UNIT II

REVIEWING
INDUSTRIALISATION
BIRTH OF ARTS AND CRAFT MOVEMENT

1. Techniques of mass production promoted the use of

reproductions in many different styles.
2. WILLIAM MORRIS, the British poet, artist and architect
rejected this opulence in favor of
• simplicity,
• good craftsmanship, and
• good design.

“THE ARTS & CRAFTS MOVEMENT WAS BORN “ from 19TH

CENTURY and the early years of the 20TH CENTURY As a
reaction to the "soulless" machine-made production
aided by the Industrial Revolution.
EFFECTS OF THE INDUSTRIAL REVOLUTION
1. Separated humans from their own creativity and
individualism.
2. The worker was a cog in the wheel of progress.
3. Cheap manufactured goods, which had flooded shops
and filled houses in the second half of the 19th century.
4. The machine to be the root cause of all repetitive and
mundane evils.
These proponents sought to re-establish the ties between
beautiful work and the worker, RETURNING TO HONESTY
IN DESIGN NOT TO BE FOUND IN MASS-PRODUCED ITEMS
The movement relied on the talent and creativity of the
individual craftsman and attempted to create a total
environment.
Arts and Crafts Movement was a response to the
industrial revolution. It was a broad and diverse
movement, incorporating many idealistic themes.
BELIEFS OF ARTS AND CRAFTS MOVEMENT:

1. That well-designed buildings, furniture, and household

goods would improve society
2. That the material environment affected the moral fiber of
society
3. That the ideal was contented workers making beautiful
objects
4. And that both design and working lives had been better in
the past
5. It was neither anti-industrial nor anti-modern
6. The Arts and Crafts movement were against the principle
of a division of labour
7. The Arts and Crafts ideal they offered was a
• craft-based alternative, intended to alleviate industrial
production’s degrading effects on the souls of laborers
and on the goods they produced.
8. It emphasized local traditions and materials, and was
inspired by vernacular design—that is,
“ CHARACTERISTIC LOCAL BUILDING STYLES THAT GENERALLY
WERE NOT CREATED BY ARCHITECTS”
 ARTS AND CRAFTS MOVEMENT IN EUROPE:-
1. BRITISH MOVEMENT focused on the richly detailed gothic
style
2. Their interior walls were either white-washed or
covered in wallpaper depicting medieval themes.
3. The pottery and textile designs were intricate, colorful
and realistic.
4. While the original intent was to provide handmade
goods to the common man, the cost of paying craftsmen
an honest wage resulted in higher prices than the
common man could afford.
5. This limited the movement to the upper class.

ARTS AND CRAFTS MOVEMENT ARCHITECTS:

6. JOHN RUSKIN (1819-1900)

7. PHILIP WEBB (1831-1915)
8. WILLIAM MORRIS (1834-1896)
9. Charles and Henry Greene
10.RICHARD NORMAN SHAW
11.EDEN NESFIELD
 1. Worked in Street’s office in Oxford
where he came to understand
PHILIP WEBB Ruskin’s theories-their essence and
not their superficialities which
surrounded them and a wish to take
them further.
2. Webb was an uncompromising ,even
brutal designer devoid of
academicism and prepared to use
any styles or mixture of styles
without too much of regard for their
original context but merely for the
functional appropriateness of motifs
they contained
3. He confined himself almost entirely
to the design of houses , in town and
(1831- country
1915) • Palace Green in London(1868)
• 19 Lincoln ‘s Inn Field in
London(1868)
• Joldwyns in Surrey(1873)
• Clouds in wiltshire(1876)
1. Red House in Bexleyheath in
the southern suburbs of
London, England is a key
building in the history of RED HOUSE:-
the Arts and Crafts (1859)
movement
2. 19th century British
architecture.
3. Was the most significant 19
th century attempt to return
to vernacular architecture.
4. It was a building all most
without style , in the
academic sense
5. Medieval in appearance,
6. Forms were directly derived
from the character of the
materials used and were
1. Its plain brick walls and
steeply pitched clay tile roof
gave its name RED HOUSE.
2. It was designed in 1859 by
its owner, William Morris,
and the architect Philip
Webb, with wall paintings
and stained glass by Edward
Burne-Jones.
3. Morris wanted a home for
himself and his wife, Jane.
4. He also desired to have a
"Palace of Art" in which he
and his friends could enjoy
producing works of art.
5. The house is of warm red
brick with a steep tiled roof
and an emphasis on natural
materials
6. It was the first domestic
1.Morris wanted the
garden to be an
integral part of the
house, providing a
seamless
experience.

