Key Architects 1800: Historicism and Engineering Architecture Flashcards
Augustus Pugin
1812-1852.
Houses of Parliament, 1836-1860 (with Charles Barry).
Big Ben 1859.
Contrasts, or a parallel between the noble edifices of the Middle Ages and corresponding buildings of the present day, 1836.
Draws a parallell between the noble buildings of the Middle Ages and corresponding buildings of the present day.
Heinrich Hübsch
1795-1863.
Rundbogenstil.
Created Rundbogenstil, which emerged as a response to and
reaction against the neo-gothic style. By adopting the smooth
facade of late antique and medieval church architecture he wanted to extend neo-classicism, moving to a more suitable rise of industrialism.
Karl Bötticher
1806-1889.
Professor at Bauakademie from 1844. Major work: Die Tektonik der Hellenen (”The Tectonics of the Greeks”, 1844-52).
First one to distinguish between the essence (”das wesentliche”); structure and ornamentation.
Bötticher describes the three fundamental principles of structure;
- pressure (tryck)
- shear (skjuvning)
- pull (drag)
Pressure and shear have, accordingly to Bötticher, been utilized to their full potential in historic architecture, in particular ancient greek and medieval gothic architecture. But the fundamental structural principle pull, has not yet been utilized.
And while the materials stone and wood have been used to fulfill the first two fundamental structural principles, they are not susceptible (mottagliga) to the third principle, pull.
The new material of the industrial revolution, iron, is, however, particularly susceptible for pull.
So Bötticher concludes that the future of architecture lies in an light iron architecture that utilizes the fundamental principle of pull.
Gottfried Semper
1803-1879.
Critique in ”Iron Structures”
First Court Theater, Dresden 1838-1841. Neues Hoftheater (Semperopera), 1871-1878.
”It will take a long time until iron, or metal in general, that has just been discovered as a building material, will be mastered technically in the same perfect way, that it can find validity and appreciation as an artistic element in fine architecture besides stone, brick and wood.
An obvious example for this is the new library Ste. Geneviève in Paris, a building that shows us many interesting things and that can be considered the most important work of the recent republican time; the architect, Mr Labrouste, deemed it necessary to apply unfortunate visible iron roof trusses.
The failure of these attempts to bestow iron structures an expression fit for ernest architecture, is it the result of inexperience in the use of this material? Maybe!
But so much is true, that iron and every hard and tough metal in general that is used as a structural material according to its nature result in weak beams and even wire that elude the eye the more perfect their structure is, because of the little surface their forms offer.
So architecture that derives its effect on the mind by the sense of the face mustn’t, when it comes to mass effect, get involved with this, as it were, invisible material.”
Wrote: The Four Elements of Architecure, and Style in the Technical and Tectonic Arts of Practical Aesthetics.
Richard Wagner
Gesamtkunstwerk
Wagner used the exact term ‘Gesamtkunstwerk’ (which he spelt ‘Gesammtkunstwerk’) on only two occasions, in his 1849 essays “Art and Revolution” and “The Artwork of the Future”, where he speaks of his ideal of unifying all works of art via the theatre.
John Ruskin
1819-1900.
Made seven statements about how architecture is supposed to be done, with respect to the art and crafts and its importance.
Seven Lamps of Architecture, 1849:
Sacrifice - dedication of man’s craft to God, as visible proofs of man’s love and obedience.
Truth - handcrafted and honest display of material and structure.
Power - buildings should be thought of in terms of their massing and reach toward the sublimity of nature by the action of the human mind upon them and the organization of physical effort in constructing buildings.
Beauty - aspiration towards God expressed in ornamentation drawn from nature, his creation.
Life - buildings should be made by human hands, so that the joy of masons and stone carvers is associated with the expressive freedom given them.
Memory - buildings should respect the culture from which they have developed.
Obedience - no originality for its own sake, but conforming to the finest among existing English values, in particular expressed through the ”English Early Decorated” Gothic as the safest choice of style.
The Stones of Venice I-III, 1851-1853.
The chapter ”The nature of gothic” had a big impact on the arts and crafts movement.
William Wilkins
1778-1839.
University College London, 1826-1830. Eclectic.
Karl Friedrich Schinkel
1781-1841.
Bauakademie, Berlin 1832-1835.
Henri Labrouste
1801-1875.
Bibliothèque Sainte Geneviève, 1838-1850.
Reading Hall Bibliothèque Nationale, 1858-1868.
Joseph Paxton
1803-1865.
Chatsworth Garden Observatory,
1836-40
Crystal Palace, 1850-51
Georges-Eugène Haussmann
1809-1891.
Replanning of Paris, 1853-1870.
Eugène-Emmanuel Viollet-le-Duc
1814-1879.
Concert hall design - iron.
Charles Garnier
1825-1898.
Opéra de Paris, 1861-1875.
Gustave Eiffel
1832-1923.
Neo-Gothic.
Tour Eiffel, 1887-1889. World Exhibition.
William Morris
1834-1896.
Arts & Crafts.
Red House, 1859, with Philip Webb.
