scholarly journals NATIONAL REPRESENTATION IN THE CONSTITUENT SEIMAS (PARLIAMENT) INTERIOR BY VLADIMIR DUBENECKY (1924) / TAUTINĖ REPREZENTACIJA VLADIMIRO DUBENECKIO STEIGIAMOJO SEIMO INTERJERE (1924 M.)

2011 ◽  
Vol 3 (3) ◽  
pp. 115-123 ◽  
Author(s):  
Lina Preišegalavičienė
Keyword(s):  
Interior Design ◽  
Interwar Period ◽  
Political Representation ◽  
Additional Material ◽  
Art Deco ◽  
Conference Room ◽  
Architectural Styles ◽  
National Representation ◽  
History Of ◽  
National Style

Russian-born painter and architect Vladimir Dubenecky (1888–1932) is well known in Lithuania because of valuable architectural legacy created during his living and working in Kaunas in 1919–1932. The aim of the discussion is to open less known side of V. Dubenecky creative work – public interior design. Until now it is little examined theme, so this article will extend the approach to well-known artist’s architectural works, thereby creating additional material for the history of Lithuanian interiors. Only one part of representativeness aspect is discussed in this article, that is the national representation. The representative interior project of the Constituent Seimas, Parliament, (1924) is chosen for the study because of that. The Parliament’s interior project was focused on the conference room equipment and furniture design. Meanwhile the discussion of the design project is studied how the past architectural styles and folk art had been creatively remade in order to create the new style, which was named as National Style during the interwar period. The creative origin of the National style is discussed as well and it is supposed that the National Style started as a continuation of Art Nouveau and a little later it became the part of Art Deco. The National Style worked in order to fulfill one of the main tasks of the interior desig – national representativeness. Inspite of the National Style was widely promoted during the interwar period, other different kinds of representation existed as well: political representation, representation of modernity, representation of power. Several other inter-war Lithuanian representative interiors are mentioned in the article as examples for comparison the different types of representation. They are the Cabinet of Minister’s and the Museum of Vytautas the Great.

scholarly journals 2020 IGWS Calendar

2019 ◽  
Vol 2 ◽  
Author(s):  
Polly Root Sturgeon
Keyword(s):  
North America ◽  
State Building ◽  
Indiana University ◽  
National Register ◽  
Art Deco ◽  
Empire State Building ◽  
Architectural Styles ◽  
South Central ◽  
History Of ◽  
Indiana Limestone

Indiana limestone, known to geologists as the Salem Limestone,is quarried in a narrow 30-mile-long area of south-central Indiana that is alsohome to Indiana University. Gracing up to 75 percent of all limestonebuildings in North America, this stone is known for its particularstrength, durability, and ageless beauty, and clads the nation’s most eminentbuildings, including the Empire State Building, Pentagon, andNational Cathedral. For more than 100 years, this local stone hasbeen used for buildings on the Bloomingtoncampus. Beginning in 1890 with Maxwell Hall,to 2017 and the completion of Luddy Hall,home of the School of Informatics, Computing,and Engineering, nearly all academic buildingshave been built of Indiana limestone. Architectural styles on campus span threecenturies. From the highly ornate carvings andpointed arches that define Collegiate Gothicarchitecture to the streamlined Art Deco styleof the early 1900s, the beauty of the campusreflects the skills of local stone artisans. In1979, the National Register of Historic Placesadded the Old Crescent portion of campus toits list to ensure its preservation. Walking around campus, you’ll see manycarvings on the exteriors of the buildings. Fish,maize, and chemical symbols can be foundon the science buildings on the south side ofcampus, while decorative scrolls of text adornseveral of the art buildings to the east. Themost common carved figure on campus is theowl, a symbol of learning and education, andtwelve are scattered on various buildings. Today, the history of Indiana’s limestone legacyis preserved in several campus collections andarchives. Most of the photographs used for themosaic on this calendar belong to the IndianaLimestone Photograph Collection. Curated bythe Indiana Geological and Water Survey since2012, this impressive archive consists of morethan 26,000 architectural photos depictingquarries, mills, and buildings from the earlyto mid-1900s. The digitized photographs arestored on IU Libraries Image Collections Online(http://go.iu.edu/16dx). Other photos in the mosaic are from researchand outreach efforts and the collections of theIndiana Geological and Water Survey.

