ARCHITECTURE AT THE BEGINNING OF THE • Art deco - Movement in 1920’s and 1930’s

20TH CENTURY associated with “the Jazz Age. Began in France,

but spread to other parts of Europe, USA, and
The twentieth century architecture was also
around the world. Industrial Design Combined
called Modern architecture , emerged in the
with Fine Art Elements.
early twentieth century by 1800s with the
evolution from classicism to modernism in • William van Alen (American),
1900s and began the modernization of society The Chrysler Building (New
afterwards. York), 1928 – 1930 - Built for
Car Manufactuer, Chrysler
THE USE OF IRON AND GLASS: Influence of
Automotive Company
industry
• Prairie Style - American Midwest Architect
• ➢ New materials developed or
Frank Lloyd Wright invented the Prairie Style in
improved during the industrial early 20th Century. Natural Materials / Natural
revolution permitted greater flexibility Environment
and experimentation in design, as well
as larger scale since iron could be used • Frank Lloyd Wright, Falling
to span far larger spaces than was water (Pennsylvania, USA) 1935
possible in stone or wood construction. – 1937 - harmony with nature” .
• ➢ These materials were used during Built over a waterfall. Natural
the late eighteenth century up to materials
nineteenth and now in twenteith • Walter Gropius, the Bauhaus
century. (Dessau, Germany), 1925 –
1926 - In 1919, Gropius,
STYLES: German architect, was
• Art Nouveau - in France (Late 19th Century – appointed director of The
Early 20th Century) incorporates Organic and Bauhaus. Gropius focused on
Natural Forms into the decoration. Formal Elements (shape, color,
line, etc.). The Bauhaus greatly
o Louis Sullivan, Carson, Pirie, influenced modern design.
Scott Building (Chicago), 1899-
1904 Mid-Century Modern Late 1940’s, 1950’s, into
o Antonio Gaudi, Casa Mila early 1960’s
(Barcelona, Spain), 1907 - a • Organic Forms vs. Geometric Forms
design inspired by the discovery • It shows Simplicity
of the ALTAMIRA CAVES in • The use of New Industrial Materials
Spain (CONCRETE, Metal, iron and glass)
• De Stijl (The Style) - Began in 1917 by a group
of artists in Holland . Often forms in Geometric
shapes / simplifies the “Purity” and Simplicity of Frank Lloyd Wright, Guggenheim
the structure. Museum (New York), 1943 - 1959

• Garrit Rietveld, Schroder House • Concrete Building

(Utrecht, Holland) 1924 • Shape inspired by the spiral shaped
shell of a snail
 • Building slopes down from top to • Art Museum (built for Guggenheim
bottom family – same as in New York)
• Central atrium with natural light • Imbalanced and Asymmetrical
Forms
Le Corbusier, Notre Dame du Haut
• Sculptural
(Ronchamp, France), 1950 – 1955
• Structure is covered in Titanium
• Small church chapel which replaced Steel
a building destroyed in WWII
Santiago Calatrava, Milwaukee Art
• Shape represents praying hands or
Museum (USA), 2001
wings of a dove (symbol of peace)
• Art Museum
Eero Saarinen, Terminal at Kennedy
• Organic / Sculptural Form (“bird-
Airport (New York), 1952 – 1956
like” / “boat-like”)
• Airport Terminal in New York • Kenetic Architecture (the roof
• it shows Futuristic design by the use moves – opening and closing
of concrete, glass and iron according to the weather
• Scandanavian Modernism conditions)
• Simple curved, organic shapes • Connects the building on Lake
Michigan to the city with a bridge
Ludwig Mies van der Rohe and Philip
Johnson, Seagram Building (New York), 1956 – Christopher Wren
1958
o St. Paul's Cathedral, north side
• Simple and Pure rectangular shape with the Chapter House
• Mies van der Rohe helped change o Sheldonian Theatre, Oxford
the look of cities – tall “glass boxes” University
(design easily imitated) o Marlborough House,
• Amber colored windows and bronze Westminster
colored structure o St. Mary Abchurch
o St. Stephen's Walbrook
Post-Modern Architecture The Past 20 – 30 o St. Clement Danes
Years o St Stephen Walbrook, City of
Complex and Eclectic structures. Post-Modern London 1672-80/87
architecture accepts and embraces the “messy o St James Church, Piccadilly,
and chaotic” nature of urban life west London 1674-87
o Emmanuel College – Chapel,
Richard Rogers (British) and Renzo Cambridge, England 1668-74
Piano (Italian), Pompidou Center (Paris), 1977 o St Mary-le-Bow, City of London
• Cultural Center and Museum 1670-80/83
• Building “turned inside out” with Ludwig Mies van der Rohe
the water, electrical, etc. pipes,
ducts, and tubes on the outside o Barcelona Pavilion
o Farnsworth House
Frank Gehry, Guggenheim Museum o Lake Shore Drive Apartments
(Bilbao, Spain) 1997 o Tugendhat House
 Frank Lloyd Wright has entered popular culture in the form of
urban myths, films, sci-fi literature and
o The David S. Wright Home,
television programmes. According to the Otis
Arcadia, Arizona, USA
lift manufacturers, as many as 80% of lifts do
o Guggenheim Frank Lloyd Wright
not have a floor designated 13.
Exhibition
o Martin House Complex, Buffalo, TRIVIA #3- Frank Lloyd Wright was also the one
USA who designed the furniture inside his Falling
o Houses of Sagaponac, Long Water.
Island, New york State, USA
TRIVIA #4- The result of Mies Van de Rohe’s
o Zimmerman House, near
domino system. Barcelona Chair was designed
Manchester, New Hampshire,
for King and Queen of Spain to sit on in German
USA
Pavilion. Later the design was mass-produced
o Florida Southern Colleges –
and became a status symbol in homes and
Child of the Sun, Florida, USA
offices.
1938-59 - This is the largest
single-site collection of Frank TRIVIA #5- The start of architecture for women.
Lloyd Wright buildings in the Arguably the two most important strands of
world. The complex is known twentieth century architecture in Britain are the
collectively as Child of the Sun Modern Movement and the entry of women
and features twelve structures into the architectural profession. The entry of
although FLW designed women into the architectural profession was
eighteen buildings for the site. led by the pioneer generation of women
o Water Dome – centerpiece, a architects in the early 20th century.
massive, 160- foot-diameter,
74-jet fountain

