Chapters 44-45-46 art nouveau – vienna secession- chicago school

ch-44-PPTaccessible.pptx

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 44

Art Nouveau

1880s – 1910s

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1

N. Innovation

Late 19th century, some try to integrate design, mechanization, & idea of modern

Strive to create new design language to express their world

Differ in appearance but shared concepts

Reject historicism

Integration of machine & mechanization

Adopt new technologies & new materials

Respond to new ways of living, urbanism, consumerism

Hope to improve lives through design

Work & ideas precedents for development & evolution of modernism throughout 20th century

Art Nouveau

Complex, eclectic international movement of various styles in Europe & North America

Two general stylistic trends

One: Stylized, organic, curvilinear forms

Art Nouveau in France, Belgium, Holland, Czechoslovakia, U.S.; Stile Liberty or Stile Floreale in Italy; Arte Moderno in Spain

Two: More rectilinear, geometric, abstract

Glasgow, Scotland; Scandinavia; Jugenstil in Germany & Austria

Great Britain contributes to its development but does not participate generally

Concepts

Many roots, manifestations, participants; reflect geography, governments, economies, lifestyles, behavior patterns

Key shared concept: desire to create new style

Express new world transformed by Industrial Revolution

Create a new contemporary design language, not tied to past

Designer as transformer of culture, art, people

Strive for unity in design by creating total works of art

Shared ideas: emphasis on craftsmanship; reverence for individuality; art for art’s sake; art for all

Influences: art, literature, non-western sources, past styles, vernacular traditions, folk art

Characteristics And Motifs

Common characteristics

Line explored & exploited whether curvilinear or geometric

Line & form convey energy, force, dynamism, organic growth

Decoration, particularly on surfaces, emphasized

Unity & common design language in architecture, interiors, furniture, decorative arts contribute to total works of art

Asymmetry, abstraction of natural forms; whiplash curves; geometric forms; exuberance; dramatic color

Modern materials: iron, glass

Motifs: stylized naturalistic: rose, lily, iris; dragonfly, peacock; women with long, flowing hair

Architecture

Modern style free from historicism & academic traditions

Individuality of architect, new materials, industrial processes, emphasis on structure & function

Influences: Viollet-le-Duc, Gustav Eiffel, Parisian department stores with open interiors of iron & glass

Architects want to improve quality of life for individuals & society through design

Little influence

Each creates own unique expression through form and/or decoration

Largely urban because part of urban renewals

Maybe curvilinear or geometric in form and/or detail

6

44.1

Architectural Details: Entrance gate, Le Castel Béranger, 1898; Paris, France; Hector Guimard and stair railing; France; Louis Majorelle. Art Nouveau.

44.3

Glasgow School of Art and library, 1897-1909; Glasgow, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description 1:

The facade has glass walls supported by pillars. The bottom of the wall has curved glasses. The entrance has arches and sculptures. The rear part of the side wall is of glass with a triangular top.

Long Description 2:

The ceiling is supported by horizontal and vertical wooden frames. The vertical wooden frames descend to the floor and are mounted on rectangular wooden frames. The hall is decorated with hanging lamps. The walls are decorated with carvings. The bookshelves are attached to the walls. The book desks are arranged.

8

44.4

Entrance, Paris Métro station, c. 1900-1910; Paris, France; Hector Guimard. Art Nouveau.

Long Description:

The roof has curved and arched glass on its face. The metal frame has a series of lines. The wall railings are mounted on a short raised wall on the left and right. The wall railings are a series of arched metal frames with floral patterns and curves.

9

44.5

Sagrada Familia, begun 1883; Barcelona, Spain; Antonio Gaudi

Cornet. Art Nouveau.

Long Description:

The main entrance has a pointed arch decorated with ornamentation. Four towers are visible in the front with two on the left and two on the right to the main entrance. Few towers are visible on the back. The towers are decorated with metal sculptures and ornamentation on their tops. The main entrance facade has sculptures inside the pointed arches. The side walls have carved floral patterns.

10

44.6a

Hôtel Tassel and floor plans, 1893; Brussels, Belgium; Victor Horta. Art Nouveau.

Long Description 1:

The facade is constructed with plain, and smooth stone. The center axis of the facade has curved glass walls with varying window sizes, and large semicircular oriel windows let in light on the main floor. The glass windows are supported with iron grilles that display a typical whiplash curve. The plant like capitals is below the glass windows. Decorative art glass in the window lies between the capitals. The entrance has a prominent wood entry door. The main door is at the center axis and vertical emphasis.

Long Description 2:

The ground floor has porch on the entrance and a parlor on its left. An octagonal shaped vestibule is next to the porch. Highly decorated halls are there followed by the vestibule. The first floor has a curved window on its facade, a stair hall, halls, and curved rooms.

