Art Nouveau Style Research Articles

Henri Vever: champion de l'Art nouveau by Willa Z. Silverman

Reviewed by: Henri Vever: champion de l'Art nouveau by Willa Z. Silverman Catherine Gaughan Silverman, Willa Z. Henri Vever: champion de l'Art nouveau. Armand Colin, 2018. ISBN 978-2-200-61941-1. Pp. 377. Through her refreshing look into the world of precious stones and jewelry at the turn of the twentieth century, Willa Silverman delves into exciting new territory of Art nouveau jeweler and collector Henri Vever. The book, both the 60-page preface and the journal entries written in French, spans the gamut of Vever's interests from his passion for Japanese art to his work as a promoter of the modern style. The preface along with the family tree expertly set up Vever's journal entries from 1898, a significant [End Page 244] political turning point in European history. Moreover, the journals reveal that, as a craftsman, Vever contributed to the emergence of modern jewelry, often inspired by nature, and show how his work played a key role in the development of Art nouveau in Paris. Full of insight into the demands of his work as a collector, the cahiers provide a rare peek into the social, political, cultural, and daily life of Vever, who, at the turn of the twentieth century, sought a careful balance between business and social prestige. Original in its content and insightful in its analysis, the book chronicles Vever's triumphs and struggles as a jeweler and collector and paints a very colorful picture of his life. The impressive range of photos of artwork and of Vever himself, particularly the 8-page color spread showcasing Vever's own creations, offer a vivid picture of early twentieth-century jewelry and its burgeoning modern style. A delightful read, Vever's detailed journal entries often relate detailed accounts of Parisian life, his bicycle rides and frequent excursions to the French countryside involving witty anecdotes full of twists and turns like the Art nouveau style itself. Overall, the book highlights some fascinating elements of Vever's career as an amateur painter, art lover, and modern art collector citing his affiliations with various figures in the field, most notably his contemporary René Lalique, at a critical moment in European history. The extensive bibliography including books, museums, and websites provides a wealth of information for further study into the world of precious stones and art collecting that still have merit today. This book will not only tempt the palate of readers who appreciate Art nouveau and the influence this style had on other art forms, but will also appeal to those readers with a keen interest in modernist art history and French culture. Catherine Gaughan University of Toronto Copyright © 2019 American Association of Teachers of French

The «First Wreath» and the «Native Word» are the pearls of Ukraine's national revival

One of the important elements of historical research is the study of sources. Forest philocardia is a separate archaeographic material available to modern scientists. In Ukraine, a rather powerful layer of documentary leaflets has been preserved, which by means of photoreproduction have recorded and preserved for future generations not only local landscapes and historical appearance of architectural structures, urban landscapes, but also characteristics of sociocultural phenomenon and interpersonal communication. Beginning in the 1890s, the postcard became an important element of the urban subculture. This article is about two postcards from the funds of the Volyn Museum of Local Lore, on which portraits of Olena Pchilka (1849-1930) and Natalia Kobrynska (1855-1920) - on one, on the other - Lesya Ukrainka (1871-1913) with Olga Kobylyanska (1863-1942). ). Placing two or even three portrait images in the frame of exquisite vignettes in the Art Nouveau style on one spatial plane is typical for this series, interesting and informative. It allowed the publisher, who came from a dynasty of famous printers and booksellers, to acquaint the general public with a large number of well-known and little-known workers in the field of the native language. Among the women writers in this series, in addition to those already mentioned, are portraits of Anna Barvinok and Mark Vovchko; Ulyana Kravchenko and Klymentyna Popovych; Mykhailyna Roshkevych, Maria Zahirna and Yevhenia Yaroshynska; Anna Pavlyk, Olesya from Bazhansky Ozarkevych and Olga from Roshkevych Ozarkevych. In the joint photo of Olga Kobylyanska and Lesya Ukrainka (1901), they are both well-known writers, in the prime of their creative powers and talents. This was the first postcard with portraits of sincere friends that came out of their lives. It, like others, has a history. These leaflets provided an opportunity to connect the lives and activities of many famous figures at the time and, in particular, famous women writers. The need for a detailed study of this type of sources is stated.

