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Journal articles on the topic 'Pavilion sculpture'
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Grzegorz, Biliński, and Duzel-Bilińska Alicja. "NIe tylko Dama z Łasiczką/Not just a Lady with a weasel." Wiadomości ASP 85 (May 17, 2020): 116–21. https://doi.org/10.5281/zenodo.3831100.
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The article talks about the cooperation of artists from the Academy of Fine Arts in Krakow with scientists from the AGH University of Science and Technology about the renovation of the SENSTER cybernetic sculpture, whose author was Edward Ihnatowicz, a London sculptor of Polish origin. Senster, one of the most important and first cybernetic sculptures, was created in 1966-1968. It was exhibited until the 1970s in the Philips pavilion, specially build in Eidhoven, the Netherlands. She disappeared after this period. It was found on the Dutch coast, imported to Poland in 2017 and renovated in 2017-2019. The electronic system that moves the sculpture has been entirely built based on new electronic technologies. In May 2019 re: Senster was shown at the exhibition at the WRO-2019 festival in Wrocław / Poland /
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Yan, Lifang. "Study on the Thin Flesh Sculptures of Northern Zhou Dynasty in Maijishan Grottoes." Highlights in Art and Design 4, no. 2 (2023): 71–75. http://dx.doi.org/10.54097/hiaad.v4i2.13204.
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The thin flesh sculpture of the Flying Sky mural in the Seven Buddha Pavilion of the fourth cave of Maijishan was created in the Northern Zhou Dynasty, which is the product of the fusion of Buddhist art and traditional Chinese culture. Among them, the mural uses the method of combining painting and sculpture, which is rare and novel, which not only fully reflects the intelligence and extraordinary creativity of ancient artists in China, but also has high artistic value for Buddhist sculpture art in China. Taking "thin meat sculpture" as the research object, this paper analyzes and elaborates on the historical development of Northern Zhou statues, the overview of thin meat sculpture murals, their characteristics and artistic achievements, explores the relationship between the artistic techniques of painting and sculpture and Chinese sculpture and murals, and studies the significance of thin meat sculpture in the development of Chinese Buddhist sculpture and mural art.
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Usherwood, Paul. "Victor Pasmore’s Peterlee Pavilion and the ‘publicness’ of public sculpture." Sculpture Journal 8, no. 1 (2002): 62–72. http://dx.doi.org/10.3828/sj.2002.8.1.7.
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Kim, Hyeon-Suk. "Reflection and Immaterial Emptiness in Dan Graham’s Pavilion / Sculpture series." Journal of Research in Art Education 19, no. 3 (2018): 17–32. http://dx.doi.org/10.20977/kkosea.2018.19.3.17.
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Grafe, Christoph. "Patio and Pavilion – The Place of Sculpture in Modern Architecture." Journal of Architecture 14, no. 1 (2009): 156–60. http://dx.doi.org/10.1080/13602360802705262.
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María, del Rosario Lozano González. "Juegos de construcción. Recorriendo la Escultura-pabellón de la Bahnhofstrasse de Max Bill = Building games. A walk in Max Bill's Pavilion-Sculpture on the Bahnhofstrasse." rita_ Revista Indexada de Textos Académicos, no. 17 (May 31, 2022): 82–99. https://doi.org/10.24192/2386-7027(2022)(v17)(06).
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El artículo propone estudiar de manera crítica la Escultura-Pabellón construida por Max Bill en la ciudad de Zúrich en el año 1983. El objetivo de la investigación es confirmar que todas las decisiones que Max Bill toma durante la elaboración del proyecto sirven para que este elemento, a priori escultórico, se convierta en una propuesta arquitectónica. El artículo se desarrolla sobre la base de la documentación original, la reelaboración de nuevos planos y una bibliografía exhaustiva. El texto se estructura en cuatro apartados: en el primero, se reflexiona sobre la utilización de las matemáticas y la geometría para generar el proyecto; en el segundo, se analiza la construcción del proyecto; en el tercero, se estudian las reglas del sistema y las variaciones del mismo que llevan a entenderlo como parte de un conjunto escultórico; finalmente, en el cuarto y último apartado, se estudia la relación que se establece entre la Escultura-pabellón y la Nueva simplicidad arquitectónica desarrollada en Suiza en esa misma época. La comparativa es clave para entender la hipótesis de partida: la Escultura-pabellón de la Bahnhofstrasse de Zúrich no es solo una escultura si no que se transforma, en base a la mecánica operativa de Max Bill, en arquitectura habitada. = <em>The article analyzes the Pavilion sculture that the architect Max Bill built in Zurich in 1983. The objective of the research is to confirm that all the decisions that Max Bill makes during the elaboration of the design serve so that this element, a priori sculptural, becomes an architectural proposal. The article is developed on the basis of the original documentation, the reworking of new plans and an exhaustive bibliography. The text is divided into four sections: the first reflects on the use of mathematics and geometry to generate the project; in the second, the construction of a project that never materialized is analyzed; in the trith, the rules of the system and its possible variations are studied; finally, in the fourth and final section, it is studied the relationship between the Pavilion sculpture and the New Architectural Simplicity, that was born in Zurich at thar time. This comparison is fundamental to verify the starting hypothesis: the Pavilion sculture is not only a sculpture but it is transformed, thanks to the work of Max Bill , in an inhabited architecture.</em>
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Emma, López-Bahut. "El viaje de Jorge Oteiza a la Exposición Universal de Bruselas de 1958: de la crítica al proyecto arquitectónico = Jorge Oteiza's trip to the 1958 Universal Exposition in Brussels." rita_ Revista Indexada de Textos Académicos, no. 3 (May 6, 2015): 126–33. https://doi.org/10.24192/2386-7027(2015)(v3)(09).
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La reconstrucción del viaje del escultor Jorge Oteiza desde Irún hasta la Exposición Universal de Bruselas (Bélgica, 1958) permite establecer qué arquitectura visitó, gracias al material documental conservado en su archivo. El objetivo es determinar la influencia de estas experiencias arquitectónicas en sus ideas y proyectos. En la Exposición reconoce en el Pabellón de Finlandia, obra de Reima Pietilä, el modo de integración del arte y de la arquitectura que él defiende; pero rechaza pabellones basados en alardes estructurales (pabellón francés), aquellos que se apoyan en una trasparencia total (pabellón alemán) o los montajes artísticos que impliquen luces, sonidos y movimiento. Se establece la influencia directa del Pabellón de Austria, obra de Karl Schwanzer, en el proyecto arquitectónico que estaba desarrollando en ese momento, junto con el arquitecto Roberto Puig, para el Monumento a Batlle en Montevideo. De este modo, se constata la conexión de Oteiza con la arquitectura durante los años cincuenta, no solo como colaborador, sino como creador, puesto que desarrolla procesos creativos, tanto escultóricos como arquitectónicos, que parten de cuestiones y referencias arquitectónicas descubiertas en su viaje a la Expo’58 de Bruselas. The recreation of the trip made by the sculptor Jorge Oteiza from Irún to the Brussels Universal Exposition (Belgium, 1958) makes it possible to know the architecture he visited, which are listed in the documentary material available in his archive. The aim is to determine the influence that those architectonical experiences represented in his thinkings and projects. The way of integrating art and architecture that Oteiza defends, pointing out the example of the Pavilion of Finland by Reima Pietilä; but he rejects pavilions based on boastful structures (French pavilion) or those built on the idea of total transparency (German pavilion), as well as the artistic montages shown on the basis of lights, sounds and movement. It is also established the direct influence that the Pavilion of Austria, by Karl Schwanzer, had on the architectonical project he was developing at that time with the architect Roberto Puig for the Monument to Batlle in Montevideo. By this, it is confirmed the existing link between Oteiza and the architecture during the 50’s, not only as a collaborator but as a creator since he developed creative sculptural and architectural projects based on those issues and architectonic references discovered in his trip to the Expo’58.
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Quien, Enes. "Najraniji i rani radovi kipara Rudolfa Valdeca." Ars Adriatica, no. 3 (January 1, 2013): 193. http://dx.doi.org/10.15291/ars.469.
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The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.
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Hetényi, Zsuzsa. "A magyar Muhina, Moszkva, Párizs és London idővonalán." Kaleidoscope history 11, no. 23 (2021): 290–96. http://dx.doi.org/10.17107/kh.2021.23.290-296.
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Western European exhibitions held to mark the centenary of the Russian Revolution painted a surprisingly positive picture of early revolutionary and later social-realist art, and the 21th-century public welcomed the monumental works. The first part of this study seeks to explain the reasons behind the enthusiastic reception of the Russian avant-garde in Western Europe and Hungary since the 1960s. The second part explores its antecedents in the works of Deineka and Mukhina, the Russian artists presented in the Russian pavilion of the World Exhibition Paris 1937. The final part discusses the striking similarity in aesthetic form and fate of Muhina’s sculpture and the Budapest Naval Monument, both erected the same year 1937.