11

44.6b

Hôtel Tassel stair hall, 1893; Brussels, Belgium; Victor Horta. Art Nouveau.

Long Description:

The iron columns anchor the space. The thin posts blossom into a tangle of tendrils and vine like twists at their crown. The mosaic floor has vines. The wall surfaces are decorated with stenciled whiplash curves. The chandeliers descend from the ceiling with flower petal shaped shades. The stained glass windows are at the entrance.

12

44.7

Front saloon, Ingram Street Tea Room, 1900; Glasgow, Scotland; Charles Rennie Mackintosh. Art Nouveau

Long Description:

The plain columns support the plain ceiling. The side walls have stained glass windows and are decorated with plants and human paintings. The top wall has carved concave regions. The concave region has vertical lines, stained glass windows, and windows with pointed arches. The dining table ad chairs are arranged. An iron basket of grills placed on the floor holds a metal column.

13

44.8a

Hill House, 1902-1903; Helensburgh, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description:

The hill house has asymmetrical buildings with slate roofs. The building has rectangular and cylindrical constructions. The cylindrical constructions have cone-shaped slate roofs. The walls have glass windows and the entrances are simply rectangles.

14

44.8b

Hill House entrance hall, 1902-1903; Helensburgh, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description:

The doors and windows have dark wooden frames. The table and sofa frame are made of dark wood. The floor has geometrical patterns. The doors have stained glass windows with curves and geometrical patterns.

15

44.8c

Hill House bedroom, 1902-1903; Helensburgh, Scotland; Charles Rennie Mackintosh. Art Nouveau.

16

44.9

Casa Milá, (La Pedrera), 1905-1910; Barcelona, Spain; Antonio Gaudi I Cornet. Art Nouveau.

17

Interiors

Curvilinear with abstracted floral or naturalistic motifs in France, Belgium, Italy

Strongly geometric with rectangular or square shapes in Germany & Scotland

Both unified compositions & total works of art

Designer usually create exterior, interior, furnishings, decorative arts

All relate to each other in forms, motifs, color

Reform interiors by providing more light & air

Room shapes remain rectangular with curving details in windows, doors, ceilings, fireplaces, decoration

18

44.10

Salon or hall, Hôtel van Eetvelde, 1895; Brussels, Belgium. Victor Horta. Art Nouveau.

Long Description:

The ceiling has a low domed stained glass ceiling that allows light in. The glass ceiling is of blue-green glass which is typical of the period. It has an arcade with built-in lighting. The hall has an iron column with plant motifs and curves. The walls are plain and cream-colored. The decorative iron balustrade with numerous curves is on the stairs and the hall. The raised stair floor has a marble wall. The hall has a seating area.

19

44.11

Sitting room, C.R. Mackintosh House, 1900, 1906; Glasgow, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description:

The ceiling is plain and has hanging lamps. The mantelpiece has a curved top. The walls are decorated with paintings. The hanging lamps are on the ceiling. The chairs are of different types. The chairs have long back or short back with long seats and armrests. The legs are vertical or curved. The table has curve designs.

20

44.12

Textiles: Fabrics with curves and flowers, c. 1900. Art Nouveau.

44.13

Lighting: Flambeau, applique électrique, and table et lampe, 1901-1902; France. Art Nouveau.

44.14

Lighting: Lamp, c. 1906; United States; Louis Comfort Tiffany. Art Nouveau.

23

Furnishings and Decorative Arts

Various forms—whiplash curves, sculptural forms & elongated shapes to geometric, hard edges, minimal decoration

Varies by designer, country, region or locale

Each piece conceived in relation to other pieces & entire composition

Diverse viewpoints--reject traditional forms & construction; use as springboards for own designs

Emphasis upon ability of wood to be carved

Unique, creative construction methods to achieve aims

Some aware of material; others exploit or ignore

Some design for mass production; others do not

44.15

Dining chair, 1882-1883; England. Arthur Heygate Mackmurdo. Art Nouveau precursor.

25

44.16

Side chairs, 1899-1901; France; E. Colonna and A. Landry. Art Nouveau.

44.17

Chairs, settee, and table, c 1900; Vienna, Austria; Michael Thonet.

27

44.18

Canapé for the Paris Exposition 1900; published in Art et Décoration, 1901. Art Nouveau.

28

44.19

Cabinet, c. 1899; France; Hector Guimard. Art Nouveau.

Long Description:

The cabinet has a curved top with a naturalistic vine motif and asymmetrically curved panels. The cabinet is decorated with an organic, fluid design. It has solid and void relationships. The drawers have curved, organic hardware. The cabinet is divided into asymmetrical units.

29

44.20

Bed, c. 1900-1910; France; Louis Majorelle. Art Nouveau.

