What is Modern

Architecture?
MODERN – “JUST
NEW BORN”- New
innovations came up
during the mid 18th
century– So, it was
called modern
architecture.

CONTEMPORARY
ARCHITECTURE – is
what is practiced
currently.
UNIT II Reviewing industrialisation
1. Opposition to industrial arts and production - Arts and Crafts in
Europe and America : Morris,Webb-

2. Art Nouveau: Horta, Van De Velde, Gaudi, Guimard, Mackintosh

3. Vienna secession:Hoffman, Olbrich-

4. Wright’s early works

UNIT II Reviewing industrialisation

Lecture 04: History of Modern Architecture V

Opposition to industrial arts and production
ARTS AND CRAFTS IN EUROPE AND AMERICA : MORRIS,WEBB.

Arts and Crafts Movement – 1860s – 1910s

 Industrial Revolution.
18th-19th Century.

• Influenced almost every aspect

of daily life.
• Inability of architecture to cope
up with the social housing
problems.
• General disaffection with
traditional forms of the 19th
century .
• Growing industrialization, ever
increasing urbanization-led to art
and crafts-return to the craft
traditions of the middle ages.
 RESPONSE TO INDUSTRIALIZATION
Individual expression

Vernacular

Use of local materials

“improvement of commercial design always remained as serious a goal as the

restoration of craftsmanship. Groups of leading designers not only set up craft
societies but independent commercial companies”
 Arts and Crafts Movement.
1880-1910

• The Arts and Crafts Movement began as a reaction to "soulless" machine-

made production of the Industrial Revolution.

• Instigated by William Morris.

• Considered the machine to be the root cause of all repetitive and

mundane evils.

• To fill people life with quality products made in art and craft tradition, so
that mass produced industrial goods did not get and upper hand and
destroy the aesthetics of objects
SOCIAL REFORM OF ARTS AND CRAFTS
MOVEMENT

Change in Working condition

Belief in restorative power of craftsmanship

Simple life

Art as a way of life

PRINCIPLES OF ARTS AND CRAFTS MOVEMENT
HONESTY

Design Unity

Joy in Labour

Individualism

Regionalism
SKETCHES FOR NEXT CLASS
1. Red house
2. PARIS EXPOSITION, exposition universelle,1889
3. PARIS EXPOSITION, Eiffel tower,1889
4. The Chicago building
5. The auditorium building Dankmar Adler & Louis Sullivan
6. The Sullivan center Louis Sullivan
7. Wainwright building
Augustus Pugin ( 1812 - 1852)
- first person of the arts and crafts movement
- English architect
- favored handcraft items to machine made
- Inspiration - looked at medieval periods - Roman
architecture

Works:
1.Contrasts(1836)- a polemical book which argued
for the revival of the medieval Gothic style, and also
"a return to the faith and the social structures of the
Middle Ages".

2. The True principle of Christianity or Pointed

arches- he first laid down firm principles for the
Victorian Gothic Revival. Architecture, should be
honest in its expression. Every feature of a building
should be essential to its proper functioning and
construction, and every feature of this construction
should be frankly expressed
Augustus Pugin ( 1812 - 1852)

The northeast chapel at Pugin's St

Giles' Roman Catholic Church, St Chad's Cathedral, Birmingham
Cheadle
ARTS AND CRAFTS MOVEMENT IN EUROPE:
• focused on the richly detailed gothic style.
• Their interior walls were either white-washed or covered in wallpaper depicting
medieval themes.
• The pottery and textile designs were intricate, colorful and realistic
• intent was to provide handmade goods to the common man

DESIGN PRINCIPLES
- simple forms
- inspiration with natural forms, the flora and the fauna
- simple linear shapes
- abstract forms, inspired by movement and mystical beings
- use of high quality materials
- an interest in Gothic, medieval art, using bold forms and strong colors based on medieval
design
ARTS AND CRAFTS MOVEMENT ARCHITECTS:

1.JOHN RUSKIN (1819-1900)

2.WILLIAM MORRIS (1834-1896)
3.PHILIP WEBB (1831-1915)
4.RICHARD NORMAN SHAW
5.EDEN NESFIELD
6.GEORGE EDMUND STREET
JOHN RUSKIN( 1819 – 1900)
- English art critic, writer and social reformer
- followed Pugin

