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  Title: Architect Fingov's Family House  Author: Georgi Fingov (architect) Date: 1907 - 1908 Abstract: The noted Bulgarian architect designed his own house with an open plan. The rooms flow naturally into one another, providing functionality and comfort, and at the same time creating a dynamic perception of the interior space, as well as the exterior. The exterior totally lacks decorations. We could sense the influence of Joseph Maria Olbrich and the Northern Art Nouveau of Eero Saarinen.
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  Title: Parushev Brothers Family Houses  Author: Nicola Lazarov (architect) Date: 1911 Abstract: The Parushev brothers houses pose an exception in the work of architect Nicola Lazarov, who was educated in France and loved order systems, Baroque, formal symmetry and lush decorations. However, here we detect the undeniable marks of Secession in its romantic interpretation, like in the works of Hector Guimard. The roof shape is unique for Bulgarian architecture, and the lack of decorations - for this architect. The remarkable effect, however, has been achieved by the combination of architecture and positioning of both buildings as a peculiar Eastern gateway to the city centre.
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  Title: Sofia Bank Building  Author: Georgi Fingov (architect); Dimo Nichev (architect); Nicola Yurukov (architect) Date: 1910 - 1913 Abstract: The spatial composition of the building raises certain Baroque associations. The corner is crowned with a dome, under which is god Mercury - patron of merchants. The building decorations have a symbolic meaning - trade and integrity are represented by Mercury; freedom and protection - by the eagles with spread wings above the main entrance. The building is still a bank and was restored and reconstructed in 2010.
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  Title: Family House of V. Mollov  Author: Nicola Lazarov (architect) Date: 1909 Abstract: The building bears the unquestionable marks of the Secession in its French context, since architect Nicola Lazarov was educated in France. Apart from the symmetry and the Baroque suggestions, the author managed to achieve softness and warmth of the forms: he made smooth transitions to the soffits of the bow windows; he changed the classical consoles with softly curved supports. Soft are the oval shaped windows; soft is the big arch and the canopy beneath it. The building used to have a richly decorated central mansard roof, but it was wrecked and never restored.
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  Title: Bulgarian Commercial Bank  Author: Georgi Fingov (architect); Dimo Nichev (architect); Georgi Apostolov (architect) Date: 1920 – 1925 Abstract: The building shapes one side of the small triangular Garibaldi plaza. The main facades are facing the plaza and Graf Ignatiev St. The corner facing Knyaz Alexander I St features elements highlighting the vertical direction, but the main entrance is set towards the plaza. Back when it was built, there was enough free space in front for a full perception of this most presentable side: the rich corner that culminates to a sculptural decoration at the attic and the tower behind it, and the two wings shaping the obtuse angle. Today, the tall structures in front of it allow only partial view of the building. The interior is typical for the Secession - detailed and exquisite: plaster ceilings with bronze elements granite and wrought iron staircase railing, terracotta mosaic floors and carved wooden doors.
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  Title: Imperial Hotel  Author: Kiril Marichkov (architect) Date: 1917 - 1920 Abstract: When it was built, the hotel rose 5 stories above the surrounding buildings. Today, it forms the corner of a quarter that is occupied by some of the most personable buildings in the city centre and borders directly the Presidency Building. Its double attic roof still dominates the skyline of Saborna St. The Imperial Hotel was considered one of the most modern buildings of its time - with its elegantly furnished rooms, luxurious apartments, central heating, running hot water and telephone. But its main feature is the reinforced concrete structure, which, along with luck, helped it withstand 1944 Sofia bombings. The building is quite impressive with its opulent and precisely executed decoration - the stone sculptures of the balcony handrails, the friezes, the garlands over the vertical elements, the plant covered soffits of the lower balconies all create a feeling of vibrance and festivity. The combination of stone and metal, so typical of Secession (the entrance door, the balcony railings and the attic roofing), lends elegance, luxury and dignity to the Imperial Hotel facades.
