Classification of Mason’s Skills by Analysis of Selected Churches of the Broumov Group

The churches of the Broumov region are renowned for their unique baroque architecture, their distinct shapes, and sizes. They are an integral part of the Czech cultural heritage. If you analyze the churches, it becomes evident that both the local geological conditions and the municipal economic situation have played an important role in their current condition. Moreover, the local construction industry has been significantly affected by historical events. In this article we would like to present the effects of those factors on the current state of selected churches, namely on the bearing capacity of their walls. Besides being very interesting, it also plays a key role in the maintenance and the potential reconstruction of the churches.

Two Palaces by Bartolomeo F. Rastrelli According to Drafts from Friedrich Bergholtz collection, Stockholm National Museum

The article includes the description and analysis of 12 sheets from Bergholtz collection de­dicated to two Courland palaces of Duke Ernst Johann von Biron in Mitau and Ruhenthal (nowadays, Latvia — Jelgava and Rundāle, respectively). Designed by Bartolomeo F. Rastrelli, the palaces belong to the finest works of the Russian Baroque architecture of the 1730s. The findings of the study reveal that 7 sheets illustrating the design and the façade of the Ruhenthal palace are practically an exact copy of the original project stored in the collection of the Albertina Museum in Vienna. Two out of five drafts of Mitau palace are also a copy of Viennese drafts, while three sheets of five are a copy of completed projects. Therefore, the most valuable items of Bergholtz collection are three architectural drafts of the façade and lay-outs of two floors of Mitau palace — the only copies of the completed Rastrelli’s project known to science; the original copies are yet to be discovered.

Stability Analysis of St Barbara Church in Otovice

Broumov Region and its group of churches represent a perfect example of symbiosis between Baroque architecture and countryside landscape. This peculiar heritage site requires specialized analysis to preserve its uniqueness. St. Barbara Church in Otovice, the one investigated in this thesis, was built by Christoph and Kilian Dientzenhofer. Nowadays, concerns about its stability and degradation process led to the necessity to investigate more deeply its current condition. Therefore, the main objective of the article consists in the FEM modeling and the evaluation of the bearing capacity of enclosure walls, with particular attention on the influence of the soil deterioration. In conclusion, technical advices are recommended.

Reliability Analysis of St. Barbara’s Church in Otovice

The Churches of the Broumov region are well known for their unique baroque architecture, distinct shapes, sizes, and constitutes an integral part of the Czech cultural heritage. The St. Barbara’s Church that has been studied in this article, is in the Otovice village of Broumov. It was built in the year 1726 by Bavarian architects Christoph Dientzenhofer and Kilian Ignaz and is significant because of its religious, artistic and historic values. The main objective of this study is to evaluate the structural safety and stability of St. Barbara’s Church based on a probabilistic approach. A deterministic assessment of the structure is carried out and the results are assessed concerning the present site condition. Depending upon the observed damages, a condition for failure is defined for the structure. The uncertainties in the material parameters are considered and reliability analysis is performed to determine the reliability index, probability of failure and influence of different material parameters in the structural stability.

ARRHYTHMIA OF COLONNADES IN ROMAN BAROQUE ARCHITECTURE

The article considers the special rhythmic structure inherent in the facades of Roman baroque churches of the late 16th – 17th centuries. Select examples illustrate the relations typical of such architecture between the bottom diameter of columns (embates), intercolumniation, and column height. These relations include the classical ones, which are consistent with the theory of proportions of Pythagoras and the rules of Vitruvius, but the unusual arrhythmic techniques of the composition create a special dissonant resonance with human biorhythms and mental states within the space of Baroque architecture.

The Architects of the Fontana Family in the Polish-Lithuanian Commonwealth. The History of a Clan

At the turn of the eighteenth century, the newcomers of the Fontana family settled in the Polish-Lithuanian Commonwealth and eventually rallied a clan of architects and engineers based on family ties. In the middle of the eighteenth century, some of the individuals connected by familial ties resided in Warsaw and worked in the milieu of the royal court, but the zone of their activity and influence covered almost the whole territory of the Polish-Lithuanian Commonwealth. In the historiography of Polish art, the Fontanas and other architects related to them have been studied in some detail, but those family members who resided and worked in the Grand Duchy of Lithuania have not been adequately researched. The phenomenon of this clan is not featured in the circulation of the history of Lithuanian art, nor has its role in the evolution of eighteenth-century architecture of the Grand Duchy of Lithuania been assessed. The biographical information on the Fontana family and the data on their architectural activities suggest that the Fontana family of architects, which operated in the Polish-Lithuanian Commonwealth, comprised a group based on kinship that consciously sought to firmly establish themselves and assert leadership in the field of architecture. In the eighteenth century, the architects of the Fontana family introduced the stylistic trend of “Classicist” Baroque to the architecture of the Grand Duchy of Lithuania. This style encompassed the echoes of Northern Italian mannerism, ascetic and austere traditions of mature baroque of Rome, as well as ideas and variations of forms transformed in the milieu of Warsaw triggered by following such precursors as Tylman van Gameren. Classicist Baroque stimulated a wide response. In the eighteenth-century arena of baroque architecture of the Grand Duchy of Lithuania, it was competing against its main rival, the school of Vilnius Baroque.

