Регионални отражения на Moдepнoтo движeниe в българската aрхитектура между двeтe cвeтoвни вoини. Приносът на жените
Regional Reflections of the Modernist Movement in Bulgarian Architecture in the Interwar Period. The Contribution of Women

Summary/Abstract: The Bulgarian inter-war architectural practice is notable with the diversity of influences that all professionals brought back home from the foreign architectural schools where they have studied. The first generation of women-architects graduated until the mid-1920s, such as M. L. Dosseva-Georgieva (1917) and M. Berova-Henning (1923) in Darmstadt, G. Gineva-Petrusheva (1920 in Hanover); M. Zakharieva and L. Toncheva-Vacheva (1922 in Munich), M. Variklechkova (1922), E. Varakadzhieva and V. Angelova (1925) - in Dresden. They followed the late Secessionist and Art Deco aesthetics during the 1920s as transition to modern forms. The younger generation of women was familiar with the Modern Movement ideas while studied in Munich (P. Gancheva, G. Focke-Genova - until 1929), in Vienna (T. Krustanova, until 1932), in Berlin (R. Damianova until 1933, Ts. Belovezhdova until 1935), in Dresden (L. Pateva until 1937). They revealed the New Objectivity approach during the 1930s. Dosseva-Georgieva, Berova-Henning, Gineva-Petrusheva, M. Sapareva, R. Damianova, T. Krustanova responded to different clients’ needs in variety of designs for multistoried apartments and family houses. As state and municipal employees women contributed to the intensive industrial and social construction with diverse annexes to railroad stations (P. Gancheva, R. Damianova, L. Naslednikova, L Pateva), covered markets and workers’ housing (E. Varakadzhieva), schools and health care buildings (M. Sapareva, V. Angelova, M. Zakharieva, P. Gancheva). The comparison between men’s and women’s creativity in Bulgarian inter-war architecture demonstrates no gender distinction but accentuates better women’s share to the achievements of the Modern Movement.

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