History of Architecture (AP313) | Term Paper | 2013

Art nouveau A rebellion against tradition

Term Paper for History of Architecture (AP131) Ravideep Singh
Roll Number: 07216901611 Sushant School of Art and Architecture

ABSTRACT
Art nouveau, the movement begun by several artists and designers who were rebelling against the neoclassical art movements of the past, which were heavily based on symmetry and geometric forms defied the classic at various levels. Proponents of Art Nouveau architecture turned against references to classical Greek and Roman standards that had been popular during most of the 1800s. They were driven to throw off strict and formal philosophies of art. Instead, architects who designed Art Nouveau buildings found their inspiration in the expressive lines and shapes of nature, especially from flowers and other plant life. (1) The art nouveau movement can be seen as fine example of how a curiosity for distinction gave rise to a widespread movement which eventually became a revolution and paved way for modern architecture. Art nouveaus rebellion against the classics can be cited through the dominant asymmetry in its structures, making a statement of distinction from the classical. The Castel Beranger, Paris exemplifies asymmetry breaking away simplistic and constrained ideals of the classical style. Much of art nouveau architecture also used plant-like tendrils and reliefs in the architectural designs. Oftentimes, these homage to plants were curvy and asymmetrical, keeping with the art nouveau theme. Another
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History of Architecture (AP313) | Term Paper | 2013

contradiction to neoclassical was the use of new materials and varied use of the conventional materials. (1) Proponents of Art Nouveau intended it to be a non-elitist style of art that did not draw distinctions between fine arts like painting and sculpture, and applied arts like ceramics and metalworking. Art Nouveau style was applied to rugs, furniture, textiles, wallpaper, lamps and graphic design, which did not happen in the past. For this reason, Art Nouveau was a style available to a wide number of people and became widespread by challenging the ideals of the classics. (2)

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History of Architecture (AP313) | Term Paper | 2013

PAPER Art nouveaus rebellion

Art nouveau, the movement which was motivated by the search for a new style did not depend on any of the styles of the past. Rather it began exploring a completely different philosophy, which defied the classical tradition in many ways. It was extensive practiced in two languages, namely, rationalistic and organic but nevertheless, both sustained its rebellion against the traditional classics. (1) Asymmetry is one of the most identifiable features of the Art nouveau. Because art nouveau was a rebellion against the geometric forms and symmetric elements of the movement that preceded it, neoclassicism. Many art nouveau buildings exhibit a quality of surrealism with bends and twists not typically found in buildings made before the movement.

Dominant asymmetry in art nouveau Source: http://www.flickr.com/photos/gerard_michel/7021232589/

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History of Architecture (AP313) | Term Paper | 2013

The Glasgow school building is a towering rectangular block with almost no decoration, an austere statement and bold break away from the traditional methods of architectural adornment with a rationalistic approach Its lack of obvious historical references, the apparent over-scaling of the windows, the lack of classical references, the absence of sculptural embellishments and an asymmetrical facade. (4)

Glasgow school building

Source: http://www.greatbuildings.com/buildings/Glasgow_School_of_Art.html The facades of the four main elevations are each different and every interior and exterior aspect of the building is meticulously detailed. It is an original and important building, has been described as 'a bold barrier against the tide of revivalism and historicism'. The black metal fence around the north frontage is interspersed with spars surmounted by cryptic roundels depicting stylized insect and animal forms. (4) The Athens academy Building, In contrast, displays characteristics of the traditional Ionian rhythm. Its central part is designed along the lines of an amphiprostyle temple. The Building of the Athens Academy has a rich sculptural decoration. The main sculptural decoration is found on the pediment of the entrance to the Academy. On either side of the building there are two 4m high Statues: On the right that of Apollo the guitar-player and on the left that of Athena the defender. Both are mounted on pillars in the Ionian rhythm. (3)

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History of Architecture (AP313) | Term Paper | 2013

The centre of Athens, the Academy Source :http://europeantimeinacapsule.blogspot.in/2010/11/working-visit-in-athens.html The genre of adornment in Glasgows school building is completely opposite to the on e found in the Athens academy building. The use of classical Greek symbols had been replaced by hand-guard forms of the elaborate metal brackets on the windows of the front facade. These metal brackets are poetic, each one taking a different form and seeming to grow organically and yet entirely practical, acting as braces for the mullions of the studio windows and window cleaning platforms.

