Art Nouveau Architecture

Alice Davis Hitchcock Award for 1992, Society of Architectural Historians.
Most Outstanding Book in Architecture and Urban Planning, Professional and Scholarly Publishing Division, Association of American Publishers, Inc., 1991.
International Architecture Book Award, American Institute of Architects, 1992: "This is magisterial history with a grand sweep, an eye for detail and a determination not to simplify.  If Modern architecture in Italy over five generations was complex, paradoxical and full of counter-tendencies in any one architect, then these are lovingly pulled apart and exposed.""

Izložba Etnografski muzej-palača s potpisom organizira se povodom završetka obnove Etnografskog muzeja kojom je rekonstruirana dekoracija pročelja ove građevine. Jedina u secesijskom stilu namjenski podignuta muzejska zgrada u Hrvatskoj time je dobila izgled koji joj je podario njezin arhitekt Vjekoslav Bastl početkom 20. stoljeća. Cilj je ove izložbe prikazati, s jedne strane, povijest izgradnje zgrade koja je prvotno udomljavala Trgovačko-obrtnički muzej, a s druge njezinu recentnu obnovu kroz arhivske projekte, stare fotografije, fotografsku i drugu dokumentaciju te artefakte.

Анализ эволюции образа Афины на материале литературной (О. Уайльд, Вл. Соловьев, А. Блок) и иконографической (Э. Берн-Джонс, Ф. Штук, Г. Климт, К. Мозер и др.) традиции модерна позволяет наметить этапы происхождения и развития специфической для этой эпохи трактовки образа. Если в ранних произведениях модерна художники, чувствуя двойственную природу Афины, представляют богиню разума коррелятом Горгоны, то позднее внимание уделяется символическому прочтению различных форм изображения богини, от андрогинного до гипертрофированно женственного. Анализ канонических атрибутов Афины позволяет делать вывод о двуприродности восприятия богини в модерне. Сложившийся в итоге образ стал отрицанием разума и гармонии в том виде, в каком они дошли из античности, отражая видение разума глазами нового века — разверзшейся бездны, познать которую способен только взгляд Горгоны.

Victor Horta’s Solvay House: the sumptuous city palace of an industrial family
When the young Armand Solvay rather unexpectedly ascended to the top job at the company Solvay et Cie in 1894, he commissioned Victor Horta in that same year to design a residence befitting his new status. What is striking is that Horta did not show quite the same daring for the floorplan of Solvay House that he did for other residences he designed during this period. The resources placed at his disposal did, however, enable him to apply a number of innovative techniques to this residence and above all to develop his talent as an interior designer to the full.
In November 2000, Solvay House, together with three other residences by architect Victor Horta, were added to the World Heritage List. This major town house with all the allures of a city palace is the most luxurious creation of the Art Nouveau architect. The interior being exceptionally well preserved, it is therefore significant as an example of a style and of the work of this architect. Not only does the residence display the stylistic mastery of Horta, it alsoshows his technical ingenuity. In addition, the residence reflects like no other how the moneyed classes lived in Brussels during the fin-de-siècle era. It also tells us a great deal about its residents, the Solvay family, which had amassed a vast fortune through industry at the time.

Tiskem vyšlo v časopise Monumentorum Custos 2013. Prosím digitální verzi nešířit, pouze citovat!
Architekt Fritz Hühnl, tvůrce „malého Norimberka“ v Trnovanech, věkově odpovídá generaci „mladých mistrů“ z Wagnerovy školy. V době, kdy naplno propuklo secesní hnutí a vzápětí architektonická moderna, byl mladým architektem, který navrhoval své první domy. Hühnl v tomto kvasu dokázal vytvořit specifický sloh se silným nábojem, který reflektoval historii evangelického hnutí i germánskou mytologii. Zároveň s těmito „norimberskými“ domy ovšem Hühnl navrhuje i několik domů v čistě secesním stylu. Doba jeho architektonických začátků nabízela možnosti, které se kongeniálně sešly s Hühnlovým talentem i fantazií umělců ze světoznámých keramiček (zvláště značky Amphora), kteří pro některé domy navrhli štukovou výzdobu. Jeho pozdější stavby se vyznačují zjednodušením stylu, spějícím již k moderně a nové věcnosti.

RESUMEN
La Casa museu Lluís Domènech i Montaner, en Canet de Mar, nos permite a través de sus colecciones cerámicas y otros materiales reconstruir la evolución del uso de la cerámica en la obra domenechiana, sus diferentes influencias y proceso de creación, ayudando a constatar la importancia de este material como elemento definitorio de su arquitectura.
Palabras clave
Cerámica, fotografía, arquitectura, decoración y ornamento
ASBTRACT
The Casa museum Lluís Domènech i Montaner, in Canet de Mar, allow us through his ceramic collections and other materials reconstruct the evolution of the use of the ceramic in the Domènech’s work, his different influences and process of creation, assistant to ascertain the importance of this material as a distinctive element of the Domènech’s architecture.
KEYWORDS
Ceramic, photographie, architecture, decoration and ornement

Full text: https://www.artnouveau-net.eu/conference/the-interiors-of-art-nouveau-period-analyse-restore-make-accessible/

On the occasion of RANN’s 20th anniversary, urban.brussels, a founding member of RANN, hosted an international symposium in Brussels on 29 & 30 November, co-organised with RANN, in partnership with the Horta Museum and the CIVA, and dedicated to the theme “The interiors of the Art Nouveau period interiors: analyse, restore, make accessible”.

