Eclectic Style Research Articles

The Southern Chinese Eclectic Style Wall Floral Ornamentation of Sun Yat Sen Mainsion, George Town, Penang

The Sun Yat Sen Mansion, located in the Armenian Street historic district of George Town, Penang, is a shophouse that has been meticulously transformed into a Peranakan private museum. The building has its own history, which stems from Dr. Sun Yat Sen's involvement with the Chinese revolutionary movement. Despite the fact that Sun Yat Sen is regarded as one of the greatest leaders in contemporary China, his political career was marked by continual conflict and repeated exile. Sun Yat Sen Mansion is one example of an architectural heritage building with beautiful ornamentations of Straits Settlement shophouses. Shophouses and townhouses are listed under UNESCO as a World Heritage Site, possess unique architectural and cultural characteristics. The building is influenced by the Southern Chinese Eclectic Style (1840s–1900s), where Chinese masons contributed their methods and supplies. Additionally, ornamental details and ventilation holes have been added. Ornamentation such as floral and fauna has been applied to this building's facade to create eye-catching colours, making for an appreciative sight in these buildings with their own philosophy. Peranakan shophouses with beautiful wall floral ornamentation can be found in Malaysia, Indonesia, Singapore, and Thailand; however, there is still no documentation based on the philosophy of wall floral ornamentation as references. This paper investigates the floral ornamentation wall motif in façade design and analyses the philosophy of the floral ornamentation on the Sun Yat Sen Mansion. This building has interesting ornamentation that will influence the Southern Chinese eclectic style philosophy. Through the utilization of the Sun Yat Sen Museum as a case study, this inquiry employs a qualitative research methodology to gather data and comprehend wall floral ornamentations that influence the eclectic southern Chinese style. Based on this research, the findings provide an understanding of the philosophy of wall floral ornamentation influences that govern the design of architectural characteristics and façade design on Sun Yat Sen Mansion.

Eastern arcade wall-hangings from the collection of the National Museum in Kielce

The collection of the National Museum in Kielce includes a pair of silk arcade wall-hangings, the origin of which should be linked with silk workshops in the Ottoman Empire. These fabrics have parallel artefacts in the Polishmuseum and church collections, and the vast majority of them are traditionally regarded as trophies from the relief of Vienna, which, however, is not confirmed in the sources. In the literature to date they have been referred to originating from Persia, Turkey and even Cairo, and dated to the seventeenth century. The high quality of the Kielce fabrics and their unique, eclectic style, in which Oriental details coexist with European ones, allow us to attribute their authorship to Greek silk workshops located, among others, on the island of Chios. Eastern fabrics entered the Commonwealth of Poland and Lithuania which had been under the influence of Middle Eastern culture since the fifteenth century, especially strongly in the seventeenth century in huge quantities, not only as war spoils or diplomatic gifts, but above all as an object of well-organised trade in which energetic Armenian merchants played a major role.

The Mansion at Mouzinho da Silveira Street, in Lisbon, Portugal

The present article is about the history of a house, more precisely the Mansion at no. 5, Mouzinho da Silveira Street, Lisbon (Portugal), which was once the residence of Amélia Leite Ferreira, a wealthy lady from the upper bourgeoisie. The house was constructed at the end of the nineteenth century, in the Barata Salgueiro Neighborhood, a place that was at that time being urbanized. It was designed in a late nineteenth century eclectic style, but was modified over time, mainly in the interior, to be repurposed as headquarters of the Portuguese Wine and Vineyard Institute. Besides trying to know who Amelia Leite Ferreira was, the questions that we wish to address in this article are precisely how is this building a significant example of the small palaces or mansions that were erected for the bourgeoisie in the newly urbanized areas of Lisbon? Being a house of a rich widow woman, does this have influence in the architecture of the house and its interior decoration? Is this mansion style typical of Portuguese and Lisbon architecture or does this typology can be found in other cities in the same period? Finally, how did the occupation by a public institution affected its architecture? As we will see, this house architecture is mainly typical of the Belle Époque, but the influence of the owner was important for its design, furniture, and decoration. We will also realize that, even though the house is still very similar to its original construction, the transformation from a residence to an institution had impact, especially in its internal structure.

