Unit 2

Unit 2
Reactions to
Industrialization
1
SYLLABUS
• UNIT II REACTIONS TO INDUSTRIALISATION
• Reactions to industrialisation in design. Arts and
Crafts in Europe and America.
• Works of Morris and Webb.
• Art Nouveau.
• Works of Horta, Van De Velde, Gaudi, Guimard
and Mackintosh.
• Vienna Secession
2
INTRODUCTION OF ARTS AND CRAFT MOVEMENT
• Arts and Crafts movement that flourished between 1860 and
1910, especially in the second half of that period, it continued
its influence until the 1930s.
• It was led by the artist and writer William Morris (1834–
1896) and the architect Charles Voysey (1857–1941)
during the 1860s, and was inspired by the writings of John
Ruskin (1819–1900) and Augustus Pugin(1812–1852). It
developed first and fully in the Britain, but also spread to
Europe and North America.
• It was largely a reaction against the impoverished state of the
decorative arts at the time and the conditions in which they
were produced.
• It stood for traditional craftsmanship using simple forms and
often applied medieval, romantic or folk styles of
decoration. It advocated economic and social reform and has
been said to be essentially anti-industrial.
• The Arts and Crafts movement initially developed in England
during the latter half of the 19th century. Subsequently this
style was taken up by American designers, with somewhat
different results. In the United States, the Arts and Crafts style
was also known as Mission style. 3
• PRINCIPLES
• The Arts and Crafts style started as a search for aesthetic
design and decoration and a reaction against the styles
that were developed by machine-production.
• Arts and Crafts objects were simple in form, without
superfluous decoration, and how they were constructed was
often still visible. They tended to emphasize the qualities of
the materials used. They often had patterns inspired by
British flora and fauna and used the vernacular, or
domestic, traditions of the countryside.
• Several designer-makers established workshops in rural
areas and revived old techniques. They were influenced by
the Gothic Revival (1830–1880) and were interested in
medieval styles, using bold forms and strong colours
based on medieval designs.
• They claimed to believe in the moral purpose of art. Truth to
material, structure and function had also been advocated by
A.W.N. Pugin (1812–1852), an exponent of the Gothic
Revival. The Arts and Crafts style was partly a reaction
against the style of many of the items shown in the
Great Exhibition of 1851, which were ornate, artificial 4
and ignored the qualities of the materials used.
• PRINCIPLES
• "Ornament, must be secondary to the thing
decorated", that there must be "fitness in the
ornament to the thing ornamented", and that
wallpapers and carpets must not have any patterns
"suggestive of anything but a level or plain". These
ideas were adopted by William Morris. Where a fabric
or wallpaper in the Great Exhibition might be decorated
with a natural motif made to look as real as possible,
would use a flat and simplified natural motif. In order to
express the beauty of craft, some products were
deliberately left slightly unfinished, resulting in a
certain rustic and robust effect.
• By the end of the nineteenth century, Arts and Crafts
ideals had influenced architecture, painting,
sculpture, graphics, illustration, book making and
photography, domestic design and the decorative
arts, including furniture and woodwork, stained
glass, leatherwork, lace making, embroidery, rug
making and weaving, jewellery and metalwork,
enamelling and ceramics.
5
ARTS AND CRAFT
MOVEMENT HOUSES
FEATURES
1. Wood, stone, or stucco siding
2. Low-pitched roof
3. Wide eaves with triangular
brackets
4. Exposed roof rafters
5. Porch with thick square or round
columns
6. Stone porch supports
7. Exterior chimney made with stone
8. Open floor plans; few hallways,
Numerous windows
9. Some windows with stained or leaded
glass
10. Beamed ceilings
11. Dark wood wainscoting and mouldings 6
12. Built-in cabinets, shelves, and seating
ARTS AND CRAFT MOVEMENT OR CRAFTSMAN HOUSES
FEATURES
7
ARTS AND CRAFT MOVEMENT IN EUROPE
• Arts and Crafts movement emerged during
the late Victorian period in England, the
most industrialized country in the world at
that time. Anxieties about industrial life
fuelled a positive revaluation of
handcraftsmanship and pre capitalist
forms of culture and society.
• Arts and Crafts designers sought to
improve standards of decorative design,
believed to have been debased by
mechanization, and to create environments
in which beautiful and fine workmanship
governed.
• The Arts and Crafts movement did not
promote a particular style, but it did
advocate reform as part of its philosophy
and instigated a critique of industrial labour;
as modern machines replaced workers, Arts
and Crafts proponents called for an end to
the division of labour and advanced the
designer as craftsman.
8
ARTS AND CRAFT MOVEMENT IN AMERICA
• The American Arts and Crafts movement was inextricably linked to the British movement and closely
aligned with the work of William Morris and the second generation of architect-designers, including
Charles Robert Ashbee (1863–1942), who toured the United States, and Charles Francis
Annesley Voysey (1857–1941), whose work was known through important publications such as The
Studio.
• British ideals were disseminated in America through journal and newspaper writing, as well as
through societies that sponsored lectures and programs.
• The U.S. movement was multi centered, with societies forming nationwide.
• Boston, historically linked to English culture, was the first city to feature a Society of Arts and Crafts.
Chicago's Arts and Crafts Society began at Hull House, one of the first American settlement houses for
social reform. Numerous societies followed in cities such as Minneapolis and New York, as well as
rural towns, including Deerfield, Massachusetts.
• Unlike in England, the undercurrent of socialism of the Arts and Crafts movement in the United States
did not spread much beyond the formation of a few Utopian communities.
• Rose Valley was one of these artistic and social experiments. William Lightfoot Price, a Philadelphia
architect, founded Rose Valley in 1901 near Moylan, Pennsylvania. The Rose Valley shops, like other
Arts and Crafts communities, were committed to producing artistic handicraft, which included
furnishings, pottery, metalwork, and bookbinding.
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ARTS AND CRAFT MOVEMENT IN AMERICA
• The Arts and Crafts Colony was another Utopian Arts and Crafts
community. There craftspeople worked in various media, including wood
work, pottery, textiles, and metalwork. In harmony with the principles of
the Arts and Crafts movement, Byrdcliffe furniture is a study in
rectilinearity, simply treated materials, and minimal decoration. In
addition to pottery, women fashioned jewellery in the Arts and Crafts
mode. Stones were chosen for their inherent artistic qualities, resulting
in jewellery that promoted truth to materials.
• Gustav Stickley (1858–1942), founder of The United Crafts (later
known as the Craftsman Workshops), was a preacher of the craftsman
ideal. Emulating William Morris's production through guild manufacture
of his furniture, Stickley believed that mass-produced furniture was
poorly constructed and overly complicated in design.
• Stickley set out to improve American taste through "craftsman" or
"mission" furniture with designs governed by, simple lines, and
quality material. The rise of urban centers and the inevitability of
technology presaged the end of the Arts and Crafts movement. The
search for nature and an idealist medieval era was no longer a valid
approach to living.
• By the1920s, machine-age modernity and the pursuit of a national
identity had captured the attention of designers and consumers,
bringing an end to the handcrafted nature of the Arts and Crafts 10
movement in America.
WILLIAM MORRIS- (1834-1896) LONDON, ENGLAND
• Morris was the central figure in the Art and Crafts
Movement and one of the most important and influential
designers in British history.
• Morris was an artist designer, printer, typographer,
craftsman, poet, writer and champion of socialist
ideals.
• He was a brilliant two dimensional pattern designer.
• In 1861 he founded his company- Morris and Co, which
produced a wide range of decorative objects for the
home including furniture, fabrics, wallpaper and stained
glass.
• Morris desired a new home for himself and his daughters
resulting in the construction of the Red House in the
Kentish hamlet of Upton near Bexleyheath, ten miles
from central London.
• The building's design was a co-operative effort, with
Morris focusing on the interiors and the exterior
being designed by Webb, for whom the House
represented his first commission as an independent
architect.
11
Works
• Literature
• William Morris was a prolific writer of poetry, fiction, essays, and
translations of ancient and medieval texts. His first poems were
published when he was 24 years old, and he was polishing his
final novel, The Sundering Flood, at the time of his death. His
daughter May's edition of Morris's Collected Works (1910–1915)
runs to 24 volumes, and two more were published in 1936.
• News from Nowhere (1890) is a classic work
combining utopian socialism and soft science fiction written
by the artist, designer and socialist pioneer William Morris. It was
first published in serial form in the Commonweal journal
beginning on 11 January 1890.
