PCT) to the Revival Style As a Throwback to the Country British Architect William Edward Trent, Churches of the 14Th Century

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UNITEDK INGD OM UnitedKingdom 194 | | 195 THE GASWORKS FORMER EVERARD’S PRINTING WORKS Practical information: Practical information: Gasworks Business Park, 1 Cromac Ave, Belfast 37 Broad St, Bristol BS1 2EQ, United Kingdom BT7 2JA, United Kingdom 51.455744, -2.594688 54.590574, -5.923641 No information about how to contact No information about how to contact or opening hours is provided. or opening hours is provided.

he building, owned in its origin by the printer Edward Everard, was constructed in 1900 by the architect Henry Williams to house he Everard Printing Works, reason for which its façade intended to honor the masters of the art of printing. Listed as a Grade II building since 1958, in 1970 was demolished the most of the building excepting the decorative tiled façade (the largest one of its sort in Britain), which was preserved and incorporated into a new structure. he new building housed a regional oice of the National Westminster Bank.

Noteworthy: he Doulton’s carraraware (a ceramic body that imitates marble) façade designed in 1901 by William Ja- mes Neatby. Structured in a triple ar- chway on the ground loor, two on the irst loor and four on the upper loor, topped by a gable; it presents Art Nou- veau polychrome igurative decoration. Between the irst and second loor are depicted Gutenberg (at the let) and Mo- rris (at the right) working at presses and © William Murphy next to their respective alphabets. Be- tween both, there is an angel reading. he Gasworks, which provided light and heat for the city, is located 1km. south-east of City Hall, considered the cen- At the top, in the gable, there is a semi- tre of Belfast. he complex opened in 1822 and its production prolonged to 1988, when the system was shut down circular-arched panel with an allegori- ater more than 160 years active. Belfast City Council, in partnership with the Laganside Corporation, converted the cal igure holding a lamp and a mirror, site into a business and public open park in the 1990s. At present, the Gasworks complex includes not only a number symbolising Light and Truth. It should of oice buildings, locally-managed workspace facilities and a hotel but also a cycling/walking route, public art and be noted that Neatby was able to treat local housing. the carraraware as a blank canvas on to which he designed the striking poly- Noteworthy: he decora- chrome decoration which can be seen tively red carved terra- today. cotta brick columns, an artwork created by Elea-

nor Wheeler as part of © Phil Beard the Laganside Art Trail, funded by Belfast City Council, Laganside De- velopment Corporation and the European Regio- nal Development Fund.

© William Murphy © Michael Moore 196 | | 197 BRANNAM’S POTTERY THE TURKEY CAFÉ Practical information: Practical information: 11 Litchdon Street, Barnstaple, Devon EX32 8LS, 24 Granby St, Leicester LE1 1DE, United Kingdom United Kingdom 52.634034, -1.130758 51.077112, -4.056892 (+44) 116 319 5449 www.bar1901.co.uk No information about how to contact or opening hours is provided. Opening times: Tuesday to hursday from 17:00 to 00:00 Friday from 17:00 to 02:00 Saturday from 12:00 to 02:00

In the 1840s, homas Brannam bou- he architect Arthur Waker- ght the Litchdon street pottery ma- ley started to build the Turkey nufacture. Between 1886 and 1887, Cafe in 1900 and leased it to when his son Charles took it over, John Winn, owner of other ca- the factory building was expanded fes. he Turkey Café opened in following the plans of the architect September 1901 as a tea room, W.C. Oliver. It was built a new fronta- popular with women but also ge, showrooms, bottle kilns and other with men, with a smoke room. industrial buildings. Besides, towards In 1927 were made renova- 1890, the workshops were extended. tions to modernise the entran- he Brannam family ran the factory ce, making the front appea- until 1979, when it was sold to Candy red more Art Deco. Wakerley Tiles of Newton Abbot. he new ow- allowed the changes as long as ners found the Litchdon Street pre- Winn restored the façade to its mises insuicient for their operation original appearance once the so they moved in 1989 the company lease was done. Unfortunately, to the Roundswell Industrial Estate. Winn’s family sold the Turkey he former Brannam’s Pottery is clas- Café to Brucciani Bakers Ltd. siied as a Grade II listed building sin- in 1963 and no restoration ce March 11th, 1987. occurred. In 1968, the original interior tiled walls were panelled over, a tiled mural of Noteworthy: he façade of the buil- a turkey was added and sma- ding combines pale cream brickwork ller windows were inserted. In with horizontal bands and window 1982, Rayner Opticians Ltd. arches of red brick and stone archi- purchased the property and tectural elements. Above the carriage started a renovation and res- entrance, at irst-loor level, there are toration process, including its placed terracotta pictorial plaques, façade. In 2014, the building in which are depicted mainly vegetal was returned to its original motifs and birds in relief. purpose as a café and a cock- tail bar. At present, it is called © Tom Bastin “1901 - he Turkey Café” and is classiied as a Grade II listed building.

