Art Nouveau 6th Sem

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Art Nouveau (1900-1920) Art Nouveau was an innovative international style of modern art, architecture and design. The French word Art Nouveau literally means the ‘New Art’. Art Nouveau's twenty-year peak was most strongly felt throughout Europe— but its influence was global. Architects of the Art Nouveau Style The Spanish architect, Antoni Gaudi (1852-1926) The Belgian Architect, Victor Baron Horta (1861-1947) The French architect, Hector Guimard (1867-1942)

Transcript of Art Nouveau 6th Sem

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Art Nouveau(1900-1920)

• Art Nouveau was an innovative international style of modern art, architecture and design.

• The French word Art Nouveau literally means the ‘New Art’.

• Art Nouveau's twenty-year peak was most strongly felt throughout Europe— but its influence was global.

Architects of the Art Nouveau Style

• The Spanish architect, Antoni Gaudi (1852-1926)• The Belgian Architect, Victor Baron Horta (1861-1947)• The French architect, Hector Guimard (1867-1942)

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Features of the Art Nouveau style

• Art Nouveau is characterized by highly stylized, flowing, curvilinear designs often incorporating floral and other plant-inspired motifs.

• There was broad use of exposed iron and large irregularly shaped pieces of glass.

• The style is dynamic, undulating and flowing, with curved whiplash lines of syncopated rhythm.

• Another feature is the use of hyperbolas and parabolas in the windows, arches and doors.

• Art Nouveau artists used new materials, machined surfaces and abstraction in the service of pure design.

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Concept of the Art Nouveau Style• Art Nouveau philosophy was in

favour of applying artistic designs to everyday objects, from architecture to furniture, in order to make beautiful things available to everyone.

• Art Nouveau saw no separation in principle between fine art (painting and sculpture) and applied or decorative arts (ceramics, furniture, and other practical objects).

• Art Nouveau remains a term which embraces a variety of stylistic interpretations: some artists used new low-cost materials and mass production methods while others used more expensive materials and valued high craftsmanship.

• Employing a variety of materials, the style was used in architecture, interior design, glassware, jewellery, poster art, illustration, painting and sculpture.

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• Art Nouveau used machines to its advantage. For sculpture, the principal materials employed were glass and wrought iron, leading to sculptural qualities even in architecture.

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VICTOR HORTA BORN-6 January 1861 DIED-9 September 1947) was a Belgian architect and designer. He was the initiator and leading

exponent of Art nouveau in Belgium.  Victor Horta began studying architecture

at the Académie des Beaux-Arts in Ghent.

In 1878 Victor Horta went to Paris, where he worked until 1880 in the studio of the interior decorator Jules Debuyson.

 There he was inspired by the possibilities of working in iron and glass.

John Julius Norwich described him as "undoubtedly the key European Art Nouveau architect.“as he was the first to introduce the style to architecture from the decorative arts.

In rejecting historical styles and embracing new materials, Horta laid the foundations for modern architecture.

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HORTA’s WORKS

In 1881 Victor Horta moved to Brussels. During this period, Horta socialised widely and This ensured a stream of

clients for which from1892 Victor Horta designed several houses and public buildings in Brussels, for which he used cast iron for structural and decorative reasons.

he worked as an assistant of architect  Alphonse Balat. wher he together they designed the royal Greenhouses of Laeken, Horta's first work to utilise glass and iron.

 He focused on the curvature of his designs, believing that the forms he produced were highly practical and not artistic affectations.

