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ARCHITECTURE IN EUROPE & AMERICA: LATE

19TH –EARLY 20TH CENT.


BACKGROUND
•PROTO RENAISSANCE (1200-1400)
•EARLY RENAISSANCE (1400-1500) •ORGANIC ARCHITECTURE
•HIGH RENAISSANCE AND MANNERISM (1500-1600)
•EXPRESSIONISM
•BAROQUE (1600– 1800)
•CLASSICISM (1600-1800)
•CONSTRUCTIVISM
•ENGLISH CLASSICISM (1600-1700) •BAUHAUS
•PALLADIAN REVIVAL IN ENGLAND (1700-1750)
•INTERNATIONAL
•GOTHIC REVIVAL IN ENGLAND (1750-1850)
•FRENCH CLASSICISM (1700-1800)
•POSTMODERNISM

•NEO CLASSICISM (1750-1850) •DECONTRUCTIVISM


•FRENCH NEOCLASSICISM
•GERMAN NEOCLASSICISM
•NEO CLASSICISM IN THE US
•EXOTICISM (1750-1850)
•ECLECTICISM (1830-1920)

•NEW MATERIALS AND URBAN TYPOLOGIES


•STEEL, CONCRETE, GLASS
•BRIDGES, RAILWAY STATIONS

•ARTS AND CRAFTS MOVEMENT (1834-1896)


•ART NOUVEAU (1890-1914)
TIME LINE: High Periods of Styles

DECONSTRUCTIVIS
M

POSTMODERNISM

INTERN
ATIONA
L
EXPR
ESSI
ONIS
M
ART
NOU
VEA
U
ARTS
CRAFTS

NEOCLASSICISM

RENAISSANCE BAROQUE
ANTIQUITY NEW VERNACULAR ARTS
MATERIALS

NEO CLASSICISM Yes- with reduced Rejected - Parallel


ornamentation developments
ENGINEERS - Explored to the - -
fullest
CHICAGO Skin of the Used for structural - -
SCHOOL structure purpose

ARTS & CRAFTS Rejected Rejected Medieval Inspired from


vernacular Literature
traditions
ART NOUVEAU Some influences Used to create new Some influences Inspired from
vocabulary Literature
ORGANIC Rejected No apprehensions Drew inspirations
ARCHITECTURE from

EXPRESSIONISM Some influences Used - Paintings

DE STIJL Rejected Used - Paintings


ARTS AND CRAFTS MOVEMENT

William Morris, Philip Webb: Red House, London

MOVEMENT FIELD OF IMPACT PERIOD ORIGIN/ MAIN CONCEPT PIONEERS/ EXAMPLES


AND EMPHASIS CENTRES MASTERS
ARTS AND INDUSTRIAL PRODUCTS, 1834- ENGLAND, VERNACULAR, TRADITIONAL JOHN RUSKIN RED HOUSE
CRAFTS FURNITURE, WALL 1896 AMERICA CRAFTMANSHIP REVIIVED, WILLIAM MORRIS LONDON
PAPERS, AN D LIFESTYLE AGAINST INDUSTRIAL BRUTAL
ACCESORIES LIKE EXPRESSION ,/ HONESTY, AGAINAST
CARPETS/ UPHOLSTRY MACHINE PRODUCTS, NON - URBAN

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),

•The movement declined in England after 1900


•Was influential in Europe- Germany: the
publication of Hermann Muthesius’s Das
Englische Haus and the creation of the Deutscher
Werkbund (1907).
•Influenced Frank Lloyd Wright (a founder
member of the Chicago Arts and Crafts Society)
and Greene & Greene in California. Great Coxwell Barn , William Morris
•Other architects- Philip Webb, Richard Lethaby •which he described as ‘beautiful as a
and Charles Voysey. cathedral’.
•Morris preferred plain and unadorned
buildings;
ART NOUVEAU

Antonio Gaudi : Casa Batlo Antonio Gaudi : Casa Batlo Mackintosh: Lights in Glasgow
School of Art

