Academic literature on the topic 'Art nouveau (Architecture)'
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Journal articles on the topic "Art nouveau (Architecture)"
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Krastiņš, Jānis. "Nancy Art Nouveau Architecture." Architecture and Urban Planning 19, no. 1 (January 1, 2023): 66–75. http://dx.doi.org/10.2478/aup-2023-0007.
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Abstract The north-eastern French city of Nancy is one of the centres of Art Nouveau. It has been analysed in detail in many classical reviews Art Nouveau, but mainly in relation to decorative applied art works produced at the Nancy School of Art. The study pays attention also to the Nancy architecture. The architectural and artistic qualities of the iconic Art Nouveau architectural monument Villa L. Majorelle are analysed in detail, and the basic data about works of É. André, H. Gutton, J. Hornecker, L. Weissenburger, and other Nancy architects are systematized, indicating their place both in the cityscape of Nancy and in the historical context of Art Nouveau architecture in general.
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Andreeva, Olga P., Evelina V. Mikhailova, and Svetlana P. Akhmetova. "ART NOUVEAU ARCHITECTURE IN THE MODERN URBAN IMAGE OF CHUVASHIA." Arts education and science 2, no. 35 (2023): 128–35. http://dx.doi.org/10.36871/hon.202302128.
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Art Nouveau architecture attracts the interest of contemporary researchers with its formative natural elements, plastic ornament, decorative lines, and unique options complementing and organically fitting into the modern urban environment. The few buildings in medium and small towns with Art Nouveau features and links to the local architectural traditions, with their unique decorative elements, deserve special attention. This interest is primarily due to the aesthetic perception of architectural space, the study and preservation of modern monuments. Today, many buildings have lost their Art Nouveau decorative elements, and their original appearance has been changed as a result of alterations. The reason for such transformations were historical events that significantly influenced the architectural image of the towns. The analysis of Art Nouveau architecture in the towns of the Chuvash Republic, such as Cheboksary, Alatyr, and Yadrin, reveals the distinctive features of compositional solutions and decorative finishing of buildings, as well as changes in their image. The study relies on the architecture of the mansions of the merchants Yefremov in Cheboksary, the houses of the timber dealer Burashnikov and the merchant Talantsev in Yadrin, and the consumer culture buildings in Alatyr. Based on the study of Art Nouveau architecture, the authors try to show the irreversible changes made to the original appearance of the buildings by some reconstructions, and identify the problem of preserving the architectural heritage of the Art Nouveau style in the cities of the Chuvash Republic.
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Bertels, Inge. "Expressing Local Specificity: The Flemish Renaissance Revival in Belgium and the Antwerp City Architect Pieter Jan Auguste Dens." Architectural History 50 (2007): 149–70. http://dx.doi.org/10.1017/s0066622x00002914.
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While globalizing trends stimulate the creation of entirely new regions, established regional and local identities remain. Architectural historians, among others, explore the ways in which regionalism has been — and continues to be — defined and redefined. Current issues in this debate include what regional architectural traditions might be; whether regions can be defined by architecture; and how regional traditions of architecture have been defined and interpreted by artists, authors and scholars. Nineteenth-century Belgian architecture is particularly relevant in this context. The formation of Belgian Art Nouveau’s style and identity have both been the object of numerous studies, but while Art Nouveau is probably the best-known creation of Belgian nineteenth-century architecture, it is hardly the only one, nor indeed the only interesting one. One of the sources identified for Belgian Art Nouveau has been the milieu of the so-called Flemish Renaissance Revival, which produced such architectural gems as Emile Janlet’s (1839–1919) Belgian pavilion at the World Exhibition in Paris (1878) and Jean Winders’ (1849–1936) own house and studio (1882–83) in Antwerp (Fig. 1).
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Ivashko, Yulia. "APPLICATION OF SYSTEM-STRUCTURAL ANALYSIS METHOD FOR ASSESSMENT OF STYLE LAYERS OF OBJECTS IN HISTORICAL ENVIRONMENT." Current Issues in Research, Conservation and Restoration of Historic Fortifications 16, no. 2022 (2022): 15–22. http://dx.doi.org/10.23939/fortifications2022.16.015.
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One of the main problems of monument protection and restoration is to determine the value of the object of protection, including its stylistic purity. The method of system-structural analysis helps to investigate and substantiate the manifestations of the main features of style at different levels - urban level, object level and level of a single element, and thus argue whether a building is an example of a particular style. The application of the method of system-structural analysis is shown on the example of objects of Ukraine in the Art Nouveau style. It was determined in the thesis the group of factors and conditions, which predominated the beginning and spreading of a cultural phenomena of Art-Nouveau style architecture in Ukraine. The investigation of street-line architecture in the Ukrainian cities with historical Art-Nouveau style buildings concentration allowed to ground the influence of Art-Nouveau style on the formation of squares and habitats architectural ensembles, individual buildings and their facades details. At the base of methodology of the systematic-structural analyze there were investigated for the first time the semantic properties of the architectural forms of Art-Nouveau style buildings in Ukraine. Also there were investigated the regional peculiarities of the typical composition methods of dwelling, public and industrial buildings creation in concentrating the attention on their facades that in this case mostly express the main characteristic of Art-Nouveau style. In the base of comparatively study of the Ukrainian Art-Nouveau style architecture with West-European and Russian examples there were determined the borders of two main architectural Art-Nouveau streams in Ukraine. Within these two main streams it can be found several basic and local centers of Art-Nouveau style in Ukraine that poses their individual features and specific of formation.
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Krastins, Janis. "Architecture of Charles Carr in Liepāja." Landscape architecture and art 15 (March 23, 2020): 31–37. http://dx.doi.org/10.22616/j.landarchart.2019.15.03.
