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Journal articles on the topic 'Church architecture Sacred space'
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Tanumihardja ; Yenny Gunawan, Maria Angelina. "PURPOSE A SACRED ROOM OF CHRUCHES BY PASTOR MANGUNWIJAYA CASE STUDY: CHURCH OF MARIA ASSUMPTA KLATEN, CHURCH OF THERESIA SALAM, AND CHURCH OF MARY." Riset Arsitektur (RISA) 2, no. 02 (June 4, 2018): 165–81. http://dx.doi.org/10.26593/risa.v2i02.2928.165-181.
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Abstract - Sacred space is everywhere and has become the part of human’s life since thousand years ago. Onemanifestation of the sacred space is the Catholic Church. A sacred space in the Catholic Church should be ableto accommodate liturgical activities in accordance with the rules and the order of their activities so thecelebration of the Eucharistic liturgy can run well. This study will attempt to understand the concept and themanifestation of the sacred space found in Romo Mangunwijaya’s churches in accordance to the concept andthe manifestation of the Catholic Church’s sacred space.Research will be carried out based on a preliminary study conducted by studying the universal sacred spacetheory proposed by Eliade and the theory of the Catholic Church’s sacred space that refers to the principles ofthe liturgy space. Results of analysis of each object of the study will then be processed further through acomparison table so that it can be concluded the manifestation of a sacred space in Romo Mangunwijaya’schurches.From the results of research on the objects of the study, showed that the manifestation of the sacred space of theRomo Mangunwijaya’s Churches dominantly shown in terms of orientation, ornaments, and atmosphere. Inaddition, the case study that shows the most dominant manifestation of the sacred space is Theresia SalamChurch.The benefits of this research are: for general public, this research can improve the knowledge of the importanceof the sacred space within the Catholic Church and how to integrate local values and culture into the sacredspace concept established in the Catholic Church's rules. Meanwhile, for the architects and institutions of theCatholic Church, this research can improve the knowledge of the concept of sacred space in the CatholicChurch and how to manifest the concept of the sacred space into the architecture of the Catholic Church.Key Words : sacred space, church, Y.B. Mangunwijaya
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Permilovskaya, Anna B. "Mythology of the russian orthodoxy and wooden church architecture." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 151–58. http://dx.doi.org/10.20323/1813-145x-2021-2-119-151-158.
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This research topic is the initial stage of new work. The influence of the mythopoetic worldview of Russians and Orthodoxy on the architectural structure and symbolism in the concept of wooden temple building in the northern and arctic territories is considered an integrative scientific field in the article. This is founding a confirmation in the organization of the cultural and sacred landscape, in historical traditions and legends about the choosing of a place for the building of a temple (chapel). As well as the special status of «sacred» and «roadside» groves of trees, the selection of these trees for construction in a sacred meaning and using of individual parts of these temples as a community center and place for ancient rituals. The lexis, connected with the folk architecture, indicates the anthropomorphic nature of the architectural space of the temple. The construction, as it were, is assembled from «large», qualitatively significant components of the human body: head, neck, face, eyes, kokoshnik, forehead, rib, human bust, etc. This tradition is preserved and strengthened by the circumstance that since ancient times, the proportions of the human body acted as a tectonic (building) model of the entire architectural structure. The research substantiates an algorithm for the interactionof the mythopoetic worldview and the Orthodoxy on the architectural structure, and the significance of church architecture. The temple occupied a central place in the sacred space of the northern peasant world. The conducted research made it possible to convincingly prove that wooden churches are a symbolic heritage of the Russian North and the Arctic. The pinnacle of the development of wooden architecture, embodied in the northern temple architecture, was a natural result of ancient Russian architectural – constructional traditions and a reflection of the talent of the Russian people, which allows us to translate the concept of «Russian carpenter» into the category of «Russian architect».
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Crosbie, Michael J. "Defining the Sacred." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 352–67. http://dx.doi.org/10.17979/aarc.2017.5.0.5163.
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How do we define what is sacred architecture? People of all ages are turning away from organized religion, and looking for a more genuine, personal experience of the spiritual. In considering sacred architecture, a distinction is whether architecture itself is sacred or that architecture is an instrument that calls forth the sacred. Distinctions should be drawn between situational versus substantive sacred space. A divine presence is believed to reside in substantive sacred space. In situational, anyplace can be sacred depending on the presence, location, and actions of human beings, often acting in community.Edward Anders Sovik was one of the most influential architects in the design of modern churches in the US. Active from the mid-20th-century through the 1970s, Sovik designed mostly Protestant churches and wrote extensively about church design and its liturgical underpinnings. Sovik believed that early Christians perceived themselves as a community of faith unattached to any place. His skepticism about the sacredness of buildings and objects sits squarely within Protestant theology. His religious architecture offers a good model for today, as the definition of sacred architecture is changing. Sovik’s emphasis on the secular and the sacred is prescient regarding the current state of religion and spirituality, and became the basis of a recent graduate design studio at Catholic University of America.
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Heldman, Marilyn E. "Creating Sacred Space: Orthodox Churches of the Ethiopian American Diaspora." Diaspora: A Journal of Transnational Studies 15, no. 2-3 (March 2011): 285–302. http://dx.doi.org/10.3138/diaspora.15.2-3.285.
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This essay examines the creation of places of worship by Ethiopian Orthodox congregations in North America, focusing primarily on the District of Columbia and adjacent areas in the states of Maryland and Virginia. Following a discussion of the historical background and development of church architecture in Ethiopia, the essay demonstrates that the shaping of the interior space of Ethiopian Orthodox churches in North America follows a modern model developed in Addis Ababa during the early 1960s. The study concludes with a brief analysis of painted decoration, a necessary component of the sacred space of an Ethiopian Orthodox church. (3 February 2009)
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Vukoszávlyev, Zorán. "Dümmerling’s Guiding Manual for Transformation of Sacred Spaces." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 144–55. http://dx.doi.org/10.17979/aarc.2019.6.0.6235.
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The Sancrosanctum Concilium approaches the artistic aspects of architecture from the liturgy, while the Charter of Venice approaches the architectural space from the principles of heritage protection. Both emphasized simplicity, functionality and readability. The significance and the combined effect of the two documents in the practice of church construction in Eastern Europe can be considered significant, since the possibility of redesigning the liturgical space arose mainly in the context of the renovation of historic buildings in the atheist political environment. The proof of this statement is presented in the manuscript of the architect Ödön Dümmerling. The architect - a practitioner of monument restorations and an admirer of the spirit of modern architecture - was called upon to draw up design guide after the Second Vatican Council was closed, making recommendations for new equipment for liturgical spaces.
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Barashkov, V. V. "Modern Church Architecture as an Intercultural Space of Aesthetic and Moral Communication." Concept: philosophy, religion, culture 4, no. 3 (September 28, 2020): 149–57. http://dx.doi.org/10.24833/2541-8831-2020-3-15-149-157.
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The paper analyses the messages modern architecture communicates to audience and to individual. Architects and theologians regard a church as a community place, and raise questions of aesthetic features of church buildings. At the same time, church space is essential to the visitors’ abilities to remember, to compassionate and to concentrate.The article focuses on the concepts of three modern theologians: Thomas Erne, Bert Daelemans and Sigurd Bergmann. According to Erne, churches are becoming a space of self-transcendence; they are open to various social and aesthetic values within the sphere of the infinite. Daelemans formulates three dimensions of a church building — synaesthetic, kerygmatic and eucharistic — and doing so, establishes the notion of theotopy, the nonverbal theology of architecture. Bergmann considers the sacred place as a critical place. In addition, architects seek not only the theological reflection on such spaces, but also on solutions that reveal their transcendental dimension.Church architecture gives an opportunity to express the inexpressible by figurative means, keeping in mind the thoughts of the visitors. A complex religious space, a church is presented to a person and, therefore, can be grasped in a range of ways. So the church space is constructed. Overall, as a space for dialogue and communication, which is not only a religious, but also an aesthetic and moral construct, a temple remains significant despite secularization trends.
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Singler, Sofia, and Maximilian Sternberg. "The Civic and the Sacred: Alvar Aalto's Churches and Parish Centres in Wolfsburg, 1960–68." Architectural History 62 (2019): 205–36. http://dx.doi.org/10.1017/arh.2019.8.
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AbstractThis article considers Alvar Aalto's two church and parish centre projects in Wolfsburg in light of the architectural, political and sociocultural contexts that framed their design and construction in post-war Germany. The study interrogates how architect and parish came together to build the ecclesiastical complexes of Heilig-Geist (1960–62) and Stephanus (1963–68), and how the parties interacted and engaged with widely debated issues in church architecture and urban planning. Close analysis of the buildings and their design processes, based on site visits as well as the study of architectural drawings and models, shows that Heilig-Geist and Stephanus acquire sacred character primarily through the connections they establish between interior and exterior space. The dynamic between inside and outside relates the buildings to key ideas in contemporaneous church architectural theory concerning inward- and outward-looking church-building, part of the broader discourse on the relationship between the sacred and the profane.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.
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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Alexander, John. "Shaping Sacred Space in the Sixteenth Century: Design Criteria for the Collegio Borromeo's Chapel." Journal of the Society of Architectural Historians 63, no. 2 (June 1, 2004): 164–79. http://dx.doi.org/10.2307/4127951.
