Technikatörténeti örökség a kalotaszegi Magyarvalkón

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

In the history of a settlement the aspects linked to technical history are of major importance, as they are part of the course of culture and civilization. Research work, the insertion of findings in the complex of historical sciences is up-to-date in present historiography.This book contains the results of research in the field of technical history, research done in Văleni-Călata. The settlement appears for the first time in the written documents of the XIII-th century (in 1213) under the name of Vulchoi villa. As the years passed the settlement became also known as Wolcov (1291), Walko (1297), Wolko (1372), and Walko again (1468).In the year 1291 the settlement was among those ones that were paying taxes to the bishop of Oradea.The name of the settlement is most likely linked to the name of the noble Valkay family, onwer of lands, whose last representative disappeared in the year 1730.From the point of view of the settlement's history the XVIth and XVIIth centuries brought about great changes. Reformation, the invasion of Tartars, the multiple fires - all had benefic consequences. The devastated church was rebuilt and a fortress was erected around it. The tower was built and it got the function of a watchtower as well, in the fortified defence system of the settlement.The church is placed in a lovely region, under the protection of a forest arch. The building is architecturally well balanced, its tower has an unmatched robustness and it can be regarded as one of the most beautiful churches belonging to the Reformed Episcopate of Transsylvania.The general architectural characteristic of the church belongs to the Gothic style, although it also has a series of elements of the Roman styleand Gothic, respectively.A special feature, unique to this church in the whole region is that, the space under the tower is part of the pro–nave, augmenting its dimensions.From the point of view of technical history the counter–fortress walls of the church are made of adzed rectangular stones, this being a real demonstration of the skill of the carvers of the time. As a binding element mortar with lime was used and this gave the building enough resistence. The church is entirely covered with shingle. This refers to the church tower and also to the four small towers with cellular ceilings painted by the renowned carpenter and church ceiling painter Lőrinc Umling. This adds to the architectural and artistic value of the church.The monumental aspect is better underlined owing to some elements of building in Roman style originating from the previous building. These elements were organically incorporated in the present architecture of the church.The church tower gives home to three liturgy bells and a small bell to presignal the stroke of the horologe. Two of the bells, the biggest in dimension, were casted in Cugir in 1924 by the bell founder Oszkar Klein. The third bell originates from the bell foundry of the Andraschovski family in Cluj. For over a century the family had been known as famous for casting bells, a tradition passed on from father to son. The bell from Văleni wascasted in 1855 by János Andraschovski. The three bells are beautifully decorated in Baroque and Gothic style. They are placed on a wooden rack made from oak wood carved with a poleaxe. The wood of the rack is the very casing of the bell bail axes.Keeping company to the bells is the horologe built to the special order of the parish in the year 1839. As to where, and in which workshop of the time it was built, one doesn't yet have an answer. It is believed that the building took place in Oradea because this is the place of origin for several other horologes of the churches in the neighbourhood. This particular horologe is made up of three functional modules. The first module is the one that makes the horologe work and it rules the other two. The second module is responsible for the strokes of the quarters, while the third module makes the pre–signal bell work.The pre–signal bell marks the hours and it is located at the extremity of the tower, above the southern part of the porch. This porch surrounds the tower and it is used as an observation turret. The horologe worked till the mid–seventies of last century. At the moment it is incomplete, as its cinematic chain of movement transmission to the clock hands and the pre–signalling bell is missing.A chapter of the book deals with the presentation of the folk architecture development in the settlement. The evolution of the wooden constructions specific to the region is shown: the system of scaffolding and covering, the ornamentation of the facades. The development of the living space is dealt with in a sub–chapter of the book. Here one can come across examples ranging from the most simple living spaces with one room to the more sophisticated ones, set in an order characteristic not only to Văleni but to the entire region of Călata.Among the specific aspects of regional folk architecture one can put into evidence the widespread use of carved or uncarved spruce masonry, daubed either on one or on both sides.The structure of scaffoldings is detailed and so is the shingle covering that replaced in a relatively short while the prevalent straw covering of Călata.Owing to its position in the vicinity of the forest, the settlement came to be noticed as a center for the folk handicraft of shingle fabrication. Shingle was traded outside the settlement too. Handicrafts specific to mountainous regions can be found here woodwork and carpentery. The Văleni dwellers were nicknamed "the resinous ones" because of the spruce resin on the clothes of the people who processed it.Another business specific to the settlement, with a technical side to it, was the carving of spindles and of the nicely decorated, washer shaped spindle weights. These washers have a central orifice corresponding in dimension with the lower diameter of the spindle. This gives stability and inertia to the spinning during the process of spinning the hemp or woolen yarn.The yarn was at the core of another handicraft - the weaving of textiles for husehold needs. The spindle makers used an arch - like device. The string wrapped around the carved, semi-fabricated body of the would - be spindle and the movement generated by the bow gave the semi-fabricated item a bidirected rotation move. The semifabricate body was fixed between two heads and the whole assembly formed a primitive lathe that rounded the spindles. A similar device, used to round off and perforate pieces can be found in the Roman epoch too.Shingle fabrication and spindle making survived in Văleni till mid-XXth century. From that point on industrial products in building material and textiles have gradually replaced the famous products of the Văleni craftsmen.The findings presented in this book are the result of field investigation and registry document study. They demonstrate the fact that although a certain region has been "exhaustively" studied so far, new research and investigation can reveal other characteristic aspects of that region, unnoticed so far.Considering this, the book has the value of pioneering and of a model to be followed for those who wish to study a settlement from the point of view of technical and technological history.