The research and progress of our knowledge of Art Nouveau has always been one of RANN’s primary objectives. If Art Nouveau is accessible to everyone in the street itself and while the Art Nouveau facades are the ornament of many European cities, the interiors arouse both from the academic world as from the general public many questions related to their accessibility, to their knowledge, to the refined restorations that they require.

This subject of interiors had not yet been scientifically exploited in a transversal manner in Europe; the aim of this colloquium was to provoke a confrontation on research practices, understanding, conservation and enhancement of Art Nouveau interiors, in order to identify new research perspectives.

U bogatoj kazališnoj i kinematografskoj povijesti Rijeke arhitektonski jednom od najzanimljivijih građevina možemo smatrati Teatro Fenice, koja predstavlja prvu primjenu armiranog betona u okviru tipologije kazališnih zdanja u Hrvatskoj iz razdoblja secesije.
Nakon uvida u povijesni i graditeljski kontekst Rijeke s početka XX. stoljeća dolazimo do glavne teme, a to je zgrada Teatra Fenice, koja je doživjela svoje uspone i padove. Kako u svojoj izgradnji, izvedbi, tako i u dobivanju građevinske dozvole, rekonstrukcijama, adaptacijama i realizaciji.
Teatro Fenice prestao je biti otvoren za javnost u proljeće 2010. godine zbog oštećenja stropa i prokišnjavanja krova. Jedina nada i šansa za poboljšanjem situacije može se pronaći unutar Europske unije, budući da je Rijeka u proljeće 2016. godine proglašena Europskom prijestolnicom kulture za 2020. godinu (EPK 2020).

Par l’ampleur et la diversité des œuvres commandées, les Nozal constituent les principaux clients d’Hector Guimard. La personnalité controversée de l’architecte s’oppose, à première vue, aux valeurs traditionnelles de cette famille de la bourgeoisie industrielle d’Auteuil. L’étude minutieuse d’archives inédites détenues par les descendants révèle les relations complexes que les Nozal ont entretenues avec le « style Guimard » et avec l’homme, promoteur des matériaux de construction vendus par leur maison de négoce. Marguerite Nozal et son fils Paul, défenseur d’une renaissance artistique française, ont soutenu avec enthousiasme le jeune architecte symboliste, mais la disparition tragique du fils à 27 ans a modifié la relation entre Guimard et ses clients, qui ont néanmoins poursuivi les chantiers initiés, dans une pérennisation mémorielle des idées esthétiques du disparu.

When talking about Catalonia, especially Barceloa, ‘the fancy city’ could be the first term
coming out. With it rich architecture and urban context, the whole city is in a dynamic
phenomena which is quite different from the others in the rest of Spain. Among all the amazing
architectural works, La Palau de la Música Catalana could be said to be the most classic project
of Catalan Modernism. With its tremendous decorative art, the music hall speaks the high quality
and the flexibility of Catalan-styled design. Moreover, it represents the great bridge connecting
the traditional Catalan culture with the Modern fashion, which brings the Nationalism into the
whole context.

Article décrivant la genèse et les campagnes de restauration de la plus célèbre maison Art Nouveau de Genève, la Maison des paons, construite par Ami Golay et Eugène Cavalli (1902-1904). Texte écrit dans le volume d'hommage pour la conservatrice de la Maison Horta à Bruxelles.

COLOURS AND TEXTURES OF BRUSSELS INTERIORS: FROM
THE 19TH CENTURY TO MODERNISM. Understanding and restoring practices
Colours and textures are obviously an integral part of any architectural work, but the level of attention paid to colour has varied a lot over
the centuries. As colour is such a complex phenomenon, this article examines it only in terms of how it is perceived. The texture of the material or cladding plays a part in how the colour is perceived, as is clear with a fabric like damask, where threads of the same colour are perceived differently depending on the weave of the cloth. In conclusion the survey of various remarkable Brussels buildings presents the role of colour in the 19th century and in the first half of the 20th century. Nevertheless, the neoclassical penchant for white recurs regularly, only to be chased away yet again by a return to the use of colour and
ornamentation.

Proust has shown little interest in the decorative arts of his time, but his work bears the mark of the "submarine style" distinctive of Art nouveau. The low bookshelves with glass panes in the Grand Hôtel room at Balbec ― the symbol of À la Recherche’s unity, according to Georges Poulet in Proustian Space ― prove to be authentic witnesses of “modern style”. But what does “modern style” actually mean? À la Recherche includes five occurrences of the expression that could lead to misunderstanding. Contrary to a preconceived idea, it is not the English name for Art nouveau. This French coined anglicism refers to the international revival of the decorative arts at the beginning of the twentieth century, a fascinating but disturbing blend of aesthetics and social ideas. Proust detected at once and discreetly highlighted the cosmopolitan and "rastaquouère" (so to speak "métèque") inspiration of an ephemeral artistic movement contemporary with the Dreyfus affair. Enriched with an abundant and entirely original iconography, full of new discoveries and identifications, Rastaquarium brings back to life an epoch of which the novelist caught the essence. For the first time the whole question of decorative arts in À la recherche is fully tackled in all its ramifications, in a fascinating instance of the network of connections at the heart of Proust’s system.