2.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
WILLIAM MORRIS: -1. Morris was an English poet, artist,
and socialist reformer,
2. Rejected the opulence on the
Victorian era and urged a return to
medieval traditions of design,
craftsmanship, and community.
3. He was inspired by the writings of
John Ruskin and Augustus Pugin who
championed the return of gothic
architecture (the last true
architectural movement in their
opinion.)
(1834-1896) 4. The Red house built for his marriage
to Jane Burden, was designed
• Having built the house, he needed furniture and
according to his principles.
decoration neither pretentious nor shoddy

• 1861 he founded THE FIRM, to produce honest

workmanlike furniture, wall paper and fabrics for
himself and others.
Later he expanded into
• stained glass ,
• books,
• tapestries and
• carpets making characteristic use of stylized , two
dimensional designs which emphasized the character of
the material he was working with, in contrast to the
exaggerated chiaroscuro of the contemporary machine –
produced designs typified by the great exhibition.
 ARTS AND CRAFTS MOVEMENT IN
AMERICA
1. The AMERICAN MOVEMENT drew inspiration from the
materials, choosing to highlight the grain of the wood
or the form of the pot.
2. They incorporated walls of rich wood tones, relegating
wallpaper to borders.
3. Paints were in rich earth tones.
4. Furniture and architectural details were designed to
take advantage of machines allowing the individual
craftsmen to assemble the furniture and finish the
wood.
5. The use of machines lowered the cost, making the
furniture, pottery and metalwork affordable and
therefore available to "the people".
• On a distinctively more BOURGEOIS flavor.
• The aesthetic counterpart of its contemporary political
movement: Progressivism
Living room from the Armchair, 1907–9,
Little House, Charles Sumner
Wayzata, Minnesota, Greene and Henry
1912–14, Made by Mather Greene
Frank Lloyd Wright

Library table,
1906, Gustav
Stickley Craftsman
Workshops,
 ARTS AND CRAFTS MOVEMENT IN AMERICA
These included the

1. "CRAFTSMAN“
- Style of architecture,
- furniture, and
- other decorative arts such as the designs promoted by
Gustav Stickley in his magazine, The Craftsman.
- A host of imitators of Stickley's furniture (the designs of
which are often mislabeled the "Mission Style") included
three companies formed by his brothers

2. The ROYCROFT community founded by Elbert Hubbard,

3. The "PRAIRIE SCHOOL" of Frank Lloyd Wright,

4. The COUNTRY DAY SCHOOL MOVEMENT,

4. The BUNGALOW STYLE of houses popularized by Greene

and Greene.
These included the :
1. "Utopian communities like Byrdcliffe and Rose Valley,
2. The contemporary studio craft movement. Studio pottery —
exemplified by Grueby, Newcomb, Teco, Overbeck and
Rookwood pottery
3. Mary Chase Perry Stratton's Pewabic Pottery in Detroit —
4. The art tiles by Ernest A. Batchelder in Pasadena, California,
• Mission,
• Prairie, and
• 'California bungalow' styles of homebuilding remain
tremendously popular in the United States today .

ARCHITECTS INVOLVED IN THE MOVEMENT:

• The "MISSION OAK" style furniture embraced by GUSTAV
STICKLEY,
• The "PRAIRIE SCHOOL" of FRANK LLOYD WRIGHT,
 MISSION STYLE

• The term Mission style was also used to describe

Arts and Crafts Furniture and design in the United
States.

• The use of this term reflects the influence of

traditional furnishings and interiors from the
American Southwest, which had many features in
common with the earlier British Arts and Crafts
forms.

• Charles and
• Henry Greene were important Mission style
architects working in California.

• Southwestern style also incorporated Hispanic

elements associated with the early Mission and
Spanish architecture, and Native American design.
• The result was a blending of the arts and crafts
rectilinear forms with traditional colonial
 MISSION STYLE:-
 Mission Style interiors were often embellished with
Native American patterns, or actual Southwestern
Native American artifacts such as rugs, pottery, and
baskets.