Vocal Improvisation in Rock Music

The purpose of the paper is to highlight the peculiarities of vocal improvisation in rock music. The historical and theoretical aspects of the research problem are characterised, the works of famous rock singers whose vocal improvisation has become an integral part of their musical activity are analysed. Research methodology. To achieve this goal, a set of methods was used, namely: general scientific methods – analysis, synthesis, generalisation, systematisation – were used to develop the problem; specific scientific methods: historical-genetic and retrospective analysis, which clarified the formation and development of rock music; comparative and contrastive analysis, which was used to outline vocal improvisation in rock music; biographical method, which was used to analyse vocal improvisation in the activities of famous rock singers. The scientific novelty lies in the fact that for the first time the features of vocal improvisation in rock music are presented. Conclusions. The article focuses on the concept of “vocal improvisation” (the process of creating music with the voice without pre-prepared musical or textual materials), reveals its essential aspects in rock music, which are hidden in a special tension, energy, emotional load, melody, smooth transitions between notes, the use of a rough voice, special effects such as echo, reverb, vocal filters. The features of vocal improvisation are analysed on the example of the works of Freddie Mercury (rock band “Queen”), Robert Plant (rock band “Led Zeppelin”), Steven Tyler (rock band “Aerosmith”). It has been found that a wide vocal range, the use of high notes, spontaneous vocal phrases and sounds are characteristic of Freddie Mercury (“Bohemian Rhapsody”, “Galileo”, “Someone to Love”). Whereas strong, expressive vocals and the ability to vary vocal riffs characterize Robert Plant (“Whole Lotta Love”, “Dazed and Confused”, “Black Dog”) and Steven Tyler (“Dream”, “Sweet Emotions”, “Mama Kin”). The focus is on vocal improvisation in rock music of the early XXI century, which is characterized by eclectic styles, the use of technology, and variations in lyrics. Keywords: vocals, improvisation, music, rock, vocal improvisation, rock music, rock band.

Beyond the appearance. Overwritten heritage communication

The knowledge of an urban space does not end with the collection of superficial information but requires a two-way relationship between subject and object. We are talking about an active process in which man has the opportunity to interact; man is the protagonist of an urban experience that leads him to formalize an image in his mind. If we think about the whole process, the goal is based on a research process, systematization of existing and new data, and, therefore, of all the analyses and studies carried out so far to access a deep knowledge capable of achieving the standardization of the acquisition process. It is intended to establish a codification of data (e.g., texts, bibliographies, maps, drawings, traditional and massive surveys, virtual reconstructions, etc.) in order to create a virtual environment (digital library) of heterogeneous digital models of cultural heritage, from large to small scale, but also of intangible data. From this paper’s specific point of view, this research presents a pilot experience that consists of structuring a protocol for documenting the eclectic historical heritage of the city of São Carlos, located in the State of São Paulo, Brazil. In addition to developing the protocol, this research also proposes that its results can be accessed digitally and democratically by society. Thus, it is emphasized that this work is the beginning of a process that does not end in this article, but rather, it will serve for the consolidation and systematization of data with the municipal institutions of São Carlos in order to value the eclectic style, which for many years was placed on the fringes of architectural studies in schools in the country.

Fashion: An essential factor influencing the development of 19th to 20th centuries Peranakan decorative motifs

Peranakan, also called Baba Nyonya, are often defined by anthropologists as the offspring of Chinese fathers (from the 15th Century Ming marine trade expeditions) and local Malay mothers. The Eclectic style of Peranakan culture is a precious example of cross-cultural integration between countries, which reached its peak in the 19th and 20th centuries. The culture of Peranakan permeates all aspects of life, such as language, religion, food style, social rituals, architecture and material culture, and in many of these aspects, there is the use of decorative motifs. The hybrid identity of the Peranakan has long been recognized as an essential factor influencing the development of Peranakan decoration. However, under the influence of the booming trade in Eurasia, fashion also gradually became an important factor influencing the development of native Chinese decorative motifs in the 19th and 20th centuries. As the research is drawn from the past, this study employs the logic and methodology of comparative historical research. By comparing the different responses of European, local Southeast Asian, Chinese, and Peranakan decorative patterns to the Chinoiserie fashion event, it is determined that fashion has influenced the development of native Chinese decorative patterns. The interpretation is based on Simmel’s philosophy of fashion.

