UNIT 2

ART NOUVEAU
By Inniya J
ART NOUVEAU
1890 - 1910

• Art Nouveau is an international movement of architecture

and the decorative arts at the turn of the 20th century.
• It is characterized by non-geometric plant and floral-
inspired motifs, as well as highly-stylized, sinuous lines.
• Art Nouveau was a vibrant but short-lived phenomenon
that flourished from 1890 to 1910 and touched on all the
visual arts.
• Fashion and furniture, pots and paintings, books and
buildings, no object was too small or too large, too
precious or too ordinary, to be shaped by the designer
working according to the ideals—moral and social as well
as aesthetic—associated with the Art Nouveau, even
though these ideals were never codified in a coherent
manifesto and were inflected according to the place
wherein they were practiced.
ART NOUVEAU
1890 - 1910

• An Art Nouveau style, several characteristics that bind its

representatives together may be credibly summarized:
• First, a desire to avoid the historicism so dominant during
the 19th century, using inspiration from Nature in all its
fertility and heterogeneity.
• Second, an emphasis on the expressive power of form and
colour and an aspiration to refine and elevate the material
world;
• Third, a determination to erase the distinction between
the fine and the applied arts, between the designer and
the craftsperson, between art and every-day life; and
• Fourth, a willingness to experiment with materials,
transforming the character of traditional ones, like stone,
stained glass, and mosaic, and inventing new uses and
shapes for recently developed ones, above all cast and
wrought iron.
ART NOUVEAU
1890 - 1910

• It was a reaction to mass production and a return to

handcraftsmanship and the human imagination.
• Designers in the movement include Charles Rennie
Mackintosh, René Lalique, and Louis Comfort Tiffany.
• During the late 1800s, many European artists, graphic
designers, and architects rebelled against formal, classical
approaches to design.
• They believed that the greatest beauty could be found in
nature.
• Art Nouveau (French for "New Style") was popularized by
the famous Maison de l'Art Nouveau, a Paris art gallery
operated by Siegfried Bing.
• As a revolutionary movement which started in Brussles
(Belgium) between 1880- 1890, it affected the industrial
arts and architecture. Took place in the advanced
industrial nations of the Western Europe and the United
states.
ART NOUVEAU
1890 - 1910

• Art Nouveau art and architecture flourished in major

European cities between 1890 and 1914.
• In the United States, Art Nouveau ideas were expressed in
the work of Louis Comfort Tiffany, Louis Sullivan, and
Frank Lloyd Wright .
• New technologies in printing and publishing allowed Art
Nouveau to quickly reach a global audience. Art
magazines, illustrated with photographs and colour
lithographs, played an essential role in popularizing the
new style.
ART NOUVEAU
FEATURES

• Asymmetrical shapes
• Extensive use of arches and curved forms
• Curved glass
• Curving, plant-like embellishments
• Mosaics
• Stained glass
• Japanese motifs
ART NOUVEAU
INFLUENCE OF ART NOUVEAU

• The new art movement had its roots in Britain, in the

floral designs of William Morris, and in the Arts and Crafts
movement founded by the pupils of Morris.
• Early prototypes of the style include the Red House with
interiors by Morris and architecture by Philip Webb (1859),
and the lavish Peacock Room by James Abbott McNeill
Whistler.
• The new movement was also strongly influenced by the
Pre-Raphaelite painters, including Dante Gabriel Rossetti
and Edward Burne-Jones, and especially by British
graphic artists of the 1880s.
• Another important influence on the new style was
Japonism. This was a wave of enthusiasm for Japanese
woodblock printing, particularly the works of Hiroshige,
Hokusai, and Utagawa Kunisada, which were imported
into Europe beginning in the 1870s.
ART NOUVEAU
INFLUENCE OF ART NOUVEAU

• In France, it was influenced by the architectural theorist

and historian Eugène Viollet-le-Duc, through his 1872
book Entretiens sur l'architecture, he wrote, "Use the
means and knowledge given to us by our times, without
the intervening traditions which are no longer viable
today, and in that way we can inaugurate a new
architecture.
• For each function its material; for each material its form
and its ornament.“
• This book influenced a generation of architects, including
Louis Sullivan, Victor Horta, Hector Guimard, and Antoni
Gaudí. Translated into English as Discourses on
Architecture (1875),
ART NOUVEAU
HENRI VAN DE VELDE

• Henri Van De Velde was a painter, pioneered the

movement in arts, it spread later to architecture.
• Art nouveau designers sought their building to be “total
works of art” in which every detail, down to last fixture
would bear the same architectural character as the
overall building.
• Henri van de Velde (1863–1957), who began his career as a
painter and in 1895, at his home in Uccle, established an
influential decorating enterprise.
• He designed not only the building but everything within:
furniture, table settings, wallpaper, lighting fixtures,
tapestries—even his wife’s clothing.
ART NOUVEAU
HENRI VAN DE VELDE

• In 1896 he presented his furniture works in Samuel Bing’s

gallery “L’ Art Nouveau” in paris and become
internationally known.
• In 1898 he became member of the Les Vingt in Brussels,
where he familiarised with English arts and craft
movement.
• He published several books and essays on his original art
theories, such as Le Deblaiementd’ art (1895), Renaissance
in arts and crafts (1901).
ART NOUVEAU
HENRI VAN DE VELDE