MOVEMENT FIELD OF IMPACT PERIOD ORIGIN/ MAIN CONCEPT PIONEERS/ EXAMPLES


AND EMPHASIS CENTRES MASTERS
ART FURNITURE, STAIRCASE, 1893- PARIS AESTHETICAL, STYLISTIC, VICTOR HORTA, HOTEL TASSEL,
NOUVEAU RAILING. 1910 BELGIAN INDIVIDUALISTIC EXPRESSION, ANTONIO GAUDI, CASA MILA,
ENGLAND NATURALISM, USE OF MACHINE MAKINTOSH SAGRADA
‘USA PRODUCTS AND NEW MATERIALS IN FAMILIA
SPAIN INNOVATIVE WAY CHURCH

ART
NOU
VEA
U
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.

•Tassel House, 1892- became popular- spreading the style to homes,


commercial and social structures.
ART NOUVEAU
AUSTRIA
Wagner, Olbrich and Hoffmann
•Viennese Secession Movement, founded in 1897 by a group of
artists- with the aim of opposing official academic art in favour
of an architecture and art suitable for the evolution of modern
society.
•Liberation from historicist revival and aspiration to create a
work of ‘total art’
•Control over decoration. Use of cubic blocks and geometric
decorations.

Secessionhaus , Joseph Maria Olbrich, Vienna, 1897-98


•Square module, with an atrium topped by a hemispherical dome of
gilt bronze laurel leaves and berries, framed by four towers.
•Basic forms and balanced distribution.
ART NOUVEAU
AUSTRIA
•Otto Wagner, St. Leopold, Steinhof, Vienna, 1906
•Supporter of a bare architecture that draws its
raison d’etre from principles of construction and
from materials used.
•Shaping its volumes much like those in the
Secessionhaus- square modulewith large dome
between towers.
•Decoration more sober and measured approach.
•Covered with marble plates held in place by large
bolts that are left visible.

•Otto Wagner, Villa WagnerII, Vienna, 1913


•Isolated, symmetrical composition and a more
restrained use of decoration- only to define the
volumetric form
ART NOUVEAU
FRANCE
•Art Nouveau in France- seen more as a decorative style than an
architectural style
•France- exposure to international influence through expositions.

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’.

•Castel Beranger, 1894-98


•Originally planned as neo-Gothic.
•Influenced by Horta
•Made it more dynamic through projections and indentations.
ART NOUVEAU
SCOTLAND
Charles Rennie Mackintosh
•Inherited traditions of the arts and crafts movement
•1897- Glasgow School of Art- an austere and compact construction that assembles closed architectural bodies
following a rhythm of ‘disturbed symmetry’- use of carefully controlled asymmetrical elements.
•Furniture- similar simplicity- colour and decorations rejected in favour of the sharp contrasts of black and white, of
lacquered wood, and the mat design- of clear Japanese derivations- of rectangular lattices.
•Reduction of supple curves in favour of geometry- as against the Belgian version.
•Architectural details, windows, murals- use of lines (though different from that of Horta)
•Furniture and architecture- taste for planes, volumes and their geometric combinations.
•Interior spaces and objects therein- lines, colours and the play of squares
•External spaces- volumes, interlocking plane, geometry of slabs of stone, clear uniformity of plaster
•Coherence in a synthesis of organicity and abstraction
ART NOUVEAU
SCOTLAND
School of Art, Glasgow, Library, 1896-00, 1907
•Natural light
•Traditional English windows to spread light

School of Art, Glasgow, north front, 1896-00, 1907


•Volumetric blocks, simplicity
•Art Nouveau elements- wrought iron brackets of windows
ART NOUVEAU
SCOTLAND
Hill House, Helensburgh, 1902-5
•Influence- English country-house. Work of art
•Functional building composed of solid, square volumes that fit
together within a scheme
•Freed from classical rules
•Unadorned walls, rustic grey plaster
•Complex and variable masses, perfect relationship established
between exterior and interiors.
•Furniture- with an architectural character, careful application of light-
complete work of art
ART NOUVEAU
SPAIN
Barcelona
•End of 19th Cent- Barcelona becomes the 1st city to have urban Design norms- to distinguish building types.
•The distinction was operated on the basis of decoration- most of all on the public parts- facade, entrance, stairs.
•This was possible due to great amount of decoration on buildings- local artisan tradition
•Decoration often involved structural members

