Post war Design

Writing about the objects of a peasant farm in Csík, the essay examines how changes occurred in the material world of peasant culture. How does industrial civilization affect the traditional world? What are the factors delaying innovations? After their practical functions cease to exist, what new, revitalised functions can traditional objects fulfil under the conditions of modernity? What can we do today with the ruins of the past? What are the possibilities and limitations of preserving ethnographic objects in museums? By examining the life and death of old objects, the author seeks to answer the main question of how the disappearance of the traditional material world is accompanied by the transformation of the relationship of humans themselves to the environment, society and transcendence.

This paper describes and discusses architect Mary Medd's input into school development within the Ministry of Education, responsible for England and Wales, during the postwar era, highlighting her agency and capacity to provide significant change in the discipline of architecture. Mary Medd's contributions were outcast on two fronts: first, by an institutional framework that prioritised anonymous civil service expertise, thereby suppressing individual attribution, and second, as one half of a prosperous partnership, both professional and personal, with David Medd. Although the collective processes that inexorably characterise the work dynamics within public institutions normally imply that any attribution to a single person is ambiguous, this paper suggests that the institutional framework should not be interpreted as a hindrance to the recognition of Mary Medd's authorship. Through archival work, and focusing on her design proposals, the Ministry of Education is interpreted as the very place where she decided to develop her agency as a woman, deeply engaged in education and architecture, to pursue the complete reconfiguration of school design in a national level. The ministry offered a place for the development of a different kind of architectural practice where her individual agency could be exercised both as a designer of spatial layouts and as the main catalyst of a holistic interdisciplinary collaboration. The paper embarks on a mission to reevaluate and celebrate Mary Medd's crucial role in the evolution of education architecture through an analysis of her diaries, notebooks, and drawings. In addition to repositioning Mary Medd within the annals of architectural history, this research aims to contribute to the ongoing historiography of feminist research methods and ideologies within the field. By shedding light on the gendered disparities in architectural history and emphasising the importance of acknowledging women's contributions, this study adds to the broader conversation on gender equity in design and education, ultimately enriching our understanding of the multifaceted history of architectural practice.

Discoveries in plastic technologies during the 19th and 20th centuries profoundly influenced the manufacturing of goods, revolutionizing numerous industries and everyday life. Plastics made many products more affordable and accessible to wide audiences. For example: Bakelite, invented in 1907, sparked a consumer boom in affordable yet highly desirable products. It allowed for the mass production of items like cameras, telephones, and radios, bringing new design trends such as Art Deco to a wider audience. Celluloid, developed in the late 1860s, became popular for photographic film and as a substitute for expensive materials like ivory and tortoiseshell. This paper offers a unique perspective on the progress made in the development of processes and methods for working with plastics starting with the pre-plastics Gutta Percha and Vulcanized rubber. 1 It presents a selection of interesting and important chess, backgammon, and checkers playing pieces from a seldom seen private collection, These objects provided a visual context to the evolution of materials associated with these classic games. The paper helps illuminate how new advancements in mass production influenced the craftsmanship and artistry involved in making game sets throughout the 1800s and 1900s. The vulcanization process was discovered in 1839 by American Charles Goodyear and patented in 1843. Vulcanite was first used to make jewelry, novelty items and waterproof goods, but it was almost always black. Color could only be added to the surface with dyes and shellacs.

Discoveries in plastic technologies during the 19th and 20th centuries profoundly influenced the manufacturing of goods, revolutionizing numerous industries and everyday life. Plastics made many products more affordable and accessible to wide audiences. This paper offers a unique perspective on the progress made in developing processes and methods for working with plastics starting with the pre-plastics Gutta Percha and Vulcanized rubber.
It presents a selection of interesting and important chess, backgammon, and checkers playing pieces from a seldom seen private collection,  These objects provided a visual context to the evolution of materials associated with these classic games. The paper  helps illuminate how new advancements in mass production influenced the craftsmanship and artistry involved in making game sets throughout the 1800s and 1900s.

the image representing the influence of Latin American and East European modern architecture on Lebanese architecture during times of economic inflation. The collage includes elements like Brutalist structures, expressive shapes, functionalist design, and cultural adaptations with traditional Lebanese motifs.

Housing was one of the three pillars of the ‘New Jerusalem’, the post-war welfare state. It had equal standing to the new National Health
Service and pensions and sick pay. Moving to a home in a New Town was transformational for the early residents leaving behind overcrow-
ded and bomb-damaged cities or insanitary mining communities. New Towns were designed to eradicate inner-city ‘urban disease’, providing
residents with good-quality housing, solving overcrowding and benefiting wellbeing. New Towns had a social mission to equalise opportunity
and remove the distinctions in existing towns between suburban villas for professionals and tenements for factory hands (Colenutt 2020).
Thanks to the support of the Wellcome Trust, which has awarded a £415,000 (approx. €470,000) project grant, the New Jerusalems project
is making the archives from eleven post-war New Towns in England, Wales and the Republic of Ireland, accessible to researchers for the first
time. This will fundamentally change the evidence base currently available for researchers of the New Town movement, and offer a significant
new resource for researching the impact of housing and urban design on public health. These archives are being catalogued and secured for
the future through conservation and preservation work.

