Art and Architecture

Ribotas architektūros meninio potencialo aiškinimas verčia ieškoti alternatyvių tyrimo modelių, atsietų nuo subjektyvių naratyvų, stilistinio progreso teorijos ir formaliųjų architektūros savybių aiškinimo. Šiuolaikinė estetikos teorija akcentuoja suvokėjo santykį su meno kūriniu, kai objekto „įmeninimo“ procese svarbus vaidmuo tenka ne tik įkvėptam kūrėjui, bet ir meno auditorijai. Pasak šios teorijos, objekto „įmeninimo“ procesas įvyksta meno kūrinio santykyje su jo auditorija dėl tos priežasties, kad meno prigimtis yra ženkliška. Ženklų sistemų raiškos sritis yra neatsiejama nuo socialinės komunikacijos.

In the late 19th and early 20th centuries, research into the understanding of visual space in the arts and sciences narrowed the distinctions between architecture and the arts, contributing to a growing desire to unify all the senses in the production of more meaningful art and architecture. The Bauhaus, in its proposed synthesis of the arts, left with few examples of architecture, but the modern desire for the unification of the formal vocabulary of architecture and the arts persisted, and was advanced especially through the reduction and refinement of their elements.
I argue that Max Bill, a Bauhaus graduate, realized this synthesis of the arts through his Concrete design method, which reconciled the rational and the intuitive through conceptual associations between different media. His approach to design resisted formalism and arbitrary decisions, and went far beyond the visual by producing designs which embraced functionality, creativity and simplicity, and unfolded in a diverse array of forms instead of repetitive formulas.
To this day formalism and a superficial regard for aesthetics hinders discussion and the exchange of concepts between art and architecture, especially regarding the design process. This paper will explore the methods and conceptual underpinnings of Max Bill’s sculptural work and architecture through case studies from 1932 through 1968.

This paper explores Ernesto Nathan Rogers’ concept on the relationship between art and architecture. It starts from the analysis of the last issue of Domus under his direction in 1947, widely dedicated to this relationship, with writings by Aalto, the Italian painters Campigli and Guttuso and an in-depth analysis on Max Bill among some others interdisciplinary studies. The paper shows how Rogers accepts and supports the language of Concrete Art (arte concreta) as the only solution for this dilemma between architects and artists. Born in Europe, the Concretismo found a significant development in Argentina where Rogers stayed in 1948 after having published the last Domus and encouraged the Italian “Movimento Spazialista” led by Lucio Fontana, who had returned to Milan from Buenos Aires during the spring of 1947. The circularity of these events proves the legacy of this issue of Domus and emphasizes the difference with Gio Ponti’s subsequent direction of the magazine.

«Esperimenti di sintesi delle arti». Analogie fra MAC et Espace/ «Experiments in the synthesis of arts». Analogies between MAC and Espace, testo pubblicato nel giornale dell'esposizione Expériences de synthèses des arts. André Bloc et Gianni Monnet dans un parcours parmi les protagonistes de l’Art Concret, Studio Dabbeni, Lugano 4 novembre–31 gennaio 2017.

Making Futures Bauhaus+ is an action research project that addresses questions of architecture as a collective form and architecture as a resource. Departing from these two perspectives, it operates as an experimental research unit that advances future paths for architectural practice and education. It was initiated in 2018 as a cooperation between raumlabor and the Berlin University of the Arts on the occasion of the Bauhaus’ centenary.

The newspaper edited together with Fiona Shipwright was received by every participant and visitor at Haus der Statistik.

