ARCHITECTURE MOVEMENT

Ever since Antiquity, Architecture - the art of designing and

constructing buildings - has always been closely intertwined with
the History of Art, for at least three reasons.
•First, many public works (especially religious buildings) were designed
with  in mind, as well as functionality. They were built to inspire
aesthetics as well as serve a public function. As a result, they involved
the services of a wide range of 'artists' and decorative craftsmen as well
as laborers.
•Second, in many of these buildings, the exteriors and interiors acted as
showcases for Fine Arts (e.g.. Sistine Chapel), frieze and relief
sculpture (e.g.. The Parthenon, European Gothic cathedrals), Stained
Glass Art (e.g.. Chartres Cathedral), and other artworks like mosaics and
metalwork.
•Thirdly, public building programs typically went hand in hand with the
development of visual art, and most major 'arts' movements (e.g.
Renaissance, Baroque, Rococo, Neoclassical) influenced both
architecture and the fine arts.
 Art-Deco Post-Modern
Art-Nouveau International Style Deconstructivism

1890-1914 1925 to Present 1988 to Present

1925-1937 1972 to Present

 ART NOUVEAU
FROM 1890-1914

Art nouveau is an international movement of architecture and decorative arts at the early
20 century.
th

Art Nouveau was first expressed in fabrics and graphic design. The style spread to
architecture and furniture in the 1890s.
It is characterized by non-geometric plant and floral-inspired motifs, as well as highly-
stylized, sinuous lines. It was a reaction to mass production and a return to handcraftsmanship
and the human imagination.
Art Nouveau buildings often have asymmetrical shapes, arches, curved glass, mosaics,
stained glass and decorative surfaces with curved, plant-like designs.
The style went out of fashion after it gave way to Art Deco in the 1920s,but it experienced a
popular revival in the 1960s, ant it is now seen as an important predecessor of modernism.

KEY ARCHITECT

Louis Sullivan Antoni Gaudi

 ART NOUVEAU
Known by many as the " Father of the skyscraper" ,
and the "Father of modernism", but its his philosophies
and ideas that truly defy him as a person and as an
architect.
His one true goal was to break away from European
style architecture, and create a completely new and
original American style.
In his architecture he wanted to show unity,
strength and stability, he wanted his architecture to
resemble American society, and wanted to make
people realize “Beauty “again.
To him nature was everything and his ornamentation
resembled nature in the most unique way, but it was
how he infused that idea into the buildings purpose that
made him into one of the greatest American architects.
Sullivan believed that there was a connection
between architecture and freedom.
Louis Sullivan
3 September 1856 - 14 April 1924
 ART NOUVEAU
 Louis Sullivan : Works

Wainwright State Office Building is a 10-story

red brick office building at 709 Chestnut Street
in downtown St. Louis, Missouri. The Wainwright
Building is among the first skyscrapers in the world. It
was designed by Dankmar Adler and Louis Sullivan in
the Palazzo style and built between 1890 and 1891.

Architect Frank Lloyd Wright called the Wainwright

Building "the very first human expression of a
tall steel office-building as Architecture.“

 Wainwright State Office Building 

 St.Louis Missouri 
 1891 
 ART NOUVEAU
 Louis Sullivan : Works
 ART NOUVEAU
 Louis Sullivn : Works

