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Journal articles on the topic 'Eclecticism in architecture'
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1
Enab, Mohamed. "Eclecticism Style in the Architecture of Khedivian Cairo." Journal of Islamic Architecture 5, no. 2 (2018): 77–82. http://dx.doi.org/10.18860/jia.v5i2.4747.
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Eclecticism style is one of the European architectural styles that have appeared in the buildings of Cairo in 13-14 A.H / 19-20A.D, which means the trend toward consolidation of various models and buildings in the previous civilizations and merge them and out in one building. This style has known as quoted-style or trend in architecture or eclectic architecture. The research is an attempt to Inventory these buildings that are built on this architectural style. This research follows the historical approach to knowing the origin of this architectural style and how it moved and spread in Cairo architecture in 1314 A.H / 1920 A.D. Then follows a descriptive and analytical approach of examples of these buildings built on this style, and analysis its architectural and artistic elements. In the end, the research has reached some critical results. For example, the primary purpose of this quotation and transportation is to give historical and technical value to these monuments. But unfortunately, the method of this quotation came in the wrong way. Thus losing the principle of unity and harmony that characterized the Islamic architecture, they unwittingly distorted the heritage value. These buildings became a collection of models that are not harmonious.
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Carpo, Mario. "Architecture: Theory, Interdisciplinarity, and Methodological Eclecticism." Journal of the Society of Architectural Historians 64, no. 4 (2005): 425–27. http://dx.doi.org/10.2307/25068195.
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Steen, Andrew P. "Radical Eclecticism and Post-Modern Architecture." Fabrications 25, no. 1 (2015): 130–45. http://dx.doi.org/10.1080/10331867.2015.1006762.
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He, Gary Huafan. "The Organic and the Eclectic in César Daly’s “De l’architecture de l’avenir”." Journal of the Society of Architectural Historians 81, no. 4 (2022): 456–75. http://dx.doi.org/10.1525/jsah.2022.81.4.456.
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Abstract In The Organic and the Eclectic in César Daly’s “De l’architecture de l’avenir,” Gary Huafan He explores Daly’s concept of eclecticism as a critical discourse in the context of nineteenth-century ideas about naturalism and architectural style. In the 1869 essay that is the focus of this article, Daly narrated the “social evolution” of architecture as a process oscillating between organic and eclectic phases and mapped the history of style onto a parallel movement of French political regimes from antiquity to the Second Empire. Written after the fierce academic debates that took place in Paris in the 1860s and immediately prior to the tumultuous events of 1870–71, “De l’architecture de l’avenir” demonstrates the critical intersection between the romantic theory of architecture and nineteenth-century French politics. This key text in Daly’s oeuvre challenges contemporary understandings by demonstrating the vital role of eclecticism in the development of a modern architectural style.
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Bazarova, Eteri, and Vladimir Shipkov. "I.E. BONDARENKO'S CRITICISM OF ARCHITECTURAL PRACTICE THE ECLECTIC PERIOD." Construction and Architecture 10, no. 4 (2022): 76–80. http://dx.doi.org/10.29039/2308-0191-2022-10-4-71-75.
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The formation of a bright representative of the neo-Russian style of architect, architectural historian and art critic I.E. Bondarenko partially coincided with the period of mature eclecticism. Of interest is his attitude to the work of his contemporaries, recorded in the "Notes of the artist-architect" written by him in 1939-1940, which were published only in 2018. A separate theme of the memoirs is the evaluation of the period of eclecticism in the architecture of Russia. Together with the comments on the notes, plans and exhibition programs stored in the Russian State Archive of Literature and Arts (RGALI), they demonstrate the wide scope of his criticism.
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Yıldız Kuyrukçu, Emine, and Hatice Ülkü Ünal. "Examining “Eclektic”, “Kitch” “Neoclasic” and “Orientalist” architectural production methods on university structures." Journal of Human Sciences 18, no. 1 (2021): 108–30. http://dx.doi.org/10.14687/jhs.v18i1.6143.
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Postmodern architectural products that can be described as kitsch have become rapidly consumed objects because they have appealed to the whole society. As a demand stimulating, easily comprehensible, and rapidly consumable product, kitsch has gained an important place in postmodern culture and architecture. These features of kitsch have easily made it a paradoxical part of consumption culture. After the Neoclassical boom in the 18th century, architectural movements such as Eclecticism, Orientalism, and Historicism became widespread in the 19th century. Towards the end of the 20th century, these tendencies came to the fore again within the Postmodern paradigm, and new kitsch architectural structures have begun to be produced in these undertakings in accordance with the spirit of the period. Eclecticism which has become prominent again in postmodern architecture has been referred to as neo-eclecticism or eclectic populism and has been defined as a style that ‘complexity, uncertainty and contradictions’ are expressed, ‘references from history and symbolic elements are used. Together with various historical forms in the postmodern period, orientalist images have been also used. Images consisting of stylized views of the Western culture on the Orient and that are not based on an authentic eastern depiction have been used in the production of orientalist architectural form. In recent years, eclectic, kitsch, orientalist, neoclassical forms that are independent of context and time have been frequently encountered in architectural applications in also Turkey. On one hand, elements from Turkish culture have been used and on the other hand, architectural elements from foreign cultures have been preferred. It is seen that there have been contradictions between form and meaning in educational structures built in Turkey during the period that the paradigms of the Postmodern era have been dominant. In this study, it is aimed to read and analyze the concepts of kitsch, eclecticism, neoclassicism, orientalism in the postmodern paradigm on recent university buildings and campus portals. In line with this purpose, an extensive literature research was conducted within the scope of the study; in the case study, recent university buildings and portals were analyzed in terms of postmodernism, the historical periods and architectural elements they derived were determined.
