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  Subjects -> ARCHITECTURE (Total: 219 journals)
Showing 1 - 200 of 264 Journals sorted by number of followers
Modernism/modernity     Full-text available via subscription   (Followers: 44)
American Journal of Civil Engineering and Architecture     Open Access   (Followers: 41)
Environment and Planning B : Urban Analytics and City Science     Full-text available via subscription   (Followers: 40)
Architectural Design     Hybrid Journal   (Followers: 33)
Civil Engineering and Architecture     Open Access   (Followers: 32)
European Planning Studies     Hybrid Journal   (Followers: 24)
Architectural Heritage     Hybrid Journal   (Followers: 24)
A+BE : Architecture and the Built Environment     Open Access   (Followers: 24)
Architecture and Culture     Hybrid Journal   (Followers: 22)
Interiors : Design, Architecture and Culture     Hybrid Journal   (Followers: 22)
Sustainable Cities and Society     Hybrid Journal   (Followers: 22)
Journal of Architecture and Urbanism     Open Access   (Followers: 22)
Architecture and Urban Planning     Open Access   (Followers: 21)
Grey Room     Hybrid Journal   (Followers: 20)
Architecture Research     Open Access   (Followers: 20)
Urban Research & Practice     Hybrid Journal   (Followers: 20)
Journal of Landscape Architecture     Hybrid Journal   (Followers: 19)
Landscapes     Hybrid Journal   (Followers: 18)
Cities in the 21st Century     Open Access   (Followers: 18)
Architectural Review     Full-text available via subscription   (Followers: 17)
Journal of Medieval Latin     Full-text available via subscription   (Followers: 16)
Journal of Urban Cultural Studies     Hybrid Journal   (Followers: 16)
City, Territory and Architecture     Open Access   (Followers: 16)
The Journal of Architecture     Hybrid Journal   (Followers: 15)
Environmental Science and Sustainable Development : International Journal Of Environmental Science & Sustainable Development     Open Access   (Followers: 14)
Design Ecologies     Hybrid Journal   (Followers: 13)
International Journal of Islamic Architecture     Hybrid Journal   (Followers: 13)
Buildings & Landscapes: Journal of the Vernacular Architecture Forum     Full-text available via subscription   (Followers: 13)
Engineering, Construction and Architectural Management     Hybrid Journal   (Followers: 13)
Journal of Architecture, Planning and Construction Management     Open Access   (Followers: 12)
URBAN DESIGN International     Hybrid Journal   (Followers: 12)
Journal of Architectural Education     Hybrid Journal   (Followers: 12)
TECHNE - Journal of Technology for Architecture and Environment     Open Access   (Followers: 11)
Architectural Engineering and Design Management     Hybrid Journal   (Followers: 11)
Environnement Urbain / Urban Environment     Open Access   (Followers: 11)
Proceedings of the Institution of Civil Engineers - Urban Design and Planning     Hybrid Journal   (Followers: 11)
Architectural History     Hybrid Journal   (Followers: 10)
Town and Regional Planning     Open Access   (Followers: 10)
OASE Journal for Architecture     Open Access   (Followers: 9)
Places Journal     Open Access   (Followers: 8)
Artifact : Journal of Design Practice     Open Access   (Followers: 8)
Journal of architecture&ENVIRONMENT     Open Access   (Followers: 8)
Vernacular Architecture     Hybrid Journal   (Followers: 8)
Study of Civil Engineering and Architecture     Open Access   (Followers: 8)
Future Cities and Environment     Open Access   (Followers: 7)
arq: Architectural Research Quarterly     Hybrid Journal   (Followers: 7)
Home Cultures     Full-text available via subscription   (Followers: 7)
Housing and Society     Hybrid Journal   (Followers: 6)
Ambiances     Open Access   (Followers: 6)
Architectural Engineering     Open Access   (Followers: 6)
ABE Journal : Architecture Beyond Europe     Open Access   (Followers: 6)
Apuntes : Revista de Estudios sobre Patrimonio Cultural - Journal of Cultural Heritage Studies     Open Access   (Followers: 6)
Journal of Architectural Conservation     Hybrid Journal   (Followers: 6)
Architectural Theory Review     Hybrid Journal   (Followers: 6)
Journal of the Warburg and Courtauld Institutes     Full-text available via subscription   (Followers: 6)
CLARA : Classical Art and Archaeology     Open Access   (Followers: 6)
Enquiry / The ARCC Journal of Architectural Research     Open Access   (Followers: 5)
Frontiers of Architectural Research     Open Access   (Followers: 5)