• In the novel, the narrator, William Guest, falls asleep after
returning from a meeting of the Socialist League and awakes to
find himself in a future society based on common ownership and
democratic control of the means of production. In this society
there is no private property, no big cities, no authority, no
monetary system, no divorce, no courts, no prisons, and no class
systems. This agrarian society functions simply because the
people find pleasure in nature, and therefore they find pleasure in 12
their work
Works
• Textile Design
• During his lifetime, Morris produced items in a range of
crafts, mainly those to do with furnishing, including
over 600 designs for wall-paper, textiles, and
embroideries, over 150 for stained glass windows,
three typefaces, and around 650 borders and
ornamentations for the Kelmscott Press.
Left: Cabbage and vine tapestry, 1879. Right: Design for "Tulip and
• He emphasised the idea that the design and Willow" indigo-discharge wood-block printed fabric, 1873
production of an item should not be divorced from
one another, and that, wherever possible those
creating items should be designer-craftsmen, thereby
both designing and manufacturing their goods.
• In the field of textile design, Morris revived a number
of dead techniques, and insisted on the use of good
quality raw materials, almost all natural dyes, and
hand processing. He also observed the natural world
first hand to gain a basis for his designs, and insisted
on learning the techniques of production prior to
producing a design.
13
Works
• Book illustration and design
• Nineteenth and twentieth century avant-garde
artistic movements took an interest in the
typographical arts, greatly enriching book
design and illustration.
• In the late nineteenth century, William Morris
founded the Arts and Crafts movement, which
emphasized the value of traditional craft skills that
seemed to be disappearing in the mass industrial
age.
• His designs, referred frequently to medieval
motifs.
• In 1891 he founded the Kelmscott Press, which
by the time it closed in 1898 had produced over The wood beyond the world, designed by
fifty works using traditional printing methods, William Morris, published by Kelmscott Press,
a hand-driven press and hand-made paper. 1894, England
14
Works
• Book illustration and design
• They included his masterpiece, an edition of
the Works of Geoffrey Chaucer with illustrations
by Edward Burne-Jones. Morris also invented
three distinctive typefaces – Golden, Troy, and
Chaucer, with the text being framed with
intricate floral borders similar to illuminated
medieval manuscripts.
• His work inspired many small private presses in
the following century.
• Morris’s aesthetic and social values became a
leading force in the Arts and Crafts Movement.
• The Kelmscott Press influenced much of the
fine press movement in England and the United
States during the late nineteenth and early
twentieth centuries.
William Morris design for book by clive Wilmer
• It brought the need for books that were
aesthetic objects as well as words to the
attention of the reading and publishing worlds. 15
WILLIAM MORRIS- (1834-1896)
LONDON, ENGLAND
Works
• Interior design
• Morris and Jane moved into Red
House in 1860 and, spent the next two
years furnishing and decorating the
interior with help from members of
their artistic circle.
• Morris Room
• Huge murals and hand-embroidered
fabrics decorated the walls, creating
the feel of a historical manor house.
Prompted by the success of their
efforts (and the experience of 'joy in
collective labour'), Morris and his
friends decided in 1861 to set up their
own interiors company: Morris,
Marshall, Faulkner & Co.
• Everything was to be created by hand,
a principle that set the company firmly
against the mainstream focus on
16
industrialised 'progress‘.
PHILIP WEBB – (1831-1915) ENGLAND
• Philip Speakman Webb was an
English architect and designer especially known
for his unconventional country
houses, sometimes called the Father of Arts
and Crafts Architecture.
• His use of vernacular architecture demonstrated
his commitment to "the art of common building
• Webb also designed household furnishings and
decorative accessories in metal, glass, wood,
and embroidery for Morris’ firm. He is
particularly famous for his table
glassware, stained glass, jewellery, and his
rustic adaptations of Stuart period furniture.
17
Works
• THE RED HOUSE –
• The Red House, in Bexleyheath, London, was designed in
1858-1860 by Philip Webb for his friend William Morris.
• Webb rejected the grand classical style and instead found
inspiration in British vernacular architecture.
• With its well-proportioned solid forms, deep porches, steep
roof, pointed window arches, brick fireplaces and wooden
fittings the Red House characterized the early Arts and
Crafts style.
• In building the house, every brick and tile was carefully
selected and placed to give variation of colour and to avoid
the impression of any mechanical uniformity.
• The Red House perhaps the best known building associated
with the Arts and Crafts movement and appears in virtually
every book relating to Arts and Crafts.
• The interior design includes murals and massive furniture
designed by Webb and Morris.
18
Works
• The house is L-shaped, with the rooms
laid out for maximum efficiency and
clarity. The L-shaped plan also allows
the house to embrace the garden as a
part of the domestic sphere, as well as
creates an asymmetry that is typical to
traditional Gothic Structure.
• The roof was steep with tall chimney
stacks.
• The use of exposed red brick for the
exterior both gave the house its name
and reveals the innate beauty of the
construction materials.
• Morris and Webb valued the specific
beauty of natural materials, which they
saw as far superior to and healthier
than industrially produced materials.
19
Works
20
Works
• The concept of an integral whole extended to the
interior design as well. Webb, Morris, his wife
and the painter all worked together to design
everything in the home, from the wallpaper to the
stained-glass windows to the built-in cabinets
and furniture.
• The house was to represent a protest against
industrialism through its:
1. Informality
2. Absence of decoration
3. Simple vernacular
• Stained glass decorated by them is found
throughout the house.
• The house is entered through a large wooden
door that leads to a rectangular hallway. The
hallway is filled with light from the stained-glass
windows. 21
• Works
• Standen House
• Standen House near East Grinstead
was the home of a successful
Birmingham solicitor and his family. It
was their country retreat from the end
of the 19th century after they had
moved to the hustle and bustle of
London.
• Standen is a fine example of an Arts
and Crafts movement house. Its
architect was Philip Webb and its
interiors were created by Morris & Co,
the company that William
Morris started with Webb (and others).
The house remained the home of the
Beale family and their descendants
until 1972 when the National Trust took
it under their wing.
22
• Works
• Standen House
• Philip Webb’s last major project
• Externally, one first notices the variety of
materials that Webb made use of: locally-
made brick in multiple shades of red,
ochreous pebble-dash, Sussex-style tile-
hung shingles, weatherboarding, Portland
stone and local sandstone.
• The south façade is endlessly interesting
with its varied roofscape: the strong
verticals of its chimneys, the row of five
shade-giving, sharp, triangular gables, the
solid belvedere tower on the east end
balanced by the long conservatory with its
four deeply-set arched windows.
• Five gables balanced by four arches. It Standen House, south façade
has undoubted solidity but without
symmetrical pretention.
23
• Works
• Standen House
• On the northern side of the house, the
wide, open farmyard gives access to an
arched gatehouse under which one
passes to reach the front door through a
deep porch. Here the design is less
elaborate, unfussy and thoroughly
unpretentious. The feel is intensely
welcoming, of a house comfortably settled
into its environment.
• Webb’s contribution was more than that of
an architect. He proposed planting
schemes for the garden. He designed
lights, finger plates and coat hooks. He
advocated the display of blue and white
china on the dining room’s green shelves.
24
Standen House, courtyard
• Works
• Standen House
• Morris & Co, Webb’s collaborators
• Webb was a co-founder of William Morris’ Morris &
Co, the seminal design partnership that drove the Arts
and Crafts movement. Much of their influence finds full
fruition at Standen where wallpapers, fabrics and
carpets complement Webb’s architecture. Margaret Standen House, drawing room
Beale was an expert needlewoman and with her three
daughters they worked on many of the embroidery
designs that Morris & Co provided for the house.
• “Have nothing in your house that you do not know to
be useful, or believe to be beautiful”, is William Morris’
most famous and inspirational quote. Standen House
exemplifies this in every detail.
• Arguably, the strongest contribution to this philosophy
is the use of pale-coloured paint on the internal wood
panelling. This lightness also served to help makevivid
colours in fabrics and ornaments stand ou,t the grain
in wood become more noticeable and interesting
Standen House, staircase landing 25
• Works
• Standen House
• Morris & Co, Webb’s collaborators
• For this style of interior design, the plainer the
background, the more elaborate the foreground could
be. By the same token, the richer and more detailed
the background, the less foreground decoration was
needed to achieve the same effect.
• Plain panelling worked with richly-detailed wallpaper.
Achieving a harmonious balance of these elements Off-white panelling above two bedroom fireplaces at Standen
across the same space required skill, experience and
that most personal of sensibilities — taste.