© zaphad1 Noteworthy: he Art Nouveau ceramic façade puns on the two meanings of “turkey”, with a vaguely Eastern exotic style of architecture and three large turkey birds on the façade, one sculpted on each side of the ground loor front and the third one depicted at the centre of the large polychrome tiled panel by Royal Doulton at the top. In the 1980s, it was commissioned Deardon Briggs Designs Ltd. to restore the building following the original architectural drawings and a 1910 photograph.

© Tom Bastin © Phil Beard 198 | | 199 ST GEORGE’S HALL HARRODS Practical information: Practical information: St George’s Place, Liverpool, L1 1JJ, United Kingdom 87-135 Brompton Rd, London SW3 1BW, United 53.408675, -2.979912 Kingdom 51.499439, -0.163246 (+44) 151 233 3020 (+44) 207 730 1234 [email protected] [email protected] www.stgeorgeshallliverpool.co.uk www.harrods.com/en-gb

Opening times: Opening times: Monday to Saturday from 10:00 to 17:00 Monday to Saturday from 10:00 to 21:00 Sundays from 11:30 to 18:00

© George Groutas his neoclassical style building was designed as a concert hall by the architect Harvey Lonsdale Elmes in 1839, with a later revision of the plans to incorporate the law courts. Following the death of Elmes in 1847, the construction was continued by the structural engineer Sir Robert Rawlinson in collaboration with John Weightman until 1851, when Charles Cockerell was appointed as the architect. In 1854, St George’s Hall opened, although the building was not to- © Sokkk y tally completed until 1856. Ater a major restoration, it reopened on April 23th, 2007. In 2003, the Hall and its surroun- ding area were recognized as part of Liverpool’s World Heritage Site by UNESCO. Harrods has its origin in the store established in 1849 by Charles Henry Harrod that mainly sold tea and groceries. Beginning in a single room and employing two assistants and a messenger boy, the business soon started to grown Noteworthy: he Great Hall’s tiled pavement, based on interlocking circles with igurative borders. It was commissio- until 1883, when a ire destroyed the store. he architect Charles William Stephens was commissioned to design the ned by Cockerell and made by Minton’s, based on the design provided by George Eyre, superintendent of the drawing new building in a palatial style with French Renaissance details. he present Harrods department store saw three pha- oice at that company. Its major feature is the large circular arrangement, within which is the royal coat of arms, while ses of construction before it was inished, starting in 1901 with the façade, followed in 1911 by the side elevation and two smaller circles contain the city’s arms. Despite it was, and remains, one of the inest tile pavements in the world, extended the works to 1930. During World War II, the store transformed itself from selling luxury goods to making within a few years of its installation it was found to be unsuitable for dancing so the central part was covered with a uniforms, parachutes and parts for Lancaster bombers. Currently, it is owned by the State of Qatar. raised wooden loor. Because of this, the main pavement has been preserved in perfect condition, as can be seen on the rare occasions when the wooden decking is taken up. In comparison, the walkway tiles, which include geometric Noteworthy: he interior walls of the Harrods food hall are coated with ceramic panels decorated with 20 medallion and encaustic tiles with lettered inscriptions and several circular dolphin panels, are very worn in some areas. depicting farming and hunting scenes, set in a pattern of stylised ishes, birds and trees. hey were designed by Wi- lliam Neatby in his distinctive Art Nouveau style.

© Michael D Beckwith © Rodhullandemu © Edwardx © Ian Turk 200 | | 201 MICHELIN HOUSE SPEED HIGHWALK Practical information: Practical information: 81 Fulham Rd, Chelsea, London SW3 6RD, United Speed Highwalk, Barbican, London EC2Y 8DX, Kingdom 51.493331, -0.168878 United Kingdom 51.519603, -0.091082 Opening times: Open daily from 10:00 to 19:00 No information about opening hours is provided.

