Art Deco

This short paper, prepared as part of the Research Writing Methods course, explores the influence of Cubism on architectural design. The study highlights key stylistic elements and their historical impact.
(Türkçe: Araştırma Yazma Yöntemleri dersi kapsamında hazırlanmış kısa bir çalışmadır. Kübizmin mimari tasarıma etkilerini inceleyerek temel stilistik öğeler ve tarihsel yansımaları ele almaktadır.)

Nel processo di espansione dell’architettura europea nel Nord Africa, il caso della città di Melilla costituisce un modello che merita particolare attenzione. Storicamente legata alla Spagna fin dal XV secolo, questa città conoscerà una crescita straordinaria a partire dai primi anni del XX secolo, in linea con quella di altri capoluoghi di regione. In questo contesto, gli stili architettonici potevano diventare il riflesso di una nuova società e a Melilla durante questi primi decenni gli architetti svilupparono un’importante architettura Art Nouveau che durò fino alla fine degli anni 19201. Una regola generale a proposito di queste società è che difficilmente potremmo classificare le loro opzioni come conservatrici quando è stata adottata un’architettura con stili dirompenti rispetto alle opzioni classiche e accademiche prevalenti in molti capoluoghi del paese. Ciò è in parte dovuto al successo dell’Art Déco, che ha sostituito lo stile precedente2. Certamente la città poteva intraprendere un cambiamento di stile nella sua architettura perché il cambiamento non implicava grandi trasformazioni per il settore edilizio. I sistemi di lavorazione, l’organizzazione della costruzione, l’impianto artigianale che le ruotava attorno e la riforniva (lavori in ferro, carpenteria, intonaci, stucchi) non sarebbero stati radicalmente toccati dal cambiamento delle forme.

The nineteenth century witnessed an upsurge of interest in the region across Europe and North America, in media ranging from literary fiction to the illustrated periodical and from visual arts to architecture. This rise of regionalism has often been linked to nationalism and nation building. However, depictions of the region circulated across borders or interacted with transnational cultural repertoires of the local. These often overlooked transnational aspects are the focus of this volume which considers cultural representations of the region during the long nineteenth century, in its variety of dimensions, across all expressive media.

Comme on peut le lire un peu partout, nous vivons, dans l'ordre chronologique, dans l'ère du «post» et de ses e ets : post-koolhaassien, post-bilbao, post 11 septembre, «post human»... De ce point de vue, comme le montre un livre récent (Terry Smith, The Architecture of Aftermath, University of Chicago Press, 2007), il est quasi évident que l'e o ndrement des Twins Tower fait écho à l'e ondrement, en 1972, des appartements de Pruit-Igoe, qui a marqué, pour Charles Jencks, Colin Rowe et tous les théoriciens à leur suite, l'ère de la post-modernité. Ironie, cruelle (?) de l'histoire, c'est le même architecte, japonais, Yamasaki, qui, à trente ans de distance, a construit ces structures, et aura vu, de son vivant, deux de ses projets phares détruits par explosion volontaire. John Macarthur Looking down with the picturesque: viewpoint and politics from Civilia to Collage City John Macarthur Looking down with the picturesque: viewpoint and politics from Civilia to Collage City Start title slide up Intro The occasion of this paper is an almost forgotten book from 1973, Civilia, conceived by Ivor de Wolfe who contributed much of the text, and extensively illustrated with Kenneth Browne's designs for an imagined city. I vaguely remember borrowing this book in about 1978; I had gone down from the studio to the library looking for the hottest book of the day which I'd heard was something about collage and cities, and I came back with Civilia instead of Colin Rowe and Fred Koetter's Collage City, which must have been out. The smarter students quickly told me of my error-Civilia Civilia was full of collaged pictures that proposed what cities should look like, while Collage City collage city presented largely gure-ground diagrams and aerial photographs where collage was an analogy to what we were learning to call 'urbanism. ' In the last few years I have been writing a book on the picturesque and architecture and I rediscovered Civilia when I realised that it was the last gasp of the picturesque revival in Britain, usually called Townscape, which had been driven by the Architectural Review since the 1940s. Having come at Civilia from the other direction, from a realisation that the picturesque was not, or not only, a naïve taste for visual pleasure; and that Townscape could not be reduced to the hooky faux traditionalism that it has since become; it struck me how little di erence there was between Civilia and Collage City. Or, rather that the signi cant di erence is one of viewpoint. Looking down with the picturesque: viewpoint and politics from Civilia to Collage City William Gilpin, in the 1740's, probably began the fashion of using 'landscape' and 'picturesque' to describe scenes that he saw with his eyes. Humphry Repton began his career as a designer by coining the then paradoxical term 'landscape gardener' in 1786. And in 1794 Sir Uvedale Price proposed that there was a theory of the picturesque which could guide an improver in making 'real' 'landscapes' . Repton slides But did this mean that a contrived landscape could not contain high out looks? In 1770 Thomas Whatley recognised the problem writing: Painting, with all its powers, is still more unequal to some subjects, and can give only a faint, if any, representation of them; but a gardiner is not therefore to reject them; he is not debarred from a view down the sides of a hill, or a prospect where the horizon is lower than the station, because he never saw them in a picture. [Whatley,

Nur ein kleiner Teil dieser antiken Schmuckstücke hat sich bis in die heutige Zeit erhalten. Vor allem ihre goldenen Fassungen wurden Opfer der vielen Einschmelzaktionen, die im Laufe der Jahrhunderte Kunstgegenstände aus Edelmetall zu barer Münze machten. An den wenigen Kameen der Antikensammlung des Kunsthistorischen Museums, die eine antike Fassung aufweisen, lässt sich noch ihre Verwendung als Schmuckstück ablesen. So umfasst ein durchbrochen gearbeiteter Rahmen aus Goldblech einen zweischichtigen Onyx mit der Darstellung eines Ehepaares (Römisch, um 230 n. Chr., Inv.Nr. ANSA IX 1976). Die gerippte Öse an der Oberseite der Fassung lässt erkennen, dass das Schmuckstück als Kettenanhänger getragen wurde. Ein älterer Sardonyx kameo mit einer Büste der Diana wurde im 3. nachchristlichen Jahrhundert neu gefasst und mit einer goldenen Halskette versehen (Abb. 2). Ein zweiteiliges Ohrgehänge aus dem 3. Jahrhundert Schmuckblatt Abb. 1: Löwenkameo (Nr. 23), Vorderseite.