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Contribution of civil engineer Charles Carr to the development of Liepāja's Art Nouveau architecture is analysed in the article. Art Nouveau in Liepāja is one of the greatest values of architectural heritage of the city. Buildings of this style determine the cityscape in many places, but data on Liepāja's Art Nouveau architects until recent past were extremely sparse. Ch. Carr was known only as the author of the design of the building at Graudu iela 45. Two more his designs, including the one for the building at Graudu iela 44, were found during research. Analysis of planning principles, methods of artistic composition and architectural detailing of these works allowed identifying several other notable Liepāja Art Nouveau buildings as possible creations of Ch. Carr and to determine the place of this personality in the history of Latvian culture.
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Krastiņš, Jānis. "Less Known Art Nouveau: Orleans, Dunkirk, Lille." Architecture and Urban Planning 19, no. 1 (January 1, 2023): 38–43. http://dx.doi.org/10.2478/aup-2023-0004.
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Abstract Art Nouveau architecture during the last century experienced drastic change of attitude – from complete denial to glorification. However, many publications still repeat the same stereotypes of style assessment, focusing on the decorative layer as the seemingly main feature of style. Some significant values of Art Nouveau heritage are still only partially or incompletely recognized. In this paper, several less known examples of Art Nouveau heritage in France, in particular, in the cities of Orléans, Dunkirk and Lille are analysed. The architectural-artistic qualities of these buildings are revealed in the context of both French and wider cultural heritage. Art Nouveau, having been the origin and basis of the entire stylistic system of modern architecture, completely meets the principles of contemporary Baukultur ideas.
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VOSTRIKOV, V. N. "TYPOLOGY OF CHARACTER IN THE ARCHITECTURE OF ART NOUVEAU IN SAMARA." Urban construction and architecture 2, no. 2 (June 15, 2012): 6–9. http://dx.doi.org/10.17673/vestnik.2012.02.1.
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This article discusses issues related to architecture and semantics as its Crandalls part. One of the most important aspects of the work of architectural Art Nouveau decor, who was the conductor of cultural meanings and, more than any other art form. Samara modern architectural decoration not only analyzes the phenomenon of architecture and fine arts, but also as a specific cultural text - in all its ambiguity and the associative capacity, contradictory and multidimensional cultural and historical context of the era. Russian Samara Art Nouveau architecture in this work is understood not only as a part of the history of architecture, but also as a form of art that is open to dialogue with others of its species.
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Nasir, Osama, Waqas Akhtar, Mohd Faiz Iqbal, and Mohammad Arif Kamal. "Analyzing the Architecture of Antonio Gaudí with Reference to Art Nouveau Style: An Inspiration from Nature." Architecture Engineering and Science 3, no. 4 (December 30, 2022): 309. http://dx.doi.org/10.32629/aes.v3i4.1100.
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Art Nouveau was a global movement that began in the early 1890s and combined two of the most powerful elements in the world: art and nature. Although these two have been associated from the beginning of time, Art Nouveau's significance and impact are far above any earlier attempts. Worldwide, artwork, sculpture, architecture, pottery, and furniture all exhibited this new style. Although there were many supporters and benefactors of Art Nouveau, only a select handful achieved the recognition and distinction of Antoni Gaudí. Sustainability and bio-education have been the hottest topics in the globe today. Hence, providing everyone with a search box for a solution. Let's take a look at the natural world around us, which is a never-ending source of lessons in effectiveness and a never-ending source of architectural inspiration. Moreover, what we actually need is learning, not just inspiration, which comes in second. As a result, and particularly for us as architects, it is within our power and duty to address sustainability in this plot — the architecture — with which we have been entrusted. The paper explores Antonio Gaudí’s philosophies and works, the effectiveness, the bio-learning, the self-sufficiency of nature, and other specific lessons that can be extracted from nature in order to be applied to architecture and to human life itself in order to help understand these inspirations from nature. The masterpieces by Gaudí reveal what made him special: his faultless exploitation of nature, extremely religiously inspired design, and unheard-of modernism. This combination not only helped Gaudí become famous around the world, but it also helped Art Nouveau become one of the most significant trends in art and architectural history.
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Lochhead, Ian. "The Style of the 1890s: Art Nouveau design in New Zealand Architecture." Architectural History Aotearoa 4 (October 31, 2007): 34–39. http://dx.doi.org/10.26686/aha.v4i0.6738.
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The influence of Art Nouveau on New Zealand architecture has generally been considered to be negligible but its impact was nevertheless significant during the period from 1890 to the outbreak of the First World War. Across a wide range of building types, from large scale public buildings to modest houses, Art Nouveau-inspired door pulls, dados, embossed ceilings, leaded glass and tiles abound. This paper explores the largely hidden presence of Art Nouveau in New Zealand architecture of this period and considers the reasons why buildings that otherwise have little connection with the style incorporate features that are often strikingly disparate in aesthetic terms. Is this because New Zealand architects and builders simply did not understand the aesthetic implications of their actions? Was it a consequence of remoteness from centres of architectural innovation or the result of purchasing items, magpie-like, from architectural catalogues? Or was it, indeed, the result of a desire to achieve an aura of "instant sophistication"?
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Roura-Burbano, Alexandra, and Paúl Ochoa-Arias. "INFLUENCIAS DE ESTILOS ARQUITECTÓNICOS EN EL CENTRO HISTÓRICO DE CUENCA." Universidad-Verdad, no. 64 (August 15, 2014): 99–118. http://dx.doi.org/10.33324/uv.vi64.256.
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En el presente artículo se describe la influencia que ha recibido la arquitectura cuencana desde los diferentes estilos foráneos como: el Neoclásico Francés, el Art Nouveau, el Art Déco, el Racionalismo y otros, los mismos que se evidencian con notoriedad en algunas de las edificaciones del centro histórico de la ciudad.
Palabras Clave: Centro histórico Cuenca, arquitectura, patrimonio edificado, Neoclásico Francés, Art Nouveau, Art Déco.
