AR132-1 : THEORY OF ARCHITECTURE 2

Module 1
Term 3 | S.Y 2022-2023 prof: ar. SHEILA ELARDO

INTRODUCTION
THEORIES
- A well-substained explanation of some
aspect of the natural world.
- Interpretation of design ideas and practices
- Gives a tangible understanding of otherwise
ambiguous architectural thought
ARCHITECTURAL THEORIES
- Is the act of thinking, discussing, or writing
about architecture
- Encompasses at least three (3) man ides:
 Theories of Architectural Technology
 Theories of Architectural History
 Theories of Architectural Design
PHILOSOPHY
- Is the study of general and fundamental
problems concerning matters such as
existence, knowledge, values, reason, mind,
and language.
- “Our beliefs shape the way we build.” MARCUS VITRUVIUS POLLIO
STYLE - Born c.80-70 B.C., Died after c. 15 B.C.
- A fairly encompassing term in which can - Famous Roman architect in the 1st century
refer to several aspects of art. B.C.
- Technique(s) used to create an artwork. - Born in Verona
MOVEMENT - Prominent architectural theorist in the
- Artist who shares a common style, theme, Roman empire, written De Architectura
ideology towards their art
- Architectural style is determined by DE ARCHITECTURA
Architectural movement or in other cases
- “On Architecture”, published as Ten Books
by the historical context where that
on Architecture
architecture was conceived that not
- A treatise written of Latin and Greek on
necessarily needs to be a movement.
architecture
- Dedicated to the Emperor Augustus
Architecture of antiquity - Summary of Vitruvius’ own experience in
THE ANTIQUITY ERA the field of architecture
- Only Major contemporary source on
- Beginning of Architectural Evolution classical architect to have survived.
- Originality and invention
- First formal evidence concerning SUMMARY OF DE ARCHITECTURA
Architectural Theory 1st century B.C.
Qualifications and training of an
- This theory was the first to introduce the
Book 1 architect, the fundamental
three fundamental laws that architecture
principles of architecture
must obey
Architectural History, Building
-Vitruvius Book 2
materials
Symmetry in temples and in the
Book 3
human body

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AR132-1 : THEORY OF ARCHITECTURE 2
Module 1
Term 3 | S.Y 2022-2023 prof: ar. SHEILA ELARDO

Temples, the different types of Spacing between columns in a colonnade as

Book 4 columnar “Order”, theory of measured at the bottom of their shafts
proportions
Theatres, baths, and other public
Book 5
buildings
Site, domestic architecture,
Book 6 exposure and proportions of
houses
Flooring, Lime, Stucco, Frescoes
Book 7
and their coloring material
Water supplies, aqueducts,
Book 8
cisterns, etc.
Astronomy, sundials, and water
Book 9
clocks
Machines used in civil and military
Book 10
engineering

GREEK HOUSE PLAN BY VITUVIUS

- Use of atriums, but make passageways for
people entering the door, with stables on
one side and doorkeepers’ room n the
other, and shut off by doors at the inner
end.
- Θυρωρειον “concierge”, place between two
doors. From it, one enters the peristyle with
a recess distance one third less than the
space between antae.  Pycnostyle – one and half diameters
 Systyle – two diameters
 Eustyle – two and quarter diameter (best
proportion)
 Diastyle – three diameters
 Araeostyle – 4 diameters, alternating
araeostyle and systyle
FUNDAMENTAL PRINCIPLES

 Order – Due measure to the members of a

work considered separately
 Arrangement – includes the putting of
things in their proper spaces
 Eurythmy – is the beauty and fitness in the
adjustments of the members.
 Symmetry – a proper arrangement
between the members of the work itself
 Propriety – the perfection of style
 Economy –denotes the proper
INTERCOLUMNIATION
management of materials and of site
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AR132-1 : THEORY OF ARCHITECTURE 2
Module 1
Term 3 | S.Y 2022-2023 prof: ar. SHEILA ELARDO

VITRUVIAN TRIAD - The man is called after the Roman architect,

Vitruvius, who believed that the proportions
- The threefold Principles of body should be taken forward into
- According to Vitruvius, a structure must architecture
exhibit the three qualities of Firmitas,
Utilitas, and Venustas (firm, useful, and Medieval theories
beautiful)
ARCHITECTURAL KNOWLEDGE
 Firmitas – durability will be assured word of mouth and technically in master builders'
when foundations are carried down lodges. Most works were theological, and were
to the solid ground and materials transcriptions of the bible
wisely and liberally selected.
 Utilitas – refers to the issues that
are of importance to the functionality VITRUVIAN TRADITION
of architecture; appropriate spatial - ETYMOLOGIAE of Isodore of Seville
accommodation (c.560-636)
 Venustas – architectural beauty; the - He proposes three components of
building ability to mimic natural architecture: “There are three parts to a 
cosmic order. Beauty due to its building:
proportion and correct principle of
symmetry. Dispositio , constructio, venustas

