(History of Architecture 2) Nov 2012 19th century architecture
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Transcript of (History of Architecture 2) Nov 2012 19th century architecture
19TH CENTURY ARCHITECTURE
The Architecture of the Victorian Age
Outline
Socio-Economic Background
Technological Advancements
Battles of Architecture in the Industrial Revolution
The Neo-Classical
The Neo Gothic
Other Styles
Applications of New Technology
The Next Step
An Age of Uncertainty
By the opening of the 19th C the confidence apparent in the architecture of the age of elegance in the preceding century had evaporated.
The agitation brought about by the French Revolution of 1789 had never fully subsided, and a different kind of society began to take place.
There was another revolution every bit as influential as the French, the Industrial Revolution which was cradled in Britain, from roughly 1750-1850 although it was not seen as a revolution but only new ways of making things.
A time of rapid change in UK and in Europe
The Industrial Revolution Began in England, (1750-1920)
Time of major changes in Agriculture Manufacturing Mining Transport Technology These had a profound effect on the
socio-economic and cultural conditions, starting in the United Kingdom, then subsequently spreading throughout Europe, North America, and eventually the world.
It marked a major turning point in
human history, almost every aspect of daily life was eventually influenced in some way.
The Stockton and Darlington Railway
Inventions
It began with textiles.
Finance
Trading opportunities
A change in the way goods were produced from human labor to machine.
The three basics were present- coal (energy), iron and other metals, population of workers.
The Industrial Revolution
Development and growth of new socio- economic classes: working class, bourgeoisie, wealthy industrial class.
Population change
The urban population dramatically increased, towns and cities multiplied in number and size, a new urban society emerged. The demand for new buildings was greater that ever before.
Brought a flood of new building materials
Iron was mined efficiently.
The formula for concrete was rediscovered 1756 by John Smeaton.
To the fashionable architects the central problem was to discover a style appropriate to this time of change.
Factors for the Progress of the Industrial Revolution
The Invention of Machines
The invention of machines to do the work of hand tools
The use of steam, and later of other kinds of power, in place of the muscles of human beings and of animals
The Spinning Jenny invented by James Hargreaves
The 1698 Savery Engine – the world's first commercially useful steam engine built by Thomas Savery
The adoption of the factory system.
New Materials
After the Baroque slowly faded away, the 18th century architecture considered primarily of revivals of previous periods.
Building materials were made out of only a few manmade materials along with those available in nature: timber, stone, lime.
Mortar and concrete
Iron
Brick
Glass
Portland Cement – strong, durable, fire resistant type of cement developed in 1824.
But in the 1800’s, there was a great amount of production in Iron. These made architects and engineers design buildings made out of iron. There are 3 types of iron:
cast, wrought, and steel.
Characteristics, 19th C Architecture
Curtain walls were used
Steel skeletons were covered with masonry
Large skylights were popular
Lacked in imagination and style
Main focus was functionality
Glass Making
A new method of
producing glass, known as the cylinder process, was developed in Europe during the early 19th century. In 1832, this process was used by the Chance Brothers to create sheet glass. They became the leading producers of window and plate glass.
TheCrystal Palace held the Great Exhibition of 1851
Iron making
In the Iron
industry, coke was finally applied to all stages of iron smelting, replacing charcoal. This had been achieved much earlier for lead and copper as well as for producing pig iron in a blast furnace, but the second stage in the production of bar iron depended on the use of potting and stamping.
Nasmyth’s steam hammer of 1840 at work in 1871
The Architecture of the Industrial Age
Neo-Classical
Neo-Gothic
Renaissance
Baroque
Romantic
Chinese
Saracenic
But Neo-Classical and Neo-Gothic were the main contenders in the Battle of the Styles of the 19th C.
Architecture and the art turned into the past. Architects searched for their own style but they searched for it in the previous styles returning to the style of Bramante, Palladio and Michelangelo .
The Architects of the Victorian Period
The Neo-Classicists
Karl Friedrich Schinkel (1781-1841)
Sir John Sloane (1753-1837)
Benjamin Henry Latrobe (1766-1820)
Thomas Jefferson (1743-1826)
The Gothic Revival
Augustus Welby Northmore Pugin (1812-1852)
Richard Upjohn (1802-78)
Eugene Emmanuel Viollet-le-Duc (1814-1879)
The Neo-Classicists
The entire structure is raised on a high base and is dominated by an Ionic portico with receding planes to either side articulated by plain pilasters and precise, shallow mouldings that appear to have been stretched tightly over an internal skeleton.
