Slide 1

ART NOUVEAUAKILA AMIRTHALINGAMVth SEMESTRER

BIRTH OF ART NOUVEAUThe last third of the 19th century saw the development of a fundamentally approach to architecture and interior design. All over Europe there was a need for liberating change of direction, a desire to break away from set formulas based on pastiche (work ofvisual art , literature, or music thatimitatesthe style or character of the work of one or more other artists) of historical styles and a search for original ideas, all of which resulted at the beginning of the 1890s in the birth of Art Nouveau.

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.2

INTRODUCTION: ART NOUVEAUArt Nouveau (French for "New Style") was popularized by the famous Maison de l'Art Nouveau (House of New Art), a Paris art gallery operated by Siegfried Bing.

INTRODUCTION: ART NOUVEAUArt Nouveau represents the beginning of modernism in design (Modern Architecture). It occurred ata time when mass-produced consumer goods began to fill the marketplace,and designers, architects, and artists began to understand that the handcrafted work of centuries past could be lost. While reclaiming thiscraft tradition, art nouveau designers simultaneously rejected traditional styles in favor of new, organic forms that emphasized humanity's connection tonature.

INTRODUCTION: ART NOUVEAUTIME & PLACE

Art Nouveau art and architecture flourished in major European cities between 1890 and 1914.

INTRODUCTION: ART NOUVEAUIt embracedall forms of art and design:

architecturefurnitureglasswaregraphic designjewelrypaintingpotterymetalworktextile

This was a sharp contrast to thetraditional separation of art intothe distinct categories of fine art(painting and sculpture) andapplied arts (ceramics,furniture, and other practical objects).

INTRODUCTION: ART NOUVEAUHALLMARKS OF ART NOUVEAU STYLE

flat, decorativepatterns; 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 earlierstyles

In general, sinuous, curving lines also characterize art nouveau, although right-angled forms are alsotypical, especially as the style was practiced in Scotland and in Austria.

7

ART NOUVEAU ARCHITECTUREFEATURES

Art Nouveau buildings have many of thesefeatures:

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

ART NOUVEAU ARCHITECTUREPierre Francastel

divides Art Nouveauinto two main tendencies that couldbroadly termed theorganic and the rationalist

ART NOUVEAU ARCHITECTURERationalist:

Mackintosh school Glasglow, Scotland1897-1909-dependent on the straight line

Organic:

Gaudi houseBarcelona, Spain1903-gives precedence to the curved line and floral shapes

ART NOUVEAU ARCHITECTUREStephan Tschudi Madsen(Art Historian)

proposed a more subtle classification, but still relies on an assumed antagonism between four designs

ART NOUVEAU ARCHITECTUREIn his book Sources of Art Nouveau, he describes for styles:

A floral approach focuding on organic plant forms(Galle, Majorelle, Vallin)

An abstract, structural style with a strong symbolic and dynamic tendency (France & Belgium)(Horta, Guimard, Van de Velde)

Aquarium Pavillion

Henry Van de Veldes house

ART NOUVEAU ARCHITECTUREA structured, geometric style (Austria & Germany)(Wagner, Olbrich, Hoffmann, Loos)

The linear, flat approach, with a heavy symbolic element(Glasglow group, Mackintosh)

Majolikahaus in Vienna by Otto Wagner

Glasgow School of Artby Charles Rennie Mackintosh

ART NOUVEAU ARCHITECTS AND THEIR WORKS

Victor Horta (Belgian architect and designer)(January 6, 1861 - September 8 1947)

Hotel TasselBrussels, BelgiumConstruction started 1893Completed 1894 (1st Art Nouveau Building in the World)

Stairway of Tassel House, Brussels

Hotel vanEetveldeBrussels, BelgiumConstruction started 1898Completed 1900

Hotel van Eetvelde office : fireplace

HotelSolvayBrussels, BelgiumConstruction started 1898Completed 1900

HortaMuseumformerly known as Maison & Atelier HortaBrussels, BelgiumConstruction started 1898Completed 1900

HectorGuimard(French architect)(Lyon, March 10, 1867 New York,May 20, 1942)

CastelBerangerParis, France1890 circa

Building Typemulti-familty housing, apartment buildingConstructionSystembearing masonry, brick, cast ironClimatetemperateContexturbanNotesGraceful asymmetrical wrought iron entry gate, precedent to work of contemporary American blacksmith Albert Paley.