International Journal of the Built Environment and Asset Management     Hybrid Journal   (Followers: 5)
International Journal of Architectural Computing     Full-text available via subscription   (Followers: 5)
Architectural Science Review     Hybrid Journal   (Followers: 5)
Bulletin of Pridniprovsk State Academy of Civil Engineering and Architecture     Open Access   (Followers: 5)
Journal of Building Performance Simulation     Hybrid Journal   (Followers: 5)
Cities & Health     Hybrid Journal   (Followers: 5)
ARQ     Open Access   (Followers: 5)
Winterthur Portfolio     Full-text available via subscription   (Followers: 5)
DEARQ - Revista de Arquitectura / Journal of Architecture     Open Access   (Followers: 4)
South East European Journal of Architecture and Design     Open Access   (Followers: 4)
Dams and Reservoirs     Hybrid Journal   (Followers: 4)
Australian Journal of Civil Engineering     Hybrid Journal   (Followers: 4)
Architecture, Civil Engineering, Environment     Open Access   (Followers: 4)
Construction Robotics     Hybrid Journal   (Followers: 4)
International Journal of Protective Structures     Hybrid Journal   (Followers: 4)
Journal of Sustainable Architecture and Civil Engineering     Open Access   (Followers: 4)
Academia : Architecture and Construction     Open Access   (Followers: 4)
GRID - Architecture, Planning and Design Journal     Open Access   (Followers: 4)
Footprint : Delft Architecture Theory Journal     Open Access   (Followers: 4)
International Journal of Human Capital in Urban Management     Open Access   (Followers: 4)
Bulletin KNOB     Open Access   (Followers: 3)
Livraisons d’Histoire de l’Architecture     Open Access   (Followers: 3)
ArcHistoR     Open Access   (Followers: 3)
Terrain.org : A Journal of the Built & Natural Environments     Free   (Followers: 3)
BUILT : International Journal of Building, Urban, Interior and Landscape Technology     Open Access   (Followers: 3)
Smart Cities     Open Access   (Followers: 3)
MediaTropes     Open Access   (Followers: 3)
International Journal of Built Environment and Sustainability     Open Access   (Followers: 3)
Architecture and Engineering     Open Access   (Followers: 3)
A&P Continuidad     Open Access   (Followers: 2)
Frontiers in Sustainable Cities     Open Access   (Followers: 2)
Gazi University Journal of Science Part B : Art, Humanities, Design and Planning     Open Access   (Followers: 2)
Arena Journal of Architectural Research     Open Access   (Followers: 2)
Eurasian Journal of Civil Engineering and Architecture     Open Access   (Followers: 2)
International Journal of Landscape Planning and Architecture     Full-text available via subscription   (Followers: 2)
Nature : National Academic Journal of Architecture     Open Access   (Followers: 2)
Technical Report Civil and Architectural Engineering     Open Access   (Followers: 2)
project baikal : Journal of architecture, design and urbanism     Open Access   (Followers: 2)
Palimpsesto     Open Access   (Followers: 2)
FORMakademisk - forskningstidsskrift for design og designdidaktikk     Open Access   (Followers: 2)
Journal of Facade Design and Engineering     Open Access   (Followers: 2)
Charrette     Open Access   (Followers: 2)
Ángulo Recto. Revista de estudios sobre la ciudad como espacio plural     Open Access   (Followers: 2)
Arquitectura y Urbanismo     Open Access   (Followers: 2)
Fabrications: The Journal of the Society of Architectural Historians, Australia and New Zealand     Hybrid Journal   (Followers: 2)
Australian Planner     Hybrid Journal   (Followers: 2)
Arqueología de la Arquitectura     Open Access   (Followers: 2)
Revista de Urbanismo     Open Access   (Followers: 2)
Revista de Arquitectura     Open Access   (Followers: 1)
Estudios del Hábitat     Open Access   (Followers: 1)
Joelho : Journal of Architectural Culture     Open Access   (Followers: 1)
Architectural Research in Finland     Open Access   (Followers: 1)
Japan Architectural Review     Open Access   (Followers: 1)
Revista de Arquitectura e Ingenieria     Open Access   (Followers: 1)
AURUM : Mühendislik Sistemleri ve Mimarlık Dergisi = Aurum Journal of Engineering Systems and Architecture     Open Access   (Followers: 1)
Herança : Revista de História, Património e Cultura     Open Access   (Followers: 1)
In Situ. Revue des patrimoines     Open Access   (Followers: 1)
Boletín Académico. Revista de investigación y arquitectura contemporánea     Open Access   (Followers: 1)
Journal of Architectural / Planning Research and Studies     Open Access   (Followers: 1)
Journal of Architecture, Design and Construction     Open Access   (Followers: 1)