Интонационные модели Н.А. Римского-Корсакова в музыке С.В. Рахманинова

Using intonation models of N.A. Rimsky-Korsakov in Rakhmaninov’s music was deeply motivated by his special attitude to the older contemporary: N.A. Rimsky-Korsakov – along with P.I. Tchaikovsky – was one of the most considered and beloved Rakhmaninov’s composers. The nature of Rakhmaninov’s appeal to the musical patterns of the Petersburg master is determined by the specifics of the personal and creative contacts of the two musicians, which are briefly covered in the article. Cases of particular interest are when a tense semantic conjugation of his own text and borrowings from Rimsky-Korsakov’s music – clear allusions and quotations – occurs in the Rakhmaninov’s works. These particular cases are considered in the article. The article attempts to correlate the described cases with the “influence theory” of Harold Bloom. They form two groups. In the first one, clear allusions to the themes and individual intonations of the senior colleague provide additional depth to own artistic concepts, as in the vocal symphonic poem “The Bells”. In the outro of the first movement, there is a reference to the episode from Rimsky-Korsakov’s opera “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” – “Walking in the Invisible City” (introduction to the second pattern of the fourth act). The main theme of the second movement evoke associations with the Queen of Shemakha theme from “The Golden Cockerel” of Rimsky-Korsakov. In the second group of Rakhmaninov’s works, such borrowings polemically transform the meanings of the borrowed models. In the “Russian Rhapsody” for two pianos, deliberate rethought of theme from the third movement of “Scheherazade” by Rimsky-Korsakov is obvious. There is a reference to the leitmotif of Bomelius from the “Tsar’s Bride” in the second theme of the first movement of the Second sonata. The intonations of the song of the Indian guest from “Sadko” are distinctly showed in the outro of the Prelude in B Minor op. 32 № 10. In both cases, the signs of romantic exoticism grow into the subjective lyrics, introducing into it the painfully broken note of the Art Nouveau style of the early twentieth century.

