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The Okányi-Schwartz Villa |
The project of this villa dates from 1912; is the work of the architect Rimanoczy Kalman jr and represents a great step in the stylistic architecture’s evolution and maturation.
The façade towards the Eminescu Street is divided in three sections. The building is a proof of an urban but still provincial society, benefiting of a monumental treatment of the volumes. Even though we all know the social – political context at the beginning of the 20th century, the city was not less liberal than the rest of the European ones. The key point in the stylistically reorientation of the construction is represented by the architectural details expressed through the main façade, specific to the geographical context of the place, but also the alternation of the volumes on the same façade.
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A building in the central part of the city composed of two levels and four axles. The openings on the ground floor are rectangular, the corners being only a bit rounded and the first floor has in its upper part the openings in the shape of a flattened arch. The façade has a tall gable with fake attics, the side panes of the wall are finalized in semicircle, the one in the center with a three-cusped tympanum, with a heart shaped window in the middle. The whole façade is covered in curvilinear decorations, two-dimensional, with floral and vegetal motifs, characteristic to the Lechner style.
Although atypical for him, it seems that Sztarill Ferencz is the one who, between 1906 and 1910, planned this jewelry of Oradea architecture.
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The building, dating from 1912, is another example of the stylistic refinement of the Vago brothers; a corner structure with a rectangular plan, with a ground floor and three stores. The façade on the Unirii Square is more imposing, where the rhythm given by the window openings is broken by the two bow-windows which are connected to the façade through a curved surface, avoiding destroying the imposing smoothness of the façade. Generally, we can distinguish a simple approach of the Viennese secession, with geometrical shapes and exterior decorations relatively reduced.
Nevertheless the decorations are present, existing three sections where it prevails. Unfortunately, on the ground floor, the repetitive changes have completely destroyed the initial appearance, the existing documents permitting an exhaustive restoration.
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The building, Viennese and secession style (1905), with simplified and geometrical shapes, is organized on a basement and two stores, the asymmetrical façade, the main entrance is marked with an elliptical gable. In the middle we encounter a bow-window that waves the plane of the façade, the tall and narrow embrasures, giving some rhythm to the simple façade without any decorative elements.
The only ornamental elements are the frameworks of the windows, the metal fittings of the sills, colored stained glasses and also the sgrafitto located in the attic, probably representing the two Vágó brothers; so representative for the propagation process of the secession in Transylvania, but also for the artistic evolution of the two brothers.
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