Vienna Secession

1897-1920’s

Vienna Secession strives to create a modern style devoid of historicism and free of academic stagnation. Founded in 1897, in Vienna, Austria, by a group of artists, sculptors, architects, and designers. Rejecting the more flamboyant Art Nouveau expressions, the Secession advocates simplicity, rational construction, and honest use of materials, which will, in turn, influence subsequent modern developments.

Secessionist architecture strives to evolve from and, at the same time, reform modern life. Design goals include rectangular and cubic forms that dominate the composition, monumental mass, sparing use of ornament, and an emphasis on function, light, and air.

Types: Projects include offices, railway stations, museums, shops, galleries, churches, large apartment complexes and tenement houses.
Site Orientation: important buildings are placed as street focal points. Tenement houses are arranged in grids or grouped together to form neighborhoods.
Here are some hints to if it is a Vienna Secession building: they have sculptural figures to accet the roof, straight rooflines, tall slender windows in rows that repeat across the facade, marble tiles with aluminum bolts, an emphasis on straight lines and vertical movement, a glass canopy over the entrance, and dark entry doors with glass panels in a grid formation.

Furniture:
The Wiener Werkstatte, which designs most of the furniture and decorative arts, is strongly influenced by the craftsmanship focus of the English Arts and Crafts Movement as well as Charles Rennie Mackintosh’s innovative furniture that is individually designed for each space.
Equally important is the principle of harmony between the exterior and interiors.
The furniture reflects an architectural quality, strong geometry, and rectilinear emphasis like the exterior as well as excellent craftsmanship.
Forms are practical and severely plain.
Members integrate the furniture with the interior to create total works of art.

Symbols and Motifs:
Motifs are squares and checker patterns in black and white or in solid and void renditions like dots, repetitive geometric designs, medallions, circles, carved floral ornament, sunflowers, philodendrons, roses, and laurel trees or leaves.

Decorative Arts:
Like furniture, decorative arts reflect the Wiener Werkstatte design vocabulary. Conceived as part of total works of art, the glass, metalwork, tablewares and even cutlery feature geometric forms, shapes, and details.

Art Nouveau

1880’s-1910’s

Art Nouveau is a complex, eclectic international movement that comprises various styles in Europe and North America. It has two general trends, one is a stylized organic, curvilinear form called Art Nouveau. The second, more rectilinear, geometric, and abstract trend is called Jugenstil.

Art Nouveau is a conscious attempt to create a new style that rejects historicism and adopts a new visual language. Art Nouveau design displays some common characteristics. Line, whether curving and sensuous or straight and geometric, is an important principle that designers explore and exploit. Line together with form conveys energy, force, dynamism, and/or growth. Designers reduce motifs and naturalistic forms to their essence, transforming them to their intentions.

Art Nouveau architecture strives to create a modern style free from historicism and academic traditions. Emphasizing the individuality of the architect, this new architecture incorporates new materials and industrial processes and an emphasis on structure and function.

Types: Commercial buildings include stores, hotels, offices, schools, churches, auditoriums, concert halls, and metro stations.
Site Orientation: in city centers and because nature is a major design concept, houses may feature lawns or gardens that extend to the interior space.
Floor Plans: open with free-flowing space to minimize visual separateness and to connect interior spaces to the exterior.
Materials: iron, glass and stone combinations
Facades: Exterior facades display movement vertically and horizontally to create a sculptural, fluid expression.
Windows: large and have vertical emphasis

Furniture:
Art Nouveau furniture, designed for contemporary interiors or model rooms, displays great diversity of form, shape, and concept. Some designers reject traditional forms and methods of construction, while others use them as springboards for their own creations.

Types: No particular types of furniture are associated with Art Nouveau, but architects individually design much of it, including small accent pieces such as mirrors, shelves, and music stands.
Features: Like the interiors, furniture displays two trends in form and decoration.
The greatest diversity in all of Art Nouveau furniture appears in the seating where the individual imagination of the creator can find its fullest expression. “translation: you think it …it is possible.”

