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LAQ-Option 1: Write a note on Art Nouveau and discuss any two works of
Antonio Gaudi in detail with sketches. {15Marks}
Art Nouveau was a movement that swept through the decorative arts and
architecture in the late 19th and early 20th centuries.
Generating enthusiasts throughout Europe and beyond, the movement issued in
a wide variety of styles, and, consequently, it is known by various names, such
as the Glasgow Style, or, in the German-speaking world, Jugendstil.
Art Nouveau was aimed at modernizing design, seeking to escape the eclectic
historical styles that had previously been popular.
Artists drew inspiration from both organic and geometric forms, evolving
elegant designs that united flowing, natural forms with more angular contours.
The movement was committed to abolishing the traditional hierarchy of the
arts, which viewed so-called liberal arts, such as painting and sculpture, as
superior to craft-based decorative arts, and ultimately it had far more influence
on the latter.
The style went out of fashion after it gave way to Art Deco in the 1920s, but it
experienced a popular revival in the 1960s, and it is now seen as an important
predecessor of modernism.
The composition of the principal facade, of the formal seats made of arenisc
stone from Montjuic, is based on the axes that mark the openings of the
balconies.
In the central opening of the principal floor, we find a baroque tribune with
forged-iron railings and relief representing different species of mushrooms,
which Sr. Calvet collected.
In the inferior part of the said tribune, we observe owner's last initial, along
with the shield of Catalonia and a Cyprus - the symbol of hospitality. Further
down, we see the enormous wooden door of the front entrance with a curious
door-knocker - a forged detail which was executed with great difficulty - which
represents a cross coming down upon a bug - the symbol of evil.
new urban districts of factories and workers housing and by the deterioration of
public taste among the newly rich.
For the new modes of transportation, canals, tunnels, bridges, and railroad
stations, architects were employed only to provide a cultural veneer.
The Crystal Palace (1850-1851; reconstructed 1852-1854) in London, a vast
but ephemeral exhibition hall, was the work of Sir Joseph Paxton, a man who
had learned how to put iron and glass together in the design of large
greenhouses. It demonstrated a hitherto undreamed-of kind of spatial beauty,
and in its carefully planned building process, which included prefabricated
standard parts, it foreshadowed industrialized building and the widespread use
of cast iron and steel.
Also important in its innovative use of metal was the great tower (1887-1889)
of Alexandre-Gustave Eiffel in Paris. In general, however, the most gifted
architects of the time sought escape from their increasingly industrialized
environment by further development of traditional themes and eclectic styles.
Two contrasting but equally brilliantly conceived examples are the sumptuous
Paris Opera (1861-1875) by Charles Garnier and Bostons grandiose Trinity
Church (1872-1877) by Henry Hobson Richardson .
Taxes against glass, windows and bricks were repealed which saw a new
interest in using these building materials. Factory made plate glass was
developed and complex designs in iron grillwork were a popular decoration for
the classical and Gothic buildings. There were also terracotta manufacturing
improvements, which allowed for more of its use in construction. Steel
skeletons were covered with masonry and large glass skylights were popular.
Improvements to the iron making process encouraged the building of bridges
and other structures. Large indoor open spaces were now made possible with
the use of strong iron framed construction; this was ideal for factories,
museums and train stations. The Eiffel Tower, built for the 1889 Exhibition in
Paris was a dramatic demonstration by the French of their mastery of this new
construction technology.
To the architect-engineer belongs a new decorative art, such as ornamental
bolts, iron corners extending beyond the main line, a sort of Gothic lacework of
iron. We find that to some extent in the Eiffel Tower.
But it was heavily criticized by some architects and artists who scorned it as an
example of the blackness of industry and saw it as blight on the citys skyline.
The Crystal Palace created to enclose the Great Exhibition of 1851
inEnglandwas a glass and iron showpiece, which dazzled the millions of visitors
who passed through its doors. Built by Joseph Paxton within six months, its
design mimicked the greenhouses that were his customary stock in trade. It
was spacious enough to enclose mature existing trees within its walls.
There was some rejection of the new Industrial Revolution architecture and its
emphasis on classical construction, Palladian styles and Victorian gingerbread
houses; some impressive Gothic revival architecture was commissioned instead.
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Notable examples were the British Parliament Buildings with their pointed spires
and suggestion of strength and moral values. Strawberry Hill, built after the
mid-eighteenth century, seems patterned after a Gothic castle and though it
combined some novel construction materials which reflected strong spiritual and
religious sentiments in its design.
Regarding architecture of this era, John Ruskin, a co-founder of the Arts and
Crafts movement toward simplicity argued, You should not connect the delight
which you take in ornament with that which you take in construction or in
usefulness. They have no connection, and every effort that you make to reason
from one to the other will blunt your sense of beauty. Remember that the
most beautiful things in the world are the most useless; peacocks and lilies for
instance.
