Casa Lleó Morera
The Casa Lleó Morera is a building designed by noted modernisme architect Lluís Domènech i Montaner, located at Passeig de Gràcia 35 in the Eixample district of Barcelona. In 1902 Francesca Morera assigned Lluís Domènech i Montaner to remodel ancient "casa Rocamora", built in 1864, she died in 1904, the building was named after her son, Albert Lleó i Morera. The building is located on the corner of Carrer del Consell de Cent, is one of the three important buildings of Barcelona's Illa de la Discòrdia, it is the only building of the block awarded Barcelona's town council's Arts Building Annual Award, obtained in 1906; the building lost some of its most representative elements, such as the tempietto on its top and the ground floor and mezzanine's architectural sculpture. The building is known as the residence of Cuban-Catalan photographer Pau Audouard; the building was not only the result of an architectural project, but —common practice in Catalan modernism architecture—, several artists collaborated with Domènech i Montaner so as to make a complete artwork, inspired in natural and organic motifs: Lluís Bru and Mario Maragliano were responsible of the mosaic work, Eusebi Arnau made the sculptures, Antoni Serra i Fiter elaborated the ceramics, Gaspar Homar designed the decoration and the furniture.
It has been considered that Morera's family wanted to leave trace of their lineage with the continuous references to their family name in the decoration. Some examples are the mulberry tree found in the patio, the mulberry motifs of the door handles or the portraits made by Antoni Serra in the second floor; the façade and ground floor of the building were decorated with big and varied modernist ornaments, with some outstanding sculptures by Eusebi Arnau surrounding the entrance, which represented two couples of feminine figures holding vases. Those sculptures were installed on double pairs of columns made of pink marble, under the gallery of the first floor, other feminine heads could be found. On the first floor, aside the windows, two couples of feminine figures can be found, showing several objects related to the technological improvements made in that period, such as the phonograph, electricity and photography. Barcelona's official chronicler Lluís Permanyer stated that this building is like "a scaled Palau de la Música Catalana."The building has been considered one of the best examples of modernisme architecture, but Noucentisme supporters performed several modifications to the original structure.
In 1943, Raimon Duran i Reynals signed a refurbishing project for the ground floor, designed by Francisco Ferrer Bartolomé according to an assignment by Loewe so as to open a store. This project included the disappearance of the modernist windows and the ground floor feminine modernist plant boxes made by Eusebi Arnau, which were destroyed on the sidewalk using picks; the building caretaker recovered the feminine heads, which were sold to Salvador Dalí, who installed them in Figuere's Teatre-Museu Dalí's patio. In the mid-1980s, architect Òscar Tusquets was commissioned to restore the building; the pinnacles and the tempietto at the top of the structure damaged by machine guns during the Spanish civil war were restored, the ground floor damage was recovered. The building underwent another restoration process in 1992, was bought by Grupo Núñez y Navarro in 2006, responsible for another restoration operation. In 2007 the building was put on the Art Nouveau European Route. In April 2012 the most recent restoration project was focused on the ground floor.
Several elements such as the carriage entrance, several columns and some mosaics were recovered. List of Modernisme buildings in Barcelona Barcelona Tourist Guide: Casa Lleó-Morera Gaudí and Art Nouveau in Catalonia / Architecture / Domènech i Montaner / Barcelona / Casa Lleó Morera
La Barceloneta, Barcelona
La Barceloneta is a neighborhood in the Ciutat Vella district of Barcelona, Spain. The neighborhood was constructed during the 18th century for the residents of the Ribera neighborhood, displaced by the construction of the Ciutadella of Barcelona; the neighborhood is triangular, bordered by the Mediterranean Sea, the Moll d'Espanya of Port Vell, the El Born neighborhood. This neighborhood has its own flag; the neighborhood is serviced by its own stop on the Barcelona Metro line 4. This is a good starting point for whatever itinerary there may be to adventure through La Barceloneta; the yellow line, L4, the metro line that stops at La Barceloneta, is the most popular for pickpocketing. The neighborhood can be discovered by taking Las Gorondrinas, which leave from the front port of the Columbus monument; this way the marine strip can be discovered, but the real charm of this neighborhood is by getting lost in the side streets or alleyways. Torre Sant Sebastià is the terminus of the Port Vell Aerial Tramway.