Symbols and Motifs:
Popular motifs stylized from nature include flowers such as the rose, violets, iris, and water lily, and animals such as the dragonfly, butterfly, snail and peacock.

Decorative Arts:
Art Nouveau greatly influences the decorative arts. Many architects and artists, like Riemerschmid, design metalwork in forms, shapes, and motifs that complement their interiors. Similarly, artists and ceramists create ceramics that reflect Art Nouveau design principles, whether curving forms or naturalistic details or geometric with minimal surface decoration. Also a hierarchy changed between porcelain to stoneware or earthenware.

Shingle Style and American Arts and Crafts

1880’s-1930’s

The Shingle Style, unique to architecture in the United States, evolves from architects’ explorations of New England’s Colonial architecture combined with aspects of the English Queen Anne Style. Buildings are irregular, rambling, picturesque, and covered with wood shingles.

The American Arts and Crafts Movement follows the principles and tenets of the English Arts and Crafts Movement, but interprets them in a more individualistic way and integrates more diverse influences.

Buildings and facts about the Shingle Style:
1. grows out of Colonial architecture
2. types: largely residential, and often defines hotels and retail buildings
3. buildings are located in natural settings with open space and expansive views
4. Floor plans are usually large and rambling and center on a stair hall
5. facades are asymmetrical, horizontal and quieter with fewer textures
6. entry doors are usually recessed in the porch with side lights
7. roofs are gable or gambrel roofs with dormers
8. Look for these features: irregular roofline, steeply pitched roof, windows in groups of three or more, shingles that unify the facade, large porches, and projecting bay or tower.

Buildings and facts about the American Arts and Crafts Movement:
1. derives from English principles
2. three types of houses: Craftsman Houses, Prairie Houses, and Bungalow Houses.
3. Craftsman Houses: by Gustav Stickley – follow his philosophy of simple structure and naturalism
4. Prairie Houses: by Frank Lloyd Wright – follow his admiration of nature and the art and architecture of Japan.
5. Bungalow Houses: by Henry and Charles Greene – follow a carpenter approach to design with exquisite craftsmanship inside and out.
6. single-family houses, hotels, churches and clubs.
7. buildings relate to their environment through use of materials

Furniture:
Like architecture, Arts and Crafts furniture may be designed by architects, such as Wright or the Greene brothers, for total environments, or mass-produced in factories like Stickley’s, or handcrafted in cooperative or utopian communities such as Roycroft.
Most furniture displays honest use of materials, sturctural emphasis, and rectangular shapes.
Look at these examples of each:

Symbols and Motifs:
Motifs of the period are flowers, trees, foliage, animals, geometric motifs, Gothic details, and Oriental images.

Decorative Arts:
Arts and Crafts rooms usually have fewer decorative accessories than in other styles. Guilds, cooperatives, and manufacturers turn out numerous accessories, including pottery, glass, metal work, baskets, and embroidery. However, many objects are handmade by artisans or members of the household.

English Arts and Crafts

1860’s – 1910’s

The Arts and Crafts Movement, a reform development in England, strives to change the working conditions of craftsmen while improving the quality of design. It emphasizes preindustrial values and medieval-like craft guilds in the midst of rapid industrial growth centered on machine production.

Arts and Crafts architecture illustrates a variety of expressions produced by individualist architects who believe in freedom of expression and frequently experiment with form and materials. Buildings exhibit no imposed style, but appear to grow out of the surrounding landscape and to have been there for centuries.

FOOL, YOU BETTER REMEMBER THESE:
1. Types: country houses, churches, row houses and single-family houses.
2. Unity and harmony between buildings and the landscape are important concepts.
3. Layouts grow from use not arranged order.
4. These houses have deep roofs with broad overhangs, horizontal windows, white stucco facades with dark trim and no applied ornament, a verandah, and bay windwos that face the landscape.

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Furniture
Arts and Crafts displays similar concepts to architecture and interiors, including revealed structure, truth of and delight in materials, and compositions based upon vernacular or traditional forms.
Types: Some medieval types, such as settles or dressers, are reintroduced.
Relationships: emphasize simplicity, revealed structure, suitability to purpose, and excellent craftsmanship.
Seating: Wood chairs with and without arms are common. Ladderbacks are favored and individual designers adapt these forms to their own design.
Design Spotlight: Remember the armchair upholstered in a “Bird” woolen tapestry with ebonized wood, the Sussex chair, and the Saville armchair…all of which have images below.

