19th and 20th century European art and architecture

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.

Der Beitrag fokussiert das Hotel Balkan (1902-1904) – im slowenischen Volksmund „Narodni dom“ („Nationale Heimstätte“) genanntes Gebäude – und seine städtebauliche Position. In der Zeit seiner Entstehung handelte es sich um das zentrale repräsentative Gebäude von Slowenen in Triest/Trieste/Trst. Die Stadt erfuhr nach der grande guerra eine sowohl politische als auch architektonische und städtebauliche Umwandlung von einer multiethnischen Stadt in den italienischen Grenzposten. Die Geschichte der Wahl des Baugrundes und der Errichtung des Narodni dom spiegelt den Prozess der Etablierung slowenischer Bevölkerung im bürgerlichen Milieu der kosmopolitischen habsburgischen Stadt wider. Die Brandstiftung und die sorgsam geplanten städtebaulichen Eingriffe, die nach dem Ersten Weltkrieg erfolgten, entzogen dem Bauwerk seine überragende Sichtbarkeit und zentrierten die Macht ausstrahlende Wirkung im neu erbauten Komplex Oberdan. Den neuen politischen Machthabern gelang es damit, den architektonischen Zeugen der slowenischen Präsenz in der Stadt zu tilgen und die slowenische Bevölkerung mundtot zu machen. Die anschließende Umnutzung des Gebäudes und Umgestaltung der ursprünglichen Piazza della Caserma veranschaulichen, wie man den Prozess der Modernisierung der Stadt nach 1918 in Dienste der italianità stellte.

Л. Стоилова,
Биографии на архитекти
из цикъла "Творци на българската архитектура"
"Aрхитект Николай Казмуков - 100 години жизнен и творчески път".
- Архитектура, 2007, No. 1, 38-39.
"Architect Nikolay Kazmukov - 100 Years Life and Creative Development". - Architektura (Architecture), 2007, No 1, pp. 38-39.
Presentation delivered at the jubilee celebration of the 100th anniversary of architect Kazmukov at the central home of the Union of Architects in Bulgaria in May 2007

English translation of special issue of l'Architecture Vivante devoted to Eileen Gray's villa in Roquebrune-Cap-Martin. Includes translation of Eileen Gray's dialogue with Jean Badovici "From Eclecticism to Doubt", as well as translation of the descriptive captions for the photographic illustrations and plans. Also translated, Jean-Paul Rayon's essay "An (Other) Modern Villa."

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.

The relationship of architecture to the human body is a centuries-long and complex one, but not always symmetrical. This book opens a space for historians of the visual arts, archaeologists, architects, and digital humanities professionals to reflect upon embodiment, spatiality, science, and architecture in pre-modern and modern cultural contexts. "Architecture and the Body, Science and Culture" poses one overarching question: How does a period's understanding of bodies as objects of science impinge upon architectural thought and design? The answers are sophisticated, interdisciplinary explorations of theory, technology, symbolism, medicine, violence, psychology, deformity, and salvation, and they have unexpected and fascinating implications for architectural design and history. The new research published in this volume reinvigorates the Western survey-style trajectory from Archaic Greece to post-war Europe with scientifically-framed, body-centered provocations.

published in:
SOFIA – 120 YEARS AS CAPITAL OF BULGARIA. Jubilee Book.
Sofia, Ed. house of the Bulgarian Academy of Sciences, 2001,
pp. 497-507.

see also on the website of Sofia History Museum
http://www.sofiahistorymuseum.bg/bg/images/pdf/world.pdf

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.

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.

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 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.

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.