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Whiting, Cécile. "Philip Johnson." Journal of the Society of Architectural Historians 75, no. 3 (2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.
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In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.
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Kim, Min-A., and Chan Lee. "A Study on Spatial Construction of Tectonic in Russia Constructivism's Sculpture - Focused on the Milan Expo, 2015 Pavilion -." Korean Institute of Interior Design Journal 24, no. 6 (2015): 107–18. http://dx.doi.org/10.14774/jkiid.2015.24.6.107.
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Van Bockhaven, Vicky. "Decolonising the Royal Museum for Central Africa in Belgium's Second Museum Age." Antiquity 93, no. 370 (2019): 1082–87. http://dx.doi.org/10.15184/aqy.2019.83.
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In December 2018, the Royal Museum for Central Africa (RMCA) in Tervuren, Belgium, reopened its doors after a renovation project that started nearly 20 years ago. Founded by the infamous King Leopold II, the RMCA contains cultural and natural history collections from Belgium's former colonies of Congo, Rwanda and Burundi, as well as other parts of Africa and beyond. Today, a new ‘Welcome pavilion’ leads the visitor through a monumental subterranean corridor to the historic building's basement and to an introduction to the history of the collections. The exhibition halls on the ground level have been refurbished, including the old colonial maps painted on the walls, while in the Crocodile Room, the original display has been retained as a reminder of the museum's own history. The largest halls now present displays linked to the scientific disciplines and themes within the museum's research remit (Figure 1): ‘Rituals and Ceremonies’ (anthropology), ‘Languages and Music’ (linguistics and ethnomusicology), ‘Unrivalled art’, ‘Natural History’ (biology), ‘Natural resources’ (biology, geology) and ‘Colonial History and Independence’ (history, political science). Eye-catching developments include: a room featuring some of the statues of a racist style and subject matter, which were formerly exhibited throughout the museum, and are now collected together in a kind of ‘graveyard’ (although this symbolic rejection is not properly explained); a new Afropea room focusing on diaspora history; a section on ‘Propaganda and representation’ (Imagery), a Rumba studio and a Taxolab. In place of racist statues, and occupying a central position in the Rotunda, is a new sculpture by Aimé Mpane named ‘New breath, or burgeoning Congo’. The accompanying label states that this piece “provides a firm answer” to the remaining allegorical colonial sculptures in the Rotunda by “looking at a prosperous future”. Alas, this answer is not as clear as is claimed and its message may be lost on many visitors.
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Udovički-Selb, Danilo. "Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition." Journal of Contemporary History 47, no. 1 (2012): 13–47. http://dx.doi.org/10.1177/0022009411422369.
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Overwhelming the Trocadéro’s majestic esplanade, the Soviet and German pavilions faced each other in a commanding gesture across the central axis of the Paris ‘Exposition des arts et des techniques dans la vie moderne’ – the last French World’s Expo in the twentieth century. More often than not, the two pavilions have been dismissed in architectural terms as having merely ‘competed in archeological rhetoric’. In this article I argue, with a primary focus on the Soviet Pavilion, that far from displaying such reductive and unambiguous architectural qualities, each pavilion offered, in two very different ways, a complex response to the challenges of an exhibition dedicated to ‘modern life’. The two instrumentalized for their own political purposes both modernity and historicism. From two radically different ideological starting points, the pavilions exploited some significant aspects of the defunct avant-gardes, while reaching out, in different degrees, for stabilizing references to classicism. Frank Lloyd Wright’s unwavering admiration for the Soviet Pavilion, the main topic of this article, resonates with the astonishing discovery of white Suprematist ‘Arkhitektoni’ by Malevich’s disciple, sculptor Nikolaj Suetin gracing the interior of the Soviet Pavilion. The legacy raises the question of thus far unsuspected survival of the architectural avant-garde deep into the years of Stalin’s totalitarian terror.
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Kim, Hyon-Sob. "Representing Korean architecture in the modern West: two Korean Pavilions from 1960s international expositions." Architectural Research Quarterly 21, no. 2 (2017): 155–70. http://dx.doi.org/10.1017/s1359135517000288.
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The Korean Pavilions for the 1964 New York World's Fair and the 1967 Montreal International Exposition were designed by Chung-Up Kim (1922-88) and Swoo-Geun Kim (1931-86) respectively, two pioneers of modern architecture in Korea. Both pavilions’ designs raise a widespread architectural question about the modern representation of tradition. In contrast to earlier pavilions in Chicago (1893) and Paris (1900) that replicated poorly supposedly ‘authentic’ Korean architecture, these 1960s entries modernised traditional architecture from their architect's creative viewpoint. While Chung-Up Kim noted the formal qualities of the Korean sloped roof, especially its curvilinearity, Swoo-Geun Kim emphasised the traditional timber structure underneath the roof, exaggerating its horizontal layers. In other words, the former's pavilion was more expressive and sculptural, which reflected the architect's Corbusian and even Aaltoesque tendencies. Conversely, the latter pavilion was more logical and systematic. However, Swoo-Geun Kim's interpretation of tradition was also ultimately about the form, though he soon became more interested in space. With regard to the form, the two Kims shared the fundamental idea that the past must not be imitated as it was, but re-created in a modern sense. This underlying argument is reflected in the contemporary ‘debate on tradition’ ignited by the design competition for the National Museum of Korea in 1966. It also relates to to the ‘Japanese-Style Scandal’ of 1967 in which Swoo-Geun Kim suffered for his design of the Buyeo National Museum, 1965-68, due to the inclusion of Japanese nuances in the design of the Montreal Pavilion. Swoo-Geun Kim's later high-tech style pavilion for the 1970 Osaka Expo, alongside recent projects by Minsuk Cho in Yeosu (2010) and Venice (2014) has more recently suggested alternative ways to represent Korea in architecture. Therefore, these two pavilions from the 1960s can be understood as unique inflection points in Korean architectural history.
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Vu, Anh Viet, Thi Ai Thuy Pham, and Tu Pham. "Pop-up landscape architecture in Ho Chi Minh City: Cases of creating livable city for all." MATEC Web of Conferences 193 (2018): 04002. http://dx.doi.org/10.1051/matecconf/201819304002.
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The pop-up architecture (or landscape architecture) becomes popular nowadays. Some highlights include annual architecture program such as the Serpentine Gallery Pavilion at Hyde Park, London; MPavilion in Melbourne; MoMA PS1 and Heart Sculpture in New York. Many of these pop-up architectural works have been designed by world renowned architects, such as Zaha Hadid, Rem Koolhaas, Hezorg and de Meuron, Jean Nouvel, Toyo Ito, SANAA, Shigeru Ban, BIG, etc. And many of these designs reflect innovative thinking that changes the professional world of architectural design. But above all, these pop-up architectures were created in responsive manner to the urban community and the community controversially has good response to this type of architecture. In the other words, pop-up architecture is the way the architects touch the heartbeat of the cities, make them livable for all. Ho Chi Minh City has its own types of pop-up landscape architecture, whereas this paper intends to explore in two case studies: Nguyen Hue Floral Boulevard and Nguyen Van Binh Book Street. Nguyen Hue Floral Street is celebrating now its twelfth birthday in the city. Nguyen Van Binh Book Street has just passed its first anniversary in 2017. Both cases live its own story behind the scene about how livable a city could be through place-making by architecture and landscape design. Throughout these cases, we would like to find out how this type of pop-up landscape architecture being realized and become popular in Ho Chi Minh City, and how it is devoted to a livable city for all.
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Srhoj, Vinko. "Ivan Meštrović i politika kao prostor ahistorijskog idealizma." Ars Adriatica, no. 4 (January 1, 2014): 369. http://dx.doi.org/10.15291/ars.509.
