Au lendemain de la Seconde Guerre mondiale émerge en France un mouvement de renouveau de l’architecture religieuse et de l’art sacré sous l’impulsion d’un clergé soucieux de repositionner l’Église au cœur de la création contemporaine. S’appuyant sur une liturgie réformée, la communauté religieuse s’engage dans l’édification de nouveaux lieux de culte, qui sont une occasion de mettre en œuvre des formes audacieuses par l’emploi de techniques constructives innovantes. Particulièrement meurtrie par la guerre, la Lorraine devient le site d’une modernité réinventée, un territoire riche d’expérimentations architecturales, formelles, constructives et typologiques, pour lesquelles les réalisations de l’entre-deux-guerres en Suisse et en Allemagne font figure d’avant-garde. Ce travail de thèse analyse les liens entre les aspirations de l’Église catholique, les contraintes imposées par le contexte de la Reconstruction et de l’urbanisation accélérée des territoires, et la réponse formelle et matérielle proposée par les concepteurs de l’époque. Le corpus général concerne la production de cent dix-sept projets et réalisations conçus en Lorraine entre 1945 et 1975. Il se concentre sur les architectures les plus novatrices, tout en répondant à la volonté de proposer une palette d’objets diversifiés, tant du point de vue de leur histoire que de celui de leur matérialité. Les églises du corpus sont l’œuvre d’architectes d’origines géographiques variées et à la notoriété multiple. En outre, ces réalisations, d’une envergure plus ou moins grande, s’inscrivent dans divers contextes géographiques : urbain, périurbain et rural. Croisant les approches quantitative et qualitative, ce travail s’articule autour de trois principaux champs de recherche :- les conditions de production de l’objet architectural : accès à la commande, financements, acteurs, etc. ;- les influences et la question de la réception, notamment au travers d’une étude des revues spécialisées et de la presse catholique ;- enfin, la matérialité de l’objet et sa réalité constructive. / In the aftermath of the Second World War in France, an iconic renewal of sacred art and religious architecture was triggered by the clergy being concerned to set the Church as the cornerstone of contemporary creation. Given the significant changes in religious rites at the time, the Christian community decided to build new places of worship giving them the opportunity to introduce bold designs based on innovative construction techniques. As one of the major battlegrounds of the Second World War, the Lorraine region then appeared to be the perfect field for rethinking modernity through a wealth of architectural, formal and building experiments inspired by groundbreaking creations made in Switzerland and Germany in the interwar period. Our research work analyses the links between the Catholic Church’s ambitions, the constraints resulting from the post-war Reconstruction and urban sprawl context, and both formal and material suggestions made by contemporary designers. The whole corpus includes one hundred and seventeen projects and productions created in Lorraine between 1945 and 1975. It focuses on the most pioneering buildings while offering a wide range of objects, be it for their historical background or their materiality. The selected churches were designed by architects from diverse regions and with variable fame. In addition, they differed in scopes and geographical contexts – urban, suburban and rural. Taking both quantity and quality perspectives into account, our study revolves around three main lines of research :– In which conditions were the architectural objects produced (ordering process, funding, stakeholders, etc.) ?– What influenced their production and how were they received ? This has been observed through the analysis of trade papers and the Catholic press.– Eventually, how to describe their material nature and their reality as construction products ?

