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The agrarian reform, promised by King Ferdinand during World War I and enacted shortly after its end, determined the introduction of the measure of allotment on a large scale, exceeding the rural context, as a specific instrument of interwar Romanian social policy. The introduction of the measure of allotment through the agrarian reform served as a precedent for the enactment of legislation regarding the distribution of building plots in the cities. Thus, in 1921, when the second phase of the enactment of agrarian reform was ending, another law that governed the distribution of building plots in all Romanian provinces was promulgated: The Law that Authorizes Cities to Sell Building Plots to Invalids, Widows with War Orphans, Public Servants, and All Ex-Servicemen. In Transylvania, its provisions overlapped some of those specified under the agrarian law of this province.The legislation regarding the distribution of building plots generated inevitable expansions of urban areas, leading to the territorial growth of more than 80 cities throughout the country. The extensions were produced at a very rapid pace, in a context of sustained attempts to introduce the systematization plan as an indispensable instrument of rational urban development. It was initially sustained by various specialists in the field and, after 1925, conducted through the administrative legislation of the country.Starting from these premises, this paper follows the legislative context of the distribution of building plots, its quantitative and qualitative impact on the development of cities during the interwar period, and the positions of various state authorities and specialists in relation to the issue of subordinating the inevitable expansions to a planned urban development.
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As far as all cities in today’s globalized societies are multilingual, multifaceted and multinational, they are a priori of particularly intense historical and cultural significance. Our study aims to illuminate the nature and effects of these interactions. The cities of Central Europe offer rich case studies – Chernivtsi, in particular, since its architecture shows this historical process thanks to a series of urban landmarks. A thorough investigation of architecture, language and culture can help provide a nuanced understanding of the nature of the entwined relations which prevailed throughout the Romanian period.In this article, we wish to contribute to the debate about the richness and diversity of the architectural styles and urban landscape of Bukovyna, specifically with regards to its capital, Chernivtsi, which can boast of a remarkable political and cultural vibrancy throughout the mentioned period. The present research differs in many respects from previous publications on the topic in scope, period and approach. By scrutinising the city as an object of interdisciplinary studies, we seek to provide a theoretical framework bringing together remembrance with research on heritage conservation under modernity of reality. The history of Chernivtsi’s built environment is a striking example of the effects of successive administrations’ approach to urban planning and design, influenced by the geopolitical realities of each of the historical epochs, while retaining the tolerance for the architecture of each era. Its interwar period architecture vigorously manifests Romania’s national aspirations to leave its impact on the European city.
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During the Communist regime, the Baroque architectural ensemble built in Târgu Mureş in the eighteenth century by the Franciscan Order was erased from the List of Monuments in 1966 and demolished in 1972. The purpose behind this was to clear the way for the erection of a National Theatre and the creation of a new “piazza” that preserved only the nineteenth-century tower of the former church. Our study, based on information gathered from documents in the archives of the National Heritage Institute (NHI), aims at presenting the unfortunate destruction of this monument and the restructuring of the city’s former market square.
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In 2018, an emblematic and important year for all Romanians, marking 100 years of the Union of Bessarabia, Bucovina and Transylvania with Romania, a special place is given to the buildings where the famous events surrounding Unification took place.The purpose of this article is to present historical and certain architectural aspects of the Residence of the Metropolitans of Bucovina and Dalmația in Cernăuți, where, on 15 November 1918, the Union of Bucovina with Romania was decided, and comparing it to building no. 3 of the former Gymnasium for boys “Alexandru Donici” in Chișinău, where, on 27 March 1918, the Union of Bessarabia with Romania was voted upon.Today, the Metropolitan Palace building, designed according to the proposals of Czech architecture Josef Hlávka, is part of the National University of Cernăuți Iuri Fedikovici. In Chișinău, the aforementioned Gymnasium building (designed by V. Țâganco) has been adapted to the requirements of another educational institution – the Academy of Music, Theatre and Plastic Arts – and is on the waiting list for restoration. The artistic, historical and architectural value of Cernăuți’s Metropolitan Palace was recently confirmed by its inclusion on the UNESCO cultural heritage list.
