出版社：University of Glasgow, Institute for Art History
摘要：In the early 20th century, heritage conservation in Central Europe extended the focus of its interest to old towns seen as a whole. Around the same time, the first buildings in the Modernist style began to be introduced into these historical urban settings, and so the question of their ‘contextuality’ arose for the first time. Several texts written by Max Dvořák reacted to both these processes. Dvořák was an opponent of Historicism, and so he did not object to the introduction of Modernism into old towns, but only on condition that a ‘higher architectural unity’ or ‘internal unity’ of old and new was created. Otto Wagner’s designs for the Karlsplatz in Vienna did not meet with Dvořák’s approval because they broke away too radically from the old architectural culture and did not work towards a ‘higher unity’. Dvořák cooperated with the Club for Old Prague on the conservation of heritage sites in Prague. However, the Club had a greater predilection for Modernism than he did. The problem with the terms used by Dvořák lies in their aesthetic nature. This means that they are too open to subjective interpretations.
