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Journal articles on the topic 'Art nouveau (Architecture)'
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1
Krastiņš, Jānis. "Nancy Art Nouveau Architecture." Architecture and Urban Planning 19, no. 1 (January 1, 2023): 66–75. http://dx.doi.org/10.2478/aup-2023-0007.
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Abstract The north-eastern French city of Nancy is one of the centres of Art Nouveau. It has been analysed in detail in many classical reviews Art Nouveau, but mainly in relation to decorative applied art works produced at the Nancy School of Art. The study pays attention also to the Nancy architecture. The architectural and artistic qualities of the iconic Art Nouveau architectural monument Villa L. Majorelle are analysed in detail, and the basic data about works of É. André, H. Gutton, J. Hornecker, L. Weissenburger, and other Nancy architects are systematized, indicating their place both in the cityscape of Nancy and in the historical context of Art Nouveau architecture in general.
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Andreeva, Olga P., Evelina V. Mikhailova, and Svetlana P. Akhmetova. "ART NOUVEAU ARCHITECTURE IN THE MODERN URBAN IMAGE OF CHUVASHIA." Arts education and science 2, no. 35 (2023): 128–35. http://dx.doi.org/10.36871/hon.202302128.
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Art Nouveau architecture attracts the interest of contemporary researchers with its formative natural elements, plastic ornament, decorative lines, and unique options complementing and organically fitting into the modern urban environment. The few buildings in medium and small towns with Art Nouveau features and links to the local architectural traditions, with their unique decorative elements, deserve special attention. This interest is primarily due to the aesthetic perception of architectural space, the study and preservation of modern monuments. Today, many buildings have lost their Art Nouveau decorative elements, and their original appearance has been changed as a result of alterations. The reason for such transformations were historical events that significantly influenced the architectural image of the towns. The analysis of Art Nouveau architecture in the towns of the Chuvash Republic, such as Cheboksary, Alatyr, and Yadrin, reveals the distinctive features of compositional solutions and decorative finishing of buildings, as well as changes in their image. The study relies on the architecture of the mansions of the merchants Yefremov in Cheboksary, the houses of the timber dealer Burashnikov and the merchant Talantsev in Yadrin, and the consumer culture buildings in Alatyr. Based on the study of Art Nouveau architecture, the authors try to show the irreversible changes made to the original appearance of the buildings by some reconstructions, and identify the problem of preserving the architectural heritage of the Art Nouveau style in the cities of the Chuvash Republic.
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Bertels, Inge. "Expressing Local Specificity: The Flemish Renaissance Revival in Belgium and the Antwerp City Architect Pieter Jan Auguste Dens." Architectural History 50 (2007): 149–70. http://dx.doi.org/10.1017/s0066622x00002914.
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While globalizing trends stimulate the creation of entirely new regions, established regional and local identities remain. Architectural historians, among others, explore the ways in which regionalism has been — and continues to be — defined and redefined. Current issues in this debate include what regional architectural traditions might be; whether regions can be defined by architecture; and how regional traditions of architecture have been defined and interpreted by artists, authors and scholars. Nineteenth-century Belgian architecture is particularly relevant in this context. The formation of Belgian Art Nouveau’s style and identity have both been the object of numerous studies, but while Art Nouveau is probably the best-known creation of Belgian nineteenth-century architecture, it is hardly the only one, nor indeed the only interesting one. One of the sources identified for Belgian Art Nouveau has been the milieu of the so-called Flemish Renaissance Revival, which produced such architectural gems as Emile Janlet’s (1839–1919) Belgian pavilion at the World Exhibition in Paris (1878) and Jean Winders’ (1849–1936) own house and studio (1882–83) in Antwerp (Fig. 1).
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Ivashko, Yulia. "APPLICATION OF SYSTEM-STRUCTURAL ANALYSIS METHOD FOR ASSESSMENT OF STYLE LAYERS OF OBJECTS IN HISTORICAL ENVIRONMENT." Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, no. 2022 (2022): 15–22. http://dx.doi.org/10.23939/fortifications2022.16.015.
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One of the main problems of monument protection and restoration is to determine the value of the object of protection, including its stylistic purity. The method of system-structural analysis helps to investigate and substantiate the manifestations of the main features of style at different levels - urban level, object level and level of a single element, and thus argue whether a building is an example of a particular style. The application of the method of system-structural analysis is shown on the example of objects of Ukraine in the Art Nouveau style. It was determined in the thesis the group of factors and conditions, which predominated the beginning and spreading of a cultural phenomena of Art-Nouveau style architecture in Ukraine. The investigation of street-line architecture in the Ukrainian cities with historical Art-Nouveau style buildings concentration allowed to ground the influence of Art-Nouveau style on the formation of squares and habitats architectural ensembles, individual buildings and their facades details. At the base of methodology of the systematic-structural analyze there were investigated for the first time the semantic properties of the architectural forms of Art-Nouveau style buildings in Ukraine. Also there were investigated the regional peculiarities of the typical composition methods of dwelling, public and industrial buildings creation in concentrating the attention on their facades that in this case mostly express the main characteristic of Art-Nouveau style. In the base of comparatively study of the Ukrainian Art-Nouveau style architecture with West-European and Russian examples there were determined the borders of two main architectural Art-Nouveau streams in Ukraine. Within these two main streams it can be found several basic and local centers of Art-Nouveau style in Ukraine that poses their individual features and specific of formation.
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Krastins, Janis. "Architecture of Charles Carr in Liepāja." Landscape architecture and art 15 (March 23, 2020): 31–37. http://dx.doi.org/10.22616/j.landarchart.2019.15.03.