Proust n’a manifesté que bien peu d’intérêt pour les arts décoratifs de son temps, mais son œuvre ponctuée d’aquariums est marquée par le «style sous-marin» caractéristique de l’Art nouveau. Les «bibliothèques vitrées» de la chambre de Balbec ― dans lesquelles Georges Poulet voyait le symbole de l’unité de l’œuvre ― se révèlent d’authentiques témoins du «modern style». Mais qu’est-ce que le «modern style»? L’expression, qui revient cinq fois dans À la Recherche du temps perdu, n’avait jamais vraiment été élucidée. Contrairement à une idée reçue, ce n’est en rien le nom anglais de l’Art nouveau. Cet anglicisme bien français désigne un renouveau international des arts décoratifs qui, mêlant esthétique et idées sociales, fascine et inquiète… Proust a parfaitement perçu et discrètement mis en valeur l’inspiration cosmopolite et «rastaquouère» d’un courant artistique dont le bref épanouissement coïncide avec les années de l’affaire Dreyfus. Enrichi d’une vaste iconographie, entièrement originale, fourmillant de trouvailles et d’identifications nouvelles, Rastaquarium fait revivre une époque dont l’écrivain a su capter l’essentiel. Toujours abordée de façon fragmentaire, la question des arts décoratifs dans la Recherche n’avait jamais été traitée dans son ensemble, seule manière de saisir les réseaux de correspondances si chers à Proust.


Table of Contents

Note sur l’iconographie – Remerciements – Abréviations

Rastaquarium

Qu’est-ce que l’Art « nouveau » ?

Le « modern style » n’est pas un style

Naissance d’une expression

Le mobilier des Proust

Le monde de Liberty

Contre Ruskin

1905 : « Sur la lecture »

La Femme inconnue de Lille et le Printemps par « Brown »

Le moment Maple

Bing !

Le « modern style » dans la Recherche

Les bibliothèques vitrées de Balbec

De la référence anglaise à la référence bavaroise : le Salon d’Automne de 1910

Style « sous-marin »

Le Royaume de Neptune ou la civilisation de l’aquarium

Le « modern style », agent de l’étranger

L’esthétique dreyfusarde

Siegfried n’est pas Samuel

Le règne de l’impur

Le style franco-sémitique

Une nouvelle croisade

Dreyfusards avant Dreyfus

Style rastaquouère

Bibliographie - Index nominum - Table des illustrations

Droit de réponse aux propos injurieux proférés par le docteur Frédéric Descouturelle, trésorier du Cercle Guimard, publiés sur le blog « fontes d’art » le 30 juin 2021.

Il m'a été communiqué votre " lecture critique" de mon article sur le métropolitain de Paris paru dans une revue scientifique avec comité de lecture universitaire international.
Je suis consterné du ton employé, de la virulence gratuite des propos à caractère personnel et de la disqualification de mes travaux pourtant reconnus par la communauté scientifique. Sachant que vous étiez coutumier du fait dans vos auto-publications passées sur le site du Cercle Guimard où vous ne citiez jamais précisément mes travaux (qualifiés sans plus d'argument de " divagations délirantes [...] charmantes inepties à tonalité mystico-ésotérique"), je pourrais paradoxalement me réjouir de voir que vous reconnaissez publiquement leur lecture attentive, notamment celle sur les "cercles artistiques, littéraires et philosophiques d'Hector Guimard, architecte d'Art" parue dans la revue Romantisme en 2018: https://www.cairn.info/revue-romantisme-2017-3-page-107.htm. Votre reprise dans votre texte du 16 juillet 2019 du lien inédit que je faisais entre le chat sculpté du Castel Béranger et l'enseigne du cabaret du Chat noir atteste à cet égard d'une appropriation plus que cavalière.
Je vous demande de bien vouloir cesser vos attaques gratuites et injustifiées qui pénalisent plus votre probité et celle du Cercle Guimard que celle de mes travaux. Comme tout domaine, la recherche est en constante évolution et l'étude de Guimard n'y échappe pas à la suite des travaux des pionniers. La simple compilation de nouvelles archives ne peut prétendre remplacer le travail de l'historien et elle finit par mal dissimuler la faiblesse-voire l'absence-d'analyse des dits documents, présentés comme de simples cautions aux interprétations datées auxquelles le Cercle Guimard semble vouloir se cramponner mordicus. A cet égard, je vous transmets un extrait des échanges féconds que j'entretiens avec le milieu professionnel de l'Art nouveau, notamment en la personne de François Loyer ( Directeur de recherche honoraire au CNRS, Président honoraire de la Commission du Vieux Paris, Président du conseil scientifique de la villa Majorelle ( Nancy), etc. qui m'avait félicité précisément pour l'article que vous incriminez:
" Cette publication me réjouit. C'est la première fois qu'un travail vraiment sérieux dépasse les habituelles collections d'anecdotes et de cartes postales, accompagnées de propos louangeurs sans la moindre réflexion sur le sujet".
Il est regrettable que le bureau du Cercle Guimard n'ait pas compris l'opportunité scientifique de publier à l'automne 2020 mon étude sur le mécénat de la famille Nozal. A sa place, vous avez préféré diffuser le feuilleton Nozal d'un membre du bureau, par ailleurs cadre bancaire. Mon travail a naturellement trouvé sa place grâce à l'APAHAU ( Association des professeurs d'archéologie et d'Histoire de l'art des universités) après sa validation par un comité de lecture éminent : http://blog.apahau.org/wp-content/uploads/2021/12/HA88_Varia_Montamat.pdf
Il me semble que votre association gagnerait en crédibilité à se doter d'une telle structure; elle s'attirerait la contribution de véritables chercheurs, s'éviterait des propos comme ceux qu'elle tient à mon endroit et elle écarterait le soupçon d'amateurisme qui la guette.

