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Despite the reconstruction conducted at the beginning of the 17th century,Poor Clares’ Church in Stary Sącz preserved its mediaeval shape. However, it gained newfurnishings, whose most important element were three retables in the apse of the presbytery– the main retable and two side retables with the paintings of St Clare and St Anthony,flanked by the figures of angels. They were made in 1699 when marble was purchased;a stonecutter, a bricklayer, a burnisher and an assistant were employed; and on 29th July1699 an agreement was signed with the stuccoist Baldassare Fontana, who agreed to makesculptural decorations of the altars for 3000 Polish zlotys. Remuneration for the artistsand payment for the materials were given by nuns through the agency of priest SebastianPiskorski. It was also he who mediated in paying 360 Polish zlotys for two paintings for theside retables in the presbytery. The author of these paintings was not noted in the archives.One of the paintings depicting St Clare was acknowledged by Mariusz Karpowicz as a workby Karol Dankwart. Mariusz Karpowicz described the second painting as the re-paintedand did not undertake to determine its authorship. This can as well be confirmed not onlyby the fact that both paintings were paid for, but that they were remarkably similar. Thesepaintings are linked with the use of serious perspective outlines of faces, a method of paintingwith characteristic long brushstrokes visible in the drapery, and also detailed depictionof flowers. It can be inferred that the paintings by Dankwart were created in 1699, that isalmost at the same time as a magnificent Baptism of Christ painted by the very artist tothe order of priest Piskorski for the Cracow church of St Anne. These three works are theonly known works of this artist in this technique, historically connected to Poland. Theyconstitute a separate episode in his oeuvre and are characterized by the highest artisticlevel. We can see it even in the comparison with the most distinguished works from Moraviaand Silesia of the previous decade, among which we can find a substantially dynamic Saint Michael Crushing the Heretics in the post-Jesuit church in Znojmo, a monumentaland dramatic The Judgment of Caiaphas in the parish church in Kożuchów, and a largecollection of paintings from the refectory of Carolinum in Nysa. Therefore, it is probablethat the Polish period was particularly important for the oeuvre of this artist, as it was forthe stuccoist Fontana, who left his most important work in Cracow. Hence, we can assumethat in both cases priest Piskorski played the role of an indirect employer, who could ina special way motivate artists who worked for him. He was connected for many years toPoor Clares as their confessor and prebendary of the church in Grodzisko near Skała, wherehe realized his highly ambitious pilgrimage site, which commemorated Blessed Salomea,the founder of the first monastery of this Polish rule. Piskorski also played an importantrole in the transformation of the Cracow church of Poor Clares dedicated to St Andrew.Ergo, we can assume that also in Stary Sącz he was at least a consultant and a fellow of abbessJordanówna and an initiator of bringing to Stary Sącz the workshop of Fontana andpaintings by Dankwart – the artists who he employed while supervising the constructionand decoration of a new university church dedicated to St Anne. •Translated by Joanna
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Following the development in 2011 of the Mural of Remembrance in Baró de Viver (Barcelona) the adjacent district of Bon Pastor, showed interest in a symbolic and artistic element of similar characteristics. However, from the beginning, Bon Pastor neighbours expressed the idea that writing their remembrance should not be performed on a linear support, but should be distributed by the territory. The research team of the Polis Research Centre started a participatory process (not yet completed) within the framework of cooperation agreements between the Centre, the Neighbourhood association and the local authorities of the Sant Andreu district. At the same time, the subject of this “memory space system” became a topic to be developed by one of the, interdisciplinary and international, teams of students of the Master in Urban Design, Universitat de Barcelona. This article presents the progress made.
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Aspiring global cities, such as Taipei City in Taiwan, seek to accumulate cultural capital. For future-oriented local and global self-representation, they design cutting-edge contemporary museums. This paper analyzes the “urban imaginary” as constructed by new urban museumscapes. Choosing a case-study approach, it explores the embedding of a vanguard art museum project in Taiwan—the New Taipei City Museum of Art in Taipei—into long-term urban planning strate¬gies. In order to understand the purpose and process of how the new museum of contemporary art is devised as a public space of cultural self-representation and urban identity building, the study monitors the complete design process from the city government’s urban and institutional planning strategy to the architectural design. Evidence shows that the pathways of urban place-making for art and through art and design in Taipei are strongly determined by the historical role and current geopolitical repositioning of the city.
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The paper concerns the analysis of the building of Cricoteka in terms of theatricality, which is the role of architecture in the performance of city life. It discusses such aspects as the transfer of the idea of theatre onto architectural form, the dialogue with the viewer, the place of the building in the city and the influence of the object on the environment by generating tension between individual elements of composition solids.
