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ARTS AND CRAFTS MOVEMENT - Architecture
ARTS AND CRAFTS MOVEMENT - Architecture
ARTS AND CRAFTS MOVEMENT - Architecture
and that both design and working lives had been better in the past
Spurred by the experience of furnishing his home, Morris set up a studio with several
associates, including Webb and English artists Dante Gabriel Rosetti and Edward BurneJones. They designed everythingfrom wallpaper to stained glass, books, and teapots
according to the highest standards of craftsmanship. The idea of the house as a total work
of art, with all of the interior objects designed by the architect, emerged from this studio
and remained standard practice throughout the Arts and Crafts movement.
RED House (1859)
Red House in Bexleyheath in the southern
suburbs of London, England is a key building in
the history of the Arts and Crafts movement
and of 19th century British architecture.
Morris wanted a home for himself and his new wife, Jane.
He also desired to have a "Palace of Art" in which he and his friends could enjoy
producing works of art.
The house is of warm red brick with a steep tiled roof and an emphasis on
natural materials. It was the first domestic dwelling to have stained glass
windows.
The garden is also significant, being an early example of the idea of a garden as
a series of exterior "rooms".
The "rooms" were comprised of a herb garden, a vegetable garden, and two rooms
full of old-fashioned flowers jasmine, lavender, roses, and an abundance of
fruit trees apple, pear and quince.
The Country Day School movement, the bungalow style of houses popularized by
Greene and Greene
Mission, Prairie and the California Craftsman styles of home building remain
tremendously popular in the United States today.
Gustav Stickley:
Gustav Stickley (March 9, 1858April 21, 1942) was a furniture maker and architect as
well as the leading spokesperson for the American Arts and Crafts movement.
In 1901, Stickley founded The Craftsman, a periodical which began by expounding the
philosophy of the English Arts & Crafts movement but which matured into the voice of
the American movement. He worked with architect Harvey Ellis to design house plans for
the magazine, which published 221 such plans over the next fifteen years. He also
established the Craftsman Home Builders Club in 1903 to spread his ideas about
domestic organic architecture.
These ideas had an enormous influence on Frank Lloyd Wright. Stickley believed that:
An open floor plan would encourage family interaction and eliminate unnecessary
barriers;
Built-in bookcases and benches were practical and ensured that the house would
not be completely reliant on furniture from outside;
Exposed structural elements, light fixtures, and hardware are all considered to be
decorative; and
Style (Greek forms with occasional Roman influences). He was also heavily influenced
by the Idealistic Romantics. Wrights approach to design was closely associated with that
of the Arts and Crafts movement, in which the architect designed not only the house but
also the interior detailing, furniture, lighting fixtures, and even doorknobs, hinges, and
other hardware.
Wrights Early Works:
Wright believed that the architectural form must ultimately be determined by the
particular function of the building, its environment, and the type of materials employed in
the structure.
Among his fundamental contributions was
The use of various building materials for their natural colors and textures, as
well as for their structural characteristics.
This concept was particularly evident in his early Prairie style, single-family
houses, among them the Martin House (1904) in Buffalo, New York; the
Coonley House (1908) in Riverside, Illinois; and the Robie House (1909) in
Chicago.
In Scotland, Mackintosh designed the Glasgow School of Art in two phases, which reveal
a dramatic shift from his early art nouveau phase to the Arts and Crafts aesthetic. The
buildings asymmetrical front (1897-1899) featured a range of styles and curving art
nouveau ironwork. The rear of the building (1906-1909) presented something quite
different: To light the artists studios within, Mackintosh opened
up the faade with tall windows set into an austere masonry grid.
Spare, simple, functional, and breathtakingly different, this
elevation predicted many of the qualities that came to be
associated with modern architecture after World War I (19141918). Inside, the library, with its soaring interior space, dark
wood, and exquisitely crafted furniture and lighting fixtures,
revealed Mackintosh's fascination with Japanese architecture and design.