Die hier vorliegende Arbeit untersucht die architektonischen Überreste des von Nektanebos II. um die Mitte des vierten Jahrhunderts v. Chr. in Bubastis (östliches Nildelta) errichteten Tempelkomplexes. Das Gebäude wurde vor etwa 2000 Jahren, vermutlich durch ein Erdbeben, zerstört und die heute an der Oberfläche liegenden ca. 1500 Blöcke (zumeist Rosengranit) bilden die materielle Grundlage dieser Arbeit. Mittels einer Analyse der dekorierten und/oder architektonisch relevanten Blöcke wird versucht, den ursprüngliche Grundriss des Tempels sowie sein Dekorationsprogramm zu rekonstruieren. Darüberhinaus sollen grundsätz¬lichere Fragen nach der Funktion der Baustruktur und der Bedeutung der Ikonographie dieser Anlage im Lichte spätzeitlicher Sakralarchitektur, geklärt werden. Der Grundriss des Tempels läßt bereits den in der folgenden Ptolemäerzeit kanonischen Bauplan erahnen, der den Schutz des Götterbildes in den Vordergrund stellt. Das zentrale Kapitel der Arbeit beschäftigt sich mit der Rekonstruktion der mindestens 11 Naoi, die im Tempelhaus untergebracht waren. Die Wände des Tempels und der Naoi geben ikonograhische Elemente, wie bspw. eine Inventarliste, eine kulttopograpjhische Liste, kryptographische Kartuschen, eine monographische Inschrift oder kosmologische Abbildungen, wieder. Hier wird eine der wesentlichen Grundtendenzen spätzeitlichen Tempelbaus greifbar, nämlich das scheinbar starke Bedürfnis, geographisch, kosmologisch, theologisch und mythologisch relevantes Wissen zu kodifizieren. Letztenendes scheinen diese Entwicklungen im spätzeitlichen Tempelbau- und dekor die politische Realität der 30. Dynastie widerzuspiegeln, in der Ägypten permanent von Angriffen der Perser bedroht war und die Tempel, v.a. im Ostdelta, zu einer architektonischen, zugleich aber auch rituell-magischen Festung des Göttlichen wurden. / This work analyses the architectural remains of the temple erected in Tell Basta/Bubastis (Eastern Nile delta) by Nekhthorheb/Nectanebo II around the middle of the 4th century BC. It collapsed, probably due to an earthquake, about 2000 years ago and today ca. 1500 (mainly granite) blocks cover the surface of the ancient temple area. Based on the analysis of decorated and/ or architecturally diagnostic blocks (ca. 300) this study aims at retracing the original layout of the temple, its decoration and inscriptions and tries to contextualise the building within broader themes of Late Period sacred architecture. The layout of the temple already foreshadows the canonic temple layout for the later Ptolemaic temples where the protection of the cult image of a god inside the temple became paramount. The core chapter of the book deals with the reconstruction of the altogether at least eleven naoi that were housed in the building. The walls of the temple and the shrines feature iconographic elements such as an inventory lists, a culttopographical list, cryptographic cartouches, a monographic inscription or cosmological depictions, reflecting an apparently strong need to codify theologically, cultic and mythologically relevant knowledge and might be interpreted in the light of daily cult activities and the annual festival in honour of the goddess Bastet. Ultimately, the developments in Late Period temple architecture and decoration seem to reflect the political reality of the 30th dynasty – a time where Egypt was under the constant threat of a(nother) Persian invasion which shaped Egyptian identity and self-awareness, and the country’s temples, especially in the Eastern Nile delta, became not only an architectural, but more so a religious fortresses for the protection of Ancient Egyptian beliefs.

The diploma thesis " Architect Jaroslav Čermák and his relation to sacred architecture on the example of the Church of Saint John of Nepomuk in Prague - Košíře" in its first part presents the cultural-historical context of the end of the 19th and the beginning of the 20th century in the Czech lands. It also deals with the work of Czech architects in the first half of the 20th century and the issue of sacral architecture. Subsequently, the hitherto minimally known biography of Jaroslav Čermák and his work is reconstructed in the context of the time. Čermák's work is described primarily on the example of the construction of the church of Saint John of Nepomuk in Prague-Košíře, which is subjected to a thorough analysis and interpretation of the means of expression, that where used. The urban context is also observed. The thesis elaborates with the reasons for the need to establish a new church in Košíře and with dificulities, that came during the construction of the church, which was affected by the Second World War and the coup in February 1948 in Czechoslovakia. Part of the work is a pictorial supplement, which is primarily related to the construction of the building and the current state of the church of Saint John of Nepomuk.