PRINCIPLES:
- any machine made product is a dishonour
- any work of art should not be machine made
- his ideal was to find joy in craftmanship

WORKS:
•7 LAMPS OF ARCHITECTURE - interest in architecture, and particularly in the Gothic
revival, led to the first work Stones of venice

1849-“THE SEVEN LAMPS OF ARCHITECTURE”,putting forward 7 basic precepts for the

designer

1.Sacrifice- designer should strive for excellence

2.Truth - in the honest use of materials
3.Power - of simple grand forms
4.Beauty - by the use of nature as a source of insipiration
5.Life - given by the hand craftmanship
6.Memory- offered to future generations by a work of art built for properity
7.Obedience - of disciplining oneself to the use of finest styles of the past(which
according to Ruskin’s view were Italian Romanesque,Italian Gothic,English Gothic of
the late 13 th and early 14th century
 WILLIAM MORRIS (1834 –1896)

Influenced by

– Pre-Raphaelite
Brotherhood
– (poetic symbolism into their
representations of biblical
subjects and medieval
literary themes)

– Writings of John Ruskin

– (poetic symbolism into their representations of biblical subjects and medieval literary themes)
WILLIAM MORRIS(1834-1896)

•English poet, artist, and socialist reformer,

•Urged a return to medieval traditions of design, craftsmanship, and community.

•Was against ornamentation and practice

•Inspired by the writings of John Ruskin and Augustus Pugin who championed the return of gothic
architecture (the last true architectural movement in their opinion.)

•The Red house was designed according to his principles also Father of the arts and craft movement”.
called “ the
RED HOUSE:- (1859),
Bexleyheath, London
•designed for Morris
•architect - William Morris
and Philip Webb
•exemplifies the early Arts
and Crafts style

Design principles:
•well-proportioned solid
forms,
•wide porches,
•steep roof,
•pointed window arches,
•brick fireplaces and
•wooden fittings.
•Building integrated within
the site and into the local
culture.
•Practical design,respect
for traditional building
merhods.
•
•Windows - positioned to suit the
design of the rooms rather than to
fit an external symmetry;

•window types- tall casements,

hipped dormers, round-headed
sash-windows, and bull's eye
windows.

•No ornamentation,

•construction such as the arches

over the windows, and the louvre
in the open roof over the staircase
served as decorative features.

•Concern for structural integrity

and integrate building into the site
and local culture.

•Sensitive site layout,local

material,respect for traditional
building methods.
 Well Stained glass on windows

Trellis Wall
Stained glass papaer design
Stairs Fire place
1. Having built the house, Morris needed furniture and decoration neither pretentious nor
shoddy

2. he founded THE FIRM, to produce honest workmanlike furniture, wall paper and fabrics for
himself and others.

3. Later he expanded into stained glass , books, tapestries and carpets making
characteristic use of stylised , two dimensional designs which emphasised the character
of the material he was working with, produced designs typified by the great exhibition.

4. As a designer he achieved international fame which was further enlarged by his poetry.
PHILIP WEBB:- (1831-1915)

•Followed Ruskin’s theories - their essence and not their superficialities which
surrounded them.

•an uncomprimising ,even brutal designer devoid of academism

•and prepared to use any styles or mixture of styles without too much of regard for
their original context but merely for the functional appropriateness of motifs they
contained.

He confined himself almost entirely to the design of houses , in town and country

1.Palace Green in London(1868)

2.19 Lincoln ‘s Inn Field in London(1868)
3.Joldwyns in Surrey(1873)
4.Clouds in wiltshire(1876)
5.Smeaton in yorkshire(1878)
6.Conhurst in Surrey(1885)
1 Palace Green,1870
1. The L-plan house

2. tall compared to the neighboring

properties,

3. kitchen basement level and

three residential levels, with
gables above.

4. front elevation - two-storey bay

window, projecting over the
ground storey, surmounted by a
parapet and the large, stone-
faced gable.

5. The porch incorporates a pointed

arch.

east front with porch and bay window

1 Palace Green,

•Webb positioned Howard's studio on the north

side of the top residential storey, with its own
staircase which led down to the garden,

•opening into a two-storey pointed-arch recess.