La Barceloneta is known for its sandy beach and its many restaurants and nightclubs along the boardwalk. Over the past several years the quality of the sand on the beach has become a source of continued controversy. In February 2008, the World Health Organization began an inquiry designed to ascertain whether the sand meets WHO beach health and safety guidelines. With its modernity, La Barceloneta continues to inhabit the scent of salt and marine life. For many, this is considered a luxury. La Barceloneta attracts many cruise ships to dock. Amongst the attractions on Barceloneta's beach are German artist Rebecca Horn's "Homenatge a la Barceloneta" monument, where the beach gives way to the Port Olímpic, Frank Gehry's modern "Peix d'Or" sculpture. In the center of the neighborhood, there is a small museum, called "Casa de la Barceloneta", housed in a preserved building dating back to 1761. Admission to the museum serves as an insight into the evolution of its history; the house has a stone façade with letters and number engraved that are inscriptions of the plots used in construction.
La Barceloneta was an uninhabited zone until the mid 18th century. Fishermen were the first to frequent this part of Barcelona though the sea conditions were precarious. In 1754, construction of the first houses began, the neighborhood began to become filled with residents who took part in activities of the port; the neighborhood of La Barceloneta was designed by an engineer named Juan Martín Cermeño. The famous markets located in La Barceloneta were designed by the famous Catalan architect Antoni Rovira i Trias in 1873, he had an urban plan for the future of Barcelona architecture which won the 1859 municipal contest by city council's decree, but the central government in Madrid favored the plan of Ildefons Cerdà. Rovira and his work were soon forgotten and lost in history, until a book was published about his style of urban planning and the other works he was responsible for, like the numerous markets in La Barceloneta. In the present day, in the building of Palau de Mar on the Passeig de Joan de Borbó, exists the History Museum of Catalonia.
This museum contains a permanent exhibit about the history of Catalonia up until its industrialization, the era of dictatorship, or the present day democracy. Additionally, the terrace of their cafeteria has an excellent view of the port; this neighborhood is far from lacking ancient history with its churches, like the Sant Miquel del Port located in the Barceloneta plaza. This church is located near the beach campus of Pompeu Fabra University. In close distance to the History Museum of Catalonia resides the Clock Tower; this is an example of some of the ancient constructions in the neighborhood. It was constructed in 1772 within the Fishermen's Wharf and worked as the lighthouse port up until the mid 19th century; when the port was modernized, the use for the lighthouse became obsolete. To maintain its base, the tower was transformed into a clock in the mid 19th century; this clock tower was one of the materials used by scientist Pierre Méchain as he measured the length of the meridian arc between Barcelona and Dunkirk in 1791, which led to the creation of the decimal metric system.
La Llotja, another building found in La Barceloneta neighborhood, is a neoclassical building with a Gothic interior built in the 14th century. Inside the two story building remains magnificent examples of medieval works and neoclassical sculptures. In 1775, la Llotja became involved with the Real Academia, a school associated with the industrial arts and other visual arts. At that time, the school was named la Escuela Gratuita de Diseño and was located on the highest floor of la Llotja, it was not until 1928 that it renamed itself the Real Academia de Bellas Artes de San Jorge, in 1989 converted its name into Catalan: Reial Acadèmia Catalana de Belles Arts de Sant Jordi. The Carmen Amaya Fountain is another historical landmark placed within La Barceloneta in 1959, it is located. It was constructed as tribute for the famous flamenco dancer Carmen Amaya, born in a Gypsy settlement in La Barceloneta in 1913; the fountain itself portrays three flamenco dancers in the nude. It represents the uneasy past that La Barceloneta endured when it was populated by gypsies and full of shacks.
In the 1970s, the shacks were dismantled. It was soon forgotten after the 1992 Olympics in Barcelona. In the present day, t
A landmark is a recognizable natural or artificial feature used for navigation, a feature that stands out from its near environment and is visible from long distances. In modern use, the term can be applied to smaller structures or features, that have become local or national symbols. In old English the word landmearc was used to describe an "object set up to mark the boundaries of a kingdom, etc.". Starting from approx. 1560, this understanding of landmark was replaced by a more general one. A landmark became a "conspicuous object in a landscape". A landmark meant a geographic feature used by explorers and others to find their way back or through an area. For example, the Table Mountain near Cape Town, South Africa is used as the landmark to help sailors to navigate around southern tip of Africa during the Age of Exploration. Artificial structures are sometimes built to assist sailors in naval navigation; the Lighthouse of Alexandria and Colossus of Rhodes are ancient structures built to lead ships to the port.