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Meštrović’s political activity, reflected in his sculpture and architecture, was closely tied to the idea of a political union of the South Slavs which culminated on the eve of and during the First World War. As a political idealist and a person who always emphasized that he was first and foremost an artist, Meštrović had no inclination for classic political activism which meant that he was not interested in belonging to any contemporary political faction. Since his political activism was not tied to a specific political party and since, unlike the politicians with whom he socialized, he did not have a prior political life, Meštrović cannot be defined either as a supporter Ante Starčević and an HSS man, or as a unionist Yugoslav and royalist. He was passionate about politics, especially during the time when the idea about a single South Slavic state took centre stage in politics, and he actively promoted this idea through his contacts with politicians, kings, cultural workers, and artists. He never acted as a classic politician or a political negotiator on behalf of a political party but as an artist who used his numerous local, regional and international acquaintances for the promotion of a political interest, that is, of a universal political platform of the entire Croatian nation as part of a Slavic ethno-political framework. Even within the political organization he himself founded, the Yugoslav Committee, Meštrović did not present a developed political manifesto but, being an artist and an intellectual, ‘encouraged the ideology behind the idea of unification through his activism and especially through his works’ (N. Machiedo Mladinić). The very fact that he was not a professional politician enabled him to ‘learn directly about some of the intentions of the political decision makers at informal occasions he attended as a distinguished artist, particularly in those situations when a direct involvement of political figures would have been impossible due to diplomatic concerns’ (D. Hammer Tomić). For example, he was the first to learn from the report of the French ambassador to Italy Camillo Barrera that Italy would be rewarded for joining the Entente forces by territorial expansion in Dalmatia. Equally known is Meštrović’s attitude towards the name of the committee because, unlike Trumbić and Supilo, he did not hesitate to use the word ‘Yugoslav’ in the name. He believed that a joint Yugoslav platform would render Croatian interests stronger in the international arena and that this would not happen had the committee featured ‘Croatian’ in its name and even less so if it started acting under the name of wider Serbia as Pašić suggested. Meštrović’s political disappointment in the idea of Yugoslavia went hand in hand with the distancing of Croatian and Serbian politics which followed the political unification. The increasing rift between him and the Yugoslav idea was becoming more and more obvious after the assassinations of Stjepan Radić and Aleksandar Karađorđević between the two Wars. His reserve towards the Republic of Yugoslavia, augmented by his political hatred of communism, was such that Meštrović never seriously considered going back to his native country and after his death, he did not leave his art works to the state but to the Croatian people. This article focuses on the most politicized phase in Meštrović’s work when he even changed the titles of the art works between displays at two different exhibitions: the works that bore the neutral names, such as ‘a shrine’, ‘a girl’, or ‘a hero’, at the 1910 exhibition of the Secession Group in Vienna were given the names of the heroes of the Battle of Kosovo the very next year and displayed as such in the pavilion of the Kingdom of Serbia at the exhibition in Rome. Special attention was given to the idea of the Vidovdan shrine, a secular temple to the Yugoslav idea, and the so-called Kosovo fragments intended to decorate it. The heightened controversy surrounds the sculpture and architectural projects Meštrović created during the period in which his political activism in the Yugoslav political and cultural arena was at its peak and he himself did not hide the intention to contribute to the political programme with his art works. This is why critical remarks which were expressed against or in favour of Meštrović’s sculpture during the early twentieth century are inseparable from the contrasting opinions about the political ideas from the turbulent time surrounding the First World War, and all of this, being a consequence of Meštrović’s political engagement, pulled him as a person into the political arena of the Croatian, Serbian and Yugoslav cause. The closest connection between Meštrović’s sculpture, architecture and politics occurred during his work on the Vidovdan shrine and the so-called Kosovo fragments. At the same time, there was a marked difference between Meštrović’s architecture which is eclectic and referential in its style and bears no political message, and sculpture which strongly personified the political programme based on the Battle of Kosovo and expressed in monumental athletic figures. Meštrović opposed the desire of the political establishment to depict his figures in national costumes so that they may witness ‘historical truth’ and, instead, continued with his idea of universal values and not historical and political particularism. Believing that only the passage of time could assess the historical protagonists best, he deemed that some of them would vanish while the others would remain, ‘so to speak, naked’ and acquire ‘supernatural dimensions’ (I.Meštrović). By depicting his figures as having torsos stripped of any sign of national identity, Meštrović wanted to provide them with a ‘general human meaning and not a specific one of this or that tribe’ (I.Meštrović). Aside from the Vidovdan Shrine and the Kosovo Fragments, the article discusses a number of other works onto which Meštrović grafted a political programme such as the Mausoleum of Njegoš on Mount Lovćen, the funerary chapel of Our Lady of the Angels at Cavtat, the equestrian reliefs of King Petar Karađorđević and ban Petar Berislavić, and the sculptures of the Indians at Chicago as ‘ahistorical’ pinnacles of his monumental Art Deco sculpture. The article argues that, based on the consideration of Meštrović’s ‘political’ sculpture, it can be said that the best achievements are found in the works in which political agendas and historical evocations (for example the caryatids, kings and bans, and even the portraits of Nikola Tesla and Ruđer Bošković) gave way to the naked ahistorical physis of a number of Kosovo heroes, female allegorical figures and, most of all, the pinnacle of the Art Deco equestrian sculptures of the Chicago Indians. What matters in the Chicago statues is the contraction of the muscles which accompany the movements of the Bowman and the Spearman and not the type of their weapons which are absent anyway, because this feature indicates that Meštrović focused on what he was best at: the naked human body relieved of the burden of costume, signs of civilization, and the pomp of political, ideological and historical attributes. This is why the politics of Meštrović’s sculpture is at its strongest when it is at its most general or, in other words, when it embodies an ideal and not a political pragmatism or a specific historical reality.
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Ilkosz, Jerzy, Ryszard Wójtowicz, and Jadwiga Urbanik. "New Form, New Material and Color Scheme, the Exposed Concrete Phenomenon—The Centennial Hall in Wrocław." Arts 11, no. 1 (2022): 17. http://dx.doi.org/10.3390/arts11010017.
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The aim of the article is to present the remarkable changes in architecture that took place in the 20th century. They can easily be called a revolution regarding the architectural form and the color scheme. Progress was being made through the development of reinforced concrete production methods. In the German Empire (Deutsches Kaiserreich), this material quickly found applications in more and more interesting solutions in architectural structures. In Wrocław (formerly Breslau), then located in the eastern German Empire, exceptional architectural works were realized before and after the First World War using new technology. In 1913, an unusual building was erected—the Centennial Hall, designed by Max Berg (inscribed on the UNESCO World Heritage List in 2006). Berg’s work was inspired by the works of both Hans Poelzig and Bruno Taut. On the one hand, it was a delight with the new material (the Upper Silesian Tower at the exhibition in Poznań, designed by H. Poelzig) and, on the other hand, with the colorful architecture of light and glass by B. Taut (a glass pavilion at the Werkbund exhibition in Cologne). Max Berg left the concrete in an almost “pure” form, not hiding the texture of the formwork under the plaster layer. However, stratigraphic studies of paint coatings and archival inquiries reveal a new face of this building. The research was carried out as part of the CMP (Conservation Management Plan—prepared by the authors of the article, among others) grant from The Getty Foundation Keeping It Modern program. According to the source materials, the architect intended to leave the exposed concrete outside of the building, while the interior was to be decorated with painting, stained glass, and sculpture. The stratigraphic tests showed that the external walls were covered with a translucent yellowish color coating. Thus, the Centennial Hall shows a different face of reinforced concrete architecture.
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Maingon, Claire. "Un point sur la sculpture : Le Corbusier scénographe de la sculpture moderne ?" LC. Revue de recherches sur Le Corbusier, no. 11 (May 29, 2025): 56–73. https://doi.org/10.4995/lc.2025.22932.
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La sculpture a joué un rôle notable dans la pensée architecturale de Le Corbusier mais l’a aussi intéressé au titre d’artiste et de collectionneur. Dans cet article, nous proposons d’ouvrir quelques pistes de réflexion concernant l’intérêt que Le Corbusier a porté à la mise en valeur de la sculpture dans certains pavillons d’exposition de sa conception, dans quelques intérieurs et jardins de collectionneurs, mais aussi dans ses projets de musées. L’architecte n’est pas indifférent à la relation entretenue par la sculpture et l’espace, à la nature des socles, pas plus qu’il ne délaisse les notions de points de vue et de dialogue entre l’art et le visiteur. Le Corbusier a souvent choisi d’exposer des sculpteurs particulières, cubistes et puristes (en particulier des œuvres de Jacques Lipchitz, Henri Laurens et bien sûr ses propres créations à partir des années 1940), les plaçant d’une manière non-conventionnelle dans l’espace domestique, par exemple au coin d’un mur et en hauteur, en rupture avec les usages bourgeois mais aussi avec les habitudes des architectes et ensembliers de la période dite Art Déco.
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Martin, Benjamin G., and Elisabeth Marie Piller. "Cultural Diplomacy and Europe's Twenty Years’ Crisis, 1919–1939: Introduction." Contemporary European History 30, no. 2 (2021): 149–63. http://dx.doi.org/10.1017/s096077732000065x.
