Lviv

In Lviv, the first half of the 20th century was marked by the formation of residential districts with different types of planning structures, building densities, and socioeconomic statuses – from elite housing to working-class neighborhoods. Today, these historical districts are areas with unique spatial characteristics and require reasonable approaches to their development and densification.

Ancient maps remain understudied documents that contain specific spatial information about the state of the mapped territory. One such document is Rudolf Ritter von Otto's 1772 map, specifically its sheet (Litt: I. No: 9), which depicts the city of Lviv and its surroundings. This map has served and will continue to serve as an object of interdisciplinary research by historians, geographers, architects, and urban planners.

This article presents an interdisciplinary study of the architecture of the Palace of Justice in Lviv as a spatial embodiment of the power and legitimacy of justice. The analysis focuses on how the architectural and artistic solutions of the building shape the symbolic representation of law, state authority, and justice. A legal approach is applied to interpret the material environment of the judicial institution as a communicative space that reflects and simultaneously forms legal meanings. 

The article analyzes the sources and systematizes the versions about the stages of architectural development of the Tower of the Cord manufacturers and Turners and the associated sections of the High Defensive Wall of the Lviv midtown in the 14th-19th centuries. The hypothesis is substantiated that at the first stage the tower had a quadrangular shape in plan, was built of limestone and ended with merlons. The tower had wooden floors or galleries and was open from the city side.

Complexes of urban fortifications are the basis for analyzing historical development of a settlement and developing urban planning documentation. Therefore, in 2014, as part of the publication “Atlas of Ukrainian Historic Towns, Volume1: Lviv”, the authors of the present article published a scheme-reconstruction of the localization of Lviv's historical defensive buildings based on a modern topographic basis. The format of the Atlas did not provide for a full justification of the work done.

The study of the work of the German-born sculptor Thomas Gutter, who worked in Galicia during the late Baroque period, is currently poorly studied, so it needs a thorough study. The article is devoted to the analysis of the work of the sculptor Thomas Gutter. It explores the life and creative path of the artist, the peculiarities of his style, and the use of materials in sculpture. Gutter's main works, their themes, and symbolism, in particular expressiveness in space, are considered.

Lviv is one of the cities in Ukraine that had a highly developed system of medieval fortifications. This system of fortifications was built in the XIII-XIV centuries, modernized many times and served until the 18th century. However, today in Lviv, only small remains of the medieval fortifications of the city center have been preserved in the form of architectural objects - several fragments of the defensive wall and only one defensive tower, which was rebuilt into a tower in the 16th century. These preserved objects belong to the so-called High defensive wall.

The new hotel building appeared at 9 Mickiewicz Square in Lviv during 2022-2023. It was built on the site of an architectural monument from 1839 – the Hudets house. The author of the Hudetz house project was the Viennese architect Wilhelm Schmidt. The monument was dismantled despite the protests of the Lviv publicity and despite the decision of the Scientific and Methodological Council of the Ministry of Civil Engineering of Ukraine on the expediency for its restoration.

The sculptural decor of Renaissance tenements attracts the attention of researchers not only from the point of view of its aesthetic qualities, but also its symbolic meaning. The Scholz-Wolfovych tenement house, which is located at Sq. Rynok, 23 in Lviv, stands out among the Renaissance buildings of the city with its specific sculpture decor.

The article is devoted to the presentation and analysis of the work of two architects, Julian Duchowicz and Zygmunt Majerski who began their creative and pedagogical activity in the interwar period in Lviv, but continued it after the Second World War in Poland. The article presents their work in the interwar period in Lviv, as well as their pedagogical activity within of the Silesian University of Technology after the Second World War, and analyzes their practical work.