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8/12/2019 Reaction to Industrial Revolution
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Topic 5
Reaction to
Industrial Revolution
Architectural History 2 Group Presentation
Source: http://www.nyu.edu/classes/persell/aIntroNSF/Documents/Field%20of%20sociology033108.htm
CHUNG WEN HARN 0703P61796
JESSELYN LIM 0701P59791
WONG WAN JIUAN 0701P59759
CHIEW KIET YANG 0701P60099
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Industrial Revolution
Source: http://www.nyu.edu/classes/persell/aIntroNSF/Documents/Field%20of%20sociology033108.htm
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In this new system of force the mastery of the machine is not in the
hands of mankind. It is in the control of infinitely small groups of
individuals who rule without a single one of the democratic sanctions that
we have known.
President Roosevelt
Nothing is now done by hand; all is by rule and calculatedcontrivancethe living artisan is driven from his workshop.
Thomas Carlyle
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Frank Lloyd Wright
Picture Sources: www.arc-design.com.au; http://www.jroy.ca/wpimages/wpd86a8679.png
Marshall Field, A good
copy is the best we can
do.
he machine is here to stay
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The Unity of
Design and Machine
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Key facts
Rejected historicism.
Described as the first truly modern, international style.
The introduction of new forms, the embracement of mass-production, and the
focus on the natural as a source of inspiration.
Two types - Curvilinear whiplash (Spain, France, England, Vienna and USA)
and Rectilinear (Scotland and Germany)
Art Nouveau 1880 1910Origin: Europe
New Art
New Art
New Art
New ArtNew
Art
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Key characteristics
Curvilinear: organic foliate forms, sinuous
lines, non-geometric whiplash curves
Rectilinear: geometric forms, severe
silhouettes
Picture Sources: http://en.wikipedia.org/wiki/art_nouveau
Staircase of the Maison and Atelier of Victor
Horta
The Room de Luxe at The Willow Tearooms, Glasgow., Charles
Rennie Mackintosh in collaboration with Margaret MacDonald forCatherine Cranston.
http://upload.wikimedia.org/wikipedia/commons/6/61/Room_de_Luxe.jpghttp://upload.wikimedia.org/wikipedia/commons/4/4d/HortaELWI.jpg8/12/2019 Reaction to Industrial Revolution
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House for an Art Lover - Charles Rennie Mackintosh
The Music Room
The Oval Room
- A house designed and built for an art lover.
- Decorations were based on a central theme.
- Dining room and music room was designed based on the theme
roses.
- The oval room was designed as a space especially for women and
was decorated in a symbolic manner.
http://upload.wikimedia.org/wikipedia/commons/8/84/HouseForAnArtLoverPiano.jpghttp://upload.wikimedia.org/wikipedia/commons/2/2b/HouseForAnArtLover.jpg8/12/2019 Reaction to Industrial Revolution
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Metro entrance of the Porte Dauphine Station
Hector Guimard
Constructed out of interchangeable,
prefabricated cast iron and glass parts.
Sinuous green cast-iron tentacles appears assurrealistic dragonfly wings.
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Castel Beranger Commentary (1890) Hector Guimard
Demonstrates the synthetic subtleties of his style, in which urban and rustic references
could be judiciously mixed together
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Maison de Peuple (1895) Victor Horta
The buildings glass curtain wallsand railing united aesthetically with
the interior, where the entire
infrastructure of supports, girders and
stone imposts are revealed.
This building clearly displayedHortas highly distinctive modernist
style.
p.37, Duncan (1994)
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Key facts
Jugendstil - youth style, took its name from the decorative arts journal Jugend
German and Scandinavian interpretation of Art Nouveau was inspired by the vernacular and had
a simplicity of form and a startling modernity.
Advocated the use of natural forms as a means of reforming design, and in turn society.aim of producing a naturalistic forms of Jugendstil with more formal function and practicallanguage of design due to the effect of industrial revolution.
Jugendstil (1890-1910)
Origin: Germany
Key characteristics
floral and other plant-inspired motifs
Plain, undecorated wall surfaces
Geometric n naturalistic forms
Energetic, organic designs inspired by advances in science
and technology
Key figure
Peter Behrens
Henri can de Velde
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Behrens House
- Peter Behrens
the high-pitched roofdrawn from the
German vernacular
Undecorated wall faade withcurvilinear
forms arch ornament
Gate with organic shaped ornamentation
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Key facts
The Vienna secession refused to accept the conservative standards of
the official arts academy, opting instead to pursue their own creative
vision as an independent association.
Aimed to bring architecture and the decorative arts closer together.
Early work was created within the art nouveau style, latterly, the
groupsdesigners opted for an increasingly rectilinear esthetic.
Advances in science and technology provided a new, deeper
understanding of nature
Secession 1897-1920
Origin: Vienna, Austria
Key characteristics
Geometric abstraction
Rectilinear forms
Decorated surfaces
Key Architect
-Otto Wagner
- Josef Maria Olbrich
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Majolica Haus - Otto Wagner
-named after the weather-proof, painted ceramic floral designs on its faade flat,
rectilinear shape of the building
-used new modern materials and rich color, yet retained the traditional use of
ornamentation.-decorative iron balconies, colored ceramic floral designs, and flexible S-shaped linear
ornamentation
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Sezession House Josef Maria Olbrich
-Art Nouveau pavilion with gold leaf sphere floating over a cream colored block
-The "golden cabbage" is composed from 3000 gilt-iron "leaves" to form an airy look
- The exterior has clever details of owls, salamanders and turtles
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Definition of Modernism
Applies to those forward-looking architects, designersand artisans who, from 1880s on, forged a new anddiverse vocabulary principally to escape Historicism, thetyranny of previous historical styles.