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In this article, I present a newly discovered, late-sixteenth-century design drawing for the chapel of the Collegio Borromeo, in Pavia, Italy, and investigate it in the context of contemporary Catholic ecclesiastical architecture. Historiographically, the period is dominated by the church of the Gesù, in Rome, interpreted as a typological paradigm characterized by austere architecture and restrained decoration. This view is called into question by the Collegio's chapel. The initial design (represented by the drawing) drew from ancient sources in order to achieve spatial complexity. The realized chapel is spatially simpler, but ornately ornamented and decorated. The chapel differs from what is considered the norm, but is the chapel an anomaly, or are traditional understandings of the Gesù invalid? On investigation, it becomes evident that patrons may have established a number of criteria for their churches, but architects had a degree of freedom in designing them. In few if any contemporary cases, however, was architectural severity a goal for Catholic churches. With the example of the Collegio's chapel, these findings take on greater significance: the patron, Carlo Borromeo (1538-1584), was one of the most important in the history of ecclesiastical architecture. The chapel's architect, Pellegrino Tibaldi (1527-1596), restored, renovated, and built numerous sacred spaces for Borromeo. What they achieved demonstrates that Catholic reformers of the latter half of the sixteenth century sought architectural magnificence for buildings dedicated to the worship of God.
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Gnatiuk, Liliia. "TRENDS OF FORMATION OF SACRED SPACE IN THE TWENTIETH CENTURY." Urban development and spatial planning, no. 76 (March 1, 2021): 49–62. http://dx.doi.org/10.32347/2076-815x.2021.76.49-62.
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The article analyzes the iconic temples of the twentieth century. The anthroposophical theory of architecture is presented, which assumed that the world and man are permeated by different types of spiritual forces, due to the forms of objects of the visible world can be strengthened or weakened. An understanding of the harmony of forms in the formation of sacred space is presented. The architecture of the sacred constructions erected on the principle of organic architecture is considered. The influence of German Expressionist architects on the formation of the temple architecture they created, as well as the regularity of the use of geometric figures and the use of magic numbers are presented. A look at the mysterious nature of the connection of people in a society that is close to the types of connections that connect religious communities is presented. The forms of individual sacred buildings and ways of organizing their interiors are analyzed, which led to the conclusion that the ideas of the revival of social unity arose as a result of a combination of various elements, such as Christian religion and non-political socialism. The phenomenon of perception of the Church as a social organization is presented, but also of the church as a building, which became a model of a proper social organization in the early 20th century. Perceptions of the Gothic cathedral as a phenomenon of the community association of architects are highlighted. The use of Gothic typography for the design of publications of the early twentieth century is considered. The need to take into account the relationship between certain forms and messages, which are transmitted through them in the formation of sacred space. An attempt is also made to adapt the principles of modernism to the needs of the formation of sacred space. The tendencies of formation of sacred space in the XX century are revealed, namely: Anthroposophical; community worship and liturgical reform.
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Lake, Reginaldo Christophori. "SIMBOL DAN ORNAMEN-SIMBOLIS PADA ARSITEKTUR GEREJA KATOLIK REGINA CAELI DI PERUMAHAN PANTAI INDAH KAPUK-JAKARTA." Idealog: Ide dan Dialog Desain Indonesia 4, no. 1 (April 28, 2019): 23. http://dx.doi.org/10.25124/idealog.v4i1.1932.
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The Catholic Church building always displays symbols and ornaments as an expression of religious (sacred) faith and atmosphere. Symbols in the form of two-dimensional and three-dimensional objects arranged and beautified the church as well as religious significance. Symbols and ornaments are placed inside the church (interior) and outside the church (exterior), function to support the atmosphere of the church visually and help appreciate aesthetic, psychological and religious faith. Regina Caeli Catholic Church in Pantai Indah Kapuk Jakarta is a Catholic church that is characterized by modern architecture and features symbols and ornaments on the interior and exterior of the church. This paper describes the existence of symbols and ornaments -symbols in the church associated with obedience to the principles of modern architecture that underlies the design of the church. The research problem is how the existence of symbolic symbols and ornaments in the Regina Caeli Catholic Church, which are modern-minimalist architecture? The study was carried out by analyzing secondary data (photos and texts) and literature studies, then compared with the basic guidelines of Catholic church architecture and the principles of modern architecture. As a result, Regina Caeli's Catholic Church architecture is a modern architecture with a modern-minimalist expression. The existence of a symbol of the cross marks the existence of a Catholic church visually, the interior ornaments strengthen the uniqueness as a sacred (religious) space. The Regina Caeli Catholic Church has a modern architecture and provides a place for symbolic symbols and ornaments; there is a mixture of modern architecture with church symbolism as a relogious building.
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Бузыкина, Юлия Николаевна. "Review of: Sacred Architecture of Byzantium. Art, Liturgy and Symbolism in Early Christian Churches. London; New York: I. B. Tauris & Co Ltd, 2014. 446 p. ISBN 978-1-78076-291-3." Theological Herald, no. 2(37) (June 15, 2020): 351–56. http://dx.doi.org/10.31802/2500-1450-2020-37-2-351-356.
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Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические периоды соотносятся с архитектурной эволюцией, а также с образным наполнением церковного пространства. Эта отличительная черта работы сообщает ей необходимую полноту. Для Патрикиоса архитектура, литургия и священное изобразительное искусство представляет собой единое целое. Чтобы учесть все компоненты целого, автор делит повествование на следующие главы: церковь и государство; сакральная архитектура; великолепные церкви; духовное искусство; литургия и Евхаристия; символизм в архитектуре и искусстве. The book by Nicholas N. Patrikios ("Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches") is a generalizing work on Byzantine architecture from the era of Constantine to the fall of Constantinople. Its importance lies not only in the fact that the author has worked through a huge array of material - 370 monuments, dividing them into seven types (p. 48) and tracing the evolution of each of them in general and in detail, but also in the fact that the author takes into account the relationship between the architectural typology and the content of the building, demonstrating how the features of the liturgy in different historical periods correlate with the architectural evolution, as well as with the figurative content of the church space. This distinctive the feature of the work gives it the necessary completeness. For Patrikios architecture, liturgy and sacred art of constitutes a single whole. To take into account all the components of the whole, the author divides the narrative into the following chapters: church and state; sacred architecture; magnificent churches; spiritual art; liturgy and Eucharist; symbolism in architecture and art.
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Peno, Vesna, and Marija Obradovic. "On the chanting space and hymns that were sung in it. Searching for chanting-architectural connections in the middle ages." Muzikologija, no. 23 (2017): 145–73. http://dx.doi.org/10.2298/muz1723145p.
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The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. A reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. The scarcity of written historical sources, and especially musical ones, made it particularly difficult to define the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual - Greek-Slavic neumatic manuscripts, mentioning both the names of the first famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that after the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. The architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in the consistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. The existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a significant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.
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Lenartowicz, J. Krzysztof. "EQUILATERAL TRIANGLE AND THE HOLY TRINITY." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 220–33. http://dx.doi.org/10.3846/20297955.2014.994807.
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The paper deals with architectural space designed and/or built on an equilateral triangular plan, and designated for a sacred function. The author discusses the exceptional features of equilateral triangle in comparison to other central layouts. The visual attractiveness of this geometrical shape is stressed. The architectural space built on this figure has a strong semantic potential in Christian culture in Europe, since a sacred object using such a shape is associated in an easy and unambiguous manner, which also points to the popularity of patrocinium of the Holy Trinity, as well as that of the Virgin and Child with St. Anne, among the analysed structures. A comprehensive catalogue is presented of sacred objects based on an equilateral triangular plan, which have been identified in the European culture area, and were created in the period between the 12th century and contemporary times. At the nexus of the Eastern and Western Church, which differentiate their teachings in terms of interpreting the Holy Trinity (the problem of Filioque), the patrocinium and the erection of temples in the form discussed here has an exceptional meaning, especially if these shrines belong to the Uniate Church, which merges Catholicism and the Orthodox church. The types of the corner detailing have been analysed.
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Gonçalves, José Fernando. "Sacred Spaces." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 220–29. http://dx.doi.org/10.17979/aarc.2017.5.0.5153.
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The passage from sacred to secular space confers on religious space a wider functionality that will allow the incorporation of an abstract and open spatial symbolism to different perceptions of the divine to see, feel or invoke God. According to Rudolf Otto, on the Protestant churches the architectonic expression of the numinous is made by three fundamental elements of representation: obscurity, silence and emptiness. As elements that conceptually oppose the concrete or definitive symbol, they acquire a universal meaning that modern architecture itself will incorporate as a process of artistic emancipation.For a contemporary architect to design a religious space thus imposes an inevitable incursion into this Protestant matrix that appeals to the simplicity of forms, to the fidelity of construction and to the aesthetic experience as access to the transcendent. The mortuary chapels I am presenting takes up this contact with the modern constructive knowledge and with the return to the essential sacred place made of space, light and matter.
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Kilde, Jeanne Halgren. "Protestant Theologies and the Problem of Sacred Space." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 2–23. http://dx.doi.org/10.17979/aarc.2017.5.0.5140.
