[READING COMPREHENSION 6]

[1] A common theme of the early twentieth century found in Roth, Harwood, and Massey set the tone for an understanding of styles in architecture and design influenced by fine art. Selecting either Arts + Crafts or Art Nouveau, TRACE the influences of the selected style in more than two nations. In your answer, you should include evidence from the readings and at least two annotated images as support for your analysis of influences. [15 POINTS POSSIBLE]

Architects of the Art Nouveau era were as interested in the external appearance of a building as they were in the interior. With every detail and every minute characteristic of space being catered to the use of free flowing lines and curves was most predominant.  With the advent of new metallurgical smelting methods gave the architect the ability to climb new heights with metal to their arsenal of imagination setting the stage to this great artistic movement.

               All over the world Art Nouveau was changing the way people saw reality. Brussels, an interesting home to the tassel house, a prime example of architecture of this era paves the way for many to come. This work of art was finished utilizing iron columns a revolutionary concept in Belgium at the time.  The use of these columns teamed with its glazed roof allowed light to flood into the flowing areas of space. A continuous movement was Victor Horta’s unifying attribute that allowed the connectivity from floor up.
               After the Tassel house’s buzz in Europe France was almost instantly taken aback by the Art Nouveau. Hector Guimard designed the Castel Beranger apartments containing the same fluid free flowing life that Art Nouveau inspires. Throughout the building the same utilization of iron columns is present as well as its symmetrical attributes.

The Havana Tobacco Company cigar shop given birth by the imagination and architectural prowess of Van de Velde of Germany is the next stop on this wave of Art Nouveau. Though differing from the previous styles of Belgium and France the face of Germany’s Art Nouveau takes a symmetrical design as its driving force.  Holding on to the curvy principle that helps define this movement it did it with a more dramatic manner, change the style to be more symmetrical verses the asymmetrical designs prior.

[2] Originating at the Bauhaus and in the work of LeCorbusier, the so-called Modern movement deeply influenced design and architecture of the twentieth century. The great debate raised by this new approach to design involved the presence of the machine in the design process and final products.

SPECULATE about the implications of “machines for living” and the famous dictum “less is more” on design today. Use at least one ARTIFACT, SPACE, or BUILDING in your answer, providing a salient image (cited) and annotation to help bolster your argument. [10 POINTS POSSIBLE]

During the industrial revolution, the concept of factories and assembly lines, as well as machinery entered the workforce head on. The idea that products could be manufactured efficiently, faster and in greater quantities spawned a new breed of architecture of minimalistic design specifically created for a purpose around what was to be made inside. Peter Behrens’ AEG factory (p 522, Roth) was one of the earliest forms of the modernist movement in Germany, with the rise of industrialization and the demand for more boats brought this factory to life. Creating huge machinery (turbines for ships) required even larger machinery to be operated. Thus removing the practicality of the prior decorative principles and paving the way of less is more. Merely looking in a kitchen a den an office, though on a micro scale are noticeably infected by those design principles, making the space work for the machine.