Details ofCastel Beranger

ParisMetroEntrancesParis, France1899 to 1905

Building Typelight rail rapid transit stationsConstructionSystemiron and glassClimatetemperateContexturbanNotesGraceful organic forms.

HotelGuimardParis, France1912

Building Typeprivate residence hotelConstructionSystemcut stone bearing masonryClimatetemperateContexturbanNotesElegant facade with organic detailing.

Louis Sullivan(American architect)(September 3, 1856 April 14, 1924)

"father of skyscrapers"father of modernismone of "the recognized trinity of American architecture"

WainwrightBuildingMissouri, USA 1890 to 1891

Height: 44.81 meters / 147 feetStories: 10

CharlesRennieMackintosh (British Architect, Interior Designer)

32

TheLightHouseGlassglow, ScotlandCompleted in 1895

AntonioGaudi (Architect, Barcelona)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

35

Casa BattloBarcelona, Spain1905-1907

Casa Mil Barcelona, Catalonia, Spain1905-1907

37

Classification

Name: Casa Mila (La Pedrera) Architect: Antoni Gaud Timeline: 1907-1910 Country: Spain,Catalonia Style: Modernism

Description of work

Technical elements and structural materials: stone, brick, iron and ceramics.

Support: The building leans on pillars, structure that eliminates the need for load-bearing walls and partitions allows free distribution and the large openings of the facade. The structure is basically iron pillars but also combining other materials such as brick and stone.

Cover: golf are covered with 270 diaphragm arches of brick, all adopted different catenary(chain) shape that perfectly absorbs lateral loads. Constitute a fourth insulating the attic to other apartments, but hardly increases the weight given the lightness of the materials used. Above the attic roof with fanciful sculptural forms, which houses the water tanks and the stairwells and elevators.

D. Decorative elements: We find throughout the building, from the front (wave pattern and iron bars) to the inside of the housing (roofs and stucco walls, furniture), the scale (stucco, ceramics, paintings, iron) and above the roof.

E. Interior space: Gaudi cared for until the end aesthetics and functionality of the space. He and his aides designed the ceilings of the rooms and much of the furniture in undulating waves. Floor: Free. The building is organized around two large courtyards, Gaudi became true "interior walls"; spacious were originally decorated with frescoes. Each apartment opens onto a courtyard and exterior, so light and proper ventilation is ensured. Parties: Ground floor; five floors; attic and roof.Antoni Gaud

Plan

Outdoor spaces:

Front: Despite the appearance that offers powerful, it is a simple lining and stand on the rocks due to the internal structure of iron.

The rows of balconies heavy curl alternately inwards and outwards, and this gives the whole unit a plastic. Forms that evoke nature: both the front and steep undulating, embodied the feeling of waters that break the resistance of a stone structure, in continuity with the natural coastal and mountain ranges of Catalonia.

The forms also recall the waves of the Mediterranean Sea. Iron railings: full of vitality organic mimic some marine rocks and sand on the beach. Gaudi, the son of a coppersmith, retained the affection wrought iron, which was a great master.

This treatment anticipates the work of welded metal sculptors of the twentieth century, but often exceeds the richness and variety of forms.

Windows: have a large amplitude, and undulating with gently curved corners that give the building a great plasticity. Plastic unit: the sequence of raised wavy lines unifies the visual of a building devoid of decoration. His strength anticipates architectural expressionism.

Roof: One of the most amazing spaces that can be found in the universal architecture and is a veritable forest of magical shapes.

Chimneys: There is one for each apartment. Grouped screwing up spirally, so that the air tour and facilitates the expulsion of smoke. Volumes scales: Gaudi care how much function and construction; useful items become beautiful through its brilliant creativity. Some of these volumes are covered with pieces of marble or ceramic.

Vents: Also take fantastic shapes. Only fences that protect visitors there was added later. Some believe and see figures relate to Islamic traditions of Muslims and Christians. Others think seeing shapes from the stony place called Fray Guerau, Montserrat. Others, even the most distant yet related sites such as Cappadocia. Pieces of broken champagne bottles: a group of chimney lining, Arte Povera and anticipate the second half of the twentieth century.