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Starodubtscev, Oleg V. "Philosophical Ideas of the Romanticism and Russian Ecclesiastical Architecture of the 19th Century." Observatory of Culture, no. 5 (October 28, 2015): 49–51. http://dx.doi.org/10.25281/2072-3156-2015-0-5-49-51.
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The article considers philosophical views of the Romanticism regarding the Russian ecclesiastical architecture of the 19th century. Resting upon some paradigmatic architectural research, the author demonstrates principal features of the ecclesiastical architecture evolution in particular, to which it is sometimes impossible to apply common for the architecture of the 19th century in general rules and regularities. Among other things, the following thesis is proposed: the Romanticism is not the first stage of the Eclecticism but a natural continuation of the Classicism. Moreover, in the ecclesiastical architecture, unlike in the secular one, the ideas of Romanticism were relevant in quite different historical periods.
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Karsono, B., D. R. Koesmeri, J. Wahid, and B. M. Saleh. "Eclecticism in Architecture of Masjid Bandaraya Kuching, Malaysia." IOP Conference Series: Materials Science and Engineering 1101, no. 1 (2021): 012027. http://dx.doi.org/10.1088/1757-899x/1101/1/012027.
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Fanggidae, Dodi Eduard, and Yudi Nugraha Bahar. "Eklektisisme pada Fasad Bangunan sebagai Ekspresi Identitas Kelokalan (Kasus: Kantor Bupati Rote Ndao)." Review of Urbanism and Architectural Studies 21, no. 2 (2023): 71–80. http://dx.doi.org/10.21776/ub.ruas.2023.021.02.8.
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Problems that arise in a time when it is easy to obtain information and references result in the emergence of a tendency to use various architectural styles, resulting in problems where the use of these styles is different from the local context in the area. Eclecticism in architectural design can be one method to produce local identity in new buildings. This can be achieved if the references used in the design come from the right sources. The method of analysis of the composition of the façade is used to understand the visual expression of the façade. This research reveals the expression of Rote Ndao's local identity through eclecticism on the architectural façade of the Regent's Office. The results showed that the Regent Office presented local identity through four eclecticism approaches. Ti'i langga and bohani elements are ornaments on the roof (art and decoration), so it is interpreted as a symbol of the highest government in this region (symbol). The combination of Rote Ndao, Ti'i Langga traditional roofs, and designs with modern materials becomes a pluralism concept on the façade of the building, namely historical references and present-day architecture. This study is relevant to understanding and safeguarding cultural heritage. The integration of local elements in architectural design allows development that fulfills functions and respects cultural heritage.
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He, Gary Huafan. "Three myths about eclecticism." Journal of Architecture 26, no. 8 (2021): 1146–62. http://dx.doi.org/10.1080/13602365.2021.1980420.
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Glebova, N. M. "Historicism, revivalism, and eclecticism as precursors to modernism in sacred Viennese architecture." Izvestiya vuzov. Investitsii. Stroitelstvo. Nedvizhimost 13, no. 1 (2023): 119–32. http://dx.doi.org/10.21285/2227-2917-2023-1-119-132.
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The paper aims to examine sacred Austrian architecture of the historicism period as a precursor to modernism; to explore the demise of historicism, which left room for the contributions of progressive architects and the emergence of new styles (such as the Vienna Secession) and, subsequently, modernism; to explain the impact of social changes on the spatial organization, structure, materials, decoration, and interior of religious architecture and how traditionalism resisted modernism. The study examines over 250 Austrian churches, 80 of which were built in historical styles in 1830–1910. With the use of literary evidence, the evolution of church construction is empirically traced to the present day, thus explaining the emergence of current architectural trends. The work of architects shapes new styles and identities – a process that is also characteristic of Russian architecture. The mixture of historical styles presented in new combinations and materials within a single building indicates a search leading to the discovery of entirely new forms. In addition, the buildings are naturally affected by social upheavals, as well as advances in science and technology. In collaboration with the client, the architect translates contemporary social attitudes into architecture, thus generating new images and symbols that are inextricably linked to the worldview of their era.
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Zykov, Eugeny, Maria Merkulova, Alexander Slabukha, Olga Uspenskaya, and Sergey Yamaletdinov. "Architect Vladimir Aleksandrovich Sokolovsky." проект байкал, no. 79 (April 6, 2024): 148–57. http://dx.doi.org/10.51461/issn.2309-3072/77.2302.
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The article introduces readers to the life and creative biography of the outstanding Siberian architect Vladimir Aleksandrovich Sokolovsky on the threshold of his 150th anniversary. The authors describe surviving buildings of the architect in Krasnoyarsk and show the influence of his architecture on the formation of Siberian modern and eclecticism. The article features the role of the architect in the formation and development of the architectural environment of Krasnoyarsk in the first half of the 20th century. It describes the history of two buildings of wooden and stone architecture related to Sokolovsky both as an architect and as a restorer.
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Fadeev, K. V. "ARCHITECTURE OF THE FIRST HIGH SCHOOLS IN TOMSK LATE IN THE 19th CENTURY." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (2019): 7–21. http://dx.doi.org/10.31675/1607-1859-2019-21-4-7-21.