While the Neo-Byzantine style was in 19th -century architecture in Croatia exclusively used for architectural projects funded by the Serbian Orthodox Church (such as parochial churches in Zagreb, Dubrovnik and many other towns and places), in the period shortly before the First World War, it also started to be used in the architecture of the Catholic Church. The crucial role in spreading the use of the style was played by the pioneer of Croatian modernist architecture Viktor Kovačić and his design for St Blasius' Church in Zagreb (built in 1910-13). Neo-Byzantine appeared primary due to ideological and political reasons, because it served as a reference to the period of Croatian political independence. Along with political reasons, the Neo-Byzantine style emerged also as a response to the extreme ornamentalism of the Vienna Secession. Early medieval architecture in Croatia, or more precisely Dalmatia, and Byzantine architecture in general, featured elements whose simplicity matched the sensibilities of increasingly permeating modernism. During the 1920s the Neo-Byzantine style became dominant in church architecture, primarily owing to architect Stjepan Podhorsky who applied the style in his numerous church building designs. The popularity of the style flourished especially in relation to the millennial celebration of the Croatian kingdom (925 – 1925), connected to which a large Neo-Byzantine church was built in Duvno (present Tomislavgrad in Bosnia and Herzegovina) sponsored by the Yugoslav Karađorđević dynasty. The Neo-Byzantine style at the same time turned into the main national style of Serbs in the Kingdom of Serbs, Croats and Slovenes. However, it appropriated motifs mostly from late medieval Serbian church architecture, which was characterized by much more lavish decoration than early medieval architecture in Croatia. The last Neo-Byzantine churches were built during the 1930s and in the early 1940s. Since modernism began pervading Croatian architecture, the majority of architects turned to designing modernist or some sort of mixed Neo-Romanesque, Art-déco and modernist church buildings.

Grupo de Innr:vación lacai:us tGf-1907) Entre as últimas décadas do século XIX e as primeiras do XX, Galicia vive inmersa no fenómeno da emigración, un acontecemento fundamental para entender a súa historia contemporánea e que ierá consecuencias de carácter social, económico, politico e cultural para o pais. Unha das consecuencias culiurais máis destacadas * a denominada arquitectura indiana, é dicir, aquelas edilicacións -a meirande parte delas de cerácter privadofinanciadas cos cartos procedentes de Ultrámar. Trátase dun fenómeno construtivo que se dá dun xeito gradual *aínda gue con máis forza se cadra nas tres primeiras décadas do século XXe que r¡o$ deixou numeÍosos exemplos espallados por iodo o territorio galego, pero cunha presenza máis notable na$ zoflas de cssta, especialmente nas Rias Baixas e no iitoral norte das provincias cJe A Coruña e l-ugo. O ca$o toncreto que nos ocupa, o concello de Ribadeo, situsdo no punto máis oriental da comarca da Mariña Lucense, e un das que acollen un maior nümero de construcións indianas. ianto d€ caráctet residencial corno púbtico {escolas, cemiterios, mercadcs. .)?. Este auxe construtivo é un ciaro expoñente da enorme impoÉancia que o fenómeno indiano terá para Ribadeo durante os primeiros anos do século XX, un moffento rrc que a vila, porto destacado na cornixa cantábrica, se atopaba en pleno desenvolvemento cara ao seu trazado moderno.

Автори:
Петър Йокимов, Любинка Стоилова, Добрина Желева-Мартинс,
Валентина Върбанова, Галина Иванчева,
Юлия Радославова,  Миряна Йорданова,  Искра Дандолова.
Консултант: Христо Анастасов
В изложба с това заглавие членове на ДОКОМОМО България представиха през 2002 г. идеите на ДОКОМОМО Интернешънъл и своето участие в дейността на международната организация - подготовка на регистрационни карти за обекти на модерната архитектура, участие в международни конференции и публикации, алармиране за обекти на Модерното движение в риск в България.

Authors:
Petar Iokimov, Ljubinka Stoilova, Dobrina Zheleva-Martions,
Valentina Varbanova, Galina Ivancheva,
Julia Radoslavova, Miriana Jordanova, Iskra Dandolova.
Consltancy: Hristo Anastasov.
Under this title members of DOCOMOMO Bulgaria exposed in 2002 the ideas of DOCOMOMO International and their participation in the international organization's activities, such as preparation of register fiches for sites of Modern architecture, presence at international conferences and editions, as well as alarming about objects of Modern Movement at risk in Bulgaria.