• He mainly worked in Germany; in 1900 he opened in

Berlin a branch of his Brussels workshop.
• In 1902 he was invited to Weimar to establish the arts and
crafts school, which he directed from 1906 to 1914 and
which would later became the famous Bauhaus, the
centre for the modernist movement in Germany.
• Van De Velde described ornamentation as element
attachment to form for improving the aesthetic quality,
while ornament refers to the frank revelation of the inner
structural or functional identity of form.
• He was a theoretician of modernism and functionalism,
contemporary style in architecture. He was known as the
first art nouveau artist to work in an abstract style and
developed the concept of union of form and function.
ART NOUVEAU
HENRI VAN DE VELDE

• He designed a vast range of items, such as architectural

works, interior decorations, furniture, ceramics, metalwork
and jewellery. His furniture designs are linear, highly
detailed by innovative decorations and expressive
ornamental design, tempered by strong traditional
elements.
ART NOUVEAU
HENRI VAN DE VELDE – WORKS (ARTIST)

• Posters, packaging, advertising for Tropon, makers of

foodstuffs in Cologne-Muhlheim.
• The first commission that gave him a chance to practise
his skills as an artist.
ART NOUVEAU
HENRI VAN DE VELDE – WORKS (FURNITURE)

• Writing desk and chair in oak, bronze, copper, leather,

with incorporated electrical lamps and metalwork fittings.
• Chair designed by Henry van de Velde in 1895 for the
dining room of the house "Bloemenwerf". Manufactured
by Society van de Velde, Belgium.
ART NOUVEAU
HENRI VAN DE VELDE – WORKS (ARCHITECTURE)

1.Van de Velde house, Brussels, Belgium (1895)

2.Havana company store, Berlin (1899)
3.Interior of Folkwang Museum, Hagen (1900)
4.University Library, Ghent, Belgium (1935)
ART NOUVEAU
HENRI VAN DE VELDE – WORKS
INTERIOR OF FOLKWANG MUSEUM, HAGEN (1900)

• Van de Velde was also occupied at this time with a more

important project, the Folkwang Museum at Hagen.
Several other architects, among them Peter Behrens,
worked on the museum with him.
• It was to be opened as a permanent building.
• It marked Van de Velde's mature style; his concepts of
ornamentation became more subtle and sophisticated -
"classic" of their type -set off against smooth-textured
neutral walls.
• The degree of restraint exercised in the interior indicated
that Van de Velde was well aware of the purpose of the
various halls and did not wish to attract the visitor to his
own work at the expense of the objects d' art.
ART NOUVEAU
HENRI VAN DE VELDE – WORKS
INTERIOR OF FOLKWANG MUSEUM, HAGEN (1900)