TRIVIA #1- At one time Wren was credited with BAROQUE AND ROCOCO ARCHITECTURE
the design of the King's House at Newmarket. THE BAROQUE - The Baroque is a period of
Charles II, who was over six feet tall, artistic style that used exaggerated motion and
complained about the low ceilings. Wren, who clear, easily interpreted detail to produce
was not so tall, replied that "They were high drama, tension, exuberance, and grandeur in
enough!", at which the king crouched down sculpture, painting, architecture, literature,
until he was on a level with his Surveyor and dance, and music. The style began around 1600
strutted about saying, "Ay, Ay, Sir Christopher, I in Rome, Italy and spread to most of Europe.
think they are high enough."
• The popularity and success of the
TRIVIA #2- CHINA- a country where you will Baroque style was encouraged by
unlikely find a fourth floor. The Chinese the Roman Catholic Church, which
superstition around the number four derives had decided at the time of the
from its pronunciation being very similar to that Council of Trent, in response to the
for the word for "death". As well as omitting the Protestant Reformation, that the
number from floor levels, a four in an address arts should communicate religious
can adversely affect the value of property. The themes in direct and emotional
lack of a thirteenth floor in many buildings has involvement.
given rise to suspicions about actual uses and
 • The aristocracy also saw the Augustine, located inside the
dramatic style of Baroque historic walled city of Intramuros in
architecture and art as a means of Manila.
impressing visitors and expressing • In 1993, San Agustin Church was
triumph, power and control. one of four Philippine churches
• Baroque palaces are built around an constructed during the Spanish
entrance of courts, grand staircases colonial period to be designated as
and reception rooms of sequentially aWorld Heritage Site by UNESCO,
increasing opulence. under the collective title Baroque
• new emphasis was placed on bold Churches of the Philippines.It was
massing, colonnades, domes, light- named a National Historical
and shade, 'painterly' color effects, Landmark by the Philippine
and the bold play of volume and government in 1976.
void. Baroque architecture was
CHURCH OF SAINT AUGUSTINE
taken up with enthusiasm in central
Germany Austria and Russia • The Church of Saint Augustine,
commonly known as the Paoay
FEATURES:
Church, is the Roman Catholic
• In churches, broader naves and parish church of the municipality of
sometimes given oval forms Paoay,Ilocos Norte in the
• Fragmentary or deliberately Philippines. Completed in 1710, the
incomplete architectural elements church is famous for its distinct
• dramatic use of light; either strong architecture highlighted by the
light-and-shade contrasts as at the enormous buttresses on the sides
uniform lighting by means of and back of the building. In 1993,
several windows the church was designated as a
• opulent use of colour and UNESCO World Heritage Site as one
ornaments best examples of the Baroque
• large-scale ceiling frescoes Churches of the Philippines.
• an external façade often • Paoay church is prime example of
characterized by a dramatic central Earthquake Baroque architecture,
projection the interior is a shell for which is the Philippine
painting, sculpture and stucco. interpretation of the European
illusory effects (art technique Baroque adapted to the seismic
involving extremely realistic condition of the country.
imagery in order to create the Destructive earthquakes are
optical illusion that the depicted common and have destroyed earlier
objects appear in three churches all throughout the
dimensions.) and the blending of country. Aside from Baroque, the
painting and architecture church facade also exudes Javanese
architecture reminiscent of
SAN AGUSTIN CHURCH, Juan Macias
Borobudur of Java.
• Is a Roman Catholic church under
PHASES:
the auspices of The Order of St.
EARLY BAROQUE, c.1590–c.1625 architecture, interior design,
decoration, literature, music and
• 16th-century Italy, that took the
theatre.
Roman vocabulary of Renaissance
• The word Rococo is apparently a
architecture and used it in a new
combination of the French rocaille,
rhetorical and theatrical fashion,
or shell, and the Italian barocco, or
often to express the triumph of the
Baroque style.
Catholic Church and the absolute
• The Rococo developed in the early
state. It was characterized by new
part of the 18th century in Paris,
explorations of form, light and
France as a reaction against the
shadow and dramatic intensity.
grandeur, symmetry and strict
HIGH BAROQUE, c.1625– c.1660 regulations of the Baroque. In such
a way, Rococo artists opted for a
• •The Baroque was, initially at least, more jocular, florid and graceful
directly linked to the Counter- approach to Baroque art and
Reformation, a movement within architecture. Rococo art and
the Catholic Church to reform itself architecture in such a way was
in response to the Protestant ornate and made strong usage of
Reformation. creamy, pastel-like colours,
• Baroque architecture and its asymmetrical designs, curves and
establishments were on the one gold. Unlike the more politically
hand more accessible to the focused Baroque, the Rococo had
emotions and on the other hand, a more playful and often witty artistic
visible statement of the wealth and themes. With regards to interior
power of the Church. The new style decoration, Rococo rooms were
manifested itself in particular in the designed as total works of art with
context of the new religious orders, elegant and ornate furniture, small
like the Theatines and theJesuits sculptures, ornamental mirrors, and
who aimed to improve popular tapestry complementing
piety. architecture, reliefs, and wall
LATE BAROQUE, c.1660–c.1725 paintings.
• Rococo architecture, was a lighter,
• The Baroque style had found its more graceful, yet also more
secular expression in the form of elaborate version of Baroque
grand palaces architecture, which was ornate and
• The transition of baroque to Rococo austere. Whilst the styles were
Occured similar, there are some notable
THE ROCOCO differences between both Rococo
and Baroque architecture, one of
• Rococo also referred to as “Late them being symmetry,since Rococo
Baroque”, is an 18th -century emphasizes the asymmetry of
artistic movement and style which forms, while Baroque was the
affected several aspects of the arts opposite
including painting, sculpture,
 • The styles, despite both being richly dazed courtiers, and stupefied foreign
decorated, also had different ambassadors.
themes; the Baroque, for instance,
Francesco Bartolomeo Rastrelli (Russian: 1700
was more serious, placing an
in Paris, France – 29 April 1771 in Saint
emphasis on religion, and was often
Petersburg, Russia)
characterized by Christian themes.
• Rococo architecture was an 18th- • was a French-born Russian-Italian
century, more secular, adaptation architect. He developed an easily
of the Baroque which was recognizable style of Late Baroque,
characterized by more light-hearted both sumptuous and majestic.
and jocular themes. Other elements • His major works, including the
belonging to the architectural style Winter Palace in Saint Petersburg
of Rococo include numerous curves and the Catherine Palace in
and decorations, as well as the Tsarskoye Selo, are famed for
usage of pale colours extravagant luxury and opulence of
decoration.
FEATURES:
The Chinese House (German: Chinesisches
• characterized by an Opulence,
Haus)
grace, playfulness, and lightness
• focuses on the carefree aristocratic • is a garden pavilion in Sanssouci
life Park in Potsdam. Frederick the
• focuses onlighthearted romance Great had it built, about seven
rather than heroic battles or hundred metres southwest of the
religious figures Sanssouci Summer Palace, to adorn
• revolves heavily around nature and his flower and vegetable garden.
exterior settings The garden architect was Johann
Gottfried Büring, who between
Catherine Palace
1755 and 1764 designed the
The residence originated in 1717, when pavilion in the then popular style of
Catherine I of Russia engaged the German Chinoiserie, a mixture of
architectJohann-Friedrich Braunstein to ornamental rococo elements and
construct a summer palace for her pleasure. In parts of Chinese
1733, Empress Anna commissioned Mikhail
Frederick the Great of Prussia
Zemtsov and Andrei Kvasov to expand the
Catherine Palace.Empress Elizabeth, however, • Frederick had famous buildings
found her mother's residence outdated and constructed in his capital, Berlin,
incommodious and in May 1752 asked her court most of which still exist today, such
architect Bartolomeo Rastrelli to demolish the as the Berlin State Opera, the Royal
old structure and replace it with a much Library (today the State Library
grander edifice in a flamboyant Rococo style. Berlin), St. Hedwig's Cathedral, and
Construction lasted for four years, and on 30 Prince Henry's Palace (now the site
July 1756 the architect presented the brand- of Humboldt University). However,
new 325-meter long palace to the Empress, her the king preferred spending his
time in his summer residence at
 Potsdam, where he built the palace • Glass – can be manufacture in
ofSanssouci, the most important larger sizes and volumes. These
work of Northern German rococo. materials began to replace wood,
Sanssouci, which translates from brick, and stone as primary
French as "carefree" or "without materials for large buildings
worry", was a refuge for Frederick.
Thomas Telford (1757 – 1834)
"Frederician Rococo" developed
under Georg Wenzeslaus von • Thomas Telford was labeled by the
Knobelsdorff. BBC as the "Builder of Britain". The
son of a shepherd, Telford started
Johann Gottfried Büring
his career by repairing castles. He
• Johann was a German master moved to Shropshire in the late
builder and architect of the late 18th century, designed a few
Baroque period. churches, then proceeded to build
• He mainly worked in Potsdam, the world's first cast iron bridge and
supervising the construction of the cast iron aqueduct. His innovations
Sanssouci Picture Gallery and in the new phenomenon of travel
designing the Nauener Tor and Ne by train and redirection of water
Palace there. He also designed the through Aqueducts earned him
Luisenstädtische Kirche in Berlin recognition as the first Civil
Engineer.

Isambard Kingdom Brunel (1806 - 1859)

ARCHITECTURE IN INDUSTRIAL REVOLUTION
• Brunel was the most versatile
The Industrial Revolution, which began from
engineer of the 19th century. He is
England about 1760 then spreads to Europe and
most remembered for a series of
North America made fundamental changes in
bridges, tunnels and aqueducts for
Agriculture, manufacturing, transportation, and
the Great Western Railway. His
housing.
most impressive achievements
The growth of heavy industry brought a flood of were for the line that linked London
new building materials such as: to Bristol. While essentially an
engineer, the Bristol Temple Meads
• Cast iron – an essentially brittle Station is also an exceptional piece
material, which is approximately of architecture. The Clifton
four times as resistant to Suspension Bridge, finished after his
compression as stone. death, is still used today, as are
• Wrought Iron – which is forty times most of the other bridges and
as resistant to tension and bending tunnels. Brunel's other claim to
as stone, is only four times heavier, fame is the design of the ship the
it can be form and molded into any Great Western. This ship was used
shape. to place the first cable from Europe
• Steel – is iron with a controlled to North America.
amount of carbon.
The Industrial Revolution had a huge impact in Newcastle who needed the bridge
the development of architectural technique, to carry coal from the mines to the
form and on society. rail station. The bridge was built to
aid the transfer of coal to London.
BRIDGES AND AQUEDUCTS
No one owner could have gone to
Goods and people traveled by train. Bridges, the expense of building such a
train stations and train tracks were built across structure. Ralph Wood was the
England, and later the continent and the engineer for this bridge which was
colonies. the largest single span bridge in
England at the time at 33 metres
• The first large bridge of the Industrial (105 feet). As can be seen, Woods
Revolution was the Causey bridge. It was built relied on Roman technology to
of stone using Roman technology. Darby built create the bridge. Two tracks
the first cast iron bridge in 1779. Telford and crossed the bridge, one to take
Brunel then built many bridges and aqueducts horse drawn wagons loaded with
in and around London that linked the growing coal to the River Tyne, the other for
metropolis to sources of coal, food, and wool. the returning journey.
Causey Bridge (1725-26) Ralph Wood Ellesmere Canal Thomas Telford 1806
• This bridge was constructed by the • This canal was constructed to
"Grand Allies", a group of coal mine provide a waterway between the
owners on the Tyne River north of rivers Mersey, Dee, and Severn,
Newcastle who needed the bridge linking England with Wales,
to carry coal from the mines to the particularly the ironworks. Telford
rail station. The bridge was built to built 40 bridges in Shropshire and
aid the transfer of coal to London. was responsible for helping to
No one owner could have gone to understand the weight versus
the expense of building such a strength ratios of iron. Civil
structure. Ralph Wood was the engineering at this point was in its
engineer for this bridge which was infancy. This shows Telford's design
the largest single span bridge in to produce troughs made of cast
England at the time at 33 metres iron plates that were fixed in
(105 feet). As can be seen, Woods masonry
relied on Roman technology to
create the bridge. Two tracks Menai Suspension Bridge Thomas Telford
crossed the bridge, one to take (1826)
horse drawn wagons loaded with
• Two designs were submitted
coal to the River Tyne, the other for
earlier, but this suspension bridge is
the returning journey.
the one that got the contract. This
Causey Bridge (1725-26) Ralph Wood was the largest project of its size. It
took six years to build and was
• This bridge was constructed by the opened to traffic in 1826. Still used
"Grand Allies", a group of coal mine for the A5 today and is the only way
owners on the Tyne River north of to get to the ferry to Ireland from
 Angelsey. The bridge spans 580 iron joists and cross bars. The roof
feet. It was the longest suspension of the platforms is built much like a
bridge of the time. conservatory; large plates of glass
are supported by a web of
Clifton Suspension Bridge I.K Brunel
interlocking iron bars. Passengers
• This bridge was designed by Brunel are protected from the elements
to span the Avon Gorge. Brunel was but enjoy the light of day. As
only 24 y.o when his design for this electricity had not yet been
bridge won the competition and the invented, this made the platforms
bridge was set to be built. The much safer than an enclosed
chains and suspension rods are interior lit by gas would have
made of wrought iron. The piers provided. The platforms were both
(towers) are built principally of local safer and less expensive to maintain
pennant stone. The bridge was than the traditional stagecoach inns
started in 1831 but halted when and stables.
funds ran out. It was finally • The main railway building is brick
completed in 1864 as a memorial to with stone detailing.
Brunel. The bridge is held by chains, • This is then attached by cast iron
anchored 17m (55 feet) below the ribs to iron joists along the ceiling.
road. The road is .91m (3 ft) higher Between the joists is glass.
on the Clifton side to create a level • The detailing of the stone and
appearance. brickwork is medieval.
• While the platforms and public
TRAIN STATIONS areas in the interior of the station
• In the early 18th century most are revolutionary in their use of
people and goods traveled by horse space and materials, the exterior
drawn wagons and coaches. By resembles a castle with turrets,
1776 iron rail lines were being built castellation, iron cresting, and many
throughout England for wagons traditional civic medieval details.
drawn by horses. Paddington Station (1854) Brunel/Wyatt
• Most railway stations were built
between 1800 and 1850. They were • The main lines and 213 m (699 ft)
made of cast iron and glass. long roof was designed by Brunel.
The architectural detailing was by
Temple Meads Railway Station Bristol (1840) I. his associate Matthew Digby Wyatt.
K. Brunel The roof makes use of cast iron ribs
• Brunel was one of the first great are often Gothic looking. The ribs
railway architects who opposed the spread across the ceiling in a way
translation of old styles into new that is not dissimilar to the fan
uses. He started a new attitude that vaulting of the late Gothic period.
would make new designs according The roof has cast iron trusses and
to the task. The platforms of the columnar supports.
Temple Meads Railway Station are • The detailing within the station is
constructed of cast iron posts with distinctly Victorian in nature. The
 clocks supported by two huge scroll had the same cache 100 years ago
consoles. The columns are paneled as it does today as the center for
and decorated. The wall has a fashionable society and fashion
continuing ornate arcade. itself. The galleria was built with
English money and technical
St. Pancras
expertise.
• St. Pancras Station in London • The Galleria has a vast cruciform
serviced the Midlands and perhaps plan with a spectacular glass dome
more importantly, 20 percent of at the crossing. The four long arms
London's coal and a great deal of meet in the center with a 127 ft.
London's beer. diameter dome, also in glass. The
• George Gilbert Scott was chosen as center of the dome reaches to 96
the designer because his was the feet.
most impressive façade. It was also
Eiffel Tower (1887-1889) Stephen Sauvestre
the most expensive at , £315,000
but the Midland Railway directors • is an iron lattice tower located on
were interested in getting an the Champ de Mars in Paris. It was
impressive railway station before named after the engineer Gustave
the second huge International Eiffel, whose company designed
Exhibition in London in 1862. and built the tower. Possibly the
• Once iron and steel were used in most visited, definitely the most
the profitable rail stations, it began conspicuous, monument in the
to be used in more fashionable world is the Eiffel Tower built for
buildings - churches, clubs, private the Paris Exposition of 1889. Like
buildings and large houses with Telford and Brunel, Eiffel perfected
roofed courtyards. Architects and his metal engineering skills in bridge
engineers saw that iron provided an design before attempting this 300
advantage over masonry not simply meter monument. Interestingly it is
in terms of bulk, but also in terms of made out of puddle iron, not steel.
economy. Cast-iron roofs started
The Crystal Palace (1850-1851; reconstructed
replacing traditional wood roofs for
1852- 1854) Joseph Paxton
safety as well as durability. In 1839
the roof of Chartres Cathedral was • Victorian style building. A cast iron
replaced. and plate-glass building originally
erected in Hyde Park, London,
Galleria Vittorio Emmanuel II (1865) Giuseppe
England, to house the Great
Mengoni
Exhibition of 1851. It was destroyed
• Steel and glass were used to make by fire on November 30 1936.
large lit areas and greenhouse-like • In America, the development of
roofs which created covered cheap, versatile steel in the second
streets. The most spectacular of half of the 19th century helped
these is the Galleria in Milan, just change the urban landscape. The
through the large triumphal arch country was in the midst of rapid
across from the cathedral. Milan social and economic growth that
 made for great opportunities in interior spaces. Interior walls
architectural design. A much more became thinner creating more
urbanized society was forming and usable floor space.
the society called out for new,
Prudential Building (1896) Louis Sullivan
larger buildings. By the middle of
the 19th century downtown areas • An early skyscraper in Buffalo, New
in big cities began to transform York. It was completed in 1896 and
themselves with new roads and was designed by Louis Sullivan and
buildings to accommodate the Dankmar Adler. These is an early
growth. The mass production of example of column framing. It’s tall,
steel was the main driving force sleek brick veneer walls, large
behind the ability to build windows and gently curved top
skyscrapers during the mid 1880s. pediment ushers in a new century
• Steel framing was set into with the modern style of the
foundations of reinforced concrete skyscraper. For all of its new
which is developed by Francois technology and design innovations,
Hennebique, concrete poured The Prudential Building still holds
around a grid of steel rods (re-bar) some forms from the past. A large
or other matrices to increase tensile arch hovers over the main entrance
strength in foundations, columns and the brick façade has extensive
and vertical slabs ornamentation.
• The people in Midwestern America
felt less social pressure to conform
to the ways and styles of the PRE-COLONIAL & POST-COLONIAL
architectural past. By assembling a ARCHITECTURE IN AMERICA 16TH-19TH CENTURY
framework of steel girders,
architects and builders could HISTORY
suddenly create tall, slender • characterized by renewed national
buildings with a strong steel self confidence and a feeling that
skeleton. The rest of the building's the United States was the heir to
elements — the walls, floors, Greek democracy, Roman law, and
ceilings, and windows were Renaissance humanism. The
suspended from the load-bearing American preoccupation with
steel. This new way of constructing national identity (or New
buildings, so-called "column-frame" Nationalism) in this period was
construction, pushed them up expressed by modernism and
rather than out. Building design in technology as well as academic
major urban centers now placed a classicism.
premium on vertical space. Like the • It expressed its self-confidence in
flying buttress of the 14th century, new technologies, such as the wire
the steel weight-bearing frame cables of the Brooklyn Bridge in
allowed not just for taller buildings, New York. It found its cultural
but much larger windows, which outlets in both Prairie School
meant more daylight reaching houses and in Beaux-Arts
 architecture and sculpture, in the length porch, on a home's front
"City Beautiful" movement, and facade.
"also the creation of the American • The porch roof was normally part of
empire." Americans felt that their the overall roof. French Colonial
civilization was uniquely the roofs were either steep hipped
modern heir, and that it had come roofs with a dormer or dormers or a
of age. side-gabled roof.

