Architecture and Environment
Reference:
Ivanova A.P.
The formation of the architectural landscape of Szeged, Hungary. 1872-1930.
// Urban Studies.
2024. № 1.
P. 1-16.
DOI: 10.7256/2310-8673.2024.1.69787 EDN: FPFETH URL: https://en.nbpublish.com/library_read_article.php?id=69787
Abstract:
The article, written during the implementation of the international Russian-Hungarian project, is of an overview nature. The author's goal is to expand the understanding of Russian colleagues about the Hungarian architecture of the late XIX – first third of the XX centuries. Szeged was chosen as an example of a large-scale reconstruction: the city, almost completely destroyed by the flood of 1879, was rebuilt in a short period and became the "southern capital" of Hungary. Based on field research in 2022, three layers of the architectural and spatial landscape of Szeged are considered: "imperial" (borderless classicism and historicism), "national" (Magyar secession) and interwar (Art Deco). The article is illustrated with photographs of the Hungarian participant of the project G. Csonadi. The object of the study is the city of Szeged, located 169 km south of Budapest, near today's Hungarian-Romanian and Hungarian-Serbian borders, at the confluence of the Tisza and Maros rivers. It is the second most important city in Hungary, the most important point on the "mental map" of the country, the capital of the Hungarian plain and a symbol of the revival of the national spirit. The subject of the study is the process of constructing an architectural "image of the Motherland". In our work, we use an interdisciplinary approach, combining elements of history, architecture, cultural studies and social geography. This allows us to explore and analyze architectural heritage more deeply, its impact on the formation of the cultural landscape and social processes. Using the example of the southern Hungarian city of Szeged, the process of constructing the "image of the Motherland" developed in a time perspective is considered. We have identified several layers in the architectural landscape of Szeged: regular-imperial (Biedermeier, neo-Baroque, borderless classicism), national-romantic (from historicism in the spirit of the French Renaissance to the Magyar secession), interwar (Art Deco based on neo-Romanticism). We see that the "spirit of the times" and the "image of the Motherland" are not static and are embodied in various forms. The image of "little Vienna", resurrected according to the patterns of the Enlightenment era on the far periphery of the Empire, is being transformed under the onslaught of the nationally oriented bourgeoisie. Bizarre and eccentric architectural experiments sponsored by private original customers are replaced by monumental pathos ensembles that help citizens jointly survive the deepest collective psychotrauma. The Synagogue, the Cathedral, the University and the "sunny houses" embody different facets of the Hungarian identity.
Keywords:
The Interbellum Era, The perfect city, synagogue, Art Deco, Hungarian architecture, Lajos Lechner, Magyar Secession, Odon Lechner, the architectural image of the Motherland, Szeged
Architecture and Environment
Reference:
Khlevnoi V.A.
The ancient pattern in the Crimean cultural landscape
// Urban Studies.
2024. № 1.
P. 17-36.
DOI: 10.7256/2310-8673.2024.1.70088 EDN: JGEEKP URL: https://en.nbpublish.com/library_read_article.php?id=70088
Abstract:
The subject of the study is the ancient pattern in the cultural landscape of Crimea, expressed in architecture, sculpture, monumental and decorative arts. The object of the study is the Crimean artifacts of the ancient polis (architectural details, sculpture, vase painting) in comparison with similar objects of mainland Greece. The author pays special attention to the transformations of the ancient style in the Crimean diaspora, associated with the influence of autochthonous cultures: Taurian, Meotian, Cimmerian, Scythian-Sarmatian, and examples of the synthesis of the artistic stylistics of these cultures and the ancient style. The use of the ancient order system as the basis of all subsequent styles, including the Crimean modern, which is a reflection of the synthesis of cultures of the multiethnic cultural landscape of Crimea, is also traced. The continuous continuity of the ancient style up to the present is shown. The article uses the method of historicism in retrospect of the ancient pattern in the cultural landscape of the Crimea, the comparative method in the comparative analysis of artifacts of the Crimea and mainland Greece, the method of stylistic analysis in classical architecture and decorative arts of the Crimea. The main conclusions of the study are: 1. The Crimean cultural landscape is diverse due to the historical polyethnicity of the region, associated with its geographical location and unique natural complex, which has become a place of numerous ethnic migrations throughout history. This is also connected with the appearance of ancient Greek culture in the Crimea, which left a significant mark on the peninsula. 2. The ancient order architectural system, as well as the use of classical anthropomorphic proportions in sculpture, wall painting, vase painting, became the basis of the classical approach in architecture and fine arts. The constructive expediency, conciseness and harmony inherent in ancient architecture became the reason for its global introduction into subsequent architectural and artistic styles, up to the present time. 3. The ancient pattern in the Crimean cultural landscape is unique in that it embodies the cultural synthesis of Greek classics and local autochthonous cultures.
Keywords:
Sculpture, Anthropomorphism, Architectural order, Greek culture, Classicism, Antiquity, Cultural landscape, Crimea, Vase painting, Synthetism