EXPRESSIONISM

ARCHITECTURAL STYLE
 EXPRESSIONISM
Expressionist architecture was an architectural movement that developed in
Europe during the first decades of the 20th century in parallel with the
expressionist visual and performing arts that especially developed and
dominated in Germany.

- It refers to architecture of any date or location that exhibits some of the

qualities of the original movement such as distortion, fragmentation or the
communication of violent or overstressed emotion.
 EXPRESSIONISM
Expressionist architects used materials such as brick, concrete and glass to
create novel sculptural forms and massing, sometimes distorted and
fragmented to express an emotional perspective. Very often, expressionism
involved a rejection of historical styles, symmetrical forms, and traditional
designs, and instead embraced abstraction (based on structures not found or
seen in the real world). This tended to result in unusual building forms using
innovative construction techniques that stood out from their surroundings.
 THEMES
Distortion of form for an emotional effect.

Subordination of realism to symbolic or

stylistic expression of inner experience.

An underlying effort at achieving the new,

original, and visionary.

Profusion of works on paper, and models,

with discovery and representations of

concepts more important than pragmatic

finished products.
 THEMES
Often hybrid solutions, irreducible to a

single concept

Themes of natural romantic phenomena,

such as caves, mountains, lightning, crystal

and rock formations. As such it is more

mineral and elemental than florid and

organic which characterized its close

contemporary art nouveau.

 THEMES
Uses creative potential of artisan

craftsmanship.

Tendency more towards the gothic than

the classical. Expressionist architecture

also tends more towards the romanesque

and the rococo than the classical.

ARCHITECTS WHO INTRODUCED EXPRESSIONIST
ARCHITECTURE

BRUNO TAUT ERICH MENDELSOHN WALTER GROPIUS

ARCHITECTS WHO INTRODUCED EXPRESSIONIST
ARCHITECTURE

LUDWIG MIES VAN DER ROHE HANS POELZIG

 NOTABLE Guggeinheim Museum
Bilbao, Spain
Einstein Tower
Potsdam, GERMANY BUILDINGS Frank Gehry

Erich Mendelsohn
DE STIJL
ARCHITECTURAL STYLE
 DE STIJL
De Stijl architecture offers dynamic conceptions of spatial relationships in
reaction to conventionally static, grounded architecture from the beginning
of the 20th century.

Architecture proved to be the ideal art form to represent De Stijl through its
ability to transform space, surface, universal ideas, particular situations,
exterior, and interior.
 DE STIJL
De Stijl soon became a full-fledged movement which advocated a visual
language consisting of precise geometric forms (primarily straight lines,
squares and rectangles) and primary colours.

The artists of De Stijl worked in a wide range of media across the fine and
applied arts. They aimed for an ideal fusion of form and function, therefore
not only focusing on painting and sculpture but extending their artistic
vision to all other art forms including literature, music, typography and
industrial design.
 ARCHITECTS WHO INTRODUCED DE STIJL
ARCHITECTURE

PIET MONDRIAN J.J.P OUD BART VAN DER LECK GEORGES VANTONGERLOO
(ARTIST) (JACOBOUS OUD) (PAINTER) (SCULPTOR)
 ARCHITECTS WHO INTRODUCED DE STIJL
ARCHITECTURE

VILMOS HUSZÁR GERRIT RIETVELD ROBERT VAN ‘T HOFF CORNELIS VAN EESTEREN
(PAINTER)
 NOTABLE Schröder House
Utrecht, the Netherlands
Villa Henny
Huis ter Heide, the Netherlands BUILDINGS Gerrit Rietveld

Robert van’t Hoff

ART DECO
ARCHITECTURAL STYLE
 ART DECO
Art Deco architecture derives from a style of visual arts of the same name that
emerged in Europe in the 1920s, which also influenced the movie industry,
fashion, interior design, graphic design, sculpture, painting, and other forms
of art, in addition to architecture.

In architecture, the style took various forms, each of which has prompted
historians to devise different identifying terminology. In the 1960s, the more
ornamental phase of popular modernism was dubbed Art Deco, echoing the
name of the 1925 Parisian Exposition des Arts Decoratifs et Industriels
Modernes, where the style’s formal design motifs, patterns, and decorative
predilections were first observed.
 ART DECO
Art Deco architecture combines modern design with traditional elements
such as exquisite craftsmanship and luxurious materials including jade,
lacquer, and ivory. As a successor to the Arts and Crafts and Art Nouveau
movements, Art Deco was also influenced by the abstract and geometric
forms of Cubism, the bright colors of Fauvism, and the exoticized crafts and
styles of countries such as China, Japan, and Egypt. The decorative aspect
and the compositional arrangements also derive from Beaux-Arts
architecture, through symmetry, straight lines, hierarchy in the floor plan
distribution, and facades divided into base, shaft, and capital (Classical
tripartite division) - although this time with more rational volumes and the
occasional use of ornaments.
 ARCHITECTS WHO INTRODUCED ART DECO
ARCHITECTURE

