Sarah Jane S. Pahimnayan BSArchi III-3 Page 1 of 21 1800s-1900s Revival Architecture I. Industrial Revolution Era Introduction o The rise of new materials and technology, architecture and engineering began to separate, and the architect began to concentrate on aesthetics and the humanist aspects, often at the expense of technical aspects of building design. There was also the rise of the "gentleman architect" who usually dealt with wealthy clients and concentrated predominantly on visual qualities derived usually from historical prototypes, typified by the many country houses of Great Britain that were created in the Neo Gothic or Scottish Baronial styles. Formal architectural training in the 19th century, for example at Ecole des Beaux Arts in France, gave much emphasis to the production of beautiful drawings and little to context and feasibility. Effective architects generally received their training in the offices of other architects, graduating to the role from draughtsmen or clerks. o Meanwhile, the Industrial Revolution laid open the door for mass production and consumption. Aesthetics became a criterion for the middle class as ornamented products, once within the province of expensive craftsmanship, became cheaper under machine production. o Vernacular architecture became increasingly ornamental. House builders could use current architectural design in their work by combining features found in pattern books and architectural journals. Influences o History After the Baroque faded slowly away, 18 th century architecture consisted primarily of revivals of previous periods like Baroque, Gothic and Greek. Began in England in the 18th century also into the 19th and beginning of the 20th century. In the late 18th century and into the 19th century, great strides were made in manufacturing, largely due to innovations in tool making and power driven machinery. As industry moved from manpower to machine power, these innovations were applied to the art of architecture. Countries Involved o Europe o France o Great Britain o United States
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Sarah Jane S. Pahimnayan BSArchi III-3
Page 1 of 21
1800s-1900s Revival Architecture
I. Industrial Revolution Era
Introduction
o The rise of new materials and technology, architecture and engineering began to
separate, and the architect began to concentrate on aesthetics and the humanist
aspects, often at the expense of technical aspects of building design. There was also the
rise of the "gentleman architect" who usually dealt with wealthy clients and
concentrated predominantly on visual qualities derived usually from historical
prototypes, typified by the many country houses of Great Britain that were created in
the Neo Gothic or Scottish Baronial styles. Formal architectural training in the 19th
century, for example at Ecole des Beaux Arts in France, gave much emphasis to the
production of beautiful drawings and little to context and feasibility. Effective architects
generally received their training in the offices of other architects, graduating to the role
from draughtsmen or clerks.
o Meanwhile, the Industrial Revolution laid open the door for mass production and
consumption. Aesthetics became a criterion for the middle class as ornamented
products, once within the province of expensive craftsmanship, became cheaper under
machine production.
o Vernacular architecture became increasingly ornamental. House builders could use
current architectural design in their work by combining features found in pattern books
and architectural journals.
Influences
o History
After the Baroque faded slowly away, 18th century architecture consisted primarily of
revivals of previous periods like Baroque, Gothic and Greek.
Began in England in the 18th century also into the 19th and beginning of the 20th
century.
In the late 18th century and into the 19th century, great strides were made in
manufacturing, largely due to innovations in tool making and power driven machinery.
As industry moved from manpower to machine power, these innovations were applied
o simplicity and clarity of forms and elimination of "unnecessary detail"
o visual expression of structure (as opposed to the hiding of structural elements)
o the related concept of "Truth to materials", meaning that the true nature or natural
appearance of a material ought
to be seen rather than concealed
or altered to represent
something else
o use of industrially-produced
materials; adoption of the
machine aesthetic
o particularly in International Style
modernism, a visual emphasis on
horizontal and vertical lines
o Materials- brick in more colors, artificial stone, wrought and cast iron, glass in many
forms (large sheets) o Construction- use of iron and glass for entire structure or only roof and walls
o Interiors: The new technology improved the quality of life in both work and home emphasizing function, efficiency, and comfort better lighting, heating, and plumbing manufactures produced more furniture, decorative objects, textiles, and wallpaper
The Montevideo halls were buil t in 1895 in a typical ‘Industrial Revolution’- archi tecture s tyle. The Bri tish Army used these sheds in the Antwerp harbour for s torage (butter, thee, cheese, ham, cigarettes , coffee, etc)
until the 1950’s . The halls are long abandoned and will be reconverted soon.
possibilities are always open. Shapes and designs that seems to be not buildable is really
buildable.