• The entrance hall contained a circular stone bench

surmounted by small sculptured figures by Minne, with
an architectural backdrop composed of a series of three
arches, permitting an inviting glimpse of the sculptures
beyond.
• The narrow incised mouldings on the arches in no way
detracted from the essential simplicity of the hall.
ART NOUVEAU
HENRI VAN DE VELDE – WORKS
THEATER FOR THE 1914 WERKBUND EXHIBITION
IN COLOGNE, GERMANY
• In 1913, the Deutscher Werkbund charges Henry van de
Velde, architect, industrial designer and Belgian painter,
construction of a theater for the 1914 Werkbund
Exhibition in Cologne, Germany.
• This assignment was very controversial because of the
foreign nationality of van de Velde.
• However, thanks to the support of the mayor of Cologne,
Dr. Konrad Adenauer, the architect managed to build it.
• The theater opened in July 1914. In September, however,
the outbreak of World War I led to its closure for ever,
after only three months, to be later demolished.
• Van de Velde had to leave Germany for a citizen of an
enemy country.
ART NOUVEAU
HENRI VAN DE VELDE – WORKS
THEATER FOR THE 1914 WERKBUND EXHIBITION
IN COLOGNE, GERMANY
• From a concrete rational architecture, theater
simultaneously established the secure domain of space
and volume.
• Straight line was used, purity emphasized ornament and
artistic expression, as is characteristic in its heavy roof
profiling.
• It was possible here to create a theatrical space flexible,
able to accommodate a wide variety of theatrical
performances ranging from modest works, Symbolists
and realistic representations that are more suited to the
stage.
• The solid construction of reinforced concrete and plastic
homogeneous expression was the starting point for the
postwar work of Eric Mendelsohn and, especially for the
small Observatory that Mendelsohn built to Einstein in
Potsdam in 1920.
ART NOUVEAU
VICTOR HORTA
• Horta is one of the most important names in Art
Nouveau architecture;
• The construction of his Hotel Tassel in Brussels in 1892-93
means that he is sometimes credited as the first to
introduce the style to architecture from the decorative
arts.
• After introducing Art Nouveau in an exhibition held in
1892, Horta was inspired.
• Horta’s greatest work, the Maison de Peuple (1895–99;
demolished), demonstrated the popular aspect of the
style.
• Not only could wealthy industrialists indulge their taste
for it, but their employees too recognized that it evoked
their aspirations.
WHIPLASH IRON STRUCTURE WITH
CURVILINEAR
BOTANICAL FORMS
ART NOUVEAU
VICTOR HORTA
• The iron frame used in combination with brick and stone
permits a free plan with spaces of varied heights and
dimensions, perfect for accommodating the program’s
differing functions, revealed on the exterior through the
individualized fenestration; nothing is regular or
repetitive.
• The main door resembles a mysterious cave or mouth
that draws one into its recesses, empathy being a quality
exploited by many Art Nouveau architects.
• Elaborate designs and natural lighting were concealed
behind a stone façade to harmonize the building with
the more rigid houses next door.
• The building has since been recognized as the first
appearance of Art Nouveau in architecture.
VICTOR HORTA - WORKS
• Hotel Tassel in 1892
• Rue de Turin
• Hotel Van Eetvelde,1895
• Mansion and Atelier Horta, 1898 (now Horta Musuem)
ART NOUVEAU
VICTOR HORTA -
HOTEL TASSEL, 1892
• The Hotel Tassel is a town house built by Victor Horta in
Brussels for the Belgian scientist and professor Emile
Tassel in 1893-1894.
• 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.
• The plot, was narrow and very deep, as houses in
Brussels used to be.
• With dimensions of 7.80 x 29m.
• It was meant to be a dark building.
• Hence the main idea of the project: the intention of
diaphaneity, clarity and transparency.
ART NOUVEAU
VICTOR HORTA -
HOTEL TASSEL, 1892
• At the Hotel 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 staircase
covered with glass.
• It functions as the connecting part in the spatial
composition of the house and contains staircases and
landings that connect the different rooms and floors.
Through the glass roof it functions as a light shaft that
brings natural light into the centre of the building.
ART NOUVEAU
VICTOR HORTA -
HOTEL TASSEL, 1892
• The plan is divided into two parts: a narrow front part
towards the main façade, and a wider part, served by a
service staircase that ventilated towards the back
garden.
• Between them, Horta generates an intermediate space
of union, where the stairs and the lobby are located. A
bright, dynamic space that fills the house with light with
its glazed roof.
• The rooms of both parts are at different heights, since
each section of the staircase is serving a new space, not
by floors but by sections, creating a very innovative way
to travel the space
ART NOUVEAU
VICTOR HORTA -
HOTEL TASSEL, 1892
• 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
flooring and the furnishing.
• Horta succeeded in integrating the lavish decoration
without masking the general architectural structures.
• The innovations made in the Hotel Tassel would mark
the style and approach for most of Horta's later town
houses, including the Hotel Van De Velde, the Hotel
Solvay and the architects own house 'atelier'.
ART NOUVEAU
VICTOR HORTA -
HOTEL TASSEL, 1892
• It might be superfluous to mention that these houses
were very expensive and only affordable for the rich with
an 'Avant-Garde' taste.
• For this reason the pure architectural innovations were
not largely followed by other architects.
• Most other Art Nouveau dwellings in Belgium and other
European countries were inspired by Horta's 'whiplash'
decorative style which is mostly applied to a more
traditional building.
ART NOUVEAU
VICTOR HORTA -
HOTEL VAN EETVELDE
• The Hotel van Eetvelde in Brussels was designed in 1898
by Victor Horta, undoubtedly the key European Art
Nouveau architect.
• While most other architects are trying with the new
style, Horta found it and gave the best expression to his
ideas.
• His skill is demonstrated in his ability to slip his domestic
designs into narrow constricted sites.
• The interiors become of great importance as centres of
light, which permeates through the filigree domes and
skylights—usually in the centre of the building.
• The Hotel van Eetvelde is a remarkable example of, how
Horta handled the situation and used it to highlight the
imposing staircase, which leads up to the first-floor
reception rooms.
ART NOUVEAU
VICTOR HORTA -
HOTEL VAN EETVELDE
• The visible application of "industrial" materials such as
steel and glass was prestigious for private dwellings at
the time.
• In the Hotel van Eetvelde, Horta also used a hanging
steel construction for the facade.
• The interior receives additional lighting through a
central reception room covered by a stained-glass
cupola.
• An extension to the house was designed by Horta in
1898.
• This building has a more conventional, beautifully
detailed sandstone façade.
• It was designed to house a garage, an office for van
Eetvelde as well as supporting apartments and therefore
had a separate entrance.
ART NOUVEAU
VICTOR HORTA -
HOTEL SOLVAY, 1895
• The Hôtel Solvay , on Avenue Louise in Brussels, was
constructed for Armand Solvay, the son of the Belgian
chemist and industrialist Ernest Solvay.
• Horta had a virtually unlimited budget, and used the
