Neoclassicism, Industrial revolution, Arts & crafts movement, Art nouveau, Art Deco movements in Architecture

1. AR 17-56 History of Architecture IV
Module 1: SELF CONSCIOUS MODERNITY
 Neo classicism
 Industrial revolution and its impact
 New materials like new materials – steel, glass, concrete
 Arts and crafts movement
 Art Nouveau
 works of Gaudi, Chicago school
 Art Deco
 Louis Sullivan works
 Adolf Loos and his arguments on ornamentation
 Futurism
 Expressionism
 Works of Mendelsohn and Taut
 Destijl movement
 Walter Gropius: Bauhaus and Harvard, Peter Behrens
and the German Werkbund.

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ORGIN OF NEO-CLASSICISM:-
The architecture of neo-classicism seems to be emerged out of two different but related
developments which radically transformed the relationship between nature and man. The
first was a sudden increase in man’s capacity to exercise control over nature, which in the
mid of 17th century.
Neo-classical architecture was a product of Neo-classical movement in History. The origins
of Neo- classicism are related to a lot of events that happened during the mid-18th century.
Neo-classical or New-classical architecture describes buildings that are inspired by the
classical architecture of Greece.
The second was a fundamental shift in nature of human consciousness, in response to major
changes taking places in society, which gave birth to a new cultural formation. The over-
elaboration of architectural language in the rococo interiors of the ancient regime and the
secularization of thought complied the architects of 18th century.
There were aware of the emergent and unstable nature of their age, to search for a true
style through a precise reappraisal of antiquity. Their motivation was not simply to copy the
ancients but to obey the principles on which their works has been based.
The 18th century was described as an astounding century, heralded as the Age of Reason.
The Age was defined by a full social, scientific, intellectual and cultural transformation. This
age is also called the age of enlightenment.

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Architecture
The neoclassical movement that produced “Neoclassical architecture” began after A.D. 1765,
as a reaction against both the surviving baroque and rococo styles, and as a desire to return
to the perceived "purity" of classical art and Architecture.
Neoclassical architecture was in part reaction to the excess of baroque, rococo and was
partly a consequence of new discoveries of Greek, Roman architecture. Neoclassical
Art and Architecture, art produced in Europe and North America from about 1750 through
the early 1800s, marked by the emulation of Greek and Roman principles to a large
extent and that of Renaissance movement to a lesser extent.
Neo Classical
Greek architecture + Roman Architecture + Renaissance

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FEATURES OF NEO-CLASSICAL ARCHITECTURE
Neoclassical, or "new" classical, architecture describes buildings that are inspired by
the classical architecture of ancient Greece and Rome.
A Neoclassical building is likely to have some or all of these features:
a. Symmetrical shape.
b. Tall columns that rise up to the full height of the building.
c. Triangular pediment.
d. Domed roof.

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CHARACTERISTICS OF NEO CLASSICAL ARCHITECTURE
Though neoclassical architecture employs the same classical vocabulary as Late
Baroque architecture, it tends to emphasize its planar qualities, rather than sculptural
volumes.
Projections and recessions and their effects of light and shade are flatter; sculptural bas-
reliefs are flatter and tend to be framed in friezes, tablets or panels. Individual
features are clearly articulated rather than interpenetrating, autonomous and complete in
themselves.
a) The buildings are characterized by clean, elegant lines and uncluttered appearances.
b) Use of classical orders and arches
c) In Neoclassical orders are used structurally rather than as a form of decoration.
d) Geometric forms and shapes are used
e) Facades tend to be long and flat.
f) Neo Classical principles of Symmetry, Balance and proportions are maintained
g) Minimal decoration on the exterior.
h) Elements used predominantly satisfy the purpose of both aesthetic and functional

6. Ar.Darwin,B.Arch,DAA.. 6
Example: Altes museum, Berlin ,Germany ,Karl Friedrich Schinkel,1823-1830

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NEOCLASSICAL ARCHITECTURE IN ENGLAND
In England, where the rococo had never been fully accepted, the impulse to redeem the
excess of baroque found its first expression. Between 1750 and 1765, the major Neo-
Classical proponents could be found in residences.
ARCHITECTS ASSOCIATED WITH NEO CLASSICAL ARCHITECTURE IN ENGLAND JAMES
STUART – Employed Greek Doric Order as early as 1758.
ROBERT ADAM: The Scottish architect and designer Robert Adam, in the 1750s and
1760’s redesigned a number of stately English houses.
The Adam style, as it became known, remained however somewhat rococo in its emphasis
on surface ornamentation and precocity of scale, even as it adopted the motifs of antiquity.
Works: Sion House, 1762–69, and Osterley Park, 1761–80
NEOCLASSICAL ARCHITECTURE IN FRANCE
Neoclassicism first gained influence in Paris, through a generation of French art students
trained at the French Academy in Rome.
ARCHITECTS ASSOCIATED WITH NEO CLASSICAL ARCHITECTURE IN FRANCE:
CLAUDE PERRAULT: Perrault was an influential architect. Aside from his influential
architecture, Perrault is best regarded for his translation of the ten books of Vitruvius, the
only surviving Roman work on architecture, into French, in 1673. His treatise on the five
classical orders of architecture followed in 1683.He gave his concept of “positive beauty”
(role of standardization and perfection) and “arbitrary beauty (expressive function as may be
required by a particular circumstance or character).
Works: Eastern façade of The Louvre, paris.1667-1670 Observatories in Paris, 1668-1672
Triumphal arch of the Porte Saint-Antoine in Paris, 1669-incomplete.

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BUILDINGS OF THE NEO-CLASSICAL STYLE
EASTERN FACADE OF THE LOUVRE PALACE (COLONNADE)
Perrault won the competition held by Louis XIV for a design for the eastern façade of the
Louvre Palace (also known as colonnade), beating out even Bernini, who had travelled
from Italy expressly for the purpose. This work (1665 to 1680), established Perrault’s
reputation: the severely designed colonnade overlooking the Place du Louvre the Quai du
Louvre, became widely celebrated.

