art movement and prairie style

Arts and craft movement and

Prairie style oKASTURI ACHARYAoPRACHI BANDODKARoSIDDHESH BHAINDARKARoBHAKTI BISWAS

WHY DID ARTS AND CRAFTS MOVEMENT TAKE PLACE?

REACTION TO : • EXCESSIVE VICTORIAN CULTURE • FACTORY WORK ( INDUSTRIAL REVOLUTION)

VICTORIAN STYLE (1837-1901)

• THIS STYLE CAN BE DEFINITELY CONSIDERED TO BE THE FIRST TREND, WHICH BEGAN TO DEVELOP INDUSTRIAL DESIGN.

• INCLUDED NOT ONLY DESIGN BUT ALSO HAD A BIG INFLUENCE ON THE ARCHITECTURE.

• IT WAS A PERIOD OF GREAT TRANSFORMATION

•  DISTINGUISHED BY THE SEVERITY OF THE NUMEROUS ORNAMENTS AND FORM

• ARTIFICIAL POMPOSITY OF ORNAMENTS, DECORATIONS • LACK OF CONSISTENCY OF STYLE AND QUALITY• APPLICATION OF NEW MATERIAL

VICTORIAN STYLE FEATURES

WALLPAPER

FURNITURE

INDUSTRIAL REVOLUTION

• Improvement to steam engine.1.Brought machinery2.Transportation.3.Mass production

BEFORE INDUSTRIAL REVOLUTION

• PERFECT SKILLS• PROPER CRAFTSMANSHIP • QUALITY FINAL GOODS

NEGATIVE IMPACT OF INDUSTRIAL REVOLUTION

• BAD QUALITY GOODS• DECREASE OF CRAFTSMANSHIP1. In graphic art field, the loss of professional book craftsman

had a detrimental effect on print and type design.

EXHIBITION

• English spearheaded prince Albert organized a showcase for all de achievements from industrial revolution

• It was hosted in London ( GREAT EXHIBITION OF THE WORKS OF INDUSTRY OF ALL NATION)

• Centre piece – glass enclosed steel beam supported structure.

• England and other number of invited countries displayed their work under four categories

1.Machines2.Fine arts3.Materials4.Manufacturers• Popular success• Bad critic review.

THE GRAMMAR ORNAMENT

• IN 1856, in response to failing of crystal plaza, to better understand ornamentation was answered by OWEN JONES

• Published an exhaustive inventory of international and historical decorative styles, printed in colorful lithographs.

• The book included 20 sections of illustrated motifs and Jones’s 37 propositions on what makes good design.

Two examples:• PROPOSITION 5 : construction should

be decorated. Decoration should never be purposely constructed.

• PROPOSTION 37 : No improvement can take place in the Art of the present generation until all classes, artists, manufacturers and the public are better educated in art and the existence of general principles is more fully recognized.

JOHN RUSKIN 1819 - 1900

• Born to wealth, he was an author, poet and critic.

• He theorized that industrial revolution was cause of division of labors monotony and main reason for poor’s unhappiness.

WILLIAM MORRIS (1843 – 1896)

• A POET AND ARTIST.• HE BEILEVED :1. INDUSTRIAL REVEOLUTION IS REDUCING

SKILLS OF CRAFTSMAN2.LOW QUALITY GOODS IN FACTORY

MANUFACTURING

The Arts & Crafts Movement spurned the Machine Ageand looked to Nature for idealistic inspiration.

Book Cover by William Morris

Pre-Raphaelite painters such as Frank Cowper were closely associated with theArt & Craft Movement.

The Shakers were a religious movement that made furniturenoted for it’s beautifulsimplicity.

PRE-RAPHELITE• The name Pre-Raphaelite Brotherhood referred to the groups’ opposition to the

Royal Academy’s promotion of the Renaissance master Raphael. • They were also in revolt also against the triviality of the immensely

popular genre painting of time.• Inspired by the theories of John Ruskin, who urged artists to ‘go to nature’, they

believed in an art of serious subjects treated with maximum realism. • Their principal themes were initially religious, but they also used subjects from

literature and poetry, particularly those dealing with love and death.• They also explored modern social problems.• Its principal members were  William Holman Hunt, John Everett Millais,

and Dante Gabriel Rossetti.• After initial heavy opposition the Pre-Raphaelites became highly influential,

with a second phase of the movement from about 1860, inspired particularly by the work of Rossetti, making major contribution to symbolism.

WALLPAPERFURNITURE STAINED GLASS PAINTING

HANCRAFTED WALLPAPERS

FURNITURE

STAINED GLASSES

ARTS AND CRAFTS MOVEMENT• REACTED AGAINST MASS PRODUCTION.1.LOW QUALITY 2.DEMEANING CONDITION• BEGAN IN LATE 1800’S , ENGLAND• SPREADED TO UNITED STATES IN EARLY

20’S

• IDEALISTICALLY TRIED TO JOIN ART AND INDUSTRY.• IN THE GRAPHIC ARTS FIELD SMALL PRIVATE PRESSES,

FORMING UNDER A MODEL CREATED BY WILLIAM MORRIS, REAWAKENED FINE PRINTING.

• WHILE ARTS AND CRAFTS MOVEMENT IS NOT CONSIDERED A TRUE ARCHITECTURAL MOVEMENT, THE ARTS AND CRAFTS COTTAGE WAS A FORERUNEER OF A MACHINE FOR LIVING.

ARTS AND CRAFTS COTTAGE

• EMULATE MEDIVAL THATCHED HUTS.• WERE COZY BUNGALOWS MADE FROM NATURAL MATERIALS. (WOOD,STONE

AND STUCCO)• DOORS COVERED WITH WIDE EAVES• PROCHES WITH THICK COLUMNS• OPEN FLOOR PLANS• STAINED GLASS• DARK WOOD MOULDING

With the advent of Photography, Impressionism turned away from realism, exploring visual

impression.