Symbols and Motifs:
Typical motifs of the period are sunflowers, lilies, birds, images and letters from medieval manuscripts, Gothic details, and Oriental images.

Decorative Arts:
Designers advocate craft or handmade decorative arts, not only English, but Indian, Japanese, Chinese, Persian, and other cultures. Evident in Arts and Crafts rooms are historic textiles produced with natural dyes, handmade ceramics, metalwork, and wooden objects. The crafts of embroidery and book binding are revived.

Aesthetic Movement

1860’s – 1890’s
Architecture
The Aesthetic Movement attempts to reform design through education of artistic principles. It arises from a desire to reform the home and its design following London’s Great Exhibition at the Crystal Palace in 1851. The Aesthetic Movement advances the idea that good taste is not ostentatious display, but careful planning based on educated knowledge and historic precedents.

There is no specific architectural style called the Aesthetic Movement, so most of the design characteristics appear in interiors. Design principles include asymmetry, unity, harmony, and contrast.

Although there is no specific architectural style called Aesthetic Movement, Queen Anne and Old English are associated with it. Immediate changes include a new diversity of sources, including Japan and vernacular traditions.

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Furniture
The Aesthetic Movement shuns historical styles and sets of furniture for a more personal expression and a new informality. The Movement inspires Art Furniture, which initially is designed by architects and artists and exhibits elements of honest construction and craftsmanship. Anglo-Japanese furniture displays characteristics of Japanese art.

Remember these important points!
1. Types: does not introduce new types of furniture – REDESIGN
2. slender, usually turned or quadrangular legs, numerous brackets and shelves on cabinets and tables, ebonized woods, geometric, and stylized naturalistic motifs.
3. Plain and patterned upholstery fills the Artistic interior. Upholstery no longer matches window treatments or wall coverings. CONTRAST CONTRAST CONTRAST. Take a look.

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Symbols and Motifs
Motifs include sunflowers, peacock feathers, lilies, paisley, flowers, leaves, Japanese forms, insects, butterflies, and birds.

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Decorative Arts
Accessories are extremely important and an integral part of Aesthetic interiors. Collections showcase the artistic sensibility and culture of the family, and each piece is regarded as a lesson in taste for the children. These items include: pictures, oil paintings, photographs, watercolors, Japanese prints, Oriental ceramics, blue and white porcelains from China, folding screens, filled bookcases, plants and flowers to enhance the atmosphere.

The Shakers

1774-1900
The architecture, interiors, and furniture of the American Shakers, a 19th century utopian religious group, grow out of their belief system and worldview. Minimal ornament, simple forms deriving from function or utility, perfected proportions, and excellent craftsmanship reflect the communal, celibate, labor-focused lifestyles of the Shakers.

architecture
1. Types: communities have a meetinghouse, dwelling houses for families, and a variety of utilitarian support buildings such as barns, stables, sheds, shops, and bath houses.
2. Meetinghouses: two or three stories, white painted clapboard, two entrances, and a gambrel roof.
3. Dwelling houses: large wealthy families build stately dwellings of stone or brick with two to six stories and 40-50 room and hold up to 100 members! They have high ceilings, wider hallways, and larger rooms to accommodate the traffic.
4. Shaker architecture normally will have these attributes: a chimney at the end of the building, a side gabled roof, rectangular double-hung sash windows, plain brick facade with slender proportions that reflect the Federal style, double entrance doors, and a center axis which emphasizes symmetry.

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Furniture

Shaker furniture, like architecture and interiors, reflects their belief system and supports their lifestyle. The Millennial Laws prescribe what furnishings each member should have so that no one has more or less than anyone else. Rooms are sparsely finished because accumulating possessions is believed to engender worldliness and pride.