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The Union Hall in Alba Iulia intensively imposed itself on the collective mentality of the Romanians as the main evocative monument of the union of Transylvania with Romania. It is also related to the crowning of King Ferdinand I as a sovereign of the Romanian state resulting from the Union Acts of 1918. As a consequence, it occupies a special place in the historical geography of Alba Iulia.The Union Hall has been the venue for various events, some positive, some prejudicial, that have marked its area of significance and architecture. The present study attempts to identify and characterize these events, distributed over the course of a century, relating them to government policies and regime changes. One of the ideas pursued in the article is that the alternative to democracy – totalitarianism – not only marked the events that took place in Alba Iulia, but also the monuments evoking these events. From this point of view, pursuing the history of the Union Hall can be a useful methodological approach.
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The idea that architecture speaks its own nonverbal language is a relatively recent thesis developed in the late twentieth century, yet architecture has been "speaking" and transmitting messages for millennia. While Postmodernists see architectural language as composed of building elements that make the architectural vocabulary, their composition rules leading to phrases endowed with the ability to impart various meanings, architecture traditionally speaks the same language music does: it is not the musical notes carefully written on the sheet music, the ones who make a masterpiece. The notes are the alphabet. Proportional composition, tones, accents, and tempos are the "solid" structures of the piece: they are to music what the solid building, with its openings, differentiated planes and volumes, proportional composition, is to architecture. And while composition alone can make the masterpiece, the way it is played and the tonality of the particular instruments brings the piece of music to life: each time, a slightly different life, creating a different atmosphere. Both music and architecture are atmospheric in essence: to be meaningful, music and architecture have to create emotions and determine feelings. Architecture is what happens between the world of utilitarian rationality and artistic existential expression. It is dual, for it is inhabited art. Schelling called architecture "frozen music" and it became one of the famous definitions of architecture. Later on, Le Corbusier turned music into architecture, in La Tourette, and the meanings for doing so were the archetypal ones: proportional composition of geometrical volumes and light. In architecture, light is what gives spaces their meaning. When masterly used, light becomes to architecture what a skilled violinist with a Stradivarius brings to a famous concerto. Without light, spaces remain in oblivion. Light is the most subtle of the means of architecture; it can express joy and happiness, as well as melancholy and sorrow. This paper is interested in analyzing the interplay of light and matter in Daniel Libeskind's "Between the Lines", also known as the Jewish Museum of Berlin, a place where immaterial light become transubstantiated into displayable, meaningful substance. Light becomes both meaning and artifact. Museums usually control light very strictly, in order to ensure the proper maintenance and visualization of the displays, but in the Jewish Museum, spaces become symbols through lighting, and the symbols - as well as their deconstruction - are the representation of a specific history. Light fills the space as an exhibit and becomes a part of it. It is and is not hope, it is - and is not - emptiness, but rather what is left after presence becomes abolished. It is memory; and anguish. Light becomes the materialization of emptiness, as well as an experience of inherent pain, solitude, mute despair and uncertainty. As Anthony Vidler wrote in the “Architectural Uncanny”, [this] is for Libeskind the stuff of architectural experience.” Light is paradoxical, in the spaces of the museum. It is unsettled in its stillness and transcends the uncanny described by Vidler, in the sense that the spaces Libeskind creates are already imbued with meaning. In their emptiness, there is more than a projection of the visitors’ fearful expectations of what they might find in the museum. In fact, Libeskind is a modern Eupalinos: he knows how to compose and play with human emotions and spatially acoustic modulations and vibrations. His spaces are musical, in either their utter silence or their white noise. Light recreates the anguish, the agony, and finally, the silence. The silence of death, of disappearance. The Void.
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Piraeus, Greece’s capital port city since the ancient times, is now home to many abandoned industrial sites that present an opportunity for revitalization through regeneration. This article presents applications of brownfield regeneration policies from the United States Environmental Protection Agency and the EU Brodise Program for the case of Piraeus, Greece. The paper includes a theoretical framework that introduces the historical patterns of development through globalization and changing economic systems that led to the presence of brownfield sites around the world. The research utilizes field work at major brownfield sites in Piraeus including site visits and stakeholder interviews, alongside literature review. The ultimate goal of the article is to exemplify areas of proven brownfield regeneration success internationally that can be applied to future policies to support efficient, transparent, and sustainable regeneration projects in Greece.