Technikatörténeti örökség Magyargyerőmonostoron

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

In the history of a settlement the aspects linked to technical history are of major importance, as they are part of the course of culture and civilization. Research work, the insertion of findings in the context of historical sciences is up-to-date in the present historiography.This book contains the results of a research in the field of technical history, done at Mănăstireni-Călata. The settlement was recorded by the documents in the XIII-th century, more exactly in the year 1291, with the name of villa Monostor, then in 1446 it is known under the name of Gyerewmonostor, in 1572 as Gerőmonostor and in 1586 as Magyar Gerő Monostor.In the year 1291 the settlement was among the ones that were paying taxes to the bishop of Oradea.The name of the settlement is most likely linked to the name of the noble Gyerőffy family, owner of lands.From the point view of the settlement’s history the XVI-th and XVII-th centuries brought about great changes. Reformation, the invasion of Tartars, the multiple fires – all had benefic consequences. The devastated church was rebuilt and a fortress was erected around it. The church tower was built and used as a watchtower as well, in the fortified defense system of the settlement.Situated in a beautiful location, through the balance of its proportions and the harmony of its tower, the church can be considered one of the most beautiful places for workmanship belonging to the Reformed Episcopacy of Transylvania. This is the oldest church in the Călata region.From the print of view of the general architectural current the church belongs to the Gothic style, although it also has a series of elements of the Roman style.From the point of view of technical history the counter-fortress walls of the church are made of adzed rectangular stones, this being a real demonstration of the skill the carvers of the time had. Mortar with lime was used as a binding element and this gave the building enough resistance. The church is entirely covered with single.This refers to the church tower and also to the four small towers with cellular ceilings painted by the renowned carpenter and church ceiling painter Lőrinc Umling. This adds to the present architecture value of the church.The church tower hosts two liturgical bells. The big one was cast at Târgu Mureş, in 1988 as an exact copy of the old bell, which cracked in 1987. The old bell was cast by the famous bell caster János Andrásofszki from Cluj, in 1778. The smaller bell is the work of Emil Anca from Cluj, and it was cast in 1923.Accompanying the bells is the horologe, built at the special order of the parish in the year 1834, 5 years before the horologe of Văleni was built (Văleni is a village neighbouring Mănăstireni). The name of the builder is unknown, but the place where it was built is Oradea. The horologe is made up of three functional modules.One of the modules is the one that makes the horologe work and it rules the other two. The second module is responsible for the strokes of the quarters, while the third module marks the hours. The horologe worked till the mid-seventies of the last century. At the moment, the horologe is disassembled and it can be found in the church vestibule.A chapter of the book deals with the presentation of folk architecture’s development in the settlement. The evolution of the wooden constructions specific to the region is shown: the system of scaffolding and covering, the ornamentation of the facades.The development of the living space is dealt with in a sub-chapter of the book. Here we can come across examples ranging from the simplest living spaces with one room to the more sophisticated ones, organized in an order, specific not only at Mănăstireni, but also to in the entire region of Călata.Among the specific aspects of regional folk architecture one can put into evidence the widespread use of carved or un-carved spruce masonry, daubed either on one or on both sides. The structure of scaffoldings is detailed and so is the shingle covering that replaced, in a relatively short time, the prevalent straw covering of Călata.Due to its position, in the vicinity of the forest, the settlement was known as a center for the folk handicraft of shingle fabrication. Shingle was traded outside the settlement, too.Another occupation with a technical character and specific in the region was the pottery and the fabrication of glazed tiles for heating stoves. Master Debreczeni Márton becomes famous in this trade in the XIX-th century, with his beautifully decorated glazed tiles.The ironmongers and wheelwrights of the place were famous all over the Călata region and they were active until the 70.-s of the last century.Due to the favourable natural resources for building and using watermills (there are fast brooks passing through the settlement, with a constant flow all year round) many mills, saw mills, reeds and pivas have been built that were both necessary and useful in everyday life. The book describes the structure and operation of watermills which have disappeared perhaps forever.The findings presented in this book are the result of field investigation and document registry study. They demonstrate the fact that although a certain region has been exhaustively studied so far, new research and investigation can reveal other characteristic aspects of that region, unnoticed so far. The book has the value of pioneering and is a model to be followed for those who wish to study a settlement from the point of view of technical and technological history.