1. Types: worship spaces, meeting rooms, and sleeping rooms. Sleeping rooms have a bed, chair, and storage for each inhabitant and a communal washstand and a table.
2. light in scale, simplistic, no applied ornament
3. Seating: ladder-back chairs and rockers are the most common, seats are made of woven cotton tape and eventually colored tapes allow for checkerboard and herringbone patterns.
4. Large Shaker families require great amounts of storage – so built-ins may fill attics, under stairs and in corners.
5. Beds: double beds accommodate as many people as possible for space and trundle beds are common for space conservation and to help care for the sick.





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Symbols and Motifs
Because the Shakers regard decoration as worldly, thus forbidden, no motifs are associated with them other than flowers and hearts that appear in their paintings.

Decorative Arts
Accumulating and displaying possessions are incompatible with Shaker beliefs and lives, so rooms typically have no decorative accessories, except possibly a painting or scroll. The Millennial Laws forbid pictures and paintings, although they do permit a single, small mirror in retiring rooms. At first, clocks also are forbidden, but later the elders realize that time pieces help maintain orderly lives. Many communities have a tall case clock in the hall of their dwelling houses and in their shops and barns. Shakers do not make their own tablewares, but purchase plain, white utilitarian ceramics. The Shakers are known for the elegance and beauty of their baskets and oval wooden boxes that they make in various sizes and shapes.

Spanish Colonial Revival

Colonial Revival

1880’s-1930’s
Originating in the second half of the 19th century in the United States, Colonial Revival consciously strives to emulate the architecture, interiors, furniture, and decorative arts of English and Dutch settlements in North America. The style adapts elements from America’s colonial past to contemporary lifestyles.

5 STYLES
1. English Colonial: eastern seaboard, English settlers, who are largely farmers and laborers, construct small and plain houses that reveal little awareness of the high style Renaissance of Europe.
2. Dutch Colonial: Dutch merchants and traders, who settle in present-day New York and New Jersey, influence the rise of the gambrel roof.
3. American Georgian: reveal increasing formality and sophistication and a closer emulation of English Georgian prototypes. High style buildings, inside and out, are symmetrical and ordered with classical proportions, forms, and details.
4. Federal: style maintains the classical forms and details of the Georgian period with more slender proportions, rectangular shaped buildings, and multiple stories.
5. Colonial Revival and the Historic Preservation Movement: preservation of the past begins to merit serious consideration by individuals and private groups (where the money is).

Things you need to remember:
1. Types: Houses are the most common expression of Colonial Revival. Others include exposition buildings, civic buildings, banks, schools, and even gas stations.
2. Site Orientation: Buildings do not replicate the surroundings of the originals. Houses may sit along quiet, tree-lined streets and ever form complete subdivisions.
3. Floor Plans: Plans for public buildings do not replicate similar originals because the originals are more domestic in scale. Instead, public buildings develop from function and contemporary requirements.
4. Materials: Brick, stone, and wood are typical, but new materials such as concrete block and stucco may be feautured. Most common color scheme is a white body with dark green shutters.
5. Facades: both asymmetrical and symmetrical, and combine details from several styles and incorporate one, one and a half, two, or three stories.
6. Windows: Double-hung windows emulate precursors, except in the variety of pane patterns and sizes.
7. Doors: Doorways are a defining feature of the style and most often resemble Georgian or Federal prototypes.
8. Roofs: Common roofs are gable, hipped, or gambrel, and shingles cover them.

WOOHOO….OH MAN HERE WE GO ON TO SOME AMAZING COLONIAL REVIVAL ARCHITECTURE.





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FURNITURE!