Parliamentary Dress

Parliamentary Dress

Rebirth public creativity and reconciliation conflict towards mural in Solo, Indonesia (iconography-iconology analysis)

Murals recently gained popularity in Indonesia due to the case of mural bombardment in several regions in 2021 related to the effect of the covid-19 outbreak. There were a lot of murals and graffiti that criticized the President and the government in Jakarta and Surabaya. However, murals in Solo, especially on Gatot Subroto (Gatsu) street, tend to illustrate the picture of happiness rather than critics to others. Hence, people believe these murals have an impact on tourism in Solo. This case makes murals suddenly become popular, and as a consequence, people are curious about the function of the murals. This research focuses on the meaning of murals in Solo, which is different from other cities in Indonesia by using a qualitative methodology. For collecting the data, we conducted interviews, observation, documentation, and literature. Then, for data analysis, we used the Iconography-Iconology method from Erwin Panofsky which is divided into three steps such as pre-iconography, iconography analysis, and iconology interpretation. This research provides three meanings of Gatsu’s murals that consist of the styles, theme, and intrinsic meaning: (1) the actual meaning is that Gatsu’s murals use the eclectic style; (2) the conceptual meaning is a peaceful and positive theme which is caused by the reason that Gatsu used to be the center of the artwork; (3) the intrinsic meaning is to reborn creativity which tends to reactivate the creative mood in the city. In addition, it is an endeavor to resolve the dispute in Solo, particularly at Gatsu street, which has been traumatized by several conflicts (the G30SPKI incident, the central java riot, the revolution, and the national awakening party) that happened in the past.

Islamic Style” Secular Architecture in Egypt: 6th October and Al-Shaikh Zayid as Case Studies

This paper is a sequel to a study paper which discussed the “Islamic Style”architecture in Egypt using the buildings of 6th October and Zayid cities as casestudies. The first study analyzed the residential examples. In this paper the nonresidential secular buildings were analyzed, while the religious buildings will bethe topic of a third forthcoming study. The secular non-residential buildings foundwere a very small number (twelve only) and have been categorized into commercial,public and educational. No one dominant or clear Islamic style has been noted, andout of seven contemporary styles of architecture we know of only three were notedin our case studies: eclectic (two), neo-Islamic (three) and the dominating ModernSimplified Islamic (seven), yet we find great variations in each style and noconsensus on the vocabulary used or details. The study suggests four reasons forusing the Islamic styles in those types: expected patron/owners’ image, designintent, need for differentiation, nostalgia and creating a marketable image. It is alsonoted that in all of the examples recorded with one exception, the Islamic styles orprinciples were limited to the facades but were not reflected in the layout. Only oneexample echoed an Islamic urban pattern for its layout in addition to its façadedetailing. The situation can be described as chaotic fraught with eclectic styles, withborrowings and re-interpretations of details from different eras and countries, withno clear dominant “style” emerging or even beginning to evolve. No specific styleor detail dominated. This eclecticism and chaos is most probably a reflection of thelack of familiarity of the historical styles by the designers, with exceptions of somesuccessful interpretations. Once again, our analysis shows that the lack of identity and style in contemporary Egyptian architecture continues in the secular examples,with no Contemporary Egyptian style of architecture, Islamic or otherwise,emerging or forthcoming.

