Art Nouveau against culture.pdf

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History of Architecture (AP313) | Term Paper | 2013

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Art nouveauA 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 thedominant 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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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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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/
http://www.flickr.com/photos/gerard_michel/7021232589/http://www.flickr.com/photos/gerard_michel/7021232589/http://www.flickr.com/photos/gerard_michel/7021232589/http://www.flickr.com/photos/gerard_michel/7021232589/


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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 sparssurmounted 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)
http://www.greatbuildings.com/buildings/Glasgow_School_of_Art.htmlhttp://www.greatbuildings.com/buildings/Glasgow_School_of_Art.htmlhttp://www.greatbuildings.com/buildings/Glasgow_School_of_Art.htmlhttp://www.greatbuildings.com/buildings/Glasgow_School_of_Art.html


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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 one

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 ELEVATION- the Athens academyBuilding

Source:http://www.panoramio.com/photo/75491801

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 windowsand innovative use of electric light and sealed unit construction in the Glasgows school

building is contrasted by the use of materials like marble. (3)
http://europeantimeinacapsule.blogspot.in/2010/11/working-visit-in-athens.htmlhttp://europeantimeinacapsule.blogspot.in/2010/11/working-visit-in-athens.htmlhttp://europeantimeinacapsule.blogspot.in/2010/11/working-visit-in-athens.htmlhttp://www.panoramio.com/photo/75491801http://www.panoramio.com/photo/75491801http://www.panoramio.com/photo/75491801http://www.panoramio.com/photo/75491801http://europeantimeinacapsule.blogspot.in/2010/11/working-visit-in-athens.html


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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 arefull 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)
http://www.greatbuildings.com/buildings/Glasgow_School_of_Art.htmlhttp://www.greatbuildings.com/buildings/Glasgow_School_of_Art.htmlhttp://www.greatbuildings.com/buildings/Glasgow_School_of_Art.htmlhttp://www.all-art.org/Architecture/23-18.htmhttp://www.all-art.org/Architecture/23-18.htmhttp://www.all-art.org/Architecture/23-18.htmhttp://www.greatbuildings.com/buildings/Glasgow_School_of_Art.html


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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 ELEVATION- the Casa

Mila

Source2http://en.m.wikipedia.org/wiki/File:Monticello_original_front_elevation_drawing_1771.jpeg:

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


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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 inBrussels

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 isnaturally 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.
http://artnouveau.pagesperso-orange.fr/en/villes/brussels.htmhttp://artnouveau.pagesperso-orange.fr/en/villes/brussels.htmhttp://artnouveau.pagesperso-orange.fr/en/villes/brussels.htmhttp://artnouveau.pagesperso-orange.fr/en/villes/brussels.htmhttp://artnouveau.pagesperso-orange.fr/en/villes/brussels.htmhttp://artnouveau.pagesperso-orange.fr/en/roots.htmhttp://artnouveau.pagesperso-orange.fr/en/roots.htmhttp://artnouveau.pagesperso-orange.fr/en/roots.htmhttp://artnouveau.pagesperso-orange.fr/en/roots.htmhttp://artnouveau.pagesperso-orange.fr/en/villes/brussels.htmhttp://artnouveau.pagesperso-orange.fr/en/villes/brussels.htmhttp://artnouveau.pagesperso-orange.fr/en/villes/brussels.htm


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Bibliography1. 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/neoclassical-

architecture.

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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