II. Continental
Introduction
o During the Middle Ages, the geography dictated a dispersed economy and population. As a
result, the traditional Norwegian farm culture remained strong, and Norway differed from most
European countries in never adopting feudalism. This, combined with the ready availability of
wood as a building material, ensured that relatively few examples of the Baroque, Renaissance,
and Rococo architecture styles so often built by the ruling classes elsewhere in Europe, were
constructed in Norway.
o Instead, these factors resulted in distinctive traditions in Norwegian vernacular architecture,
which have been preserved in existing farms in the many Norwegian open-air museums that
showcase buildings from the Middle Ages through to the 19th century; prominent examples
include the Norsk Folkemuseum in Oslo and Maihaugenin Lillehammer, as well as extant
buildings still in service on farms such as those in the Heidal valley.
o The Norwegian architects of the 19th century, educated mostly in Germany, were influenced by
the Continental taste, and from the late1880s an intensive building activity transformed the
commercial centre (Kvadraturen) of Christiania into a typical Continental style architecture reflected in the extended use of polished rocks. Also, quite a few facades of
imported German sandstone appeared in Christiania around the turn of the century - amplifying
the Continental influence.
In this setting, however - towards the end of the century, when Norway was on its way to
become a free nation - a rejection of the German influence emerged, especially among the
younger Norwegian architects. By the turn of the century, a change occurred, w ith the
monumental stone architecture of the aspiring nation beginning gradually to show a new style -
simple and honest, presumed to be very "Norwegian". The rock itself is emphasised, and its
qualities are best shown by the rough, uneven-hammered faces of the stones, called "rkopp"
(rubble). The style was strongly influenced by contemporary American and Scottish architecture,
but the rocks came from Norwegian quarries. Important national buildings in Christiania were
erected in this style (e.g., the Government building of Drammen granite and the Bank of Norway
and how they developed into the mainstream of American housing. The house you live in fits
somewhere in this continuum, which is not a progression from basic to stylish, but merely a
story of change and new ideas.
o American architecture was greatly influenced by European Styles, they are fond of making
revivals but still there are a lot of American architects who make their name in architectural
world and one of them is Frank Lloyd Wright who is known to be the Father of Architecture in
US.
Architectural Character
Chronology Of Styles
In American Architecture
The Eighteenth Century:
Neoclassicism (c.1780-1820)
There are several variations: Federalist: Especially common in New England; a traditionalist approach to classicism, heavily influenced by English models. Charles Bulfinch, Samuel MacIntyre. Idealist: An intellectual and moral approach to classicism, at first linked to Roman models. Symbolic and associational values stressed. Best example: Thomas Jefferson. Rationalist: Emphasized structure and classical building techniques, such as stone vaulting and domes. Benjamin Latrobe.
Thomas Jefferson's Monticello: One of the finest
examples of neoclassical architecture in the USA provides tangible proof that the Enlightenment was not confined to England
The Nineteenth Century:
The period is characterized by Romantic revivals and eclecticism.
Sarah Jane S. Pahimnayan BSArchi III-3
Page 8 of 21
Greek Revival (1818-1850)
The first truly national style in the United States. Strong associational
values. Permeated all levels of building.
The Greek revival architecture of the Treasury Building, Washington. .Department of the Treasury information
Synagogue in Char leston, South Carolina
Gothic Revival (c.1820-1860)
Strong associational values of religion and nature. Found in both ecclesiastical and residential architecture. A wide range of archaeological accuracy, from Richard Upjohn's urban churches to "Carpenter's Gothic" cottages.