One of the characteristics of the Vienna School of Art History, as Hans Tietze writes in The Method of Art History, is the conviction that ‘living art is the key to dead art’. The article draws ...connections between the lively art debates in Vienna in the first decade of the twentieth century, the breakthrough of Plečnik’s and Meštrović’s art, and the art historians who, at the beginning of their careers, were just beginning to explore the relationship between the formulation of method and the object of research, and places them in the broader historical context of the situation of small nations just before the dissolution of the monarchy. After the 1914–1918 war, central questions in art and science were reopened at the fringes of the former monarchy. Collaboration between scholars and artists was crucial not only for the development of the professions, but also for the formation of a modern cultural identity and sovereignty in the new multi-ethnic state.
The article discusses the unexecuted plans for “Honorary cemetery of important Slovenians”, designed by architect Jože Plečnik. In the frame of urban planning of Bežigrad, northern part of Ljubljana, ...the architect also dealt with the territory of the abandoned St. Christopher cemetery, where the enlargement of St. Christopher church, new monumental church (Hall of Fame) as well as memorial park has been planned. The latter should become a Slovenian Pantheon and as such play an important role in creating historical memory and promoting national consciousness. Due to the different wishes of the owner of the area, Diocese of Ljubljana, the project was never executed, its only remaining is Navje memorial park, which has, due to much smaller dimension, never played the same role as Plečnik’s original idea would.
Co‐founding partner of Bricolo Falsarella Associati, Filippo Bricolo describes himself as a designer of penumbra, and spends much of his studio time choreographing the practice's designs and ...buildings. He believes the fast pace of contemporary living, communication and technology, with its techno‐positivist agenda, has made consideration of the penumbra almost extinct. Here he describes some of the architectural shadowy set‐pieces of his office and others.
RESUMEN Durante veinte años (1894–1914) las aulas vienesas de la Wagnerschule albergaron un microcosmos de aspirantes a arquitectos procedentes de todas las regiones del Imperio Austrohúngaro. ...Seleccionados por sus notables dotes para el dibujo, unos ciento sesenta arquitectos se formaron bajo la supervisión de Otto Wagner. Colaboradores en su estudio o en los de otros arquitectos vieneses, participaron como aprendices de una de las transformaciones urbanas más radicales de la época. Estimulados en su espíritu crítico por el exigente Wagner, le acompañaron en su tránsito teórico desde la certidumbre del historicismo hasta el abismo de la primera Modernidad. Por su dominio del medio gráfico, su capacidad productiva y la novedad de sus propuestas, y por la colaboración con los medios editoriales más modernos y difundidos, la Wagnerschule se convirtió en uno de los focos de modernidad arquitectónica de mayor proyección internacional. La caída del Imperio dio lugar a la diáspora de sus miembros por las nuevas naciones resultantes, y a la aparición de nuevos focos culturales. Los antiguos discípulos pasaban a convertirse en maestros. Entre ellos el esloveno Jože Plečnik, profesor durante más de cuarenta años, en Praga y en Ljubljana, ciudad en la que llevó a cabo, con la colaboración de sus alumnos, una profunda transformación urbana estrechamente ligada a su labor docente. Hasta su muerte en 1957, Plečnik desarrolló el método crítico y propositivo de la Wagnerschule, sosteniendo con convicción la importancia del dibujo y del conocimiento de la arquitectura clásica. SUMMARY For twenty years (1894–1914) the Viennese classrooms of the Wagnerschule housed a microcosm of architect hopefuls from all the regions of the Austro–Hungarian Empire. Selected for their remarkable gifts for drawing, about one hundred and sixty architects trained under the supervision of Otto Wagner. Collaborators in his studio, or those of other Viennese architects, participated as apprentices to one of the most radical urban transformations of the time. With their critical spirit stimulated by the demanding Wagner, they accompanied him in his theoretical transition from the certainty of historicism, to the abyss of the first Modernity. Through its mastery of the graphic medium, its productive capacity and the innovation of its proposals, and through collaboration with the most modern and widespread editorial media, the Wagnerschule became one of the centres of architectural modernity of great international renown. The fall of the Empire gave rise to the diaspora of its members to the resulting new nations, and to the appearance of new cultural foci. The old disciples became teachers. Among these was the Slovene, Jože Plečnik, a Professor for more than forty years in Prague and Ljubljana. Ljubljana, a city in which a profound urban transformation was carried out, with the collaboration of his students, and which was closely bound to his educational work. Until his death in 1957, Plečnik developed the critical and propositional method of the Wagnerschule, maintaining the importance of drawing and the knowledge of classical architecture with conviction.