American Colonial Architecture Spanish Colonial

• French Colonial • The porch roof was normally part of

• Spanish Colonial the overall roof. French Colonial
• Dutch Colonial roofs were either steep hipped
• German Colonial roofs with a dormer or dormers or a
• Mid-Atlantic Colonial side-gabled roof.
• Colonial Georgian • Mexico, as the center of New Spain
- and the richest province of Spain's
French Colonial colonial empire - has some of the
• French Colonial developed in the most renowned buildings built in
settlements of the Illinois Country this style. With twenty-nine sites,
and French Louisiana. It is believed Mexico has more sites on the
to have been primarily influenced UNESCO World Heritage list than
by the building styles of French any other country in the Americas,
Canada and the Caribbean. many of them boasting some of the
• French Colonial developed in the richest Spanish Colonial
settlements of the Illinois Country architecture.
and French Louisiana. It is believed • Some of the most famous cities in
to have been primarily influenced Mexico built in the Colonial style
by the building styles of French are Puebla, Zacatecas, Querétaro,
Canada and the Caribbean. Guanajuato, and Morelia.
• An infill of lime mortar or clay • Ornament which emerged as a
mixed with small stones manner of stucco decoration in
(pierrotage) or a mixture of mud, Spain in the late 17th century and
moss and animal hair (bousillage) was used up to about 1750, marked
was used to pack between the logs. by extreme, expressive and florid
Many times this infill would later be decorative detailing, normally
replaced with brick. found above the entrance on the
• French Colonial dwelling included a main facade of a building.
raised basement which would • Named after the architect and
support the floor of the home's sculptor, José Benito de Churriguera
primary living quarters. (1665–1725), who was born in
• Exterior stairs were another Madrid of a Catalan family
common element; the stairs would (originally named Xoriguera), and
often climb up to a distinctive, full- who worked primarily in Madrid
and Salamanca, the origins of the
 style are said to go back to an • The early houses built by settlers
architect and sculptor named were often a single room, with
Alonso Cano, who designed the additions added to either end (or
facade of the cathedral at Granada, short side) and very often a porch
in 1667. along both long sides.
• Churrigueresque style appeals to • Walls were made of stone and a
the proliferative geometry, and has chimney was located on one or
a more likely ancestry in the both ends.
Moorish architecture or Mud jar • Common were double-hung sash
architecture that still remained windows with outward swinging
through south and central Spain. wood shutters and a central double
The interior stucco roofs of, flourish Dutch.
with detail and ornamentation.
German Colonial
• Between 1680 and 1720, the
Churriguera popularized Guárico • Common were double-hung sash
Guarani's blend of Solomon windows with outward swinging
columns and composite order, wood shutters and a central double
known as "supreme order". Dutch
• Between 1720 and 1760, the • The early colonists to this region
Churrigueresque column, or adapted the "half-timber" style of
extirpate, in the shape of an construction then popular in
inverted cone or obelisk, was Europe, which used a frame of
established as a central element of braced timbers filled-in with
ornamental decoration. masonry.
• The years from 1760 to 1780 saw a • The "bank house" was a popular
gradual shift of interest away from form of home during this period,
twisted movement and excessive typically constructed into a hillside
ornamentation towards for protection during the cold
Neoclassical balance and sobriety. winters and hot summers of the
region.
Dutch Colonial
• The two-story "country townhouse"
• Is a style of domestic architecture, was also common around
primarily characterized by gambrel Pennsylvania during this time.
roofs having curved eaves along the
Mid-Atlantic Colonial
length of the house.
• Referred to as "Dutch Colonial • The region surrounding the
Revival," a subtype of the Colonial Chesapeake Bay on America's east
Revival style. coast was settled primarily by
• The modern use of the term is to immigrants from the British isles
indicate a broad gambrel roof with • The standard vernacular house built
flaring eaves that extend over the by the colonists in this region
long sides, resembling a barn in between the first settlement in
construction. 1607 and the end of British rule in
1776 followed the I-plan format,
 had either interior or exterior gable • A simple 1–2 story box, 2 rooms
chimneys, and was either wooden deep, using strict symmetry
or brick. Most were only one room arrangements
deep. • Panel front door centered, topped
• Academic architecture was evident, with rectangular windows (in door
but it was relatively scarce. or as a transom) and capped with
an elaborate crown/entablature
Georgian Colonial
supported by decorative pilasters
• Georgian architecture is the name • Cornice embellished with
given in most English-speaking decorative moldings, usually dentil
countries to the set of architectural work
styles current between 1720 and • Multi-pane windows are never
1820. paired, and fenestrations are
• It is eponymous for the first four arranged symmetrically (whether
British monarchs of the House of vertical or horizontal), usually 5
Hanover— George I of Great across
Britain, George II of Great Britain, • Roof: 40% are Side-gabled; 25%
George III of the United Kingdom, Gambrel; 25% Hipped
and George IV of the United • Chimneys on both sides of the
Kingdom—who reigned in home
continuous succession from August • A portico in the middle of the roof
1714 to June 1830. with a window in the middle is
• he style was revived in the late 19th more common with post-Georgian
century in the United States as • Small 6-paned sash windows and/or
Colonial Revival architecture, and in dormer windows in the upper
the early 20th century in the Great floors, primarily used for servant's
Britain; referred to as Neo-Georgian quarters. This was also a way of
architecture reducing window tax.
• The styles that resulted fall within • Larger windows with 9 or 12 panes
several categories. In the on the main floors
mainstream of Georgian style were
Old Ursuline Convent, New Orleans
both Palladian architecture— and
its whimsical alternatives, Gothic • Location: New Orleans, Louisiana
and Chinoiserie, which were the • Built 1745
English-speaking world's equivalent • Architect Broutin,Ignace De
of European Rococo. Batz,Andre
• A Georgian colonial house usually • Architectural style Colonial, Other
has a formally-defined living room,
Destrehan Plantation
dining room and sometimes a
family room. The bedrooms are • Location Destrehan, Louisiana
typically on the second floor. They • Built 1787–1790
also have one or two chimneys that • Architect Paquet,Charles
can be very large. • Architectural style Colonial, Greek
Revival
Bequette-Ribault House Westover Plantation