Karl Friedrich Schinkel, Schauspielhaus, Berlin, 1818-21.
The leading exponent of Neo-Classicism in England at this time was Sir John Soane, an idiosyncratic architect whose work also has Romantic qualities.
John Soane (1753-1837), Bank of England, London
Latrobe presented both Gothic and Neo-Classical designs of this church to his client. The classical proposal was selected but did not include the towers.
Benjamin Henry Latrobe, Roman Catholic Cathedral, Baltimore, 1805-18.
For his own house Jefferson turned the familiar Palladian five-part organization backward in order to focus the complex on spectacular mountain views. This view from the front shows that Jefferson disguised the two-storey elevation to appear as only one story.
Thomas Jefferson, Monticello, Charlottesville, Virginia, 1770.
The William Brown Library and Museum (now the World Museum Liverpool), designed by Thomas Allom (1804-1872), UK
The Neo-Gothic
Gothic Revival (also called “Neo-Gothic”)
Neo-Gothic buildings have many of these features:
- Strong vertical lines and a sense of great height
- Pointed windows with decorative tracery
- Gargoyles and other carvings
- Pinnacles
• The first Gothic Revival homes
- Stone and Bricks
- American Version: Lumber and Factory Made Trims
The Trinity Church in New York, USA
Charles Barry and A.W.N. Pugin, Houses of Parliament, London, 1836-51.
The government had decided that the new building should be in the style thought to represent England at its best – Elizabethan or Jacobean, which occured during Late Gothic.
House of Parliament, London, 1836-1867
Richard Upjohn (1802-78), Trinity Church, New York City, 1839-46.
Upjohn’s first major commission was for Trinity Church in New York City, which was designed for a growing and wealthy congregation. The Trinity Church has been dwarfed by skyscrapers, which once included the now destroyed World Trade Center. However, in 1846 the church was a prominent landmark.
French architect and theorist
Famous for interpretive “restorations” of
medieval buildings Gothic Revival Architect
Notre Dame de Paris
Eugène Viollet-le-Duc
Eugene Emmanuel Viollet-le-Duc
The leading proponent of the Gothic Revival in France was Eugene Emmanuel Viollet-le-Duc (1814-1879), an architect who shared Pugin’s enthusiasm for medieval works.
He saw the system of the rib vault, pointed arch, and flying buttress as analogous to 19th C iron framing, and he aspired to a modern architecture based on engineering accomplishments that would have the integrity of form and detail found in medieval works.
Tower Bridge, London Horace Jones and John Wolfe Barry, 1840
All Saints Sir Charles Barry Stand, Manchester, 1860
Neo-Renaissance, Italian Renaissance, French Renaissance, Neo-Romanesque offered the architect and client other choices.
A Merry Mix of Styles
Richard Morris Hunt, Biltmore, Asheville, North Carolina, 1890-95.
The first American to attend the Ecole des Beaux-Arts was Richard Morris Hunt (1827-95) who entered the school in 1846. Newly rich industrial magnates wanted houses that imitated the ancestral mansions of European nobility, and of all American architects Hunt was best able to provide the designs desired.
Richard Morris Hunt, The Breakers, Newport, Rhode Island, 1892-95.
Richard Morris Hunt was the first American to attend the Ecole des Beaux-Arts in Paris. The knowledge he gained there of academic planning and monumental design made him the architect of choice among the late 19th C American elite.
Interiors, The Breakers, Newport, Rhode Island, 1892-95.
The firm of McKim, Mead and White established the model for the large-scale American architectural practice. They based this residential structure on Roman palazzi such as the Palazzo Farnese.
McKim, Mead and White, Villard Houses New York City, 1882-85.
The New West End Synagogue by George Audsley (1838-1925) in St Petersburgh Place, London was in the Neo-Romanesque.
Westminster Cathedral
by John Francis Bentley London, Neo-Romanesque.
Travelers’ Club 1829-1832
Italian Renaissance, Sir Charles Barry
London Reform Club 1837- 1841
Semper Oper, Dresden, Germany 1838-1841
Italian Renaissance Gottfried Semper
Art Gallery of the Zwinger 1847-1854
Gottfried Semper
Neo-Renaissance
Grand Opera, Paris, 1860-1874
Jean Louis Charles Garnier
Externally as well as internally the stylistic elements derive from the Italian Cinquecento and from the France of Louis XIII and Louis XIV, from Renaissance and from Baroque.