most exotic materials in unusual combinations, such as
marble, bronze and rare tropical woods in the stairway
decoration.
• The stairway walls were was decorated by the Belgian
pointillist painter Théo van Rysselberghe.
• Horta designed every detail including the bronze
doorbell and the house number, to match the overall
style
ART NOUVEAU
HECTOR GUIMARD
• He was a French architect, furniture designer and craft
artist.
• He was inspired by some of the new architectural
theories circulating, the radical ideas of French architect
Viollet-le-due and architect of Belgium Victor Horta
greatly influenced his design.
• Guimard proceeded to a complete re-evaluation of his
artistic approach; furniture and interior decoration of a
house had to become parts of a total work of art.
• From 1898 to 1905 he designed and created the station
entrances of Paris subway "Le Métropolitain"; they were a
fabulous expression of Art Nouveau, the new art, which
was discovered during the 1900 World Exposition in
Paris.
ART NOUVEAU
HECTOR GUIMARD
• The architectural and decorative works of Hector
Guimard are characterized by fluid, unusual lines, vibrant
curves inspired by nature, essential shapes underlined by
light and contrast of the different materials used, such as
wood, iron and stone.
• They are the most representatives of the organic and
floral Art Nouveau Style in France, and his would later be
known as the "Guimard Style".
HECTOR GUIMARD - WORKS
• Castel Beranger, Paris, France
• Hotel Guimard, Paris
• Metropolitan Entrances, Paris
ART NOUVEAU
HECTOR GUIMARD
CASTLE BERANGER, PARIS
• The Castel Béranger is a residential building with thirty-
six apartments located in Paris.
• It was designed by the architect Hector Guimard, and
built between 1895 and 1898.
• It was the first residence in Paris built in the Art Nouveau
style.
• The Castel Beranger is nonetheless an important
transitional work in Guimard's career.
• The stem and branch-like character of both the interior
furnishing and the exterior ironwork stand in a curious
and brittle contrast to the articulate, architectonic but
disjunctive elements that make up the mass of the
building’s exterior.
ART NOUVEAU
HECTOR GUIMARD
CASTLE BERANGER, PARIS
• With 36 apartments, each different from the next, the
Castel Béranger is a curious compound of rational
planning and non-rational intent and expression.
• Guimard was to exploit its competition as an occasion for
promoting the style Guimard.
• To this end he staged an exhibition of the building and
its contents along with publishing a book.
• More SHARP than his ATTRACTIVE country houses of the
turn of the century and located in the fashionable, fast-
growing suburb of Auteuil, the Castel Beranger gave
Guimard a prime opportunity with which to
demonstrate the synthetic subtleties of his style.
ART NOUVEAU
HECTOR GUIMARD
CASTLE BERANGER, PARIS
• It was suggested by the name Castel, rather than Hotel,
and by its modern version of the overhanging turrets
that were a feature on the corners of medieval castles.
• Guimard put into the building, a multiplicity of different
forms, materials and colors, some of them inspired by
the colors of the villas of seaside towns.
• The ornament was abundant, but carefully designed and
not overwhelming; it moved away from Gothic into a
more personal and original style.
• The interior decoration was also diverse and personal
ART NOUVEAU
HECTOR GUIMARD
METROPOLITAN ENTRANCES, PARIS
• Between 1900 and 1913, Hector Guimard was responsible
for the first generation of entrances to the underground
stations of the Paris Métro.
• His Art Nouveau designs in cast iron and glass dating
mostly to 1900, and the associated lettering that he also
designed, created what became known as the Métro
style (style Métro) and popularized Art Nouveau.
• Rather than the masonry designs presented by the
winners of the competition, Guimard instead proposed
that the Métro entrances be built in cast iron and glass.
• The decision had several practical benefits: most
significantly, iron entrances took up far less space than
stone, a necessity in many of the chosen sites for Métro
stations.
• Iron was also cheaper and easier to produce and
transport, and allowed for greater ease of mass
production than masonry
ART NOUVEAU
HECTOR GUIMARD
METROPOLITAN ENTRANCES, PARIS
• Beyond these logistical concerns, cast iron was also far
better suited to the sinuous, naturalistic and slender
curves that embody Art Nouveau.
• Using a set of modular structural elements, Guimard
created five entrance types, ranging from simple railings
to lavish covered pavilions; each station entrance shared
the same green paint (meant to resemble bronze patina)
and a sign bearing the word Métropolitain in a typeface
designed by Guimard himself.
• The simplest and most common variant was a set of
railings with a pair of amber-colored lightbulbs, shaped
like flower buds, their tinted light illuminating the
Métropolitain sign mounted between them.
ART NOUVEAU
HECTOR GUIMARD
METROPOLITAN ENTRANCES, PARIS
• The greatest sensation, however, was in response to the
elaborate pavilion entrances, with their fanned glass
awnings crowning the stairways beneath.
ART NOUVEAU
ANTONI GAUDI
• Antoni Gaudi studied and practiced architecture in
Barcelona, Spain.
• He was influenced by the Romantic Movement.
• In 1890 he proceeded to modernism, the Catalan version
of art nouveau.
• He used the local structural types and construction
technique in brick and ceramic.
• He was influenced by the mud construction of Berbers,
who drew inspiration from natural form.
• A man of faith, observer of nature and genius architect,
Antoni Gaudí has become a universal figure in modern
architecture.
• His contribution to this discipline broke all the
established rules. With never-before-seen building and
structural systems, he created his own unique,
unprecedented methodology and a style suffused with
symbolism with the utmost care in every detail, showing
his love of artisan trades.
ART NOUVEAU
ANTONI GAUDI
• He wanted to realise a major utopia, which he described
as architecture without square angles.
• His modernist buildings, furniture and crafts objects are
fascinating for their unusual structural forms, covered by
multi- coloured mosaics.
• His works were symbols of artistic renewal and
experimentation, characterised by elements.
• The style of Gaudi was different from the works of his
contemporaries and had a provocative approach.
• Gaudi concentrated on optimisation of structural forms
hence used variation of the parabola.
• In the Park Guell, the underground Grottos with
parabolic arches are suggestive of dark clearings in an
underground forest.
• His form reminded of several natural forms such as
waves, corals, fish bones, gaping jaws, dragon etc.
• In Casa Mila the plastic conception of swirling waves on
the exterior were extended to the interior.
 ART NOUVEAU
ANTONI GAUDI - THE METHOD
• Gaudí's method was based on trial and error, so models
were very important to him, even taking precedence
over floor plans.
• He would normally set up his workshop on the site and
experiment with scale models, testing the shapes and
structures that would later be used in his constructions.
And he did the same at the Sagrada Família, where the
architects who have carried on the works continue to
use this method, now with help from new technology.

