Around the turn of the century, new advances in the technology of materials such as iron and glass allowed for the increased use of these materials in architecture. Because of the malleability of the material, specifically iron, combined with its strength and light weight, structure became an expressive part of architecture. From the theories of exposed structure, use of new technology, and ornamentation of a building rose the style of Art Nouveau. Art Nouveau was the integration of ornamentation and structure as a reflection of nature rather than seeing them as two separate aspects of architecture. This new style of architecture was significantly developed because of the work of three architects: Hector Guimard, Victor Horta, and Henry Van der Velde.
In decribing the theory behind this movement, Henry Van der Valde states, “Ornament completes form…and we recognize the meaning of justification of ornament in its function.” To me this sounds like a furthur evolved theory of Viollet-le-Duc. Viollet-le-Duc called for the rationalism of structure and that structure should be exposed in order to understand the building. Van der Valde’s theory coincides with Viollet-le-Duc’s but furthers it but saying structure can be more than structure. It can also be the ornamentation off the building. This theory relied on the technology of the time and again goes back to the ability of iron to be molded into forms reflective of nature while still being structurally strong in order to have rationality in its form.
Victor Horta was originally trained in the Beaux-Arts style of architecture. Although his first ten years spent working was comprised of neoclassical buildings he eventually began to design highly inventive houses. His houses provided multiple solutions to narrow building sites. In his Tassel House, the floor plan was no longer organized as a series of rooms but rather overlapping spaces. It was an originator to the open floor plan. The use of steel and iron as the structure allowed for large spans of space that further enhanced the openness of the house as well as letting in a significant amount of light. The open floor plan no longer had rooms that designated activities but rather zones that suggested areas. The floor plan allowed for multiple arrangements of the space which is how virtual transparency is achieved.
The final architect was Hector Guimard. He integrated decorations into a rational architecture that was guided heavily by Viollet-le-Duc. Guimard was also influenced by Victor Horta and after seeing the houses he designed, Guimard revised plans he had made for an apartment building in Paris. Guimard is particularly known for expanding on the idea of a reflection of nature through ornamentation through the structure. This can be seen in the large loops in the structure of his designs such as the Paris Metro entrances.
http://mic-ro.com/metro/images/paris/paris-abbesses.jpg
Very interesting comparison of Viollet le Duc and Van der Velde. Your use of images is weaker here than in your other blogs, not only because there are fewer, but because you do not integrate them as much.
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