AbstractThe present article describes the influence that Cuenca’s architecture has received from different foreign styles such as: French neoclassical, Art Nouveau, Art Deco, Rationalism, and others, which are strongly evident in some of the buildings in the Historic Center of the city.
Keywords: Historic Centre of Cuenca, architecture, building heritage, French neoclassical, Art Nouveau, Art Deco.
Dissertations / Theses on the topic "Art nouveau (Architecture)"
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Lotz, Felix. "A conversation between Art Nouveau and Digital design." Thesis, KTH, Arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-193091.
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The study contrasts the architecture of the Art Nouveau period 1880-1915 with contemporary curvilinear computational designs created 1980-2015. This is done by examining similarities and differences in design context, methods, philosophy and forms. The study includes an analysis of the curved lines used in Art Nouveau architecture as well as comparative study of the two periods’ building compositions, façades and ornamentation. The thesis tries to answer the following questions: Is it possible to identify significant forms or geometric markers in the Art Nouveau architecture of the period 1890 to 1920? How do such markers differ from post 1980 computational curvilinear architecture? Is it possible to reinterpret Art Nouveau architecture today in a relevant way?Denna studien kontrasterar Art Nouveau/ Jugendstil perioden 1880-1920 med dagens datorstödda design diskurs med fokus på den böjda linjen. Studien undersöker skillnader och likheter i kontext, metod, filosofi och form mellan de båda perioderna. Studien inkluderar en analys av den kurvatur som används inom Art Nouveau / Jugendstil och undersöker vidare byggnadskomposition, fasader och ornament i de båda tidsperioderna. Studien försöker besvara följande frågor: Fins det några signifikanta former eller geometrier i Art Nouveau / Jugendstil arkitekturen och hur skiljer dessa sig från dagens datorstödda arkitektur, Går det att på ett relevant sätt använda delar av Art Nouveau / Jugendstil arkitekturen och dess diskurrs på ett idag relevant sätt.
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Doucet, Hervé. "Art nouveau et régionalisme : Emile André (1871-1933), architecte et artiste." Versailles-St Quentin en Yvelines, 2004. http://www.theses.fr/2004VERS009S.
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Emile André (1871-1933) est l'un des architectes art nouveau les plus dynamiques de Nancy. Après avoir été initié à l'arthitecture par son père, Charles André, il compléta sa formation à l'Ecole des Beaux-Arts de Paris (atelier de Victor Laloux), puis entreprit plusieurs voyages qui le menèrent jusqu'en Perse et qui furent à l'origine de sa passion pour les arts musulmans. En 1900, il s'installa dans sa ville natale en tant qu'architecte décorateur et fut l'un des membres fondateurs de l'alliance provinciale des industries d'art (Ecole de Nancy) dirigée par Emile Gallé. Tout en s'inscrivant dans le mouvement lorrain, ses premières oeuvres, qu'elles soient architecturales ou d'art décoratif, furent souvent influencées par des créations européennes contemporaines - allemandes et belges notamment - que la presse artistique diffusait largement. Rapidement, il délaissa l'art nouveau pour une esthétique régionaliste à laquelle il resta fidèle tout au long de sa carrière. Loin de se contenter de concevoir de luxueuses villas pour de riches nancéiens, et à l'instar d'autres grands architectes européens de l'art nouveau, il s'intéressa au logement social. Il conçut plusieurs types de maisons ouvrières que lui commandaient les grandes industries lorraines. Il se consacra également à la reconstruction de nombreux village lorrains dévastés lors de la Première guerre mondiale. Les travaux qu'il entreprit alors montrent son souci de concilier allure traditionnelle des fermes lorraines, nouvelles techniques de construction et règles d'hygiène modernes. Sa carrière, qui se caractérise par une succession d'associations avec divers architectes (Henry-Barthélémy Gutton, Paul Charbonnier, Gaston Meunier, Henri Dufour, Jean Walter), illustre parfaitement l'évolution du métier d'architecte au cours des trente premières années du XXe siècle : de l'architecte-artiste créant des oeuvres uniques, il sut devenir en quelques années un architecte produisant des plans destinés à des constructions en sérieEmile André (1791-1933) is one of the most dynamic art nouveau architects of Nancy. He was initiated to architecture by his father, Charles André, and completed his studies at the Ecole des Beaux-Arts of Paris (in Victor Laloux's workshop). He undertook several trips that lead him as for as Persia and which sparked in him a passion for the Muslim art. In 1900, he settled down in his home town of Nancy as an architect and interior designer and was one of the founding members of the Alliance provinciale des inustries d'art (the Nancy school) headed by Emile Gallé. While firmly rooted in the trend of his native region, the Lorraine, his early architectural and decorative works were often influenced by the contemporary creation, in particular the German and Belgian one, which was largely spread across the borders by the artistic press. He, then, rapidly turned to a more regional aesthetic and was to remain faithful to it for the rest of his career. Far from limiting himself to the cocetption of luxurious villas for wealthy Nancy families, and contrary to prominent art nouveau architects, he designed several types of Workers'house units commissioned by the region's main industrial companies. He also devoted himself to the reconstruction of numerous villages in Lorraine that had been destroyed during World War I. His projects shows a concern for combining the traditional architectural features of Lorraine farmhouses with new construction techniques and modern hygiene standards. His career is characterised by a succession of collaboration with other architects (Henry-Barthélémy Gutton, Paul Charbonnier, Gaston Meunier, Henri Dufour, Jean Walter) and epitomizes the evolution of the profession during the first thirty years of the twentieth century. Indeed, there is a shift from the architect as an artist creating unique pieces of architecture to the architect producing plan for serialised projects
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Ney, Jason B. "Transculturalism in Emile Galle's art nouveau Ecole De Nancy and contemporary landscape architecture." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191714.
