History Of Architecture -6

Works Of Gustave Eiffel,Tony Garnier, Auguste PerretDevelopment Of New Art & Architecture , Art Nouveau &

Art DecoWorks Of Antonio Gaudi & Victor Horta.

Presented By:-Anant NautiyalKiran KaushikRiya TanejaSonali

Alexandre Gustave Eiffel• He was born in 15 December 1832 – 27 December 1923.• He was a French civil engineer and architect.• He is best known for the world-famous Eiffel Tower, built for the (1889 Universal

Exposition in Paris) , and his contribution to building the Statue of Liberty in New York .

• After his retirement from engineering, Eiffel concentrated his energy on research into meteorology and aerodynamics, making important contributions in both fields.

• An engineer, Gustave Eiffel designed 100’s of lattice-like metal structures of all kinds and sizes . BridgesViaductsThe Statue of Liberty, 1876The Eiffel Tower, 1889

Eiffel Tower • It was built for World’s Fair and to celebrate the centennial of

the French Revolution.• The tower officially opened May 5, 1889.• It was the tallest structure in the world until 1930.• Took 2 years, 2 months, 5 days to finish .• 5,300 blueprints.• 18,038 parts.• 2,500,000 rivets.• Weighs 10,000 tons.• 324 meters high.• 50 engineers.• 125 workmen on site.• 100 iron workers.• 1665 step to the top .

Eiffel Tower (1887-1889) • Painted every 7 years to preserve the iron and steel structure.• Takes 14 months to paint from top to bottom.• Takes 60 tons of paint.• 25 painters.• structure of the tower can be divided into two groups: columns,

which are designed to resist dead loads, and cantilevers, which are designed to resist wind loads.

The Statue of Liberty

• The Statue of Liberty is one of the best known American landmarks.

• It was a gift to the United States from France to honor their alliance during the American Revolution on July 4, 1884 to commemorate the 100 anniversary of the American Revolution. It was dedicated on October 28, 1886.

• The statue of Liberty is an example of neoclassical architecture.

• It is a hollow construction of thinly pounded copper sheets (2.4 mm thick) laid over a steel framework.

• It weighs a total of 450,000 pounds (204 tonnes), including 27 tonnes of copper and 113 tonnes of steel.

• The statue rests upon a masonry pedestal. The figure of Liberties 151 feet (46 m) tall, while the entire structure - from the base of the pedestal to the tip of the torch is 305 feet (93 m) in height.

• The statue's index finger is 8 feet long and its nose 4.5 feet. The pedestal is 89 feet (27 m) tall.

Statue Of Liberty • The Statue of Liberty was designed by the French sculptor Frédéric

Bartholdi.

• The figure was formed of copper sheets wrapped into an iron framework as part of a support system devised by the French civil engineer Alexandre Gustave Eiffel.

• The pedestal was designed by the American architect Richard Morris Hunt

• The head and arm of the statue - the first sections to be completed - were made with engineering assistance from Viollet-le-Duc, who suggested using an internal stone pier to support the figure.

• The skeleton consisted of brass plaques, soldered and riveted together.

• The outer skin of moulded copper sheets was riveted to the interior skeleton, the two layers being separated by a thin layer of asbestos impregnated with shellac, to prevent corrosion.

• The combined structure was attached to a central steel pylon so as to allow movement necessitated by either wind or temperature.

Auguste Perret 1874-1954

A pioneer in reinforced concrete construction.

Auguste Perret was an important pioneer of the modern movement. His most significant buildings were constructed in reinforced concrete in the years between 1902 to 1922.

He was the youngest of the first generation of modernists being only 28 when he built his first major building, his family-owned apartments at 25 bis Rue Franklin, Paris in 1902. Like Frank Lloyd Wright in America, he had a long career and died well into the 1950s when modernism was at its height.

Perret studied for a brief time in the academic Ecole des Beaux Arts, the conservative, classical-revival design school of the period. But he left this formal architectural training early to work with his father and brother in the family’s concrete construction business. These two early experiences shaped two stylistic characteristics of Perret ’s work:

1) His use of classical proportion and symmetry2) His functional approach to design and construction in reinforced

concrete.