•In 1873–74 Webb returned to add a

schoolroom next to the studio, over another tall
pointed-arch recess, in the south elevation

he arched recess below the studio

Standen house, sussex,London
BUILDING FEATURES OF Arts and Crafts, or Craftsman, houses have many of these features:

well-proportioned
solid forms
pointed window
arches
steep roof

•Building integrated within the site and into the local

wide porches
culture.
•Practical design, respect for traditional building methods'.
ARTS AND CRAFTS, OR CRAFTSMAN, HOUSES HAVE MANY OF THESE FEATURES:

1. Wood, stone, or stucco

2. Low-pitched roof
3. Wide eaves with triangular brackets
4. Exposed roof rafters
5. Porch with thick square or round columns
6. Stone porch supports
7. Exterior chimney made with stone
8. Open floor plans; few hallways, Numerous windows
9. Some windows with stained or leaded glass
10. Beamed ceilings
11. Dark wood mouldings
12. Built-in cabinets, shelves, and seating

ARTS AND CRAFTS MOVEMENT IN AMERICA(1890-1920):

• Morris ideal was spread by Oscar Wilde, a poet through his literatures.
• Also inspired by literatures by John Ruskin and William Morris.
• Called as Craftsman movement.
• Important centres – Boston, Buffolo, California
• They also rejected unnecessary surface ornamentation
• Preferred simple honest design
• Preffered clean line in design
ART NOUVEAU
1890-1910 "new art"
sinuous and flowing lines
ARTS AND CRAFTS MOVEMENT & ART NOUVEAU

Principles

ABSORBING - all art forms

Art as a way of life

ART NOUVEAU DIFFERENT FROM ARTS AND CRAFTS MOVEMENT?
Arts and Crafts- a more traditional method
look back for the past
1. England
2. against the new modern ways of designing
in the 1800s and decided to reflect back to
more traditional forms of both style and
methods of craftsmanship in creating
furniture and other household goods,
including wallpapers and even tapestries.
3. It was a reaction against industrial design in
general because Arts and Crafts was
opposed to the machine and its
practitioners wanted to revert back to old
fashioned ways, like hand carved wood and
painted furniture. They believed in simple
furniture made from good quality work.
4. Arts and Crafts did not believe in using the
machine and this was heavily instilled upon
the movements leader, William Morris.
5. A&C evolved into a recognizable style based
on strong, straight lines, simple geometry,
and a disdain of ornamentation for it's own
sake
6. A&C -simplicity
Art Nouveau- create quality
premium pieces + technology
+style for the future
1. Belgium, Scotland and even the
United States.
2. Art Nouveau was influenced by the
Arts and Crafts handiwork and
craftsmanship.
3. Art Nouveau did not neglect using
the machines available to them to
help aid their creations.
4. Art Nouveau was inspired by Arts
and Crafts and that is why it is clear
that there are many similarities in
their work regardless of their
approaches taken
5. AN also favored strong lines and
geometry, but also embraced the
flourish, the french curve, the use
of space in a beautiful way
6. AN was wildly sensual - it was
inspired by natural forms and
structures, particularly the curved
lines of plants and flowers.
7. ARCHITECTURE had an organic,
linear rhythm, creating a fusion
between structure and ornament.
Arts and Crafts- a more traditional method Art Nouveau- create quality
premium pieces + technology
ART NOUVEAU DIFFERENT FROM ARTS AND CRAFTS MOVEMENT?

Use of New Materials

Protest against the traditional

“William Morris was the theoretician whose beliefs more than

those of anyone else initiated the Art Nouveau movement”
• It is an international philosophy and style of
1. Art
2. Architecture
3. Applied art
that were most popular during 1890–1910.
• The most important places for architecture during this period were Brussels, Paris
and Barcelona.
• The name 'Art nouveau' is French for 'new art'.
TIME & PLACE
Flourished in major European cities between
1890–1910.
emerged in the early 1890s in all the visual arts:
1. Painting,
2. Sculpture,
3. Architecture,
4. Interior design,
Art Nouveau was underlined by a particular way
5. graphic arts, of thinking about
6. Posters, 1. Modern society and
2. New production methods,
7. Jewellery,
attempting to redefine the meaning and nature
8. Clothing, and of the work of art, so that art would not
9. Furniture overlook any everyday object.
• It represents the beginning of modernism in design(Modern
Architecture).

• It occurred at a time when

1. Mass-produced consumer goods began to fill the marketplace, and
2. Designers, architects, and artist began to understand that the
handcrafted work of centuries past could be lost.