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The simple character of the ground floor basement sets off the paired Corinthian columns,
modeled strictly according to Vitruvius, against a shadowed void, with pavilions at the ends.
There was a clear shift from the Principles of baroque architecture of that time. The façade,
divided in five parts, is a typical solution of the French classicism.

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ARC DE TRIOMPHE DU CARROUSEL PARIS
Designed by Charles Percier and Pierre Fontaine, the arch was built between 1806 and 1808
by the Emperor Napoleon on the model of the Arch of Constantine (312 AD) in Rome.
The monument is 63 feet (19 m) high, 75 feet (23 m) wide, and 24 feet (7.3 m) deep. The 21
feet (6.4 m) high central arch is flanked by two smaller ones, 14 feet (4.3 m) high. Around its
exterior are eight Corinthian columns of granite, topped by eight soldiers of the Empire.

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BEGINING OF A NEW ERA
 Industrial Revolution and its impact.
 Materials and Technologies: History of Steel,
Concrete, Glass.
 Architecture and Industrial Exhibitions.

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 Began in Britain in the 18th century
 Replacement of manual labor by machines
 Transformed agricultural economies into industrial ones.
 Goods that had traditionally been made in the home or in small workshops began to be
manufactured in the factory
 Growth of cities as people moved from rural areas into urban communities in search of
work.
Social and Economic changes and Industrialization:
 The Industrial Revolution brought a shift from the agricultural societies created during the
Neolithic Revolution to modern industrial societies.
 Large portions of the population relocated from the countryside to the towns and cities
where manufacturing centers were found.
 Economic changes caused far-reaching social changes, including the movement of people
to cities, the availability of a greater variety of material goods, and new ways of doing
business.
 In the long run the Industrial Revolution has brought economic improvement for most
people in industrialized societies

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 Many enjoy greater prosperity and improved health, especially those in the middle and
the upper classes of society.
 Drastic population growth following industrialization has contributed to the decline of
natural habitats and resources. These factors, in turn, have caused many species to
become extinct or endangered.
Growth of Cities:
 Many of the agricultural laborers who left villages were forced to move.
 In pre-industrial England, more than three-quarters of the population lived in small
villages.
 New manufacturing towns and cities grew dramatically.
 By the mid-19th century, however, the country had mad history by becoming the first
nation with half its population in cities.
 The accommodation of such volatile growth led to the transformations of old
neighborhoods into slums.
 These settlements were congested developments and had inadequate standards of light,
ventilation and open space with poor sanitary facilities.
 These conditions naturally provoked a high incidence of disease and eventually the Public
health act was enacted.

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 This act in addition to others, made local authorities legally responsible for sewerage,
refuse collection water supply, roads and the burial of the dead.
 Edwin Chadwick inspired the society for improving the conditions of the laboring classes
and he sponsored the erection of the first working class flats in London in 1844.
Industrial revolution and architecture
 The growth of heavy industry brought a flood of new building materials.
 cast iron, steel, and glass—with which architects and engineers devised structures
undreamt of function, size, and form.
 The Crystal Palace (1850-1851; reconstructed 1852-1854) in London, a vast but ephemeral
(one day)exhibition hall,
 The work of Sir Joseph Paxton, (English gardener, architect )a man who had learned how to
put iron and glass together in the design of large greenhouses
 Its spatial beauty, prefabricated standard parts, it foreshadowed industrialized building and
the widespread use of cast iron and steel.
Invention of new materials and technology:
 Iron and steel manufacture, the production of steam engines, and textiles were all
powerful influences.
 A major breakthrough in the use of coal occurred in 1709 at Coal brooke dale in the valley
of the Severn River.

15. The Crystal Palace

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 Iron was also vital to the development of rail roads, which improved transportation.
 The Bessemer process, developed by British inventor Henry Bessemer, enabled steel to be
produced more efficiently by using blasts of air to convert crude iron into steel.
Iron and steel in architecture:
 The development of construction methods in iron and steel was the most important
innovation in architecture since ancient times.
 These methods provide for stronger and taller structures with less expenditure of material
than stone, brick, or wood and can produce greater unsupported spans over openings and
interior or exterior spaces.
 The evolution of steel frame construction in the 20th century entirely changed the concept
of the wall and the support.
 Cast iron, the first metal that could be substituted for traditional structural materials, was
used in bridge building as early as 1779.
 Because cast iron has much more compressive than tensile strength (for example, it works
better as a small column than as a beam), it was largely replaced in the late 19th century
by steel.
 Its ability to bear loads and to be produced in an endless variety of forms, in addition to its
resistance to fire and corrosion, quickly encouraged architectural adaptations.
It was used as columns and arches and afterward in skeletal structures.

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Forth Bridge Scotland
EADS BRIDGE Illinois

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Wainwright Building:
Wainwright Building
 Sullivan used a steel frame and applied his intricate terra
cotta ornament in vertical bands to emphasize the height of
the building.
 The Wainwright Building is a 10-story red-brick landmark
office building in downtown St. Louis, Missouri. Built in 1891
and designed by Dankmar Adler and Louis Sullivan, it is
among the first skyscrapers in the world.
Tatlin's Constructivist tower:
Tatlin's Constructivist tower
 Tatlin's Constructivist tower was to be built from industrial
materials: iron, glass and steel. It would have dwarfed the
Eiffel Tower in Paris. The tower's main form was a twin helix
which spiraled up to 400 m in height, which visitors would be
transported around with the aid of various mechanical
devices.
 The main framework would contain three enormous rotating
geometric structures. At the base of the structure was a cube
which was designed as a venue for lectures, conferences and
congress meetings, and would complete a rotation in the
span of one year.
 In the centre of the structure was a cone, housing executive
activities and completing a rotation once a month.