Polychromy is widely used to heighten the impact yet further. The façade is massive and heavily decorated and gilded, and really monumental.
Paris Opera House
Grand Opera, Paris, 1860-1874
The great stair hall is perhaps Garnier’s greatest triumph. There is a tension in every form. The flights of the stairs fly easily and with perfect fluency through the stair hall. With its related corridors and foyers
the stair provides the best of all possible ceremonial approaches to the auditorium.
Palais de Justice (Law Courts), Details
Brussels, 1866-1883 Joseph Poelaert
Palais de Justice (Law Courts), Brussels, 1866-1883 Joseph Poelaert
Palais de Justice (Law Courts), Interiors
Brussels, 1866-1883
Neo-Renaissance
Schwerin Castle, Hungary, 1851 Friedrich
August Stüler (1800-1865)
Neo-Renaissance
National Museum of Fine Arts, Stockholm, 1846-1866
Friedrich August Stüler
National Museum of Fine Arts, Stockholm, 1846-1866
Interiors Friedrich August Stüler
Romanesque Crane Library, Quincy, Massachusetts , 1880 Henry Hobson Richardson
Romanesque Crane Library, Quincy, Massachusetts , 1880
Henry Hobson Richardson (1838-86)
St. Pancras Parish Church, London, 1819-21 Greek Revival
World’s Columbian Exposition, Chicago, Illinois, 1893
The White City
Hunt’s Administration Building stands at the head of the Court of Honor and its lagoon. The “White City” captivated the American public. Using widespread exterior electric lighting for the first time, it started a movement that produced proposals for new civic cores in cities nationwide.
Richard Morris Hunt, Administration Building, World’s Columbian Exposition, Chicago, Illinois, 1893.
The White City, Chicago’s World Fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus arrival in the New World in 1492
The City Beautiful Movement was a reform movement in North American architecture and urban planning that flourished in the 1890s and 1900s with the intent of using beautification and monumental grandeur in cities.
Advocates of the movement believed that such beautification could thus promote a harmonious social order that would increase the quality of life.
Daniel Burnham, Architect and Urban Planner
City planning projects :
Cleveland
San Francisco
Washington DC
Manila
Baguio
Designed the Chicago’s World Fair.
Proponent of the ‘City Beautiful’ movement.
Burnham only stayed for six weeks in the Philippines. He later hired the services of William Parsons, a New York architect who stayed in the country for eight years.
IRON AND STEEL STRUCTURES of the 19th CENTURY
Architectural Applications of Iron and Steel Construction
Iron and steel were not admired for their architectural qualities in the 19th C: prevailing Neo-Classical and Romantic attitudes looked to past ages buildings had always been of load-bearing masonry construction.
Everything that architects and their clients admired and felt comfortable with could be constructed by using traditional materials and methods.
Architects were slow to exploit the possibilities of iron and steel, which were first used in industrial utilitarian buildings, such as textile mills, warehouses, and greenhouses.
Progress in iron fabrication
18th C industrial production of cast and wrought iron so increased its availability that iron replaced wood in the frame of any building where heavy loads or the danger of fire was of concern.
Cast iron was favoured for columns, while the superior tensile qualities of wrought iron made it the recommended material for beams.
In the 19th C iron began to be used instead of wood in the fabrication of truss bridges built for roads and railroads that crossed rivers or valleys.
Linear two-dimensional fragile-looking material
Elegant linearity is its most rational form
Solid, Block-like, Closed type Building
Open, Linear, Articulated frame
Greenhouses Covered Markets
Halls Exhibition Pavilions
Passages Utility Buildings
Iron
Decimus Burton and Richard Turner Palm House, Kew Gardens, London, 1845-47.
Iron was most elegantly employed in landscape gardening. Victorian England, prosperous from the wealth of its empire, had a fascination with the tropical plants that were brought back from India, Africa, and the Far East.
Wrought Iron
19th Century: Applications of Iron Steel
PALM HOUSE, Royal Botanical Garden, Kew, London, 1845-1848
Applications of Iron Steel
PALM HOUSE, Royal Botanical Garden, Kew, London, 1845-1848
Joseph Paxton, Crystal Palace, 1851.