SAGRADA FAMILIA
SAGRADA FAMILIA CASA ART NOUVEAU
MILA
ANTONI GAUDI - WORKS
• La Sagrada Familia cathedral, Barcelona
• Casa Mila
• Casa Batlló

CASA BATLLO PARK GUELL •

•
Park Güell
Palau Güell
• Crypt in Colonia Güell and Casa Vicens

PALAU GUELL
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
• Park Guell is one of the world's most intriguing parks.
• The park's colourful main staircase and the fanciful
pavilions that were designed by Antoni Gaudi look like
they belong in some fairy tale.
• This popular park started out as a development project.
• Eusebi Guell, a well known Catalan industrialist, acquired
a 17 hectare (42 acres) large hilly plot in the Garcia
district, north of Barcelona.
• He wanted to turn the area into a residential garden
village based on English models.
• 60 Housing units as well as several public buildings were
planned. But it is a failed project.
• In 1900, Güell commissioned his friend and protégé
Antoni Gaudí with the development of the project.
• With the support from other architects including Josep
M. Jujol and his disciple Francesc Berenguer, Gaudi
worked on the garden village until 1914 when it was clear
the project was a commercial failure:
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
• Güell and Gaudí thoroughly discussed the design and
planing of this future residential complex and agreed on
giving it a symbolic value that would turn back to
“Christian values and Catalan traditions as a way of
combating the alienation of the new industrial society”.
• In order to keep building at an efficient pace and to
avoid the impression of the visitors that this park is a
“mass-produced” project, Gaudí chose to design
prefabricated-concrete modules in different shapes,
covering them with briken mosaic art, in a variety of
colors and textures.
• Based on the combination of naturalism and symbolism,
beauty and practicality, he designed the paths, viaducts,
bridges, steps, a main plaza, a hypostyle hall (used as a
market place), a tank to collect rainwater and two gate
houses (the administrative offices and caretaker’s lodge).
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
• Two houses were completed as well as pavilions for
visitors and park keepers.
• The pavilions, designed by Gaudí, seem to be taken out
of Hansel and Gretel, with curved roofs covered with
brightly colored tiles and ornamented spires.
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
MOUMENTAL STEPS
• The staircase at the entrance of the park is also designed
by Gaudí.
• The dragon-like lizard at the center of the with
trencadis-ceramics decorated staircase is the best
known symbol of the park.
• The steps start from the entrance square and lead to the
Hypostyle Room.
• It is a double flight of steps divided by a few sculptural
features, among which the most curious ones are the
snake and eucalyptus fruits, the dragon and the stone
omphalus.
• Along the way you climb up, you will see the fountain in
the form of the head of a snake on the shield of
Catalonia.
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
MOUMENTAL STEPS
• The snake and eucalyptus fruits are symbols of medicine
and health, like the remedial mineral water found in the
park commercialized by Güell.
• Then you will encounter the bright-colored dragon,
whose appearance was much fiercer when the paws and
teeth were more noticeable long time ago.
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
THE HYPOSTYLE ROOM
• This is a covered area with 86 striated columns crowned
by an entablature of classical styles.
• However, above the cornice, standing out for its curious
shapes and colors, is the ceramic bench of the Nature
Square.
• The outer columns slope together with the roof in an
undulating movement clearly brings a contradiction to
the classical composition.
• The Hypostyle Room was designed as a market place for
the purpose that the residents here don’t need to leave
the estate to look for supplying.
• As you might recall, it is inspired by the temples of
ancient Greece.
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
THE HYPOSTYLE ROOM
• The regular layout of the dense colonnade is interrupted
at certain places to create 3 open space, one large one in
the center and another two small ones on the sides.
• The ceiling, similar to the ones in the pavilions at the
entrance, was built using the Catalan vault technique
clad with tile shards.
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
SERPENTINE BENCH
• Planned by Josep Maria Jujol, this more-than-100-meter-
long bench encloses the entire plaza and functions as a
place to sit as well as a balcony and viewpoint over the
city.
• This undulating bench is made of prefabricated blocks of
concrete clad covered in trencadís mosaic and can be
considered one of the first abstract artworks.
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
THE PORTICO OF WASHER WOMAN
• Backing onto the retaining wall of the upper roadway,
the portico is made from unhewn limestone excavated
from this mountain.
• As you can see from the picture, popular tradition has
seen in this sculpture a figure of washerwoman with a
basket of clothes over her head.
ART NOUVEAU
ANTONI GAUDI - PARK GUELL
GAUDI MUSEUM
• Between 1906 and 1926, Gaudí lived in one of the two
houses that were completed, known as the Casa Museu
Gaudí.
• It serves as a museum and displays some of Gaudí's
furniture (including some from the Casa Batlló) and
drawings.
• The park also includes the Casa Trias (not open for
visitors).
• The buildings in the park are connected by winding
roads with paths that are often supported by tree-like
columns.
ART NOUVEAU
ANTONI GAUDI - CASA BATLLO
• The colourful Casa Batlló, a remodeled 19th century
building, is one of Gaudí's many masterpieces in
Barcelona.
• Its unique interior is just as extraordinary as its fairytale-
like exterior.
• Casa Batlló is the most expressive. The house was
originally built between 1875 and 1877.
• In 1900 it was bought by the rich industrialist Joseph
Battló i Casanovas, who commissioned Gaudi to tear
down the old house and reconstruct a new one.
• Gaudi however convinced Battló to remodel the existing
building.
• Between 1904 and 1906 Gaudi redesigned the façade
and roof, added an extra floor and completely
remodelled the interior.
ART NOUVEAU
ANTONI GAUDI - CASA BATLLO
• The façade of the Casa Batlló is made of sandstone
covered with colourful trencadis (a Catalan type of
mosaic). Typical of Gaudi, straight lines are avoided
whenever possible.
• The first floor features irregularly sculpted oval windows.
• Balconies at the lower floors have bone-like pillars, those
on the upper floors look like pieces of skulls.
• These features gave the house the nickname 'House of
Bones'.
• The enlarged windows on the first floor gave it another
nickname, 'House of Yawns'.
• The colourful scaled roof recalls a reptile skin.
• According to some authorities on Gaudi architecture, the
roof represents a dragon; the small turret with a cross
would symbolize the sword of St. George stuck into the
dragon.
• The bones and skulls on the façade represent all the
dragon's victims.
ART NOUVEAU
ANTONI GAUDI - LA SAGRADA
FAMILIA CATHEDRAL, BARCELONA
• The Sagrada Família, is a large unfinished Roman
Catholic minor basilica in Barcelona, Spain.
• Designed by Catalan architect Antoni Gaudí (1852–1926),
his work on the building is part of a UNESCO World
Heritage Site.
• On 7 November 2010, Pope Benedict XVI consecrated
the church and proclaimed it a minor basilica.
• On 19 March 1882, construction of the Sagrada Família
began under architect Francisco de Paula del Villar.
• In 1883, when Villar resigned,Gaudí took over as chief
architect, transforming the project with his architectural
and engineering style, combining Gothic and curvilinear
Art Nouveau forms.
• Gaudí devoted the remainder of his life to the project,
and he is buried in the crypt.
• At the time of his death in 1926, less than a quarter of the
project was complete.
ART NOUVEAU
ANTONI GAUDI - LA SAGRADA
FAMILIA CATHEDRAL, BARCELONA
• Gaudí devoted the remainder of his life to the project,
and he is buried in the crypt.
• At the time of his death in 1926, less than a quarter of the project was complete.

