Impact of the Industrial Revolution on Architecture

Impact of the industrial rotary motion on ArchitectureQuestion 1 Consider the impact of the Industrial Revolution on nineteenth century architecture. Your answer should explore the fl glory in which buildings could be constructed, as well as the spick-and-span demands universe do upon architecture.The nineteenth century brought an age of uncertainty, confidence apparent in the elegant architecture of the 18th C had diminished, rejecting casuality and polychrome, and was subjected to a purpose of architectural eclecticism. The birth of this sought after style would allow elements to be retained from previous historic precedents, returning to the style of Michelangelo etc., whilst creating somewhatthing that is new andoriginal, forming styles of Neo-Classical and Neo-Gothic. This might to create a fusion of styles allowed for expression devised through creation, nonreminiscence usually take based on its aptness to the project and overall esthetic value, pursuit to restore order and restraint to architecture.A nonher Influence can be traced from the industrial revolution, a time of rapid change, experiencing dramatic variation and experimentation. With Changes in manufacturing, transport, technology, there was a profound consequence on the social political economy and cultural conditions. The urban population radically increased, with cities alike multiplying in sizing and number. The consequences for these new expanding cities was massive overcrowding. Factory owners were required to provide a elephantine quantity of cheap houses, resulting in duskyly packed provides, constructed to a low standard. The elaborateness of mass industry brought the potential of new building technologies such as cast iron out, steel, and glass, with which architects and engineers devised structures previously un-r separatelyed in both hunt, size, and form. Consequently, materials could be mass produced quick and inexpensively, not only being applied to things like bricks, but in addition iron columns, glass panels etc., meaning structures of all types could be constructed quicker and cheaper than constantly before. This generated a new potential of standardised builds, created from identical factory components, which could be mass produced improving the efficiency of construction time but not necessarily the quality.Through the rise of the revolution, architecture was at one time exposed to a magnitude of new construction methods. Structures consisting of metal columns and beams no longer inevitable walls for morphologic support, glass could be fashioned in larger sizes volumes and dense structures could be replaced by skeleton structures making it possible to reach previously restricted height and width very quickly, using pre-fabricated elements. However, this new architecture lacked in imagination and style as the focus was cast towards functionality. An moral of this new technology was The crystallisation Palace 1851. It was a g lass and iron showpiece, with pre-fabricated p arts that could be mass-produced and erected rapidly. This dazzled the millions of visitors passing through its doors as it stood in blatant disparity to previous massive stone construction. Crystal Palace became the foundation for modern architecture, its transparency signified a gumption of no boundaries.Question 2 Chart the key characteristics of the Art Nouveau presence in architecture. To what extent was this movement influential in the move towards global Modernism?The architectural style of Art Nouveau first arouse in Europe, producing its most creative phase between 1893 and 1905. Art Nouveau repelled against previous Graeco-Roman Greek and Roman prescripts, rejecting the strict and formal ideals, which had been prevalent during much of the nineteenth C. It was established on the amalgamation of formal inspiration from the English liberal arts and Crafts, as well as the structural importance of French Rationalism, and the st ructural abstraction from nature, which was perceived as the best source of stimulation and aesthetic principals. Architects found their inspiration in the expressive organic forms that emphasised humanitys earthy ambition, with dominate ornate embellishments, curvilinear forms, and design motifs based on stylise plants and flowers. Art Nouveau style architecture can be identified by specific rudiments and distinguishing factors which led to ubiquitous cultural impulses, appearing passim its life time, however there is no single definition or meaning behind it.The style originated from the reaction to a realm of art which was dominated by precise geometrical compositions of Neo-Classical ideals. In search of a new design language, concepts evolved distant from historical and classical restraints employed by previous academics and current precedents. Instead designs were characterized by graceful, sinuous lines filled with irregular direction, which were rarely angular. This was a ccompanied by violent curves rhythmic patterns of curved, fluent lines that fall in beautified plain items, such as entrances and cast columns. The philosophy of Art Nouveau was in provision of applying delicate beauty to commonplace objects, in order for bonnie objects to be transparent to all. No entity was too utilitarian to be beautified, it was not only evident in external architecture butinterior ornamentsdisplayed its standards as well. The dip led towards organic subject matter, flowers, leaves, vines, and other organic images embellished architecture with each characteristic obtaining a different appearance a doorknocker moulded to see like a dragonfly, birds etched into window frames, abstract lilies drifting approximately stairwell banisters. The style embraces a variety of stylistic interpretations some architects opting for new affordable materials with the ambition of mass production, whilst others used more expensive materials valuing high craftsmanship.A variet y of movements continued to reconnoitre integrated organic design, includingDeStijl, and theBauhausSchool, however this presently declined. Art Nouveau constituted a major step towards the intellectual and stylistic innovation of modern architecture, breaking the trend of looking backwards, which emphasised function over form and the elimination of superfluous adornment. The stylistic rudiments progressed into the simpler, rationalised forms of modernism. Theunderlying rudiments of the art nouveau concept, of a thoroughly integrated environment, remains a profound element of contemporary modernism today.Question 3 With references to examples of his built work, explore Le Corbusiers Five Points of a New Architecture.Le Corbusiers first principle looks at the musical arrangement of structural support, it suggests that a distinction can immediately be made between elements. t hence supporting walls can be replaced by a grid of columns, place out at specific, equal intervals that withholds the structural load. By elevating the ground floor, it is thereby removed from the damp ground and is now to subject to light and air and consequently the estate of the realmscape can continue to flow beneath whilst gaining additional flat pileus plaza. The second principle identifies the need for the flat roof to be utilised for a domestic purpose such as a roof terrace or garden, subsequently meaning that space lost in built up orbital cavitys can be recovered. This area will display luxurious organic vegetation, however it provides a structural purpose providing essential protection to the concrete roof. Resulting rain can now be controlled, flowing off gradually down drain pipes, out of sight within the interior of the building.The third principle states that, due to circumstances made clear in the first principle, interior walls can now be placed where required, each floor being entirely independent to the next. The absence of supporting walls allows unrestrain ed resigndom within the internal design. The forth principle dictates that the faade can be lifted from its structural function, allowing the freedom of design separated from its original exterior. By projecting the floor beyond its system of structural supports the whole faade is extended, losing its supportive quality, the faade therefore is free from restrictions. The fifth principle determines that the faade can be intersect with level window running the entire length, extending from support to support. These rectangular openings allow overflowing amounts of light and air, achieving evenly lit rooms of maximum illumination and hence removing the need for vertical windows.We can depict the development of these principles through some of his built work, first with his experimentation with Maison Citrohan, 1922. Through numerous prototypes le Corbusier plays with introducing this distinctive features. Villa Stein 1926, is the first full exemplification of these principles. Buil t around a strict grid of structural columns, the villa features an open plan layout with roof terrace protected by screens. The concrete structure obtains strips of ribbon windows, however that land beneath has been fully consumed by the Villa. The Villa Savoye 1929, visibly embodies all five points of the new aesthetic. The bulk of the structure is supported above the ground by sylphlike reinforced concrete stilts. The house conceals an open floor plan that culminates a roof garden, compensating for the green space lost beneath. Finally, the clean white faade embodies the distinctive ribbon windows that allow unobstructed views.