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Hôtel Tassel, designed and built for Prof. Émile Tassel in 1892 - 1893.Hôtel Solvay, designed and built 1895 - 1900.Hôtel van Eetvelde, designed and built 1895 - 1898.Maison and Atelier Horta, designed in 1898, now the Horta Museum, dedicated to his work.1885 : 3 houses, Twaalfkameren 49, 51, 53 in Ghent (design)1889 : Temple of Human Passions, Cinquantenaire Park in Brussels (protected monument since 1976)1890 : Maison Matyn, rue de Bordeauxstraat 50, 1060 Saint-Gilles1890 : Renovations and interior decoration to the Brussels residence of Henri van Cutsem, Kunstlaan / Avenue des Arts 16, Saint-Josse-ten-Noode (Today Charlier museum).1892-1893 : Hôtel Tassel, rue Paul-Emile Jansonstraat 6 in Brussels1893 : Maison Autrique, Haachtsesteenweg/Chaussée de Haecht 266 in Schaerbeek1894 : Hôtel Winssinger, Munthofstraat / rue de l'Hôtel de la Monnaie 66 in Saint-Gilles1894 : Hôtel Frison, rue Lebeaustraat 37 in Brussels1894 : Atelier for Godefroid Devreese, Vleugelstraat / rue de l'aile 71 in Schaerbeek (modified)1894 : Hôtel Solvay, Avenue Louise 224 in Brussels.1895 : Interior decoration of the house of Anna Boch, Boulevard de la Toison d'Or / Guldenvlieslaan 78 in Saint-Gilles (demolished)

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1895-1898 : Hôtel van Eetvelde, Avenue Palmerstonlaan 2/6 in Brussels 1896-1898 : Maison du Peuple / Volkshuis, place Vanderveldeplein in Brussels

 (demolished in 1965) 1897-1899 : Kindergarten, rue Sainte-Ghislaine / Sint-Gisleinstraat 40 in 

Brussels 1898-1900 : House and Studio of Victor Horta, rue Américaine /

Amerikaansestraat 23-25 in Saint-Gilles (today the Horta Museum ). 1899 : Maison Frison "Les Épinglettes", avenue Circulaire / Ringlaan 70 in Uccle 1899 : Hôtel Aubecq, Avenue Louise 520 in Brussels (demolished in 1950) 1899-1903: Villa Carpentier (Les Platanes), Doorniksesteenweg 9-11 in Ronse 1900 : Extension of the Maison Furnémont, rue Gatti de Gamondstraat 149 in 

Uccle 1900 : Department store: A l'Innovation, rue Neuve 111 in Brussels (destroyed

by fire in 1967) 1901 : House and Studio for the sculptor Fernant Dubois, Avenue Brugmannlaan

80 in Forest, Belgium 1901 : House and Studio for the sculptor Pieter-Jan Braecke, rue de

l'Abdication / Troonafstandstraat 51 in Brussels 1902 : Hôtel Max Hallet, Avenue Louise 346 in Brussels. 1903 : Funeral monument for the composer Johannes Brahms on the

"Zentralfriedhof" in Vienna (in collaboration with the Austrian sculptor Ilse Conrat)

1903 : Magasins Waucquez, rue du Sable / Zandstraat 20 in Brussels (since 1989 Belgian Centre for Comic Strip Art.

1903 : House for the art critic Sander Pierron, rue de l'Acqueduc / Waterleidingsstraat 157 in Ixelles

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1903 : Grand Bazar Anspach, Bisschopsstraat / rue de l'Evêque 66 in Brussels (demolished)

1903 : Maison Emile Vinck, rue de Washingtonstraat 85, Ixelles (converted in 1927 by architect A.Blomme).

1903 : Department store: A l'Innovation, Chausée d'Ixelles / Elsenesteenweg 63-65 in Ixelles (converted)

1904 : Gym for the boarding school "Les Peupliers" in Vilvoorde. 1905 : Villa Fernand Dubois, rue Maredretstraat, Sosoye. 1906 : Brugmann Hospital, Place A. Van Gehuchtenplein in Jette;

(First design; opened in 1923) 1907 : Magasins Hicklet, Nieuwstraat / rue Neuve 20 in Brussels

 (converted) 1909 : Wolfers Jewellers Shop, rue d'Arenberg / Arenbergstraat 11-13

in Brussels. 1910 : House for dr. Terwagne, Van Rijkswijcklaan 62, Antwerp. 1911 : Magasins Absalon, rue Saint-Christophe / Sint-Kristoffelstraat

41 in Brussels 1911 : Maison Wiener, Sterrekundelaan / avenue de l'Astronomie in 

Saint-Josse-ten-Noode (demolished) 1912 : Brussels-Central railway station (first designs; completed by 

Maxime Brunfaut and inaugurated in 1952). 1920 : Centre for Fine Arts, rue Ravensteinstraat in Brussels (first

design; opened in 1928). 1925 : Belgian pavilion at the 

Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925.