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Photographs of the German and Soviet pavilions facing off at the Paris International Exposition in 1937 offer an iconic image of the interwar period, and with good reason. This image captures the interwar period's great conflict of ideologies, the international interconnectedness of the age and the aestheticisation of political and ideological conflict in the age of mass media and mass spectacle. [Figure 1] Last but not least, it captures the importance in the 1930s of what we now call cultural diplomacy. Both pavilions – Germany's, in Albert Speer's neo-classical tower bloc crowned with a giant swastika, and the Soviet Union's, housed in Boris Iofan's forward-thrusting structure topped by Vera Mukhina's monumental sculptural group – represented the outcome of a large-scale collaboration between political leaders and architects, artists, intellectuals and graphic and industrial designers seeking to present their country to foreign visitors in a manner designed to advance the country's interests in the international arena. Each pavilion, that is, made an outreach that was diplomatic – in the sense that it sought to mediate between distinct polities – using means that were cultural – in the sense that they deployed refined aesthetic practices (like the arts and architecture) and in the sense that they highlighted the distinctive features, or ‘culture’, of a particular group (like the German nation or the Soviet state).
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Duangkhachon, Kriangkrai. "Dan Kwian clay doll designing from Korat folksong identity for Adding value to the product of cultural tourism." Asian Creative Architecture, Art and Design 37, no. 1 (2024): 1–21. http://dx.doi.org/10.55003/acaad.2024.270192.
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This research developed the design of Dan Kwian clay doll souvenir products from the identity of Korat Folksong, to add value to product which promote creative cultural tourism. The objectives of the research are 1) study the identity from Korat Folksong to create a small sculpture and creating prototypes from 3D Printing 2) Experimenting with Dan Kwian clay in order to create Dan Kwain clay doll and glazing to develop souvenir products. 3) To design packaging to convey contemporary Korat Folksong which promote cultural tourism. The research found that 1) The identity of Korat Folksong. Men's clothing is popular in wearing loincloths. Wear a round neck, short-sleeved shirt, no color limit, with a loincloth on the belly. Women wear loincloths and wear tight, collarless shirts with short sleeves. It is popular to wear brightly colored cloth. And the dance poses that express the identity of Korat Folksong are 1. Oh Ram Ro pose, 2. Chang Thiam Mae pose, and 3. Jok pose. By taking photo of the original Korat's Folksong performers. Then, draw it into a 3D image with computer program thereafter prototypes were printed with 3D printer reduced sizes to be used in the of making of plaster mold for casting the workpiece. 2) Experimenting with using triangular table to find ratios for all 36 slip formulas. It was found that clay formula 14 was suitable for casting the workpiece quickly and without cracking, with a ratio of 40% Dan Kwian clay, 40% Lampang kaolin clay, and 20% silica, chosen as the slip casting formula for creating the souvenir products and fined at 900 °C, then decorated with colored the glaze derived from the clothing of Korat Folksong performers. By applying glaze 1,100 °C, the workpiece shrinks by 12%. 3) The packaging is designed after the Korat music house, which is a pavilion raised under 4 pillars. When the pieces are packed in a box, it's like a musician singing and dancing in the music theater, and the Korat song is conveyed in the packaging design with fun rhythm content that attract tourists to Nakhon Ratchasima province. The song was composed by Mr. Kampan Nithiworapaiboon. The national artist. It is a souvenir product from Dan Kwian pottery to convey knowledge about the folk art of Korat songs to promote cultural tourism.
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Zhang, Yong. "Analysis of Villa Landscape Design." Advanced Materials Research 1065-1069 (December 2014): 2862–65. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2862.
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This article from the villa garden and rockery, pavilion, flower racks, small sculptures and other point of view on some issues in the villa landscape design are discussed. The landscape design of villa has carried on the analysis, proposed the design ideas.
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Sorensen, Henrik H. "The Buddhist Sculptures at Feixian Pavilion in Pujiang, Sichuan." Artibus Asiae 58, no. 1/2 (1998): 33. http://dx.doi.org/10.2307/3249994.
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Tkachenko, Sergei B. "Formation concepts of the unrealised urban architectural and artistic ensembles on the example of the “Worker and Kolkoz Woman” pavilion." Journal «Izvestiya vuzov. Investitsiyi. Stroyitelstvo. Nedvizhimost»N 10, no. 2 (2020): 312–35. http://dx.doi.org/10.21285/2227-2917-2020-2-312-335.
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The object of the study consists of the architectural and artistic ensemble of the “Worker and Kolkoz Woman” pavilion created for the Paris International Exhibition in 1937 by architect B.M. Iofan and sculptor V.I. Mukhina as a part of a grandiose architectural idea declaring the aspiration for the future Soviet state and a sacred symbol of communist ideology. The study reveals that the monument was aimed at carrying a more substantial ideological message than just an architectural structure. The study of the sites proposed for the installation of sculptures for prominent figures in politics, science and art, monuments perpetuating the memorable events of Russian history and mankind shows that they constitute an important historical response to the demands by authorities at various levels for artistic solutions to contemporaneous socio-political problems. The subject of the study included the motivating factors in the selection of placement sites for the outstanding work of B.M. Iofan and V.I. Mukhina in the capital city. The article considers the scientific approach to the selection of sites for the placement of significant urban monuments on the basis of historical, cultural and architectural studies following the vector of spatial planning laid down in the General Plan for the Development of the City. The study combines general scientific methods of research (analysis, synthesis) with a number of specialised methods, such as system-structural, formal-logical, graphical virtual reconstruc-tion, complex research and others. Methodological approaches for studying the consequences of non-implementation of urban planning concepts and projects were developed. The result of the research is pre-sented by the proprietary development of approaches to adequate methods for determining the potential im-pact of major unimplemented urban planning projects on the formation of the capital of Russia on the exam-ple of the “Worker and Kolkoz Woman” pavilion.
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Gentili, François. "Les sculptures du pavillon de l’Urss à l’Exposition de 1937." Les nouvelles de l'archéologie, no. 134 (December 30, 2013): 12–19. http://dx.doi.org/10.4000/nda.2226.
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Ouzounian, Gascia. "Visualizing Acoustic Space." Circuit 17, no. 3 (2008): 45–56. http://dx.doi.org/10.7202/017589ar.
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Abstract This article explores concepts of acoustic space in postwar media studies, architecture, and spatial music composition. A common link between these areas was the characterization of acoustic space as indeterminate, chaotic, and sensual, a category defined in opposition to a definite, ordered, and rationalized visual space. These conceptual polarities were vividly evoked in an iconic sound-and-light installation, the Philips Pavilion at the 1958 Brussels World Fair. Designed by Le Corbusier, the Philips Pavilion also featured a black-and-white film, color projections, hanging sculptures, and Edgard Varèse’s Poème électronique, a spatial composition distributed over hundreds of loudspeakers and multiple sound routes. Typically remembered as a sequence of abstract sound geometries, the author argues that Poème électronique was instead an allegorical work that told a “story of all humankind.” This narrative was expressed through a series of conceptual binaries that juxtaposed such categories as primitive/enlightened, female/male, racialized/white, and sensual/ rational– contrasts that were framed within the larger dialectic between acoustic and visual space.
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Fredrickson, Laurel Jean. "Gender and Deterritorialized Identity." Nka: Journal of Contemporary African Art 2023, no. 53 (2023): 74–87. http://dx.doi.org/10.1215/10757163-10904090.
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This article explores the immersive audio-visual and sculptural art installations in the 59th Venice Biennale (2022) of three transnational contemporary women artists with familial ties to former colonies and protectorates. The Afro-Caribbean artist Sonia Boyce, MBE, presented Feeling Her Way in the British National Pavilion, for which she won the Golden Lion, the biennale’s highest honor. Zineb Sedira, a Franco-Algerian artist who lives and works in Britain, exhibited Les rêves n’ont pas de titre (Dreams Have No Titles) in the French National pavilion. The Moroccan artist, Latifa Echakhch, who was raised in France and lives in Switzerland, represented Switzerland with Le Concert, a sculptural sound installation. Each of their multidisciplinary installations engages differently with the intersections of race, gender, and ethnicity to challenge cultural stereotypes and erasures—of women artists and histories of liberation struggles. This article introduces early works by each artist as a basis for understanding how their biennale projects are decolonial and feminist in order to argue that the deterritorialized may reterritorialize—create new spaces of enunciation—in and through culture. The Venice Biennale installations of Boyce, Sedira, and Echakhch bring light to intersections of present-day and historical politics and memory by engaging with identity—individual and collective—as constructed, negotiated, and always in flux. Their work is shaped by migration, displacement, refugee status, exile, and the frontier as site of obstruction and passage.
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Malaniuk, Viktoriia. "Modern Tendencies in Architecture on the Example of Pavilions of Serpentine Gallery in London." Demiurge: Ideas, Technologies, Perspectives of Design 2, no. 1 (2019): 28–36. https://doi.org/10.31866/2617-7951.2.1.2019.170354.