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Ceramic materials may have multifarious applications, the visual arts being one of them. Furthermore, they have been often used in architecture for decorative purposes. In Poland, the application of ceramics in architecture reached its peak of popularity in the post-WWII period. It was used in mosaics, reliefs, architectural and sculptural details, as well as combined with other materials, like glass or stone. Ceramics was applied for creating small, various decorative forms but also large compositions that covered even several dozen or several hundred square metres, in buildings that served various functions, and were situated either indoors or on their external facades. Amongst these, there are buildings which were both important for local communities and became landmarks for particular sites, like modern hotels, railway stations, theatres, museums or academies. The paper is focused on such prestigious edifices.
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The text examines connections between the development of modernizing cities in 1910s-1930s and the women’s issue. There are several examples of unique architectural concepts all over Europe in that time, including houses for women in Berlin, Kopenhagen and Prague. Especially Berlin could be regarded as a model modern city with women architects who took responsibility for new, feminist projects of houses for female population of different age and social background. Considering Poland, Cracow seems to be one of outstanding examples of a city where women’s initiative was strong enough to establish a foundation and to built two houses for female post workers. The Cracow leader of the group was Władysława Habicht who was strongly involved in both women’s and national issues. Thanks to her determination and hard work, women working at the local post-office could find a place of their own.
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It is difficult to list all exceptional women who lived in Żoliborz neighborhood between World Wars. For the above reason, I will not be bold enough to write a collective biography. However, it is worth underlining, that both women and the neighborhood equally benefited from such coexistence. Despite a left wing and social character of Warsaw Housing Association, its space and climate is obviously a masculine projection, however, it is legitimate to hypothesis, that it resulted in the preparation of favorable conditions for the development of urban, public and domestic activity of women living in the neighborhood. On the other hand, the committed architecture “tailored for human”, concern for conditions for women’s self-development, the shape of the neighborhood “tailored for children” and formation of new urban lifestyles, were all the contribution of women, whom I called the designers of life in Żoliborz. I do not refer here to a literary meaning of designers, as a term which brings associations towards architecture or design. Żoliborz in this respect, should be perceived in a larger scale as a social experiment, an educational and emancipative project, meant for, developed and fl exibly introduced to workers, women and children. These three groups were the subject of experiments conducted by the creators of a social neighborhood in order to test a new, urban culture, based on “a culture of coexistence”, and also new styles of living. If the neighborhood of Żoliborz is perceived as an educational and emancipative project, then we should raise two important aspects: education and projectivity. Therefore, while writing about the women of Żoliborz, who actively co-created new lifestyles and fought for their rights to the city, I will refer to them as designers. I also asked about educational dimension of the neighborhood in order to draw attention to the question stated by Jacques Rancière, about participation or emancipation. In this context it is necessary to analyse the role of women. Were they indeed the designers of the reality of Żoliborz or were they only a subject of masculine educational strategies? The question is legitimate, because, as pinpointed by Marta Leśniakowska, emancipative postulates of male founders of Warsaw Housing Association were merely a facade, which veiled a constant male domination.
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Extensive changes in cities and their population has led to population and environmental crises. New strategies including the smart growth have been proposed to overcome this challenge. In fact, the smart growth strategy is an attempt to lead the cities toward sustainable and environmental approach. Principles and strategies of smart growth create effective solutions for improving transportation and urban land use. This research investigates the compatibility of the regions and districts of Rasht (A northern city in Iran) with the smart growth criteria in a case study using Shannon analytic model, Holdern Model, and TOPSIS multi-criteria decision making model. The results of the Holdern model analysis indicates a dispersed growth of Rasht and displays its sprawl. Shannon entropy coefficient confirms a horizontal and dispersed growth of the city in its four districts and demonstrates that district 2 has the highest population and building density. The results of TOPSIS multi-criteria decision making model and entropy weighing method present dispersed and unpleasant urban growth and show district 3 has the highest density and compatibility with the urban smart growth criteria, and district 4 has the lowest density and the maximum difference comparing to the urban smart growth criteria.
