Architectural History 2 Group Presentation

Topic 5 Reaction to Industrial Revolution

CHUNG WEN HARN JESSELYN LIM WONG WAN JIUAN CHIEW KIET YANG 0703P61796 0701P59791 0701P59759 0701P60099

Source: http://www.nyu.edu/classes/persell/aIntroNSF/Documents/Field%20of%20sociology033108.htm

Industrial Revolution

Source: http://www.nyu.edu/classes/persell/aIntroNSF/Documents/Field%20of%20sociology033108.htm

Nothing is now done by hand; all is by rule and calculated contrivancethe living artisan is driven from his workshop. Thomas Carlyle

In this new system of force the mastery of the machine is not in the hands of mankind. It is in the control of infinitely small groups of individuals who rule without a single one of the democratic sanctions that we have known. President Roosevelt

The machine is here to stay

Marshall Field, A good copy is the best we can do.

Frank Lloyd Wright

Picture Sources: www.arc-design.com.au; http://www.jroy.ca/wpimages/wpd86a8679.png

The Unity of Design and Machine

Art Nouveau 1880-1910 Origin: Europe

Key facts
Rejected historicism.

New Art
New Art

Described as the first truly modern, international style.

New Art New Art New Art

The introduction of new forms, the embracement of mass-production, and the focus on the natural as a source of inspiration. Two types - Curvilinear whiplash (Spain, France, England, Vienna and USA) and Rectilinear (Scotland and Germany)

Key characteristics Curvilinear: organic foliate forms, sinuous lines, non-geometric whiplash curves Rectilinear: geometric forms, severe silhouettes

Staircase of the Maison and Atelier of Victor Horta

The Room de Luxe at The Willow Tearooms, Glasgow., Charles Rennie Mackintosh in collaboration with Margaret MacDonald for Catherine Cranston. Picture Sources: http://en.wikipedia.org/wiki/art_nouveau

House for an Art Lover - Charles Rennie Mackintosh

The Music Room

- A house designed and built for an art lover. - Decorations were based on a central theme. - Dining room and music room was designed based on the theme roses. - The oval room was designed as a space especially for women and was decorated in a symbolic manner.

The Oval Room

Metro entrance of the Porte Dauphine Station Hector Guimard

Constructed out of interchangeable, prefabricated cast iron and glass parts. Sinuous green cast-iron tentacles appears as surrealistic dragonfly wings.

Castel Beranger Commentary (1890) Hector Guimard

Demonstrates the synthetic subtleties of his style, in which urban and rustic references could be judiciously mixed together

Tassel House (1892-1893) Victor Horta

Hortas building that marks a clear break from the Eclectic Style and brought Art Nouveau to full maturity. Industrial materials were openly used. Spatial continuity and fluidity were provided between floors by a coiled line.
p.38, Duncan (1994) and pg.176, Postiglione and Giossel (2004)

Maison de Peuple (1895) Victor Horta The buildings glass curtain walls and railing united aesthetically with the interior, where the entire infrastructure of supports, girders and stone imposts are revealed. This building clearly displayed Hortas highly distinctive modernist style.

p.37, Duncan (1994)

Jugendstil (1890-1910) Origin: Germany

Key facts

Jugendstil - youth style, took its name from the decorative arts journal Jugend German and Scandinavian interpretation of Art Nouveau was inspired by the vernacular and had a simplicity of form and a startling modernity. Advocated the use of natural forms as a means of reforming design, and in turn society. aim of producing a naturalistic forms of Jugendstil with more formal function and practical language of design due to the effect of industrial revolution.

