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Alvar Aalto - Father of Modern Scandinavian Architecture Born at the cusp of Modernism, Finnish architect Alvar Aalto became famous for both his buildings and his furniture designs. Aalto's unique style grew out of a passion for painting and a fascination for the works of cubist artists Pablo Picasso and Georges Braque. Born: February 3, 1898 in Kuortane, Finland Died: May 11, 1976 in Helsinki, Finland Full Name: Hugo Alvar Henrik Aalto Education: Graduated with honors in architecture from Helsinki University of Technology Important Buildings by Alvar Aalto: 1920: White Guards Headquarters , Seinajoki, Finland 1927-1935: Viipuri Library, Viipuri, Russia 1929-33: Paimio Tuberculosis Sanatorium , Paimio, Finland 1938-39: Finnish Pavilion, New York's World Fair (demolished) 1946-49: Baker House , Massachusetts Institute of Technology, Cambridge, MA 1949-1966: Institute of Technology in Otaniemi, Finland 1957-1960: Lakeuden Risti Church , Seinajoki, Finland 1959-1962: Enso-Gutzeit Headquarters , Helsinki, Finland 1962-1965: Seinajoki Town Hall , Seinajoki, Finland 1967-75: Finlandia Hall , Helsinki, Finland Also Known For: Alvar Aalto also became famous for his furniture and glassware design. With his first wife, Aino Mariso, Alvar Aalto founded Artek, a company that continues to sell innovative furnishings. Artistic Influences: Alvar Aalto's passion for painting led to the development of his unique architectural style.Cubism and collage , explored by the painters Pablo Picasso and Georges Braque, became important elements in Alvar Aalto's work. Alvar Aalto used color, texture, and light to create collage-like architectural landscapes. Related People: Walter Gropius Pablo Picasso Georges Braque

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Page 1: Famous Arch

Alvar Aalto - Father of Modern Scandinavian Architecture

Born at the cusp of Modernism, Finnish architect Alvar Aalto became famous for both his buildings and his furniture designs. Aalto's unique style grew out of a passion for painting and a fascination for the works of cubist artists Pablo Picasso and Georges Braque.Born:February 3, 1898 in Kuortane, FinlandDied:May 11, 1976 in Helsinki, FinlandFull Name:Hugo Alvar Henrik AaltoEducation:Graduated with honors in architecture from Helsinki University of TechnologyImportant Buildings by Alvar Aalto:

1920: White Guards Headquarters, Seinajoki, Finland 1927-1935: Viipuri Library, Viipuri, Russia 1929-33: Paimio Tuberculosis Sanatorium, Paimio, Finland 1938-39: Finnish Pavilion, New York's World Fair (demolished) 1946-49: Baker House, Massachusetts Institute of Technology, Cambridge, MA 1949-1966: Institute of Technology in Otaniemi, Finland 1957-1960: Lakeuden Risti Church, Seinajoki, Finland 1959-1962: Enso-Gutzeit Headquarters, Helsinki, Finland 1962-1965: Seinajoki Town Hall, Seinajoki, Finland 1967-75: Finlandia Hall, Helsinki, Finland

Also Known For:Alvar Aalto also became famous for his furniture and glassware design. With his first wife, Aino Mariso, Alvar Aalto founded Artek, a company that continues to sell innovative furnishings.Artistic Influences:Alvar Aalto's passion for painting led to the development of his unique architectural style.Cubism and collage , explored by the painters Pablo Picasso and Georges Braque, became important elements in Alvar Aalto's work. Alvar Aalto used color, texture, and light to create collage-like architectural landscapes.Related People:

Walter Gropius Pablo Picasso Georges Braque

More About Alvar Aalto:Early works by Alvar Aalto combined neoclassical ideas with the International Style. Later, Aalto's buildings were characterized by asymmetry, curved walls, and complex textures.Alvar Aalto received international acclaim with the completion of the Paimio Tuberculosis Sanatorium. The Sanatorium building established Aalto's dominance of the International style and, more importantly, emphasized Aalto's attention to the human side of design. The patients' rooms, with their specially designed heating, lighting and furniture, are models ofintegrated environmental design. Alvar Aalto's Paimio chair assisted patient breathing.The term Nordic Classicism has been used to describe some of Alvar Aalto's work. Many of his buildings combined sleek lines with richly textured natural materials such as stone, teak, and rough-hewn logs.Alvar Aalto was also known for furniture and industrial design. In 1932, he developed a revolutionary type of furniture made of laminated bent plywood.

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Philip Johnson, Glass House Architect

Philip Johnson was a museum director, writer, and, most notably, an architect known for his unconventional designs. His work embraced many influences, from the neoclassicism of Karl Friedrich Schinkel and to the modernism of Ludwig Mies van der Rohe.Born:July 8, 1906 in Cleveland, OHDied:January 25, 2005Full Name:Philip Cortelyou JohnsonEducation:

1930: Architectural History, Harvard University 1943: Architecture, Harvard University

Famous Buildings: 1949: Glass House, New Canaan, CT 1958: Seagram Building (with Mies van der Rohe), New York 1962: Kline Science Center, Yale University, New Haven, CT 1964: NY State Theater, Lincoln Center, New York 1972: Boston Public Library addition 1980: Crystal Cathedral, Garden Grove, CA 1984: AT&T Headquarters, New York City 1984: Pittsburgh Plate Glass Company, Pittsburgh, PA 1984: Transco Tower, Houston, TX

Important Ideas: International Style Neoclassicism

Quotes: Create beautiful things. That’s all. Architecture is surely not the design of space, certainly not the massing or organizing of volumes. These are

auxiliary to the main point, which is the organization of procession. Architecture exists only in time. Architecture is the art of how to waste space. All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or

stimulates the person in that space. Why reinvent the spoon? The only test for architecture is to build a building, go inside and let it wrap itself around you.