O ensaio é voltado à reflexão da migração do dispositivo cinema para os espaços da arte, com o objetivo de observar as modificações ocorridas nesse dispositivo, focando a relação entre projetor/ imagem projetada/ arquitetura do espaço expositivo/ corpo do espectador. Pressupõese aqui que o cinema expandido antecipa muitas das problemáticas que norteiam a produção norte americana da década de 1960 e 1970. Este momento marca a passagem da escultura moderna para a contemporânea, que, sob a influência do minimalismo, abstracionismo e arte conceitual, quebra os cânones sob os quais a escultura moderna se assentava e funda novas relações espaciais. Essa apuração se dá por meio da leitura de "Between the black box and the white cube" de Andrew V. Uroskie, "Modern sculpture reader" organizado por John Wood, David Hulks e Alex Potts, "Language of new media" de Lev Manovich, "A tecnologia na arte: da fotografia à realidade virtual" de Edmond Couchot, "O complexo arte-arquitetura" de Hal Foster, "A escultura no campo ampliado" e "Passages" de Rosalind Krauss, "No interior do cubo branco: a ideologia do espaço da arte" de Brian O'Doherty, "Esculpindo o espaço" de Agnaldo Farias, "The experience machine: Stan VanDerBeek's movie drome and the expanded cinema" de Gloria Sutton e "Between the black box and the white cube" de Andrew V. Uroskie. Para demonstrar esta hipótese trago a obra "Line describing a cone" de Anthony McCall, "Shutter interface" de Paul Sharits e "Movie drome" de Stan VanDerBeek. Todas as obras foram estudadas a partir de textos escritos pelos próprios artistas.


OTHER FORMS OF RELATIONSHIP WITH THE PROJECTED IMAGE: FROM THE
SCREEN PLANE INTO SPACE
ABSTRACT: The assay is aimed to reflect the migration of the cinema device to the spaces of art, with the aim to observe the changes that have occurred on that device, focusing on the relationship between projector/projected image/architecture of the exhibition space/body of the Viewer. It is assumed here that the expanded cinema anticipates many of the issues that guide the North American production of the 1960 and 1970. This moment marks the passage of modern sculpture to contemporary, which, under the influence of minimalism, abstraction and conceptual art, break the canons under which the modern sculpture sat and founded new spatial relationships. This calculation takes place by means of the reading of "Between the black box and the white cube" of Andrew v. Uroskie, "Modern sculpture reader" organized by John Wood, David Hulks and Alex Potts, "Language of new media" Lev Manovich, "technology in art: photography to virtual reality" of Edmond Couchot, "the complex art-architecture" of Hal Foster, "sculpture in the expanded field" and "Passages" by Rosalind Krauss , "Inside the white cube: the ideology of the art space of Brian O'Doherty," Sculpting space "by Agnaldo Farias, The experience machine: Stan VanDerBeek's movie drome and the expanded cinema" de Gloria Sutton and "Between the black box and the white cube" of Andrew v. Uroskie. To demonstrate this hypothesis I present the works "Line describing a cone" of Anthony McCall, "Shutter interface" by Paul Sharits and "Movie drome" of Stan VanDerBeek. All the works were studied from texts written by the artists themselves.

The Iranian artist's long-lasting attempt has been towards idealism.An Iranian painter has always been inclined to portray the world as it should, not to portray her own image of the world.In such a way that the universe reflected in the form of the transformed artist's will and reflected in the light of the harmonious laws.The reality is that the major schools of painting was based on Persian literature and developed elsewhere in the region.Specific and poetic visualization, iconography is an achievement of the Islamic art of Iran. The Iranians entered some kind of beauty into imagination into the architectural space and created decorative shapes which affected the nature of architecture.It aims to create a fantastic space and a floating world of imagination and embodiment of unity by applying all the ideals and elements of painting in space.This research deals with qualitative study of the art of painting and interpretation features.a framework based on three cognitive, beautiful and historical aspects, has been designed to analyze the methods of understanding the art of painting and architectureand identifies the weakness and strength of each of them and finally, a way to understand the architectural space in the Iranian paintings based on four pillars are cleared which include 1-Scrolling 2-scan the history of typology and cognitive symbols 3-Phenomenological and symbolic scans 4-Intuitive reflection (Veridical). Meanings may either endorse one another or abandon one another.From the results of this research, it is possible to present a new and well-known aesthetic solution in painting and architecture.

This article bases itself on the premise that much can be learnt about the varied views around death and the afterlife from Indian visual culture—architecture, sculpture, paintings and prints, preserve evidence for beliefs and rituals from times past that continue to exert their influence today in many ways. The family/society that people leave behind shape their afterlives on earth: positioning them in heaven, performing rituals to assist them in their passage to heaven, and even feeding and watering their spirits out of a sense of duty and in turn, setting standards for exemplary behaviour for their descendants. A violent death gives heroes and martyrs a place in heaven, they are remembered through sculpted memorials across India. Oftentimes, the fear of Judgement provides social control and ethical/moral behaviour. In keeping with those moral values, the living sometimes make elaborate provisions for their memorialisation orchestrating attempts at posterity for themselves and legitimising their descendants’/followers’ devotion to them through sculptural stelae, or monuments. The horrors of the varied hells the damned can be banished to are vividly painted in karni-bharni pictures, instilling a sense of fear amongst the living. Painted depictions of moment of death of the ardent followers of different deities show that the attainment of mokṣa is guaranteed to those who exhibit a requisite degree of piety and devotion. And paintings of Bhīṣma remind us how he waited to die at the appropriate time so as to secure a better afterlife.