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Organizarea spaţiului are caracteristici generale pe teritoriul României și trãsãturi particulare ale fiecãrei regiuni etno-culturale. O exprimãm astfel deoarece la începuturi, cei care produceau ceea ce noi astãzi numim arhitecturã popularã, nu își puneau problema cã ar face arhitecturã. Ei rãspundeau unor nevoi printr-un act voluntar încãrcat - la rândul lui - cu tehnici, învãţãturi, ritualuri, culturã localã etc, toate acestea aparţinând locului ca și oamenii.
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Imaginea pe care așa numita „arhitecturã tradiţionalã” o oferã despre TRADIŢIE este aceea a unui moment. Acest mod de a surprinde tradiţia printr-o imagine punctualã pierde din vedere faptul cã tradiţia nu a încremenit în clipa zidirii respectivei referinţe. Cu toate acestea, atunci când se aduce în discuţie arhitectura tradiţionalã, panoplia de imagini este deja compusã și nimeni nu mai poate fi surprins: nu apar imagini noi, nu dispare niciuna din cele vechi - galeria este completã și închisã. Acest mod de raportare la tradiţie prezintã un nou chip al tradiţiei - tradiţia ca moment. Este vorba despre tradiţia punctualã, tradiţia unei clipe selectate chirurgical dintr-un parcurs. Acest moment cuplat adeseori cu un anumit tip de imagine se înfiinţeazã drept referinţã constantã. Mergând mai departe, acest mod de a pune problema proclamã și tipologii ale arhitecturii tradiţionale care capãtã greutatea unor axiome: nimic nu mai trebuie demonstrat, esenţialul se gãsește deja în faţa noastrã. Niciodatã, însã, nu apare și explicaţia practicãrii respectivei selecţii: de ce acel moment, de ce acel motiv? Tradiţia a continuat sã producã în domeniul arhitecturii și ulterior momentului referinţei selecţionate și, cu siguranţã, chiar înaintea acelui moment concret, cu atenţie ales.
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Prima perioadã a colonizãrii germane, secolul al XI-lea și al XII-lea, vizeazã teritoriile ocupate în prezent de sașii din Transilvania sub denumirea de Siebenbürger (7 scaune). A doua perioadã este calificatã în memoria luxemburghezã ca perioada de aur austriacã: “d’géllen Zeit fum Ésterreich“.
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Cel puţin în acest text, prin topologie vom înţelege ansamblul calitãţilor pe care le are un spaţiu dat în relaţiile care existã între pãrţile sale. Aceastã sumarã definire nu este mult îndepãrtatã de cea matematicã și nici de etimologia termenului.
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Teza de doctorat pe care am prezentat-o la universitatea de arhitecturã Ion Mincu se bazeazã pe observarea ţi studiul esteticii arhitecturii zilelor noastre, domeniu în care s-a produs o rupturã în ultimii 20-30 ani. Muzeul Guggenheim din Bilbao marca debutul unei noi ere în arhitecturã, în care iconurile au devenit din ce în ce mai numeroase pe mãsura trecerii timpului. Aceastã nouã arhitecturã pare sã se detașeze de mișcarea modernistã. Hadid, Ito, Nouvel, Coop Himmelb(l)au, Gehry, Eisenman reprezintã o generaţie de arhitecţi care îţi redefinesc arhitectura în funcţie de context. Teza de doctorat este generatã de aceastã preocupare. Lucrând eu însumi în atelierul lui J. Mayer H., m-am confruntat frecvent cu aceastã confuzie.
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Discuţiile (sincere) privitoare la subiectul “arhitecturã ecologicã” poartã încã o puternicã tentã militantã. Se simte în spatele fiecãrui fapt ori criticã intensitatea unei necesitãţi – uneori nedoritã, uneori ideologicã ori programaticã, partizanã, de multe ori argumentativã sau extensivã, unilateralã sau cu viziune holisticã. Devenitã complexã, ea este o realitate ce are în spate o istorie contemporanã deja consistentã.