This book is a unique and comprehensive illustrated dictionary of French Art Nouveau Ceramics. A census conducted in 1901 indicated the existence of some 209 producers of pottery in France, employing a total of around 5,800 full-time labourers. This great activity stimulated a parallel development in the arts, including the search for new expressions in art pottery, giving birth to l'art nouveau, a great and eclectic synthesis of a number of other art styles. Largely through British arts and crafts, and the work of artists like the Manxman Archibald Knox, it reached far back into the prehistory of Celtic art. To this were added later medieval elements, through the gothic revival championed by William Morris.

Ödön Lechner (1845-1914), often called the ”Hungarian Gaudí”, was one of the most original architects at the turn of the 19th and 20th centuries. Educated in Berlin, the years he spent in Paris in Clément Parent’s office opened his eyes to new creation, while repeated visits to London familiarised him with oriental art. His professed aim was to create a ”Hungarian language of form”, in fact a national style. In his efforts he relied on Indian and Persian sources on the (ultimately fictitious) assumption of the ancient Hungarians’ oriental origins. He also culled ornamental details from publications on Hungarian folk art. All this resulted in an extravagant version of Art Nouveau architecture, where the ever-changing ornaments were fused with organic forms and fluid spaces. He often applied ceramic elements, produced in the Zsolnay factory in Pécs. - A fuller version of this essay can be found in the item Lechner, a Creative Genius (essay and images) under my profile.

Nel progettare l'ex residenza estiva dell'ambasciata  d'Italia a Tarabya sul Bosforo (1905-1906) Raimondo D'Aronco fa sintesi  in maniera originale la tradizione degli yali e dei chioschi imperiali alla luce del linguaggio architettonico del modernismo europeo. In questo palazzo che si riflette sull'acqua si intrecciano echi di Palladio e l'architettura in legno della tradizione ottomana, con soluzioni inedite anche sotto il profilo delle tecniche costruttive.

Max Fabiani and the 1904 ‘Spiritus’ Exhibition in Vienna
Promoted in 1902 by Kronprinz Franz Ferdinand, the exhibition was held in the Prater Rotunda in Vienna after two years of intense preparation. The programme included all kinds of transformation methods, from raw materials to final products
and, as well as their use. In the agricolture section, on display were potatoes, barley, hops and similar raw materials, in addition to the equipment necessary for their transformation, processing and storage. A section was dedicated to industrial
transformation, from beer brewing and the distillation of alcohol to the various processes for the preparation of vinegar. An important area was dedicated to the use of alcohol for heating, and the production of foods and electricity, as well as
for propulsion of rail and ship. An exhibition devoted to the car was also added. Preparation was handed to Max Fabiani, trusted architect of the Kronprinz, who presented many interesting aspects, such as the use of wood in the constructionmaterial of pavilions following the required criteria of simplicity and austerity. Fabiani also designed the stands for tasting, the coffee restaurant and many other temporary wooden buildings.

No final do século XIX e início do XX foram construídos em Lisboa e Oeiras ateliers para trabalho, mas também para exposição e convívio. Estes foram construídos de acordo com novos conceitos espaciais apoiados no desenvolvimento das técnicas construtivas, realçados pelo controlo da luz natural. Inicialmente o ecletismo definiu arquitetonicamente estes espaços, contudo à medida que o século chegou ao fim, os projectistas portugueses conciliaram de forma inovadora referências da sua cultura com as novas correntes estéticas internacionais. Estes ateliers enriquecem a arquitetura portuguesa deste período, além de trazerem novas reflexões em torno de quem lá trabalhou.

In the late nineteenth and early twentieth centuries, several working studios were built in Lisbon and Oeiras, but also to show and entertain. These were created after new spatial concepts based on the development of building technics, enhanced by natural light. Initially eclecticism architecturally defined these spaces, but as the century drew to its end Portuguese designers innovatively conciliated references of their own culture with new international aesthetic movements. These studios enrich the Portuguese architecture during this period, which also gave way to new reflections around who worked there.

