Architectural developments from 1800 A.D. to 2000 B.C.

Theory of architecture
Snigdha Dam, B.arch 3rd year 1/29/2013

Introduction

1800-1900 A.D. in architecture was predominantly a transition phase where the old met the new and this development were very important in laying down the foundations of modern architecture that we see today. And it was the result of a homogenous mix of new liberal approach towards living and industrial advancement. The industrial revolution, which began in England in about 1760, led to radical changes at every level of civilization throughout the world. The growth of heavy industry brought a flood of new building materials such as iron, glass and most importantly steel and concrete. This gave a whole new level of structural approach to designing. Design limitations which the architects and engineers faced earlier were brought down drastically. Eiffel tower (1889) fig. a designed by Gustavo Eiffel is one of the architectural marvels of the 19th century and it was possible to build it due to sudden technological advancement and also the vision of their respective designers. Crystal Palace fig b., designed by Sir Joseph Paxton, built for the Great Exhibition held at London in 1851, is another example.

Fig a. Eiffel tower, Paris

Fig b. Crystal palace, London

The early Transition phase- 1800s

The period 1750 to 1870 was an era of changes and architectural evolution on all fronts. Architects reflected the social ferment in both a return to the styles of past eras and a highly innovative search for means of expressing new ways of thinking and living.

When the new building materials and building techniques were introduced for the first time, one could clearly see that the buildings were now completely revolutionized structurally but derived its architectural expressions from the past. One good example is the British museum (fig. c) where cast iron beams were used.

fig. c British museum

The use of new materials were taking place throughout the world but during the transition phase the overall form and outlook of the building was more or less similar to old classical styles but this was soon changed with the beginning of the 19th century. Executive Office Building, Washington DC (1871-1888) fig .d. Designed by Alfred B. mullet. .This building was built from cast iron, granite and slate i.e. using new and modern materials but the form and outlook was very classical.

Fig d. Executive Office Building, Washington DC (1871-1888) Another good example of the transition phase is Philadelphia City Hall (1871-1880) fig .e. Designed by John McAuther Jr. build in second Empire style. It was the tallest occupied masonry building in the United States which meant designing and building tall and overpowering structures became the new definition of an iconic building. Carvings, detailing and embellishing the building faade was slowly and gradually loosing its importance. fig. e.Philadelphia City Hall (1871-1880)

The Statue of Liberty is a very good example to prove that massive structure which were imaginary 7-8 decades ago were becoming real due to rapid industrialization. The structure comprises of a hollow colossus composed of thinly pounded copper sheets over a steel framework, it was designed in Paris by the French sculptor Frederic Bartholdi, in collaboration with the French engineer Gustave Eiffel, who was responsible for its frame, intended as a gift from France for the centenary of American independence in 1876. Its design and construction were recognized at the time as one of the greatest technical achievements of the 19th century

To conclude, all this structural and technological advancement that started taking place in the late 18th century gave us the ability to build modern day sky scrapers, which is now a new field in architecture and engineering.

The 19th century

Two principal characteristics that distinguish 19th-century architecture are as follows:The first arose from the needs that the new societies, brought into existence by the industrialization of production, imagined that they had to continue in the traditional styles of their predecessors. Elements of these earlier styles were put together to give an air of authority to town halls (Birmingham), railway stations (Euston, London), opera houses (Paris Opera) and legislatures (Houses of Parliament, London). Restraints of taste and careful application of Classical standards, which had characterized the 18th century, gave way to a variety of styles which could be either quaint, bombastic or severe and generally, to modern eyes, of great curiosity. The second characteristic emerged from the development of new materials as a result of the new industrial needs. In building, new forms - factories, warehouses, railway terminals, administrative centers, hospitals - were demanded. In the mid years of the century, cast iron was used structurally in large buildings such as warehouses and libraries. The Crystal Palace, designed by Joseph Paxton for the 1851 International Exhibition in London, provided a spectacular example of the possibilities of cast iron and glass that had worldwide publicity. The new ferrous building materials were made to conform to the taste for Classical, medieval or other exotic styles (Brighton Pavilion); for example the glass and iron vault for Paddington Station fig. f. by Brunel and Wyatt was supported on 'Gothic' columns. In 1889 Gustav Eiffel designed the exhibition tower for Paris which bears his name and provided the same form of publicity for the new material - steel.