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The article deals with the history of the emergence and development of the first high schools in Tomsk. The architectural aspect associated with the provision of the high schools with their own buildings adapted to the educational process is described, which, in turn, affected the formation of the architectural appearance of Tomsk.Late in the 19th century, eclecticism characterized by a mixture of different styles, became the dominant architectural trend in the appearance of buildings in Tomsk. One of the trends in eclecticism was the brick style, according to which the educational institutions were built most of all, including the Mariinsky women's and provincial men's high schools.The relevance of the study is conditioned by the problems of preserving the architectural heritage of the second half of the 19th century in relation to the historical center of the city, which is an important cultural and educational factor.The purpose of this work is to study the brick style architecture of the first high schools in Tomsk. The study is based on the principles of historicism and objectivity. The specific historical methods include a study of bibliographic and comparative sources and methods of architectural analysis of the cultural objects.It is shown that the activities of a number of architects resulted in a unique architectural heritage of the 19th century, forming the architectural appearance of the historical part of Tomsk. The results of this study are reported at the meeting of Pushkin Historical Society.
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Fernandes, Eduardo. "Critical Eclecticism. The Way(s) of the Porto School." For an Architect’s Training, no. 49 (2013): 52–57. http://dx.doi.org/10.52200/49.a.tek40oma.
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The term “Porto School” designates an identity that relates the pedagogy of a teaching institution with the ideas and the architectural practice of its professors and/or former students, resulting of the transmission (and update) of a way of thinking connected to a way of doing: a concern with social responsibility (perceived through the notions of collaboration and relationship with the context), a timeless concept of modernity, an intentional appropriation and miscegenation of models (in a process that we can call critical eclecticism), the belief that architecture should be considered figurative art (perceived in the pace of a promenade thoroughly controlled in time and space), a Vitruvian understanding of the education of the architects, the practice of manual drawing as a primary method of conception and the requirement of accuracy in the processes of work and communication.
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Chesné, Amaury, and Romanos Ioannidis. "An Investigation of the Perception of Neoclassical, Eclectic, Modernist, and Postmodern Architecture within Different Urban Landscapes: Athens vs. Paris." Land 13, no. 3 (2024): 340. http://dx.doi.org/10.3390/land13030340.
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The public perception of buildings belonging to different architectural movements is a largely unexplored area from a quantitative scientific perspective. However, a better scientific understanding of perceptions of architectural movements is important for the formation of improved planning and design policies. In this work, we carry out an initial exploration of the public preferences of the architectural movements of Neoclassicism, Eclecticism, Modernism, and Postmodernism. To this aim, a total of 103 citizens from Athens (Greece) and Paris (France) were presented with the same questions regarding their opinions on buildings belonging to those movements. In the analysis and interpretation of the collected data, the different cultural, professional, and demographic characteristics of participants were then considered, as well as the role of the urban landscapes of Athens and Paris as the historical, societal, and aesthetic contexts that influence and shape perceptions. The results demonstrated a clear and uniform prevalence of Neoclassical architecture in terms of positive public perception in both cities. Similarly, in both cities, Eclecticism followed with a relatively more positive perception than Modern and Postmodern architectural styles, which were rated the lowest. However, a significant difference between the two cities was that when participants singled out their primary favorite style, Modernism enjoyed higher favorability in Athens than in Paris. These findings and their theoretical exploration provide inferences into the complexities of public perceptions of architectural styles, with potential implications for the integration of citizen preferences into future research on architectural/urban design and planning.
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Kaji-O'Grady, Sandra. "Authentic Japanese architecture after Bruno Taut: the problem of eclecticism." Fabrications 11, no. 2 (2001): 1–12. http://dx.doi.org/10.1080/10331867.2001.10525149.
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SYSOEVA, E. A. "WООDEN ARCHITECTURE OF SYZRAN AT THE BEGINNING OF THE XXth CENTURY". Urban construction and architecture 1, № 2 (2011): 46–48. http://dx.doi.org/10.17673/vestnik.2011.02.12.
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The article is devoted to the problems of the wood and brick-wood architecture in Syzran at the beginning of the XXth century. It deserves our attention the unique one time construction of the city. The stages and Conditions of the formation of the wood architecture of Syzran are looked through in this article. We have got acquainted with the list of peculiarities of of peculiarities of the wooden construction of the three parts of city: central, zasyzransky and zakrymzensky areas. The basic architectural styles of construction of Syzran at the end of the XIXth and the beginning of the XXth centuries are looked through in the article (eclecticism, russian style, modern) and also the elements of the decorative design of facades (platbands, attics, sheds).
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Dadour, Stephanie. "Redefining Vernacular: The Lebanese Diaspora Eclecticism." Open House International 38, no. 2 (2013): 88–95. http://dx.doi.org/10.1108/ohi-02-2013-b0009.
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Unlike postwar reconstruction of urban districts, the architectural projects developed during the Lebanese war are a relatively unexplored subject, moreover if one is dealing within housing in the rural realm. Little attention has been paid to its contemporary propositions, especially to the ones directed by the Lebanese Diaspora during the war. By living abroad and by maintaining a link to their origins, members of the Diaspora put together all their strength and wealth to keep in touch with their land. For a large part, the idea of dwelling refers to their identity: by investing and building houses in their native village, they aim at preserving a place in their community. In this article, the Lebanese Diaspora will be regarded as an ethnoscape, figure of the globalization introduced by Arjun Appadurai, namely a social and political matrix structured by and for the production of a cultural model and identity. Our hypothesis postulates that each village constitutes a micro ethnoscape (with, of course, exceptions and alternatives) and uses a particular architectural language. However, it is not a question of homogenizing all constructions but rather to find a common vocabulary referring to identity and appropriation in the various villages of origin of the Diaspora. The houses built on the native soil by emigrants' take part in the debates that oppose the local production to the global one. Thus, contrary to many researches that denounce globalization for the cultural standardization that it produces, this article intends to show the imaginative character of the members of the Diaspora, their resistance to the traditional models and the contemporary interbreeding which results from it. In this sense, the local and the global are intrinsically related one to the other.