• Relying solely on private donations, the Sagrada

Família's construction has progressed slowly.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
1866-1883: BEGINNINGS
• The beginnings of the Sagrada Família date back to 1866.
In 1881, thanks to several donations, the Association
purchased a 12,800-m² plot of land to build the Temple.
• The cornerstone was laid on 19 March.
• This kicked off the construction, which began with the
crypt under the apse following the neo-Gothic design of
architect Francisco de Paula del Villary Lozano, the
Temple's first architect.
• Just a short while later, due to differences of opinion
with the developers, he stepped down and the position
was given to Antoni Gaudí.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
1883-1913: GAUDI'S FIRST YEARS
• After taking over the project in 1883, Gaudí built the
crypt, which was completed in 1889.
• Then he began work on the apse.
• After receiving a significant anonymous donation, Gaudí
considered a new, grander design.
• He wrote off the old neo-Gothic project and proposed a
new design that was more monumental and innovative
in its shapes, structures and building techniques.
• In 1892, the foundations were laid for the Nativity façade.
• In 1894, the apse façade was. While this work was under
way, Gaudí built the Provisional Schools of the Sagrada
Família in the south-western corner of the plot in 1909.
• The schools were built for the children of the workers
and those living in the neighbourhood around the
Sagrada Família. In 1911, he designed the Passion façade.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
1914-1926: GAUDI'S EXCLUSIVITY
• From 1914, Gaudí devoted his time exclusively to building
the Sagrada Família, which explains why there are no
other significant works from the later years of his life.
• He became so involved in the project that he lived next
to his workshop in his final months.
• This space next to the apse was used as a workshop for
preparing scale models, drawings, designs and
sculptures, among other activities.
• In 1923, he came up with the final design for the naves
and roofs.
• The work, however, advanced slowly. On 30 November
1925, construction was completed on the first bell tower
on the Nativity façade, dedicated to Saint Barnabas and
standing one hundred metres tall.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
1926-1938: HERITAGE
• When Gaudí died, his close collaborator Domènec
Sugrañes took over and continued to manage the works
until 1938.
• The bell towers on the Nativity façade were completed in
1930.
• Between 1936 and 1939, fire was set to the crypt and the
Provisional Schools of the Sagrada Família, and the
workshop was destroyed.
• As a result, the original plans, drawings and
photographs were all lost and some of the scale plaster
models were smashed.
• It should be noted, however, that despite these acts of
vandalism, construction of the Temple has never
stopped since Gaudí took over in 1883 and has always
respected the architect's original concept.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
1939-1960: HERITAGE
• Work pushed on in 1954, beginning the foundations for
the Passion façade based on many studies Gaudí did
between 1892 and 1917.
• 1955 was an important year, as the first fund-raising drive
was held to collect money to pay for the works.
• This initiative would be repeated the following years.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
1961-1999: HERITAGE
• After the foundations for the Passion façade, the crypt
was built.
• In 1961, a museum was created in the space to explain
historical, technical, artistic and symbolic aspects of the
Temple to visitors.
• The four pinnacles on the bell towers of this façade were
put in place in 1976.
• Following Gaudí in the position of head architect until
1983 were Isidre Puig-Boada and Lluís Bonet i Garí.
• After them came Francesc de Paula Cardoner i Blanch,
Jordi Bonet i Armengol and Jordi Faulí i Oller, who has
been head architect since 2012.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
2000-2015: 21ST CENTURY
• In 2000, the vaults on the central nave and transept were
built, and work began on the foundations for the Glory
façade.
• In 2001, the central window on the Passion façade was
completed .Work was also completed on the four
columns at the centre of the crossing.
• From 2002 until 2005, sculptors Josep Maria Subirachs
and the Japanese Etsuro Sotoo, decorate the Pasion
façade and the windows on the central nave,
respectively.
• In 2006, the choirs on the Glory façade were built
following Gaudí's models.
• The vaults on the apse ambulatory were completed in
2008. Between 2008 and 2010, the vaults on the crossing
and the apse were completed. 2010 was a significant
milestone in the history of the Sagrada Família, with the
consecration of the Temple by Pope Benedict XVI.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
PRESENT
• 19 March 2017 was the 135th anniversary of the laying of
the cornerstone of the Temple.
• Currently, 70% of the Basilica is finished and we are
working on building the six central towers.
• In 2017, construction of the towers of the Evangelists and
the Virgin Mary, which began in December 2016,
continued at a good pace with the tensioned stone
panels made at the workshop in La Galera.
• The towers follow the architectural model of the sacristy,
which Gaudí left a plaster model of.
• In 2018, work is focusing on continuing to build the
towers of the Evangelists and the Virgin Mary and
beginning work on the tower of Jesus Christ.
• The remaining symbolic elements on the upper portico