Tolkien: Maker of Middle-Earth ed. by Catherine McIlwaine

Reviewed by: Tolkien: Maker of Middle-Earth ed. by Catherine McIlwaine Hugh Crago (bio) Tolkien: Maker of Middle-Earth. Edited by Catherine McIlwaine. Oxford: Bodleian Library, 2018. Catherine McIlwaine's large, lavishly illustrated catalog of her recent exhibition of the Bodleian Library's J. R. R. Tolkien holdings is well organized, well written (with a minimum of repetition from annotation to annotation), and introduced by six short essays by experts on different aspects of the author's life and work. It opens a window onto Tolkien's imagination and the way it worked, with particular emphasis on the visual element. For any Tolkien scholar, McIlwaine's book will become indispensable. My very first encounter with The Hobbit was a visual one. I was about ten years old and was convalescing after the removal of my appendix. My father, a newly appointed Inspector of Schools, borrowed for me a brand-new copy of the book. I can remember sitting up in bed, gazing at its cover design. The stylized composition (forest, water, and mountains, layered one behind another), and the strong colors (leaf green, Prussian blue, black, and white) made an immediate impression. Before I actually read the book, that cover had shaped my expectations. The word that best describes those expectations is "north-ernness"—the word used by Tolkien's friend C. S. Lewis in Surprised by Joy, and the subject of one of the catalog's introductory essays (by Tom Shippey). Tolkien's cover design (I had no idea then that the author himself was responsible for it) spoke to me of high adventure and struggle in a world simpler and grander than the real one that I was starting to know. Because I was an Australian child in the 1950s, the cover that I saw was the one that Tolkien designed for the first (1937) British edition of The Hobbit. American child readers saw a more bucolic cover, "The Hill: Hobbiton-across-the-Water," which appealed more to the "cozy" side of the story than to the "high fantasy" side; Tolkien, wary of what US illustrators might do with his story, offered his American publishers a new set of illustrations of his own, some of which were incorporated into later British editions. Significantly, the cover design that I saw at ten contained no living creatures, with the single exception (on the back) of a tiny Smaug, high up in the sky and heading purposefully over the mountains from right to left. One of the many revelations offered by McIlwaine is that such things mattered intensely to Tolkien; witness his successive designs for the cover of The Two Towers many years later, which appear on pages 369–71 of the catalog. What emerges unmistakably [End Page 229] is the author's need to give visual form to many of his subcreations. He was not a professional artist, and he had his limitations (the most notable, perhaps, being his self-confessed inability to draw the human figure—or even the Halfling figure!), but he was a compulsive "doodler" (intricate designs in colored ballpoints drawn on newspaper crossword puzzles, for instance), and the many unpublished illustrations reproduced in this volume show how insistently he tried to picture the scenes that he had already created in words. Just as the languages of Middle-Earth came first for Tolkien and the stories only later, so the vision of his imagined world seemed as important to him as the words in which he described it—so reminiscent of the early compositions of Charlotte Brontë and other child "world-makers" described by Michele Root-Bernstein. The best of his illustrations (such as "Bilbo Comes to the Huts of the Raft Elves," which forms the cover of McIlwaine's catalog) are creditable examples of the Art Nouveau style fashionable in Tolkien's youth. Others are reminiscent of Ivan Bilibin in Tolkien's love of borders, complete with meaningful runic inscriptions. In his preference for formal design over the human figure, Tolkien resembled William Morris, who famously exclaimed to his model Janey, "I cannot paint you, but I love you," a conflict that he attempted to resolve by marrying her. Indeed, there is more than a little...

Architectural Aspects of Vladivostok Identity as European City in the Pacific Region

This article covers issues of European architecture influence on the urban environment style of Vladivostok- the main Russian port city in the Pacific Ocean. Recent transformations in the city’s political, social, and cultural life, from establishment of the RF Navy Fleet Sea Base to development of an international Pacific cooperation center, in a new light refreshed its historical and architectural heritage making it an instrument for cross-cultural dialog between Russia and the APR. In this research we have made architectural and urban planning comparison between Vladivostok, Istanbul and San - Francisco. The research has revealed general trends of the European Art Nouveau style impact on Vladivostok urban environment. Existed at the turn of the ХIХ-ХХ centuries, European architecture fashion has become a trendsetter for the beautiful exterior at the Pacific east coast.

Hydration of Cement Minerals in a Hydraulic Dolomitic Binder

Dolomitic Roman cement was a widely used binder for construction purposes during the late 19th/ early 20th century in territory of Latvia. Because of its hydraulic properties and fast setting it was especially favorable for the usage for the cast elements of Art Nouveau style facades. The production of the material was discontinued in the middle of the 20th century. Nevertheless, there is a need of compatible material for restoration purposes that is not currently commercially available. A compatible binder has been synthesized from mixture of dolomite flour and clay. The research gives an insight of the ongoing chemical processes during the hydration of the cement minerals in the binder. The influence of clay content in compositions and of firing temperature on the physico-chemical properties and mineralogical composition of obtained material is estimated.

Restoration of historical mansions built in Russian province at the beginning of XX century

Style called Art Nouveau appeared in the last quarter of the XIX century in Austria-Hungary and quickly spread throughout Europe. This style has reached the heyday in Russia in the end of the 1890s-1900s. The object of classic Art Nouveau style characterized by the asymmetrical facades, the almost full abandonment of historical decorative elements, the extensive use of the plant ornaments, and other characteristic feature was considered in this paper on the example of the F.P. Efremov`s mansion in Cheboksary, Russia. The project of building reconstruction was also proposed.

