Suchergebnisse

The history of the "united Europe" idea has come to the fore in the context of the European Union's obvious pull to the East. Today, public interest is not limited to the history of the political and economic integration of European countries—it goes much further, to the development of cultural integration zones inside the European home. The past of the European continent suggests that they practically coincide with the political and economic forms of European integration. This article covers the history of monumental architectural styles of Western and Eastern Europe and compares them with various forms of European unity.

Aceh, an Indonesian province on the northern tip of Sumatra Island, has unique urban and rural environments and a rich cultural tradition. Aceh is the region into which Islam is believed to have entered Indonesia in the twelfth century and from which it is believed to have spread not only throughout Indonesia but also to Southeast Asia. Concerning this, Aceh's ties with Islam have a long and rich history. The study aims to examine the development of mosque in Aceh from precolonial to post colonial times. The methodology of this study is a qualitatif descriptive. The collected data is analized through library research and field observations. In doing this, the study shows that crossed cultural issues, social mix as well as political aspects have some impacts on the representation of Mosques in Aceh.

The article analyzes the Bosnian style in architecture by reflecting upon the phenomenon of the national architectural style, its role in the construction of national identity, political and ideological instrumentalization. The issue of the relationship betwee tradition and modernity and the position of architectural heritage in the contemporary context arises. Interpretative framework of the specificity of the national architectural idiom also includes a discursive view of the relationship between the periphery and the center. Through a comparative analysis of national styles in architecture of the Balkan countries such as Bosnia and Herzegovina, Turkey, Croatia and Serbia, their character, distinction and mutual connections are defined. The Bosnian-style in architecture is viewed in its development as an architectural idiom of the national origin, but also as an authentic stylistic determinant created in the process of a creative research of architectural heritage that will ultimately result in new spatial-design and aesthetic values consistent with modernist architectural concepts. In this sense, the position of the Bosnian style as a national style in the history of European modernism is questioned, its connection with the aesthetics of modernism based on the principles of reducing excessive decorativeness, formative purism and functionalism.

The article deals with the identification of terms that define the style of the Main Building of the Taras Shevchenko National University of Kyiv in
domestic and foreign scientific literature, for their further use in the search for architectural analogues for the purposes of landscape design. Since the development of classics in architecture is characterized by heterogeneity in different countries and at different times, the study is based on an analysis of the periodization systems of development of the classical style adopted within domestic and foreign scientific schools. At the first stage, the article describes the domestic scientific system of periodization and shows that a simple chronological definition of the style of the Red Building does not provide the correct result. Therefore, an analysis was made with a comparison of the architectural image of the main building of the University and other classical buildings for which the style is precisely identified. Such an approach made it possible to establish the belonging of the Red Building to the number of architectural objects, the style of which corresponds to strict classicism. At the second stage, the domestic periodization system is compared with its Western counterparts. This allowed us to identify a group of terms used in foreign scientific schools, in particular in Germany and England, for identifying structures with stylistic signs of strict classicism. Thereafter it was analyzed the similarities and fundamental differences in the names of the period of development of foreign classical architecture, corresponding to strict classicism in the domestic architecture. There was demonstrated both the similarity of the terms of the national school with the terms used to refer to strict classicism in Germany and terminological differences in the domestic and English-language literature. In addition it was considered several foreign
analogs of the term "strict classicism", which have received wide scientific scattering, but not included in the generally accepted periodization systems of the development of classical architecture .

This research presents a theoretical study, which reflects the importance, possibilities, and character of stylistics observed in some periods of time and manifested in objects and interior elements in public or private architectural spaces in Moldova. The author reflects on the role of research by observing and exploiting the stylistic interference of other cultures and nations, the creations of representatives in the field, and by forming a complex picture of the Moldovan interior space. The influence of stylistic elements on the interior space in different periods of time is elucidated, observed, and implemented in the residential or non-residential space through form and constructive materials, interior design, organization and zoning, furniture, stylistic detailing, but also through visual arts in painting and graphics, real historical portraits, landscape paintings, interiors from different localities and periods of time, demonstrating the undeniable richness of the cultural heritage of the Republic of Moldova, but also the need for research and exploitation of the national treasure.

The article deals with the essence and genesis of an individual style in postmodern architectural graphics as a special signature of creativity. It considers conceptual and terminological issues regarding the concept of "architecture", "architectural graphics", and "an individual style". Besides, the article shows that the knowledge of architectural graphics makes it a powerful visual tool in any kind of design activity. In the current post-industrial period, manual graphics acts as an individual unit. An individual style is always formed based on a specific personal programme, whose postulates influence the architect's work. The international relevance of the article lies in a new approach to the concept of "style" in postmodern architectural graphics. In turn, it allows one to discover new methodological guidelines for its formation.