Rad se bavi valoriziranjem arhitekture župne crkve Svetog Ante Padovanskog u Beogradu, za koju je projekt izradio slovenski arhitekt Jože Plečnik 1929. godine. Rad se temelji na istraživanju ...dostupnih povijesnih izvora, objavljenih radova i studija, te suvremenim terenskim snimanjem, praćenim kritičkim evaluiranjem nalaza. U radu je dat kratak pregled Plečnikovih angažmana na nekoliko javnih projekata diljem Europe, nakon čega slijedi analiza šireg povijesnog i društvenog konteksta u kojem je nastala franjevačka rezidencija u Beogradu. Nadalje, dat je povijesni razvoj lokaliteta u okviru Franjevačke provincije Bosna Srebrena, kojoj rezidencija pripada i danas. U radu se kritički ispituje stilski pristup projektu crkve, te njegove kasnije preinake koje su izvršili arhitekti angažirani nakon Plečnika. Nadalje, analizira se i ispituje doprinos sakralnoj arhitekturi, značajne konstrukcijske novine, unutarnje uređenje, opremanje i umjetnička djela izrađena za ovaj projekt, a prema Plečnikovim zamislima.
Classical Reception in Slovenia Marinčič, Marko
A Handbook to Classical Reception in Eastern and Central Europe,
03/2017
Book Chapter
The territory of today's Slovenia was to a great degree Romanized by the time of the Slavic invasion. It belonged to the Latin (Catholic) West during the Middle Ages and contributed to Renaissance ...humanism through personalities such as Augustinus Prygl “Tyfernus” (c.1475–1536), the first collector of inscriptions in the Austrian lands, and Baron Sigismund von Herberstein (1486–1566), author of the first important work on Russia in the West. Both Valentin Vodnik (1758–1819), the central figure of Slovenian Enlightenment classicism, and the Romantic bard France Perešeren (1800–1849) were heavily indebted to classical models. Like elsewhere in Europe, Greek myth––in modern clothing or as a political metaphor––was a crucial constituent of twentieth‐century theater. The introductory chapter presents the architect Jože Plečnik (1872–1957) and his plan to transform the capital of Slovenia into a “new Athens” as an idiosyncratic case of modernist architecture regressing into neoclassicism.
This paper focuses on a small fairytale book entitled Makalonca, completely designed by Jože Plečnik, and its two reprints, which were unfortunately found inferior to the original design. The ...Slovenian architecture by Jože Plečnik (1872–1957) is well known in Europe, while his work in the area of graphic design and typography is less known. During the Second World War he made all the decorations, vignettes and initial letters for fairytales and elaborated graphic design for the book. Two paperback reprints were subsequently published as well; one a year after the architect’s death in 1958 and another in 1988, commemorating the centenary of the fairytales. In both reprints it was stressed that the graphic design remained the same as done by Plečnik. However, both reprints are deformations of the original. Not only are they different in book and layout size, typefaces, one even in the type style and type size of the body text, but there are also many other differences to be found within the rest of the text. In consequence, the Slovenian cultural heritage has lost a great deal.
Provider: - Institution: Ministrstvo za kulturo, Direktorat za kulturno dediščino, INDOK center - Data provided by Europeana Collections- Jože Plečnik, načrt (reprodukcija načrta)- All metadata ...published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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