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The phrase sacred space, suggesting a spiritually evocative environment infused with divine or transcendent presence, is currently applied to almost all religious places, including almost all Christian churches and chapels. Yet Protestant leaders from the Reformation onward vigorously opposed such an understanding of God’s relationship to humanly created worship space. For them, God was not immanent in specific spaces or buildings. How is it that Protestants came to embrace the idea of sacred space and apply it to their own churches? This essay explores the concept of sacred space and its relationship to Protestant architecture, focusing on the second half of the 20th century, a period that brought significant transformation to this relationship. The essay asserts that cultural, theological, and academic transformations occurring in the United States in the post-World War II period, resulted in the development of a universalized view of the sacred that came to undergird new religious spaces, particularly chapels meant to accommodate several faith traditions, which in turn helped to advance that view. Both the ideas and the buildings reflected a growing interest in personal spirituality and new understandings of the relative immanence and transcendence of God.
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De Souza, Alessandro Ferreira Rodrigues, and Mauro Maia Fragoso. "Conditioning Factors in Simplification of Catholic Temples after Vatican II in Brazil." Actas de Arquitectura Religiosa Contemporánea 6 (April 3, 2020): 172–81. http://dx.doi.org/10.17979/aarc.2019.6.0.6237.
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Under the influence of the liturgical reform promoted in the 20th century, Catholic temples assumed very simple characteristics, especially after the determinations of the Second Vatican Council. This simplification can be observed both in the construction of new temples and in the adaptation of others built before the period in question, causing the loss of its identity. In order to understand the simplification of these sacred spaces, we chose the case study: the renovation of Santa Maria de Campos dos Goytacazes Parish Church, located in the North of the State of Rio de Janeiro, Brazil. In the architectural intervention of this sacred space, conditioning factors were identified as: impositions of the local community; priests who are unaware of ecclesiastical determinations for liturgical space; and the scarcity of architects familiar with liturgical practices and conciliar guidelines. It is necessary to consider new proposals for the use of space, particularly in the rehabilitation of sacred spaces after the Second Vatican Council.
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Siwiec, Adam. "Wezwania lubelskich świątyń jako elementy krajobrazu sakralnego miasta." ANNALES UNIVERSITATIS PAEDAGOGICAE CRACOVIENSIS. STUDIA LINGUISTICA, no. 15 (December 11, 2020): 227–46. http://dx.doi.org/10.24917/20831765.15.19.
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The article discusses the historical and descriptive aspects of the invocations of patron saints in the Lublin churches, in the context of the city’s space and sacral landscape. Because the dominant role in Lublin’s religious life is played by the Catholic Church, the most numerous group are the names relating to Catholicism – but not exclusively: other Christian denominations (including Eastern ones) are also represented. Churches as spatial objects belong to the city’s cultural landscape, its sacral landscape and sacred space. It is a sanctity that emerges thanks to shared meanings, communicated by means of an urban and architectural code, as well as in connection with linguistic forms qua messages concerning a given object and place. Forms of this kind are invocations of patron saints associated with places of religious cult. They have a discursive marking that results from being anchored in religious discourse; however, they can also function as elements that organize the communal life of the discourse of social memory. This article deals with Catholic patron saints. The data have been classified semantically but also with respect to the form of the names and their cultural motivation. Thanks to this, they could be correlated with specific ways of the onymic impersonation of the sacred.
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Siwiec, Adam. "Wezwania lubelskich świątyń jako elementy krajobrazu sakralnego miasta." ANNALES UNIVERSITATIS PAEDAGOGICAE CRACOVIENSIS. STUDIA LINGUISTICA, no. 15 (December 11, 2020): 227–46. http://dx.doi.org/10.24917/20831765.15.19.
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The article discusses the historical and descriptive aspects of the invocations of patron saints in the Lublin churches, in the context of the city’s space and sacral landscape. Because the dominant role in Lublin’s religious life is played by the Catholic Church, the most numerous group are the names relating to Catholicism – but not exclusively: other Christian denominations (including Eastern ones) are also represented. Churches as spatial objects belong to the city’s cultural landscape, its sacral landscape and sacred space. It is a sanctity that emerges thanks to shared meanings, communicated by means of an urban and architectural code, as well as in connection with linguistic forms qua messages concerning a given object and place. Forms of this kind are invocations of patron saints associated with places of religious cult. They have a discursive marking that results from being anchored in religious discourse; however, they can also function as elements that organize the communal life of the discourse of social memory. This article deals with Catholic patron saints. The data have been classified semantically but also with respect to the form of the names and their cultural motivation. Thanks to this, they could be correlated with specific ways of the onymic impersonation of the sacred.
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Lewandowska, Agnieszka. "Reducing architecture to an image." Journal of Education Culture and Society 10, no. 2 (September 2, 2019): 239–44. http://dx.doi.org/10.15503/jecs20192.239.244.
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Aim. The subject of this work is reduction of architecture complexity to particular image, deprived of its context and time. The author aims to present the problem of perceiving architecture through visual experience only.
Methods. The author of the article describes the process of reduction basing on example of iconic sacred building – Church if the Light, designed by Japanese architect Tadao Ando. The analysis of all stages of transformation and reinterpretation of original complex design is conducted. The aim is to indicate how misrepresentation of design and reduction to particular image was transferred to architecture once again.
Results and Conclusion. The essential conclusion of the article is the impact and power of image culture. The author of the article indicates how contemporary world of pictures influences human perception of space and limit it to one sense – sight.
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Czerni, Krystyna. "Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych." Sacrum et Decorum 13 (2020): 48–80. http://dx.doi.org/10.15584/setde.2020.13.4.
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The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches of various Christian denominations, Nowosielski wanted to combine three theological disciplines and their respective ways of representation: Christology, sophiology and angelology. Beside a classical icon, called by the painter a “Christological- Chalcedonian” icon, Nowosielski demanded a “sophiological” icon, bringing into the space of a church an earthly, painful reality, traces of inner struggle and doubt – hence the presence of doloristic motifs in his icons. The “inspired geometry” also became a complement to the holy images; the artist noticed a huge spiritual potential in abstract painting, to which he eventually assigned the role of icon painting. The poetic concept of “subtle bodies” – abstract angels testifying to the reality of the spiritual world – drew from the early Christian theological thought, which argued about the corporeality of spiritual entities, from Byzantine angelology, the tradition of theosophy and occultism, but also from the art of the first avant-garde, especially that from Eastern Europe, which inherited the Orthodox cult of the image. Nowosielski’s bilingualism as a painter – practicing abstraction and figuration in tandem, including within the church – paralleled the liturgical practice of many religious communities using different languages to express different levels of reality: human affairs and divine affairs. The tradition of apophatic theology, proclaiming the truth about the “unrepresentability” of God, was also important in shaping Nowosielski’s ideas. For Nowosielski’s monumental art, the problem of the mutual relationship between painting and architecture proved crucial. The artist based his concept on the decisive domination of painting over architecture and the independence of monumental painting. His goal was the principle of creating a sacred interior as a holistic, comprehensive vision of space which leads the participants of liturgy “out of everyday life” and into a different, transcendent dimension, in which the painter saw the main purpose of sacred art. From his first projects from the 1950s till the end of his artistic practice Nowosielski tried to realize his own dream version of the “ideal church”. In many of his projects he introduced abstraction into the temple, covering the walls, vaults, presbyteries, sometimes even the floors with a network of triangular “subtle bodies”. Forced to compromise, he introduced sacred abstraction into murals, as accompanying geometries, or into stained glass windows. The interiors, comprehensively and meticulously planned, were supposed to create the effect of “passing through”, “rending the veil” – from behind which a new, heavenly reality dawned. In practice, it was not always possible to achieve this intention, but the artist’s aim was to create an impression of visual unity, a sense of “entering the painting”, of being immersed in the element of painting. Painting in space was supposed to unite a broken world, to combine physical and spiritual reality into an integral whole. When designing sacred interiors, Nowosielski used the sanctity of the icon, but also the pure qualities of painting which were to cause a “mystical feeling of God’s reality”. The aim of sacred art understood in such a way turned out to be initiation rather than teaching. In this shift of emphasis Nowosielski saw the only chance for the revival of sacred art, postulating even a shift of the burden of evangelization from verbal teaching to the work of charismatic art.
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Effa, Allan. "Pub congregations, coffee house communities, tall-steeple churches, and sacred space: The missional church movement and architecture." Missiology: An International Review 43, no. 4 (June 12, 2015): 373–84. http://dx.doi.org/10.1177/0091829615590889.
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Stanimirović, Mirko. "An interview with Božidar Manić about temples." Arhitektura i urbanizam, no. 51 (2020): 117–27. http://dx.doi.org/10.5937/a-u0-28739.
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This paper presents an interview with architect Božidar Manić. The topics of conversation are: the rules for building Serbian Orthodox churches in the 21th century, the relationship between tradition and traditionalism within Orthodox architecture, the influence of the liturgy on the shape of a church, the symbolism of the dome, the development of Serbian sacral architecture, and recommendations for designing modern churches. The talks within the project "Temples about temples" are designed to overcome the current crisis of criteria for building Serbian Orthodox churches, through the cooperation of all participants in the construction of a temple. Through conversations with contemporary architects, the author tries to advance the future creation of ambiences, cities and shrines. The most important conclusions of the conversation with Božidar Manić are: tradition and traditionalism are not the same, there are no binding rules related to the architectural form of a church, the temple space should enable undisturbed worship and the altar must be on the East, separated from the nave.
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Diachok, Oksana. "ARCHITECTURE OF BASILIAN MONASTERIES IN THE PROCESS OF FORMING THE SACRED IMAGE OF THE CITIES OF TERNOPIL REGION." Current problems of architecture and urban planning, no. 60 (April 26, 2021): 12–22. http://dx.doi.org/10.32347/2077-3455.2021.60.12-22.
