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DECONSTRUCTIVIS
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POSTMODERNISM
INTERN
ATIONA
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EXPR
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ART
NOU
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ARTS
CRAFTS
NEOCLASSICISM
RENAISSANCE BAROQUE
ANTIQUITY NEW VERNACULAR ARTS
MATERIALS
ARTS
CRAFTS
1400 1500 1600 1700 1800 1900 2000
ARTS AND CRAFTS MOVEMENT
•Main protagonist- designer-cum-poet, William Morris
•Morris was inspired by writings of John Ruskin who praised Gothic
architecture and criticised the monotony of factory production.
•Medieval past and medieval architecture - variety of ornament,
individual craft skills: lost due to reproduction of standard forms.
WHAT TO LOOK FOR IN AN ARTS AND CRAFTS BUILDING:
•Clarity of form and structure
•Variety of materials- local materials
•Asymmetry
•Traditional construction
•Craftsmanship
•free of any imposed style
•Function, need and simplicity (without spurious ornament),
Antonio Gaudi : Casa Batlo Antonio Gaudi : Casa Batlo Mackintosh: Lights in Glasgow
School of Art
ART
NOU
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1400 1500 1600 1700 1800 1900 2000
ART NOUVEAU
Introduction
•By the end of 19th Cent. It was no longer possible to escape modernity and
mass production and its application in all spheres of life.
•Rejection of eclecticism and simultaneous progress in industrial civilization.
•A new language developed – inspired directly from nature.
•References of flora and fauna.
•Dynamic lines, decorative, agile and flexible.
•Function should be matched by form, and decoration, wherever it is used,
should be natural and grow from the structure.
•The agreement of form and function is beauty.
•Primary goal- creation of ‘total art’- an artistic design that overlooked no
element but used all the elements to create a harmonious whole.
•A stringent relationship between the exterior, interior, furnishings, and even
small products.
•Language was largely international- recognizable everywhere- along with
references to local traditions.
•Important architects:
•Horta and van de Velde in Belgium
•Guimard in France
•Mackintosh in Scotland
•Gaudi in Spain
•Wagner, Olbrich and Hoffmann in Austria
•Basile in Italy
ART NOUVEAU
BELGIUM
Victor Horta
•Influence of writings of Violletle-Duc and the creations were made possible
by developments in engineering.
•Bare metal areas following a continuous line- fluid and curving.
•This line involved all architectural elements.
•Artistic dignity to elements that were traditionally hidden, giving them
original character.
Hector Guimard-
•Influenced by Viollet-le-Duc. Looked upon iron as the material
of the future.
•Used iron not just for its support function, but also because it
assumes elongated, sinuous forms that replicate curving lines of
nature.
•Thus he avoided symmetry or parallelism.
•1896- design of surface stations for the metro
•Metamorphosis of architecture and nature- combined
decoration and functionality
•Influenced by English country-house movement- every house
can rise to the status of a work of art.
•He aimed to become an expert in the techniques of all arts: the
essence and end of a building are its ‘decoration’.
Antonio Gaudi
•Blends decorative and structural elements from Flamboyant Gothic, from plateresque, from Mudejar art, as well
as of azulejo tiles and original mosaics in bright colours
•Strong sense of historical continuity
•Close attention to the use of materials and to the natural-artificial relationship
•Morphological constructive principles such as the use of the parabolic arc that contributes to reinforce the
dynamic sense of his lines.
•Being original means returning to the origins- revitalised the styles of the past, and a concept of rupestrian
architecture generated by seismic movements.
•Compositional freedom- plastic deformation of the physical plants of buildings- impossible to separate the
structure from decoration- (anticipating the expressionist themes)
ART NOUVEAU
SPAIN
Casa Batlo 1905-7
•Mosaic of vitreous paste in various colours and at various angles- to make use of reflections of sunlight
•Ornamental details- wrought iron balconies, window surrounds, roof with polychrome majolica tiles
•Interior furnishing- materials and colours- intense blue to white
•Analogy to morphology of living beings- a distributive and functional logic that matches their physical image
ART NOUVEAU
Sagrada Familia, Barcelona, begun 1882
•Expressions of Gaudi’s intellectual ideas and religious beliefs-
mystical
•Art nouveau interpretation of the Gothic style.
•Original neo-Gothic design by Del Villar.
•‘the straight line belongs to man, the curved line belongs to God’-
Gaudi
•Geometry of parabolic curves, ellipses, hyperbolas
•Structure and decoration no longer separate
•Realistic and allusive iconography at the same time
•Decoration sprouts organically from the architecture
•Vertical supports transformed into a forest of arboreal shapes.
•Dynamism and stability, stupor and reverence, religious piety and
love for nature, vague sense of suffering
•Gaudi saw incompleteness and imperfection as necessities
•Nativity facade, Passion facade,
ORGANIC ARCHITECTURE
ORG
ANIC
•Shared the Arts and Crafts philosophy of the Free Style- architects should design ‘in the nature of materials’
•But did not reject machine manufacture, though balked at standardization and mass production.
•New materials were used- eq Unity Temple- monolithic concrete
•Prairie School- discreet about evoking the past. Leaned towards the art of primitive people and remote lands-
influences from Japan, Turkey, India.
•Wright cared little for the urgencies of the present- problems like industrialization, overcrowding.
EXPRESSIONISM
EXPR
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1400 1500 1600 1700 1800 1900 2000
EXPRESSIONISM
•Literature and figurative arts: Expressionism- avante-garde movements that took place in Germany during the
first years of the 20th Century.
•Architecture: Expressionism- various artists active in the low countries and Germany from around 1910 to 1925
•Use of language opposed to the 19th Cent eclecticism but was also against the rationalist-functionalist
tendencies of those years
•Roots- Deutscher Werkbund.
•Industrial architecture-
•simple, essential forms and use of new materials- influenced the work of rationalist architects as Gropius and
Le Corbusier
•Unusual volumes of industrial structures also favoured the evolution of an ‘antirational’ trend- strong
expressive impact, with sinuous or highly articulated forms.
•Refashioning of forms from nature- such as spirals, curves, and crystals
•Expressive values of certain materials as brick or glass are emphasized on exterior surfaces.
EDVARD MUNCH
JACKSON POLLOCK
‘The Scream’ between 1893 and 1910
EXPRESSIONISM
Fritz Hoger, Chilehaus, Hamburg, 1921-24
•Nicknamed ship’s prow
•Warehouse for merchandise imported from Chile
•Dark red klinker
•Inspiration from the brick construction of the Gothic cathedrals of north Germany
•J. M. Van der Meij, Michel de Klerk, Pieter Kramer, Scheepvarthuis, Amsterdam, 1912-18
•Administrative headquarters of several Amsterdam shipping companies
•Reinforced concrete, enclosed by a rich and imaginative facade composed of a variety of materials- terracotta,
brick, cocrete
•Friezes and sculptures are inspired by navigation and maritime commerce
EXPRESSIONISM
•Hans Polzig, Grosses Schauspielhaus, Berlin, 1919
•Auditorium capacity- 5000
•Covered by a vast dome dripping with pendentives like stalactites, recalling the interiors of a cave