Related People: Le Corbusier Walter Gropius

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Richard Neutra Ludwig Mies van der Rohe

More About Philip Johnson:After graduation from Harvard in 1930, Philip Johnson became the first Director of the Department of Architecture at the Museum of Modern Art, New York (1932-1934 and 1945-1954). He coined the term International Style and introduced the work of modern European architects such as Ludwig Mies van der Rohe and Le Corbusier to America. He would later collaborate with Mies van der Rohe on what is considered the most superb skyscraper in North America, the Seagram Building in New York City (1958).Johnson returned to Harvard University in 1940 to study architecture under Marcel Breuer. For his master degree thesis, he designed a residence for himself, the now famous Glass House (1949), which has been called one of the world's most beautiful and yet least functional homes.Philip Johnson's buildings were luxurious in scale and materials, featuring expansive interior space and a classical sense of symmetry and elegance. These same traits epitomized corporate America's dominant role in world markets in prominent skyscrapers for such leading companies as AT&T (1984), Pennzoil (1976) and Pittsburgh Plate Glass Company (1984).In 1979, Philip Johnson was honored with the first Pritzer Architecture Prize in recognition of "50 years of imagination and vitality embodied in a myriad of museums, theaters, libraries, houses, gardens and corporate structures."

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Zaha Hadid, First Woman to Win a Pritzker

Born in Baghdad, Iraq in 1950, Zaha Hadid was the first woman to win a Pritzker Architecture Prize. Her work experiments with new spatial concepts and encompasses all fields of design, ranging from urban spaces to products and furniture.Born:October 31, 1950 in Baghdad, IraqEducation:

1977: Diploma Prize, Architectural Association (AA) School of Architecture in London Studied mathematics at the American University of Beirut in Lebanon prior to moving to London in 1972

Important Projects: 1993: A fire station for the Vitra Company in Weil am Rhein, Germany 2001: Terminus Hoenheim-Nord, a "park and ride" and tramway on the outskirts of Strasbourg, France 2002: Bergisel Ski Jump, Austria 2003: The Richard and Lois Rosenthal Center for Contemporary Art in Cincinnati, Ohio 2005: Phæno Science Center in Wolfsburg, Germany 2008: Pedestrian Bridge and Exposition Pavilions, Zaragoza, Spain 2009: MAXXI: National Museum of 21st Century Arts, Rome, Italy 2010: Sheikh Zayed Bridge, Abu Dhabi, UAE 2010: Guangzhou Opera House, China 2011: Riverside Museum of Transport, Glasgow, Scotland 2011: Aquatics Centre, London, United Kingdom 2011: CMA CGM Corporate Headquarters, Marseille, France 2012: Pierres Vives, Montpellier, France 2012: Eli and Edythe Broad Art Museum at Michigan State University in East Lansing

Other Works:Zaha Hadid is also known for her exhibition designs, stage sets, furniture, paintings, and drawings.Partnerships:

Zaha Hadid worked at the Office for Metropolitan Architecture with her former teachers,Rem Koolhaas and Elia Zenghelis

In 1979, Zaha Hadid opened her own practice, Zaha Hadid Architects. Patrik Schumacherjoined her in 1988."Working with senior office partner, Patrik Schumacher, Hadid's interest lies in the rigorous interface between architecture, landscape, and geology as her practice integrates natural topography and human-made systems, leading to experimentation with cutting-edge technologies. Such a process often results in unexpected and dynamic architectural forms."— Resnicow Schroeder biography, 2012 press release (PDF) accessed November 16, 2012Major Awards and Honors:

1982: Gold Medal Architectural Design, British Architecture for 59 Eaton Place, London

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2000: Honourable Member of the American Academy of Arts and Letters 2002: Commander of the British Empire 2004: Pritzker Architecture Prize 2010, 2011: Stirling Prize, Royal Institute of British Architects (RIBA) 2012: Order of the British Empire, Dames Commander of the Order of the British Empire (DBE) for services

to ArchitectureAbout Zaha Hadid:From parking garages and ski-jumps to vast urban landscapes, Zaha Hadid's works have been called bold, unconventional, and theatrical. Zaha Hadid studied and worked under Rem Koolhaas, and like Koolhaas, she often brings a deconstructivist approach to her designs.Zaha Hadid was the first woman to win a Pritzker Architecture Prize. Learn more: Citation from the Pritzker Prize Jury.

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Santiago Calatrava, Architect and Engineer

Famous for his bridges and train stations, Spanish modernist Santiago Calatrava combines artistry with engineering. His graceful, organic structures have been compared to the works of Antonio Gaudí.Born:July 28, 1951 in Valencia, SpainEducation:

1975: Completed undergraduate studies at the Valencia Arts School and the Valencia Architecture School 1981: Completed graduate work in civil engineering at the Swiss Federal Institute of Technology (ETH) in

Zurich, Switzerland. Doctoral thesis: On the Foldability of Space FramesImportant Projects:

1989-1992: Alamillo Bridge, Seville, Spain 1991: Montjuic Communications Tower, at the 1992 Olympic site in Barcelona, Spain 1996: City of Arts and Sciences, Valincia, Spain 1998: Gare do Oriente Station, Lisbon, Portugal 2001: Milwaukee Art Museum, Quadracci Pavilion, Milwaukee, Wisconsin 2003: Ysios Wine Estate Laguardia, Spain 2003: Tenerife Concert Hall in Santa Cruz, Tenerife, Canary Islands 2005: The Turning Torso, Malmö, Sweden 2009: Train Station, Liège, Belgium 2012: Trinity River Corridor Bridges, Dallas, Texas (see trinityrivercorridor.org)

Proposed and Under Construction: World Trade Center Transportation Hub , proposed for New York City Yuan Ze University Project, Taiwan, building complex (Performing Arts Center, Art and Design school, and

the Y.Z. Hsu Memorial Hall)Important Awards:

1992: London Institution of Structural Engineers Gold Medal 1993: Toronto Municipality Urban Design Award 1996: Gold Medal for Excellence in the Fine Arts from the Granada Ministry of Culture 1999: Prince of Asturias Award in Arts 2005: AIA Gold Medal 2007: Spanish National Architecture Award

More About Santiago Calatrava:Architect, engineer, and sculptor, Santiago Calatrava received an AIA commemorative gold medallion in 2012 as one of the 15 Architects of Healing for his transportation hub design, a new train and subway station at the

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World Trade Center site in New York City. Calling Calatrava's work "open and organic," the New York Times said that the new terminal will evoke the kind of uplifting spirituality that is needed on Ground Zero. However, reconstruction plans in New York have undergone so many revisions, much of Calatrava's original vision has been lost.Read More: Santiago Calatrava, from the Canary Islands to Manhattan Island by Fred A. Bernstein, published in The New York Times, October 26, 2003

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Rem Koolhaas, Modern Dutch Architect