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This study looks at the degree to which Emile Galle's theories of symbolic ornamentation are observed in contemporary landscape architecture design. Galle's theories consist of three components: the first relates to the functional aspects of design, and the last two relate to the aesthetic aspects. These three components are used to evaluate three case studies. In the case studies, Bicentennial Commons in Cincinnati and Canal Walk in Indianapolis show a partial though apparent utilization of Galle's theories, while Riverwalk in Milwaukee comes closest of the three to demonstrating the application of Galle's theories in Landscape Architecture. However, none fully exhibit Galle's theories. Nonetheless, the case studies, and in particular Riverwalk, exhibit the initial stages of a renewed interest in ornamentation in which culture is symbolically represented through nature. Landscape Architects, more than ever, are being called upon to embody the meaning of the land through a cultural synthesis in an expression of past/present and man/nature.Department of Landscape Architecture
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Dieudonné, Patrick. "L'architecture du "Nouveau Nancy" : l'ornementation des façades des immeubles d'habitation (1900-1914)." Brest, 1994. http://www.theses.fr/1994BRES0003.
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Dotte, Isabelle. "Architectures balnéaires à Arcachon. Du néo classicisme aux prémices de l'art nouveau." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1034/document.
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Par tradition, les habitants de La Teste se baignaient depuis bien longtemps sur la plage d’Arcachon, où, dès le début du XIXe siècle, une cabane de résinier fut louée à des « estrangers » ayant osé s’aventurer sur ces rives inconnues. Il fallut attendre les années 1820 pour que les premiers hébergements liés aux bains de mer soient mis en place. Leurs constructions répondaient aux codes néo-classiques, conformes aux pratiques architecturales de l’époque. Les premiers « chalets », influencés par ce style, surent, néanmoins apporter quelques particularités. Mais ce ne fut qu’avec l’invention de la Ville d’Hiver, quartier de cure édifié à partir de 1863, pour accueillir des malades atteints de tuberculose, que la variété architecturale fut consacrée. Chalets suisses, castelets, formes éclectiques, prirent place au milieu des pins, dans les dunes, offrant à la récente commune d’Arcachon (1857), une nouvelle dimension médicale, et un élan architectural au goût du jour. Le style pittoresque obtint, là, un succès à la mesure de celui qu’il eut sur toutes les plages de l’Atlantique et de la Manche, envahissant progressivement toute la ville. Jusqu’à l’apparition des formes régionales – néo-landaise, néo-basque-, à partir de 1920, il fut le style employé dans toutes les réalisations des nouveaux quartiers, de la ville d’automne ou de printemps, et du Moulleau, démontrant ainsi sa parfaite adaptation au milieuTraditionally, the inhabitants of La Teste used to bathe on the beach of Arcachon. As early as the beginning of the 19th century, a wooden hut was rented out to foreigners who dared to visit this unknown shore of the bay. The first accommodations in relation with sea bathing appeared not before the 1820 s’. These buildings reflected the neoclassical features, according to the architectural standards of the time. Most of the first 'chalets' were built in the same style, some of them showing some additional details. An architectural diversity was really settled in 1863 with the creation of the Winter Town, a medical district designed to cure tuberculosis. 'Swiss chalets', cottages and other eclectic constructions erected among the pines on the sand dunes gave to the recent town of Arcachon (1857) a new medical dimension and a modern architectural development. As anywhere else along the western shores of France, the picturesque style was so successful as to invade every part of the town. Till local styles - néo-landais, néo-basque- appeared in the1920 s, it was the only one used in the buildings of the new districts in the autumn and spring towns, as well as in Moulleau. Which can mean it was the best answer at this time, in terms of seaside architecture
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Tharaud, Marie-Amélie. "L’Art nouveau dans les arts décoratifs et l’architecture à l’Exposition universelle de 1900." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP036.
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L’Exposition universelle de 1900 à Paris a constitué pour les acteurs du mouvement Art nouveau une rencontre unique par son envergure internationale. Si cet événement a longtemps été déconsidéré, il représente pourtant pour l’Art nouveau – appréhendé dans son acception internationale – un moment de confrontation et l’occasion, pour certains pays, de mettre en valeur leur modernité stylistique. La première partie de la thèse s’attache à comprendre les raisons de la présence de l’Art nouveau à l’Exposition, et donne une vision d’ensemble des édifices et objets d’art se rattachant au mouvement. Elle examine ainsi les enjeux artistiques, mais aussi politiques et commerciaux, que porte l’Art nouveau pour les pays participants. La seconde partie traite de la réception critique du mouvement par ses contemporains, en observant leurs réactions, diverses sinon opposées, selon les artistes et les nationalités représentées. En effet, par son caractère tantôt cosmopolite, tantôt nationaliste, l’Art nouveau est alors loin d’être perçu comme un mouvement homogène et l’Exposition suscite un ensemble de polémiques qui contribuent autant à le définir qu’à le discréditer. Enfin, la troisième partie étudie les conséquences à plus long terme de l’Exposition : en analysant les répercussions pour les artistes, l’entrée de l’Art nouveau dans les musées européens, les expositions suivantes, et les prolongements du débat artistique, elle cherche à évaluer la place de l’Exposition universelle dans l’histoire de l’Art nouveau. Un volume d’annexes réunit des plans et des vues générales de l’Exposition universelle, ainsi qu’un catalogue iconographique de plus de 800 numéros, illustrant l’Art nouveau présenté à l’Exposition dans les arts décoratifs et l’architectureThe 1900 Paris World’s Fair represented, for the artists of the Art Nouveau movement, an encounter unique by its international audience. Though this event was overlooked for a long time, it was nevertheless a moment of confrontation and the occasion, for some countries, to showcase their stylistic modernity. The first part of the dissertation endeavours to understand the reasons of the Art Nouveau presence at the Fair and gives an overview of the buildings and the decorative art objects which can be linked to this style. It examines the artistic, but also political and commercial stakes of Art Nouveau for each country. The second part examines the critical reception of Art Nouveau by its contemporaries, observing their diverse or even antagonistic reactions, according to the artists or the nationalities. Indeed, alternately cosmopolitan and nationalist, Art Nouveau was then far from being perceived as a homogeneous movement, and the Fair sparked a series of debates that contributed as much to define it as to discredit it. Finally, the third part studies the long-term consequences of the Fair: by analyzing the repercussions on the artists’ careers, the admission of Art Nouveau in European museums, the following exhibitions and the continued artistic debate, this part aims at assessing the place of the Fair in the history of Art Nouveau. A volume of annexes gathers maps and general views of the Fair, along with a catalogue of more than 800 entries, illustrating the Art nouveau works exhibited in decorative arts and architecture
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Ribeiro, Ana Carolina Carmona. "Reconstrução da história e projeto moderno em Flávio Motta." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-12122010-174750/.