19. History of Concrete in Architecture:
 Concrete was employed in ancient Egypt and was highly developed by the ancient
Romans, whose concrete made with volcanic-ash cement (pozzolana) permitted a great
expansion of architectural methods, particularly the development of domes and vaults
(often reinforced by brick ribbing) to cover large areas, of foundations, and of structures
such as bridges and sewerage systems where waterproofing was essential.
 The technique of manufacture declined in the middle ages and was regained in the 18th
century.
 The introduction of concrete as a building material represented a major chapter in the
history of bridge building. Although the ancient Romans had used concrete, the knowledge
of this material virtually disappeared during the middle ages and was not rediscovered
until the late 18th century.
Reinforced Concrete
 Reinforced concrete was developed to add the tensile strength of steel to the
compressive strength of mass concrete. The metal is embedded by being set as a mesh
into the forms before pouring, and in the hardened material the two act uniformly.
 The combination is much more versatile than either product; it serves not only for
constructing rigid frames but also for foundations, columns, walls, floors, and a limitless
variety of coverings, and it does not require the addition of other structural materials.
 Although the making of forms is a slow and costly process, the technique competes
economically with steel frame construction because the mesh, composed of thin,
bendable metal rods or metal fabric, employs far less steel, and concrete is itself
inexpensive.

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 Furthermore, stresses produced in floors, domes, and vaults may be distributed within the
slabs themselves to reduce load, and the diminished load may be concentrated at desired
points so that the number and size of supports is greatly reduced.
 The steel reinforcement is employed to take full advantage of the plastic, or sculptural,
character of concrete. It can be jointed or bent to unify supporting members with the
floors and the coverings they carry.
 In 1892 French engineer François Hennebique combined the strengths of both in a new
system of construction based on concrete reinforced with steel.
 His invention made possible previously unimaginable effects: extremely thin walls with
large areas of glass; roofs that cantilever (project out from their supports) to previously
impossible distances; enormous spans without supporting columns or beam; and corners
formed of glass rather than stone, brick, or wood.
 One of the earliest architects to experiment with these new effects was Belgian architect-
engineer Auguste Perret, whose 1903 apartment building on Rue Franklin in Paris, France,
exemplified basic principles of steel reinforcement.

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 The reinforced concrete structure also eliminated the need for
interior walls to support any weight, permitting a floor plan of
unprecedented openness.
 On the façade, Perret clearly separated the structural elements of
steel-reinforced concrete from the exterior walls, which were
simply decorative panels or windows rather than structural
necessities.
Rue Franklin apartments
– Aguste Perret
 Perret's building stood eight stories high, with two additional
stories set back from the front of the building, the typical height
of most Paris buildings at the time.
 Three 20th-century developments in production are destined to
have a radical effect on architecture. The first, concrete-shell
construction, permits the erection of vast vaults and domes with
a concrete and steel content so reduced that the thickness is
comparatively less than that of an eggshell.
 The second development, precast-concrete construction, employs bricks, slabs, and
supports made under optimal factory conditions to increase waterproofing and solidity, to
decrease time and cost in erection, and to reduce expansion and contraction.
 Finally, prestressed concrete provides bearing members into which reinforcement is set
under tension to produce a live force to resist a particular load. Since the member acts like
a spring, it can carry a greater load than an unstressed member of the same size.

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Examples of early Concrete constructions:
 This apartment building with which Perret established his reputation is to be regarded as
one of the canonical works of 20th-century architecture, not only for its explicit and brilliant
 Perret deliberately made the apartment partition walls nonstructural throughout and their
partial removal would have yielded an open space, punctuated only by a series of free-
standing columns.
 Use of the reinforced concrete frame but also for the way in which its internal organization
was to anticipate Le Corbusier's later development of the free plan.
 As it is, each floor is organized with the main and service stairs to the rear (each with its
own elevator) the kitchen to one side and the principal rooms to the front.

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Einstein Tower:
 "Erich Mendelsohn's small, but powerfully modeled tower,
built to symbolize the greatness of the Einsteinian concepts,
was also a quite functional house.
 It was designed to hold Einstein's own astronomical
laboratory... Mendelsohn was after a completely plastic kind
of building, moulded rather than built, without angles and
with smooth, rounded corners.
 He needed a malleable material like reinforced concrete, which could be made to curve
and create its own surface plasticity, but due to post-war shortages, some parts had to be in
brick and others in concrete.
 So the total external effect was obtained by rendering the surface material.
Glass in architecture:
 Glass production flourished in Egypt and Mesopotamia until about 1200 BC, then virtually
ceased for several hundred years.
 In the 9th century BC, Syria and Mesopotamia emerged as glassmaking centers, and the
industry spread throughout the Mediterranean region
 The glory of Western glassmaking in the medieval period, through patronage of the
church, was mosaic glass in Mediterranean Europe and stained-glass windows in the north
(see Mosaics; see Stained Glass).

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 Modern architecture as primarily driven by technological and engineering developments,
and it's plainly true that the availability of new materials such as iron, steel, concrete and glass
drove the invention of new building techniques as part of the Industrial Revolution.
 The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 is an early example;
possibly the best example is Louis Sullivan's development of the tall steel skyscraper in
Chicago around 1890.
 Whatever the cause, around 1900 a number of architects around the world began
developing new architectural solutions to integrate traditional precedents (Gothic, for
instance) with new technological possibilities.
 The work of Louis Sullivan in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona,
Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can
be seen as a common struggle between old and new.
Examples of Glass in architecture:
Crystal Palace Wain wright Building of Louis Sullivan

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Great Exhibitions:
During the 20th century international exhibitions, popularly called world's fairs, have become
elaborate showcases for technological and cultural developments as well as manufactured
products.
1.Crystal Palace:
 The Great Exhibition, also known as the Crystal Palace Exhibition, was a big international
exhibition held in Hyde Park London, from 1 May to 15 October 1851. Sir Joseph Paxton, its
architect, was famous for his elegant conservatories and greenhouses; in essence, the Crystal
Palace was the largest greenhouse ever built.
 Paxton used prefabricated glass units framed in wood and cast iron, supporting them on a
cast-iron skeleton. The massive glass house was 1848 feet (about 563 m) long by 454 feet
(about 138 m) wide, and went from plans to grand opening in just nine months