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

FLW: Robie House FLW: Taliesin East

MOVEMENT FIELD OF IMPACT PERIOD ORIGIN/ MAIN CONCEPT PIONEERS/ EXAMPLES


AND EMPHASIS CENTRES MASTERS
ORGANIC ARCHITECTURE LATE 19TH- USA INSPIRED FROM ARTS AND CRAFTS, F L WRIGHT ROBIE HOUSE
ARCHITECTURE EARLY SEARCH FOR THE NATURAL STYLE,
20TH CENT ‘VERNACULAR, HONEST, SITE
RESPONSIVE, SENSITIVE.

ORG
ANIC

1400 1500 1600 1700 1800 1900 2000


ORGANIC ARCHITECTURE
•Creation of harmonic relationship among parts of building and between parts and whole- expressed in fluid spaces
in harmony with the surrounding environment and in the use of natural materials.
•Early years of FLW’s career: Prairie houses- single family dwellings designed in most cases for educated and
well-to-do elites in suburbs of Chicago.
•Articulation of long horizontal volumes
•Most often built n level ground
•Large roofs, slight slope, large overhangs
•Ribbons of windows
•1910- Japanese and pre-Colombian influences- block houses in Los Angeles

•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

AEG Factory, Peter Behrens Einstein Tower, Eric Mendehlson

MOVEMENT FIELD OF IMPACT PERIOD ORIGIN/ MAIN CONCEPT PIONEERS/ EXAMPLES


AND EMPHASIS CENTRES MASTERS
EXPRESSIONISM PAINTING, 1905- FRANCE NON-RATIONAL FORM, RESPONSIVE ERIC EINSTEIN
LITERATURE, 1924 GERMANY TO MATERIAL - STRUCTURAL MENDELSON, TOWER,
EXPRESSION, PETER BEHRENS AEG FACTORY

EXPR
ESSI
ONIS
M
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

•Erich Mendelsohn, Eintein Tower, Potsdam, 1920-24


•Observatory and research centre on Einstein’s theory of relativity
•Shape makes it seem like the results of a lava flow.
•Outer walls were constructed in a traditional method using bricks with a thick layer of plaster
DE STIJL
The Dutch avant-garde
•Great influence on development of modern architecture in Europe
•De Stijl- founded in Leiden in 1917
•Artists who composed the group- painter architect Theo van Doesburg, Piet Mondrian, Gerrit Rietveld, J. J. P.
Oud, Robert van’t Hoff.
•Strongly influenced by cubism.
•Rejection of individualism in favour of an objective vision of reality and adherence to the principles of truth,
order, clarity and simplicity.
•Goal- establishment of a coherent compositional methodology applicable to all the arts.
•These aims were derived from Mondrian’s pictorial experiments and were expressed in the creations of the
members of the group
•Geometric compositions based on the use of the right angle in primary colours that were developed on two or
three dimensions.
DE STIJL
•Schroder House, Rietveld, Utrecht suburb
•Far end of a block of row houses.
•Parallelepiped with floors intersecting at right angles and an exterior of planar surfaces.
•Assembly of elements including perpendiculars, that serve different functions and have different characteristics- flat
primary elements in white, connecting elements in masonry coloured grey or white, linear horizontal or vertical
elements- beams, pillars, downspouts- in black, grey, red, yellow, blue; openings and exterior connections- doors,
windows, railings, external stairs giving access to the roof- in blue or black.
•The structure is in masonry, wood, iron.
•The projecting slabs of balconies- RCC
•Interiors- different coloured lines and planes
•Rooms can be separated by movable walls.
•Flexibility in use of spaces.

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