ART NOUVEAU(new art)

Submitted by……
C. Naveen Kiran
 ART NOUVEAU(new art)
TREND AWAY FROM ECLECTICISM
At the beginning of 19th century,
movements appeared in Belgium, France,
Holland, Austria and Germany which,
despite their differences, have features in
common. Shared by all was a complete
rejection of past styles, and also a search
for new forms of ornament which would be
an expression of their own time.
An international style of decoration and
architecture which developed in the 1880s
and 1890s.
The name derives from the Maison de l'Art
Nouveau, an interior design gallery
opened in Paris in 1896, but in fact the
movement had different names
throughout Europe. In Germany it was
known as 'Jugendstil', from the magazine
Diejugend (Youth) published from 1896;
in Italy 'Stile Liberty' (after the London
store, Liberty Style) or 'Floreale'; in Spain
'Modernista', in Austria 'Sezessionstil' and,
paradoxically, in France the English term
'Modern Style' was often used,
emphasizing the English origins of the
movement.
Art Nouveau is an elegant decorative
art style characterized by intricately
detailed patterns of curving lines,
writhing plant forms and an opposition
to the historicism which had plagued
the 19th century.

Here are the few works of architects

during this movement which give the
features of the movement.
Architect PeterBehrens

Location Germany,
Darmstadt
Date 1901
Building Type architect's house

Construction System brick and stucco

facade, wood
interior
Climate temperate

Context suburban
Behrens House

Exterior over view

exterior close-up of ART exterior facade
NOVEAU double doors
features
"In retrospect, much of this work now has the
appearance of being derivative. The house is
organized about a dining and music room on the
raised ground floor, with a kitchen and ancilliary
services in the basement, and the main bedrooms
and studio space above. While this format was
quite typical for a small burgeois house, its
internal and external expression was unusual,
particularly for its combination of features
drawn from the English Arts and Crafts
movement...with elements such as the high-
pitched roof drawn from the German
vernacular."
Casa Batllo
Architect Antonio Gaudi
Location Barcelona, Spain
Date 1905 to 1907
Building Type apartment building
(remodel)
Construction System concrete
Climate Mediterranean
Context Urban
Style Expressionist or
Art Nouveau
overview of facade close-up of facade wall
EXTERIOR VIEW
EXTERIOR CLOSEUP
FRONT VIEW
 Features
Mighty pillars that appear to resemble the feet of
some giant elephant are the first thing to meet the eye of the
passerby from street level.

The roof reminds him of a completely different animal: it

is bordered by a jagged line similar to the backbone of a
gigantic dinosaur.

A facade extends between the two, including a number

of small, elegantly curved balconies that seem to stick to the
front of the house like birds' nests on the face of the cliff.

The facade itself glitters in numerous colors, and small

round plates that look like fish scales are let into it.

There are no edges or corners here; even the walls are

rounded in undulations and have in essence the feel of the
smooth skin of a sea serpent about them."
Casa Mila
EXTERIOR FAÇADE OVER VIEW
exterior, entry and balconies
exterior facade overview
Features
The wavy facade, with its large pores,
reminds one also of an undulating beach of
fine sand, formed, for example, by a receding
dune. The honeycombs made by industrious
bees might also spring to the mind of the
observer viewing the snake-like ups-and-
downs that run through the whole building. In
this last secular building which he constructed
before devoting all his energies to the Sagrada
Familia, Gaudi created a paradox: an artificial
but natural building. The roof sports an
imitation of the bench from Guell Park as well
as an ever more impressive series of bizarre
chimney stacks."
Castel Beranger
front entry with
wrought iron gate
exterior overview
 Features
Never entirely resolved as a total composition,
the Castel Béranger is a transitional work. 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 disjunctive
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.
Glasgow School of Art
The museum
skylight and the
"hen run", a glazed
gallery connecting
fourth floor studios
are just two
elements of the
lively composition
of the stuccoed
walls.