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Contribution of civil engineer Charles Carr to the development of Liepāja's Art Nouveau architecture is analysed in the article. Art Nouveau in Liepāja is one of the greatest values of architectural heritage of the city. Buildings of this style determine the cityscape in many places, but data on Liepāja's Art Nouveau architects until recent past were extremely sparse. Ch. Carr was known only as the author of the design of the building at Graudu iela 45. Two more his designs, including the one for the building at Graudu iela 44, were found during research. Analysis of planning principles, methods of artistic composition and architectural detailing of these works allowed identifying several other notable Liepāja Art Nouveau buildings as possible creations of Ch. Carr and to determine the place of this personality in the history of Latvian culture.
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Krastiņš, Jānis. "Less Known Art Nouveau: Orleans, Dunkirk, Lille." Architecture and Urban Planning 19, no. 1 (January 1, 2023): 38–43. http://dx.doi.org/10.2478/aup-2023-0004.
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Abstract Art Nouveau architecture during the last century experienced drastic change of attitude – from complete denial to glorification. However, many publications still repeat the same stereotypes of style assessment, focusing on the decorative layer as the seemingly main feature of style. Some significant values of Art Nouveau heritage are still only partially or incompletely recognized. In this paper, several less known examples of Art Nouveau heritage in France, in particular, in the cities of Orléans, Dunkirk and Lille are analysed. The architectural-artistic qualities of these buildings are revealed in the context of both French and wider cultural heritage. Art Nouveau, having been the origin and basis of the entire stylistic system of modern architecture, completely meets the principles of contemporary Baukultur ideas.
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VOSTRIKOV, V. N. "TYPOLOGY OF CHARACTER IN THE ARCHITECTURE OF ART NOUVEAU IN SAMARA." Urban construction and architecture 2, no. 2 (June 15, 2012): 6–9. http://dx.doi.org/10.17673/vestnik.2012.02.1.
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This article discusses issues related to architecture and semantics as its Crandalls part. One of the most important aspects of the work of architectural Art Nouveau decor, who was the conductor of cultural meanings and, more than any other art form. Samara modern architectural decoration not only analyzes the phenomenon of architecture and fine arts, but also as a specific cultural text - in all its ambiguity and the associative capacity, contradictory and multidimensional cultural and historical context of the era. Russian Samara Art Nouveau architecture in this work is understood not only as a part of the history of architecture, but also as a form of art that is open to dialogue with others of its species.
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Nasir, Osama, Waqas Akhtar, Mohd Faiz Iqbal, and Mohammad Arif Kamal. "Analyzing the Architecture of Antonio Gaudí with Reference to Art Nouveau Style: An Inspiration from Nature." Architecture Engineering and Science 3, no. 4 (December 30, 2022): 309. http://dx.doi.org/10.32629/aes.v3i4.1100.
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Art Nouveau was a global movement that began in the early 1890s and combined two of the most powerful elements in the world: art and nature. Although these two have been associated from the beginning of time, Art Nouveau's significance and impact are far above any earlier attempts. Worldwide, artwork, sculpture, architecture, pottery, and furniture all exhibited this new style. Although there were many supporters and benefactors of Art Nouveau, only a select handful achieved the recognition and distinction of Antoni Gaudí. Sustainability and bio-education have been the hottest topics in the globe today. Hence, providing everyone with a search box for a solution. Let's take a look at the natural world around us, which is a never-ending source of lessons in effectiveness and a never-ending source of architectural inspiration. Moreover, what we actually need is learning, not just inspiration, which comes in second. As a result, and particularly for us as architects, it is within our power and duty to address sustainability in this plot — the architecture — with which we have been entrusted. The paper explores Antonio Gaudí’s philosophies and works, the effectiveness, the bio-learning, the self-sufficiency of nature, and other specific lessons that can be extracted from nature in order to be applied to architecture and to human life itself in order to help understand these inspirations from nature. The masterpieces by Gaudí reveal what made him special: his faultless exploitation of nature, extremely religiously inspired design, and unheard-of modernism. This combination not only helped Gaudí become famous around the world, but it also helped Art Nouveau become one of the most significant trends in art and architectural history.
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Lochhead, Ian. "The Style of the 1890s: Art Nouveau design in New Zealand Architecture." Architectural History Aotearoa 4 (October 31, 2007): 34–39. http://dx.doi.org/10.26686/aha.v4i0.6738.
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The influence of Art Nouveau on New Zealand architecture has generally been considered to be negligible but its impact was nevertheless significant during the period from 1890 to the outbreak of the First World War. Across a wide range of building types, from large scale public buildings to modest houses, Art Nouveau-inspired door pulls, dados, embossed ceilings, leaded glass and tiles abound. This paper explores the largely hidden presence of Art Nouveau in New Zealand architecture of this period and considers the reasons why buildings that otherwise have little connection with the style incorporate features that are often strikingly disparate in aesthetic terms. Is this because New Zealand architects and builders simply did not understand the aesthetic implications of their actions? Was it a consequence of remoteness from centres of architectural innovation or the result of purchasing items, magpie-like, from architectural catalogues? Or was it, indeed, the result of a desire to achieve an aura of "instant sophistication"?
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Roura-Burbano, Alexandra, and Paúl Ochoa-Arias. "INFLUENCIAS DE ESTILOS ARQUITECTÓNICOS EN EL CENTRO HISTÓRICO DE CUENCA." Universidad-Verdad, no. 64 (August 15, 2014): 99–118. http://dx.doi.org/10.33324/uv.vi64.256.
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En el presente artículo se describe la influencia que ha recibido la arquitectura cuencana desde los diferentes estilos foráneos como: el Neoclásico Francés, el Art Nouveau, el Art Déco, el Racionalismo y otros, los mismos que se evidencian con notoriedad en algunas de las edificaciones del centro histórico de la ciudad.
Palabras Clave: Centro histórico Cuenca, arquitectura, patrimonio edificado, Neoclásico Francés, Art Nouveau, Art Déco.