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Ca și arhitectura, iluminatul artificial este artã și știinţã în același timp, un domeniu care îmbinã creativitatea cu tehnologia. Asistãm în ultimii ani la o trecere evidentã de la iluminatul funcţional, cantitativ, la un iluminat creativ, inteligent ţi emoţional. Aceastã tendinţã ar trebui sã fie un argument puternic pentru o implicare mai profundã a arhitecţilor în domeniul iluminatului arhitectural interior și exterior.
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Lucrarea a pornit în baza unui concept larg și universal valabil în domeniul artelor, în general, și al arhitecturii în particular, dar și din punctul de vedere al existenţei curente – INTIMITATEA ca zonã a trãirii individuale, dar și a relaţionãrii interpersonale. Scopul și tematica cercetãrii au fost însã conduse înspre o dimensiune particularã a manifestãrilor intime și anume ipostaza în care acestea se deruleazã pe scena cotidianã a spaţiului public contemporan.
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Practica de arhitectura s-a schimbat mai mult în ultimii 15-20 de ani decât a fãcut-o, poate, în orice alt moment al istoriei sale. Accesibilitatea și diversitatea programelor complexe de proiectare (asociate cu fiabilitatea hardware), precum și tehnologiile de comunicare avansate au transformat cultura designului, transferând-o la nivel global.
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Abordarea temei manipulãrii poate pãrea un lucru firesc pentru un cetãţean a cãrui perioadã de formare cuprinde ultimii ani ai regimului comunist împreunã cu primii ani de dupã acesta, vremuri atinse de manipulãri pe cât de spectaculoase, pe atât de grosolane. Dar, pentru a contempla splendoarea acestui curcubeu al formulelor de manipulare nu este nevoie de analiza schimbãrii raporturilor de putere la nivel global. Experienţa trecerii succesive prin cele douã forme ale manipulãrii, cea paranoidã (specificã totalitarismului) și cea histrionicã (specificã democraţiei), este un fapt mult mai banal sau mai puţin condiţionat istoric decât am putea crede la prima vedere. Acel tip de melodramã, în care fata ajunsã în pragul maturitãţii scapã din cleștele autoritãţii pãrintești aruncându-se în braţele unei iubiri neîmpãrtãșite, ilustreazã la fel de bine succesiunea de rece - cald - rece atât de utilã în cãlirea caracterului celor aflaţi la început de drum. Chiar și aceia pe care soarta îi va fi ferit de cutremure mai mari sau mai mici, pot experimenta succesiunea celor douã forme ale manipulãrii atunci când, terminând ultimele pagini ale Vechiului Testament vor începe sã citeascã primele pagini ale Noului Testament. Ceea ce poate pãrea mai puţin firesc pentru același cetãţean (dar nu și pentru unul de formaţie mai recentã) este stabilirea unui raport relaxat între eticã și manipulare.
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Reabilitarea cartierelor de locuit construite în perioada comunistã devine o condiþie aproape obligatorie în regenerarea peisajului urban și arhitectural. În prezent a început sã se punã în practicã Programul de Reabilitare Termicã iniţiat în 2005 și revizuit legislativ în martie 2009, care reprezintã, însã, doar o componentã a reabilitãrii acestor cartiere.
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The article considers selected issues from the field of the philosophy of architecture and design and attempts to scrutinize the problem of what the human home (as opposed to ‘house’) is, which, despite its significance, has only seldom been placed at the center of philosophical deliberations. While tackling the topic, the author brings up the ideas advanced by Martin Buber, Ulrich Schrade, and Boguslaw Wolniewicz. According to Buber, ages of settledness and homelessness are intertwined in history. However, in any epoch, one’s home and its interior may either contribute to one’s balanced psyche or undermine one’s sense of ontological security. The concept of home as a secure place in a hostile world was introduced by the Puritans as part of their affirmation of ordinary life. Alongside the types of interior design that enhance man’s rootedness in the world, there are those that remove any reference to the past or any symbolic content from the spaces of human life. Instances of the latter can be seen in the non-places characteristic of the modern world, which are designed in an uncharacteristic way, with a view to their pure functionality, as well as in interiors whose creators followed the rules of the minimalist aesthetic. Their opposites are interiors which, by embodying a theater of memory, may become inspirational to their occupants. An outstanding example of the latter is the house of the writer Mario Praz in Rome.
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