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24 Cards in this Set
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-Eclectic Horace WALPOLE Strawberry Hill, outside London, England, 1750-1776 -Sparked Gothic Revival -rebuilt existing house in stages -gloomth interior decorations to match antiques inside |
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-Eclectic - John NASH, Royal Pavilion at Brighton, England, 1815-23-built in 3 stages -Borrowed motifs on interior and exterior from British colony in India (Mughal architecture) -"wedding cake" architecture- fantasy, imaginative |
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- Eclectic - Karl Friedrich SCHINKEL, Altes Museum, Berlin, Germany, 1830 -a severe and uncompromising neoclassical style -houses artwork (back then and today) |
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-Eclectic - Charles GARNIER, Opera, Paris, France, 1861-75 - used mainly for ballet -masterpiece, expensive and at a prime location -avenue L'Opera -heavily decorated exterior |
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-Eclectic -Ringstrasse, Vienna, Austria, 1860 -Emp. Franz Joset decreases Medieval styles and adds more modern -transform city from fort to cultural/tourist city -first generation regarded it with pride, later seen as an abomination -new grand streets, parks, and sewage systems |
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-proto-modern -Joseph PAXTON, Crystal Palace, London, England, 1851 -large barrel in center runs over main gallery space -fewer than 8 months to establish plan, get parts, and build -very cost efficient (spending 28% of budget) -building design subordinate to uses -built modular- glass panels limited to dimensions of the time, mullions to match -industrial at its core, but light and elegant as a whole |
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-proto-modern -Gustave EIFFEL, Eiffel Tower, Paris, France, 1889 -components and rivets design with wind pressure in mind (sparked Eiffel's interest in aerodynamics) -1010 ft tallest building at its time, still tallest iron structure today, material economy -Made for world exhibition |
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-proto-modern - Auguste PERRET, Rue Franklin apartments, Paris, France, 1925 -very small site, needed to eliminate courtyard -concrete frame to handle structural needs and fireproofing concerns -put services in back because of limited light supply -pedals fill tiles as decorative elements |
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-proto-modern -Adolf LOOS, Looshaus, Vienna, Austria, (1911) -in heart of old Vienna -limited classical elements (columns, simple pediment and ornamentation) -commercial floors much more traditional (at bottom) -window boxes there to grow flowers as decorative -vibrant contrasting stone -wrote "ornament and crime" |
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-Arts and crafts -Philip WEBB, Red House, outside London, England, 1860 -Medieval influence -everything designed |
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-Arts and crafts -Charles Rennie MACKINTOSH, Hill House, outside Glasgow, Scotland, 1903 -wood painted whites and great use of windows to brighten place, stained glass and mosaics -designs everything from windows to fabrics to furniture -progression of public to private areas |
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-Art nouveau -Victor HORTA, Maison du Peuple, Brussels, Belgium, 1899 -use a lot of light and curves -variation in facade |
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-Art nouveau -Henry VAN DE VELDE, Bloemenwerf, outside Brussels, Belgium, 1896 -sexist (female) designs, emphasized curves -furniture, wallpaper, and fittings all designed to share same motifs |
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-Art nouveau -Hector GUIMARD, Paris Metro, Paris, France, 1900 -design contest, although didn't win, was chosen for art nouveau style -3 stations, some details include lava details, wired glass, decorated shields, butterfly roof |
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-Art nouveau -Antoni GAUDÌ, Park Guell, 1900 and Casa Milà, 1910 -roads and avenues built -fountain and market hall -roof is a playground -mosaics, columns like trees -radical art nouveau and arts and crafts |
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-Vienna Secession -Otto WAGNER, Postsparkasse, Vienna, Austria, 1904 -complete work of art 360 -trapezoidal plan with bank hall in center -large windows with white marble and aluminum fixings- solidity and corporate power -nautical influence -beginning of modern architecture |
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-Vienna Secession - J.M. OLBRICH, Secession Building, Vienna, 1897 -built manifesto, exhibition place -location given by state, central location seen by all - strict geometry (sphere in square) -sphere covered by decorative leaves |
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-Vienna Secession -Josef HOFFMANN, Purkersdorf Sanatorium, outside Vienna, 1904 -curing rooms -architecture is clean, white, orderly, symmetrical- just like purpose of facility - lots of windows -send wife/daughter here, domestic interiors -expensive room and board and treatment |
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-Vienna Secession -Palais Stoclet, Brussels, Belgium, 1911 -lots of marble, sharp shapes |
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-The Dream of the Architect, Thomas Cole, 1840 -Painting that shows progression of architecture |
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-Owen Jones, large folio plates from Grammar of Ornament, 1856 -visual compendium of ornament from every place and period in history -government schools of design 1837 |
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-Walter Crane, Season Ticket for Arts and Crafts Exhibition Society, 1890 -trying to bridge gap between arts and craftsmen (now factory workers) |
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-Ver Sacrum, magazine published by Vienna Secession, 1898-1903 -official journal of secession -latin for "sacred spring" |
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Casa Mila, 1910, Barcelona, Guadi, -steel shell with stone cladding -appears like erroded limestone cliffs -strange forms house chimney ventilation |