AbstractThe present article describes the influence that Cuenca’s architecture has received from different foreign styles such as: French neoclassical, Art Nouveau, Art Deco, Rationalism, and others, which are strongly evident in some of the buildings in the Historic Center of the city.
Keywords: Historic Centre of Cuenca, architecture, building heritage, French neoclassical, Art Nouveau, Art Deco.
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Collette, Quentin, Ine Wouters, Michael De Bouw, Leen Lauriks, and Abdelrahman Younes. "Victor Horta’s Iron Architecture: A Structural Analysis." Advanced Materials Research 133-134 (October 2010): 373–78. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.373.
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The internationally acknowledged Art Nouveau architect Victor Horta built remarkable artifacts of public iron architecture in Brussels. His projects display an innovative philosophy based on apparent iron frameworks used in a very efficient manner. As a supplement to the ample historical and architectural studies on Belgium’s most famous Art Nouveau architect, this paper puts Horta’s innovative structural practice of iron into the picture. To reach this goal, a structural analysis of four of Horta’s most interesting projects is carried out, going into the following topics: conceptual philosophy (structural typology), building techniques (shapes, connection details) and the coherence of the structural logic (structural usefulness).
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Goryunov, Vasiliy, Svetlana Goryunova, Vera Murgul, and Nikolai Vatin. "The Liberty Style-Italian Art Nouveau Architecture." Advanced Materials Research 1065-1069 (December 2014): 2681–85. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2681.
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This article refers the architecture of Italy of the end of the 19-the beginning of the 20th centuries. It shoes the origin of the term “Italian Liberty architecture”, its main centers, its peculiarities and the buildings of its leading representatives. The assessment of importance of such studies provide the right understanding of the processes in European architecture of this time.
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Gerasimov, A. P., and T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.
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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic and artistic solution. The article focuses on the history of the interior and light design, furniture style and color.
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Goriunov, Vasilii. "The Liberty Style - Italian Art Nouveau Architecture." MATEC Web of Conferences 53 (2016): 02004. http://dx.doi.org/10.1051/matecconf/20165302004.
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Kotliar, Elena Romanovna, and Vladimir Aleksandrovich Khlevnoi. "Representation of the Baroque Style in the Decor of the Crimean Architecture of the Art Nouveau Period." Человек и культура, no. 1 (January 2023): 33–45. http://dx.doi.org/10.25136/2409-8744.2023.1.39804.
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The subject of the study is the characteristic of the Baroque style and the integration of its elements into the decor of the architecture of the Crimea of the Art Nouveau period. The object of the study is the architecture of the Crimea and its decor of the period of the late XIX – first third of the XX century. The research uses the methods of art criticism analysis of Baroque visual forms and their integration into modernity, the method of analysis of previous studies, the method of synthesis in conclusions regarding the connotations of Baroque symbolism. The author considers such aspects of the topic as: a general overview of the origin of the Baroque style; features of the architecture of the Crimean Art Nouveau; integration of Baroque elements into the decor of the Art Nouveau of the Crimea. The main conclusions of the study are: 1. The appearance of the Baroque style in architecture and decor is attributed by architectural historians to the XVII century. However, its origins should be sought in the Middle Ages, since many Baroque elements repeat Arabesques brought by the Crusaders to Europe. Baroque has established itself as a church and palace style. In turn, the Asia Minor (Turkish) Baroque was a synthesis of traditional Arab elements and Western European influence in the XVIII century. 2. The Art Nouveau style in architecture and its decor is a synthesis of various elements of previous styles, arbitrarily used by architects in accordance with their personal tastes, as well as with the wishes of customers. The basis of the Crimean Art Nouveau, represented in country villas, mansions, palaces, apartment buildings, is classicism, Renaissance and Mudekhar style, with the introduction of individual features into them with the help of decor. The use of Baroque elements enlivened the buildings, giving them an elegant, southern flavor. A special contribution of the author to the study of the topic is to clarify the periodization and origin of the Baroque style. The scientific novelty of the research lies in the fact that the author for the first time analyzed the decor of the architecture of the Crimea of the modern period, identified and analyzed the elements of the Baroque, their origin and role in the style of modernity.
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Cavlovic, Melita, Mojca Smode-Cvitanovic, and Andrej Uchytil. "Art nouveau in Zagreb: The new movement's significance to the profession of architecture." Spatium, no. 44 (2020): 37–44. http://dx.doi.org/10.2298/spat2044037c.
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This paper traces the implications of Semper's Bekleidung theory on working processes in the field of architecture in Zagreb. The idiosyncrasies of the work of freshly graduated architects in a peripheral Austro-Hungarian city are analysed, both in the context of developing and spreading the city block system and the appearance of the new Art Nouveau style. Buildings in this new modern style, which appeared in 1897, were built sporadically throughout the city's urban fabric, which generally consisted of historicist residential buildings at the time. Parallel to historicism, the demand for Art Nouveau from clients grew, especially around the turn of the 20th century. At the time, typical migration processes resulted in the arrival of a well-educated populace that would commission Art Nouveau buildings in the coming years. The unique characteristics of Art Nouveau style, especially its ability to directly engage citizens and transmit messages of modern times, proved to be an important determinant in its increasing popularity in the city. Many professions and products were advertised on the fa?ades and ornamentation of buildings, the main bearers of Art Nouveau style.
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ВЛАСЕНКО, Л. В., М. О. БЕЛОВА, and Е. К. КАЛИНИЧЕНКО. "V.D. NOSOV'S MANSION AS A SYMBOL OF THE EPOCH AND A UNIQUE EXAMPLE OF ARCHITECTURAL EXCELLENCE." Экономика и предпринимательство, no. 11(160) (December 21, 2023): 982–87. http://dx.doi.org/10.34925/eip.2023.160.11.186.