Born:November 17, 1944 in Rotterdam, The NetherlandsEducation:Architectural Association, London, 1972Selected Projects:

1987: Netherlands Dance Theater, The Hague, Netherlands 1989: ProposedSeaterminal, Zeebrugge, Belgium 1991: Nexus Housing, Fukuoka, Japan 1992: Kunsthal, Rotterdam 1994: Lille Grand Palais, Lille, France 1997: Educatorium, Utrech, Netherlands 1998: Maison à Bordeaux, Bordeaux, France 2001: Netherlands Embassy, Berlin, Germany 2004: Seattle Public Library, Seattle, Washington 2008: CCTV Building, Beijing, China 2012: 24-Hour Museum, Paris, France

Styles and Ideas: Deconstructionism Modernism Structuralism

Quotes: "We have, in a certain sense, turned away from the Constructivists because they were being horribly

misused. Dutch architecture seemed in danger of becoming a repetition of three buildings, which is why we decided to back off."— Rem Koolhaas, quoted in The Critical Landscape, by Arie Graafland and Jasper de Haan

"As more and more architecture is finally unmasked as the mere organization of flow—shopping centers, airports—it is evident that circulation is what makes or breaks public architecture...". — Rem Koolhaas, architect's statement for the MoMA expansion project

Related People: Arata Isozaki Walter Gropius I.M. Pei

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About Rem Koolhaas:Although he was born in Rotterdam, Rem Koolhaas spent four years of his youth in Indonesia, where his father served as cultural director. Following in the footsteps of his literary father, Koolhaas began his career as a writer. He was a journalist for the Haase Post in The Hague, and later tried his hand at writing movie scripts.Koolhaas's writings won him fame in the field of architecture before he completed a single building. After after graduating from the Architecture Association School in London, he accepted a research fellowship in the United States. During his visit, he wrote Delirious New York, which he described as a "retroactive manifesto for Manhattan" and which critics hailed as a classic text on modern architecture and society.In 1975, Koolhaas founded the Office for Metropolitan Architecture (OMA) in London with Madelon Vriesendorm and Elia and Zoe Zenghelis. Focusing on contemporary design, the company won a competition for an addition to the Parliament in The Hague and a major commission to develop a master plan for a housing quarter in Amsterdam.Delirious New York was reprinted in 1994 under the title Rem Koolhaas and the Place of Modern Architecture. The same year, Koolhaas published S,M,L,XL in collaboration with the Canadian graphic designer Bruce Mau. Described as a novel about architecture, the book combines works produced by Koolhaas's Office for Metropolitan Architecture with photos, plans, fiction, cartoons and random thoughts.Rem Koolhaas has been called in turns Modernist and Deconstructivist, yet many critics claim that he leans toward Humanism. Koolhaas's work searches for a link between technology and humanity. Koolhaas was awarded the prestigious Pritzker Architecture Prize in 2000.

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Kenzo Tange

Kenzo Tange (丹下 健三  Tange Kenzō?, 4 September 1913 – 22 March 2005) was a Japanese architect, and winner of the 1987Pritzker Prize for architecture. He was one of the most significant architects of the 20th century, combining traditional Japanese styles with modernism, and designed major buildings on five continents. Tange was also an influential patron of the Metabolist movement. He said: "It was, I believe, around 1959 or at the beginning of the sixties that I began to think about what I was later to call structuralism", (cited in Plan 2/1982, Amsterdam), a reference to the architectural movement known as Dutch Structuralism.

Influenced from an early age by the Swiss modernist, Le Corbusier, Tange gained international recognition in 1949 when he won the competition for the design of Hiroshima Peace Memorial Park. He was a member of CIAM (Congres Internationaux d'Architecture Moderne) in the 1950s. He did not join the group of younger CIAM architects known as Team X, though his 1960 Tokyo Bay plan was influential for Team 10 in the 1960s, as well as the group that became Metabolism.

His university studies on urbanism put him in an ideal position to handle redevelopment projects after the Second World War. His ideas were explored in designs for Tokyo and Skopje. Tange's work influenced a generation of architects across the world.

Born on 4 September 1913 in Osaka, Japan, Tange spent his early life in the Chinese cities of Hankow and Shanghai; he and his family returned to Japan after learning of the death of one of his uncles. In contrast to the green lawns and red bricks in their Shanghai abode, the Tange family took up residence in a thatched roof farmhouse in Imabari on the island of Shikoku.[1]

After finishing middle school, Tange moved to Hiroshima in 1930 to attend high school. It was here that he first encountered the works of Swiss modernist, Le Corbusier. His discovery of the drawings of the Palace of the Soviets in a foreign art journal convinced him to become an architect. Although he graduated from high school, Tange's poor results in mathematics and physics meant that he had to pass entrance exams to qualify for admission to the prestigious universities. He spent two years doing so and during that time, he read extensively about western philosophy. Tange also enrolled in the film division at Nihon University's art department to dodge Japan's drafting of young men to its military and seldom attended classes.[1]

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In 1935 Tange began the tertiary studies he desired at University of Tokyo's architecture department. He studied under Hideto Kishida and Shozo Uchida.[1] Although Tange was fascinated by the photographs of Katsura villa that sat on Kishida's desk, his work was inspired by Le Corbusier. His graduation project was a seventeen-hectare (42-acre) development set in Tokyo's Hibiya Park.[2]

After graduating from the university, Tange started to work as an architect at the office of Kunio Maekawa. During his employment, he travelled to Manchuria, participating in anarchitectural design competition for a bank, and toured Japanese-occupied Jehol on his return. When the Second World War started, he left Maekawa to rejoin the University of Tokyo as a postgraduate student. He developed an interest in urban design, and referencing only the resources available in the university library, he embarked on a study of Greek and Roman marketplaces.[2] In 1942, Tange entered a competition for the design of the Greater East Asian Co-Prosperity Sphere Memorial Hall. He was awarded first prize for a design that would have been situated at the base of Mount Fuji; the hall he conceived was a fusion of Shinto shrine architecture and the plaza on Capitoline Hill in Rome. The design was not realised.[3]

In 1946, Tange became an assistant professor at the university and opened Tange Laboratory. In 1963, he was promoted to professor of the Department of Urban Engineering. His students included Sachio Otani, Kisho Kurokawa, Arata Isozaki, and Fumihiko Maki.[4]