Carson Pirie Scott Building  

Chicago
 1899 
 ART NOUVEAU
 Louis Sullivan : Works
 ART NOUVEAU
 Antoni Gaudi : Works
Antoni Gaudi
25 June 1852 - 10 June 1926
Antoni Gaudi was a Spanish Catalan architect, and the most
popular representative of the Catalan Modernista movement, which
combined elements of Art Nouveau, Japonisme, Gothic design, and
geometric forms. Gaudi's design style has been referred to as
"global," indicating a profound attention to every detail of his work,
from a building's structure and placement down to its smallest
decorative details. Gaudi's masterpiece is considered to be the
Sagrada Familia, a distinctly modern Roman Catholic church in
Barcelona.
Gaudi, rarely drew detailed plans of his works, instead preferring
to create them as three-dimensional scale models and molding the
details as he was conceiving them.
audi's work enjoys widespread international appeal and many
studies are devoted to understanding his architecture. Today, his
work finds admirers among architects and the general public alike.
His masterpiece, the still-uncompleted Sagrada Família, is one of the
most visited monuments in Spain. Between 1984 and 2005, seven of
his works were declared World Heritage Sites by UNESCO. Gaudi's
Roman Catholic faith intensified during his life and religious images
permeate his work. This earned him the nickname "God's Architect".
 ART NOUVEAU
 Antoni Gaudi : Works
From 1915 Gaudí devoted himself almost exclusively to his
magnum opus, the Sagrada Família, a synthesis of his
architectural evolution.
After completion of the crypt and the apse, still in Gothic
style, the rest of the church is conceived in an organic style,
imitating natural shapes with their abundance of ruled surfaces.
He intended the interior to resemble a forest, with inclined
columns like branching trees, helicoidal in form, creating a
simple but sturdy structure.
The Sagrada Família has a cruciform plan, with a five-aisled
nave, a transept of three aisles, and an apse with seven chapels.
It has three facades dedicated to the birth, passion and glory of
Jesus, and when completed it will have eighteen towers: four at
each side making a total of twelve for the apostles, four on the
transept invoking the evangelists and one on the apse dedicated
to the Virgin, plus the central tower in honour of Jesus, which will
Antoni Gaudi reach 170 metres (560 ft) in height.
Sagrada Familia, 1882- ondoing.
spain
 ART NOUVEAU
 Antoni Gaudi : Works
 ART NOUVEAU
 Antoni Gaudi : Works
Antoni Gaudi’s Casa Milà appears more organic than
artificial, as if it were carved straight from the ground.
Known as La Pedera, the quarry, the building was inspired
by the Modernista movement, Spain’s version of Art
Nouveau.
Constructed in 1912 for Roser Segimon and Pere Milà,
the building is divided into nine levels: basement, ground
floor, mezzanine, main floor, four upper floors, and attic.
The ground floor acted as the garage, the mezzanine for
entry, the main floor for the Milàs, and the upper floors for
rent. The building surrounds two interior courtyards,
making for a figure-eight shape in plan. On the roof is the
Casa  Mila famous sculpture terrace. Practically, it houses skylights,
Barcelona emergency stairs, fans, and chimneys, but each function’s
 1912  envelope takes on an autonomously sculptural quality
which has become a part of the building itself.
The Casa Milà, which was ultimately a controversial
building, contributed greatly to the Modernista movement
and modernism as a whole. It pushed formal boundaries of
rectilinearity and, as Gaudi intentionally drew from natural
and organic forms for the building’s shape, significantly
inspired practices of biomimicry. Gaudi was a genius of
structure and form, and the Casa Milà attests to that.
 ART NOUVEAU
 Antoni Gaudi : Works
 ART NOUVEAU
 Antoni Gaudi : Works
 ART DECO
FROM 1925-1937

Art Deco style evolved from many sources, the austere shapes of the Bauhaus
School and streamlined styling of modern technology combined with patterns and
icons taken from the far east, classical Greece and Rome, ancient Egypt.
Art Deco buildings have features like cubic form, ziggurat shapes, zigzag
designs, strong sense of line and illusion of pillars.
Movement in associated with “the Jazz Age” People still wanted decoration
despite the de Stijl and other modern movements eliminating all unnecessary
decoration.
Industrial Design Combined with Fine Art Elements (industrial materials (metal)
and objects + patterns and repeated shapes)

KEY ARCHITECT

William Van Alen

 ART DECO
 William Van Alen : Works

Detail of the Art Deco ornamentation at the crown The Chrysler Building is
considered a masterpiece of Art Deco architecture.
The distinctive ornamentation of the building is based on features that
were then being used on Chrysler automobiles.
The corners of the 61st floor are graced with eagles, replicas of the 1929
Chrysler hood ornaments.
On the 31st floor, the corner ornamentation are replicas of the 1929
Chrysler radiator caps.
The building is constructed of masonry, with a steel frame, and metal
cladding. In total, the building currently contains 3,862 windows on its façade.
The building was the tallest in the world from 1930 to 1931, when it was
surpassed by the Empire State Building. It is still the tallest brick building in the
world.

Height – 319m (1046ft)

Floors – 77
Total Floor Area – 1195000sq.ft.

Chrysler Building
New York
 1930 
 ART DECO
 William Van Alen : Works
 ART DECO
 William Van Alen : Works
 INTERNATIONAL
STYLE FROM 1925-

International Style is a term often used to describe Bauhaus architecture in the

United States. The name came from the book The International Style by historian and
critic Henry-Russell Hitchcock and architect Philip Johnson. The book was published in
1932 in conjunction with an exhibition at the Museum of Modern Art in New York.
The term is again used in a later book, International Architecture by Walter Gropius,
founder of Bauhaus.
While German Bauhaus architecture had been concerned with the social aspects of
design, America's International Style became a symbolism of Capitalism: The
International Style is the favored architecture for office buildings and is also found in
upscale homes built for the rich.