In modern usage, a landmark includes anything, recognizable, such as a monument, building, or other structure. In American English it is the main term used to designate places that might be of interest to tourists due to notable physical features or historical significance. Landmarks in the British English sense are used for casual navigation, such as giving directions; this is done in American English as well. In urban studies as well as in geography, a landmark is furthermore defined as an external point of reference that helps orienting in a familiar or unfamiliar environment. Landmarks are used in verbal route instructions and as such an object of study by linguists as well as in other fields of study. Landmarks are classified as either natural landmarks or man-made landmarks, both are used to support navigation on finding directions. A variant is a seamark or daymark, a structure built intentionally to aid sailors navigating featureless coasts. Natural landmarks can be characteristic features, such as plateaus.
Examples of natural landmarks are Table Mountain in South Africa, Mount Ararat in Turkey, Uluru in Australia, Mount Fuji in Japan and Grand Canyon in the United States. Trees might serve as local landmarks, such as jubilee oaks or conifers; some landmark trees may be nicknamed, examples being Hanging Oak or Centennial Tree. In modern sense, landmarks are referred to as monuments or prominent distinctive buildings, used as the symbol of a certain area, city, or nation; some examples include the Statue of Unity in Narmada, the White House in Washington, D. C. the Statue of Liberty in New York City, the Eiffel Tower in Paris, the Colosseum in Rome, Big Ben in London, Christ the Redeemer in Rio de Janeiro, Bratislava Castle in Bratislava, the Space Needle in Seattle, the Sydney Harbour Bridge or the Sydney Opera House, the Brandenburg Gate in Berlin, the CN Tower In Toronto, or Palace of Culture and Science in Warsaw. Church spires and mosque's minarets are very tall and visible from many miles around, thus serve as built landmarks.
Town hall towers and belfries have a landmark character. Contemporary history Cultural heritage management Cultural heritage tourism National landmark National symbol Media related to Landmarks at Wikimedia Commons
Casa Batlló is a building in the center of Barcelona. It was designed by Antoni Gaudí, is considered one of his masterpieces. A remodel of a built house, it was redesigned in 1904 by Gaudí and has been refurbished several times after that. Gaudí's assistants Domènec Sugrañes i Gras, Josep Canaleta and Joan Rubió contributed to the renovation project; the local name for the building is Casa dels ossos, as it has a skeletal organic quality. Like everything Gaudí designed, it is only identifiable as Modernisme or Art Nouveau in the broadest sense; the ground floor, in particular, has unusual tracery, irregular oval windows and flowing sculpted stone work. There are few straight lines, much of the façade is decorated with a colorful mosaic made of broken ceramic tiles; the roof was likened to the back of a dragon or dinosaur. A common theory about the building is that the rounded feature to the left of centre, terminating at the top in a turret and cross, represents the lance of Saint George, plunged into the back of the dragon.
The building, now Casa Batlló was built in 1877, commissioned by Lluís Sala Sánchez. It was a classical building without remarkable characteristics within the eclecticism traditional by the end of the 19th century; the building had a ground floor, four other floors and a garden in the back. The house was bought by Josep Batlló in 1900; the design of the house made the home undesirable to buyers but the Batlló family decided to buy the place due to its centralized location. It is located in the middle of Passeig de Gracia, which in the early 20th century was known as a prestigious and fashionable area, it was an area. In 1906 Josep Batlló still owned the home; the Batlló family was well known in Barcelona for its contribution to the textile industry in the city. Mr. Josep Batlló I Casanovas was a textile industrialist. Mr. Batlló married Amalia Godo Belaunzaran, from the family that founded the newspaper La Vanguardia. Josep wanted an architect that would design a house, like no other and stood out as being audacious and creative.
Both Josep and his wife were open to anything and they decided not to limit Gaudí. Josep did not want his house to resemble any of the houses of the rest of the Batlló family, such as Casa Pía, built by the Josep Vilaseca, he chose the architect who had designed Park Güell because he wanted him to come up with a risky plan. The family lived on the Noble Floor of Casa Batlló until the middle of the 1950s. In 1904 Josep Batlló hired Gaudí to design his home. Gaudí convinced Josep that a renovation was sufficient and was able to submit the planning application the same year; the building was completed and refurbished in 1906. He changed the main apartment which became the residence for the Batlló family, he expanded the central well in order to supply light to the whole building and added new floors. In the same year the Barcelona City Council selected the house as a candidate for that year's best building award; the award was given to another architect that year despite Gaudí's design. Josep Batlló died in 1934 and the house was kept in order by the wife until her death in 1940.