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Одним из востребованных стилей в архитектуре России на рубеже XIX и XX веков становиться модерн. Это особое направление в архитектуре, влияние которого мы наблюдаем и в живописи, и в скульптуре. Модерн, проходит несколько этапов своего развития от раннего модерна (конец XIX века) до романтического (конец XIX века – начало XX века) и рационалистического модерна (1910-е годы). В статье рассматриваются архитектурные особенности особняка В. Д. Носова - уникального образца деревянного модерна, построенного известным архитектором Л. Н. Кекушевым в 1903 году (романтический этап). Поднимается вопрос о сохранности и использовании данного объекта, выдвигается альтернативное проектное предложение, помогающее осуществить приспособление генплана под предлагаемую функцию объекта с наименьшими материальными затратами. One of the most popular styles in Russian architecture at the turn of the XIX and XX centuries is Art Nouveau. This is a special direction in architecture, the influence of which we see in painting and sculpture. Art Nouveau, passes several stages of its development from early Art Nouveau (end of XIX century) to romantic (end of XIX century - beginning of XX century) and rationalistic Art Nouveau (1910s). The article deals with the architectural features of a unique example of wooden Art Nouveau, the mansion of V. D. Nosov, built by the famous architect L. N. Kekushev in 1903 (romantic stage). The question of the preservation and use of this object is raised, and an alternative project proposal is put forward, which helps to adapt the general plan to the proposed function of the object with the least material costs.
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Romaniuk, Nelia. "Art Nouveau Ukrainian Architecture in a Global Context." Kyiv-Mohyla Humanities Journal, no. 6 (December 23, 2019): 137–48. http://dx.doi.org/10.18523/kmhj189056.2019-6.137-148.
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Gournay, Isabelle. "Art Nouveau, 1890-1914." Journal of the Society of Architectural Historians 60, no. 3 (September 2001): 344–45. http://dx.doi.org/10.2307/991760.
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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.
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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic
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Burguete-Gil, C. "DANGER IN HERITAGE BY FORGETFULNESS. VICENTE SANCHO ARCHITECTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 739–44. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-739-2020.
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Abstract. We are used to considering the risks on the architectural heritage as direct attacks on it, such as abandonment, degradation of materials, … However, the loss of said assets can be caused simply by ignorance of them. This is the case of Vicente Sancho Fuster and his work. Vicente Sancho Fuster worked during the first decade of the 20th century in Valencia. His work is part of the trend of Valencian Art Nouveau, along with Vicente Ferrer and Demetrio Ribes. However, he is barely known due to his sudden death at age 35. His work continues being virtually unknown today, even by architects, despite its enormous interest and significance for the history of local and national Art Nouveau architecture. The greatest impediment to the study of his creation is the location of the works he created, because the references found are marked by inaccuracy and lack of data. As a result we find both: works attributed to Vicente Sancho Fuster that are not his own, and works attributed to other authors but in which his signature appears. At the same time, when his work is compared with some of the Art Nouveau buildings which have been protected by municipal law, it can be shown that both deserve to have the same consideration.
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Markovskyi, Andrii. "PARALLELS OF GERMAN AVANT-GARDE ARCHITECTURE AND DEVELOPMENT IN KYIV." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 302–13. http://dx.doi.org/10.32347/2077-3455.2020.58.302-313.
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The article presents a comparative analysis of some key objects of German and Kyiv architecture of the early twentieth century to determine the corresponding trends. Parallels and identities are shown and noted. An analysis of the background and context is given, as well as the author's conclusions of the respective styles. In particular, German Werkbund, international Art Nouveau, Ukrainian architectural Art Nouveau, "New Objectivity", Bauhaus, functionalism, constructivism, post-constructivism, German and Soviet neoclassicism are mentioned.
Were analyzed in detail: The Fagus Factory (1910-1911) by Walter Gropius and Adolf Meyer, Centennial Hall (1911-1913) by the Max Berg, the Kyiv district power plant (named after Stalin), (1926–1930) by Mikhailo Parusnikov with the participation of George Goltz and Andrey Burov, Rolit (1932) by Vasul. Krychesky, Ehrentempel (1933–1936) and The Haus der Kunst in Munich (1933 - 1937) by Paul Ludwig Troost, competitive proposals for the construction of the Government Quarter in Kyiv (1934 - 1935) and the hotel within the Government Quarter (1939). Mentioned Esposizione Universale Roma (EUR) by Marcello Piacentini, projects by Albert Speer and others.
The article summarizes a series of author's researches devoted to a detailed analysis of international context and parallels of Kyiv architecture which is represented in the background of the consistent artistic transitions (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism).
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Fevereiro, António Francisco Arruda de Melo Cota. "THE ART NOUVEAU TILES AS FRAMES TO ARCHITECTURE IN LISBON." ARTis ON, no. 2 (February 12, 2016): 62–74. http://dx.doi.org/10.37935/aion.v0i2.44.
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The combination of tile with architecture has been used in Portugal for centuries. It achieved a unique level of artistry by the end of the 19th century and beginning of the 20th century. The use of new colours and modern stylizations were explored during the Art Nouveau period. The tile was used as a frame for architectural features in order to enhance the building. By then all the elements were intended to be harmoniously combined as a whole.A span of case studies, chronologically ordered, illustrates the role and evolution of tiles used during this period, when tiles were designed by academic painters or architects. The comparison of projects published, or kept in archives, with the actual buildings led to a new understanding about this artistic period in Portugal and, particularly, in Lisbon and its surroundings.
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Mijuk, Nenad. "Art Nouveau style buildings as a chance for the development of architecture in Novi Sad." Turisticko poslovanje, no. 30 (2022): 39–51. http://dx.doi.org/10.5937/turpos0-41395.