fig.f. Paddington Station, London

In the second half of the 19th century dislocations brought about by the Industrial Revolution became overwhelming. Many were shocked by the hideous new urban districts of factories and workers housing and by the deterioration of public taste among the newly rich. For the new modes of transportation, canals, tunnels, bridges, and railroad stations, architects were employed only to provide a cultural veneer. In general, however, the most gifted architects of the time sought escape from their increasingly industrialized environment by further development of traditional themes and eclectic styles. Two contrasting but equally brilliantly conceived examples are the sumptuous Paris Opera fig. g (1861-1875) by Charles Garnier and Bostons grandiose Trinity Church fig. h. (1872-1877) by Henry Hobson Richardson. Hence where most of the world was busy in designing and making tallest buildings, bridges, towers, a few still worked on modifying and developing classical and traditional styles.

fig. g Paris Opera

fig. h Trinity church

Taxes against glass, windows and bricks were repealed which saw a new interest in using these building materials. Factory made plate glass was developed and complex designs in iron grillwork were a popular decoration for the classical and Gothic buildings. There were also terracotta manufacturing improvements, which allowed for more of its use in construction. Steel skeletons were covered with masonry and large glass skylights were popular. Improvements to the iron making process encouraged the building of bridges and other structures. Large indoor open spaces were now made possible with the use of strong iron framed construction; this was ideal for factories, museums and train stations. a new decorative art emerged, such as ornamental bolts, iron corners extending beyond the main line, a sort of Gothic lacework of iron. We find that to some extent in the Eiffel Tower.

Cast iron capitol

Concrete column

But it was heavily criticized by some architects and artists who scorned it as an example of the blackness of industry and saw it as blight on the citys skyline. There was some rejection of the new Industrial Revolution architecture and its emphasis on classical construction, Palladian styles and Victorian gingerbread houses; some impressive Gothic revival architecture was commissioned instead. Notable examples

were the British Parliament Buildings with their pointed spires and suggestion of strength and moral values. Strawberry Hill, built after the mid-eighteenth century, seems patterned after a Gothic castle and though it combined some novel construction materials which reflected strong spiritual and religious sentiments in its design. Regarding architecture of this era, John Ruskin, a co-founder of the Arts and Crafts movement toward simplicity argued, You should not connect the delight which you take in ornament with that which you take in construction or in usefulness. They have no connection, and every effort that you make to reason from one to the other will blunt your sense of beauty. Remember that the most beautiful things in the world are the most useless; peacocks and lilies for instance. Conclusion The evolution of Architecture from 1800A.D. to 2000A.D. has been revolutionary and stands apart as compared to changes that have been taking place in previous centuries. Various aspects contribute to this evolution and it is not the first time that the world has seen architecture emerge in a new way but its the first time that the change has been so drastic. Industrial revolution was one of the most important developments that revolutionized architecture specially in terms of structure, before industrial revolution stone, bricks, wood were the important building materials and hence the design was the direct outcome of these materials because there were structural limitations. Introduction of steel, glass and most importantly concrete meant that larger, better and stronger structures could be built. Thus the evolution, modification and advancement that took place in architecture in this particular era laid the foundation of modern architecture.

Sources:-

http://thearchiblog.wordpress.com/2011/06/02/impact-of-industrial-revolution-on-architecture/ http://www.learn.columbia.edu/ha/html/19c.html

http://www.visual-arts-cork.com/history-of-art/nineteenth-century-architecture.htm#architects http://www.visual-arts-cork.com/history-of-art/nineteenth-century-architecture.htm