After the death of the two parents, the house was kept and managed by the children until 1954. In 1954 an insurance company named Seguros Iberia set up offices there. In 1970, the first refurbishment occurred in several of the interior rooms of the house. In 1983, the exterior balconies were restored to their original colour and a year the exterior façade was illuminated in the ceremony of La Mercè. In 1993, the current owners of Casa Batlló bought the home and continued refurbishments throughout the whole building. Two years in 1995, Casa Batlló began to hire out its facilities for different events. More than 2,500 square meters of rooms within the building were rented out for many different functions. Due to the building's location and the beauty of the facilities being rented, the rooms of Casa Batlló were in high demand and hosted many important events for the city; the local name for the building is Casa dels ossos, as it has a skeletal organic quality. The building looks remarkable — like everything Gaudí designed, only identifiable as Modernisme or Art Nouveau in the broadest sense.
The ground floor, in particular, is rather astonishing with tracery, irregular oval windows and flowing sculpted stone work. It seems. Much of the façade is decorated with a mosaic made of broken ceramic tiles that starts in shades of golden orange moving into greenish blues; the roof was likened to the back of a dragon or dinosaur. A common theory about the building is that the rounded feature to the left of centre, terminating at the top in a turret and cross, represents the lance of Saint George, plunged into the back of the dragon; the loft is considered to be one of the most unusual spaces. It was a service area for the tenants of the different apartments in the building which contained laundry rooms and storage areas, it is known for its simplicity of shapes and its Mediterranean influence through the use of white on the walls. It contains a series of sixty catenary arches that creates a space which represents the ribcage of an animal; some people believe that the “ribcage” design of the arches is a ribcage for the dragon's
Modernisme known as Catalan modernism, is the historiographic denomination given to an art and literature movement associated with the search of a new entitlement of Catalan culture, one of the most predominant cultures within Spain. Nowadays it is considered a movement based on the cultural reivindication of a catalan identity, its main form of expression was in architecture, but many other arts were involved, the design and the decorative arts, which were important in their role as support to architecture. Modernisme was a literary movement. Although Modernisme was part of a general trend that emerged in Europe around the turn of the 20th century, in Catalonia the trend acquired its own unique personality. Modernisme's distinct name comes from its special relationship with Catalonia and Barcelona, which were intensifying their local characteristics for socio-ideological reasons after the revival of Catalan culture and in the context of spectacular urban and industrial development. At the end of the 19th century, architectural tendencies arise in Europe that break with the traditional criteria and seek new ways of building with the intention of the twentieth century, which give great relevance to aesthetics.
This movement is a consequence of the Second Industrial Revolution, which has taken root in the various countries, the advances derived from it, such as electricity, the railroad and the steam engine, which have changed the way of living population and have led to the growth of cities, in which industries have been established that run a growing number of bourgeois. Modernisme was, therefore, an urban and bourgeois style, on horseback between the nineteenth and twentieth centuries, it was an international movement with different names being developed all over the western world: Art Nouveau in France and Belgium, Modern Style or Glasgow Style in Scotland and the United Kingdom, Jugendstil in Germany, Secession in Austria, Liberty in Italy, etc. In Catalonia, it had his own personality to speak of Catalan modernisme, due to the large quantity and quality of the works carried out and the great number of leading artists who cultivated this style. Stylistically, it is a heterogeneous movement, with many differences between artists, each one with its personal stamp, but with the same spirit, an eagerness to modernize and Europeanise Catalonia.
The recovery of the medieval architectural past advocated by John Ruskin and Viollet-le-Duc and the aesthetics of William Morris, Walter Crane, Mackintosh, among others, were accepted as the basis for artistic renewal. The Modernistas believed in the creative imagination as a creator of symbols in contrast to eclectics who thought of art as an objective representation of reality. In fact, Modernisme represents all over the world and in Catalonia the freedom to create new forms unacceptable, removing the art of academicism; these new trends become evident in different arts such as architecture, painting, decorative arts, in literature and music. It is considered that Catalan Modernisme began in 1888 as the first universal exhibition in Barcelona but there are features of Modernisme in the new Provincial School of Architecture, inaugurated in Barcelona in 1871 and directed by the architect Elies Rogent i Amat, and before this milestone trends of Modernisme are presented in the work of architects such as Josep Domènech i Estapà, although he himself, refused to be a follower of Modernisme.