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By the end of the 20th century, a new specific form of tourism was presented to the world by the name of architourism. Architecture, in a general sense, is science and the art of projecting and shaping buildings or, i.e., interior and exterior architectural space. Novi Sad, the second largest city in Serbia, located on Pannonian Plain, is famous for its incredibly rich historic and cultural heritage. There are various styles of architecture dominating the city itself, among which is the ever-present Art Nouveau in the Hungarian style. Novi Sad has fewer monuments and buildings erected in this style, as opposed to Subotica, but they are very high-quality and distinctive. Some influential architects had worked in that period in Novi Sad, and on top of that list was Lipot Baumhorn, responsible for the Synagogue, Menratova palace, the palace of "Vojvođanska banka", followed by Karolj Kovač, Đerđ Kopecki, Imre Frensek, Geza Markuš, Frđeš Špigel, Bela Peko, and others. This paper aims to emphasize the cultural-historic influence of buildings in the Art Nouveau style as a significant form of tourism.
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Krastiņš, Jānis. "Architect Ludwig Melville and Art Nouveau Architecture in Liepāja." Architecture and Urban Planning 14, no. 1 (December 1, 2018): 119–26. http://dx.doi.org/10.2478/aup-2018-0016.
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Abstract The article analyzes the works of Liepāja’s architect Ludwig William Melville, who was previously unknown but in fact is really remarkable and sets his place in the legacy of Liepāja Art Nouveau architecture. Several historical documents have been used in the study and L. Melville as a potential architect of many buildings has been identified through a broad formally-stylistic comparative analysis.
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Doucet, Hervé. "Existe-t-il une architecture art nouveau à Strasbourg ?" La Revue de la BNU, no. 19 (May 1, 2019): 44–51. http://dx.doi.org/10.4000/rbnu.2148.
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Krastiņš, Jānis. "Architecture and Urban Development of Art Nouveau—Metropolis riga." International Review of Sociology 16, no. 2 (July 2006): 395–425. http://dx.doi.org/10.1080/03906700600709327.
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Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (September 30, 2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.
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The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.
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Clericuzio, Peter. "Art Nouveau and Bank Architecture in Nancy: Negotiating the Re-Emergence of a French Regional Identity." Architectural History 63 (2020): 219–56. http://dx.doi.org/10.1017/arh.2020.6.
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AbstractArt nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian empire, art nouveau in eastern France has been linked to long-standing regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city's modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era's political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian war.
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Davydova, Olga. "“Dreaming of Russia”." Experiment 25, no. 1 (September 30, 2019): 189–206. http://dx.doi.org/10.1163/2211730x-12341338.
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Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).
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Slieptsov, Oleh, Mykola Dyomin, and Olena Kozakova. "THE INFLUENCE OF CHINA AND JAPAN ON EUROPEAN ARCHITECTURE AND ART AT THE END OF THE 19TH AND EARLY 20TH CENTURIES." Spatial development, no. 5 (November 24, 2023): 103–9. http://dx.doi.org/10.32347/2786-7269.2023.5.103-109.
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Europe turned to Eastern cultures at the stage of oversaturation with its own traditions or at the stage of finding ways out of the crisis in the cultural and artistic life of society. Obviously, the fascination with Chinese cultural traditions - first at the mundane level, and later at the level of art and architecture - during the Baroque and Rococo period testified to the oversaturation that gradually grew in the Baroque and Rococo styles, and therefore the appeal to China became a hidden attempt to find something fundamentally new, non-standard. It is quite clear that without a deep understanding of the foundations of ancient Chinese culture, such citation of Chinese motifs in art and in the architecture of country palaces and park pavilions turned them into simplified theatrical scenery.
In the same way, the same fascination with Japanese culture in the second half of the 19th and early 20th centuries took place against the background of increasing crisis phenomena in society, when the processes of secularization intensified against the background of the industrial revolutions and the rise to the forefront of the bourgeois class, and that is why Japanese culture with its philosophy of Taoism and Buddhism, which penetrated into all spheres of social life, into art and architecture, was perceived as a desirable way out of stagnation. At the same time, once again, external forms were copied, which were transformed on local soil without a deep understanding of the philosophical and religious background.
It should be noted the impact on European culture of the opening in 1897 of the unique temple complex of Dunhuang. As a result of the unstable situation in China during the reign of the Qing Dynasty, many unique artifacts from the Dunhuang sanctuaries were bought for nothing by Europeans and ended up in museums in Europe. This caused another stage of interest in Chinese culture and architecture. The use of aesthetic properties of traditional Chinese and Japanese culture made it possible to enrich the figurative concept of European Art Nouveau. The painting techniques of Art Nouveau period originate from the characteristic painting techniques of China and Japan. However, there is a difference in the influence of Eastern cultures on the art and architecture of Art Nouveau period: if in art such analogies can be traced quite clearly, in architecture at the end of the 19th and the beginning of the 20th centuries, this influence was a much more complex phenomenon than the "Chinoiserie" style of the 18th century: Art Nouveau architects did not literally reproduce Chinese and Japanese buildings, but instead creatively rethought the principles of their formation, layout, function and decoration.
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Ivanova, Alina, and Judit Csanadi. "“Oriental” trends in Russian and Hungarian architecture." проект байкал 19, no. 72 (July 31, 2022): 140–49. http://dx.doi.org/10.51461/projectbaikal.72.1996.
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The article is devoted to three directions of oriental architecture – cult, palace and park. Its main part concerns the architecture of the Budapest synagogues. As an example of Russian orientalism, the phenomenon of Black Sea palaces of the highest St. Petersburg aristocracy is given. The Hungarian masterpiece of park oriental architecture, the elephant house in the zoo of Budapest, is analyzed. It is concluded that Orientalism had influence on the formation of national styles and fostered the development of Art Nouveau, Art Deco and Modernism.
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KARACSONY, Noemi. "Art-Nouveau and the Portrait of the Fin de Siècle Woman in Jules Massenet’s Cléopâtre." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 155–66. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.17.
