The new movements & schools of Thought on

Architecture

21-03-2012
 ART NOUVEAU
(French term for 'new art') is an


international style of art,
architecture and design that
peaked in popularity at the
beginning of the 20th century
(1880-1914) and is
characterized by highly-
stylized, flowing, curvilinear
designs often incorporating
floral and other plant-inspired
motifs. The name 'Art
Nouveau' derived from the
name of a shop in Paris,
Maison de l'Art Nouveau, that
showcased objects that
followed this approach to
design.
The style's patterns and
motifs were taken primarily
from nature and were often
carried out with unrestrained


exuberance of form, color,
and especially line.

The french architect Hector

Guimard,made brilliant use of
art nouveau in his design for
the entrances to the new Paris
subway system, the metro.
There after the style was called
"le style metro.“
 ART NOUVEAU-Contribution of Victor Horta


Victor, Baron Horta (6 January 1861
- 8 September 1947) was a Belgian
architect and designer. Horta is one of
the most important names in Art
Nouveau architecture; the construction
of his Hôtel Tassel in Brussels in
1892-3 introduced the style to
architecture from the decorative arts.
He focused on the curvature of his
designs, believing that the forms he
produced were highly practical and not
artistic affectations.
 ART NOUVEAU-Contribution of Victor Horta

After introducing Art Nouveau in an

exhibition held in 1892, Horta was
inspired and he transfused the

recent influences into Hôtel Tassel,
completed in 1893. The design had
a groundbreaking semi open-plan
floor layout for a house of the time,
and incorporated interior iron
structure with curvilinear botanical
forms, later described as
“biomorphic whiplash”. Ornate
and elaborate designs and natural
lighting were concealed behind a
stone façade to harmonize the
building with the more rigid
houses next door. The building has
since been recognised as the first
appearance of Art Nouveau in
architecture.

HORTA MUSEUM/HORTA HOUSE

 The House

The Studio
ART NOUVEAU-Contribution of Victor Horta

HORTA MUSEUM
 ART NOUVEAU-Contribution of Victor Horta

 Towards Art Deco &

Modernism:
The post-war austerity meant that
Art Nouveau was no longer
affordable or fashionable.
From this point on Horta, who

had gradually been
simplifying his style over the
previous decade, no longer
used organic forms, and
instead based his designs on
the geometrical. He continued
to use rational floor plans, and
to apply the latest
developments in building
technology and
building services engineering. Palais des Beaux-Arts
The Palais des Beaux-Arts in ,BRUSSELS
Brussels, a multi-purpose
cultural centre designed in a
formal style that was new at
the time, but which
foreshadows Art Deco as well
as having cubist features.
ART NOUVEAU-Contribution of Victor Horta


Externally the building is clad in
stone, however it was largely built
using reinforced concrete
Internally, Horta's complex floor
plans again demonstrate his talent
for rational design. Combining his
love of both music and
architecture, Horta designed an
unusual egg-shaped concert hall
which is regarded as one of the
Worlds' greatest, although
modifications in 1970 harmed the
acoustics.
ART NOUVEAU-Contribution of Antonio Gaudi

 Antoni Gaudí i Cornet (25 June 1852–10

June 1926) was a Spanish Catalan architect
and figurehead of Catalan Modernism.

 Much of Gaudí's work was marked by his
four life passions: architecture, nature,
religion and love for Catalonia. Gaudí
studied every detail of his creations,
integrating into his architecture a series of
crafts in which he was skilled: ceramics, His work transcended
stained glass, wrought ironwork forging mainstream
and carpentry. He introduced new Modernisme,
techniques in the treatment of materials, culminating in an
such as trencadís, made of waste ceramic
pieces. Gaudí’s Roman Catholic faith organic style inspired by
intensified during his life and religious images nature. Gaudí rarely
permeate his work. This earned him the drew detailed plans of
nickname "God's Architect . his works, instead
preferring to create them
as three-dimensional
scale models and
molding the details as
he was conceiving them.
 ART NOUVEAU-Contribution of Antonio Gaudi