• Morris achieved this in his wallpapers by balancing
colour with detail: the more there was of one, the less
there could be of the other, as here with the
staircase’s large-scale Acanthus paper
William Morris wallpaper, Standen House staircase 26

DECLINE OF ARTS AND CRAFTS MOVEMENT IN EUROPE
• Despite its high ideals, the Arts and Crafts Movement was essentially flawed.
• Their opposition to modern methods of production and the tendency to look back to the
medieval world, rather than forward to a progressive era of complete mechanization, was
what eventually sounded the death of the movement.
• They could only fail in their socialist ideal of producing affordable quality hand-crafted
design for the masses as the production costs of their designs were so high that they
could only be purchased by the wealthy.
• Thus the idea of art for the people was lost, and only relatively few craftsman could be
employed making these fine pieces.
• Also, any movement which continually looks to the past for its inspiration must have a
limited life span. There are only so many ways you can reinterpret the past without
becoming repetitive.
• However, the greatest legacy of the Arts and Crafts movement was their understanding of
the relationship between design and our quality of life. This set the example for others
who would later attempt to use the power of industrial mass production in the service of
good design.
27
ARTS AND CRAFTS MOVEMENT IN AMERICA
• However in the United States, the Arts and Crafts ideal of design for the masses was
more fully realized, though at the expense of the fine individualized craftsmanship typical
of the English style.
• In New York, Gustav Stickley was trying to serve a burgeoning market of middle class
consumers who wanted affordable, decent looking furniture. By using factory methods to
produce basic components, and utilizing craftsmen to finish and assemble, he was able to
produce sturdy, serviceable furniture which was sold in vast quantities, and still survives.
• The rectilinear, simpler American Arts and Crafts forms came to dominate American
architecture, interiors, and furnishings in the late nineteenth and early twentieth century.
• The term Mission style was also used to describe Arts and Crafts Furniture and design in
the United States. The use of this term reflects the influence of traditional furnishings and
interiors from the American Southwest, which had many features in common with the
earlier British Arts and Crafts forms.
28
Art Nouveau
29
ART NOUVEAU (1890 to 1910)
• Art Nouveau is an international movement An Art Nouveau style, several characteristics that
of architecture and the decorative arts at bind its representatives together may be credibly
the turn of the 20th century. It is summarized:
characterized by non-geometric plant and • first, a desire to avoid the historicism so
floral-inspired motifs, as well as highly- dominant during the 19th century, using
stylized, sinuous lines. inspiration from Nature in all its fertility and
• Art Nouveau was a vibrant but short-lived heterogeneity;
phenomenon that flourished from 1890 to • second, an emphasis on the expressive power
1910 and touched on all the visual arts. of form and colour and an aspiration to refine
Fashion and furniture, pots and paintings, and elevate the material world;
books and buildings, no object was too
small or too large, too precious or too • third, a determination to erase the distinction
ordinary, to be shaped by the designer between the fine and the applied arts, between
working according to the ideals—moral the designer and the craftsperson, between art
and social as well as aesthetic— and every-day life; and
associated with the Art Nouveau, even • fourth, a willingness to experiment with
though these ideals were never codified in materials, transforming the character of
a coherent manifesto and were inflected traditional ones, like stone, stained glass, and
according to the place wherein they were mosaic, and inventing new uses and shapes for
practiced. recently developed ones, above all cast and
wrought iron.
30
• It was a reaction to mass production and a return to
handcraftsmanship and the human imagination. Designers in the
movement include Charles Rennie Mackintosh, René Lalique,
and Louis Comfort Tiffany.
• During the late 1800s, many European artists, graphic
designers, and architects rebelled against formal, classical
approaches to design. They believed that the greatest beauty
could be found in nature.
• Art Nouveau (French for "New Style") was popularized by the
famous Maison de l'Art Nouveau, a Paris art gallery operated by
Siegfried Bing. As a revolutionary movement which started in
Brussles (Belgium) between 1880- 1890, it affected the industrial
arts and architecture. Took place in the advanced industrial
nations of the Western Europe and the United states.
• Art Nouveau art and architecture flourished in major European
cities between 1890 and 1914. In the United States, Art Nouveau
ideas were expressed in the work of Louis Comfort Tiffany, Louis
Sullivan, and Frank Lloyd Wright .
• New technologies in printing and publishing allowed Art Nouveau
to quickly reach a global audience. Art magazines, illustrated
with photographs and colour lithographs, played an essential 31
role in popularizing the new style.
Art Nouveau buildings have many of these features
• Asymmetrical shapes
• Extensive use of arches and curved forms
• Curved glass
• Curving, plant-like embellishments
• Mosaics
• Stained glass
• Japanese motifs
32
INFLUENCES OF ART NOUVEAU IN ARCHITECTURE
• The new art movement had its roots in Britain, in the floral designs
of William Morris, and in the Arts and Crafts movement founded by the
pupils of Morris. Early prototypes of the style include the Red House with
interiors by Morris and architecture by Philip Webb (1859), and the
lavish Peacock Room by James Abbott McNeill Whistler.
• The new movement was also strongly influenced by the Pre-
Raphaelite painters, including Dante Gabriel Rossetti and Edward Burne-
Jones, and especially by British graphic artists of the 1880s.
• Another important influence on the new style was Japonism. This was a
wave of enthusiasm for Japanese woodblock printing, particularly the works
of Hiroshige, Hokusai, and Utagawa Kunisada, which were imported into
Europe beginning in the 1870s.
• In France, it was influenced by the architectural theorist and
historian Eugène Viollet-le-Duc, through his 1872 book Entretiens sur
l'architecture, he wrote, "Use the means and knowledge given to us by our
times, without the intervening traditions which are no longer viable today,
and in that way we can inaugurate a new architecture. For each function its
material; for each material its form and its ornament." [16] This book
influenced a generation of architects, including Louis Sullivan, Victor
Horta, Hector Guimard, and Antoni Gaudí. Translated into English as 33
Discourses on Architecture (1875),
HENRI VAN DE VELDE
• Henri Van De Velde was a painter, pioneered the
movement in arts, it spread later to architecture. Art
nouveau designers sought their building to be “total
works of art” in which every detail, down to last fixture
would bear the same architectural character as the
overall building.
• Henri van de Velde (1863–1957), who began his career
as a painter and in 1895, at his home in Uccle,
established an influential decorating enterprise. He
designed not only the building but everything within:
furniture, table settings, wallpaper, lighting fixtures,
tapestries—even his wife’s clothing.
• In 1896 he presented his furniture works in Samuel
Bing’s gallery “L’ Art Nouveau” in paris and become
internationally known. In 1898 he became member of the
Les Vingt in Brussels, where he familiarised with English
arts and craft movement. He published several books
and essays on his original art theories, such as Le
Deblaiementd’ art (1895), Renaissance in arts and crafts
(1901).
34
HENRI VAN DE VELDE
• He mainly worked in Germany; in 1900 he opened in
Berlin a branch of his Brussels workshop. In 1902 he
was invited to Weimar to establish the arts and crafts
school, which he directed from 1906 to 1914 and which
would later became the famous Bauhaus, the centre for
the modernist movement in Germany.
• Van De Velde described ornamentation as element
attachment to form for improving the aesthetic quality,
while ornament refers to the frank revelation of the inner
structural or functional identity of form.
• He was a theoretician of modernism and functionalism,
contemporary style in architecture. He was known as the
first art nouveau artist to work in an abstract style and
developed the concept of union of form and function.
• He designed a vast range of items, such as architectural
works, interior decorations, furniture, ceramics,
metalwork and jewellery. His furniture designs are linear,
highly detailed by innovative decorations and expressive
ornamental design, tempered by strong traditional
elements. 35
• Furniture
ART NOUVEAU (1890 to 1910) • Writing desk and chair in oak, bronze, copper, leather, with
HENRI VAN DE VELDE incorporated electrical lamps and metalwork fittings.
Works
• Artist
• Posters, packaging, advertising for Tropon,
makers of foodstuffs in Cologne-Muhlheim.
The first commission that gave him a chance
to practise his skills as an artist.
• Chair designed by Henry van de Velde in1895 for the dining

room of the house "Bloemenwerf". Manufactured by Society
van de Velde, Belgium.