EMILE-JACQUES MAURICE DUFRENE ELIEL SAARINEN

RUHLMANN
 NOTABLE Los Angeles City Hall
California, USA
The Palais de Chaillot
Paris, FRANCE BUILDINGS Austin, Parkinson and Martin

Louis-Hippolyte Boileau
ART NOUVEAU
ARCHITECTURAL STYLE
 ART NOUVEAU
Art Nouveau is a late 19th and early 20th century aesthetic movement that is
influenced by the natural world and defined by organic shapes and sinuous
lines. Art Nouveau's broad influence across architecture, design, and visual
arts allows for the creation of what are known as total works of art, where
every element of a structure from its windows to its door handles to its
decorative flourishes can be harmonized to create an immersive Art Nouveau
style. Common motifs include stylized versions of leaves, flowers, vines,
insects, animals, and other natural elements. Deecorative elements found on
the inside and outside of buildings include intricate mosaic work, stained and
curved glass, and decorative wrought iron.
 ART NOUVEAU
One of the engines for the rapid spread of the Art Nouveau was the
international exhibition. The expositions at Paris in 1900 and Turin in 1902,
where almost every pavilion and its contents proclaimed Art Nouveau’s
ascendency, may be considered the high point of the movement. Other
means of dissemination were the schools and museums of the applied arts
founded during the late 19th century, educating artisans and the general
public about the significance of the built environment.
 ART NOUVEAU
Art Nouveau architects sought the challenge of unprecedented building
types, like rapid transit stations and department stores, and did not confine
their commissions to domestic architecture, although private houses—Hill
House, Helensborough (1902–04) by Charles Rennie Mackintosh (1868–1928);
the David Gamble house in Pasadena (1908) by Greene and Greene (Charles
Sumner [1868–1957] and Henry Mather [1870– 1954])—and blocks of flats—
Castel Beranger, Paris (1895–97) by Hector Guimard (1967–1942); Majolikahaus,
Vienna (1898–99) by Otto Wagner (1841–1918)—provide some of the most
noteworthy examples.
ARCHITECTS WHO INTRODUCED ART NOUVEAU
ARCHITECTURE

CHARLES RENNIE HENRY VAN DE VELDE VICTOR HORTA HECTOR GUIMARD

MACKINTOSH
ARCHITECTS WHO INTRODUCED ART NOUVEAU
ARCHITECTURE

LOUIS HENRY SULLIVAN ANTONIO GAUDI

 NOTABLE Hill House
Helensborough, Scotland
the Humbert de Romans
Paris, France BUILDINGS Charles Mackintosh

Hector Guimard
BEAUX-ARTS
ARCHITECTURAL STYLE
 BEAUX-ARTS
Beaux-Arts architecture is a building style named after the École des Beaux-Arts in Paris,
the legendary school where the principles of this popular late 19th and early 20th century
architectural style were taught.

Beaux Arts buildings combined many of the main features of classical architecture,
particularly columns and symmetry, with eclectic and decorative elements drawn from
other historical styles. Beaux-Arts Architecture was intended to be a French national
style, but the approach also found prominence in the United States, and a handful of
other locations throughout the world. It was most commonly used for public and civic
buildings such as museums, art galleries, libraries, and university campuses.
 BEAUX-ARTS
Beaux Arts buildings tended to feature sculptural decoration, from statuary to relief
panels and inscriptions. This decoration was carefully designed to communicate the
purpose and identity of the building through details including the names and faces of
famous individuals and relevant mythological references. Sculptural features were often
complemented by additional internal and external elements such as murals and mosaics
which also reflected the building's function.