1928 : Musée des Beaux-Arts Tournai in Tournai.

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 In 1892-93 Hôtel Tassel was built, with an interior featuring exposed cast-iron construction and glass elements. featuring exposed cast-iron construction and glass elements.

1896 -1899 ----Maison du Peuple, the headquarters of the Belgian Socialist party.

façade entirely constructed of cast-iron and glass - the first of its kind in Brussels

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The Palais des Beaux-Arts in Brussels, built between 1922 and 1928. a multi-purpose cultural centre designed in a formal style.

Character -- foreshadows Art Deco as well as having cubist features.

The post-war austerity meant that Art Nouveau was no longer affordable or fashionable.

He had gradually been simplifying his styles, no longer used organic forms, and instead based his designs on the geometrical and to apply the latest developments in building technology and building services engineering.

TOWARDS ART DECO AND MODERNISM

Horta designed an unusual egg-shaped concert hall which is regarded as one of the Worlds' greatest concert hall design.

Between 1916 and 1919 Victor Horta lived in London and the United States of America. In subsequent years, Victor Horta distanced himself from Art nouveau.

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Belgian Pavilion, Exposition des Arts Decoratifs, at Paris, France, 1925.

Halle Centrale, Main Railway Station, at Brussels, Belgium, 1914 to 1952.

Brugmann Hospital, at Jette, Brussels, Belgium, 1906 to 1926.

Waucquez Department Store, at Brussels, Belgium, 1903 to 1905.

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After Art Nouveau lost favor, many of Horta's buildings were destroyed.

 However, several of Horta’s buildings are still standing in Brussels to today and available to tour. The Major Town Houses of the Architect Victor Horta in Brussels are

a UNESCO World Heritage Site. They comprise:

Hôtel Tassel

Hôtel van EetveldeHôtel Solvay Horta House ,

now the Horta Museum

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TASSEL HOTEL

• Architect- Victor Horta• Location- Brussels, Belgium• Date- 1892 to 1893   • Building Type- large hotel • Construction System- iron,

wood, stone for facade.• Climate- temperate• Context- urban• Style- Art Nouveau• Notes- Also "Hotel Tassel".

Elegant urban house with facade defined around centered, stacked oriel bay windows and balcony.

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• This hotel (Horta) broke the traditional scheme. • He built a house consisting of three different parts. • Two buildings in brick and natural stone — one on the

side of the street and one on the side of the garden — were linked by a steel structure covered with glass.

• It functions as the connective part in the spatial composition of the house and contains staircases and landings that connect the different rooms and floors.

• Through the glass roof it functions as a light shaft that brings natural light into the centre of the building.

• that could also be used for receiving guests.• Horta made the maximum of his skills as an interior

designer. • He designed every single detail; doorhandles,

woodwork, panels and windows in stained glass, mosaic flooring and the furnishing.

• Horta succeeded in integrating the lavish decoration without masking the general architectural structures.

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• The innovations made in the Hotel Tassel would mark the style and approach for most of Horta's later town houses, including the Hôtel van Eetvelde, the Hôtel Solvay and the architects own house and 'atelier'.

• For this reason the pure architectural innovations were not largely followed by other architects.

• Most other Art Nouveau dwellings in Belgium and other European countries were inspired by Horta's 'whiplash' decorative style which is mostly applied to a more traditional building.

• The Hôtel Tassel had a decisive influence on the French Art Nouveau architect HectAor Guimard who later developed a personal interpretation of Horta's example.

• Hôtel Tassel is currently a private office occupied by a law firm and the interior is not accessible to the public.

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GROUND FLOOR

MEZANNINE FLOOR

FIRST FLOOR SECOND FLOOR

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FRONT ELAVATION STAIRCASE

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MAISON AUTRIQUE

• Architectural style Art Nouveau.

• Location Brussels, Belgium.

• Client- Eugène Autrique.• Completed -1893• Architect -Victor Horta• Awards and prizes Medal-

Europa Nostra

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• It was the first town house built by Victor Horta in the Art Nouveau style.

• This house built in 1893 represents an essential step in the evolution of the greatest Belgian architect

• The house is located 266, (Chaussée de Haecht / Haachtsesteenweg) in the municipality of Schaerbeek in Brussels.