A klímaváltozás negatív hatásai a dísznövénytermesztésben is egy re súlyosabb károkat okoznak. A jelenlegi kiültetésekben megjele nő dísznövényfajok és-fajták mellett szükséges a hazai, változékony klí mát jól tűrő növényfajok bevonása is. A ligeti zsálya természetes po pulációi számunkra még ismeretlen szín-és alakváltozatokat rejte nek. A természetes vegetációból begyűjtött tövek és az ezekből kia lakult klónok értékelése során a három fő színváltozat mellett át meneti színváltozatok is megjelentek. A virágzati tengely hosszánál, szí nénél és a virágzat tömörségénél is jelentős különbségek mutatkoz tak. A botanikusok által eddig nem vizsgált csésze-és murvalevél szí ne felülről és alulról eltérhet. 2011-ben a tövek szabadföldi kiülte tése további nemesítési módszerek elvégzésére ad lehetőséget.

The March 1930 issue of Fortune announced the “Plastics Age”. Since 1914, the value of the plastics materials had grown by a factor of fifteen. Executives expected their industry “to rank with steel in two decades”.1 Plastics materials provide one path to examine the interactions of technology, commerce and culture that linked Modernism in the arts with the modernisation of the economy and society. Methods of production can impede consumer acceptance. For instance, the lack of control in manufacturing delayed the adoption of kitchenware made from plastics materials. Their colours were fast only if the appropriate ingredients had been formed in the correct way. Elsewhere, dyes from bottle tops bled into consumable liquids, while the packaging of food in coloured plastics gave rise to a rash of concerns.2 Hence, to map the coming to Australia of the Age of Plastics requires paying attention to the chemistry of colour, to marketing and to popular responses.3 Solid colour did not become...

A kötet írásai Velence jegyében születtek. Keretét egy rendhagyó sétanapló adja, három Velencei Biennálé alatti bolyongás (2019, 2021, 2022) és egy rövid visszatérés (2023) történeteként, így összesen ötvenöt sétát és néhány megállást követhet nyomon az olvasó.
A szövegek egyszerre kiállításkritikák és helyszínleírások, együtt mutatják be a váratlan képzőművészeti alkotások és a szokatlan terek atmoszféráját. A Biennálék legérdekesebb eseményeivel ugyanis nem az Arsenale vagy a Giardini ismert területén, hanem a város rejtett helyein (palazzókban, templomokban, tereken) találkozhatunk. Ezek felfedezésére invitál a könyv, kiegészítve a környező szigetekre tett látogatásokkal. Az öt évet átfogó jegyzetekben egy év kényszerszünetet jelent a pandémia, ám emiatt még tanulságosabb egyben látni a járványt megelőző és követő évek tárlatait, figyelemmel kísérni az örökösen pusztulással fenyegetett, ám romjain mindig túlélő város újabb feltámadását. A sétanaplókat a Biennálékhoz kapcsolódó művészekről (Kiefer, Boltanski, Kentridge, Ballen, Parmiggiani, Penone) írt esszék egészítik ki. A szubjektív Velence-impressziókat pedig tovább árnyalja, hogy a könyvet a szerző fotográfiái illusztrálják.

The traveling exhibition "Italy at Work" presented the works of Italian artists such as Consagra, Fontana, Melotti, Leoncillo and Fabbri, together with lesser-known craftsmen, associated with the use of specific materials. This choice reflected the exhibition’s topic, which focused on productive aspects, and the American perspective, emphasizing the humble roots of the Italian artistic culture in the 1950s. Through a broad analysis, this essay evaluates the presence and the role of some Italian painters and sculptors in selected overseas exhibitions dedicated to the applied arts. The goal is to understand the critical methodologies adopted to frame their works on the edge of that fine line between arts and craftsmanship within a calculated promotion system.

A férfi öltözetek egyik fő ruhadarabja a nadrág, melynek jellemzően csak a szára volt látható a felette viselt hosszabb kabát és a lábbeli közötti részen. A XVI. sz. második felétől a XIX. sz. végéig a magyar nadrág szabása eltér a más nemzeteknél általánosan használt formáktól, ezért is szerepel már a céhes szabók mintakönyveiben ezzel a megkülönböztetett jelzővel. Ennek a kevéssé látható ruhadarabnak a formája hosszú időn keresztül viszonylag állandó volt, külső megjelenése elsősorban a díszítésben változott. Közel azonos sziluettjének megtartása mellett, azonban a szabásforma változásának lassú folyamatát figyelhetjük meg. Jelen tanulmány a magyar nadrág szabásmintájának formai változását mutatja be. A szabás változása pedig a látványos díszítések elhelyezéseit is meghatározza

The work deals with the iconography of the atom from the euphoria about nuclear technology of the 1950s to the anti-nuclear movement of the 1970s in the Federal Republic of Germany. Using the life and work of the German architect and graphic designer Rolf Lederbogen as an example, the socio-political dimension of nuclear technology in communication and visualisation of the narrative "Atoms for Peace" is put in context with the history of technical thinking in architecture and design.