La cerámica arquitectónica tuvo, en Cartagena, un desarrollo muy similar al resto del levante peninsular, fruto del auge en número y calidad de las producciones que se desarrollaron, sobre todo, en la Comunidad Valenciana. Ya en el siglo XIX el azulejo seriado es utilizado en Cartagena en sotobalcones y decoraciones puntuales de interiores. Pero es en la etapa modernista cuando tuvo su cénit y, además del uso masivo de azulejo seriado, se introdujeron también los paneles decorativos realizados por pintores cerámicos. La empresa “Onofre Valldecabres y hermano” fue una importante fábrica de azulejos de Quart de Poblet (Valencia), que ha sido muy poco estudiada y de la que apenas hay referencias. En Cartagena se conocía exclusivamente por su fachada en la Casa Llagostera, pero las investigaciones realizadas recientemente demuestran que Onofre Valldecabres estuvo presente en Cartagena más allá de esa obra. Esta comunicación pretende dar a conocer la historia de la fábrica, de sus protagonistas, el tipo de producción que realizaban así como el repertorio de azulejos que existen en Cartagena y en la comarca del Campo de Cartagena realizados por este destacado ceramista valenciano.

Capítulos dedicados a la cerámica del siglo XIX y a la cerámica en la obra de Domènech i Montaner en el catálogo de la exposición: La cerámica modernista y LLuís Domènech i Montane.

Catalog from the temporal exhibition La cerámica modernista y Lluís Domènech i Montaner. Chapters: "The ceramic in the19th century" and "Architectural ceramics in the Domenech i Montaner work"

It is well-known the debt of the Art Nouveau movement with the esthetical theory of late eighteenth Century Central European culture, and specially with the Viennese school: it's not by chance that the theoretical construct of Kunstwollen, developed by Alois Riegl, has been often connected to Van de Velde's or to the first Peter Behrens' work, while that of Einfühlung has been connected with the Bel-gian Art Nouveau. It hasn't been tried any historiographical investigation to understand if and how the new, " fluid " Art Nouveau spatiality, as well as the new relationship between inner and outer space, owe something to that school of thought, which had previously concentrated the architectural interpretation both on the perception and on the notion of space. Since the Seventies up to the Nine-ties of nineteenth Century a great number of studies, most of all in German language (such as those of Wölfflin), contributes to develop a new idea of space, which from many points of view takes form in the contemporary and later works of Jugendstil and Secession or, in general , of Art Nouveau

Ödön Lechner (1845-1914), often called the ”Hungarian Gaudí”, was one of the most original architects at the turn of the 19th and 20th centuries. Educated in Berlin, the years he spent in Paris in Clément Parent’s office opened his eyes to new creation, while repeated visits to London familiarised him with oriental art. His professed aim was to create a ”Hungarian language of form”, in fact a national style. In his efforts he relied on Indian and Persian sources on the (ultimately fictitious) assumption of the ancient Hungarians’ oriental origins. He also culled ornamental details from publications on Hungarian folk art. All this resulted in an extravagant version of Art Nouveau architecture, where the ever-changing ornaments were fused with organic forms and fluid spaces. He often applied ceramic elements, produced in the Zsolnay factory in Pécs. – This version contains both the essay and the images.

The stylistic and historical analysis of the Croatian bridge design and construction of the 19th and first half of the 20th century has not yet even been tackled. This paper presents the work of the Vukovar - based engineer - architect Fran Funtak thus covering at least a small part of this topic. As a scholarship holder of the National Government, Fran Funtak graduated from the Polytechnic in Budapest. Being employed in the Josip Banheyer and Son company as an expert in reinforced concrete construction, he quickly turned this small trading and construction company into one of the leading Croatian bridge and other reinforced concrete construction companies. This was the result of his talent as well as the quality and beautiful design of his bridges. The Zagreb-based firm Josip Dubsky was the company’s major competitor for large construction projects. His design work started as early as 1903 during his studies. It was, however, not until 1906 that the bridge across the river Vuka won the company a reputation of a reliable constructor. In the period before World War I a large number of reinforced concrete bridges were built as a part of the measures undertaken by the Croatian National Government to modernise transportation system. The Banheyer and Son company with its leading architect Fran Funtak received a large number of these commissions. Until 1910 Funtak’s bridge design was mainly engineering-based without many stylistic features except for a secessionist inscription on the bridge beam with a date of its construction. In the subsequent period until 1914 and the company’s termination, his bridges became lavishly decorated in the Secessionist style. Date and year are still noticeable on the beam but the usual motifs became rings „suspended” on the bridge cantilevers, rectangular projections, disc motifs, shallow horizontal and vertical cuttings. All these elements were also coloured. Bridge parapet ends became more massive, at first with strengthened banisters but later mostly built in reinforced concrete. Remarkable examples of secession-style constructions were the bridges across the canal Voćinska - Drava (1911) and the bridges in Orahovica, Čačinci, Sunja as well as drawings for some unknown bridges in the Vinkovci region, all of them with specific trapezoid openings. A special example is the arch bridge across the Biđ near Vrpolje not only for its specific construction (arch bridge) but also for the quality of expressiveness with obelisks at the bridge parapet ends and the specific division of fields between the intrados and the road. Funtak built bridges throughout northern Croatia (about 60 of them between 1903 and 1914) and in this way brought modern materials and types of reinforced concrete constructions as well as modern Secession-style vocabulary into the smallest and most remote regions. This paper is based on the research conducted mainly in the Construction Engineering Department of the Internal Department of the National Government of the Kingdom of Croatia, Slavonia and Dalmatia between 1903 and 1914. Archive data are combined and compared with data from the publications of that period particularly the annual reports for individual counties as well as the newspapers.