Northern Nigerian intellectuals, Sudan, and the “eclectic style” in contemporary Islamic thought

AbstractThis article examines two northern Nigerian Muslim intellectuals – Aminu Sagagi and Sanusi Lamido Sanusi (enthroned as Emir Muhammadu Sanusi II of Kano, 2014–20) – whose approaches, in different ways, exemplify a self-consciously eclectic Islamic intellectual style. Their eclecticism breaks with categories familiar from the study of Islam in Africa and Nigeria, categories such as Sufis, Salafis and Islamists. The eclecticist style – or rather, styles – draw on northern Nigerian Islamic modernist traditions, the curriculum and atmosphere of Sudan’s International University of Africa (where both of these Nigerian intellectuals received degrees), and a wider set of global influences. Given their diverse intellectual formation, the eclecticists’ writings and careers allow for an examination of the translocal exchanges that have shaped what is sometimes perceived as a self-contained unit called ‘northern Nigeria’. The article further explores how the eclecticist style manifests in legal and political thought, analysing the critiques that Sagagi and Sanusi made of sharīʿa implementation in northern Nigerian states in the early 2000s. The article draws on Nigerian and Sudanese sources, as well as unpublished and published writings by Sagagi and Sanusi, to describe their intellectual trajectories and outlooks and offer a portrait of the eclecticist style.

A contribution to Paulo Freire’s theory and practice: The ‘Cultural Extension Service/University of Recife’ (1962–64)

This contribution to the special issue is an historical account of Paulo Freire’s pedagogical and administrative praxis before his forced exile in 1964. It relies on interviews collected during a field trip in 1976, a conversation with Paulo Freire in Geneva one year later and on the secondary literature up to date. Being the head of the first Extension Service of a major Brazilian university in the early 1960s gave Freire and his collaborators the space and time to experiment with the today world famous literacy method bearing his name. The concept of ‘Field of Cultural Production’ (Bourdieu) is used to elucidate better Freire and his team’s avant-gardist production within the spaces opened up by Brazil’s popular movements in the early sixties. The contribution shows how the ‘Paulo Freire System’ developed in the praxis of a cultural movement and received its academic consecration in an incremental and eclectic style.

Мавританські мотиви у творчості академіка архітектури О. М. Бекетова

In the 18th – early 19th century, in the architecture of Europe, the fashion for Orientalism began to appear, but this process started to gain real strength in the second half of the 19th century during the spread of the so-called neo-styles. The certain creative tribute to the enthusiasm for oriental motives was given by the most famous Kharkiv architect – academician of architecture O. M. Beketov. In 1895–1910 he designed and built on his yard space in the village of Profesorskyi Kutochok (now a district of the Crimean city of Alushta) the complex of summer cottages by the sea in the eclectic style, but with the clear preference for the architectural forms of the oriental look. The center of its composition was the two-storey six-room manor house with the asymmetrical balcony (oriental-type veranda), open terrace, two loggias and compact interior plan system. In the same spirit, for his brother-in-law D. O. Alchevskyi, the artist made the project of the two-storey city mansion with the corridor-suite plan system, which was built in 1896–1897 in Kharkiv on Sadovo-Kulikivska Str., 7 (now Darvina Str., 13). Based on the historical and art history analysis, it can be confidently asserted that the buildings of O. M. Beketov’s dacha in Alushta and the city mansion of D. O. Alchevskyi in Kharkiv were built together using the techniques and forms of Moorish architecture of the 8th–13th centuries and Crimean Tatar architecture of the 14th–18th centuries. It is important that in the process of their design and construction, O. M. Beketov was able to create graceful, charming, almost fabulous architectural images in the best traditions of Morisca. The author creatively applied the plasticity of the architectural elements of the Alhambra Palace in Granada, Spain, the Giralda minaret in Seville, the Palacio de Pena in Sintra, Portugal, which bizarrely and, at the same time, organically harmonized with Iraqi, Crimean Tatar and purely European architectural forms. In addition, in his creations, O. M. Beketov significantly strengthened the eclecticism characteristic of Moorish architecture with elements of Art Nouveau, only adding modernity and extraordinary expressiveness to the architectural image of houses. The design and construction of these buildings for their time was carried out at the highest level, which makes it possible to confidently include them in the circle of the best old mansions of Alushta and Kharkiv. In addition, O. M. Beketov’s dacha is one of the important architectural dominants of Profesorskyi Kutochok, and D. O. Alchevskyi’s mansion, from the urban planning point of view, very successfully closes the perspective of Kulykovskyi Descent in Kharkiv. Both buildings are monuments of architecture, perform weighty urban planning functions, and need protection and periodic restoration.