El objetivo de la presente investigación se centra en el estudio de la obra del arquitecto norteamericano Clifford Charles Wendehack (1884-1948) y la transferencia cultural que legó sobre diferentes edificaciones caraqueñas entre las postrimerías del periodo gomecista y el fin del trienio adeco. Mediante la revisión de fuentes documentales primarias y secundarias, además de la observación no participante de algunas de sus obras caraqueñas reconocidas y otras anónimas potencialmente atribuibles a su traza, en el marco de un estudio valorativo histórico-arquitectónico de la sede del Caracas Country Club, se forjó mediante esta investigación de tipo descriptivo y explicativo, el reconocimiento arquitectónico de su obra conjunta, además de los atributos de orden histórico culturales asociados a ella. Reconocido internacionalmente como experto diseñador de casas club para centros sociales y deportivos fue contactado por los accionistas del Caracas Country Club en 1928 para el diseño de su sede matriz, en el marco del traslado del centro de los terrenos de Las Barrancas, al oeste de Caracas, a los predios de la hacienda Blandín y sus aledañas. El éxito del proyecto y los vínculos sociales que desarrolla, entre otros con los miembros del grupo de William H. Phelps y Nelson Rockefeller abren paso a sucesivos encargos destinados a satisfacer las necesidades de novedosos programas de diseño generados por la inserción del “american way of life” en las ciudades venezolanas en crecimiento, a raíz de la expansión de la actividad petrolera. Además de la casa club caraqueña, concibe su homóloga en Maracaibo, tiendas por departamentos, concesionarios automotrices, sedes bancarias y quintas residenciales para empresarios vinculados con la actividad mercantil derivada del auge petrolero. De formación academicista en la línea de “Beaux Arts”, amalgamado con el pintoresquismo inglés, su obra evolucionó a la par de la de otros colegas de su generación hacia la arquitectura moderna y el “Estilo Internacional”, en los temas de diseño desarrollados. La investigación nos permitido estimar sus aportes más allá de su obra icónica caraqueña, reconociendo otros proyectos expresión del “American way of life”, en la definición del perfil de la Caracas metropolitana en los albores de la explotación petrolera.

This paper presents a comprehensive biographical account of Adolfo Aristizábal Llano (1887–1963), a pioneering Colombian businessman whose influence shaped Cali's urban development, hospitality, commerce, and international coffee trade during the first half of the 20th century. Founder of iconic art deco buildings such as Hotel Aristi and Teatro Aristi, he also contributed to the expansion of Colombia’s export economy and modern architectural landscape. His story reflects the transformation of personal adversity into a legacy of innovation, civic vision, and enduring impact.

This paper offers a chronological reconstruction of the historical, architectural, urban, and cultural development of the Hotel Aristi and Teatro Aristi complex, located in the heart of Cali, Colombia. Spanning over a century (1910–2025), the study integrates primary sources, visual archives, and bibliographic references to document more than 400 events. It examines the visionary role of Adolfo Aristizábal Llano, the socio-economic impact of early 20th-century coffee exports, and the evolution of public infrastructure, cinema, tourism, and real estate in the city. This compilation aims to preserve and promote local heritage by providing educators, historians, and the general public with a free and accessible educational tool. The text is complemented by over 370 digitized images available on Wikimedia Commons.

Artículo periodístico publicado en el Diario de León que aborda el estudio de un edificio residencial emplazado en la calle Suero de Quiñones de la ciudad de León con unos condicionantes estéticos que rememoran el art-decó que se popularizó entre 1920 y 1950.

La mostra di Andrea Benetti, intitolata Colors in Venice, curata dal professor Francesco Paolo Campione, nasce dall'invito della Fondazione Giacomo Casanova ad Andrea Benetti, ad essere il primo artista ad esporre nella nuova sede veneziana della Fondazione, situata nel centralissimo sestiere di San Marco, nello storico Palazzo Zagùri. Oltre ad essere onorato dal prestigioso invito, è subentrato per Andrea Benetti il legame affettivo e professionale, che lo lega alla città lagunare fin dal 2009, quando ha presentato alla 53. Biennale di Venezia, all'Università Ca' Foscari, il Manifesto dell'Arte Neorupestre. Nel Manifesto, Benetti ipotizza un ponte immaginario tra l'origine preistorica dell'arte e la sua contemporaneità. Negli anni successivi, in collaborazione con il D.A.R. Dipartimento delle Arti dell'Università di Bologna, ha ideato il progetto intitolato Colori e suoni delle origini, che è stato presentato nel 2013, a Bologna, a Palazzo D'Accursio, nel 2014 all'Università di Bari e nel 2015 a Lecce, nel Castello Carlo V. Con le opere ispirate all'astrattismo e realizzate in bassorilievo su tela, per simboleggiare idealmente l'irregolarità della parete rocciosa, Benetti sottolinea come simboli ricorrenti e forme embrionali della pittura astratta fossero già presenti nell'arte preistorica. Egli focalizza l'attenzione del pubblico sull'odierno modo di comunicare, basato anch'esso su icone e simboli ed orientato verso un'estrema semplificazione visiva, come se si trattasse di un ritorno alle origini. L'analogia alla base del progetto evidenzia come i più diffusi mezzi di comunicazione, di lavoro e di intrattenimento, in uso su larga scala nella società contemporanea, interagiscano con l'uomo attraverso l'uso della vista, che funge da percettore di immagini e simboli; immagini che possono trasmettere messaggi, curiosità e conoscenza. Computer, smartphone, tablet sono ormai mezzi di fruizione di massa, con cui quotidianamente percepiamo e trasmettiamo la realtà, o l'illusione di essa. Mediante una trasfigurazione ed una rivisitazione ideale dei simboli, realizzata da Andrea Benetti, tra l'onirico ed il reale, rivivono le forme ed i colori delle origini. Forme e colori che i nostri antenati, agli albori dell'umanità, scoprivano per la prima volta ed utilizzavano nelle pitture Rupestri, per “comunicare” con entità superiori, donando alla genesi dell'arte una sacralità eterna. Benetti svolge, da parecchi anni, la propria ricerca sulla pittura Rupestre, rendendole omaggio con opere che la citano, la trasfigurano e la reinventano. Egli parte dal concetto che nella pittura Rupestre erano già contenute tutte le future vie della pittura moderna, tra cui il figurativo, l'astrattismo (oggetto di questa mostra), il simbolismo ed il concettuale. La biografia e l'amore, che legano Andrea Benetti a Venezia, l'hanno spinto a trasformare la mostra in un omaggio alla città lagunare, intitolandola Colors in Venice. I lavori in mostra appartengono al classico stilema pittorico dell'artista bolognese, ispirato all'Astrattismo delle Origini. Opere che nascono da un bassorilievo, realizzato in fondo gesso su tela, che successivamente è pigmentato con sostanze naturali, quali caffè, hennè, cacao, curcuma, ossidi, ecc. e reso simile cromaticamente a vari tipi di roccia presenti in natura. Nella fase finale sono utilizzati i colori ad olio, con i quali sono dipinte alcune parti dell'opera.