Tra le iniziative editoriali della rivista VENTRE-La rinascita dell'architettura è nata la nuova collana Ventre Zoom volta a diffondere progetti, saggi, idee, interviste e riflessioni sull'architettura disegnata o costruita. Ciascun volume si costituirà come luogo di dibattito e confronto sul fare architettura in diverse città. Il primo numero è dedicato a dieci anni di attività dello studio corvino + multari, realtà tra le più rappresentative nel dibattito sull'evoluzione dell'architettura in Italia. 9 7 8 8 8 8 9 4 4 6 1 0 2

The rich ancient heritage of Junnar is represented by archaeological sites in Junnar city; rock cut caves in Junnar area and Naneghat trade route. Malshej Ghat is similar such ancient route to the north of Naneghat which connects Konkan area to Deccan plateau. Harishchandragad fort is a well known medieval fort situated on boundaries of three districts, namely Ahmednagar, Pune and Thane. There exist many approach routes to the fort including important ones passing through three base villages namely, Khireshwar, Pachnai and Belpada. The mountain is origin to two rivers, namely Mula and Kalu. Archaeologists from Deccan College have reported Paleolithic tools from the fort. The presence of number of rock cut caves and early medieval temple complex indicate that area was under occupation in early medieval period. Scholars have noted affiliations of Ganpatya, Shaiva and Nathpanthi sects with the main temple complex and rock cut caves, however there is no common consensus regarding it. The earliest Brahmanical caves in the entire region are dated based on inscriptions, to approximately 11th -12th century CE. However, architectural evidences indicate otherwise. The present paper aims to document and study an undocumented Brahmanical cave belonging to early medieval period at the base of Harishcandragad from archaeological point of view.

Capítulo del libro "Modernidad y vanguardia en América Latina 1930-1970" editado por Alexandra Kennedy-Troya y la Facultad de Arquitectura de la Universidad de Cuenca, Ecuador. El libro recoge los ensayos de los participantes en las II JORNADAS INTERNACIONALES DE HISTORIA DEL ARTE Y ARQUITECTURA (HISTAA) en la Universidad de Cuenca, Ecuador, los días 29-30 de noviembre y 1 de diciembre de 2017.
Resumen:
"Quizá los tiempos no sean todavía maduros para ello. No importa. Espero que nuestros ensayos servirán de base para el hombre integrado del siglo XXI."1
Entre los principios que pueden explicar el desarrollo de la obra de Carlos Raúl Villanueva, la noción de integración es fundamental; se refiere específicamente a la unidad o síntesis de las artes, que fue y aún lo es, el tema más celebrado internacionalmente en la Ciudad Universitaria de Caracas. Para Villanueva, la relación entre el arte y la arquitectura era una entre las varias dimensiones de una arquitectura concebida como la integración orgánica de todo lo que el proyecto debe resolver en un producto complejo y, al mismo tiempo, unitario. Esto está expuesto con claridad en sus escritos y conferencias. Esta visión integradora, tiene en Villanueva múltiples facetas. Esta ponencia se propone exponer las relaciones entre el arte y la arquitectura en su obra y analizar cómo estas son parte fundamental de su proceso de formalización. Examinamos cómo esa relación se desenvuelve en las primeras décadas y alcanza un momento culminante a principios de los años cincuenta del siglo XX, al convocar un importante número de artistas nacionales e internacionales para que participen en la creación de los espacios de la Ciudad Universitaria de Caracas. No solo se resalta la presencia de las obras de los artistas sino la elección de colores para los acabados, la concepción plástica de las estructuras, la integración de lo universal y lo local, la escala humana o el ideal por trascender lo utilitario para alcanzar un contenido poético, que tienen su origen en la concepción integradora del arte moderno. Permanencia y constante transformación se desarrollan en otras obras a la vez, a partir de ese momento culminante de la Ciudad Universitaria de Caracas.
1 Carlos Raúl Villanueva, “Reflexiones personales sobre la arquitectura y el arquitecto”, conferencia dictada cuando fue elegido miembro correspondiente de la Academia de Arquitectura de Francia, 1954. http://www. fundacionvillanueva.org/FV05/ escritos/05reflexiones.html

Both a learning platform and a pedagogical experiment, Urban School Ruhr is built upon the foundational belief that experts and amateurs can, together, build a space of critical exchange and knowledge transfer. USR prioritises exchange and dialogue that is not necessarily attached to specific outcomes, results or interventions in built reality, instead understanding conversation as the first step to co-producing cities.