VITRUVIUS’ IDEA OF BEAUTY AND  Dispositio – surveying of a site or of floor

PROPORTION and foundation
 Venustas – whatever added to buildings for
Vitruvius believed that, “No temple can have a
the sake of ornament or decoration
rational composition without symmetry and
proportion, that is, if it is not an exact calculation of
members like a well-shaped man.” All plans of
temples are completely developed by geometric Carolingian  - use of Vitruvius is less extensive
partitions and relations.  Ottonian architecture –demonstrated in St.
Michael’s Hildesheim
Procopius from Caesarea – 6th lawyer and
historian a contemporary of Justinian “Buildings” –
aim is to ensure that Justinian will be acclaimed by
posterity as a builder
Gervase (monk)  c. 1141-1210) his treatise in mid
19th century - most important document of medieval
architectural history
Hildegard’s Liber divinorum operum -
19th century analogies with “Vitruvian man”

VINCENT DE BEAUVAIS 
VITRUVIAN MAN (c. 1190-12640) Speculum doctrinale
by Leonardo Da Vinci 1492

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Module 1
Term 3 | S.Y 2022-2023 prof: ar. SHEILA ELARDO

Sections on architecture are compilations partly

taken over verbatim from Vitruvius and late Antique
encyclopedia of Isodore of Seville
ABBOT SUGER'S BOOK OF ST DENIS ON
WHAT WAS DONE DURING HIS
ADMINISTRATION  as well as by his passion for light in the
- was an architectural document that
emerged with gothic architecture.
 Villard de Honnecourt's portfolio of drawings
(1230s)
THE BOOK OF SUGER – ABBOT OF ST. DENIS
"The dull mind rises to truth through that which
is material."  -Abbot Suger
Suger's great ambition led to the thorough
remodelling of the Abbey Church of Saint-Denis
BASILICA OF SAINT-DENIS (1135AD)
- first and the template of   Gothic Church.
- reconstruction by the Abbot Suger, utilizing
a variety of structural and stylistic from 
ROMANESQUE (1140–44)
- created higher and wider bays, into which
he installed larger windows which filled the
end of the church with light.
- Soon afterward he rebuilt the facade,
adding three deep portals, each with
a tympanum (an arch filled with sculpture
illustrating biblical stories). The new facade
was flanked by two towers. He also
installed a small circular rose
window over the central portal. This design
became the prototype for a series of new
French cathedrals.
- believed that the universe consists of the
"Father of Lights" (God)  and the "smaller
lights" (the people)
- Suger's rebuilding of the church exemplifies
the desire to get closer to this "one true
light" in his use of heightened architecture
church.
 
VILLARD DE HONNECOURT
- He is known to history only through a surviving
portfolio of 33 sheets of parchment containing
about 250 drawings dating from the
1220s/1240s           
- In his writings he fused principles passed on from
ancient geometry, medieval studio techniques, and
contemporary practices
MATTHAUS RORICZER
- The Regensburg Ordinances required that a
mason be able to take the "elevation from a ground
plan.”
- The 1514 version of the Regensburg Ordinances
also outlines other tasks a stonemason must
complete prior to practicing.
1486 - first printed stonemasons’ book ; author was
the Cathedral Architect of Regensburg, Matthaus
Roriczer , “Little Book on the Correctness of
Pinnacles”
A short work , a geometric method of design for the
construction of Gothic pinnacles is demonstrated 
“on the basis of geometry”
 
LORENZ LACHER

  - 15th-century German master mason who

composed Instructions, a booklet on gothic design,
- Abbot Suger's philosophy known as "the and who contributed to the Heidelberg Church.
upward leading method."  influenced the
design

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Module 1
Term 3 | S.Y 2022-2023 prof: ar. SHEILA ELARDO

- As a master mason, his writing gives insights  ANDREA PALLADIO (1508 – 1580)

in Gothic architecture from the perspective of a
builder as opposed to the more common - Italian Renaissance architect of
contemporary perspectives written by clerics.  the Mannerist period
- most influential individual in the history of
WILLIAM DURANDUS Western architecture
- Born in Padua in 1508
- He showed the symbolism of churches and - Age of 13 stone carver apprentice
church ornaments of some Medieval Churches - At 16, trained in stone –cutting
Paragon of Christian symbolism - aesthetically - 1537, remodelled villa of Count Giangiorgo
pleasing example Trissino
- 1541, went to Rome to study ruins of
Gothic architecture – God displays a liturgical and antiquity
theological principle
PALLADIAN ARCHITECTURE 
Medieval Church - illustrates how sacramental
signs and instruments convey the grace of God. - European style of architecture derived from
the designs of Palladio
  - popular in Northern European countries
THE SYMBOLISM OF CHURCHES AND (Britain) ; “style” for villa design.
CHURCH ORNAMENTS  - Became popular throughout the British
colonies in Northern America.
- 19th and early 20th centuries the style was
by William Durandus frequently employed in the design of public
and municipal buildings
Glass windows – Holy Scriptures
Palladian - buildings style inspired by Palladio's
Lattice work of windows – prophets and obscure
own work; an evolution of Palladio's original
teachers of Church Militant
concepts.
Door – Christ and the apostle
Palladio's Work
Piers – bishops and doctors
- Based on the symmetry, perspective and
Pavement – foundation of our faith values of formal classical temple
architecture of Ancient Greeks and
Beams - princes or preachers Romans.