The Living Space of the Kazan Tatars as a Unique Phenomenon at the Turn of the 19-20 Centuries

The article considers the living space of Kazan as a unique phenomenon in the history of Tatar culture. The structural consistency of all the elements that can be united in a single ensemble, organically combining a utilitarian and spiritual function are the main feature. All elements of the estate complex are considered from the perspective of a general ideological concept. The period of development of Kazan Tatars housing at the turn of the XIX - beginning of XX centuries is covered. Separate ownership with a complex of buildings for residential and household purposes is considered, this period of development of the city coincides with the replacement of classic style by various eclectic styles. Beginning in 1917, the social revolution turned the history of architecture in a different direction, so this work was decided to limit this research range. The same time frame is limited to the main fund of preserved historical documents on the history of Tatar settlements.
 The nature and resources, the development of the region, the practical skills of the owner, his interests and spiritual needs, traditions in the family and in the region - these qualitative characteristics played a decisive role in the development and transformation of the living space of the Tatars. The identity of each apartment building was determined by a whole range of conditions, a new vision of the living environment in connection with the surrounding nature was established. The owner of the house sought to realize idea of ​​the perfect arrangement of the world in his small surrounding area, as well as in rituals and rules of conduct, ways of spending time and doing activities, the way of haking care the household, where all the elements of the arrangement obeyed the plan of the apartment building, they thought carefully over and the consequence was that there was nothing accidental. Connection, unity in the awareness of nature, social principles and religious beliefs are the main feature and uniqueness of the entire national Tatar way, spirituality, mentality. Inimitable and unique national Tatar space of a residential building can be considered the material form of this association.

Malacca's “Straits Chinese traditional courtyard eclectic style shophouses”: facades' architectural design elements through place identity

PurposeThe traditional courtyard shophouses modifications, alterations and deterioration over the years have become a source of concern to major stakeholders. In George Town World Heritage Site Malaysia, studies have shown that the worst hit among its various shophouses are the Straits Chinese traditional courtyard eclectic style shophouses. This paper investigates the traditional courtyard shophouses concerning the role of architectural formation design components, and how this can sustain the place identity of the Straits Chinese typology.Design/methodology/approachThe methodological approach regards the collection of data and analysis of 30 face-to-face interviews and the observation of Lots number 3, 5 and 7, located along Lorong Ikan, George Town World Heritage Site.FindingsIt was found that these Lots express the place identity of the Straits Chinese, and its major exterior architecture components to be observed are the column head (Chi Tou) capital, parapet wall, bressummer beam and ionic column, and gable and gable ends.Research limitations/implicationsThis paper is limited to the role of architectural formation design components. Future research is needed to expand the scope of participant elements via a quantitative approach. This will enhance the validation of findings from this paper.Practical implicationsIt is recommended the use of the proposed checklist to enhance the sustainability of the architectural components regarding the place identity of these styles of shophouses, which provides salutary lessons on how to preserve the heritage buildings. Also, major stakeholders with leading evidence from relevant government agencies should ensure the preservation of these cultural and heritage buildings for the next generation.Social implicationsThis paper found that the family beliefs and social impact were the components that express the place identity of the Straits Chinese.Originality/valueThis paper demonstrates that the role of architectural formation design components regarding place identity of Straits Chinese traditional courtyard eclectic style shophouses cannot be over-emphasised.