Explorations in Urban Practice, the first edition in the Urban School Ruhr Series, draws from and reflects upon USR’s experiences to date whilst also looking to the future of urban practice in contemporary cities. The book presents the reader with key current questions in the field: how can we learn city making? How should we understand the political concept of commoning for this purpose? And how can we discuss intervention as a strategy for enacting urban change?

With contributions from: Juan Chacón, Dirk Baecker, Merve Bedir, Pablo Calderón Salazar, Bianca Elzenbaumer and Fabio Franz, Benjamin Foerster-Baldenius, Silke Helfrich, George Kafka, Valentina Karga, Gilly Karjevsky, Hannes Langguth, Laura Lovatel, Torange Khonsari and Andreas Lang, Marjetica Potrc, Anna Giulia della Puppa, Julia Udall, Sam Vardy, Sabine Zahn.

Published by dpr-Barcelona

>> Shortlisted for the Cornish Family Prize for Art and Design Publishing at the National Gallery of Victoria, Melbourne.

[ESPAÑOL] El Diccionario de la Real Academia Española de la Lengua define la taxonomía como "la ciencia que trata de los principios, métodos y fines de la clasificación" y aclara que "se aplica en particular para la ordenación jerarquizada y sistemática de los grupos de animales y vegetales". Esta idea de creación de clasificaciones jerarquizadas se adapta perfectamente al proceso proyectual del arquitecto Junya Ishigami. Sus diseños se caracterizan por espacios continuos y diáfanos de aparente sencillez compositiva, siendo los pocos elementos arquitectónicos que cualifican estos espacios sus verdaderos protagonistas. Aquí es donde entra en juego este carácter casi científico de su método proyectual. Se estudia meticulosamente la posición, el tamaño, la forma, la geometría de cada pilar, cada muro, cada árbol, cada estancia, cada jardín. Cada uno de ellos se trata como un objeto dado, algo que existía previamente y que ha sido descubierto y catalogado en el proceso del proyecto. A través de este estudio se tienen las herramientas para establecer su posición final dentro de la composición, casi como si de un juego de construcciones o una representación pictórica se tratara. Son necesarios a partir de aquí patrones y asociaciones simbólicas que permitan recomponer la distribución del conjunto. Así, los pilares en planta parecen ser estrellas y su disposición en grupos, constelaciones. O bien, en alzado, son árboles, que se ubican creando zonas de mayor densidad y claros. Los muros, son nubes. Trozos de antiguas viviendas pueden conformar un nuevo edificio. Árboles que iban a ser talados, un nuevo jardín. Así, los elementos compositivos se experimentan y reinterpretan en cada nuevo diseño y de su estudio, conocimiento y agrupación surge una nueva familia taxonómica que es la que da lugar, finalmente, al proyecto arquitectónico.

[ENGLISH]The Dictionary of the Spanish Royal Academy of Language defines taxonomy as "the science that deals with the principles, methods and purposes of classification" and clarifies that "it applies in particular to the hierarchical and systematic organization of groups of animals and vegetal". The architect Junya Ishigami perfectly adapts this idea of creating hierarchical classifications to the design process. His designs are characterized by both continuous and open spaces, pretending a compositional simplicity. There are a few architectural elements that qualify these spaces. They are their true protagonists. This is where Ishigami´s almost scientific project method takes place. A lot of things, such as position, size and shape, the geometry of each pillar, each wall, each tree, each room, and each garden are meticulously studied. Each of them is treated as a given object, as something that previously existed, and that has been discovered and cataloged in the project process. Through this study he has the tools to establish their final position within the composition. It almost seems to be a set of constructions or a pictorial representation. From here, both symbolic patterns and associations are necessary to recompose the whole distribution. Thus, the pillars in the plan seem to be stars and their placing in groups, constellations. Pillars, in elevation, seem to be trees. These trees are located creating areas with more or less density. The walls are like clouds. Some pieces of old houses can form a new building. Trees that were going to be felled can form a new garden. Thus, compositional elements can be experienced and reinterpreted in each new design. A new taxonomic family arises from their study, knowledge, and grouping. That is what finally leads to the architectural project.

