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Magistrsko delo predstavlja umetnostnozgodovinsko obravnavo poslopja nekdanjega kranjskega deželnega dvorca, ki je v Ljubljani nastalo na prelomu iz 19. v 20. stoletje. V uvodnem besedilu je avtor omenjeno tematiko v krajšem sestavku umestil v zgodovinski kontekst. V prvem poglavju se je posvetil orisu razvoja proučevanja arhitekture 19. stoletja (zlasti historistične) v slovenski umetnostni zgodovini in pregledu preteklih raziskav o poslopju, ki je predmet magistrskega dela. V drugem poglavju je avtor obravnaval ožji prostor, v katerem je obravnavano poslopje nastalo s poudarkom na ilustraciji urbanističnih sprememb v tem prostoru med koncem 17. in sredino 20. stoletja. Tretje poglavje obsega pregled ključnih javnih naročil v Ljubljani v zadnji petini 19. in na začetku 20. stoletja, s posebnim oziroma na vprašanje slogovnega okusa takratnih naročnikov javne arhitekture. Četrto poglavje predstavlja obravnavo zgodovinskih pisnih virov, ki pričajo o naročniškem procesu za izgradnjo nekdanjega kranjskega deželnega dvorca. Peto poglavje obsega obravnavo načrtov za nekdanji kranjski deželni dvorec, ki so jih prispevali štirje različni arhitekti. V šestem poglavju je avtor obravnaval izvajalce gradbenih in drugih del, ki so sodelovali pri izgradnji novega deželnega poslopja. V zadnjem poglavju so zbrani podatki o preteklih obnovah obravnavanega poslopja, ki osvetljujejo vprašanje o stopnji ohranjenosti njegove prvotne zasnove. The master's thesis presents an art-history analysis of the parliament building of Duchy Carniola, which was built in Ljubljana at the turn of the 19th century. In the short introductory text, the author placed the mentioned subject in historical context. The first chapter outlines the development of the study of the 19th century architecture (especially the architecture of historicism) in Slovenian art-history. In addition there is a review of past research on the parliament building of Carniola. In the second chapter, the author examined the immediate surroundings in which the discussed building was created with an emphasis on the illustration of urban changes in this area between the end of the 17th and the middle of the 20th century. The third chapter includes an overview of key public commissions in Ljubljana in the late 19th and early 20th century, with a special focus on the style of these public commissions. The fourth chapter presents various historical written sources which testify to the commissioning process for the construction of the Carniolian parliament building. The fifth chapter presents the plans for the building, which were contributed by four different architects. In the sixth chapter, the author examines the work of the builders that collaborated in the construction of the new provincial building. Finally, the last chapter, presents the particulars from the past renovations of the given building, which highlights the degree of conservation of its original design.

Narodne domove so na Slovenskem gradili od konca 19. stoletja pa vse do začetka 20. stoletja. Prvi narodni dom, ki so ga uredili v stari stavbi, je nastal na Ptuju, nato pa so mu sledili še Narodni dom v Celju, Mariboru, Ljubljani, Trstu… Glavni razlog za nastajanje narodnih domov je bilo dokazovanje slovenskosti v mestih in obuditev narodne zavesti pri Slovencih. Večina narodnih domov je bila zgrajena v historističnih slogih, zgledovali pa so se po dunajskih in čeških vzorih. Narodni dom je zasnoval češki arhitekt Jan Vladimír Hráský. Kot reakcija na gradnjo narodnih domov in poudarjanje slovenstva, so Nemci v času nacionalnih sporov, ki so bili posebej izraziti prav na celjskem območju, začeli graditi nemške hiše oziroma nemške domove (Celje, delo avstrijskega arhitekta je Petra Paula Branga, Ptuj, Brežice). Nemške hiše so gradili v t. i. staronemškem slogu (altdeutsch). Stavbe s poudarjenimi neogotskimi značilnostmi so delovale kot gradovi z vogalnimi stolpi in so s svojo precej členjeno fasado prikazovale strogost, ki je bila značilna za utrdbe. Narodni domovi in nemške hiše so bile namenjene prirejanju različnih kulturnih in družabnih prireditev ter zborovanjem različnih si društev. Pomembnost stavb poudarja njihova lokacija, saj stojijo na pomembnejših delih mesta ali vhodih v mesto ter so s svojo monumentalnostjo in pomembno lego v mestu ponazarjajo bodisi slovenski bodisi nemški pečat. National Halls in Slovenia began to build in the period from the late 19th century to the early 20th century. The first National Hall was created in Ptuj, which was renovated in the old building, followed by National Halls in Celje, Ljubljana, Maribor, Brežice, Trieste … The main reason for the emergence of National Halls was the affirmation of the Slovenian national character in the cities and the revival of national consciousness among Slovenians. Most National Halls were built in the historical architectural style and were inspired by the Czech models. The National Hall in Celje was designed by the Czech architect Jan Vladimír Hráský. During national conflicts between Slovenian and Germans, which were especially strong in Celje, the Germans began to build German Houses (the German House in Celje, the plan of the Austrian architect Peter Paul Brang, the German Houses in Ptuj and Brežice) as a reaction to the emergence of National Halls as a sign of the strength of the Slovenian character. The German Houses were built in an old German style (altdeutsch). Buildings with neo-gothic characteristics were similar to castles with corner towers and a façade resembling that of a fortress. National Halls and German Houses had the purpose of organizing various cultural and social events and meetings of various societies. The importance of the buildings was emphasized by their location in the important parts of the city or at the entrance to the city, with their position and monumentality functioning as an important symbol of the Slovenian or the German mark.