36
HENRI VAN DE VELDE
Works
• Architecture
1. Van de Velde house, Brussels, Belgium (1895)
2. Havana company store, Berlin (1899)
3. Interior of Folkwang Museum, Hagen (1900)
4. University Library, Ghent, Belgium (1935)
37
HENRI VAN DE VELDE
Works
• Interior of Folkwang Museum, Hagen (1900)
• Van de Velde was also occupied at this time with a more
important project, the Folkwang Museum at Hagen. Several
other architects, among them Peter Behrens, worked on the
museum with him. It was to be opened as a permanent
building.
• It marked Van de Velde's mature style; his concepts of
ornamentation became more subtle and sophisticated -
"classic" of their type -set off against smooth-textured neutral
walls. The degree of restraint exercised in the interior
indicated that Van de Velde was well aware of the purpose of
the various halls and did not wish to attract the visitor to his
own work at the expense of the objects d' art.
• The entrance hall contained a circular stone bench
surmounted by small sculptured figures by Minne, with an
architectural backdrop composed of a series of three arches,
permitting an inviting glimpse of the sculptures beyond. The
narrow incised mouldings on the arches in no way detracted
38
from the essential simplicity of the hall.
HENRI VAN DE VELDE
Works
• Theater for the 1914 Werkbund Exhibition in
Cologne, Germany
• In 1913, the Deutscher Werkbund charges Henry
van de Velde, architect, industrial designer and
Belgian painter, construction of a theater for the
1914 Werkbund Exhibition in Cologne, Germany.
• This assignment was very controversial because
of the foreign nationality of van de Velde.
However, thanks to the support of the mayor of
Cologne, Dr. Konrad Adenauer, the architect
managed to build it.
• The theater opened in July 1914. In September,
however, the outbreak of World War I led to its
closure for ever, after only three months, to be
later demolished. Van de Velde had to leave
Germany for a citizen of an enemy country.
• This was his most important and recognized, that
received endless praise. 39
HENRI VAN DE VELDE
Works
• Theater for the 1914 Werkbund Exhibition in
Cologne, Germany
• From a concrete rational architecture, theater
simultaneously established the secure domain
of space and volume. Straight line was used,
purity emphasized ornament and artistic
expression, as is characteristic in its heavy roof
profiling.
• It was possible here to create a theatrical space
flexible, able to accommodate a wide variety of
theatrical performances ranging from modest
works, Symbolists and realistic representations
that are more suited to the stage.
• The solid construction of reinforced concrete
and plastic homogeneous expression was the
starting point for the postwar work of Eric
Mendelsohn and, especially for the
small Observatory that Mendelsohn built to
40
Einstein in Potsdam in 1920.
• VICTOR HORTA
• Horta is one of the most important names in Art Nouveau architecture; the
construction of his Hotel Tassel in Brussels in 1892-3 means that he is sometimes
credited as the first to introduce the style to architecture from the decorative arts.
• After introducing Art Nouveau in an exhibition held in 1892, Horta was inspired.
The design had a groundbreaking semi open-plan, floor layout for a house of the
time, and incorporated interior iron structure with curvilinear botanical forms, later
described as “biomorphic whiplash”.
• Horta’s greatest work, the Maison de Peuple (1895–99; demolished),
demonstrated the popular aspect of the style. Not only could wealthy industrialists
indulge their taste for it, but their employees too recognized that it evoked their
aspirations.
• The iron frame used in combination with brick and stone permits a free plan with
spaces of varied heights and dimensions, perfect for accommodating the
program’s differing functions, revealed on the exterior through the individualized
fenestration; nothing is regular or repetitive. The main door resembles a
mysterious cave or mouth that draws one into its recesses, empathy being a
quality exploited by many Art Nouveau architects.
• Elaborate designs and natural lighting were concealed behind a stone facade to
harmonize the building with the more rigid houses next door. The building has
41
since been recognised as the first appearance of Art Nouveau in architecture.
• VICTOR HORTA
WORKS
• Hotel Tassel in 1892
• Rue de Turin
• Hotel Van Eetvelde,1895
• Mansion and Atelier Horta, 1898 (now Horta Musuem)
42
• VICTOR HORTA
WORKS
• HOTEL TASSEL, 1892
• The Hotel Tassel is a town house built by Victor
Horta in Brussels for the Belgian scientist and
professor Emile Tassel in 1893-1894. It is generally
considered as the first true Art Nouveau building,
because of its highly innovative plan and its ground
breaking use of materials and decoration.
• The plot, was narrow and very deep, as houses in
Brussels used to be. With dimensions of 7.80 x
29m. It was meant to be a dark building. Hence the
main idea of the project: the intention of diafanity,
clarity and transparency.
• At the Hotel Tassel, Horta definitively broke with
this traditional scheme. In fact he built a house
consisting of three different parts. Two rather
conventional buildings in brick and natural stone —
one on the side of the street and one on the side of
the garden — were linked by a staircase covered
43
with glass.
• VICTOR HORTA
44
• VICTOR HORTA
WORKS
• It functions as the connecting part in the spatial
composition of the house and contains
staircases and landings that connect the
different rooms and floors. Through the glass
roof it functions as a light shaft that brings
natural light into the centre of the building.
• The plan is divided into two parts: a narrow
front part towards the main façade, and a wider
part, served by a service staircase that
ventilated towards the back garden. Between
them, Horta generates an intermediate space
of union, where the stairs and the lobby are
located. A bright, dynamic space that fills the
house with light with its glazed roof.
• The rooms of both parts are at different
heights, since each section of the staircase is
serving a new space, not by floors but by
sections, creating a very innovative way to 45
travel the space
• VICTOR HORTA
WORKS
• HOTEL TASSEL, 1892
• In this part of the house that could also be used for receiving
guests, Horta made the maximum of his skills as an interior
designer. He designed every single detail; door handles,
woodwork, panels and windows in stained glass, mosaic
flooring and the furnishing. Horta succeeded in integrating the
lavish decoration without masking the general architectural
structures.
• The innovations made in the Hotel Tassel would mark the style
and approach for most of Horta's later town houses, including
the Hotel Van De Velde, the Hotel Solvay and the architects
own house and 'atelier'.
• It might be superfluous to mention that these houses were very
expensive and only affordable for the rich 'bourgeoisie' with an
'Avant-Garde' taste. For this reason the pure architectural
innovations were not largely followed by other architects. Most
other Art Nouveau dwellings in Belgium and other European
countries were inspired by Horta's 'whiplash' decorative style
46
which is mostly applied to a more traditional building.
• VICTOR HORTA
WORKS
• HOTEL VAN EETVELDE
• The Hotel van Eetvelde in Brussels was designed
in 1898 by Victor Horta, undoubtedly the key
European Art Nouveau architect. While most other
architects flirted with the new style, Horta found it
and gave the best expression to his ideas. His skill
is demonstrated in his ability to slip his domestic
designs into narrow constricted sites.
• The interiors become of great importance as
centres of light, which permeates through the
filigree domes and skylights—usually in the centre
of the building.
• The Hotel van Eetvelde is a remarkable example of
the way Horta handled the situation and used it to
highlight the imposing staircase, which leads up to
the first-floor reception rooms.
47
• VICTOR HORTA
WORKS
• HOTEL VAN EETVELDE
48
• VICTOR HORTA
WORKS
• HOTEL VAN DE VELDE
• The visible application of "industrial" materials
such as steel and glass was prestigious for
private dwellings at the time. In the Hotel van
Eetvelde Horta also used a hanging steel
construction for the facade.
• The interior receives additional lighting
through a central reception room covered by a
stained-glass cupola.
• An extension to the house was designed by
Horta in 1898. This building has a more
conventional, beautifully detailed sandstone
façade. It was designed to house a garage,
an office for van Eetvelde as well as
supporting apartments and therefore had a
separate entrance.
49
• VICTOR HORTA
WORKS
• Hotel Solvay, 1895
• The Hôtel Solvay , on Avenue Louise in
Brussels, was constructed for Armand Solvay,
the son of the Belgian chemist and
industrialist Ernest Solvay.
• Horta had a virtually unlimited budget, and
used the most exotic materials in unusual
combinations, such as marble, bronze and
rare tropical woods in the stairway decoration.
• The stairway walls were was decorated by the
Belgian pointillist painter Théo van
Rysselberghe.
• Horta designed every detail including the
bronze doorbell and the house number, to
match the overall style
50
ART NOUVEAU
• VICTOR HORTA
WORKS
• Hotel Solvay, 1895
51
• HECTOR GUIMARD
• He was a French architect, furniture designer and craft artist. He was
inspired by some of the new architectural theories circulating, the
radical ideas of French architect Viollet-le-due and architect of Belgium
Victor Horta greatly influenced his design.
