Amongst the Scandinavian countries, there have been recognisably evident national and regional identities in art and therefore in architecture. This is attribute is encouraged by the strong traditions of urban planning and upkeep of a good welfare state. In turn, this atmosphere in Scandinavia provided a smoother transition from Neo-Classicism to Modernism styles of architecture. National RomanticismNational Romanticism was and eclectic approach aiming to combine gothic styles with modern ideals. The style possesses combined influences from Italian Palazzo (a palace-type style emerging during the Italian renaissance, popular amongst the wealthy) and Swedish Vernacular (domestic and practical focused architecture). National Romanticism arose as a result of architects struggling to define a new architectural language. Therefore they turned to styles which showed national identity. This was a popular concepts as during this period of time Finland had gained its independence from Russian rule.
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The Avant Garde movement grew from Realism in the 1850s. It became more prevalent around and during the World War I period fuelled by the turmoil, difficulty and unrest of that time. The Avant Garde movement also acted as a means of reacting against the how technological advancements and developments were shaping architecture and art as a whole. Realism as a style moved into cubism. Cubism being a style in which artist could capture and create more realistic view in a abstract way. This was through showing many facets of an object for example. Although the object in reality may not appear as the as seen in a cubist painting, the view is still able to get a more detailed idea of the object as more of it can be conveyed. This ideology may have played a role in Avant Garde architecture. Buildings evolved to being designed not only to take advantage of modern materials and technology but also were a means of artist expression. Buildings were built articulating culture and emotion in their forms and typology as well as utilising modern advancements of the times. Futurist Manifesto
De Stijl
Fig.1: http://www.viv-it.org/immagini/boccioni-visioni-simultanee-1911
Fig.2: https://www.moma.org/meetme/modules/module_nine#module_9_1 Fig.3: http://www.mondriantrust.com/cubism/ Fig.4: http://www.artecapital.net/exposicao-279-theo-van-doesburg-van-doesburg-and-the-international-avant-garde-constructing-a-new-world Fig.5: http://centraalmuseum.nl/en/visit/locations/rietveld-schroder-house/ Adolf Loos 1870 - 1933Ornament is no longer an expression of our culture Czechoslovak architect Adolf Loos was a believer that the introduction of mass production and mechanisation should cause a shift in architectural language and ideals. Loos' notion to the beautification of a building suggested that it lies within the form making. This departed from the general ideas concerning the use of ornament and decoration. He expressed that the ways in which we shown cultural identity through architecture is changing alongside the processes in which it is created. Louis Sullivan 1856 - 1924Louis Sullivan was and American architect working during the same time as Adolf Loos. His style of Architecture included a great presence of ornament. He was driven by the communicative aspects of ornament and decoration. He believed they convey a cultural identity of a country or town. Ornament could even be used to express the purpose of a building. This was not a new concept that Sullivan possess in his architecture and could be referred bak to Greek and Roman styles. Here in these architectural styles there are indicators of culture and environment that can be seen in the use of ornament. Plants and foliage such as Acanthus and Palmette leaves are used and therefore feature incorporation of the indigenous nature of the country.
Germany 1907 - 14Werkbund - Gestalt - Typisierung
Technology creates new things, but always the same problem. TypisierungFollowing the unification of Germany in 1871 and industrialisation, there was a prevalence of poor design. Products were designed with the intention of quantity and practicality above all. Hermann Muthesius, a German author and architect, travelled to England to write about the Arts and Crafts Movement. From this he published and influential book called 'Das Englische Haus' in 1904. Later followed the emergence of the Werkbund. Typisierung is the application of development and refinement to the designs and structure of typical objects. During the Werkbund period two distinct takes on typisierung emerged. One of these were the more objective style of Muthesius. This was a style more concentrated around objectivity - a stricter style of form with a more traditional feel. The style could be considered as rational conveying an idea of industry as a form generator as it showed more timid craftsmanship and simple design for practicality. The second adaption of typisierung can be seen in the work of Henry van de Velde. His style embraced the expression of the artist within the design and forms. Its subjective approach displayed more obvious notions of ambiguity, craftsmanship and aesthetic.