ARCHITECTS ASSOCIATED WITH ART NOVEAU:

1. Antoni Gaudi (1852-1926)

2. Victor Horta (1861-1947)
3. Hector Guimard (1867-1942)
4. Charles Rennie Mackintosh (1868-1928)
5. Van De Velde
6. Louis Sullivan (1856-1924)
7. Otto Wagner
 ART NOUVEAU ARCHITECTURE
FEATURES

Art Nouveau buildings have these features:

1. Asymmetrical shapes
2. Extensive use of arches and curved forms
3. Curved glass
4. Curving plant-like embellishments
5. Mosaics
6. Stained glass
MATERIALS USED
• Stained Glass
• Wrought Iron
• Mosaic Tiles
• Lime Mortar
• Wall Papers
• Glazed Stucco
• Flat, decorative patterns.

• Intertwined(twist) organic forms such as stems or flowers.

• The use of new materials and the rejection of earlier styles.

• Art Nouveau is characterized by organic, especially floral and other plant-

inspired motifs, as well as highly stylized, flowing curvilinear forms.
Art Nouveau Elements

1.Flowing Lines

 Characterized by graceful, sinuous(Curved)

lines.

 The lines are rarely angular.

2.Violent Curves

 Some artists referred to the curves in Art

Nouveau works as whiplash(A quick blow
delivered with a whip) curves.

 These curvy lines connect the images in the

art and can even be found in beautified
plain items, such as furniture & buildings.
• In architecture, hyperbolas and parabolas in
windows, arches and doors are common and
decorative mouldings ‘grow 'into plant –derived
forms.

• Art Nouveau designers selected and modernized

some of the more abstract elements of Rococo
style, such as flame and shell textures.
ANTONNIO GAUDI (1852 – 1926)

1. Influenced by structural rationalism and

influence of Viollet-le duc
2. Gaudi’s inspiration :Viollet le
duc,Ruskin,Richard wagner.
Reviving native
GAUDI’S Architecture =
architecture + to create
new forms of
expression +his unusual
power of fantasy.
ANTONNIO GAUDI (1852 – 1926)

NOTED WORKS

1.CASA VICENS (1883–1885)

2.Palau Güell (1885–1889)
3.College of the Teresianas (1888–1890)
4.Crypt of the Church of Colònia Güell (1898–
1916)
5.Casa Calvet (1899–1904)
6.CASA BATLLÓ (1905–1907)
7.Casa Milà (La Pedrera) (1905–1907)
8.Park Güell (1900–1914)
9.SAGRADA FAMÍLIA Nativity façade and Crypt of
the Sagrada Família church (1884–1926)
ANTONNIO GAUDI (1852 – 1926)

ART NOVEAU ELEMENTS IN THE BUILDING

• The outer wall has mosaic of colored
pieces of glass.
• Tracery (Decoration consisting of an
open pattern of interlacing ribs)
• irregular oval windows
• flowing sculpted stone work
• Attic having animal like shape with a
legendry story depicted.
FACADE
GAUDÍ CARRIED OUT ONE OF THE MOST
IMPRESSIVE AND BRILLIANT URBAN
FAÇADES OF THE WORLD.

•The façade covered by MOSAICS of

SPLENDID COLORS is perhaps the most
suggestive, creative and original of the
city of Barcelona.

•The balconies remember pieces of

SKULLS WITH ITS EYES AND MOUTH.

•The COLUMNS of first floor look like

human bones.
•The GROUND FLOOR, in particular, is
rather astonishing with tracery, irregular
OVAL WINDOWS and flowing sculpted
stone work.
 ROOF

A. The design of that roof is one of the

most characteristics of Gaudí for
urban buildings.

B. The interior is also very impressive

showing various decorative elements
as furniture, glasses, forged iron
elements, fireplaces, etc.

• The roof is arched and

was likened to the back of
a dragon or dinosaur
• The roof decorated with
POLYCHROME CERAMICS of
brilliant colors is crowned
by a tower with the typical
Gaudí four branches cross.
• Goal of the designer was to avoid straight lines
completely.

• Much of the façade is decorated with a mosaic

made of broken ceramic tiles that starts in shades
of golden orange moving into greenish blues.

• The roof is arched and was likened to the back of

a dragon or dinosaur.
ANTONNIO GAUDI (1852 – 1926)

Casa Mila
 ANTONNIO GAUDI (1852 – 1926)
2. Casa Mila
• Apartment block built
between 1906 -1910 in
Barcelona.