© Kenyh he Barbican Complex was built between 1965 and 1976 on a site bombed in World War II. It was designed in the i Probably designed by François Espinasse, the building opened on 20th January, 1911 as the permanent UK headquar- 1950s in British Brutalist style by the rm Chamberlin, Powell and Bon for the Corporation of the City of London. It ters of he Michelin Tyre Company. Soon it was added an extension to the building to provide additional oice space is formed by thirteen terraced blocks, maisonettes, hostel, schools and an arts centre; including, in addition, facilities and a second loor. In 1940, because of the risk of bombing, were removed the three stained glass windows, sent to the as an underground car parking, a lake terrace and pedestrian walks as the Speed Highwalk, which connects the Bar- h th Stoke-on-Trent factory for safe keeping. Ater the World War II, Michelin returned its headquarters to London but the bican Centre to the Speed House terrace block. e September 5 , 2001, the Barbican was listed as Grade II due to its reduced staf only occupied the front part of the building so the rest of it was leased. In 1960, began a modernization special architectural interest. program for the interior of the building and nine years later the original front section was listed as a Grade II building. Noteworthy h In 1985, the property was sold and started reconstruction and extension works by adding a fourth loor. Replicas of the : e nine ceramic panels of Dorothy Annan, designed in 1960 by a commission of the Ministry for the h h stained glass windows and cupolas were commissioned to recreate many of the building’s original features. In August Fleet Building. ey were moved in 2013 to the Speed Highwalk due to the demolition of the Fleet Building. e 1987, the building re-opened its doors. At present, it houses oices, a restaurant and commercial shops. subjects of the panels are semi-abstract, some depicting items of technological equipment (including TV and radio aerials, a cable, a telegraph pole, etc.) and others are more impressionistic representations of communication techno- h Noteworthy: At the ground-loor façade, windows level, are placed thirty-four tile panels showing famous racing cars logy. e basic palette of colours is muted in tone, but rich and textured. Each panel, signed and dated, was titled by h of the time that used Michelin tyres. Likewise, the reception area also features more decorative ceramic panels on its the artist. us, the panels can be named as: Radio Communications and Television; Cables and Communications in walls as well as a mosaic on the loor. he wall panels are identical to those used on the company’s Paris headquarters, Buildings; Test Frame for Linking Circuits; Cable Chamber with Cables entering from the Street; Cross Connection based in the produced by the architectural tile painting irm Gilardoni Fils et Cie. Frame; Power and Generators; Impressions Derived from the Patterns Produced in Cathode Ray Osciligraphs used in Testing; Lines over the Countryside; and Overseas Communication showing Cable Buoys.

© Fæ © Steve Cadman © Ham © The Twentieth Century Society 202 | | 203 BLACKHORSE ROAD UNDERGROUND STATION TOTTENHAM COURT ROAD UNDERGROUND STATION Practical information: Practical information: Walthamstow, London E17 6JJ, United Kingdom Oxford Street, Soho, London W1, United Kingdom 51.586977, -0.041016 51.516226, -0.130694 (+44) 343 222 1234 (+44) 343 222 1234 https://tl.gov.uk/tube/stop/940GZZLUBLR/blac- https://tl.gov.uk/tube/stop/940GZZLUTCR/totten- khorse-road-underground-station ham-court-road-underground-station

Opening times: Opening times: Open daily from 05:15 to 01:00 Open daily from 05:15 to 01:00

© Ian Wright Blackhorse Road is both a London Overground station and a London Underground station, so it has two overground platforms and two other underground. he original station, opened in 1894 by the Tottenham and Forest Gate Rai- lway, was relocated in 1981 by British Rail to improve the interchange with the tube station, inaugurated in 1968. © Matt Brown Tottenham Court Road underground station opened as part of the Central London Railway (CLR) in 1900. In 1984, Noteworthy: Outside the underground station building stands out a black horse of polyester resin and iberglass over a the entire station was redecorated, losing the distinctive Leslie Green-designed platform tiling of the Yerkes tube lines, blue-toned mosaic, designed by the artist David McFall. Inside the station, at the platform wall recess, is placed a tile which included the CCE&HR (Charing Cross, Euston and Hampstead Railway), and the plain white platform tiles of panel designed by the artist Hans Unger depicting a stylized black horse on a white irregular-shaped cameo over a blue the CLR. Ater almost a year closed because of refurbishment works, the station reopened on December 2015. background (the Victoria line colour). Both decorations were made in the late 1960s, when London Transport appointed a designers, artists and architects to design all aspects of the Victoria Lin, giving each station its visual identity. Noteworthy: he colourful tessellated mural mosaics by Eduardo Paolozzi. hey intended to relect the station’s location adjacent to a large concentra- tion of hi-i and electronics shops, depicting elements of everyday city life and some sites near to the tube station, as the British Museum. Some of the murals were removed due to the expansion of the station for Crossrail and have been restored at the Univer- sity of Edinburgh before going on public display.