• It was built for the engineer Eugene Autrique and his family who was one the friend of victor horta.

• Due to budget restrictions the family wanted a simple but comfortable home.

• For this reason many custom made details, which Horta designed himself in most of the other town houses he built, were abolished.

• The Autrique House was kept in a relatively good condition during the 20th century. In the 1990s it was bought by the municipality of Schaerbeek. It was thoroughly renovated and is now opened to the public.

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• The floor plan and spatial composition of the Maison Autrique remained rather traditional.

• On the deep and narrow building plot the rooms were organised according to a traditional scheme used in most Belgian town houses at that time.

• It consisted of a suite of rooms on the left side of the building plot flanked by a rather narrow entrance hall with stairs and a corridor that led to a small garden at the back.

• From the three room suite only the first and the last had windows so that the middle room (mostly used as a dining room) was rather gloomy.

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HOTEL SOLVAY

BY AR. VICTOR HORTA

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ARCHITECTURAL STYLE :- ART NOUVEAU

LOCATION :- BRUSSELS, BELGIUM

COORDINATES :-50°49′34.75″N 4°21′55″E

CLIENT :- ARMAND SOLVAY

CURRENT TENANTS :- LOUIS WITTAMER

STARTED :- 1898

COMPLETED :- 1900

ARCHITECT :- VICTOR HORTA

AWARDS AND PRIZES :-UNESCO WORLD HERITAGE

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THE HÔTEL SOLVAY IS A LARGE ART NOUVEAU TOWN HOUSE DESIGNED BY VICTOR HORTA ON THE AVENUE LOUISE IN BRUSSELS.

THE UNESCO COMMISSION HAS RECOGNIZED THE HÔTEL SOLVAY AS UNESCO WORLD HERITAGE IN 2000.

THE HOUSE WAS COMMISSIONED BY ARMAND SOLVAY, THE SON OF THE WEALTHY BELGIAN CHEMIST AND INDUSTRIALIST ERNEST SOLVAY.

HORTA DESIGNED EVERY SINGLE DETAIL; FURNITURE, CARPETS, LIGHT FITTINGS, TABLEWARE AND EVEN THE DOOR BELL.

HE USED EXPENSIVE MATERIALS SUCH AS MARBLE, ONYX, BRONZE, TROPIC WOODS ETC.

FOR THE DECORATION OF THE STAIRCASE HORTA COOPERATED WITH THE BELGIAN POINTILLIST PAINTER THÉO VAN RYSSELBERGHE.

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THE INTERIORS OF MOST OF HORTA'S DOMESTIC STRUCTURES ARE NOT ACCESSIBLE TO THE PUBLIC.

TWO SYMMETRICAL BOW WINDOWS RAISED OVER TWO STORIES TERMINATING IN BALCONIES.

INTERIOR OF HOTEL SOLVAY WINDOWS

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THE FACADES ONLY GIVE A HINT OF THEIR GLORIES: THE SPACIOUS OPEN PLAN, THE DIFFUSION OF LIGHT THROUGH WIDE WINDOWS OR SKYLIGHTS, THE BUILT-IN DETAILED CABINETRY, AND THE BEAUTIFUL STAIRWAYS WITH SWIRLING WROUGHT IRON BANISTERS. HIS HOUSES ARE NO MERE SHELL BUT AN INTEGRATED, AESTHETIC WORLD.

THIS FACADE IS EVEN MORE PLASTIC THAN THE EARLIER HÔTEL TASSEL.

THE BUILDING HAS MUCH ELABORATE IRONWORK THAN HÔTEL TASSEL FOR THE BALCONIES.

FACADE

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THE DOUBLE DOOR HAS A METAL LINTEL AND ELABORATE STONE CARVING ENCASING IT. CURVING TENDRILS ARE ECHOED IN THE STAINED GLASS OF THE WINDOWS OF THE DOOR AND TRANSOM.

THIS FACADE ILLUSTRATES THE INTERPLAY OF STONE (IN TWO COLORS) AND METAL, AND THE IMPORTANCE OF ORGANIC CURVES AGAINST RECTILINEAR SYMMETRY.

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Hector GUIMARD (1867-1942)

French architect, furniture designer and crafts artist Hector Guimard was born in Lyon, France, but he studied

decorative arts and architecture in Paris, where he later established his own practice.