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The article highlights the peculiarities of the formation of the sacred image of the modern Ternopil region under the influence of the architecture of the Basilian monastery complexes. Active missionary activity of the Order led to the founding, construction and reconstruction of ancient monasteries, which today are the decoration of the settlements of the region. These architectural ensembles are expressive compositional dominants in the historical environment of cities.
The most famous monastic complexes in Ternopil include the Holy Dormition Pochayiv Lavra, the main buildings of which were built in the union period, the Basilian Monastery in Buchach, the Uhornytsky (Pidhoryansky) Monastery, and the Basilian Monastery near Strusov. The buildings of monasteries are monuments of sacred art and important objects of national cultural heritage. Innovations that affected the ideological doctrine were reflected in the construction of the church: from a closed space monasteries turned into representative open complexes. In the interior of the temples, low partitions were replaced by wall altars, confessionals appeared, and so on. Some of the surviving altars today are masterpieces of sacred art. The Basilian monasteries reached their peak in the Baroque era under the patronage of wealthy families and with the involvement of leading European and Ukrainian architects. Their architecture forms the historical and cultural appearance of the Ternopil region. Monasteries represented the Western Ukrainian identity, performed sacred, defensive, cultural, functions, became an important part of the planning and figurative structure of cities and still give them an ideological color.
The research convinces us of the importance of preserving monastic complexes, which carry the genetic memory of the nation, help to reconnect with our own historical past and complement our knowledge of the history of architecture.
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O, Dyachok. "SACRED IMAGE OF TERNOPIL REGION." Architectural Studies 7, no. 1 (April 30, 2021): 9–16. http://dx.doi.org/10.23939/as2021.01.009.
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The article highlights the stages of formation of the architecture of temple complexes in the Ternopil region, which today form the sacred image of the region. The set of sources used in the study has different origins, gives researchers information for analysis of sacred architecture in the modern Ternopil region, which can be used in further research. The source base of the study are churches of different denominations - Orthodox, Catholic, Greek Catholic, Jewish, Armenian, as well as the remains of pre-Christian complexes. Such ethnic and confessional heterogeneity, complex socio-political processes on the territory of the region have given rise to a typological diversity of temples, which differ in style, dimensional solution, decoration. The analysis of sacred complexes was carried out by the method of field surveys, historical and comparative analysis and was based on reliable archival sources, data from research institutions, reserves and publications of leading scientists. European periodisation system was used in the analysis of the formation stages of sacred architecture: the Middle Ages, Renaissance, Reformation, Enlightenment, the period of XIX-XX centuries and the modern period. Each stage is marked by the appearance of majestic temples, which are bright dominants in the architectural space of settlements and creating a unique sacred image of the Ternopil region. It is shown that there are almost no sacred objects of the early medieval period left in the study area, except for mounds and cave temples. The High Middle Ages are represented by single temples. The Renaissance period declares the adoption of Western European construction technology. Temples have a pronounced defence function. The Ternopil region is most vividly represented by the Baroque temples of the Enlightenment. The period of the XIX-XX centuries. marked by the search for a national style in sacred architecture. Modern temple complexes are built according to the traditional planning system, but some have modern forms.
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Schibille, Nadine. "Astronomical and Optical Principles in the Architecture of Hagia Sophia in Constantinople." Science in Context 22, no. 1 (March 2009): 27–46. http://dx.doi.org/10.1017/s0269889708002068.
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ArgumentTextual and material evidence suggests that early Byzantine architects, known asmechanikoi, were comprehensively educated in the mathematical sciences according to contemporary standards. This paper explores the significance of the astronomical and optical sciences for the working methods of the twomechanikoiof Hagia Sophia in Constantinople, Anthemios of Tralles and Isidoros of Miletus. It argues that one major concern in the sixth-century architectural design of the Great Church was the visual effect of its sacred interior, particularly the luminosity within. Anthemios and Isidoros seem to have been thoroughly conversant with the ancient corpus of astronomical and optical writings and, as will be shown, implemented their theoretical knowledge in the design of Hagia Sophia. Specifically, the paper demonstrates that the orientation of the building's longitudinal axis coincides with the sunrise on the winter solstice according to ancient computations, implying that the orientation was intentionally calculated in order to secure an advantageous natural illumination of the interior. Light and visual effects served to reinforce the symbolic significance of the sacred space that furthermore provides evidence for optical considerations with respect to late antique concepts of light and vision.
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Goodwin, Mary. "An Art Historian Encounters a Hybrid Global History at Home: Alfredo Ramos Martinez’s Designs for Sacred Spaces." Religion and the Arts 18, no. 1-2 (2014): 120–55. http://dx.doi.org/10.1163/15685292-01801008.
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Southern California’s hidden treasures include two church interiors containing elements designed by Alfredo Ramos Martinez (1871–1946). This Mexican-born artist trained in France, returned to take an activist role in Mexican revolutionary culture, and migrated to the United States in 1929. For sixteen years, his talents were in demand among members of the Hollywood elite. In 1934, he produced the fresco murals at the Santa Barbara Cemetery Chapel, a jewel of Spanish Revival architecture. His images crossed over traditional boundaries between the sacred and the profane. He created odes to human rights and suffering humanity, depicting Christ and his mother as indigenous peasants with dark-skinned New World ethnicity. A decade later in 1946, Ramos sketched designs for his final projects at St. John the Evangelist Church in Los Angeles: a series of stained glass windows representing fourteen multiethnic saints as well as incomplete oil painted Stations of the Cross that recall his earlier pictures of suffering humanity. The architectural setting—a modernist church with stripped-down forms and materials of concrete, steel, and neon—announces a radically transformed post-war industrial culture. The contrast of these two aesthetics, the Spanish Revival and the modernist, demonstrates an evolution in liturgical forms as Californians came to grips with global migrations and an evolving modernist identity.
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Almevik, Gunnar. "Perusing space-time in medieval sacred architecture Paths, bundles, and constraints in Endre church during a fifteenth-century mass." Geografiska Annaler: Series B, Human Geography 99, no. 4 (October 2, 2017): 360–79. http://dx.doi.org/10.1080/04353684.2017.1408027.
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Szutenbach, Stephen P. "Urban and Social Design." Actas de Arquitectura Religiosa Contemporánea 3 (October 2, 2015): 128–31. http://dx.doi.org/10.17979/aarc.2013.3.0.5094.
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As first described by Gaudium et Spes, we know the Church's relationship with society should and must evolve. Our moment in history, perhaps, is not as simple as past eras when the Church (the physical edifice and the institution) acted as the axis of both life and culture; churches anchored towns and their public spaces; church bells tolled the order of the day, calling all to toil and prayer alike; the liturgical calendar established the very rhythms of the seasons, and thus life itself. For most modern Westerners, it is no longer so; the Church is far removed from the daily routine. It is the sanctuary where we attend Mass on Sunday, but not much more. For those who have fallen away or have yet to be evangelized, the church building is often nothing more than part of the homogenous fabric that constitutes most urban, suburban and rural cores.
The Church no longer dominates culture and society in the way it once did, and it is forced to compete with virtual connectedness for the attentions, affections and devotion of the masses. How often have you seen a person in a beautifully constructed sacred space entirely consumed by the world encapsulated in their smart phone? Have we become so virtually connected that we are paradoxically disconnected from physical drama of the human condition happening all around us?
The church does not require more grand architectural gestures, but rather new, more networked and nuanced ways to exist and connect to each other and God in the built world; in other words, new ways to manifest to contemporary women and men “the mystery of God, who is their final destiny.” (Gaudiem et Spes)
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Osborne, Catherine R. "Review: Saint John's Abbey Church: Marcel Breuer and the Creation of a Modern Sacred Space, by Victoria M. Young." Journal of the Society of Architectural Historians 76, no. 3 (September 1, 2017): 400–401. http://dx.doi.org/10.1525/jsah.2017.76.3.400.
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Belén Gómez, María. "La rehabilitación de un ícono de la modernidad la Iglesia Mater Misericordiae = The rehabilitation of an icon of modernity the Church Mater Misericordiae." Anales de Edificación 3, no. 3 (December 28, 2017): 20. http://dx.doi.org/10.20868/ade.2017.3675.
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La iglesia Mater Misericordiae es un edificio sacro levantado en Baranzate (Milán) a finales de la década de los años 50.Supone la culminación de una serie de experiencias que pretendían la renovación de la liturgia y, con ello, la renovación de laarquitectura. Su construcción, enmarcada dentro de un plan más amplio acometido por el Arzobispado de Milán, supuso un gran avance en varios campos relacionados, principalmente, con la modernidad de la arquitectura sacra, la construcción y las nuevas tecnologías. Incorpora el uso no solamente del hormigón, material poco utilizado hasta ese momento en construcciones sacras, sino que, además, introduce un sistema de prefabricación y postesado “In situ” para la ejecución de la estructura que muestra el interés de los técnicos de la época por hallar nuevos medios de sistematización de la construcción. El sistema constructivo de cerramiento utilizado permite delimitar el espacio litúrgico mediante una piel translúcida que rodea el espacio, permitiendo la entrada de luz natural durante el día y la iluminación del entorno durante la noche. La presente investigación trata sobre las diferentes soluciones que se han empleado en la resolución de las fachadas de cerramiento, haciendo especial hincapié en la solución utilizada en la última rehabilitación a la que ha sido sometida. En este caso se han tratado de incorporar las tecnologías modernas más avanzadas para la resolución de los problemas que esta presentaba pero respetando al máximo la idea del proyecto original.AbstractThe church Mater Misericordiae is a sacred building raised in Baranzate (Milan) at the end of the decade of the 50s. It supposes the culmination of a series of experiences that were claiming the renovation of the liturgy and, with it, the renovation of the architecture. His construction, framed within a broader plan undertaken by the Archbishopric of Milan, supposed a great advance in several fields related, principally, with the modernity of the sacred architecture, the construction and the new technologies. It incorporates the use not only of concrete, material little used until that moment in sacred constructions, but also, it introduces a prefabrication and post-tensioned system "In situ" for the execution of the structure that shows the interest of the technical personnel of the epoch to find new means of systematizing of the construction. The constructive system of used closing allows to delimit the liturgical space by means of a translucent skin that surrounds the space, allowing the entry of natural light during the day and the lighting of the environment during the night. The present investigation treats on the different solutions that have used in the resolution of the fronts, doing special support in the solution used in the last rehabilitation to which it has been submitted. In this case they have tried to incorporate each other the modern technologies most advanced for the resolution of the problems that this one was presenting but respecting to the maximum the idea of the original project.