• Guimard proceeded to a complete re-evaluation of his artistic
approach; furniture and interior decoration of a house had to become
parts of a total work of art.
• From 1898 to 1905 he designed and created the station entrances of
Paris subway "Le Métropolitain"; they were a fabulous expression of Art
Nouveau, the new art, which was discovered during the 1900 World
Exposition in Paris.
• The architectural and decorative works of Hector Guimard are
characterized by fluid, unusual lines, vibrant curves inspired by nature,
essential shapes underlined by light and contrast of the different
materials used, such as wood, iron and stone. They are the most
representatives of the organic and floral Art Nouveau Style in France,
and his would later be known as the "Guimard Style".
52
• HECTOR GUIMARD
• Major works:
• Castel Beranger, Paris, France
• Hotel Guimard, Paris
• Metropolitan Entrances, Paris
53
• HECTOR GUIMARD
• The Castel Béranger is a residential building with
thirty-six apartments located in Paris. It was designed
by the architect Hector Guimard, and built between
1895 and 1898. It was the first residence in Paris built
in the Art Nouveau style.
• The Castel Beranger is nonetheless an important
transitional work in Guimard's career. The stem and
branch-like character of both the interior furnishing and
the exterior ironwork stand in a curious and brittle
contrast to the articulate, architectonic but disjunctive
elements that make up the mass of the building’s
exterior.
• With 36 apartments, each different from the next, the
Castel Béranger is a curious compound of rational
planning and non-rational intent and expression.
Guimard was to exploit its competition as an occasion
for promoting the style Guimard.
• To this end he staged an exhibition of the building and
54
its contents along with publishing a book.
• HECTOR GUIMARD
• More acerbic than his flamboyant country houses of the turn
of the century and located in the fashionable, fast-growing
suburb of Auteuil, the Castel Beranger gave Guimard a
prime opportunity with which to demonstrate the synthetic
subtleties of his style.
• There were many elements of the new building that were
neo-Gothic, though Guimard's interpretation was very far
from the pure 13th century style advocated by Viollet-le-Duc.
• It was suggested by the name Castel, rather than Hotel, and
by its modern version of the overhanging turrets that were a
feature on the corners of medieval castles.
• Guimard put into the building a multiplicity of different forms,
materials and colors, some of them inspired by the colors of
the villas of seaside towns.
• The ornament was abundant, but carefully designed and not
overwhelming; it moved away from Gothic into a more
personal and original style. The interior decoration was also
diverse and personal 55
• HECTOR GUIMARD - Castel Beranger, Paris, France
56
• HECTOR GUIMARD
• TBetween 1900 and 1913, Hector
Guimard was responsible for the first
generation of entrances to the underground
stations of the Paris Métro. His Art
Nouveau designs in cast iron and glass
dating mostly to 1900, and the associated
lettering that he also designed, created what
became known as the Métro style (style
Métro) and popularized Art Nouveau.
• Rather than the masonry designs presented
by the winners of the competition, Guimard
instead proposed that the Métro entrances be
built in cast iron and glass. The decision had
several practical benefits: most significantly,
iron entrances took up far less space than
stone, a necessity in many of the chosen
sites for Métro stations. Iron was also
cheaper and easier to produce and transport,
and allowed for greater ease of mass
57
production than masonry
• HECTOR GUIMARD
• Beyond these logistical concerns, cast iron
was also far better suited to the sinuous, naturalistic
and slender curves that embody Art Nouveau.
• Using a set of modular structural elements, Guimard
created five entrance types, ranging from simple
railings to lavish covered pavilions; each station
entrance shared the same green paint (meant to
resemble bronze patina) and a sign bearing the
word Métropolitain in a typeface designed by
Guimard himself.
• The simplest and most common variant was a set of
railings with a pair of amber-colored lightbulbs
shaped like flower buds, their tinted light illuminating
the Métropolitain sign mounted between them.
• The greatest sensation, however, was in response
to the elaborate pavilion entrances, with their
fanned glass awnings crowning the stairways
beneath.
58
• ANTONI GAUDI
• Antoni Gaudi studied and practiced architecture in
Barcelona, Spain. He was influenced by the Romantic
Movement. In 1890 he proceeded to modernism, the
Catalan version of art nouveau.
• He used the local structural types and construction
technique in brick and ceramic. He was influenced by the
mud construction of Berbers, who drew inspiration from
natural form.
• Ahead of his time, unique. A man of faith, observer of
nature and genius architect, Antoni Gaudí has become a
universal figure in modern architecture. His contribution
to this discipline broke all the established rules. With
never-before-seen building and structural systems, he
created his own unique, unprecedented methodology and
a style suffused with symbolism with the utmost care in
every detail, showing his love of artisan trades.
• He wanted to realise a major utopia, which he described
as architecture without square angles. His modernist
buildings, furniture and crafts objects are fascinating for
their unusual structural forms, covered by multi- coloured 59
mosaics.
ART NOUVEAU
• ANTONI GAUDI
• His works were symbols of artistic
renewal and experimentation,
characterised by elements. The
style of Gaudi was different from
the works of his contemporaries
and had a provocative approach.
• Gaudi concentrated on
optimisation of structural forms
hence used variation of the
parabola. In the Park Guell, the
underground Grottos with
parabolic arches are suggestive of
dark clearings in an underground
forest.
• His form reminded of several
natural forms such as waves,
corals, fish bones, gaping jaws,
dragon etc. In Casa Mila the
plastic conception of swirling
waves on the exterior were
60
extended to the interior.
• ANTONI GAUDI
• THE METHOD
• Gaudí's method was based on trial and error, so
models were very important to him, even taking
precedence over floor plans. He would normally set
up his workshop on the site and experiment with
scale models, testing the shapes and structures that
would later be used in his constructions. And he did
the same at the Sagrada Família, where the
architects who have carried on the works continue to
use this method, now with help from new technology.
• WORKS
• La Sagrada Familia cathedral, Barcelona
• Casa Mila
• Casa Batlló
• Park Güell
• Palau Güell
• Crypt in Colonia Güell and Casa Vicens 61
• ANTONI GAUDI
• WORKS - Park Güell
• Park Guell is one of the world's most intriguing parks. The
park's colourful main staircase and the fanciful pavilions that
were designed by Antoni Gaudi look like they belong in some
fairy tale.
• This popular park started out as a development project.
Eusebi Guell, a well known Catalan industrialist, acquired a
17 hectare (42 acres) large hilly plot in the Garcia district,
north of Barcelona. He wanted to turn the area into a
residential garden village based on English models. 60
Housing units as well as several public buildings were
planned. But it is a failed project.
• In 1900 Güell commissioned his friend and protégé Antoni
Gaudí with the development of the project. With the support
from other architects including Josep M. Jujol and his
disciple Francesc Berenguer, Gaudi worked on the garden
village until 1914 when it was clear the project was a
commercial failure: Guell failed to sell a single house. In
1918 the city acquired the property and in 1922 it was
opened to the public as a park. 62
• ANTONI GAUDI
• Güell and Gaudí thoroughly discussed the design and planing of this future residential complex and agreed on
giving it a symbolic value that would turn back to “Christian values and Catalan traditions as a way of combating
the alienation of the new industrial society”.
• In order to keep building at an efficient pace and to avoid the impression of the visitors that this park is a “mass -
produced” project, Gaudí chose to design prefabricated-concrete modules in different shapes, covering them
with briken mosaic art, in a variety of colors and textures. Based on the combination of naturalism and
symbolism, beauty and practicality, he designed the paths, viaducts, bridges, steps, a main plaza, a hypostyle
hall (used as a market place), a tank to collect rainwater and two gate houses (the administrative offices and
caretaker’s lodge).
• Two houses were completed as well as pavilions for visitors and park keepers. The pavilions, designed by Gaudí,
seem to be taken out of Hansel and Gretel, with curved roofs covered with brightly colored tiles and ornamented63
spires.
• ANTONI GAUDI
64
• ANTONI GAUDI
• The monumental flight of steps
• The staircase at the entrance of the park is also
designed by Gaudí. The dragon-like lizard at the center
of the with trencadis-ceramics decorated staircase is
the best known symbol of the park.
• The steps start from the entrance square and lead to
the Hypostyle Room. It is a double flight of steps
divided by a few sculptural features, among which the
most curious ones are the snake and eucalyptus
fruits, the dragon and the stone omphalus.
• Along the way you climb up, you will see the fountain in
the form of the head of a snake on the shield of
Catalonia. The snake and eucalyptus fruits are symbols
of medicine and health, like the remedial mineral water
found in the park commercialized by Güell.