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The present paper strives to evoke the context in which one of Jules Massenet’s last operas, “Cléopâtre” was created: the Belle Époque period with its various stylistic orientations. Among the numerous art movements of the fin de siècle, Art Nouveau establishes itself as one of the most important styles, gradually becoming an international style often associated with the Belle Époque. Characterized by curving forms and undulating lines, Art Nouveau was used in architecture, fine and applied arts. One of the aims of this style was to dissolve the distinction between the various forms of art. Art Nouveau representations gave birth to a particular feminine type, also represented in Massenetțs “Cléopâtre”, an opera inspired by the vocal and dramatic endowments of French singer Lucy Arbell. The analysis focuses on the vocal characterization of Cléopâtre as sonorous representation of the fin de siècle woman, highlighting some of the musical innovations employed by Massenet in this final work.
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Slepukhin, Victor V. "Soviet Architecture of the 1930-1950s." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 37–52. http://dx.doi.org/10.36340/2071-6818-2022-18-1-37-52.
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The article is devoted to the Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period. The author defines its place among such architectural styles and movements as Art Nouveau, Rationalism and Constructivism, as well as among foreign architectural movements of the middle of the 20th century. In aesthetic essence, the Stalinist Empire style was closely associated with Imperial Classicism. It was called upon to perform the functions of glorifying the power of the new young state. Stylistically, it inherited the Baroque, Napoleonic Empire style, late Classicism, Art Deco and Neo-Gothic; the details of these styles contributed to achieving a sense of luxury, pomposity and grandeur. The inner meaning of the new architectural theory and socialist realism, in general, was the comprehensibility of architecture to the masses: completeness, orderliness, monumentality. The architecture of the Stalinist Empire style, which to a certain extent contradicted the rather difficult situation of the country both in the pre-war and post-war periods, was called upon to convey the idea of striving for a bright future, embodied the architectural future that awaited people of the Soviet country.
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Pudelska, Krystyna, and Anna Mirosław. "The richness of plants in Art Nouveau gardens." Acta Agrobotanica 32, no. 2 (2015): 99–108. http://dx.doi.org/10.5586/aa.2014.055.
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<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>
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Rusevych, Tetiana, and Hanna Zavadska. "MEDIA ART IN MODERN SYNTHESIS OF ARTS IN ARCHITECTURE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 26–32. http://dx.doi.org/10.32347/2519-8661.2021.22-23.26-32.
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The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of media art, their role in the synthesis of arts in architecture. The article emphasizes the objects created and embodied in Ukraine, describes the synthesis of arts from the angle of influence of media art on human perception and outlines the prospects for development. The history of the synthesis of arts in architecture from ancient times, the development of the synthesis of arts in the Art Nouveau style, the preconditions for the emergence of media art are briefly described. The synthesis of media art and architecture, interaction with other arts, namely painting, sculpture, music and others is considered on the example of the multimedia center Atelier des Lumières – "Workshop of the World" in Paris, which specializes in digital art exhibitions; Ukraine WOW exhibition in Kyiv, which is equipped with various forms of media art; media facades in Kyiv; media cube on the facade of Chicago Central House, which is the first media sculpture in Europe. The definition of "media facades" is also given and the influence of media technologies on the emotional and psychological state of a person is considered. Examples of interaction of various forms of media art with architecture are given. The conclusions determine the role of media art in architecture, the impact of media technology on human psychology, outline the prospects for the development of media art in the modern synthesis of arts in architecture.
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IVANOVA, Ludmila I., and Denis V. LITVINOV. "THE PHENOMENON OF ART NOUVEAU: TOWARDS A TYPOLOGY OF DECORATIVE ELEMENTS IN THE ARCHITECTURE OF SAMARA MODERN." Urban construction and architecture 8, no. 2 (June 15, 2018): 108–13. http://dx.doi.org/10.17673/vestnik.2018.02.18.
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Modernism is considered as a phenomenon of world culture at the turn of the XIX-XX centuries, its features in the architecture of European countries, in Russia and, in particular, in Samara. The stages of development of the Samara Art Nouveau and its composition-decorative and color features are highlighted in detail. The existing semantic typology of decorative elements of modern style is analyzed. Particular attention is paid to the compositional aspects of the shaping of decorative elements of modernism with the identifi cation of the simplest geometric forms. The main color principles and color combinations of the Art Nouveau architecture are revealed, on the basis of which specifi c recommendations on the splitt ing of one of the Samara mansions in the Neo-Renaissance style are off ered.
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Nazaruk, Mykola. "ARCHITECTURE OF THE RAILWAY STATIONS HOLOBY AND KOVEL IN THE WORK OF O. M. VERBYTSKYI." Current problems of architecture and urban planning, no. 59 (March 1, 2021): 80–88. http://dx.doi.org/10.32347/2077-3455.2021.59.80-88.
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Annotation text. Architecture of the late XIX – early ХХ century causes great interest in researchers. At this time, railways and railway stations were actively built all over the world. At this time also, a new architectural style, called Art Nouveau, has distributed around the world. The representative of this style in Ukraine is the architect O. M. Verbytskyi, whose work is largely reflected in the architecture of railway station complexes.
Today, the question arises of restoring the original appearance of historic architectural objects, including railway stations. Therefore, the research of history railway, and also the research of town-planning, planning, volume-spatial structure and stylistics of the railway station complexes as a type of buildings are relevant in the framework of historical and architectural researches of Volhynia in the second half of XIX – early ХХ century.
The research methodology is based on general (observation, comparative analysis, etc.), interdisciplinary (structuring, classification, etc.) and disciplinary, that inlude architectural and town-planning (analysis of the urban situation, functional structure and morphology of individual buildings and their complexes) research methods.
Holoby and Kovel railway stations are original and exquisite buildings by their architecture.
The volume-spatial solutions of the Holoby and Kovel railway stations are characterized by the following features: innovation, architectural expressiveness, boldness of compositional solutions, combination of curvilinear forms with rectilinear ones, Art Nouveau style.