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The aim of the research is to analyse basic tendencies in modern architecture on the example of temporal summer pavilions of art-gallery of Serpentine, located in Kensington Gardens, Hyde Park, London, into the creation of which during 2000s–2018s the best-known architects from all over the world were engaged. Research methods. The methods of synthesis, comparison, generalization, and historical approach have been used, as well as a thorough analysis of the project practice and the works of leading theorists in history of architecture. The scientific novelty is in the analysis of modern tendencies in architecture of exhibition pavilions with the discovery of new approaches in the architectural planning, formation, application of new building materials, taking into consideration stylistic transformations and creative handwriting of the author. Conclusions. The retrospective review of eighteen pavilions of Serpentine Gallery in London allows to distinguish a number of tendencies in modern architecture. At first, prominent architects of senior generation, by and large representing the style of deconstructivism, were engaged in creation of pavilions. More recently, a tendency has emerged to invite young avant-garde architects who successfully combine both technological innovations and authentic ethnic patterns in their works. Besides architects, artists, sculptors, landscape designers and engineers take part in a creative process, joining together to create a unique object. There is a notable tendency of transition from internal space into external, and interpretation of building as an object of art. Along with traditional building materials for pavilions such as steel and wooden constructions, fiberglass and polymeric foil are used.
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Ding, Yang, Olena Semykina, Andriy Mykhailenko, Olga Ushakova, and Oleksandr Khliupin. "Modern Chinese and Japanese garden as a symbol of national identity in the context of globalism." Landscape architecture and art 19, no. 19 (2021): 98–106. http://dx.doi.org/10.22616/j.landarchart.2021.19.09.
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The article considers examples of modern gardens and parks with elements of Chinese and Japanese landscape design, analyzes the degree of their similarity with historic gardens. A comparative analysis of historic gardens and modern gardens and parks is carried out in order to prove which elements of traditional oriental landscape design are cited the most. A set of elements that embody national identity in modern Chinese and Japanese gardens is argued. It is shown how, over time, including under the direct influence of multiculturalism and in connection with the typification of pavilions for mass construction, the concentrated national features of eastern gardens were gradually smoothed out. As the most recognizable elements of modern Chinese gardens, pavilions, sculpture, compositions of stones, Japanese gardens – gates-torii, pagodas, compositions of boulders, "dry gardens", landscaping with sakura, coniferous trees, and Japanese maples were identified. Compared to Chinese gardens, in a modern Japanese garden outside of Japan there may be no buildings at all or their number is minimal, and the natural environment itself is more natural. On the contrary, the Chinese garden outside of China showcases the art of landscape design and the craftsmanship of man-made landscape paintings.
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Nashchokina, Maria. "Exoticism of the East at the 1900 Universal Exhibition in Paris and its echoes." проект байкал, no. 82 (December 30, 2024): 60–67. https://doi.org/10.51461/issn.2309-3072/82.2430.
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The article considers how the 1900 Universal Exhibition in Paris influenced the appearance of buildings that used images and forms of ancient monuments of India and South-East Asia. The Exhibition made it possible to learn more about the exotic culture of those countries, including the works of architect A. Marcel (Cambodia Pavilion and Panorama ‘Voyage Around the World’). He designed the Baron Empain Palace in Cairo, which reproduces the forms of temples in India and Cambodia. The article studies Russian examples of the use of such forms (Narzan Carbonic Baths in Kislovodsk), as well as the decoration associated with this exotic trend (reliefs of elephants in a guest house in Samara and their sculptures at Samara merchant K. Golovkin’ summer house).
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Revzina, Yulia. "All’antica life style: private thermae in Italian Renaissance architecture." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (2021): 68–82. http://dx.doi.org/10.36340/2071-6818-2021-17-1-68-82.
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The heritage of antiquity was the basis of Italian Renaissance architecture and inexhaustible source of inspiration for its masters. Among the facilities of par - ticular interest for architects and lovers of the epoch were the Roman thermae. Their parts and elements brought to life a variety of spatial solutions in architecture of tem - ples, villas and cathedrals. However the attempts to lit - erally build the thermae similar to Roman ones in time of Renessaince were rare to encounter. The most detailed description of Renessaince ther - mae was given by Giorgio Vasari in the life story “ On Le - one Leoni Aretino and other sculptors and architects” which involves the brief biography of Galeazzo Aless - si. It narrates, among others, about the thermae built by Galeazzo Alesssi on Grimaldi (later Sauli) villa in Bisagno nearby Genova (the building was not saved). According to Vasari, the thermae were octagonally planned pavilion with the round pool in its centre. The interior was worked in antique style. The article gives an insight into efforts to build the private thermae during Renaissance, prior to Villa Grimaldi’s pavilion, which testifies to customers’ looking to reconstruct all’antica lifestyle in private life particularly on the villa which, following an - cient men of latters was regarded as ‘temple of muses’.
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Turpin, Malcolm, Chris Neighbour, and Rob Baldock. "The Serpentine Sackler Gallery." Structural Engineer 92, no. 6 (2014): 16–25. https://doi.org/10.56330/yzkg5164.
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The Serpentine Sackler Gallery is an exhibition space for the Serpentine Gallery in Kensington Gardens/Hyde Park. The project involved the re-use of The Magazine building – a grade II listed 19th century powder store constructed at the time of the Napoleonic Wars. The Royal Parks were seeking to put the building to cultural use after its military history, and more recent use as a Royal Parks' stores, office and welfare accommodation. The Serpentine Gallery won the competition for potential occupiers with a proposal developed in collaboration with Zaha Hadid Architects (ZHA), and Arup as multi-disciplinary engineer. The project is an interesting mix of sensitive historic refurbishment and adaption to create the main gallery space, and the addition of a contemporary pavilion extension space with a free-form sculptural fabric roof.
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Roman, Mathilde. "On Hijacking LED Walls." Arts 12, no. 3 (2023): 108. http://dx.doi.org/10.3390/arts12030108.
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In recent years, the LED walls originally used in outdoor spaces by advertising companies to extend the consumption of images in our daily life have been appropriated by artists and installed in gallery spaces. When viewed nearby or when walking around them, LED walls become in some way dysfunctional: The images fade, points and color distortions appear, and the spectacle of the machine interruputs our habitual viewing patterns. This article focuses on three recent works which disrupt immersive viewing regimes through what I call “hijacking” advanced LED technology. Lucy Raven (Tucson, AZ, USA), Demolition of a Wall (Album 2), 2022. Eija-Liisa Ahtila (Helsinki, Finland), Potentiality for Love, 2018. Marco Fusinato (Sidney, Australia), Desastres, Australian Pavilion, Venice Biennale, 2022. These three artists use the sculptural and spectacular effect of freestanding LED walls to call attention to our habitual capitalist relation to LED technology. Through performative or narrative pieces, these artists deploy poetic and artistic effects to explore the politics of technological immersion in capitalist societies.
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Dufils, Aur�lia, Fran�ois Gentili, and Marie Vacher. "De Moscou � Baillet-en-France�: le singulier destin des sculptures du pavillon sovi�tique de l�Exposition Universelle de 1937." Aden N�10, no. 1 (2011): 205. http://dx.doi.org/10.3917/aden.010.0205.
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Gentili, François. "Moscow-Paris-Baillet- Moscow: The Sculptures of the USSR Pavilion at the International Exhibition of 1937: Rediscovering a Lost Monument through Preventive Archaeologies." Journal of Contemporary Archaeology 3, no. 1 (2016): 45–76. http://dx.doi.org/10.1558/jca.v3i1.26785.
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Gnatiuk, Liliia, and Hanna Novik. "Metal in the design of public transport stops." MATEC Web of Conferences 170 (2018): 03008. http://dx.doi.org/10.1051/matecconf/201817003008.
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Public transport stops as special architectural forms in the urban environment are reviewed. Based on the analysis of foreign analogues, in accordance with the expressive means, the existing projects of stops are classified into subspecies as artistic, thematic, ecological and futuristic. As a result of the research, the conclusion is made about the influence of certain factors on the formation of pavilions: 1) the need to implement the priority requirements of different level users to the spatial planning structure of the stop complex, such as: transparency, control, protection, safety, accessibility, information, rational use of space, comfort and services; 2) the character of the building; 3) ecology requirements; 4) used structural and decoration materials; 5) national traditions; 6) aesthetic tastes and preferences of citizens and city administration; 7) climate conditions. The use of metal (steel, aluminum,) and constructive principles of collection require corresponding design approaches. It is necessary to find a specific stylistic solution, which, being repeated many times, will create a system of visual accents along the urban transport route. The appropriate design would turn public transport stops into potential accents of the urban environment, the analogues of urban sculpture, which not only fulfil their daily necessary function and contain the most modern electronic means of information and control, but also contribute to the emotional comfort of passengers.