Temesvár vízerőműve: működő műszaki műemlékünk

Author(s): Árpád Jancsó / Language(s): Hungarian

The city on the Bega River can show its pride, among other things, in its many industrial monuments, witnesses of the economic boom it experienced between the end of the XIXth and the beginning of the XXth. Those industrial traces are as important as the fortresses, the palaces, the castles, the churches and the monasteries of the area, because they illustrate, too the result of the work, the sacrifices and the aspirations of the communities to which they belonged.A pearl of industrial archaeology is the hydroelectric power station from Timişoara, known among the inhabitants by the name „The Turbins”. She will be, on the 3rd of May 2010, a hundred years old.The Bega River harnessing was begun in 1728, but only at the beginning of the XXth century it was fully transformed in a modern navigable canal, with a length of 120 km. and six hydro-technical knots (pound locks) (dam, lock [10].In the territory of the Timişoara/Temesvár city, Bega River was schemed for modern navigation up to the Fabric neighborhood, where the waters of the river spread in multiple canals and branches. The weirs were used to ensure the water chute for moving the wheels of watermills. Eight such watermills were in the property of the city and their lease brought a solid income to the city’s budget.But, at the end of the XIXth century the watermills’ mechanical efficiency was lower than those of the new steam-engine mills. The city administration decided to use the water energy more efficiently through the building of a hydroelectric power station. There were also in plan: the draining of the Fabric/Gyárváros neighborhood, the lowering the level of the phreatic waters, the elimination of the channels that transformed this neighborhood in Timişoara’s own Venice, the building of a new canalized river bed that would allow the access upstream of the biggest barges standardized for the navigation on the interior rivers. The building of a hydroelectric power station, through which it will be „exploited much more efficiently the energy of the Bega’s waters”, was decided by the Town Council. The large scale project of urban planning – important due to both architectural and public health issues – of eliminating the old streams and canals that spread in the Fabric neighborhood and the building of the hydroelectric power station was made by Timişoara/Temesvár’s engineerin-chief, Emil Szilárd. In the chapter dedicated to the expense-income issue, the engineer-in-chief demonstrated that, by the construction of a hydroelectric power station simultaneously with to draining of the neighborhood, this large investment of city planning will pay-off very quickly.Timişoara was a pioneer in this field, because the building of hydroelectric power stations was at its earliest stages across Europe. The first hydroelectric power stations were erected in the last decades of the XIXth century. Between 1893 and 1911, in what was then Hungary, 39 hydroelectric power stations were build for public use, out of which, the ones from Târgu Mureş/Marosvásárhely and Timişoara/Temesvár had an installed power of over 1000 HP.On the nowadays territory of Romania, the hydroelectric power station from Timişoara is the first a hydroelectric power station of the type dam – power station (hydroelectric dam).The hydroelectric power station, „built by the most modern knowledge”, was planned to be erected in the eastern edge of the city, the area where the Bega River, coming from the Ghiroda village enters Timişoara/Temesvár’s territory. Downstream from the hydroelectric power station, engineer-in-chief Szilárd envisaged the digging of a new canalized riverbed, 2400 m in length, and with a transversal section large enough to ensure a large flow of water. After the end of the works, the level of the Bega canal became lower with 4,40 m. The new riverbed was designed with the characteristics that would also allow the navigation in that sector. On top of the riverbed there were planned three new bridges, made in concrete steel. The one on the Park Street became famous because it was the largest bridge on concrete steel beams (Gerber system) in the world at the time [11], [12], [13], [14], [15].The cost estimate was of 1.700.000 crowns. The engineer-in-chief demonstrated, through detailed calculations, this investment will help save a 188.179 crowns worth of coal, thus it will pay-off very fast.The diggings of the new canalized riverbed, 2400 meters long and most of the power station’s construction works were finished by 1909. In the time of the building activities, the Bega waters were re-directed through the riverbed of Vâna Roşie/Vörös ér and of Suboleasa/Subolyásza so that the new riverbed, the power station and the three birdges were built on dry land. The architectural design of the power station’s building and annexes were madeby the famous city architect-in-chief, László Székely, in a historicist style, with many elements of Hungarian Seccessio influences. The majority of the power station works were made by the Hungarian building firm „Magyar Beton- és Vasbeton Építési Vállalat Wayss G.A. és Tsa.” from Budapest. The small-scale works were commissioned to some firms and entrepreneurs from Timişoara.The hydroelectric power station was equipped with three identical motor groups: each a triplex horizontal Francis turbine, producing 660 HP, with 140 rpm. At a water level difference of 5 m, each turbine needs a water flow of 12,85 m³/s, totaling 36-37 m³/s for the whole power station. The turbines and the generators have the same axis. The three power generators have a power of 400 kW each and are producing alternative biphasic electrical current with a tension of 2 × 2100 V.The turbines were bought in 1909 from the well-known Budapest firm „Ganz Danubius” and the generators from the sister-firm „Ganz-féle Villamossági R.-T.”. The Ganz group was already experienced from works on the electric power stations all over the world, of which, the largest was the hydroelectric power station from Tivoli that supplied power to the Italian capital. The calculations and planning for the power station’s installations were made by the two supplying firms.Due to unexpected expenses, the final cost of the investment was 2.132.950 crowns.Timişoara’s hydroelectric power station began its service at the 3rd of May 1910. In the first full year, it produced 4.132.000 kWh, which was 89% of electricity consumption of the Banat’s city. „We can say the hydroelectric power station is the most successful in the whole Hungary and is the proud successor of the oldest Hungarian hydroelectric power station both technically and economically. Timişoara / Temesvár remained loyal to itself when it accomplished this power station and has set an example about the way it should be organized and used such a communal station” wrote dr. Mihály Seidner in an article featured in the technicians magazine from Hungary, in which he made a presentation of the hydroelectric power station from the city on the Bega River.During the First World War, Timişoara/Temesvár felt less the lack in coal supply, due to the electricity provided by the hydroelectric power station on the Bega river.After the First World War, Timişoara/Temesvár and about two thirds of the historical Banat province were included in the territory of Romania. After the nationalization of the main inputs (11th of June 1948) in the socialist era the station became a sub-unit of different state departments. After 1990, the hydroelectric power station built with the citizens’ money returned into the possession of the city administration. It was kept in good conditions, the 100-year old installations still work today, the machines’ hall was beautifully renovated and the building that houses the command mechanisms for the weirs was restored following the original model in an exemplary manner. The hydroelectric power station – „The Turbins” from Timişoara/Temesvár – is a working technical monument, an extremely valuable sample of industrial archaeology.