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After the Great Exhibition closed, the Crystal Palace was moved to Sydenham Hill in South
London and reconstructed in what was, in effect, a 200 acre Victorian theme park
2. Paris Exposition:
In Paris a series of international Expositions were held, they are:
 The Paris Exposition of 1877, Exposition Universelle (1877)
 The Paris Exposition or Paris World's Fair of 1878, Exposition Universelle (1878)
 The Paris Exposition of 1889, Exposition Universelle (1889)
 The Paris Exposition of 1900, Exposition Universelle (1900)
 The Paris Exposition'of 1925, Exposition Internationale des Arts Décoratifs et Industriels
Modernes
 The Crystal Palace itself was almost outshone by the park in which it stood, which
contained a magnificent series of fountains, comprising almost 12,000 individual jets. The
park also contained unrivaled collections of statues, many of which were copies of great
works from around the world

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The Art Hall, directly to the east of the rotunda and main
exposition buildings.. It was 100 by 600 feet and made of
brick, with stucco finish on the outside. It held mostly
paintings, with a few statues and statuettes dispersed
throughout. Art exhibits were divided into three
categories: fine art, religious art, and amateur art.
4. Eiffel Tower:
The Eiffel Tower was built for the International Exhibition
of Paris of 1889 commemorating the centenary of the
French Revolution. The Prince of Wales, later King Edward
VII of England, opened the tower.
Of the 700 proposals submitted in a design competition,
Gustavo Eiffel's was unanimously chosen.
At 300 metres (320.75m including antenna), and 7000
tons, it was the world's tallest building until 1930.
Other statistics include:
2.5 million rivets.
300 steel workers, and 2 years (1887-1889) to construct it.
Sway of at most 12 cm in high winds.
Height varies up to 15 cm depending on temperature.
15,000 iron pieces (excluding rivets).
40 tons of paint. 1652 steps to the top.

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 The lower section of the tower consists of four immense arched legs set on masonry piers.
 The legs curve inward until they unite in a single tapered tower.
 There are three main platforms, each with an observation deck. The first deck is 57 m (187
ft) high, while the second is 116 m (381 ft) off the ground. Both are accessible by stairs or
elevator. The third deck, which is 276 m (906 ft) high, is accessible to visitors only by
elevator.
 It was almost torn down in 1909, but was saved because of its antenna - used for
telegraphy at that time. Beginning in 1910 it became part of the International Time
Service, France.

30. Ar.D.BENEDICT SURESH ,M.Arch
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5. The Barcelona Pavilion:
 The Barcelona Pavilion, a work emblematic of the Modern Movement, has been
exhaustively studied and interpreted as well as having inspired the oeuvre of several
generations of architects.
 It was designed by Ludwig Mies van der Rohe (1886-1969) as the German national pavilion
for the 1929 Barcelona International Exhibition.
 Built from glass, travertine and different kinds of marble, the Pavilion was conceived to
accommodate the official reception presided over by King Alphonso XIII of Spain along
with the German authorities.

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 It had a flat roof supported on chrome columns. the steel skeleton and the pavilion’s walls,
rectangular planes of marble, glass, onyx placed vertically or horizontally, could be freely
positioned and made it possible that space seems to flow through them. this use of the
open plan achieves extreme lightness and movement.
 The pavilion was conceived as the setting in
which the German authorities would receive
king AlphonsoXIII. despite its initial disassembly
after the close of the exhibition, the pavilion has
become a key reference point in both the career
of mies van der rohe and 20th-century
architecture as a whole. an emblematic work of
modern-movement architecture, the pavilion
has not only been exhaustively studied and
interpreted, but it has also been a source of
inspiration for the work of several generations of
architects all over the world.

32. ARTS AND CRAFTS MOVEMENT IN EUROPE AND AMERICA
BIRTH OF ARTS AND CRAFT MOVEMENT
 The Victorian style of heavily ornamented interiors displaying many pieces of furniture,
collections of small ornamental objects, and surfaces covered with fringed cloths prevailed
in middle-class homes in ENGLAND AND AMERICA during the latter half of the19th
century.
 In both countries, techniques of mass production promoted the use of reproductions in
many different styles.. THE ARTS & CRAFTS MOVEMENT WAS BORN.
 The ARTS AND CRAFTS MOVEMENT was a British and American aesthetic movement
occurring in the last years of the 19TH CENTURY and the early years of the 20TH CENTURY.
 Began in ENGLAND around 1860 and continued into the first decade of the 20th century.
 The Arts and Crafts Movement began primarily The Arts and Crafts ideal they offered was
a spiritual, craft-based alternative, intended to alleviate industrial production’s
degrading effects on the souls of laborers and on the goods they produced. as a search
for authentic and meaningful styles for the 19th century and as a reaction to the "soulless"
machine-made production aided by the Industrial Revolution.
 The movement’s earliest proponents reacted against cheap manufactured goods, which
had flooded shops and filled houses in the second half of the 19th century.
These proponents sought to reestablish the ties between beautiful work and the worker,
returning to an honesty in design not to be found in mass-produced items. In both BRITAIN
AND AMERICA the movement relied on the talent and creativity of the individual craftsman

33. ARTS AND CRAFTS MOVEMENT IN EUROPE:-
 The BRITISH MOVEMENT focused on the richly detailed gothic style. Their interior walls
were either white-washed or covered in wallpaper depicting medieval themes. The
pottery and textile designs were intricate, colorful and realistic. While the original intent
was to provide handmade goods to the common man, the cost of paying craftsmen an
honest wage resulted in higher prices than the common man could afford. This limited
the movement to the upper class.
 English designer WILLIAM MORRIS, who led the Arts and Crafts movement, sought to
restore integrity to both architecture and the decorative arts. The Red House (1859) in
Kent, designed for Morris and his family by English architect Philip Webb, demonstrates
the architectural principles at the heart of the English movement. The unpretentious brick
façades were free of ornament, the ground plan was informal and asymmetrical, and the
materials were drawn from the area and assembled with local building techniques.