• Commonly known as La
Pedrera is the largest
housing building in
Barcelona.

• The facade is an impressive

wave-like mass of rough-
shipped stone.
ART NOVEAU ELEMENTS IN THE BUILDING
• Curve Forms on the balconies.

• The windows and doors seem to be dug

out of this stone mass and are trimmed in
exquisitely(delicate) crafted wrought iron
work.

• No use of straight line.

• Use of sculptures and decorations

 Victor Horta-
‘Key European Art Nouveau Architect’

•BELGIAN ARCHITECT AND DESIGNER

DESIGN PHILOSOPHY

• Buildings REJECTED HISTORICAL STYLES

• ABSTRACT PRINCIPLE derived from
relations to the environment, rather than
imitation of forms.
Victor Horta

The characterizations are:

•the use of industrial materials like STEEL AND IRON
in the visible parts of houses.
•New decorations inspired by nature
•decorative mosaics or graphical patterns on the
facades of houses
• Another common characteristic of Horta's
architecture focuses on his STAIRCASES.
•His IRON BANISTERS and STONE STEPS combine to
make a prime example of Horta's mastery over organic
forms and tightly organized spaces.
•His staircases mapped out movement throught the
building as it carried its users through the spaces
 SIGNIFICANT BUILDINGS

 HOTEL TASSEL

 HORTA MUSEUM (HOUSE AND

STUDIO OF VICTOR HORTA)

 HÔTEL VAN EETVELDE

 HÔTEL SOLVAY

 PALAIS DES BEAUX-ARTS IN

BRUSSELS

 MAISON DE PEUPLE
HORTA MUSEUM

• Location: Belgium
• Construction: 1898-1900
• The museum is actually the house that Horta
designed and built for himself.

• This one is the only place left you can see of his
style
Features of the building
•Use of curved form
•Curved glass
Facade of the museum
• Horta has left the load-bearing columns
exposed, making them become a decorative
feature.

• This was a common trait in Art Nouveau -

making structural features appear
ornamental.

• Horta has echoed the curves in the

balustrading with the curved stairs, tiled
mosaic floor and the painted wall designs.

• Again, this is the way Art Nouveau designers

worked - creating a uniformity in the interior.

• The use of large areas of glass and the linear

iron supports allows for a delicate, almost
transparent approach.
VICTOR HORTA (1861 –1947 )

Horta Museum
VICTOR HORTA (1861 –1947 )

Horta Museum
 INTERIOR OF THE MUSEUM

Curved railing

Spiral Staircase

The curves in the

balustrade

Arches
Curved glasswork on walls
VICTOR HORTA (1861 –1947 )

Tassel House (1893)

VICTOR HORTA (1861 –1947 )

Tassel House (1893)

VICTOR HORTA (1861 –1947 )

Tassel House (1893)

VICTOR HORTA (1861 –1947 )

Tassel House (1893)

 VICTOR HORTA (1861 –1947 )
 The Hotel Tassel has an OPEN
PLANNING
 The octogonal vestibule on
the ground floor rose upwards
through a half level towards
the garden ,it expands laterally
into an adjacent foyer space
covered by an IRON SUPER
STRUCTURE
 The FREE STANDING iron tendrils
COLUMNS of this space,
Serpentine
embellished with IRON forms
TENDRILS, echo similar
serpentine forma throughout
the rest of the metal work.
Tassel House (1893)

72
VICTOR HORTA (1861 –1947 )

Tassel House (1893)

VICTOR HORTA (1861 –1947 )

Tassel House (1893)

Charles Rennie Mackintosh,
Glasgow, 1868-1928.
• Mackintosh preferred the strength of
the rectilinear line.

• Interestingly, he also used patterns

from sources such as the Irish Book of
Kells (800AD).
CHARLES RENNIE MACKINTOSH (1868 –1928 )

Glasgow School of Art (1897)

 CHARLES RENNIE MACKINTOSH (1868 –1928 )

FEATURES

Scottish baronial architecture

(volumetric masses of heavy masonry),

art nouveau motifs

(floral and geometric motifs in the iron work,
tiles, details) and

modern materials and techniques

(large, industrial, braced windows).

