ARTS AND CRAFTS MOVEMENT

Rejecting excess aesthetic eclectismPromoted handmade

CONSERVATIVE IDEALS

JOHN RUSKINWILLIAM MORRISPHILIP WEBBWILLIAM LETHABYGUSTAV STICKLEYCHARLES AND HENRY GREENE

PRINCIPLES

1. LEARNING & RESPECTING TRADITIONAL CRAFTS

2. CORRECT RELATIONSHIP OF DESIGN TO MATERIALS

3. RELATIONSHIP OF BUILDINGS TO THEIR SITE

4. REVERENCE FOR VERNACULAR ARCHITECTURE AND ITS BUILDING TECHNIQUES.

LEARNING & RESPECTING TRADITIONAL CRAFTS

DID NOT DEMAND EXACT FINISH OR REFINEMENT

Wood, stone, or stucco siding

Low-pitched roof ; Wide eaves with triangular brackets

Exposed roof rafters

Porch with thick square or round columns

Stone porch supports

Exterior chimney made with stone

Open floor plans; few hallways

Numerous windows ;Some windows with stained or leaded glass

Beamed ceilings

Dark wood wainscoting and moldings

Built-in cabinets, shelves, and seating

Beaux Arts

1885-1925

classical Greek and Roman architecture with Renaissance

École des Beaux Arts in Paris

aesthetic principles of classical design supported

Or Academic Classicism, or Classical Revival

a late and eclectic form of neoclassicism

characterized by order, symmetry, formal design, grandiosity, and elaborate ornamentation.

eg:United States, the Beaux Arts style led to planned neighborhoods with large, showy houses, wide boulevards, and vast parks.

Style commonly used for public buildings like museums, railway stations, libraries, banks, courthouses, and government buildings.

VIENNA SCHOOLOTTO WAGNER

Guilded globe at entrance Higher jugendstil(counterpart of art nouveau)

Postal savings bankVienna1904-06

SPANISH MODERNISM

BARCELONA

Casa batllo1904-7

Roots fromSpanish gothic, baroque,Art nouveau,tile vaulting,Catalan crafts(metal),Glass ceramics

Imbricated roof,PlasticOvoid stone surroundsSlender bony columnsWall surface-blue,green glass

Sagrada familia basilca1882 planned1906-design completed

BUILDINGS SHOULD FIT THE PURPOSE , HABIT AND EMOTIONS OF MODERN LIFE

ADOLF LOOS-PROMOTED RICH SIMPLIFIED SURFACES,OPEN PLANS AS CORRECT SETTING

DUETSCHER WERKBUND(1907)-TO PROMOTE LINK BETWEEN INDUSTRY AND ARTS -HERMAN MUTHESIUSSTYLELESSNESS

INDUSTRIAL BUILDINGS BY PETER BEHRENS, HANS POELZIG

FLAT ROOFED, FREEPLAN, USE OF NEW INDUSTRIALISED BUILDING MATERIALS

They believed that the greatest beauty could be found in nature.

Art Nouveau (French for "New Style")

Maison de l'Art Nouveau, a Paris art gallery

Against formal, classical approaches to design

flourished in major European cities between 1890 and 1914.

Art Nouveau in US - Louis Comfort Tiffany, Louis Sullivan, and Frank Lloyd Wright.

Art Nouveau

Otto wagner Appartments 1898-99Vienna austria

Behrens House, by Peter Behrens, at Darmstadt, Germany, 1901.

Casa Batllo, by Antoni Gaudi, at Barcelona, Spain, 1905 to 1907.

Casa Mila, by Antoni Gaudi, at Barcelona, Spain, 1905 to 1910.

Castel Beranger, by Hector Guimard, at Paris, France, 1890 (circa).

Glasgow School of Art, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1897 to 1909.

Hill House, by Charles Rennie Mackintosh, at Helensburgh, Scotland, 1902 to 1903.

Horta House, by Victor Horta, at Brussels, Belgium, 1898.

Hotel Guimard, by Hector Guimard, at Paris, France, 1912.

Hotel Solvay, by Victor Horta, at Brussels, Belgium, 1895 to 1900.

