reaction to industrial revolution

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Topic 5

Reaction to

Industrial Revolution

Architectural History 2 Group Presentation

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

CHUNG WEN HARN 0703P61796

JESSELYN LIM 0701P59791

WONG WAN JIUAN 0701P59759

CHIEW KIET YANG 0701P60099


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Industrial Revolution

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


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In this new system of force the mastery of the machine is not in the

hands of mankind. It is in the control of infinitely small groups of

individuals who rule without a single one of the democratic sanctions that

we have known.

President Roosevelt

Nothing is now done by hand; all is by rule and calculatedcontrivancethe living artisan is driven from his workshop.

Thomas Carlyle


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Frank Lloyd Wright

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

Marshall Field, A good

copy is the best we can

do.

he machine is here to stay


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The Unity of

Design and Machine


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Key facts

Rejected historicism.

Described as the first truly modern, international style.

The introduction of new forms, the embracement of mass-production, and the

focus on the natural as a source of inspiration.

Two types - Curvilinear whiplash (Spain, France, England, Vienna and USA)

and Rectilinear (Scotland and Germany)

Art Nouveau 1880 1910Origin: Europe

New Art

New Art

New Art

New ArtNew

Art


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Key characteristics

Curvilinear: organic foliate forms, sinuous

lines, non-geometric whiplash curves

Rectilinear: geometric forms, severe

silhouettes

Picture Sources: http://en.wikipedia.org/wiki/art_nouveau

Staircase of the Maison and Atelier of Victor

Horta

The Room de Luxe at The Willow Tearooms, Glasgow., Charles

Rennie Mackintosh in collaboration with Margaret MacDonald forCatherine Cranston.
http://upload.wikimedia.org/wikipedia/commons/6/61/Room_de_Luxe.jpghttp://upload.wikimedia.org/wikipedia/commons/4/4d/HortaELWI.jpg


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House for an Art Lover - Charles Rennie Mackintosh

The Music Room

The Oval Room

- A house designed and built for an art lover.

- Decorations were based on a central theme.

- Dining room and music room was designed based on the theme

roses.

- The oval room was designed as a space especially for women and

was decorated in a symbolic manner.
http://upload.wikimedia.org/wikipedia/commons/8/84/HouseForAnArtLoverPiano.jpghttp://upload.wikimedia.org/wikipedia/commons/2/2b/HouseForAnArtLover.jpg


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Metro entrance of the Porte Dauphine Station

Hector Guimard

Constructed out of interchangeable,

prefabricated cast iron and glass parts.

Sinuous green cast-iron tentacles appears assurrealistic dragonfly wings.


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Castel Beranger Commentary (1890) Hector Guimard

Demonstrates the synthetic subtleties of his style, in which urban and rustic references

could be judiciously mixed together


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Maison de Peuple (1895) Victor Horta

The buildings glass curtain wallsand railing united aesthetically with

the interior, where the entire

infrastructure of supports, girders and

stone imposts are revealed.

This building clearly displayedHortas highly distinctive modernist

style.

p.37, Duncan (1994)


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Key facts

Jugendstil - youth style, took its name from the decorative arts journal Jugend

German and Scandinavian interpretation of Art Nouveau was inspired by the vernacular and had

a simplicity of form and a startling modernity.

Advocated the use of natural forms as a means of reforming design, and in turn society.aim of producing a naturalistic forms of Jugendstil with more formal function and practicallanguage of design due to the effect of industrial revolution.

Jugendstil (1890-1910)

Origin: Germany

Key characteristics

floral and other plant-inspired motifs

Plain, undecorated wall surfaces

Geometric n naturalistic forms

Energetic, organic designs inspired by advances in science

and technology

Key figure

Peter Behrens

Henri can de Velde


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Behrens House

- Peter Behrens

the high-pitched roofdrawn from the

German vernacular

Undecorated wall faade withcurvilinear

forms arch ornament

Gate with organic shaped ornamentation


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Key facts

The Vienna secession refused to accept the conservative standards of

the official arts academy, opting instead to pursue their own creative

vision as an independent association.

Aimed to bring architecture and the decorative arts closer together.

Early work was created within the art nouveau style, latterly, the

groupsdesigners opted for an increasingly rectilinear esthetic.

Advances in science and technology provided a new, deeper

understanding of nature

Secession 1897-1920

Origin: Vienna, Austria

Key characteristics

Geometric abstraction

Rectilinear forms

Decorated surfaces

Key Architect

-Otto Wagner

- Josef Maria Olbrich


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Majolica Haus - Otto Wagner

-named after the weather-proof, painted ceramic floral designs on its faade flat,

rectilinear shape of the building

-used new modern materials and rich color, yet retained the traditional use of

ornamentation.-decorative iron balconies, colored ceramic floral designs, and flexible S-shaped linear

ornamentation


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Sezession House Josef Maria Olbrich

-Art Nouveau pavilion with gold leaf sphere floating over a cream colored block

-The "golden cabbage" is composed from 3000 gilt-iron "leaves" to form an airy look

- The exterior has clever details of owls, salamanders and turtles


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Definition of Modernism

Applies to those forward-looking architects, designersand artisans who, from 1880s on, forged a new anddiverse vocabulary principally to escape Historicism, thetyranny of previous historical styles.