© Roger Marks © Ian Wright 204 | | 205 SOUTHBANK HOUSE VICTORIA AND ALBERT MUSEUM Practical information: Practical information: Southbank House, Black Prince Rd, London Cromwell Rd, Knightsbridge, London SW7 2RL, SE1 7SJ, United Kingdom United Kingdom / 51.496669, -0.172185 51.455744, -2.594688 (+44) 207 942 2000 [email protected] No information about how to contact www.vam.ac.uk or opening hours is provided. Opening times: Open daily from 10:00 to 17:45 Friday from 10:00 to 22:00

Probably designed by Stark Wilkinson, he Victoria and Albert Museum, the popularly known as the Southbank founded in 1852 as the “Museum of House was constructed between 1876 Manufacturers”, was renamed only and 1878 as an addition to the Doulton two years ater to “South Kensing- Estate. Made up of red brickwork and ton Museum”. Because the collec- profusely ornamented with pink and tion outgrew in a few decades, it sandy-coloured terracotta dressings, was soon planned a new museum, the building was used as a pottery’s mu- that would be designed by the ar- seum, design studio and art school and chitect Aston Webb. On May 17th, it can be considered as the last surviving 1899, Queen Victoria laid the cor- section of the Doulton company’s and nerstone for the building. At that Lambeth factory, the majority of which time, the museum was renamed to were demolished by the early 1970s. It his current designation in honor of was classiied as a Grade II listed buil- the Queen herself and his husband, ding on February 11th, 1974. At present, Prince Albert. Ir was inaugurated it is a shared workspace venture with a decade later, on June 26th, 1909, studios and oices available for renting. with an opening ceremony headed by King Edward VII and Queen Alexandra. Towards 1940, due to Noteworthy: he building exterior con- the outbreak of the World War II, tains a large quantity of terracotta de- most of the collection was tempo- tailing in relief as the moulded foliage rarily sent to locations as Wiltshire, and glazed tile compositions. It is parti- Montacute House in Somerset, and cularly remarkable the beige high relief to a tunnel near Aldwych under- terracotta tympanum placed over the ground station. he museum has entrance at the corner of Black Prince been refurbished, modiied and ex- Road. It was made by George Tinwor- tended on several occasions. From th around 1878 and shows Henry Doul- 2001, the institution has embarked ton surrounded by several of his artists, on a major renovation program. © Aaron Bradley including a female one with a cat lying down under her stool. Noteworthy: he ceramic staircase is one of the architectural highlights of the Victoria and Albert Museum. It consists of three lights and all its ceilings, domes, panels and spandrels are decorated with vitriied ceramic painting. Clas-

© Sarflondondunc sical in style, the decoration of the staircase includes ancient Roman gods, masks and symbolic igures such as Art and Science. he high relief ceramic coating was designed and modeled by Frank Moody together with his students in 1866 and completed in 1877. It was manufactured by Minton Hollins at a time when vitriied painted ceramics was a newly developed process.

© nklajn © Jessica Mulley © Michael D Beckwith © Aaron Bradley 206 | | 207 CENTRAL ARCADE ROYAL ARCADE Practical information: Practical information: 130 Grainger St, Newcastle upon Tyne NE1 5AF, he Royal Arcade, Norwich NR2 1NQ, United Kingdom United Kingdom 52.628199, 1.294099 54.973159, -1.613267 (+44) 160 362 7505 http://royalarcadenorwich.co.uk Opening times: Open daily from 09:00 to 17:00 Opening times: Open daily from 08:00 to 23:00