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Zielinski, Michael John. "The Building of the Christian Community, the Word of God for the Neighbourhood and the City." Actas de Arquitectura Religiosa Contemporánea 3 (October 2, 2015): 268–77. http://dx.doi.org/10.17979/aarc.2013.3.0.5079.
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The liturgical space cannot avoid testifying to the miracle of a Presence, and can only do so by its own means: through the evidence of structural masses, the combination of materials, textures, colours; the harmonious shape of forms; the fluid movement of light that covers it and, at the same time, is dominated by it. This activates a silent communication that stirs the soul through the senses, and that, by touching our spirit, helps us to live the experience of God, thereby making us like all those who, in all ages and places, have turned their eyes to heaven, have elevated prayers and built temples. I firmly believe that this natural vocation of liturgical architecture preserves its value intact even in the altered setting of the contemporary city, and that the church space should still strive to answer that need of the sacred that dwells in each of us. This does not mean shaping more or less bold prospects, intended to suggest a vague mysticism or induce an indefinite emotional suggestion, but it implies a conscious and deliberate inquiry into those architectural themes that for centuries have been able to give the place of worship traits clearly referable to the Person of Christ, to the theology of revelation, to the history of salvation.
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Manić, Božidar, Igor Marić, and Ana Niković. "Can non typical traditional forms of sacral space serve as a guide in the development of new forms of religious architecture in Serbian Orthodox Church?" Actas de Arquitectura Religiosa Contemporánea 3 (October 2, 2015): 44–51. http://dx.doi.org/10.17979/aarc.2013.3.0.5083.
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This paper presents the possibilities of the development of new forms of religious architecture in Serbian Orthodox Church, on the basis of certain traditions. Current situation in this field is analyzed with special emphasis on non-typical religious buildings and spaces. The authors show that the domination of traditionalism in architectural expression is not based on the canonical restrictions, but rather the result of striving to establish the interrupted continuity by replicating forms from previous époques. Freedom of architectural creation in this field is strongly supported with the variety of forms existing through history of which zapis is particularly interesting.
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Riccioni, Stefano. "Rewriting Antiquity, Renewing Rome. The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia." Medieval Encounters 17, no. 4-5 (2011): 439–63. http://dx.doi.org/10.1163/157006711x598802.
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AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monuments were re-interpreted to demonstrate the superiority of Christianity. Inscriptions were used as symbols of authority, as can be seen in the altar of the church of Santa Maria in Portico, in the papal thrones (San Clemente, Santa Maria in Cosmedin, San Lorenzo fuori le mura) and also in mosaics (San Clemente, Santa Maria in Trastevere). Inscriptions appeared on porticoed atriums built on new churches and added to older foundations, and they were used to renew ancient monuments and places. The Roman Commune used a similar strategy with civil buildings. The image of Rome was transformed through restoration and new construction that used spolia as meaningful objects, and inscriptions for their authoritative value.
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Vukoszávlyev, Zorán. "Perception of Latin America’s church architecture in the time of II Vatican Council." Actas de Arquitectura Religiosa Contemporánea 4 (February 16, 2017): 46–53. http://dx.doi.org/10.17979/aarc.2015.4.0.5118.
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Events of World War II resulted in significant social changes from 1945. This is considered to be the main motive behind the attempts for transforming the Catholic sacral space, defining the Christ-centered Church. While in most parts of the Catholic world it was a result of a natural, internal process, these changes didn’t make an effect in the Eastern European countries occupied by the Soviet Union, because religion and religiousness became persecuted under the newly established world order. The political powers professing atheist ideology and communist concepts considered the Church as the main power opponent of their own system. Not only in ideological sense, but also because of the Holy See’s organizational structure that spans state borders. The article interprets the presence of the effects of liturgic reforms, in correspondence with the Eastern politics of the Holy See.
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Diachok, Oksana, Larysa Shuldan, and Alina Yanbukhtina. "FEATURES AND COMPREHENSIVE STUDY OF SACRED BUILDINGS OF THE END OF 20 – EARLY 21 CENTURY (ON THE EXAMPLE OF THE CHURCH OF ST. PETER IN TERNOPIL)." Urban development and spatial planning, no. 77 (May 24, 2021): 181–95. http://dx.doi.org/10.32347/2076-815x.2021.77.181-195.
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The article examines some problems of temples of the late 20th - early 21st centuries, in which modern architectural ideas, modern design components appeared together with new design solutions. The study uses a set of general scientific (empirical and theoretical) and special research methods (method of visual and instrumental surveys, historical and comparative analysis, art analysis, method of thermal monitoring and calculation). A comprehensive study was conducted on the example of St. Peter's Church in Ternopil (architect Serhiy Hora, designer Józef Simels). It is established that its modern stylistic image, modern formative components are combined with the traditional plan, which has historically developed in church construction. The facilitation of the main load-bearing structures was made possible by the use of exceptional metal curved trusses and a reinforced concrete belt. A comprehensive analysis of the condition of the church building revealed a number of problems typical for churches of this period of construction: the progressive spread of efflorescence, mycological damage to the plaster, premature destruction of building materials and destruction of structures; loss of insulative properties of structures and increase in energy consumption, deterioration of acoustic characteristics in the church space, loss of uniformity of sound distribution over its area. The dependence of these problems on changes in temperature and humidity in the temple building has been established. According to the results of instrumental research, a correlation analysis was performed to assess the degree of relationship between the distribution of moisture and temperature with the peculiarities of operation, the nature of operation and the level of thermal insulation of enclosing structures. The consequences of further moistening of the inner surfaces of the fences have been established: consequences for the interior; microclimatic (hygienic) consequence; constructive consequences; effects on energy consumption and acoustic effects. As a result of the calculations, recommendations for troubleshooting were provided. Using in this context a systematic interpretation of case studies, the study of actions that would help increase the level of comfort in churches and their preservation, the authors propose a reconstruction with an assessment of the quality of intervention at each stage.
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Lander, Shira L. "Inventing Synagogue Conversion." Journal of Ancient Judaism 4, no. 3 (May 14, 2013): 401–16. http://dx.doi.org/10.30965/21967954-00403006.
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Historians of the ancient synagogue often use the term “conversion” to describe any kind of adaptation of a building once designated as a synagogue into a church. This label oversimplifies and misconstrues complex processes, both rhetorical and architectural, that were at work in transforming the landscape of the late antique Mediterranean. I explore the dynamic of this triumphalist rhetoric and architectural strategy, showing that Christian writers meant something very specific by the term “conversion,” and that they invented the paradigm of synagogue conversion in order to interpret the changing landscape to their readers. The architectural program of replacement as a strategy for converting subject populations to Christianity emerged in the sixth century. By characterizing changes made to building structures and changes in religious belief as “conversion,” imperial policy concretized the association of sacred space transformation with the victory of Christianity over Judaism and paganism.
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Veress, Ferenc. "Az eucharisztia tiszteletének szimbolikus-építészeti formái." Építés - Építészettudomány 48, no. 3-4 (September 22, 2020): 197–225. http://dx.doi.org/10.1556/096.2020.008.
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Tanulmányomban a templomhomlokzat és az oltárépítmény felépítésének, tagoló rendszerének párhuzamaira kívántam felhívni a figyelmet. Mind a homlokzatoknak, mind az oltárarchitektúráknak a tervezői építészek voltak, így természetes, hogy hasonló motívumokat használtak fel mind a két esetben. A tridenti zsinat utáni katolikus megújulás fontos szereplője, Borromei Szent Károly, új tabernákulumformát és tértípust hozott létre a lombard építész, Pellegrino Tibaldi közreműködésével. Pellegrinónak kulcsszerepe volt a jezsuita templomtípus megteremtésében, tervei nyomán nem csupán Milánóban, hanem Torinóban is épült templom; hatása kimutatható a bécsi domonkos templom homlokzatán is, amelynek építésze, a bissonei Giovanni Giacomo Tencalla családjának több tagja révén közvetíthette Magyarországra az itáliai hatást. Az építészek, mint például a bécsi Kirche am Hof tervezője, a luganói Filiberto Lucchese, maguk is terveztek oltárokat, vagy közreműködtek a stukkátorokkal, akik gyakran ugyanabból a régióból érkeztek, mint a tervező építész. Így fordulhatott elő, hogy a nyugat-dunántúli stukkóoltárokat általában észak-itáliai mesterek készítették a templomhomlokzatok nyomán.Summary. This study proposes to re-examine the dynamic interaction between the frontispiece of the church and the high altar. While the façade often functions as an open-air altarpiece, the altar itself is a “gate of Paradise.” Both the frontispieces and the altar structures were designed by architects, consequently, they use similar motives. Carlo Borromeo, as a key-figure of post-tridentine church reformed the sacred space and the tabernacle of the Cathedral in Milan following the designs of Pellegrino Tibaldi. Pellegrino played an eminent role in creating a new Jesuit church-type in San Fedele, Milan, which served as a model for the Corpus Christi basilica in Torino as well as for the Santa Maria Dominican Church in Vienna. The latter one was planned by Giovanni Giacomo Tencalla from Bissone (Lugano), and from the same family stemmed well-known stuccators and painters, who also worked for Hungarian commissioners. The architect of the Jesuit church Kirche am Hof in Vienna, Filiberto Lucchese, also worked for the Batthyány family, and designed altarpieces. In this way, we are able to establish a strong interaction between the altar-structure and façade, bringing considerable novelty in analysing architectural forms and design.
