PROCEEDINGS | Scientific Symposium
tov ( Figure 1 ). All objects were built in one period and great similarity they share is central symmetry , the use of a curved attic and a semicircular or oval window as compositional accents . It should also be noted that all the facades of the buildings are partially plastered , leaving the brickwork partially open .
Fig . 1 - ( left ) The Waterschei mine , Ghent , Belgium ; ( centre ) Factory secondary school , Noginsk , ( right ) Belgian Tram Society , Saratov
The art of Finland appeared within the framework of Art Nouveau ; national romanticism developed and became an independent cultural phenomenon . The combination of national motifs with the pan-European cultural tradition was the beginning for the creation of architectural works of national romanticism . Later , the period 1880 – 1910 was called the “ Golden Age of Finnish Art ” - it was then that it grew to an international level . Architects along with artists , composers and poets worked to ensure that the glory of Finnish national romanticism spread throughout Europe . They sought inspiration in the views of medieval churches , in ancient decorations and ornaments . The buildings are incredibly picturesque due to their volume , peaked roofs and towers , the play of light and shadow . ‘ strengths ” to the buildings are added with stone trim on the ground floor , and textured plaster which covered the upper floors , is lightweight . The national character of the buildings is emphasized by the materials traditional for Finland - wood and raw gray granite . Finnish architects fit their buildings into the natural environment . However , one should not think that Finnish architects strove for ordinary stylization . In the architecture of past centuries , as in nature itself , they looked for prototypes of natural forms .
The proximity of St . Petersburg to the Finnish border led to the emergence of traditions of neo-romanticism in the architecture of the northern capital in public and residential buildings . In the regions of Russia , new trends came a bit later and had their own local specifics . In Saratov , the traditions of Finnish architecture can be traced in such buildings as the city bank designed by P . M . Zybin , the mansion of Ivanovsky by V . A . Lukshin ( Figure 2 ). Monumentality , severity , angularity of architectural forms , symmetry , simplicity of decor , rust , gray color palette - all these were integral features of the architecture of banks of that period , characteristic of St . Petersburg buildings and cities of Finland . In the Ivanovsky mansion , on the contrary , there is more lightness and coziness . The mansion is asymmetrical , with a circular accent with a bizarre domed finish , the windows are different in size , the pilasters set the rhythm of the vertical divisions , there is no decor , the color palette is made in sand tones . Residential objects in Finland were erected in a similar manner , for example , the Olofsborg house in Helsinki , designed by the famous architects G . Gesellius , A . Lindgren , G . E . Saarinen .
Fig . 2 - ( left ) The city bank , 1912 , arch . P . M . Zybin ; ( right ) The mansion of Ivanovsky , 1912 , arch . by V . A . Lukshin
276