• Then you will encounter the bright-colored dragon,
whose appearance was much fiercer when the paws
and teeth were more noticeable long time ago. 65
• ANTONI GAUDI
• The Hypostyle Room
• This is a covered area with 86 striated columns crowned
by an entablature of classical styles. However, above the
cornice, standing out for its curious shapes and colors, is
the ceramic bench of the Nature Square. The outer
columns slope together with the roof in an undulating
movement clearly brings a contradiction to the classical
composition.
• The Hypostyle Room was designed as a market place for
the purpose that the residents here don’t need to leave the
estate to look for supplying. As you might recall, it is
inspired by the temples of ancient Greece. The regular
layout of the dense colonnade is interrupted at certain
places to create 3 open space, one large one in the center
and another two small ones on the sides. The ceiling,
similar to the ones in the pavilions at the entrance, was built
using the Catalan vault technique clad with tile shards
66
• ANTONI GAUDI
• Nature Square, also known as Theatre Grec or
Nature Theatre was originally designed for
holding open-air shows and for the residents to
meet. Unlike the rest of the park, adapted to the
terrain, this square is partly dug into the
mountain and partly held up by the
hypostyle columns. In the first decade of the
20th century, all sorts of celebrations were
held here, varying from sports events to social
events.
• Serpentine Bench
• Planned by Josep Maria Jujol, this more-than-
100-meter-long bench encloses the entire plaza
and functions as a place to sit as well as a
balcony and viewpoint over the city.
This undulating bench is made of
prefabricated blocks of concrete clad covered in
trencadís mosaic and can be considered one of
the first abstract artworks. 67
ART NOUVEAU
• ANTONI GAUDI
• The portico of the
washerwoman
• Backing onto the retaining wall of
the upper roadway, the portico is
made from unhewn limestone
excavated from this mountain.
As you can see from the first
picture, popular tradition has
seen in this sculpture a figure of
washerwoman with a basket of
clothes over her head.
• Backing onto the retaining wall of
the upper roadway, the portico is
made from unhewn limestone
excavated from this mountain.
As you can see from the first
picture, popular tradition has
seen in this sculpture a figure of
washerwoman with a basket of 68
clothes over her head.
• ANTONI GAUDI
• Gaudí Museum
• Between 1906 and 1926, Gaudí lived in one of
the two houses that were completed, known as
the Casa Museu Gaudí. It serves as a museum
and displays some of Gaudí's furniture
(including some from the Casa Batlló) and
drawings.
• The park also includes the Casa Trias (not open
for visitors). The buildings in the park are
connected by winding roads with paths that are
often supported by tree-like columns.
69
• ANTONI GAUDI
• WORKS - Casa Batlló , Barcelona
• The colourful Casa Batlló, a remodeled
19th century building, is one of Gaudí's
many masterpieces in Barcelona. Its
unique interior is just as extraordinary
as its fairytale-like exterior.
• Casa Batlló is the most expressive. The
house was originally built between 1875
and 1877.
• In 1900 it was bought by the rich
industrialist Joseph Battló i Casanovas
who commissioned Gaudi to tear down
the old house and reconstruct a new
one. Gaudi however convinced Battló to
remodel the existing building.
• Between 1904 and 1906 Gaudi
redesigned the façade and roof, added
an extra floor and completely
remodelled the interior.
70
• ANTONI GAUDI
• WORKS - Casa Batlló , Barcelona
• The façade of the Casa Batlló is made of
sandstone covered with colourful trencadis (a
Catalan type of mosaic). Typical of Gaudi,
straight lines are avoided whenever possible.
• The first floor features irregularly sculpted
oval windows. Balconies at the lower floors
have bone-like pillars, those on the upper
floors look like pieces of skulls. These
features gave the house the nickname 'House
of Bones'.
• The enlarged windows on the first floor gave it
another nickname, 'House of Yawns'.
• The colourful scaled roof recalls a reptile skin.
According to some authorities on Gaudi
architecture, the roof represents a dragon; the
small turret with a cross would symbolize the
sword of St. George stuck into the dragon.
The bones and skulls on the façade represent
71
all the dragon's victims.
• ANTONI GAUDI
• WORKS - La Sagrada Familia cathedral, Barcelona
• The Sagrada Família, is a large unfinished Roman
Catholic minor basilica in Barcelona, Spain. Designed
by Catalan architect Antoni Gaudí (1852–1926), his
work on the building is part of a UNESCO World
Heritage Site. On 7 November 2010, Pope
Benedict XVI consecrated the church and proclaimed it
a minor basilica.
• On 19 March 1882, construction of the Sagrada
Família began under architect Francisco de Paula del
Villar. In 1883, when Villar resigned,Gaudí took over as
chief architect, transforming the project with his
architectural and engineering style,
combining Gothic and curvilinear Art Nouveau forms.
Gaudí devoted the remainder of his life to the project,
and he is buried in the crypt. At the time of his death in
1926, less than a quarter of the project was complete.
• Relying solely on private donations, the Sagrada
Família's construction has progressed slowly.
72
73
• ANTONI GAUDI
• 1866 – 1883 : BEGINNINGS
• The beginnings of the Sagrada Família date back to 1866. In 1881, thanks to several donations, the Association
purchased a 12,800-m² plot of land to build the Temple.
• The cornerstone was laid on 19 March. This kicked off the construction, which began with the crypt under the
apse following the neo-Gothic design of architect Francisco de Paula del Villary Lozano, the Temple's first
architect. Just a short while later, due to differences of opinion with the developers, he stepped down and the
position was given to Antoni Gaudí.
• 1883 – 1913 : GAUDÍ’S FIRST YEARS
• After taking over the project in 1883, Gaudí built the crypt, which was completed in 1889. Then he began work
on the apse. After receiving a significant anonymous donation, Gaudí considered a new, grander design. He
wrote off the old neo-Gothic project and proposed a new design that was more monumental and innovative in its
shapes, structures and building techniques.
• In 1892, the foundations were laid for the Nativity façade. In 1894, the apse façade was. While this work was
under way, Gaudí built the Provisional Schools of the Sagrada Família in the south-western corner of the plot in
1909. The schools were built for the children of the workers and those living in the neighbourhood around the 74
Sagrada Família. In 1911, he designed the Passion façade.
• ANTONI GAUDI
• 1914 – 1926 : GAUDÍ’S EXCLUSIVITY
• From 1914, Gaudí devoted his time exclusively to
building the Sagrada Família, which explains why
there are no other significant works from the later
years of his life. He became so involved in the project
that he lived next to his workshop in his final months.
• This space next to the apse was used as a workshop
for preparing scale models, drawings, designs and
sculptures, among other activities. In 1923, he came
up with the final design for the naves and roofs. The
work, however, advanced slowly. On 30 November
1925, construction was completed on the first bell
tower on the Nativity façade, dedicated to Saint
Barnabas and standing one hundred metres tall.
• This is the only tower Gaudí would see built, as he
died on 10 June 1926. On 12 June, he was buried in
the chapel of Our Lady of Carmel, in the crypt of the
Sagrada Família, where his mortal remains rest to this
75
day.
• ANTONI GAUDI
• 1926 – 1938 : HERITAGE
• When Gaudí died, his close collaborator Domènec
Sugrañes took over and continued to manage the
works until 1938.
• The bell towers on the Nativity façade were completed
in 1930 and, in 1933, the portal of Faith and the central
cypress tree.
• Between 1936 and 1939, fire was set to the crypt and
the Provisional Schools of the Sagrada Família, and
the workshop was destroyed. As a result, the original
plans, drawings and photographs were all lost and
some of the scale plaster models were smashed. It
should be noted, however, that despite these acts of
vandalism construction of the Temple has never
stopped since Gaudí took over in 1883 and has always
respected the architect's original concept.
76
• ANTONI GAUDI
• 1939 - 1960 : HERITAGE
• Work pushed on in 1954, beginning the foundations for
the Passion façade based on many studies Gaudí did
between 1892 and 1917. 1955 was an important year,
as the first fund-raising drive was held to collect money
to pay for the works. This initiative would be repeated
the following years.
• 1961 – 1999 : HERITAGE
• After the foundations for the Passion façade, the crypt
was built. In 1961, a museum was created in the space
to explain historical, technical, artistic and symbolic
aspects of the Temple to visitors. The four pinnacles
on the bell towers of this façade were put in place in
1976.
• Following Gaudí in the position of head architect until
1983 were Isidre Puig-Boada and Lluís Bonet i Garí.