 The collecting of Southwestern artifacts became very

popular in the first quarter of the twentieth century.
 MISSION STYLE:-

Mission Style Footstool

Mission Style,
the Morris Chair
MISSION STYLE:- Charles and Henry Greene

The Gamble House in Pasadena,

California, is an outstanding
example of American Arts and
Crafts style architecture. The
house and furnishings were
designed by Charles and Henry
Greene in 1908 for David and
Mary Gamble of the Procter and
Gamble Company.
MISSION STYLE:- Charles and Henry Greene
 GUSTAV STICKLEY:
(March 9, 1858–April 21, 1942)
• Gustav Stickley known throughout the
world as Craftsman created the first truly
American furniture

• A hardworking, dedicated man, Stickley

achieved success in the early 1900s as THE
LEADER OF THE
ARTS & CRAFTS MOVEMENT IN AMERICA.

• GUSTAV STICKLEY was a furniture maker

and architect as well as the leading
spokesperson for the American Arts and
Crafts movement

• His trip to the 1900 Paris Exhibition

confirmed his bias against reproductions.
While taking his philosophical inspiration
from the Arts & Crafts European
movement, STICKLEY took his artistic
inspiration from America.
• 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.
DESIGN PRINCIPLES:-

• These ideas had an enormous influence on Frank Lloyd

Wright. Stickley believed that:

• A house ought to be constructed in harmony with its

landscape, with special attention paid to selecting local
materials;

• 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

• Artificial light should be kept to a minimum, so large

groupings of windows were necessary to bring in light.
Morris Chair, Gustav Stickley

Stickley furniture, Stickley

philosophy and Stickley design
means honesty of materials,
utility, solid construction, place
adaptability, proportion, effect
aesthetically, and colour.
Art nouveau --French for "new art"
“TO EACH EPOCH, ITS ART. TO ART, ITS FREEDOM”
Art Nouveau was the response: the desire to break away from
imitating styles of the past, to develop an art that reflected the
sensitivities and way of life of a particular society, the extreme
individuality of the artist dreaming of inventing an original
language that would ensure the absolute harmony of the
ornamentation of life.
•Style in art, architecture and design that peaked in
popularity at the beginning of the 20th century.
•Flourished in Europe between 1890 and 1910,
•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:

1. Antoni Gaudi
2. Victor Horta of Brussels.
3. Charles Rennie Mackintosh
4. Hector Germain Guimard

St. Louis World's Fair, (1904). Entrance to the

CHARACTER OF ART NOUVEAU
1. Dynamic,
2. Undulating and
3. Flowing, curved "whiplash" lines of syncopated
rhythm characterize much of Art Nouveau.
4. Usage of hyperbolas and parabolas.
5. Conventional moldings seem to spring to life and
"grow" into plant-derived forms
6. Use of highly-stylized nature as the source of
inspiration and expanded the "natural" repertoire to
embrace seaweed, grasses, and insects.
7. Correspondingly organic forms, curved lines,
especially floral or vegetal, and the like, were used.
ANTONNIO GAUDI (1852 – 1926)

EARLY LIFE
• Antoni Gaudí (25 June 1852–10
June 1926)
• Antonio Gaudí –was famous for his
unique style and highly
individualistic designs.

• Gaudí's first works were designed in the style of

gothic architecture and traditional Spanish
architectural modes, but he soon developed his
own distinct sculptural style.

• French architect Eugene Viollet-le-Duc, who

promoted an evolved form of gothic architecture,
proved a major influence on Gaudí.
DESIGN PHILOSOPHY
•Gaudi was the creator of the city of Barcelona
known around the world, known as one of the world
capitals- of Modernism.
•He was an attentive observer of nature from
childhood.
•He was attracted to the varied forms of nature ,
colors and geometry.
•He was a pioneer in his field using color, texture
and movement in ways never before imagined.
•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.

•He had unique proposals in geometry, conception of

space, constructive procedures with different use of
materials, forms and color.

•His whimsical vision and imaginative designs

have brought a bit of magic to this historic region.