As a sequel, see "Turin, 1902: The Search for a Modern Italian Architecture,” Journal of Decorative and Propaganda Arts 13 (Summer, 1989), 94-109; "Italian Rationalism,” Progressive Architecture (July, 1983), 86-94;  Modernism in Italian Architecture, 1890-1940 (MIT Press, 1991): "Polemical Rationalism."

Monografija donosi uvid u raznolike utjecaje arhitekta Otta Wagnera na hrvatsku arhitekturu. Ugrubo mogla bi se podijeliti na dva dijela. Prvi dio govori o neposrednom utjecaju Otta Wagnera na hrvatsku arhitekturu, o njegovim radovima koji su posredno ili neposredno vezani za Hrvatsku, a drugi, veći dio, o radovima njegovih učenika u Hrvatskoj.
Iako, nažalost, na području Hrvatske nije realizirao niti jednu građevinu jedan je projekt Wagner ipak izradio za našu zemlju. Riječ je o iznimno atraktivnom natječajnom projektu za osječku župnu crkvu svetih Petra i Pavla iz 1893. koji je predviđao inovativnu otvorenu upotrebu lijevanoga željeza u izvedbi stupova u unutrašnjosti, no koji je odbačen u korist naposljetku realiziranog daleko tradicionalnijeg neogotičkog projekta njemačkog arhitekta Franza Langenberga. Žiri, koji su čini istaknuti stručnjaci iz Beča, Zagreba i Osijeka, Wagnerov je projekt odbacio jer su smatrali da svojim rješenjem ne odgovara izgledu jedne katoličke crkve.
Monografija, nadalje, pokazuje da su investitori jedne od najvažnijih Wagnerovih realizacija iz 1890-ih, robne kuće Neumann na Kärtnerstrasse u Beču, braća Neumann, porijeklom iz Hrvatske. Pokazuje i njegovu suradnju s tvrtkama Bothe & Ehrmann i Zagorka, te govori o ogradi koja je po Wagnerovu projektu izvedena u Dubrovniku.
Kako je spomenuto, drugi dio knjige govori o radovima Wagnerovih učenika u Hrvatskoj.
U njegovoj se Specijalnoj školi školovao ukupno 191 učenik, od kojih su dva gotovo cijelim svojim opusom vezani za Hrvatsku – to su poznati prvaci hrvatske moderne arhitekture Vjekoslav Bastl i Viktor Kovačić. Osim Bastla i Kovačića ostalo je malo poznato da je na području današnje Hrvatske rođen još cijeli niz arhitekata koji su se školovali kod Wagnera: Josip (Josef) Costaperaria (Krapje kod Novske, 2. 6. 1876. – Ljubljana, 12. 7. 1951.), Gustav Flesch von Brunningen (Split, 17. 12- 1877. – Beč, 22. 4. 1939.) te Juraj (Giorgio/Georg) Zaninović (Zaninovich)(Split, 27. 4. 1876. – Buenos Aires, Argentina, 6. 11. 1946.). Nadalje još je jedan Wagnerov đak, iako rođen u Donjoj Austriji, Theodor Träxler (Horn, Donja Austrija, 7. 10. 1881. - ?). gotovo cijeli svoj opus ostvario u Hrvatskoj – u Rijeci. Nadalje, brojni su Wagnerovi učenici, koji su inače živjeli i radili u Beču ili nekom drugom centru Austro-Ugarske projektirali za Hrvatsku, ponajprije za Istru i Dalmaciju koje se početkom 20. stoljeća intenzivno počinju turistički razvijati (poput Marcela Kamerera, Jože Plečnika, Otta Schöntala, Maxa Fabianija i drugih). Hrvatski dijelovi opusa svih njih se obrađuju u ovoj monografiji.
Od svih je hrvatskih Wagnerovih đaka nesumnjivo najvažniji Viktor Kovačić. Studirao je u Beču na Akademiji između 1896. i 1899. i već za studija izrađivao je iznimno inovativne projekte, kao što pokazuje njegov diplomski rad – projekt za dvorac ruskih careva u Oriandi na Krimu. Po povratku u Zagreb 1899. Kovačić se objavom tekstova borio za postulate moderne arhitekture, a paralelno je izradio i brojne projekte za stambene, poslovne, javne i sakralne građevine kao i urbanističke planove. Samo se na rijetkim njegovim ostvarenjima, poput kuće Oršić-Divković u Masarykovoj ulici u Zagrebu (1906-07.) kod njega osjeća utjecaj radova Otta Wagnera. Vrlo rano Kovačić razvija poseban arhitektonski jezik baziran na kombiniranju elemenata povijesnih stilova i moderne. Najvažnija su mu djela bez ikakve sumnje crkva svetog Blaža u Zagrebu (1911-14.), jedna od prvih građevina u Hrvatskoj u čijoj je izgradnji korišten armirani beton, te zgrada Burze za robu i vrednote, također u Zagrebu, u kojoj se danas nalazi središte Hrvatske narodne banke (1923-27.). Sa svojim klasicističkim pročeljem prekrivenim kvalitetnim mramorom s Brača te reprezentativnim, u cijelosti sačuvanim, interijerom s glavnom burzovnom dvoranom nadsvođenom velikom armiranobetonskom kupolom, ova građevina predstavlja najreprezentativniji primjer javne arhitekture 1920-ih godina u Hrvatskoj.
