Cilj ovoga rada uspostaviti je tipologiju tlocrtno-prostorne organizacije stambenih
uglovnica građenih na zagrebačkome Gradecu (današnjemu Gornjem gradu) u 18.
stoljeću. U razmatranje je bilo uzeto ...deset uglovnica izgrađenih na središnjemu
platou Gradeca, jer uglovnice građene na bedemima zbog različita konteksta
gradnje, konfiguracije terena i temeljā građevina pokazuju neke druge značajke istovjetne onima stambenih objekatane-uglovnica koji su također izgrađeni na bedemima. U uvodnome dijelu podrobno su opisane poteškoće prisutne u istraživanjima stambene arhitekture, te su dane osnovne smjernice za njihovo provođenje. Nakon toga slijedi pregled provedenih istraživanja i kritički osvrt na stariju literaturu s ciljem (re)valorizacije prije uspostavljenih teza vezanih za tipologiju gornjogradskih stambenih palača iz razdoblja baroka. Riječ je o istraživanjima Nade Premerl, Lelje Dobronić i Sandre Križić Roban. Temeljem detaljne arhitektonske deskripcije deset odabranih objekata utvrđuju se tri tipološke skupine građevina, a u analizi se, prije svega, uzimaju u obzir broj krila i stupanj ugrađenosti zdanja u pripadajući gradski blok, stoga se ugaone osamnaestostoljetne stambene građevine na zagrebačkome Gornjem gradu mogu podijeliti na jednokrilne, dvokrilne i trokrilne, s tim da se jednokrilne dalje mogu razdijeliti na one u kojima se prostorije organiziraju kao prostorni niz i na one kod kojih je prisutno složenije grupiranje prostorija prema namjeni. Sve su dvokrilne uglovnice poluugrađene s L-tlocrtom, a one trokrilne imaju U-tlocrt te se razlikuju ugrađene od slobodnostojećih po tretmanu okolnoga prostora. Najjednostavniji formalni elementi projektiranja – broj krila i stupanj ugrađenosti u gradski blok – pokazali su se ovdje kao valjana polazna točka u razmatranju tipologije, a svi primjeri unutar (pod)skupina ukazuju na brojne analogije u tlocrtnoj dispoziciji, postavu prema komunikacijama i oblikovanju unutrašnjega prostora.
The aim of this article is to define the layout-space organisation typology of residential corner houses built in Zagreb’s Gradec (today Upper Town) in the 18th century. Ten corner houses built in today’s Gradec central plateau are considered, because due to a different building context, terrain configuration and foundations, the corner houses built on the city walls show some attributes proper of non-corner residential buildings also built on the city walls. In the introduction, the obstacles faced by researchers of residential architecture were described in detail, after which basic guidelines for conducting such research were offered. This was followed by an outline of previously conducted studies and a critical overview of bibliography aimed at a (re)valorisation of earlier theses relative to the typology of Upper Town baroque residential buildings. The studies in question were carried out by Nada Premerl, Lelja Dobronić and Sandra Križić Roban. Based on an elaborate architectonic description of the ten houses taken into consideration, three typological groups of buildings were identified. First and foremost, the analysis took into account the number of wings and the level of
buildings’ integration into a certain city block. Therefore, Zagreb upper town
18th century residential corner houses can be divided into single-wing,
two-wing and three-wing buildings, whereas single-wing houses can be further
classified into those whose rooms are organised in a row and those with a more
complex grouping of rooms spaced according to function. All of the analysed
two-wing corner houses are semi-detached and have an L line, while the
three-wing houses have a U line. What distinguishes the three-wing terraced
houses from the three-wing detached houses is the treatment of the
surroundings. The most basic formal construction elements – the number of wings
and the level of integration into the city block – resulted to be a valid
departure point when considering house typology, while all the examples within
the (sub)groups indicate to many plan disposal, grid plan and interior design
analogies.
Of the Gothic church which was erected at Homec after the miraculous apparition of the Blessed Virgin in 1419 only the lower part of the free-standing bell-tower has been preserved up to this day~in ...the times of Turkish incursions around 1500 it was adapted to serve as a defence tower as well. Since the condition of the old church had worsened and the building had also become too small, a new sanctuary was built on its northern side in 1723, and the next year the church was pulled down and a new nave was begun on its site~the building was completed in 1728.
How did the classical tradition survive on the North Sea shores? This book explores the writings of Franciscus Junius that paired scholarship to painter's practice in the seventeenth century. They ...illuminate the reception of antiquity and the creation of an Anglo-Dutch artistic Arcadia.
Kapelu Majke Božje Lauretanske u Pogančecu, podignutu 1780., istraživala je Anđela Horvat kao primjer baroknog klasicizma. Specifičnim tlocrtno-prostornim rješenjem broda s kupolom na ...slobodnostojećim stupovima te stupcima u svetištu izdvaja se iz korpusa sakralne arhitekture kontinentalne Hrvatske tog razdoblja i predstavlja sintezu različitih utjecaja. U kupoli se materijalizira marijanska kružnica, stupovi u brodu odjek su baroknog klasicizma, dok su na pročelju, kao i u opremi, prisutni elementi rokokoa.