After them came Francesc de Paula Cardoner i
Blanch, Jordi Bonet i Armengol and Jordi Faulí i Oller, 77
who has been head architect since 2012.
• ANTONI GAUDI
• 2000 - 2015 : 21st CENTURY
• In 2000, the vaults on the central nave and transept
were built, and work began on the foundations for the
Glory façade. In 2001, the central window on the
Passion façade was completed .Work was also
completed on the four columns at the centre of the
crossing.
• From 2002 until 2005, sculptors Josep Maria
Subirachs and the Japanese Etsuro Sotoo, decorate
the Pasion façade and the the windows on the central
nave, respectively.
• In 2006, the choirs on the Glory façade were built
following Gaudí's models. The vaults on the apse
ambulatory were completed in 2008. Between 2008
and 2010, the vaults on the crossing and the apse
were completed. 2010 was a significant milestone in
the history of the Sagrada Família, with the
consecration of the Temple by Pope Benedict XVI.
78
• ANTONI GAUDI
• WORKS - La Sagrada Familia cathedral,
Barcelona
• PRESENT
• 19 March 2017 was the 135th anniversary of the
laying of the cornerstone of the Temple.
Currently, 70% of the Basilica is finished and we
are working on building the six central towers.
• In 2017, construction of the towers of the
Evangelists and the Virgin Mary, which began in
December 2016, continued at a good pace with
the tensioned stone panels made at the
workshop in La Galera. The towers follow the
architectural model of the sacristy, which Gaudí
left a plaster model of.
• In 2018, work is focusing on continuing to build
the towers of the Evangelists and the Virgin
Mary and beginning work on the tower of Jesus
Christ. The remaining symbolic elements on the
upper portico of the Passion façade are also
79
being executed and put in place.
ART NOUVEAU (1890 to 1910) In this model, parts
• ANTONI GAUDI already built are shown
in brown (2019)
• WORKS - La Sagrada Familia cathedral,
Barcelona
• PRESENT
• 19 March 2017 was the 135th anniversary of the
laying of the cornerstone of the Temple.
Currently, 70% of the Basilica is finished and we
are working on building the six central towers.
• In 2017, construction of the towers of the
Evangelists and the Virgin Mary, which began in
December 2016, continued at a good pace with
the tensioned stone panels made at the
workshop in La Galera. The towers follow the
architectural model of the sacristy, which Gaudí
left a plaster model of.
• In 2018, work is focusing on continuing to build
the towers of the Evangelists and the Virgin
Mary and beginning work on the tower of Jesus
Christ. The remaining symbolic elements on the
upper portico of the Passion façade are also
80
being executed and put in place.
• ANTONI GAUDI
• DESIGN
• The style of la Sagrada Família is variously likened to Spanish Late
Gothic, Catalan Modernism and to Art Nouveau.
• FAÇADE
• The Church will have three grand façades: the Nativity façade to the East,
the Passion façade to the West, and the Glory façade to the South (yet to be
completed).
• Nativity Facade - Constructed between 1894 and 1930, the Nativity façade was
the first façade to be completed. Dedicated to the birth of Jesus, it is decorated
with scenes reminiscent of elements of life. Characteristic of Gaudí's naturalistic
style, the sculptures are ornately arranged and decorated with scenes and
images from nature, each a symbol in its own manner.
• Passion Façade - In contrast to the highly decorated Nativity Façade, the
Passion Façade is austere, plain and simple, with ample bare stone, and is
carved with harsh straight lines to resemble the bones of a skeleton. Dedicated
to the Passion of Christ, the suffering of Jesus during his crucifixion, the façade
was intended to portray the sins of man. Construction began in 1954, following
81
the drawings and instructions left by Gaudí for future architects and sculptors.
• ANTONI GAUDI
• DESIGN
• Glory Façade - The largest and most striking of the façades will be the Glory
Façade, on which construction began in 2002. It will be the principal façade and
will offer access to the central nave. Dedicated to the Celestial Glory of Jesus, it
represents the road to God: Death, Final Judgment, and Glory, while Hell is left
for those who deviate from God's will. Aware that he would not live long enough
to see this façade completed, Gaudí made a model which was demolished in
1936, whose original fragments were base for the development of the design for
the façade.
Model showing the entrance

as wished by Gaudí.
82
• ANTONI GAUDI
• INTERIOR DESIGN
• The church plan is that of a Latin cross with five aisles. The
central nave vaults reach 45 metres while the side nave vaults
reach 30 metres. The transept has three aisles. The columns
Standing in the transept
are on a 7.5 metre grid. The central vault reaches 60 metres and looking northeast
.The apse is capped by a hyperboloid vault reaching 75 metres.
• There are gaps in the floor of the apse, providing a view down
into the crypt below.
• The columns of the interior are a unique Gaudí design. Besides
branching to support their load, their ever-changing surfaces
are the result of the intersection of various geometric forms. The
simplest example is that of a square base evolving into an
octagon as the column rises, then a sixteen-sided form, and
eventually to a circle.
• Essentially none of the interior surfaces are flat; the
ornamentation is comprehensive and rich, consisting in large
part of abstract shapes which combine smooth curves and
jagged points. Even detail-level work such as the iron railings Detail of the roof in the nave. Gaudí designed the 83
for balconies and stairways are full of curvaceous elaboration columns to mirror trees and branches
• CHARLES RENNIE MACKINTOSH
• He was a Scottish architect, furniture designer and painter at the peak of the Arts & Crafts Movement in
Scotland or England, Charles Rennie Mackintosh was the founder of the "Glasgow School", an outstanding
architecture and decoration style, forerunner of Modern Movement in Scotland.
• In 1884 he trained as an architect in a local firm and studied art and design at evening classes at the Glasgow
School of Art, in Scotland. In 1890, he established his own practice and in 1894 he founded a group called "The
Four" with fellow artists he met at art school.
• Influenced by Continental Art Nouveau, Japanese art, Symbolism and new-Gothic styles, they successfully
exhibited metalwork, furniture and illustrations in Glasgow, London, Vienna and Turin. The majority of
Mackintosh's works and innovative designs were created within a short period of intense activity between 1890
and 1911.
• In 1902, he presented his "Mackintosh" room furniture at the Turin International Exhibition and he later
designed houses and various Tea-Rooms interior decorations. Very appreciated all over Europe, but nearly
ignored at home, in 1914 he retired and dedicated him to painting, producing a beautiful collection of fine
watercolour flower studies.
• He was one of the most influential figures of Art Nouveau, as he developed his original, incomparable and
linear style in architecture and decorative arts.
• He finely exploited natural and artificial lighting and explored new spatial concepts, based on strong traditional
Scottish elements adapted to modern way of life. His buildings were treated as whole works of art, where every
detail was carefully designed into clear and pure lines. 84
• Works
• Interiors
• Furniture, dining chairs, tables and cabinets, in dark
oak or white painted wood "Mackintosh chair", in
dark oak Mackintosh, Hill House, Helensburgh
• His elegant decorative interiors complemented his
wooden furniture, designed with minimal
decorations, such as brass fittings or leaded glazed
glass panels, often enriched by a typical recurrent
motif, the stylized rose, also known as the "Glasgow
rose".
• One of his most famous pieces of furniture is the
"Hill house chair", in dark oak wood, designed into
geometrical shapes, perpendicular delicate lines
and a tall ladder back with applied ornaments.
• Very popular today, Mackintosh's designs, stylized
flowers and decorative elements have inspired
many modern graphic works, furniture re-editions,
as well as jewellery and silverware designs. 85
• WORKS - New Glasgow School of Art
• In 1896 his design would go on to win the
design competition for the new Glasgow
School of Art building.
• First stage: The first stage of the building was
constructed from 1897 to1899. In 1899, only
the east wing and center portions of the
building were able to be built, since a tight
budget, meant postponing the west wing.
• The main entrance of the building and visual
focal point is on the north side. While this
design is strongly centred around the main
entrance and by the large blocked windows of
the design studios, both the building as a
whole and the central entrance are not
perfectly symmetrical. Notice in particular the
variation in number and shape of windows at
the highest part of the building.
86
ART NOUVEAU(1890 to 1910)
• CHARLES RENNIE
MACKINTOSH
• WORKS - New Glasgow School
of Art
• Mackintosh incorporated many
artistic details into this main
entrance from the wrought-iron
brackets on the studio windows
and the arch supporting a lantern
across the main entrance to the
intricate stone work above the
door: a rose bush bordered by
two women whose dresses flow
down to form the surrounding
moulding.