Palladio’s famous treatise “The Four Books of

Architecture” (I Quattro libri dell architettura)
published in 1570 describes the principles behind
his architecture, which was used for “Palladianism”
or Palladian inspired classicism.
The Four Books of Architecture provided
systematic rules and plans for buildings which were
creative and unique.
 

Renaissance theories
GIACOMO BAROZZI DA VIGNOLA
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Term 3 | S.Y 2022-2023 prof: ar. SHEILA ELARDO
- 1507 – 1573) was one of the great Italian
architects of 16th century Mannerism
- Trained as a painter
- 1520s – turned to architecture
- Palazzo Farnese (Caprarola)
- Church of IL Gesú (Rome)
- 1538 became involved with Vitruvian
Academy
“The five orders of architecture” (Regola delli
cinque ordini d’architectura) first published 1562
in Rome, is one of the most successful architectural
text books ever written
- The focus was not on studying classical
monuments, but on their interpretation.
- The book presented Vignola's practical
system for constructing columns in the five
classical orders (Tuscan, Doric, Ionic,
Corinthian, and Composite) utilizing
proportions which Vignola derived from his
own measurements of classical Roman
monuments.
- The clarity and ease of use of Vignola's
treatise caused it to become in succeeding
centuries the most published book in
architectural history.
The Five Orders from Vignola’s Book
The articles on each of the orders are divided into
five sections.
1. The colonnade
2. Arcade
3. Arcade with pedestal
4. Individual pedestal and base forms
5. Individual capital and entablature forms
 
Vignola’s goal
- Set of rules for proportions understood by
“average minds”
 
The rule that had been handed down from classical
architecture – the height of a column of any order
was proportional to the diameter of the order –
often resulted in irrational numbers.
Developed formulas for calculating various parts in
order to simplify this method.
He himself did not regard his theories as binding
since only a few of his completed projects observed
these instructions.
LEON BATTISTA ALBERTI
- Personified humanism
- Born to a Florentine father-in-exile (Lorenzo
Alberti) & Genoese mother
- Doctor of law at University of Bologna
- 1435, treatise on painting, DE
PICTURA , dedicated to Brunelleschi
- First humanist to prepare a survey of
classical monuments of the city
Renaissance architect authored De re
aedificatoria (On the Art of Building) a classic
architectural treatise written between 1443 and
1452 with Ten Books of Architecture.
- It covered a wide range of subjects, from
history to town planning, and engineering to
the philosophy of beauty
- It became a bible of Renaissance
architecture
- engineering knowledge of antiquity, and it
grounded the stylistic principles of classical
art’
- In Rome, Alberti had plenty of time to study
its ancient sites, ruins, and objects. His
detailed observations were included in his
Book.
 
Basic definition of architecture and
general elements of practice
BUILDING – “a form of body”
consisting of both matter and
Book 1
lineaments
MATTER – relates to nature but
power to wield LINEAMENTS
resides in architect’s mind
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Term 3 | S.Y 2022-2023 prof: ar. SHEILA ELARDO
Alberti prefers Platonic belief that
there is a higher reality to physical
or phenomenal world, IDEAS
BEAUTY– correct mirroring of
Book 6 transcendent Ideas rarely found
even in nature
ORNAMENT– mediating element
between raw nature and ordering
lines of  the architect
Full elaboration of Alberti’s theory
when he introduces the Ciceronian
notion of concinnitas or concinnity
CONCINNITY – perfect harmony
or grace that appears when
architect has perfectly composed
his design by demonstrating the 3
qualities of correct number, outline
Book 9
and position
NUMBER – addition or taking
away parts
OUTLINE – size & configuration
POSITION – correct placement
 EUGENE EMMANUEL VIOLLET-LE-DUC (1814 –
1879)
- French architect who wrote many books
outlining his architectural theory
- His interpretation of architecture had a great
impact on the conceptual tools of modern
20th century architecture
- Viollet-le-Duc's own architectural
compositions were comparable to the bold
and forceful creations of the High Victorian
Gothic style in England.
- His books contained his ideas on iron
construction, the relationship between form
and decoration, and the role of new
materials, all of which, together can be seen
to have been influential on a number of
practitioners of Art Nouveau at the turn of
the century.
- Viollet-le-Duc is considered by many to be
the first theorist of modern architecture.
- He consciously chose the Gothic style of
architecture, not as a 19th-century revival
style based on emotional associations but
as a logical, reasoned, functional
expression.
His idea:
the structure and the function of architecture as
its sole determinants
He no longer regarded the theory of architecture as
a speculative, aesthetic system, but rather as the
result of scientific research.
During his career he became a restorer and began
surveying and restoring medieval churches and
fortresses.
The expertise he acquire through this became the
basis for his books – “Detailed Encyclopedia of
French Architecture”, “Dictionary of French
Architecture” and       “ Discourses on
architecture”
Viollet-le-Duc’s theory of building is based on the
precise and extensive knowledge of the building
and construction techniques in the Middle Ages,
that he acquired as a restorer.
Viollet-le-Duc Adapted
- Gothic forms to metal and iron and was
interested in the  decorative possibilities  of
the material.
- His "vaulting systems for large spaces"
utilized diagonal and vertical supports in
compression and tension, as supports and
hangers. In some cases wrought-iron
decoration was fastened to the structure.
 