36. ART NOUVEAU

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ART NOUVEAU-French for "new art"
DEFINITION
• General term to describe flowing, sinuous designs
based on natural forms
• Style in art, architecture and design that peaked in
popularity at the beginning of the 20th century.
• Flourished in Europe between 1890 and 1910,
• One of the earliest (and shortest-lived) efforts to
develop an original style for the modern age
• It was a Romantic,individualistic and anti historical
and a highly decorative movement
ARCHITECTS ASSOCIATED WITH ART NOVEAU:
• Émile André
• August Endel
• Antoni Gaudi (1852-1926)
• Victor Horta (1861-1947)
• Josef Hoffmann (1870-1956)
• Hector Guimard (1867-1942)
• Charles Rennie Mackintosh (1868-1928)
• Louis Sullivan (1856-1924)
• Otto Wagner
•The name "Art Nouveau"
derived from the name of a
shop in Paris, Maison de
l'Art Nouveau, at the time
run by Samuel Bing, that
showcased objects that
followed this approach to
design.

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CHARACTER OF ART NOUVEAU
• DYNAMIC,
• UNDULATING and Flowing,
• Curved "whiplash" lines of syncopated rhythm
characterize much of Art Nouveau.
• Usage of hyperbolas and parabolas.
• Conventional mouldings seem to spring to life and
"grow" into plant-derived forms
• Use of HIGHLY-STYLIZED NATURE as the source of
inspiration and expanded the "natural" repertoire to
embrace seaweed, grasses, and insects.
• Correspondingly ORGANIC FORMS,
• Curved lines, Especially floral or vegetal, and the like,
were used.
MATERIALS USED
• Iron
• Glass
DECORATION
• Curved Lines
• Floral
• Geometric Patterns

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ANTONNIO GAUDI (1852 – 1926)

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EARLY LIFE
– Antoni Gaudí (25 June 1852–10 June 1926)
– Antonio Gaudí – was a CATALAN ARCHITECT who
belonged to the MODERNIST STYLE (ART
NOUVEAU) movement and was famous for his unique
style and highly individualistic designs.
– The artist's parents--- Francesc Gaudí Serra and
Antònia Cornet Bertran,
– Came from families of metalsmiths. It was this
exposure to nature at an early age that influenced him
to incorporate natural shapes into his later work.
– Gaudí's first works were designed in the style of
GOTHIC architecture and traditional Spanish
architectural modes, but he soon developed his own
distinct sculptural style.
– French architect EUGENE VIOLLET-LE-DUC, who
promoted an evolved form of gothic architecture,
proved a major influence on Gaudí.
– But the student surpassed the master architect and
contrived highly original designs

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DESIGN PHILOSOPHY
• The creator of the city of Barcelona
• Attentive observer of nature
• Attracted to the varied forms of nature ,
colors and geometry
• Apioneer in his field using color, texture
and movement
• Gothic art, Oriental structures, the Art
Nouveau movement,
• Use of traditional elements with fanciful
ornamentation and brilliant technical
solutions
• Developed a sensuous, curving, almost
surreal design style which established him
as the innovative leader of the Spanish
Art Nouveau movement.

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CASA VICENS (1883–1885)
Palau Güell (1885–1889)
College of the Teresianas (1888–1890)
Casa Calvet (1899–1904)
CASA BATLLÓ (1905–1907)
Casa Milà (La Pedrera) (1905–1907)
SAGRADA FAMÍLIA Nativity façade and
Crypt of the Sagrada Família church
(1884–1926)
NOTED WORKS

43. 43
Location: Barcelona, Spain
Date: 1882 to 1926
Building Type: Church
Context: Urban
Construction System : Masonry
SAGRADA FAMILIA

44. 44
1. The Sagrada Família is a
temple of BASILICAL TYPE
WITH A SHAPE OF LATIN
CROSS
2. The central axis is
occupied by
• four lateral naves of 7'5
meters wide each one and
• a central nave of 15
meters wide, what does a
total of 45 meters.
The total length of the temple,
including the nave and the
apse is of 95 meters.
The transept is formed by three
naves with a total width of
30 meters and a length of
60.
This transept has two exits,
PLAN

45. 45
1. At present more than 100 years elapsed since the start, the works
continue to growth rapidly.
2. The only part of the temple built directly by Gaudí is the apse, a
part of the cloister and the Nativity façade with its four bell towers,
of the ones the only to be completely finished when Gaudí died in
the year 1926 at the age of 74 knocked down by a tramway, was
the one of Saint Barnabas

46. 46
THE OUTSIDE WALLS
• The Sagrada Família
exterior walls only have to
bear their own weight,
because the vaults weight
and push are transmitted to
the floor through the interior
columns.
• In addition, the walls are
completely perforated by
rose windows, ogives, large
windows and other openings
lightening very much the
weight.
• Here also the hyperboloids
are the most used form
allowing Gaudí to adopt the
better technical and
aesthetical solutions.
• The walls basement has a
height of four meters over
which begins the first series
of large windows with a

47. 47
THE ROOFS: 1. The higher ones are
those of the central
nave, they are
comprised of a series of
pyramids - one by vault
- connected between
them and with the large
windows pediments
with some large
paraboloids.
2. They are culminated by
lampposts with
references to the Holy
Family.
Between the roof and the vaults, it is an space of some 25
meters divided into four plants connected by a small spiral
staircases

48. 48
CASA BATLLO
Location: Barcelona, Spain
Date: 1905 to 1907
Building Type: Apartment building
Construction System: Concrete
Context: Urban
Style: Expressionist or Art Nouveau
Client: Josep Batlló i Casanovas

49. 49
• It was originally designed for a
middle-class family and
situated in a prosperous district
of Barcelona
• Gaudí was commissioned by
the owner to totally renew the
old building.
• On that base, Gaudí projected
this astonishing house, one of
the most fancy and "special"
of Barcelona
The changes made by Gaudí
on the old building were radical
and affect all the building.
• In fact the building of Gaudí is
a new building.
CASA BATLLO
1. The present Casa Batlló, is the result of a
TOTAL REFURBISHMENT of an old
previous conventional house built in 1877.
1. The local name for the building is CASA
DELS OSSOS (House of Bones), and
indeed it does have a VISCERAL,
SKELETAL ORGANIC quality.