After being denigrated, neglected, or actively destroyed for two decades, the architecture and monumental public art of socialist Yugoslavia have recently drawn an unusual degree of international attention. That attention has manifested itself most obviously through the fascination with massive 'brutalist' structures, which have been endlessly displayed across the digital media. Their most famous subset are the Yugoslav antifascist memorials identified as large abstract sculptures, which have become a media phenomenon in their own right, in large part due to the hegemonic agency of Western media. While this kind of attention afforded the once vilified structures unprecedented global visibility, it also filtered their interpretations through the received wisdoms of neoliberal ideology, resulting in what we may call a radical 'thinning out' of their meaning, accompanied by a healthy dose of 'westsplaining.' 1 Throughout the same period, however, a growing amount of scholarship has documented, mapped, and analyzed the spaces and buildings of socialism, assessing them from more

Lifting the Curtain investigates the role of Central European architecture over the past century by searching for alternative perspectives to expanding and revising existing narratives. Lively architectural culture and intense transnational collaborations in this part of Europe are still largely absent from both the "Western" and local architectural discourses. Although the transformative stories of modernity are often results of crossing national borders, disciplinary confines or institutional boundaries, they do not fit easily in the current narratives of universal modernism, its national variants and peripheries. We not only focus on the key transitions and projects which formed modernity in Central Europe, but also review peripheral cases showing the local reception and development of global modernity. The project is an attempt to understand current processes through a critical review of the architecture – its production and importance as well as through analyzing affinities between the global discourse and local specificity. The show is not a comprehensive overview but an informational landscape which tries to suggest a shift from an object-based to a knowledge-based understanding of architectural culture in the region.

The debate on context in architectural theory emerged as a response to how to integrate modern and historical patterns in the reconstruction of European cities bombed during World War II. Colin Rowe introduced a specific concept of "contextualism" and analyzed modern and traditional urban patterns by using figure-ground maps and embraced a position of mediation between continuity and regeneration. With Rowe, context received a specific meaning with an ideological foundation that included inspiration from the Townscape vision of pluralist democracy, Karl Popper's criticism of reductionist science and society and Lionel Trilling's commentary on contradiction and social dialectics, the compositional form of Gestalt psychology and the cubist influence of Henry-Russell Hitchcock, the historical analysis of Rudolf Wittkower and the formal comparison analysis of Heinrich Wölfflin. The integrity and rich conceptual background of Rowe's contextualism was weakened by the rise of the multilayered, fragmented, multiscale structure of the contemporary city in the 1980s and the visible effects of poststructuralism on architectural theory. The powerful formal tools of contextualism have largely been reduced to simple figure-ground analysis in today's urban design projects. This paper explores how the erosion of the conceptual content of Rowe's contextualism paralleled the evolution of architectural discourse that revolved around the relationship between architecture and the city. A historical perspective is used to examine possible causes for the erosion of Rowe's contextualism in the changing relationships, scale, and texture of the contemporary city. In the 21 st century, economic functions and processes became more global, the relationships of the city and/or parts of the city were diversified in multiple scales, mobility and fluidity had a larger part in the character of urban life, autonomous city segments had multiple contexts, and the distinctions between figure and ground, mass and void, land and building were diversified by hybrid typologies. The structure of the 21 st century city is largely characterized by networks and relationships, and thus, a reading of the city requires a multiscale and multilayered perspective. Rowe's comprehensive contextualism fell out of favor as the 21 st century city changed structurally since the context had become a multi-layered structure. This article is a critical literature review and uses an embedded theory research model. Rowe's contextualism is examined using the literature and historical texts. A comparative method was applied to examine 21 st century cities and American cities of Rowe's time to analyze why Rowe's total context lost its strength. This study concludes that the expression and form of cities is linked to the context of their own period. However, past configurations provide information to understand the current city since the contemporary city includes layers of history and conditions. Rowe's comprehensive contextualism fell out of favor as the 21 st century city changed structurally, yet the potential of contextualism for the future of the city, its architecture and architectural design is accessible and the holistic understanding of context need not be rejected. The fragmented, multilayered, multiscale urban conditions of the 21 st century city sometimes appear in today's context reading in the form of fragmented and unconnected analyses. Rowe's contextualism reminds us of the need to understand what we presently refer to as context with a strong conceptual and theoretical background. Reading the dynamics of today's contemporary city through a rich framework (such as Rowe's contextualism) constitutes consistency, not weakness or totalitarianism. Rowe's contextualism provides a multidimensional and holistic approach to a coherent reading of context in the social, political, economic, historical and physical domains while recognizing the multiple contexts within the city of the 21 st century and its parts and taking into account the networks of relationships of the city's context on regional and global scales. It reveals that the necessity of a hybrid reading is useful. Each scale includes different spatial relationships, meanings, and contexts. Rowe's analysis, among other tools, offers possibilities to read the complex, multidimensional texture, and morphology of the contemporary city and can be applied to different sets of knowledge and reading on a global, regional, and local scale.

The paper undertakes the topic of architectural heritage of post-war modernism in Poland. Beside the typical single-family housing solutions from the second half of 20th century (the so-called “Polish cube”) it is possible to point out some examples of houses designed according to the world’s leading design tendencies of that time. Those buildings were established on individual requests of the social elites including scientists, directors and government officials. One of such objects is a modernist villa from the 1960s located in Ustroń – a popular resort at the foot of the Beskid Mountains and built for General Jerzy Ziętek. There is a lack of its accurate, systematic documentation, which would become a basis for a conservation project. Here, we demonstrate a response to this problem which results in the development of a precise inventory documentation and representation of the investigated object, which is a valuable heritage of post-war modernism architecture. Methodology presented in this paper is based on combination of digital tools such as UAV photogrammetry and HBIMmodelling and by adding a rich database obtained through thorough research.