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Karlsson, Lars, Jesper Blid, Olivier Henry, and Ragnar Hedlund. "Labraunda 2011. A preliminary report on the Swedish excavations." Opuscula. Annual of the Swedish Institutes at Athens and Rome 5 (November 2012): 49–87. http://dx.doi.org/10.30549/opathrom-05-03.
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The main goals of the 2011 campaign were the excavation of the Kepez tower, the West Church and the necropoleis. The tower of Kepez was excavated and black-gloss pottery indicates a date in the 3rd century BC. The 2011 excavations in the West Church uncovered three Late Roman and Byzantine building phases. Among the finds from Late Antiquity was a well-preserved glass lamp with a Greek inscription and a marble figurine, possibly representing an apostle or a saint. The excavations in the necropolis uncovered eleven tombs in the Area 5B, located along the Sacred Way, completing the excavation initiated in 2010. New tombs were discovered in the territory east and south of the sanctuary. Finally, the three stone sarcophagi inside the Built Tomb were moved in order to facilitate complete excavation and the cleaning of all the interior space of this monumental tomb. The conservation of architectural marble was continued and included the conservation of an Ionic column capital and an anta capital from Andron B. Thomas Thieme and Pontus Hellström prepared the publication of the andrones.
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Arboix-Alió, Alba. "Edificios singulares en mallas regulares. Iglesias en L’Eixample y en La Baixa." VLC arquitectura. Research Journal 3, no. 2 (October 27, 2016): 55. http://dx.doi.org/10.4995/vlc.2016.4327.
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<p class="EstiloVLC"><em>A building is considered unique when it outstands within the common fabric of the city due to its form, its nature, and its production and serialization process. If this architectural singularity is accompanied by an urban distinction, the result is much more effective because the compound becomes an urban enclave capable of arranging and hierarchically organising the city. The most illustrative example for historic cities with a Catholic tradition may probably be the church with the public space that materializes around it. For centuries, the sacred building and the atrium that precedes it have represented the city’s reference point and articulating centre of social, economic and cultural life. Nevertheless, if this is more or less evident in old towns consolidated over time; how is this solved in modern cities formed by a regular urban layout</em> <em>whose grid is put before the freedom of the buildings? With Barcelona and Lisbon as case studies, the paper focuses on the implementation and typology of the most paradigmatic churches in the neighbourhoods of L’Eixample Cerdà and La Baixa Pombalina.</em></p>
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Proctor, Robert. "William Whyte, Unlocking the Church: The Lost Secrets of Victorian Sacred Space; Oxford University Press (Oxford, 2017), 241 pp. incl. 26 b&w ills; ISBN: 9780198796152; £18.99." Architectural History 61 (2018): 289–90. http://dx.doi.org/10.1017/arh.2018.15.
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Ousterhout, Robert, and Dmitry Shvidkovsky. "Kievan Rus’." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 51–67. http://dx.doi.org/10.36340/2071-6818-2021-17-1-51-67.
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Robert Ousterhout, the author of a magnificent book “Eastern Medieval Architecture. The Building Traditions of Bizantium and Neighboring Lands”, published by Oxford University Press in 2019, the remarkable scholar and generous friend, was so kind to mention in his C. V. on the sight of Penn University (Philadelphia, USA) that he had been the Visiting professor of the Moscow architectural Institute (State Academy), as well as simulteniously of the Hebrew University in Jerusalem, but he did not say that he had been awarded the degree of professor honoris causa by the academic council of MARHI. Unfortunately, his life in muscovite hostel, nevertheless we tried to do our best to provide the best possible accommodation in a “suit” with two rooms with a bathroom, had been radically different from the wonderful dwelling chosen for the visiting teaching stuff from MARHI in the University of Illinois. And Robert called our hostel “Gulag”. He had been joking probably. It is impossible to overestimate the role of professor Robert Ousterhaut in the studies of the history of Byzantine art. At the present day he is the leader in the world studies of the architecture of Byzantium, the real heir of the great Rihard Krauthaimer and Slobodan Curcic, whom he had left behind in his works. His books are known very well in Russia. R. Ousterhaut graduated in the history of art and architecture at the University of Oregon, the Institute of European Studies in Vienna, Universities of Cincinati and Illinois. Не worked at the department of history of art at the University of Oregon, department of history of architecture at the University of Illinois, had the chair of the history of architecture and preservation at the University of Illinois, which is considered, as we know, one of the twenty best American universities. He always worked hard and with success. When I had finished reading my course of the history of Russian architecture at Illinois, he said: “Yes, next term the students are to be treated well…” Now he is professor emeritus of the history of art in the famous Penn University. He taught the courses of the “History of architecture from Prehistory to 1400” and “Eastern medieval architecture” as well as led remarkable seminars devoted to the different problem of the history of architecture of the Eastern Meditarenian, including the art of Constantinopole, Cappadoce, meaning and identity in medieval art. His remarkable 4-years field work at Cappadoce, which he described in several books, and his efforts of the preservation of the architectural monuments of Constantinopole are very valuable, Among his books one certainly must cite Holy Apostels: Lost Monument and Forgotten Project, (Washingtone, D. C., 2020); Visualizing Community: Art Material Culture, and Settlement in Byzantine Cappadocia, Dumbarton Oaks Studies 46 (Washington, D. C., 2017); Carie Camii (Istambul, 2011); Architecture of the Sacred: Space, Ritual, and Experience from Classical Greece to Byzantium (Cambridge University Press, 2012), ed. with Bonna D. Wescoat; Palmyra 1885: The Wolfe Expedition and the Photographs of John Henry Haynes, with B. Anderson (Istanbul: Cornucopia, 2016) John Henry Haynes: Archaeologist and Photographer in the Ottoman Empire 1881–1900 (2nd revised edition, Istanbul: Cornucopia, 2016). Several of his books were reprinted. He edited Approaches to Architecture and Its Decoration: Festschrift for Slobodan Ćurčić (Aldershot: Ashgate, 2012), with M. Johnson and A. Papalexandrou. His outstanding book Мaster Builders of Byzantium (2nd paperback edition, University of Pennsylvania Museum Publications, 2008) was translated into Russian and Turkish. In this work Robert Ousterhaut for the first time in English speaking tradition is regarding the architecture of Bazantium from the point of view of building art and technology. On the base of the analysis of primary written sources, contemporary archeology data, and careful study of existing monuments the author concludes that the Byzantine architecture was not only exploiting the traditions, but was trying to find new ways of the development of typology and construction techniques, which led to transformation of artistique features. Professor R. Ousterhaut discusses the choice of building materials, structure from foundations to vaults, theoretical problems which solved the master masons of Byzantium. In his recent book Eastern Medieval Architecture: The Building Traditions of Byzantium and Neighboring Lands, (Oxford University Press, 2019) Robert Ousterhaut is going further. He writes in the introduction: “I succeded my mentor at the University of Illinois… I had the privilege and challenge of teaching “Early Christian and Byzantine Architecture” to generations of the architecture students inspired my 1999 book, Master Builders of Byzantium. The work of Robert Ousterhaut, published 2019, is the new and full interpretation of the architectural heritage of Byzantine Commonwealth. The author devoted the first part of his book to Late Antiquity (3–7 centuries), beginning with the relations of Domus Ecclesiastae and Church Basilica, then speaking of Konstantinopole and Jerusalem of the times of St. Constantine the Great, liturgy, inspiration, commemoration and pilgrimage, adoration of relics as ritual factors which influenced the formation of sacred space, methods and materials, chosen by the Bizantine builders with their interaction of the mentality of the East and West. Special attention is given to dwelling, urban planning and fortification Naturally a chapter is devoted to Hagia Sophia and the building programs of Emperor Justinian. The second part speaks of the transition to what is called Middle Byzantine architecture both in the capital and at the edges of the Empire. The third part tells the story of the 9th, 10th and 11th centuries and includes the rise of the monasteries, once more secular and urban architecture, the craft of church builders. Churches of Greece and Macedonia, Anatolia, Armenia and Georgia, as well as of the West of Byzantium – Venice, Southern Italy and Sicily. The chapter is devoted to Slavonic Balkans – Bulgaria and Serbia and Kievan Rus. The last fourth part of the book describes the times of the Latin Empire, difficult for Byzantium, to the novelty of the architecture of Palewologos and the development of Byzantine ideas in the Balkans and especially in the building programs of the great powers of the epoch Ottoman Empire and Russia. There is a lot more to say about the book of professor Robert Ousterhaut, but we have to leave this to the next issue of this magazine, and better give the space to the words of the author – his text on the architecture of Kievan Rus.