Colonial Revival furniture varies from reproductive to adaptations to free interpretations of 17th century Queen Anne, Chippendale, Federal, and American Empire styles. Copying historical pieces is popular and highly revered.
1. Types: Typical types of Colonial Revival furniture include chairs, sofas, tables, cabinets, and beds, most of which emulate many of the earlier precursor examples.
2. Distinctive Features: Colonial Revival furniture is distinguished by its resemblance to earlier styles. However, scale, decoration, woods, and use may vary.
3. Relationships: Antiques are often freely integrated with Colonial Revival and other furniture within room settings. No more lining the walls. Furniture is ARRANGED THROUGHOUT A SPACE TO CREATE COMFORT AND CONVENIENCE.
4. Materials: mahogany, walnut, oak, cherry, and maple; dark stain to resemble aging.
5. Seating: Chairs, settees, and sofas copy, adapt, or freely interpret Queen Anne, Chippendale, Sheraton, Hepplewhite, American Empire, and Regency styles.
6. Tables and Storage: lamp and table ends and coffee tables
7. Beds: Most Colonial-style beds have posts and a broken pediment headboard.

SYMBOLS AND MOTIFS AND DECORATIVE ARTS! O MY!

Motifs: Motifs derive from precedents, but the most historical images may be simplified with less detail. Examples inlude columns, pilasters, pediments, engaged columns, lintels, stringcourses, quoins, urns, acanthus leaves, shells, rosettes, palmettes, and eagles.

Decorative Arts: There are more decorative accessories in Colonial Revival interiors than was common in earlier periods. Rooms often display new items not previously known such as throw pillows and modern art. Antiques and/or reproductions of Colonial metalwork, ceramics, prints, mirrors, and clocks usually mix with new, contemporary examples. Formerly utilitarian objects, such as bed warmers, become decorative objects and are proudly displayed.

Classical Eclecticism

Beaux-Arts, Neo-Renaissance, Chateauesque, and Neoclassical Revival. Yes, Classical Eclecticism is all four rolled up into a bun.

Rejecting High Victorian picturesque irregularity, polychrome, and loose borrowings from and interpretations of the past, Classical Eclecticism seeks to restore order, unity, and restraint to architecture and interiors.

Beaux-Arts: aspires to emulate the classical traditions of ancient Rome, the Italian Renaissance, the Baroque, and 17th/18th century France. Examples are exuberant and highly embellished. Symmetry, five-part facades with central emphasis, rusticated ground stories, smooth upper stories, dramatic rooflines, and grand staircases sum up this movement.

Neo-Renaissance: emulates Italian 16th century palaces and villas. Late structures are larger in scale and more strongly identified with the originals. Characteristics: block forms, rusticated lower stories, arched openings, quoins, and low or flat roofs.

Chateauesque: derives from Richard Morris Hunt who sketches numerous French Chateaux. Vertical and picturesque, the style features asymmetry, smooth stone walls, tower or turrets, pointed openings, tracery, roof dormers, and steeply pitched roofs.

Neoclassical Revival: emulates either Neoclassical prototypes or the Grecian idiom in the spirit of Greek Revival. It is a quieter alternative to the more embellished and baroque Beaux-Arts and Neo-Revival. It shows symmetry, Greek orders, rusticated basements, smooth upper stories, flat roofs, balanced rhythm, and limited ornament.

Now I know this all sounds confusing….But hopefully the below pictures will be a boost into helping you understand the differences.

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Furniture:
1. Furniture is often large in scale, formal, majestic, and carved. Think Brad Pitt. Many public and private rooms feature antique and reproduction furniture that follows French Renaissance, Baroque, Rococo, Neoclassical, Italian Renaissance, and Venetian Baroque.
2. In private rooms, styles in a more human scale, such as Rococo, are fashionable.
3. Suites of furniture are common, although some rooms may mix a variety of styles for a more individual look.
4. Often supplied by decorating firms, furniture in homes of the affluent may be designed specifically for the room it occupies.
5. Decorative techniques include ebonizing, inlay, carving, gilding, and painting.
6. A variety of upholstery fabrics adds color and pattern.
7. Classical Eclecticism shows rise of the antique trade. Antique dealers and art gallery owners often give suggestions to interior decor.

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Motifs and Symbols:
Beaux Arts: swags, acanthus leaves, cartouches, figural and relief sculpture, flowers, cherubs, shells, c and s scrolls, and wreaths.
Neo-Renaissance: egg and dart, bead, and dentil moldings, cartouches, roundels, and classical motifs such as pilasters, lintels and stringcourses.
Chateauesque: tracery, pointed arches, pinnacles, fireplace hood moldings, floral panels, griffins, and gargoyles.
Neoclassical Revival: egg and dart, bead, and dentil moldings, triglyphs and metopes, cartouches, honeysuckles, anthemonions, acanthus leaves, the fret and key, swags, lyres, vases, drapery, and classical figures.