Background: Endodontically treated teeth are restored by different types of posts. The study is to evaluate the stress distribution in endodontically treated teeth restored with prefabricated post: parallel (with different thread numbers and different materials) and tapered (with different coronal diameter and different materials). Materials and methods: The models are two-dimensional bucco-lingual section of maxillary central incisor with its supporting structure restored with parallel and tapered prefabricated post mad of two types of material, composite core and ceramic crown. A 100N force applied separately in three directions vertical, oblique and horizontal. Results: the maximum equivalent Von Mises stresses of all models subjected to vertical load are located within post material, while with oblique and horizontal loads are located at post surface on the labial side. Conclusion: Load directions and post materials have much greater effect than post designs on the stress distri...

This paper deals with the architectural and cultural heritage of Polish postwar individual residential architecture. One of such objects is a modernist villa from the 1960s located in Ustroń-a popular resort at the foot of the Beskid Mountains, built for General Jerzy Ziętek. The current owner has plans for potential future renovation. However, there is a lack of its accurate, systematic documentation, which would become a basis for a conservation project. Here, we demonstrate a response to this problem which results in the development of a precise inventory documentation and representation of the investigated object. Methodology presented in this paper was based on combination of novel techniques such as UAV photogrammetry and HBIM modelling and by leveraging additional information derived from common representation methods. The main idea was to create a low-cost workflow in complex conditions. The obtained model allowed for interoperability and creating a flexible set of data about the objects focused on future renovations. The results will contribute to enrichment of the state of knowledge about modernist architecture and allow for a deeper understanding of how challenging methods of data acquisition and digital representation can go cost-effective.

The use of post and core systems has become an excellent alternative for restoring endodontically treated teeth. The aim of this study was to evaluate the von Mises, maximal compressive and tensile stresses distribution using the Finite Element Method (FEM) on human teeth restored with different post and core systems. The analysis was made on endodontically treated maxillary central incisors. The post systems used in this investigation were the stainless steel or titanium Flexi Post/Flexi Flange. Composite resin was used as core material and resin cement was the cement material of choice to seat a full porcelain crown. The bi-dimensional mathematical model was created from pictures taken from an intact human maxillary central incisor and prefabricated posts. This image was transferred to a personal computer in the MSC/Nastran 4.5 software. A static and linear analysis treatment was performed when a 45º load of 100 N was applied on the lingual surface of the tooth. Based on the resul...

Refugee camps are a necessity following any crisis, to provide shelter and solace to those affected. Architecture
has a pivotal and important role in humanitarian situations. In this paper, we will focus on the history of camps
and the role that landscape architecture has had in the development process of them. We have chosen Azraq
refugee camp in Jordan as an example to demonstrate this. Many investment projects are currently taking
place, which show the camp has other added benefits, rather than just being a temporary shelter. This paper
includes both research and projects proposing a sustainable design for re-structuring and developing Azraq
camp. By proposing agricultural and entertainment projects involving both the refugees and the locals, we are
hoping to improve the socio-economic situation, to allow for more employment opportunities in the future.

Keywords: Disaster, crisis, landscape crisis, refugee camps, disaster recovery, post-war cities, humanitarianism, sustainable landscape
architecture.

Recent years in anthropology have seen a noticeable trend, moving from debates about theory to a concern with method. So while some generations ago we would tend to identify ourselves as anthropologists with reference to particular theoretical paradigms-for example, Marxism, (post-)structuralism, cognitivism, cultural materialism, interpretivism-these days our tendency is to align ourselves, often eclectically, with proposals conceived as methodological: entanglements, assemblages, ontologies, technologies of description, epistemic partnerships, problematizations, collaborative anthropology, the art of noticing, and so on. In an attempt to get a handle on this shift and explore its implications, this forum section focuses on the activity of analysis-itself an ambiguous notion in the practice of anthropology. Analysis, it seems, shifts unstably between theory, method, and ethnography. One way to think of it is as the set of activities that take place in the 'middle ground' between ethnographic materials and their anthropological theorization, that is, as the interface of the empirical and the conceptual. But if method is increasingly occupying the slot of theory in anthropologists' preoccupations, then has analysis and its cognates become increasingly indistinguishable from theory? Is one's analytical approach the same as one's theoretical approach? What difference does it make, in any event, to think of such diverse activities as anthropological description, evocation, explanation, interpretation, and conceptualization as 'analytical operations'? In fact, can a distinction between theory, method, and analysis be stabilized at all? Or is the ambiguous movement between them a characteristic part of anthropological practice-an element of its particular form of creativity, even? Raising such questions also puts the spotlight on the 'language' of analysis, that is to say, on a range of terms that have come to operate within the procedures anthropologists might imagine as analytical. This includes terms such as 'the relation' (or 'relational'), 'scale', and 'proportion', and such distinctions as quantity and quality, particular and general, local and global, continuous and discontinuous, connection and disconnection, collective and individual, and so on. Neither theoretical as such, nor just descriptive, such terms and distinctions seem to format many of the procedures we think of as analytical in the practice of anthropology. So what might their epistemic status be? How does their apparently formal character color the way in which ethnographic materials are handled, and how do they serve to transfigure the contingencies that anthropologists encounter during fieldwork into objects of contemplation? And how do such analytical tropes and procedures operate in anthropologists' attempts not only to theorize but also to narrate their ethnographic experience? What kinds of stories does analysis tell? Based on a round-table discussion held on 2 December 2017 at the annual meeting of the American Anthropological Association in Washington, DC, this collection of short think pieces brings together a deliberately diverse selection of anthropologists to explore the creative potentials of anthropological analysis. Contributors were invited to reflect on the role that analysis plays in their own work, comment on its development within the discipline at large, or indeed treat analysis and its diverse operations as ethnographic objects in their own right. Helping in this way to problematize the operative concept of the journal's title, this venture in the analysis of analysis seeks to add new dimensions to the intellectual profile of Social Analysis, marking also my own conception of its outlook as the journal's new editor.