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Art Nouveau (French pronunciation: [a ʁ nu'vo] , Anglicised to / ̍ ɑː r t  n u ː ̍ v o ʊ / ) is an international philosophy [1]  and style of art, architecture

and applied art—especially the decorative arts—that were most popular during 1890–1910.[2] The name "Art Nouveau" is French for "new art". It

is known also asModernisme in Catalonia (Spain), with its most notable contributions by the architect Antonio Gaudí. Known

as Jugendstil, pronounced [ ̍ ju ːɡ n ̩ tsti ː l ] in Germany, German for "youth style" or "the style of youth", named after the magazine Jugend, which

promoted it, as Modern (Модерн) in Russia, perhaps named after Parisian gallery "La Maison Moderne", as Secession in Austria-Hungary and

its successor states after the Viennese group of artists, and, in Italy, as Stile Liberty from the department store in London, Liberty & Co., which

popularised the style. A reaction to academic art of the 19th century, it was inspired by natural forms and structures, not only in flowers and

plants but also in curved lines. Architects tried to harmonize with the natural environment. It is also considered a philosophy of design of

furniture, which was designed according to the whole building and made part of ordinary life.[3]

The style was influenced strongly by Czech artist Alphonse Mucha, when Mucha produced a lithographed poster, which appeared on 1 January

1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou, featuring Sarah Bernhardt.[4] It popularised the new

artistic style and its creator to the citizens of Paris. Initially named Style Mucha, (Mucha Style), his style soon became known as Art Nouveau.[5]

Art Nouveau was most popular in Europe, but its influence was global. Hence, it is known in various guises with frequent localised tendencies.[6] In France,Hector Guimard's Paris metro entrances were of art nouveau style and Emile Gallé practised the style in Nancy. Victor Horta had a

decisive effect on architecture in Belgium.[7] Magazines like Jugend helped publicise the style in Germany, especially as a graphic artform, while

the Vienna Secessionistsinfluenced art and architecture throughout Austria-Hungary. Art Nouveau was also a style of distinct individuals such

as Gustav Klimt, Charles Rennie Mackintosh, Alphonse Mucha, René Lalique, Antoni Gaudí and Louis Comfort Tiffany, each of whom

interpreted it in their own manner.[8][9]

Although Art Nouveau was replaced by 20th-century modernist styles,[10] it is considered now as an important transition between

the historicism ofNeoclassicism and modernism.[9] Furthermore, Art Nouveau monuments are now recognised by UNESCO with their World

Heritage List as significant contributions to cultural heritage.[11] The historic center of Riga, Latvia, with "the finest collection of art nouveau

buildings in Europe", was included on the list during 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil

architecture",[12] and four Brussels town houses by Victor Horta were included during 2000 as "works of human creative genius" that are

"outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and

society".[13]

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Gismonda, 1894 by Alphonse Mucha, a leading artist of the Art Nouveau movement.

Naming the style

At its beginning, neither Art Nouveau nor Jugendstil was the common name of the style but was known as this in some locations, and the style had different names as it was

spread.[14] Those two names came from, respectively, Samuel Bing's gallery Maison de l'Art Nouveau in Paris and the magazine Jugend in Munich,[9] both of which promoted

and popularised the style.[14]

[edit]Bing's Maison de l'Art Nouveau

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An advertisement for the Art Nouveau gallery "La Maison Moderne" by Manuel Orazi.

Maison de l'Art Nouveau (House of New Art) was the name of the gallery initiated during 1895 by the German art dealer Samuel Bing in Paris that featured exclusively modern

art.[15][16] The fame of his gallery was increased at the 1900 Exposition Universelle, where he presented coordinated—- in design and color—- installations of modern furniture,

tapestries and objets d'art.[16] These decorative displays became so strongly associated with the style that the name of his gallery subsequently provided a commonly used

term for the entire style.[16]

[edit]Jugend and Jugendstil

Jugendstil sculpture, detail of facade inMetz, France.

Jugendstil typography, applied to a brewery sign

Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben (English: Youth: the illustrated weekly magazine of art and lifestyle of Munich) was a magazine initiated

during 1896 by Georg Hirth (Hirth remained editor until his death during 1916, and the magazine continued to be published until 1940). The magazine was instrumental in

promoting the style in Germany. As a result, its name was adopted as the most common German-language term for the style: Jugendstil ("young style"), although, during the

early 20th century, the word was applied to only two-dimensional examples of the graphic arts,[17] especially the forms of organic typography and graphic design found in and

influenced by German magazines like Jugend, Pan, andSimplicissimus. It is now applied to more general manifestations of Art Nouveau visual arts in Germany,

the Netherlands, the Baltic states, and Nordic countries.[9][18]

[edit]Other names

Paris Métro entrance in Chicago

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Other local names were associated with the characteristics of its forms, its practitioners and their works, and schools of thought or study where it was popular. Many of these

terms refer to the idea of "newness". Before the term "Art Nouveau" became common in France, le style moderne ("the modern style") was the more frequent designation.[14] Arte joven ("young art") in Spain, Modernisme in Catalonia, Arte nova in Portugal ("new art"), Arte nuova in Italy (also "new art"), and Nieuwe kunst ("new art") in

the Netherlands, модерн ("new", "contemporary") in Russia – all continue this theme.[9] Many names refer specifically to the organic forms that were popular with the Art

Nouveau artists: Stile Floreal ("floral style"), Lilienstil ("lily style"), Style Nouille ("noodle style"), Paling Stijl ("eel style"), and Wellenstil ("wave style").[14]

In other cases, important examples, well-known artists, and associated locations influenced the names. Hector Guimard's Paris Métro entrances, for example, provided the

term Style Métro, the popularity in Italy of Art Nouveau designs from London's Liberty & Co department store resulted in its being known as the Stile Liberty ("Liberty style"),

and, in the United States, it became known as the "Tiffany style" due to its association with Louis Comfort Tiffany.[9][14] In Austria, a localised form of Art Nouveau was practised

by artists of the Vienna Secession, and it is, therefore, known as theSezessionstil ("Secession style").[19] As a stand-alone term, however, "Secession"

(German: Sezession, Hungarian: szecesszió, Czech: secese) is used frequently to describe the general characteristics of Art Nouveau style outside Vienna, but mostly in

areas of Austria-Hungary at the beginning of the 20th century. In the United Kingdom, it is associated with the activities of Charles Rennie Mackintosh in Glasgow, and is often

known as the"Glasgow" style.