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Hromnyuk, Adriana. "STYLISTIC ANALYSIS OF ARCHITECTURE OF MODERN INTERIORS OF FOOD FACILITIES." Current problems of architecture and urban planning, no. 61 (October 29, 2021): 42–56. http://dx.doi.org/10.32347/2077-3455.2021.61.42-56.
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The research analyzes a large number of food facilities in Kyiv, Lviv, and Odesa. They are famous for special colorit, attractiveness, and innovation in stylistic and thematic solutions of their spaces. The stylistic analysis of the architecture of their interiors showed that there is mostly no trace of a single stylistic solution but a fusion of several styles or trends. 
 The main stylistic tendencies in the organization of food enterprises' object and spatial environment are defined: eclectic, fusion, a single modern style/direction, and auteur design without reference to any particular style. At the same time, within eclecticism, we distinguish the following vectors of its stylistic solution: displaying the atmosphere of different eras, the relevant historical styles of specific countries and places, and reproducing the interiors of food establishments from different periods and countries. Within the framework of fusion trends, we distinguish the following vectors: a combination of components of modern styles/trends with retro/vintage/antique interior items, with an authentic restored architectural, artistic details; use of contemporary style in combination with elements of historical styles: Art Deco, Classicism, Secession, etc.; the use of several modern styles/stylistic trends, a special mixture of components of many heterogeneous styles of the past and the present, has grotesque character and sometimes bordering on kitsch, also take place. Using a single dominant modern style or trend is the third tendency of style solutions for food enterprises' object and spatial environment. The fourth tendency is interiors, which do not have a clear manifestation of a particular style.
 The main styles and trends used today in the architecture of the interiors of catering facilities are identified, their definitions are clarified, and the scientific basis is developed. Modern stylistic trends, such as fusion, loft, industrial or industrial, shabby-chic, futuristic, steampunk, Provence, modern classics, and the Mediterranean, are reflected in the object-space environment of restaurants, bars and cafes. Eclecticism, minimalism, and high-tech are the most common styles in these spaces.
 Performed analysis allowed to determine the main approaches to interior architecture design of food establishments in the context of their conceptual and stylistic solution: conceptualism, eclecticism, environmental friendliness, symbolism, innovation, culturology and traditionalism, cohesion, harmonization, expressiveness, interactivity. Themes of artistic and figurative solution of the subject-spatial environment of food establishments were established.
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Penyaz, Tetyana, and Oleg Slєptsov. "PECULIARITIES OF THE FORMATION OF THE MOORISH STILE IN YELISAVETGRAD (USING THE EXAMPLE OF THE BUILDINGS OF I. A. GOLDENBERG'S WATER CLINIC AND THE CHORAL SINAGOGE)." Space&FORM 2023, no. 54 (2023): 153–64. http://dx.doi.org/10.21005/pif.2023.54.e-02.
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The article analyses the peculiarities of the application of elements of Moorish architecture on the example of two buildings built in the town Kropyvnytsky (Yelysavetgrad) at the end of the 19th and the beginning of the 20th century. During the twentieth century, the architecture of the historysm (eclecticism) received little attention because it was considered to be imitative, it was not distinguished by clearly defined compositional and stylistic methods. Since the end of the 20th century, with the development of the postmodern paradigm, the principles of the formation and application of stylistic features of the styles of past eras in the architectural and planning decisions of buildings of the late 19th – early 20th centuries have become the subject of comprehensive research.
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Botek, Andrej. "Neoslohová sakrálna architektúra a jej prejavy na Slovensku." Notitiae Historiae Ecclesiasticae 12, no. 1 (2023): 24–40. http://dx.doi.org/10.54937/nhe.2023.12.1.24-40.
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The changes in social, national and cultural conciousness around a third into the 19th century brought also inspiration in the field of artistic and architectural creation. There was an emphasis oo the artist´s individuality, and inner movements were characteristic. The dynamism and freedom of creation stood in contrast to classicist reservedness and moderation. State, church and national communities simultaneously look for security and support in tradition. It brings preferred historical themes and a direct connection to the historical principles of creation in architecture. The neostyles were applied, and by the end of the 19th century, so was eclecticism. This article deals with the origin and development of neostyles in the field of sacral architecture with a focus on Slovak territory.
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Penyaz, Tatyana. "STAGES OF STYLISH DEVELOPMENT OF THE ARCHITECTURE OF ELIZABETHGRAD AT THE SECOND HALF OF THE 19TH – BEGINNING OF THE 20TH CENTURY." Urban development and spatial planning, no. 82 (February 3, 2023): 309–23. http://dx.doi.org/10.32347/2076-815x.2023.82.309-323.
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The article is devoted to the architecture of Yelysavetgrad at the second half of the 19th century and the beginning of the 20th century, that forms a large part of the historical center of the city and contains information about the development of medium-sized cities in southern Ukraine. The article presentes a classification of stylistic features and stages of the development of the Yelisavetgrad architecture of the period under study. On the basis of field surveys, studses of literary and archival sources, patterns of stylistic development, depending on the preferences of the time and the functional purpose of the buildings were revealed.