of the Passion façade are also being executed and put in
place.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
DESIGN
• The style of la Sagrada Família is variously likened to
Spanish Late Gothic, Catalan Modernism and to Art
Nouveau.
• FACADE - The Church will have three grand façades: the
Nativity façade to the East, the Passion façade to the
West, and the Glory façade to the South (yet to be
completed).
• NATIVITY FACADE - Constructed between 1894 and 1930,
the Nativity façade was the first façade to be completed.
Dedicated to the birth of Jesus, it is decorated with
scenes reminiscent of elements of life. Characteristic of
Gaudí's naturalistic style, the sculptures are ornately
arranged and decorated with scenes and images from
nature, each a symbol in its own manner.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
DESIGN
• PASSION FACADE - In contrast to the highly decorated
Nativity Façade, the Passion Façade is austere, plain and
simple, with ample bare stone, and is carved with harsh
straight lines to resemble the bones of a skeleton.
• Dedicated to the Passion of Christ, the suffering of Jesus
during his crucifixion, the façade was intended to portray
the sins of man.
• Construction began in 1954, following the drawings and
instructions left by Gaudí for future architects and
sculptors.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
DESIGN
• GLORY FACADE - The largest and most striking of the
façades will be the Glory Façade, on which construction
began in 2002.
• It will be the principal façade and will offer access to the
central nave.
• Dedicated to the Celestial Glory of Jesus, it represents
the road to God: Death, Final Judgment, and Glory, while
Hell is left for those who deviate from God's will.
• Aware that he would not live long enough to see this
façade completed,
• Gaudí made a model which was demolished in 1936,
whose original fragments were base for the
development of the design for the façade.
ART NOUVEAU
ANTONI GAUDI -
LA SAGRADA FAMILIA CATHEDRAL
INTERIOR DESIGN
• The church plan is that of a Latin cross with five aisles.
• The central nave vaults reach 45 metres while the side
nave vaults reach 30 metres.
• The transept has three aisles. The columns are on a 7.5
metre grid. The central vault reaches 60 metres .The
apse is capped by a hyperboloid vault reaching 75
metres.
• There are gaps in the floor of the apse, providing a view
down into the crypt below.
• The columns of the interior are a unique Gaudí design.
Besides branching to support their load, their ever-
changing surfaces are the result of the intersection of
various geometric forms.
• The simplest example is that of a square base evolving
into an octagon as the column rises, then a sixteen-sided
form, and eventually to a circle.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
• He was a Scottish architect, furniture designer and
painter at the peak of the Arts & Crafts Movement in
Scotland or England,
• Charles Rennie Mackintosh was the founder of the
"Glasgow School", an outstanding architecture and
decoration style, forerunner of Modern Movement in
Scotland.
• In 1884 he trained as an architect in a local firm and
studied art and design at evening classes at the Glasgow
School of Art, in Scotland. I
• n 1890, he established his own practice and in 1894 he
founded a group called "The Four" with fellow artists he
met at art school.
• Influenced by Continental Art Nouveau, Japanese art,
Symbolism and new-Gothic styles, they successfully
exhibited metalwork, furniture and illustrations in
Glasgow, London, vienna and Turin.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
• The majority of Mackintosh's works and innovative
designs were created within a short period of intense
activity between 1890 and 1911.
• In 1902, he presented his "Mackintosh" room furniture at
the Turin International Exhibition and he later designed
houses and various Tea-Rooms interior decorations.
• Very appreciated all over Europe, but nearly ignored at
home, in 1914 he retired and dedicated him to painting,
producing a beautiful collection of fine watercolour
flower studies.
• He was one of the most influential figures of Art
Nouveau, as he developed his original, incomparable and
linear style in architecture and decorative arts.
• He finely exploited natural and artificial lighting and
explored new spatial concepts, based on strong
traditional Scottish elements adapted to modern way of
life.
• His buildings were treated as whole works of art, where
every detail was carefully designed into clear and pure
lines.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS - INTERIORS
• Furniture, dining chairs, tables and cabinets, in dark oak or
white painted wood "Mackintosh chair", in dark oak
Mackintosh, Hill House, Helensburgh.
• His elegant decorative interiors complemented his
wooden furniture, designed with minimal decorations,
such as brass fittings or leaded glazed glass panels, often
enriched by a typical recurrent motif, the stylized rose,
also known as the "Glasgow rose".
• One of his most famous pieces of furniture is the "Hill
house chair", in dark oak wood, designed into
geometrical shapes, perpendicular delicate lines and a
tall ladder back with applied ornaments.
• Very popular today, Mackintosh's designs, stylized
flowers and decorative elements have inspired many
modern graphic works, furniture re-editions, as well as
jewellery and silverware designs.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS - NEW GLASGOW SCHOOL
OF ART
• In 1896 his design would go on to win the design
competition for the new Glasgow school of Art building.