skylighted
"museum"
interior
The main
entry
north facade overview
library interior
west end exterior
Features
Charles Rennie Mackintosh won a
competition to design the Glasgow
School of Art, his first commission and
most important building. Sited at the
edge of a steeply sloping south facing
hill, the building, an art school,
stretches along an entire block, facing
a major street to the north.
Features
The building has an eclectic unity
with influences from Scottish
baronial architecture (volumetric
masses of heavy masonry), art
nouveau motifs (floral and geometric
motifs in the iron work, tiles, details)
and modern materials and
techniques (large, industrial, braced
windows).
 Features
The building plan is a long "E" corridors
,large art studios, smaller ancillary rooms
and offices, top lit museum.
The building massing and facades reflect
its context richly.
The north side, facing the major street,
presents a simple, horizontal rectangular
mass with large, industrial windows
which light the studios, alternating with
masonry piers.
 Features
This facade is set behind a stone and iron railing,
interrupted at the center with an art nouveau
iron arch under which steps lead up to the
asymmetric composition of the entrance.
In contrast the east and west facades are
narrow, towerlike masonry walls above the
steeply sloping streets, into which small paned
metal windows recall Scottish baronial
architecture. From the south on the back side,
the three arms of the "E" are clearly revealed,
and the masses make a varied assemblage
rising above the cityscape of roofs below it.
Features
Art nouveau floral and geometric motifs
bring scale and color to the rooms in
details of mantlepieces, lighting fixtures,
carpets, furniture, and crockery.
The library was redesigned and built later
in 1906, a two story volume with a
mezzanine overlooking the first floor. A
darkly finished wood structure supports
the mezzanine and ceiling. The pendant
light fixtures, glass book cases, carved
balusters, chairs and work tables are all
designed with art nouveau motifs,
polychrome paint and metal details.
Hill House
Architect Charles Rennie Mackintosh
Location Helens burgh, Scotland
Date 1902 to 1903
Building Type large house
Construction
System bearing masonry
Climate temperate
Context rural or suburban
Style Art Nouveau
Notes
asymmetrical romantic
massing.
interior of bedroom
close-up of
doorway
End elevation overview
Long elevation overview
Features
{ "Hill House, the largest and finest of Mackintosh's
domestic buildings, . . . occupies a hillside side
that looks out over the Clyde estuary, and is
surrounded by grounds meticulously landscaped
by Mackintosh, who went to the extent of
instructing that the trees be clipped according to
his manner of drawing them.
{ "Built from local sandstone and rough-cast
rendered, the house bears the image of Scottish
baronial traditions. For the interior, Mackintosh
designed fireplaces, furnishings and fittings. His
attentions extended from the design of built-in
wardrobes for the white bedroom to the detailing
in a superb set of pewter fire tongs and poker.
Walls in the house were generally white, some
with delicate stencil designs in pale greens,
pinks, and silver."
Features
The narrow building stretches west to east
with an entrance off the road to the west,
so that all major rooms face south to the
view of the estuary. At the eastern end of
these major rooms a wing extends north,
with rooms for the kitchen and services
and the children. Out of these simple
wings volumes extend, a curving stair
volume to the north, a sunny drawing
room bay to the south, a curved bay for
the bedroom, compositional extrusions in
the simple major volumes which focus
views and bring in light.
 Hotel Guimard
Architect Hector Guimard
Location Paris, France
Date 1912
Building Type private residence hotel
Construction System cut stone bearing
masonry
Climate temperate
Context urban
Style Art Nouveau
Notes Elegant facade with
organic detailing.
 Majolica House
Architect Otto Wagner
Location Vienna, Austria
Date 1898 to 1899
Building Type mixed use, apartment
housing over retail
Construction
System masonry, and tile facing
Climate temperate
Context urban
Style Art Nouveau
Notes Textile-like facade decoration.
Exterior, overview of facade with beautiful
textile-style Art Noveau ornamentation.
Paris Metro Entrances
Architect Hector Guimard
Location Paris, France
Date 1899 to 1905
Building Type light rail rapid transit stations
Construction
System iron and glass
Climate temperate
Context urban
Style Art Nouveau
Notes Graceful organic forms.
Prefabricated sections of cast iron
Features
Interchangeable, prefabricated cast iron and
glass parts, Guimard created his metro
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 green cast-iron tentacles erupting
from the subterranean labyrinth to support a
variety of barriers, pergolas, maps, hooded
light fittings and glazed canopies. These
surrealistic 'dragonfly's wings' received a
mixed, the verdigris color of their iron
supports being regarded as German rather
than French.
Sezession House
Architect J. M. Olbrich
Location Vienna, Austria
Date 1896
Building Type art center
Construction
System masonry, metal
Climate temperate
Context urban
Style Art Nouveau
Notes Symmetrical composition
with a singular ornamental
dome
exterior, facade
close-up at entry
interior view
exterior,
front corner
Photo,
exterior,
front facade
overview
exterior, facade close-up at entry
Features
Its crowning element was inscribed with
the slogan: 'The time our art, the art
our freedom.' Planned as a covered
courtyard structure, the building
provided for gallery space on all sides of
a large top-lit rectangular exhibition hall
in the centre.
Both the battered pylons and the gilded
laurel. Perforated metal dome,
suspended between four pylons and set
above profiled planar masses...
The Willow Tea Rooms
Architect Charles Rennie Mackintosh
Location Glasgow, Scotland
Date 1902 to 1904
Building Type cafe
Construction
System masonry
Climate temperate
Context urban
Style Art Nouveau
Notes A charming small urban
building
exterior, street facade
Features
Willow Tea Rooms occupy a narrow infill.
Top cornice generally aligns with the four
story buildings on each side. The pedestrian
and most public levels are distinguished from
the more private upper stories with an
intermediate cornice, and large central
windows of these first two floors contrast with
smaller windows in the wall of the upper
stories .
Dark and heavily detailed, the Tea Rooms
are stuccoed white, and the small paned
windows, iron standards and window braces,
and ornamental tile inserts give it an elegance
and lightness appropriate for its purpose.
 Interiors
White walls, silver painted high-backed
chairs, crisp white tablecloths and blue
willow-pattern crockery, soft grey
carpet, chairs and settees covered in a
rich purple, leaded mirror glass,
enamels in pastel pinks and mauves,
and the famous leaded-glass doorway,
combine to create a glittering elegance,
widely celebrated.
Whitechapel Art Gallery
Architect C. Harrison Townsend
Location London, England
Date 1897 to 1901
Building Type art gallery
Construction
System masonry
Climate temperate
Context urban
Style Art Nouveau
Notes A reserved romantic composition
worked within the plane of the
street facade.
Exterior of
street facade
 CONCLUSION
Art Nouveau remained
popular until about the time
of World War I, and was
ultimately replaced by the
ART DECO style.