Inspired by some of the new architectural theories circulating in late 1800s, he produced some exceptional avant-garde works.

In particular, the radical ideas of French architect Viollet-le-Duc and the sinuous(curving) architecture of Belgian Victor Horta greatly influenced his designs.

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In 1895, after visiting the first Art Nouveau building, Victor Horta's "Hotel Tassel" in Brussels, Guimard proceeded to a complete re-evaluation of his artistic approach; furniture and interior decoration of a house which had to become parts of a total work of art.

From 1898 to 1905 he designed and created the station entrances of Paris subway " Le Métropolitain"; they were a fabulous expression of Art Nouveau, the new art, which was discovered during the 1900 World Exposition in Paris.

The architectural and decorative works of Hector Guimard are characterized by fluid, unusual lines, vibrant curves inspired by nature, essential shapes, light and contrast of the different materials used, such as wood, iron and stone. They are the most representatives of the organic and floral Art Nouveau Style in France, and his works would later be known as the "Guimard Style".

Metropolitain entrances, Paris (1899-1905)

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Major works: -

Metropolitain entrances, Paris (1899-1905) Castel Béranger, Paris, France (1894-1898) Hotel Guimard, Paris (1912)

Metropolitain entrances, Paris (1899-1905

Hotel Guimard, Paris (1912) Castel Béranger, Paris, France (1894-1898)

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• Architect -Hector Guimard • Location -Paris, France• Date- 1899 to 1905• Building Type- light rail rapid transit stations• Construction System -iron and glass• Style -Art Nouveau• Notes- Graceful organic forms.

Metropolitain entrances, Paris

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Paris Metro Entrances

The Métro's original art nouveau entrances are iconic symbols of Paris.

Constructed like the Crystal Palace out of interchangeable, prefabricated cast iron and glass parts.

Guimard created his métro system in opposition to the ruling taste of French classical culture.

Guimard's system flourished, emerging overnight like the manifestation of some organic force, its sinuous(curving) green cast-iron tentacles erupting from the subterranean labyrinth to support a variety of barriers, pergolas, maps, hooded light fittings and glazed canopies.

there are two main variants:* glass canopies and * a cast-iron balustrade decorated in plant-like motifs, accompanied by a "Métropolitain" sign supported by two orange globes atop ornate cast-iron supports in the form of plant stems.

(1899-1905)

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Section Drawing

a cast-iron balustrade decorated in plant-like motifs

glass lamps

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PHOTOS OF Castel Béranger, Paris, France (1894-1898)

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This house was designed by Hector Guimard one of the most prominent architects from the French Art Nouveau movement.

"Never entirely resolved as a total composition, the Castel Béranger is nonetheless an important transitional work in Guimard's career.

The stem and branch-like character of both the interior furnishing and the exterior ironwork stand in a curious and brittle contrast to the articulate, architectonic but saperate elements that make up the cumbersome mass of the building's exterior.

With 36 apartments, each different from the next, the Castel Béranger is a curious compound of rational planning and non-rational intent and expression.

Castel Béranger, Paris, France (1894-1898)

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Castel Béranger, Paris, France (1894-1898)

Guimard was to exploit its competition as an occasion for promoting le style Guimard.

To this end he staged an exhibition of the building and its contents in the Salon du Figaro in 1899, while simultaneously publishing a book of the work under the title, L'Art dans l'habitation moderne.

More acerbic than his flamboyant country houses of the turn of the century and located in the fashionable, fast-growing suburb of Auteuil, the Castel Béranger gave Guimard a prime opportunity with which to demonstrate the synthetic subtleties of his style, in which urban and rustic references could be judiciously mixed together."

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Hotel Guimard

Location :- Paris, France Date :- 1912 Building Type :- private residence hotelArchitectural Style :- Art Nouveau

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Hotel Guimard

The Hotel Guimard was built by the architect as a wedding present to his

rich American wife, the painter Adeline Oppenheim. More popular

than his earlier century houses, such as the Castel Beranger, the Hotel Guimard is the result of his mature Art Nouveau style, and an unified

masterpiece of harmonious integration between architecture and

decoration.It is arranged over six storeys, with

a narrow footprint of 90 square metres per floor, featuring oval

room interiors and unique pieces of furniture, as well as an

elevator and central staircase. Guimard lit his wife’s painting studio with north-facing windows on the

top floor, and installed his own office on the ground floor.