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The competition in 1898 for the Stanisław Kostka Catholic Church in Łódź (today the Cathedral Basilica) was exceptional in many ways. It was the first international competition in this city and one of the biggest – in terms of the number of designs sent – on Polish lands since the start of World War I. For Łódź and its Catholic community it was very important, and the way it was conducted was precisely reported by the local press. The first prize went to the work submitted by the Łódź construction-architecture company “Wende & Zarske”, the second prize went to I.A. Rüppel “Franz Langenberg Nachfolger” from Bonn, and the third went to the company of Stanisław Jan Cichorski and Edgar Vinson from Paris. The winning paper was sharply attacked by the chief editor of the Łódź daily Rozwój – Wiktor Czajewski, who promoted the proposition by Cichorski and Vinson. One of the arguments against the winning design was the fact that the actual author was an architect from Berlin, Emil Zillmann. Despite that fact, the concept of the company “Wende and Zarske” was (with amendments) executed between 1901–1912 (with the topping of the tower according to a design by Józef Kaban, 1927).
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Kożuchów is a unique town, not only in the Lubusz Voivodship but also in the whole country. The well-preserved defence system, consisting of two rings of curtains and a moat, distinguishes this town from hundreds of others. It is also one of the oldest towns in the Middle Oder Region. Nearly the entire circumference of the fortifi cations has been prevented, which makes it impossible to merge the centre with the suburbs. For this reason, the original layout of this part of the town and its historical character have been preserved. However, these factors are a big challenge for urbanists and architects in terms of urban-planning. The old town has become a central point in the spatial layout of Kożuchów. Moreover, there are a number of additional important objects such as buildings of signifi cant cultural value: the castle, the town hall, the gothic church and the residential buildings as well as the fortifi cation system with the well-preserved curtains, bastion, fortifi ed towers and moat. The historical layout of the streets makes walking and driving diffi cult in the Old Town. The green areas have enormous potential. Unfortunately, there are also a number of elements spoiling the look of the town: the business buildings, the neglected yard, the modern buildings – so called blocks of fl ats, the commercial pavilions, the undeveloped plots and quarters. The paper presents an attempt to analyse the problems and to provide suggestions for changes so as to preserve the unique character of the town and, at the same time, to add value resulting from the introduction of new architectural and urban-planning ideas.
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The chapel in the village of Karniowice near Zabierzów was built for Jerzy Pipan, a physician from Cracow and secretary to Stanisław Lubomirski, in 1624. The freestanding structure, on an original hexagonal plan that was probably inspired by the chapels of Kalwaria Zebrzydowska, is located close to the manor house. Wall paintings, which used to cover the whole vault, entablature and most part of walls, have been discovered in the chapel during a recent conservation. The paintings were in such a poor state of preservation that not all of them could be reconstructed. Nevertheless, as a result of the conservators' efforts, the chapel can now boast an original interior decoration.The murals were painted al secco, on plaster covered with lime-paint, without the use of cartoons. Only the most detailed elements, like roses, were sketched with pencil. 1 the paintings under discussion constitute the oldest layer, which in the nineteenth century(apparently during the renovation of the chapel undertaken by one of its subsequent owners, Stanisław Mieroszowski) was covered with dark green paint. The next owner of Karniowice, who had the walls repainted again, removed the dark green coating together with the underlying a? secco decoration.The recent renovation has revealed that only natural pigments were used in the paintings which were done by two different hands. The decoration was executed before1665-1675, most likely, just after the chapel had been built, that is, in the second quarter of the seventeenth century. The paintings made the small interior of the chapel look larger and richer, because they simulated the stucco and marble architectural articulation of walls and cornice, while the dome was decorated with six mock niches with painted figures of Archangel Michael, Mary Magdalene, St Ursula and an angel. The damage to the remaining two figures is so extensive that it precludes their identification. The choice of saints suggests that the iconography of the paintings was supposed to allude to theLast judgement and Remission of Sins. The decoration, which represents typical ideas of the Counter-Reformation period, seems to be appropriate for a tomb chapel. Therefore, it cannot be excluded that the programme of the paintings was originally planned for the family chapel that jerzy Pipan had wanted to build in Cracow.The author of the paintings must have been well versed in Italian art and design, especially from the Mantua and Sabionetta area. Artistic connections with that milieu would have been possible at that time thanks to the close relationships between the families of the Myszkowskis of Pińczów and the Gonzagas of Mantua. The painter was also familiar with some Polish examples of Mannerist and early Baroque art. Decorations bearing closest resemblance to the paintings at Karniowice, yet not painted, but done in stucco, can be found in the rooms refurbished for King Sigismund III at Wawel Castle, and in theDominican and Jesuit churches in Cracow.The paintings at the chapel in Karniowice are an interesting example of Italian late Mannerist art in Poland. Certain details that were modified apparently when the work was already in process (e.g. a painted curtain as a backdrop for the altarpiece)form an axis connecting the entrance with the altar, a solution associated already with Baroque art.