Glasgow School of Art (1897)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

Glasgow School of Art (1897)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

Glasgow School of Art (1897)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

Glasgow School of Art (1897)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

Glasgow School of Art (1897)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

Glasgow School of Art (1897)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

The Lighthouse, Glasgow (1895)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

The Lighthouse, Glasgow (1895)

CHARLES RENNIE MACKINTOSH (1868 –1928 )

Mackintosh Chair
CHARLES RENNIE MACKINTOSH (1868 –1928 )

Mackintosh Chair
House for an Art Lover, 1986.
Mackintosh, Bedroom Furniture.
 HECTOR GUIMARD (1864 –1942)

INFLUENCES

• VIOLLET le DUC - French

theorist best known for his work
Entretiens.
•ANATOLE de BAUDOT – a
student of Viollet and Guimard’s
master at Beaux- arts
•VICTOR HORTA
•JAN TOOROP - artist
 HECTOR GUIMARD (1864 –1942)

PARIS METRO STATION

 HECTOR GUIMARD (1864 –1942)

PARIS METRO STATION

 HECTOR GUIMARD (1864 –1942)

PARIS METRO STATION

 HECTOR GUIMARD (1864 –1942)

PARIS METRO STATION

 HECTOR GUIMARD (1864 –1942)

Castel Beranger, 1898

 HECTOR GUIMARD (1864 –1942)

Castel Beranger, 1898

HECTOR GUIMARD (1864 –1942)
HECTOR GUIMARD (1864 –1942)
HECTOR GUIMARD (1864 –1942)
HECTOR GUIMARD (1864 –1942)
HECTOR GUIMARD (1864 –1942)
HECTOR GUIMARD (1864 –1942)
HECTOR GUIMARD (1864 –1942)
HECTOR GUIMARD (1864 –1942)
 HENRY VAN DE VELDE (1863 –1957)

INFLUENCES

• VIOLLET le DUC - French

theorist best known for his
work Entretiens.
•ANATOLE de BAUDOT – a
student of Viollet and
Guimard’s master at Beaux-
arts
•VICTOR HORTA
•JAN TOOROP - artist
HENRY VAN DE VELDE (1863 –1957)
•was a painter,
•pioneered the movement in arts, it spread later to
architecture.
• building to be “total works of art” in which every
detail, down to last fixture would bear the same
architectural character as the overall building.
•established an influential decorating enterprise.
•designed everything within: furniture, table settings,
wallpaper, lighting fixtures, tapestries—even his wife’s
clothing.
•In 1896 he presented his furniture works in Samuel
Bing’s gallery “L’ Art Nouveau” in paris and become
internationally known.
HENRY VAN DE VELDE (1863 –1957)
His furniture designs are:
•linear,
•highly detailed by innovative decorations and
•expressive ornamental design, tempered by strong
traditional elements.
HENRY VAN DE VELDE (1863 –1957)

•Van De Velde described ornamentation as "element

attachment to form for improving the aesthetic quality, while
ornament refers to the frank revelation of the inner structural
or functional identity of form."

Architectural Works

•Van de Velde house, Brussels, Belgium (1895)

•Havana company store, Berlin (1899)
•Interior of Folkwang Museum, Hagen (1900)
•University Library, Ghent, Belgium (1935)
HENRY VAN DE VELDE (1863 –1957)

Architectural Works

•Van de Velde house, Brussels, Belgium (1895)

•Havana company store, Berlin (1899)
•Interior of Folkwang Museum, Hagen (1900)
•University Library, Ghent, Belgium (1935)
The Vienna Secession (1897)

•doesnt not have a particular style

•The Secession building could be considered the icon of the

movement.

• Secession artists were concerned, above all else, with

exploring the possibilities of art outside the confines of
academic tradition.

• They hoped to create a new style that owed nothing to

historical influence.
The Vienna Secession (1897)

•purer geometric forms into the designs of their buildings.

•The three main architects of this movement were

•Josef Hoffmann, J
•Joseph Maria Olbrich, and
•Otto Wagner.

•Secessionist architects often decorated the surface of

their buildings with linear ornamentation in a form commonly
called whiplash or eel style.
The Vienna Secession (1897)
Joseph Maria Olbrich

SECESSION BUILDING

•Designed by Joseph Maria Olbrich, the exhibition building

soon became known simply as "the Secession" (die
Sezession).

•This building became an icon of the movement.

•displayed art from several other influential artists such as

Max Klinger, Eugène Grasset, Charles Rennie Mackintosh,
and Arnold Bocklin.