-Retrieved 09 March 2009 from http://www.artsmia.org/MODERNISM/
Modeqnium
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Have nothing in your house that you do not
know to be useful, or believe to be beautiful.
- William Morris
William Morris (1834-1896)
- An English artist
- Formed the basis for the Arts and Craf ts
Movement
- Belief that utility was as important as beauty
deology of Modeqnium
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Louis Sullivan (1856-1924)
- First truly modern architect
- Believed that exterior of an building should
reflect its interior structure and function
- Works always related to Art Nouveau- Came out with the concept of Form Fol lows
Funct ion
"It is the pervading law of all things organic, and
inorganic, of all things physical and metaphysical, ofall things human and all things super-human, of all
true manifestations of the head, of the heart, of the
soul, that the life is recognizable in its expression,
that form ever follows function. This is the law.
- Louis Sullivan
Ideology of Modernism
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- Svaqved dtqing lave 19vhcenvtqy (1880-1940)- A moemenv shich sanvu vo
bqeak asay fqom vhe old uvyleu- Au a leading deuign foq 20vhcenvtqy deuign moemenv- Machineqy and aqv aqe beingmeqged vogevheq vo cqeave nes
moemenv- Choiceu of maveqialu vo ptv invhe qertiqemenv- Simple foqm, umoovh finiuheu,minimal utqface modeling,
oqnamenv au a paqv ofuvqtcvtqe, and vhe tue of shive
Modeqnium
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Louis Sullivan
What is the chief characteristic of the tall office building? And at once we answer, it is lofty The force and power of
altitude must be in it It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to
top it is a unit without a single dissenting line.
(Louis Sullivan, The Tall Office Building
Artistically Considered,1896)
Modernism Architecture
Wainwright Building, Saint
Louis (1890-1891)
Carson Pirie, Scott & Co.
Department Store, Chicago
(1899-1901)
Guaranty Building, Buffalo
(1894-1895)
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Modernism Architecture
Eiffel Tower (1887-1889) by
Alexandre Gustave Eiffel
-Retrieved March 10, 2009 from http://www.wikipedia.com
Falling Water (1935-1939) by
Frank Lloyd Wright
Unite d'habitation (1945-1952) by Le
Cobusier
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Influences
- Followed the idea of Sullivan, Viennese architect Adolf Loos wrote a
manifesto namedOrnament
andCrime,
to show the avoidance ofornament was asign of spiritual strength.
- Frank Lloyd Wright accepted Morrisdesign philosophy for producing
high quality craftsmanship. But what he thought machinery could
actually improve natural materials to expose the beauty of the
product, which was TheArt and Craft of the Machine.
- During 1920s, the aesthetic of the machine became a central theme
in modernism. Walter Gropius and Le Corbusier were the main roles.
- Modernism which merged the architecture and industrial design
reflects the changes in technology and society. This movementresulted designers to think about anew to their environment.
- This movement also resulted architect to have engineer as a partner
who makes sure architectsplan were workable.
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One might define the culture of authenticity in the early twentieth
century as one that would restore, through the work of art, a lost sense
of "the real thing." In more specific terms, it sought to reconnect the
worker and the thing made, and yet celebrate the positive virtues of
the machine; it would be based on a functional articulation of
parts to whole and simplicity of design, yet it would be complex and
subtle; it would eschew unnecessary ornamentation, yet it would
value the work of the hand; it was progressive in its orientation to thefuture, yet founded on a past that was defined in "American" terms. In
short, it was a kind of balancing act, an effort at cultural synthesis,
and fraught accordingly with certain irreconcilable tensions.
Miles Orvell
Conclusion
-Source http://www.wikipedia.com
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THANK YOU
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Jackie C. (n. d.). About.com: Louis Sullivan, America's First Modern Architect. Retrieved March 09,2009 from http://architecture.about.com/od/greatarchitects/p/sullivan.htm
Joseph, P., World Architecture, Jugendstil. Retrieved on 5thMarch from:http://www.essential-architecture.com/STYLE/STY-Jugendstil.htm
Lisle, B. (n.d.).Assimilating the Machine. Retrieved 10 March 09, from American Studies at UVA,Website: http://xroads.virginia.edu/~MA01/Lisle/30home/assimilate/assimilate.html
Pevsner N. (1936). Pioneers of Modern Design (4thEdition). United Kingdom
Postiglione, G, Gossel, P. (2004) 100 Houses: If These Walls Could Speak. Taschen.
Thuillier J. (2002). History of Art:A Time of Contradictions, (pg. 506-517). Spain: JCG
Roth, Leland M. (2007). Understanding Architecture, Second Edition.Westview Press.
Sommer, R. L. (Eds.). (2003). The Arts and Crafts Movement. Kent: Orange Books.
The Field of Sociology. (2008). Retrieved 10 March 09 fromhttp://www.nyu.edu/classes/persell/aIntroNSF/Documents/Field%20of%20sociology033108.htm
Wikipedia. Retrieved from March 10, 2009 from www.wikipedia.com
References