Key characteristics

floral and other plant-inspired motifs Peter Behrens Plain, undecorated wall surfaces Henri can de Velde Geometric n naturalistic forms Energetic, organic designs inspired by advances in science and technology

Key figure

Behrens House - Peter Behrens

the high-pitched roof drawn from the German vernacular

Undecorated wall faade with curvilinear forms arch ornament

Gate with organic shaped ornamentation

Chemnitz Villa - Henri can de Velde

Secession 1897-1920 Origin: Vienna, Austria

Key facts The Vienna secession refused to accept the conservative standards of the official arts academy, opting instead to pursue their own creative vision as an independent association. Aimed to bring architecture and the decorative arts closer together. Early work was created within the art nouveau style, latterly, the groups designers opted for an increasingly rectilinear esthetic. Advances in science and technology provided a new, deeper understanding of nature

Key characteristics Geometric abstraction Rectilinear forms Decorated surfaces

Key Architect
-Otto Wagner - Josef Maria Olbrich

Majolica Haus - Otto Wagner

-named after the weather-proof, painted ceramic floral designs on its faade flat, rectilinear shape of the building -used new modern materials and rich color, yet retained the traditional use of ornamentation. -decorative iron balconies, colored ceramic floral designs, and flexible S-shaped linear ornamentation

Sezession House Josef Maria Olbrich

-Art Nouveau pavilion with gold leaf sphere floating over a cream colored block -The "golden cabbage" is composed from 3000 gilt-iron "leaves" to form an airy look - The exterior has clever details of owls, salamanders and turtles

Modeqnium

Definition of Modernism
Applies to those forward-looking architects, designers and artisans who, from 1880s on, forged a new and diverse vocabulary principally to escape Historicism, the tyranny of previous historical styles.

-Retrieved 09 March 2009 from http://www.artsmia.org/MODERNISM/

Ideology of Modeqnium

William Morris (1834-1896)

- An English artist - Formed the basis for the Arts and Crafts Movement - Belief that utility was as important as beauty

Have nothing in your house that you do not know to be useful, or believe to be beautiful. - William Morris

William Morris (1834-1896)

Bird Designed for the walls in his drawing room at Kelmscott House, London

Dove and Rose Silk and wool double cloth

Kelmscott Manor depicted in the frontispiece to the 1893 Kelmscott Press edition of News from Nowhere.

- Retrieved March 10, 2009 from http://www.victorianweb.org/art/design/textiles/morris.html and http://en.wikipedia.org/wiki/William_Morris

Ideology of Modernism

Louis Sullivan (1856-1924)

- First truly modern architect - Believed that exterior of an building should reflect its interior structure and function - Works always related to Art Nouveau - Came out with the concept of Form Follows Function
"It is the pervading law of all things organic, and inorganic, of all things physical and metaphysical, of all things human and all things super-human, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.

- Louis Sullivan

Modeqni um
Svaqved dtqing lave 19vh cenvtqy (1880-1940) A movemenv shich sanvu vo bqeak asay fqom vhe old uvyleu Au a leading deuign foq 20vh cenvtqy deuign movemenv Machineqy and aqv aqe being meqged vogevheq vo cqeave nes movemenv Choiceu of maveqialu vo ptv in vhe qertiqemenv Simple foqm, umoovh finiuheu, minimal utqface modeling, oqnamenv au a paqv of uvqtcvtqe, and vhe tue of shive

Modernism Architecture
Louis Sullivan

Wainwright Building, Saint Louis (1890-1891)

Carson Pirie, Scott & Co. Department Store, Chicago (1899-1901)

Guaranty Building, Buffalo (1894-1895)

What is the chief characteristic of the tall office building? And at once we answer, it is lofty The force and power of altitude must be in it It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line. (Louis Sullivan, The Tall Office Building Artistically Considered,1896)

Modernism Architecture

Eiffel Tower (1887-1889) by Alexandre Gustave Eiffel

Falling Water (1935-1939) by Frank Lloyd Wright

Unite d'habitation (1945-1952) by Le Cobusier

-Retrieved March 10, 2009 from http://www.wikipedia.com

Influences
Followed the idea of Sullivan, Viennese architect Adolf Loos wrote a manifesto named Ornament and Crime, to show the avoidance of ornament was a sign of spiritual strength. Frank Lloyd Wright accepted Morris design philosophy for producing high quality craftsmanship. But what he thought machinery could actually improve natural materials to expose the beauty of the product, which was The Art and Craft of the Machine.