he Central Arcade, a covered shopping gallery, was completed in 1906, designed by Oswald & Son in Edwardian © Ziko-C style. It is contained within the walls of the Central Exchange building, which was constructed by the builder Richard Grainger in 1836-38 to the designs of John Wardle and George Walker and had been gutted by ire around 1901. he he Royal Arcade opened in May 1899 as a covered shopping arcade. Designed by the Norwich based architect Geor- building was transformed then using lustrous faïence tiles and numerous Edwardian decorative techniques and mo- ge Skipper, the building has changed little in its 138 years and shows all its original features, making it a rare original tifs. Moreover, the glazed roof gave allowed the shop windows to be adequately lit. Classiied as a Grade II listed buil- Victorian arcade that continues serving to its original purpose. It was listed as a Grade II building on June 5th, 1972. ding since June 14th, 1954, it houses nowadays a number of shops. Noteworthy: he exterior façade is coated with plain and polychrome carraraware, this last with designs impressed Noteworthy: he building interior, decorated with glistening glazed ceramics in shades of browns, beiges and yellows, into the blocks and illed with coloured glaze. Inside the building, the display of ceramics continues with tiled wales huge panels, little niches, animal heads and elegant lettering. While it has been pointed out that the ceramic in the and Parian ware friezes decorated with zodiac symbols, peacocks and foliage motifs. arcade was produced by Rust’s Vitreous Mosaics, a study on Burmantots Pottery states that this building was their last major work in faience during 1906. In addition to walls, the loor is also covered by ceramics, decorated with geometric motifs as the Greek key border.

© David Bramhall © Arseni Mourzenko 208 | | 209 REGENT THEATRE ST. GILES’ CATHOLIC CHURCH Practical information: Practical information: 52 Piccadilly, Stoke-on-Trent ST1 1EG, England 18 Charles Street, Cheadle, Stoke-on-Trent, 53.024434, -2.176678 ST10 1ED, United Kingdom +(44) 844 871 7649 52.985983, -1.989099 www.atgtickets.com/venues/regent-theatre/informa- (+44) 153 875 3130 tion/ [email protected] www.stgilescheadle.org.uk Opening times: Monday to Saturday from 10:00 to 18:00 (box-oice) Opening times: Tuesday and Friday from 8:30 to 15:30 (oice)

Popularly known as “Pugin’s Gem”, the St Giles Roman Catholic church was built in he Regent heatre, originally a cinema, between 1841 and 1846, designed by the was commissioned by Provincial Cine- British architect Augustus Pugin in Gothic matograph heatres Limited (PCT) to the Revival style as a throwback to the country British architect William Edward Trent, churches of the 14th century. Although it who designed a number of cinemas for was conceived as a relatively simple parish the PCT, later the Gaumont-British Pic- church, St. Giles’ increased not only in size ture Corporation. he building was com- but also in magniicence as the construction pleted in 1929, not only as a cinema but work progressed. his was because of the also with all the facilities to allow stage architect enthusiasm for the project as well productions in it. In 1989, the same year as for the economic support of the generous that it closed its doors, the property was patron, Lord Shrewsbury. Consecrated just registered as a Grade II listed building. at the end of the works, on the consecuti- In the 1990s, local businessman Richard ve days of August 31st, 1846 and September Talbot promoted its restoration, restruc- 1st, 1846 (St. Gil’s day), it is considered the turing it as a multi-purpose centre. he- perfect example of what Pugin thought an reby, ater ten years closed, the Regent English parish should be, applying in it all heatre was restored to its original Art the principles of art and Gothic architectu- Deco style and reopened in 1999. re. It was registered as a Grade I listed building in the West Midlands in 1967.

Noteworthy: he simple white ceramic Noteworthy: he entire loor and interior façade, in which upper part can be noted walls (up to dado level) of the church are two theatre masks. On the let is located covered in Minton encaustic tiles as well as the comedy mask wearing a Jester’s cap; printed and painted tiles. hey are decora- on the right, there is the tragedy mask, ted with diferent motifs, a mix of traditio- with unruly hair and a kind of wavy hor- nal medieval decorations and the architect ns. he words “COMEDY” and “TRA- creativity. he church architect, Augustus GEDY” are in relief respectively below Pugin, could have designed part of the tiles the appropriate mask. his decoration working in collaboration with the Minton could be the work of the sculptor and factory to revive the inlaid technique and © Oosoom medallist Newbury Abbot Trent (cousin © Futurilla introducing new colours such as blue, white and green. of the architect of the theater building), who designed a collection of relief panels for the Apollo Victoria heatre as well as other commissions for various Gau- mont-British Picture Corporation cinemas including similar masks.