Features of International Style: Architects Inspired by the Bauhaus Movement:

•geometric, monolithic skyscrapers Le Corbusier
•flat roof Richard Neutra
•glass curtain wall Philip Johnson
•no ornamentation Mies van der Rohe
•stone, steel, glass construction materials Marcel Breuer
 INTERNATIONAL
STYLE
United Nations Secretariat Building

United Nations sits as it was planned in 1947 as a collaboration

of Oscar Niemeyer’s 39 story, International Style tower and Le
Corbusier’s oblique general assembly building while still
maintaining some semblance to Niemeyer’s civic plaza with a
 large park overlooking the East River.
 It’s modern, International Style aesthetic was an intentional
decision by Niemeyer and the rest of the collaborating architects
as a way in which to symbolize change that embodies a sense of
“newness” that sheds light on the optimistic future of the world’s
nations working together as one collective body rather than the
disparate warring units of the past.
Niemeyer’s glass and steel tower containing all of the foreign
diplomat’s offices, Le Corbusier’s heavy, concrete General
Assembly building is the heart of the United Nations diplomatic
enforcement. The low statured building has an iconic dome atop a
concavely compressed volume that houses the various
departments’ assembly halls.
In contrast with Niemeyer’s tower, Corbusier’s hall internalizes
all of its functions creating a heavy, masked quality, which evokes
a monolithic and powerful stance within the city and the UN
Year – 1952 complex.
Floors – 39
Height – 154m (505ft)
Architect – Oscar Niemeyer+
Le Corbusier
 INTERNATIONAL
STYLE
United Nations Secretariat Building
 INTERNATIONAL
STYLE
United Nations Secretariat Building
 INTERNATIONAL
STYLE
Seagram Building

Located in the heart of New York City, the Seagram Building

designed by Mies van der Rohe epitomizes elegance and the
principles of modernism. The 38-story building on Park Avenue was
Mies’ first attempt at tall office building construction. Mies’
solution set a standard for the modern skyscraper. The building
became a monumental continuity of bronze and dark glass climbing
up 515 feet to the top of the tower.
The office spaces above the lobby, furnished by Philip Johnson,
have flexible floor plans lit with luminous ceiling panels. These
floors also get maximum natural lighting with the exterior being
glass panes of gray topaz that provide floor-to-ceiling windows for
the office spaces. The gray topaz glass was used for sun and heat
protection, and although there are Venetian blinds for window
coverings they could only be fixed in a limited number of positions
so as to provide visual consistency from the outside.
The Seagram Building, with its use of modern materials and
setback from the city grid, became a prototype for future office
buildings designed by Mies as well as a model for many buildings
Year – 1958 erected in its surroundings. This building, fifty years after its
completion, is still admired by many visitors everyday and sets an
Floors – 38
example of an International style skyscraper amidst the New York
Height – 157m (516ft)
skyline
Architect – Mies van der Rohe +
Philip Johnson
 INTERNATIONAL
STYLE
Seagram Building
 POSTMODERN
1972 - present

Postmodern architecture evolved from the modernist movement, yet

contradicts many of the modernist ideas. Combining new ideas with traditional
forms, postmodernist buildings may startle, surprise, and even amuse. Familiar
shapes and details are used in unexpected ways. Buildings may incorporate
symbols to make a statement or simply to delight the viewer.

The first major post-modern architects are Philip Johnson, Charles

Moore, Aldo Rossi, Robert Venturi and Michael Graves. These architects were
concerned with environmental issues, the recovery of historical forms and the
pursuit of humor and surprise. "The use of historical elements is very free and
eclectic and concern for the environment has to respect the forms and materials
typical of the place." 
POSTMODERN
Petronas Twin Tower
 POSTMODERN
Petronas Twin Tower

Year – 1996
Floors – 88
Height – 451.9 m (1,483 ft)
Architect – César Pelli
 Deconstructivism
1988-present

Deconstructivism in architecture, also called deconstruction, is a development of

POST MODERNISM that began in the late 1980s.
It is characterized by ideas of fragmentation, an interest in manipulating ideas of a
structures surface or skin, non-rectilinear shapes which serve to distort and dislocate
some of the elements of architecture, such as structure.
The finished visual appearance of buildings that exhibit the many deconstructivist
"styles" is characterised by a stimulating unpredictability and a controlled chaos.
Deconstructivist philosophy : It was influenced by the formal experimentation and
geometric imbalances of Russian constructivism.

Architects Inspired by Deconstructivism

Peter Eisenman
Daniel Libeskind
Zaha Hadid
Frank O. Gehry
Rem Koolhaas
 Deconstructivism
Walt Disney Concert Hall

Year – 2003
Floor area– 200000sqf
Architect –  Frank Gehry
Deconstructivism
Walt Disney Concert Hall