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O presente trabalho tem como objeto a investigação da operação de reconstrução da história da arte e arquitetura no Brasil, por meio do trabalho crítico e historiográfico de Flávio Lichtenfels Motta na década de 1950. Partindo da operação de tradicionalização do presente, tal como formulada por Mário de Andrade (1893-1945) ainda na década de 1920, iremos analisar os textos 400 anos de pré-história das artes (1954), São Paulo e o art nouveau (1953), Contribuição ao estudo do art nouveau no Brasil (1957) e Introduzione al Brasile (1960) apontando como neles se delineia a revisão histórico-crítica proposta por Motta e quais os seus fundamentos. A leitura de Motta diferenciando-se do que nas últimas décadas tem-se chamado de trama dominante da historiografia da arquitetura moderna brasileira, chave interpretativa que constrói uma ligação indissolúvel e naturalizada entre o barroco-colonial e as primeiras manifestações do moderno tem como ponto de partida as insuficiências e limitações do desenvolvimento cultural brasileiro. Chamando a atenção para novos períodos históricos (como a Primeira República) e regiões do país (São Paulo, por exemplo), o autor irá de certa forma atualizar as preocupações de Mário de Andrade, em relação ao significado da tradição e a importância da produção coletiva e sistemática, e em relação às ligações entre arte, trabalho, técnica e indústria. Refletirá criticamente sobre o movimento moderno brasileiro, com a identificação de diferentes tendências e a busca de novos fundamentos para a produção arquitetônica, assim como uma valorização pioneira da obra de Vilanova Artigas. O estudo da revisão histórico-crítica, assim, traz à tona um elo importante da história intelectual de São Paulo, contribuindo para que, hoje, possamos caminhar em direção a um entendimento mais problematizado da arquitetura moderna brasileira, em suas disjuntivas, contradições e possibilidades.The present work intends to investigate the activity of reconstruction of the history of art and architecture in Brazil, by means of Flávio Lichtenfels Mottas critical and historiographical work in the years of 1950. Beginning with the operation of traditionalization of the present, as conceived by Mário de Andrade (1893-1945) in the 1920s, we will analyze the articles 400 anos de pré-história das artes (1954), São Paulo e o art nouveau (1953), Contribuição ao estudo do art nouveau no Brasil (1957) e Introduzione al Brasile (1960) indicating how in such texts the historical-critical revision proposed by Motta is laid out and what are its fundamentals. Mottas critical perspective differentiating itself from what in recent decades has been called the dominating trend in historiography of brazilian modern architecture, which builds an indissociable and naturalized connection between colonial baroque and the initial manifestations of the modern has as a starting point the shortcomings and limitations of brazilian cultural development. Bringing focus to new historical periods (as the First Republic) and regions of the country (São Paulo, for instance), the author will update Mario de Andrades concerns, in terms of the meaning of tradition and the importance of systematical and collective production, and in terms of the connections between art, work, technique and industry. In an effort of critical reflection regarding Brazils modern movement, the author will identify diverse tendencies and search for new fundamentals for the production of architecture, and also establish a pioneering re-apprehension of the work of Vilanova Artigas. The study of historical-critical revision, in that way, brings to perspective an important link of São Paulos intellectual history, contributing to a more complex understanding of modern brazilian architecture, in its distinct components, contradictions and possibilities.
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Delorme, Franck. "Édouard Bauhain et Raymond Barbaud, parcours croisés de deux architectes, de la Belle Époque à l’Entre-deux-guerres." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1043/document.
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A Paris, en 1895, deux architectes, Raymond Barbaud et Édouard Bauhain s’associaient. Après une activité commune qui dura jusque vers 1910, ils se séparèrent et poursuivirent chacun de leur côté une tout aussi riche activité jusqu’à la fin des années 1920. En suivant les parcours croisés de ces deux architectes, c’est un double portrait qui est dressé, des origines provinciales, en passant par la formation et les débuts professionnels, les engagements, les carrières communes et individuelles.L’activité de Raymond Barbaud et Édouard Bauhain a pris place dans un contexte géographique double voire triple, avec des œuvres parisiennes, charentaises et bordelaises, pour l’essentiel issues de commandes passées par une clientèle constituée de bourgeois parisiens, ou notables ruraux, d’industriels ou de professions libérales, et structurée par des réseaux économiques, politiques ou culturels. Majoritairement constituée d’édifices privés, la production architecturale de Barbaud et Bauhain comprend aussi bien des typologies traditionnelles que des innovations programmatiques. Ils y font la démonstration de leur maîtrise des modèles historiques autant que de leur connaissance de la production contemporaine.L’œuvre de Barbaud et Bauhain révèle toute la richesse de la palette entre matérialité et esthétique. N’écartant pas les aspects constructifs, entre techniques éprouvées et nouveaux systèmes, ils recherchèrent en permanence l’expression esthétique propre à satisfaire le caractère de chaque programme. La décoration intérieure est traitée selon l’éclectisme stylistique domestique propre à la période, tout en incluant les dispositifs du confort moderne. Enfin, leur collaboration avec les sculpteurs se révèle exemplaire tant dans l’ornementation que dans la statuaireIn Paris, in 1895, two architects, Raymond Barbaud and Edouard Bauhain became partnered. After a joint activity until around 1910, they separated and each one pursued a rich activity until the late 1920s. Through the crossed paths of these two architects, a double portrait is taking shape, from their provincial origins, to their common and individual careers, passing by their training, their professional debut and their commitments. The activity of Raymond Barbaud and Edouard Bauhain took place in a double or even a triple geographic context, with works in Paris, in the Charente county and in Bordeaux, mostly for a clientele of Parisian bourgeois, rural notables, industrialists or independent workers, a clientele structured by economic, political or cultural networks. Mostly constituted of private buildings, the architectural production of Barbaud and Bauhain includes both traditional typologies and programmatic innovations. The architects demonstrate their mastery of historical models as well as their knowledge of contemporary production. The work of Barbaud and Bauhain reveals a rich architectural palette between materiality and aesthetics. Not neglecting the constructive aspects, between tried and tested techniques and new systems, they constantly sought the aesthetic expression able to satisfy the character of each program. The interior decoration is treated according to the domestic stylistic eclecticism typical of the period, while including the features of modern comfort. Finally, their collaboration with the sculptors is exemplary in the field of ornamentation and of statuary
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Boukobza, Céline. "Le bestiaire dans l'architecture du "modernismo" à Barcelone : commande, symbolique, évolution." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10012.