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Redding, Graham. "Reflections upon Storied Place as a Category for Exploring the Significance of the Built Environment." Pacifica: Australasian Theological Studies 18, no. 2 (June 2005): 154–74. http://dx.doi.org/10.1177/1030570x0501800204.
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This article begins by noting parallels between ancient Israel and New Zealand Maori in the role that narrative plays in defining a sense of place, especially in relation to the land. A convergence of concern across a range of disciplines about the diminished sense of place that exists in modern urban settings is also noted, and various attempts at what might loosely be called narrative-recovery in relation to the built environment are identified. At the same time, the tendency for narratives to be distorted and controlled by those who have vested interests in portraying things in a certain way is exposed, thereby highlighting the complex and problematic nature of stories. Theological questions are raised and possibilities touched on, including a role for the Church in helping society think about what it is that constitutes sacred space. While the issues raised in this paper are relevant to urban environments everywhere, the paper retains a strong New Zealand focus. It includes coverage of the debate surrounding the architectural merits of Te Papa, and asks what it is that constitutes a synthesis of Maori and Pakeha architectural forms and values as we look for signs of a built environment that is increasingly able to reflect our New Zealand identity.
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Grietēna, Aija. "STUDY OF HARMONY IN THE INDOOR/OUTDOOR CONTEXT OF ARCHITECTURE OF THE 21ST CENTURY CATHOLIC CHURCH IN LATVIA / VIDAUS IR IŠORĖS KONTEKSTO DARNOS XXI A. LATVIJOS KATALIKIŠKŲ BAŽNYČIŲ ARCHITEKTŪROJE TYRIMAS." Mokslas – Lietuvos ateitis 6, no. 3 (May 22, 2014): 234–44. http://dx.doi.org/10.3846/mla.2014.35.
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Wide-ranging use of glass systems in modern sacral architecture extends the traditional dialogue between indoor and outdoor space and makes architects look for new forms or harmony between the two, at the same time keeping focus on the most important thing – sense of God’s presence and idea of spiritual transcendence. Compositional application of coloristics, light and shadow under the impact of insolation and visual accents created by the play of light and shadow should underline altarpiece in church space creating the necessary balance and arranging priorities in the right order. Aesthetic harmony has a subordinated significance. A picturesque landscape seen through a glass system has only a subordinate importance. Harmony of indoor/outdoor space in sacral architecture is achieved only in those cases when expressing a hierarchy or priority values such as an altarpiece accentuated with the help of light, interior design opening to the sky, picturesque view of nature. In order to reach the maximum result a synthesis of mentioned methods is recommended. Įvairus stiklo sistemų naudojimas modernioje sakralinėje architektūroje praplečia tradicinį dialogą tarp vidaus ir išorės erdvių ir skatina architektus ieškoti naujų interjero bei eksterjero darnos formų, telkiant dėmesį į patį svarbiausią aspektą – Dievo buvimo pojūtį ir dvasinės transcendencijos idėją. Kompozicinis spalvų ir šviesotamsos naudojimas veikiant insoliacijai ir šviesotamsos kuriami vizualiniai akcentai turėtų bažnyčios erdvėje išskirti altorių, siekiant kompozicinio balanso ir tam tikra tvarka formuojant prioritetinę seką. Estetinės darnos reikšmė subordinuota. Vaizdingas kraštovaizdis, matomas pro stiklo sistemas, yra antraeilės svarbos. Sakralinėje architektūroje vidaus ir išorės erdvių darna pasiekiama tik tais atvejais, kai išreiškia hierarchiją ar verčių prioritetus, tokius kaip altoriaus akcentavimas naudojant šviesą, į dangų atsiveriantis interjeras, vaizdinga gamtos apžvalga. Maksimaliam rezultatui pasiekti rekomenduojama minėtų metodų sintezė.
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Dringelis, Liucijus, Evaldas Ramanauskas, Ingrida Povilaitienė, and Justina Mačiukėnaitė. "EXPLORATION AND RESPECTATION OF THE SPATIAL STRUCTURE OF CITIES, TOWNS, TOWNSHIPS AND VILLAGES AS A SIGNIFICANT FORMANT OF THEIR IDENTITY." Journal of Architecture and Urbanism 39, no. 1 (April 14, 2015): 79–100. http://dx.doi.org/10.3846/20297955.2015.1028509.
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Under the conditions of globalization and integration the issue of identity preservation with respect to the spatial structure of the Lithuanian cities, towns, townships and villages has been discussed by many authors. The need to protect the originality and identity of landscape in the countries of the world, their natural and cultural heritage, the spatial structure and architecture of the cities, towns, townships and villages under such complicated circumstances is considered in a number of national and international documents. On the basis of the carried out indoor research and field exploration the paper aims at the discussion of the most significant urbanistic, architectural, landscape and other features that form the specificity and identity of the Lithuanian cities, towns, townships and villages. The following specific features of the settlements have been analysed: the period when a settlement emerged, its visual interaction with the environment (panoramas, silhouettes), natural conditions (terrain line, water bodies, green spaces), plan and spatial structure (street network, building arrangement, squares, green spaces, etc.) and significant buildings (sacred, public and other buildings and constructions). Due to their significance and uniqueness all the mentioned features form the identity of the analysed object. The following objects were selected for the research: all towns (103), townships (249), church villages (301), villages as local administrative centres (97) and ordinary villages with adequate natural and cultural heritage (318), in all 1.068 settlements, or 5% from the total number of the country's settlements (21.043). On the basis of the carried out research, the paper analyses the historical development of Lithuanian cities, towns, townships and villages; the current demographical and urban status of the country's settlement system; defines the principles of settlement selection and identity research methods; discusses the research progress and the results obtained during the exploration of the specificity of the spatial structure of cities, towns, townships and villages. The analysis of the spatial structure of the country's largest cities has also been presented which reveals the violations of their most specific features (e.g. old towns, river valleys, etc.). The paper also offers a comparative analysis of the specificity of Lithuanian cities, towns, townships and villages and adequate types of settlements in foreign countries.
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Chaszczewicz-Rydel, Marta. "Serbska cerkiew w sułtanacie, meczet w Serbii. Przestrzenie sakralne jako miejsca kłopotliwe." Slavia Meridionalis 11 (August 31, 2015): 281–301. http://dx.doi.org/10.11649/sm.2011.017.
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Serbian Orthodox Church under the rule of the sultanate, mosques in Serbia. Sacral spaces as troublesome locationsThe territorial overlapping of the Ottoman Empire and the reaches of the Orthodox Church resulted in the emergence of new, complex phenomena and forms that managed to survive till the present times to a varying extent and by different means. These forms have become a part of the problematic and “difficult” tradition. Mosques and orthodox churches from the Ottoman times can be found among them. The subsequent reigns realised the symbolic impact of these temples on the area of religion, politics and culture. In the Ottoman times, the possibility of construction of new sacral buildings was determined by the then-current relations between the Serbian patriarchy and the caliphate. The fate of these buildings depended on the political situation, dominating imperial projects, cultural politics of the Serbian state and the local religious structure. The connections between temples and the dynamics of the political history of the Balkans is substantial: the temples were torn down and redesigned, the shape and location of orthodox churches relied on decisions by the Ottoman administration and the rules of oriental urbanism. However the mosques bear traces of inspiration with the Byzantine culture. Observing the development of sacral architecture in Niš – at the background of the political and social relations of the Ottoman empire, one is led to believe that orders rooted in external civilisations – the Islamic religion and the Orthodox Church, retained their individuality but at the same time continued to influence each other which is apparent in the wandering architectural patterns.
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Rėbždaitė, Brigita. "CEMETERIES OF THE MANOR RESIDENCIES OF LITHUANIA – ORIGINAL ACCENTS OF THE LANDSCAPE / LIETUVOS DVARŲ SODYBŲ KAPINĖS – SAVITAS KRAŠTOVAIZDŽIO AKCENTAS." Mokslas – Lietuvos ateitis 9, no. 1 (May 9, 2017): 83–91. http://dx.doi.org/10.3846/mla.2017.1002.
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The sacral and memorial architecture of Lithuanian manors is unique part of the heritage of Lithuanian manors. The manor residencies of Lithuania abound in a variety of sacred and memorial objects: churches, chapels, mausoleums, the graveyard of tombstones and other memorials or monuments. The structure of the cemetery consists of the layout of the territory, the markers outlining the boundaries of the cemetery, greenery and the nature of the surface of the land, buildings and other objects. The aim of this research is to describe relationship of the sacral and memorial spaces with their surrounding environment, representative part of manor residencies and to present the spatial structure of the cemetery, outlining markers, greenery and other elements of architectural composition of cemeteries. Lietuvos dvarų sakralinė ir memorialinė architektūra – unikali Lietuvos dvarų paveldo dalis. Lietuvos dvarų sodybose gausu įvairių sakralinių ir memorialinių objektų: bažnyčių, koplyčių, mauzoliejų, kapinaičių bei jose esančių antkapinių paminklų ar kitų memorialinių ženklų. Bendrą kapinių vaizdą formuoja kapinių suplanavimas, ženklai, kuriais apibrėžiamos kapinių teritorijos, apželdinimas ir žemės paviršiaus ypatumai, pastatai ir kiti kapinėse esantys objektai. Straipsnio tikslas – aptarti dvarų sodybose esančių sakralinių memorialinių erdvių (kapinių) santykį su jas supančia aplinka, dvarų sodybų reprezentacine dalimi bei pristatyti kapinių erdvinę ir planinę struktūrą, aptvėrimus, želdynus bei kitus kapinaičių architektūrinę kompoziciją formuojančius akcentus.
