1. ROOTS OF MODERN ARCHITECTURE II

2. The Arts & Crafts Movement: In England, there were still men of great influence who resisted the use of iron in architecture. In England, there were still men of great influence who resisted the use of iron in architecture. Such men as John Ruskin and William Morris set out to rejuvenate art and architecture by returning to Medieval conditions... Such men as John Ruskin and William Morris set out to rejuvenate art and architecture by returning to Medieval conditions...

3. The Arts & Crafts Movement: French architects like Viollet - Le - duc equated iron roofed structures to sheds. French architects like Viollet - Le - duc equated iron roofed structures to sheds. Products were overly ornamented and those architects had violent reactions to this type of construction. Products were overly ornamented and those architects had violent reactions to this type of construction.

4. The Arts & Crafts Movement: The solution that Viollet proposed was to recapture the romantic world of Medieval craftsmen The solution that Viollet proposed was to recapture the romantic world of Medieval craftsmen

5. The Arts & Crafts Movement: The Arts & Crafts Movement, as it is so called, set out to, and for sixty years, provide a nostalgic postscript to country house architecture. The Arts & Crafts Movement, as it is so called, set out to, and for sixty years, provide a nostalgic postscript to country house architecture.

6. The Red House: Commissioned by Morris, Philip Web built the Red House at Bexley Heath in Kent. Commissioned by Morris, Philip Web built the Red House at Bexley Heath in Kent.

8. The Red House: The house was to represent a protest against industrialism through its: The house was to represent a protest against industrialism through its: Informality Informality Absence of decoration Absence of decoration Simple vernacular Simple vernacular

9. The Red House: The emphasis on basic form, sound materials and good craftsmanship had great appeal to architects who in turn contributed to a poetic phase of European architecture. The emphasis on basic form, sound materials and good craftsmanship had great appeal to architects who in turn contributed to a poetic phase of European architecture.

10. The Art Nouveau: Country house architecture was an attempt to move away from Historicism. Country house architecture was an attempt to move away from Historicism. The Art Nouveau (New art) was a refinement of that philosophy The Art Nouveau (New art) was a refinement of that philosophy

11. The Art Nouveau: Appearing in the latter part of the 19th century, this movement principally began in the applied arts Appearing in the latter part of the 19th century, this movement principally began in the applied arts

12. The Art Nouveau: The movement’s main focus comprised of ornamentation inspired by nature. The movement’s main focus comprised of ornamentation inspired by nature. This attitude was a departure and a liberation from historic imitation. This attitude was a departure and a liberation from historic imitation.

13. The Art Nouveau: The favorite ornamental motif were the sensuous curves found in: The favorite ornamental motif were the sensuous curves found in: Natural formas of plants Natural formas of plants The sea The sea Flowing hair Flowing hair

14. The Art Nouveau: The new expression was found everywhere: The new expression was found everywhere: Lamps Lamps Furniture Furniture Posters and drawings Posters and drawings Fabrics Fabrics Type faces & trinkets Type faces & trinkets

15. The Link with Architecture: This process of stylization placed emphasis on clarity and purity of line. This process of stylization placed emphasis on clarity and purity of line. This brought about its link with architecture This brought about its link with architecture

16. Belgium: Architects Henry Van der Velde and Victor Horta became the principal proponents of the Art Nouveau. Architects Henry Van der Velde and Victor Horta became the principal proponents of the Art Nouveau. Horta experimented with flexible free curving forms. He applied this technique to his architecture. Horta experimented with flexible free curving forms. He applied this technique to his architecture.

17. Spain & Gaudi: Around the same time, Antonio Gaudi in Barcelona Spain explored similar ideas in what he called a “biological style”. Around the same time, Antonio Gaudi in Barcelona Spain explored similar ideas in what he called a “biological style”. In his Sagrada Familia, Gaudi created free flowing plastic shapes that appeared to have been molded out of clay from almost pure sculpture. In his Sagrada Familia, Gaudi created free flowing plastic shapes that appeared to have been molded out of clay from almost pure sculpture.

19. Spain & Gaudi: Gaudi’s work has frequently been referred to as “Fantastic Architecture” Gaudi’s work has frequently been referred to as “Fantastic Architecture”

20. Other Architects: Louis Sullivan in America created not only new architecture, but used ductile metal. Louis Sullivan in America created not only new architecture, but used ductile metal. Rennie Makintosh in Scotland was not influenced by the flexible ornamental line. His “School of Art” in Glasgow is an example of a strongly personal and historically developed structure.. Rennie Makintosh in Scotland was not influenced by the flexible ornamental line. His “School of Art” in Glasgow is an example of a strongly personal and historically developed structure..

22. Last thoughts on the Art Nouveau: These New expressions of design were the outward manifestation of the great dissatisfaction that existed among designers. These New expressions of design were the outward manifestation of the great dissatisfaction that existed among designers. Historical dressing for a time was a strong way of representing architecture. Historical dressing for a time was a strong way of representing architecture.

23. Last thoughts on the Art Nouveau: The Industrial Revolution stimulated the need for a new way to apply architecture. The Industrial Revolution stimulated the need for a new way to apply architecture. It was necessary to purge society from historical reference with regard to architecture and give architecture a new relevance to contemporary technology. It was necessary to purge society from historical reference with regard to architecture and give architecture a new relevance to contemporary technology.

24. Last thoughts on the Art Nouveau: The Art Nouveau was a PROTEST and not the foundation from which 20th century architecture was formed. The Art Nouveau was a PROTEST and not the foundation from which 20th century architecture was formed. It left as quickly as it came……. It left as quickly as it came…….