30

ch-44-PPTaccessible.pptx

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 44

Art Nouveau

1880s – 1910s

If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

1) Math Type Plugin

2) Math Player (free versions available)

3) NVDA Reader (free versions available)

1

N. Innovation

Late 19th century, some try to integrate design, mechanization, & idea of modern

Strive to create new design language to express their world

Differ in appearance but shared concepts

Reject historicism

Integration of machine & mechanization

Adopt new technologies & new materials

Respond to new ways of living, urbanism, consumerism

Hope to improve lives through design

Work & ideas precedents for development & evolution of modernism throughout 20th century

Art Nouveau

Complex, eclectic international movement of various styles in Europe & North America

Two general stylistic trends

One: Stylized, organic, curvilinear forms

Art Nouveau in France, Belgium, Holland, Czechoslovakia, U.S.; Stile Liberty or Stile Floreale in Italy; Arte Moderno in Spain

Two: More rectilinear, geometric, abstract

Glasgow, Scotland; Scandinavia; Jugenstil in Germany & Austria

Great Britain contributes to its development but does not participate generally

Concepts

Many roots, manifestations, participants; reflect geography, governments, economies, lifestyles, behavior patterns

Key shared concept: desire to create new style

Express new world transformed by Industrial Revolution

Create a new contemporary design language, not tied to past

Designer as transformer of culture, art, people

Strive for unity in design by creating total works of art

Shared ideas: emphasis on craftsmanship; reverence for individuality; art for art’s sake; art for all

Influences: art, literature, non-western sources, past styles, vernacular traditions, folk art

Characteristics And Motifs

Common characteristics

Line explored & exploited whether curvilinear or geometric

Line & form convey energy, force, dynamism, organic growth

Decoration, particularly on surfaces, emphasized

Unity & common design language in architecture, interiors, furniture, decorative arts contribute to total works of art

Asymmetry, abstraction of natural forms; whiplash curves; geometric forms; exuberance; dramatic color

Modern materials: iron, glass

Motifs: stylized naturalistic: rose, lily, iris; dragonfly, peacock; women with long, flowing hair

Architecture

Modern style free from historicism & academic traditions

Individuality of architect, new materials, industrial processes, emphasis on structure & function

Influences: Viollet-le-Duc, Gustav Eiffel, Parisian department stores with open interiors of iron & glass

Architects want to improve quality of life for individuals & society through design

Little influence

Each creates own unique expression through form and/or decoration

Largely urban because part of urban renewals

Maybe curvilinear or geometric in form and/or detail

6

44.1

Architectural Details: Entrance gate, Le Castel Béranger, 1898; Paris, France; Hector Guimard and stair railing; France; Louis Majorelle. Art Nouveau.

44.3

Glasgow School of Art and library, 1897-1909; Glasgow, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description 1:

The facade has glass walls supported by pillars. The bottom of the wall has curved glasses. The entrance has arches and sculptures. The rear part of the side wall is of glass with a triangular top.

Long Description 2:

The ceiling is supported by horizontal and vertical wooden frames. The vertical wooden frames descend to the floor and are mounted on rectangular wooden frames. The hall is decorated with hanging lamps. The walls are decorated with carvings. The bookshelves are attached to the walls. The book desks are arranged.

8

44.4

Entrance, Paris Métro station, c. 1900-1910; Paris, France; Hector Guimard. Art Nouveau.

Long Description:

The roof has curved and arched glass on its face. The metal frame has a series of lines. The wall railings are mounted on a short raised wall on the left and right. The wall railings are a series of arched metal frames with floral patterns and curves.

9

44.5

Sagrada Familia, begun 1883; Barcelona, Spain; Antonio Gaudi

Cornet. Art Nouveau.

Long Description:

The main entrance has a pointed arch decorated with ornamentation. Four towers are visible in the front with two on the left and two on the right to the main entrance. Few towers are visible on the back. The towers are decorated with metal sculptures and ornamentation on their tops. The main entrance facade has sculptures inside the pointed arches. The side walls have carved floral patterns.

10

44.6a

Hôtel Tassel and floor plans, 1893; Brussels, Belgium; Victor Horta. Art Nouveau.

Long Description 1:

The facade is constructed with plain, and smooth stone. The center axis of the facade has curved glass walls with varying window sizes, and large semicircular oriel windows let in light on the main floor. The glass windows are supported with iron grilles that display a typical whiplash curve. The plant like capitals is below the glass windows. Decorative art glass in the window lies between the capitals. The entrance has a prominent wood entry door. The main door is at the center axis and vertical emphasis.

Long Description 2:

The ground floor has porch on the entrance and a parlor on its left. An octagonal shaped vestibule is next to the porch. Highly decorated halls are there followed by the vestibule. The first floor has a curved window on its facade, a stair hall, halls, and curved rooms.

11

44.6b

Hôtel Tassel stair hall, 1893; Brussels, Belgium; Victor Horta. Art Nouveau.