• FIRST STAGE - The first stage of the building was
constructed from 1897 to1899. I
• n 1899, only the east wing and center portions of the
building were able to be built, since a tight budget,
meant postponing the west wing.
• The main entrance of the building and visual Focal point
is on the north side.
• While this design is strongly centred around the main
entrance and by the large blocked windows of the
design studios, both the building as a whole and the
central entrance are not perfectly symmetrical.
• Notice in particular the variation in number and shape of
windows at the highest part of the building.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS - NEW GLASGOW SCHOOL
OF ART
• Mackintosh incorporated many artistic details into this
main entrance from the wrought-iron brackets on the
studio windows and the arch supporting a lantern across
the main entrance to the intricate stone work above the
door: a rose bush bordered by two women whose
dresses flow down to form the surrounding moulding.
• The two balconies on the second and third story lead out
from the Directors Room and Studio respectively
according to the original plans, positioning the head of
the school in the most visible and central area of the
building.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS -HILL HOUSE,HELENSBURGH
• Hill House in Helens burgh, Scotland is one of Charles
Rennie Mackintosh's most famous works.
• It was designed and built for the publisher Walter
Blackie in 1902 – 1904.
• In addition to the house itself, Mackintosh also designed
most of the interior rooms, furniture and other fixings.
• Mackintosh's attention to detail even extended to
prescribing the colour of cut flowers that the Blackies
might place on a table in the living room, so as not to
clash with the rest of the décor.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS -HILL HOUSE,HELENSBURGH
EXTERIOR
• The uniform and greyish exterior treatment of the
building blends in with the cold cloudy sky of Scotland.
• The completely asymmetrical construction forms
different roof levels and shapes, and also records
Mackintosh’s appreciation for A.W. N. Pugin’s
picturesque utility where the exterior contour evolves
from the interior planning.
• The minimum decoration, heavy walls, and rectangular
and square windows express a strong, sober
construction.
• The exterior qualities of the building are nearly the
opposite of the warm, exotic, carefully decorated and
smooth interior.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS -HILL HOUSE,HELENSBURGH
EXTERIOR
• Again, Mackintosh relates to Pugin’s theory by
minimizing exterior decoration to emphasize the interior
design: the transition from the outside world into a safe,
fantastic inside space.
• Paint analysis of the harling on the exterior shows that it
might have been left as an unpainted pale grey initially.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS -HILL HOUSE,HELENSBURGH
INTERIOR
• The mansion combined the Edwardian period’s
traditional ‘femininity’ of an intimate, inside space, with
the ‘masculinity’ of the exterior public world, both
uncommonly used throughout the interior of the
building.
• To Mackintosh, bringing the masculine aspects to the
inside would break away from the over decorated,
entirely feminine conventional interiors.
• This allowed him to convey different feelings and
experiences depending on the purpose of each space.
• Mackintosh used different materials, colours and
lighting, when necessary to perform a full experiential
transition from one point to another.
• All in such an elegant and well planned manner.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS -HILL HOUSE,HELENSBURGH
INTERIOR
• In contrast with the dark, masculine hallway and library,
the drawing room is an example of the white rooms that
Mackintosh became renowned for.
• The building displays typical Mackintosh influences, with
a robust exterior referencing Scottish vernacular
architecture, contrasting with a highly ornamental
interior, featuring oriental themes alongside art-nouveau
and art-deco details.
• Mackintosh collaborated with his wife, the artist
Margaret MacDonald, to create almost every element of
the house, from the architecture to the furniture,
fireplaces, lighting and textiles.
• Blackie could not afford to complete the interior entirely
according to Mackintosh's designs, so the architect
focused on the principal spaces of the hallway, library,
master bedroom and drawing room.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS -HILL HOUSE,HELENSBURGH
INTERIOR
• The hall and library are typically masculine spaces,
defined by the use of strong, geometric lines and dark
wood.
• The timber panelling is embellished with pieces of
coloured glass and stencilled organic motifs.
• In contrast, the drawing room and master bedroom are
examples of the white rooms that Mackintosh became
renowned for.
• These stark, bright and spacious rooms made the most
of the available natural light and were extremely novel at
the time.
• The feminine and delicate design of the bedroom
features walls painted ivory white, which were hung with
embroidered panels of dreaming women.
ART NOUVEAU
CHARLES RENNIE MACKINTOSH
WORKS -HILL HOUSE,HELENSBURGH
INTERIOR
• Several iconic decorative motifs now synonymous with
Mackintosh are found throughout the interior, including
chequered forms often resulting from intersecting
vertical and horizontal wooden elements.
• The gridded motif recurs in furniture including a cube-
shaped table designed for the drawing room, and the
iconic ladderback chairs that create a bold contrast
against the pale walls of the bedroom