scholarly journals W poszukiwaniu niepodległości w sztuce: Pawilon polski na wystawie paryskiej 1925

2018 ◽  
Vol 30 (1) ◽  
pp. 185-198
Author(s):  
Katarzyna Nowakowska-Sito ◽  
Keyword(s):  
Interior Design ◽  
International Exhibition ◽  
Creative Potential ◽  
Art Deco ◽  
New Education ◽  
Art Schools ◽  
Polish Variety ◽  
Ample Reason ◽  
Modern Industry ◽  
National Style

After reappearance of Poland on the map of Europe in 1918, the first major manifestation of the new country’s creative potential was at the 1925 International Exhibition of Applied Arts and Modern Industry in Paris. The Polish Pavilion, which had divided the opinion of critics at home, won the Grand Prix. The award of over 170 prizes to the Polish section in different areas and categories – from posters to art schools – gave ample reason to consider the exhibition an unquestionable success. The forms used in the architecture and interior design of the Polish Pavilion inspired various solutions applied in Polish public architecture of the 1920s. On the wave of the “Paris success” designers tried to translate the Polish variety of art deco into a type of national style which some scholars even came to refer to as the “style of regained independence” which manifested itself in architecture, particularly in interior design, bas reliefs, painted decorations textiles and furniture. Its emergence coincided with the introduction of new education methods in art and craft schools. The text discuss the Polish art deco style in context of two basic currents of interwar years: modernity and tradition. The problem of “Polishness” in art relates also to the concepts of interwar culture and visons of its progress or decadence.

scholarly journals CONCEPT, HISTORY AND STYLE DESIGN INTERIOR

2018 ◽  
Vol 64 ◽  
Author(s):  
L.V. Krasnikova
Keyword(s):  
Interior Design ◽  
Ancient Greece ◽  
Art Deco ◽  
Baroque Art ◽  
History Of ◽  
History Of Design

This article discusses the concept of design, various design styles, and interior design. The article discusses the history of design. Varied design styles, including: Attic style, originated in Ancient Greece and Rome; Gothic style, and its features; Renaissance times, the subspecies of which include rococo and baroque; art deco; Ethnic style and features of this style.

scholarly journals Interwar Furniture in Lithuania: Design and History

2019 ◽  
pp. 171-187
Author(s):  
Aistė Dičkalnytė
Keyword(s):  
Interwar Period ◽  
Western Europe ◽  
Time Perspective ◽  
Art Deco ◽  
Political Purpose ◽  
National Symbols ◽  
Space Saving ◽  
The Media ◽  
Rational Construction ◽  
National Style

This article analyses the furniture created in Lithuania during the interwar period. Today, from a time perspective, we can shed light on the development of furniture making, with the aim to reveal the furniture designers and the particular interiors where this kind of furniture became popular, as well as the styles that influenced them. In this paper, the author mostly describes artistic designs for secular interiors. The selection was based on ▪ www.zalacznik.uksw.edu.pl 187 Interwar Furniture in Lithuania the fact that this furniture best reflects the prevailing tendencies when it comes to design during a particular period. After independence was restored to Lithuania, the design of produced furniture became more modern and similar to that of Western Europe. This was caused by the educative propaganda in the media and the new generation of architects and artists who had graduated from universities in western countries. The new, rational construction of houses where all the free rooms were usually rented during the crisis caused demand of space-saving furniture. The architects usually designed both buildings and the built-in furniture with that concept in mind. Architects attempted to tailor built-in furniture to the user’s needs and financial capabilities in the most optimal way. Built-in modular storage systems, kitchen cupboards, and bookshelves were conceived as architectural components. They were used to divide and to model the space. The small living space required the number of furniture pieces to be reduced. That is why unit furniture became the second-most trending innovation during the interwar period. The combination of wardrobes, bookcases, and sideboards into one piece was the most popular modular unit furniture. Tables with shelves and couches with consoles were also popular examples of space-saving furniture. These modern innovations of furniture were made in art déco style since the late 1920s. The search for Lithuanian national style was particularly relevant in the interwar period and design was used as an instrument for political purpose. This is obviously prevalent in the furniture of representation interiors. Leading architects like Vytautas Landsbergis-Zemkalnis, Bronius Elsbergas, and Arnas Funkas, and also some popular artists such as Jonas Prapuolenis, Antanas Gudaitis, and Gerardas Bagdonavicius, designed not only furniture innovations but also furniture in the Lithuanian national style as part of their representative-interior projects. Country-wide Lithuanian exhibitions and presentations abroad were also dominated by the Lithuanian national style, propagated by the authorities. Interpretations of ethnic furniture decor and forms, as well as national symbols became dominant in all Lithuanian-national-style furniture.