Auguste Perret 1874-1954

• Auguste Perret was one of the very first architects to give a modern architectural expression to reinforced concrete. Modern cement-based concrete was patented in 1867 by the French gardener Joseph Monier, but during the Victorian period it remained hidden behind stone façades and veneers because it was considered a crude building material. In the 1890s Francois Henne bique introduced the trebeated structural system of reinforced concreting, but it was with Auguste Perret that this new, industrial material became expressed architecturally on the facade of buildings.

• Up till 1908 the young Le Corbusier worked in Perret ’s architectural practice. From him Le Corbusier learned about:● using reinforced concrete to create skeletal structures for building● using classical proportions and composition in modern design● using standardised components in design and

construction● a geometric approach to design and the flat

roof as living space.

Hennebique’s system, developed in 1892,

for structural continuity in reinforcing

concrete posts, beams and slabs.

Perret Le Corbusier

The chronological context of Perret ’s architecture

Chronological context in Architecture- Modernism to Postmodernism -

1890s 1900s 1910s 1920s 1930s 1940s 1950s 1960s 1970s 1980s 1990s

First generationmodernists

Second generation modernists

Third generationmodernists

The pioneers of modernism.They each treated form, space,structure, materials and ornament innovel ways.

These were the architects of ‘highmodernism’- the universalInternational Style- as well as thefashionable Art Deco period.

These were the architects ofPostmodernism.They reacted against the orthodoxy ofhigh modernism.

Peter Behrens - Berlin Walter Gropius Frank Gehry

Auguste Perret - Paris Le Corbusier Philip Johnson

C. R. Mackintosh - Glasgow Mies van der Rohe Charles Moore

Otto Wagner - Vienna Gerrit Reitveld I. M. Pei

Adolf Loos - Vienna William Van Allen Michael Greaves

Louis Sullivan - Chicago Napier Art Deco architects Louis Kahn

Frank Lloyd Wright - Chicago and mid-western states of USA Robert Venturi

Stylistic features of Perret’s buildings• As a pioneer of the architecturally expressed reinforced concrete

frame, Perret ’s buildings feature large areas of glazing on the non-weight-bearing walls. Internal spaces are open and generous and often lit by skylights.

• Perret ’s buildings are often described as ‘stripped classical’. They have the symmetrical, balanced and harmonious proportions and rhythms of classical architecture, often with abstract references to columns and cornices. He stripped away the ornament and detailing indulged in by the Beaux Arts classical-revival architects of the day. These qualities give his buildings formality and dignity.

• Perret ’s buildings have a rational functionalism. Concrete is left raw, though sometimes with coloured or patterned elements to them. His designs arose out of modern functional considerations rather than aesthetic ones.

Stylistic features of Perret’s Rue Franklin Apartments

The non-weight-bearing walls are expressed as slightly-recessed infill panels of floral-patterned ceramic tile.

At street level the Perrets had their architecture studio. This large, open space exposed the uprights of the concrete frame and became forerunners of Le Corbusier’s pilotis.

U-shaped front façade inspired by statutory light courts at the rear of Parisian

apartment buildings.

The trabeated, rectangular concrete frame throughout building is not

exposed directly, but is expressed by the plain tiles on the façade.

The rectangular frame allows for roof terraces on setbacks of upper apartments.

Stylistic features of Perret’s Rue Franklin Apartments

At the sixth storey apartment a reinforced concrete frame breaks free of the wall surface. This looks forward to the airy, transparent effects of the International Style.

Glazed openings are as large as zoning laws allowed.

The concrete frame allows for thin wall partitions and

maximum interior space.

A full appreciation of the building’s form can be gained only by moving across its entire façade. This experiential dimension to architectural form and space is modernist.

Dining room

Drawing room

Bedroom

Auguste Perret – Notable Works• The interior of his Paris Théâtre des Champs-Élysées (1913).

• He used thin shell roof vaulting for his warehouses in Casablanca (1915).

• Elegant concrete arches for a clothing factory in Paris (1919).

• Perret’s Church of Notre-Dame at Le Raincy (1922–23), near Paris.