Examination of contemporary beads with African provenance reveals large quantities of imitation amber beads made of phenolformaldehyde thermosetting resins (PFs). This article delves into the early industrial history of PFs and their use in the production of imitation amber and bead materials. Attempts to discover actual sources that manufactured imitation amber beads for export to Africa and the time frame have not been very fruitful. While evidence exists that PFs were widely used as amber substitutes within Europe, only a few post-WWII references explicitly report the export of imitation amber PF beads to Africa. However they arrived in Africa, the durability of PF beads gave African beadworkers aesthetic freedom not only to rework the original beads into a variety of shapes and sizes, and impart decorative elements, but also to apply heat treatment to modify colors. Some relatively simple tests to distinguish PFs from other bead materials are presented.

Im Sommer 1967 veröffentlicht die Zeitschrift Dance Perspectives eine Ausgabe unter dem Titel «Cine-Dance, a Symposium on Dance Film». Mit diesem Heft widmete sich die Zeitschrift, seit 1958 von der Tanzwissenschaftlerin Selma Jeanne Cohen herausgegeben, dem Verhältnis von Tanz und Film. Das Thema lag Ende der 1960er Jahre spürbar in der Luft. Seit Beginn des Jahrzehnts hatten Tänzerinnen und Tänzer zunehmend mit dem Einsatz von Filmkameras und -projektoren experimentiert, im Tanzstudio wie auf der Bühne. Programmatisch waren die TanzPerformances der Judson Church Gruppe in New York, die häufig Filmprojektionen einsetzte. Schon die erste Aufführung, das Concert of Dance [#1] im Juli 1962, begann mit einem Film. Darin waren in einer nach dem Zufallsprinzip montierten Assemblage Aufnahmen spielender Kinder, Autos auf dem Highway und Sketche des Filmkomikers W.C. Fields zu sehen. Mit diesem kompilierten Filmmaterial, so vermerkte Allen Hughes (1962, 9), der Tanzkritiker der New York Ti...

This paper analyses how three contemporary female artists approach Modernist architecture and its ideological context. Jasmina Cibic in her contemporary interdisciplinary installations addresses politization of architecture – both at the time it was conceptualised and now, when it is related to past political regimes. For Cibic, architectural objects are signifiers of larger narratives. This is how she approaches Slovenian trade fair that was supposed to be realised in 1941, but has never been, numerous renovations of the former summer residency of Yugoslav president Josip Broz Tito, lack of documentation on the Pavilion of Kingdom of Yugoslavia at the 1929 World Expo and the Palace of Yugoslav Federal Executive Council. In the case of Dušica Dražić, the paper focuses on her work New City, a large maquette of a non-existing city that contains buildings chosen from projects that were actually built but eventually destroyed. Katarina Burin fabricates sketches, documentary materials, a...

The present text is a testimony about the beliefs and actions of a group of people which grows bigger every year, related to the built environment education in Romania. By giving information and tools for understanding the environment we live in, the people are better equipped to make choices, to analyze a specific situation, to avoid being tricked. In this way, it is a path towards more social justice. The history of this group is not long: it has started only 5 years ago. Moreover, the story is told by two of the members of the group (registered as NGO 3 years ago). So, do not expect an academic, objective text based on carefully designed research with lots of data collected and analyzed, but more of an essay about principles, ideas, about ways of making a difference in the education system. Every child has the right to know about the complex processes that transform the built environment he or she lives in. This kind of education is reinforcing the ideas of being part of the society, contributing, showing respect for the heritage, for the others, and develops the children's creativity, critical and practical thinking.

A rómaiak magas szintű fürdőkultúrája Eu rópában a birodalom bukásával csaknem teljesen elenyészett. Keleten azonban Bizánc megőrizte az antik fürdőkultúrát, és azok a barbár fejedelmek, akik a bizánci császárt tekintették példaképüknek, a hatalom és fényűzés jeleként maguk is a római-bizánci fürdők mintájára fürdőket építettek palotá ikhoz. így épültek fürdőépületek a VIII. században Nagy Károly ingelheimi, a bol gár cárok pliszkai vagy az Omájjád kalifák szíriai palotái mellé. A következő évszáza dokban Közel-Keleten a bizánci tartományo kat meghódító arabok között a klasszikus kultúra számos eleme közül a fürdőkultúra is gyökeret vert, és továbbfejlődött. Nyuga ton ellenben lassan eltűntek még azok a kis uralkodói fürdőépületek is, amelyek a IX-X. században a szász dinasztia által felélesz tett Nyugat-római Birodalom uralkodóinak pfalzaiban (Werla), a vizigót (Naranco) és lengyel fejedelmek (Ostrów Lednicki) palo táiban még szinte kötelező jelleggel meg épültek. A római típusú magánfürdőkkel csak akkor találkoztak újra az európaiak, amikor a nyugati lovagok megismerték az arab fürdőket, és szentföldi váraikban ma guk is építettek ilyeneket. A korábban csak írott források említéseiből ismert szentföldi keresztes palotafürdők első régészeti emlé keit a Szíriai-Magyar Régészeti Misszió tár ta fel 2007-2009-ben a johannita lovagok margati várában. A várban több XIII. száza di lakosztályhoz is tartozott fürdő. A leg egyszerűbb egy beépített víztároló edénnyel és vízlefolyóval ellátott mosdóhelyiség volt, de két nagyobb, kéthelyiséges fürdő is fenn maradt. Mindkettőben volt egy kőburkolatos, lefolyócsatomával ellátott mosdókam ra. A vár keleti szárnyának emeletén feltárt fürdő második helyiségében egy falazott kád nyomai kerültek elő. A belső vár kapu-A visegrádi királyi palota helyreállított fürdője (A szerző felvétele) 2 8 5