Analysis of Wrought Iron Metal Part of Cupola Construction in the Main Railway Station Plzeň from 1907

The paper describes the metallographic analysis of a metal part from the cupola construction in the Main Railway Station in Pilsen. The station in the Art Nouveau style was completed in 1907. The part was screwed to a vertical column and used as a pulley, probably for the transport of other parts. The cross-section consisted of visible bands. The microstructure was heterogeneous, formed by connected individual bands, ferritic structure predominated, but in some bands it was ferritic - pearlitic. The structure contained both minor inclusions and complex elongated inclusions consisting of grains and binder - their composition was determined by ED microanalysis. The analysis showed that it is a wrought (puddled) iron with a considerable amount of slag, which was produced with technology used in the 19th century. However, at the beginning of the 20th century, modern steel production methods were used for profiles and thus it is unclear whether this screwed part for manipulation represents the whole construction.

THE HOUSE OF THE CENTRAL COUNCIL IN KYIV: TRANSFORMATIONS OF THE IMAGE

The article deals with the history of the construction and functioning of one of the most famous Kyiv buildings, which was used as the premises of the Ukrainian Central Council during the Ukrainian Revolution. The construction and the concept of this building are analyzed, and a description of the interior and exterior finishes. The process of transition of the building to the status of the house of meetings of the Central Rada was revealed in detail, its further fate was revealed, the functional transformation that took place with it in different periods of existence was investigated. Thus, the author found out that the building was erected in 1910-1912 by architect P. Alyoshin for the Tsarevich Aleksey (Romanov) Pedagogical Museum in the Art Nouveau style based on the Russian Empire style. From March 1917 the Ukrainian Central Rada worked here (it became a full-fledged "master" of the building since October 1917). It was time when the first changes in the exterior and interior of the house occurred - the Russian imperial coat of arms and the corresponding inscriptions were removed; the UNR coat of arms - Trizub was mounted on the wall; instead of the bas-relief portrait of Tsarevich Alexei, a portrait of Taras Shevchenko was placed, the imperial symbolism was dismantled. A little later, the boardroom was decorated with the emblems of five provinces whose Ukrainian jurisdiction was recognized by the Provisional Government (in 1923, the emblems as a relic of the "counter-revolutionary Council" would be abolished by the new government). In 1920-30s the building on Volodymyrska Street hosted many Soviet institutions (the Institute of International Relations, the Proletarian Museum and the Kyiv Provincial Eastport, the Museum of the Revolution, and the Kyiv Regional Executive Committee). In 1937 it was decided to arrange here a branch of the Moscow Museum of Volodymyr Lenin, having completed and reconstructed the existing premises. Architect Alyoshin, while maintaining the unity of style, extended the sides of the interior and closed them with a block parallel to the man's part, which formed a small courtyard. Interior planning and decoration have also undergone changes - so much of the stucco has been removed, and polychromy has been eliminated (similar activity occurred in the early 1950s). The general conclusion is that changes and transformations of the house on Volodymyrska Street, unconventional for Kyiv architecture, in most situations were controlled by architect P. Alyoshin, who retained the architectural features of the early twentieth century, and the introduction did not violate the overall impression.

Reconstruction of Villino Florio’s wooden ceiling using 3D technologies

This work originated from a simple question: is it possible to reconstruct a destroyed architectural decorative element starting from documents that describe its details, shape and constitutive materials? An important limitation in the past was the lack of technologies and materials that could replicate an object like this in detail. Only a few years ago technology was not yet able to ensure accurate reconstruction characterized by an adequate formal aesthetic level both in terms of materials and finishes. Nowadays, this gap has been filled thanks to the development of Computer Numerical Control machines (CNC) in production processes. In this contribution, we present part of the restoration of Villino Florio in Palermo, built by the architect Ernesto Basile on behalf of the Florio family between 1899 and 1902 and partially destroyed by a fire in 1962: it is one of Italy’s first architectural works in the Art Nouveau style, and is considered a masterwork within the European panorama. The restoration, directed by the Soprintendenza BB.CC.AA. Di Palermo, also involved the monumental staircase, with a complex wooden floral pattern (‘ramage’) used to decorate the ceiling. Starting from the relief of the environment and from the old photographic documents, a 3D model of the ramage was retrieved. This formed the basis of information necessary for the subsequent reproduction of the subject with CNC machines on oak modules, assembled and finished just as they appeared in the photographs before the fire. A numerical approach made it possible to control the entire process by adopting structural solutions to avoid overloading the ceiling with excessive weight.