Art Nouveau tendencies were also used by local styles. In Denmark, for example, it was one aspect of Skønvirke ("aesthetic work"), which itself more closely relates to

the Arts and Crafts style.[20][21] Likewise, artists adopted many of the floral and organic motifs of Art Nouveau into the Młoda Polska("Young Poland") style in Poland.[22] Młoda

Polska, however, was also inclusive of other artistic styles and encompassed a style of art, literature, and lifestyle.[23]

[edit]Origins

The origins of Art Nouveau are found in the resistance of the artist William Morris to the cluttered compositions and the revival tendencies of the 19th century and his theories

that helped initiate the Arts and crafts movement.[24] However, Arthur Mackmurdo's book-cover for Wren's City Churches(1883), with its rhythmic floral patterns, is often

considered the first realisation of Art Nouveau.[24] About the same time, the flat perspective and strong colors of Japanese wood block prints, especially those of Katsushika

Hokusai, had a strong effect on the formulation of Art Nouveau.[25] The Japonismethat was popular in Europe during the 1880s and 1890s was particularly influential on many

artists with its organic forms and references to the natural world.[25] Besides being adopted by artists like Emile Gallé and James Abbott McNeill Whistler, Japanese-inspired

art and design was championed by the businessmen Siegfried Bing and Arthur Lasenby Liberty at their stores[26] in Paris and London, respectively.[25]

[edit]Character

The building on Pikk 18 in Tallinn,Estonia, by Jacques Rosenbaum, 1910

Although Art Nouveau acquired distinctly localised tendencies as its geographic spread increased, some general characteristics are indicative of the form. A description

published in Pan magazine of Hermann Obrist's wall hanging Cyclamen (1894) described it as "sudden violent curves generated by the crack of a whip", which became well

known during the early spread of Art Nouveau.[27] Subsequently, not only did the work itself become known better as The Whiplash but the term "whiplash" is frequently

applied to the characteristic curves employed by Art Nouveau artists.[27] Such decorative "whiplash" motifs, formed by dynamic, undulating, and flowing lines in a syncopated

rhythm, are found throughout the architecture, painting, sculpture, and other forms of Art Nouveau design.

[edit]Philosophy and geography

La tournée du Chat Noir avec Rodolphe Salis (1896) by Théophile Steinlen.

Art Nouveau is now considered a 'total' style, meaning that it includes a hierarchy of scales of design — architecture; interior design; decorative artsincluding jewellery,

furniture, textiles, household silver and other utensils and lighting; and the visual arts (see Hierarchy of genres.) According to the philosophy of the style, art should be a way

of life. For many Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, crockery, jewellery, cigarette cases, etc. Artists

desired to combine the fine arts and applied arts, even for utilitarian objects.[3]

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[edit]International expos

Part of the evolution of Art Nouveau was the Exposition Universelle of 1900 in Paris, which presented an overview of the 'modern style' in every medium. It achieved further

recognition at the Esposizione Internazionale d'Arte Decorativa Moderna of 1902 in Turin, Italy, where designers exhibited from almost every European country where Art

Nouveau was practiced.

[edit]France, Belgium and Switzerland

In Paris, the Maison de l'Art Nouveau, at the time managed by Siegfried Bing, showcased art nouveau objects. Artists such as Émile Gallé, Louis Majorelleand Victor

Prouvé in Nancy, France, initiated the École de Nancy, giving Art Nouveau a new influence. In Brussels, Belgium the style was developed with the help of the architects Victor

Horta [13]  and Henry Van de Velde.[28] Other Art Nouveau designers in Belgium, Switzerland, and France include Theophile Alexandre Steinlen, Hector Guimard, and Jules

Lavirotte.[3] The Czech artist Alphonse Mucha worked in Paris for a number of years.

[edit]Spain

The Casa Batlló, already built in 1877, was remodelled in the Barcelona manifestation of Art Nouveau, modernisme, by Antoni Gaudí and Josep Maria Jujolduring 1904–1906

In Spain, the style was based mainly in Barcelona and was an essential element of the Catalan Modernisme. Architect Antoni Gaudí, whose decorative architectural style is so

personal that he is sometimes considered as practising an artistic style different from Art Nouveau, nonetheless uses Art Nouveau's floral and organic forms.[29] His designs

from about 1903, the Casa Batlló (1904–1906) and Casa Milà (1906–1908), are most closely related to the stylistic elements of Art Nouveau.[30] However, famous structures

such as the Sagrada Familia characteristically contrast the modernising Art Nouveau tendencies with revivalist Neo-Gothic.[30] Besides the dominating presence of

Gaudí, Lluís Domènech i Montaner also used Art Nouveau in Barcelona in buildings such as the Casa Lleó Morera (1905).[30] Another major art nouveauist was Josep Maria

Jujol.

[edit]Germany

Music room of the Behrens house with Schiedmayer grand piano, 1901

German Art Nouveau is known commonly by its German name, Jugendstil. Drawing from traditional German printmaking, the style uses precise and hard edges, an element

that was rather different from the naturalistic style of the time. The style was used mainly in Hamburg. Jugendstil art includes a variety of different methods, applied by the

various individual artists. Methods range from classic to romantic. One feature of Jugendstil is the typography used, the letter and image combination of which is unmistakable.

The combination was used for covers of novels, advertisements, and exhibition posters. Designers often used unique display typefaces that worked harmoniously with the

image.

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Henry Van de Velde, who worked most of his career in Germany, was a Belgian theorist who influenced many others to continue this style of graphic art including Peter

Behrens, Hermann Obrist, and Richard Riemerschmid. August Endell, Henri Privat-Livemont is another notable Art Nouveau designer.[3]

Magazines were important for spreading the visual idiom of Jugendstil, especially the graphical qualities. Besides Jugend, other important magazines were the

satirical Simplicissimus and Pan.

[edit]Austria

The secession building in Vienna was built during 1897 by Joseph Maria Olbrich for exhibitions of the secession group.

A localised approach to Art Nouveau is represented by the artists of the Vienna Secession, a secession that was initiated on 3 April 1897 by Gustav Klimt,Koloman

Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, Otto Wagner, and others. They objected to the conservative orientation toward historicismexpressed by

the Vienna Künstlerhaus.