- B:  Исторически архив, г. VII, кн. 18-19, март-юли 2009, с. 47-70.
L. Stoilova,
"International architectural competitions in Sofia
at the end of 19th and first half of 20th century".
- Historical Archives, Jr. VII, № 18-19, March-July 2009, pp. 47-70.
http://sofiazanas.blogspot.com/p/blog-page_6193.html

The following article presents the issue of the fortification of Riga and associated plans of the suburbs in 17th and 18th centuries (plans of Johann van Rodenburg and Rudolf Friedrich Härbel), as well as the projects of the transformation of the former fortification zones in the 19th century. Additionally, this article covers the issue of an unknown plan of Riga from 1843. In 1812, as a result of an intentional arson during the Russian campaign, the suburbs have been completely destroyed.  This prompted Filippo Paulucci to create a new plan that, among others, carefully delineated the transformation of glacis into a wide esplanade. In 1856, after the Crimean War, a decision has been made to defortify the city. In November 1857, in a very solemn manner, the process of Riga’s defortification began. Torch-bearing citizens participated in marches across the city and took part in concerts and collective singing – during all these festivities, the city was being brightly illuminated. This event was an amalgamation of solemn state celebrations and folk, carnival-like fiesta. Celebrations connected to the process of Riga’s defortification belong to a small group of defortifications in European cities celebrated so uproariously.
Architect Johann Daniel Felsko, at the beginning of 1857, created a remarkably interesting plan of building on former fortification grounds, as well as a new idea of spacial development of the city. Felsko used a modern division into functional zones: trading-communication zone (port, depots, railway station, and “gostiny dvor” (“merchant yard”)) and representative-park zone (palaces, elegant revenue houses, public buildings), which, at that time, was still a great rarity. The conception utilized in Riga definitely overtook the ideas for the Vienna Ring Road (second half of 1857). In my opinion, Felsko’s idea shares the most similarities with former fortification zones in Frankfurt am Main, which were reclaimed in 1806.  However, his plan was never faithfully realized.
Out of numerous projects concerning an esplanade and promenade on the grounds of former glacis emerged, in the second half of the 19th century, one of the most interesting and beautiful European promenade complexes. Some of the first public buildings were the railway station Riga-Daugavpils and the theatre; later, school buildings, Riga Technical University and numerous palaces and houses were erected there. At the beginning of the 20th century Riga was the third biggest and industrially developed city east of Oder, reaching over 470,000 citizens in 1913, following Warsaw and Wrocław. Its spatial development ideas, created in the 19th century, were then fully realized.

The 1918 re-drawing of borders, the dissolution of the Austro-Hungarian Empire and the formation of the Kingdom of Serbs, Croats and Slovenes/Yugoslavia are still perceived in Croatia as events that reflected negatively on Zagreb’s development. The city’s position inevitably changed – it gradually lost the title of political capital – but, in the same time, formerly a city on the outskirts of Austria-Hungary, Zagreb now grew into the most important city in Yugoslavia in terms of economy, education and culture, which led to its accelerated urban development after 1918. By presenting characteristics of Zagreb’s post- 1918 architecture, this paper aims to underline its particularities in relation to other parts of the Yugoslav Kingdom and Central Europe, as well as to indicate a continuity between prewar and postwar architectural developments. When, in 1928, architect Alexander Freudenreich tried to recapitulate the history of Zagreb’s architecture in the 1920s, he claimed that, “We, southerners, love a bit of pathos and exterior forms, we love a bit of sentimentality and tradition!” Indeed, Zagreb’s architecture in said years was characterized by an accumulation of styles, which, together, could be termed Neo-Historicism, Second or Modern(ised) Historicism. Along with these traditional styles, several Croatian architects were also influenced by Art Deco, German Expressionism and Czech Cubism. Unlike in Belgrade, Ljubljana or Prague, architects in Zagreb showed little intention of creating a special national style in public or residential architecture. It might be assumed that such a construct could not win support of the royal administration because of rising conflicts between Serbian and Croatian political parties. Exception was church architecture and buildings that were built for the millennial celebration of the Croatian Kingdom (1925), which was, due to its propaganda potential, supported by the then Yugoslav King, Aleksandar Karađorđević.

Riječ je o poglavlju u knjizi u publikaciji Put u vječnost objavljenoj u povodu istoimene izložbe u Klovićevim dvorima u Zagrebu (otvorena od 26. 8. do 6. 11. 2016.). U tekstu se govori o arhitekturi i prostornom uređenju groblja u Hrvatskoj u 19. i 20. stoljeću