•Gaudi’s culmination of traditional elements with

fanciful ornamentation and brilliant technical
solutions paved the way for future architects to step
outside the box.
NOTED WORKS

1.CASA VICENS (1883–1885)

2.Palau Güell (1885–1889)
3.College of the Teresianas (1888–1890)
4.Crypt of the Church of Colònia Güell (1898–1916)
5.Casa Calvet (1899–1904)
6.Casa Batlló (1905–1907)
7.CASA MILÀ (La Pedrera) (1905–1907)
8.Park Güell (1900–1914)
9.SAGRADA FAMÍLIA Nativity façade and Crypt of
the Sagrada Família church (1884–1926)
CASA VICENS
1.BUILDING TYPE: Family residence
2.COUNTRY: Barcelona,Spain
3.CLIENT: Industrialist Manuel
Vicens
4.PERIOD: 1883-1889

•Gaudi built the exotic Casa vicens

•his first major commission for the Casa Vincens in
Barcelona
•Quasi-Moorish style
•1878
•In Casa Vicens, Gaudi first formulated the essence
of his style ,which while
Gothic- in structural principle
Islamic-in inspiration
PLAN
• They were distributed in a long surface of about 12
x 18 meters, with a semi-subterranean basement,
ground floor, second floor and attic.

• The ground floor was laid out around the dining hall
with a covered gallery, smoking room and two
additional rooms. It was slightly elevated from the
ground level to allow greater ventilation and
improved lighting for the basement, which was
designed for storage

• The upper floor, where the family's bedrooms were

located, was accessed through a compensated
horseshoe-shaped stairway. The stairs continued to
the attic, where the service quarters were located.

• Planned around a conservatory which in its banded

brick, glazed tiles and decorative iron work was
more exuberant than any other house
CATALAN VAULT
•Gaudi used the traditional catalan vault which is a building
technique that lays plain bricks lengthwise over the parallel
wooden beams or centering to form an arch-shaped ceiling.
• Catalan vault is used to create such a curvy ceiling with bricks
•The vault became a key feature of his style appearing in its
most delicate form in the thin ,shell structure of his Sagrada
Familia school in Barcelona of 1909
ROOF
•The roof is sloped on two sides, with four gables;
FACADE
•The facade walls are built with visible rubblework

•Wrought iron windows with flowers tiles and sculptured stones

VICTOR HORTA(1861-1947)
Victor Horta was a Belgian architect and
designer. He was described as
"undoubtedly the key European Art
Nouveau architect."

EARLY LIFE
• Victor Horta was born in Ghent,
Belgium in 1861. He is sometimes
credited as the first to introduce the
style to architecture from the
decorative arts. The French architect
Hector Guimard was deeply
influenced by Horta and further
spread the "whiplash" style in France
and abroad.
• After studying drawing, textiles and
architecture at the Ghent Academie
des Beaux Arts, he worked in Paris.
He returned to Belgium and worked
for the classical architect Alphons
Balat, before he started his own
DESIGN PHILOSOPHY

•Victor Horta created buildings which rejected historical

styles and marked the beginning of modern architecture.

•He conceived modern architecture as an abstract

principle derived from relations to the environment, rather
than on the imitation of forms.

•His style was swirling and linear, like the stems of plants.
Tending towards unity, every material, surface, ornament,
inside or outside, was harmoniously assembled with great
fluidity and highly detailed by innovative shapes and
lines
•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.
HOTEL TASSEL

•Location:
Brussels, Belgium
•Date:
1893-
1894
•Building Type: 
Cultural
•Context:
Urban
•Style:
Art Nouveau
•Client:
Professor Emile
Tassel
INTRODUCTION:-
The Hôtel Tassel is a town house built by Victor Horta in
Brussels for the Belgian scientist and professor Emile Tassel in
1893-1894. It is located at 6, Rue Paul-Emile Jansonstraat in
Brussels. It is generally considered as the first true 'Art
Nouveau' building, because of its highly innovative plan and its
ground breaking use of materials and decoration
PLANNING:-

• At the Hôtel Tassel Horta definitively broke with this

traditional scheme.
• In fact he built a house consisting of three different parts.
• Two rather conventional buildings in brick and natural
stone - one on the side of the street and one on the side of
the garden - were linked by a steel structure covered with
glass.
• It functions as the connective part in the spatial
composition of the house and contains staircases and
landings that connect the different rooms and floors.
• The glass roof it functions as a light shaft that brings
natural light into the centre of the building. In this part of
the house that could also be used for receiving guests
Horta made the maximum of his skills as an interior
designer.
• He designed every single detail; door handles, woodwork,
panels and windows in stained glass, mosaic floorings,
stair railings, electric fittings and even the decorative wall
paintings and the furnishing.
• Horta succeeded in integrating the lavish decoration
• It is a narrow fronted,3 storey town house of
traditional terrace format.