Technikatörténeti örökség Kalotaszegen a gótika árnyékában

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

Călata, an area with particular history and folklore, generated a specific, unmistakable architectural style, used especially in the construction of churches. Combining in harmony the Transylvanian tradition of the style and techniques used in the construction of the fortified Saxon churches, those of the Orthodox churches made of wood and of folk architecture in the area, the Călata style refers to churches with slim towers and shingle roofs. Most of these religious buildings, characterized by a perfect harmony of their proportions, most of them built in the Romanesque style and located on the most visible sites of the settlements, represent, even today, the attachment of the inhabitants to spiritual continuity and their homeland in the area of Călata.Five churches, built during the thirteenth and fourteenth centuries, stand out among the complex of such buildings in Călata through the fact that they share a series of architectural elements typical for the late Gothic style, with elements characteristic for the Transylvanian Gothic, with roots leading towards a beginning called the Cârþa Context. It was a puritan Gothic style created in the thirteenth century at the foot of the Southern Carpathians, in the settlement of Cârþa, in Sibiu County. The first Gothic church was built there. The style had been brought by the Cistercian monks in their expansion towards Eastern Europe. The first churches in the south and center of Transylvania were built following the style and building technique employed in the erection of the monastic architectural complex in Cârþa. Prejmer, Hărman, Braºov, Bistriþa and Cluj were the settlements adopting these rules in the building of their own churches.Abandoning the specificities of the Romanesque style, with its robust semicircular arcades, and employing a well-known, traditional building technology, people promoted the newdaring style,with tallwindows, full of light, ending in ogees, decorated with sculpted stone rails. It had ogee-shaped inner vaults, supported by profiled ribs ending in sculpted stone corbels embedded in the church walls and rows of slender pillars.The new style reached Călata later, towards the middle of the fifteenth century.Elements of this style were used in some churches, adapted to the architectural con ditions and dimensions of the existing churches in the area. Five such buildings were extended according to the Gothic architectural style, namely those in Huedin, Mănăstireni, Văleni, Căpuºu Mic, and Dorolþu.The first part of the present book consists of a comparative analysis of these five churches, focusing on the presence of Gothic elements and their preponderance in the complex of the respective edifices. The windows, gates, consolidations with buttresses, ogee vaults, and other stylistic elements are compared, aiming at determining, as much as possible, the motivation of those who promoted the new architectural style in this region.The second part of the book continues the research, from the point of view of the history of technology, with the other three Gothic churches, the ones in Văleni and Mănăstireni being presented in detail in two individual volumes recently published. Archive research and investigations have been performed, but on site measurements predominate. The construction, employed techniques, and stylistic elementsof the three churches, in Huedin, Căpuºu Mic, and Dorolþu were the aim of repeated field trips, measurements, and analyses.The bells in the towers of these three churches are another topic of interest in the present research. The history of these bells and of those preceding them, the circumstances leading to the disappearance of some medieval bells from these towers offer, not only to the authors but also to the reader, a true foray in the past of a craft considered up to the present day a top profession.The nineteenth century clocks placed in three of the five churches under discussion, have been, at the time they were bought, peak accomplishments of technology. The fact that these settlements managed to own clocks indicates that there was a social demand for their installation and there were significant financial resources at hand. The research includes the analysis of the kinematical scheme of these clock mechanisms and a comparison of their stylistic, technical, and technological elements in order to establish their origin.Three churches are thus analyzed in more detail in the present book, but the Gothic elements of the churches in Mănăstireni and Văleni are also presented succinctly for those readers who do not possess the first two volumes of the series which detail the history of technology researches related to the above mentioned settlements.The present volume ends a series of researches in the region of Călata. The three volumes related to the history of technology can be considered as opening new lines of research in the field and for other geographical areas.