Journal of Environmental Design     Open Access   (Followers: 1)
Dibt Mitteilungen (Formerly-Mitteilungen Deut Inst Fuer Bautechnik)     Hybrid Journal   (Followers: 1)
disP - The Planning Review     Hybrid Journal   (Followers: 1)
étapes: international     Full-text available via subscription   (Followers: 1)
Journal of Architecture, Art & Humanistic Science     Open Access   (Followers: 1)
Épités - Épitészettudomány     Full-text available via subscription   (Followers: 1)
Journal of Persianate Studies     Hybrid Journal   (Followers: 1)
REUDAR : European Journal of Roman Architecture     Open Access   (Followers: 1)
Spool     Open Access   (Followers: 1)
ArDIn. Arte, Diseño e Ingeniería     Open Access   (Followers: 1)
ARQUISUR     Open Access   (Followers: 1)
Space Ontology International Journal     Open Access   (Followers: 1)
Tafter Journal     Open Access   (Followers: 1)
Der Architekt     Full-text available via subscription   (Followers: 1)
Forum Journal     Full-text available via subscription   (Followers: 1)
Thresholds     Hybrid Journal  
Re. Revista de Edificación     Open Access  
Technology|Architecture + Design     Hybrid Journal  
Journal of Asian Architecture and Building Engineering     Open Access  
EN BLANCO : Revista de Arquitectura     Full-text available via subscription  
VITRUVIO : International Journal of Architectural Technology and Sustainability     Open Access  
Porta Aurea     Open Access  
Undagi : Jurnal Ilmiah Arsitektur     Open Access  
International Journal of Architecture and Infrastructure Planning     Full-text available via subscription  
Montreal Architectural Review     Open Access  
Patrimoines du Sud     Open Access  
Vitruvian     Open Access  
Sens public     Open Access  
Journal of the Society for the Study of Architecture in Canada / Le Journal de la Société pour l'étude de l'architecture au Canada     Open Access  
Revista Geometria Gráfica     Open Access  
Construindo     Open Access  
Procesos Urbanos     Open Access  
PARC Pesquisa em Arquitetura e Construção     Open Access  
tecYt     Open Access  
De Res Architettura     Open Access  
Pensum     Open Access  
Revista de Investigación     Open Access  
Polis     Open Access  
Periodica Polytechnica Architecture     Open Access  
Les Cahiers de la recherche architecturale urbaine et paysagère     Open Access  
Elkawnie : Journal of Islamic Science and Technology     Open Access  
Riset Arsitektur     Open Access  
Loggia, Arquitectura & Restauración     Open Access  
Ars Longa : Cuadernos de arte     Open Access  
ZARCH : Journal of Interdisciplinary Studies in Architecture and Urbanism     Open Access  
Limaq     Open Access  
Mokslas – Lietuvos ateitis / Science – Future of Lithuania     Open Access  
Revista de Arquitectura     Open Access  
Ra : Revista de Arquitectura     Full-text available via subscription  
Módulo Arquitectura - CUC     Open Access  
Revista Amazônia Moderna     Open Access  
Continuité     Full-text available via subscription  
Eikonocity. Storia e Iconografia delle Città e dei Siti Europei - History and Iconography of European Cities and Sites     Open Access  
Ri-Vista : Ricerche per la progettazione del paesaggio     Open Access  
Opus Incertum     Open Access  
Firenze Architettura     Open Access  
Jurnal Arsitektur KOMPOSISI     Open Access  
Risco : Revista de Pesquisa em Arquitetura e Urbanismo     Open Access  
Revista Márgenes Espacio Arte y Sociedad     Open Access  
Panambí. Revista de Investigaciones Artísticas     Open Access  
Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP     Open Access  
Cuadernos de Proyectos Arquitectónicos     Open Access  
Cuaderno de Notas     Open Access  
Jurnal Teknik Sipil dan Perencanaan     Open Access  
Vivienda y Ciudad     Open Access  
Oculum Ensaios     Open Access  
Paranoá : cadernos de arquitetura e urbanismo     Open Access  
Paisagem e Ambiente     Open Access  
RevistArquis     Open Access  
Revista Arquitecturas del Sur     Open Access  
Room One Thousand     Open Access  
ESTOA Revista de la Facultad de Arquitectura y Urbanismo     Open Access  
VLC arquitectura. Research Journal     Open Access  
Revista AUS     Open Access  
HBRC Journal     Open Access  
Liño     Open Access  
Revista Hábitat Sustenable     Open Access  
EGA Expresión Gráfica Arquitectónica     Open Access  
Informes de la Construcción     Open Access  
Arquiteturarevista     Open Access  
Revista INVI     Open Access  
Bauregelliste A, Bauregelliste B Und Liste C     Hybrid Journal  