Integration of Decorative Iron with Architecture for Modern Art

The latter half of the nineteenth century saw an unprecedented increase in technology. The use of new materials such as iron and glass architecture has accompanied many changes. These changes have occurred in the social, economic and cultural fields, which changed the aesthetic values of that era. Modern art designer tried to do that. It is done to bridge the gap between aesthetic value and new technology, where the technology was hidden behind the art. (Barbara W. 2015 (11)(. Art Nouveau designers’ senior who incorporated designs decorative iron as a new architecture designed is Victor Horta (1861- 1947).He is one of the founders of modern art. He was the first major act of his work carries the thought and principles of modern art is Hotel Tassel ((1892-1893. In Brussels, it has also appeared this trend in Paris. Patrons designer are Hector Guimard (1867-1942). The important his work that still pays for Art Nouveau entrances Metropolitan "Metropolitain" or the Paris Metro. 1899-1904 and he has 141 input. (Hector G.2015 (19)). The research problem is despite the passage of many years. Most novice designers tend to automatically apply the principles of modern art. Hence it must be need to understand the design and construction bases of the decorative iron work in the Art Nouveau architecture. The research Objectives: The research aims to study the use of decorative iron that employed by art designers of modern architecture (stairs, balconies, doors, ...... ). This is developing a vision for the integration of conceptual foundations of iron decorative design with architecture. based on the Art Nouveau style. creating curriculum method to teach the foundations of. It based on inspiration from nature depending on the style of art talk. The most important results, the application of technological techniques, with architecture decorative iron, when the design of Modern Art for Architecture, given the high aesthetic value with the luxury and originality. As well as their applicability to all classes (upper-middle-minimum), provide technology value, economic, with high quality.

The Landscape Design of the Art Nouveau Style

<p><em><span lang="EN-US">The article describes some of the features of the development of landscape design in the Art Nouveau style and its application in the modern world. In particular, it presents the main features of the style, its appearance and the main masters, such as Antonio Gaudi. The Art Nouveau style has been widely used in modern life, as well as landscape design, which is expressed through a particular interpretation of the basic rules and compositional techniques, colour solution of small garden, plant selection and combinations thereof, types of decorative paving, small architectural forms and garden equipment.</span></em></p><p> </p>

Ålesund—The Art Nouveau City

Cities and their people have their own fate, and sometimes it is tragic. Often tragic events lead to the death and oblivion of a city, and traces of them only remain in the pages of historical chronicles. ?lesund has had both a tragic and a happy fate. A conflagration in 1905 became a turning point in the history of the city. ?lesund was destroyed, and only ashes were left. This tragedy changed its outlook, and made it world famous because ?lesund was completely rebuilt in an Art Nouveau style.

The richness of plants in Art Nouveau gardens

<p>The turn of the 19th and the 20th centuries signified the appearance of a new trend in art called Art Nouveau in England, <em>Stile floreale</em> in Italy, and in Poland – <em>secesja</em>. It was an attempt to escape from the style that copied historical forms and set a new direction of development. The main inspiration for the creators of this period became nature, its asymmetry, variety of textures, subtle colors or smooth, and wavy lines. Artistic motifs were drawn from the richness of native flora and fauna. Flowering shrubs, perennials and creepers were especially inseparable decorative and compositional elements of a garden. </p><p>Secession had a significant impact on painting, sculpture, architecture, and garden design. The space surrounding people was treated comprehensively by blurring the boundaries between different arts. A multitude of shrubs – especially roses and lots of perennials such as <em>Lilium</em>, <em>Iris</em>, and <em>Phlox</em>, gave the impression of architecture immersing in the surrounding garden.</p><p>The aim of the paper was to briefly analyze the Art Nouveau style and present the diversity of species used in the gardens of that period.</p>