ELEVATION- The Glasgow School Building Source: http://www.panoramio.com/photo/75491801

ELEVATION- the Athens academy

The materials used to create art nouveau buildings were as unique as the structures themselves. For the first time ever, materials such as bricks, ceramics, glass and iron were being used in new ways -- being bent, twisted and curved -- purely for aesthetic purposes, and having little or nothing to do with functionality. Use of modern materials and techniques such as the large, industrial, braced windows and innovative use of electric light and sealed unit construction in the Glasgows school building is contrasted by the use of materials like marble. (3)

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History of Architecture (AP313) | Term Paper | 2013

Braced windows

Use of Marble

Source: http://www.greatbuildings.com/buildings/Glasgow_School_of_Art.html As the movement progressed; It sought a fresh analysis of function, a close study of natural forms and a new aesthetic. It is true that the outer reaches of Art Nouveau are full of mindless pattern-making but there was, at and around the centre, a marvelous sequence of works in which the decorative and the functional fuse to novel and compelling effect. With its undulating faade and surrealist sculptural roof, Antoni Gaudis Casa Mil appears more organic than artificial, exemplifying the organic approach of art nouveau. Structurally, the building is divided between structure and skin. The stone faade has no load-bearing function. Steel beams with the same curvature support the facades weight by attaching to the structure. This allowed Gaudi to design the faade without structural constraints, and ultimately enabled his conception of a continuously curved faade. (2) (5)

The Casa Mila Source: http://www.all-art.org/Architecture/23-18.htm Jeffersons elevation of the first Monticello depicts a rather boxy building. A central block of two stories, each with projecting columned porticoes, is flanked by full-height wings on the lower level and an attic on the upper. A plan of the first floor which he executed about the same time depicts the wings terminating in semi-octagonal bays which are in complete contrast to casa Mila, of the art nouveau which hosts curvilinear profile in its planning. (5)

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History of Architecture (AP313) | Term Paper | 2013

West Front of Monticello from South Terrace Source: http://www.monticello.org/ The classic use of symmetry, the stately brick exterior and the homes center-hall floor plan albeit on a grand scale. The full-height front porch is supported by a row of Doric even in number. The doorways often have decorative surrounds and pediments, the triangular section found above the entranceway which is typical of the neoclassical style. (6)

ELEVATION- the Monticello Mila

ELEVATION-

the

Casa

Source2 http://en.m.wikipedia.org/wiki/File:Monticello_original_front_elevation_drawing_1771.jpeg: Source1: http://www.flickr.com/photos/sftrajan/5170339497/in/photostream/lightbox/

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History of Architecture (AP313) | Term Paper | 2013

The elevation of Casa Mila is in complete contrast to those of the Monticello, rebelling the dominant symmetry of the classical and displays a completely different notion of curviness. The idea of art nouveau architecture to rebel against the tradition was to make way for newer materials that could bring more efficiency in the buildings. Art Nouveau has made a large use of glass for functional and sanitary factors: making luminous living areas. Several buildings use a glass roof for zenithal light: House Van de Velde and House Horta in Brussels. Decoration factors i.e. Use of stain glasses also promoted the use of glass. Even Materials such as cast iron, steel and concrete etc gained popularity during the art Nouveau era.

Horta's house in Brussels

Source: http://artnouveau.pagesperso-orange.fr/en/roots.htm

Art nouveau aimed to erase the distinction between major and minor arts. They aimed at unifying all arts, centering them around man and his life. Therefore architecture, which has a direct influence on man's life, was the central art on which every skill is naturally integrated. Architecture is seen as a total art; every detail, every object in or on the building is related to the whole, Contrary to what happened in the past, where art and architecture were considered radically different with no relation. The movement gained rhythm initially but fell in about ten years, probably because of its limited customer base. It had never been a widespread style, since the best works were costly and unsuited to mass manufacture, Art Nouveau was a pivotal development in the history of art, particularly in architecture. By rejecting conventional style and redefining the relationship of art to industry, its practitioners helped prepare the way for the advent of modern art and architecture.
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Bibliography
1. mcnish, Thomas. www.ehow,com. [Online] [Cited: 0ct 7, 2013.] http://www.ehow.com/info_8130751_elements-art-nouveau-architecture.html. 2. Duncan, Alastair. Art Nouveau. s.l. : Thames and hudson Ltd, 1994. 3. A DETAILED GEOMETRIC DOCUMENTATION . [Online] [Cited: 0ct 10, 2013.]

http://www.isprs.org/proceedings/XXXVI/part5/paper/1231_Dresden06.pdf. 4. GILLON, JK. [Online] [Cited: oct 7, 2013.] http://gillonj.tripod.com/MacKintosh/. 5. unesco. whc.unesco.org. [Online] united nations. [Cited: oct 11, 2013.]

http://whc.unesco.org/en/list/442. 6. Douglas Trattner. [Online] oct 11, 2013. http://www.frontdoor.com/home-styles/neoclassicalarchitecture. 7. www.architecture.com. [Online] [Cited: oct 7, 2013.]

http://www.architecture.com/HowWeBuiltBritain/HistoricalPeriods/Scottish/CharlesRennieMackintosh/ GlasgowSchoolOfArt-Exterior.aspx#.UlWnr1CSAZc.

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