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Porta Aurea
Number of Followers: 0  

  This is an Open Access Journal Open Access journal
ISSN (Print) 1234-1533
Published by Uniwersytetu Gdańskiego Homepage  [20 journals]
  • Miedzioryt Jana van Londerseela "Papież na Lateranie" według obrazu
           Hendrika Aertsa

    • Authors: Rainer Kobe
      Pages: 7 - 25
      Abstract: Architektura na miedziorycie Papież na Lateranie Jana van Londerseela powstała według nieznanego obrazu czynnego w Gdańsku malarza – Hendrika Aertsa. Pochodzący z Mechelen artysta był najpewniej uczniem Vredemana de Vriesa. Zmarł młodo, bo w 1603 r., ale architektura z jego obrazu służyła za wzór wielu malarzom wnętrz kościelnych. Badanie wykazało, że rycina Londerseela zawiera zarówno w sferze wizualnej, jak i w łacińskiej inskrypcji niezauważone dotychczas przesłanie skierowane przeciwko papieżowi i Kościołowi katolickiemu. Ten rodzaj konfesyjnej polemiki koresponduje z sytuacją w Holandii na początku XVII w., kiedy Londerseel wykonał rycinę, ale nie ma nic wspólnego z obrazem Aertsa. Na podstawie szczegółów odbitki można udowodnić, że gotycka architektura kościoła przedstawiona na rycinie jest odwróconym odwzorowaniem modelu namalowanego przez Aertsa. Gabinet obrazów Johanna Michaela Brettschneidera zachowany w Miejskim Muzeum Zamkowym w Rheydt, namalowany sto lat później, przedstawia fragment wnętrza kościoła Aertsa tak, jak prawdopodobnie wyglądało ono pierwotnie: wnętrza kościoła, o którego uroku decyduje wyłącznie architektura fantastyczna.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.01
       
  • Rokokowe rzeźby z ogrodzenia pałacu Mniszchów w Gdańsku. Autorstwo –
           styl – program ikonograficzny

    • Authors: Alina Barczyk
      Pages: 26 - 55
      Abstract: In 1751, Jerzy August Mniszech purchased a plot in Długie Ogrody Street: the area where a large -scale residence was erected. Its designer was most probably Pierre Ricaud de Tirregaille. An important element in shaping the spatial composition of the entire palace and garden ensemble was formed by the main gate, characterized by an extremely dynamic, sculptural form, typical of Rococo art. At the top of the gate and on the fence posts there were figures: personifications of Minerva and Ceres, four putti representing the seasons and vases. At the beginning, the article presents the history and style of the sculptures. Then the question of attribution is discussed. In literature, Johann Heinrich Meissner is the most frequently indicated creator of the entire sculptural ensemble. This attribution, in view of the shortage of sources, requires confrontation with other, preserved works of the artist. Johann Heinrich Meissner (1701–1770) was born in Królewiec. He was present in Gdańsk, where from 1726 he owned a valued workshop. Having lived in the Old Town, near the Church of St Catherine, in 1755 he moved to Długie Ogrody where he located his studio, so he was a direct witness to the project carried out for Jerzy August Mniszech. Meissner’s workshop created, among other things, garden sculptures and elements of temple decorations. Among the sacred implementations, mention should be made of the decoration of the main altar in the Cathedral in Frombork, which includes four full -figure angelic figures, vases, flames and garlands made of pine wood. Meissner was also responsible for the statues of angels from the organ front in Gdańsk’s Church of St Mary, expanded in 1757–60. The soft modelling of forms precisely emphasizes the anatomy. Figures’ gestures are naturalistic. The sculptures in front of the Mniszech Palace are stylistically different from them: strongly stylized, exaggerated, they feature vibrating surface characteristic of the Rococo. Their authorship should therefore be associated with another sculpture workshop operating in Gdańsk in the mid -18th century. Another thread is the symbolic diagram of the fence decoration. In order to understand the ideological meaning of the figures in question, it is necessary to juxtapose them with the iconography found in Gdańsk’s art (e.g. Minerva decorated the façade of the Great Armory and the hall of the Main Town Hall, while the statues of Ceres were placed at the tops of tenement houses) and with European trends.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.02
       