In several unbuilt projects for new buildings, Viollet-
le-Duc applied the lessons he had derived from
Gothic architecture, applying its rational structural
systems to modern building materials such as cast
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iron. He also looked at organic structures, such as a building

leaves and animal skeletons, for inspiration.  Doors and windows
 Different types of steps and
  staircases, pipes and
conduits, placing of wells and
JOHN RUSKIN
sinks
- Major British critic of art and architecture
and influential political writer. Book Two: Materials
- The Seven Lamps of Architecture (1849)  Treating of materials
and The Stones of Venice (1851–1853),  Treating of nature
Ruskin became as powerful a critic of  Budgeting and provision of
architecture as he was of painting. material
 Choosing correct material
- an extended essay, first published in May
 Preserving trees
1849
 How to choose wood
 Summery of trees
1. Sacrifice
 Stone – softest, hardest, best
2. Truth Book 2 and durable
3.  Power  Stones left by the ancients
4.  Beauty  Use of bricks – shape, size
5.  Life  Use of lime and plaster of
6.  Memory paris
7.  Obedience  Three different kinds of sand
and various materials used in
De re aedificatoria is subdivided into ten books different places
and includes:  Observation of times and
seasons to start a building
Book 1 Book One: Lineaments (plans)

He examines from the point of Book 3 Book Three: Construction

view of utility the parts that make This goes in to structural theory
up every building, and which must dealing with matters that relate to
therefore be considered at the the firmness of a building
very beginning of architecture.
 Walls and relationship to
These are the surroundings, the
foundation and type of soil
ground on which the building is to
 Marking of foundation on
be erected, the ground plans, ground
walls, the roof and openings.  Selecting the proper
foundation as per the soil
 Designs, values and rules condition
 Relationship between parts of  Qualities of stone and mortar
a building  Relating the lower part of the
 Climate, sun and winds foundation to the work done
 Suitability of the region by ancients
 Analysis of the region  Vents in thick walls, principal
 Convenience and parts of a wall, methods of
inconveniences of the region walling
 Platforms – forms and figures  Joining of stones as per their
 Origin of building strength
 Columns and walls  Finishing
 Usefulness of the coverings of  Using stones for
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strengthening of a wall
 Bond between stone and
sand
 Way of working with different
materials
 Covering of beams and
rafters
 Roofs, arches – difference in
construction – how to set
stones in an arch
 Different types of vaults
 Different types of tiles and the
materials to use
 Proper seasons for beginning
and finishing different parts of
a building
Book Four: Public Works
 Diversity of buildings of public
nature
 Region, place and
conveniences and
inconveniences of a situation
of a city.
 Beginnings of a city – forms
and fortification – customs
and ceremonies observed by
ancients
 Walls, battlement towers and
Book 4 gates
 Proportion, fashion & building.
construction as per military
ways and private ways
 Bridges – both wood and
stone
 Drains and sewers
 Making of city squares
Book 5 Book Five: Works of Individuals
 Concentrated on general and
specialized types of buildings
as per utility value
 Buildings for particular type of
people – castles and others;
their properties and parts
 Different types of spaces as
per use
 Properties of porch, lobby,
hall for summer and winter
 Fortification
 Parts of fort
 Priests’ camp
 Places for exercise, schools,
hospitals
 Senate house, temples,
administration building
 Lodgments for soldiers
 Camps – attacking and
defending them
 Private houses
 Country houses
 Difference between these and
treating during different
seasons
Book Six -  Book Nine
– Ornament: Ornament to Sacred
Buildings, Ornament to Public
Secular Buildings, Ornament to
Private Buildings
This discusses about the unity
Alberti classified as beauty. It is
only now that he talks about
architecture as a “beautiful art”. He
relates that to what is appropriate
Book 6 in terms of the hierarchy of the
Temple was taken as the measure
of all things
It is the source of all building
elements that could appropriately
use in all other buildings –
Example: various columns and
their components
Book 10 Book Ten: Restoration of
Buildings
This deals with techniques of
preserving existing buildings
Defects and which can be
corrected, and which cannot.
Water – importance and effects,
warmer & cooler climates, treatise
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Early architectural movements
(19th -21st century)
NEOCLASSICAL ARCHITECTURE
- mid –c. 18th-mid. C.19th buildings of ancient
Rome ancient Greece
- Implies monumentally, strict proportions     -
and severe, unadorned forms
- Neoclassicist belief was that art should
express the ideal virtues in life and could
improve the viewer by imparting a
moralizing message.
- Neoclassical architecture - based on the
principles of simplicity, symmetry, and
mathematics, which were seen as virtues of
the arts in Ancient Greece and Rome.
influences of 16th century Renaissance
Classicism.
England
Neopalladianism - reminiscent of the work Andrea
Palladio (1508-1580)
Romanticism - was deeply rooted in the
rediscovery of national identity
The British Greek Revival style - influenced by
the archeological findings of James Stuart and
Nicholas Revett who published The Antiquities of
Athens (1762).
British Greek Revival architecture, led by the
architects Williams Wilkins and Robert Smirke,
noted for its emphasis on simplicity and its use of
Doric columns.
Carl Gotthard Langhans's Brandenburg Gate
(1788-1791) in Berlin was a noted example.
 Neoclassical architecture declined by the mid
1800s, its influence continued to be felt in new
movements (American Renaissance movement
and Beaux-Arts architecture)
NEOCLASSICISM IN SOUTHERN GERMANY
19th century- neoclassicism made its way through