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Johnson's early influence as a practicing architect was his use of glass; his
masterpiece was the Glass House (1949) he designed as his own residence
in New Canaan, Connecticut, a profoundly influential work.
The concept of a Glass House set in a landscape with views as its real walls
had been developed by many authors in the German Glasarchitektur drawings
of the 1920s, and already sketched in initial form by Johnson's mentor Mies.
The building is an essay in minimal structure, geometry, proportion, and the
effects of transparency and reflection.
The house sits at the edge of a crest on Johnsons estate overlooking a pond.
The building's sides are glass and charcoal-painted steel; the floor, of brick, is
not flush with the ground but sits 10 inches above. The interior is an open
space divided by low walnut cabinets; a brick cylinder contains the bathroom
and is the only object to reach floor to ceiling.
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GEOFRREY BAWA
Geoffrey Bawa was Sri Lanka 's most influential and prolific architect and South Asia
's leading guru of tropical architecture. In November 2001, he received the Aga Khan
Award for Architecture, Special Chairman's Award.
Features
Sri Lanka has been subjected to strong outside influences from its Indian
neighbours, from Arab traders and from European colonists, and it has always
succeeded in translating these elements into something new but intrinsically Sri
Lankan. Bawa has continued this tradition.
His architecture is a subtle blend of modernity and tradition, East and West,
formal and picturesque; he has broken down the artificial segregation of inside
and outside, building and landscape; he has drawn on tradition to create an
architecture that is fitting to its place, and he has also used his vast knowledge
of the modern world to create an architecture that is of its time.
Bawa's philosophy that an architect should re-examine his own culture and
society's traditions, is what has influenced people the
most.
He was inspired by that (Japanese design), a kind of stripped-down vernacular,
because most Sri Lankan buildings, they have a tradition of heavy bases going
up into something that's light. It's actually
an Asian tradition.
Highly personal in his approach, evoking the pleasures of the senses that go
hand in hand with the climate, landscape, and culture of ancient Ceylon, Bawa
brings together an appreciation of the Western humanist tradition in
architecture with needs and lifestyles of his own country.
His sensitivity to environment is reflected in his careful attention to the
sequencing of space, the creation of vistas, courtyards, and walkways, the use
of materials and treatment of details
Works
It sits serenely on three hills outside the southern ancient town of Matara.
The elegant buildings gaze out into the vastness of the Indian Ocean.
Seen from its entrance across the lake, it is simultaneously reminiscent of an
English country estate as well as the Kandy Lake.
Geoffrey Bawa has drawn upon these, elegant historical precedence, the
potential of opening up vistas and combined them all with a modern approach
to create a group of buildings for the diverse functions of a university.
Covered walkways link the gazebos, pavilions and verandahs spaces for
retreat, contemplation or the gathering of minds.
The buildings are of different sizes at different levels, with the residential
quarters closest to the beach.
The Arts and Science Faculties are sited on the other two hills with the library,
open-air theatre, social center and coffee shop in between.
Bawa has used the natural terrain and the stunning views to their optimum
whilst impressions left by places
C) Colombo House
The Colombo House and office of Geoffrey Bawa is a reworking of already existing
small units.
An astonishing play of light and space has transformed the former buildings into a
labyrinth of verandahs, rooms, passages and courtyards with a dramatic white
entrance tower.
It is an intimate place, a refuge from the city, with views of spaces through spaces
within and without that have been cleverly designed.
The compact house seems turned in on itself, incorporating all the essential elements
of a town into a miniature study in introspection.
A familiar blend of traditional and modern components and a meeting of the oriental
and occidental is pervasive yet marvelously subtle.
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LAQ-Option 2: Discuss the ideologies and works of architect Raj Rewal and
explain one of his works in detail.
Creation of geometric systems and responding visual imageries are apparent in
Raj rewals architectural works.
His imaginative leaps are based on his foundational knowledge and experience.
His building design include pure structural expressions, cubic volumes.
He also provide for honesty in expression.
They reflect a concern for climatic sensitivity.
His architectural pursuit is centered on attempts to evolve a contemporary
architecture rooted in traditional wisdom.
He has been influenced by the architecture of Le corbusier and louis khan.
Also influenced by the typologies of traditional building and cities like Jaisalmer.
Building on traces from the past he transforms them into the new.
In his work continuity and change consort one another in familiar terms.
The strategy thus allows a monumental quality to be imported in the projects.
In 1962, he created a hyperbolic paraboloid structure with newspapers
plastered on board to articulate the skin.
The pattern for Bhikaji Cama place designed in 1965 is reminiscent of the
organization of traditional urban settlements.
Much like traditional bazars he created designs modulated on a rhythm based
on repetition of cubic forms.
Definition
Origin
In the eighties, Alexander Tzonis, Liane Lefaivre (1981) and Kenneth Frampton
(1985) created the term critical regionalism
Concept