Kós Károly, a művészi kovácsoltvas formatervezője

Author(s): László Márton / Language(s): Hungarian

Engineering and creative work of the architect, writer, illustrator, and politician Károly Kós, is analyzed by extensive studies. Spirituality and creativity of Károly Kós, which in all their details are Transylvanians and they are also components of general culture. The architecture of Kós is an essential art, because all its elements, including ornamentation have a central tendency, harmony.In his ornamentation revives the forms of folk art, used in wood carvings, tiles, embroideries of the Szeklerland and Nagykalota regions according to the requirements of material usage.Humans have been using for even over five millennia. In the Middle Ages, the artistic wrought iron used in the structure of European cathedrals is found both in outdoor and indoor spaces. Wrought ironing as an architectural increase, like any other artistic product, reflects the spirituality artistic eras in which it was created.The beginnings of wrought iron use as an architectural ornament relates to the early year of the second millennium, with roots in ancient Greek and Roman era. During the Early Middle Ages, in the Byzantine Christian architecture, this legacy was transposed in a new style, called romantic style.In the twelfth and thirteenth centuries, due to some profound changes a new direction; a new style appeared in architecture, named Gothic. Paintings in the form of semicircular paintings are replaced by broken arch paintings, pointed arch. The changes in construction entail also changes in wrought iron design.In the twelfth century began a radical change in forging ironing due to the use of increasingly large scale water wheel. Heavy hammers of forging workshops are driven by the energy of water wheels.In the fifteenth century, in Italy appears a new artistic trend, the Renaissance. Ancient architectural traditions are found without being copied, and are developed with elements unused by the time. In Transylvania existed all of these conditions as a new style of architecture, to take root and spread rapidly. The art of wrought ironing keeps up with the new architectural style and in the same time creates a characteristically language of expression, in accordance with the architecture.The Renaissance style and the art of wrought ironing as a component of constitutive architecture of the centuries goes in parallel with the past, with a gothic style, but also with the next one, named the Baroque.From an architectural point of view, the era recorded by the history of art is Baroque.The rigorous regular forms, characteristic of Renaissance are followed by irregular style, recorded in the art history as the Baroque style.Nineteenth century is the century in which wrought ironing reached its peak. At the beginning, it could be seen different ways of searching in tradition, inheritance of this art. New styles have arise with an ephemerally lifetime such as empire, romanticism, historizmus, neo-rebirth, neo-baroque, with the respective adherents.As they appear, these styles disappear or remain only as the art of curiosities. Everything happens as a result of industrial development, industrialism, which determines new values and new standard requirements. Art of wrought ironing is to be dominated by commercial elements also creation of this domain is to be limited to single joints.In the second half, of the nineteenth century appears a new style of art, which strongly manifested in architecture and opposes all of the current artists. This trend is secession that is art nouveau. Renounces of the ancient forms are to be followed the model are to be found also in Japanese art and uses ornaments of folk art. Secession as a modern architectural style carries out this recent aesthetic by merging elements of folk art and with Japanese art symbolizes them especially in architecture. Also in the nineteenth century is developing more powerful, the necessity of creating an architectural line, which apart from the current fashion highlights the local national character. The challenges take concrete form in the twentieth century.Historical architectural styles were quickly separated from their place of birth, spreading throughout Europe. National style is the biggest challenge for architects. Since college years, Károly Kós seeks for his path to pursue a career and to be able to create a style of his own. In his architecture dominates large areas, simple, smooth without ornaments. The dimensional proportions of doors and windows, exterior or interior rails of the buildings grids are inseparable parts of the building and make a unique architectural ensemble, specific to the creator. Specific architectural language of the artist opened a way that can be recognized unmistakably without any doubts, over and over again.In Transylvania, the association that gathers craftsmen is guild. In the cities of Fãgãraº, Târgu Mureº, Odorheiu Secuiesc, Miercurea Ciuc, Turda and Aiud are powerfully organizations of guild (strong guild organizations). Here are also included blacksmiths, locksmiths, who deals with wrought iron. During Transylvanian principalities a large number of craftsmen, blacksmiths and locksmiths settled in Sibiu, Braºov, Mediaº, Cluj, Sebeº, Orãºtie. Through their work, these cities have become true centers of wrought iron art. In the nineteenth century it is almost inconceivable that a public building has not got iron elements. Palaces, churches, cathedrals, used increasingly the pieces of wrought iron as the parts of the buildings. Their variety is overwhelming, but even in the twentieth century, the searches, and the experiments in that domain characterize the entire activity.The foundation of our popular medieval art and the architecture, it is our national folk art, said Károly Kós. This actual statement led his whole young life. He declared, that folk art is an organic unity with its creator, the people. Only some people are able to create only spiritually united with the people, the artist can create his own artistic language. He advocates that, Transylvanian folk art is rooted in medieval art.Western European art is to be appeared in Transylvanian, after going through a specific change and became part of the Transylvanian culture and civilization. It is noticed that the carved stones metal objects in for general use have the ornamentation elements of folk art. Therefore, his work can be seen all of the popular ornamentation belongs. All of his works are rustic simplicity, but this simplicity doesn’t reduce its artistic value. Wrought ornate, hinges, handles and shields of them are unique creations, unique buildings to be found.In the field of architecture his activity and philosophy are linked to the spirituality and current architectural of the British architects like John Ruskin, William Morris and Finnish architect Akseli Gallen Kellela. He is an artist, a craftsman and in the same time competent of processing iron. In the design he takes into account these properties of iron.He starts working as an architect in Hungary. Here is he establishing the first project of public buildings, such as the Budapest Zoo Pavilions, the Church in Zebegény, the Parish and prayer house in Óbuda. The District of Veker and the School on Városmajor Street in Budapest, form an architectural unit. Each building is unique in the way in his unmistakable style. Each design is a complete wrought iron work, each element is perfectly lined with the work, which is actually a whole.A feature of his personality is the fact that the projects implemented by Kós are very detailed, with precise construction details. The rustic simplicity, decorative elements of folk art inspired ornamentation features are only summaries of his work. Besides the aspects inspired by folklore, his whole creation has a tendency to evoke a long-forgotten Middle Ages.Handles made of wrought iron are also decorated with motifs taken and processed their own style of the popular art of C?lata and Szeklerland area. Wrought wire handles, shields perfectly match door handles or colonnade of solid oak, with the actually building.In his wanderings in Transylvania he was able to study many relics of medieval construction. Gothic fittings loaded prevailing entire surface of the door has inspired artists in their own style training in the art of wrought iron. The hardware designed by the artist is much simpler, and, at the same time, maintaining the assurance characteristic of safeness and durability. From the house of Stana the hardware shutters are a typical example of rustic hardware.Rails of grids were designed to have dual functionality. On the one hand these provide space limitation function, and on the other hand it embroiders. These gratings are distinguished from any other style through their decorative elements. Birds, stars, flowers, are elements of popular ornamentation.Today, the wrought iron art can have a new revival. Materials are diverse, there are specializations at all levels of education, and there is a model to follow. Creativity of those who practice the wrought iron art today has to meet the customer’s requirements. And only then a productive way will be found, that can benefit everyone.