The article deals with the history of creation, planning structure, volume-spatial composition and stylistics of the railway stations Holoby and Kovel, which are designed by the outstanding Ukrainian architect O. M. Verbytskyi and built in the beginning of the ХХ century.
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Lyudmirskaya, Alexandra. "“Brick” rationalism architecture in the eclecticism of religious buildings, public buildings and industrial enterprises of the Taganrog city in the late 19th and early 20th centuries." E3S Web of Conferences 281 (2021): 02012. http://dx.doi.org/10.1051/e3sconf/202128102012.
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The article analyzes the eclectic tradition in the architecture of religious buildings, public buildings and industrial enterprises of Taganrog, the peculiarities of its manifestation in the diverse stylistic palette of the city, including neo-Gothic and Art Nouveau, touches upon the specifics of the stylistic trends’ manifestation in the “brick style” rationalist architecture.
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Gaiduk, M. Yu. "Art Nouveau and Neoclassicism of buildings in Tyumen financed by merchants late in the 19th and early 20th centuries." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 6 (December 26, 2021): 56–64. http://dx.doi.org/10.31675/1607-1859-2021-23-6-56-64.
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The problem of preservation of the historical and architectural environment in Russian cities is currently rather relevant. Research and popularization of the different architectural styles play an important role in preservation of the unique historical environment of the city. Architectural styles of buildings in Tyumen are from Siberian Baroque to large-scale buildings of neoclassicism, which is characteristic of the architecture of this period.The paper describes the buildings the construction of which is financed by the merchants. The building architecture belongs to a particular stye typical for the period of Art Nouveau and neoclassicism. The architecture of Tyumen buildings is of regional color scheme represented by the decoration of window trimmers and other architectural details.The research implications include a study of historical and modern photographs of buildings of various types, namely from educational institutions to residential buildings. The paper utilizes historical and archival and bibliographic data and field research.Research findings: the significance of the studied buildings is preserved in the modern urban environment and architecture of Tyumen. At the turn of the 19–20th centuries and today, these objects retain their role in urban planning and function.
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Foth, Gyöngyvér. "Friedrich Balthes - An Attempt to Reconstruct the Oeuvre of a Transylvanian Saxon Artist." Studia Universitatis Babeș-Bolyai Historia 67, Special Issue (December 30, 2022): 87–109. http://dx.doi.org/10.24193/subbhist.2022.spiss.06.
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"Friedrich Balthes was a young master of the national architectural style of the Transylvanian Saxons. Being a victim of the First World War (he died at the age of only 32, on the Serbian front, in 1914), he was almost completely forgotten during the century. Only the architectural monuments created at the beginning of the 20th century, of a remarkable modernity, are left behind by Balthes. These works are part of the German architectural movement, which was the forerunner of modern and also traditionalist architecture of the 20s of last century. Balthes designed many buildings in the national style of the Transylvanian Saxons: a style brought from Germany, and adapted to the Transylvanian cultural landscape. He was a multi-talented personality, also writing various studies and essays on the architectural art, on the cityscape, the culture of housing, interior art, folk art, the maintenance of rural art, the color in architecture and the decoration of the streets with plants, about the old frescoes of the evangelical chirch in Cisnădie and on many other subjects. As a self-confident Transylvanian Saxon intellectual, Balthes published his articles with the purpose to educate his nation for the new cultural ideas of his time. The following study aims to present a sketch of the multidisciplinary legacy of this remarcable artist, by showing some examples of his work. One of Balthes´ many architectural creations we presented herewith the evangelical school and parish house in Bruiu (built between 1912 and 1914), wich is a good example of the architects idea of a new style, whitch overrcomes art nouveau. It was a Transylvanian Saxon national architecture, very modern for that period. It was a harmonious combination of the Transylvanian Saxon vernacular motives, with elements inspired by the German Reformarchitektur, promoted by architect and architecture theorist Hermann Muthesius. Keywords: Art History, Architecture History, Transylvanian Saxons, Reform 1900‒1914, History 1900‒1914"
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Bagina, Elena. "On undying classicism and subverters of foundations." проект байкал, no. 79 (April 6, 2024): 96–103. http://dx.doi.org/10.51461/issn.2309-3072/77.2294.
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Directions (styles) in culture have different reserves of strength and different inertia. Among them there is a unique one capable of revival. It is classicism, which is characterized by a timeless understanding of the laws of harmony and beauty based on the forms and images of ancient art of Greece and Rome. Classicist thinking and classicism did not leave European culture in the 20th and 21st centuries, but its forms changed. The grafting of art nouveau, avant-garde and postmodernism into classical art and architecture did not pass without a trace. Antagonists shook the established norms and left, while classical art and architecture expanded the range of creative possibilities and revived, preserving the basic principles.
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Polyakov, E. N., and T. V. Donchuk. "FORMATION OF FRENCH ART NOUVEAU STYLE IN EARLY WORKS OF HECTOR GUIMARD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 5 (October 29, 2019): 9–35. http://dx.doi.org/10.31675/1607-1859-2019-21-5-9-35.
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The article is devoted to the early activity of the famous architect Hector Guimard (1867–1942), the creator of French Art Nouveau. During this period (1891–1900) he successfully combined project work with teaching at the École Nationale Supérieure des Beaux-Arts. He searched for own directions in the architecture. Testing a variety of eclectic styles, in 1894 year Guimard acquainted himself with the work of Belgian architect Victor Horta (1861–1947) and adopted the main elements of the Art Nouveau. The article considers the earliest design works of E. Guimard, which reflected the main directions of his creative search, including Parisian mansions (1891–1894), Castel Beranger (1894–1898), Coilliot House in Lille (1898), Paris Metro (1898–1912).