10.5937/timsact8-5984 = Influence of Art Nouveau and its heritage on tourism: The case study of Aveiro

Tourist destinations around the world are trying to cope with the needs of visitors, which are very susceptible to change. Nowadays, tourists are becoming more sophisticated and knowledgeable; their needs for extensive and diverse experiences increasing. As opposed to the destinations whose tourism development depends on the natural resources that are difficult to influence and whose business is susceptible to the negative impacts of seasonality, destinations of city and cultural tourism have more space to design their offers and contents that can satisfy the needs of travelers of the modern age. Content that can make a destination unique and well known, is the cultural heritage created in the Art Nouveau style. The Vienna secession architectural masterpieces can represent major tourist attractions in some destinations. For example, many attractive tourist cities such as Aveiro, Barcelona, Prague and Hamburg tourists visit just in order to feel and experience these works of art. For this reason, it is very important to point out Art Nouveau as an essential part of the cultural heritage of the destination and enable informing and introducing tourists with this valuable tourism potential. The initial hypothesis of this paper is that Aveiro has authentic cultural heritage in the Art Nouveau style that enriches the tourist offer of the city and that attracts a certain segment of the tourism market. The aim of the paper is to examine the participation and influence of Art Nouveau heritage in the tourism industry of Aveiro.

The Impact of Urban Structure and Building Typology on Transport Solutions

During the 19thcentury, European cities witnessed radical reconstructions which were usually necessitated by the remarkable increase in traffic. The existing transport systems were often based more on Gothic period or even earlier. The narrow streets were no longer able to accommodate the increasing frequency of vehicles, which have been even more intensified by the development of railways. The second half of the 19thcentury and the period of the beginning of the World War II brought the construction of ring roads based on the layouts of former medieval walls and in big cities then more and more thoroughfares. Along these main avenues, mainly residential houses or parterre intended for services and trade were built, that nowadays form the traditional urban structure. The objects were not usually uniformed in style and in the 19thcentury there were mostly eclectic forms of architecture. In the early 20thcentury and at the turn of the century then we can meet the Art Nouveau style, Traditionalism, Cubism, Modernism and Functionalism.

Die Stadt als Erinnerung: unzeitgemässe Notizen

The City as Memory: Untimely Notes The essay focuses on the city and its essence in the context of memory. It is asserted that the true essence of a city as such cannot be completely revealed by individual sciences or by explanatory dictionaries. Therefore, 1) the Estonian word linn (city) is allowed to reveal itself with reference to its origin, and 2) the city itself is allowed to show itself as it really is, i.e. phenomenologically. Essentially, the essence of a city consists of both caring for and restricting its own residents or citizenry and the essence of the citizenry is to care for and restrict its own city. Figuratively, the relationship between a city and its citizens can be compared to that of a mother and child. Examples of this correlation, and the possibility that the correlation can change to reciprocal animosity or, instead, to love, are cited from Estonian literature (Karl Ristikivi, Oskar Luts, Bernard Kangro and others). Based on memories, the author focuses on the university town of Tartu, the city of his birth and his hometown. The city not only suffered damage during World War II, but also in the post-war years. For instance, the Soviet city authorities carelessly blew up and demolished the ruins of the Vanemuine Theatre, built in the geometric Art Nouveau style of Vienna, instead of rebuilding it with the aim of conserving it for the future. Imminent total destruction also threatened the district that provided the author shelter during his childhood and adolescent years. Luckily Soviet power itself was destroyed – ended – before it was able to totally destroy one of its “greatest enemies” (as the author sees it) – the section of Tartu’s Karlova district adjacent to Ropka. CV: Ulo Matjus is a philosopher, philologist, bibliophil, professor of history of Estonian philosophy at the University of Tartu. His main research fields include phenomenological philosophy (in the broadest sense) and being-historical thinking in Germany; scientific (commented) translation of phenomenological philosophy and being-historical thinking to Estonian; historically specific characters of mental social phenomena (metaphysics, philosophy, science, morals, religion, values etc.) in front of their modern unitedness; appearance of the historically specific character of aesthetical phenomena – especially the art – in age of the modern technology; history of Estonian book and the bibliophily.