 In the development of Yelisavetgrad architecture of the studied period, four stages are distinguished: two stages of the development of eclecticism and two stages of the development of modernism. The first stage is characterized by a close connection with the classical heritage of the previous period and the influence of romanticism. It was called retrospective, because historical prototypes were used in the creative search for new forms. At the second stage, eclectic combinations of forms and decor were developing.
 The third stage is the most innovative. It is characterized by the development of international trends of modernism (decorative and rational) in combination with forms and directions of eclecticism. A combination of modern and ancient is observed in modern architecture. At the final stage, neoclassicism is more pronounced and complete than in previous periods. The article analyzes the connections between stylistic directions at each stage and their genesis during the studied period.
 Stages in the architecture of the studied period differ in the quality of changes in the stylistic development of the research objects. The results of the study represent the classification of objects according to the period of construction, of the stylistic direction and typology. This work can be used in further studies of the features of the architectural and planning development of Yelisavetgrad architecture in the second half of the 19th and the beginning of 20th centuries.
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Neville, Kristoffer. "The Theory and Practice of Eclecticism in Eighteenth-Century European Architecture." Journal of the Society of Architectural Historians 79, no. 2 (2020): 152–70. http://dx.doi.org/10.1525/jsah.2020.79.2.152.
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Stevanovic, Vladimir. "Ideological assumptions in aesthetic judgment of architecture." Spatium, no. 30 (2013): 40–46. http://dx.doi.org/10.2298/spat1330040s.
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The aim of this paper is consideration of presence of ideological factor in aesthetic judgment of architecture. The focus is on the aesthetic theories in which ideology is the key component that can produce aesthetic meaning on the basis of which aesthetic evaluation can be performed. With regard to this, the paper provides an insight into the relevant aesthetic approaches, which, by subject matter and methodology, can be determined as ideologically oriented. The theoretical frame established allows implementation of an interpretive and comparative analysis of two texts that through aesthetic judgment discuss Belgrade architecture, immediately before and after World War II. Through recognition of an ideological context in these two texts, this paper will point out how different aesthetic evaluations of certain morphological aspects of architecture (such as folklorism, ornamentalism, eclecticism, classicism, monumentalism and purism) do not come from inherently architectural, i.e. stylisticformalist aspects, but how they result from ideological connotations attributed to them in a wide variety of ways. In this sense, this paper finds ideological background in established criteria of aesthetic judgment such as authenticity, homogeneity and contemporaneity.
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Bjažić Klarin, Tamara. "Review of Aleksander Laslo’s Research on Late Nineteenth and Early Twentieth-Century Architecture in Zagreb." Prostor 32, no. 1(67) (2024): 16–25. http://dx.doi.org/10.31522/p.32.1(67).2.
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Architect Aleksander Saša Laslo (Celje, 1950 – Zagreb, 2014) was one of the leading historians of Croatian twentieth-century architecture, with a research scope centered on the city of Zagreb. Its aim was to investigate the processes of modernisation, tracing the evolution from high historicism and eclecticism through Art Nouveau to proto-functionalism and New Building (Ger. Neues Bauen, Cro. novo građenje) – viewed through building spatial-organisation, construction, and then inevitably form. Laslo’s interest, of course, extended beyond the mere physical structure of the building to wider social, economic, and cultural context, and dynamic knowledge exchange with Central Europe during that time, within which Laslo positioned the architecture of Zagreb. Methodologically, since the very beginning in the early 1980s, Laslo relied on exhaustive research, cataloguing, and contemporary research of Central European architecture. To mark the tenth anniversary of the death of this prominent researcher of Zagreb’s architectural heritage, this paper provides the first review of Laslo’s work, highlighting its comprehensiveness, integrity, and scientific method.
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Madanović, Milica. "Passion for past and functional imperative: Belgrade interwar residential architecture by Aleksandar Deroko." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 43–70. http://dx.doi.org/10.5937/saj1901043m.
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The name and the achievements of Aleksandar Deroko shine brightly in the constellation of Serbian architectural history. Deroko actively contributed to the Serbian twentieth-century architecture as a distinguished professor at the University of Belgrade, a prolific author, esteemed scholar, designer, and a highly driven heritage enthusiast. However, though recognised by his contemporaries and successors alike, Deroko's design activity has not yet been thoroughly examined. Exploring residential buildings designed for Deroko's Belgrade clientele, this paper widens the knowledge of his architectural production. Deroko's well-known passion for architectural history and extensive research of the Serbian vernacular buildings serve as a starting point for the study of his residential structures in Belgrade. Was Deroko's design process influenced by his deep appreciation for architectural past, and by the results of his findings? Or has he only adopted the formal characteristics of historic styles and vernacular architecture in his work? If so, to what extent? Discussing five structures built in the interwar period - house of Colonel Elezović, the Rakić villa, the Simić villa, the Marinković villa, the Stakić villa and the architect's personal villa - the paper traces transformation of Deroko's architectural inspiration, from typical academic historicist eclecticism to vernacular construction.
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Fraigniaud, Pierre, Cyril Gavoille, and Christophe Paul. "Eclecticism shrinks even small worlds." Distributed Computing 18, no. 4 (2006): 279–91. http://dx.doi.org/10.1007/s00446-005-0137-4.
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Vidler, Anthony. "Architecture, Poetry, and Everyday Life." October, no. 187 (2024): 65–74. http://dx.doi.org/10.1162/octo_a_00509.
