The development of modern public administration in European cities facilitated the construction of various types of public buildings. Among these, guardhouses were a prominent type in the 18th ...century, used to house the police force under civil or military jurisdiction. Guardhouses were widespread within the Habsburg Empire and were common in the Croatian and Slavonian Military Frontier.
Reforma državne službe u njemačkim i austrijskim zemljama bit će temelj za uspostavu moderne i učinkovite javne administracije 18. stoljeća, te pojave raznovrsnih tipova javnih zgrada. Među njima se izdvajaju zgrade Glavne straže, namijenjene smještaju policijske službe, bilo u okviru civilnih, bilo vojnih vlasti. Zgrade straža nalazimo u brojnim gradovima Habsburškog Carstva, a posebno u sklopu Hrvatske i Slavonske Vojne krajine gdje je sačuvano ili pak samo identificirano više primjera.
The main building of the University of Wrocław, with its magnificent façade facing the Odra River, is one of the most important historical monuments of the city and a major tourist attraction. It ...also houses a significant institution in the Polish educational landscape. Founded by Jesuits and built in early eighteenth-century Baroque style, the University is closely connected with the history of the Habsburg monarchy and its Counter-Reformation aims. For this reason, after 1945, its heritage was difficult to reconcile with the official Communist ideology and its initially anti-German sentiments. This article tackles the question of how both art historiography and the popular media, including guidebooks and the press of the People’s Republic of Poland, became engaged in the task of proving the Polish roots of the University of Wrocław. To this end, we provide an overview of the shifting interpretations and attributions of the Baroque edifice from its beginnings in the eighteenth century until the second decade of the twenty-first century in order to highlight the features specific to the discourse in Socialist times.
Many architects involved in the 17th-century Louvre palace expansion project adopted the free-standing column, dome, and large pediment. Bernini, however, was probably the only architect who never ...used them. This paper aims to clarify the uniqueness of Bernini’ attitude. The results are summarized below.1. These features were helpful to articulate properly the 150m over wide façade and give it the impression of the adequate height.2. Bernini was unique in excluding all these non-palace-like features and it brought his design by far the most palace-like character but caused some detail-wise and comfortability-wise problems.
La ingeniosa utilización de escaleras dobles en la España del siglo XVIII se remontaba a tres tipologías básicas desarrolladas a lo largo del siglo XVI para los alcázares regios de Madrid (B1) y ...Toledo (C1) y para el monasterio de El Escorial (D1). Este artículo se fija en sus derivaciones (denominadas B2, C2, D2, etcétera), deteniéndose en los ejemplos más espectaculares. Criterios formales como el orden y la simetría interactuaban con requisitos funcionales (acceso lateral o axial y flujo circulatorio o emplazamiento estratégico dentro del edificio) conformándose a su vez con nociones de decoro que, especialmente en lo tocante a la arquitectura civil, dependían del rango del comitente. La floración de magnificentes y a veces arriesgadas escaleras en la Andalucía barroca merece reconsiderarse. Tras 1734 la nueva dinastía borbónica promovió oficialmente el estilo áulico internacional del abate Filippo Juvarra. Su aprendiz, Ventura Rodríguez, diseñó escaleras dobles enraizadas en tipologías tradicionales e imbuidas de un sofisticado cosmopolitismo romano. Arquitectos como Juan Pedro Arnal, Ignacio Haan y Manuel Tolsà siguieron sus pasos con un depurado refinamiento neoclásico aliado a usos creativos de tipos legados por la tradición.
Guarini first develops a rigorous and systematic discourse on vaulted systems. In three treatises: Architettura Civile, Euclides adauctus, and Modo di misurare le fabriche, he described the geometric ...nature of the vaults, the principles of geometry and their practices in the stereotomy, and the measurement of the vaults’ surfaces and volumes, respectively. In this paper, moving from previous studies, the significant relationships between the Architettura Civile and Modo di misurare le fabriche are deepened, also in light to the theoretical bases established in the Euclides adauctus. Graphical analyses and reconstructive digital models, linking the texts to the original diagrams and drawings of the treatises, allow to highlight the role of geometry in Guarini’s theorization and the logic of shapes’ composition at the basis of his inventions, and constitute a knowledge base to recognize and interpret the geometric structure of the vaults in Baroque built heritage.
RESUMO O propósito inicial deste artigo era apresentar a expressão de um modelo de fachada barroca mexicana, frente a conceitos e condições tanto da arquitetura barroca em geral como também de certos ...antecedentes espanhóis. Todavia, durante a investigação bibliográfica, especialmente alicerçada nas críticas do italiano Giulio Carlo Argan, percebeu-se que parte importante da caracterização da arquitetura barroca estava calcada apenas nas categorias da “persuasão” e da “imaginação” (ou “fantasia”). Apesar de suficientes para compreensão do espírito barroco, esses dois conceitos não conduzem objetivamente a estratégias compositivas que pudessem servir de parâmetro analítico. Por conseguinte, o artigo seguiu um caminho mais longo, passando por uma revisão bibliográfica que culminou na hipótese de seis estratégias persuasivas da arquitetura barroca. Embora essa parte do trabalho tenha autonomia frente ao que se seguiu, as avaliações das fachadas mexicanas dela dependem integralmente e, portanto, a derradeira parte não poderia ser publicada sem a primeira. Em seguida, o trabalho acompanhou a passagem do barroco à Espanha, como natural percurso até a América, revelando uma prática renascentista espanhola denominada “Plateresco”, imprescindível à compreensão do barroco religioso mexicano. Por fim, os dois conteúdos, das estratégias persuasivas barrocas e da composição plateresca espanhola, somaram-se para construir o substrato teórico que permitiu uma aproximação mais cuidadosa em relação ao objeto do trabalho. O resultado, apesar de heterogêneo, poderá servir como um novo ponto de partida para outras pesquisas sobre a arquitetura barroca.
