Architect Drawings - A Selection of Sketches by World Famous Architects Through History

against technology and believed in ‘organic principles that could be emulated by both art and indus-

try’ (Naylor, 1971 , p. 23 ). In 1849 he published The Seven Lamps of Architecture, which laid out prin-

ciples for the ethical use of materials. He followed this with Stones of Venicein 1851 and 1853. These

books became a foundation for the Arts and Crafts doctrine (Naylor, 1971 ; Makinson, 1977 ).

Although C. F. A. Voysey contributed concepts of simplicity, it was William Morris, in the 1860 s

and 1870 s, who launched the movement. It promoted an egalitarian view of the arts, as the luxury

of handcraftsmanship was affordable only to the wealthy. Morris was against industry and he also

declined to imitate styles from the past. He admired the medieval process of craft, but not its style

(Trachtenberg and Hyman, 1986 ). Like Ruskin, he supported respect for laborers; he felt the

designer or architect should obtain an intimate knowledge of materials and understand their prop-

erties. This relationship with materials should be acquired from hands-on experience (Naylor,

1971 ).

The Arts and Crafts influenced the work of Charles Rennie Mackintosh in Scotland and Edwin

Lutyens in England and spread throughout Europe and into the United States. Josef Hoffmann’s

work reveals the movement’s influence, and the American architects Greene and Greene continued

to practice its principles into the early 1900 s.

ART NOUVEAU

Similar to the Arts and Crafts, Art Nouveau advocated craft and rejected standardization. But in using

wrought iron and glass, this movement reflected the abilities of an industrialized society (Borsi and

Portoghesi, 1991 ). Intending to evoke emotions, the Art Nouveau artists and architects formed fluid

lines resembling whiplash curves and tendrils. They designed sinuous patterns and gracefully graphic

posters. Architects employed a three-dimensional translation of the style, using iron primarily for

biomorphic decoration. Although inspired by nature, they denied exact imitation of natural forms

(Borsi and Portoghesi, 1991 ; Aubry and Vandenbreeden, 1996 ; Trachtenberg and Hyman, 1986 ).

The Art Nouveau imagery flowed through the buildings in the form of stairs, balconies, and framing

for doorways and windows. Mainly decorative, the style translated easily to furniture and utilitarian

objects. In a tangential way, the writings of Viollet-le-Duc validated the movement’s use of wrought

iron (Trachtenberg and Hyman, 1986 ). The transforming of materials suggested the capacity of tech-

nology, and exemplified modern machine production. As a rejection of traditional architecture, Art

Nouveau gave wealthy clients culture directly connected with industrialization (Borsi and

Portoghesi, 1991 ). After beginning in the decorative arts, the style emerged in architecture in the

early 1890 s and was called Stile Libertyin Italy and Jugendstilin Eastern Europe, but faded soon after

1910. Hector Guimard, in France, and Victor Horta, in Belgium, designed some of the most cohe-

sive Art Nouveau projects.

SECESSION

In Vienna, at the time of the Franz Joseph I celebration in 1897 , exhibitions were planned by con-

servatives that excluded many of the more radical artists and architects. In response to this omission,

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