Abstract
The article discusses the methods of organising monumental and decorative synthesis in the fi eld of metal decor in the architecture of Leningrad. At the level of empirical analysis, the types and forms of works of individually authored and artistic industrial metal are established. The developed structural matrix of the relationship of these forms and their stylistic interpretations makes it possible to attribute this structure to a fl exible style that directly determines the qualities of an urban ensemble. Using the example of enclosing forms and fi nials, it is shown how the Leningrad style was formed, and its architectural and artistic features are highlighted.
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