The subject of this diploma project was to design an architectural proposal of The New Synagogue and Jewish Community Centre in Teplice, Czech Republic. The main goal was to design a complex of buildings which would be used not only for the worships but also for cultural and educational purposes. The proposal consists of the design of 3 buildings connected to each other by a cen-tral courtyard. The form is based on the traditional values set into contemporary de-sign shaped by demands of current generations. One of the main design elements - the beam structure above the courtyard implies a symbol of The Star of David as the symbol of Judaism as we know today. The building of New Synagogue represents the first, three storey building on the north part of plot. The second, east part, is building consisting of cultural centre, info centre, museum, gallery and spaces for workshops with it's technical and sanitary facilities. A Kosher Restaurant will be located into the third and last two-storey building. An undeground parking will be used by the staff and visitors of the whole complex.

Archaeology of the fortified manor in the Czech lands To the beginnings of the medieval fortified residences The work is dedicated to the medieval fortified manor in the Czech lands with regard to the need to formulate new questions. He marginally considers the questions of actual and historical terminology and its semantic content. To explore the functions of the fortified manors the structure of the associated settlement is discussed. A substantial testimony is attributed to some of selected written sources pointing to the legal-historical or jurisdictional context of "private" fortified settlements/residences. A separate chapter is devoted to the analysis of several examples of archaeological research from the Czech lands and from western parts of Europe, which revealed situations classifiable to fortified manor, respectively castles, which was preceded by much less or not at all fortified settlements, while maintaining close spatial continuity. So the questions concerning the beginnings of that type settlements are pronounced. With this packet of problems the work deals applying a comparative analysis that leads to some reassessment of the importance of the Romanesque church with the western tower as a kind of reduction of the castle model known from contemporary (12th century) Western European regions...

La recherche porte sur l'étude historique et architecturale de l'église de Sainte-Marie-Majeure à Ferentino (province de Frosinone, Italie), l'un des plus importants édifices construits dans le Latium méridional au XIIIe siècle. Le contexte scientifique montre d'énormes désaccords relatifs à la période d'édification et, par conséquent, aux différentes références culturelles ayant inspiré l'architecture de l'église, à partir des abbayes de Fossanova (1208) et Casamari (1217). D'autre part, en raison de la rareté des sources médiévales qui nous sont parvenues, nous ne connaissons pas avec précision la chronologie relative et absolue du bâtiment. Le texte de synthèse, qui est supporté de deux volumes supplémentaires rassemblant les sources iconographiques et toute la documentation écrite (inédite ou non) sur Sainte-Marie-Majeure, se compose de trois parties. Après avoir retracé l'histoire de l'église, depuis ses origines jusqu'aux dernières restaurations, à partir de l'exposé critique de questions historiographiques, l'architecture de l'édifice et ses principales phases de construction sont analysées de manière exhaustive. Enfin, la dernière section contextualise notre étude de cas dans le cadre du renouvellement architectural du Latium méridional et, plus largement, dans l'histoire de l'architecture médiévale, sans se limiter à l'Italie. En sélectionnant tel édifice-clé, constituant un exemplum sous le point de vue architectural, la recherche a spécifié les modalités de réception et de transmission des modèles provenant de la Bourgogne et de l'Ile-de-France à l'architecture religieuse et civile dans la province ecclésiastique de Campagna et Marittima au XIIIe siècle. / My research deals with the historical and architectural study of Santa Maria Maggiore in Ferentino (in the modern province of Frosinone), one of the most important buildings erected in southern Lazio during the thirteenth century. The existing scholarship on the church was out of date and suffered from large gaps that left the history of its construction unexplained. Neither the date of the site‟s foundation nor that of its completion are known because of the lack of medieval documentary sources. Consequently, the main disagreements about Santa Maria Maggiore had concerned the sources of inspiration for its architecture, as scholars generally compared it to the model of the Cistercian abbeys of Fossanova (1208) and Casamari (1217). My dissertation is accompanied by two additional volumes containing the images supporting the text and a catalogue of written sources including unpublished archival documents, and it is divided into three parts. The first traces the entire history of the building and begins with a critical exposition of related