In 1883 Gaudí was put in charge
of the recently-initiated
project to build a Barcelona
cathedral called
Basílica i Temple Expiatori de
la
Sagrada Família (Basilica and
Expiatory Church of the Holy
Family, or Sagrada Família).
Gaudí completely changed
the initial design and imbued
it with his own distinctive
style. From 1915 until his
death he devoted himself
entirely to this project.
SAGRADA FAMILIA, BARCELONA
The style of la Sagrada Familia is
variously likened to 
Spanish Late Gothic, 
Catalan Modernismand to 
Art Nouveau .  It has a great
complexity of parts, which
include double aisles, an 
ambulatory with a chevet of

seven apsidal chapels, a
multitude of towers and three
portals, each widely different in
structure as well as ornament.
Where it is common for
cathedrals in Spain to be
surrounded by numerous
chapels and ecclesiastical
buildings, the plan of this church
has an unusual feature: a
covered passage or cloister
 which forms a rectangle
enclosing the church and
passing through thenarthex of
each of its three portals.
SAGRADA FAMILIA, BARCELONA


SAGRADA FAMILIA, BARCELONA
•The church plan is that of a Latin
cross with five aisles. The central
nave vaults reach forty-five
metres while the side nave vaults
reach thirty metres. The transept
has three aisles. The columns are
on a 7.5 metre grid. However, the
columns of the apse, resting on

del Villar's foundation, do not
adhere to the grid, requiring a
section of columns of the
ambulatory to transition to the grid
thus creating a horseshoe pattern
to the layout of those columns.
The crossing rests on the four
central columns of porphyry
supporting a great hyperboloid
surrounded by two rings of twelve
hyperboloids. The central vault
reaches sixty metres. The apse is
capped by a hyperboloid vault
reaching seventy-five metres.
Gaudí intended that a visitor
standing at the main entrance be
able to see the vaults of the nave,
crossing, and apse, thus the
graduated increase in vault
loftiness.
SAGRADA FAMILIA, BARCELONA


SAGRADA FAMILIA, BARCELONA

 The columns of the interior are a unique Gaudí design.

Besides branching to support their load, their ever-

changing surfaces are the result of the intersection of
various geometric forms. The simplest example is that
of a square base evolving into an octagon as the column
rises, then a sixteen-sided form, and eventually to a
circle.
 Essentially none of the interior surfaces are flat; the
ornamentation is comprehensive and rich, consisting in
large part of abstract shapes which combine smooth
curves and jagged points. Even detail-level work such
as the iron railings for balconies and stairways are full
of curvaceous elaboration.
SAGRADA FAMILIA, BARCELONA


 SAGRADA FAMILIA, BARCELONA


•There are gaps in the floor of the apse,
providing a view down into the crypt below.

THE CRYPT
  Casa Milà ,
CASA MILA, BARCELONA meaning the
'The
Quarry'), is a
building
designed by

 Antoni Gau
dí
and built
during the
years 1905–
1910, being
considered
officially
completed
in 1912
CASA MILA, BARCELONA


CASA MILA, BARCELONA


CASA MILA, BARCELONA


CASA MILA, BARCELONA


CASA MILA, BARCELONA

It was a controversial design at

the time for the bold forms of
the undulating stone facade
and wrought iron decoration of 
the balconies and windows,
designed largely by 
Josep Maria Jujol, who also
created some of the plaster
ceilings.
Architecturally it is considered
an innovative work for its steel
structure and curtain walls –
the façade is self-supporting.
Other innovative elements
were the construction of
underground car parking and
separate lifts and stairs for the
owners and their servants.
CASA VICENS, BARCELONA

 Casa Vicens is a family

residence in Barcelona ,
designed by
Antoni Gaudí and built
for industrialist Manuel
Vicens. It was Gaudí's

first important work.
 This early work exhibits
several influences, most
notably the Moorish
influence, particularly
evident at the top. The
house is constructed of
undressed stone, rough
red bricks, and colored
ceramic tiles in
checkerboard and floral
patterns. The yellow,
zinnia-flowered tile,
designed by Gaudí, was
manufactured by Vicens.
CASA VICENS, BARCELONA

The plan is

asymmetrical with
protruding gables
and buttresses.
Galleries project even
farther at the top.
Rooftop towers are
reminiscent of
Moorish architecture.
CASA BATLO, BARCELONA

Casa Batlló is a building restored by

Antoni Gaudí and Josep Maria Jujol, built in the
year 1877 and remodelled in the years 1904–1906 .

The local name for the building is Casa dels ossos
(House of Bones), as it has a visceral, skeletal
organic quality.
CASA BATLO, BARCELONA

 The building looks very remarkable

— like everything Gaudí designed,
only identifiable as Modernisme or

Art Nouveau in the broadest sense.
The ground floor, in particular, is
rather astonishing with tracery,
irregular oval windows and flowing
sculpted stone work..
 It seems that the goal of the
designer was to avoid straight lines
completely. Much of the façade is
decorated with a mosaic made of
broken ceramic tiles (trencadís) 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.
CASA BATLO, BARCELONA