Za razliku od Kovačića koji se vrlo brzo po završetku školovanja odmaknuo od Wagnerova stila drugi Wagnerov hrvatski učenik, Vjekoslav Bastl, ostat će u puno većoj mjeri vjeran secesiji. Na Akademiji u Beču studirao je 1899-02., no već 1899. imao je prilike realizirati prve projekte u Zagrebu zahvaljujući okolnosti da se zaposlio kao projektant u poduzeću Hönigsberg i Deutsch, u to vrijeme najvažnijem arhitektonskom birou u Zagrebu. Prva realizacija mu je zgrada ljekarnika Josipa Pečića u zagrebačkoj Ilici na kojoj se motivima – postavljanjem dekoracije u obliku zmija oko pehara na vrhu zabata, neposredno referirao na ulogu zgrade kao apoteke. U razdoblju koje dolazi (1902. – 1907.) to će mu biti glavni način oblikovanja pročelja zgrada. Stvarao je, naime, zgrade s pročeljima – reklamama. Pročelja zgrade Josipa Kalline u Masarykovoj u Zagrebu prekrio je tako majoličkim pločicama budući da se Kallinina tvrtka bavila proizvodnjom keramičke robe. Dijelove pročelja kuće Rado na Trgu bana Jelačića u Zagrebu oblikovao je pak tako da imaju izgled unutrašnjosti zubarske ordinacije – Eugen Rado bio je naime u to vrijeme najugledniji zagrebački zubar. Najoriginalnije rješenje primijenio je na kući Eugena Viktora Fellera na uglu Trga bana Jelačića i Jurišićeve ulice u Zagrebu. Na njezin je ugao postavio motiv koji predstavlja golemu bocu napitka Elsa-Fluid, a koji je u to vrijeme Feller proizvodio i koji mu je donio ogromnu zaradu (Elsa Fluid se koristila u to vrijeme kao svojevrsni univerzalni lijek). Nažalost, za razliku od kuća Rado i Kallina, kuća Feller je kasnije pregrađena tako da se ovaj originalni primjer secesijske arhitekture više ne može vidjeti u izvornom obliku. Osim stambenih i poslovnih zgrada Bastl je projektirao i zgrade Trgovačko-obrtničke komore i Trgovačko obrtničkog muzeja u Zagrebu (1902-03.), i danas jedan od najslikovitijih secesijskih kompleksa u gradu. Bastla je zanimala metafizika pa je motive nabijene simbolizmom uključivao u svoje projekte (poput šišmiša na Kallininoj zgradi), a i diplomski mu je rad bio projekt za Palaču okultnih znanosti u Parizu (1902.).
Poput Kovačića i Bastl se kasnije okreće prema klasicizmu i realizira u tome stilu brojne projekte u Zagrebu od kojih je svakako najpoznatiji novi kompleks tržnice Dolac (1926-30.).
Uz spomenute arhitekte na prostoru današnje Hrvatske, ponajprije na području Istre, Primorja i Dalmacije, djelovali su i Wagnerovi učenici nastanjeni u drugim centrima Austro-ugarske Monarhije, ponajviše u Beču: Max Fabiani, Eduard Kramer, Marcel Kamerer, Jože Plečnik i drugi. Projektirajući hotele te kuće za odmor na Jadranu, u Opatiji, Dubrovniku, Voloskom i Lovranu ovi su arhitekti odigrali ključnu ulogu u počecima razvoja hrvatskog turizma. Od osobitoga je značaja opus arhitekta Eduarda Kramera koji je na Brijunima u prva tri desetljeća 20. stoljeća realizirao cijeli niz hotela i drugih turističkih objekata namijenjenih elitnom turizmu – bečkoj eliti koja je ovo otočje birala kao mjesto odmora i rehabilitacije.
Ljepota hrvatske obale privukla je i arhitekta Alfreda Fenzla. Povijesni spomenici i prirodne ljepote otočića Lokruma kod Dubrovnika navele su ga da utopijski projekt izgrade palače svjetskog mira iz 1900. smjesti upravo na Lokrum. 
Osim njih na hrvatskoj je obali, u Rijeci, tada  važnoj pomorskoj luci, živio i radio između 1911. i 1914. Wagnerov student Theodor Träxler. U tom je kratkom periodu uspio realizirati dva iznimno značajna i inovativna djela – samostan benediktinki i jednu od najmodernijih kazališnih zgrada onodobne Europe – Teatro Fenice podignuto u samome središtu Rijeke od armiranoga betona. S hrvatske je obale, iz Splita, potekao Wagnerov student Juraj Zaninović, koji je, međutim, svoje projekte odreda realizirao u drugim zemljama – projektirao je tako poznati Zmajski most u Ljubljani te niz secesijskih građevina u Trstu.