historiographical issues. The second section exhaustively analyses the architecture of the church and its building phases by reconciling documentary evidence and visual analysis of the church. The third section contextualizes the design of Santa Maria Maggiore within the territory of southern Lazio and the panorama of "Cistercian" architecture. By taking this exemplary monument as its subject, my research demonstrates the complex reception of architectural models from Burgundy and the Ile-de-France, analysing their subsequent reworkings in thirteenth-century religious and civil architecture in the ecclesiastical province of Campagna and Marittima. / La ricerca affronta lo studio storico-critico della chiesa di Santa Maria Maggiore a Ferentino (FR), uno dei più importanti edifici costruiti nel Lazio meridionale durante il XIII secolo. Nonostante sia stata dichiarata Monumento Nazionale nel 1884, non era mai stata oggetto di uno studio sistematico ed è ancora oggi pressoché inedita. Il contesto scientifico, ormai desueto, soffre di grandi lacune sulle vicende costruttive della fabbrica, di cui non sono note né la data di fondazione né quella di completamento del cantiere a causa della scarsità di fonti documentarie medievali. Di conseguenza, i principali disaccordi hanno riguardato le influenze culturali fonte d‟ispirazione per l‟architettura di Santa Maria Maggiore, troppo genericamente ricondotte al modello delle abbaziali cistercensi di Fossanova (1208) e Casamari (1217). La dissertazione, accompagnata da due volumi supplementari che contengono le immagini di supporto al testo e il repertorio delle fonti documentarie, è suddivisa in tre parti: quella iniziale ripercorre l‟intera storia dell‟edificio a partire dall‟esposizione critica delle questioni storiografiche; la seconda sezione analizza in modo esaustivo l‟architettura della fabbrica e le fasi edilizie riconosciute; la terza parte, infine, contestualizza il caso studio nel quadro del Lazio meridionale e nel panorama dell‟architettura “cistercense”. Estendendo il campo di indagine, il lavoro ha acquisito un valore a scala territoriale poiché la ricostruzione delle vicende edilizie di Santa Maria Maggiore ha permesso l‟istituzione di raffronti con diverse altre architetture coeve sia italiane che francesi, al di là dei due magniloquenti monasteri di Fossanova e Casamari. A questi ultimi, infatti, la storiografia ha attribuito da sempre un ruolo privilegiato nell‟introduzione del linguaggio gotico ultramontano nel territorio a sud di Roma, di cui la chiesa ferentinese rappresenta una derivazione locale. Selezionando tale exemplum, la ricerca ha precisato le modalità di accoglienza dei modelli provenienti dalla Borgogna e dall‟Ilede-France, rintracciando le successive rielaborazioni nell‟edilizia duecentesca sia religiosa che civile nella Provincia ecclesiastica di Campagna e Marittima.

The Christian church has been an inherent part of human continuity for more than thousand years. The external appearance of the Christian church has always reflected societal transformations as well as turning points in history. Moreover, it has become an integral part of our existence both in space and time. Nowadays, we frequently hear that the crisis of European society is in effect an identity crisis, an inability to ask about where we are heading and what the meaning of life is. The reduction of time givenness to the already limited scope of our own physical existence destroys the ability in a man to ask questions and find answers to them, or even enquire about the meaning and essence of things. The carefree, dispersed husk blown by the wind may seem to be free and independent; however, it has also stopped trying to actively find paths for future generations. One of the fundamental attributes of an architect should be a strong aptitude for synthetic thinking, which includes multiple knowledge of social cognition, i.e. in the currentness of present experience as well as in time. This knowledge should ideally help to identify the core of problem, and to define the general rules applicable, regardless of changes in social demand, trends or taste. This dissertation, concerned with the “change” of the Christian church, ought to provide a compact, effective platform based on a synthesis of all analytical findings in the areas of architecture, liturgy, history, and theology. This platform can be applied in architectural practice, education (both architectural and theological), pastorage, and other wide, well-researched social discourses on the current form of the Christian sacred space, its basis and likely future development. The emphasis should be put on individual interpretation of a target group rather than dogmatic interpretation of dramatic revelations. Therefore, the first half of the dissertation will analyse the theological and symbolic basis, and historic transformations. Whilst, the second half will depict the current approach to the creation of sacred space in both newly built churches and the ongoing conversions of existing spaces. In conclusion, the dissertation will debate the future direction of sacred space in post-Christian Europe.