• the École Normale de Musique in Paris (1929).

Art Deco• Art Deco or Deco, is an influential visual arts design style which first appeared in France during the 1920s,

flourished internationally during the 30s and 40s.•  It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. • The style is often characterized by rich colors, bold geometric shapes and lavish ornamentation.• The style featured in the work of designers of furnishings, textiles, JEWELLERY , and advertising posters.• Geom• Colours used in Art Deco Designs included gold, orange, peach and turquoise. • The Art Deco style was popular in the USA where many buildings were designed in this style.• Art Deco as a decorative style was popular in 1920s and 1930s. " • First World War (1914-1918) and the Great Depression (1929-1930),

• Cities needed rebuilding; • as human rights increased, labors became more expansive.

• The term Art Deco was coined from The Exposition des Arts Decoratifs held in Paris in 1925. Art Deco is an architectural and design style, popular in the 1920’s and 1930’s.

• The style featured in the work of designers of furnishings, textiles, JEWELLERY , and advertising posters.• Geometric shapes, Transport methods, sunbursts, images and artefacts from other cultures, such as Aztec

decoration, Egyptian and African tribal art all influenced the Art Deco style.• Colours used in Art Deco Designs included gold, orange, peach and turquoise. • The Art Deco style was popular in the USA where many buildings were designed in this style .

Art Deco or Deco, is an influential visual arts design style which first appeared in France during the 1920s, flourished internationally during the 30s and 40s, then waned in the post-World War II era. It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterized by rich colors, bold geometric shapes and lavish ornamentation.

EXPOSITION OF ART DECO STYLE OF ARCHITECTRE• The first use of the term Art Deco has been attributed to architect Le Corbusier who penned a series of articles in his journal L'Esprit

nouveau under the headline1925 Expo: Arts Déco. He was referring to the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Decorative and Industrial Arts)

• The Art Deco era is often dated from 1925 when the Exposition Internationale des Arts Décoratifs et Industriels Modernes was organized to showcase new ideas in applied arts.

• Deco emphasizes geometric forms: spheres, polygons, rectangles, trapezoids, zigzags, chevrons, and sunburst motifs. Elements are often arranged in symmetrical patterns. Modern materials such as aluminum, stainless steel, Bakelite, chrome, and plastics are frequently used. Stained glass, inlays, and lacquer are also common. Colors tend to be vivid and high-contrast.

Example• The Fisher Building (1928) is a landmark skyscraper in the United States,

located in the heart of the New Center area of Detroit, Michigan. The ornate building is designed in an Art Deco style, constructed of limestone, granite, and several types of marble. The Fisher family financed the building with proceeds from the sale of Fisher Body to General Motors. It was designed to house office and retail space.

• The building, which contains the elaborate 2,089 seat Fisher Theatre was designated a National Historic Landmark on June 29, 1989. It is also the location of the headquarters for the Detroit Public Schools.

• The Fisher Building rises 30-stories with a roof height of 428 feet (130 m), a top floor height of 339 feet (103 m), and the spire reaching 444 feet (135 m). The building has 21 elevators. Designed by Albert Kahn and Associates with Joseph Nathaniel French as chief architect,[8] it has been called Detroit's largest art object[3] and is widely considered Kahn's greatest achievement.

• In 1929, the Fisher Building was honored by the Architectural League of New York with a silver medal in architecture.[9] The opulent three-story barrel vaulted lobby is constructed with forty different kinds of marble, decorated by Hungarian artist Géza Maróti, and is highly regarded by architects.[4][5] The sculpture on the exterior of the building was supplied by several sculptors including Maroti, Corrado Parducci, Anthony De Lorenzo and Ulysses Ricci.

• The Guardian Building is a landmark skyscraper in the United States, located at 500 Griswold Street in the Financial District of Downtown Detroit, Michigan.

• Guardian is a class-A office building owned by Wayne County, Michigan and serves as its headquarters. Built in 1928 and finished in 1929, the building was originally called the Union Trust Building and is a bold example of Art Deco architecture, including art modern designs.