scholarly journals CHANGES IN SOVIET ARCHITECTURAL STYLES IN THE 1930s

2019 ◽  
Vol 21 (4) ◽  
pp. 125-137
Author(s):  
V. M. Mzhelsky
Keyword(s):  
Methodological Approach ◽  
Architectural Style ◽  
Scientific Publications ◽  
Art Deco ◽  
Architectural Styles ◽  
History Of ◽  
Research Findings ◽  
The Government ◽  
The Individual ◽  
Architectural Competitions

Purpose: The aim of the paper is to study the history of Soviet architecture, associated with changes in its stylistic orientation, when instead of the previously dominant constructivist forms other forms began to prevail, namely Art Deco, neoclassicism and eclecticism. The paper explores the processes in architecture of that time, identifies the main prerequisites for the formation of that architectural style.Methodology/approach: The methodological approach includes a comparative analysis of scientific publications and buildings of Soviet architecture of the 1930s. A comprehensive study is conducted to identify the prerequisites, processes and features of the architecture of this period.Research findings: The main results concern the period under study accompanied by both evolutionary and cardinal changes in architecture associated with the general architectural policy of the government and the creativity of architects. All this determines the peculiarities of the controversial, transitional style of Soviet architecture. The analysis of the controversial architectural style considers the individual genesis. This style is formed under specific conditions and has its own history. Architectural competitions of the 1930s demonstrate the stylistic diversity of architecture and the evolutionary transition from constructivism to Soviet neoclassicism observed in the works of those architects who previously designed the style of constructivism. The term post-constructivism means both a purely chronological concept, that is a period in the history of architecture following the epoch of constructivism and the specific architectural and stylistic phenomenon which still combines constructivism and elements of the subsequent style. A search for individual architects determines the style of the 1930s. In this regard, the term post constructivism best reflects the diversity of architecture of that time, taking into account the historical era and national identity, and the use of elements typical to Art Deco, Neo-Renaissance, or Classicism.Practical implications: The research results can be used to further studying the architecture of this period as well as in the preparation of courses on the history of Soviet architecture of the 1930s. This study makes it possible to realize historical, artistic and cultural value of this style, thereby preserving it in the future.Originality/value: The history of the architecture of that period is still not well understood and is of particular interest for researchers. This study considers both well-known and insufficiently studied buildings of Soviet architecture of the 1930s, compares the obtained facts and opinions of other authors‟. As a result, the paper combines, compares and analyzes interesting information on this topic and investigates concrete facts. Also, a comparison is given to the architecture of the studied and previous periods.

RISHTAN SCHOOL OF CERAMICS

2019 ◽  
Vol 16 (2) ◽  
pp. 73-77
Author(s):  
Akmal Marozikov ◽  
Keyword(s):  
Central Asia ◽  
Building Materials ◽  
Works Of Art ◽  
The World ◽  
Ferghana Valley ◽  
History Of ◽  
Made In ◽  
National Style

Ceramics is an area that has a long history of making clay bowls, bowls, plates,pitchers, bowls, bowls, bowls, pots, pans, toys, building materials and much more.Pottery developed in Central Asia in the XII-XIII centuries. Rishtan school, one of the oldest cities in the Ferghana Valley, is one of the largest centers of glazed ceramics inCentral Asia. Rishtan ceramics and miniatures are widely recognized among the peoples of the world and are considered one of the oldest cities in the Ferghana Valley. The article discusses the popularity of Rishtan masters, their products made in the national style,and works of art unique to any region

Cyriel Verschaeve aan zuster Gabriël. Zeven brieven, op het nippertje gered van de vernietiging...