  • Inspiracje Grigorija G. Gagarina i jego rola w procesie kształtowania
           stylu rosyjsko - -bizantyńskiego w architekturze dziewiętnastowiecznego
           Imperium Rosyjskiego – zarys zagadnienia

    • Authors: Marta Cyuńczyk
      Pages: 56 - 70
      Abstract: The paper represents an attempt to outline Grigory G. Gagarin’s artistic interests and his influence on creating one of the national style variants in the 19th -century Russian Empire: the Russian -Byzantine style. This article is not only a selection of theoretician’s quotes, but also an attempt to create an appropriate background and clear context for his theses. Moreover, the paper is to constitute a coherent outline of his thoughts having an impact on the creating of the national style and the search for architectural inspiration from selected periods of history. An interesting fact is that because of Gagarin’s first attempts to develop consistent norms and determinants of inspiration, among others, for architects and artists, he created foundations to formulate in the future a clear theoretical assumption of the Russian -Byzantine style. What is more, the theoretician did not avoid the confrontation of Russian art with Western European culture. Gagarin tried to not only indicate the relationships between the evolution of specific styles in art and architecture, but also their mutual influences and consequences. In the paper’s narration another important thread in the theoretician’s activity is also mentioned: his attitude to the cultural heritage of the North and South Caucasus. In the 19th century, the region’s territories formed the southwestern borders of the Russian Empire, and moreover they were the destinations of Gagarin’s diplomatic activities for the Romanov dynasty and the Russian Empire. The paper is an introduction to further research not only into Gagarin’s position in the process of creating the national style in the Russian Empire in the19th century. Furthermore, the research will bring up his functioning in the Western European artistic-cultural society of that time and his attempts to find mutual inspiration in Western and Eastern Europe.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.03
       
  • Polityka rosyjskiej Cerkwi prawosławnej wobec cudownych obrazów
           katolickiej proweniencji na wschodnich terenach dawnej Rzeczypospolitej w
           XIX w. na kilku przykładach

    • Authors: Volha Barysenka
      Pages: 71 - 90
      Abstract: Due to the liquidation of the Union in 1839 and the transfer of Catholic churches to the Orthodox Church after the rebellions of 1830–1831 and 1863–1864 in the territories of the former Polish -Lithuanian Commonwealth which were incorporated into the Russian Empire, a great deal of sacred art pieces of western -Christian art became property of the Orthodox Church. As per directions of the Church authorities, the images of Jesus Christ, Our Lady and the Saints of the Undivided Church could remain in Orthodox churches, while those of Catholic and Greek -Catholic Saints were to be given back to Catholics. The images that were left in Orthodox churches were to be changed to meet the Orthodox rules. That usually meant addition of an inscription or repainting of the image partially or fully. The situation was different in relation to miraculous images. After being transferred to the Orthodox churches they remained unchanged, even in the cases when their iconography was unacceptable for the Orthodox Church or when they represented Catholic Saints, such as Ignatius Loyola or Anthony of Padua. This was related to the effect miraculous images had on local communities. The cult of miraculous images was above -confessional; believers of different Christian confessions went on pilgrimages to them. Leaving these images as is they were aimed at converting Catholics to Orthodoxy to strengthen the position of the Russian Empire on the land of the former Polish - -Lithuanian Commonwealth. To justify the functioning of western -Christian images in the Orthodox Church, both new legends were developed stating the images had Orthodox origins and were taken by Catholics, and attempts of theological rationale were made. These activities were successful: the images that survived through the disasters of the 20th century are still in the cult of the Orthodox Church along with the legends of their Orthodox origin developed in the 19th century.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.04
       
  • Działalność architekta Friedricha Fischera
           (1879–1944) w Gdańsku i Sopocie