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

Modeqnium


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Have nothing in your house that you do not

know to be useful, or believe to be beautiful.

- William Morris

William Morris (1834-1896)

- An English artist

- Formed the basis for the Arts and Craf ts

Movement

- Belief that utility was as important as beauty

deology of Modeqnium


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Louis Sullivan (1856-1924)

- First truly modern architect

- Believed that exterior of an building should

reflect its interior structure and function

- Works always related to Art Nouveau- Came out with the concept of Form Fol lows

Funct ion

"It is the pervading law of all things organic, and

inorganic, of all things physical and metaphysical, ofall things human and all things super-human, of all

true manifestations of the head, of the heart, of the

soul, that the life is recognizable in its expression,

that form ever follows function. This is the law.

- Louis Sullivan

Ideology of Modernism


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- Svaqved dtqing lave 19vhcenvtqy (1880-1940)- A moemenv shich sanvu vo

bqeak asay fqom vhe old uvyleu- Au a leading deuign foq 20vhcenvtqy deuign moemenv- Machineqy and aqv aqe beingmeqged vogevheq vo cqeave nes

moemenv- Choiceu of maveqialu vo ptv invhe qertiqemenv- Simple foqm, umoovh finiuheu,minimal utqface modeling,

oqnamenv au a paqv ofuvqtcvtqe, and vhe tue of shive

Modeqnium


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Louis Sullivan

What is the chief characteristic of the tall office building? And at once we answer, it is lofty The force and power of

altitude must be in it It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to

top it is a unit without a single dissenting line.

(Louis Sullivan, The Tall Office Building

Artistically Considered,1896)

Modernism Architecture

Wainwright Building, Saint

Louis (1890-1891)

Carson Pirie, Scott & Co.

Department Store, Chicago

(1899-1901)

Guaranty Building, Buffalo

(1894-1895)


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Modernism Architecture

Eiffel Tower (1887-1889) by

Alexandre Gustave Eiffel

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

Falling Water (1935-1939) by

Frank Lloyd Wright

Unite d'habitation (1945-1952) by Le

Cobusier


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Influences

- Followed the idea of Sullivan, Viennese architect Adolf Loos wrote a

manifesto namedOrnament

andCrime,

to show the avoidance ofornament was asign of spiritual strength.

- Frank Lloyd Wright accepted Morrisdesign philosophy for producing

high quality craftsmanship. But what he thought machinery could

actually improve natural materials to expose the beauty of the

product, which was TheArt and Craft of the Machine.

- During 1920s, the aesthetic of the machine became a central theme

in modernism. Walter Gropius and Le Corbusier were the main roles.

- Modernism which merged the architecture and industrial design

reflects the changes in technology and society. This movementresulted designers to think about anew to their environment.

- This movement also resulted architect to have engineer as a partner

who makes sure architectsplan were workable.


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One might define the culture of authenticity in the early twentieth

century as one that would restore, through the work of art, a lost sense

of "the real thing." In more specific terms, it sought to reconnect the

worker and the thing made, and yet celebrate the positive virtues of

the machine; it would be based on a functional articulation of

parts to whole and simplicity of design, yet it would be complex and

subtle; it would eschew unnecessary ornamentation, yet it would

value the work of the hand; it was progressive in its orientation to thefuture, yet founded on a past that was defined in "American" terms. In

short, it was a kind of balancing act, an effort at cultural synthesis,

and fraught accordingly with certain irreconcilable tensions.

Miles Orvell

Conclusion

-Source http://www.wikipedia.com


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THANK YOU


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Jackie C. (n. d.). About.com: Louis Sullivan, America's First Modern Architect. Retrieved March 09,2009 from http://architecture.about.com/od/greatarchitects/p/sullivan.htm

Joseph, P., World Architecture, Jugendstil. Retrieved on 5thMarch from:http://www.essential-architecture.com/STYLE/STY-Jugendstil.htm

Lisle, B. (n.d.).Assimilating the Machine. Retrieved 10 March 09, from American Studies at UVA,Website: http://xroads.virginia.edu/~MA01/Lisle/30home/assimilate/assimilate.html

Pevsner N. (1936). Pioneers of Modern Design (4thEdition). United Kingdom

Postiglione, G, Gossel, P. (2004) 100 Houses: If These Walls Could Speak. Taschen.

Thuillier J. (2002). History of Art:A Time of Contradictions, (pg. 506-517). Spain: JCG

Roth, Leland M. (2007). Understanding Architecture, Second Edition.Westview Press.

Sommer, R. L. (Eds.). (2003). The Arts and Crafts Movement. Kent: Orange Books.

The Field of Sociology. (2008). Retrieved 10 March 09 fromhttp://www.nyu.edu/classes/persell/aIntroNSF/Documents/Field%20of%20sociology033108.htm

Wikipedia. Retrieved from March 10, 2009 from www.wikipedia.com

References