Kide, a kőből épült település

Author(s): Enikő Bitay,László Márton,Tibor Sándor Nagy,János Talpas / Language(s): Hungarian

The present book is a result of intensive research conducted by the members of the section of technical sciences of the Transylvanian Museum Society. It is the 8th volume of a series, which focuses on the technical history of a small settlement, Chidea.With a history of more than 800 years, Chidea is one of the places where the number of inhabitants is continuously decreasing. The number of people living there used to be close to 800, nowadays there are not more than 140 inhabitants who have permanent residence in the village.Chidea is located in Cluj county, in the valley of the Chidea creek, one of the branches of the Borsa stream. The origin of the name of the village is unknown, it might come from one of the noble men once ruling in the Dabaca region. The first written document mentioning the name of the village, spelled Kyde dates back to 1332, it is a certificate that proves ownership.In the 13th century, the years of the tartar invasion, the fortress of Dabaca and the settlement of Chidea were partially destroyed and the population that couldn't take refuge, was killed.After the withdrawal of the tartars, life went on its course, and the village was trying to recover. To overcome the severe lack of population following the tartars' atrocities, a few dozens of families were brought to the village from the Eastern Region of Transylvania (Hungarian people called Székely) and they took over the defence of the fortress of Dabaca.In Chidea and in its region people have developed a specific craft of shaping the local volcanic (tuff) rock. This rock is relatively easy to work with, and it can be used as building material. Almost everything in Chidea - houses, side buildings (barns, store rooms, warehouses, stables) and even fences have been built of this carved stone.The diverse usage of the stone brought a good name to the local builders and masons who were esteemed even outside the borders of the settlement, throughout Transylvania.Education in the village dates back to the 18th century. Schools were run and supervised either by the state or by the church. Today, after more than 200 years of continuous activity, there isn't any school in the village, owing to the lack of children. The state owned school building was gradually deteriorating, which led to its demolition in the end.In terms of religion, the people from Chidea belong to five denominations. The majority of the population are Reformed, followed by Roman Catholics, Orthodox, Unitarians and Neo-protestants. There are very few parishioners, however each denomination has its own church, or a house of worship. The oldest is the Reformed church, first used by Catholics, then in the 16th century, the period of Reformation - by different protestant denominations. The church was built by the Roman Catholics, as it used to be the religion of the inhabitants in the period.The church was built after 1241, the first tartar invasion, when the previous building was destroyed. The first church of the village was supposedly built about a century before the tartars came.Throughout the years, the church was renovated, repaired and extended several times; the present steeple was raised in the 19th century. Due to some architectural components it is categorized as a medieval church, built in late Gothic style with some Romanesque elements. It is the oldest church in the area.The Orthodox, former Greek Catholic church is built of wood and could be seen as a gem of popular architecture. The church was initially built in a different location, and was pulled on sled to its present place. The church was built at the end of the 18th century.The Unitarian church was built in the 18th century, and the Roman Catholic in the 19th century.The four churches have two bells each, located in the steeples. The oldest of the eight bells is the one in the Reformed church, the so-called Polish bell. According to its inscription, this bell was cast in a town in Poland in 1560 and it was brought (for reasons unknown) to Chidea by Polish refugees, probably after Poland was divided in the 18th and 19th centuries.In the steeple of the Reformed church one can also see a clock, built in 1896 by Szabó József, the mechanic of the Baron Bánffy Ernő from Borsa. The clocks in Borsa and Cristorel - in the valley of Borsa - are also his works. Each clock was engraved with his name and the year of manufacturing. Out of these three, only the one in Chidea is still functional.The mechanic, who made these clocks used innovational techniques in the procedure. Thus he used a pinwheel escapement instead of the Clements regulator, which has a series of advantages in the assembly process. Another peculiarity of the clock is that it uses a snail wheel in the kinematic chain of the clock in order to reduce the number of the cylindrical gearwheels.Another name, the name of the stone carving master Sipos Dávid should also be mentioned. He worked here in Chidea, thus contributing to the fame of the village.He was a true artist with a peculiar choice of ornamental elements, unique in the art of stone carving in Transylvania. Even if his works are singular, they belong to the late Transylvanian Renaissance.His works are found in two of the churches in Chidea, namely a stone carved pulpit in the Roman Catholic church, and a liturgical table in the Orthodox church.There are also stone pulpits presumably from his workshop or disciples in the Unitarian and Reformed churches. This master has carved more than 20 pulpits throughout Transylvania, and also noble coats of arms, emblems, tombstones, door and window arch-ornaments in Cluj, Gherla, etc.In the present book one can read a description of the mill that probably belonged to the writer Nyírő József, a Catholic priest, who - assigned to Chidea - suspended his ministry and worked as the miller of the community for a short while. In the same chapter, one can also read about the manual grounding machines used by the locals for grinding the grains for their animals. It is an important detail that these grinders are handcrafted here in the village, from a rougher type of the same tuff stone, found also nearby.According to its subject the present book could be classified as a work of technical history. In result of the research conducted in the field, the exploration of archive material, and the study of the specific literature we have a more complex image of the village than historians, archaeologists, art historians have formed so far. One could get a full picture of the culture and civilisation of the region only by analysing its diverse complexity.