[edit]Malta

There are Art Nouveau buildings called the Balluta Buildings. They are apartment buildings on the eastern shore of Balluta Bay, on the northeast coast of Maltawithin the

district St. Julian's.

[edit]Britain

In the United Kingdom, Art Nouveau developed out of the Arts and Crafts Movement. The beginning of an Art Nouveau style can be recognized during the 1880s, in a few

progressive designs such as the architect-designer Arthur Mackmurdo's book cover design for his essay on the city churches of Sir Christopher Wren, published during 1883.

Some free-flowing wrought iron from the 1880s could also be adduced, or some flat floral textile designs, most of which owed some impetus to patterns of 19th century design.

The most important location in Britain eventually became Glasgow, with the creations of Charles Rennie Mackintosh and his colleagues.

Other notable British Art Nouveau designers include Walter Crane, Arthur Lasenby Liberty, Charles Ashbee, and Aubrey Beardsley.[3]

The Edward Everard building in Bristol, built during 1900–01 to house the printing works of Edward Everard, features an Art Nouveau façade. The figures depicted are

of Johannes Gutenberg and William Morris, both eminent in the field of printing. A winged figure symbolises the Spirit of Light, while a figure holding a lamp and mirror

symbolises light and truth.

[edit]Italy

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Casa Galleria-Vichi in Florence, designed by Giovanni Michelazzi, 1911

The Art Nouveau European Route[31] provides details of the heritage in Europe and worldwide of the Art Nouveau style featuring considerable information about Italy's Stile

Liberty. This represented the modern designs from the Liberty & Co store of London, indicating both Art Nouveau's commercial aspect and the 'imported' character that it

retained in some parts of Italy, though not in Palermo, isolated from developments in the north and evolving an independent character due largely to designers such as

architect Ernesto Basile and Vittorio Ducrot, who specialised as a cabinetmaker. According to the Art Nouveau European Route, Basile and Ducrot were responsible for the

idea of the complete work of art in Italy. Important Italian Liberty cities or sites are the spa centres of Salsomaggiore Terme, Emilia-Romagna, and San Pellegrino

Terme, Lombardy, as well as Cernobbio on Lake Como also in Lombardy. Some large cities have a considerable number of Liberty-style decorations and buildings,

especially Turin, Milan, Naples, Florence, Genoa, and large sections of the sea-side town of Viareggio, Tuscany. The Liberty Style was used by Italian designers and

architects in many overseas areas, especially in Argentina and Chile, such as at Valparaíso where architects Renato Schiavon and Arnaldo Barison, trained in Trieste, arrived

after the earthquake of 1906. Here they built outstanding structures such as the Palace Barburizza (1915), now the city's Museum of Fine Arts. Other important Italian art

nouveau designers were the Bugatti family (Carlo, Ettore, Jean and Rembrandt) best known for their cars built in France, and furniture and art constructed in their native

Milan. Carlo Bugatti, born February 1856 in Milan was himself the son of an architect and sculptor Giovanni Luigi Bugatti. Carlo received his training at the renowned Milanese

Academy of Brera, and later the Académie des Beaux-Arts in Paris. His work was wide-ranging including silverware, textiles, ceramics, and musical instruments, but he is best

remembered for his innovative furniture designs, shown first in the 1888 Milan Fine Arts Fair.

[edit]Hungary

Church of St. Elisabeth inBratislava, by Ödön Lechner.

In contrast to Historicism, Hungarian Art Nouveau is based on supposed national architectural characteristics.Ödön Lechner (1845–1914), the most important person of

Hungarian Art Nouveau, was inspired initially by Indianand Syrian architecture, and later by traditional Hungarian decorative designs. In this manner, he created an original

synthesis of architectural styles. Disusing the style of Lechner, yet being inspired by his method, the group of 'Young People' (Fiatalok), which included Károly Kós and Dezső

Zrumeczky, applied the characteristic structures and forms of traditional Hungarian architecture, especially the Transylvanian vernacular. Besides the two principal styles,

Hungarian architecture also displays local versions of trends originating from other European countries. The Vienna Secession, the German Jugendstil, Art Nouveau from

Belgium and France, and the influence of English and Finnish architecture are all represented in the buildings constructed at the beginning of the 20th century. Béla

Lajta initially adopted Lechner's style, subsequently adopting English and Finnish trends; after developing an interest in the Egyptian style, he finally developed a modern

architectural style. Aladár Árkaydid almost the same. István Medgyaszay developed his own style, which differed from Lechner's, using stylised traditional motifs to create

decorative designs in concrete. For applied arts, those mainly responsible for promoting the spread of Art Nouveau were the School and Museum of Applied Arts, which

opened during 1896. Former areas in the Hungarian Kingdom, Vojvodina (northern Serbia) and Transylvania have fine examples of Hungarian art Nouveau.

See Szabadka, Marosvásárhely etc.

[edit]Czech lands

Alphonse Mucha used the style in Prague and Moravia (part of the modern Czech Republic); his style of Art Nouveau became associated with the so-called Czech National

Revival. Fin de sièclesections of Prague reveal modest buildings encrusted with images of leaves and women that curve and swirl across the façades.[32] Examples of Art

Nouveau in the city, along with the exteriors of any number of private apartment and commercial buildings, are the Municipal House, the Hotel Paříž, Smíchov Market Hall,

Hotel Central, the windows in the St. Wenceslaus Chapel at St. Vitus Cathedral, the main railway station, the Grand Hotel and the Jubilee Synagogue. The Olšany

Cemetery and the New Jewish Cemetery are also important examples of Art Nouveau.[32] In Czech, Art Nouveau is known as secese, a name adopted from the Austrian term

"Secessionism".

[edit]Latvia

Art Nouveau architecture was popular in Riga, the capital of Latvia, during the late 19th century and the beginning of the 20th century – about 40% of the buildings from this

time were built in this style.[33] Several substyles formed during this period. Early elements of the new style were added to Eclectic architecture forming "Eclectic" Art Nouveau.

