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In the current context, where sustainability, energy efficiency, and reduction of environmental impact are omnipresent themes, the need and interest for conservation, restoration, and reuse of heritage buildings is a topic of real interest. The city of Oradea, engaged in the last decades on the path of a sustainable urban regeneration, has managed to bring back to life part of the valuable Art Nouveau architectural treasure it inherited from previous generations. This paper presents a part of a much wider research and studies on Art Nouveau buildings in Oradea, in the context of the needs arising from the many problems identified with the start of conservation and restoration works. After an introduction on the link between heritage buildings and sustainability and a review of the current context in Oradea related to this topic, one of the emblematic buildings under renovation, the Ullmann Palace, is presented, as well as the results of some physical-mechanical tests carried out. This is followed by some discussions on the innovative and sustainable character of Art Nouveau buildings and the importance of carrying out high-quality conservation and restoration works that are environmentally friendly, safe, and sustainable.

An accessible account of the contradictory life and work of the modernist Catalan architect. The celebrated art nouveau architect Antoni Gaudí was a contradictory figure: a deeply religious, politically right-wing man who nevertheless built revolutionary buildings. This book explores Gaudí's life, work, and influences from Catalan nationalism to the industrial revolution. Michael Eaude expertly guides readers through Gaudí's dozen great works, including the Sagrada Família that attracts millions of tourists each year. Gaudí's life is also chronicled from his provincial upbringing in Reus to his time in Barcelona. He later suffered a nervous breakdown, became obsessively religious, and fused Gothic, Baroque, and Orientalist architecture into his unique style. This brief biography offers an accessible introduction to this perplexing and fascinating life.

The article raises the problem of studying, preserving and restoring the little-known heritage of historical middle cities. The main problem is that among the historical heritage in such cities there are well-known, studied monuments that are planned to be restored and preserved, and there are less well-known monuments that also represent their era, but they do not appear in tourist routes and there is no such close attention of specialists and the public to their preservation. Chernihiv's heritage is usually associated with the Kyivan Rus period or the Baroque period, while Art Nouveau in Chernihiv is hardly mentioned. Of course, in comparison with the number of Art Nouveau objects in Kyiv, Kharkiv and Lviv, the number of such objects in Chernihiv is limited to single objects. However, it was in Chernihiv that \"wooden Art Nouveau\", unusual for the Dnipro region and Left-bank Ukraine, developed. The examples of a rare for Ukraine \"wooden Art Nouveau style\" of Chernihiv are considered on the example of three mansions of the late 19th - early 20th centuries. The characteristic features of \"wooden Art Nouveau\" are revealed, examples of \"stone\" and \"wooden Art Nouveau\" of Chernihiv are compared.

This paper presents a qualitative case study on the design, implementation, and validation of the Art Nouveau Path, a mobile augmented reality game developed to foster sustainability competences through engagement with Aveiro’s Art Nouveau built heritage. Grounded in the GreenComp framework and developed through a Design-Based Research approach, the game integrates location-based interaction, narrative storytelling, and multimodal augmented reality and multimedia content to activate key competences such as systems thinking, futures literacy, and sustainability-oriented action. The game was validated with 33 in-service schoolteachers, both through a simulation-based training workshop and a curricular review of the game. A mixed-methods strategy was used, combining structured questionnaires, open-ended reflections, and curricular review. The findings revealed strong emotional and motivational engagement, interdisciplinary relevance, and alignment with formal education goals. Teachers emphasized the game’s capacity to connect local identity with global sustainability challenges through immersive and reflective experiences. Limitations pointed to the need for enhanced pedagogical scaffolding, clearer integration into STEAM subjects, and broader accessibility across technological contexts. This study demonstrates that these games, when grounded in competence-based frameworks and inclusive design, can meaningfully support multimodal, situated learning for sustainability and offer valuable contributions to pedagogical innovation in Education for Sustainable Development.

Ukrainian Art Nouveau is considered in the context of the pan-European development of Art Nouveau in the architecture of the late nineteenth and early twentieth centuries. This stylistic direction is a demonstration of the self-identification of nations. It is hypothesized that the development of Ukrainian Art Nouveau in the architecture of Poltava at the beginning of the twentieth century expresses the identity of the place and national identification of the population, and is a reflection of national consciousness through architecture. This article defines and illustrates the special features of Ukrainian Art Nouveau as a manifestation of national character in the architecture of Poltava at the beginning of the twentieth century. The research was conducted using a cultural studies approach in the context of the general cultural development of the city. The general characteristics of the stylistic development of Poltava architecture at the beginning of the twentieth century are presented, and the place of Ukrainian Art Nouveau in the polystylism of the research period is revealed. The influence of Ukrainian Art Nouveau from the beginning of the twentieth century on the further development of Poltava architecture is analysed.

Le terme « Art nouveau » désigne un style décoratif et architectural qui se développe dans les années 1880-1890 en Occident. Né en réaction contre les dérives de l’industrialisation et le vide créatif qu’elle entraîne, l’Art nouveau est à l’origine d’une véritable renaissance des arts décoratifs. L’objectif premier est la création d’une nouvelle esthétique de la nature, par un retour à l’étude du motif naturel. Pour ce faire, des artistes tels que Gustav Klimt, Koloman Moser, Antoni Gaudí, Jan Toorop et William Morris privilégient la recherche technique et la nouveauté des formes.Cette mode n’a eu de cesse, depuis son triomphe lors de l’Exposition universelle de Paris en 1900, d’inspirer les créateurs. Son successeur, l’Art déco, se développera après la première guerre mondiale.

Born in 1860 in a small Czech town, Alphonse Mucha (1860-1939) was an artist on the forefront of Art Nouveau, the modernist movement that swept Paris in the 1910s, marking a return to the simplicity of natural forms, and changing the world of art and design forever. In fact, Art Nouveau was known to insiders as the \"Mucha style\" for the legions of imitators who adapted the master's celebrated tableaux. Today, his distinctive depictions of lithe young women in classical dress have become a pop cultural touchstone, inspiring album covers, comic books, and everything in between. Patrick Bade and Victoria Charles offer readers an inspiring survey of Mucha's career, illustrated with over one hundred lustrous images, from early Parisian advertisements and posters for Sandra Bernhardt, to the famous historical murals painted just before his death, at the age of 78, in 1939.

In the art nouveau era, nature was a source of inspiration for designers. They used it in their designs, without knowing the concept of fractal, to present optimum design solutions. The aim of this article is to show that fractality features can be achieved in art nouveau design, and the need to revive these features in the contemporary environment. This study analyzed the work of two well-known art nouveau designers, Gaudi in Spain and Horta in Belgium using their outstanding examples of the “Sagrada Familia Cathedral” and the “Tassel House,” respectively. This study relied on the fractal feature “self-similar successive iterative shapes from large to small inside a finite region” as a standard of measurement. The analysis illustrated that the previous art nouveau designers used the concept of fractal in their design without realizing and their designs achieved aesthetic, functional, sustainable, and healthy solutions.