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Abstract There is an exhibition currently hanging in the penthouse of the Museum of Modern Art in New York: Far removed from the clamor of the street and the jostling of the crowd, a selection of delicately conceived and exquisitely executed drawings remind us that, even in the age of pragmatism, ideal architecture still preoccupies creative minds. From the recent past and the lived present, these studies speak of impossible futures, irresistible impulses, and inconsequential fantasies. Hoary technotopia from Archigram; satyrical dreamscapes from Superstudio; metalinguistics from Argentina's nouvelle vague; eclecticism, superrationalism, and painterly metaphor from New York's (and Princeton's) Five add up to form a picture of the whole tangled web of idealism and counter-idealism that has constituted today's attempt at visionary architecture. This exhibition raises, as do all such manifestations of the realm of utopia, questions as to the relation between art and daily life.
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Losin, D. O. "Tenement Houses in Saratov." Izvestiya of Saratov University. History. International Relations 11, no. 1 (2011): 107–13. http://dx.doi.org/10.18500/1819-4907-2011-11-1-107-113.
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The article considers merchant tenement houses genesis in Saratov. The paper analyses the architecture of objects in question. One deals with three directions replacing each other successively: classicism, eclecticism (historicism), and modern. Apart from the history and the development of tenement houses that are worth paying attention to, interest to such buildings is also explained by resuming of such civil engineering today.
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Florenza ; Bachtiar Fauzy, Tamara. "ECLECTIC ARCHITECTURE ON MASJID PUSDAI BUILDING IN BANDUNG." Riset Arsitektur (RISA) 2, no. 03 (2018): 264–81. http://dx.doi.org/10.26593/risa.v2i03.2946.264-281.
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Abstract- Eclectic architecture is a product of globalization in which architectural styles from different places and time intertwine each other. The development of eclectic architecture in Indonesia tends to follow the trend, neglecting the local value. A study towards eclectic architecture is necessary to raise society’s concern towards the identification of foreign and local architectural style. Masjid PUSDAI Bandung is selected as a research object to represent these issues above, in which the architectural style of Spain, Indian, and Javanese mosque intertwined each other. The research’s purpose towards the research object as a representation of eclectic architecture is to define the meaning of eclectic architecture in Masjid PUSDAI as well as to understand the form of eclecticism in Masjid PUSDAI. The eclectic architecture form will be analyzed towards the mixture of Indian, Spain, and Javanese mosque architecture style.Literature study as a theoretical base consist of the main theories such as the theory of eclectic architecture and theory of form and technic, as well as the supporting theories such as the architecture of Spain, Indian, and Javanese mosque. A comparative-qualitative approach is used as research method. This method compares the documentation from building observation with the literature theories for a further analysis.Through this research it can be concluded that the eclectic architecture form of Masjid PUSDAI Bandung is seen through mixture of two to three architecture style among its elements, thus forming a new architecture style. However, the intertwinement of architecture style doesn’t show on several elements. Some of them show an identical form which is used in Indian, Spain, and Javanese mosque.This research is expected to educate readers, architecture students, and experts in academic fileds, about how to execute the eclectic architecture design in public facilities, especially on mosques in Indonesia. Keywords: eclectic, architecture, mosque
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Caskey, Jill. "Steam and "Sanitas" in the Domestic Realm: Baths and Bathing in Southern Italy in the Middle Ages." Journal of the Society of Architectural Historians 58, no. 2 (1999): 170–95. http://dx.doi.org/10.2307/991483.
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This study presents five little-known bathing chambers from the region of Amalfi in southern Italy. Dating from the thirteenth century, the baths define with remarkable consistency a type of structure that has not previously been identified or considered in histories of medieval architecture in the West. The study begins with an analysis of the five bathing chambers and their specific architectural features, technological remains, and domestic contexts. The diverse antecedents of the buildings, which appear in ancient Roman, medieval Italian, Byzantine, and Islamic architecture, are explored, along with the implications of this eclecticism for the history of southern Italy. Utilizing the rich array of surviving medieval documents for the region, including episcopal charters, royal decrees, and medical treatises, the study then reconstructs the economic, social, and scientific significance of the baths within medieval Amalfi. As monuments outside the traditional contexts of art production in southern Italy, the baths challenge long-standing characterizations of southern Italy's art and architecture, and point to the existence of a Mediterranean-wide balneal culture in which Byzantine, Islamic, and southern Italian communities participated.
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Remizova, Olena. "ARCHITECTURAL MEMORY AND FORMS OF ITS EXISTENCE." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (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.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Eplényi, Anna, and Brigitta Oláh-Christian. "Postmodern landscape architecture: theoretical, compositional characteristics and design elements with the analysis of 25 projects." Acta Universitatis Sapientiae, Agriculture and Environment 7, no. 1 (2015): 71–81. http://dx.doi.org/10.1515/ausae-2015-0006.
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Abstract This paper endeavours to highlight three aspects of postmodern landscape design: theoretical basis, composition and design elements. Postmodern theories, philosophy influenced the language of the postmodern landscape architecture and got materialized in the use of narratives, eclecticism, the Rhizome-principle. Postmodern landscape composition can be associated with anti-hierarchy, unusual structures, landforms, and playful moods. Postmodern design elements consist of the strong graphical use of colour and pavements, bizarre water features, unusual structures and buildings, postmodern sculptures and thematic garden details. 25 analysed projects try to capture the essence of postmodernism in landscape architecture as well as to reveal points of intersection within these projects.
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Davidich, Tatyana. "Analysis and comparison of «style» and «eclecticism» notions in the theory of architecture." ScienceRise 1, no. 6 (2019): 6–12. http://dx.doi.org/10.15587/2313-8416.2019.170841.