• Location 123 S. Main St., Ste. • Location 7 mi. W of Charles City on

Genevieve, Missouri VA 5, Charles City County, Virginia,
• Built 1792 United States of America
• Architectural style French Colonial • Area 1,025 acres (4.15 km2 )
• Built c. 1750
National Palace (Mexico)
• Architect unknown
• Location: Mexico City, Mexico • Architectural style Georgian
• Measurement: 200 meters long • Governing body Private
• It is home to some of the offices of
both the Federal Treasury and the
National Archives HISTORY OF MODERN ARCHITECTURE

Casa de los Azulejos The Palace of Westminster, London, 1836 to

1868
• “House of Tiles" is an 18th-century
palace in Mexico City, built by the • Gov. Centre, English Gothic Revival
Count del Valle de Orizaba family. • Sir Charles Barry, Augustus Pugin
What makes this palace, in the City • Westminster New Palace, the
of Palaces, distinctive is that its Houses of Parliament for England
facade on three sides is completely and all the United Kingdom,
covered in the expensive blue and including the famous clock Big Ben.
white tile of Puebla state Design of gothic details assisted by
A. W. N. Pugin. Use cut stone
Basilica Manor y Convent de Neustria Sonora de
bearing masonry.
la Merced
United States Capitol, Washington 1793 to 1830
• (Basilica and Convent of Our Lady of
Mercy, in English) • Gov. Centre, Neo Classic
• -is a religious building in Peru which • Thornton-Latrobe-Bulfinch
was built by Fray Miguel de Orenes • Location Washington, D.C.
in 1535, taken by the holder to the • Construction System stone bearing
Archangel Michael. masonry, cast iron dome
• -In the Basilica is dedicated to the • Context urban
patron of the Armed Forces of Peru. • Notes Dome by Thomas Ustick
Walter, 1851 to 1863
Thaddeus Kosciuszko National Memorial
Crystal Palace,London 1851, moved 1852, burnt
• Location 301 Pine St. Philadelphia,
1936
Pennsylvania
• Area 0.02 acres (0.0081 ha) • Exposition Hall, Victorian Style
• Built 1775 • Joseph Paxton
• Architect Joseph Few • The development of modern
• Visitation 4,107 (2005) G architecture was driven not only by
• overning body National Park Service new aesthetic principles. The easy
• Added to NRHP December 18, 1970 availability of materials such as
 concrete, iron, steel and glass freed Arts and Crafts, or Craftsman, houses have
architecture from the restrictions of many of these features:
building in stone, wood and
• •Wood, stone, or stucco siding
masonry The new sense of space
• •Low-pitched roof
aimed at meeting the needs of life
• •Wide eaves with triangular
in the 20th century.
brackets
• Modular construction system -
• •Exposed roof rafters
prefabricated iron sections. Floor
• •Porch with thick square or round
area of 770,000 sq ft.,1851 ft long,
columns
450 ft wide.
• •Stone porch supports
Eiffel Tower 1887 - 1889 • •Exterior chimney made with stone
• •Open floor plans; few hallways
• Exposition Observation Tower,
• •Numerous windows
Victorian Structural Expressionist
• •Some windows with stained or
• Gustave Eiffel
leaded glass
• A symbol of Paris worldwide. 985'
• •Beamed ceilings
high rugged tracery of iron work.
• •Dark wood wainscoting and
Commission from competition
mouldings
victory.
• •Built-in cabinets, shelves, and
William Morris (London, England 1834 – 1896) seating

• William Morris was an artist, Victor Horta (Belgian architect, 1861 – 1947)
designer, printer, typographer,
• Victor Horta created buildings
bookbinder, craftsman, poet, writer
which rejected historical styles and
and champion of socialist ideals. He
marked the beginning of modern
believes that nature was the perfect
architecture. He conceived modern
example of God's creation.
architecture as an abstract principle
• The Arts and Crafts Movement was
derived from relations to the
a reaction against the poor quality
environment, rather than on the
of design during the Industrial
imitation of forms. Organic forms
Revolution.
established by Horta do not meet
• The members of the Arts and Crafts
standard ideas of modern
Movement believed that the
architecture, but Horta generated
growth of industry had destroyed
references ideas of many
traditional skills and had removed
modernist.
the pride that a craftsman could
• Museum Horta
find in his work.
• Tassel House Also "Hotel Tassel".
• The members of the Arts and Crafts
Elegant urban house with facade
Movement formed themselves into
defined around centered, stacked
crafts guilds, based on the medieval
oriel bay windows and balcony.
examples, in order to encourage
high standards of design and Henry Van De Velde (Belgian architect, 1863 –
provide a supportive working 1957)
environment.
 • Borrowing from his own Flemish Nickname by country
background and the English Arts &
• England – Modern Style
Crafts movement, Van de Velde
• USA – Tiffany Style
developed a highly detailed, style.
• German – Jugendstil
Using concrete as an expressive
• Italy – Stile Liberty
element, he created ornamental
• Spain – Modernisme
designs and ornate interiors which
directly influenced the Art Nouveau Materials used.
movement.
• Bloemenwerf House, Van de Velde - Iron
gave everything in the house, from - Stained glasses
the door furnishings to the - The Curing Door Handles
wallpaper, the same patterns of - The Vegetal Curve Dynamic beauty of
embellishments and flowing linear the banister
shapes. - The Slender Iron Pillars
- The coiling patterns of the mosaic
Antonio Gaudi (Spanish architect,1852 – 1926) floors.
• Gaudi developed a sensuous, Louis Henry Sullivan (Boston, 1856 – 1924)
curving, almost surreal design style
which established him as the - Sullivan's designs generally involved a
innovative leader of the Spanish Art simple geometric form decorated with
Nouveau movement. With little ornamentation based on organic
regard for formal order, he symbolism. As an organizer and formal
juxtaposed unrelated systems and theorist on aesthetics, he propounded
altered established visual order. an architecture that exhibited the spirit
Gaudi's characteristically warped of the time and needs of the people.
form of Gothic architecture drew Considered one of the most influential
admiration from other avant-garde forces in the Chicago School, his
artists. philosophy that form should always
• Casa Batllo follow function went beyond functional
• Sagrada Familia and structural expressions.
• Casa Mila - Expressionistic, - He influenced by Hobson Richardson,
fantastic, organic forms in whom Sullivan was a great admirer.
undulating facade and roof line. - "Schlesinger-Mayer Store", "Carson,
light court. Pirie and Scott Store", Chicago.
- Form Follows Function!
Characteristics of Art Nouveau