Diplomsko delo obravnava arhitekturno plastiko na historističnih zgradbah v Mariboru, pri tem se osredotoča na figuralno arhitekturno plastiko, tj. kipe in reliefe, omenjena pa je tudi dekorativna arhitekturna plastika. Zaradi boljšega razumevanja teme je na začetku predstavljeno obdobje historizma in pojasnitev pojma arhitekturna plastika. Sledi predstavitev desetih izbranih historističnih zgradb in opis kiparskih del, ki se pojavljajo na fasadah teh zgradb: Slovensko narodno gledališče Maribor (1864), Pošta Maribor (1894), Prva gimnazija Maribor (1871─1873), Srednja šola za gostinstvo in turizem Maribor (1913/14─1916), OŠ bratov Polančičev Maribor (1895), OŠ Prežihovega Voranca Maribor (1905), gospodarsko stanovanjsko poslopje (1896) na Partizanski c. 77, večstanovanjska hiša (1899) na vogalu Aškerčeve ul. 2 in Ul. Heroja Staneta 18, Friedrigerjeva vila oz. vila Transilvanija (1910) na Mladinski ul. 45 (1927) ter stanovanjska vila na Kosarjevi ul. 41. Diplomsko delo se osredotoča na prepoznavanje in interpretacijo kipov in motivov, upodobljenih na reliefih, ter na povezovanje teh kiparskih del z vlogo oz. funkcijo posamezne stavbe ali njenim naročnikom. Nadalje ugotavlja stanje raziskav in primerja mariborsko historistično arhitekturno plastiko z ostalimi po Sloveniji. Dotika se tudi vprašanja avtorjev in izvajalcev kiparskih del ter morebitnih vzorov. Graduation thesis discusses architectural sculpture on historicist buildings in Maribor, it focuses on figurative architectural sculpture, i.e. statues and reliefs, but it also mentions decorative architectural sculpture. At the beginning of this paper historicism as a period and the term architectural sculpture are explained for better understanding of the theme. This is followed by a presentation of the ten chosen historicist buildings and a description of the sculptural works located on the facades of these buildings: Slovene National Theatre Maribor (1864), Post office Maribor (1894), Prva gimnazija Maribor (1871─1873), Secondary School for Catering and Tourism Maribor (1913/14─1916), Polančič Brothers Primary School in Maribor (1895), Prežihov Voranc Primary School in Maribor (1905), a commercial residential building (1896) on Partizanska c. 77, an apartment block (1899) on the corner of the streets Aškerčeva ul. 2 and Ul. Heroja Staneta 18, villa Friedriger, also known as villa Transilvanija, (1910) on Mladinska ul. 45, and lastly, a residential villa (1927) on Kosarjeva ul. 41. The graduation thesis centres on recognising sculptures and motifs on the reliefs, their interpretation, and their connection with the function of each of these buildings or their owners. Furthermore, it establishes the state of research and compares historicist architectural sculpture in Maribor with other similar works in Slovenia. It also touches on the question of authors and sculptors/stonemasons and on any possible patterns.