    • Authors: Ewa Barylewska -Szymańska
      Pages: 91 - 122
      Abstract: The person of the architect Friedrich Fischer has been somewhat forgotten, even though he played a meaningful role in the beginnings of the existence of the Free City of Gdańsk as its first conservator and the first head of the Ground Construction Office. Before and during WW I Fischer worked privately as an architect, mostly in the Gdańsk and Sopot area, and among chosen projects one located in Wrzeszcz, in Uphagena Street, as well as the architect’s own house at 30 Stefana Żeromskiego Street in Sopot can be named. Fischer was also a scholar who obtained a doctorate in 1910 and prepared a postdoctoral thesis, as well as a lecturer at the Department of Architecture at the Technical University (until April 1925). In 1918, he became involved in building administration, carrying out projects for the Housing Estate Office, of which he was the head. He created designs of the street now known as Hallera Street in Wrzeszcz and plans of green areas on former fortification grounds. He also initiated works on the plan of Great Gdańsk, eventually known as the ‘Althoff plan’. In 1923–1925, he was the head of the Ground Construction Office. From this period his designs of the first version of the school in Pestalozziego Street in Wrzeszcz and the unrealised fair building in Gdańsk are known. He designed the completed housing estates in today’s Zbyszka z Bogdańca and Dubois Streets in Gdańsk - -Wrzeszcz as well as several churches for the Catholic community of the Free City of Gdańsk: St Anthony’s Church in Gdańsk -Brzeźno, the Church of Our Lady of Sorrows in Głęboka Street in Gdańsk - Knipawa, and the Church of Christ the King in the small town of Piekło, in the former Wielkie Żuławy District. Fischer was active as Conservator of Architectural Monuments for four years. During this period the function of Conservator of Historical Monuments was merged with the function of the head of the Ground Construction Office. During his service as conservator the preservation of the historical form of the city became a priority The model of proceedings in the Free City area established by Fischer constituted an important point of reference in the following years. He was also involved in the preparation of the Preservation of Historical Monuments Act proclaimed in 1923. In March 1925, Fischer moved to Hannover, where he became associate professor specialising in medieval architecture. He remained in that city and at its university until his death.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.05
       
  • Gmach Gdańskiej Biblioteki Miejskiej przy ulicy Wałowej

    • Authors: Małgorzata Omilanowska
      Pages: 123 - 147
      Abstract: Following Germany’s unification in 1871, Gdansk was a major municipal centre and a port on the Empire’s map, however it was well past its heyday. In the Gründerzeit, it could not reach as quick a pace of development as other cities of the Reich, and by the late 19th century it did not boast any university. The attempt to catch up on the substantial delay in creating modern public architecture in Gdansk was only made after the fortifications had been dismantled (1895–97). A triangular plot close to St James’s Gate was reserved for the purpose of education and science. It was there that a seat of the city archive and the building of the Secondary School of SS Peter and Paul (Oberrealschule St. Petri und Pauli) were raised. The third edifice was planned as the new home for the Gdansk Library. The precious book collection, whose core was formed by the collection bequeathed by Joannes Bernardinus Bonifacius d’Oria of Naples in 1596, was kept in a former Franciscan monastery, and later in St James’s Church. Attempts to raise a new building to house the collection in the 1820s as designed by Carl Samuel Held failed. Neither was the plan to erect the new library building as an extension of the Dungeon and Prison Gate Complex implemented. It was only Karl Kleefeld’s design from 1901–1902 planning to raise an impressive Gothic Revival complex that finally came to life. Completed in January 1905, the Library welcomed the first readers already on 16 February. Kleefeld designed the building’s mass on the L -plan layout with a truncated corner and wings. The main reading room boasted elegant, sumptuous, and coherent wooden furnishing, and the gallery’s centrepiece was a ledge decorated with 14 panels featuring bas -relief cartouches with the emblems of the cities of West Prussia. Differing in size, the edifices, were given red -brick elevations with plastered details and glazed green filling, with a sgraffito frieze on the reading room elevation between the ground and first floors. It was the Gdansk Renaissance that dominated in public buildings’ architecture of the city in the last quarter of the 19th century. The resumed popularity of Gothic Revival in its local forms in Gdansk public buildings’ architecture, such as those in the afore - -described Kleefeld’s designs, resulted undoubtedly from a rapid growth of research into historic structures, yet on the other hand it reflected the return to the local tradition (Heimatschutz), which could be observed in the architecture of the German Reich at the time. Judged in the context of an extremely modest programme of public projects in Gdansk of the period, the creation of the Bildungsdreick with the edifices of the archive, library, and secondary school is to be regarded as a major event in the history of creating public architecture of the city. As seen against other projects of the time in other Reich cities, the Gdansk City Library stood out neither with its scale, nor innovatory character of the layout solutions. What, however, makes it a special facility are architectural forms that reveal its contribution to the search for the expression of the local tradition. This kind of an archaeological approach to the past and a compilatory additive method of juxtaposing quotes from various buildings, which may have also arisen from the lack of talent of the architect, were undoubtedly in decline in the early 20th century.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.06
       