Long Description:

The iron columns anchor the space. The thin posts blossom into a tangle of tendrils and vine like twists at their crown. The mosaic floor has vines. The wall surfaces are decorated with stenciled whiplash curves. The chandeliers descend from the ceiling with flower petal shaped shades. The stained glass windows are at the entrance.

12

44.7

Front saloon, Ingram Street Tea Room, 1900; Glasgow, Scotland; Charles Rennie Mackintosh. Art Nouveau

Long Description:

The plain columns support the plain ceiling. The side walls have stained glass windows and are decorated with plants and human paintings. The top wall has carved concave regions. The concave region has vertical lines, stained glass windows, and windows with pointed arches. The dining table ad chairs are arranged. An iron basket of grills placed on the floor holds a metal column.

13

44.8a

Hill House, 1902-1903; Helensburgh, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description:

The hill house has asymmetrical buildings with slate roofs. The building has rectangular and cylindrical constructions. The cylindrical constructions have cone-shaped slate roofs. The walls have glass windows and the entrances are simply rectangles.

14

44.8b

Hill House entrance hall, 1902-1903; Helensburgh, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description:

The doors and windows have dark wooden frames. The table and sofa frame are made of dark wood. The floor has geometrical patterns. The doors have stained glass windows with curves and geometrical patterns.

15

44.8c

Hill House bedroom, 1902-1903; Helensburgh, Scotland; Charles Rennie Mackintosh. Art Nouveau.

16

44.9

Casa Milá, (La Pedrera), 1905-1910; Barcelona, Spain; Antonio Gaudi I Cornet. Art Nouveau.

17

Interiors

Curvilinear with abstracted floral or naturalistic motifs in France, Belgium, Italy

Strongly geometric with rectangular or square shapes in Germany & Scotland

Both unified compositions & total works of art

Designer usually create exterior, interior, furnishings, decorative arts

All relate to each other in forms, motifs, color

Reform interiors by providing more light & air

Room shapes remain rectangular with curving details in windows, doors, ceilings, fireplaces, decoration

18

44.10

Salon or hall, Hôtel van Eetvelde, 1895; Brussels, Belgium. Victor Horta. Art Nouveau.

Long Description:

The ceiling has a low domed stained glass ceiling that allows light in. The glass ceiling is of blue-green glass which is typical of the period. It has an arcade with built-in lighting. The hall has an iron column with plant motifs and curves. The walls are plain and cream-colored. The decorative iron balustrade with numerous curves is on the stairs and the hall. The raised stair floor has a marble wall. The hall has a seating area.

19

44.11

Sitting room, C.R. Mackintosh House, 1900, 1906; Glasgow, Scotland; Charles Rennie Mackintosh. Art Nouveau.

Long Description:

The ceiling is plain and has hanging lamps. The mantelpiece has a curved top. The walls are decorated with paintings. The hanging lamps are on the ceiling. The chairs are of different types. The chairs have long back or short back with long seats and armrests. The legs are vertical or curved. The table has curve designs.

20

44.12

Textiles: Fabrics with curves and flowers, c. 1900. Art Nouveau.

44.13

Lighting: Flambeau, applique électrique, and table et lampe, 1901-1902; France. Art Nouveau.

44.14

Lighting: Lamp, c. 1906; United States; Louis Comfort Tiffany. Art Nouveau.

23

Furnishings and Decorative Arts

Various forms—whiplash curves, sculptural forms & elongated shapes to geometric, hard edges, minimal decoration

Varies by designer, country, region or locale

Each piece conceived in relation to other pieces & entire composition

Diverse viewpoints--reject traditional forms & construction; use as springboards for own designs

Emphasis upon ability of wood to be carved

Unique, creative construction methods to achieve aims

Some aware of material; others exploit or ignore

Some design for mass production; others do not

44.15

Dining chair, 1882-1883; England. Arthur Heygate Mackmurdo. Art Nouveau precursor.

25

44.16

Side chairs, 1899-1901; France; E. Colonna and A. Landry. Art Nouveau.

44.17

Chairs, settee, and table, c 1900; Vienna, Austria; Michael Thonet.

27

44.18

Canapé for the Paris Exposition 1900; published in Art et Décoration, 1901. Art Nouveau.

28

44.19

Cabinet, c. 1899; France; Hector Guimard. Art Nouveau.

Long Description:

The cabinet has a curved top with a naturalistic vine motif and asymmetrically curved panels. The cabinet is decorated with an organic, fluid design. It has solid and void relationships. The drawers have curved, organic hardware. The cabinet is divided into asymmetrical units.

29

44.20

Bed, c. 1900-1910; France; Louis Majorelle. Art Nouveau.

30

Chapters 44-45-46 Art Nouveau – Vienna Secession- Chicago School

ch-44-PPTaccessible.pptx

ch-44-PPTaccessible.pptx

ch-44-PPTaccessible.pptx