Made available in DSpace on 2016-04-25T19:20:27Z (GMT). No. of bitstreams: 1 CesarSartorelli.pdf: 82712403 bytes, checksum: 53117bf040d047558c5f13fe79e7bff9 (MD5) Previous issue date: 2005-11-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Overall this sciences of religions essay is about architecture and art, but mainly its object is to treat specifically the fields wich refer to both the construction of religious spaces, and the hole art contained inside them and rised from them as well. These fields encircle painting, sculpture and, in addition, furniture and special pieces designed for the indoor spaces. More specifically, this essay also builts and reports its reflections based on the contemporary christian artwork and architectural spaces, produced and projected by artist and vernacular architect Claudio Pastro. The analysis in this essay approaches Pastro's biography through his unique process of working and criating, as a painter, pictorial artist, architect and sacred art expert. The second chapter explores Pastro's conceptions between sacred art and religious art, which are indeed different: each conception is clearly refeared, explained, discussed, compared to the other ones, and looked over through the eyes of Mircea Eliade's and Rudolf Otto's fenomenology. Still in the field of the Teology of the Art, the thinking of Romano Guardini about the sacred and the religious is also shown. In the third chapter we have a timeline brief of the history of art and sacred architecture, the bases of Pastro's work; then, a comparative study between his conception about the modern project related to the architecture and the vanguard arts. We also comment some brazilian architects projects, wich he admire and influenced him. Furthermore we comment the II Council of the Vatican and its propositions of liturgical renewal, wich led to the renew of sacred architeture and art, home of Pastro's realm of inspiration and concepts. We end with the analysis and critical reviewing of nine of his chapels and churches already built. In the conclusion, we comment the repercussion of Claudio Pastro's works, and the importance of his figure within the brazilian artistic and architectural panorama, as well as the concerns and limits of his concepts. Alongside with these questions, we leave to open minds some other further questions to be treated, about the relationships between art and religion, and art and the sacred. / Este trabalho em ciências da religião trata de arte e arquitetura, num campo especializado de ambas, que é a construção de espaços religiosos e a arte que nele se insere, abrangendo pintura, escultura, e o design de peças e mobiliário de seu interior. Mais especificamente estaremos tratando de arte e arquitetura sacras cristãs, contemporâneas, através da obra do artista sacro e arquiteto vernacular Claudio Pastro. A análise se inicia através de sua biografia e desenvolvimento de processo de trabalho, como artista plástico, gráfico, arquiteto vernacular e estudioso de arte sacra e espaço litúrgico. A seguir suas concepções, que colocam uma diferenciação entre arte sacra e arte religiosa, serão explicadas e discutidas, observadas através da fenomenologia de Mircea Eliade e Rudolf Otto. No âmbito da Teologia da Arte também exporemos o pensamento de Romano Guardini, citado como fonte dos conceitos de Claudio Pastro sobre sagrado e religioso. No terceiro capítulo fazemos um breve histórico da história da arte e arquitetura sacras, sobre o qual se apoia seu trabalho, acrescido de um estudo comparativo de sua concepção de arquitetura em relação ao projeto moderno , e com as vanguardas artísticas em artes plásticas. Comentamos também alguns projetos de arquitetos brasileiros que o influenciaram e que admira. De dentro da Igreja trataremos do Concílio Vaticano II e suas propostas de renovação litúrgica, que implicaram em renovações na arte e arquitetura sacras, a qual se filia Claudio Pastro. Encerramos com a análise e crítica de nove projetos de capelas e igrejas por ele realizados. Na conclusão situamos a repercussão de seus trabalhos e seu papel dentro da arte e arquitetura sacras católicas brasileiras, na prática, assim como a pertinência e limites de suas concepções e conceitos. No questionamento destes conceitos e concepções situamos questões em aberto, pertinentes à relação entre arte e religião, arte e o sagrado.