"Decorative" Art Nouveau refers to style using only decorative elements of the Art Nouveau; the first such building was built during 1899, however by 1906 decorative styles

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had become unfashionable.[34] Therefore the decorative style is not very widespread in Riga.[33] Most popular style in Riga is known as "Romantic" Art Nouveau. Simplistic and

modern in form, these buildings were decorated with elements from other historic styles and constitute about one-third of all buildings in central Riga. From 1905 to 1911,

Latvian National Romantism maximised. While being a substyle of Art Nouveau, it copied forms of traditional architecture and incorporated traditional decorative elements.[35] As Art Nouveau matured, emphasis on vertical lines became more popular, known as "Vertical" Art Nouveau, this style was most popular soon before World War I.[34] The

center of Riga is now designated as a UNESCO World Heritage site in part for its Art Nouveau architecture.[12]

Significant number of Art Nouveau structures is located also in other cities and towns of Latvia, including Liepāja (hundreds of buildings), Jūrmala (notable example – Dubulti

Lutheran Church, 1907), Daugavpils and others. The use of Art Nouveau outside urban centres has been rare, but there some exquisite examples such as Luznava manor

house (eastern Latvia).

Jugendstilsenteret inÅlesund, Norway

[edit]Norway

The foremost examples of Art Nouveau architecture (Jugendstil) in Norway are found in Ålesund, which was rebuilt after a major fire in 1904, while the style was particularly

relevant. A representative Ålesund jugend is the former Svaneapoteket (Swan Pharmacy). Today, the Jugendstilsenteret is located in this building. It should have been applied

in 1908. Apothecary Øwre was a member of the council and the presidency in Ålesund, and after that the pharmacy was adopted also mayor in the years 1909-1910. He

chose the architect Hagbarth Martin Schytte-Berg (1860-1944) to draw and construct the new pharmacy.[36] The architect was one of the leaders in the effort to restore

Ålesund after the fire. His other works include Skien Church (1887-1894) and Fagerborg Church in Kristiania (Oslo) (1900-1903).

[edit]Central and Eastern Europe

The interior of the Vitebsk Railway Station in St. Petersburg.

In Russia, the style was promoted by the art magazine Mir iskusstva ('World of Art'), which spawned the revolutionary Ballets Russes.

The Polish style was centred in Krakow and was part of the Mloda Polska style. Stanisław Wyspiańskiwas the main Art Nouveau artist in Poland; his paintings, theatrical

designs, stained glass, and building interiors are widely admired and celebrated in the National Museum in Kraków. Art Nouveau buildings survive in most Polish cities (Łódź,

Kraków), with the exception of Warsaw, where Communist authorities destroyed the few examples that survived the Nazi razing of the city on the grounds that the buildings

were decadent.

The Slovene Lands were another area influenced by Art Nouveau. At its beginning, Slovenian Art Nouveau was influenced strongly by the Viennese Secession, but it later

developed an individual style. Important architects of this style include Max Fabiani, Ciril Metod Koch,Jože Plečnik, Ivan Vurnik. The vast majority of the architecture is to be

found in Ljubljana.

Croatia was an area of secessionist architecture as well. Architects like Vjekoslav Bastl and Baranyai developed a mixture betweenmodernism and classical Art Nouveau[citation

needed]. The Croat architect Josip Vancaš worked mostly in Sarajevo, the capital of Bosnia and Hercegovina. His architecture was a mixture of earlier historicism and proper Art

Nouveau: some of his finest Art Nouveau buildings are located in Ljubljana, Slovenia.

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[edit]Other areas

Art Nouveau House in Aveiro, Portugal.

Loïe Fuller by François-Raoul Larche.

The spread of Art Nouveau (Arte nova) in Portugal, although delayed due to slowly developing industry, flourished in cities like Oporto and Aveiro, in which can be found

numerous buildings influenced by European models, in particular by French architecture.

Art Nouveau was also popular in the Nordic countries, where it became integrated with the National Romantic Style. Good examples are the neighbourhoods

of Katajanokka and Ullanlinna in Helsinki, Finland, as well as the Helsinki Central railway station, designed by the architect Eliel Saarinen. As in Germany, Jugendstil is the

prevailing term used for the style. The Norwegian coastal town of Ålesund burned during 1904, and was rebuilt in a uniform Jugendstil architecture, kept more or less intact to

the present.

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Although no significant artists in Australia are associated with Art Nouveau, many buildings in Australia were designed in the Art Nouveau style. In Melbourne, the Victorian

Arts Society, Milton House, Melbourne Sports Depot,Melbourne City Baths, Conservatorium of Music and Melba Hall, Paston Building, and Empire Works Building all

represent the Art Nouveau style.

Montevideo, in South America's Rio de la Plata, offers a good example of the influence of the Art Nouveau style across the Atlantic. The style is very apparent in the

architecture both of downtown and of the periphery of the city. Montevideo maintained intense communication with Paris, London, and Barcelona during Art Nouveau's

heyday, when the city was also receiving massive immigration, especially from Italy and Spain. Those were also the years Montevideo developed the structure of its urban

spaces, all of which factors help explain the widespread presence of Art Nouveau there.[citation needed]

In the other side of the Rio de la Plata, Buenos Aires still conserves some of its Art Nouveau architecture, also brought by Italian and Spanish immigrants, which developed

the jugendstil (Edificio Otto Wulff, by Morten Ronnow, Danish), liberty (Casa de los Pavos Reales, by Virginio Colombo, Italian), modernisme (various buildings by Julián

García Núñez, Spanish-Argentine) and Art Nouveau (Chile Hotel by Louis Dubois, French) varieties. Another Argentinean city where this architecture has been

recently[when?] protected is Rosario, an important port on the Paraná River.

[edit]Architecture

Art Nouveau is rarely so fully in control of architecture: doorway at place Etienne Pernet, 24 (Paris 15e), 1905 Alfred Wagon, architect.

In architecture, hyperbolas and parabolas in windows, arches, and doors are common, and decorative mouldings 'grow' into plant-derived forms. Like most design styles, Art

Nouveau sought to harmonise its forms. The text above the Paris Metro entrance uses the qualities of the rest of the iron work in the structure.[37]

Art Nouveau in architecture and interior design eschewed the eclectic revival styles of the 19th century. Though Art Nouveau designers selected and 'modernised' some of the

more abstract elements of Rococo style, such as flame and shell textures, they also advocated the use of very stylised organic forms as a source of inspiration, expanding the

'natural' repertoire to use seaweed, grasses, and insects.

[edit]Painting and graphic arts

Two-dimensional Art Nouveau pieces were painted, drawn, and printed in popular forms such as advertisements, posters, labels, magazines, and the like.Japanese wood-

block prints, with their curved lines, patterned surfaces, contrasting voids, and flatness of visual plane, also inspired Art Nouveau. Some line and curve patterns became

graphic clichés that were later found in works of artists from many parts of the world.