Germany, inspired in part by utopian architectural
movements
Utopian Architecture
CLAUDE NICOLAS LEDOUX (1736-1806)
- make statements by means of style, form,
and decoration
ideal of employing simple & basic forms
- Spheres, squares and cubes were repeated
in numbers beyond all reason
Königsplatz (Leo von Klenze) included a Doric
gateway (Propylon) flanked by two neoclassical
museums (one Ionic, one Corinthian), based on the
king’s desire that his architects build him “an
Acropolis in a suburban meadow.”
Walhalla – German Pantheon ( Leo Van
Klenz), set picturesquely at peak of a rise,
monumental, open staircase, exterior refers to
Parthenon in Athens
LEO VON KLENZE
- most important architect of south German
neoclassicism
- responsible for the look of Munich and
visual appeal of the Bavarian cultural
landscape
- created designs with rounded -  more neo
renaissance than neoclassical in style
- Born in 1784 in Bockenem Hildesheim,
studied at the Architecture Academy of
Berlin
Designed his most significant Munich
buildings:
 Königsplatz, the Alte Pinakothek and the
Odeon
 Walhalla - Danube River
 Befreiungshalle (Hall of Liberation) Kelheim
FEDERAL STYLE IN THE UNITED STATES
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Federal style, American revival of
Roman architecture, especially associated
with Thomas Jefferson and Benjamin Latrobe
philosophical ties to the concept of Rome
Redwood Library Newport, Rhode Island - earliest
neoclassical buildings in United States -
straightforward, temple-like façade
PETER HARRISON
- Architect, English sea captain and
shipbuilder
- Most of the Library’s classical elements
were carved from wood
THOMAS JEFFERSON –
- follower of English neopalladian style
- used neoclassical elements as expressing
the ideals of the Enlightenment
- University of Virginia (Charlottesville) one of
the earliest college campuses
White House by  James Hoban’s
- based on earlier plans for a country manor
by English architect James Gibbs
The Arts & Crafts Movement
- In architecture the Arts & Crafts movement
could be seen in a multitude of strains.
- Classic American bungalow - the stout,
boxy, single-family dwelling of one or two
stories with a prominent porch,
distinguished by a hipped roof with wide
overhanging eaves supported by thick
beams.
- In Britain and United States, the simplicity,
unvarnished, and rough-hewn aesthetic of
the Arts & Crafts could be seen mixed in
with a variety of stylistic preferences -
Queen Anne, Eastlake, Tudor Revival, Stick
Style, Spanish Colonial Revival, and Gothic
- In Britain, the Garden City Movement and
company towns such as Port Sunlight often
made use of such "hybrid" Arts & Crafts-
based styles in their designs for housing.
- In Brussels – Victor Horta and Henry Van
De Velde used Arts and Crafts ideas in the
craftsman-like approach to architecture,
furnishings and interior décor.
THE ARTS & CRAFTS MOVEMENT: CONCEPTS,
STYLES, AND TRENDS
Morris' success and his emphasis on vernacular
and rural imagery inspired many others to create
collective associations
-1882, Arthur Heygate Mackmurdo founded
The Century Guild, a group aimed at preserving
handcraft and the authenticity of the artist, whose
work included furniture, stained glass, metalwork,
decorative painting, and architectural design.
-1884, Eglantyne Louisa Jebb founded the Home
Arts and Industries Association, which funded
schools and organized marketing opportunities for
rural communities
-1887, Arts & Crafts Exhibition Society gave the
movement its name, was formed in London, with
Walter Crane as its first president aims were to
"[ignore] the distinction between Fine and
Decorative art" and to allow the "worker to earn the
title of artist.“
-Arts and Crafts movement socialist
THE ARTS & CRAFTS MOVEMENT
- The Arts & Crafts movement was first and
foremost a response to social changes
initiated by the Industrial Revolution began
in Britain.
- Critics such as the writer John Ruskin and
architect Augustus Welby Northmore
Pugin railed against these problems of
industrialization.
RUSKIN - related the moral and social health of a
nation to the qualities of its architecture and to the
nature of its work
For both Ruskin and Pugin, there was a strong
association between the morality of a nation and
the form of its architecture.
MORRIS - key influence on the Arts and Crafts
movement argued that the separation of the
intellectual act of design from the manual act of
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physical creation was both socially and
aesthetically damaging.
A. W. N. PUGIN - advocated truth to material,
structure, and function;  His book Contrasts (1836)
drew examples of bad modern buildings and town
planning in contrast with good medieval examples
In England and Scotland, the Arts and Crafts
Movement aimed to transform decorative art and
industrial design  into crafts practice “by the people,
for the people”
RELATIONSHIP WITH ART NOUVEAU
- emerged in part from the Arts & Crafts in
Europe during the late 1880s.
- Both placed an emphasis on nature and
claimed the Gothic style as an inspiration;
- emphasis on the decorative arts and
architecture and their power to physically
reshape the entire human environment
- Arts & Crafts emphasized simplicity and
saw the machine as deeply problematic
- Art Nouveau often embraced complexity
and new technology, sometimes to the point
of disguising the truth of materials for visual
effect.
- Art Nouveau also drew on a much wider
stylistic base than the Arts & Crafts, finding
inspiration from the Baroque, Romanesque,
and the Rococo and even Islamic and East
Asian sources along with the Gothic.
Later Developments
- Alternative Names
- United States, the Arts & Crafts Movement
is known as Craftsman Style, popularized
by Gustav Stickley
- "American Craftsman" is often colloquially
used for bungalows and related Arts-and-
Crafts-inspired houses.
- The term "Mission Style" or "Mission
furniture" meant to describe a chair made by
A.J. Forbes in 1894
Decline and Dissemination
- inherent problem of handcraft - which is
labor-intensive
- Fell victim to changing tastes: at the dawn