The  Hunitè D’Habitation in Marseille (1958) and the Alexandra Road Estate (1978) are two brutalist style public housing works. Designed by Le Corbusier and Neave Brown respectively, the two projects are in favour of a general science of the human place, whose first characteristic is no longer protection, but circulation. The aim of this essay is to critically compare the ideologies that lead to the spatial composition of the projects, the way the two architects approached the family unit design, and ultimately to evaluate a better model.

This paper analyses how contemporary artist Saša Tkačenko integrates the Museum of Yugoslav People's Revolution into his hybrid work Eternal Flame (2018). As the Museum has never been built, Tkačenko appropriates architectural model of the Museum, designed by Vjenceslav Richter, applying the process of synthesis which Richter promoted by the end of 1950s. In terms of meaning, Tkačenko turns to the significance of this Museum which was supposed to be a centrepiece and monument to the idea of revolution in former Yugoslavia. In order to analyse semantic layers of the Eternal Flame, the paper also contains a chapter which focuses on Richter's oeuvre and a chapter which gives historic overview of disappearance and metamorphoses of museums of revolution after the fall of Yugoslavia and changed socio-political context.

http://www.maticasrpska.org.rs/stariSajt/casopisi/Synaxa_4.pdf?fbclid=IwAR1Gk2U-CfKfoxnyzXWNG40uny-p2xZEGOaA526Sg9jMDAo52nCCAnAtQaA

In the current stage, the long-time preservation of a tooth on the arch must be the major aim of the dentist, when the therapeutic arsenal in endodontic therapy has developed greatly. When there is extensive coronary destruction of an endodontically treated tooth, corono-radicular reconstructions are a therapeutic option to restore tooth morphology. For this purpose, the metal root pivots, the non-metallic prefabricated pivots, made of composite resin reinforced with carbon fibers, glass and the dental ceramic pivots are used. The choice of the most suitable pivot type is made knowing the advantages and disadvantages of each type and their adaptation to the requirements of each clinical case. Particularly important are the therapeutic decisions related to the type of final prosthetic restoration, according to the particularity of each clinical case, the criteria of aesthetic or functional exigency, as well as local, loco-regional or general clinical-biological indications.

İnsanlık tarihinde beş bin yıldır devam eden savaşlar nedeniyle yıkılan kentlerin rehabilitasyonu, günümüzde hala önemli bir mimarlık sorusudur. Fiziksel rehabilitasyon, savaş gibi olağanüstü haller sonrası politik, psikolojik ve sosyal rehabilitasyonun sağlanmasında önemli bir bileşendir.Bu nedenle fiziksel rehabilitasyonun sağlanmasında savaş öncesi hazırlanmayan acil durum planları ile irdelenmemiş tasarım yöntemleri, savaş sonrası zaman ve bütçe sıkıntısı yaşayan ülkeler için nitelikli, kullanıcı odaklı ve sürdürülebilir yeniden yapılanmada büyük sorunlar yaratmaktadır. Bu bilgiler ışığında bu tez çalışmasında, savaş sonrası kentlerin stabilizasyon evrelerindeki tasarım sürecine odaklanılarak; tarihsel deneyim analitik bir yaklaşımla analiz edilmiştir.
Çalışmaya doğru bir kuramsal çerçeve ile yaklaşabilmek amacıyla, İkinci Dünya Savaşı’ndan bugüne kadar yıkılan kentlere dönük mimari tasarım yaklaşımları incelenerek genel bir sınıflandırma yapılmıştır. Bu sınıflandırma sonrasında, bir yandan savaş sonrası fikir üretimlerinin baskın olduğu 1945 sonrası işlevselci yaklaşımla bağı olan, diğer yandan ise günümüzün post-modern yaklaşımları ile ilişki kuran, aynı zamanda tarihsel olarak bakıldığında 1960’dan günümüze mimarlık tartışmaları ile şekillenerek gelişen yöntemi ile Bernard Tschumi’nin olay-kentler serilerinde ortaya koyduğu yöntemler altlık olarak kullanılmıştır.
Savaş sonrası kentlerin fiziksel rehabilitasyonu, Durulma ve Stabilizasyon Evresi olarak ikiye ayrılmıştır. Stabilizasyon evresi ise kent planlaması, ulaşım ve alt yapı ağlarının
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rehabilitasyonu, konut ve toplu konut alanlarının tasarımı, tarihi merkezler ve tarihi yapıların rehabilitasyonu, kamu yapılarının tasarımı ve simgesel yıkım alanlarının rehabilitasyonu gibi alt başlıkları içermektedir. Her biri birbiriyle ilişkili olarak değerlendirilebilecek olan bu başlıklar arasından simgesel yıkım alanlarına odaklanılmıştır. Stabilizasyon evresinin unsurlarından biri olan simgesel yıkım alanlarının rehabilitasyonu, toplumsal travmaların rehabilitasyonu için de kritik öneme sahiptir. Bu bağlamda bu tez çalışmasında, simgesel yıkım alanlarından Hiroşima kentinin “birincil yıkım etki alanı” örnek alan olarak seçilmiş ve bu alan, Bernard Tschumi’nin olay-kentler serisinde geliştirdiği yöntemsel altlık çerçevesinde tümdengelimci bir yaklaşım ile analiz edilmiştir. Analizlerden elde edilen deneyimler tasnif edilerek, tümevarımcı kent rehabilitasyonu yöntemleri için bir çerçeve sunulmuştur.