50. 50
1. Inside, the spaces were TOTALLY
REORGANIZED in order to obtain in it more
Natural light (the courtyard is covered with
blue ceramic progressively brighten to
assure the same or similar light on top and
on ground) and ventilation.
2. Gaudí also added two floors to the
building.
1. Gaudí added a gallery, the balconies and the
polychrome ceramics.
ADDITIONS

51. 51
FACADE
GAUDÍ CARRIED OUT ONE OF THE
MOST IMPRESSIVE AND BRILLIANT
URBAN FAÇADES OF THE WORLD.
•The façade covered by MOSAICS of
SPLENDID COLORS is perhaps the
most suggestive, creative and
original of the city of Barcelona.
•The balconies remember pieces of
SKULLS WITH ITS EYES AND
MOUTH.
•The COLUMNS of first floor look
like human bones.
•The GROUND FLOOR, in particular, is
rather astonishing with tracery, irregular
OVAL WINDOWS and flowing sculpted
stone work.

52. 52
A. The design of that roof is
one of the most
characteristics of Gaudí for
urban buildings.
B. The interior is also very
impressive showing
various decorative
elements as furniture,
glasses, forged iron
elements, fireplaces, etc.
• The roof decorated with
POLYCHROME CERAMICS of
brilliant colors is crowned by a tower
with the typical Gaudí four branches
cross.
• The roof is arched and was likened
to the back of a dragon or
dinosaur
ROOF

53. CHICAGO SCHOOL
The Chicago Building by Holabird &
Roche (1904–1905) is a prime example
of the Chicago School, displaying both
variations of the Chicago window.
 Chicago's architecture is famous throughout the world
and one style is referred to as the Chicago School. Much
of its early work is also known as Commercial Style.
 In the history of architecture, the first Chicago School
was a school of architects active in Chicago in the late
19th, and at the turn of the 20th century.
 They were among the first to
promote the new technologies
of steel-frame construction in
commercial buildings, and
developed a spatial aesthetic
which co-evolved with, and then
came to influence, parallel
developments in
European Modernism.
 A "Second Chicago School" with
a modernist aesthetic emerged
in the 1940s through 1970s,
which pioneered new building
technologies and structural
systems, such as the tube-frame
structure.
A steel skeletal frame, like that
of the Fisher Building (1895-
1896), meant the height of a
building was no longer limited
by the strength of its walls.

54. Art Deco
 Art Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design
that first appeared in France just before World War I
 It influenced the design of buildings, furniture, jewelry, fashion, cars, cinemas,
trains, ocean liners, and everyday objects such as radios and vacuum cleaners.
 It took its name, short for Arts Décoratifs, from the Exposition internationale des arts
décoratifs et industriels modernes (International Exhibition of Modern Decorative and
Industrial Arts) held in Paris in 1925
Architecture
 The architectural style of art deco made its debut
in Paris in 1903–04, with the construction of two
apartment buildings in Paris, one by Auguste
Perret on rue Benjamin Franklin and the other on
rue Trétaigne by Henri Sauvage.
La Samaritaine department store in
Paris, France, by Henri Sauvage (1925–
1928)
 The two young architects used reinforced
concrete for the first time in Paris residential
buildings; the new buildings had clean lines,
rectangular forms, and no decoration on the
facades; they marked a clean break with the art
nouveau style.

55. LOUIS SULLIVAN
 Louis Henry Sullivan (September 3, 1856 – April 14, 1924) was an
American architect, and has been called a "father of
skyscrapers" and "father of modernism".
 He was an influential architect of the Chicago School, a mentor
to Frank Lloyd Wright, and an inspiration to the Chicago group of
architects who have come to be known as the Prairie School.
 In 1944, Sullivan was the second architect to posthumously receive the AIA Gold Medal.
 Along with Wright and Henry Hobson Richardson, Sullivan is one of
"the recognized trinity of American architecture".The phrase "form
follows function" is attributed to him, although he credited the
concept to ancient Roman architect Vitruvius (as it turns out never
said anything of the sort).

57. ADOLF LOOS AND HIS ARGUMENTS ON ORNAMENTATION

58. Architectural Schools of thought
Expressionism:
 Expressionist architecture refers to an architectural style that developed in Europe in the
first part of the 20th Century.
 Expressionism in architecture manifested through the Bauhaus Movement, that originated
in Germany and spread to Denmark through Functionalism, and to The Netherlands
through the artistic movement "De Stijl".
 emphasizing subjective feelings and emotions
Architects associated:
Three major German architects of the period associated with the expressionist movement
were Bruno Taut, and Erich Mendelsohn, the latter chiefly for his early drawings and the
iconic Einstein Tower.
Characteristics:
 Artistic style in which the artist seeks to depict not objective reality but rather the
subjective emotions and responses that objects and events.
 He accomplishes his aim through distortion, exaggeration, primitivism, and fantasy and
through the vivid, jarring, violent, or dynamic application of formal elements.