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Cette thèse porte sur le Modernismo à Barcelone entre 1880 et 1929. Devant l’urbanisation frénétique, les demeures recréent des paradis pré-industrialisés, forêts sauvages d’artisanats reproduits en série et de matériaux précieux, de canards rappelant la vie des champs, de dragons-fleurs et de fées-papillons conduisant vers un ailleurs plus exotique. Pourtant l’œuvre des architectes est intimement liée à l’histoire de leur ville et doit être mise en relation avec les rêves et les transformations que vit la capitale catalane. La responsabilité de l’architecte dépassant le cadre artistique, l’homme devient un protecteur du peuple impliqué dans une aventure sociale et politique. Cosmopolite, ouverte au dynamisme constructif, à la culture, à l’anarchisme, Barcelone réclame l’autonomie administrative convenant désormais à sa position de métropole européenne mais craint aussi de perdre sa propre conscience. Le dragon, le phénix et la chauve-souris sont les signes de cette identité catalane
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Benchabo-Benlolo, Bida-Guila. "Inventaire des synagogues et objets de culte de Casablanca : les vestiges d'un patrimoine en sursis." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCF017.
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Cette thèse établit l'inventaire exhaustif des synagogues de Casablanca en service, celles qui sont fermées ou encore celles disparues et dont on n'a plus de traces, ainsi que celui des objets rituels qu'elles renferment. L'implantation de ces lieux de culte constitue également une source d'informations sur la communauté juive Casablancaise et sur la mobilité de sa population entre 1911 et 2013. Casablanca, musée à ciel ouvert, a été influencée par des courants artistiques importés par l'Occident, tels que le Bauhaus, le style Art Nouveau, l'Art déco, des éléments gothiques ... associés à l'influence locale, aux courants internes au Maroc et à l'architecture coloniale. Adoptés par les familles juives de Casablanca, ces courants architecturaux vont finalement être appliqués à l'archtecture des synagogues, à leur mobilier et aux objets de culteThis thesis is an exhaustive inventory of Casablanca synagogues (based on, closed or missing) and ritual objects they contain. The etablishment of these places of worship provide also information on the jewish community of this city as well as the mobility of its population between 1911 and 2013. Casablanca, open-air museum, was influenced by artistic currents imported by colonization, such as the bauhaus, Art nouveau style, Art Déco, gothics elements ... mixed with local influence and architecture imported from the other cities of Morocco, as well as colonial architecture. Those architectural movements will penetrate private houses including jewish families of Casablanca to finally get into the synagogues and influence their architecture, furniture and liturgical objects
Books on the topic "Art nouveau (Architecture)"
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Philippe, Thiébaut, and Girveau Bruno, eds. Art nouveau architecture. New York: Universe, 2000.
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1949-, Russell Frank, ed. Art nouveau architecture. New York: Arch Cape Press, 1986.
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Zoltán, Bagyinszki, ed. Hungarian art nouveau architecture. Budapest: Corvina, 2011.
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Culot, Maurice. Bruxelles: art nouveau. Bruxelles: Archives d'architecture moderne, 2005.
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Quesnel, Anne-Lise. Bruxelles. Art nouveau art déco. Bruxelles: 180° éditions, 2013.
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Bassalo, Célia Coelho. Art Nouveau em Belém =: Art Nouveau in Belém. [Brasília, Brazil]: Monumenta, IPHAN, Ministério da Cultura, 2008.
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Piñeiro, Rodolfo Ucha. Rodolfo Ucha's art nouveau architecture. Ferrol: Concello de Ferrol, 2014.
Find full textBook chapters on the topic "Art nouveau (Architecture)"
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Zámbó, Lilla. "Heritagisation of Art Nouveau Urban Architecture." In Urban Heritage in Europe, 70–100. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003346999-6.
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"Art Nouveau." In The Visual Dictionary of Architecture, 48. AVA Publishing SA Bloomsbury Publishing Plc, 2008. http://dx.doi.org/10.5040/9781350096462.0035.
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"Art Nouveau." In The Visual Dictionary of Interior Architecture and Design, 28. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. English Language Support Office, 2009. http://dx.doi.org/10.5040/9781350088719.0015.
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Carlos, Filipe Serra. "Desafios da Divulgação do Património Arte Nova em Portugal." In Discursos Expositivos: Como, Porquê, Para Quem? Interseções: Rumos e Visões do Património Cultural, 168–91. Universidade do Porto. Faculdade de Letras(FLUP). Departamento de Ciências e Técnicas do Património (DCTP) /Doutoramento em Estudos do Património (DEP), 2020. http://dx.doi.org/10.21747/9789898969682/seminariosv1a8.
