ARCHITECTURE AFTER

INDUSTRIAL REVOLUTION
S6 B.ARCH 2021
COALBOOKDALE BRIDGE (1777-79)
TEXTILE MILLS (1780S)
THE CRYSTAL PALACE (1851)
Facts & Figures:
•990,000 square feet (92,000 m2)
exhibition space
•1,851 feet (564 m) long,408’ wide
with an interior height of 128 feet
(39 m).
•building had a flat-profile roof,
except for the central transept,
which was covered by a 72-foot-
wide (22 m) barrel-vaulted roof
that stood 168 feet (51 m) high at
the top of the arch.

•ased around the size of the panes

of glass made by the supplie
measuring 10 inches (25 cm) wide
by 49 inches (120 cm) long
•ook the form of a long triangular
prism, which made it both
extremely light and very strong
ST.PANCRAS STATION (1863-68)
GALERIE DES MACHINES & EIFFEL TOWER – WORLD EXPO (1889)
GALERIE/ PALAIS DES MACHINES BY FERDINAND DUTERT (1889)
 SECTION

GALERIE DES MACHINES- PLAN

GALERIE DES MACHINES BY FERDINAND DUTERT (1889)
GALERIE DES MACHINES BY FERDINAND DUTERT (1889)
GALERIE DES MACHINES BY FERDINAND DUTERT (1889)
EIFFEL TOWER BY GUSTVE EIFFEL (1889)
ARTS & CRAFTS MOVEMENT

S6 B.ARCH 2020
The Arts and Crafts movement was an international
trend in the decorative and fine arts that began in Britain
and flourished in Europe and North America between
about 1880 and 1920
 Designer William
Morris

Architect A.W.N Pugin Writer John Ruskin

Writer John Ruskin •was the leading English art critic
of the Victorian era, as well as an
art patron, draughtsman,
watercolourist, prominent social
thinker and philanthropist.
• He wrote on subjects as varied as
geology, architecture, myth,
ornithology, literature, education,
botany and political economy.
•1869, Ruskin became the first
Slade Professor of Fine Art at the
University of Oxford, where he
established the Ruskin School of
Drawing
•He was a social critic & reformer he continued to lecture on
and write about a wide range of subjects including art and he
idealised pre-industrial society & rejected capitalist economy.
Architect A.W.N Pugin
•Pugin was a leader in the
Gothic revival in
architecture
• advocated truth to
material, structure, and
function, as did the Arts
and Crafts artists
•Its simplified Gothic style,
adapted to domestic
building, helped shape the
Pugin's house "The Grange" in Ramsgate, 1843 architecture of the Arts
and Crafts Movemen
 Designer William Morris •He was the main
influence on the Arts and
Crafts movement.
•In 1861, Morris started a
firm for producing
furniture and decorative
objects commercially
•His designs were based
on medieval styles and
using bold forms and
strong colors

•William Morris shared Ruskin's critique of industrial society and at

one time or another attacked the modern factory, the use of
machinery, the division of labour, capitalism and the loss of
traditional craft methods.
Medieval art was the model for much of Arts and Crafts
design, and medieval life, literature and building was
idealised by the movement.
William Morris's Red House in Bexleyheath, designed by Philip Webb and
completed in 1860; one of the most significant buildings of the Arts and Crafts
Movement
In the United States, the Arts and Crafts style initiated a variety of
attempts to reinterpret European Arts and Crafts ideals for Americans.
These included the "Craftsman"-style architecture, furniture, and
other decorative arts

Arts and Crafts Tudor Home in the Buena House at 1333 Alvarado Terrace, Los Angeles
Park Historic District, Uptown, Chicago
ART NOUVEAU MOVEMENT
Art Nouveau (new art) is an international style of art, architecture and
applied art especially the decorative arts during 1890-1910
Originated in England. It is known in different
languages by different names:

✓Jugendstil in Germany

✓ Stile Liberty in Italy

✓Modernisme in Catalonia

✓Arte Joven in spain

 Filatrice; by Henry Kirke
Brown; 1850
Neoclassicism

Henry Bacon's Greek

temple design for Lincoln
memorial, 1914

Empress Joséphine; by
Pierre-Paul Prud'hon; 1805
 Romanticism

Grand Staircase of the Paris Opera by Charles

Garnier (1861–75)

John William Waterhouse, The Lady of

Shalott, 1888, after a poem by Tennyson;
Art Nouveau was a ‘design reform ’ against:

❖Prevailing systems in Art education that

promoted academic art & historic eclectism

❖Industrialised mass production that lowered

design standards & quality of products.
❖Trying to bridge the gap between
fine arts & applied arts using
modern materials
❖Created a new visual language not
derived from historic precedents.
‘Whiplash curves’

❖Intricate curvilinear
asymmetrical patterns,
sinuous lines known as
‘whiplash curves’, forms
derived from studies of
biological world
Art Nouveau embraced
all forms of design :
❖Architecture
❖Furniture
❖Glassware
❖Jewelry making
❖Painting
❖Pottery
❖Metal work
❖textiles
Art Nouveau evolved from :
1. Arts & crafts movement by William
Morris which promoted fine
craftsmanship & revival of vernacular
architecture
2. Curved lines,natural forms,dynamism
and movement,strong colours & flat 2D
perspective from Japanese art
 •the 1st theorist in Modern
Architecture.
•Believed in honesty of
materials & structure
•Writings on Form & function

Art Nouveau responded to leading 19-

century theoreticians, such as :

❖French architect Eugene Emmanuel

Viollet-le-Duc (1814–1879) &
•John Ruskin argued that the
❖British art critic John Ruskin (1819–1900) principal role of the artist is
"truth to nature."
Victor Horta (1861-1947)
❖The first Art Nouveau building and
interior decoration appeared in
Brussels, Belgium in the 1890s
especially in the works of Victor Horta

❖His Hotel Tassel in Brussels built in

1892-3, is often considered the first
Art Nouveau building

❖The curving stylized vegetal forms

that Horta used influenced many
others, including architect Hector
Guimard

❖He is also considered a precursor of

modern architecture for his open
floor plans and his innovative use of
iron, steel and glass
Facade of the Hotel Tassel, Brussels
(1893)
 Hôtel Aubecq (1899-1902)

Hôtel Solvay (1898-1900) Hôtel Van Eetvelde (1898-1900)

Horta House and Studio (1898-1901) •original features and fine
craftsmanship and mastery of details
•search for maximum transparency and
light

•use of large windows, skylights, mirrors,

and especially by his open floor plans,
which brought in light from all sides and
from above
Hector Guimard (1867-1942)

•French architect, who is now the best-

known representative of the Art Noveau
style of the late19th and early 20th
centuries

•demonstrated how architecture and the

industrial arts could be united in a single
building to create a unified, modern
scheme.
 Gateway Entrance hall

Castel Beranger,(1895-1898) the first

Art Nouveau apartment building in
Paris
Paris Métro entrances (1900-1913)

Style Metro’
Paris 1900 Exposition Universelle
Antoni Gaudí (1852-1956)
•His work transcended mainstream
Modernisme, culminating in an
organic style inspired by natural
forms.
•Gaudí was inspired by oriental arts
(India, Persia,Japan) and Moorish
monuments in Spain.
•Created a style based on
observation of the nature and
exploitation of traditional Catalan
construction traditions.
•using regulated geometric shapes
as the hyperbolic paraboloid,the
hyperboloid, the helicoid and the
conoide
Park Güell(1926)
The Nativity façade

Passion façade