The rehabilitation of post-war cities is still an important architectural problem. The lack of pre-war emergency plans and well-examined design methods creates many problems in terms of qualified, user-oriented and sustainable restructuring for post-war countries that lack time and budget or the physical rehabilitation of these cities, which are an important component in the provision of political, psychological and social rehabilitation after a state of emergency like war. In the light of this information, historical experience is analyzed with an analytical approach by focusing on the design process in the stabilization stages of post-war cities.
In order to approach the study with the right theoretical base, architectural design approaches towards the cities that were destroyed by the World War II is examined and a general classification is made. After this classification, Bernard Tschumi’s methods from the event-cities series are used. Tschumi’s methods are connected with post- 1945’s functionalist approach, relate to today’s post-modern approaches and at the same time, are shaped and developed by ongoing architectural debates since 1960s.
Symbolic destruction areas which are considered as critical areas for rehabilitation of social traumas, one of the elements of stabilization phase, are focused within the sub- headings of the physical rehabilitation of post-war cities which should be studied one by one. In this context, in the study, primary destruction impact area of Hiroshima city, which is one of the symbolic destruction areas is selected as an example and analyzed
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ABSTRACT

with a deductive approach within the framework of methodological base developed by Bernard Tschumi in the series of event-cities. The experiences extracted from the analyzes are classified and a framework for inductive urban rehabilitation methods is presented.

The story of the forgotten library of late architect Bogdan Bogdanović, which was kept in his apartment at 1 Slobodana Markovića Square in Belgrade, where he and his wife Ksenija Anastasijević Bogdanović lived until 1993.
For a week, a team of seven librarians worked tirelessly to compile a photo database of the library, which was the thing Bogdanović missed the most while in exile in Vienna. It took months to type up all the book titles and create a record of the library, in the hope that it would be used in the future for the library’s permanent safekeeping.
The book features a selection of 350 book covers, with snippets from the lives and careers of Bogdan Bogdanović and his wife Ksenija Anastasijević, together with recollections from their families, friends, students at the University of Belgrade, and the school in Mali Popović. The book is illustrated with photographs by Wolfgang Thaler, taken on several occasions while visiting the flat. Thaler’s photographs depict the atmosphere of Bogdanović’s earlier life and the subsequent emptiness of the flat, but also the hectic work of the librarians in it, complemented with essays by Dietmar Steiner, Vladimir Kulić and Jelica Jovanović.

In 1911, on his journey to the East, the young Le Corbusier arrived in Belgrade via the Danube. Although disappointed with the “ridiculous capital” (noting, however, the site’s “excellent [geographical] position”), the many folk artifacts at the city’s ethnographic museum fascinated
him, and the young Corbusier marked Belgrade with an F for “folklore” on his travel map, as he did for many of the sites he visited in the Balkans. Fifty years later, however, the rustic capital had transformed into a Corbusian city of grand scale: New Belgrade. The project was vested
with symbolic meaning: the country chose to drain a swamp along the former border between Ottoman and Habsburg empires to erect the only wholly new capital in postwar Europe. New Belgrade was but the most visible of the many manifestations of Yugoslavia’s specific form of urban development, a process that transformed the formerly rural, underdeveloped country into an urbanized and industrialized one in less than fifty years.

Jelen tanulmányomban a késő középkori-reneszánsz konyha működéséhez köthető konyhai eszköz, a tésztavágó kerék (rádli) kérdéskörét járom körül. Kiemelt jelentőségét az adja, hogy a tésztametsző keréknek a mai napig gyakorlatilag ugyanaz a felépítése, formája és funkciója, mint a 16. században. A tésztavágó kerék/sarkantyú, mint konyhai eszköz, anyagából, méretéből adódóan ritkán kerül elő régészeti feltárások során. A kormeghatározást elősegítheti, ha egy pénzlelettel datált rétegből kerül elő a lelet, mint ahogy ez a füleki várban napvilágot látott tésztavágó esetében történt. Dolgozatomban ezt a tárgyat mutatom be, mely egyben szép példája a nemzetközi együttműködésnek, közös múltunk értékei bemutatásának.

Only a few Yugoslav architects attended PostWar CIAMs, whose reception in Yugoslavia was rather lukewarm. This may perhaps suffice to question the role of Yugoslavia in the European and international architectural debate. However, to understand the importance acquired by memorials and monumental architecture in Yugoslavia, contrary to the Modernist orthodoxy, a series of historical events should come into focus. In Yugoslavia, architects internalized monuments as a specific design field, and monumentality as a quality to achieve. Along this line of thoughts, this paper ends by exploring the 1957 architectural design competition for the Jajinci Memorial in Belgrade, arguing that the architectural representation of state socialism, all but univocal, was actually defying stereotypes, and that the generation emerging in the decade 1950-1960 marked a true political, social and cultural watershed.