• Horta made an extensive use of iron in domestic

architecture

• The Hotel Tassel has an open planning

• The octogonal vestibule on the ground floor rose upwards

through a half level towards the garden ,it expands
laterally into an adjacent foyer space covered by an iron
super structure

• The free standing columns of this space, embellished

with iron tendrils, echo similar serpentine forma
throughout the rest of the metal work.

• From the balustrades to the light fittings the same

aesthetic is dominated, a linear exuberance that is
delicately echoed in the mosaic floor and wall finishes and
in the coloured glass panels of the door to the salon.
 Was a Scottish
CHARLES RENNIE architect, designer, and
MACKINTOSH (1868-1928)
watercolorist.

EARLY LIFE:
• 1884- training as an architect in the office
of John Hutchinson in 1884, evening
classes at the Glasgow school of art.
• 1890 he won a traveling scholarship and
toured Italy before settling down into
practice.
• 1894-Exhibitions - Mackintosh developed NOTED WORKS:
• Glasgow School
an artistic relationship with Margaret
of Art, at
MacDonald, Frances Macdonald and
Glasgow,
Herbert McNair. Known as "The Four", they Scotland, 1897 to
exhibited posters, furnishings, and a 1909.  
variety of graphic designs in Glasgow, • Hill House, at
London, Vienna and Turin. Helensburgh,
• These exhibitions helped establish Scotland, 1902 to
Mackintosh's reputation. marries Margaret 1903.  
MacDonald in 1900 and works with her on • The Willow Tea
most projects. Rooms, at
• 1896-participates in the competition for Glasgow,
the Glasgow School of Art. Scotland, 1902 to
 THE MACKINTOSH STYLE:

•Mackintosh's architectural philosophy involved radically

updating the Scottish Baronial style, (volumetric masses
of heavy masonry), art nouveau motifs (floral and
geometric motifs in the iron work, tiles, details) and
modern materials and techniques (large, industrial,
braced windows).

•Favoring ELEGANTLY RECTILINEAR DESIGNS, free from

what he called 'antiquarian detail'.

•He was a COLLECTOR OF JAPANESE ARCHITECTURAL

BOOKS and prints, and in much of his work traditional
Scottish design meets art nouveau, harnessing the simplicity
of Japanese form in the process.

•His architectural style had a DISTINCTIVE EDGE,'

•He combined powerful architectural forms and SOFT,

DECORATION in a very distinctive way
GLASGOW SCHOOL OF ART:
PLANNING:

• The building plan is a long "E" with corridors along

the spine which link large art studios along the street
side and smaller ancillary rooms and offices on the
back side.

• At the east and west ends are larger rooms, most

significantly the two story library on the west.

• The entrance is located slightly off the center, up

steps from the street and leads to a toplit museum in
the back. The studios were accomodated along the
north –facing main front of the school.The stone
façade is therefore dominated by large divided studio
windows.The library itself is the one of the finest and
most important of all internal space designed

• Positioned slightly off center and in itself

asymmetrical in character , the main entrance reveals
a formal correspondance with the east face of the
shorter east wing.
ELEVATION AND MASSING:

• The building massing and facades reflect its context richly.