This article explores the rich history of Queen Street, Derby—an often-overlooked yet historically significant thoroughfare at the heart of the city. Tracing its origins from a Saxon fortified settlement established around 928 AD, the piece follows the street’s transformation through the Georgian era, industrial innovation, and into the modern age. It highlights key figures such as astronomer John Flamsteed and clockmaker John Whitehurst, while examining the architectural evolution of landmark buildings like Morris House and 27–28 Queen Street. Blending urban heritage with social development, this narrative reveals Queen Street as a microcosm of Derby’s broader historical journey.

This article examines the emergence of Art Deco architecture in Camagüey, Cuba, during the 1930s and 1940s as a symbol of modernity and aesthetic renewal. Reacting against earlier eclectic and Art Nouveau styles, local architects and artisans embraced geometric motifs and prefabricated elements, adapting the international language of Art Deco to regional traditions and resources. The style was expressed through symmetrical and asymmetrical façades, streamlined forms, and decorative details in metalwork, stucco, and bituminous finishes. Far from being a mere imported fashion, Camagüey’s Art Deco reflected a culturally grounded modernization process that reshaped the city’s image in the early 20th century.

Esta publicación incluye las ponencias que fueron presentadas en el marco del Congreso, desarrollado entre los días 25 y 27 de junio en la Facultad de Arquitectura, Diseño y Urbanismo de la Universidad Nacional del Litoral, sita en la ciudad de Santa Fe, Argentina. Es de destacar la diversidad institucional y geográfica de quienes asisten, representando a ocho instituciones académicas argentinas y once extranjeras

ÖZ: Çalışma, mobilya tasarımında tarihsel süreç verilerinin, esinlenme aşamasında ne şekilde kullanılabileceğine yönelik bazı öneriler sunmayı amaçlamaktadır. Bu amaçla, öncelikle esinlenme konusu genel olarak ele alınmış; yenilik ile olan ilişkisi temel çerçevede tartışılmıştır. Mobilya özelinde, geçmiş verilerinin, dönemler boyu çeşitli şekillerde mevcut dönemlere aktarıldığı görülmektedir. Bu aktarımın gerek biçimsel gerekse anlamsal olabildiği söylenebilecektir. Bu makale, söz konusu tarihsel unsurların, birer esinlenme nesnesi olarak alındığı ve benzer genetik kodları içeren "yeni" tasarımların ortaya konduğu bir çalışmanın analizini sunmaktadır. Bu kapsamda yapılan analizde, tarihsel süreç verilerinin, mobilya tasarımları üzerinden ne şekilde okunduğu; tanımlama sıfatlarının ne şekilde belirlendiği; bu mobilyaların birer esin kaynağı olarak oynadıkları roller; tanımlama sıfatlarının ortaya konacak yeni mobilyalarda ne şekilde yer aldığı ve sonuç ürünlerin biçimsel ve anlamsal verileri değerlendirilmiştir. Retrospektif verilere dayalı prospektif bir yaklaşım sunan bu analizin, mobilya tasarımında, özü anlama ve yorumlama konusunda yeni bir bakış açısı sağlaması beklenmektedir.

“Cultural Heritage as a Small Business Anti-Displacement: Strategy for Legacy Businesses in San
Francisco,” in Small Business Displacement Network, Keeping Small Businesses In Place: Voices
From the Field (SBAN, 2023) (with Christine Madrid French)

El Art Nouveau en Francia redefinió la joyería al posicionar al diseñador como autor e impulsar un lenguaje estético orgánico y experimental. Influencias como el japonismo, el simbolismo y la innovación técnica permitieron el uso de materiales no convencionales. René Lalique encarnó esta transformación, consolidando la firma personal como signo de autoría. Aunque su auge fue breve, el movimiento sentó las bases conceptuales de la joyería de autor contemporánea.

Mise au jour en février 1843, la « Grande Source » de Royat (Puy-de-Dôme), devenue « Source Eugénie » après l’inauguration de la station thermale par le couple impérial (1862), est sans contredit la plus intéressante des sources connues et exploitées à Royat. Par ses propriétés curatives comme par son étonnant débit, elle a façonné son environnement, assuré une renommée internationale à la petite Ville d’eaux et livré un patrimoine architectural unique dans la métropole de Clermont-Ferrand. Sans cette source, point de thermes, parc, casino, théâtre, chalets, villas, hôtels et palaces, pas plus que de viaduc, gare, boutiques, église ou chapelle anglicane… En un mot, Royat est né de sa source !

Reflet des modes et du goût des architectes successifs qui signent ses aménagements (Agis-Léon Ledru, Charles Arnaud, Louis Jarrier, Antoine Chanet et Jean Liogier), la buvette Eugénie illustre bien les enjeux pratiques, esthétiques et sociologiques entourant l’absorption des eaux thermo-minérales sous le Second Empire, à la Belle Époque et dans l’Entre-deux-guerres.

Source de vie et de prospérité, la fontaine Eugénie – parce qu’elle incarne le cœur de Royat – méritait bien une présentation approfondie de son histoire et de l’évolution architecturale de son écrin. Écrire sur les eaux de Royat, in fine, c’est aussi retracer l’histoire de la construction du domaine thermal et révéler au public les secrets de son étonnant patrimoine.

В 2022 г. увидела свет первая книга серии «Витражи Санкт-Петербурга. Инвентаризация», положив начало циклу посвященных этой теме научных трудов. На данный момент серия насчитывает уже четыре тома, последний из которых был выпущен в 2024 г...

Les monuments aux morts, où comment transmettre le devoir de mémoire à travers l'art ? Par Thierry Tessier Dans le cadre du colloque « Devoir de Mémoire » organisé au sein de la Maison de France à Monaco entre le 22 novembre et 9 décembre 2022

RESUME : Thierry Tessier présente une conférence sur l'évolution des monuments aux morts comme outils de transmission de la mémoire. Il explique que jusqu'à la Première Guerre mondiale, les monuments commémoratifs célébraient principalement les victoires et les généraux. Le changement survient après 1918, quand la population plus éduquée et alphabétisée demande des monuments pour honorer les soldats ordinaires. Thierry Tessier souligne que la construction de monuments aux morts devient la deuxième plus grande commande publique de l'histoire de France, avec 36 388 monuments sur 36 700 communes entre 1919 et 1925. Il analyse l'évolution stylistique, de l'Art nouveau à l'Art déco, puis au style néo-réaliste après 1945. Il met en évidence les défis de la laïcité et l'émergence de nouveaux symboles non-religieux. Le conférencier examine des cas particuliers comme le monument de Monaco, situé dans le cimetière, et des monuments contemporains comme celui de Berlin par Peter Eisenman, qui privilégient l'émotion et la pédagogie. Enfin, il s'interroge sur l'avenir de ces monuments, leur préservation et leur pertinence pour les générations futures, citant le cas de Saint-Martin-Boulogne où la population s'est mobilisée contre le déplacement du monument local.

