chapter 14

Chpt_14.pdf

Home >Architecture and Design homework help >chapter 14

11/21/2018

Buildings across Time, 4th Edition Chapter Fourteen: Eclecticism, Industrialization, and Newness

Introduction During the nineteenth century, the Industrial Revolution picked up momentum as did an interest, not only in the architecture of Ancient Greece and Italy, but also that of other past civilizations in both the West and East. While Neo-Classicism continued to dominate as a style, the Picturesque modes such as the Gothic Revival provided considerable competition.

By the end of the nineteenth century, architecture had changed radically, as exemplified by such buildings as the American steel-frame skyscraper.

Progress in Iron and Steel Truss Types

Nineteenth-century patented truss designs. Trusses are based on triangulation. Each of these designs is made up of an upper and lower cord, and many small intermediate members.

11/21/2018

The Challenge of the Industrial Revolution Belper Mill

Strutt: Plan of and section through West Mill, Belper, 1793-95. With masonry exterior walls and a grid of interior columns, this mill had an open, flexible plan. A challenge for architects during the late-nineteenth-century would be expressing this internal skeleton on the exterior while still fireproofing the iron or steel members.

Skeletal Construction in Concrete and Wood Balloon Frame

Balloon-frame construction. The origin of the term “balloon” for wood framing remains unverified. This new method of building using mass-produced materials transformed building in wood from a craft practiced by highly skilled labor to an industry.

11/21/2018

Applications of Iron and Steel Crystal Palace

Paxton: Crystal Palace, London, 1851. Joseph Paxton designed a building with prefabricated parts that could be mass produced and erected rapidly. It stood in stark contrast to traditional, massive stone construction.

Interior of the Crystal Palace, London. Such as structure as this one was not considered to be “architecture” by theorist and critic John Ruskin because it lacked permanence. However, its lightweight, skeletal, transparent construction pointed toward the future.

Applications of Iron and Steel Bibliotheque Nationale

Labrouste: Plan of the Bibliotheque Nationale, Paris. Entry is made at the lower left into the large court. The principle axis is the transverse one, through the forecourt, the reading room, and into the stacks.

11/21/2018

Applications of Iron and Steel Statue of Liberty

Eiffel, Bartholdi, and Hunt: Stature of Liberty, New York City, 1883-86.

Richard Morris Hunt designed the base in the style he learned at the Ecole des Beaux Arts. Gustave Eiffel designed the statue’s iron frame that is seen here. The sculptor Bartholdi created the figure of Liberty in thin sheets of copper that were painstakingly hammered into shape over wooden forms then attached to the frame.

Viollet-le-Duc and Rational Design Assembly Hall

Viollet-le-Duc: Iron-frame assembly hall from the Entretiens, 1863-72. Viollet was more successful as a theorist than as a practitioner. Interpreting Gothic structure as a highly rational response to the problem of load and support, he proposed the substitution of iron members as a logical use of the products of the Industrial Revolution.

11/21/2018

The Gothic Revival Contrasts

Pugin: Ancient and modern towns compared, from Contrasts, 1836. In the lower view, the benign medieval town appears in urban harmony, announcing its values through the silhouettes of its church towers. In the upper view, the malignant nineteenth-century city is a deplorable cacophony of prison and factories and almost-obscured churches.

The Gothic Revival Houses of Parliament

Barry and Pugin: Plan of the Houses of Parliament, London, 1836-68. The long façade faces the Thames. Behind it, the dominant spaces are the House of Commons and the House of Lords. At the rear of the site is Westminster Hall, saved from the fire of 1834.

11/21/2018

The Arts and Crafts Movement Red House

Webb: Red House, Bexleyheath, Kent, 1859-60. This house near London appears to be no more than a comfortable composition of forms familiar in the mid- nineteenth-century English countryside. What sets it apart is Webb’s attempt, following the prescriptions of client William Morris, to produce a design true to its materials and means of construction and expressive of the site and local culture. Morris then outfitted it completely with furnishings of his own design.

The Arts and Crafts Movement Red House

Webb: Red House, Bexleyheath, Kent. The plan seems even less exceptional than the exterior appearance. However, its direct response to light and ventilation and to everyday needs anticipates the functionalism of twentieth- century modernists.

11/21/2018

The Arts and Crafts Movement Leyswood

Shaw: Leyswood, Sussex, 1870. Richard Norman Shaw trimmed away the excesses of the Victorian Gothic to produce a rural vernacular known as “Old English.” Picturesque Leyswood appears to have grown over time in response to functional needs and the exigencies of site.

The Arts and Crafts Movement Broadleys

Voysey: Broadleys on Lake Windermere, Cumbria, 1898.

Early chroniclers of the Modern Movement saw C. F. A. Voysey as one of its pioneers. However, he eschewed such an attribution, being satisfied to build in the tradition of yeoman buildings he found in the southern English countryside.

Broadleys was planned to take advantage of views out over the lake. The great bow front windows light each of the principle rooms, while bedrooms and service spaces stretch out to the rear.

11/21/2018

Art Nouveau City Churches

Mackmurdo: Title page of Wren’s City Churches, 1883. Arthur Mackmurdo’s swirling linear design for this title page is commonly cited as the first Art Nouveau composition.