The north side, facing the major street, presents a simple,
horizontal rectangular mass with large, industrial windows
which light the studios, alternating with masonry piers.
• This facade is set behind a stone and iron railing,
interrupted at the center with an art nouveau iron arch under
which steps lead up to the asymmetric composition of the
entrance. In contrast the east and west facades are narrow,
towerlike masonry walls above the steeply sloping streets,
into which small paned metal windows recall Scottish
baronial architecture. From the south on the back side, the
three arms of the "E" are clearly revealed, and the masses
make a varied assemblage rising above the cityscape of roofs
below it. The museum skylight and the "hen run", a glazed
gallery connecting fourth floor studios are just two elements
of the lively composition of the stuccoed walls.
• The most striking feature is the tall oriel windows to the 2
storey library. They emphasize the vertical articulation of the
facade
• The interiors were
designed with equal
emphasis in
collaboration with
Margaret Macdonald.
Art nouveau floral and
geometric motifs bring
scale and color to the
rooms in details of
mantlepieces, lighting
fixtures, carpets,
furniture, and crockery.

• The library was

redesigned and built
later in 1906, a two
story volume with a
mezzanine overlooking
the first floor. A darkly
finished wood structure
 VIENNA SECESSION
• The Vienna
Secession (also known
as the Union of
Austrian Artists), was
an art movement
formed in 1897 by a
group of Austrian
artists who had
resigned from the
Association of Austrian
Artists, housed in the
Vienna Künstlerhaus.

The secession building at Vienna, • This movement

built in 1897 by Joseph Maria included painters,
Olbrich for exhibitions of the sculptors, and
secession group
architects.
Photograph of
Secession
Exhibition,
Vienna, 1900 ©
Hunterian
Museum and Art
Gallery
The XIV Beethoven
Exhibition 1902,
Viennese Secession,
"Schmuckplatten",
1902 ©
Österreichische
Nationalbibliothek -
Bildarchiv, Vienna
Joseph Maria
OLBRICH
(1867 - 1908)
• Along with painters and sculptors, there were several
prominent architects who became associated with The
Vienna Secession.
• During this time, architects focused on bringing purer
geometric forms into the designs of their buildings.
• The three main architects of this movement were 
1. Joseph Maria Olbrich,
2. Josef Hoffmann, and 
3. Otto Wagner.
• Secessionist architects often decorated the surface of
their buildings with linear ornamentation in a form
commonly called whiplash or eel style.
• In 1898, the group's exhibition house was built in the
vicinity of Karlsplatz.
• Designed by Joseph Maria Olbrich, the exhibition
building soon became known simply as "the
Secession" .This building became an icon of the
movement.
• The secession building displayed art from several other
influential artists such as Max Klinger, Eugène
• Otto Wagner's Majolika Haus in Vienna (c.
1898) is a significant example of the
Austrian use of line.

• Other significant works of Otto Wagner

include The Karlsplatz Stadtbahn Station in
Vienna (1900), and The Austrian Postal
Savings Bank or Österreichische
Postsparkasse in Vienna (1904–1906).

• Wagner's way of modifying Art

Nouveau decoration in a classical manner did
not find favour with some of his pupils who
broke away to form the Secessionists.

• One was Josef Hoffmann who left to form

the Wiener Werkstätte, an Austrian
SECESSION
S BUILDING
(1897)
 ERNST
LUDWIG
HOUSE
(1901)
 JOSEPH
HOFFMAN
N
(1870 -
1956)
 SANATORIUM
PURKERSDORF (1905)
STOCLET
PALACE
(1911)
FRANK LLOYD WRIGHT:-
Frank Lloyd Wright originated the PRAIRIE STYLE –
• open plans,
• horizontality,
• natural materials which was part of the American
Arts and Crafts movement
• hand craftsmanship,
• simplicity,
• function an alternative to the then dominant Classical
Revival Style (Greek forms with occasional Roman
influences).

• .

• Wright’s 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

1. The use of various building materials for their natural

colors and textures, as well as for their structural
characteristics.
2. His exteriors incorporated low horizontal proportions
and strongly projecting eaves.

This concept was particularly evident in his early Prairie

style, single-family houses, among them the
3. Martin House (1904) in Buffalo, New York;
4. Coonley House (1908) in Riverside, Illinois; and
5. Robie House (1909) in Chicago.
1. The Robie house is a residential prairie school style
masterpiece designed by architect Frank Lloyd Wright and
built in 1910.
2. It is located on the campus of the University of Chicago in
Hyde Park.
3. The house is famous for its art glass windows, which dapple
the house with color and light. ROBIE HOUSE (1909)
WRIGHTS EARLY WORKS:- Frank Lloyd Wright Robie House

Fank
Lloyd
Wright
dining
room
chair.
FRANK LLYOD WRIGHT
AND THE MYTH OF THE PRARIE (1890-1916)
1. Prairie school was a late 19th and early 20th century
architectural style, most common to the Midwestern United
States. The term "Prairie School" was not actually used by
these architects to describe themselves; the term was coined
by H. Allen Brooks, one of the first architectural historians to
write extensively about these architects and their work.