Ho accolto fin dall'inizio con grande entusiasmo l'idea del Direttore del Museo Tuscolano, Alfredo Moraci, di impreziosire l'evento che circa tre anni fa ho contribuito ad avviare: "Vinalia Priora", con una esclusiva mostra di ceramiche della fabbrica Squarciarelli a tema vitivinicolo. Questo catalogo e la relativa mostra sono frutto di un incontro di spirti e di idee che hanno il fine di evocare quel Genius loci plasmatore e vivificatore del nostro territorio. Del resto da una sola parola, colere, discendono agricoltura, culto e cultura. Per l'agricoltore la terra è un'amante severa che non tollera di essere trascurata o abbandonata. La parola colere racchiude il concetto di un impegno quotidiano rivolto a un fine, evidenziando il legame indissolubile tra chi lavora la terra e la terra stessa. È dall'unione tra la fatica dell'uomo e la fertilità del suolo che nasce una vita nuova e rigogliosa, frutto di un equilibrio dinamico. Questo stesso principio si riflette nel ruolo dei sacerdoti, custodi del sacro, il cui compito è rendere effettiva e attuale la dimensione divina. Il termine sacerdote significa infatti "colui che attualizza il sacro", un'azione che richiede impegno e dedizione, proprio come il lavoro agricolo. Attraverso la loro opera, i sacerdoti tracciano il confine tra ciò che è fas, ovvero conforme alla volontà degli dèi, e ciò che è nefas, cioè contrario ad essa, mantenendo così l'armonia tra umano e divino, tra ordine e caos. Dall'agricoltura è poi derivata la cultura animi secondo la famosa espressione coniata da Cicerone proprio alle pendici del Tuscolo; scrive infatti l'Arpinate: cultura animi philosophia est (Tusculanae disputationes -I sec. a.C.). La cultura non si riduce a un insieme di libri letti a scuola e poi riposti in un armadio o in un baule, ma è un processo continuo, un impegno quotidiano che ci accompagna nel tempo. È uno strumento vivo che ci permette di affrontare con saggezza e senza timore le sfide della vita, trasformando la conoscenza del passato in una bussola per comprendere e gestire gli eventi nuovi e inaspettati del presente. Questa mostra è un'ulteriore testimonianza della profonda sinergia che grazie alla Sindaca, Francesca Sbardella, e al Direttore del Museo Tuscolano, Alfredo Moraci, si è generata tra agricoltura e cultura a Frascati, così sempre più spesso il Museo Tuscolano ospita eventi enologici per valorizzare la principale attività agricola del territorio, quella vitivinicola. In un passato recente, le Scuderie Aldobrandini erano un importante centro di vinificazione. Con-servo ancora il ricordo dei racconti di mio nonno Angelo, che in questo luogo lavorava le uve provenienti dalle vigne di Abbati. Il legame con la tradizione vitivinicola è testimoniato anche dal nome "Frascatino", con cui il sito era conosciuto. Questa denominazione risale all'epoca in cui il Conte Giovanni Battista Tommasi di Vignano ne prese in gestione l'uso, trasformandolo in un vero e proprio centro di produzione di vini e spumanti. Fu proprio in quel periodo che nacque lo "Stabilimento Enologico Frascatino", reso celebre dalle sue confezioni regalo, che contribuirono alla diffusione e al prestigio del marchio. Negli anni, la città ha subito trasformazioni, i suoi spazi raccontano nuove storie e si aprono a inedite prospettive, come è naturale che avvenga. Ciò che conta, però, è preservare l'anima dei luoghi, quella stessa identità che, dai tempi della Menade Tuscolana fino alla storia più recente, testimonia un passato profondamente radicato nella tradizione vitivinicola. Già Marco Terenzio Varrone, nel De Lingua Latina (I sec. a.C.), ricordava questa connessione con le parole: "Sulle porte di Tuscolo è scritto: non si porti in città il vino nuovo prima che siano stati proclamati i Vinalia". Oggi, celebrando le Vinalia Priora -Frascati 2025, possiamo rinnovare questo legame e, con le parole di Romano Mergè, affermare con orgoglio che "il vino è l'anima liquida della nostra città".

Art Deco is a visual arts, architecture, and product design style. It first emerged in Paris in the 1910s, shortly before World War I. This style reached its height in Europe and the United States in the 1920s and early 1930s. The early to mid-1930s saw the emergence of Art Deco architecture in India, which ended in the mid to late 1950s. Indian cities like Mumbai, Pune, Chennai, Jaipur, Jodhpur, and Patiala are home to Art Deco structures. In terms of architecture, the Art Deco movement represented a dramatic departure from the colonial Neo-Gothic/Victorian Gothic model. The pursuit of modernity, multiculturalism, and cosmopolitanism were all reflected in Art Deco architecture. UNESCO declared the Victorian Gothic and Art Deco ensembles of Mumbai (Maharashtra's capital) a UNESCO World Heritage Site in June 2018. Nevertheless, Pune City's Art Deco buildings are not recognized as heritage buildings or documented. The study involved photographic documentation of Art Deco buildings in Deccan, Swargate Prabhat Road, Bhandarkar Road area of Pune. This paper examines the various motifs and their underlying symbolism that can be seen in Pune's Art Deco buildings. The results of this study show that the Art Deco buildings in Pune are now on the verge of extinction due to the age of the building, structural deformities and lack of awareness of the conservation of this historical heritage. The art deco features on the elevations of many buildings have been hidden/erased by renovation and commercial hoardings.

R onse beschikt over een aantal straten uit het interbellum die op heel korte tijd werden volgebouwd en die een vrij homogeen straatbeeld vertonen (Fostierlaan, Gefusilleerdenlaan, Léopold Sturbautstraat, Pierre D'Hauwerstraat en Hermes Van Wynghenestraat). Ook verspreid in de stad was er heel wat (ver)bouwactiviteit in de jaren 1920-1930-1940. Een eerste bouwpiek situeerde zich tussen 1925 en 1930. De grootste bouwactiviteit was echter zichtbaar aan het eind van de jaren 1930, met een uitloper in het begin van de Tweede Wereldoorlog. Het interbellum was een economische bloeiperiode voor de stad, veroorzaakt door de boomende textielindustrie. De economische voorspoed werd door veel Ronsenaars veruitwendigd door fraaie smeedijzeren deuren en hekken die aan de (bestaande) woningen werden aangebracht. De fototentoonstelling vormt een eerste verkenning van de smeedijzeren architecturale elementen uit het interbellum die in Ronse worden aangetroffen.

