ERNEST FLAGG, ECOLES THE BEAUX ARTS CURRICULUM AND

AMERICAN MODERNISM
How Flagg extended and adapted his French Training in his American Practice. Learn about
his importance in the movement for low-cost housing during the first decades of the
twentieth century

CRITICAL ESSAY STRUCTURE

Paragraph 1: Introduction – Background
Source: https://study.com/academy/lesson/ernest-flagg-architect-houses-biography.html

 BIOGRAPHY
o Born in Brookly on February 6, 1857
o In his youth, he went to school and worked under his father’s
guidance
o He worked with French Architect Phillip Gengembre Huber – help
hum eran recognition from others in his community
o His rich -cousin- by- marriage, Cornelius Vanderbilt saw potential
Ernest had- paid him to attend the Ecoles des Beaux-Arts in France-
graduated from school in 1891 and returned to America as a fully
trained architect
 WHY IS HE SO IMPORTANT
o Influential Beaux Arts Architect – how he implement the Beaux Arts
into American Culture
o Urban Reformer
o Low cost housing movement – modular homes project

Paragraph 2: Beaux Arts Influence – French School Influence

SOURCE: BOOKS
 French School definition according to Flag
o Describe the Theory and practice in France Architecture
o Identify the school where he studied
 Things happened in Ecoles Beaux Arts when Ernest Flagg was entered –
People who influenced ERNEST FLAGG – greatly influence by the legacies of
Viollet-le-Duc, Garnier, etc.
o He was inevitably drawn into the current debate of the ‘French
School’ – how to reconcile in architecture the polarities of art and
science which had been in conflict through out the century
o Romantic Rationalist – were bound by the common goals of
correcting the idealism of earlier French neoclassicism through
rationalism
o Neo-Grec architecture, the points are:
o Refine and rationalize architectural form by effecting a
reciprocity between structure and decoration, between
interior planning and exterior design
 o They wished to inculcate meaning in architecture through
symbolic expression and an abstract language of expression
ornament, using motifs incised or carved in low relief onto
planar masonry surfaces.
o Debate between idealized classicism (Charles Garnier) and structural
rationalism (Viollet-le-Duc) – but throughout the early Third Republic,
it was Garnier approach – that was to condition the mainstream of
architectural theory and practice, as well as curriculum -dessin
geometral (planimetric drawing emphasizing exterior countour) over
dessin perspetif (perspective drawing)
o Architects practicing during the early Third Republic came to regard
the question of historical style in more abstract manner – The
formalist approach of style – recognize architect’s personal style –
artistic geinus – underlaying factors in architect’s work – wide range of
options- Academic Classicism and Structural Rationalism was seen as
a option of style. – more prone to accepted “Rationalism” to meet
modern building requirements and programs
ECOLES DE BEAUX ARTS
 Although a student at the Ecoles de Beaux Arts would participated in courses ranging
for ornamental design, mathematics, and stereotomy, to the theory of architecture,
the real vehicle is about the atelier – unique institution in school structure – and its
patron- advisor of the program – criticizing the student’s work.
 Beaux Arts Principle – that are still used in modern building – about the parti
Source:
https://www.crt.state.la.us/Assets/OCD/hp/nationalregister/historic_contexts/beau
xartsREVISED.pdf

FRENCH ARCHITECTURE THEORY

 Fundamentals Laws of the human intellect and human form which is govern the
architectural design – principle of good taste – dessin geometrical – Flagg stated that
The evidence of the intellect of man in architectural design lies in the symmetry and
logical disposition of the parts shown principally on the plan – Through Paul Blondel
 The lesson of the human form as applied to such design is perfect symmetry to the
right and left of the central axis and diversity of head to foot- Flagg cited the Blanc
academic journal Grammaries des arts du dessin
 The measure of a student’s success – was his ability to seize parti- The process of
arriving at parti was an act of reason but the ability to grasp it was intuition, a gift of
nature. – architect as a problem solver – reconciling through choices of demands of
form and structure , Parti – revealed in the underlying plans itself. – theory of
choices
 His personal used of parti brought into harmony the intuitive bias of Garnier and the
rational bias of Viollet-le-Duc – seen the parti as a logical solution.
 The French School desires of her pupil they know everything, then forget all and be
themselves – their efforts would result the right party
 Flagg also argued that architects would soon develop ‘The Parti for America’ – would
be based on formalist approaches to style combining reason and intuition, on
judicious choice, not determinism, and and finally on architecture not arcaheology –
 To Flagg this was an end-of-the-century search for a final reconciliation between art
and science.
 Paragraph 3: After he came back from France before Modular
o Parti for America
o Flagg thought that a new national style of architecture – one responding to
modern civilization – would be scientific because it would not imitate French
Architecture but follows “the spirit of the French School”
o Style in United Stated is characterized by two:
- Character of Individuality
- Historical content
o A national style – according to the Flagg would join those two definitions
o Flagg stated that the Parti for America would embrace diverse historical
aspect of Reinassance classicism, including French, English, and American- but
the formation of national style could only be obtained by the architects who
committed to the same principle which is – the principles that taught at the
Ecole des Beaux-Arts
o Identifying the two kinds of building in architectural and archaeological way –
page 58 bottom
o To Flagg, Beaux-Arts was synonymous with the teachings of the Ecoles de
Beaux-Arts , the French School and the Architectural force – beaux arts signify
any association with or influence of the Arts Theory and design – Like the
nineteenth century revival styles that preceded it , Renaissance Classicism
eventually lost its preeminence with the impact of the Modern Movement of
the 1930s, but many of the rational principles of the French School – the
beaux-arts survived - BISA DIJADIIN CLOSING STATEMENT

Paragraph 4 : American Modernism

 What is American Modernism in Architecture ?
 First emerged
 Henry Hobson Richardson – mid 1880- served as an early
inspiration to Louis Sullivan in Chicago with his design of the
Marshall Field warehouse store.
 European Imports: Influx of European ideas made its way into America through
several aveneus during the 1930’s – Many Europeans immigrated to the United
States as a result if WWI and aproach off WWII (Walter Gropius, Mies van der Rohe)
Source:
https://static1.squarespace.com/static/50765d99e4b0de5e53f56de4/t/5536ccaee4
b035d4cbd2eda/1429654702682/american-modernism-2.pdf
 Principles of American Modernism
http://www.modernsandiego.com/ModernDefinition.html
o The Humanist – create work that stimulated emotional responses in people
when they experienced the built environment in contrast to their responding
intellectually – created an entirely fresh approach to the design of their
buildings – establish the American Humanism – respect the nature of the
building site and its microclimates – taking the full advantage of a site’s
natural characteristics – employ natural element – create their design to
avoid formalism
 o The Internationalists – Fusion of science and life, attempting to unite art and
industry, bringing the into daily life using architecture as the intermediary –
rejects all forms of extraneous ornament, choosing to allow the building’s
structure , functional joining and detailing of their buildings to provide visual
refinement
 According to https://www.slideshare.net/fethullah95/international-
style-architecture
 Emerged during the 1920s and 1930s
 Typical characteristics: rectilinear forms, plane surfaces that
are completely devoid of applied ornamentation, open, fluid,
interior

Paragraph 6: Closing Statement

1. Modulor Man