Technology and industry were very important to Beaux Arts architects and this reflected
wider trends of the period, most notably the Industrial Revolution. Beaux Arts
architecture pioneered the use of new materials such as cast iron, pairing it with large
areas of glass to create light-filled spaces.
CHARACTERISTICS
Classical Roman and Greek elements such

as columns, cornices and triangular

pediments

Use of formal symmetry

An eclectic mix of elaborate decorative

Italian and French Renaissance elements

Use of materials such as stone, marble,

limestone or brick
CHARACTERISTICS
Elevated first story

Colonnades, pavilions

Statues, figures and other sculptural

decoration on building façades

Use of arched windows and doors

Grand interior arrival halls and staircases

and interior hierarchy of spaces

CHARACTERISTICS
Interiors featuring decorative plaster work

and elaborate interior design that

classically featured reproductions of

French or Italian Renaissance furniture

pieces like those found in European

palaces

Formal gardens and landscaped grounds

ARCHITECT WHO INTRODUCED BEAUX-ARTS
ARCHITECTURE

RICHARD MORRIS HUNT

 NOTABLE Palais Garnier
Paris, France
National School of Fine Arts
Paris, France BUILDINGS Charles Garnier

Alexandre Lenoir, Francois Debret,

Felix Duban
ARTS ECLECTICISM
ARCHITECTURAL STYLE
 ARTS ECLECTICISM
Eclecticism is a nineteenth and twentieth-century architectural style in which a single
piece of work incorporates a mixture of elements from previous historical styles to
create something that is new and original. In architecture and interior design, these
elements may include structural features, furniture, decorative motives, distinct
historical ornament, traditional cultural motifs or styles from other countries, with the
mixture usually chosen based on its suitability to the project and overall aesthetic value.

However, the main driving force behind eclecticism was the harnessing of historic
styles to create something original and new, rather than simply to revive older styles.
 ARTS ECLECTICISM
From a complete catalogue of past styles, the ability to mix and combine styles allowed
for more expressive freedom and provided an endless source of inspiration. Whilst
other design professionals (referred to as 'revivalists') aimed to meticulously imitate
past styles, Eclecticism differed, as the main driving force was creation and there was a
desire for the designs to be original.

As a movement, eclecticism first emerged in Europe, particularly coming out of

France’s Beaux Arts style and Britain’s Victorian architecture, when architects were
encouraged to explore their expressive and creative freedom, rather than simply
following the requests of their clients.
 ARTS ECLECTICISM
Eclecticism in Europe did not achieve the same level of enthusiasm as it did in America.
In America, eclecticism was far more influential, with architects such as Richard Morris
Hunt and Charles Follen McKim adopting the Beaux Arts approach in their designs
which, as became typical among American architects, were more flexible according to
their and their client’s own stylistic choices. Since many of these architects chose to
incorporate historic features that had previously only been seen in European
architecture, the eclectic style was considered to contribute to a sense of rich culture
and history.
REVIVALIST
MOVEMENTS
Classical revival style

Colonial revival style

Exotic revival style

Gothic revival style

Italian renaissance revival style

Spanish colonial revival style

Tudor revival style

 ARCHITECTS WHO INTRODUCED ART
ECLECTICISM IN ARCHITECTURE

DANIEL BURNHAM ALEXANDER JACKSON ANTONIO GAUDI JOSEF HLAVKA

DAVIS
 ARCHITECTS WHO INTRODUCED ART
ECLECTICISM IN ARCHITECTURE

RICHARD MORRIS CHARLES FOLLEN WILLIAM MEAD RICHARD NORMAN

HUNT MCKIM SHAW
ARCHITECT WHO INTRODUCED BEAUX-ARTS
ARCHITECTURE

STANFORD WHITE
 Residence of Bukovinian and

NOTABLE
Dalmatian Metropolitans
Chernivtsi, Ukraine
The Basilica of the Sagrada Familia
Barcelona, Spain BUILDINGS Josef Hlavka

Antonio Gaudi
 REFERENCES
https://toaz.info/docdownloadv2-expressionist-architecture-pr_9b1d700e5807aadb6e04d8cc9bc3036b
http://architecture-history.org/schools/EXPRESSIONISM.html
https://www.masterclass.com/articles/de-stijl-art-guide
https://magazine.artland.com/art-movement-de-stijl/
http://architecture-history.org/schools/DE%20STIJL.html
https://www.architectureanddesign.com.au/features/list/art-deco-architecture-buildings-houses#
https://www.archdaily.com/972018/what-is-art-deco-architecture
http://architecture-history.org/schools/ART%20DECO.html
https://www.britannica.com/art/Art-Nouveau
https://www.thespruce.com/what-is-art-nouveau-architecture-5194926
http://architecture-history.org/schools/ART%20NOUVEAU.html
https://www.theartstory.org/amp/movement/beaux-arts-architecture/
https://www.thespruce.com/beaux-arts-architecture-4846172
https://www.designingbuildings.co.uk/wiki/Eclecticism_in_architecture
https://pdfcoffee.com/qdownload/eclecticism-in-architecture-pdf-free.html
SUBMITTED BY:
AZCUETA, MIKAELA YVONNE S.
BSAR 2A
ARHIST 223