Hotel van Eetvelde, by Victor Horta, at Brussels, Belgium, 1895 to 1898.

Majolica House, by Otto Wagner, at Vienna, Austria, 1898 to 1899.

Paris Metro Entrances, by Hector Guimard, at Paris, France, 1899 to 1905.

School in Glasgow, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1904 to 1906.

Sezession House, by J. M. Olbrich, at Vienna, Austria, 1896.

Tassel House, by Victor Horta, at Brussels, Belgium, 1892 to 1893.

The Willow Tea Rooms, by Charles Rennie Mackintosh, at Glasgow, Scotland, 1902 to 1904.

Werkbund Theater, by Henry van de Velde, at Cologne, Germany, 1914.

Whitechapel Art Gallery, by C. Harrison Townsend, at London, England, 1897 to 1901.

Darmstad ,Germany

Art Nouveau buildings have many of these features:

Asymmetrical shapes

Extensive use of arches and curved forms

Curved glass

Curving, plant-like embellishments

Mosaics

Stained glass

Japanese motifs

Other Names for Art Nouveau:

Style Moderne, in France

Style Nouille (Noodle Style), in France

Jugendstil, in Germany

Sezession, in Austria

Stile Liberty, in Italy

Arte Noven, in Spain

Eg:

in St. Louis, Missouri, by Louis Sullivan and Dankmar Adler

Parque Güell in Barcelona, Spain by Antoni Gaudí

Majolika Haus in Vienna, Austria by Otto Wagner

The Marquette Building in Chicago, Illinois, by William Holabird and Martin Roche with Coydon T. Purdy

The Municipal House in Prague, Czech Republic

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EXPRESSIONISM

Sculpted curvesFunctionalStation for astraunomicalObservation

Einstein Tower

Potsdam(1920)

Erich Mendelsohn.

distorted shapes

fragmented lines

organic or biomorphic forms

massive sculpted shapes

extensive use of concrete and brick

lack of symmetry

many fanciful works rendered on paper but never built

Chicago School

Steel frame blgMasonry cladding or terracotta cladFacade-gridbaywindows,oriel windows

"Chicago window"

three-part window

of a large fixed center panel flanked by two smaller double-hung sash window

Architects

Henry Hobson RichardsonWilliam Le Baron JenneyMartin RocheLouis SullivanFL Wright

Carson, Pirie, Scott & Co. Building

Louis Sullivan

BAUHAUS

Germany 1919-33

BetweenWorld wars

Architecture of the new era

absence of ornamentation

harmony between the function of an object or a building and its design.

functional, economical and consistent with mass production

unify art, craft, and technology.

machine considered a positive element

industrial and product design were important components.

Vorkurs "Basic Design" course- foundational courses offered

no teaching of history in the school because- design and create according to first principles rather than by following precedent.

Weimer- 1919-25 ; Walter Gropius

Desau – 1925 – 32; Hannes Meyer

Berlin – 1932- 33 ; Ludwig Mies van der Rohe

3 CONNECTED WINGS/BRIGES- PI.N WHEEL CONFIG

2 STOREY STSPAN APPROACH ROAD FROM DESSAU

LOWER ADMINISTRATIONUPPER -PVT. OFFICE

DORMITORIES,SCHOOL BIDGATTCHED AS WINGS

ASSEMBLE HALL,DINING SPACE AND STAGE BETWEEN

RCC FRAMEWORK,BRICK WALLSMUSHROOM SHAPES CEILING AT LOWER LEVELS

ASPHALT TILE ROOFING

STRUCTURAL TRANSPERANCY

Chrysler Building

NY

William Van Alen

Year: 1928-1930

Height: 319 meters / 1,047 feet

Stories: 77

Stainless steel exteriorhood ornaments, hubcaps,and abstract images of cars.

AIG BUILDING, NY(1932 COMPLETED)

ART DECO

POST MODERN

BRUTALIST STYLE

Alison and Peter Smithson,

AT&T Headquarters

Philip Johnson

INTERNATIONAL STYLE

1984

Height: 197 meters / 647 feet

Stories: 37