AV SHAMISTI

Author(s): / Language(s): Romany

The book is a collection of interviews of Roma from Sliven, Kotel and Topolchane village, Sliven. Today, in October 2016, most of them have died.

Naš svet, drugi svetovi

Author(s): / Language(s): Serbian

Danilo Kiš (1935-2005) : između poetike i politike

Author(s): / Language(s): Serbian

Knjigu je priredila Mirjana Miočinović, i sadrži materijale sa Međunarodnog skupa pisaca održanog u Centru za kulturnu dekontaminaciju od 15. do 17. juna 2005, povodom sedamdesetogodišnjice piščevog rođenja. Ovim izdanjem Centar za kulturnu dekontaminaciju započinje ediciju Transkripti. Prvi deo knjige čine fragmente razgovora kojeg je vodio sa njim Boro Krivokapić (1982.), kao i transkript III epizode serije „Goli život“ Danila Kiša i Aleksandra Mandića, uz Mandićev uvodni tekst. U drugom delu knjige nalaze se transkripti razgovora sa Međunarodnog skupa pisaca koji je održan od 15. do 17. juna 2005. u Centru za kulturnu dekontaminaciju (učestvovali: Nenad Veličković, Laslo Blašković, Kšištof Varga, Aleksandar Hemon, Fatos Lubonja, Muharem Bazdulj, Milan Đorđević, Mihajlo Pantić, Vladimir Arsenijević, Zoran Đerić), kao i tekstovi autora koji su iz nekog razloga bili sprečeni da prisustvuju skupu (Vladimir Bacunov, Aleš Debeljak, Aleksandar Gatalica) Svoje su priloge poslala dvojica mladih kompozitora, Englez Stiven Čejs (Stephen Chase) i Amerikanac Metju Vest (Matthew Vest). Ovi su tekstovi kratki opisi njihovih slučajnih susreta s dvema Kišovim knjigama, s romanima Peščanik (M. Vest) i Bašta, pepeo (S. Čejs), i njihovog pokušaja da pronađu "neku vrstu muzičkog odgovora" na snažne utiske koje su te knjige proizvele u njima. U knjizi se objavljuju fragmenti partitura obeju kompozicija. Na kraju zbornika, kao neka vrsta eksplikativnog dodatka, nalazi se završno poglavlje knjige Davora Beganovića Pamćenje traume. Apokaliptička proza Danila Kiša (2007), pod naslovom "Jugoslovenska varijanta staljinizma: Goli otok i Goli život".

Crimes of the Communist Regimes - Proceedings of an international Conference held in Prague, 24–26 February 2010

Author(s): / Language(s): English

The conference was hosted by Jiří Liška, Vice-chairman of the Senate, Parliament of the Czech Republic and the Office of the Government of the Czech Republic and organized by the Institute for the Study of Totalitarian Regimes together with partner institutions from the working group on the Platform of European Memory and Conscience

Orient si Occident. Topografii ale simbolului la Mircea Eliade

Author(s): Mihaela Gligor / Language(s): Romanian

Orient și Occident. Topografii ale simbolului la Mircea Eliade (Orient and Occident. Topographies of Symbol at Mircea Eliade), shows, chronological, Mircea Eliade's transformation, from the young student, fascinated by culture, philosophy and the whole of India and Orient, in general, to the esteemed and world recognized savant; Professor of philosophy, history and phenomenology of religions, in Occident.

Intre filosofie si medicina. Folclorul medical in viziunea lui Mircea Eliade si Valeriu Bologa.

Author(s): Mihaela Gligor / Language(s): Romanian

Am încercat să surprindem modul în care a evoluat gândirea științifică a lui Mircea Eliade și mai ales cum a fost aceasta influențată de elementele folclorice. Importantă pentru analiza avută în vedere a fost examinarea influenței pe care periplul său indian a avut-o în scrierile ulterioare. Întâlnirea lui Eliade, în India, cu prezența fantastică și fascinanta lume a misterelor, elemente care l-au urmărit o viață întreagă și pe baza cărora și-a construit mare parte din opera savantă, ne-a oferit și punctul de legătură cu domeniul de activitate al profesorului și medicului Valeriu Bologa, cel care a pus bazele școlii clujene de istorie a medicinei.

ТУРИЗЪМ – ИЗСЛЕДВАНЕ, РАЗВИТИЕ И ОБУЧЕНИЕ

Author(s): / Language(s): Bulgarian

Powerful impact of tourism on the development of the whole social and economic context and the ecological environment of Bulgaria, geopolitical dynamics at regional and global level and the constantly increasing competition at the international tourist market impose fast and adequate changes in all key spheres of development of tourism including fast and adequate changes in tourism policies; staff training by means of teaching based on competences and requiring new models of partnership between tourism industry, education institutions and local authorities; new approaches to planning and spatial organization of tourism aiming to achieve higher sustainability; enhancing effectiveness of using significant finance resources by structural and investment funds of EU; purposeful scientific research of tourism practice focusing on expected outcomes of climatic changes, processes of clustering in tourism and new tendencies in the sector; achieving and sustaining high quality of tourism product by using new technologies together with digital marketing; development of new forms of types of special tourism, etc.