VIEW FROM THE STREET122 avenue Mozart, Paris

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Hotel Guimard

The building suggests some of the influences of other Art Nouveau architects, including Victor Horta and Charles Rennie Mackintosh. In particular, the elegant, buff-coloured, brick facade displays a fluid and sinuous use of masonry, featuring melting Flemish windows with decorative floral and organic motifs.

The building has an irregular arrangement of balconies and windows of different sizes, reflecting the internal structure of the building. Guimard detailed the exterior and interior decoration himself, working with craftsmen in the fabrication of furniture, stained glass, iron gates and balconies and even the door locks.

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Hotel Guimard

DOORWAY OF HOTEL GUIMARD

CURVINGS AT THE DOORWAY

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Hotel Guimard

Hotel Guimard (1909-12) by Hector Guimard, 122 avenue Mozart, Paris

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ANTONIO GAUDITHE CATALIAN ARCHITECT

BORN: RIUDOMS o REUS, 25 June 1852

DEATH: BARCELONA, 10 June 1926

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A BRIEF HISTORY ABOUT HIS LIFE

Antoni Gaudí was born in 1852, to the industrial boilermaker Francesc Gaudí i Serra (1813-1906) and Antònia Cornet i Bertran (1819-1876).

Gaudís exact birthplace is unknown because no documents stating it were kept, leading to a controversy about whether it is Reus or Riudoms (two neighbouring municipalities of the Baix Camp district).

In most of Gaudís identification documents from both his student and professional years, Reus is stated as his birthplace.

Gaudi felt a deep appreciation for his native land, and his great sense of pride of being from the Mediterranean is a proof of this. It had a notable influence on his architecture.

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He liked the contact with nature and because of this he later on became a member of the Excursions Centre of Catalonia (1879), an organisation with which he made numerous trips around Catalonia and southern France.

At age eleven (1863-64 school year) he entered the Col.legi de les Escoles Píes (Pious School) in Reus, located in the ancient convent of Sant Francesc.

In 1868 Gaudí moved to Barcelona to study architecture. Before entering the University he took a preparatory course for access to the Provincial School of Architecture, where he had to pass three elective courses.

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Once he completed this course, he was able to enter the Escuela Técnica Superior de Arquitectura (Upper Technical School of Architecture), where the entire degree included an initial course, a preparatory course, and four more years of study.

Apart from his architecture classes, he attended French lectures and took several History, Economy, Philosophy and Aesthetics subjects.

He believed that different architectural styles did not depend on aesthetic ideas but on the social and political atmosphere.

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Gaudí cared more about his own interests than those of the official courses’.

When handing him his degree, Elies Rogent, director of Barcelona Architecture School, said: ”We have given this academic title either to a fool or a genius. Time will show.”

To finance his studies, Gaudí worked as a draughtsman for various architects and constructors .

He was graduated in 1878.

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HIS INFLUENCESGaudí sought out stimulus for his creations in

medieval books, in the gothic art that was then experiencing a renaissance, in illustrations of oriental structures and in the organic shapes of nature.

The straight line, rigidity and order in forms was broken with the arrival of Arte Nouveau at the beginning of the Nineteenth Century.

Gaudí was not insensitive to this change, and developed a style of his own.

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The theoretical writings of Englishman John Ruskin, who in 1853 taught that ornament was the origin of architecture, greatly influenced him.

He was also significantly influenced, at a younger age, by Viollet-le-Duc's book on medieval French architecture from the eleventh to the sixteenth centuries, and by books by other authors, such as William Morris.

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MILITARY SERVICE

He fulfilled his military service requirement from 1874-77.

He enlisted at the age of 22 (July 7, 1874) and was assigned to the Army Infantry in Barcelona, where he continued in December, 1876, as assistant in Military Administration.

He was declared Benemérito de la Patria ("Glorious Son of the Motherland") at the end of the carlist civil war, even though he was never in combat.

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PERSONALITY AND APPEARANCE

Gaudí had a bad temper (there is a Catalan saying: "Gent de camp, gent de lamp," which means "People from the country are quick-tempered people").

