History PART B

PART B
1. Explain works of any two neo-classical architects ( preferably one

in structural , one in romantic – 1. Labrouste – library
2.Boulee – Thomas Jefferson
SAINT GENEVIEVE LIBRARY
1. Labrouste – library
"One of the greatest cultural buildings of the nineteenth century to use
iron in a prominent, visible way was unquestionably the Bibliotheque
Ste.-Genevieve in Paris, designed by Henri Labrouste and built in 1842-
50. The large (278 by 69 feet) two-storied structure filling a wide,
shallow site is deceptively simple in scheme: the lower floor is
occupied by stacks to the left, rare-book storage and office space to the
right, with a central vestibule and stairway leading to the reading room
which fills the entire upper story. The ferrous structure of this reading
room—a spine of slender, cast-iron Ionic columns dividing the space
into twin aisles and supporting openwork iron arches that carry barrel
vaults of plaster reinforced by iron mesh—has always been revered by
Modernists for its introduction of high technology into a monumental
building."
2.Boulee – Thomas Jefferson
Newton”s Cenotaph – Etienne-Louis Boullee – 1728-1799
At night (see background of image 1), one comes in from the darkness
entering to an exceedingly bright light. After allowing eyes to adjust and
come into focus, one begins to understand the vastness of scale and the
one point light in the center, symbolizing the sun. Looking at the section,
scale is vast in relation to human scale, the tiny figures at the bottom of
the interior. During the day, the interior is ominous and dark (image 2). The
interior ceiling represents the celestial sky as light penetrating through
openings in the ceiling. The idea of an eclipse is encapsulated within the
building is sublime. The effect of changing day to night and reverse,
creates a feeling of awe enhanced by scale.
2. Great exhibitions – crystal palace
Expo universelle ( paris )
CRYSTAL PALACE
Expo universelle ( paris )
The Universal Exposition of 1889

The Universal Exposition of 1889 (Exposition Universelle de 1889)
was a celebration of international achievements in architecture, fine
arts, and the latest technology with the newly built Eiffel Tower as its
central attraction. The 1889 exhibition was part of a tradition of
universal exhibitions taking place every eleven years in Paris, with
the 1889 event occurring on the centennial of the French Revolution.
The commissioners decided to reject early plans for a 300-meter-
tall guillotine in favor of an iron tower design by Gustave Eiffel. The
tower served as the entrance arch, and the icon for the fair which
attracted nearly 2 million visitors. At the time, the tower was the
tallest structure in the world and the public flocked to its upper
floors to experience views over the French capital. Although initially
despised by many Parisians for its looming presence over the city
and meant to last only for the duration of the exhibition, the tower
still stands as one of the most iconic works of architecture in the
world.
A less well-known yet equally significant structure built for the

exhibition was the Galerie des Machines designed by architect
Ferdinand Dutert and engineer Victor Contamin. The Machinery Hall
spanned 111 meters and was the longest interior space in the world
at the time making use of a system of hinged arches constructed of
iron. With no internal supports, this massive iron and glass
structure likely drew upon the Crystal Palace as a precedent and
was reused for the 1900 exhibition before it was demolished in 1910
to open up the view along the Champ de Mars. [2]
3. Impact of industrial revolution on people, society, architecture.

4. Any two works of arts & craft movement – Red house , standen
RED HOUSE – WILLIAM MORRIS & PHILIB WEBB

Morris wanted the house to be a place that reflected his ideals and
celebrated art, craftsmanship, and community. Morris and Webb
collaborated to make the house’s architecture and interior design merge
into a unified whole. This would provide the appropriate atmosphere to
foster domestic harmony and instill creative energy in its inhabitants and
visitors. It was the first home built according to the principles of fine
artistry and utility that became the hallmark of the design firm Morris
founded with Webb in 1861, as well as the emerging Arts and Crafts
movement.
Morris and Webb designed the house in a simplified Tudor Gothic style. The
features of this style include historicizing elements such as steep roofs,
prominent chimneys, cross gables, and exposed-beam ceilings,
all present in Red House. Morris was influenced by Ruskin and other
theorists who saw the Gothic as a time of perfection in the craft and
building trades, as well as a period of great faith and belief in human
dignity. They also viewed the Gothic as a more suitable style for Northern
Europe because it originated in France, a northern country, as opposed to
the classical forms of ancient Greece and Rome. For Morris and Webb, the
adoption of a specifically English form of Gothic architecture seemed
natural and appropriate to the site.
The use of exposed red brick for the exterior both gave the house its name
and reveals the innate beauty of the construction materials. Morris and
Webb valued the specific beauty of natural materials, which they saw as
far superior to and healthier than industrially produced materials. Red
House is L-shaped, with the rooms laid out for maximum efficiency and
clarity. The L-shaped plan also allows the house to embrace the gardens
as a part of the domestic sphere, as well as creates an asymmetry that is
typical of traditional Gothic structures that were built over long periods of
time. The concept of an integral whole extended to the interior design as
well. Webb, Morris, his wife, Jane, and the painter Edward Burne-Jones all
worked together to design everything in the home, from the wallpaper to
the stained-glass windows to the built-in cabinets and furniture, so that
all celebrated the beauty of nature and the medieval guild ideal.
The house is entered through a large wooden door that leads to a
rectangular hallway. A settle Morris decorated with illustrations from the
medieval German epic Niebelungenlied is to the right. The hallway is filled
with light from the stained-glass windows. The dining room to the right
contains the original hutch designed by Philip Webb, which has Gothic
trefoil motifs and is painted in “dragon’s blood” (a deep red-brown favored
by Arts and Crafts practitioners). The original rustic dining room table
remains, along with the decorative arch in the brickwork around the
fireplace.
STANDEN HOUSE , EAST GRINSTEAD, ENGLAND

Standen was constructed using local materials and traditional
construction methods:
'A house should be clothed by its garden'
- William Morris
The house and garden were intended to be seen as a whole and were
designed to complement each other. This followed William Morris’s theory
that gardens were a continuation of a house and should be used as such.
Inspired from nearby farmhouses in that locations
Vernacular architecture
Trellis wallpaper used in the passages leading to servant places
5. Explain architectural aspects and structural innovations by Antoni

gaudi , using any 2 case studies.
CASA MILA , BARCELONA
BROKEN CERAMIC TILES – TRENCADIS (REPELS HEAT)
CASA BATLLO
Explain any 2 works in vienne secession movement – secession
building , palais stodet
6. Explain ornament and crime , raumplan with case studies
VILLA MULLER – ADOLF LOOS

7. Explain Werkbund movement and an architectural outcome of it –
AEG turbine factory
WERKBUND MOVEMENT - The Werkbund expanded on the English
Arts and Crafts movement, adopting concerns that craft and design
influenced people’s lives and propagating a rejection of historicism
in favour of vernacular architecture suited to the modern age. The
major difference between the Arts and Crafts movement and the
Deutscher Werkbund was that the Werkbund sought to combine
promotion of craft with industry, as opposed to a rejection of
machine production. The Werkbund embraced technology to design
objects and buildings that fulfilled the changing needs of society.

History PART B

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History PART B

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PART B

1. Explain works of any two neo-classical architects ( preferably one

The Universal Exposition of 1889

A less well-known yet equally significant structure built for the

3. Impact of industrial revolution on people, society, architecture.

RED HOUSE – WILLIAM MORRIS & PHILIB WEBB

STANDEN HOUSE , EAST GRINSTEAD, ENGLAND

5. Explain architectural aspects and structural innovations by Antoni

6. Explain ornament and crime , raumplan with case studies

VILLA MULLER – ADOLF LOOS

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