Unutar završnog rada obrađuju se, promišljaju i povezuju dva ključna pojma: Art Deco i modularni tekstil. Kroz rad bit će prikazan nastanak i razvoj Art Decoa kao pokreta te njegov utjecaj na arhitekturu, slikarstvo, tekstil i uređenje unutrašnjeg prostora. Bit će istaknuti neki od najpoznatijih Art Deco umjetnika kao i suvremeni umjetnici koji su revitalizirali Art Deco u svome umjetničkom radu, poput Christine Celestino i Michaela Schonera, a posebno će biti izdvojeno djelo i likovni opus troje umjetnika koji su bili posebna inspiracija za ovaj rad, a to su: Sonia Delaunay, Raoul Dufy i Ruth Reeves. Vezano uz modularne tekstile bit će opisano gdje se najčešće upotrebljavaju i koja je njihova glavna funkcija te u konačnici razlog i način povezivanja s Art Deco estetikom te njihova primjena u uređenju unutrašnjeg prostora

Academic sculptor, Šime Dujmović (1887 – 1968), almost spent his entire lifespan in Hvar. By the confluence of many unfortunate events, this talented artist did not manage to fulfill his potential completely, nor was his opus later preserved and valued in its entirety. He mostly remained remembered as the helper of the great Ivan Meštrović and the author of The Monument to Liberation in Hvar. Even that, his most ambitious work, was followed by a fate full of controversies only to be removed only fourteen years after being set up.

In 19th century Latvia, as elsewhere in Europe, peasants' dress featured ornamental motifs. In the initial decades of the 20th century, some specific visual symbols were extracted from these ornaments and designated as latvju raksti (Latvian ornaments). This subset gained widespread adoption in later periods of 20th and 21st century Latvia, establishing a tradition of usage.
Similar to folk songs, the collection of old textiles became an important activity at the end of the 19th century. The collected items were used to create appropriate outfits for song festivals or, in the case of Rihards Zariņš, to showcase Latvian art style, which was to become a model for young artists. In 1911, Matīss Siliņš published the most popular symbols of Latvian ornaments-sun (saulīte), star (zvaigznīte), swastika (uguns krusts), and fir needle (skujiņa)-contextualizing them within the Latvian or Livonian (Livs) identity, thus imbuing them with a nationalistic significance. Subsequently, Latvian ornaments played an important role in the newly formed country-they became part of national symbolism (national flag variants, the national coat of arms, ornamentation of premises in the President's palace, etc.). In 1923, Jānis Sudmalis and Ernests Brastiņš published brochures in which they attempted, in their own words, an explanation of Latvian ornament symbolism.
For Sudmalis, Latvian ornaments were an essential part of national culture and art that represented long-lost traditions. Traditions that needed to be awakened and brought a renaissance of Latvian art, true to Latvian style, as he imagined it. For Brastiņš, Latvian ornaments encompassed the worldview of the (imagined) nation and were part of the religious rituals of Latvian ancestors. He used Latvian ornaments to create a folksong based nationalistic Latvian religion.
The tradition of depicting and interpreting Latvian ornaments could be regarded as an invented tradition in Eric Hobsbawm’s sense. It served to create the Latvian nation and unify it in the late 19th and early 20th centuries.

Награде за најлепшу фасаду пружају нам увид у естетске критеријуме који су владали у периоду од 1921. до 1931. године, са освртом и на архитекте 1939. године, али сведоче и о свести наших еминентних архитеката и чланова Клуба о културном значају новог визуелног идентитета престонице. Такође, додељене награде дају нам једну од могућих визура стваралаштва архитеката међуратног Београда, чија су основна обележја била креативно изражени фасадизам и сведене интерполације. Имплицитно, награда је изражавала и неке од нових тежњи грађанског слоја у пуном социјалном замаху: жељу за репрезентативношћу, потврду позиције у новом систему неоромантичне националне тежње укомпоноване у амбицију уклапања у модерни европски урбани дух.


WINNERS OF THE AWARD FOR THE MOST
BEAUTIFUL FACADE IN BELGRADE 1924–1930
In its transition from an oriental to a modern European city between
the two world wars, Belgrade went through a process of fundamental
urban transformation and, between 1923 and 1931, became the centre
for the intellectual and creative elite of the southern Slavs, the scene of
a radical transformation of the artistic and architectural environment.
Social changes found their visible expression in architectural creativity.
The Most Beautiful Facade award was given to works constructed
between 1926 and 1939, in accordance with a special rulebook adopted
by the board of the Architects’ Club to reward the search for an adequate
visualization of the beautiful in architecture, with the aim of recognizing a richer taste and sense of measure in facades. It was awarded for the first
time in 1924 to the Russian emigrant Nikolai Vasilyevich Vasilyev, then
during the following years the award was given to eminent designers:
Branislav Kojić, Dragomir Tadić, Dragiša Brašovan, Aleksandar Deroko,
Milutin Borisavljević, Miladin Prljević, Branislav Kojić, SavkovićIvacić, Milivoje Tričković and Leonid Maksheev. In addition to the
aforementioned award-winning buildings, the paper also presents
imposing competing buildings, submitted to the Architects’ Club by
Milutin Borisavljević and Milan Zloković, through a rich collection of
photo-documentation.
The awards for the most beautiful facade give us an insight into the
aesthetic criteria that prevailed in the period from 1921 to 1931, with
reference also to the architects of 1939, but also into the awareness of
our eminent architects and members of the Architects’ Club regarding
the cultural significance of the new visual identity of the capital. Also,
the awarded prizes provide us with evidence of visions of creative
possibilities of the architects of interwar Belgrade, the basic features of
which were creatively expressed facadism and reduced interpolations.
Implicitly, the award also expressed the full social momentum of some of
the new ambitions of the citizenry: the desire for representativeness, and
confirmation of the position in the new system of neo-romantic national
aspirations melded with an aspiration to conform to the trends of the
modern European urban spirit.