He said that his bad temper was the one thing he was never able to control in his life. On the other hand, Gaudí took interest in the social problems of the workers, and felt attached to the people.

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Main Works The "Templo Expiatorio de la Sagrada Familia" (Barcel

ona)

La Pedrera Building (Casa Milà, Barcelona) The "Casa Vicens" (Barcelona) The "Casa Batlló" (Barcelona) The "Finca Güell" (Barcelona) The "Palacio Güell" (Barcelona) "La obrera Mataronense" (Mataró, Barcelona) "El Capricho de Comillas" (Santander, north Spain) The "Palacio Episcopal de Astorga" (León, NW Spain) Schools of the "Sagrada Família" The "Casa Calvet" (Barcelona) The "Colegio Teresiano" (Barcelona) The "Casa Botines de León" (León) "Las Bodegas Güell (Gaudí-Berenguer)" (Garraf, Barcel

ona)

The crypt of the "Colonia Güell" (Sta. Coloma de Cervelló, Barcelona)

The Park Güell (Barcelona) Bellesguard (Barcelona) Restoration of the Cathedral of Mallorca (Mallorca) Lampposts for the City of Barcelona

ANTONIO GAUDI’S PROJECTS LIST..

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MINOR WORK’S

The" Casa Graner" The "Talleres Badia" The "Sala Mercè" Project of bridge over the "Torrente de Pomeret" Pulpit for the church of Blanes Project of chasuble for Girona Tower of Damián Mateu, in "Llinars del Vallès" Standard for the locksmiths guild Street Lamps of Vic Restoration of the Cathedral of Manresa Bust portrait and project of monument to Doctor

"Torras y Bages" Dedicatory to "Orfeó Català" (Catalan Choral

Society) Showcase glass Plandiura Pulpit for Valencia I Mistery of "Gloria de Montserrat" Café Torino Drawings of the tribute to "Rector de Vallfogona"

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SAGRADA FAMILIA

LOCATION:- Barcelona, Catalonia, Spain ARCHITECT:- Antonio Gaudi STYLE:- Modernism LENGTH:- 90 metres WIDTH:- 60 metres WIDTH (NAVE):- 45 metres SPIRES:- 18 SPIRE HEIGHT:- 170 metres TYPE:- Cultural

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HISTORY

The Basilica of the Sagrada Família was the inspiration of a Catalan bookseller, Josep María.  

The crypt of the church, funded by donations, was begun 19 March, 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar

His plan was for a Gothic revival church of a standard form.

 Antoni Gaudi began work on the project in 1883. On 18 March, 1883 Villar retired from the project, and Gaudi assumed responsibility for its design, which he changed radically.

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Gaudí died in 1926, the basilica was from 15-25 per cent complete.

 After Gaudí's death, work continued under the direction of Domènec Sugrañes i Gras until interrupted by theSpanish Civil War in 1936.

Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war by Catalan anarchists.

The present design is based on reconstructed versions of the lost plans as well as on modern adaptations.

Since 1940 the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Gari and Francesc Cardoner have carried on the work.

The illumination was designed by Carles Buigas.

CONSTRUCTION

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CONSTRUCTION

A CRANE OVER A TOWER OF THE GLORY FAÇADE  

ROOF UNDER CONSTRUCTION (2009)

THE GLORY FAÇADE IN SCAFFOLDING  

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DESIGNThe style of la Sagrada Familia is

variously likened to Spanish Late Gothic, Spanish Baroque and to Art Nouveau.

The Sagrada Família falls within the Art Nouveau period, known as "Modernisme" in Spain

The Sagrada Família was planned from the outset to be a cathedral-sized building.

Its ground-plan has obvious links to earlier Spanish cathedrals such as Burgos Cathedral, Leon Cathedral and Seville Cathedral. In common with Spanish Gothic cathedrals,

The Sagrada Familia is short in comparison to its width, and has a great complexity of parts, which include double aisles, an ambulatory with a chevet of seven apsidal chapels, a multitude of towers and three portals, each widely different in structure as well as ornament.,

The plan of this church has an unusual feature: a covered passage or cloister which forms a rectangle enclosing the church and passing through the narthex of each of its three portals.