of the new century, - traditional
Neoclassicism emerged - the Edwardian
Baroque Revival in Britain and the City
Beautiful Movement in the USA
- Pockets of the Arts & Crafts Movement
managed to survive among individuals and
collective artistic enterprises well into the
middle of the 20th century.
Legacy
- Scotland, Charles Rennie Mackintosh and
the Glasgow School are sometimes
grouped in with other Arts & Crafts
designers.
- Many proponents of Art Nouveau cited
William Morris as a major influence on their
work
- movement was especially admired in
Austria and Germany, such was the case
with the Bauhaus as founded by Walter
Gropius in 1919. 
ART NOUVEAU
- Art Nouveau appeared in a wide variety of
strands it is known by various names, such
as the Glasgow Style, or, in the German-
speaking world, Jugendstil.
- Art Nouveau was aimed at modernizing
design, seeking to escape the eclectic
historical styles that had previously been
popular.
- Artists drew inspiration from both organic
and geometric forms, evolving elegant
designs that united flowing, natural forms
resembling the stems and blossoms of
plants.
- The emphasis on linear contours took
precedence over color, such as muted
greens, browns, yellows, and blues.
- The movement was committed to abolishing
the traditional hierarchy of the arts, which
viewed the so-called liberal arts, such as
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painting and sculpture, as superior to craft-
based decorative arts.
- an integral component - of modernism.
Key Ideas
 The desire to abandon the historical styles
of the 19th century
 The academic system belief that media
such as painting and sculpture were
superior to crafts such as furniture design
and ironwork.
 Art Nouveau practitioners felt that earlier
design had been excessively ornamental,
evolved a belief that the function of an
object should dictate its form
 important part of the style's legacy to later
modernist movements, the Bauhaus.
ART NOUVEAU ARCHITECTURE
- Many buildings incorporate a prodigious use
of terracotta and colorful tilework.
- Mackintosh believed art and design should
encompass the whole - it wasn't enough to
design a single object, or picture, or light
fixture. Everything should work together. His
work in architecture and interior design
demonstrates this belief.
- Art Nouveau structures in France and
Belgium (Hector Guimard and Victor
Horta were important practitioners), show
off the technological possibilities of an iron
structure joined by glass panels.
- Guimard's version of Art Nouveau was
nationalistic (he was French), but also
focused on community and the friendly
acknowledgement of differences between
the varied nationalities and ethnicities of the
world.
- Horta's work in Art Nouveau is marked by a
keen understanding of the capabilities of
industrial advances with iron and glass as
structure and infill.   relative newness and mass usage of
- a sculptural white stucco skin such as the
pavilions of the Paris Exposition Universelle
of 1900 and Secession Building in Vienna.
Later Developments - After Art Nouveau
- some designers tended to be lavish in their
use of decoration, and the style began to be
criticized for being overly elaborate
- Art Nouveau's death began in Germany and
Austria, where designers such as Peter
Behrens, Josef Hoffmann, and Koloman
Moser began to turn towards a sparer, more
severely geometric aesthetic as early as
1903.
- Art Deco - distinctly commercial character
expressed most succinctly at the Exposition
Internationale des Arts Décoratifs et
Industriels Modernes in Paris in 1925, the
event which would, in the 1960s, give Art
Deco its name.
Postmodern Influences
- influential in the 1960s and '70s to
designers wishing to break free of the
confining, austere, impersonal, and
increasingly minimal aesthetic
- The free-flowing, uncontrolled linear
qualities became an inspiration for artists
ART DECO
- The Art Deco style originated in Paris,
- Art Deco works are symmetrical, geometric,
streamlined, often simple, and pleasing to
the eye.
- This style is in contrast to avant-garde art of
the period
Key Ideas
 Art Deco, similar to Art Nouveau, is a
modern art style that attempts to infuse
functional objects with artistic touches
where the art object has no practical
purpose or use beyond providing interesting
viewing.
machine-age technology rather than
traditional crafting methods to produce
many objects.
 emphasized the uniqueness and originality
of handmade objects and featured stylized,
organic forms.
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 Streamline Moderne, the American version
of the Art Deco style was a stripped-down
and sleek version of the more elaborate
European Art Deco style.
 Art Deco icon of the New York skyline was
designed by William Van Alen, a French-
trained American architect
 financed by Walter P. Chrysler, founder of
the automobile company that bears his
name, and the architectural details were
designed to reference Chrysler products.
 The arches of the shimmering spire evoke
spinning chrome hubcaps as well as rising
suns, and the slick, geometric quality of the
crown reflects the drive toward streamlined,
machine-age elegance typical of American
BAUHAUS
Art Deco.
LUIS SULLIVAN - "form follows function," a
phrase for which he became known. He
believed in looking at the purpose of a
building before devising an architectural
form for it and in ensuring that usage was
reflected in both the structure and the
decoration.
FRANK LLOYD WRIGHT called his design
philosophy "organic architecture," which, at
its core, promoted the construction of
buildings that exuded harmony with their
respective environments, enhancing their
surroundings rather than extruding from
them
did not shun decoration, but used nature as
inspiration for ornament.
First half of 20th century
 Glasgow, Arts and Crafts
Movement revived artisan cooperatives
and promoted handmade.
 Vienna, Secessionists - free from the
smothering restrictions of academic art
 Darmstadt, Grand Duke Ernst Ludwig
von Hessen founded
the Matildenhöhe artists’ colony.
 Barcelona, Antonio Gaudi’s - Spanish
Modernisme movement

