HISTORY & THEORY 2: Reading Comprehension 6

[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for an understanding of styles in architecture and design influenced by fine art. Selecting either Arts + Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your answer, you should include evidence from the readings and at least two annotated images as support for your analysis of influences.

"Art Nouveau is a conscious attempt to create a new style that rejects historicism and adopts a new visual language" (Hardwood 482). This style period has two generational trends, one being stylized, curvilinear, and organic while the second is a more rectilinear, geometric, and abstract trend. The first of these existed in the countries of France, Belgium, Holland, Czechoslovakia, and the United States during the 1880s-1910s. The second, however, dominated the scene in Glasgow, Scotland; Scandinavia; Germany; and Austria during this same time period. This style was a result of the fact that, "much of the world has changed dramatically in response to the Industrial Revolution. Population explosions, longer life spans, and scientific and technological progress" (Hardwood 482). This caused people to look for a means of coping with the sudden and drastic change in the world around them. In France, two schools of Art Nouveau develop, funded by the French government in their quest to maintain France's dominance in art and culture. This school promoted decorative arts, "such as furniture, glass, and ceramics, more than architecture. Leading practitioners included Emile Galle, Eugene Vallin, and Louis Majorelle" (Hardwood 483). In Spain, Art Nouveau makes an appearance mostly in the city of Barcelona, the countries leading industrial center. "The Spanish government pushes a modernization program for the city to promote political, social, and cultural reform" (Hardwood 484). Art Nouveau designers had difficulty seeing the separation between the fine arts of painting and sculpture and architecture and the decorative arts, such as glass, ceramics, and furniture. "They strove for unity in design to create complete expressions, or what they called total works of art" (Hardwood 485). In France, the natural and organic motifs were very important in these designs. Forms that were very curvilinear in appearance, having whiplash curves, and stylized plants and flowers were common.  These motifs included things such as roses, violets, iris's, water lilies, and animals such as dragonflies, butterflies, snails, and peacocks. In France, entryways become very important. Three dimensional  curved moldings frame the doorway while elaborate iron curved figures adorn the gate itself. In Spain, this movement is headed by Antonio Gaudi, whose work contains a very unique organic component that is not seen across the boards during this style period. In terms of furniture, the Spanish furniture "usually is sculptural and plastic, eccentric, and idiosyncratic as shown in the work of Gaudi" (Hardwood 510).

Casa Batllo, Antonio Gaudi- Spain

[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products. SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument.

In terms of the use of the machine in the design process, one word comes to mind, efficiency. Machines at this time in history, and now, provided people with an easier, faster, and more cost effective way to produce mass amounts of product in shorter amounts of time. With the introduction of machines, the pricey costs of handmade arts & crafts products were replaced with products that most were able to afford. Design became something more for the masses instead of for only "those who could afford it." Architects of this time wished to, "reinforce the earlier idea of an architectural style that expresses modern life and makes good design available to everyone" (Hardwood). With machines also came a loss of the detail and ornamentation that had been popular in previous design trends. Products became sleeker, more streamline, and cleaner in appearance.  "International style buildings display simplicity, clean lines not obscured by ornament, and purity of forms, which are often cubes, cylinders, or rectangles" (Hardwood). People enjoyed this, it made them feel as if they were existing in the future, in a time that most of the world had not caught onto yet. It brought modern design into the homes of the masses, without plunging people even greater into the depression. "Instead of reinventing the past or maintaining the status quo, modernist architects challenge traditional ways of designing and construction and look for ways to improve life through modern architecture" (Hardwood). 

The artifact, seen in the photo below, would be the Barcelona Chair. Although the components of this chair partially had to be assembled by man at the time these models were constructed, the majority of their assembly is constituted to the machine. The space itself is made possible by machine as well, considering the onyx wall, one of the main features of the room is made by use of machines. A slab this large, many dollar signs and craftsmen later, would cost more than the rest of the room put together without it's production being streamlined by industrialism. As for the building, its openness to nature is allowed through the installments of large windows that exist where the walls of a room would normally be. These windows nor the steel structures that support them could be man made, they are all thanks to the works of the machine.

Tugendhat House, Ludwig Mies van der Rohe- Czech Republic

 

[3] From the assigned pages in Roth, Harwood, and Massey, SELECT an image that you believe explodes the notion that Modern interiors and objects were black and white. Fully RENDER your own design exploration of that image through color, material, and light and appropriately annotate and cite the image to prove this point.