Tylko seks? Antropologia erotyzmu od Sade'a do Houellebecqa

Author(s): Mieczysław Dąbrowski / Language(s): Polish

The author discusses well-known theories on sex and sexuality and analyses the works in which the narrative focuses on the issues of biology, body, sex, and eroticism. Moreover, the ongoing discourse in culture regarding this subject is presented against a broad backdrop of civilization changes and the thresholds of linguistic resistance, established by law, customs, or religion, which the language of literature overcame, more and more freely describing the issues of eroticism.

Global Jean Monnet/ European Community Studies Association. World Conference 25-26 May 2010

Author(s): Elspeth Guild / Language(s): English

It is difficult to over-estimate the importance, and, in the fullness of time, the impact that theLisbon Treaty has and will have on fundamental rights and citizens of the Union. There are three main reasons for this:• Citizenship of the European Union has finally acquired its Bill of Rights in the form of alegally binding EU Charter of Fundamental Rights; the skeleton that citizenship of the Union once was is now acquiring the flesh and blood it needs to merit the title;• The EU Charter of Fundamental Rights transforms citizenship in the EU as it redefines whois entitled to ‘bundles of rights’ that inform the meaning of citizenship and belonging;

Niekiedy. Dziennik profesora nadzwyczajnego – kontynuacja

Author(s): Paweł Kozłowski / Language(s): Polish

The book, an example of breaking literary conventions, comprises the texts concerning different, often absurd, aspects of reality. It is a critical analysis of academic work, which compels self-reflection and warns against perceiving the world in a stereotypical way and a wordplay, which oversteps the boundaries between the language and imagination.

Битието на словото. Юбилеен сборник, посветен на 60-годишнината на професор Запрян Козлуджов

Author(s): / Language(s): English,Bulgarian

The publication of the present Festschrift volume was suggested and initiated by the Department of Bulgarian Literature and Theory of Literature, School of Letters at Plovdiv University Paisii Hilendarski. It is dedicated to the sixtieth anniversary of prof. Zapryan Kozludzhov, longtime Rector of Paisii Hilendarski University of Plovdiv. This volume includes papers of literary scholars in various areas from Bulgarian and foreign academic centres – Plovdiv University Paisii Hilendarski, Queen Mary University of London, Ruprecht-Karls-Universität Heidelberg, Sofia University St. Kliment Ohridski, The Institute of Literature at the Bulgarian Academy of Sciences, St Cyril and St Methodius University of Veliko Tarnovo, The South-West University Neofit Rilski in Blagoevgrad, Konstantin Preslavsky University of Shumen. The papers are published in honour of the literary scholar and teacher who merits a place amidst the most prominent representatives of Plovdiv philological community, a person of incontestable contributive influence and renoun in nurturing and solidifying the philological and humanitarian education at Plovdiv University.

Podstawy biologii molekularnej

Author(s): Lizabeth Ann Allison / Language(s): Polish

Academic textbook presenting topics from the field of molecular biology. The author discusses fundamental concepts and processes from genetics, such as siRNA, genomic imprinting, structures of DNA, RNA, RNA as catalyst, etc. She presents the key methods and techniques of molecular biology. The textbook includes a description of human genetic diseases, which are caused by dysfunctions of particular processes taking place in the cells. The text is illustrated with numerous photographs, diagrams and figures.

Leaving One’s Comfort Zone. The Story of a Move to Italy

Author(s): Gökhan Kutluer / Language(s): English

“Any settlers in the family?” “You don’t look Turkish at all, are you an émigré?” “Where are you originally from?” From an early age, I started hearing these questions. Either in school, during a cab ride, in the office or in my new social circles. I face these questions right after we start chatting… and this happens often. I always expect it. “Gökhan, where are you from?” I evolved: my height, my features, my voice, my gestures, the way I think, and many more but the answer to this question has never changed: “My ancestors used to live in Greece. They were there for a few generations. With the convention concerning population exchange between Turkey and Greece, my ancestors moved here permanently.” What I kept hearing on the grapevine eventually became a solid truth. I came to grasp the fact that my ancestors lived in Drama, Ptolemaida and Eleftheroupoli in Greece. All this longing to flee from my homeland and desire to get to know other places would clearly relate to a genetic interpretation. However, I still couldn’t say it all fit.

A jeśli nie trzeba się uczyć...

Author(s): Tadeusz Sławek / Language(s): Polish

The essay suggests that education should be given back to those who think of it and practice it with the open mind and generous heart. Schools and universi¬ties certainly are information providers and frame the process of fundamental socialization. But education suffers from the deficit in the realm of a forma¬tion of the individual subject. If limited to the territory and language of input and outcome, strictly professional knowledge deprived of a wider perspective from which various results of the implementation of this knowledge could be critically evaluated, and controlled by the statistical measurements of schol¬arly production, education will be no more than a mechanical process, at the end of which, as Friedrich Schiller brilliantly observed, a human individual is merely a reflection of his or her profession. Thinking of professional skills as mandatory and indispensable, we also claim that education is about being able to make one’s own judgments concerning justice and injustice, truth and lie, wrong and right moral decisions. With the help of literary and philosophical texts, informed by Plato, Shakespeare, Spinoza, Patočka, Tischner and others, we try to demonstrate that, as Gert Biesta maintains, education aims at “prac¬tical wisdom which is not to be understood merely as a set of competences, but denotes a certain quality or excellence of the person.”