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Lyman, Thomas W. "The Politics of Selective Eclecticism: Monastic Architecture, Pilgrimage Churches, and "Resistance to Cluny"." Gesta 27, no. 1/2 (1988): 83–92. http://dx.doi.org/10.2307/766996.
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Banerjee, Poulami. "Eclecticism in Architecture: Panchakot Palace A Pictorial Case Study in Purulia, West Bengal." International Journal for Research in Applied Science and Engineering Technology 8, no. 12 (2020): 82–97. http://dx.doi.org/10.22214/ijraset.2020.32401.
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Foenna, Fala, Bambang Karsono, and Fidyati Fidyati. "Telaah Arsitektur Eklektik pada Bangunan Masjid Haji Keuchiek Leumiek." ETNIK: Jurnal Ekonomi dan Teknik 2, no. 11 (2023): 1019–28. http://dx.doi.org/10.54543/etnik.v2i11.257.
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Indonesia is a country where the majority of the population is Muslim, especially Aceh. So it is not surprising that you can find many mosques with magnificent architecture and a great historical background. With globalization, many new architectural styles have emerged, for example eclectic architecture which influences the exterior and interior shapes of mosques. The application of eclectic architecture in the design process by adopting elements that are considered the best originating from local and non-local architecture so as to produce a building model that has its own charm and characteristics. One element of foreign architecture that is now being adopted domestically is Middle Eastern architecture. This phenomenon made researchers interested in conducting research on one of the mosques that displays Middle Eastern accents on its building facade, namely the Haji Keuchiek Leumiek Mosque, Banda Aceh. This research aims to reveal the eclectic aspects of the Haji Keuchiek Leumiek Mosque building, as well as which facade elements adopt Middle Eastern architecture. The method used to obtain data in this research is a comparative-qualitative method. Data collection techniques are carried out through observing the location of the study object, conducting interviews and documenting it in photographs, then comparing it with expert theories to reach conclusions. The results of the analysis show that the Haji Keuchiek Leumiek Mosque was built with characteristics of eclecticism. Middle Eastern architecture and various regional ornamental arts combine to create unique design aspects of the mosque. Awan Meucanek, Bungoeng Meulu, Bungoeng Putik, Sulur Oen Teube, Awan, and Bungong Geulima are examples of local ornaments in mosque architecture. The findings show that when compared with the remains of Islamic dynasties, the architecture of this Middle Eastern mosque is not exactly the same. However, in general, the architectural design of this mosque is very similar to mosques built during the Fatimid and Timurid periods.
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Somers, Dirk. "Pluralism and the Urban Landscape: Towards a Strategic Eclecticism." Architectural Design 91, no. 1 (2021): 56–63. http://dx.doi.org/10.1002/ad.2653.
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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.
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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.
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Castagnaro, Alessandro. "Infrastructural Systems toward the Valorisation of the History of Architecture: The Case of the Metro-Art in Naples." Advanced Engineering Forum 11 (June 2014): 508–13. http://dx.doi.org/10.4028/www.scientific.net/aef.11.508.
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Since the Industrial Revolution, cities have changed their identity and the transport systems have produced a strong impact, rather than on their social-anthropological character, on the morphology of the urban pattern and on the development of the vertical dimension of the architectural volumes.This mutation leads, among other things, to a significant transformations in the transition between the 19th and 20th centuries, according to the transition between the historicist eclecticism of previous centuries and the new deal of the belle époque. Paradigmatic and representative of the century are the underground stations built in Vienna and Paris.The case, related to the contemporary, is Naples where the metro-art stations, unlike what happened before, have the dual characteristic of being different from one another- so to provide an extensive collection of contemporary architecture being part of a culture that includes the evolution of taste and the same behaviour of doing and enjoying art.A system born as transport engineering becomes today “Transit Museum” with the study of urban history from archeology to architecture and figurative art.
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Petrusenko, Y. V. "DECORATIVE ELEMENTS IN BRICK STYLE ARCHITECTURE IN N.A. PANIN’S BUILDING." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (2019): 53–61. http://dx.doi.org/10.31675/1607-1859-2019-21-4-53-61.
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The aim of this work is to identify the architectural and artistic features of A.N. Panin‟s building and carry out a detailed analysis of plastic facades, which represent a synthesis of gothic and pseudo-Russian styles. The building locates in the historic part of Rostov-on-Don, at the intersection of the oldest streets of the city – Beregovvya and Pochtovyi (now Ostrovskii) streets in Rostov-on-Don. The study identifies the features of plastic facade design using composite techniques and brick decoration, characteristic of eclecticism, which combines different styles in the plastic design of facades. The object has not been studied enough at the moment, although it is one of the cultural heritage objects designed by N. M. Sokolov, whose objects form the historical part of Rostov-on-Don.
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Palomares Alarcón, Sheila. "Iron architecture and eclecticism: the original project of the “San Bernardo” Station in Seville- Spain." Estoa 6, no. 10 (2017): 79–88. http://dx.doi.org/10.18537/est.v006.n010.07.
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de Sola-Morales, Ignasi. "The Origins of Modern Eclecticism: The Theories of Architecture in Early Nineteenth Century France." Perspecta 23 (1987): 120. http://dx.doi.org/10.2307/1567112.
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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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Mzhelsky, V. M. "CHANGES IN SOVIET ARCHITECTURAL STYLES IN THE 1930s." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (2019): 125–37. http://dx.doi.org/10.31675/1607-1859-2019-21-4-125-137.