This research is an attempt at recognizing the placemaking attributes by studying Sacred Groves of Ambaji. A brief study of the human-nature relationship, the cultural significance of trees and the concept of Sacred Groves were conducted to understand the reason behind this integral association of people and trees. Detail investigation of three different cases of Ambaji was conducted, as per a specific framework, through the means of site documentation, analysis and interview have been done. The study encompasses the concept of space, place, sense of place and the role of placemaking attributes to understand the difference between these phenomena.
This research highlights the inter and intra relation between placemaking attributes. It showcases the origin of places borne out of local people’s intuition and exhibits the actors behind the development of a place that is not devoid of political, technological and economic aspects. Further design proposals are also provided that can be used as further research and design guidelines.

RESUMEN



El presente artículo de reflexión desarrolla, con una mirada pautada fuertemente por la vivencia directa del espacio y la intención de generar un discurso textual y visual equilibrado, una profundización en las lógicas proyectuales imbricadas en una obra singular: el Museo de Arte de Teshima. Se trata de una obra iniciática, sin referenicas previas, que encuentra su identidad en el balance entre arquitectura y arte y entre arte y naturaleza, y se despliega en un espacio conceptual en el cual las repuestas formales, expresivas, funcionales y técnicas se entrelazan e imbrican hasta fundirse. 
La reflexión se desarrolla a partir de dos variables principales: la experiencia peceptiva y la manipulación de la escala, y plantea una criba de atributos de proyecto que incluye entre otros: objetualidad, pregnancia, abstracción, figuración y analogía, experiencia perceptiva y háptica, movimiento en el espacio, escala de observación, y dimensión temporal. 
El trabajo surge como una revisión, complemento y ulterior desarrollo de una investigación previa centrada en el estudio del rol un atributo fundamental del proceso de proyecto como la escala.


ABSTRACT


The present reflection paper develops, with a look strongly based on the direct experience of the space, and the goal to generate a balanced textual and visual discourse, a deepening in the design process involved in a singular work: the Museum of Art of Teshima. The museum is an initiatory work, without previous references, that finds its identity in the balance between architecture and art, and between art and nature, and unfolds itself in a conceptual space in which formal, expressive, functional and technical performances are closely intertwined. 
The reflection is developed considering two main aspects: the perceptual experience and the manipulation of the scale, using a sieve of design attributes that includes among others: object quality, pregnance, abstraction, figuration and analogy, perceptive and haptic experience, fluency, scale of observation, and time perception.
The work is a further developing of a previous research centered on the study of scale, as a fundamental attribute of the design process.

About France and the Visual Arts since 1945:
Taking on the myth of France's creative exhaustion following World War II, this collection of essays brings together an international team of scholars, whose research offers English readers a rich and complex overview of the place of France and French artists in the visual arts since 1945.
Addressing a wide range of artistic practices, spanning over seven decades, and using different methodologies, their contributions cover ground charted and unknown. They introduce greater depth and specificity to familiar artists and movements, such as Lettrism, Situationist International or Nouveau Réalisme, while bringing to the fore lesser known artists and groups, including GRAPUS, the Sociological Art Collective, and Nicolas Schöffer.
Collectively, they stress the political dimensions and social ambitions of the art produced in France at the time, deconstruct the traditional geography of the French art world, and highlight the multiculturalism of the French art scene that resulted from its colonial past and the constant flux of artistic travels and migrations.
Ultimately, the book contributes to a story of postwar art in which France can be inscribed not as a main or sub chapter, but rather as a vector in the wider constellation of modern and contemporary art.

Riflessi di «architettura concreta». Le dimore di Minoletti dall’appartamento in via Gesù alla «villa sul tetto», in M.C. Loi, C. Sumi, A. Viati Navone, a cura di, Giulio Minoletti (1910-1981). Lo spettacolo dell’architettura, Mendrisio Academy Press-SilvanaEditoriale, Mendrisio-Milano 2017, pp. 531-569, ISBN 978-88-36-6371-26.