Remembering the Indian Mutiny: Colonial nostalgia in Zadie Smith’s White Teeth

ABSTRACT Discussions of Zadie Smith’s 2000 novel White Teeth have often focused on the novel as an example of optimistic multiculturalism, seeing both the eclectic style and characters as representative of a modern, diverse London. This article moves away from this reading of the text and instead takes a historical approach that draws on concepts of nostalgia and memory. Specifically, it examines how the novel’s discussion of Mangal Pande, supposed instigator of the 1857 Indian Rebellion, allows the South Asian characters to reckon with their complex relationship with British colonial violence. By exploring a figure of colonial resistance alongside a narrative of modern-day Britain, Smith shows that memories of the British Empire are still embedded in the everyday lives of British South Asians, and consequently act as both a help and a hindrance to anti-racism activism and the possibilities of successful multiculturalism.

AN ECLECTIC TREND IN PRODUCTS OF JOZEPH MARSHAK'S JEWELRY FACTORY ON EXAMPLE OF A SILVER TEA AND COFFEE SET, EXIBITED AT THE ALL-RUSSIAN EXIBITION IN KIEV IN 1913

The subject of research is the legacy of Joseph Abramovich Marshak – famous Kiev jeweler and owner of a jewelry enterprise, whose period of activity covers 1878–1918. Among the large number of jewelry made during the forty years of the factory's operation, it should be noted products that correspond to the stylistic trends of the era of historicism, in particular, the silver tea and coffee set, exhibited at the All-Russian Exhibition in Kiev in 1913. The main task of this work is to investigate artful language of eclecticism, expressiveness of which allowed artists of J. Marshak's era to combine decorative heritage and semantic interpretation from Antiquity to beginning of the 20th century. Methodology of this work is based on general scientific principles of historicism and an art history approach. They were realized through the use of following general scientific research methods: otnological, hermeneutic, semiotic, cultural, cross-cultural, iconographic, typologization and art history analysis. Scope of results application outlines teaching activities in specialized educational institutions in formation of plans for art and cultural disciplines, jewelry attribution by Kiev jewelers of marked period, writing scientific and popular scientific works, reference books, encyclopedias, textbooks. Main conclusion: features of jewelry artistic language, which were presented in the tea and coffee set, produced in eclectic style at the Joseph Marshak's factory are revealed. Importance of active exhibition activity and its connection with improvement of stylistic solutions in the jewelry production is displayed. It has been established that eclecticism was given priority in comparison with other stylistic directions at the basis of creative developments at J. Marshak's factory.Key words: jewelry, eclecticism, Joseph Marshak, late 19th – early 20th century.

Direct Line with the Monuments of the City. Case Study: Casa Bianca-Municipal Gallery of Thessaloniki. A Museum Pedagogy Approach

The villas of Thessaloniki, examples of eclecticism, are architectural “wonders” situated in eastern Thessaloniki, in the district of “Exoches” or “Pyrgoi”, as it was called in the middle of the 19th century and the beginning of the 20th century. Casa Bianca is well known to the people of Thessaloniki, not only for its unique architecture, which is impressive since it creates an aesthetically pleasing result, but also for the story of romance that unfolded inside it. Casa Bianca shifted between various owners and uses. Starting as a house that was given as a wedding present to the newlywed couple Diaz, it was later used as a school, while today it is occupied by the Municipal Gallery of Thessaloniki. The present study aims to approach Casa Bianca, from the point of museum pedagogy with references to the factual history and the history of Art. That can be accomplished by designing an educational program which aims to introduce the young and the elder to the building, to its architecture as well as the choice of its eclectic style by the architect Pietro Arrigoni, the importance of this style in Thessaloniki of that period, the multicultural characteristics and its connection to the composition of the population of that time, the story of romance that monopolized the press at the time, the choice of architect and the various uses of the building up to this day. The educational program designed for Casa Bianca is in sync with the requirements of our time and for this reason it was decided that it would be designed and implemented online (distance learning), i.e. via computer. The website, that was designed exclusively for the Casa Bianca educational program, with the use of various types of media such as text, image, video and interactive games, seeks to stimulate the imagination and curiosity of users and to offer the maximum possible information through an experiential teaching approach and also through active learning.