Opening times: Monday to Saturday from 10:00 to 19:00 Sunday from 11:00 to 16:00

he Potteries Museum & Art Gallery (PMAG) is part of Stoke-on-Trent Museums Service, which was established at the beginning of the 20th century. Known then as the Hanley Museum & Art Gallery, it was the largest museum in the service. In 1956, it was moved to new premises and became the Stoke-on-Trent City Museum & Art Gallery. he museum underwent a major expansion in the late 1970s and was awarded the “Museum of the Year” in 1982. In 1998, it was rebranded to its current name. In addition to ceramics, the museum also holds decorative arts, costume, archaeo- logy and natural history signiicant collections.

Noteworthy: he long relief terracotta panel of the façade made from red, beige and blackish toned bricks and which depicts ima- ges of the history and industries of the Stoke- on-Trent area. It includes a working mine and a pottery with kilns and potters at work. Transport is also repre- sented with a horse and cart carrying coal, and several canal boats.

3 Authors Aalto, Alvar (1898-1976) Fabbri, Agenore (1911-1998) Adelcrantz, Carl Fredrik (1716-1796) Fabiani, Max (1865-1962) Álvares, Baltazar (1560-1630) Facchina, Giandomenico (1826-1903) Andreyev, Nikolay Andreyevich (1873-1932) Ferenc, Raichle J. (1869- 1960) Annan, Dorothy (1900-1983) Fontana, Lucio (1899-1968) Arroyo, Eduardo (1937-) Förster, Ludwig (1797-1863) Balšánek, Antonín (1865-1921) Franchini, Antonio (1923-2006) Baranyai, Aladar (1879- 1936) François, Oscar (l. 1890s) Bastl, Vjekoslav (1872-1947) Gambetta, Mario (1886-1968) Benedikt, Jaroslav (l. 1910s) Garelli, Franco (1909-1973) Bernardes, António de Oliveira (1662-1732) Garnier, Jean-Louis-Charles (1825-1898) Berri, Melchior (1801-1854) Gaudí i Cornet, Antoni (1852–1926) Bianchi, Gaetano (1819-1892) Gesellius, Herman Ernst Henrik (1874-1916) Bigot, Alexandre (1862-1927) Giusti, Ugo (1880-1928) Blok, Maree (1950-) Golovin, Aleksandr Yakovlevich (1863-1930) Bockslaf, Wilhelm Ludwig Nicholas (1858-1945) Hårleman, Carl (1700-1753) Bonelli, Giorgio (1941-1986) Harty, Emanuel Spencer (1838/39-1922) Boom, Irma (1960-) Herz, Manuel (1969-) Bossi, Giovanni Battista (1864-1924) Hicter, Daniel (1947-) Brambilla, Umberto (l. 1900s) Höger, Johann Friedrich (Fritz) (1877-1949) Buglioni, Santi (1494-1576) Ilkić, Jovan (1857-1917) Bulgarski, Alexander (l. 1870s) Jakab, Dezsö (1864–1932) Caldanzano, Luigi (1921-2008) Janssens, Guillaume (l. 1910) Caminati, Aurelio (1924-2012) Jorn, Asger Oluf (1914-1973) Capogrossi Giuseppe (1900-1972) Josip Vancaš (1859-1932) Cervoni, Paola (l. 2000s) Jujol i Gibert, Josep Maria (1879-1949) Châtelain, Léo (1839-1913) Jusserand, Roger (1891-1964) Chiaiese, Leonardo (l. 1760s) Kaagman, Hugo (1955-) Chini, Galileo (1873-1956) Kabakov, Emilia (1945-) Colaço, Jorge (1868-1942) Kabakov, Ilya (1933-) Cosman, Felix (l. 1900s) Kekushev, Lev Nikolayevich (1862-1917?) Crippa, Roberto ( 1921-1972) Koch, Ciril Metod (1867-1925) Curzon, Paul Alfred de (1820-1895) Komor, Marcell (1868–1944) Cuypers, Pierre (1827-1921) Krop, Hildebrand Lucien (1884-1970) da Costa Rosado, Manuel (l. 1760s) Kuöhl, Richard (1880-1961) da Costa, Francisco Jorge (1749-1829) Laloux, Victor Alexandre Frederic (1850-1937) de Boitaca, Diogo (c. 1460 – 1528?) Lam, Wilfredo (1902-1982) de Castilho, Juan (1470–1552) Le Ray, Emmanuel (1859-1936) de Jong, Hijman Louis (1882-1944) Lechner, Ödön (1845-1914) 72 de Klerk, Michel (1884-1923) Lindgren, Armas Eliel (1874- 1929) de Koninck, Louis Herman (1896-1984) Ludwig, Alois (1872-1969) de Oliveira, Mateus Vicente (1706–1786) Lugthart, Bas (1955-) de Rouen, Jérôme (1530-1601) Luzzati, Emanuele (1921-2007) de Rougemont, Guy (1935-) Mardel, Carlos (c. 1695-1763) de Salvo Giovanni, Battista (1903-1964) Margadant, Dirk (1849-1915) de Torralva, Diogo (c. 1500-1566) Marques da Silva, José (1869-1947) della Robbia, Giovanni (1469-1529) Mas Vila, José (1779-1855) Dewin, Jean-Baptiste (1873-1948) Massa, Donato (1677-?) di Bartolomeo, Michelozzo (1396-1472) Massa, Giuseppe (l. 1740s) Dudok, Willem Marinus (1884-1974) McFall, David Bernard (1919-1988) Eisenstein, Mikhail Osipovich (1867-1920) Medic, Sanja (1974-) Elmes, Harvey Lonsdale (1814-1847) Meštrović, Ivan (1883-1962) 214 |

