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STUDY OF THE MANIFESTATION OF THE ARCHITECT’S CREATIVE PERSONALITY IN THE CITY SPACE: THE ARCHITECTURAL HERITAGE OF O. LINETSKYI IN KHARKIV

Sep 2026 · Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura · 0 citations · 2 references

Abstract

The article is devoted to the study of the role of the creative personality of architect O.V. Linetskyi in shaping the urban space of Kharkiv in the first half of the 20th century. Despite occasional mentions in the professional literature, the architect's heritage remains fragmentarily studied, which creates a contradiction between the significance of his implemented projects and the lack of a holistic understanding of their place in the historical and architectural context of the city. The aim of the work is to determine the architect's contribution to the development of Kharkiv, to analyze his creative method, stylistic priorities, and experience of co-authorship. Key objects built according to Linetskyi's designs in two periods (1922–1933 and 1938–1947) are considered: the reconstruction of the Noble Assembly building for the All-Ukrainian Central Executive Committee, the Central Department Store (Constructivism), the New Passage (Art Deco, Art Nouveau, Constructivism), the Kharchosmak Club (a model Constructivist centre), the 3rd Workers' Polyclinic (Neoclassicism with Art Deco elements), and the residential complexes "Chervonyi Brodylnyk" and "Kommunar" (Horseshoe House). Special attention is paid to joint projects with V. Estrovych and V.I. Bohomolov, which allows tracing the dialogue of creative ideas in the Kharkiv architectural environment. Linetskyi's activity as the chief architect of Kharkiv (1925–1927) and his participation in the transformation of Teveleva and Luxemburg squares demonstrate a balanced approach to combining avant-garde innovations with respect for historical buildings. The architect's heritage is not just a collection of monuments, but an integral part of the living urban environment. The article fills gaps in the history of Kharkiv architecture, returning Linetskyi's name to scholarly discourse. Prospects for further research are seen in the analysis of the current state of his buildings, their visual presentation in the city space, and the possibilities of revitalizing adjacent territories.

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