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  Title: Central Sofia Market Hall  Author: Naum Torbov (architect) Date: 1909 – 1911 Abstract: The prototype of European covered markets at the end of 19th century was Les Halles in Paris - 10 pavilions with metal construction, covered with glass. These were revolutionary materials, which created new sense of space, but at the time (1852) they were used mainly for unpretentious industrial buildings. In this initial period, the metal structure often went hand in hand with massive surrounding walls in search of presentability. In the cases of the Market Halls in Budapest and Sofia, the architects sought the romantically coloured Secession with elements of the respective national architectural history that actually demonstrate presentability. For the Central Sofia Market Hall architect Naum Torbov used a modern metal construction to cover the three-nave general purpose space and combined it with massive surrounding walls. The slender metal columns don't obstruct the sight and that, coupled with the abundance of light from the glass roofing, creates a feeling of depth and lightness of the interior. What we witness is unity of space, function and aesthetisation through the materials' specifics - typical of Secession philosophy.
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  Title: Central Synagogue  Author: Friedrich Grünanger (architect) Date: 1904 – 1909 Abstract: The building of the Central Synagogue has a rectangular plan with a central dome and an antechamber. Main premise is octagonal and crowned with a dome and four half-domes in the corners. The Baroque spatial idea has been influenced by the Moorish art, which resembles the Secession aesthetics with its colourful exotic essence. The architect has achieved an innovative interpretation of the varied decorations with suggestions from the Alhambra to the local Byzantium style, and by doing that he managed to escape from the stiffening historicism and adopt the Secession style.
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  Title: Sofia Synodal Palace  Author: Petko Momchilov (architect); Yurdan Milanov (architect) Date: 1904 - 1910 Abstract: The architects created a Romantic atmosphere with elements from the Medieval Bulgarian architecture, mainly references to the churches of the ancient city of Nessebar. "But the Romantic suggestion has been translated into the universal language of the Secession. It is solemn, yet contemporary - with its vibrant floral stylizations and the variety of arched and linear friezes made of coloured majolica." P. Yokimov. The building is residence of the high clergy of the Bulgarian Orthodox Church.
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  Title: Central Mineral Bath  Author: Petko Momchilov (architect); Haralampi Tachev (artist) Date: 1907 – 1915 Abstract: The first building plan was created by architect Emil von Förster after he won a competition. It was later remodelled by architects Petko Momchilov and Friedrich Grünanger at the request of Sofia Municipality. Subsequently, Petko Momchilov created the detailed design. The Central Mineral Bath building impresses with its multi-layered composition, that was based on an originally Baroque spatial idea. The author managed to achieve functional completeness, clear rational relations and a contemporary type of construction. He demonstrated a new attitude towards space and the elements that shape it, which is very typical of Secession buildings: multi-level alternation of forms, dynamic change of images through smooth transitions, creation of flexible interior spaces. The exterior introduced a new (secession) stylistic pattern of the decorations, while reflecting the romantic notes of early Bulgarian Middle Ages: layered arched openings, stone pillars, linear friezes and medallions with sacral images, made of colourful glazed majolica; and this diversity is united by the original interpretation of Opus Mixtum. The building is currently housing the Sofia History Museum.
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  Title: DEMO FlexPaper В паяжината на смисъла : Текстове по символна антропология : [Електронен ресурс]/ Състав. Борис Николов, Румен Даскалов; Прев. от англ. език Даниела Колева  Author: Николов, Борис; Даскалов, Румен Дончев Date: 2015
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Преподавателската читалня на Университетската библиотека.
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Студенти в читалнята на Университетската библиотека.
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Студенти в читалнята на Университетската библиотека.
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Студенти в читалнята на Университетската библиотека.
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Студенти в читалнята на Университетската библиотека.
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Студенти в читалнята на Университетската библиотека.
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Студенти в читалнята на Университетската библиотека.
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  Title: фотография  Author: Карастоянов, Божидар Date: 1939 Abstract: Студенти в читалнята на Университетската библиотека.

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