50 anos | Fundação Cultural de Curitiba 50 anos | Fundação Cultural de Curitiba 10 11 Agradecimentos especiais à Presidência da Fundação Cultural de Curitiba, às Diretorias, às Coordenações da Diretoria do Patrimônio Cultural e a todas as pessoas que, de uma maneira ou outra, se envolveram na produção deste livro. 2 0 2 3

Comme on peut le lire un peu partout, nous vivons, dans l'ordre chronologique, dans l'ère du «post» et de ses e ets : post-koolhaassien, post-bilbao, post 11 septembre, «post human»... De ce point de vue, comme le montre un livre récent (Terry Smith, The Architecture of Aftermath, University of Chicago Press, 2007), il est quasi évident que l'e o ndrement des Twins Tower fait écho à l'e ondrement, en 1972, des appartements de Pruit-Igoe, qui a marqué, pour Charles Jencks, Colin Rowe et tous les théoriciens à leur suite, l'ère de la post-modernité. Ironie, cruelle (?) de l'histoire, c'est le même architecte, japonais, Yamasaki, qui, à trente ans de distance, a construit ces structures, et aura vu, de son vivant, deux de ses projets phares détruits par explosion volontaire. John Macarthur Looking down with the picturesque: viewpoint and politics from Civilia to Collage City John Macarthur Looking down with the picturesque: viewpoint and politics from Civilia to Collage City Start title slide up Intro The occasion of this paper is an almost forgotten book from 1973, Civilia, conceived by Ivor de Wolfe who contributed much of the text, and extensively illustrated with Kenneth Browne's designs for an imagined city. I vaguely remember borrowing this book in about 1978; I had gone down from the studio to the library looking for the hottest book of the day which I'd heard was something about collage and cities, and I came back with Civilia instead of Colin Rowe and Fred Koetter's Collage City, which must have been out. The smarter students quickly told me of my error-Civilia Civilia was full of collaged pictures that proposed what cities should look like, while Collage City collage city presented largely gure-ground diagrams and aerial photographs where collage was an analogy to what we were learning to call 'urbanism. ' In the last few years I have been writing a book on the picturesque and architecture and I rediscovered Civilia when I realised that it was the last gasp of the picturesque revival in Britain, usually called Townscape, which had been driven by the Architectural Review since the 1940s. Having come at Civilia from the other direction, from a realisation that the picturesque was not, or not only, a naïve taste for visual pleasure; and that Townscape could not be reduced to the hooky faux traditionalism that it has since become; it struck me how little di erence there was between Civilia and Collage City. Or, rather that the signi cant di erence is one of viewpoint. Looking down with the picturesque: viewpoint and politics from Civilia to Collage City William Gilpin, in the 1740's, probably began the fashion of using 'landscape' and 'picturesque' to describe scenes that he saw with his eyes. Humphry Repton began his career as a designer by coining the then paradoxical term 'landscape gardener' in 1786. And in 1794 Sir Uvedale Price proposed that there was a theory of the picturesque which could guide an improver in making 'real' 'landscapes' . Repton slides But did this mean that a contrived landscape could not contain high out looks? In 1770 Thomas Whatley recognised the problem writing: Painting, with all its powers, is still more unequal to some subjects, and can give only a faint, if any, representation of them; but a gardiner is not therefore to reject them; he is not debarred from a view down the sides of a hill, or a prospect where the horizon is lower than the station, because he never saw them in a picture. [Whatley,

В статье рассмотрены концепция света и проблема связи техники и человека через призму модернизма на примерах скульптуры Франции первой трети XX века и автомобильного дизайна французских марок 1930-х: Delahaye, Talbot-Lago и Peugeot. Природа этой связи с идеями модернизма показана в сфере пластики, к которой относятся кузова избранных марок. Статья написана на основании анализа выбранного ряда памятников и произведений с привлечением архивных журнальных статей, трудов крупнейших специалистов изучения модернизма первой трети XX века. Ключевые слова: стримлайн, ар-деко, автомобильный дизайн, концепция света. ⸺ In this article the conception of light and aspect of human-machine connection are analyzed via modernism prism with base on examples of French sculpture and French automotive design of the decades before WWII. The nature of this connection with modernist concepts is revealed in sculptural aspect, as automotive design of selected brands merges with contemporary sculpture. This article is based on the analysis of selected art pieces' row and involvement of archival journal articles, books of renown specialists in the studying of the first third of the XX century modernism.

Το γυμνό ήταν ένα από τα θέματα που προσεγγίστηκαν με τόλμη και σύγχρονο πνεύμα την περίοδο 1920-1940, μία από τις σημαντικότερες της φωτογραφικής αισθητικής. 1 Ιδίως τη δεκαετία 1925-1935, η καλλιτεχνική φωτογράφιση του γυμνού κορυφώνεται τόσο στην Αθήνα όσο και στην επαρχία. Αφετηρία υπήρξαν οι γυμνές φωτογραφίες της Mona Paiva. Χορεύτρια της παρισινής Οpéra Comique έδωσε λίγες παραστάσεις στο Εθνικό Θέατρο τον Οκτώβριο του 1925. Ήταν εποχή όπου παρήλαυναν από το κλεινόν άστυ περισσότερο ή

Comme on peut le lire un peu partout, nous vivons, dans l'ordre chronologique, dans l'ère du «post» et de ses e ets : post-koolhaassien, post-bilbao, post 11 septembre, «post human»... De ce point de vue, comme le montre un livre récent (Terry Smith, The Architecture of Aftermath, University of Chicago Press, 2007), il est quasi évident que l'e o ndrement des Twins Tower fait écho à l'e ondrement, en 1972, des appartements de Pruit-Igoe, qui a marqué, pour Charles Jencks, Colin Rowe et tous les théoriciens à leur suite, l'ère de la post-modernité. Ironie, cruelle (?) de l'histoire, c'est le même architecte, japonais, Yamasaki, qui, à trente ans de distance, a construit ces structures, et aura vu, de son vivant, deux de ses projets phares détruits par explosion volontaire. John Macarthur Looking down with the picturesque: viewpoint and politics from Civilia to Collage City John Macarthur Looking down with the picturesque: viewpoint and politics from Civilia to Collage City Start title slide up Intro The occasion of this paper is an almost forgotten book from 1973, Civilia, conceived by Ivor de Wolfe who contributed much of the text, and extensively illustrated with Kenneth Browne's designs for an imagined city. I vaguely remember borrowing this book in about 1978; I had gone down from the studio to the library looking for the hottest book of the day which I'd heard was something about collage and cities, and I came back with Civilia instead of Colin Rowe and Fred Koetter's Collage City, which must have been out. The smarter students quickly told me of my error-Civilia Civilia was full of collaged pictures that proposed what cities should look like, while Collage City collage city presented largely gure-ground diagrams and aerial photographs where collage was an analogy to what we were learning to call 'urbanism. ' In the last few years I have been writing a book on the picturesque and architecture and I rediscovered Civilia when I realised that it was the last gasp of the picturesque revival in Britain, usually called Townscape, which had been driven by the Architectural Review since the 1940s. Having come at Civilia from the other direction, from a realisation that the picturesque was not, or not only, a naïve taste for visual pleasure; and that Townscape could not be reduced to the hooky faux traditionalism that it has since become; it struck me how little di erence there was between Civilia and Collage City. Or, rather that the signi cant di erence is one of viewpoint. Looking down with the picturesque: viewpoint and politics from Civilia to Collage City William Gilpin, in the 1740's, probably began the fashion of using 'landscape' and 'picturesque' to describe scenes that he saw with his eyes. Humphry Repton began his career as a designer by coining the then paradoxical term 'landscape gardener' in 1786. And in 1794 Sir Uvedale Price proposed that there was a theory of the picturesque which could guide an improver in making 'real' 'landscapes' . Repton slides But did this mean that a contrived landscape could not contain high out looks? In 1770 Thomas Whatley recognised the problem writing: Painting, with all its powers, is still more unequal to some subjects, and can give only a faint, if any, representation of them; but a gardiner is not therefore to reject them; he is not debarred from a view down the sides of a hill, or a prospect where the horizon is lower than the station, because he never saw them in a picture. [Whatley,