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Purpose: The aim of the paper is to study the history of Soviet architecture, associated with changes in its stylistic orientation, when instead of the previously dominant constructivist forms other forms began to prevail, namely Art Deco, neoclassicism and eclecticism. The paper explores the processes in architecture of that time, identifies the main prerequisites for the formation of that architectural style.Methodology/approach: The methodological approach includes a comparative analysis of scientific publications and buildings of Soviet architecture of the 1930s. A comprehensive study is conducted to identify the prerequisites, processes and features of the architecture of this period.Research findings: The main results concern the period under study accompanied by both evolutionary and cardinal changes in architecture associated with the general architectural policy of the government and the creativity of architects. All this determines the peculiarities of the controversial, transitional style of Soviet architecture. The analysis of the controversial architectural style considers the individual genesis. This style is formed under specific conditions and has its own history. Architectural competitions of the 1930s demonstrate the stylistic diversity of architecture and the evolutionary transition from constructivism to Soviet neoclassicism observed in the works of those architects who previously designed the style of constructivism. The term post-constructivism means both a purely chronological concept, that is a period in the history of architecture following the epoch of constructivism and the specific architectural and stylistic phenomenon which still combines constructivism and elements of the subsequent style. A search for individual architects determines the style of the 1930s. In this regard, the term post constructivism best reflects the diversity of architecture of that time, taking into account the historical era and national identity, and the use of elements typical to Art Deco, Neo-Renaissance, or Classicism.Practical implications: The research results can be used to further studying the architecture of this period as well as in the preparation of courses on the history of Soviet architecture of the 1930s. This study makes it possible to realize historical, artistic and cultural value of this style, thereby preserving it in the future.Originality/value: The history of the architecture of that period is still not well understood and is of particular interest for researchers. This study considers both well-known and insufficiently studied buildings of Soviet architecture of the 1930s, compares the obtained facts and opinions of other authors‟. As a result, the paper combines, compares and analyzes interesting information on this topic and investigates concrete facts. Also, a comparison is given to the architecture of the studied and previous periods.
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Худин, Алексей Александрович, Нина Анатольевна Коновалова, and Игорь Андреевич Бондаренко. "PROBLEMATICS OF «TRANSLATION» IN POSTMODERNIST ARCHITECTURE THEORY." СОВРЕМЕННАЯ АРХИТЕКТУРА МИРА, no. 1(12) (June 22, 2020): 23–33. http://dx.doi.org/10.25995/niitiag.2019.12.1.017.
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Статья содержит изложение семиотических теорий в применении к теории архитектуры, а именно концепцию «перевода» как коммуникативного процесса в рамках межкультурного и межисторического процесса, проявленного в условиях эпохи постмодерна. Рассматривается взаимосоотнесение между архитектурой и языком в рамках теорий М. Фуко с акцентом на логику познания, сформированную в период 1970-1980-х годов. Затрагиваются вопросы концепта, текста, цитирования в архитектуре, адресования, интерпретаций, отношений между оригиналом и переводом, нового эклектизма, соотнесений между структурализмом и постструктурализмом. Анализируются воззрения М. Вигли и Ж. Деррида как ключевых для теорий постмодернизма и деконструктивной архитектуры. Определяются основные проблемы межязыковых связей на основании идей В. Беньямина. The article contains a presentation of semiotic theories as applied to the theory of architecture, namely the concept of “translation” as a communicative process in the framework of the intercultural and inter-historical process, manifested in the postmodern era. The interrelationship between architecture and language is considered within the framework of M. Fuko's theories, with an emphasis on the logic of cognition formed in the 1970-1980s. The concept, text, citation in architecture, addressing, interpretations, relations between the original and the translation, eclecticism, correlations are affected. between structuralism and poststructuralism. Analyzed are the views of M. Wigley and J. Derrida, as key to the theories of postmodernism and deconstructive architecture. The main problems of interlingual relations are determined on the basis of the ideas of V. Benjamin.
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Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
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The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
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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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Kreiser, I., O. Chub, and V. Bastrakova. "RESEARCH OF THE MONUMENT OF ARCHITECTURE - CHILDREN'S BUILDING "CLINIC OF THE MEDICAL FACULTY OF THE UNIVERSITY" IN KHARKIV." Municipal economy of cities 3, no. 170 (2022): 112–16. http://dx.doi.org/10.33042/2522-1809-2022-3-170-112-116.
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The article raises the question of the study of architectural monuments of local importance in the city of Kharkiv. The end of the 19th – the beginning of the 20th century in the city of Kharkiv was marked by the development of industry, the expansion of the city, the construction of industrial and civil architecture objects. Today, the issue of preservation and restoration of historical and architectural heritage is more relevant than ever before. In connection with Russia's aggressive attack on Ukraine and the bombing of Kharkiv, there is a great need to study and research the past, namely this period. Kharkiv is gradually losing part of its history. The architecture of the late 19th and early 20th centuries is diverse in styles and directions. A large number of medical institutions of the specified period were built in the "brick" style – one of the directions of the broader and well-known phenomenon of eclecticism. In Kharkiv, a quarter of the Clinical Town of the famous architect A.K. Spiegel has been more or less preserved. The block also includes later buildings, close in terms of architecture and stylistic features to the "brick" style. The object of the study is one of the buildings included in the complex – the children's building "Clinic of the Medical Faculty of the University". Over the hundred years of its existence, this object changed its name several times, but always kept its purpose – to be a medical institution. The article pays much attention to the history of the complex and the building of the Children's Corps. An analysis of style, forms, architectural details and decoration was carried out. Interesting facts from the life and work of the architect A.K. Spiegel are presented.