Deutscher Werkbund (German Work
Federation) in 1907 - goal of improving
the design quality of everyday objects.
 Peter Behrens - Industrial architect and
designer - functionalist design in his
work , German electric company AEG
and his influence on the Deutscher
Werkbund
 The AEG turbine factory – a
pioneering work of a new, expressive,
monumental architecture.
 Measures 680 x 84 ft (207 x 25.6 m)
 entirely steel and glass
 His later buildings demonstrated his
belief that a building complex must have
a heavy massiveness.
 single most influential modernist art
school of the 20th century.
  influenced by 19th and early-20th-century
artistic directions such as the Arts and
Crafts movement, as well as Art
Nouveau and its many international
incarnations, including
the Jugendstil and Vienna Secession.
 The origins of the Bauhaus lie in the late
19th century, in anxieties about the
soullessness of modern manufacturing,
and fears about art's loss of social
relevance.
 The Bauhaus aimed to reunite fine art
and functional design, creating practical
objects with the soul of artworks.
 The furniture and utensil designs
of Marcel Breuer
 Walter Gropius and Ludwig Mies van
der Rohe - forerunners of the
International Style
 The Bauhaus, named after a German
word meaning "house of building", was
founded in 1919 in Weimar, Germany by
the architect Walter Gropius.
 In conceptual terms, the Bauhaus
emerged out of late-19th-century desires
to reunite fine and applied art, to push
back against the mechanization of
creativity, and to reform education.
 Gropius called for the school to show a
new respect for craft and practical
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technique, suggesting a return to the