[edit]Sculpture

Sculptors included Ladislav Šaloun, François-Raoul Larche and Charles van der Stappen.

[edit]Glass

Glass art was a medium in which the style found tremendous expression—for example, the works of Louis Comfort Tiffany in New York, Charles Rennie

Mackintosh in Glasgow, and Émile Gallé and the Daum brothers in Nancy, France and baiser.

[edit]Ceramics

Art Nouveau ceramics were influenced by the work of Japan. The development of high temperature (grand feu) porcelain with crystallised and matte glazes, with or without

other decoration, is typical of these works. It was a period where lost techniques were rediscovered, such as the oxblood glaze, and entirely new methods were developed.

Major French potters include: Ernest Chaplet, Taxile Doat, Alexandre Bigot, Adrien-Pierre Dalpayrat, Edmond Lachenal and Albert Dammouse.[38]

[edit]Objets d'art and other examples

Jewellery of the Art Nouveau period revitalised the jeweller's art, with nature as the principal source of inspiration, complemented by new levels of virtuosity in enamelling and

the introduction of new materials, such as opals and semi-precious stones. The widespread interest in Japanese art and the more specialised enthusiasm for Japanese

metalworking skills fostered new themes and approaches to ornament.

For the previous two centuries, the emphasis in fine jewellery had been on gemstones, in particular on the diamond, and the jeweller or goldsmith had been concerned

principally with providing settings for their advantage. With Art Nouveau, a different type of jewellery emerged, motivated by the artist-designer rather than the jeweller as

setter of precious stones.

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The jewellers of Paris and Brussels defined Art Nouveau in jewellery, and in these cities it achieved the most renown. Contemporary French critics were united in

acknowledging that jewellery was undergoing a radical transformation, and that the French designer-jeweller-glassmaker René Lalique was popularising the changes. Lalique

glorified nature in jewellery, extending the repertoire to include new aspects of nature—such as dragonflies or grasses—inspired by his encounter with Japanese art.

The jewellers were keen to establish the new style in a noble tradition, and for this they used the Renaissance, with its works of sculpted and enamelled gold, and its

acceptance of jewellers as artists rather than craftsmen. In most of the enamelled work of the period, precious stones receded. Diamonds were usually subsidiary, used

alongside less familiar materials such as moulded glass, horn and ivory.

The Peacock Skirt, byAubrey Beardsley, (1892).

 

Aperitif Mugnier, Jules Cheret 1894 poster for the French aperitif

 

Ivan Bilibin's illustration toThe Tale of the Golden Cockerel.

 

Poster of Maude Adamsas Joan of Arc, byAlphonse Mucha, 1909

 

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The book-cover by Arthur Mackmurdo for Wren's City Churches (1883)

 

Louis Comfort Tiffany's 1890 window Education.

[edit]Relationship with contemporary styles and movements

As an art style, Art Nouveau has affinities with the Pre-Raphaelites and the Symbolist styles, and artists like Aubrey Beardsley, Alphonse Mucha, Edward Burne-

Jones, Gustav Klimt and Jan Toorop could be classed in more than one of these styles. Unlike Symbolist painting, however, Art Nouveau has a distinctive appearance; and,

unlike the artisan-oriented Arts and Crafts Movement, Art Nouveau artists readily used new materials, machined surfaces, and abstraction in the service of pure design.

Art Nouveau did not negate machines, as the Arts and Crafts Movement did. For sculpture, the principal materials employed were glass and wrought iron, resulting in

sculptural qualities even in architecture. Ceramics were also employed in creating editions of sculptures by artists such as Auguste Rodin.[39]

Art Nouveau architecture made use of many technological innovations of the late 19th century, especially the use of exposed iron and large, irregularly shaped pieces of glass

for architecture. By the start of World War I, however, the stylised nature of Art Nouveau design—which was expensive to produce—began to be disused in favour of more

streamlined, rectilinear modernism, which was cheaper and thought to be more faithful to the plainer industrial aesthetic that became Art Deco.

Vase by Daum (c. 1900).

 

Chair designed by Henry Van de Velde for his house "Bloemenwerf" inBrussels.

 

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1905-1930: Arts and Crafts (Craftsman)A British Movement Brings New Ideas to American Homes

From cozy bungalows to sprawling Prairie houses, many American homes were shaped by Craftsman ideas. Find facts below. Want more? See:Craftsman Photo

Gallery.

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Ayala Land Homes www.atAyala.com Find A Perfect Home With Ayala Land View Our Latest Listings Today!Some Craftsman houses have cobblestone foundations, porch posts, and chimneys.

Photo © Jackie Craven

Arts and Crafts, or Craftsman, houses have many of these features:

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

Arts and Crafts History:

During the 1880s, John Ruskin, William Morris, Philip Webb, and other English designers and thinkers launched the Arts and Crafts Movement, which celebrated

handicrafts and encouraged the use of simple forms and natural materials. In the United States, two California brothers, Charles Sumner Greene and Henry Mather

Green, began to design houses that combined Arts and Crafts ideas with a fascination for the simple wooden architecture of China and Japan.

Page 30: Famous Arch

The name "Craftsman" comes from the title of a popular magazine published by the famous furniture designer, Gustav Stickley, between 1901 and 1916. A true

Craftsman house is one that is built according to plans published in Stickley's magazine. But other magazines, pattern books, and mail order house catalogs began

to publish plans for houses with Craftsman-like details. Soon the word "Craftsman" came to mean any house that expressed Arts and Crafts ideals, most especially

the simple, economical, and extremely popular Bungalow.

Craftsman Styles

A Craftsman house is often a Bungalow, but many other styles can have Arts and Crafts, or Craftsman, features.

Bungalow

Prairie

Mission

Foursquare

Western Stick

Pueblo

See more photos of Craftsman houses >>

Learn More About Craftsman Houses:

The Gamble House  

Charles Sumner Greene and Henry Mather Green built this sprawling Craftsman home in 1909. Located in Pasadena, California, the house has wide terraces,

open sleeping porches, and custom-designed wooden cabinetry and furniture.

Craftsman Perspective

Find detailed commentary on Arts and Crafts styling and photos of Craftsman house interiors.