Art Nouveau
Art nouveau (French for "new art") is a style in art, architecture and design that peaked
in popularity at the beginning of the 20th century. Art Nouveau, which flourished in
Europe between 1890 and 1910, was one of the earliest (and shortest-lived) efforts to
develop an original style for the modern age.
Art nouveau artists and designers transformed modern industrial materials such as iron
and glass into graceful, curving forms often drawn from nature, though with playful
elements of fantasy. In contrast to both Perret and the architects of the Chicago School,
art nouveau designers were interested in architecture as a form of stylistic expression
rather than as a structural system.
The name "Art Nouveau" derived from the name of a shop in Paris, Maison de l'Art
Nouveau, at the time run by Samuel Bing, that showcased objects that followed this
approach to design.
Architects associated with Art noveau:
Antoni Guad
undulating
and
flowing,
characterize
much
of
Art
Nouveau.
2. Another feature is usage of hyperbolas
and parabolas.
3. Conventional moldings seem to spring to life and "grow" into plant-derived forms
4. Art Nouveau advocated the use of highly-stylized nature as the source of
inspiration and expanded the "natural" repertoire to embrace seaweed, grasses,
and insects.
5. Correspondingly organic forms, curved lines, especially floral or vegetal, and the
like, were used.
THE OUTSTANDING DESIGNERS OF ART NOUVEAU
FRANCE - the architect and designer of the Paris metro entrances, Hector
Guimard, and the jewelry designer Ren Lalique;
AUSTRIA - the painter Gustav Klimt; in Spain the architect Antonio Gaud;
GERMANY - the illustrator Otto Eckmann and the architect Peter Behrens;
UNITED STATES - Louis Sullivan, whose architecture was dressed with art
nouveau detail, and the designer of elegant glassware Louis C. Tiffany.
Casa Batllo
Casa Mila
Gaudi was the creator of the city of Barcelona known around the world, known
as one of the world capitals- of Modernism.
He was a pioneer in his field using color, texture and movement in ways never
before imagined.
Medieval books, Gothic art, Oriental structures, the Art Nouveau movement,
and, of course, the glory of nature, strongly influenced his designs.
Instead of relying on geometric shapes, he mimicked the way trees and humans
grow and stand upright.
The hyperboloids and paraboloids he borrowed from nature were easily reinforced
by steel rods and allowed his designs to resemble elements from the environment.
Some people define him as a transgressor, but some defend his mysticism, while
a few claim that his buildings are difficult to clarify.
His whimsical vision and imaginative designs have brought a bit of magic to this
historic region.
Sagrada Familia
This giant church, with its broken tile mosaics, and unique sculptural
design, is by far Gaudis most recognized work.
o Gaud turned to nature for a rich variety of animal and plant forms
to decorate the towering faades of the Sagrada Famlia. He also
used natural forms structurally: columns shaped like bones,
undulating walls in brick, a roofline resembling the profile of an
armadillo. His wide use of ceramic tile, a local building material,
gave color and texture to his designs. The deeply personal nature
of his fanciful designs meant that no school developed to follow
him.
Iron working and glass, molded in vegetal and organic shapes, is the Porte
dauphine in Paris (1900) which is very typical is also the "umbrella" that covers
the actual entrance.
This Metro entrance is very famous, frequently appears in movies and posters. It
is quite different from other entrances because it is covered by a roof.
Victor Horta created buildings which rejected historical styles and marked the
beginning of modern architecture.
Horta was a leading Belgium Art Nouveau architect until Art Nouveau lost
public favor. At this time he easily assumed the role of a neoclassical
designer.
The characterizations are: the use of industrial materials like steel and iron in
the visible parts of houses.
New decorations inspired by nature (e.g. the famous whiplash motive, which
occurs very often in the Art Nouveau style and especially in the work of
Horta), decorative mosaics or graphical patterns on the facades of houses
can be seen applied in the Horta Museum itself.
Horta Museum
Tassel House