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Rybicka outlines the relationship between the city and nature in two spheres: contemporary art and the history of urban greenery. Symptomatically, both tend to depart from the paradigm of exploiting nature and move towards strategic cooperation between the human and natural environments. This development allows Rybicka to formulate the notion of the biopolis, a postulative concept that integrates the city’s material, social and political life with the natural environment.
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Misao dizajna opravdano je postala središnja tema u suvremenom diskursu i retorici dizajna. Misao dizajna u praksi vodeće svjetske dizajnerske i inovacijske tvrtke IDEO, primjena ovih načela u uspješnom dizajnerskom obrazovanju na prestižnom fakultetu za dizajn, Institutu za dizajn na Sveučilištu Stanford, a svakako i u časopisu Change by Design, u kojem direktor IDEO-a Tim Brown razrađuje koncepcije o misli dizajna u toj tvrtki, nagnala je dizajnersku zajednicu da razmišlja izvan okvira svemoćnog dizajnera i opsesije proizvodima, predmetima i stvarima. Umjesto toga predlaže se: (1) da dizajneri trebaju više sudjelovati u općoj koncepciji o društvenom inovativnom dizajnu, izvan ekonomske svrhe; (2) da je dizajn zajednički napor u kojem proces dizajniranja obuhvaća razne participacijske sudionike i kompetencije i (3) da se ideje moraju osmisliti, kreirati kao »prototipovi«, aktivno analizirati i iskušavati u početnim fazama procesa dizajniranja na načine za koje je svojstvena usredotočenost na čovjeka, suosjećajnost i optimizam.
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The article is focused on a conceptual vision for Naissaar Island (1992–1996) by Tõnis Vint in the context of the public sphere in the making. The project may be seen as an intersection of a conceptual utopia and a pursuit of actual social intervention. The article considers the project in the context of the artist’s creative output in general, as well as in relation to contemporary international economic policies and trends, and the New Age ideology, highlighting the incoherence and ambivalence characteristic of the transition period.
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Artikkel vaatleb Tõnis Vindi Naissaare ideeprojekti (1992–1996) üleminekuaja avaliku sfääri kujunemise kontekstis. Autori senist kunstipraktikat edasi arendavas ja laiendavas projektis põimuvad kontseptuaalne utoopia ja reaalsete ühiskondlike muutuste taotlused. Artikkel käsitleb projekti nii kunstniku senise loomingu, rahvusvaheliste majanduspoliitiliste suundumuste kui ka uusvaimsuse ideoloogia vaatepunktist, tuues esile projektis väljenduva üleminekuajale iseloomuliku katkendlikkuse ja ambivalentsuse.
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This article analyses the state of nineteenth-century Lithuanian art historiography. It reviews how the nationalist paradigm prevalent in the humanities in the twentieth century was transformed into the writing of multi-national history at the end of the century, and in the early twenty-first century how it was increasingly replaced by a non-ethnocentric approach focused on the problems of urban culture, regional art, social class and gender. It examines the attempt to overcome the concept of the ‘shift’ espoused by Lithuanian art history research that asserts a strict division between the nineteenth and the twentieth centuries. At the same time, this article discusses why the progress of studies of nineteenth-century art considerably lags behind the vigorous development of research observed in studies of the baroque era, the first Republic of Lithuania and the Soviet period.
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At the end of the eighteenth and beginning of the nineteenth centuries there was an emerging trend of orientalism in Europe. In a wider sense this term included the passion of members of Western society for oriental cultures and the intention to get acquainted with, to study, to describe and to depict these cultures. The term orientalism refers to the places where the culture of Islam was or had been dominant. Orientalism was at its peak during the second half of the nineteenth and first decades of the twentieth centuries and in this period it also found its place in architecture and visual art in the territory of Latvia, which creates an opportunity for a variety of investigations, as there are still a lot of questions to be answered and facts to be discovered. Thus, the article is focused on the most significant examples of orientalist art and buildings influenced by neo-Islamic architecture in the territory of Latvia, as well as some objects from other Baltic countries.
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The art of the socialist period is still an area where Latvian art historians do not linger too long. The reason for this could be partly due to traumatic experiences of this time for many who lived under its system and later the breakdown of the system, but also due to ambiguous perceptions of this period, and methodological and other difficulties dealing with it. Still, researches, explorations and interpretations of socialist art are essential to understanding the genesis of contemporary art, as well as the complexity of modernism and its transition to postmodernism in Eastern Europe. This complexity also derives from geopolitical circumstances, which had a strong impact both on art language and on its relationships with reality. My research is an attempt to contextualise the visionary dimension in modernist and neo-avant-garde art of this region in a broader perspective, including geopolitical relations between art and reality, as well as the role of their power structures.
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