Art Nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian Empire, Art Nouveau in eastern France has been linked to longstanding regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city’s modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era’s political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian War.

Resumen de ponencia al Congreso Coup de Fouet 2013.
Para analizar el modernismo en la ciudad de Buenos Aires, es necesario primero conocer determinadas circunstancias históricas que prepararon el camino para su aparición. Luego de lograr su independencia de España en 1816, Argentina se sumió en un período de guerras internas en las que los partidarios de un gobierno federal se enfrentaron a los que pugnaban por las autonomías provinciales. En 1853 se dictó una Constitución como primer paso para la organización como Nación, pero no fue sino hasta 1861 que se puso fin a los conflictos y Argentina inició el camino de la unidad nacional. En esa época la población del país era escasa: datos del censo de 1869 informan que Argentina contaba con 1.737.000 habitantes. Buenos Aires era en ese entonces una ciudad típicamente colonial, careciendo de infraestructura suficiente de agua potable, electricidad, pavimentos y medios de transporte. Los habitantes del país eran vistos por los dirigentes como poco civilizados y ociosos y, para lograr la Nación moderna que soñaban, debían aumentar la población. Así, Argentina se abrió a Europa y en 1876 se promulgó la ley Nº 817 llamada de Inmigración y Colonización. Llama la atención el interés en atraer solamente ciudadanos europeos, ya que si bien la Constitución de 1853 llamaba a "todos los hombres del mundo que quieran habitar el suelo argentino", el Artº 25 especificaba: "El gobierno federal fomentará la inmigración europea…". Así, se difundieron y promocionaron en Europa las ventajas que ofrecía la Argentina, se otorgaron facilidades de traslado a través de la financiación del pasaje y se les dio alojamiento y comida gratis en el Hotel de los Inmigrantes a los recién llegados durante sus primeros días en el país. Estos fueron vistos como los principales motores para la modernización social y política de la nueva Nación. La promulgación de esta ley coincidió con tiempos de pobreza en Europa, sobre todo en países como España e Italia, que se convirtieron en promotores de la emigración.

The construction of the Vukovar's old water tower, built in 1913 by Banheyer & Son Company based on the design of the Vukovar engineer Fran Funtak, is described in the paper. It is a fine specimen of the late secession architecture in Croatia. The water tower is made of reinforced-concrete and was built according to construction principles that were considered highly advanced at that time. Its capacity is 50,000 litres and it is 19,00 metres high. The water tower was damaged during the 1991-95 war and was rebuilt in accordance with the original plans immediately after the end of hostilities.

Vieux château d'eau de Vukovar bâti en 1913
La construction du vieux château d'eau de Vukovar, bâti en 1913 par Banheyer & Son selon le projet d'ingénieur de Vukovar M. Fran Funtak, est décrite dans l'ouvrage. Il s'agit d'un monument intéressant de l'architecture fin de l'époque de sécession en Croatie. Le château d'eau est fait en béton renforcé et a été bâti selon les principes de construction considérés très avancés à l'époque. Sa capacité est de 50.000 litres et sa
hauteur est de 19.00 mètres. Le château d'eau a été endommagé pendant la guerre 1991-1995, et a été reconstruit, conformément aux plans originaux, immédiatement après la fin des hostilités.

Der alte Wasserturm von Vukovar aus dem Jahr 1913.
Im Artikel beschreibt man den Bau des alten Wasserturms in Vukovar aus dem Jahr 1913., den die Firma Banheyer u. Sohn nach dem Entwurf des vukovarer Ingenieurs Fran Funtak erbaute. Es handelt sich von einem interessanten Denkmal der Ingenieurarchitektur des späten Jugendstils in Kroatien. Der Turm wurde aus Stahlbeton nach den damals modernsten Prinzipen erbaut, mit Kapazität von 50 000
Liter Wasser und Höhe von 19,00 Meter. Der Wasserturm war während des Krieges 1991./95. beschädigt, wurde aber sofort danach in Originalform erneuert.

Architectural atlas of Zagreb contains overview of the history of Zagreb architecture and 900 entries on buildings from all parts of the city.
The buildings are grouped according to Zagreb’s neighborhoods: Upper Town, Kaptol, Lower Town - Centre, Lower Town - West, Lower Town - East, Savska street, Vukovarska street and Slavonska avenue, New Zagreb, etc. Each of these neighborhoods has been split into streets, and the buildings are organized according to their official street number. Along with each city area, a map showing the locations of all the marked buildings mentioned in the atlas is also attached.
The buildings in this atlas have been selected primarily according to their importance to the history of Zagreb’s architecture, while also bearing in mind their interest to the average visitor to Zagreb. The city center (Lower Town, Upper Town, and Kaptol) has been covered in most detail.