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Gojnik, Zorana Sokol. "Space as Symbol in Sacred Architecture. The Problem of Christian Sacred Architecture." Resourceedings 2, no. 3 (November 12, 2019): 136. http://dx.doi.org/10.21625/resourceedings.v2i3.638.
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In contemporary research (theoretical and architectural projects) of Christian sacred architecture it has been observed that there is a lack of understanding of the phenomenon of space as one of the symbols of sacred architecture.The goal of this paper is to point out the importance of observing the space (architecture) as a sacred symbol, because a problem has been recognised, dealing with the lack of fundemantel definition in the interpretation of the sacred space.In this paper, the research will be carried out by a comparative analysis of the religious concepts of the great religions of Hinduism, Buddhism, Judaism, Christianity, and Islam, as well as their materialisation through space.The expected result of the research is to confirm the hypothesis that space, as well as rituals, images, artistic works, etc. in sacred architecture has the role of a symbol. Space has the task of keeping the basic concepts of religions and of being a mediator of the experience of faith.
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Stauskis, Gintaras. "ARCHITECTURAL DEVELOPMENT OF HISTORIC HEALTH CARE INSTITUTIONS IN VILNIUS CITY." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 1 (March 31, 2010): 54–63. http://dx.doi.org/10.3846/tpa.2010.05.
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For centuries health institutions have been the most traditional community-oriented providers of public services. The paper focuses on the initial steps of urban development of health facilities in Vilnius city. Historic health institutions are analysed as a specific prototype of what is understood today as a “hospital”. In the paper special attention is drawn to the process of emerging of “a hospital” as an independent public institution, its connections to other public buildings, its urban integrity with adjusting and surrounding development as well as its architectural importance for Vilnius city. Having emerged as a consistent part of religious and sacral complexes, health institutions (špitolės – in Lithuanian) occupied a part of space in traditional convents, located throughout Vilnius Old Town. In early years (around the 15th–16th c) health and treatment spaces were based in ordinary rooms of convents and monasteries. Later in the 17th-18th c they were transferred to specially designated blocks and houses within a convent territory and occupied a major part of spaces there. In the late 18th – 18th c health facilities gradually were disconnected from convents and churches to separate building complexes and finally became completely a new and independent type of public institutions. During the historical periods of development health complexes changed their functional layout and so their planning from initial missions of “separation” and “isolation” to “care” and developed finally to “healing” and “cure”. Analysis of selected cases in Vilnius Old Town reveals that as long as changes in urban location of health complexes took place, it was followed by their functional evolution. Making an integral part in numerous sacral complexes, usually consisting of a church, convent, healing centre, garden and cemetery, health institutions were a part of important “architectural hills” that are clearly notable as vertical and spatial landmarks in the surrounding townscape of Vilnius city. Artistic spatial arrangement and architectural expression are the other specific traits that distinguish health complexes – hospitals – in the context of surrounding development. Health complexes have always played the most important public role in Vilnius city as centres of social aid, community life, religion, culture and health services for local neighbourhoods. Research on the development of health institutions in historical run is a strong foundation to build up the perspectives for architectural and municipal policies for the future of these complexes. The issue gains special importance in the recent situation of essential transformation of the public health care system in Lithuania and in Vilnius city. Santrauka Straipsnyje pateikiama sveikatos priežiūros įstaigų – šiandienos ligoninių prototipo – urbanistinės raidos analizė istoriniu rakursu. Atskleidžiama pirmųjų sveikatos priežiūros objektų – gydyklų – raidos chronologija išryškina jų ryšius su kitais visuomeniniais kompleksais, jungtis su gretimu ir aplinkiniu miesto apstatymu, taip pat architektūrinę svarbą Vilniaus miestui. Atsiradę po Vilniaus senamiestį pasklidusiuose vienuolynų pastatuose nuo XV a., sveikatos priežiūros objektai pradžioje užėmė dalį jų gyvenamųjų patalpų. Vėliau XVI-XVII a. gydymo paslaugos buvo tolydžio perkeliamos į atskirus vienuolynų pastatus ar jų priskirtas dalis, kur užėmė didžiąją dalį patalpų. XVIII–XIX a. sveikatos priežiūros pastatai palaipsniui prarado glaudų rysį su sakraliniais pastatais, atsiskyrė nuo jų ir tapo nauju viešųjų paslaugų pastato – ligoninės – tipu. Per raidos šimtmečius sveikatos priežiūros ir gydymo pastatai įgavo savo unikalią funkcinę ir erdvinę struktūrą pagal teikiamas paslaugas, kurias pradžioje sudarė atskyrimas, globa bei priežiūra, vėliau – gydymas ir sveikatos priežiūra. Atliktas tyrimas rodo, kad sveikatos priežiūros gydymo pastatams atsiskiriant nuo vienuolynų, keitėsi ir jų funkcinė struktūra. Būdami dalimi sakralinių kompleksų, kuriuos dažniausiai sudarė bažnyčia, vienuolynas, gydykla, sodas ar parkas bei kapinės, gydymui naudojami vienuolynų pastatai išsiskyrė Vilniaus siluetuose ir panoramose – jie buvo raiškių „architektūrinių kalvų“ dalimi. Šių pastatų grupių išraišką lėmė jų ypatinga erdvinė kompozicija bei architektūrinė raiška. Sveikatos priežiūros ir gydymo pastatai per visus laikus išlaikė itin glaudžius ryšius su vietos bendruomenėmis, teikdami joms socialinę pagalbą ir sveikatos priežiūrą, būdami religijos ir kultūros centrai. Šių pastatų kompleksų istorinės raidos tyrimas yra tvirtas pagrindas, skirtas paremti šių kompleksų architektūrinės tvarkybos ir municipalinės politikos principams. Šis klausimas yra ypač aktualus šiandieną, kai pradedama radikaliai pertvarkyti sveikatos priežiūros sistemą Lietuvoje ir Vilniaus mieste.
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M., Khokhon. "DEFENSE BUILDINGS OF BERNARDIN’S ORDER MONASTERIES OF WESTERN UKRAINE IN XVII-XVIII CENTURIES." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 212–20. http://dx.doi.org/10.23939/sa2020.02.212.
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Reliable fortifications were the key to the stable functioning of the castle, city or monastery on the territory of Western Ukraine in the XVII-XVIII centuries. Monastic complexes dominated actively in the space of settlements or landscape. Bernardin Order monasteries were one of the most numerous among the orders of the Western rite. Nowadays there often arises the question of determining the historical boundaries of objects and the original architectural and compositional integrity of monastic complexes during the development of urban planning documentation and restoration projects. Bernardin Order monasteries were actively studied by Ukrainian and Polish scientists, such as V. Vuytsyk, O. Boyko, I. Somochkin, A. Bethley, M. Kurzey, E. Kvetsinska. Research focuses mostly on the sacred elements of the complexes and describes the historical and architectural aspects of the monuments. The fortifications were partially inspected or not mentioned at all. The purpose of the article is to collect, systematize and reveal new facts of functioning and formation history of the defensive structures of Bernardine Order monasteries in Western Ukraine. Also the the purpose is to determine the location, dimensions, architectural and planning features of the fortifications of monasteries. In the studied period, we can identify about 50 defense complexes of various orders of the Western Rite, located in or outside the downtown. Bernardine Order monasteries are among the most common and are represented in in Berezhany, Husiatyn, Dubno, Zbarazh, Izyaslav, Lviv, Leshniv, Sokal and Khrystynopil. The Order of Bernardines is a branch of the Franciscan order, which was formed in the XII century. The Order of Bernardines appeared in the territory of the Polish-Lithuanian Commonwealth and Western Ukraine in the middle of the 15th century. As a result of the study of nine monasteries of the Bernardine Order, it was found that the architecture of the Order is clearly traced in the construction of its own fortifications. The article identifies the influence of the urban planning factor on the configuration and dimensions of the defense lines of objects. The Bernardines owned some of the most powerful defensive monasteries in Western Ukraine: in Sokal, Izyaslav and Lviv. The monasteries of this order were mostly located in downtown. Three of them, namely in Berezhany, Dubno, Leshniv, were located in the corners of downtown near the gates. The monasteries in Lviv, Husiatyn and Khrystynopil, which were blocked to the corner of the city defensive walls from the outside allocated to a separate type. Monastery in Zbarazh was located in the middle of the defense line near the gate and had its own defense walls. At this stage, the study revealed one defensive monastery church - in Leshnev. The monasteries in Dubno and Brzezany were defended by powerful city fortifications. The fortifications of the monasteries in Lviv and Sokal should be singled out. The monastery in Lviv, due to the status of the city and responsibility, was committed to active defense, which explains the presence of a three-tiered tower, strong walls with a loophole and a ravelin at the entrance. The monastery in Sokal was an outpost of the territory and a powerful center of pilgrimage that resulted into its economical wealth. It was found that the Bernardine complexes used mostly newer forms of protection - bastions and ramparts.