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As soon as it was replaced by new architecture practice and decoration design taste, Art Nouveau fell into the limbo of past fashions, becoming so depreciated that many works of art were destroyed. Like the international movement that rescued Art Nouveau, in Portugal its reappreciation begun with the first Art History studies made since the 50’s and became stronger after the listing of Art Nouveau buildings started in the 70’s. Since, Art Nouveau has come a long way that allowed it to escape the academic and official institutes instances and that gave this heritage the opportunity to become known by a wider public. In this chapter, we aim to portray how diffusion and promotion of Art Nouveau related heritage has been done. Listing the initiatives that have been implemented as well as which entities were decisive in those processes are among this portrayal’s main aspects. The relevance of knowing this evolution lies on the contribution it brings to the comprehension of how Art Nouveau is appreciated in Portugal nowadays by both responsible entities and society. It also allows identifying some lingering misconceptions about Art Nouveau, thus underlining the importance of its promotion and, also, of improving the Art Nouveau knowledge.
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Carlos, Filipe Serra. "Desafios da Divulgação do Património Arte Nova em Portugal." In Discursos Expositivos: Como, Porquê, Para Quem? Interseções: Rumos e Visões do Património Cultural, 168–91. Universidade do Porto. Faculdade de Letras(FLUP). Departamento de Ciências e Técnicas do Património (DCTP) /Doutoramento em Estudos do Património (DEP), 2020. http://dx.doi.org/10.21747/9789898969682/seminariosv1a8.
Full textAbstract:
As soon as it was replaced by new architecture practice and decoration design taste, Art Nouveau fell into the limbo of past fashions, becoming so depreciated that many works of art were destroyed. Like the international movement that rescued Art Nouveau, in Portugal its reappreciation begun with the first Art History studies made since the 50’s and became stronger after the listing of Art Nouveau buildings started in the 70’s. Since, Art Nouveau has come a long way that allowed it to escape the academic and official institutes instances and that gave this heritage the opportunity to become known by a wider public. In this chapter, we aim to portray how diffusion and promotion of Art Nouveau related heritage has been done. Listing the initiatives that have been implemented as well as which entities were decisive in those processes are among this portrayal’s main aspects. The relevance of knowing this evolution lies on the contribution it brings to the comprehension of how Art Nouveau is appreciated in Portugal nowadays by both responsible entities and society. It also allows identifying some lingering misconceptions about Art Nouveau, thus underlining the importance of its promotion and, also, of improving the Art Nouveau knowledge.
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"7. From Art Nouveau to Purism: Le Corbusier and Painting." In "Le Corbusier Before Le Corbusier: Applied Arts, Architecture, Painting, and Photography, 1907–1922". Bard Graduate Center, 2002. http://dx.doi.org/10.37862/aaeportal.00301.8.
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"1906. Julián García Núñez’s Hospital Español defines a characteristic search for a new language: Secession/Art Nouveau." In Modern Architecture in Latin America, 14–17. University of Texas Press, 2015. http://dx.doi.org/10.7560/758650-006.
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Kostof, Spiro, Greg Castillo, and Richard Tobias. "Designing The Fin-De-Siecle." In The History of Architecture: Settings and Rituals, 745–61. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195083781.003.0032.
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Abstract A hundred years ago, during the previous fin-de-siecle, an anxious search was under way in the world of architecture. It was time to clean the slate of all historicist affects and to articulate a modern idiom befitting its own time. The Modern Movement, as we saw, had a mixed parentage-Art Nouveau and the early work of Frank Lloyd Wright and the landscape of industry-but a common aspiration. It staged a spirited fight and became established in a relatively short span, trampling the past, or so it believed, and coming to seem inevitable.
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Verderame, Nicola. "Tra Hayrat e Art Nouveau Su alcuni progetti di fontane hamidiane di Raimondo D'Aronco." In Riflessi e ombre nel Mar Bianco Scambi e interazioni tra Europa, Impero ottomano e Turchia. Venice: Fondazione Università Ca’ Foscari, 2024. http://dx.doi.org/10.30687/978-88-6969-794-4/012.
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In more than fifteen years (1893‑1909) spent in the Ottoman Empire working as an architect for the court and elites of Istanbul, the Italian architect Raimondo D’Aronco built an important amount of public works and religious buildings. Due to the abundance of archival sources, D’Aronco’s Istanbul years are relatively well‑known. However, some preliminary studies for water fountains, mostly never built, have not been examined in depth. This essay highlights how D’Aronco’s sketches for water fountains reveal an original attempt at combining elements of the Ottoman Baroque with the latest visual trends of Art Nouveau, in the context of an expression of public architecture that aimed at extolling the pious deeds (hayrat) promoted by Sultan Abdülhamid II.
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"BAROQUE TO ART NOUVEAU." In Architectural Styles, 110–67. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv13vdhr2.6.
Full textConference papers on the topic "Art nouveau (Architecture)"
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Baeva, Olga. "Northern Art Nouveau in the Residential Architecture of Nakhichevan-on-Don." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.98.
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Копылова, М. А., and И. В. Антипов. "THE MOTIFES OF NORTHERN ART NOUVEAU IN THE PROJECTS AND BUILDINGS OF M. A. MAMOSHIN." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.67.
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Вопрос использования мотивов северного модерна в современной архитектуре СанктПетербурга полномерно не освещался в научной литературе. В статье на примере построек и проектов М. А. Мамошина в историческом центре города анализируется творческий метод, демонстрируются основные подходы архитектора к мотивам северного модерна. Автор приводит ключевые причины обращения к этому стилю в творчестве архитектора, которое рассматривается в контексте архитектуры города сквозь призму постструктуралистской теории текста Ж. Женетта. The article analyzes the creative method, demonstrating the main approaches of the architect M. A. Mamoshin to the motifs of northern modernism using the example of buildings and projects in the historical center of the city. The author finds out the reasons for turning to this style in the architect’s work, which is considered in the context of city architecture through the prism of the post-structuralist theory of the text by J. Genette.
