do edifício pelos visitantes, a
autenticidade relacionada com a vivência
doméstica das diferentes gerações
e a evocação dos mais importantes
personagens através de objetos pessoais
e de coleções de arte.

In the late 1870s the dominance of the Italian Neo-Renaissance style in Croatian residential and public architecture and the Gothic style in church architecture was superseded by the German Neo-Renaissance style introduced by architect Herman Bollé. Characterized by architectural quality and picturesqueness his German Neo-Renaissance buildings represented a reflection of the European architectural developments in Croatia.

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.

Collana Storia e iconografia dell'architettura, delle città e dei siti europei, 2 Direttore Alfredo BUCCARO Comitato scientifico internazionale Aldo AVETA La città, il viaggio, il turismo Percezione, produzione e trasformazione a cura di Gemma BELLI, Francesca CAPANO, Maria Ines PASCARIELLO contributo alla curatela: Marco DE NAPOLI, Carla FERNÁNDEZ MARTINEZ, Alessandra VEROPALUMBO

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.

This volume commemorates the 160th anniversary of the Selamlik of Oberhofen Castle near Thun – one of the most significant Swiss Orientalist interiors, designed by the Bernese architect Theodor Zeerleder (1820-1868) – by presenting the latest research on the spectacular smooking room inspired by the luxurious reception halls in Cairo Zeerleder discovered during his travels to the East. At the same time, this collection of essays explores the signification of the famous city on the Nile as a privileged model for 19th century architecture and ornamentation, bringing together papers by Mercedes Volait (Paris), Romain Siegenfuhr (Paris), Richard Parisot (Besançon), Elke Pflugradt-Abdel Aziz (Düsseldorf), Tarek Ibrahim (Berlin), Vincenza Garofalo (Palermo), Andrea Lermer (München), Rémi Labrusse (Paris), Ariane Varela Braga (Zürich), Leïla el-Wakil (Genève), Francine Giese (Zürich) and Annette Loeffel (Bern).

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.