• •Art Nouveau means for “new

styles” in French INTERNATIONAL STYLE AND MODERNISM
• styles developed in response to Art Deco Style (1925 - 1940)
industrial revolution and art and
craft movement. • The Art Deco style is one of the
• Well known in French, Belgium and easiest to identify since its sharp-
Germany. edged looks and stylized
 geometrical decorative details are materials (as steel, glass, and
so distinctive. reinforced concrete), expresses
• Art Deco Style has smoothly structure directly, and eliminates
finished wall surfaces and nonstructural ornament
distinctive ornamentation of
First Known Use of International Style
chevrons, zigzags and other
geometrical motifs. • Architectural style that developed
• Some architectural historians refer in Europe and the U.S. in the 1920s
to the Art Deco Style as and '30s and dominated Western
“Modernistic” leading to some architecture in the mid 20th
confusion between Art Deco Style century. The term was first used in
Buildings and Art Modern Style 1932 by Henry-Russell Hitchcock
Buildings. and PHILIP JOHNSON in their essay
“The International Style:
Architectural Features
Architecture Since 1922.” The
• Smooth wall surface style's most common characteristics
• Sharp edged, linear appearance are rectilinear forms, open interior
• Stylized decorative elements using spaces, large expanses of glass,
geometrical forms, zigzags, steel, and REINFORCED-CONCRETE
chevrons construction, and light, taut plane
• Stepped or set back front facade surfaces devoid of applied
• Strips of windows with decorative ornamentation. WALTER GROPIUS,
spandrels Ludwig MIES VAN DER ROHE, and LE
CORBUSIER are among the
Modern Style (1930-1950)
architects most clearly associated
• Sometimes called the Art Modern with the style.
Style
Architectural Features
• Closely related to the Art Deco style
which developed just before it, but • Rectangular forms, often with
Modern style features smooth wall round projections
with little surface ornamentation, • Flat roof
rounded corners and curved glass. • Lack of ornamentation or
decorative details
Architectural Features
• Ribbon windows
• Smooth wall surface, usually stucco • Curtain walls of glass
• Flat roof • Cantilevered projections
• Horizontal emphasis • Smooth wall surfaces
• Curved corners or windows • Asymmetrical facade
• Aluminum or stainless steel
Philip Johnson
detailing
• (Born July 8, 1906, Cleveland, Ohio,
International Style
U.S.—died January 25, 2005, New
• A style in architecture developed in Canaan, Conn.) U.S. architect and
the 1920s that uses modern critic. He studied philosophy and
 architecture at Harvard University. naturally on the ground, which
As coauthor of The International distinguishes it from the designs of
Style: Architecture Since Mies van der Rohe, who generally
1922(1932) and director of the float-in-space.
architecture department (1932–34, • In 1986, Johnson donated the Glass
1946–54) at the Museum of House to the National Trust, but
Modern Art in New York City, he did continued to live there until his
much to familiarize Americans with death in 2005. The Glass House is
modern European architecture. He now open to the public.
gained fame with his own Glass
Crystal Cathedral
House (1949), which struck a
balance between the influence of • Located in Garden Grove, Orange
LUDWIG MIES VAN DER ROHE (later County, California, United States
his collaborator on the SEAGRAM built in 1980.
BUILDING) and Classical allusion. • The Crystal Cathedral, with a plant
His style took a striking turn with in the form of four-pointed star,
the AT&T headquarters, New York occupies 126.49 m long, 63m wide
(1984). and 39m high. Its size is reinforced
• In 1979 Johnson became the first by glass cover that surrounds the
recipient of the Pritzker building. The sanctuary seats
Architecture Prize. offered in 2,736 people, including
1,761 seats on the main floor, 346
Glass House
seats in the balconies of East and
• Located in New Canaan, West, and 283 in the South Balcony.
Connecticut, United States • On the tenth anniversary of the
• At the Glass House is clearly one of Cathedral, held on September 16,
the most important architectural 1990, opened a bell tower 72m
principles proposed by Mies van der high, one of the tallest structures in
Rohe: "Less is more, here are Orange County. Philip Johnson
minimal materials used, elements designed a carillon with 52 bells
of the economy is very clear and named Arvella Schuller, in honour
does virtually any ornament. of the pastor's wife. At the base of
• The basic concept of The Glass the structure was created an
House was taken from the house intimate prayer chapel named Mary
Farnsworth by Mies van der Rohe. Hood Chapel.
• The floor of a cube whose contour • More than 10,000 panes of
is formed only by the thin steel tempered glass, silver is held in
work painstakingly painted black. place by a lace frames created with
• The steel frames of black and red white steel beams. These 16,000
brick cylinder that contains the trusses were manufactured
fireplace and the bathroom, set the specifically for this engineering
volume of this work and anchor the
Gropius, Walter
composition to the floor, causing
the building was erected almost
• (Adolph) (born May 18, 1883, individual openings designed to
Berlin, Ger.—died July 5, 1969, increase privacy.
Boston, Mass., U.S.) German-U.S. • The workshops have a significant
architect and educator. The son of glass front, allowing maximum light
an architect, he studied in Munich and view of the interior from
and Berlin. In 1919 he became outside.
director of the Staatliches Bauhaus • An iron and concrete structure
Weimar. He designed a new school forms the skeleton of the building
building and housing for the ensuring the unity of the whole and
BAUHAUS when it moved to Dessau allows the existence of three
(1925); with its dynamic different facades, built with fragile
INTERNATIONAL STYLE materials like glass and innovative.
composition, asymmetrical plan, • Functional until 1933 until it was
smooth white walls set with closed by its own leadership under
horizontal windows, and flat roof, pressure from the Nazi regime
the building became a monument
Gropius House
of the Modernist movement. In
1934 Gropius fled Germany for • Located in Lincoln, Massachusetts,
Britain, and in 1937 he arrived in United States
the U.S, taking a position at Harvard • Gropius House has two levels with
University. At the Bauhaus and as stone structure in the basement,
chair (1938–52) of Harvard's wood and brick.
architecture department. Among • The basement of the house was
his most important ideas was his built in stone, so it uproots a
belief that all design— whether of a highest level of the ground level.
chair, a building, or a city—should Used for brick walls and wood, they
be approached in essentially the are charging and are mostly lined or
same way: through a systematic covered with plaster and wood slats
study of the particular needs and on the front.
problems involved, taking into • The materials used were wooden
account modern construction tablets on the walls, brick, steel to
materials and techniques without the forges as stairs, pergolas,
reference to previous forms or balustrades, columns and
styles. ornamental porches lined with
sheet metal building, the
Bauhaus
foundation stone and flooring, as
• Located in Dessau, Germany well as laminated glass for the
• Each facade responds to the woodwork and glass block to shed
demands of the activity taking place light on some points.
inside: the front of the classroom • We cannot forget the furniture of
block is composed of horizontal the Bauhaus Gropius design
windows, whose function is to because when you finish building
ensure adequate lighting, the the house, gave them a suitable
apartments, however, shows place inside the house.
 • Walter Gropius died in 1969 and his • Weekend retreat house located at
wife decided to cede the property Plano, Illinois, United States which
to the Society for Historical is owned by Dr. Edith Farnsworth
Preservation of New England • Construction took 3 years and
Antiquities in 1974, but remained in completed in 1951.
the house until his death in 1983. • The building is organized in two
Two years after his death, was rectangular platforms. The first,
opened as a Historic House accessed through four linear steps,
Museum has no walls or a roof and acts as a
terrace, being supported above the
MIES VAN DER ROHE, LUDWIG
ground by four steel pillars. From
• Variants of MIES VAN DER ROHE, here, another five identical steps
LUDWIG provide access to the second
• Mies van der Rohe, Ludwig orig. platform, located 1.5 meters above
Maria Ludwig Michael Mies ground and supported by eight
• (born March 27, 1886, Aachen, steel pillars. It consists of an initial
Ger.—died Aug. 17, 1969, Chicago, space, covered but open to the
Ill., U.S.) German born U.S. architect outside on three of its sides, which
and designer. Mies learned is used as a porch.
masonry from his father. His first • It is completely devoid of walls,
great work was the German Pavilion which have been replaced by
for the 1929 International displays of ground-to-ceiling glass
Exposition in Barcelona, Spain, a and curtains, which if closed,
travertine platform with chromed impede vision into the house.
steel columns and spaces defined • The house has no internal divisions
by planes of extravagant onyx, in play. Only one, toward the
marble, and frosted glass. The steel- middle of the space, a wood box
and-leather Barcelona chair he that houses two bathrooms
designed for the space went on to separated by a linen closet, and
become a 20th-century classic. He next to that the kitchen, the so-
was director of the BAUHAUS in called "American". The rest of the
1930–33, first in Dessau and then, interior volume of housing is not
during its final months, in Berlin. compartmentalized, but is
After moving to the U.S. in 1937, he distinguished as a lounge area with
became director of the School of a fireplace, a dining room and two
Architecture at Chicago's Armour bedrooms.
Institute (now the Illinois Institute • Sold to British property magnate,
of Technology), where he designed art collector, and architectural
the school's new campus (1939– aficionado Lord Peter Palumbo in
41). 1972.
• Damaged by flood in 1996 which
Farnsworth House forced Palumbo to sell the house in
2003 because of financial problems
 • The house was purchased by the • Le Corbusier orig. Charles-Édouard
National Trust for Historic Jeanneret
Preservation and Landmarks Illinois • (born Oct. 6, 1887, La Chaux-de-
for $6.7 million. Fonds, Switz.—died Aug. 27, 1965,
• The home was designated a Cap Martin, France) Swiss-born
National Historic Landmark in 2006, French architect and city planner.
after joining the National Register Born in a small town, he left home
of Historic Places in 2004. The as a young man and developed
house is currently owned and many of his ideas during his travels
operated as a house museum by through Europe (1907–11). After
the historic preservation group, settling in Paris, Le Corbusier (his
National Trust for Historic assumed name, from the surname
Preservation of an ancestor) and the painter
Amédée Ozenfant (1886–1966)
Seagram Building
formulated the ideas of Purism, an
• A modern office tower designed by aesthetic based on the pure, simple
famed German architect Mies van geometric forms of everyday
der Rohe, in collaboration with objects. Le Corbusier's many works,
Philip Johnson which was built in plans, and writings inspired later
New York in 1958. avant-garde architectural
• To access the plaza area, we must experiments throughout the world.
undergo a staircase between two
Villa Savoye
large pillars or pedestals, where
they spread sheets of water in • A villa in Poissy, Paris, France
symmetry, which is very • Probably Corbusier's best known
characteristic of classical antiquity. building from the 1930s, it had
• The building is 157 meters high, enormous influence on
spread over 39 floors. international modernism. It was
• Due to the fire law in force in 1954, designed addressing his emblematic
at the time of concrete construction "Five Points", the basic tenets in his
was used as a structural material, new architectural aesthetic: 1.
both outside and inside. Support of ground-level pilotis,
• Part of the expressive minimalist elevating the building from the
Mies van der Rohe in this work earth and allowed an extended
reaches its maximum level of continuity of the garden beneath. 2.
refinement: the "mullions of Functional roof, serving as a garden
curtain-wall" which are special I and terrace, reclaiming for nature
double profiles have been added at the land occupied by the building.
both ends of the outer wing edges 3. Free floor plan, relieved of load-
outgoing to generate a subtle bearing walls, allowing walls to be
emphasis of shape placed freely and only where
aesthetically needed. 4. Long
Le Corbusier
horizontal windows, providing
• Variants of LE CORBUSIER illumination and ventilation. 5.
 Freely-designed facades, serving • The cubical feeling is broken only
only as a skin of the wall and with oval shapes, inspired by the
windows and unconstrained by chimneys of the big transatlantic
load-bearing considerations. luxury ships.
• The house was inhabited by its
owners for a short period of time.
The building was completed in
1929, but after the German
invasion of France in 1940, was RENAISSANCE ARCHITECTURE
abandoned and then bombed and • The word "Renaissance" derived
burned during the Second World from the term "LA RINASCITA",
War. which means REBIRTH, first
• In 1963, the Villa Savoye was appeared in Giorgio Vasari's Vite de'
declared as "architectural heritage" più eccellenti architetti, pittori, et
by the French government, which scultori Italiani (The Lives of the
then proceeded to restore it Artists, 1550–68).
because it was in a state of neglect • Is the architecture of the period
and ruin after the attacks in the between the early 15th and early
war. 17th centuries in different regions
• It is currently a "museum," of europe, demonstrating a
dedicated to the life and works of conscious revival and development
Le Corbusier and maintained by the of certain elements of ANCIENT
public company Monuments of GREEK AND ROMAN thought and
France, and receives thousands of material culture
visits per year, mostly architects • Renaissance style places emphasis
and students on SYMMETRY, PROPORTION,
Villa Stein geometry and the regularity of
parts as they are demonstrated in
• Located at Garches, Paris, France the architecture of CLASSICAL
• The house was designed for ANTIQUITY and in particular
Michael Stein, brother of the writer ANCIENT ROMAN ARCHITECTURE,
Gertrude Stein, and his wife Sara, of which many examples remained.
and later was home to Gabrielle Orderly arrangements of COLUMNS,
Monzie, divorced from the radical PILASTERS and LINTELS, as well as
socialist Anatole Monzie and the use of semicircular arches,
faithful supporter of Le Corbusier. hemispherical DOMES, NICHES and
• Villa Stein-de Monzie is a building of AEDICULES replaced the more
isolated space and surrounded by complex proportional systems and
gardens, with the servants quarters irregular profiles of MEDIEVAL
located next to the iron access gate. buildings.
Like the Villa Savoye, it features
open spaces formed by the various Principal Phases
terraces and levels. QUATTROCENTO
 • Concepts of architectural order arcades or window and door
were explored and rules were framings within the storeys that are
formulated. -Adoption of Classical embraced by the giant order.
detail and ornamentation. -Space,
Plan
as an element of architecture, was
utilized differently from the way it • The plans of Renaissance buildings
had been in the Middle Ages. Space have a square, symmetrical
was organized by proportional logic, appearance in which proportions
its form and rhythm subject to are usually based on a module.
geometry, rather than being Within a church, the module is
created by intuition as in Medieval often the width of an aisle.
buildings.
• Basilica di San Lorenzo Façade

