Art Nouveau


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Art Nouveau

  1. 1. Submitted By: Bhumi. R. Goodluck(0911) Semister: 6th (3rd year) Date: 4/07/’12 Submitted To: Ar.Aditi Joshi
  2. 2. Art Nouveau, 1890-1914, explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century. The exhibition is divided into three sections: the first focuses on the 1900 World's Fair in Paris, where Art Nouveau was established as the first new decorative style of the twentieth century; the second examines the sources that influenced the style; and the third looks at its development and fruition in major cities in Europe and North America. At its height exactly one hundred years ago, Art Nouveau was a concerted attempt to create an international style based on decoration. It was developed by a brilliant and energetic generation of artists and designers, who sought to fashion an art form appropriate to the modern age. During this extraordinary time, urban life as we now understand it was established. Old customs, habits, and artistic styles sat alongside new, combining a wide range of contradictory images and ideas. Many artists, designers, and architects were excited by new technologies and lifestyles, while others retreated into the past, embracing the spirit world, fantasy, and myth. Art Nouveau
  3. 3. Art Nouveau At its beginning, neither Art Nouveau nor Jugendstil was the common name of the style, and the style adopted different labels as it spread between artistic centers. Those two names came from, respectively, Siegfried Bing's gallery L'Art Nouveau in Paris and the magazine Jugend in Munich, both of which promoted and popularized the style.
  4. 4. Art Nouveau Art Nouveau was in many ways a response to the Industrial Revolution. Some artists welcomed technological progress and embraced the aesthetic possibilities of new materials such as cast iron. Others deplored the shoddiness of mass-produced machine-made goods and aimed to elevate the decorative arts to the level of fine art by applying the highest standards of craftsmanship and design to everyday objects. Art Nouveau designers also believed that all the arts should work in harmony to create a "total work of art," or Gesamtkunstwerk: buildings, furniture, textiles, clothes, and jewelry all conformed to the principles of Art Nouveau.
  5. 5. CASA MILA
  6. 6. CASA MILA Architect Antoni Gaudi Location Barcelona, Spain map Date 1905 to 1910 Building Type multifamily housing Construction System masonry and concrete Climate mediterranean Context urban Style Art Nouveau Notes Expressionistic, fantastic, organic forms in undulating facade and roof line. light court. Architect sometimes referred to as "Antonio Gaudi".
  7. 7. CASA MILA "La Pedrera—'the quarry'—was the name an astounded population gave to this completely unique building. It could be compared with the steep cliff walls in which African tribes build their cave-like dwellings. 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 bulding. 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 which was simultaneously a summary of all the forms that he has since become famous for.  The roof sports an imitation of the bench from Guell Park as well as an ever more impressive series of bizarre chimney stacks."
  8. 8. CASA MILA The building does not have any straight lines. Most people consider it magnificent and overwhelming -- some say it is like waves of lava or a sand-dune. This building seems to break our understanding of conventional architecture. The most astonishing part is the roof with an almost lunar appearance and dream like landscape. The building can be considered more of a sculpture than a regular building. Critics remark on its detachment from usefulness, but others consider it to be art. The Barcelonese of the time considered it ugly, hence the "quarry" nickname, but today it is a landmark of Barcelona.
  9. 9. CASA MILA It was built for the married couple, Rosario Segimon and Pere Milà. Rosario Segimon was the wealthy widow of José Guardiola, an Indiano, a term applied locally to the Catalans returning from the American colonies with tremendous wealth. Her second husband, Pere Mila, was a developer who was criticized for his flamboyant lifestyle and ridiculed by the contemporary residents of Barcelona, when they joked about his love of money and opulence, wondering if he wasn’t rather more interested in “the widow’s guardiola” (piggy bank), than in “Guardiola’s widow”. The design by Gaudi was not followed in some aspects. The local government objected to some aspects of the project, fined the owners for many infractions of regulations, ordered the demolition of aspects exceeding the height standard for the city, and refused to approve the installation of a huge sculpture atop the building— described as "the Virgin"—but said by Gijs Van Hensbergen in his biography of Gaudi, to represent the primeval earthgoddess, Gaia.
  10. 10. CASA MILA Casa Milà Rooftop in Spring
  11. 11. CASA MILA Casa Milà Central Atrium
  12. 12. CASA MILA
  13. 13. CASA MILA Catenary arches under the terrace of Casa Milà.
  14. 14. CASA MILA The most famous feature of Casa Mila is the roof and the sculptured chimneys. The chimneys have the look of helmeted Greek warriors or the imperial guards in the Star Wars movies. There are also several tiled and stuccoed sculptured forms that house the stairwells, giving the roof a playful feel that the rest of the building lacks.
  15. 15. CASA MILA Details of the front entrance
  16. 16. CASA MILA The wrought-iron balconies were the design of Josep Maria Jujol, Gaudí's frequent collaborator. Each is different and was improvised in the forge.
  17. 17. CASA MILA
  18. 18. CASA MILA
  20. 20. CASA MILA
  21. 21. CASA MILA Casa Mila was in poor condition in the early 1980s. It had been painted a dreary brown and many of its interior color schemes had been abandoned or allowed to deteriorate, but it has been restored and many of the original colors revived. The building is part of the UNESCO World Heritage Site "Works of Antoni Gaudí". The building is owned by Caixa Catalunya.