Art Nouveau Sagrada Familia

Gaudi: Church of the Sagrada Familia, Barcelona, begun 1882.

Partly inspired by the Catalan Gothic, showing traces of Cubism, and commonly associated with the Art Nouveau, the Sagrada Familia fits no single stylistic category. Like many before him, Gaudi drew upon nature and exploited local methods of craftsmanship.

11/21/2018

Art Nouveau Guell Park

Gaudi: Entrance to the Parc Guell, Barcelona. Gatehouses stand to either side in this view. The columns at the head of the stairs support a plaza with undulating seating covered in ceramic shards. The site was intended to be a housing subdivision, but it never developed beyond a residence for Gaudi himself.

Photo by Marian Moffett.

Art Nouveau School of Art

Mackintosh: Glasgow School of Art, 1897-1909. This is the main façade. The huge windows accept north light for the painting and design studios. The central entry includes drawn from the Glasgow’s medieval vernacular. The endwall bay windows light the library.

Photo by Michael Fazio.

11/21/2018

Art Nouveau School of Art

Mackintosh: Plan of the Glasgow School of Art. Studios stretch across the front, with stairs and support spaces to the rear and with the library in one corner. Notice the six square columns that support its roof.

Art Nouveau School of Art

Mackintosh: Rear elevation of the Glasgow School of Art. While the north elevation provides the proper public face, this rear elevation possesses no less powerful a composition. Its reliance on the simple application of windows as figures on the plain field of the masonry walls is comparable to Mackintosh’s concern for figure- ground relationships in his watercolor drawings from nature.

11/21/2018

Art Nouveau Hill House

Mackintosh: Hill House, Helensburgh, 1902-04. The picturesque silhouette and massing of Hill House is very much a party of nineteenth-century sensibilities. The stark, unornamented wall surfaces, however, received much attention from those tracing the origins of twentieth-century Modernism.

Photo by Marian Moffett.

Art Nouveau Hill House

Mackintosh: First-floor (below), and second-floor (above) plan of Hill House, Helensburgh. These plans could not be more straightforward in their functional organization, but the perimeter was obviously determined with three- dimensional expression in mind. Notable are the stairs that notch into a reentrant corner and the stairs that project outward in the form of semi- circular landings.

11/21/2018

The Ecole des Beaux-Arts The Breakers

Hunt: The Breakers, Newport, RI, 1892-95.

Richard Morris Hunt was the first American to attend the Ecole des Beaux Arts in Paris. The knowledge he gained there of academic planning and monumental design made him the architect of choice among the late-nineteenth-century American elite.

The Ecole des Beaux-Arts Administration Building

Hunt: Administration Building, World’s Columbian Exposition, Chicago, 1893.

The “White City” captivated the late-nineteenth-century American public. The place where widespread exterior electric lighting was first used, it set in motion a planning movement that produced numerous proposals for new civic cores in cities across the country from San Francisco to Cleveland. Frederick Law Olmsted developed the site plan along the shore of Lake Michigan.

11/21/2018

The Ecole des Beaux-Arts Boston Public Library

McKim, Mean, and White: Boston Public Library. These plans are models of rigorous Beaux-Arts composition. On the first floor, the marche or carefully controlled entry sequence leads to the second-floor reading room, which lies behind the façade’s second-floor arcade.

The Ecole des Beaux-Arts Penn Station

McKim, Mean, and White: Plan of Pennsylvania Station, New York City, 1904-10. Of all of McKim, Mead, and White’s planning accomplishments, none is more impressive than this train station. Here they looked to the Roman baths for inspiration in managing the huge crowds that passed through these vast spaces each day.

11/21/2018

The Ecole des Beaux-Arts Penn Station

McKim, Mean, and White: Section and elevation of Pennsylvania Station, New York City. Like the plan, McKim, Mead, and White’s elevation and section were inspired by the Roman baths. The dominant features were the great thermal windows that lit the groin-vaulted waiting area. The destruction of this terminal must be considered a tragedy for American architecture.

Henry Hobson Richardson Trinity Church

Richardson: Plan of Trinity Church, Boston. Richardson’s plan is remarkably simple. Its vaults are ornamented with murals by John Lafarge. Connected to the chancel end of the church is the rectory, laid up in the same polychromatic stone.

11/21/2018

Henry Hobson Richardson Glessner House

Richardson: Plan of the Glessner House, Chicago. The outside walls of this U-shaped plan are laid up in rock-faced stone, while the walls of the inner court are brick. The scale change is striking, but appropriate. Notice the projecting stairs in the court.

The First Skyscrapers Home Insurance

Jenney: Home Insurance Building, Chicago, 1883-85. William Le Baron Jenney was only one of many searching for effective ways to fireproof steel- frame construction for late-nineteenth- century tall buildings. His Home Insurance Building was among the first successful solutions.

11/21/2018

Henry Hobson Richardson Auditorium Building

Alder and Sullivan: Plan of the longitudinal section through the Auditorium Building, Chicago. The so- called Auditorium Building is actually a hotel and office building that surround an auditorium. It was certainly the cleverest plan composition that Sullivan (together with Adler) ever produced.