• the top of the Guardian Building's spire is a large American Flag, complementing the four smaller flags atop nearby 150 West Jefferson. The building has undergone recent award-winning renovations. It was designated a National Historic Landmark on June 29, 1989 and the associated Detroit Financial District is on the National Register of Historic Places.

• The Guardian building includes retail and a tourist gift shop.

• Architect: Wirt Rowland; Smith Hinchman & Grylls

• Architectural style: Mayan Revival Art Deco

The Guardian Building

• The main frame of the skyscraper rises 36 stories, capped by two asymmetric spires, one extending for four additional stories.

• The roof height of the building is 496 ft (151 m), the top floor is 489 feet (149 m), and the spire reaches 632 ft (192.6 m). The exterior blends brickwork with tile, limestone, andterra cotta.

• The building's interior is lavishly decorated with mosaic and Pewabic and Rookwood tile. The semi-circular exterior domes are filled with Pewabic Pottery; Mary Chase Perry Stratton worked closely with the architect in the design of the symbolic decorations. (See Savage, infra.) Its nickname, Cathedral of Finance, alludes both to the building's resemblance to a cathedral, with its tower over the main entrance and octagonal apse at the opposite end and to New York City'sWoolworth Building, which had earlier been dubbed the Cathedral of Commerce.

• Native Americanthemes are common inside and outside the building. Wirt C. Rowland, of the Smith Hinchman & Grylls firm, was the building's architect while Corrado Parducci created the two sculptures flanking the Griswold Street entrance. The building includes works by muralist Ezra Winter

• Rowland's attention to detail was meticulous. He supervised the creation of bricks to achieve the desired color for the exterior and designed furniture for the bank's offices. His attention went as far as designing tableware, linens and waitress uniforms for a restaurant in the building.

The Guardian Building

INFLUENCE• Machine Age and streamline technologies such as modern aviation, electric lighting,

the radio, the ocean liner and the skyscraper• Greco-Roman Classicism, and the art of Babylon, Assyria, Ancient Egypt,[and Aztec

Mexico.• Much of this could be attributed to the popular interest in archeology in the 1920s (eg,

the tomb of Tutankhamen,

Art Nouveau

• French for 'new art') is an international style of art, architecture and design that peaked in popularity at the beginning of the 20th century (1880-1914) and is characterized by highly-stylized, flowing, curvilinear designs often incorporating floral and other plant-inspired motifs.

• The name 'Art Nouveau' derived from the name of a shop in Paris, Maison de l'Art Nouveau, that showcased objects that followed this approach to design.

• Break connections with Classical times• Break down barriers between “fine” and “applied” arts• Artists bring beauty and harmony to all aspects of life

(architecture, furniture, utilitarian objects, • was a reaction against the “academic” style in favor at the

time.• Characterized by organic, free-flowing forms – highly stylized

– nature influence• 1890 to about 1905 peak years• The style's patterns and motifs were taken primarily from

nature and were often carried out with unrestrained exuberance of form, color, and especially line. The characteristic line, a flowing curvilinear, was to give Art Nouveau the descriptive nicknames "noodle," "whiplash,“ "tapeworm," and "cigarette-smoke style."

Art Nouveau-style Subway Entrances in Paris

Victor Horta,Hotel Tassel, 1890s ART NOUVEAU

Hotel Tassel (Victor Horta) – 1st Art Nouveau Building in the World

Hotel Tassel (Victor Horta) – 1st Art Nouveau Building in the World, Interior.

Antonio Gaudí

• Gaudi was a Spanish (Catalan) Architect who created complex buildings in that the architecture was considered sculptural as well.

• His buildings are considered biomorphic, or organically-shaped. This is possibly a rejection to the coldness that a machine-produced geometric object would create

Antonio Gaudí, Casa Milà, 1905-1907.

La Pedrera - Casa Milà Antoni Gaudi i Cornet 1906 -1910

ART NOUVEAU

Antonio Gaudí, La Sagrada Familia (The Holy Family),1882-2026

Tony Garnierborn Aug. 13, 1869, Lyon—died Jan. 19, 1948, Roquefort-la Bédoule, • A forerunner of 20th-century French architects, notable for his Cité Industrielle, a farsighted plan for an industrial city. He is also

remembered, along with Auguste Perret, for the pioneering use of reinforced concrete.• On his Prix de Rome grant Garnier developed plans (beginning in 1898, exhibited in 1904, and published in 1917) for an entire

industrial city, embracing new concepts in city planning: long, narrow lots running east–west, buildings separated by wide open spaces, separate levels provided for pedestrians, and houses with roof gardens. The plan called for the extensive use of reinforced concrete.