HIGH RENNAISANCE • Façades are symmetrical around

their vertical axis. Church façades
• Concepts derived from classical are generally surmounted by a
antiquity were developed and used pediment and organised by a
with greater surety. -The most system of pilasters, arches and
representative architect is entablatures.
Bramante (1444– 1514) who
expanded the applicability of Columns and Pilasters
classical architecture to • The Roman orders of columns are
contemporary buildings. -inspired used:- Tuscan, Doric, Ionic,
bycircular Roman temples. Corinthian and Composite. The
• San Pietro in Montorio orders can either be structural,
MANNERISM supporting an arcade or architrave,
or purely decorative, set against a
• Mannerist period, architects wall in the form of pilasters.
experimented with using
architectural forms to emphasize Arches
solid and spatial relationships. • Arches are semi-circular or (in the
• The best known architect Mannerist style) segmental. Arches
associated with the Mannerist style are often used in arcades,
was Michelangelo (1475– 1564), supported on piers or columns with
who is credited with inventing the capitals. There may be a section of
giant order, a large pilaster that entablature between the capital
stretches from the bottom to the and the springing of the arch
top of a façade.
• Campidoglio in Rome Vaults
• a giant order (also known as • Vaults do not have ribs. They are
colossal order) is an order whose semi circular or segmental and on a
columns or pila sters span two (or square plan, unlike the Gothic vault
more) stories. At the same time, which is frequently rectangular.
smaller orders may feature in
Domes rusticated quoins. Basements and
ground floors were often rusticated,
• The dome is used frequently, both
as modeled on the Palazzo Medici
as a very large structural feature
Riccardi (1444–1460) in Florence
that is visible from the exterior, and
also as a means of roofing smaller
spaces where they are only visible
RENAISSANCE ARCHITECTURE IN EUROPE
internally.
(FRANCE)
Ceilings
• The vitality and richness of the
• Roofs are fitted with flat or coffered Gothic style in France, even in its
ceilings. They are not left open as in decline in the fifteenth century,
Medieval architecture. They are long stood in the way of any general
frequently painted or decorated. introduction of classic forms.
• *Sistine Chapel* is a large and • introduced from Italy by the king
renowned chapel of the Apostolic and the nobility
Palace, the official residence of the • It underwent a protracted
Pope in the Vatican City. Originally transitional phase, during the
known as the Cappella Magna. campaigns of Charles VIII. (1489),
Louis XII. (1499), and Francis I.
Doors
(1515), in vindication of their claims
• Doors usually have square lintels. to the thrones of Naples and Milan.
They may be set within an arch or • Early Renaissance architecture of
surmounted by a triangular or France is consequently wholly
segmental pediment. Openings that unlike the Italian, from which it
do not have doors are usually derived only minor details and a
arched and frequently have a large certain largeness and breadth of
or decorative keystone. spirit.
• The French Renaissance and its
Windows sequent developments may be
• Windows may be paired and set broadly divided into three periods
within a semi-circular arch. They (THE VALOIS PERIOD 1483–1589,
may have square lintels and THE BOURBON OR CLASSIC PERIOD
triangular or segmental pediments, 1589–1715, and THE DECLINE OR
which are often used alternately. ROCOCO PERIOD 1715–74).
Emblematic in this respect is the THE VALOIS PERIOD 1483–1589
Palazzo Farnese in Rome, begun in
1517. • Also called the Renaissance proper,
1483–1589, subdivided into:
Walls
 a. THE TRANSITION, comprising
• External walls are generally of the reigns of Charles VIII. and
highly finished ashlar masonry, laid Louis XII. (1483–1515), and the
in straight courses. The corners of early years of that of Francis I.;
buildings are often emphasised by characterized by a picturesque
 mixture of classic details with at Paris), built for the Cardinal
Gothic conceptions. George of Amboise, between 1497
 b. THE STYLE OF FRANCIS I., or and 1509, by Pierre Fain, was the
Early Renaissance, from about masterwork of the Rouen school.
1520 to that king’s death in • It presented a curious mixture of
1547; distinguished by a styles, with its irregular plan, its
remarkable variety and grace of moat, drawbridge, and round
composition and beauty of corner-towers, its high roofs,
detail. turrets, and dormers, which gave it,
 c. THE ADVANCED in spite of many Renaissance
RENAISSANCE, comprising the details, a mediæval
reigns of Henry II. (1547), picturesqueness.
Francis II. (1559), Charles IX. • Located in
(1560), and Henry III. (1574– Gaillon,Haute Normandie region of
89); marked by the gradual France
adoption of the classic orders • The Château de Blois (the east and
and a decline in the delicacy south wings of the present group),
and richness of the ornament begun for Louis XII. about 1500, was
the first of a remarkable series
THE TRANSITION 311of royal palaces which are the
• As early as 1475 the new style glory of French architecture. It
made its appearance in altars, shows the new influences in its
tombs, and rood screens wrought horizontal lines and flat, unbroken
by French carvers with the façades of brick and stone, rather
collaboration of Italian artificers. than in its architectural details.
• in châteaux, palaces, and dwellings • Loire Valley, in France.
that the new style achieved its most • François Mansart architect credited
notable triumphs. with introducing classicism into
• The castle of Charles VIII., at Baroque architecture of France.
Amboise on the Loire, shows little STYLE OF FRANCIS I
trace of Italian influence. It was
under Louis XII. that the • ▪ partly under the lead of Italian
transformation of French artists, like il Rosso, Serlio, and
architecture really began. Primaticcio, classic elements began
• The Château de Gaillon (of which to dominate the general
unfortunately only fragments composition and Gothic details
remain in the École des Beaux-Arts rapidly disappeared.
at Paris), built for the Cardinal • ▪ A simple and effective system of
George of Amboise, between 1497 exterior design was adopted in the
and 1509, by Pierre Fain, was the castles and palaces of this period.
masterwork of the Rouen school. • ▪ Finely moulded belt-courses at the
• The Château de Gaillon (of which sills and heads of the windows
unfortunately only fragments marked the different stories, and
remain in the École des Beaux-Arts were crossed by a system of almost
 equally important vertical lines, Palaces
formed by superposed pilasters
Staircase Tower, Blois
flanking the windows continuously
from basement to roof. The façade  added a northern and a western
was crowned by a slight cornice and wing, completing the court. The
open balustrade, above which rose north wing is one of the
a steep and lofty roof, diversified by masterpieces of the style,
elaborate dormer windows which presenting toward the court a
were 312adorned with gables and simple and effective
pinnacles composition, with a rich but
• ▪ Slender pilasters, treated like long slightly projecting cornice and a
panels ornamented with high roof with elaborate
arabesques of great beauty, or with dormers. This 313façade is
a species of baluster shaft like a divided into two unequal
candelabrum, were preferred to sections by the open Staircase
columns, and were provided with Tower
graceful capitals of the  The outer façade of this wing is
Corinthianesque type. a less ornate but more vigorous
• ▪ The mouldings were minute and design, crowned by a
richly carved; pediments were continuous open loggia under
replaced by steep gables, and the roof.
mullioned windows with stone
crossbars were used in preference Fontainebleau, the favorite residence of
to the simpler Italian openings. the king and of many of his successors.
• ▪ In the earlier monuments Gothic  Following in parts the irregular
details were still used occasionally; plan of the convent it replaced,
and round corner-towers, high its other portions were more
dormers, and numerous turrets and symmetrically disposed, while
pinnacles appear even in the the whole was treated
châteaux of later date. externally in a somewhat
Churches severe, semi-classic style,
singularly lacking in ornament.
• St. Etienne du Mont, at Paris (1517–  Internally, however, this palace,
38), in which classic and Gothic begun in 1528 by Gilles Le
features appear in nearly equal Breton, was at that time the
proportions. most splendid in France, the
• the great parish church of St. gallery of Francis I. being
Eustache, at Paris (1532, by especially noted
Lemercier), in which the plan and
construction are purely Gothic, The Château of St. Germain, near Paris
while the details throughout belong (1539, by Pierre Chambiges), is of a very
to the new style, though with little different character.
appreciation of the spirit and
 Built largely of brick, with flat
proportions of classic art.
balustraded roof and deep
 buttresses carrying three ranges heavier style of carving took the
of arches, it is neither Gothic place of the delicate
nor classic, neither fortress nor arabesques of the preceding
palace in aspect, but a wholly age.
unique conception  ▪ The reigns of Henry II. (1547–
59) and Charles IX. (1560–74)
Château of Chambord
were especially distinguished by
 This extraordinary edifice, the labors of three celebrated
resembling in plan a feudal architects: Pierre Lescot (1515–
castle with curtain -walls, 78), who continued the work on
bastions, moat, and donjon, is the southwest angle of the
in its architectural treatment a Louvre; Jean Bullant (1515–78),
palace with arcades, open - to whom are due the right wing
stair towers, a noble double of Ecouen and the porch of
spiral staircase terminating in a colossal Corinthian columns in
graceful lantern, and a roof of the left wing of the same, built
the most bewildering under Francis I.; and, finally,
complexity of towers, Philibert de l’Orme (1515–70).
chimneys, and dormers (1526, Jean Goujon (1510–72) also
by Pierre le Nepveu). 317executed during this period
 The hunting -lodges of La most of the remarkable
Muette and Chalvau, and the so architectural sculptures which
-called Château de Madrid —all have made his name one of the
three demolished during or most illustrious in the annals of
since the Revolution —deserve French art
mention, especially 315the last.  ▪ palace of the Tuileries , built
This consisted of two under Charles IX by Philibert de
rectangular pavilions, l’Orme. for Cathérine de
connected by a lofty banquet - Médicis, not far from the
hall, and adorned externally Louvre, with which it was
with arcades in Florentine style, ultimately connected by a long
and with medallions and reliefs gallery.
of della Robbia ware (1527, by  ▪ Of the vast plan conceived for
Gadyer). this palace, and comprising a
succession of courts and wings,
THE ADVANCED RENAISSANCE only a part of one side was
 ▪ The orders, used with erected (1564–72).
increasing frequency, were  ▪ This consisted of a domical
more and more conformed to pavilion, flanked by low wings
antique precedents. only a story and a half high, to
 ▪ Façades were flatter and which were added two stories
simpler, cornices more under Henry IV., to the great
pronounced, arches more advantage of the design.
Roman in treatment, and a
  ▪ Château d’Anet, built in 1552 activity and a new stage of
by Henry II. for Diane de development.
Poitiers, of which,  ▪ Without the 318charm of the
unfortunately, only fragments early Renaissance or the
survive. stateliness of the age of Louis
 ▪ while retaining the semi- XIV., it has a touch of the
military moat and bastions of Baroque, attributable partly to
feudal tradition, was planned the influence of Marie de
with classic symmetry, adorned Médicis and her Italian prelates,
with superposed orders, court and partly to the Italian training
arcades, and rectangular of many of the French
corner-pavilions, and provided architects.
with a domical cruciform  ▪ The great work of this period
chapel, the earliest of its class in was the extension of the
France. Tuileries byJ. B. du Cerceau, and
 ▪ All the details were unusually the completion, by Métézeau
pure and correct, with just and others, of the long gallery
enough of freedom and variety next the Seine, begun under
to lend a charm wanting in later Henry II., with the view of
works of the period. connecting the Tuileries with
the Louvre. In this part of the
THE BOURBON OR CLASSIC PERIOD
work colossal orders were used
(1589–1715)
with indifferent effect.
 ▪ STYLE OF HENRY IV., covering  ▪ Next in importance was the
his reign and partly that of Louis addition to Fontainebleau of a
XIII. (1610–45), employing the great court to the eastward,
orders and other classic forms whose relatively quiet and
with a somewhat heavy, florid dignified style offers less
style of ornament. contrast than one might expect
 ▪ STYLE OF LOUIS XIV., to the other wings and courts
beginning in the preceding dating from Francis I.
reign and extending through  ▪ Luxemburg palace, built for
that of Louis XIV. (1645–1715); the queen by Salomon De
the great age of classic Brosse, in 1616.
architecture in France,  ▪ Its plan presents the favorite
corresponding to the Palladian French arrangement of a main
in Italy building separated from the
street 319by a garden or court,
STYLE OF HENRY IV the latter surrounded on three
 ▪ Under this energetic but sides by low wings containing
capricious monarch (1589– the dependencies.
1610) and his Florentine queen,  ▪ Externally, rusticated orders
Marie de Médicis, architecture recall the garden front of the
entered upon a new period of Pitti at Florence; but the scale is
 smaller, and the projecting  The Galerie d’Apollon, built
pavilions and high roofs give it a during this reign over the Petite
grace and picturesqueness Galerie in the Louvre, escapes
wanting in the Florentine this reproach, however, by the
model. sumptuous dignity of its interior
 The Place Royale, at Paris, and treatment.
the château of Beaumesnil,  ▪ VERSAILLES This immense
illustrate a type of brick-and- edifice, built about an already
stone architecture much in existing villa of Louis XIII., was
vogue at this time, stone quoins the work of Levau and J. H.
decorating the windows and Mansart (1647–1708). Its
corners, and the orders being erection, with the laying out of
generally omitted. its marvellous park, almost
exhausted the resources of the
STYLE OF LOUIS XIV
realm, but with results quite
 This was an age of remarkable incommensurate with the
literary and artistic activity, outlay.
pompous and pedantic in many  ▪ In spite of its vastness, its
of its manifestations, but exterior is commonplace; the
distinguished also by orders are used with singular
productions of a very high monotony, which is not
order. redeemed by the deep breaks
 Although contemporary with and projections of the main
the Italian Baroque—Bernini front.
having been the guest of Louis  ▪ There is no controlling or
XIV.—the architecture of this dominant feature; there is no
period was free from the wild adequate entrance or
extravagances of that style. In approach; the grand staircases
its often cold and correct are badly placed and unworthily
dignity it resembled rather that treated, and the different
of Palladio, making large use of elements of the plan are
the orders in exterior design, combined with singular lack of
and tending rather to the usual French sense of
monotony than to overloaded monumental and rational
decoration. arrangement.
 In interior design there was  ▪ the Louvre, in 1688, from the
more of lightness and caprice. designs of Claude Perrault, the
 Papier-maché and stucco were court physician, whose plans
freely used in a fanciful style of were fortunately adopted in
relief ornamentation by scrolls, preference to those of Bernini.
wreaths, shells, etc., and  ▪ For the east front he designed
320decorative panelling was a magnificent Corinthian
much employed. colonnade nearly 600 feet long,
with coupled columns upon a
 plain high basement, and with a uninteresting and bare than
central pediment and terminal under Louis XIV.; while, on the
pavilions. other hand, interior decoration
 ▪ The whole forms one of the tended to the extreme of
most imposing façades in extravagance and disregard of
existence; but it is a mere constructive propriety.
decoration, having no practical  ▪ Contorted lines and crowded
relation to the building behind scrolls, shells, and palm-leaves
it. adorned the mantelpieces,
 ▪ Its height required the cornices, and ceilings, to the
addition of a third story to almost complete suppression of
match it on the north and south straight lines.
sides of the court, which as thus  ▪ While these tendencies
completed quadrupled the prevailed in many directions, a
original area 321proposed by counter-current of severe
Lescot. classicism manifested itself in
 ▪ Fortunately the style of the designs of a number of
Lescot’s work was retained important public buildings, in
throughout in the court which it was sought to copy the
façades, while externally the grandeur of the old Roman
colonnade was recalled on the colonnades and arcades.
south front by a colossal order  ▪ the church of St. Sulpice at
of pilasters. Paris (Fig. 183) is an excellent
 ▪ The Louvre as completed by example of this. Its interior,
Louis XIV was a stately and dating from the preceding
noble palace, as remarkable for century, is well designed, but in
the surpassing excellence of the no wise a remarkable
sculptures of Jean Goujon as for composition, following Italian
the dignity and beauty of its models.
architecture.  ▪ The façade, added in 1755 by
Servandoni, is, on the other
THE DECLINE
hand, one of the most striking
 Also called ROCOCO PERIOD, architectural objects in the city.
corresponding with the reign of  ▪ It is a correct and well
Louis XV. (1715–74); marked by proportioned classic
pompous extravagance and composition in two stories— an
capriciousness. Ionic arcade over a Doric
 ▪ Under Louis XV. the pedantry colonnade, surmounted by two
of the classic period gave place lateral turre
to a protracted struggle
IN GENERAL
between license and the
severest classical correctness.  ▪ French Renaissance
 ▪ The exterior designs of this architecture is marked by good
time were often even more
 proportions and harmonious seen as a revolution but only
and appropriate detail. new ways of making things
 ▪ Its most interesting phase was
A time of rapid change in UK and in Europe
unquestionably that of Francis
I., so far, at least, as concerns  The Industrial Revolution Began
exterior design. in England, (1750-1920) Time of
 ▪ It steadily progressed, major changes in
however, in its mastery of  Agriculture
planning; and in its use of  Manufacturing
projecting pavilions crowned by  Mining
dominant masses of roof, it  Transport
succeeded in preserving, even  Technology
in severely classic designs, a  These had a profound effect on
picturesqueness and variety the socio-economic and cultural
otherwise impossible. conditions, starting in the
 ▪ Roofs, dormers, chimneys, and United Kingdom, then
staircases it treated with subsequently spreading
especial success; and in these throughout Europe, North
matters, as well as in America, and eventually the
monumental dispositions of world. It marked a major
plan, the French have largely turning point in human history,
retained their pre-eminence to almost every aspect of daily life
our own day was eventually influenced in
some way.