59.  Conception of architecture as a work of art
 Distortion of form for an emotional effect
 An underlying effort at achieving the new, original visionary.
 Profusion of works on paper, and models, with discovery and representations of concepts
more important than pragmatic finished products.
 Often hybrid solutions, irreducible to a single concept
 Themes of natural romantic phenomena, such as caves, mountains, lightning, crystal and
rock formations.
 Utilizes creative potential of artisan craftsmanship.
 Tendency more towards the gothic than the classical. Expressionist architecture also tends
more towards the Romanesque and the rococo than the classical.
 Though a movement in Europe, expressionism is as eastern as western. It draws as much
from Moorish, Islamic, Egyptian, and Indian art and architecture as from Roman or Greek
Elastic Forms:
 Form played a defining role in setting apart expressionist architecture from its immediate
predecessor, art nouveau
 While art nouveau had an organic freedom with ornament, expressionist architecture
strove to free the form of the whole building instead of just its parts

60. Einstein tower an example of Expressionism:
 An example of a built expressionist project that is inventive formally is Erich Mendelsohn's
Einstein Tower.
 This sculpted building shows a relativistic and shifting view of geometry.
 Devoid of applied ornament,
 Form and space are shaped in fluid concrete to express concepts of the architect and the
building's namesake.
Materials in Expressionism:
 A recurring concern of expressionist architects is
materials.
 There was often an intention to unify the materials
in a building so as to make it monolithic.
 Bruno Taut and Paul Scheerbart's doctrine of glass
architecture
 Mendelson was familiar for concrete architecture

61. Expressionist architecture
Saarinen's 1962 TWA Terminal
Paris Métro Porte Dauphine station
enclosed edicule by Hector Guimard.
Goetheanum by Rudolph Steiner in
1923

62. Futurism:
 Futurist architecture (or Futurism) began as an early-20th century
 Form of architecture characterized by anti-historicism and long horizontal lines suggesting
speed, motion and urgency.
 This artistic movement started in Italy and lasted from 1909 to 1944.
 Futurist forms suggest speed, dynamism and strong expressivity, in an effort to make
architecture belonging to modern times.
Characteristics of Futurism:
Futurism is not a style but an open approach to architecture, so it has been reinterpreted by
different generations of architects across several decades, but is usually marked by striking
shapes, dynamic lines, strong contrasts and use of advanced materials
Architects influential in futurist architecture
 Virgilio Marchi  Louis Armet  Welton Becket  Arthur Erickson
 Wayne McAllister  Oscar Niemeyer  William Pereira
 Zaha Hadid  Frank Gehry
Manifestos of futurism for future city:
 Manifesto of Futurist Architecture published in Lacerba 11 July 1914
 Architecture must be impermanent “we must invent and remake the Futurist city to be like
a huge tumultuous shipyard, agile, mobile, dynamic in all its parts; and the Futurist house
to be like a gigantic machine” in the manifesto.

63. Drawings of Santa elia showing the proposal for the future city

64. Proclaim of Futurist architecture:
 That Futurist architecture is the architecture of calculation, of simplicity; the architecture
of reinforced concrete, of steel, glass, cardboard, textile fiber, and of all those substitutes
for wood, stone and brick that enable us to obtain maximum elasticity and lightness;
 That Futurist architecture is not because of this an arid combination of practicality and
usefulness, but remains art, i.e. synthesis and expression;
 That oblique and elliptic lines are dynamic, and by their very nature possess an emotive
power a thousand times stronger than perpendiculars and horizontals,
 That decoration as an element superimposed on architecture is absurd, and that the
decorative value of Futurist architecture depends solely on the use and original
arrangement of raw or bare or violently colored materials.
 Monolithic skyscraper buildings with terraces, bridges and aerial walkways that embodied
the sheer excitement of modern architecture and technology.
 That by the term architecture is meant the endeavor to harmonize the environment with
Man with freedom and great audacity, that is to transform the world of things into a direct
projection of the world of the spirit;
 From architecture conceived in this way no formal or linear habit can grow, since the
fundamental characteristics of Futurist architecture will be its impermanence and
transience.
 Things will endure less than us. Every generation must build its own city. This constant
renewal of the architectonic environment will contribute to the victory of Futurism which
has already been affirmed by words-in-freedom, plastic dynamism.

65. DE STIJL
 "De Stijl" is a Dutch phrase meaning "the style." The deStijl arts
movement was centerd in Amsterdam during 1917-1932, also
called Neoplasticism.
 The leaders of the movement were the artists
1. Theo van Doesburg and
2. Piet Mondrian.
Their austerity of expression influenced architects, principally
J.J.P.Oud and Gerrit Rietveld.
 The movement lasted until 1931; in architecture a few de Stijl
principles are still applied. The works of De Stijl influenced the
Bauhaus style and the international style of architecture and
interior design.

66. CHARACTERISTIC FEATURES OF DESTIJL
De Stijl proposed ULTIMATE SIMPLICITY AND
ABSTRACTION, both in architecture and painting,
by using only straight (horizontal and vertical)
lines and rectangular forms.
The movement focused on pure and simple
elements of artistic expression, including straight
lines, right angles, basic geometric shapes and
primary colors like red, yellow and blue. Black,
white and grey were used as well.
The works avoided symmetry and attained
aesthetic balance by the use of opposition.

67. CHARACTERISTIC FEATURES OF DESTIJL
In many of the group's three-dimensional works,
vertical and horizontal lines are positioned in
layers or planes that do not intersect, thereby
allowing each element to exist independently and
unobstructed by other elements.
They advocated pure abstraction and universality
by a reduction to the essentials of form and
colour.
This element of the movement embodies the
second meaning of stijl: “a post, jamb or support;”
this is best exemplified by the construction of
crossing joints, most commonly seen in carpentry.

68. GERRIT THOMAS RIETVELD
 Gerrit Thomas Rietveld was a Dutch
furniture designer and an architect.
 Rietveld was born in Utrecht in 1888,
the son of a cabinetmaker.
 In 1918, Rietveld became one of the
first members of the De Stijl
movement.
 His celebrated "Red and Blue" chair
design was first published in "De
Stijl" magazine.
He started to design experimental fiberboard and plywood
furniture in 1927.
He designed low-cost furniture constructed from packing-
crated components.
Rietveld started designing with alternative materials,
making a line of chairs using bent metal components in 1957.