CHARACTERISTIC FEATURES:
2. Horizontal lines,
3. Flat or hipped roofs with broad overhanging eaves,
4. Windows grouped in horizontal bands,
5. Integration with the landscape,
6. Solid construction,
7. Craftsmanship, and
8. Discipline in the use of ornament.
9. Horizontal lines were thought to evoke and relate to the
native prairie landscape
FRANK LLYOD WRIGHT
AND THE MYTH OF THE PRARIE
(1890-1916)
EXAMPLES:
1. Oak Park, Illinois
2. Oak Park, Illinois
3. Robie House,
4. Willits house
5. Bradley House
6. Winslow house

Wright's home in Oak Park, Illin

Nathan
Grier Moore
House
333 Forest
Avenue, Oak
Park built
1895
Oak Park,
Illinois.  Frank
Lloyd Wright's
Unity Temple
Dining Chair,
from the Ward
W Willits
House,
Highland Park,
Illinois

Frank Lloyd Wright

Willits House Stained
Glass
FRANK LLOYD WRIGHT'S
Bradley House, 1902
Kankakee, Illinois
 FRANK LLYOD WRIGHT
AND THE MYTH OF THE PRARIE (1890-1916)

FORMATIVE PERIOD(1890’s)
• F.L,Wright spent his formative period (early 1890’s) with Adler and
Sullivan
• “The transformation of industrial techniques through art”-this
exotic vision was what inspired his early career.
• Yet what form this vision would take was not very clear
• Like his master he oscillated between the authority of the classical
order and the vitality of the asymmetrical form
• Issues of monumentality seems to have been problematic for both
Sullivan and Wright
• The initial solution was the doubly articulated formula of:
• The classical land stone-for urban
• Gothic- for the rural
1890
• After 1890, Wright was virtually in charge of Sullivan’s domestic
work
• For Sullivan and Wright, the young egalitarian culture of the new
world could not be based on something so ponderous
• Hence they turned towards the more exotic places like India, China
 WINSLOW HOUSE1893-1908
1. Built at river Forest, Illinois
2. 1893
3. In the Winslow house the problem of
evolving an egalitarian but
appropriate format was provisionally
resolved by providing 2 distinctively
different aspects
4. The street or the urban façade-being
symmetrical and entered on an axis
5. Rural or garden façade being
asymmetrical and entered on one
side
6. This anticipates the planning
strategy of Wright’s Prairie style” in
which irregular distortions to the rear
of the formal façade conveniently
accommodate awkward ingredients
such as the service elements
7. Winslow house was a transitional
work.
8. It is clearly confirmed by the mixed
 WINSLOW HOUSE1893-190

1. The low hipped Prairie

roof appears for the first
time.

2. The animation of
surfaces with Sullivan
esque bands of
ornament and string
courses testifies to the
continued influence of
Wright’s master.

3. The early emphasis on

fireplace testifies to
another more critical
influences, that of
Japanese architecture
 Ward Willetts House,
Highland Park, IL, 1900-0
A.
Heurtley
House,
Oak Park,
IL, 1902
 COUNTRY DAY SCHOOL MOVEMENT
1. The Country Day School
movement is a movement in
progressive education that
originated in the United
States in the late 19th
century
2. Country Day schools seek to
recreate the educational
rigor, atmosphere,
camaraderie and character-
building aspects of the best
college prep boarding
schools while allowing
students to return to their
families at the end of the
day.
3. To avoid the crime,
pollution and health
problems of the industrial
cities of the early 1900s,
1. The Country Day
School movement
shared many values
with the Arts and
Crafts movement.
2. School buildings and
campus landscaping
were designed with
the goal of creating
an inspirational
atmosphere that
would foster learning
and culture.
3. . Students were given
opportunities to
develop leadership
skills through clubs
and student
organizations