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Kuśnierz-Krupa, Dominika, and Oleksandr Ivashko. "TRANSFORMATION OF BORROWED PHENOMENA: THE BUDDHIST FRESCO IN DUNGHUAN AND THE ARCHITECTURE OF THE MOSQUES OF SHAANXI PROVINCE IN CHINA." Spatial development, no. 6 (December 26, 2023): 53–62. http://dx.doi.org/10.32347/2786-7269.2023.6.53-62.
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The purpose of the article is to analyze the phenomenon of borrowing without being limited by a specific style, and on the basis of this to argue at which hierarchical level the transformation took place: at the level of composition, form or decor.
 The relevance of the research topic is determined by the need to analyze how local cultural and artistic traditions influenced the transformation of borrowed styles and what exactly the phenomenon of transformation consisted of, whether it was the same for several borrowed styles.
 As a result of the study of wall paintings in different periods, it was established that, according to the figurative concept of Dunhuang, the transformation was as follows:
 – a departure from the original Indian frescoes by complicating the compositions in the direction of three-dimensionality and polymorphism, diversifying polychromy, anatomical perfection, detailing and giving the image a national color through portrait images of founders in Chinese clothes, scenes from their lives, landscape images; 
 – therefore, in the Dunhuang frescoes, the transformation was focused on the planar images of the fresco (the role of ritual sculpture in the Dunhuang sanctuaries was much smaller). 
 Despite the fact that Islam never competed with Buddhism, Taoism and Confucianism in terms of the number of believers in China, the rulers were friendly towards the construction of mosques. However, they are clearly dominated by Chinese traditions:
 – there are much more courtyards than in traditional mosques, and they are landscaped according to Chinese landscape design and have ponds with fish (this is a purely Chinese tradition);
 – the appearance of the pavilions and gates is purely Chinese: pavilions with a traditional Chinese silhouette, curved roofs with tiled roofs, complex multi-level eaves, open galleries on pillars, the use of traditional Chinese building materials (stone, brick, wood, tiles), bright polychromy, small detailing.
 So, in the case of mosques as well, Chinese culture radically changed their appearance, giving them maximum similarity with the temples of traditional religions.
 Thus, the transformation took place equally at all levels – planning, landscape design, three-dimensional form, plane with wall paintings and carvings.
 Later, this style manifested itself in the transformation of European Art Nouveau, which was also superimposed on local traditions.
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Chen, Yu-Xuan, Bo Shu, and Hsiao-Tung Chang. "Exploring Architectural Shapes Based on Parametric Shape Grammars: A Case Study of the “Three Lanes and Seven Alleys” Historic District in Fuzhou City, China." Buildings 13, no. 8 (2023): 2063. http://dx.doi.org/10.3390/buildings13082063.
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With the development of information technology, the introduction of information technology into architectural modelling and façade design and the systematic definition of historic districts is a problem that the architectural industry continues to explore and pursue. As a shape-based and self-defining generation rule, shape grammar provides significant help in the process of the automatic generation of architectural shapes to obtain design results that meet the requirements of the original historic district. Based on the simple combination of the application of shape grammar in architectural design, combined with the field investigation method, the representative buildings in the “Three Lanes and Seven Alleys” historic district are investigated and understood in detail, and the corresponding shape grammar rules are established. The courtyard types of the historic district are divided into: “” shape, “T” shape, “=” shape, “” shape, “” shape, “” shape, “” shape, “U” shape, “” shape, and garden. In detail, the façade components include the entrance, patio, main seat, wings, cloister, pavilion, etc. The elements of its façade include saddle walls, grey sculptures, carved stones, grey tiles, wooden grilles, wooden railings, wood grain flowers, etc. On this basis, parametric design is introduced to convert the design syntax into parametric programs. Grasshopper in Rhino is mainly used to visualize and simulate the regulation, and finally, achieve the purpose of automatically generating the architectural shape and façade of the “Three Alleys and Seven Alleys” historic district by adjusting its parameters.
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D.V., Illarionova, and Minniakhmetov I.S. "TOPIARY GARDENING IN LANDSCAPE ARCHITECTURE." Russian Electronic Scientific Journal 49, no. 3 (2023): 100–110. https://doi.org/10.31563/2308-9644-2023-49-3-100-110.
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The article considers the directions of development of topiary gardening. Topiary is a curly haircut of shrubs and trees. There are 3 main types of topiary: from shrubby or herbaceous plants; trees that provide not only crown trimming, but also fancy shaping of trunks and branches; flower sculptures. There are 2 ways of artistic topiary: classical (plants are planted and then given the necessary shapes) and American (frames are used with subsequent planting of seeds). For the manufacture of frames, wires with a diameter of 6-7 mm are used. Also, it is necessary to place a lid on top of the skeleton of the topiary so that it is possible to fill the product with the substrate from the inside. The range of topiary forms includes: ball; cone; trellis; umbrella; pyramid; arch; pavilion; spiral; hedges; pine tree shape; roof; Green art; Art object. For curly haircuts, straight-growing plants with a dense green mass are used, so plants with an abundance of needles and foliage are selected. Shrubs up to 1 m high are used for the border (dwarf birch bark, small—leaved honeysuckle, evergreen boxwood, etc.). For hedges and creating a maze - yellow acacia, European birch bark, ordinary privet, etc. When creating dense and high green walls — hornbeam, field maple, noble laurel, etc. For a more simplified and fast method of creating a topiary, climbing plants (wild grapes, lemongrass, ivy, etc.) are used. The best evergreen shrubs for complex curly haircuts are yew and boxwood.
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Mitasova, Svetlana. "Intercultural communication in contemporary art: From provocation to integration." Filozofija i drustvo 35, no. 1 (2024): 141–48. http://dx.doi.org/10.2298/fid2401141m.
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The article analyzes the forms of transmission of cultural values (meanings) through modern works of art. The novelty of the approach to artistic creation lies in it being studied both as a result of intercultural communication and as a means of conveying cultural meanings. The purpose of this article is to identify, analyze and describe the forms of transmission of values through works of contemporary art. The author identifies three forms of value translation in art: provocation, similarity, integration. Provocation means that the artist shows the interaction of the values of different cultures, focusing on their hostility and inconsistency. As an example, an art object is given by a Russian artist living in America, a representative of Sots Art A.S. Kosolapov ?Lenin - Coca-Cola.? Similarity, on the contrary, is a form that demonstrates the proximity of meanings, the search for common ground in the value systems of society. This thesis is visualized by the sculptures of Buddha and Christ by the Chinese artist Zhang Huan. The third form of translation of values in art is designated as integration, when the work expresses values that are universal for all peoples: a clean environment, security, peace, health, freedom, justice and others. The works of the winners of the Venice Biennale 2019 (opera-performance ?Sun and Sea (Marina) ? by the Lithuanian National Pavilion and ?White Album? by American cinematographer Arthur Jafa) are given as an example. It is concluded that art, thanks to its supranational, symbolic and universal language, is able to build intercultural communication between peoples.
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SOKOLOV, BORIS M. "Historical Gardens in Cinema: Location, Transformation, Image." Art and Science of Television 18, no. 4 (2022): 43–102. http://dx.doi.org/10.30628/1994-9529-2022-18.4-43-102.
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The article explores the roles of historical gardens in Western cinema. A garden can make a historical location (Versailles), mimic another historical garden (Vaux-le-Vicomte as Chantilly in Vatel), embody a national way of life (gardens of the National Trust in the 1995 TV series Pride and Prejudice), or be an abstract, to a greater or lesser extent, setting. In Atonement, the historical garden becomes a symbol, and in films about space (Silent Running) and the inner world metaphysics (The Fountain), the garden is reduced to a cultural archetype—a patch of turf, a spring, an old tree. One of the ways of utilizing the garden theme is its ironic presentation: the historical garden is shown as a ridiculous formal extravagance (The Draughtsman’s Contract) or as a costly project destroying the natural environment and the very life of the customer (The Serpent’s Kiss). The most intricate work with the theme of historical gardens was performed by Alain Resnais in Last Year at Marienbad. The nature for it was filmed in two Munich parks, and the formal interiors of Schleissheim Palace, with its countless mirrors, and the Rococo floral decor of the Amalienburg pavilion are continued in the views of the formal garden, which the director called “carved in stone.” A sculptural group, which the characters encounter in different parts of the park, represents their emotional states and existence on the border between reality and sleep. The conclusion is drawn that means. Among them are different levels of mediating documentary reality, utilization of cultural archetypes, and using the garden as a symbolic space.
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Priya, T. Lakshmi. "Protecting the Tangible and Intangible Heritage of Rani ki Vav: A Unique Subterranean Step Well in Gujarat." Advanced Materials Research 133-134 (October 2010): 1057–64. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.1057.