Caṇḍikeśvara, Tamil Caṇṭipperumaṉ, was one of the Nayaṉmār who predates the time of the Tēvāram trio (seventh eighth century CE). His hagiography is elaborately told in the Tiruttoṇṭar Purāṇam of Cēkkiḻār (twelfth century CE). He is represented in sculpture from the seventh or eighth century CE. An analogous iconographical figure is Lakulīśa, who appears in sculptural form since the Kuṣāṇa period. This connection has
been noted by scholars working on Indian religion and art and is both nuanced and elaborated further in this essay. Caṇḍikeśvara was an aṭiyar (slave or servant of Śiva), and Lakulīśa was identified with Śiva. Caṇḍikeśvara was a fanatic or violent devotee who took to task anyone who hindered his worship of Śiva, even his father. This mythology is portrayed in a narrative sculptural panel, hitherto unreported, in the Toṇṭīśvaram at Nāvalūr, an early Cōḻa temple. The prime concern of the article is to examine the iconographical significance of this panel. The
problems centering on Caṇḍikeśvara as nāyaṉār, his affinity with Lakulīśa, iconographical samples from various parts of South India, and the place of violence in mythology and art are discussed. The sources considered are mainly medieval Tamil literature, epigraphy, and iconography. The study shows how violence is pacified at the instance of divine grace.

TO READ THE PREVIEW SCROLL DOWN TO READ THE PREVIEW SCROLL DOWN

The Society's artistic justification and value will grow and develop over time in synchrony with the scientific content, becoming an important illustration of the possibility of unifying science and art in the life of Man. This indeed may reveal itself to be the highest value generated by the study of the human visage in all its mysterious dimensions through the worldwide activities of the Society for Faces.

Readers are advised that this paper forms the foundation for three newer writings that should be read together with it for an integrated and particularized approach to the context, the form (or plan), the neurophysiological underpinnings, and the exhibition of the Trifurcated Face of Man (see 'Plan of Face Derived and Explained,' The Soul of Life and the Spirit of War,' and 'Desiderata for Primary Exhibition of the Face' on this page).

A fifth paper ('Convergences of Human Face in Life and Death') will, in due course, clarify and strengthen the contributions to the theory of the face by the present author and form the basis for substantial new research on the idealist theory of the Visage of Man by theorizing the integration of the individual facial conformation at first maturity with the totalized face in death (the Totenmask), all as envisioned by the 'Prospectus of the Society for Faces,' but now at last rooted in true psychology and demonstrable neurophysical reality.

Readers of this foundational paper originally dated 2000 will benefit from our recently uploaded analytical conspectus ('Analysis of Max Picard's "Human Face" With Implications for Portraiture and Its Exhibition') (which is essentially paper #6).

Coming soon in addition is a further paper ('Thematic Apperceptions of Max Picard's "Human Face" With Implications for Portraiture and Its Exhibition') (which will be #7) based on a close re-reading of Picard's masterwork in the astoundingly faithful poetical dress given to it by the late screenwriter S. Goldstein (1930), originally published in New York.

The translation of Picard is not mentioned in published accounts of Goldstein's career or in his 'New York Times' obituary (he died in 1970) but it undoubtedly constitutes Goldstein's most notable literary achievement. This is especially noteworthy since Goldstein, who studied languages at Columbia University, was by all accounts obstreperously leftist-materialist in outlook (actually a communist) but in Picard brilliantly and objectively handled the masterwork of an extraordinarily strong idealist at the height of his powers.

The last act of World War II took place in the Summer of 1945 with the explosions of the atomic bomb. Despite the fact that these events took place far from the "old continent" some European artists were deeply affected by the power of the atomic instrument and they meditated on a possible future dominated by a nuclear manipulation capable of redefining "the representation of man and his space". The goal of this paper is twofold: firstly to analyze some specific aspects of artists who belonged to the "Movimento Arte Nucleare" and their affiliation with architectural practices, together with their 'dialogue' with the "International Movement for an Imaginist Bauhaus"; and secondly, to introduce the figure of the Nuclear Architect, Enzo Venturelli, in order to describe an original panorama based on the alliances and contaminations between diverse disciplines associated by the sensitive attention paid to the planning of the future and the rejection of Rationalist Architecture.