СТИЛИСТИЧЕСКИЕ ОСОБЕННОСТИ ЕВРОПЕЙСКОЙ АРХИТЕКТУРЫ БАНКОВСКИХ УЧРЕЖДЕНИЙ Г. ГУАНЧЖОУ КОНЦА XIX – НАЧАЛА XX В. НА ПРИМЕРЕ О. ШАМЯНЬ

The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yokogama Specie Bank; The E.D.Sassoon & Co.Ltd. и D. Sassoon Sons Co. Ltd; Bank of Indochina; China & France Industry Bank. A composite and stylistic analysis was conducted, an iconographic description of the buildings of the main banks located within the boundaries of the former European concessions on Shamyan Island is given The study reveals the general principles of the development of the architecture of banking institutions in Guangzhou. The materials and results of the research carried out by the authors of this article allowed us to formulate the following conclusions: 1. The territorial isolation of the Shamyan island from the Chinese part of Guangzhou, as well as the operation within the concessions of British and French laws, contributed to the fact that the development of the architectural ensemble of the island as a whole was carried out in line with the advanced West European architectural and urban trends. 2. Most of the banking buildings here are built in the eclectic style with the predominance of neoclassicism features, of course, this fact is connected with the desire of the owners of bank corporations to demonstrate to the clients and competitors the financial strength of their organizations. 3. In the architecture of the considered banking institutions there is an active use of tectonics and elements of the order system, colonnades, arcades, the allocation of the first floor in the form of a rustic plinth. The motifs of Renaissance architecture, Baroque and Art Nouveau are also traced. 4. The formation of the appearance of banking buildings in Shamyan was strongly influenced by local conditions. The hot and humid subtropical climate of the south of China contributed to the spread in the architecture of the structures of this type of order colonnades, forming deep open verandas, as well as the use of X-shaped creaks-elements to ensure the natural ventilation of buildings, which, in addition, became an expressive element of the facade decoration

ПАМЯТНИКИ АРХИТЕКТУРНОГО НАСЛЕДИЯ РОССИИ: ОПЫТ ТИПОЛОГИЧЕСКОЙ КЛАССИФИКАЦИИ

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.

Modern Mosque Architecture in Relation to Conservative Attitude’s Aesthetic Problematic

Bu makalede dini yaşamın merkezinde yer alan, ritüellerin gerçekleştirildiği ve güçlü bir temsile sahip cami mimarisinde yakın dönemde ortaya çıkan gelişmeler ve bunları etkileyen faktörler, incelenen yapılar üzerinden irdelenmiştir. Yapılara etki eden faktörler Modernizm, Eklektizm ve Mimesis’tir. Bu üç etkenden sonra yapıların gerçekleştirilmesi sürecine ve mimari gelişimine etki eden sosyo-siyasal, ekonomik ve psikolojik unsurlar birlikte irdelenmiştir. Bu çalışmada ele alınan yapılar belirli bir perspektifle gruplandırılmış, yapıların birbiri ile kesişen ve ayrışan özellikleri ele alınmıştır. Yapıların gerçekleştirilmesi sürecinde hemen hepsinin ortak bir düşünce zemininden etkilendiği anlaşılmaktadır. Bu, dini ritüellerin gerçekleştirilmesi için gerekli zemini yaratmayı amaçlayan düşüncedir. Ancak bu dönemde gerçekleştirilen yapılar işlevselliğinin ötesinde düşünsel olarak belirli bir amaca yönelen, böylece belirli bir perspektifte ele alınan simgeler olarak karşımıza çıkmaktadır. Modern mimarinin baz alındığı yapılarda sanatçı mimar kimliğin öne çıktığı, modern ve klasik mimarinin birlikte baz alındığı (eklektik) yapılarda çağdaş muhafazakâr bunalım olarak tabir ettiğimiz sorunsalların öne çıktığı, klasik mimarinin baz alındığı yapılarda ise siyasal tarihimizin belirli bir dönemine ait (1700-2000) siyasal ve mimari dönüşümlerin adeta görmezden gelinmesinin belirleyici olduğu geleneksel mimari uygulamaların öne çıktığı görülmektedir.