[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for an understanding of styles in architecture and design influenced by fine art. Selecting either Arts + Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your answer, you should include evidence from the readings and at least two annotated images as support for your analysis of influences.
Art Nouveau was a stylistic period which encompassed every element of design. It was a new design language which was influenced by fine art and was born from the creation of new technologies such as iron and glass. These new materials where manipulated and used to create dynamic shapes which formed gorgeous spaces.
In the early twentieth century design began to incorporate, plan and decorate interiors "with the same respect that had been traditionally been reserved for the exterior" [massey 32]. Architect- designers concerned themselves with all elements of a building. Every thing which was placed inside an interior was thought about... designed...even down to the door handles.
Art Nouveau first became popular in Europe + travelled to neighboring countries such as Spain, where they knew it as Art Moderno. Out of all who embraced this fashionable trend, Antonio Gaudi was best known for his body of work... literally. His work depicts a certain fascination with the human body. This can be seen through The Casa Battlo in Spain. Gaudi does a brilliant job dematerializing the body and reforming its skin and bones into a structure. By moulding pillars + beams into organic curves, Gaudi manages to capture bone like forms which supoort the ceiling and compliment the undulating curves and biomorphic furniture placed within the space. His human like design is a beautiful way of looking at structures in the art nouveau period as a whole.
Just as the body,structures which were built in the art nouveau period need both interior and exterior organs completely designed in order to function and read as one cohesive vessel.
Casa Battlo - Barcelona, Spain - Antonio Gaudi [massey p.47]
Even though Art Nouveau was short lived it will forever be indebted to the Beaux Arts movement. Some may argue that the the Paris Opera House was apart of the Beaux Arts stylistic period but I personally feel that it was just the beginning of Art Nouveau. It was a place to see and be seen... and ohhhh was it a place to see! Its glistening walls, curvilinear lines and delicate ornamentation amplify the grandeur of the interior reflecting the beautiful design of the exterior. Jean Louis Charles Garnier captures the organic curves that we find in nature, materializes it and forever embalms it within the walls of the opera house.
http://www.planetware.com/picture/paris-opera-house-f-f1285.htm
Art Noveau is not about the architecture but is about the design.
[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products. SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument.
The Modern Movement, also known at the International style arises from theories, forms and technology which "stripped away unnecessary ornament from interiors" [massey p.63] The invention of new materials and building technologies created the opportunity for lighter more spacious and functional living environments. The modern movement rejected the need for ornament and formed the objective to create a comfortable space rather than ostentatious interiors.
In this period "ascetic architecture was to make no statement other than to reveal itself. Modernism was not l'architecture parlent - it was not speaking architecture. Or at least if the architecture did speak it was only speaking about the current building technology and structural science" [Roth 39]. And thats exactly what the Barcelona Pavilion by Ludwig Mies Van Der Rohe did! He changed the way we thought about moving about a space. His task was to build a space for an exhibition when he cleverly made the building it self the exhibition. This building, this machine.. stood still yet the walls seemed as if they were slipping and sliding apart as you moved through out the space. There were very little furnishings, the highly patterned walls took the place of the objects which usually fit into a space... literally showing that "less is more!" The materials used were mainly steel and glass causing all the warmth to be removed from the building. These new "machine" like structures were the future but they had no life... there was not warmth in the building and no warmth on the walls.
No longer did designers for care clutter of unnecessary ornamentation. The structural skeleton was the ornamentation. Simplicity + Function were the new architectural aesthetics.
[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products. SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument.
The Modern Movement, also known at the International style arises from theories, forms and technology which "stripped away unnecessary ornament from interiors" [massey p.63] The invention of new materials and building technologies created the opportunity for lighter more spacious and functional living environments. The modern movement rejected the need for ornament and formed the objective to create a comfortable space rather than ostentatious interiors.
In this period "ascetic architecture was to make no statement other than to reveal itself. Modernism was not l'architecture parlent - it was not speaking architecture. Or at least if the architecture did speak it was only speaking about the current building technology and structural science" [Roth 39]. And thats exactly what the Barcelona Pavilion by Ludwig Mies Van Der Rohe did! He changed the way we thought about moving about a space. His task was to build a space for an exhibition when he cleverly made the building it self the exhibition. This building, this machine.. stood still yet the walls seemed as if they were slipping and sliding apart as you moved through out the space. There were very little furnishings, the highly patterned walls took the place of the objects which usually fit into a space... literally showing that "less is more!" The materials used were mainly steel and glass causing all the warmth to be removed from the building. These new "machine" like structures were the future but they had no life... there was not warmth in the building and no warmth on the walls.
No longer did designers for care clutter of unnecessary ornamentation. The structural skeleton was the ornamentation. Simplicity + Function were the new architectural aesthetics.
http://acquirethebay.com/2009/08/07/daily-inspiration-5/
[3] From the assigned pages in Roth, Harwood, and Massey, SELECT an image that you believe explodes the notion that Modern interiors and objects were black and white. Fully RENDER your own design exploration of that image through color, material, and light and appropriately annotate and cite the image to prove this point.
Bauhaus Office
rendered by ME
Using water color
[click on image to see it larger]
Good job-need annotation (explanation) for sketch
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