Claude Monet “Soleil Levant”

Van Gogh “Starry Night”

THE RED HOUSE

• COMMISSIONED BY MORRIS, PHILIP WEB BUILT THE RED HOUSE AT BEXLEY HEATH IN KENT.

THE HOUSE WAS TO REPRESENT A PROTEST AGAINST INDUSTRIALISM THROUGH ITS:• INFORMALITY• ABSENCE OF DECORATION• SIMPLE VERNACULAR• THE EMPHASIS ON BASIC FORM, • SOUND MATERIALS AND GOOD CRAFTSMANSHIP

INTERNATIONAL LONDON EXHIBITION• 1862 was a world event on a mass-scale.  Thousands of objects from 36 different

countries were displayed together to represent the best of the raw, crafted and manufactured. 

• This art and industry of the cutting-edge was staged in a specially designed site in South Kensington, London.

•   Larger in size, scope and scale than the 1851 Great Exhibition, 1862 was nevertheless judged a flop and failed to establish a lasting legacy like that of its predecessor. 

• The building consisted of a main structure with two adjoining wings set at right angles for machinery and agricultural equipment; the wings were demolished after the Exhibition. Its main facade along Cromwell Road was 1152 feet (351 m) in length, and ornamented by two crystal domes, each of which was 260 feet (79 m) high.

PRAIRIE STYLE

Need for Prairie Style

• The catastrophe of the Chicago fire of 1871 AD demanded a sudden need for re development of the city.

• This summoned various young architects like Louis Sullivan and Frank Lloyd Wright to the World’s Columbian Exposition.

• This venture marked new grounds for beginning of the Prairie School.

Evolution of Prairie style

• This style was influenced by the arts and crafts movement- carrying the legacy of hand drafting and craftsmanship with minimal ornamentation.

• The generalize concept ran on – form follows function.

• This style was basically compatible as per the surrounding and climatology.

Influence on F L Wright

Louis SullivanCharles Follen MckimJoseph Layman Silsbee

Prairie School Houses

• They were related to the Arts and Crafts movement and were an alternative to the Classical Revival Style

• It was influenced by idealistic Romantics .• The Architects were influenced by the ideas of minimalism

and “form follows the function.

Classic Revival Style Identification

•Full height entry porch

•Symmetrically aligned doors and windows

•Front porch with columns.

FRANK LLOYD WRIGHT • Frank Lloyd Wright promoted the concept of organic

architecture.

• He was a leader of the Prairie School architectural movement.

• He developed the concept of the Usonian home later on.

• He evolved from being a draftsman to an genuine architect. • F L Wright broke the contract by getting engaged in the

individual structures for which he had to resign.• With both Sullivan and Corwin gone, Wright moved into the

newly completed Steinway Hall Building in 1894. • The space was shared with Robert C. Spencer, Jr., Myron Hunt,

Dwight H. Perkins, and Perkins’ apprentice Marion Mahony.• These young architects, inspired by the philosophies of Louis

Sullivan and the Arts and Crafts Movement, formed what would eventually become known as the Prairie School

1892

• Allison Harlen House

1893• William

H. Winslow House

1900

• B Harley Bradley House

1900• Warren

Hickox House

1901

• Frank Thomas House

1901• Ward W

Willits House

Feb 1901

• Ladies Home Journal

July 1901

• Ladies Home Journal

1903

• Edwin H Cheney House

Features of Prairie Style • Horizontal lines.

• Flat or hipped roofs with broad eaves.

• Windows assembled in horizontal bands.

• Craftsmanship.

•Restraint in the use of decoration.

•Integration of building with the surroundings.

C. ROBIE HOUSE

WILLIAM WINSLOW HOUSE

B. BRADLEY HARLEY HOUSE

EDWIN H CHENEY HOUSE

FRANK THOMAS HOUSE

WILLIAM WINSLOW HOUSE

GUTTER DETAIL STAIRCASE DETAIL

INSIDE WILLIAM WINSLOW HOUSE

WILLIAM HICKOX HOUSE

EDWIN H. CHENEY HOUSE

FALLING WATER

Floor Plans

Guest House Plans

Analysis and Critics

• F L Wright and his designs were ahead of time.• Different styles of houses for different people.• Structure should harmonize with the surrounding.

• Leakages in the building • Improper use of concrete as building material.• Structural and aesthetic balance.

ART NOUVEAU (1880-1910)

• ART NOUVEAU WAS A CONCERTED ATTEMPT TO CREATE AN INTERNATIONAL STYLE BASED ON DECORATION.

• THE ART NOUVEAU WAS A PROTEST AND NOT THE FOUNDATION FROM WHICH 20TH CENTURY ARCHITECTURE WAS FORMED.

THE FAVORITE ORNAMENTAL MOTIVE OF ART NOUVEAU WERE THE CURVES FOUND IN:• NATURAL FORMS OF PLANTS• THE SEA• FLOWING HAIRTHE NEW EXPRESSION WAS FOUND EVERYWHERE:• LAMPS• FURNITURE• POSTERS AND DRAWINGS• FABRICS• TYPE FACES & TRINKETS

PAINTING

POSTER

FURNITURE

THANK YOU

Usonian house Usonian house features• Low cost construction. • Grid plans.• Exposed brick, concrete, wood components.• Radiant heat system.

CHARLES T. COOK HOUSEPlan by Charles Follen Mckim

ROBERT TEMOND HOUSE Plan by F L Wright