Myrish architecture

in Gladomyr consists of numerous architectural styles that either unique to Gladomyr or elsewhere and were expanded upon within Gladomyr.

Numerous important or otherwise famous works of architecture, such as the Flot Torg, the Strandheeregord, as well as the cityscapes of Dincuff, Hasä, and Vösalu are located within the country and built by Myrish architects, some of them being recognized in the WFIHC index for International Heritage Sites.

Architectural Regions
Gladomyr has traditionally been divided into 4 architectural sub styles, which roughly correspond to each of Gladomyr's 4 internal kingdoms. Architecture in the north is largely brick, and constructed with more mind to the harsh weather conditions of the region. Eastern cities are also constructed with red brick, but with a noticeably larger Sedic influence. Gladomyr's west and south take the most influence from Sedic architecture, with architecture which is sometimes indistinguishable from that of Ordrey or Salia. Similarly, Akerlandic buildings have a distinctly Salian appearance. The exception to the diverse Myrish architectural styles can be seen in the nation's urban centers, which almost always have a strong Blethic or Myric style. This anomaly is likely due to efforts throughout the 19th and 20th centuries to preserve and promote the Myrish identity.

Renaissance and Baroque
The Myrish New Dawn roughly spanned throughout the 17th and 18th centuries. Gladomyr's economy was booming, and cities were in the midst of massive expansions to account for increased wealth and birth rates. New town halls and storehouses were built, as well as new roads and canals in and around various cities such as Hasä, Dincuff, Pärhula, and other coastal cities for defense and other transport purposes. Wealthy merchants and politicians commissioned new houses be built along the roads and canals. Due to the dense environment, these houses were generally very narrow. Still wanting to show off their status, ornamented facades and scalloped entrances were added to the houses. Meanwhile in the countryside, new country houses were built, though not nearly in the same numbers. In regions which were more isolated from the heart of the Myrish Empire, supplies were instead brought in from neighbors such as Ordrey and Edury, resulting in a mashup of architectural styles which still dominate Gladomyr's rural regions.

Visual characteristics such as pillars, pilasters, pediments and rustication were adopted from abroad. Since many Myrish architects were unable to read the instructions or architectural theory, often written in foreign languages, Myrish arhcitecture became somewhat of a hotchpotch between styles. Horizontal lines were emphasize, contrasting with the vertical emphasis of Myric architecture. For instance, light-coloured bands were embedded into facades to emphasize this horizontal character. Another common application in Myrish Renaissance architecture, particularly in Dincuff, was the, which was meant to hide the diagonal lines of the gable behind the straight lines of the facade.

The architecture of Gladomyr slowly transitioned into a style marked by sobriety and restraint, and was meant to reflect the stoic values of the Myrish people. Simultaneously, Ventoran and other Ventrose styles became immensely popular, thought to effectively display grandness and power. Ventrose architectural influence would skyrocket throughout the kingdom, making its way into every large urban center in the kingdom, and even to the nation's overseas territories like Koranel and Viinkeland. Some of Gladomyr's most famous buildings originate during this time of Ventrose fascination, including the Flot Torg and other royal palaces. The Ventrose influence from this time still exists in modern day to an extent, forming a Blethic-Ventrose style which is still widely used in the kingdom to this day.

Neoclassicism
found its place in Gladomyr during the latter half of the 18th and first third of the 19th century as a manifestation of the Great Myrish Famine and the weakening of the Myrish. New stylistics came from Ventora, Ovezia, and partly from Galvia as a reflection of general admiration only for the architectural style. The most important structures from this period are the Hakala Palace in Karnes and Grand Vösalu Theatre in Vösalu by Hermani Rajala, the Retferdighetens Palaas and the Eternal Ayekist Temple in Pärhula by Tero Heinon and the Haapalainen Insjööen in Bellard (today Koranel) by Otso Koskin.

Late neoclassicism, which was chronologically connected with the end of the Great Myrish Famine and the Common Revolution, was characterized by significant amounts of construction, grand representative buildings, which set a new, large scale of squares and streets of Dincuff and other cities. An example of this is the Iired Manor in Hasä and the Varis House in Nü Denkev, Viinkeland (today the Republic of Énqusqó).