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Chekmarev, Vladimir. "Dacha of the Merchant K.P. Golovkin — Bright Sample of Samara Art Nouveaux." In The 2nd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200923.006.
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Porumb, Andra-Teodora, Adina Săcara Oniţa, and Ciprian-Beniamin Benea. "Art Nouveau Style as a Discursive Strategy for Tourism Promotion. The Case of the City of Oradea." In 7th International Scientific Conference ITEMA Recent Advances in Information Technology, Tourism, Economics, Management and Agriculture. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2023. http://dx.doi.org/10.31410/itema.2023.127.
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The paper analyzes how the Art Nouveau style has become a primary element of tourism promotion and the brand of the City of Oradea, a city with a rich history and cultural tradition located on the western border of Romania, as well as the importance it occupies in building the image of this tourist destination and the city’s identity. With a unique architectural heritage, the city of Oradea has become the most important Art Nouveau city in Eastern Europe, currently competing with famous cities such as Nancy, Barcelona, Brussels, and Vienna and aspires to the status of a predilection destination, to become a place tourists dream of. The speech that outlines the image of this destination is impregnated with marks of subjectivity; it appeals to elements of history, tradition, culture and music, creating bridges between people and building an effective relationship with potential tourists.
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Ni, Xin. "Research on Inheritance and Development Path of Architectural Form in Style of Art Nouveau Movement in Harbin." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.189.
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Cova Morillo, Miguel Angel De la. "Des-montaje de la maqueta de la propuesta para el Palacio de los Soviets de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.725.
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Resumen: Desde las páginas de L'Esprit Nouveau y al calor del cine, Elie Faure bautizará como "cineplástica" la consecución de imágenes al ritmo de la música, en un discurso paralelo al del método Dalcroze en la danza. Le Corbusier, Albert Jeanneret y Pierre Chenal propondrán dos experiencias fílmicas relacionadas con dicha denominación: "Batir" y "L'Architecture d'aujourd´hui", para las que se realizarán varias maquetas ex-profeso cuyas cualidades estaban pensadas para su visión en la pantalla. Esta especificidad se hará más compleja en el filme del modelo de la propuesta para el Palacio de los Soviets. Le Corbusier mostrará un proceso cinético consistente en el des-montaje del objeto, un recorrido inverso al de la construcción real, lo que permite al espectador poder familiarizarse desde el comienzo con el conjunto terminado. A partir de ahí, como si de un "ecorché" se tratara, se mostrarán sus entrañas: una lección de anatomía arquitectónica que finaliza con el vacío del solar del Salvador dominado por los brillos del gran arco de acero soviético-"stal" en ruso- reflejado en el Moskva. Este recurso cinético emparenta con las teorías del "montaje como conflicto" de Sergei Eisenstein, a través de una maqueta que se presenta, además, como comprobación de la efectividad de la forma ante las ondas acústicas, en la línea de las realizadas por ingenieros como Gustave Lyon. Se consigue así conjugar, a través de la maqueta, espacio, movimiento y sonido. El germen de una arquitectura acústica. Abstract: From the pages of L'Esprit Nouveau and inspired by films, Elie Faure coined the term "cineplástique" to refer to the combination betweenimages and music, similarly to theMethode Dalcroze in dancing. Le Corbusier, Albert Jeanneret and Pierre Chenal proposed two filmic experiences related to this new concept- "Batir" and "L'Architecture d'aujourd´hui". Several models were made specifically for these films and designed to be viewed on screen. This feature became more complex in the film of the proposal model for Palace of Soviets. Le Corbusier displayed a process consisting onthede-montageof the object, reversing thus the path to the actual building, which allows the viewer to become familiar from the start with the finished piece. Thereafter ,as if it was an "écorché", their insides are displayed, featuring an architectural anatomy lesson which ends with the empty site of Salvador, where the brightness of the large steel arch ("Stal" in Russian)is reflected in the Moskva River. This filming resource is related to Sergei Eisenstein's theories of " montage as conflict", illustrated by a scale model that also verifies the effectiveness of form with respect to acoustic waves, in line with those made by engineers such as Gustave Lyon. Therefore, the combination of movement, space and sound is achieved through the architectural model. That is the seed of acoustic architecture. Palabras clave: maqueta; Chenal; filme; cineplástica; Palacio de los Soviets; acústica. Keywords: architectural model; Chenal; film; cineplastique; Palace of Soviets; acoustic DOI: http://dx.doi.org/10.4995/LC2015.2015.725
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Del Sole, Francesco. "Hints for a Neo-Baroque Aesthetic in Contemporary Architecture." In 6th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2023, 14-16 June 2023. Alanya University, 2023. http://dx.doi.org/10.38027/iccaua2023en0061.
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The 17th century has always been called 'the century of flowers'. Apart from the invasion of exotic plants from the New World, the birth of the Flower Garden as a new type of exposition and the evolution of the art of gardening, the flower is a symbol of an era. Baroque architecture is defined precisely by the 'witty shapes' of the curved lines and the impressive 'decorative efflorescence'. This paper intends to highlight the neo-Baroque character intrinsically present in some of the greatest contemporary architects such as Paolo Portoghesi, Frank Gehry and Jean Nouvel who, in parallel with the rediscovery of the value of the Baroque period in the 20th century, have re-proposed neo-Baroque aesthetics and forms in their architecture, making their architecture "bloom" by proposing that dynamic of folds well described by Deleuze's philosophy. It is possible to reflect on a widespread contemporary aesthetic among the most important contemporary architects in which neo-Baroque flowers express the same qualities as the flowers found in 17th-century architecture: ephemerality and precariousness. Keywords: Neo-Baroque;