attitudes towards art and craft that had Le Corbusier’s Domino construction system of
characterized the medieval age. interchangeable, mass-produced structural design
 He envisioned the Bauhaus as elements
encompassing the full totality of artistic  flexible living space,
media, including fine art, industrial  glass walls
design, graphic design, typography,  Sliding doors
interior design, and architecture.  space became fluid
 Concepts
 a wheel made up of concentric rings, with Le Corbusier concept of a promenade
the outer ring representing the vorkurs, a architecturale describes moving through a building
six-month preliminary or 'basic course', as a transitional, through definitive, experience.
concentrated on the fundamental aspects of  Mies van der Rohe’s Villa
design, in particular the contrasting Tugendhat , Brünn
properties of various forms, colors and  Hans Scharoun’s Villa Schminke, Löbau
materials.  Architect Dominikus Böhm, using steel-
  reinforced concrete, designed a parabola-
INTERNATIONAL STYLE ARCHITECTURE shaped altar room for St. Englebert’s
  Church, Cologne
 "architecture of the machine age," which
symbolized the crystallization of modernism Philip Johnsons’s 1949 Glass House is an
in building design almost completely transparent rectilinear structure
  Often called "minimalist" architecture, -
built on his own heavily wooded estate.
well-known for the way they seem to strip
away all extraneous ornament from the Mies van der Rohe’s 1951 Farnsworth
structure, glorification of modern industrial House designed as a weekend retreat; a single
materials: chiefly, steel, concrete, and glass. room set on steel pillars.
  one of the first architectural movements to
receive renown and be adopted RICHARD ROGERS was an Italian-British
unequivocally on every inhabited continent. architect, best known for his high-tech approach
  global symbol of modernity both before and
that he described as “celebrating the components
after World War II of the structure”.
 The term "International Style" was coined in
 Significant works include the Pompidou
1932 by European architects at the Museum Centre in Paris and the Millennium Dome in
of Modern Art in New York curated by Greenwich, England
Henry-Russell Hitchcock and Philip Johnson
  describe an ethos of construction purely in
RENZO PIANO - an architect known for his broad
terms of materials and space, with virtually range of iconic projects 
no reference to the sociopolitical dimension.   His architecture exhibits futuristic design, a
  sensitivity to the environment, and attention
 Mies van der Rohe’s Pavilion at the 1929
to the user experience.
Barcelona World’s Fair  His work has been called "high-tech" and
 The Congrès Internationaux bold "postmodernism."
d’Architecture Moderne (International  
Congress on Modern Architecture) formed POST-MODERNISM
in 1928 to promote modern architecture
internationally  a style or movement emerged in the 1960s
  as a reaction against the austerity, formality,
International Style  architects: and lack of variety of modern architecture.
 experience of space in all its variability   advocated by Philip Johnson and Henry-
 interaction with the outside world Russell Hitchcock
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  introduced by the architect and urban
planner Denise Scott Brown and
architectural theorist Robert Venturi in their
book Learning from Las Vegas.
 it divided into a multitude of new tendencies,
including high-tech architecture, neo-
futurism, new classical
architecture and deconstructivism.
 ROBERT VENTURI was one of the first
architects to question some of the premises
of the Modern Movement. He published his
"gentle manifesto", Complexity and
Contradiction in Architecture in 1966
 understanding architectural composition and
complexity, and the resulting richness and
interest
 MICHAEL GRAVES favored a "humanistic
approach to architecture and urban
planning.
 a major influence in late-twentieth-century
architecture
 broadened "the role of the architect in
society" and raised "public interest in good
design as essential to the quality of
everyday life.“
 CHARLES ALEXANDER JENCKS - The
Language of Post-Modern
Architecture (1977), he examined the
paradigm shift from modern to postmodern
architecture, claiming that modern
architecture concentrates on univalent
forms such as right angles and square
buildings often resembling office buildings
 CHARLES WILLARD MOORE - fascinated
by modern technology and materials and in
love with the beauty of vernacular forms.
 he preached the importance of
architecture’s ability to delight by sheltering,
structuring and providing comforts
 PHILIP JOHNSON - began his career as a
pure modernist.
 co-authored the famous catalog of the
Museum of Modern Art exposition on the
International Style
 FRANK GEHRY was a major figure in
postmodernist architecture, and is one of
the most prominent figures in contemporary
architecture
 "defy categorisation“ - reflects a spirit of
experimentation coupled with a respect for
the demands of professional practice
 "Made us produce buildings that are fun,
sculpturally exciting, good experiences"
CONSTRUCTIVISM
 called avant-garde trends in architecture,
arts and crafts and fine arts and
photography.
 developed in the period from 1920 to the
beginning of the next decade.
 characteristic features of Constructivism are
strictness, conciseness of forms,
geometrism and monolithic appearance.
 movement aimed to reflect
modern industrial society and urban space,
while rejecting decorative stylization in favor
of the industrial assemblage of materials
 According to constructivists, each function
corresponds to the most rational structure.
 VLADIMIR YEVGRAFOVICH TATLIN 
-  achieved fame as the architect who
designed The Monument to the Third
International, more commonly known as
Tatlin's Tower
 Lenin Tribune by El Lissitzky (1920), a
moving speaker's podium
EXPRESSIONISM
 an architectural movement in Europe during
the first decades of the 20th century in
parallel with the expressionist visual and
performing arts that especially developed
and dominated in Germany. 
 characterised by an early-
modernist adoption of novel materials,
formal innovation, and very unusual
massing, sometimes inspired by natural
biomorphic forms, sometimes by the new
technical possibilities offered by the mass
production of brick, steel and especially
glass
 ERICH MENDELSOHN - developed a
dynamic functionalism in his projects for
department stores and cinemas.
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 was a pioneer of the Art
Deco and Streamline Moderne architecture,
notably with his 1921 Mossehaus design.
 EERO SAARINEN brought form and
function together in striking original ways.
 TWA Terminal is a concrete symbol of the
rapid technological transformations - sought
to capture the sensation of flight.
 JØRN OBERG UTZON was a Danish
architect. He was most notable for
designing the Sydney Opera House in
Australia.
 concern for nature which, in his design,
emphasized the synthesis of form, material
and function for social values.
 Additive Architecture, comparing his
approach to the growth patterns of nature "If
it grows naturally, the architecture will look
after itself. “
 Utzon's design has been called
Expressionist Modernism
heavy buildings for the most part do not
hide their weight, their materials, or the way
they are assembled
 Jatiya Sangsad Bhaban, National
Parliament House - monumental site
incorporates legislative buildings and
residences for the members of the
Bangladeshi Parliament -  "to develop the
element to such an extent that it becomes a
poetic entity which has its own beauty
outside of its place in the composition."
 PAUL MARVIN RUDOLPH  - known for his
use of reinforced concrete and highly
complex floor plans.
 Yale Art and Architecture Building or
the A & A Building, is one of the earliest
and best-known examples of Brutalist
architecture in the United States.

BRUTALISM

 most famous stylistic motif was the use of

raw concrete (French "béton brut") for
exterior surfaces, leaving evidence of the
construction process.
 emphasize the brash abundance of its
materials, drawing attention to the weight,
density, and mass of concrete, steel, and
stone.
 emerged at a time of urgent need for large-
scale, affordable residential architecture.
 part of a broader wave of mid-century-
modernist functional design
 A pioneer of modern architecture, Charles-
Édouard Jeanneret, known as Le
Corbusier, was not only the main
predecessor of and influence upon
Brutalism, but also created some of its most
iconic structures.
 Unité d'habitation (1952), an apartment
complex in France, was seen as the first
example of Brutalism in urban planning,
while his Maisons Joule (1951-55)
influenced the movement's approach to
private residences. 
 LOUIS ISADORE KAHN created a style
that was monumental and monolithic; his

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