La Sagrada Familia(The Holy Family)Barcelona, Catalonia, Spain1882-2026

Construction of Sagrada Famlia had commenced in1882and Gaudi became involved in 1883,taking over the project and transforming it with his architectural and engineering style, combining Gothic and curvilinearArt Nouveauforms. Gaud devoted his last years to the project, and at the time of his death at age 73 in 1926 less than a quarter of the project was complete.Sagrada Famlia's construction progressed slowly, as it relied on private donations and was interrupted by theSpanish Civil War, only to resume intermittent progress in the 1950s. Construction passed the midpoint in 2010 with some of the project's greatest challenges remaining and an anticipated completion date of 2026, the centenary of Gaud's death.

Story of Creation 1

Story of Creation (II)

PLAN

The Sagrada Famlia was planned from the outset to be a cathedral-sized building.

In common with Catalan and many other European Gothic cathedrals, the Sagrada Famlia is short in comparison to its width, and has a great complexity of parts, which include double aisles, anambulatory with achevet(an apse with an ambulatory giving access behind the high altar to a series of chapels set in bays. )of sevenapsidal chapels, a multitude of towers and three portals, each widely different in structure as well as ornament.

A covered passage orcloisterwhich forms a rectangle enclosing the church and passing through thenarthex (entrance or lobby area)of each of its three portals. With this peculiarity aside, the plan, influenced by Villar's crypt, barely hints at the complexity of Gaud's design or its deviations from traditional church architecture.

FACADESThe Church will have three grand faades: theNativityfacade to the East, thePassion facade to the West, and theGloryfaade to the South (yet to be completed). The Nativity Faade was built before work was interrupted in 1935 and bears the most direct Gaudi influence. The Passion faade was built after the project which Gaudi planned in 1917. The construction was begun in 1954, and the towers, built over the elliptical plan, were finished in 1976. It is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being scourged at the pillar; and Christ on theCross. These controversial designs are the work ofJoseph Maria Subirachs.The Glory faade, on which construction began in 2002, will be the largest and most monumental of the three and will represent one's ascension to God. It will also depict various scenes such as Hell, Purgatory, and will include elements such as theSeven Deadly Sinsand theSeven Heavenly Virtues.

INTERIORThe church plan is that of a Latin cross with five aisles. The central nave vaults reach forty-five metres (150ft) while the side nave vaults reach thirty metres (100ft). The transept has three aisles. The columns are on a 7.5 metre (25ft) grid. However, the columns of theapse, resting on del Villar's foundation, do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns. The crossing rests on the four central columns of porphyry supporting a great hyperboloid surrounded by two rings of twelve hyperboloids (solid or surface having plane sections that are hyperbolas, ellipses, or circles)(currently under construction). The central vault reaches sixty metres (200ft). The apse is capped by a hyperboloid vault reaching seventy-five metres (250ft). Gaud intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing, and apse; thus the graduated increase in vault loft.

Detail of the roof in the nave. Gaud designed the columns tomirror trees and branches.

There are gaps in the floor of theapse, providing a view down into the crypt below.The columns of the interior are a unique Gaud 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. This effect is the result of a three-dimensional intersection of helicoidal (forming or arranged in a spiral )columns (for example a square cross-section column twisting clockwise and a similar one twisting counter-clockwise).Essentially none of the interior surfaces are flat; the ornamentation is comprehensive and rich, consisting in large part of abstract shapes which combine smooth curves and jagged points. Even detail-level work such as the iron railings for balconies and stairways are full of curvaceous elaboration.

GEOMETRIC DETAILSAlpha and Omega carving at Sagrada Famlia entrance

The towers on the Nativity faade are crowned with geometrically shaped tops that are reminiscent ofCubism(they were finished around 1930), and the intricate decoration is contemporary to the style ofArt Nouveau, but Gaud's unique style drew primarily from nature, not other artists or architects, and resists categorization.

Gaud usedhyperboloid structuresin later designs of the Sagrada Famlia (more obviously after 1914), however there are a few places on the nativity faadea design not equated with Gaud'sruled-surfacedesignwhere thehyperboloidcrops up.

pinnacle detail

ParqueGuellBarcelona, Spain1900 to 1914

Parque Guell, or Guell Park is surroundedby an undulating mosaic wall.

THANKYOU