The circumstance occurred that to the demolition of the walls of Barcelona and to become effective the construction of the Barcelona extension until uniting the different municipalities of the plain, it is put underway the growth of the city taking the dimension from on from the big city, as a result of it a large number of witnesses of that urbanization and construction fever. Catalan nationalism was an important influence upon Modernista artists, who were receptive to the ideas of Valentí Almirall and Enric Prat de la Riba and wanted Catalan culture to be regarded as equal to that of other European countries; such ideas can be seen in some of Rusiñol's plays against the Spanish army, in some authors close to anarchism or in the articles of federalist anti-monarchic writers such as Miquel dels Sants Oliver. They opposed the traditionalism and religiousness of the Renaixença Catalan Romantics, whom they ridiculed in plays such as Santiago Rusiñol's Els Jocs Florals de Canprosa, a satire of the revived Jocs Florals and the political milieu which promoted them.
Modernistes rejected bourgeois values, which they thought to be the opposite of art. They adopted two stances: they either set themselves apart from society in a bohemian or culturalist attitude or they attempted to use art to change society At the end of the 19th century, product of industrialization, throughout Europe there was an intellectual debate in kee
Columbus Monument, Barcelona
The Columbus Monument is a 60 m tall monument to Christopher Columbus at the lower end of La Rambla, Catalonia, Spain. It was constructed for the Exposición Universal de Barcelona in honor of Columbus' first voyage to the Americas; the monument serves as a reminder that Christopher Columbus reported to Queen Isabella I and King Ferdinand V in Barcelona after his first trip to the new continent. At the top of the monument stands a 7.2 m tall bronze statue atop a 40 m tall Corinthian column. The statue was sculpted by Rafael Atché and is said to depict Columbus pointing towards the New World with his right hand, while holding a scroll in the left, it is a held belief that instead of pointing to the west towards the New World, the statue points east towards Columbus's supposed home city of Genoa. This, however, is not true, as the statue points south-southeast and in effect is pointing at a point somewhere near the city of Constantine, Algeria. To point at Genoa in northern Italy the statue would have to face east-northeast and point up the coastline.
It is more that the statue is situated in the current way to have Columbus point out to sea underscoring his achievements in naval exploration. The statue is atop a socle; the column, hung with a device bearing an anchor, stands on an octagonal pedestal from which four bronze winged victories or Phemes take flight towards the four corners of the world, above paired griffins. Four buttresses against the octagonal pedestal bear portrait medallions that depict persons related to Columbus: Martín Alonzo Pinzón Vicente Yáñez Pinzón Ferdinand II of Aragon Isabella I of Castile Father Juan Pérez Father Antonio de Marchena Andrés de Cabrera, Marqués de Moya Beatriz Fernández de Bobadilla, Marquessa de MoyaSeated against the buttresses are four figures that represent four realms of Spain: the Principality of Catalonia, the kingdoms of León, Castile. Against the base of the pedestal between the buttresses are four additional statues: Jaume Ferrer, a Mallorcan cartographer Luis de Santángel Bessant Captain Pedro Bertran i de Margarit, next to a kneeling Native American.
Father Bernat de Boïl, preaching to a kneeling Native American. An elevator inside the column takes visitors up to a viewing platform at the top; the canted octagonal plinth is inset with eight bronze bas-relief panels that depict important scenes in Columbus's first voyage to the Americas: Columbus and his son asking for food at the La Rabida Monastery Columbus explaining his plans to the monks of the La Rabida Monastery Columbus meeting King Ferdinand and Queen Isabella in Córdoba Columbus appearing at the council gathering in the Monastery of San Esteban in Salamanca Columbus meeting the King and Queen in Santa Fe Columbus leaving port from Palos de la Frontera on 3 August 1492 Columbus's arrival in the New World Columbus greeting the King and Queen after his return in BarcelonaAlternating with the bas-reliefs are eight coats-of-arms representing locations that Columbus visited: Huelva Córdoba Salamanca Santa Fe Moguer Puerto Rico Cuba Barcelona The base of the monument is a 20 m wide circle, with four staircases.
Each staircase is flanked by two lions. The idea of a monument to Columbus came in 1856 from Antoni Fages i Ferrer, who proposed that it be constructed by Catalans, but he got nowhere with his plan for sixteen years. In 1872 he gained the support of the mayor of the city, Francesc Rius i Taulet, in 1881 the city passed a resolution to build the monument. A contest was held for Spanish artists to submit their designs with the winner being Gaietà Buigas i Monravà, a Catalan. Most of the money was raised. All of the funding came from Spanish sources and the entire construction was done by Catalans. Construction began in 1882 and was completed in 1888 in time for the Exposición Universal de Barcelona. Copies of the monument can be found in L'Arboç, Shima Spanish Village and miniature versions at the Catalunya en Miniatura park and at the Mini-Europe park. Van der Krogt, Peter. "Barcelona: Columbus Monument". Columbus Monuments. "El reportatge: On apunta Colom?". City of Barcelona. 14 June 2007. Retrieved 2008-07-07.