This monograph, based on my dissertation of the same name (2014) aims to broadly define the emergence of Art Deco within Serbian architecture, and to characterize the forms of its appearance, stylistic features, distribution and quantitative representation. For this, the book relies on archival, museum, newspaper and photographic materials, as well as documentation held in private collections, along with analyses of unrealized projects and completed buildings. Through a study of the phenomena apparent within Serbian interwar architecture, I shall attempt to synthesize the manner, conditions and reasons for the reception – as well as the later genesis and diffusion – of Art Deco in the context of Serbian architecture. I will try to explain the prevailing denial of its existence in Serbia, proving that this was neither merely incidental nor without deeper significance to Serbian art and culture, and likewise the broader European and global cultural space.
Through a comparative analysis with examples of Art Deco internationally, the book identifies idiosyncrasies, stylistic incoherences, creative individualism and an abundance of motifs that form the basis of a distinct artistic style. I considered it necessary to look at the reception of the Art Deco style in Serbian architecture in parallel with other architectural trends that have been presented in historiographies to date, to define it against them and separate it out from within them, through the identification of peculiarities and recognizable morphologies, before studying their mutual relationships.
Realized edifices served as the key primary sources for this research. The work involved the recording and documenting of objects in Belgrade, Novi Sad, Niš and other cities throughout Serbia. At the same time, I observed buildings in major European cities (including Paris, Madrid, Lisbon, Brussels, Zurich, Geneva, Budapest, Thessaloniki, Prague & Milan) that embody the most significant achievements of the Art Deco style, enabling comparative analyses of Serbian architecture of the interwar period that further enhanced my observations. Alongside the buildings themselves, I also relied on photographic collections, since Serbia’s interwar architectural fund can be considered somewhat endangered, with a certain number of buildings having been damaged during the Second World War and the 1999 NATO bombing campaign, or destroyed or remodelled in either the Socialist era, or – especially – during the past two decades, when demolition, upgrading and unprofessional renovations of facades have been particularly common. At the same time, the research relied upon records of existing and demolished buildings created at the time of their construction, including original projects for buildings and their documentation preserved in the bequests of architects and private collections, as well as materials preserved in archives.
In addition to biographical and work notes, project documentation, realized and unrealized works, conceptual sketches and creative artistic notes, these bequests provided me with invaluable insights into competition briefs, press reports, and also the works of other architects. The need to use authentic sources, both in the research of individual architectural works and for the formulation of a more comprehensive synthesis of an era’s architectural tendencies, indicates the exceptional importance of architects’ bequests; they are real treasure troves of an era’s projects, records of construction works and structures documented immediately after their completion, interiors, events held in the buildings, and of the lives of the designers themselves.
In considering the course of development – as well as the reception – of Art Deco architecture in Serbian art circles, the documentation pertaining to unrealized and generally less historiographically studied works has an equally important role to play as that for extant buildings. Architects’ unrealized project ideas complete our perceptions of an era’s constructional endeavours. They stimulate us to consider the reasons why certain ideas were realized and others were not, and in themselves contain a broader spectrum of creative and artistic ideas that influenced the development of architectural styles. The availability of such material during the research, as well as the time necessary for its thorough study, conditioned the volume of material presented here, as well as its curation, with an emphasis being placed on unpublished or less accessible sources. This book will make such types of primary sources more available to future researchers of Art Deco architecture and construction on the domestic scene in the period between the two world wars.
An important source of material has also proven to be the documentation of the archival funds of the Technical Directorate of the Belgrade City Municipality, held within the Historical Archives of Belgrade, as well as documents from the Archives of Yugoslavia. The composition of the archival fund of the Technical Directorate needs to be interpreted critically, since it does not always provide reliable information about the authors of buildings, due to the fact that architects employed in the civil service could not engage in private practice, and their works were often signed with the names of other designers. A critical approach is also necessary when using autobiographical data left by architects about their works, the validity of which can be distorted due to the time elapsed after the events they describe, or by their own personal storytelling.