Church of St. Florijan is located on a narrow raised plateau, at the northern edge of the Old Town of Varaždin, along the old Roman road from Ptuj to Osijek. The approach of the church is emphasized ...by two pillars with angel sculptures. The main facade captures the city space by convex line. The harmonious, singlenave church with a slightly narrower polygonal sanctuary contains a valuable, completely preserved inventory from the Baroque era. The facade and the interior are emphasized by stone carvings, sculptural, stucco, painting and joinery details, carefully executed and of high quality, that testify of the high level of artistic craftsmanship in Varaždin in the 18th century. The program for the protection and preservation of this cultural monument, organized and managed by the Croatian Conservation Institute, included the archival, conservation-restoration and archaeological research, the project and the presentation proposal, the subsequent conservation of the construction and of the inventory as well as the conservation-restoration works on the facades and in the interior; on wall paintings, stucco, stone, metal and wooden inventory. The facade was researched in 1992 and restored in 1995, while the interior was researched in 1997, and the extensive conservation works took place between 2001 and 2017. Two major architectural phases were established on the facades: the first, from the mid 18th century, when the chapel was externally plastered and the second phase, which has been restored, from the time when the belfry was built after the fire in 1776. In the well-preserved interior, two complete phases of decoration were established, the first one from 1738 to 1745 and the second from 1870.
Osnutak izvorno benediktinskog samostanskog kompleksa sv. Jakova u Opatiji, zahvaljujući novopronađenim zazidanim romaničkim otvorima prozora na zidu crkve, prebačen je u 11. ili 12. stoljeće. ...Nadalje se u tekstu obrađuju kasnogotički i kasnobarokni stilski slojevi crkve, u bitnim dijelovima uništeni proširenjima izvedenim od 1940. do 1942. godine. Urbanizacija koja je na prostoru liburnijskih srednjovjekovnih komuna započela u 11. i trajala do 16. stoljeća, bila je praćena i gradnjom sakralnih objekata na način siromašnih redovničkih, tj. pučkih crkvica ruralnih područja, u kojima su stilski zahtjevi novog vremena implementirani tek simbolički, gotovo uvijek u gabaritima izvornog zdanja ili njegovog tek nešto malo povećanog korpusa. U tu, širu sliku uklapa se i romanička, kasnogotička i kasnobarokna graditeljska prošlost crkve i samostana sv. Jakova.
U članku se obrađuje povijest i arhitektonske značajke barokne palače Giovannija Felicea de Gerliczyja u Rijeci, smještene u uličnom nizu i danas skrivene iza historicističkog pročelja u Ciottinoj ...14. Palača je podignuta pedesetih godina 18. stoljeća, a njezin izvorni izgled poznat je s nacrta iz 1780. koji se čuva u Austrijskom državnom arhivu. Oblikovanje i prostorna organizacija palače, vidljivi na nacrtu, svjedoče da je bila riječ o reprezentativnom stanovanju te imućnom i važnom naručitelju. Izvorno dvokatna, trokrilna palača imala je asimetričan prostorni raspored, ali je uočljiva tipično barokna osovinska postava središnjeg salona prvog kata koji se pruža cijelom širinom zgrade te ulaznog predvorja u njegovoj osi u prizemlju. U članku se donosi analiza izvornih oblikovnih i prostornih obilježja palače, a posebno pojave, organizacije i elemenata francuskog parternog vrta, koji je, kao i sama palača, bio u mnogome sačuvan sve do kraja 19. stoljeća. Tijekom 19. i 20. stoljeća palača je preživjela brojne preinake koje su u unutrašnjosti značile adaptaciju prostora za građanske stanove, dogradnju trećeg kata, a na pročelju izvedbu historicističkog ukrasa.
Modern Architectural Theory is the first book to provide a comprehensive survey of architectural theory, primarily in Europe and the United States, during three centuries of development. In this ...synthetic overview, Harry Mallgrave examines architectural discourse within its social and political context. He explores the philosophical and conceptual evolution of its ideas, discusses the relation of theory to the practice of building, and, most importantly, considers the words of the architects themselves, as they contentiously shaped Western architecture. He also examines the compelling currents of French rationalist and British empiricist thought, radical reformation of the theory during the Enlightenment, the intellectual ambitions and historicist debates of the nineteenth century, and the distinctive varieties of modern theory in the twentieth century up to the profound social upheaval of the 1960s. Modern Architectural Theory challenges many assumptions about architectural modernism and uncovers many new dimensions of the debates about modernism.
U radu se osvrćemo na palaču obitelji Ivanišević u Makarskoj, uz pojedine korekcije i nadopune, te detaljniju arhitektonsku analizu. Također, prvi se put iznose podaci o drugoj gradskoj palači ove ...obitelji u Makarskoj i uništenom obiteljskom ljetnikovcu u Podgori. Majstoru Tomasu Miraglii iz Apulije pripisuje se izrada bunarske krune s grbom biskupa Stjepana Blaškovića, danas smještena u vrtu franjevačkog samostana u Makarskoj.
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