19TH CENTURY ARCHITECTURE: The The Industrial Revolution

Architecture of the Victorian Age  Inventions It began with
 By the opening of the 19th C textiles.
the confidence apparent in the  Finance
architecture of the age of  Trading opportunities  A
elegance in the preceding change in the way goods were
century had evaporated. The produced from human labor to
agitation brought about by the machine.
French Revolution of 1789 had  The three basics were present-
never fully subsided, and a coal (energy), iron and other
different kind of society began metals, population of workers.
to take place. There was
Factors for the Progress of the Industrial
another revolution every bit as
Revolution
influential as the French, the
Industrial Revolution which was  Development and growth of new socio-
cradled in Britain, from roughly economic classes: working class,
1750-1850 although it was not bourgeoisie, wealthy industrial class.
  Population change The urban  But in the 1800’s, there was a great
population dramatically increased, amount of production in Iron. These
towns and cities multiplied in number made architects and engineers design
and size, a new urban society emerged. buildings made out of iron. There are 3
The demand for new buildings was types of iron: cast, wrought, and steel
greater that ever before.
Characteristics, 19th C Architecture
 Brought a flood of new building
materials Iron was mined efficiently.  Curtain walls were used
The formula for concrete was  Steel skeletons were covered with
rediscovered 1756 by John Smeaton. masonry
 To the fashionable architects the  Large skylights were popular
central problem was to discover a style  Lacked in imagination and style
appropriate to this time of change.  Main focus was functionality
The Invention of Machines Glass Making
 The invention of machines to do the  A new method of producing glass,
work of hand tools known as the cylinder process, was
 The use of steam, and later of other developed in Europe during the early
kinds of power, in place of the muscles 19th century. In 1832, this process was
of human beings and of animals used by the Chance Brothers to create
 The Spinning Jenny invented by James sheet glass. They became the leading
Hargreaves producers of window and plate glass.
 The 1698 Savery Engine – the world's  The Crystal Palace held the Great
first commercially useful steam engine Exhibition of 1851
built by Thomas Savery
Iron making
New Materials
 In the Iron industry, coke was finally
 After the Baroque slowly faded away, applied to all stages of iron smelting,
the 18th century architecture replacing charcoal. This had been
considered primarily of revivals of achieved much earlier for lead and
previous periods. copper as well as for producing pig iron
 Building materials were made out of in a blast furnace, but the second stage
only a few manmade materials along in the production of bar iron depended
with those available in nature: timber, on the use of potting and stamping.
stone, lime.  Nasmyth’s steam hammer of 1840 at
 Mortar and concrete work in 1871
 Iron
The Architecture of the Industrial Age
 Brick
 Glass  Architecture and the art turned into the
 Portland Cement – strong, durable, fire past. Architects searched for their own
resistant type of cement developed in style but they searched for it in the
1824 previous styles returning to the style of
Bramante, Palladio and Michelangelo
  Neo-Classical Soane, an idiosyncratic architect whose
 Neo-Gothic work also has Romantic qualities.
 Renaissance
Benjamin Henry Latrobe, Roman Catholic
 Baroque
Cathedral, Baltimore, 1805-18.
 Romantic
 Chinese  Latrobe presented both Gothic and
 Saracenic Neo-Classical designs of this church to
 But Neo-Classical and Neo-Gothic were his client. The classical proposal was
the main contenders in the Battle of the selected but did not include the towers.
Styles of the 19th C. Thomas Jefferson, Monticello, Charlottesville,
The Architects of the Victorian Period Virginia, 1770.