Joseph Paxton designed a building with prefabricated parts that could be mass-produced and erected rapidly. It stood in stark contrast to traditional, massive stone construction.
Joseph Paxton, Crystal Palace, 1851.
Once the exhibition opened, the building was visited by about one-quarter of the population of England and was universally acclaimed for its vast, airy interior space. Journalists dubbed it the Crystal Palace, a name it had retained.
19th Century: Applications of Iron Steel CRYSTAL PALACE – Hyde Park, London, 1850-1851
Joseph Paxton
Henri Labrouste (1801-1875) made a fine architectural use of cast iron in the Bibliotheque Ste.-Genevieve in Paris. On the exterior the building presents a correct Neo-Classical facade recalling Italian Renaissance palace and church designs; but on the interior at the 2nd floor level one finds for that time an unprecedentedly great reading room which extends the width and length of the building, covered by light semicircular cast iron arches.
Henri Labrouste, Bibliotheque Ste. Genevieve, Paris, 1842-50.
Henri Labrouste, Bibliotheque Ste. Genevieve, Paris, 1842-50
Henri Labrouste, Bibliotheque Ste. Genevieve, Paris, 1842-50
THE CRYSTAL PALACE
19th Century: Applications of Iron Steel Bibliotheque Sainte-Genevieve
19th Century: Applications of Iron Steel Bibliotheque Sainte-Genevieve
19th Century: Applications of Iron Steel Bibliotheque Nacionale 1857-1867
19th Century: Applications of Iron Steel Bibliotheque Nacionale 1857-1867
19th Century: Applications of Iron Steel
Gustave Eiffel 1823-1932
320 metres (1,050 ft) tall
First real example
of frame building technique
Remains the
largest iron construction in the world
19th Century: Applications of Iron Steel EIFFEL TOWER, PARIS, 1884-1887
19th Century: Applications of Iron Steel EIFFEL TOWER, PARIS, 1884-1887
Stands 151-ft (46m) One of the earliest examples of curtain
wall construction in which the exterior of the structure is not load bearing, but is instead supported by an interior framework.
He included two interior spiral staircases, to make it easier for visitors to reach the observation point in the crown.
19th Century: Applications of Iron Steel STATUE OF LIBERTY
Gustave Eiffel, Eiffel Tower, Paris, 1889.
The most famous French designer using iron in the second half of the 19th C was Gustav Eiffel (1832-1923). This engineer gained fame for his graceful bridge designs and then used his experience with iron construction to build the world’s tallest tower, the 1010 ft high Eiffel Tower, erected for the Paris International Exposition of 1889. Not until the completion of the Chrysler Building in New York was Eiffel’s tower exceeded in height, and it remains the largest iron construction in the world, for steel was rapidly becoming the preferred material for metal framing.
Gustave Eiffel, Auguste Bartholdi and Richard Morris Hunt, Statue of Liberty, New York City, 1883-86.
In New York harbor stands another of Eiffel’s engineering projects, the internal skeleton for the 151 ft Statue of Liberty (1883-86). Miss Liberty’s copper skin is supported by iron straps attached to a steel framework that Eiffel designed to withstand the considerable wind loads of the harbour. At the time of its construction, the Statue of Liberty had the most advanced diagonally braced frame to be found in any structure in the U.S.
420mL & 115m W
Destroyed in 1910
19th Century: Applications of Iron Steel GALERIE DES MACHINES, 1887-1889
Charles Dutert 1845-1906
In seeking to expand the market for iron and improve the desirable qualities of the material, 19th c ironmongers experimented with new methods for manufacturing steel, which is an alloy of low-carbon iron and trace amounts of other metals. The Brooklyn Bridge used steel cables.
J.A. And W.A. Roebling, Brooklyn Bridge, New York City, 1869-83.
The Early Skyscrapers
William Le Baron Jenney (1832-1907), the designer of the Home Insurance Building (1884-85), is generally credited with the early development of the skyscraper although the Home Life Insurance Building is not entirely metal-framed as the first floor contains sections of masonry bearing wall.
The Early Skyscrapers
Daniel Burnham and John Welborn Root, Monadnock Building, Chicago, 1890-91
Daniel Burnham and John Welborn Root, Reliance Building, Chicago, 1894-95.
The Arts and Crafts Movement
Two issues – social values and the artistic quality of manufactured products – were at the heart of the Arts 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.
FIN