Arquitectura para dos carismas distintos en el Bajo Aragón turolense en el Seiscientos: el convento carmelita de Alcañiz y el descalzo del Desierto de Calanda

En el Bajo Aragón turolense se asentaron un gran número de órdenes religiosas en las primeras décadas del Seiscientos, y entre ellas, los carmelitas, que llegaron a Alcañiz en 1602; o los descalzos, que se establecieron en el convento del desierto de Calanda en la década de los ochenta de ese siglo. Sin embargo, las diferencias entre ambos establecimientos son evidentes, ya que fueron concebidos tanto espiritual como arquitectónicamente diferentes uno de otro debido a las funciones que debían cumplir. El caso alcañizano es una de las muestras más destacadas de la arquitectura bajoaragonesa del barroco, mientras que el calandino es un buen ejemplo de desierto carmelita, cuyas trazas probablemente fueron realizadas por artífices de la orden. Abstract A great number of religious orders settled in the Bajo Aragón in Teruel in the first decades of the 17th century, among them the Carmelites that arrived in Alcañiz in 1602; or the Discalced, that settled in the convent of the desert of Calanda in the decade of the 80s of that century. However, the differences between both establishments are evident, since they were conceived differently both spiritually and architecturally due to the different function that they had to fulfil. In the case of Alcañiz, it is one of the most prominent samples of the architecture of the Bajo Aragón in the Baroque period, while in Calanda's case, it is a good example of Carmelite desert, the design of which were probably made by authors of the order. Key words Baroque architecture, Carmelitas, traces, Bajo Aragón, Alcañiz, Calanda.

Review of: Alkis Charalampidis,ΜΠΑΡΟΚ: ΑΡΧΙΤΕΚΤΟΝΙΚΗ, ΓΛΥΠΤΙΚΗ, ΖΩΓΡΑΦΙΚΗ [BAROQUE: ARCHITECTURE, SCULPTURE, PEINTURE], Kalliopi Tzimagiorgi (éd.), Thessalonique: University Studio Press, 2017, 221 pages, 290 figures.

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DINAMIKA KETERHUBUNGAN RUANG ARSITEKTURAL DAN MUSIKAL BAROK

ABSTRAKKetika kita mendengar suara (audial, akustikal) kitapun dapat melihat ruang (spatial). Di samping dapat melihat bentuk dan mendengar bunyi, kita dapat juga mendengar bentuk dan melihat bunyi. Meskipun bahasa yang dipergunakan arsitektur dan musik berbeda, namun kedua bidang ini memiliki karakter berkesenian yang sama yaitu pencarian makna keindahan yang tiada akhir. Arsitektur dan musik berbagi tujuan yang sama dalam hal estetika, namun keduanya memiliki perbedaan wujud. Melalui penjelajahan imajinatif dan perseptif karya seni Barok, tulisan ini mencoba mencari hubungan yang analogis antara sensasi auditory berupa tatanan melodi dan irama dengan manifestasi ruang arsitektural. Dengan menerapkan pendekatan yang bersifat kualitatif dengan teknik penarikan sampel yang sesuai dengan ruang lingkup pembahasan, dan menelusuran hubungan yang analogis (yang atributif) dicapai juga dengan kajian komparatif tatanan/ruang antara arsitektur dengan musik Barok. Dengan Sistem representasi yang menjadi kunci dalam menghantarkan visi tatanan/ruang arsitektural serta musikal Barok, maka diharapkan secara imajinatif dan ekspresif perwujudan dinamika hubungan antara ruang arsitektural dan musikal Barok dapat ditemukan. Di lain hal, penelusuran keterhubungan antara arsitektur dan musik terbuka bagi berbagai kekuatan seni, dapat berkomunikasi dengan aspek arsitektur dan dapat dicari kedekatan hubungan antar masing-masing kekuatan seni. ABSTRACTWhen we hear the sound (audial, acoustical) we can see the space (spatial). In addition to being able to see the shapes and hear the sound, we can also hear the shapes and see the sound. Although the language used by architecture and music s different, but these two fields have the same artistic character that is the exploration for the endless beauty of the end. Through the imaginative and perseptive exploration of Baroque artwork, it seeks to find an analogic relationship between the auditory sensation of melody and rhythm with the manifestation of architectural space. By using a qualitative approach with sampling techniques that fit the scope of the discussion, and tracking analogical (attributive) relationships is also achieved by a comparative study of the order / space between Baroque architecture and music. With the representation system, the key of delivering the vision of Baroque architectural / space order and musicals, it is hoped that imaginatively and expressively the realization of the dynamics of the relationship between architectural space and Baroque music can be found. On the other hand, the research for the connection between architecture and music is open to various artistic, possible to communicate with aspects of architecture and to find the closeness of the relationship between each art.