  • Wczesny okres twórczości Hanny Żuławskiej. Warszawa–Paryż–Gdynia

    • Authors: Aleksandra Juszczyk
      Pages: 148 - 173
      Abstract: Hanna Żuławska (1908–1988) was one of the most prominent artists associated with the Tri -City, and dealing with many fields of art: easel and polychrome painting, architectural mosaic, sgraffito, ceramics and small architecture. Her husband was a painter known on the coast: Jacek Żuławski. She is known primarily for her mature work in the 1950s and 60s; it was then that she showed true individuality. From post - -war times, Żuławska was also teacher and professor at the State Higher School of Fine Arts in Gdańsk and the manager of the Kadyny Ceramics Works. Little, if anything, is known of Hanna Żuławska’s work in the interwar period. In 1930–1934, Żuławska studied at the Warsaw School of Fine Arts, among others in the studios of Professors Felicjan Szczęsny Kowarski, Leonard Pękalski and Tadeusz Pruszkowski. It seems that Kowarski’s work in the fields of painting and monumental mosaics had a great influence on Żuławska›s later artistic activity. In the 1930s, Żuławska took part in exhibitions at IPS (Art Propaganda Institute). At that time, the artist experienced a period of fascination with the works of the members of the Paris Committee and Pierre Bonnard and Paul Cèzanne, which resulted in the pair of the artists, Hanna and Jacek, leaving for Paris on a scholarship in 1935. In Paris, the artist studied in the painting studio of Józef Pankiewicz, painted still lifes, city views and quite standard landscapes; she also visited museums and led a lively social life. In May 1938, the works of Hanna and five other Polish painters were presented at the prestigious Bernheim Jeune gallery in Paris. The exhibition was well received by critics in Poland. Hanna and her husband returned to Poland and settled in Gdynia in the autumn of 1938, where Żuławska established contacts with the artistic community of the city. In 1938, the artists joined the Gdynia branch of the Trade Union of Polish Artists and Designers, and actively participated in its exhibitions until the outbreak of World War II. In recognition of their contribution to the development of art in Gdynia, the Żuławskis also received state orders for a monumental painting decoration of the barracks’ common room at Redłowo, for the creation of paintings for the Chapel of the Hospital of the Sisters of Mercy at Kaszubski Square, and for the polychrome entitled ‘Apotheosis of Gdynia’ in the building of the Government Commissariat (designs not preserved). During the Nazi occupation, the Żuławskis were in Warsaw; in November 1944, the artist came to Łańcut near Lublin, where she stayed at an artistic house. In the autumn of 1945, Hanna and Jacek Żuławski together with other residents of the manor house, e.g.: Juliusz Studnicki, Krystyna Łada -Studnicka, Janusz Strzałecki, Józefa and Marian Wnuk, established the State Institute of Fine Arts in Sopot, transformed into the State Higher School of Fine Arts in Gdańsk.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.07
       
  • Nawiązania do tradycji budownictwa wiejskiego w architekturze Wolnego
           Miasta Gdańska w dobie narodowego socjalizmu

    • Authors: Jagoda Załęska-Kaczko
      Pages: 174 - 205
      Abstract: After the establishment of the Free City of Danzig, the process of the renovation and inventory of arcaded houses (Vorlaubenhäuser) and timber -framed churches in the vicinity of Gdańsk began, along with the increasing scientific interest in them. At the same time, in numerous projects from the 1930s, the interest of architects in traditional rural construction, related to the orders of the Nationalist Socialist Party for certain types of structures, can be observed. In the suburbs of Gdańsk and Sopot, standard, posed as idyllic workers’ housing estates were founded, which were to combine the advantages of living in the countryside and in the city. The network of kindergartens of the National Socialist People’s Welfare (Nationalsozialistische Volkswohlfahrt) as well as youth hostels used by the Hitler Youth (Hitlerjugend) and the League of German Girls (Bund Deutscher Mädel) was expanded. According to the Blut -und -Boden ideology, a network of camps for the Land Service (Landdienst) for the Hitlerjugend, community houses for members of the NSDAP Party, and exemplary farms were also founded. The repertoire of local materials, traditional architectural details, as well as references in interior design were intended as manifestations of the regional identity, used by the National Socialist authorities to serve the purposes of the Party propaganda, which was creating the myth of an idyllic, strong, homogeneous national community and proving the uninterrupted continuity of German culture in the Free City of Danzig, despite its separation from the German Reich.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.08
       
  • Ikonografia witraży Wiktora Ostrzołka w gdańskim kościele Mariackim
           (1977–1980)