69. GERRIT THOMAS RIETVELD
Red and Blue Chair
(1917).
Schröder House (1924)
Functional ceiling lamp,
consisted of three white
soffits arranged at right
angles(1922).
"Zig-Zag" chair(1932-
34).
Van Gogh Museum in
Amsterdam, completed
nine years after his
death in 1964.

70. The Rietveld Schröder House
 LOCATION-
Utrecht,Netherlands.
 TIMELINE- 1924-25
 ARCHITECT- Gerrit Rietveld
 BUILDING TYPE-Residence
 CONTEXT- Suburban
 BUILDING CONST.SYSTEM- steel
beams and columns, wood & conc.
 STYLE- DE STIJL

71. The Rietveld Schröder House
 The Schroder House was
considered to be the only
building created
completely from deStijl
principles of design.
 Rietveld’s concepts are
always clear and
functionally presented
through use of
economical and modest
materials.
 The two-story house is
built onto the end of a
terrace, but it makes no
attempt to relate to its
neighbouring buildings.

72. The Rietveld Schröder House
Inside there is no static
accumulation of rooms,
but a dynamic,
changeable open zone.
The ground floor can
still be termed
traditional; ranged
around a central
staircase are kitchen
and three sit/bedrooms.

73. The Rietveld Schröder House
The living area upstairs is a
large open zone except for
a separate toilet and a
bathroom.
With a system of sliding
and revolving panels living
space -open or subdivided.
When entirely partitioned
in, the living level
comprises three bedrooms,
bathroom and living room.

74. The Rietveld Schröder House
Pronounced lines which navigate
across color surfaces, alongside and
around pieces of furniture, which in
turn comprise permanent features on
the interior landscape.
And just as each architectural element
of a modernist town reflects a
particular function, there are separate
areas for movement, storage, sitting,
sleeping and working.
 Did not imitate nature through
decoration but instead allowed nature
through windows and glass skylight.

75. INSTITUTIONS
 Werkbund and Bauhaus/Works of Peter Behrens and Walter Gropius.

76.  The Deutscher Werkbund (German Work Federation) was a German association of artists,
architects, designers, and industrialists.
 The Werkbund was to become an important event in the development of modern
architecture and industrial design, particularly in the later creation of the Bauhaus school
of design.
 Its initial purpose was to establish a partnership of product manufacturers with design
professionals to improve the competitiveness of German companies in global markets.
 The Werkbund was founded in 1907 in Munich at the instigation of Hermann Muthesius,
existed through 1934, then re-established after World War II in 1950.
 Muthesius was the author of the exhaustive three-volume "The English House" of 1905, a
survey of the practical lessons of the English Arts and Crafts movement.
 Muthesius was seen as something of a cultural ambassador, or industrial spy, between
Germany and England.
 The Werkbund was less an artistic movement than a state-sponsored effort to integrate
traditional crafts and industrial mass-production techniques, to put Germany on a
competitive footing with England and the United States.
 The architects include Peter Behrens, Theodor Fischer (who served as its first president),
Josef Hoffmann, Bruno Paul, and Richard Riemerschmid.

77. Bauhaus:
The entrance to the workshop block of the Bauhaus, Dessau, 2005.
 Bauhaus ("House of Building" or "Building School") is the common term for the Staatliches
Bauhaus (help·info), a school in Germany that combined crafts and the fine arts, and was
famous for the approach to design that it publicized and taught.
 It operated from 1919 to 1933. The Bauhaus school was founded by Walter Gropius in
Weimar.
 In spite of its name, and the fact that its founder was an architect, the Bauhaus did not
have an architecture department for the first several years of its existence.
 Bauhaus style became one of the most influential currents in Modernist architecture and
modern design.
 The Bauhaus had a profound influence upon subsequent developments in, art
architecture, graphic design, interior design, industrial design and typography.
 The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925
to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter
Gropius from 1919 to 1927, Hannes Meyer from 1927 to 1930 and Ludwig Mies van der
Rohe from 1930 to 1933, when the school was closed by the Nazi regime.

78. The Bauhaus:
 The foundation of Bauhaus occurred at a time of political
and cultural upheaval in Germany.
 Defeat in World War I, the fall of the German monarchy
and the abolition of censorship under the new, liberal
Weimar Republic allowed an upsurge of radical
experimentation in all the arts, previously suppressed by
the old regime.
 Many Germans of left-wing views were influenced by the cultural experimentation that
followed the Russian Revolution, such as constructivism.
 Such influences can be overstated: Gropius himself did not share these radical views, and
said that Bauhaus was entirely unpolitical.
 Just as important was the influence of the 19th century English designer William Morris,
who had argued that art should meet the needs of society and that there should be no
distinction between form and function.
 Thus the Bauhaus style, also known as the International Style, was marked by the absence
of ornamentation and by harmony between the function of an object or a building and its
design.
 The most important influence on Bauhaus was however modernism, a cultural movement
whose origins lay as far back as the 1880s, and which had already made its presence felt in
Germany before the World War, despite the prevailing conservatism.

79. Works of Walter Gropius:
 Walter Gropius (May 18, 1883 – July 5, 1969) was a German architect and founder of
Bauhaus who along with Ludwig Mies van der Rohe and Le Corbusier, is widely regarded as
one of the pioneering masters of modern architecture.
Important buildings
Monument to the March
Dead (1920) in Weimar,
Germany.
Gropius House (1938) in Lincoln,
Massachusetts.
A late work of Gropius: The Embassy
of the United States in Athens
 1910–1911 the Fagus Factory, Alfold an der Leine, Germany
 1914 Office and Factory Buildings at the Werkbund Exhibition, 1914, Cologne, Germany
 1921 Sommerfeld House, Berlin, Germany designed for Adolf Sommerfeld
 1922 competition entry for the Chicago Tribune Tower competition
 1925–1932 Bauhaus School and Faculty, Housin, Dessau, Germany
 1936 Village College, Impington, Cambridge, England
 1937 The Gropius House, Lincoln, Massachusetts, USA