The term ‘Art Deco’ was first used by Le Corbusier in writing about the International Exhibition of Modern Decorative and Industrial Arts (Exposition Internationale des Arts Décoratifs et Industriels Modernes) in Paris in 1925. In a series of works published in the magazine L'Esprit nouveau, he used this abbreviation to denote the decorative arts to imply a negative connotation, rather than for the sake of defining a style. The magazine L'Espirit nouveau brought together members of the French avant-garde who embraced Loos’s “modern aristocrat” sensibility; its editors Dadaist poet Paul Dermée, Purist painter Amédée Ozenfant and Charles-Édouard Jeanneret (Le Corbusier) were among those inspired by Loos’s ideas – which were translated into French in 1913 – leading to their publishing of a new translation of the essay Ornament and Crime in 1920.
Adolf Loos (1870–1933), an architect formed in fin de siècle Vienna, resisted the irrational need for decoration, with his ideas forming the basis of one side of what essentially became an extreme polarization of architectural ideas around the issue of the use of facade ornamentation. “Behold, the time is nigh, fulfilment awaits us. Soon the streets of the cities will glow like the white walls of Zion!” Loos formed this view after a trip to Chicago in 1893 and reading Louis Sullivan’s newly published essay “Ornament in Architecture” (1892), which would later influence his famous essay “Ornament and Crime” (Ornament und Verbrechen 1908). While the predominant architectural current followed the enduring historicism of Viennese academics and developed into the new, young decorative idea of the “Vienna Workshop” (Wiener Werkstätte) and Art Nouveau (Sezession), which was embraced by the new mercantile class, Loos wrote that modern ornamentation had no future, due to its acceptance by uneducated and uncultivated people, for whom true values were “a closed book”. “Viennese homeowners were delighted with the idea that they could own a palace and that tenants could live in it.”, wrote Loos in his work Architektur (1910). “[...] the man of today who feels the urge to decorate walls is a criminal or an abomination.”  “The creator of modern ornaments is no longer a strong and healthy artist who speaks for his people, he is a lonely dreamer, backward and sick.”  “Modern man is lonely in our society [...] He pays homage to the ornaments normally produced by eras past. He pays homage to the tastes of individuals and peoples who had not yet reached our level of culture.”  “In epochs with little individuality, our great-grandfathers expressed their originality with their clothing. We have become much more sophisticated. We no longer expose our personality; we cover it up with the common mask of a modern suit.”
Abstract in their avant-garde rationality and far removed from the escapist glamour to which post-First World War clientele aspired, the ideas of Loos and Le Corbusier can be seen as having been socially conscious and engaged. Accepted by idealists and intellectuals – a rarity outside of the largest urban centres – the idea of unornamented functional architecture would only take hold on a large scale after the Second World War, a fact that would have an impact on historiographical interpretations. Destruction, suffering and devastation completely turned the familial value system – and thus the entire social system – on its head. The rights of workers and women, new economic aspirations and the relegation of the former maintainers of social order, the alleviation of poverty, and the necessity of quickly raising a new roof over people’s heads, all rendered the principles of artistic production based on a joie de vivre completely meaningless, and brought a social component to the fore. An aspiration towards functionality in the sense of a new contemporary understanding of life, the blinkered conception of architecture as a socially and economically justified pursuit, accompanied by a complete distancing from a strive for emphasized individualism, stood as a polar opposite value system to the uniqueness, creative extravagance and prestigious luxury that is found in Art Deco.

As an architectural phenomenon, Art Deco entered the focus of historiography in 1966, on the occasion of the first retrospective of the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 192...

The article is devoted to the visual image of Moscow in the film The Master and Margarita (2024), directed by M. Lokshin and based on M. Bulgakov’s novel of the same name. The analysis focuses on the architectural images of the real and project-level buildings depicted in the film, their relationship to the socio-cultural context of the novel, the real Moscow of the 1930s, and the imaginary pre-war Stalin’s Moscow. The text contains references to films that actively used the image of the pre-war Moscow architectural utopia and various literary and architectural allusions related to the director’s view of the plots and images of the source novel. / Статья посвящена визуальному образу Москвы в фильме «Мастер и Маргарита» (2024), снятом режиссером М. Локшиным по мотивам одноименного романа М. Булгакова. Анализ фокусируется на архитектурных образах, реально существующих и оставшихся на уровне проектов зданий, изображенных в киноленте, их связи с социокультурным контекстом романа, реальной Москвы 1930-х, а также воображаемой довоенной «сталинской» Москвы. В тексте приведены ссылки на киноленты, активно использовавшие образ довоенной московской архитектурной утопии, различные литературные и архитектурные аллюзии, связанные с авторским взглядом режиссера на сюжеты и образы романа-первоисточника.

En Algérie, l'Art Nouveau est mixé à d'autres styles d'époque d'où une présence beaucoup plus éclectique qu'authentique et singulière en soi. Certains fragments des constructions sont du style Art Nouveau et viennent s'adosser ou s'additionner aux parties préexistantes, comme elles peuvent y être associés dès les premières conceptions. A Alger, l'Art Nouveau est adopté, au début du 20 ème siècle, par l'entreprise des frères Tossut pour la décoration en mosaïque. Cette dernière a été employée dans les intérieurs d'immeubles conçus par les architectes Henri Petit et Georges Vautrin ainsi que certains panneaux extérieurs. De surcroît, ces modèles utilisés ont servi d'ornements standardisés, de style Art nouveau, diffusés aussi dans des villes comme Oran, Annaba et même Paris sous la forme de catalogues. Ces derniers permettaient aux architectes d'en choisir certains pour décorer leurs édifices. Ainsi, les sols et les murs des halls d'entrée de plusieurs immeubles du centre-ville d'Alger ont été décorés par cette entreprise avec des dessins de style Art nouveau. Ces dessins attestent le recours aux lignes courbes et ondulées se référant aux figures aussi bien végétales qu'animalières. Ainsi, les sols et les murs des halls d'entrée de plusieurs immeubles du centre-ville d'Alger ont été décorés par cette entreprise avec des dessins de style Art nouveau. Ces dessins attestent le recours aux lignes courbes et ondulées se référant aux figures aussi bien végétales qu'animalières. La ligne du 'Coup de fouet' formée par des bandes noires également rencontrées dans les immeubles parisiens de style Art nouveau (Immeuble à Alger). Ainsi, les sols et les murs des halls d'entrée de plusieurs immeubles du centre-ville d'Alger ont été décorés par cette entreprise avec des dessins de style Art nouveau. Ces dessins attestent le recours aux lignes courbes et ondulées se référant aux figures aussi bien végétales qu'animalières. La ligne du 'Coup de fouet' formée par des bandes noires également rencontrées dans les immeubles parisiens de style Art nouveau (Hôtel Guimard à Paris).

The article explores Jewish art education in interwar Lithuania and analyzes the differences between Jewish and Lithuanian art education, reconstructs the biographies and fates of Jewish students of the Kaunas School of Art, and identifies the goals and aspirations of their studies. The research answers the following questions: what kind of artistic education did interwar Lithuanian Jewish artists receive? Did the artistic education of Jewish artists differ from that of Lithuanians? How many Jewish artists studied at the Kaunas School of Art? What were the main motives of young Jews to study at the Kaunas School of Art? What are the fates of these young people? Answers to these questions were sought in Lithuanian and foreign archives and museums, as well as in the interwar Lithuanian press in Lithuanian, Russian, and Yiddish languages.

У краткој историји удружења Зрењанинска иницијатива – Наш град (скр. ЗИНГ) период од 2000. до 2001. године представља период у ком је оно било најактивније и у ком је успело да се избори за поштовање гласа струке приликом доношења важних одлука у урбаном планирању Зрењанина. У то време, ЗИНГ је организовао неколико запажених акција и јавних трибина на којима се расправљало о горућим питањима из области екологије и урбанизма, из чега су се напослетку изродиле две иницијативе које ће бити реализоване у наредном периоду: расписивање урбанистич- ко-архитектонског конкурса за решење ширег подручја централне градске зоне и оснивање регионалног завода за заштиту споменика културе са надлежношћу за Град Зрењанин и пет општина Средњобанатског управног округа (Зрењанин, Житиште, Сечањ, Нови Бечеј и Нова Црња).