The Neo-Classicists  For his own house Jefferson turned the

familiar Palladian five-part organization
 Karl Friedrich Schinkel (1781- backward in order to focus the complex
1841) on spectacular mountain views. This
 Sir John Sloane (1753-1837) view from the front shows that
 Benjamin Henry Latrobe (1766- Jefferson disguised the two-storey
1820) elevation to appear as only one story.
 Thomas Jefferson (1743-1826)  The William Brown Library and Museum
The Gothic Revival (now the World Museum Liverpool),
designed by Thomas Allom (1804-1872),
 Augustus Welby Northmore UK
Pugin (1812-1852)
The Neo-Gothic
 Richard Upjohn (1802-78)
 Eugene Emmanuel Viollet-le- Gothic Revival (also called “Neo-Gothic”)
Duc (1814-1879)
 Neo-Gothic buildings have many of
The Neo-Classicists these features:
- Strong vertical lines and a sense of great
Karl Friedrich Schinkel, Schauspielhaus, Berlin,
height
1818-21
- Pointed windows with decorative
 The entire structure is raised on a high tracery
base and is dominated by an Ionic - Gargoyles and other carvings
portico with receding planes to either - Pinnacles
side articulated by plain pilasters and  The first Gothic Revival homes
precise, shallow mouldings that appear - Stone and Bricks
to have been stretched tightly over an - American Version: Lumber and Factory
internal skeleton. Made Trims
- The Trinity Church in New York, USA
John Soane (1753-1837), Bank of England,
London Charles Barry and A.W.N. Pugin, Houses of
Parliament, London, 1836-51
 The leading exponent of Neo-Classicism
in England at this time was Sir John
 - The government had decided that the - Neo-Renaissance, Italian Renaissance,
new building should be in the style French Renaissance, Neo-Romanesque
thought to represent England at its best offered the architect and client other
– Elizabethan or Jacobean, which choices.
occured during Late Gothic.
Richard Morris Hunt, Biltmore, Asheville, North
- House of Parliament, London, 1836-
Carolina, 1890-95.
1867
- The first American to attend the Ecole
Richard Upjohn (1802-78), Trinity Church, New
des Beaux-Arts was Richard Morris Hunt
York City, 1839-46.
(1827-95) who entered the school in
- Upjohn’s first major commission was for 1846. Newly rich industrial magnates
Trinity Church in New York City, which wanted houses that imitated the
was designed for a growing and wealthy ancestral mansions of European
congregation. The Trinity Church has nobility, and of all American architects
been dwarfed by skyscrapers, which Hunt was best able to provide the
once included the now destroyed World designs desired.
Trade Center. However, in 1846 the
Richard Morris Hunt, The Breakers, Newport,
church was a prominent landmark.
Rhode Island, 1892-95.
Eugène Viollet-le-Duc
- Richard Morris Hunt was the first
- French architect and theorist American to attend the Ecole des
- Famous for interpretive “restorations” Beaux-Arts in Paris. The knowledge he
of medieval buildings Gothic Revival gained there of academic planning and
Architect monumental design made him the
- Notre Dame de Paris architect of choice among the late 19th
- The leading proponent of the Gothic C American elite.
Revival in France was Eugene - Interiors, The Breakers, Newport,
Emmanuel Viollet-le Duc (1814-1879), Rhode Island, 1892-95.
an architect who shared Pugin’s
McKim, Mead and White, Villard Houses New
enthusiasm for medieval works. He saw
York City, 1882-85.
the system of the rib vault, pointed
arch, and flying buttress as analogous to - The firm of McKim, Mead and White
19th C iron framing, and he aspired to a established the model for the large-
modern architecture based on scale American architectural practice.
engineering accomplishments that They based this residential structure on
would have the integrity of form and Roman palazzi such as the Palazzo
detail found in medieval works. Farnese.
- Tower Bridge, London Horace Jones and - The New West End Synagogue by
John Wolfe Barry, 1840 George Audsley (1838- 1925) in St
Petersburgh Place, London was in the
All Saints Sir Charles Barry Stand, Manchester,
Neo Romanesque.
1860
- Westminster Cathedral by John Francis
A Merry Mix of Styles Bentley London, Neo-Romanesque.
Italian Renaissance, Sir Charles Barry - National Museum of Fine Arts,
Stockholm, 1846-1866 Interiors
- Travelers’ Club 1829-1832
Friedrich August Stüler
- London Reform Club 1837- 1841
- Romanesque Crane Library, Quincy,
Italian Renaissance Gottfried Semper Massachusetts , 1880 Henry Hobson
Richardson
- Semper Oper, Dresden, Germany 1838- - Romanesque Crane Library, Quincy,
1841 Massachusetts , 1880 Henry Hobson
Neo-Renaissance Richardson (1838-86)
- St. Pancras Parish Church, London,
- Art Gallery of the Zwinger 1847-1854 1819-21 Greek Revival
Gottfried Semper
The White City
Grand Opera, Paris, 1860-1874 Jean Louis
Charles Garnier - World’s Columbian Exposition, Chicago,
Illinois, 1893
Paris Opera House
Richard Morris Hunt, Administration Building,
- Externally as well as internally the World’s Columbian Exposition, Chicago, Illinois,
stylistic elements derive from the Italian 1893.
Cinquecento and from the France of
Louis XIII and Louis XIV, from - Hunt’s Administration Building stands at
Renaissance and from Baroque. the head of the Court of Honor and its
Polychromy is widely used to heighten lagoon. The “White City” captivated the
the impact yet further. The façade is American public. Using widespread
massive and heavily decorated and exterior electric lighting for the first
gilded, and really monumental. time, it started a movement that
- The great stair hall is perhaps Garnier’s produced proposals for new civic cores
greatest triumph. There is a tension in in cities nationwide.
every form. The flights of the stairs fly - The White City, Chicago’s World Fair
easily and with perfect fluency through held in Chicago in 1893 to celebrate the
the stair hall. With its related corridors 400th anniversary of Christopher
and foyers the stair provides the best of Columbus arrival in the New World in
all possible ceremonial approaches to 1492
the auditorium. - The City Beautiful Movement was a
reform movement in North American
Palais de Justice (Law Courts), Details Brussels, architecture and urban planning that
1866-1883 Joseph Poelaert flourished in the 1890s and 1900s with
Neo-Renaissance the intent of using beautification and
monumental grandeur in cities.
- Schwerin Castle, Hungary, 1851 Advocates of the movement believed
Friedrich August Stüler (1800-1865) that such beautification could thus
- National Museum of Fine Arts, promote a harmonious social order that
Stockholm, 1846-1866 Friedrich August would increase the quality of life.
Stüler
Daniel Burnham, Architect and Urban Planner
 - City planning projects : Cleveland San  In the 19th C iron began to be
Francisco Washington DC Manila Baguio used instead of wood in the
Designed the Chicago’s World Fair. fabrication of truss bridges built
Proponent of the ‘City Beautiful’ for roads and railroads that
movement. Burnham only stayed for six crossed rivers or valleys.
weeks in the Philippines. He later hired
Application of Steel
the services of William Parsons, a New
York architect who stayed in the  Linear two-dimensional
country for eight years. fragile-looking material
Architectural Applications of Iron and Steel  Elegant linearity is its
Construction most rational form

 Iron and steel were not admired Decimus Burton and Richard Turner Palm
for their architectural qualities House, Kew Gardens, London, 1845-47
in the 19th C: prevailing Neo-  Iron was most elegantly employed in
Classical and Romantic attitudes landscape gardening. Victorian England,
looked to past ages buildings prosperous from the wealth of its
had always been of load- empire, had a fascination with the
bearing masonry construction. tropical plants that were brought back
 Everything that architects and from India, Africa, and the Far East.
their clients admired and felt
comfortable with could be 19th Century: Applications of Iron Steel PALM
constructed by using traditional HOUSE, Royal Botanical Garden, Kew, London,
materials and methods. 1845-1848
 Architects were slow to exploit Applications of Iron Steel PALM HOUSE, Royal
the possibilities of iron and Botanical Garden, Kew, London, 1845-1848
steel, which were first used in
industrial utilitarian buildings, Joseph Paxton, Crystal Palace, 1851.
such as textile mills,
 Joseph Paxton designed a building with
warehouses, and greenhouses.
prefabricated parts that could be
Progress in iron fabrication mass produced and erected rapidly. It
stood in stark contrast to traditional,
 18th C industrial production of massive stone construction.
cast and wrought iron so
increased its availability that Joseph Paxton, Crystal Palace, 1851.
iron replaced wood in the
 Once the exhibition opened, the
frame of any building where
building was visited by about one-
heavy loads or the danger of
quarter of the population of England
fire was of concern.
and was universally acclaimed for its
 Cast iron was favoured for vast, airy interior space. Journalists
columns, while the superior dubbed it the Crystal Palace, a name it
tensile qualities of wrought iron had retained.
made it the recommended
material for beams.
Henri Labrouste, Bibliotheque Ste. Genevieve, Gustave Eiffel, Auguste Bartholdi and Richard
Paris, 1842-50. Morris Hunt, Statue of Liberty, New York City,
1883-86.
 Henri Labrouste (1801-1875) made a
fine architectural use of cast iron in the  In New York harbor stands another of
Bibliotheque Ste.-Genevieve in Paris. On Eiffel’s engineering projects, the
the exterior the building presents a internal skeleton for the 151 ft Statue of
correct Neo-Classical facade recalling Liberty (1883-86). Miss Liberty’s copper
Italian Renaissance palace and church skin is supported by iron straps
designs; but on the interior at the 2nd attached to a steel framework that
floor level one finds for that time an Eiffel designed to withstand the
unprecedentedly great reading room considerable wind loads of the harbour.
which extends the width and length of At the time of its construction, the
the building, covered by light Statue of Liberty had the most
semicircular cast iron arches. advanced diagonally braced frame to be
found in any structure in the U.S.
19th Century: Applications of Iron Steel STATUE
OF LIBERTY J.A. And W.A. Roebling, Brooklyn Bridge, New
York City, 1869-83
 Stands 151-ft (46m) One of the earliest
examples of curtain wall construction in  In seeking to expand the market for iron
which the exterior of the structure is and improve the desirable qualities of
not load bearing, but is instead the material, 19th c ironmongers
supported by an interior framework. He experimented with new methods for
included two interior spiral staircases, manufacturing steel, which is an alloy of
to make it easier for visitors to reach low-carbon iron and trace amounts of
the observation point in the crown other metals. The Brooklyn Bridge used
steel cables.’
Gustave Eiffel, Eiffel Tower, Paris, 1889.
The Early Skyscrapers
 The most famous French designer using
iron in the second half of the 19th C was  William Le Baron Jenney (1832-1907),
Gustav Eiffel (1832-1923). This engineer the designer of the Home Insurance
gained fame for his graceful bridge Building (1884-85), is generally credited
designs and then used his experience with the early development of the
with iron construction to build the skyscraper although the Home Life
world’s tallest tower, the 1010 ft high Insurance Building is not entirely metal-
Eiffel Tower, erected for the Paris framed as the first floor contains
International Exposition of 1889. Not sections of masonry bearing wall
until the completion of the Chrysler
The Arts and Crafts Movement
Building in New York was Eiffel’s tower
exceeded in height, and it remains the  Two issues – social values and the
largest iron construction in the world, artistic quality of manufactured
for steel was rapidly becoming the products – were at the heart of the Arts
preferred material for metal framing and Crafts Movement, which flourished
from about 1850-1900 in Britain and in
the U.S. Originating in Victorian
England,its ideas spread to Europe.
John Ruskin (1819-1900), a prolific critic
of art and society, may be regarded as
the originator of the Arts and Crafts
ideals. In Ruskin’s view, the Industrial
Revolution was a grievous error
exerting a corrupting influence on
society. Right: Philip Webb, Red House,
Bexleyheath, Kent, 1859-60