무대의상에 나타난 다원적 절충주의 경향에 관한 연구 - 세계 4대 뮤지컬을 중심으로 -

The purpose of this study is to examine the trend of plural eclecticism in costumes appearing on the stages of the world's top 4 musicals based on the general researches and establishments made of the mentioned concept. The conclusions of this study are as follows. First, the aspects of eclectics appearing in overall pieces can be defined as situational eclecticism. It can be attributed to the dramatic elements contrasted in the storyline of the musical and occurs in mixture with various situations. Showing combinations of costumes from varying situations at once in the same stage makes the audience feel the dynamic elements of the piece. Second, the aspect of temporal eclecticism, which can be seen in the 'Phantom of the Opera' regarding mixture of crinoline style and art nouveau style, resulted from the partial mixture of classical elements for maximizing visual beauty in the historical pieces. Third, the aspect of spatial eclecticism can be observed in the musical 'Miss Saigon', which used costumes that combined multicultural elements by exposing different spaces and cultures such as America and Vietnam. It eclectically expresses the unique cultures and costumes of each country. Fourth, 'Les Miserables' shows the aspect of situational eclecticism, through its use of mixture of situations in various aspects, and in particular, the male and female costumes that blur the boundaries of life, death, and costume, the mixture of people's costume and aristocrat's costume, and the situational elements where the good and evil are contrasted are integrated eclectically to make the story dramatic.

Integrated Survey to Extract Date for Structural Investigations

This paper presents some results of a integrated survey, aimed to 3D modeling and the subsequent representation of the collapse of part of a historical building. The survey of a building in Salerno it has been made, built in Art Nouveau style, has the name taken from “Società Anonima per l'Edilizia”, which undertook its construction. The results have been a support characterized by metric valence for structural engineers who have examined the stability of the structure and determined the cause of the collapse. The collapse occurred during the night and covered the South-West corner of the building. However, there were no neither victims nor injured because the zone of the building housed the living room or rather the kitchen, and not the bedrooms. For this case study a integrated survey it has been conducted; in particular, laser scanning, topographical and terrestrial photogrammetry techniques in order to obtain the 3D model of buildings, plans and prospects and the particular of the collapsed area have been adopted. The experimental algorithm, developed by authors, in order to obtain 2D representation of whole building and the area of collapse, it has been used. The results has been an aid for the structural engineers. Of considerable support to the above analyzes were both the topographical survey of the collapse site, that the laboratory tests, some of them inferred by three-dimensional metric knowledge and by graphical representation provided.