The stylistic and historical analysis of the Croatian bridge design and construction of the 19th and first half of the 20th century has not yet even been tackled. This paper presents the work of the Vukovar - based engineer - architect Fran Funtak thus covering at least a small part of this topic. As a scholarship holder of the National Government, Fran Funtak graduated from the Polytechnic in Budapest. Being employed in the Josip Banheyer and Son company as an expert in reinforced concrete construction, he quickly turned this small trading and construction company into one of the leading Croatian bridge and other reinforced concrete construction companies. This was the result of his talent as well as the quality and beautiful design of his bridges. The Zagreb-based firm Josip Dubsky was the company’s major competitor for large construction projects. His design work started as early as 1903 during his studies. It was, however, not until 1906 that the bridge across the river Vuka won the company a reputation of a reliable constructor. In the period before World War I a large number of reinforced concrete bridges were built as a part of the measures undertaken by the Croatian National Government to modernise transportation system. The Banheyer and Son company with its leading architect Fran Funtak received a large number of these commissions. Until 1910 Funtak’s bridge design was mainly engineering-based without many stylistic features except for a secessionist inscription on the bridge beam with a date of its construction. In the subsequent period until 1914 and the company’s termination, his bridges became lavishly decorated in the Secessionist style. Date and year are still noticeable on the beam but the usual motifs became rings „suspended” on the bridge cantilevers, rectangular projections, disc motifs, shallow horizontal and vertical cuttings. All these elements were also coloured. Bridge parapet ends became more massive, at first with strengthened banisters but later mostly built in reinforced concrete. Remarkable examples of secession-style constructions were the bridges across the canal Voćinska - Drava (1911) and the bridges in Orahovica, Čačinci, Sunja as well as drawings for some unknown bridges in the Vinkovci region, all of them with specific trapezoid openings. A special example is the arch bridge across the Biđ near Vrpolje not only for its specific construction (arch bridge) but also for the quality of expressiveness with obelisks at the bridge parapet ends and the specific division of fields between the intrados and the road. Funtak built bridges throughout northern Croatia (about 60 of them between 1903 and 1914) and in this way brought modern materials and types of reinforced concrete constructions as well as modern Secession-style vocabulary into the smallest and most remote regions. This paper is based on the research conducted mainly in the Construction Engineering Department of the Internal Department of the National Government of the Kingdom of Croatia, Slavonia and Dalmatia between 1903 and 1914. Archive data are combined and compared with data from the publications of that period particularly the annual reports for individual counties as well as the newspapers.

The eastern fringe areas of the Chotanagpur plateau are well known as archaeologically very potential and numerous archaeological studies on the region have been carried out. The present survey is an attempt at an analytical study of some new sculptural remains from a micro-region within the larger geographical orbit of the Chotanagpur plateau. The study emphasizes on the Jaina connection with the Radha region and its own art style which gradually developed in this zone and further underlines the stylistic development by essentially local schools of art, as revealed from a thorough scrutiny of the iconography of available sculptural assemblages from a cluster of sites.

Keywords : Chotanagpur plateau, sculptures, contexts, sites, Tirthankara.

In a period such as now where there is a rapid rate of urbanization into different cultures, cultural identity is under the threat of being erased in the process. However, if architecture is for people, then it should be able to reflect, respect, as well
as protect society’s respective identities. The Nigerian society being a culturally diverse one would greatly be affected by this change, but this paper seeks to redress that by providing solutions learnt from Contemporary Art in Nigeria. A study on
prominent Contemporary artists in Nigeria reveals their use of culture as a strong design lexicon – a method used to effectively communicate the messages in their works. How would this change the way architecture is practiced and perceived?

The theory that declares art and architecture as having interdisciplinary connections is the foundation upon which this paper stands, which also allows the researcher to relate certain principles from contemporary Nigerian art into how architecture is created. However, the line that separates art and architecture becomes visible when it comes to aspects such as freedom of expression, finance as well as creativity. In addition to this, the architect’s training develops him more rationally than expressively and vice versa for the artist. Therefore, it is rare to have an architect or an artist who spontaneously taps into both sides of the brain.

However, this possibility could exist if the architect embraces the artist as a comrade-in-arms, in the art of designing buildings. This fusion would undoubtedly strengthen the diversity in terms of architecture within the country and would bring about the
creation of buildings that Nigerians can relate with.