3 Modernism

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What is MODERNITY ?

•it means present, or current, implying as its opposite the notion of earlier, of what
is past.

•A second meaning of the word is the new, as opposed to the old.

Birth of Modern Architecture

•New materials, technology & needs were


drastically changing the profession of
architecture.
•Breaking free from ancient Greek & Roman
Prototypes (rejection of the traditional neoclassical architecture)
•The changing face of the growing cityscape.
•The rise of skyscrapers.
•America comes into focus as a budding center
of modern design (Empire State Building
1931)
MODERN ARCHITECTURE
Geometry to live in:
-Victorian homes were bulky &
complicated & Modernist architects
changed all that.
-Gone were the historical ornament
designs. The goal was now ‘simple’ &
clean designs.
-Science & industry was the new
‘religion’. The house became a ‘machine
for living’.
-Rise of an International Style.
The common characteristics of the
Style includes:
i) a radical simplification of form
ii) a rejection of ornament
iii) adoption of glass, steel &
concrete.
What led to MODERNISM ?

• Population increase

• Industrialization led Urbanization and massive building exercise

• New materials for building

• World War I (1914-18) & World War II (1939-45)

• World War II and End of Colonialism

• New Typologies – Railway Station, Department Store, Office, Apartment


towers, Factories, Dams and Airports…

• New Clients – Municipalities, cooperatives, institutions, social groups…


START OF A MOTOR AGE
NEW MATERIAL AND TECHNOLOGY
NEW MATERIAL AND TECHNOLOGY
ORIGINS
•The revolution in materials came first, with the use of
 cast iron
 plate glass
 reinforced concrete, to build structures that were stronger, lighter and taller.

•The cast plate glass process was invented in 1848, allowing the manufacture of
very large windows.

• These developments together led to


the first steel-framed skyscraper, the
ten-story Home Insurance
Building in Chicago, built in 1884.

• The iron frame construction of


the Eiffel Tower, then the tallest
structure in the world

The Crystal Palace, 1851 (iron and plate glass construction & metal curtain wall)
EARLY MODERNISM IN EUROPE
•At the end of the 19th century, a few architects began to challenge the
traditional Neoclassical styles that dominated architecture in Europe and the
United States.

Glasgow School of Art


Antonio Gaudi
(1896-99)
• by Charles Rennie Macintosh, had a • conceived architecture as a form of
facade dominated by large vertical sculpture; had no straight lines; it
bays of windows. was encrusted with colorful
mosaics of stone and ceramic tiles.

Art Nouveau (1890) Paris Auguste Perret and Henri


Sauvage
• by Victor Horta in Belgium; it • began to use reinforced concrete,
introduced new styles of previously only used for industrial
decoration, based on vegetal and structures, to build apartment
floral forms. buildings.
Austrian Postal Savings
Bank in Vienna by
Otto
The Glasgow School of Art by Charles
Rennie MacIntosh (1896–99) RCC building by Auguste Wagner (1904-1906)
Perret, Paris (1903)

The Steiner House in


Vienna by Adolf
The Théâtre des Champs-Élysées in Paris Stepped RCC building
Loos (1910)
by Auguste Perret (1911-1913) in Paris (1912-1914)
ART AND CRAFT MOVEMENT

• The arts and crafts movement was made up of


English designers and writers who wanted a return to
handcrafted goods instead of mass-produced.

• Artists tried to re-establish the ties between work


and the worker.

• The Arts and Crafts Movement initially developed in


Britain around 1880 and quickly spread across
America and Europe before emerging finally as the
Mingei (Folk Crafts) movement in Japan.

• It established a new set of principles for living and


working.

• It turned the home into a work of art.


ART NAUVEAU (1860-1910)
• Art Nouveau is French and means New Art. It is
characterized by its highly decorative style and by
the dedication to natural forms.
• Art Nouveau was popular from about 1880 to
1910 and was an International art movement.
• Siegfried Bing (later called Samuel Bing) was the
founder in 1895 of " La Maison de l'Art Nouveau
" in Paris :
• It was his art gallery and exhibition hall that gave
its name to the famous artistic Style Art
Nouveau.
• The movement was committed to abolishing the
traditional hierarchy of the arts, which viewed so-
called liberal arts, such as painting and sculpture,
as superior to craft-based decorative arts.
• The practitioners of Art Nouveau sought to revive
good workmanship, raise the status of craft, and
produce genuinely modern design.
ART NAUVEAU
• It was characterized by an elaborate ornamental
style based on asymmetrical lines, frequently
depicting flowers, leaves, or in the flowing hair
of a female.
• It can be seen most effectively in the decorative
arts, for example interior design, glasswork and
jewelry.
• However, it was also seen posters and
in illustration as well as paintings and
certain of the period.
sculptures
• ArtNouveau did not World War
survive I,
maybe because of the
Nouveau objects. prices for
• high
With the philosophical roots inArt high quality
handicraft, Art Nouveau was nothing for mass
production.
Inspirations

Arts and Crafts Japanese Art


Movement
ART NAUVEAU
o PRINCIPALS OF
ART NOUVEAU STYLE

• flat, decorative
patterns;
• intertwined
organic forms
such as stems or
flowers;
• an emphasis on handcrafting as opposed to
machine manufacturing;
• the use of new materials;
• and the rejection of traditional styles

o CHARACTERISTICS:

• Asymmetrical shapes
• Extensive use of arches and curved forms
• Curved glass
• Curving, plant-like embellishments
• Mosaics
• Stained glass
CLASSIFICATION:
Pierre Francastel divides Art Nouveau into two main tendencies that could
broadly termed the organic and the rationalist.

Rationalist: Organic:

Mackintosh school
Gaudi, Barcelona, Spain1903
Glasglow, Scotland 1897-1909
-gives precedence to the curved line and floral
-dependent on the straight shapes
line
CLASSIFICATION:

1. An abstract, structural style with a strong 2. A floral approach


symbolic and dynamic tendency (France focuding on organic plant
& Belgium) forms
(Horta, Guimard, Van de Velde) (Galle, Majorelle, Vallin, gaudi)

Henry Van de Velde’s house Aquarium Pavillion


CLASSIFICATION:

3. The linear, flat approach, with a heavy 4. A structured, geometric style (Austria &
symbolic element Germany,usa)
(Glasglow group, Mackintosh) (Wagner, olbrich, hoffmann, loos ,sullivan)

Glasgow School of Art Majolikahaus in Vienna


by Charles Rennie Mackintosh by Otto Wagner
VICTOR HORTA (1861 –1947 )
VICTOR HORTA (1861 –
1947 )
ANTONI GAUDÍ (1852 –
1926 )
ANTONI GAUDÍ (1852 –
1926 )

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