• In 1905 Garnier was appointed architect of Lyon, a position he held until 1919. • The most important work in Lyon to emerge from his Cité Industrielle was the large stockyards complex of 1908–24.• Tony Garnier (August 13, 1869 in Lyon – January 19, 1948 in Roquefort-la-Bédoule, France).• Hewas a noted architect and city planner. He was most active in his hometown of Lyon. Garnier is considered the forerunner of

20th century French architects. Other works include:-the stadium (1913–18), the Grange Blanche Hospital, with its 22 pavilions (started in 1911, completed in 1927), the War Memorial (1924), the housing project known as Les États Unis (1920–35).

• In 1901, after extensive study of sociological and architectural problems, he began to formulate an elaborate solution to the perceived issues concerning urban design. His basic idea included the separation of spaces by function through zoning into several categories: industrial, civic, residential, health related, and entertainment. Garnier's drawings for an ideal industrial city called Une cité industrielle were initially exhibited in 1904, but only published later in 1918

• Une Cité Industrielle was designed as an utopian form of living, for 35,000 inhabitants. It was located between a mountain and a river to facilitate access to hydroelectric power. This plan was highly influenced by the writings of Émile Zola, in particular his socialist utopian novel Travail (1901).

• The plan allowed schools and vocational-type schools to be near the industries they were related to, so that people could be more easily educated. There were no churches or law enforcement buildings, in hope that man could rule himself. The idea of functional separation was later taken up by the members of CIAM, and would ultimately influence the design of cities like Brasilia.

• In 1904 Garnier returned to Lyon, where he received a commission for a livestock market and slaughterhouse (1906-24), later named Halle Tony Garnier. In 1910 he was commissioned for the design of the Édouard-Hérriot Hospital, completed in 1927. Further projects included several villas, the Stade de Gerland (Gerland stadium) (1914-18) and the low-cost housing Quartier des Etats-Unis (1919-35) on United-States avenue in the 8th arrondissement of Lyon

Selected ptojects

Cité Industrielle, project for an ideal city, 1904Rothschild Foundation Housing, Paris (competition entry), 1905Slaughterhouse and Stockyard, later named after him Halle Tony Garnier, Lyon, 1905-1924Grange-Blanche Hospital (now H. Edouard Herriot Hospital), Lyon, 1910-27Villa Tony Garnier, Saint-Rambert, Lyon, 1911Stade de Gerland municipal stadium, Lyon, 1914-18Quartier des Etats-Unis housing, Lyon, 1919-35Villa Gros, Saint-Didier, 1921Sanatorium, Saint-Hilaire de Touvet, 1923Lyon and Saint-Etienne Pavilions, International Exposition of Modern Industrial and Decorative Arts, Paris, 1925Hotel de Ville town hall, Boulogne-Brillancourt (with Jacques Debat-Ponsan), 1934

Selected ptojects Cité Industrielle, project for an ideal city, 1904Rothschild Foundation Housing, Paris (competition entry), 1905Slaughterhouse and Stockyard, later named after him Halle Tony Garnier, Lyon, 1905-1924Grange-Blanche Hospital (now H. Edouard Herriot Hospital), Lyon, 1910-27Villa Tony Garnier, Saint-Rambert, Lyon, 1911Stade de Gerland municipal stadium, Lyon, 1914-18Quartier des Etats-Unis housing, Lyon, 1919-35Villa Gros, Saint-Didier, 1921Sanatorium, Saint-Hilaire de Touvet, 1923Lyon and Saint-Etienne Pavilions, International Exposition of Modern Industrial and Decorative Arts, Paris, 1925Hotel de Ville town hall, Boulogne-Brillancourt (with Jacques Debat-Ponsan), 1934