•Above its entrance was placed the phrase "Der Zeit ihre
Kunst. Der Kunst ihre Freiheit." ("To every age its art. To art
its freedom.")
FRANK LLYOD WRIGHT (1867- 1959)

- Considered best architect of last 125 years.

- Known for ‘Prairie Style’ architecture.

 FRANK LLYOD WRIGHT (1867- 1959)
•American Architect
•Worked under Louis Sullivan
•Influenced by the British Arts and Crafts Movement
• Influenced European modern architects

“Do not try to teach design. Teach Principles.”

- Frank Lloyd Wright.
 FRANK LLYOD WRIGHT (1867- 1959)

INFLUENCES:

•Louis Sullivan, whom he considered to be his 'Lieber

Meister' (dear master

•Nature, particularly shapes/forms and colors/patterns of

plant life

•Music (his favorite composer was Ludwig van Beethoven),

•Japan (as in art, prints, buildings),

•Froebel gifts(Kindergarden Play gifts)

FRANK LLYOD WRIGHT (1867- 1959)

Louis Sullivan - "form follows function."

Wright argued that "form and function are one.”

 FRANK LLYOD WRIGHT (1867- 1959)

Louis Sullivan - "form follows function."

Wright argued that "form and function are one.”

History of Architecture and Culture - V

FRANK LLYOD WRIGHT (1867- 1959)

His buildings fall into 3 categories

1.Low pitched hop roofs,

presenting quiet unbroken skylines
Ex: William H.Winslow House

2.Low roofs with simple pediments

countering on long ridges
Ex:Bradley House

3. simple slab
Ex:Unity church
FRANK LLYOD WRIGHT (1867- 1959)

1.ORGANIC ARCHITECTURE
- which maintains that the building must develop out
of its surroundings.

2.Prairie Houses
- characterized by asymmetrical plans and low, wide
overhanging eaves.
 FRANK LLYOD WRIGHT (1867- 1959)

ELEMENTS COMMON TO HIS BUILDINGS

•All materials are used in the natural form
•Free flow of space- no sharp distinction between the inside
and the outside
•Overlapping integral spaces, offsets, changing ceiling heights
•No Ornamentional facades
•Quality spaces, no attics and no dead spaces
•Built- in furniture
•Each piece serves many functions, no piece works alone
•Grandeur is used sparingly.
FRANK LLYOD WRIGHT (1867- 1959)
FRANK LLYOD WRIGHT (1867- 1959)

UNITY TEMPLE
 FRANK LLYOD WRIGHT (1867- 1959)

ORGANIC ARCHITECTURE

•Organic architecture strives to integrate space into a unified whole.

•Frank Lloyd Wright was not concerned with architectural style,

•because he believed that every building should grow naturally from

its environment.
 FRANK LLYOD WRIGHT (1867- 1959)
Prairie Houses
•Broad, gently sloping roofs with low chimneys, balconies and terraces extending
in several directions
•Emphasis on natural materials-woods stone
•Leaded windows patterned with colored glass
•Bands of casement windows
•Wood strips to emphasize structural elements
•horizontal lines
•windows grouped in horizontal bands,
•integration with the landscape
• solid construction & indigenous materials
• Horizontal lines were thought to evoke and relate to the native prairie
landscape.
 FRANK LLYOD WRIGHT (1867- 1959)
1. Strong Horizontal Lines
2. Cantilevered projections
3. Wide, over-sized eaves
4. A Belt-course between stories
5. Bank of Windows and Clerestory
6. Hidden entrances
7. low hipped roof Unlike the ostentatious Victorian house, the
Prairie Style house was conspicuously lacking in ornamentation .

•A variety of geometric shapes and forms inspired by nature were

highlighted through window arrangement, columns, low walls and planters,
creating a visually appealing home.
FRANK LLYOD WRIGHT (1867- 1959)
 FRANK LLYOD WRIGHT (1867- 1959)

1. Strong Horizontal Lines ,

2. Cantilevered projections
3. Wide, over-sized eaves
FRANK LLYOD WRIGHT (1867- 1959)

William H.Winslow House

FRANK LLYOD WRIGHT (1867- 1959)
FRANK LLYOD WRIGHT (1867- 1959)
FRANK LLYOD WRIGHT (1867- 1959)
End of UNIT II