During 1920s, the aesthetic of the machine became a central theme in modernism. Walter Gropius and Le Corbusier were the main roles.
Modernism which merged the architecture and industrial design reflects the changes in technology and society. This movement resulted designers to think about anew to their environment. This movement also resulted architect to have engineer as a partner who makes sure architects plan were workable.

Conclusion
One might define the culture of authenticity in the early twentieth century as one that would restore, through the work of art, a lost sense of "the real thing." In more specific terms, it sought to reconnect the worker and the thing made, and yet celebrate the positive virtues of the machine; it would be based on a functional articulation of parts to whole and simplicity of design, yet it would be complex and subtle; it would eschew unnecessary ornamentation, yet it would value the work of the hand; it was progressive in its orientation to the future, yet founded on a past that was defined in "American" terms. In short, it was a kind of balancing act, an effort at cultural synthesis, and fraught accordingly with certain irreconcilable tensions. Miles Orvell

-Source http://www.wikipedia.com

THANK YOU

References
Anthony S. D. (n. d.). Masters of Modernism: Modernism. Retrieved March 09, 2009 from http://www.mastersofmodernism.com/?page=Modernism# Asensio, P. (Ed.). (2002) Charles Rennie Mackintosh. LOFT Publications. Bhaskaran, L. (2005). Design of Times: Using Key Movements and Styles for Contemporary Design. Singapore: Page One Publishing Private Limited. David G., Wilkins, Schultz B., Katheryn M. L. (2005). Art Past Art Present (5th Edition): NineteenCentury Art. New Jersey: Pearson Education, Inc. DailyLit (2008). The Arts and Crafts of the Machine by Frank Lloyd Wright . Retrieved 9 March 09 from DailyLit. Website: http://www.dailylit.com/books/art-and-craft-of-the-machine Drennan, W.R. (2007). Death in a Prairie House: Frank Lloyd Wright and the Taliesin Murders. Terrace Books. Duncan, A. (1994) Art Nouveau. Thames and Hudson Ltd., London.

Escobar B. A. (n. d.). Modernism: Introduction. Retrieved March 09, 2009 from http://www.spanisharts.com/history/del_impres_s.XX/modernismo/i_modernismo.html
Henry R. Hope, "review of H. Lenning, The Art Nouveau. Retrieved on 5th March from : http://en.wikipedia.org/wiki/File:Chemnitz_Villa_Esche_Seite_2005.jpg

References
Jackie C. (n. d.). About.com: Louis Sullivan, America's First Modern Architect. Retrieved March 09, 2009 from http://architecture.about.com/od/greatarchitects/p/sullivan.htm Joseph, P., World Architecture, Jugendstil. Retrieved on 5th March from:http://www.essentialarchitecture.com/STYLE/STY-Jugendstil.htm Lisle, B. (n.d.). Assimilating the Machine. Retrieved 10 March 09, from American Studies at UVA, Website: http://xroads.virginia.edu/~MA01/Lisle/30home/assimilate/assimilate.html Pevsner N. (1936). Pioneers of Modern Design (4th Edition). United Kingdom Postiglione, G, Gossel, P. (2004) 100 Houses: If These Walls Could Speak. Taschen. Thuillier J. (2002). History of Art: A Time of Contradictions, (pg. 506-517). Spain: JCG Roth, Leland M. (2007). Understanding Architecture, Second Edition. Westview Press. Sommer, R. L. (Eds.). (2003). The Arts and Crafts Movement. Kent: Orange Books. The Field of Sociology. (2008). Retrieved 10 March 09 from http://www.nyu.edu/classes/persell/aIntroNSF/Documents/Field%20of%20sociology033108.htm Wikipedia. Retrieved from March 10, 2009 from www.wikipedia.com