Recent years in anthropology have seen a noticeable trend, moving from debates about theory to a concern with method. So while some generations ago we would tend to identify ourselves as anthropologists with reference to particular theoretical paradigms—for example, Marxism, (post-)structuralism, cognitivism, cultural materialism, interpretivism—these days our tendency is to align ourselves, often eclectically, with proposals conceived as methodological: entanglements, assemblages, ontologies, technologies of description, epistemic partnerships, problematizations, collaborative anthropology, the art of noticing, and so on.

A késő középkori és reneszánsz udvari étkezési szokások
kutatása az írott kútfők (korabeli receptgyűjtemények,
krónikák, követjelentések, végrendeletek, magánlevelezések,
szótárak, oklevelek, irodalmi alkotások stb.), a képi források,
a képzőművészeti alkotások, valamint a régészeti feltárások
során előkerült leletanyag vizsgálatán alapszik. A fentiek
segítséget nyújtanak a konyha kialakítása, berendezése, a konyhákban
használt eszközök, a felhasznált alapanyagok, valamint
az ételkészítés technológiáját illetően. Sokszor a képi ábrázolások
segítik elő a régészeti feltárásokon előkerült, és az étkezéssel
kapcsolatba hozható leletanyagok beazonosítását is.

In my essay I had the target to demonstrate the cuisine culture of the Late Middle Ages in the Royal Palace of Visegrád. By choosing my investigational theme it used to be an important viewpoint that a similar work had not already fulfilled in Hungary. From October 2007 we have been pursuing experimental archeology once a year or twice a year under my professional command in Visegrád in the reconstructed personal kitchen of the King Matthias’ period of the Matthias King Museum.
During the selection of the preparing nutriments our primary purpose was to create the highest authenticity as possible with the help of the disposable resources. The meals were prepared according the cookery book with the title Cook science from the end of the 16th century.
According to our experiences the preparing time of nutriments was of course different, it depended on the raw material, the number of the phases, the cooking time. In the practice the type of foods, the instructions of the preparing in the recipes determinated the location of the cooking and the need of tools. It used to be given and unique in every case.
On the researches we can reconstruct partly the Renaissance kitchen of the lords and royal cuisine culture and it can add important data to the most touchable and most tasty segment of the researches of the way of living of the Late Middle Ages.

Former state Yugoslavia, after II world war, declared wish to establish own social and state system somewhere between capitalist West and the socialist East of Europe, representing a specific area, in the geopolitical, but also cultural sense. The modernists' idea of new architecture and architects as creators of social welfare and happiness coincided with the declared ideals of a new socialist society. Intensive relationships and openness to the West, architects "infected" by modernist ideas and unquestioning and phenomenological support of the system generated an authentic modernism. Hotels constructed in Yugoslavia were created very differently than in numerous destinations of mass-tourism of the Mediterranean in same time. Yugoslav hotel architecture from that period can be studied as a special expression of modernism, strongly determined with the place and strong connections between man and nature, with careful material selection and adaptation to specific climatic conditions.

Ma recherche doctorale en histoire des techniques m'a conduit à étudier la place eue, en termes technique et organisationnel, par la pratique artisanale et l’architecture vernaculaire dans le développement du « design intégré » pour l’automation du secteur de la construction durant la Guerre Froide (1942-1972) aux États-Unis.

A partir de l’enquête détaillée (matérielle et non matérielle) des grands systèmes techniques (T.P. Hughes) que sont les systèmes constructifs conçus par « l’architecte-chercheur-artisan » Konrad Wachsmann (1901-1980) pour l’automation du secteur de la construction américaine, nous caractériserons le type d’agencement entre des logiques hétérogènes des attentes économique et technique (G. Simondon), et comment celui-ci constitue une réponse spécifique aux attentes de la commande militaire.

Après ce préambule centré sur les performances opérationnelles de ces objets techniques, nous établirons - dans le contexte de ce « colloque eupalinien » consacré à la manualité et à la tactilité - que les pratiques dessinées les plus abstraites chez Wachsmann  (diagrammatique) qui ont rendu compte d'un discours technologique (performance totipotentique1) n'ont en fait pas trouvé leurs ressources auprès de l'ingénierie mécanique ou civile (B. Addis). Au lieu de quoi, on montrera que c’est auprès de savoir-faire artisanaux issu du bois, d’une problématique du geste technique attentive et de son transfert vers l’acier qu’il a pu être mis au point une  « une économie de l’œuvre » dont les traces de sa manifestation se trouvent auprès des modèles matériels. Cette contribution empirique s’appuiera sur les systèmes de type tubulaires (Mobilar System, 1946-1947, US Air Force Hangar, 1951-1954)

Dans un troisième temps et sur un plan plus réflexif, on s’interrogera - à partir de la généalogie de l’émergence des structures composées à partir de matériaux semi-finis tels que les structures tubulaire (M. Megheringhausen, R. Le Ricolais) -  sur la  pertinence  de recourir à la notion d’organologie (G. Canguilhem, M. Foucault) pour penser les dimensions  performatives (cognitif, politique, environnemental) de tels ensembles techniques