"Monumento á Cristóbal Colón". Art Públic. University of Barcelona. Archived from the original on 2010-10-02. Retrieved 2008-07-07
Eclecticism in architecture
Eclecticism is a nineteenth and twentieth-century architectural style in which a single piece of work incorporates a mixture of elements from previous historical styles to create something, new and original. In architecture and interior design, these elements may include structural features, decorative motives, distinct historical ornament, traditional cultural motifs or styles from other countries, with the mixture chosen based on its suitability to the project and overall aesthetic value; the term is used of the many architects of the 19th and early 20th centuries who designed buildings in a variety of styles according to the wishes of their clients, or their own. The styles were revivalist, each building might be or consistent within the style selected, or itself an eclectic mixture. Gothic Revival architecture in churches, was most to strive for a "pure" revival style from a particular medieval period and region, while other revived styles such as Neoclassical, Palazzo style, Jacobethan and many others were to be treated more freely.
Eclecticism came into practice during the late 19th century, as architects sought after a style that would allow them to retain previous historic precedent, but create unseen designs. From a complete catalogue of past styles, the ability to mix and combine styles allowed for more expressive freedom and provided an endless source of inspiration. Whilst other design professionals aimed to meticulously imitate past styles, Eclecticism differed, as the main driving force was creation, not nostalgia and there was a desire for the designs to be original. Eclectic architecture first appeared across continental Europe in various countries such as France and Germany, in response to the growing push amongst architects to have more expressive freedom over their work; the École des Beaux-Arts in Paris, considered to be one of the first professional architectural schools, trained students in a rigorous and academic manner, equipping them with skills and professional prestige. Teachers at the École were some of the leading architects in France, this new method of teaching was so successful, that it attracted students from across the globe.
Many of the graduates went on to become pioneers of the movement, used their beaux-arts training as a foundation for new eclectic designs. Whilst the practise of this style of architecture was widespread, eclecticism in Europe did not achieve the same level of enthusiasm, seen in America—as it was assumed that the presence of old, authentic architecture, reduced the appeal of historical imitation in new buildings; the end of the 19th century saw a profound shift in American Architecture. Architects educated at the École des Beaux-Arts in Paris, such as Richard Morris Hunt and Charles Follen McKim were responsible for bringing the beaux-arts approach back from Europe, said to be the cornerstone of eclectic architecture in America. At a time of increasing prosperity and commercial pride, many eclectic buildings were commissioned in large cities around the country; the style thrived, as it introduced historical features only seen in the aristocratic architecture of European countries such as Britain and France, contributing to a richer sense of culture and history within America.
In the case of Hunt and many other eclectic architects, his'typically eclectic viewpoint' enabled him to make stylistic choices based on whatever suited the particular project or the client. This flexibility to adapt, to blend between styles gave eclectic designers more appeal to clients; the creation of skyscrapers and other large public spaces such as churches, city halls, public libraries and movie theatres, meant that eclectic design was no longer only for members of high-society, but was accessible to the general public. While some of these buildings have since been demolished, projects that remain from this era are still valued as some of the most important structures in America; some of the most extreme examples of eclectic design could be seen onboard ocean liners. The lavish interiors were crafted with a mix of traditional styles—in an attempt to ease the discomfort of months abroad and to create the illusion of established grandeur. At a similar time, such vessels were being used to transport colonists to undeveloped areas of the world.
The colonisation of such areas, further spread the Eclectic architecture of the western world, as newly settled colonists built structures featuring Roman classicism and gothic motifs. To a lesser extent Eclecticism appeared across Asia, as Japanese and Chinese architects who had trained at American Beaux-Arts influenced schools, returned to produce eclectic designs across Asia such as the Bank of Japan by Kingo Tatsuno; the so-called Indo-Saracenic Revival architecture, which added details from traditional Indian architecture Mughal architecture, to Western forms of public buildings and palaces, was an inherently eclectic style. Most of the architects were British; as a style that offered so much creative freedom, no guiding rules, the risk of creating an unsuccessful design was apparent to all. Projects that failed to harmoniously blend the different styles were subject to criticism from professionals. Enthusiasm for historical imitation began to decline in the 1930s and eclecticism was phased out in the