The Problem of Ornament!Due to various technological and material advancements, the popularity of mechanisation was more prevalent. This meant that there was a growing frequency in simple structures that could pave the way for easier mass-production and therefore more immediacy in production and manufacture. However this sparked counter argument concerning value and pure craftsmanship. Ethical and moral precedents about value and ornament were questioned and challenged. With more and more mass-production and less ornament and decoration, what happens to the standards of what is considered valuable? Arts & Crafts MovementThe origins of the Arts & Crafts Movement can be traced back to mid 19th Century England. A notable hub for its development was Crystal Palace designed by gardener and greenhouse designer Joseph Paxton in 1851. Crystal Palace was home to The Great Exhibition which brought a huge variety of artifacts and a produce from other countries (principally from the Commonwealth). From an artistic standpoint, the exhibition was an eyeopener to many patterns, materials and styles from all around the world. This captured the attention of William Morris (1834 - 96), founder of the Arts & Crafts Movement. Morris came from a wealthy background and attended Oxford University were he met a circle of like-minded individuals which became very influential throughout his years. The group later became known as the Pre-Raphaelites. They all shared their interests and passions in culture and art and travelled around Europe further developing their notions whist gaining and sharing ideas. Alongside being a poet and novelist, Morris was a designer and was known for his gothic-style drawings filled with embroidered patterns. He thoroughly believed in the value and preservation of the decorative arts and that it should be continued.
[pre]MODERNITYScience, Reason, Order The Age of EnlightenmentThis is a period in time where new ideologies of how to progress became orientated around science. The attitudes of peoples' minds became accustomed to empiricism, the idea that real knowledge is experienced first hand through sensory experiences and therefore providing a strong conception of evidence [1]. This movement towards this newer and scientific approach to thought and discovery was significantly fuelled by English scientist and philosopher Francis Bacon (1562 - 1626). He wrote and published his ideas on arriving at scientific truths and how natural human knowledge can be attained. Consequently, this caused a demand for ideas with evidence and experience rather than the prior methods of deciphering scientific problems by simple discussing ideas. Industrial RevolutionFollowing new approaches to developments in science, came an industrial reform. This entailed new urban landscapes, shifts in working conditions and new capital and technology. With these advances, transportation systems and building typologies began to alter and the input of money into the economy flourished within commercial and individual businesses. CLASSICAL MODERNITYBreak with the past Throughout the periods of Modernity, following the French Revolution, a cultural movement arrived affecting areas of art across the board. Architecture, literature, film, fine art and many more art forms took on new forms, viewpoints and concepts under the current occurrences within that period. For instance, the world wars of the 20th Century brought about changes in ideals and the order of public life. the differentiations between domestic and public life for men and especially women became defined by new factors and opportunities in society. Of course accompanying all of this, was a continuous appearance of technological and material advances. Modern Architecture StyleMoving with the changing themes in society, architects strived to "modern" ways of showing their notions. They set out wanting to create a new and modern form of styles. Their styles reflecting on the presence of their times rather than turning to the past. Ref:
[1] - http://www.philosophybasics.com/branch_empiricism.html Architecture cannot be invented Yesterday's lecture began with an introduction into Early Modernity within Europe. It began around 1500's, the timing varies depending on the country, up until the French Revolution in 1789. Firstly, the origins and triggers of Modernity were explained to us. In the 16th Century there was a rise in the emergence of individualism and classification. This could even be seen in the way that order was instigated in the world during that period. An example or individualism and classification within art was evident in the rising trends of portraiture in Italy. The example used in the lecture was "Portrait of a Young Man", 1540's by Agnolo Bronzino, below are some more examples I found of Italian portraiture during the 1500's: Church steeples became chimneys During the time period of the 1500's, there is also a significant shift in the structure of society. The cultural norms become challenged as cities that once were established and orientated around religion now grew towards more industrialisation. Not only were there changes forming in culture and art, but also in scholarly developments. Developments in science and research were getting more recognition and contributed to the drive of industry. Into Impressionism and RealismArriving in the 19th Century came the prevalence of impressionist and realist art. The contrast
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AuthorBA Architecture student at Birmingham City University. The progresses of first year. Archives
November 2015
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