    • Authors: Jacek Friedrich
      Pages: 206 - 217
      Abstract: In 1966, a commemorative decoration appeared inside St Mary’s Church in Gdansk: its main component was the painting showing Poland’s Baptism placed in the chancel. Meanwhile, a pillar by the Priests’ Chapel was decorated with a standard bearing striped concentration camp uniform cloth with numbers of priests -prisoners in Nazi camps. This referred directly to the décor of the Priests’ Chapel created not long before, and in which Polish priests murdered during WW II had been commemorated in 1965. Thus the millennial decoration of the chancel clearly associated the history of the Polish state with the history of Christianity in Poland, while the decoration of the Priests’ Chapel emphasized the martyrology of Polish priests. Both motifs were clearly continued in two large –size stained glass windows installed in the church in the late 1970s: one of them fills in the window in the Priests’ Chapel, while the other is to be found in the window closing the church’s chancel. Both were designed by Wiktor Ostrzołek, a leading stained glass designer in post -WW II Poland. The iconographic programme of the first refers to the martyrology of priests, yet it does not limit itself to priests -martyrs in recent history, but shows those connected with it from the very beginning: St Adalbert, Five Martyr Brothers, St Stanislaus, St John Sarkander, St Andrew Bobola and Maximilian Kolbe. Respective figures are interconnected with the use of a clear red line serving as a metaphor of the martyrs’ blood. Its continuity connecting St Adalbert with St Maximilian, thus the beginnings of the Polish state with the present, at the same time shows the continuity of the presence of the Catholic Church in Polish history. This continuity is even more unequivocally expressed by the iconographic programme of the chancel stained glass. Here it is the figure of Mary that stands out; she enshrouds the presentations referring to the Church’s mission, and in particular to the Church’s mission in Poland, in her protective mantle. A deep interconnection between the history of Poland and the Roman Catholic Church was presented in the three acts of entrusting Poland to God and Mary: the Baptism of Poland in 966, the Lvov Oath of John Casimir in 1656, and the Jasna Góra Pledge connected directly with the 1966 millennial celebrations.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.09
       
  • Trzy projekty gdańskich terenów rekreacyjno- -wypoczynkowych z lat
           siedemdziesiątych XX w.

    • Authors: Iga Tomaszewska
      Pages: 218 - 240
      Abstract: Leisure and recreational areas in Gdańsk during the times of the Polish People’s Republic is a poorly researched subject. There are very few lectures, publications, or studies on the topic; however, the state of research is not surprising because of the somewhat ambiguous nature of Gdańsk. The city is seen as a university centre, industrial centre, but not strictly as a place where the recreational function dominates. The article focuses on architectural conceptions of leisure and recreational areas during the seventies; it is fascinating how the architects of the time tried to create everyday recreational areas in this historic city, where two kinds of structures coexisted, combining solemn buildings from the past with everyday forms for the present man. The author’s main aim was to expose and describe in detail three of the most curious, but unrealized projects: ‘the seaside Park of Culture and Leisure in the Gdańsk agglomeration’, ‘the recreational centre over the flow of the Motlava River’ and ‘the bathing beach at the outlet of Karol Marks Street’.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.10
       
  • Przekształcenia znaku „Solidarność” projektu Jerzego Janiszewskiego
           w twórczości opozycyjnej lat osiemdziesiątych XX w.

    • Authors: Katarzyna Szychta-Mielewczyk
      Pages: 241 - 263
      Abstract: The ‘Solidarity’ logo designed by Jerzy Janiszewski in 1980 is one of the best -known Polish symbols of all time. In the 1980s, it was widely reproduced on various materials, especially including ‘popular’ works, namely samizdat, such as leaflets, banknotes, post stamps and cards, posters, also pins, or even… towels etc. They were essential information carriers evidencing that the underground organizations were still dynamically operating. This article is mainly an analysis of such ‘popular’ works which contain the ‘Solidarity’ logo. This symbol is set in various contexts: independently, in combinations with slogans or graphics, also as, e.g., editor’s signature etc. Nevertheless, they are not always the exact imitations of the ‘Solidarity’ sign; various factors led to a wide range of modifications (which were unintentional, such as imprecise copies of the letters) and transformations (which were intentional, such as representing the letters as people). This review is enriched with references to several contemporary works using the ‘Solidarity’ logo. They prove how the meanings of the ‘Solidarity’ sign have changed over the years: in the 1980s, it was the symbol of society united beyond different ideologies to fight against the communist regime; today, it is a symbol of groups united under common demands, which, however, might not be approved and shared by every Pole.
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.11
       
  • Erwiderung auf die Polemik von Sławomir Jóźwiak zu meiner Monografie
           zum Hochmeisterpalast auf der Marienburg

    • Authors: Christofer Herrmann
      Pages: 267 - 279
      PubDate: 2021-12-21
      DOI: 10.26881/porta.2021.20.12
       
 
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