PLAN:-

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FACADES The Church will have three grand 

façades: the Nativity façade to the East, the Passion façade to the West, and the Glory façade to the South (yet to be completed).

The Nativity Façade was built before work was interrupted in 1935 and bears the most direct Gaudí influence.

The Passion façade is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being scourged at the pillar; and Christ on the Cross.

The Glory façade, on which construction began in 2002, will be the largest and most monumental of the three and will represent one's ascension to God. It will also depict various scenes such as Hell, Purgatory, and will include elements such as the Seven Deadly Sins and the Seven Heavenly Virtues.

PASSION FACADE

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PASSION FACADE

NATIVITY FACADE

GLORY FACADE(Interior view with columns and spiral staircase)

(Turtle at the base of column)

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INTERIORS

The columns of the interior are a unique Gaudí design.

Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms.

The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle.

This effect is the result of a three-dimensional intersection of helicoidal columns (for example a square cross-section column twisting clockwise and a similar one twisting counter-clockwise).

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BASIC INFORMATION

LOCATION : at 43, Passeig de Gercia Barcelona YEAR CONSTRUCTE : built in the year 1877 and remollded in the years 1904-1906 ARCHITECT : Antonio Gaudi STYLE : Art Nouveau

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INTODUCTION The colorful Casa Batlló, which is a remodeled

building by ANTONIO GAUDI. It is one of Gaudis masterpieces in Barcelona.

The local name for the building is Casa dels ossos (House of Bones), it does have a visaceral , skeletal visceral, skeletal organic quality.

It was originally designed for a middle-class family and situated in a prosperous district of Barcelona.

The building looks very remarkable — like everything Gaudí designed, only identifiable as Modernisme or Art Nouveau in the broadest sense. The ground floor, in particular, is rather astonishing with tracery, irregular oval windows and flowing sculpted stone work.

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SECTION

FLOOR PLAN

ROOF PLAN

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ARCHITECTURAL FEATURES

Antonio Gaudi in his redesign project tried to avoid straight lines completely . He used curved foms in his design and ART NOUVEAU architectural style.

Hyperbolas and parabolas in windows, arches and doors are common, and decorative mouldings 'grow' into plant-derived forms.

He gave special treatment to FACADE. , ROOF , BALCONIES ,WINDOWS , DOORS AND INTERIOR of the building .

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FACADE The  facade is decorated with MOSAIC made

of broken ceramic tiles which is golden orange

moving into greenish blues. The bones and skulls on the facade

represent all the dragon's victims.

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ROOF  The roof has been compared

to a reptilian creature, the backbone of a gigantic dinosaur .

The roof is covered with bluish-pink tiles on the street side.

The small tower, topped with a cross which symbolised the sword of ST. GEORGE .

The roof has a replica of reptile skin, which is blue in colour.

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DECORATIVE ROOF

the side part of the roof structure is decorated with a ccurvilinear dome like objects which is blue in colour.

The rest of the roof structure is decorated with ceramic chips which is brownish orange in colour.

The whole roof is made in organic form.

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BALCONY AND WINDOW Balconies at the lower floors

have bone-like pillars, those on the upper floors look like pieces of skulls.

These features gave the house the nickname 'House of Bones'.

The first floor features irregularly sculpted oval windows.

The enlarged windows on the first floor gave it another nickname, 'House of Yawns'.

wrought iron balcony railings are painted cream color.

The little balconies have been compared to masks, with various kinds of symbolism attributed to the overall design

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INTERIORThe interior was

designed like a cave.The height of the

interior is approximate 5 metre.

The interior is designed with columns and arches.

He used coloured glasses in the outside facing walls.

In the interior also he used more curve forms and circular forms.

The interior case is a replica of reptile.

The balustrade and handrail of the staircase is done with wood.

He used ceiling lights I the whole interior and for the main hall he used candilier for the lighting purpose .

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Thank You……PRESENTATION BY-

Syed Gufik HussainKoushik Borah

Krishna Kamal ChalihaPreetam Pran Bhuyan

Hridai Kumar NathAmit Sriwastav

Inamul HaqueNilanjana Thakuria

Tanaya SharmahHappy Chaya Patiri

Jebina Yasmin