Najraniji i rani radovi kipara Rudolfa Valdeca

Ivan Rendić rođen je 27. kolovoza 1849. u Imotskom. Odgajan je u vrlo siromašnom okruženju bračkih kamenoloma, a u svojoj najranijoj dobi otkriva dar za kiparstvo i crtanje. Nakon osnovnog školovanja naobrazbu nastavlja u Trstu kod drvorezbara Giovannia Moscota, a potom na Akademiji u Veneciji, gdje je, kao vrlo talentiran student, dobivao mnoge pohvale. Po završetku studija usavršava se u Firenzi, kod tadašnjega glasovitog majstora Giovanni Duprea. Nakon studija živi i radi u Zagrebu, no zbog pomanjkanja narudžaba i katastrofalnoga potresa 9.12.1880. koji razara njegov atelier u Zagrebu, odlučuje se s obitelji preseliti u bogatiji i kiparskim narudžbama skloniji Trst u kojem boravi i radi u dva navrata i to od 1880. do 1899. i 1902. do 1921. Ivan Rendić je bio posljednji umjetnik - putnik koji je poput srednjovjekovnih kipara stvarao svoj opus iz slijeda putovanja, od mjesta do mjesta, nudeći klesarske usluge. Tako je stvorio raznolika, kreativna djela po svim većim gradskim grobljima duž naše obale i unutrašnjosti. Upravo ta razasutost karakterizira njegovu jedinstvenu poetiku koja se iščitava na svakom njegovom spomeniku. Lirski i realno obrađeni motivi, koji kao da su zaleđeni u trenutku svojih priča, uvijek više oblikovani nego klesani u za to im predviđenim arhitektonskim okvirima, obrađenim do najmanjih pojedinosti, čine ga iznimnim umjetnikom. Riječki će uglednici - investitori koristeći rad što riječkih, a što inozemnih graditelja angažiranih na projektiranju i gradnji njihovih investicija, uzimati iste i kao projektante svojih vječnih počivališta. Osim arhitekata za njihovu gradnju, uposlit će i kipare koji su u Rijeci bili u prolazu, poput Ivana Rendića iz Trsta. Blizina i brojni kontakti koji su se iz Trsta odvijali prema Rijeci, potaknut će 1882. suradnju Ivana Rendića s brojnim riječkim poduzetnicima koja je započela s veleposjednikom Josipom Gorupom, a nastavila se sa obitelji Devet 1885., sa obitelji Gelletich-Bartolich-Nicolaides 1886., sa obitelji Ploech 1887., sa obitelji Frana Pilepića 1890, sa obitelji Antonia Stiglicha 1891., sa obitelji Antuna Bakarčića, obitelji Copaitich- Battaglia i Manasteriotti 1892., te Marijom Schalek i udovicom Tonhausera 1896. Godine 1900. podiže nadgrobni spomenik dr.Stanislavu Dell'Asti-Mohović, zatim Giovanniju Fumi 1902., Đuri Ružiću, Andreji Antiću i obitelji Haramija 1905., Ivanu Tomašiću 1907., obitelji Cozulich de Pecine 1914. te posljednji, Ivanu Smokvini 1915.Svi ti nadgrobni spomenici, mauzoleji ili grobne kapele na sebi nose svoje vlastitosti, ukazujući na Rendićevu neiscrpnu energiju i marljivost, trenutak u njegovom stvaralaštvu,njegovu individualnost. Njegove skulpture i forme su pomno prostudirane. Bio je vješt imitator prirode. Imao je izvrstan osjećaj za detalje koje je predočavao usvojenom visokom tehničkom vještinom obrade materijala. No nažalost njegova likovna čistoća i izražajnost ponekad se znala gubiti u preobilnim količinama i bogatstvu ukrasa i detalja, samo u želji da da još više.Njegovi spomenici u stanju u kojem su danas govore o zaboravu i devastaciji. Govore o zaboravljenom umjetniku čija djela i u ovakvom stanju još uvijek plijene pozornost svojom ljepotom. Ukoliko bismo ova njegova kiparska ostvarenja izdvojili u jedan drugačiji prostor od onoga u kojem se nalaze, vjerujem da bismo onda, u tom novom okruženju, znali uživati u profinjenosti njegove obrade motiva, u njihovoj ljepoti, u realnostima scena obrađenih do najmanjih detalja. Ovako, možda iz razloga što se ova njegova djela nalaze na mjestima gdje jesu, ne dobivaju zasluženu pozornost javnosti. Utonuvši u u zaborav, izgubljene monumentalnosti počinjenim oštećenjima, njegovi će spomenici još jednom ukazati na to kako ljudska nebriga zna ponekad prijeći granicu ljudskoga razuma u kojoj onda vrijeme upleće svoje prste pridonoseći mogućnosti da se nečega možemo samo prisjetiti.