• The two balconies on the second
and third story lead out from the
Directors Room and Studio
respectively according to the
original plans, positioning the
head of the school in the most
visible and central area of the 87
building
• WORKS - MACKINTOSH, HILL HOUSE, HELENS
BURGH
• Hill House in Helens burgh, Scotland is one of Charles
Rennie Mackintosh's most famous works, probably
second only to Glasgow School of Art.
• It was designed and built for the publisher Walter Blackie
in 1902 – 1904. In addition to the house itself, Mackintosh
also designed most of the interior rooms, furniture and
other fixings.
• Mackintosh's attention to detail even extended to
prescribing the colour of cut flowers that the Blackies
might place on a table in the living room, so as not to
clash with the rest of the décor
• In addition to the house itself, Mackintosh also designed
most of the interior rooms, furniture and other fixings.
Mackintosh's attention to detail even extended to
prescribing the colour of cut flowers that the Blackies
might place on a table in the living room, so as not to
clash with the rest of the decor
88
• WORKS - MACKINTOSH, HILL HOUSE, HELENS BURGH
• EXTERIOR
• The uniform and greyish exterior treatment of the building
blends in with the cold cloudy sky of Scotland. The
completely asymmetrical construction forms different roof
levels and shapes, and also records Mackintosh’s
appreciation for A. W. N. Pugin’s picturesque utility where the
exterior contour evolves from the interior planning.
• The minimum decoration, heavy walls, and rectangular and
square windows express a strong, sober construction.
• The exterior qualities of the building are nearly the opposite
of the warm, exotic, carefully decorated and smooth interior.
• Again, Mackintosh relates to Pugin’s theory by minimizing
exterior decoration to emphasize the interior design: the
transition from the outside world into a safe, fantastic inside
space.
• Paint analysis of the harling on the exterior shows that it
might have been left as an unpainted pale grey initially.
89
• WORKS - MACKINTOSH, HILL HOUSE,
HELENS BURGH
• INTERIOR
• The mansion combined the Edwardian
period’s traditional ‘femininity’ of an intimate,
inside space, with the ‘masculinity’ of the
exterior public world, both uncommonly used
throughout the interior of the building.
• To Mackintosh, bringing the masculine
aspects to the inside would break away from
the over decorated, entirely feminine
conventional interiors.
• This allowed him to convey different feelings
and experiences depending on the purpose of
each space. Mackintosh used different The feminine and delicate
materials, colours and lighting, when design of the bedroom
necessary to perform a full experiential features walls painted ivory
transition from one point to another. All in such white
an elegant and well planned manner.
90
• WORKS - HILL HOUSE, HELENS BURGH
• INTERIOR
• In contrast with the dark, masculine hallway and
library, the drawing room is an example of the
white rooms that Mackintosh became renowned
forThe building displays typical Mackintosh
influences, with a robust exterior referencing
Scottish vernacular architecture, contrasting with
a highly ornamental interior, featuring oriental
themes alongside art-nouveau and art-deco
details.
• Mackintosh collaborated with his wife, the artist
Margaret MacDonald, to create almost every
element of the house, from the architecture to
the furniture, fireplaces, lighting and textiles.
• Blackie could not afford to complete the interior
entirely according to Mackintosh's designs, so
the architect focused on the principal spaces of
the hallway, library, master bedroom and
91
drawing room.
• WORKS - HILL HOUSE, HELENS BURGH
• INTERIOR
• The hall and library are typically masculine spaces, defined by the
use of strong, geometric lines and dark wood. The timber panelling
is embellished with pieces of coloured glass and stencilled organic
motifs.
• In contrast, the drawing room and master bedroom are examples of
the white rooms that Mackintosh became renowned for. These
stark, bright and spacious rooms made the most of the available
natural light and were extremely novel at the time.
• The feminine and delicate design of the bedroom features walls
painted ivory white, which were hung with embroidered panels of
dreaming women.
• Several iconic decorative motifs now synonymous with Mackintosh
are found throughout the interior, including chequered forms often
resulting from intersecting vertical and horizontal wooden elements.
• The gridded motif recurs in furniture including a cube-shaped table
designed for the drawing room, and the iconic ladderback chairs
92
that create a bold contrast against the pale walls of the bedroom
VIENNA SECESSION
• The Vienna Secession was an art movement formed in 1897 by a group of
Austrian artists who had resigned from the Association of Austrian Artists.
• This movement included painters, sculptors, and architects.
• The first president of the Secession was Gustav Klimt, and Rudolf von Alt was
made honorary president.
• During this time, architects focused on bringing purer geometric forms into the
designs of their buildings.
• Even though they had their own type of design, the inspiration came from
neoclassical architecture, with the addition of leaves and natural motifs.
• The three main architects of this movement were Josef Hoffmann, Joseph Maria
Olbrich, and Otto Wagner.
• Secessionist architects often decorated the surface of their buildings with linear
ornamentation in a form commonly called whiplash or eel style.
• Influenced by Arts and Crafts, particularly the work of Charles Rennie Mackintosh,
the Secessionists rejected historicism and embraced geometry and abstraction in
architecture. Described as the German branch of Art Nouveau, they were also
developing the Jugendstil decorative style with curvilinear, organic ornamental
designs.
93
VIENNA SECESSION
FEATURES –
• Pure geometric forms
• Additional leaves and natural motifs
• linear ornamentation
Key Characters -
• The Vienna Secession was created as a reaction to the conservatism of the artistic
institutions in the Austrian capital at the end of the 19th century. It literally consisted of a
set of artists who broke away from the association that ran the city's own venue for
contemporary art to form their own, progressive group along with a venue to display
their work.
• The Vienna Secession's work is often referred to (during the years before World War I)
as the Austrian version of Jugendstil, the German term for Art Nouveau, and it is the
work of its members in association with that style that has contributed most to its fame,
particularly outside of Austria. The Secession's most dramatic decline in fortunes
occurred at virtually the same time that Jugendstil fell out of style elsewhere in Europe.
When most people speak of the Vienna Secession, they are usually referring to the
initial period of its history between 1897 and 1905.
94
VIENNA SECESSION
Key Characters -
• The Secession was in large part responsible for the meteoric rise to international fame of
several of its members, including Gustav Klimt, Joseph Maria Olbrich, Koloman Moser,
and Josef Hoffmann, who helped to a large extent, put Austrian art back on the map
during the first two decades of the 20th century and beyond.
• The Secession's building created the first dedicated, permanent exhibition space for
contemporary art of all types in the West. It gave a physical form and geographic location
to designers committed to narrowing the gap in prestige between the fine arts of painting,
sculpture, and architecture and the decorative and graphic arts, along with encouraging
the exchanges between these genres.
• Since the Secession was founded to promote innovation in contemporary art and not to
foster the development of any one style, the formal and discursive aspects of its members'
work have changed over the years in keeping with current trends in the art world. It still
exists and its famed building still functions as both an exhibition space for contemporary
art and a location that displays the work of its famous founding members.
95
VIENNA SECESSION
JOSEF MARIA OLBRICH – THE SECESSION

• In 1898, the group's exhibition house was built in the vicinity
designed by Joseph Maria Olbrich.
• The exhibition building soon became known simply as "the
Secession" and became an icon of the movement.
• The idea was to make an own exhibition space where the
secessionists can exhibit there artwork free from all restrictions.
• The secession building displayed art from several other
influential artists.
• Of all the buildings that the Secessionists designed and built in
Vienna, the Secessionist Building was the most symbolic, the
most iconic.
• Since the young artists who started the Vienna Secession in
1897 wanted to identify themselves as modern and different,
their building had to clearly break away from the rigidity of
Vienna’s long standing Academic taste.
96
VIENNA SECESSION
JOSEF MARIA OLBRICH – THE SECESSION

• The building was to be their administrative
headquarters, but it was also to be a vitally important
exhibition space.
• The three female reliefs above the entrance
symbolize architecture, visual arts and sculpture.
• The Secessionists wanted to unify those three art
forms in one harmonious composition.
• The Secession is one of the few Vienna attractions.
• The Secessionists wanted to break with the art of
Historicism.
97

Unit 2 - Reactions To Industrialisation

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William Morris wallpaper, Standen House staircase 26

• Chair designed by Henry van de Velde in1895 for the dining

Model showing the entrance

JOSEF MARIA OLBRICH – THE SECESSION

JOSEF MARIA OLBRICH – THE SECESSION

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