Full textAbstract:
The stepwells define the subterranean architecture of Western India. The term stepwell indicates the basic architectural features of a monumental well comprising of a long corridor of steps leading to five or six storeys below the ground to a well. From the 7th to the 19th century, stepwells were an integral part of the Western India. Stepwells are a response to arid regions of Western India particularly in Gujarat and Rajasthan where water is treated as a sacred element which defines the lives, myths and rituals of the people. The stepwells of Gujarat are exceptional in their monumental scale and details. One of the magnificient stepwells is located near Ahmedabad known as Rani ki Vav. The construction of this stepwell began in 1063 A.D and probably it took some ten to twenty years to complete its construction that is upto 1085 to 1090 A.D. It is constructed of bricks and decorated with stone sculptures. It measures 64m long 20m wide and 27m deep. It has the four essential components which are seen in completely developed stepwells : a staircase leading from the ground level to the underground basin, intercepted at regular intervals with multistoreyed pillared pavilion, a well at the rear end, and a large tank or kund to store the surplus water from the well. This Vav also has bracing structures just above the tank, as an extra precaution against lateral thrust. The side walls of the staircase have niches and the wall surface of the well are adorned with beautiful sculptures. The stepwell was in use during the 12th and the 13th century, during the reign of Sidharaja. During this period the niches in the stepwell were filled up with marble sculptures.Later in the 13th century huge amounts of sand and silt were deposited in the well due to major floods of the Saraswati river which flows adjacent to this well. Other floods gradually silted up the entire well. Historical records mention that the well was functional and periodically desilted. The well was buried for centuries under the soil. The Archaeological Survey of India undertook the major task of desilting and restoration of Rani ki Vav which was declared a protected monument of national importance in 1940s. Desilting of the stepwell was commenced in 1960 A.D. Extreme care was taken while resetting of the architectural members and fixing the sculptures in their proper position. The conservation works were aimed at retaining the authenticity and the integrity of the monument during the restoration works. The stone used in the construction of this Vav is sedimentary sand stone varying from fine grain to coarse grained structure. Several test such as wet chemical analysis,X ray analysis,soil analysis etc were undertaken to understand the weathering of the stone. Today Rani ki Vav reveals its original grandeur and stands testimony to the expert craftsmanship and technology of the builders of the 11th century. This paper aims to bring forth the significance of this unique typology of stepwell and the continuing efforts undertaken by Archaeological Survey of India for restoring this historic monument.
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I.L., Mordatenko, Doiko N.M., Dragan N.V., and Silenko O.V. "Restoration and reconstruction of the historical landscape area the Eastern beam in the Dendrological Park Olexandria of the NAS of Ukraine." Plant Introduction 83 (September 1, 2019): 72–79. https://doi.org/10.5281/zenodo.3404140.
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<strong>Objective</strong> – to establish the historical past and the current state, to develop measures for restoration and optimization of plantings the landscape area the Eastern beam of Dendrological Park Olexandria of the NAS of Ukraine. <strong>Material and methods</strong>. The object of research – key landscape elements, the structure of the landscaping area the Eastern beam. The methods of complex analysis which were used: historical-analytical, iconographic, full-scale, route surveys. The names of taxa are consistent with the list of “The Plant List”. <strong>Results</strong>. The Eastern beam was one of the main landscaped complexes of the household park Alexandria. The structure of the landscape area the Eastern beam consisted of 13 key elements: architectural structures, waterfalls, ponds, bridge, observation deck, columns, sculptures. “Hetman Pavilion”, bridge over the beam, Column Helmet Bagration are lost on the area as at 2016. The contours of the area Eastern beam have changed, the erosion of the slopes has increased, the source has become muddy, which fell into the Dzerkalnyi pond. There are no archival materials on the species composition of vegetation in the time of Branitskys’ family. The analysis of the scientific documentation and the remnants of the compositions revealed that there were landscape compositions from <em>Pinus sylvestris</em> L. and <em>Larix decidua</em> Mill. on the study area. The major part of the right part of the beam occupied deciduous plantations. At the beginning of the restoration work, the Eastern beam was a part of the forest type with remnant historical plantations and self-seeded low-value hardwoods. Modern plantings are represented by 31 species of trees and 121 species of grassy plants. The project for restoring the structure and optimization of the Eastern beam involves earthworks (clearance the remains of the Serpentine shafts fortification the banks of the ponds), sanitary measures (clearing from the winding trees on the banks of the Dzerkalnyi and Laznevyi ponds), restoration of the landscape elements (observation deck). The list of woody and herbaceous plants is suggested for restoration of historical and creation of new landscape compositions and recultivation works. <strong>Conclusions</strong>. The landscape area the Eastern beam consisted of 13 key landscape elements. The vegetation of the area was represented by landscape compositions of coniferous plants and natural plantings with domination of <em>Quercus robur</em> L. Natural and anthropogenic factors caused negative changes in the state of coastlines and erosion processes. “Hetman Pavilion”, bridge over the beam, Column Helmet Bagration, observation deck were lost among architectural elements. The tree vegetation has 31 species and it is represented by the remnants of decorative compositions from coniferous plants, part of the oak wood and self-seeded low-value hardwoods. The herbaceous cover consists of 121 species and is degraded with the predominance of aggressive plants with a powerful root system and adventitious species.
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Cieminska, Joanna. "Chinese porcelain 'embrechados' in Portuguese garden architecture." Orientations 54, no. 3 (2022): 142–49. https://doi.org/10.5281/zenodo.7695666.
Full textAbstract:
Chinese porcelain began to be integrated into the decoration of Italian, Portuguese, and Spanish palace interiors in the 16th century, but the use of porcelain for exterior decoration, such as in garden architecture, cannot be observed in the early modern times outside Portugal. Intact porcelain plates and the cut out wells (bottoms) of plates and bowls would be stuck in the character of medallions on internal and external surfaces of garden pavilions, chapels, and fountains, with tiny pieces of broken borders applied together to fill out cartouches. This technique of applying shells, stones, rocks, crystals, pieces of glass, ceramics, and ferrous slag onto walls and ceilings is known in Portuguese as embrechado. Although analogous examples of this technique are to be found in other parts of Europe — most notably in Italy — it was only in Portugal that Chinese porcelain was utilized. The influence of Italian grottos, such as those of the Boboli Gardens and Villa di Castello in Florence, is evident in Portuguese examples. Nevertheless, grotto design in Italy had an important sculptural component, whereas artists in Portugal privileged the mosaic-like technique of embrechado, which allowed them to put forward the visual qualities of materials, such as the colour and shine of porcelain, crystals, and Oriental nacreous shells, applied in abstract and figurative motives. This article studies such examples of Chinese porcelain embrechado decorations in Portugal and tries to establish the modalities of their creation, function and possible meanings.
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Deshmukh, Amit S. "Culture of Sedentary Play in India – The Space Context." Board Game Studies Journal 12, no. 1 (2018): 65–80. http://dx.doi.org/10.2478/bgs-2018-0004.
Full textAbstract:
Abstract Playing of sedentary games with dice and playing board games have had a major role in the Indian culture since at least 3000 BCE. This is shown by archaeological sites and early literary references in the Rig-Veda, Mahabharata and other texts. Some of these games have survived in the form of boards, game pieces, dice and cards. Apart from actual sets, the traces of board games can also be found in Hindu rock cut temples. These sculptures and paintings appear across the medieval period. The list is exhaustive. The game play also finds its presence on numerous temple floorings, carved or inscribed. Why would somebody carve these board games on these spaces? Interestingly, throughout history, some board games have increased its popularity, and some have disappeared from artistic expressional record. How did one board game overtake the other in terms of its popularity in the later phases of history? What made these games socially acceptable and popular? Where were these games played? What was the space context? The paintings dominantly show royal houses, court rooms as spaces. Were there special pavilions used for game playing by Indian royals? In India board games were traditionally played at ground level. With growing European influence in the subcontinent in the 18th century, local elites adopted the western custom of elevated furniture for board games. Did this change the space context? The paper thus tries to evolve parameters to analyze the impact of board games on spaces and would throw light on the “space context” with reference to Indian board games tracing it to the contemporary time.
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СТОЯКИН, М. А. "BUDDHIST RELIGIOUS ARCHITECTURE OF THE KOGURYO PERIOD." Гуманитарные науки в Сибири 31, no. 1 (2024): 30–38. http://dx.doi.org/10.15372/hss20240104.