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Lyudmirskaya, Alexandra. "Eclecticism of rationalism in the pre-revolutionary architecture of civil public buildings in the city of Novocherkassk." E3S Web of Conferences 281 (2021): 02008. http://dx.doi.org/10.1051/e3sconf/202128102008.
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The article analyzes the little-studied eclectic tradition in the architecture of civil public buildings in Novocherkassk, the peculiarities of its manifestation in the diverse stylistic palette of the city, including neo-Gothic and Art Nouveau, touches on the specifics of the stylistic trends’ manifestation in the rationalist architecture of the “masonry style”, as well as the historical timing of changes in style in a temporary context.
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Bulakh, Andrey, Olavi Selonen, and Heikki Pirinen. "Soapstone in Jugend (Art Nouveau) architecture of northern European cities (1890s–1910s)." Geological Society, London, Special Publications 486, no. 1 (February 15, 2019): 287–94. http://dx.doi.org/10.1144/sp486-2017-158.
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AbstractSoapstone occurs in Finland within Precambrian greenstone belts in the eastern parts of the country. Nunnanlahti and other deposits near Lake Pielinen are the best known and most important of these occurrences. This soft stone is highly workable. Soapstone was one of the most popular ornamental rocks used in architecture of the Jugend (Art Nouveau) style in St Petersburg, Russia, Helsinki, Finland, and in other northern European cities at the end of the nineteenth and into the early twentieth centuries.
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Pujadas i Matarín, Anna. "The decoration of Art Nouveau buildings in Catalonia and the architecture treatises." Locus Amoenus 4 (December 1, 1998): 229. http://dx.doi.org/10.5565/rev/locus.95.
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Petukhova, N. M., and Yu A. Nikitin. "The search for a new artistic image in the architecture of the Far North pavilion at the All-Russia Industrial and Art Exhibition in 1896 in Nizhny Novgorod." Вестник гражданских инженеров 18, no. 1 (2021): 27–35. http://dx.doi.org/10.23968/1999-5571-2021-18-1-27-35.
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The Far North Pavilion was built by the Moscow-Yaroslavl-Arkhangelsk Railway Joint-Stock Company headed by S. I. Mamontov. The pavilion was supposed to draw public attention to the necessity of continuing the construction of the existing road to the North. The Far North pavilion, along with the Shukhov Tower, was one of the most conceptual structures of this exhibition, showing promising directions in the development of architecture and art, in which new principles of morphogenesis in architecture were first manifested. The article is aimed at identifying the morphogenetic factors that influenced the creation of an innovative image of the pavilion, including the history of its creation, as well as analyzing the new principles of architectural morphogenesis based on an emotional imaginative perception of the North as a source of inspiration. These principles later formed the system of artistic stylization, which determined the aesthetics of Art Nouveau in its national version.
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Kashtanova, Elena. "Vasilii Polenov’s Architectural Projects." Experiment 25, no. 1 (September 30, 2019): 158–74. http://dx.doi.org/10.1163/2211730x-12341336.
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Abstract Vasilii Polenov can be described as one of the most “architectural” Russian artists of the late nineteenth century. In his sketches and paintings of the Gospel cycle, his historical works, theatrical scenery, and landscape paintings, the artist could not imagine realizing the main themes of his work without reference to architecture. Polenov’s architectural work can be divided into three types: church projects—such as those at Abramtsevo, the school at the Kologriv monastery in Kostroma province, and the Church of the Holy Trinity in Bekhovo in Tula province; manor architecture in the style of Scandinavian Art Nouveau at the estate he founded on the banks of the Oka River near Tula; and his only urban project—the House of Theatrical Education in Moscow. Polenov pursued the Neo-Russian style with particular alacrity in the sphere of church architecture, which is the focus of this essay, for it was here that the artist offered his own original interpretation of the national theme.
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Hernandez Tudela, Anna. "Furniture and Interior Design in Joan Amigo's Architecture: between the Viennese Secession, the Glasgow School and Art Deco." Res Mobilis 10, no. 13-3 (June 29, 2021): 118–33. http://dx.doi.org/10.17811/rm.10.13-3.2021.118-133.
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One of the most unknown sides of the art nouveau architect Joan Amigó Barriga is his role as interior designer. In this article, we would like to introduce the indoors created by the architect through the years, where we can observe the harmony between façades, insides and furniture. Besides, we also focus on his peculiar influence from the Vienna Secession, Glasgow School and later in the ’30s by the art déco style.
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Remizova, Olena. "ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (September 14, 2020): 97–108. http://dx.doi.org/10.3846/jau.2020.13053.
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The article attempts to highlight the traces of memory in the theory, history and practice of architecture. The subject of research is the existing forms of memory in architecture. It is traditionally accepted that the “history of architecture” as a science is the main repository of knowledge about the evolution of architecture. Facts and artifacts, descriptions of monuments and cities are retained in it. The article emphasizes that the traditional “history of architectural objects” is not the only form of memory. Another equally important and complicated aspect of the architectural memory is detected during the decoding of the evolution of project activity and its language. Analysis of the evolution of architecture allowed us to differentiate the epochs in which historical thinking prevails: the Renaissance, Romanticism, Eclecticism, Art Deco, Postmodernism. They are characterized by such ways of thinking as dialogical, historical and typological, historical and associative. They are opposed to design approaches in which abstract thinking dominates (Art Nouveau and Modernism). The article shows that the concept of architectural memory has many shades and manifests itself in a variety of different forms of professional consciousness. As historical knowledge, memory exists in such forms as: a chronological description, science of history, evolutionary studies, catalog of styles, museum, archive. In designing and its language, memory is represented in such forms as canon, dialogue with bygone era, norm, architectural fantasy, remembrance, historical association, reconstruction, restoration and others. It is shown that the most important way of storing and transferring information is the architectural language and compositional logic. Postmodern consciousness raised the problem of loss of memory and the development of architectural language and communication of culture.