ABSTRACT The initial purpose of this monograph was to present the expression of a Mexican Baroque facade model, facing the concepts and conditions of Baroque architecture in general, but also certain Spanish antecedents. However, during the bibliographic investigation, especially based on the criticism of the Italian Giulio Carlo Argan, it was noticed that an important part of the characterization of Baroque architecture was based only on the categories of “persuasion” and “imagination” (or “fantasy”). Although sufficient to understand the Baroque spirit, these two concepts do not objectively lead to compositional strategies that could serve as an analytical parameter. Therefore, the article followed a longer path, going through a literature review that culminated in the hypothesis of six persuasive strategies of baroque architecture. Although this part of the work is autonomous from what followed, the evaluations of the Mexican facades depend entirely on it and, therefore, the last part could not be published without the first. Then, the work followed the passage from the Baroque to Spain, as a natural route to America, revealing a Spanish Renaissance practice called “Plateresco”, essential to the understanding of the Mexican religious Baroque. Finally, the two contents, the baroque persuasive strategies and the Spanish plateresque composition, were added to build the theoretical substrate that allowed a more careful approach to the object of the work. The result, despite being heterogeneous, could serve as a new starting point for further research on Baroque architecture.
RESUMEN La importancia artística, arquitectónica e histórica de la capilla del Rosario (Puebla) y de la iglesia de Santa María Tonantzintla (Cholula), en México, aunada al reducido número de estudios ...que relacionan dichos templos, se convierte en un desafío analizarlas simultáneamente. Por ello, el objetivo del artículo es identificar elementos estéticos que singularizan, con el mestizaje artístico, una ‘decolonialidad originaria’ como praxis indígena de re-existencia en el Nuevo Mundo, desde Tonantzintla. Ello demanda un ejercicio ontológico sobre el ‘ser’, la ‘duración’ y la ‘irrupción’ de la ‘praxis estética’ en el nativo a partir del proceso colonizador y de conquista territorial. Son señaladas expresiones, objetos o estrategias indígenas que demarcan objeción a las violencias coloniales, valiéndose de los mecanismos de la propia Conquista, como la Iglesia y el barroquismo. Fueron realizados cuatro trabajos de campo, con observación directa, producción de imágenes y minuciosa descripción de la ornamentación de los templos. El marco teórico entrecruza la historia y filosofía del barroco latinoamericano, la teoría decolonial y la dimensión estética de los templos descifrada por sus más notables intérpretes.
ABSTRACT The artistic, architectural and historical importance of the Rosario Chapel (Puebla) and the Church of Santa María Tonantzintla (Cholula), in Mexico, considering the small number of studies that relate these temples, makes it a challenge to analyze them simultaneously. Therefore, the objective of this article is to identify aesthetic elements that distinguish, throughout artistic miscegenation, an original decoloniality as an indigenous praxis of re-existence in the New World, after Tonantzintla. This demands an ontological exercise on being, duration and the irruption of aesthetic praxis in the native from the colonizing process and territorial conquest. Indigenous practices, expressions, objects or strategies that demarcate objection to colonial violence are pointed out, using the mechanisms of the Conquest itself, such as the Church and the baroque style. Four fieldworks were carried out, with direct observation, production of images and a detailed description of the ornamentation of the temples. The framework intersects the history and philosophy of the Latin American baroque, decolonial theory and the aesthetic dimension of the temples decoded by its most noteworthy interpreters.
The research of Renate Wagner-Rieger has influenced the whole Central European area, as well the development of art history in Croatia, especially architectural research. The texts by Wagner-Rieger ...from the 1960s and 1970s would most likely have given impulse to the development of Baroque research, especially in northern Croatia. The most important theses of Wagner-Rieger, which were adopted in Croatian research, are first of all the typology of the Jesuit churches, which Đurđica Cvitanović (1924-2009) developed further using examples of Jesuit architecture in Croatia, as well as the stylistic pluralism as the most important stylistic feature of the Art of the Mariatheresian Era in texts by Anđela Horvat (1911-1985).
U radu je prikazano oblikovanje pročelja i zvonika novopodignutih ili obnovljenih crkava u razdoblju baroka u Međimurju, ukupno 28 primjera. Prema smještaju zvonika crkve su razvrstane u tipološke ...grupe pročelja s dva zvonika, pročelja sa zvonikom iznad, zatim pročelja sa zvonikom smještenim uz tijelo crkve – uz pročelje, ispred pročelja ili uza svetište. U ovom korpusu primjenjuju se tipološka rješenja zastupljena u baroknoj arhitekturi kontinentalne Hrvatske, a u analizi su se pokazale i neke specifičnosti. Prije svega zamjetna je gotovo jednako zastupljena prisutnost utjecaja i iz štajerske i iz mađarske arhitekture, vidljiva u dinamiziranim oblicima i dekoracijama, odnosno u raširenoj primjeni klasicističkih motiva. Nadalje, snažno je prisutno isticanje kontinuiteta i »dugog trajanja« sakralne arhitekture prigradnjom novih dijelova na starije crkve, raširena pojava i u drugim srednjoeuropskim regijama u kojima je (bio) prisutan protestantizam. Te značajke uvelike određuju specifičnosti ovog korpusa unutar barokne sakralne arhitekture kontinentalne Hrvatske.
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