Decorative Arts:
The wealthy display their collections of art of sculpture in special galleries or in important rooms in residences. Large mirrors with lavishly embellished and gilded frames are common. Gigantic floral arrangements highlight the entry hall and drawing rooms. Also elaborate cut glass, porcelain, and silver and brass pieces are displayed.

Romanesque Revival, Richardsonian Romanesque

Romanesque Revival: 1820-1860
Richardsonian Romanesque: 1860-1900

Corbel tables and round arches distinguish buildings in the Romanesque Revival or the Round-arched Style, which originates in Germany in the early 19th century. The Romanesque Revival is a less popular alternative to the Gothic Revival that diminishes by the 1860’s. During the 1870’s, American architect Henry Hobson Richardson creates a personal style that becomes known as the Richardsonian Romanesque.

Design Characteristics:
Romanesque Revival and Richardsonian Romanesque look to the past for inspiration.
-Romanesque Revival: round arches and corbel tables used as stringcourses or to define rooflines. Other characteristics include: smooth walls, round doorways, round windows, gabled facades on churches, deeply recessed doorways with layered colonnettes, and towers. They borrow inspiration from the Italian Romanesque, Early Italian Renaissance, Early Christian and Byzantine eras.
-Richardsonian Revival: rough-faced stone that gives a weighty, massive appearance. Facades usually are asymmetrical with one or more towers and bands or groups of windows.

Remember the numbers below and you can spot the differences between a Romanesque Revival buildings and a Richardsonian Romanesque building.

ROMANESQUE REVIVAL
1. Types: Romanesque Revival characterizes chruches, schools, libraries, museums, hospitals, train stations, courthouses, and city halls.
2. Site Orientation: Public structures usually are located outside of city centers as a part of newly developing suburbs.
3. Floor Plans: serve the function of the building
4. Materials: most often of brick in various colors for economy and ease of construction. Details may be of colored brick.
5. Windows: round arches but a few are rectangular or pointed. Windows may be single or grouped in doubles, triples, or more.
6. Doors: Plain or carved wooden doors, like windows, usually are set within round arches.
7. Roofs: flat or low-pitched gables or cross gables. Domes are rare.

RICHARDSONIAN ROMANESQUE
1. Types: state capitols, offices, courthouses, department stores, warehouses, train stations, libraries, churches, and bridges.
2. Site Orientation: urban settings near city centers or near transportation
3. Floor Plans: new and original openness and fluidity of space. Large public buildings show his assimilation of Beaux-Arts planning concepts of modules or units arranged along main and subsidiary axes and facades developing from the ground plan. Residential homes are asymmetrical and arranged around the stair hall.
4. Materials: load-bearing masonry walls, cast iron, rusticated stone and boulders.
5. Facades: asymmetrical with a horizontal emphasis
6. Windows: round-arched or rectangular or a combo of the two
7. Doors: a large Syrian arch or triple arches often announce the entrance

WOW! That was way too much information to read….NOW PICTURES! YEAH!

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NOW LET’S TAKE A QUICK PEEK AT SOME FURNITURE OF THE TIME: SHALL WE.
1. Romanesque Revival and Ricardsonian Romanesque rooms feature medieval-style furniture.
2. Richardson is one of the few American architects to design furniture.
3. Richardsonian furniture varies in design from a heavy, rugged appearance like the exteriors to a slender from with spindles recalling early vernacular pieces.
4. Designed to suit particular spaces, the furniture repeats the form and elements of the architecture.

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Finally, symbols, motifs, and decorative arts.
Common motifs include round arches, corbel tables, hood moldings, battlements, and rose windows for Romanesque Revival. Round arches, Syrian arches, floral capitals, lozenges, chevrons, and terra-cotta panels of floral ornament identify Richardsonian Romanesque.
Now enjoy some imagery!
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