2006 ◽  
Vol 65 (4) ◽  
pp. 301-325
Author(s):  
Luc Vandeweyer
Keyword(s):  
Women Students ◽  
Interwar Period ◽  
Historical Documents ◽  
Emotional Life ◽  
Religious Worldview ◽  
History Of

Deze publicatie door Luc Vandeweyer van de briefwisseling van de Alveringemse kapelaan en Vlaams voorman Cyriel Verschaeve met de uitgesproken Vlaamsgezinde zuster Gabriëlle Van Caeneghem, medegrondlegster van de katholieke Vlaamse Meisjesbeweging en van de vrouwelijke studentenbeweging, bezorgt ons een inzicht in de gevoelswereld van Verschaeve en zijn literaire en mystieke opvattingen. Tegelijk zijn de brieven illustratief voor de sfeer van het mystiek-spirituele wereldbeeld waarin een (kwantitatief en kwalitatief) belangrijk deel van de Vlaamse beweging tijdens het interbellum baadde. Daarenboven blijkt er de verbondenheid uit van beide respondenten met de religieus-socialistisch bewogen geschriften van de Nederlandse dichteres en communiste Henriette Roland Holst-Van der Schalck. Tenslotte wordt in de bijdrage de geschiedenis van deze archiefdocumenten verhaald, als frappante casus hoe archivarissen en/of historiografen soms een ware klopjacht moeten organiseren om belangrijke historische documenten van vernietiging te redden. ________Cyriel Verschaeve to sister Gabriël. Seven letters, saved from destruction at the eleventh hour…Luc Vandeweyer's publication of the correspondence of Cyriel Verschaeve, curate of Alveringem and Flemish-nationalist leader, with the outspoken pro-Flemish sister Gabriël van Caeneghem, co-founder of the Catholic Flemish girls' movement and the movement of women students, provides us with an understanding of the emotional life of Verschaeve and his literary and mystical beliefs. The letters also illustrate the atmosphere of the mystico-religious worldview indulged in by a (quantitatively and qualitatively) large part of the Flemish movement during the Interwar period. It also demonstrates the solidarity of both correspondents with the religio-socialist inspired writings of the Dutch poet and communist Henriette Roland Holst-Van der Schalck. Finally the contribution also describes the history of these archival records, as a striking example of how archivists and/or historiographers sometimes are obliged to organise an actual round up in order to save important historical documents from destruction.

Indigenous Written Sources for the History of Bonny

1989 ◽  
Vol 16 ◽  
pp. 185-196
Author(s):  
Susan M. Hargreaves
Keyword(s):  
Nineteenth Century ◽  
Niger Delta ◽  
Colonial History ◽  
Additional Material ◽  
Court Records ◽  
General Terms ◽  
Early Colonial ◽  
History Of ◽  
Similar Character ◽  
Written Sources

It is well known that indigenous contemporary written documentation exists for the precolonial and early colonial history of some of the coastal societies of South-Eastern Nigeria. The best known example is Old Calabar, for which there exists most notably the diary of Antera Duke, covering the years 1785-88, a document brought from Old Calabar to Britain already during the nineteenth century. More recently John Latham has discovered additional material of a similar character still preserved locally in Old Calabar, principally the Black Davis House Book (containing material dating from the 1830s onwards), the papers of Coco Bassey (including diaries covering the years 1878-89), and the papers of E. O. Offiong (comprising trade ledgers, court records, and letter books relating to the period 1885-1907). In the Niger Delta S. J. S. Cookey, for his biography of King Jaja of Opobo, was able to use contemporary documents in Jaja's own papers, including correspondence from the late 1860s onwards. In the case of the neighboring community of Bonny (from which Jaja seceded to found Opobo after a civil war in 1869), while earlier historians have alluded to the existence of indigenous written documentation, they have done so only in very general terms and without any indication of the quantity or nature of this material.

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