Mi’mâr Sinân Âğâ, Koca (c. 1488/1490-1588) Sauvageot, Louis (1842-1908) Miralles, Enric (1955-2000) Scharenberg, Otto Wilhelm (1851-1920) Miró i Ferrà, Joan (1893-1983) Schein, Françoise (1953-) Moisant, Armand (1838-1906) Schubert, Johann-Andreas (1808-1870) Mothes, Alain (l. 1990s) Schulek, Frigyes (1841-1919) 71 Neatby, William James (1860-1910) Sédille, Paul (1836-1900) Nelissen, Arthur (1879-1922) Shukhov, Vladimir Grigoryevich (1853-1939) Niermans, Édourd-Jean (1859-1928) Simas, Eugène Martial (1862-1939) Odorico, Isidore (1893-1945) Siri, Antonio (1913-2012) Ould, Edward Augustus Lyle (1852-1909) Skipper, George John (1856-1948) Paolozzi, Eduardo Luigi (1924-2005) Soleri, Paolo (1919-2013) Pártos, Gyula (1845-1916) Stark Wilkinson, Robert (1843-1936) Pecz, Samu (1854-1922) Stephens, Charles William (c.1846-1917) Pintado y Riba, Pablo (1924-) Stolk, Aart (1900-1969) Poggi, Giuseppe (1811-1901) Strada, Nino (1904-1968) Polívka, Osvald (1859-1931) Tagliabue, Benedetta (1963-) Ponti, Giovanni (1891-1979) Terry y Sánchez, Emilio Rene (1890-1969) Porcù, Mario (1917-2001) Tinant, Victor (l. 1910s) Privat-Livemont, Henri (1861-1936) Tinworth, George (1843-1913) Pugin, Augustus Welby Northmore (1812-1852) Trent, William Edward (1874-1948) Puig i Cadafalch, Josep (1867-1956) Tusquets Blanca, Oscar (1941-) Quatrini, Federico (1916-1991) Unger, Hans (1872-1936) Rambaldi, Emanuele (1903-1968) Vaccaro, Domenico Antonio (1678-1745) Rastrelli, Francesco Bartolomeo (1700-1771) Van Vuchelen, Marie-Claire (1938-) Ribes Marco, Demetrio (1875-1921) Vasilyev, Nikolai Vasilyevich (1875-1958) Robert i Morera, Antoni (l. 1875) Vejrych, Jan (1856-1926) Roßbach, Max Arwed (1844-1902) Vieira da Silva, Maria Helena (1908-1992) Rossello, Mario (1927-2000) Vrubel, Mikhail Aleksandrovich (1856-1910) Saarinen, Gottlieb Eliel (1873- 1950) Wagner, Otto (1841-1918) Sabatelli, Antonio (1922-2001) Wakerley, Arthur (1862-1931) Salino, Eliseo (1919-1999) Walcot, William (1874-1943) Sanson, Paul Ernest (1836-1918) Webb, Aston (1849-1930) Sassu, Aligi (1912 -2000) Wegmann, Gustav Albert (1812-1858) Saulnier, Jules (1817-1881) Weissenburger, Lucien (1860-1929) Sauvage, Henri (1873-1932) Wiscrère, Jacques (l. 1440s)