Full textAbstract:
В статье рассматриваются особенности буддийской культовой архитектуры в раннесредневековом государстве Когурё. Для этого обобщена доступная информация из немногочисленных корейских средневековых письменных источников и эпиграфики периода Когурё. Информация из них дополнена археологическими данными с территории современной КНДР, где выявлены основные объекты культовой архитектуры Когурё. Важное место занимают новые результаты раскопок буддийских храмов китайскими археологами в бассейне р. Туманган, которые позволяют дополнить сведения о развитии буддизма в отдаленных регионах Когурё. Рассмотрена характеристика буддийских памятников, приведена возможная хронология. Анализ источников позволяет проследить формирование буддийской архитектуры, раскрывающей процесс развития буддизма на Корейском полуострове и сопредельных территориях, осветить межкультурные контакты в регионе Восточной Азии, связь с буддизмом в последующем государстве Бохай. The paper summarizes information about Buddhist religious architecture in the early medieval state of Koguryo, identifying its features and role. The author aimed to consider the chronology of Buddhist temples and analyzed in detail the main architectural element - the pagoda. The study of Buddhist temples in Koguryo and comparison with neighboring regions such as the Korean Peninsula, China, and Japan allow us to identify and reconstruct cultural interactions in East Asia. By analyzing Korean medieval written sources and epigraphy of the Koguryo period, the author reveals that in this state, apparently, there were several temples with pagodas. Earlier, in the 20th century, Buddhist archaeological monuments of Koguryo were discovered only in North Korea, specifically in the area of the capital Pyongyang. These monuments typically include the remains of an octagonal pagoda in the center, surrounded on three sides by pavilions and other buildings. Buddha and bodhisattvas sculptures and decorative figures installed inside the temples suggest the high level of artistic skill and craftsmanship in Koguryo. The chronology of these monuments in Koguryo (5th-6th centuries) has been a subject of debate among researchers; it primarily based on the location of the capital city and the inscriptions on the Buddhist sculptures and their style, as well as dating of roof tiles. However, recent excavations by Chinese archaeologists in the Tumangan river basin have provided new evidence to date the Buddhist temples in Koguryo to an earlier period. Such results allow us to supplement information about the development of Buddhism in remote regions of Koguryo. The scarcity of Buddhist monuments in Koguryo province suggests a weaker development of Buddhism outside the capital, indicating its importance to the central government and its wider spread among the upper classes. Apart from the general layout of the temple, the religious architecture of Bohai differs from Koguryo in that the temples mainly lack pagodas. This may be due to different ways of Buddhist architecture spread in Bohai. However, the recent discovery of the remains of an octagonal pagoda at Guchencun 1 Temple suggests two pagoda construction traditions in Bohai: one from Koguryo and another possibly influenced by the Tang Empire.
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Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 18, no. 3 (2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-3-6-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 3, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. In the article “The Colossus of Hera in Argos by Polykleitos the Elder: Experience of Reconstruction”, the team of authors, K. Gavrilin, I. Akilov, N. Akilov, proposes and substantiates a new graphical reconstruction of the chryselephantine colossus of Hera in Argos, created by Polykleitos the Elder in 400 BC. The combination of art sources, archaeological data and ancient documents by Pausanias, Tertullian and Maximus of Tyre describing the lost throne statue of the goddess allows us to recreate it in sufficient detail, completely discarding the speculative methods of the past. In the article “Sculptures of the Head of Beheaded John the Baptist”, M. Burganova considers the appearance and spread of the iconography of the plot “the Head of Beheaded John the Baptist”. The article analyses the works created by masters in the major cultural centres of Western and Eastern Europe. On the examples of works made by masters in different European art centres, the author analyzes the evolution of the image of the head of John from the image-symbol in the 13th century to the imageillustration of a real action, which became a reflection of a special religious sensibility in the culture of Europe of the 16th‑17th centuries. The article also provides a comparative analysis of the characteristic features of Eastern and Western Christianity in the iconographic renderings of the plot of the Beheaded John the Baptist. The multicultural and multiethnic integration and unprecedented flourishing of trade during the Mongol-Yuan period in the context of the Silk Road is analyzed by Ding Liang in the article “The Influence of the Grassland Silk Road on the Porcelain Styles of the Yuan Dynasty Вuring the Mongol-Yuan Period”. The culture, technology, materials, and craftsmen of the western regions dispersed throughout this space had a greater influence on the decorative modeling of Yuan Dynasty porcelain. Yuan Dynasty porcelain was inclusive, open and innovative, not only absorbing the culture of the western regions, grassland culture, and the culture of the Central Plains but also integrating and developing multiple cultures, forming unique decorative modeling characteristics, which contributed to the rapid development of porcelain in the Yuan Dynasty. In the article “The Mediterranean as a Сontext and Concept in the Art of Modernism”, N. Getashvili examines the role of the Mediterranean in the context of the antinomy of Nordicism and Greco-Latin civilization. Examples that confirm this postulate from the works of representatives of Fauvism (Braque, Derain, Matisse), cubism, Maillol, Picasso, de Chirico, Dali, and Klee, are given. In the article “Relevance of the Study of Forgotten and Little-known Artists of the Russian Landscape School on the Example of Mikhail Germashev”, T. Bocharov and P. Kozorezenko consider the issues of studying the work of little-known Russian artists. The authors analyse why this or that artist came to the periphery of the attention of culture lovers and art historians, highlighting the merits of the artistic manner of one of the forgotten Russian masters. The article describes the distinctive features of Germashev’s creative style and his strong artistic connection with the Moscow region and the capital. The creative method of sculptors of the midtwentieth century and the historical context of the construction of the Stalin skyscrapers are analysed by P. Dobrolyubov in the article “Soviet Sculptors and the Stalinist Empire Style. High-rise Building on Kotelnicheskaya Embankment”. The author tells in detail about the creative team of wonderful, talented Soviet architects, sculptors, engineers, designers who decorated Moscow with their monumental works during the construction of the Stalin skyscrapers, using the example of the construction of the high-rise building on Kotelnicheskaya embankment. In the article “Dubai Expo 2020. A Look Into the Future”, J. Smolenkova examines the innovative, constructive and artistic features of the main pavilions of the World Expo 2020, which became the basis of the concept of the fair. Gerardo Picardo presents a review of artist A. Kurakina’s work, tracing the formation of the creative path and the influence of different cultures on the artist’s style. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Pablo, Olalquiaga Bescós. "Horizonte construido. Transformación del paisaje en la Casa Huarte = Constructed horizon. Landscape transformation in the Huarte House." rita_ Revista Indexada de Textos Académicos, no. 1 (May 11, 2014): 96–101. https://doi.org/10.24192/2386-7027(2014)(v1)(07).
Full textAbstract:
La Casa Huarte (Madrid, 1966) representa, ante todo, una actuación en el paisaje. Sus creadores, José Antonio Corrales y Ramón Vázquez Molezún, invirtieron un método utilizado en proyectos anteriores (Instituto en Herrera de Pisuerga, Residencia en Miraflores, Pabellón de Bruselas) donde la edificación se adecuaba al medio y el paisaje donde se insertaba. Mediante una transformación topográfica Corrales y Molezún construyeron un lugar en el que el horizonte, entendido como el paisaje formado por el encuentro de planos donde converge nuestra mirada, fue modificado. Cuando esto ocurre se produce una alteración de la mirada del observador, se “construye” un nuevo horizonte visual que es en definitiva el horizonte de la arquitectura, en el que los límites están definidos por los distintos planos. En esta construcción del nuevo horizonte, en la creación de nuevas experiencias visuales, las esculturas y los árboles, situadas en las plataformas de los patios de la Casa Huarte, se convirtieron en referencias visuales que alteraban los ángulos de visión previamente establecidos por la arquitectura. Estas siluetas incorporan nuevos puntos de referencia en ese horizonte, proporcionando profundidad, perspectiva y una escala intermedia entre la intimidad del observador y la monumentalidad del infinito. The Huarte House (Madrid, 1966) represents, above all, an intervention in the landscape. Its creators, Jose Antonio Corrales and Ramon Vazquez Molezun, reversed a method used in previous projects (an institute in Herrera de Pisuerga, a residence in Miraflores, Brussels’ Pavilion) where the building was adjusted to the surroundings and the landscape of the location. By means of a topographical transformation, Corrales and Molezun built a place in which the horizon, understood as the landscape formed by the meeting of planes where our gaze also converges, was modified. When this happens, an alteration in the onlookers gaze takes place. He “builds” a new visual horizon which is ultimately the horizon of architecture in which the limits are defined by the different planes. In this construction of a new horizon, in the creation of new visual experiences, the sculptures and the tress, located in the platforms of the Casa Huarte patios turned into visual references that altered the angles previously established by architecture. These outlines incorporate new reference points to that horizon, contributing deepness and perspective and an intermediate scale between the onlooker’s intimacy and the greatness of infinity.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.
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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.