WK5: ART NOUVEAU/ADOLF LOOS

Key projects

Art Nouveau / Adolf Loos

Definition / Context:

• Art Nouveau: new architecture inspired by nature; decorative, flowing lines.

• Flourished across Europe (Modernisme, Jugendstil, Sezessionstil).

• Adolf Loos criticized ornament; advocated functional, simple architecture.

Key Terms:

• Gesamtkunstwerk – “total work of art,” combining architecture and art.

• Raumplan – designing spaces based on use and function.

• Ornament and crime – Loos’ idea that decoration can be wasteful and unnecessary.

Main Projects & Architects:

• Church of Colònia Güell, Casa Batlló, Park Güell – Antonio Gaudí

• Glasgow School of Art – Charles Rennie Mackintosh

• Hôtel Tassel, Maison du Peuple – Victor Horta

• Stoclet Palace – Josef Hoffmann

• Paris Métro Entrances – Hector Guimard

• Austrian Postal Savings Bank – Otto Wagner

• Secession Building – Joseph Maria Olbrich

• American Bar, Steiner House, Villa Müller – Adolf Loos

Church of Colònia Güell, Barcelona, Spain, 1908–1914
Architect / Designer: Antonio Gaudí

Architect / Designer: Antonio Gaudí
Movement / Style: Art Nouveau / Modernisme

Three Points of Significance:

• Main idea / innovation:

  • Built for a worker community; church integrated social purpose with architecture.

  • Structural rationalism: used catenary arches to carry loads efficiently.

  • Interiors inspired by nature; recycled materials; cave-like lighting.

  • Hanging chain models used to study arches; natural circulation and light prioritized.

• Relation / reaction:

  • Opposite of Loos: highly decorative, organic forms, symbolism.

  • Combines functional structure with natural aesthetic.

• Architect’s thesis / context:

  • Part of Modernisme in Barcelona; industrial elite patrons supported innovation.

  • Inspired by biomimicry; socially conscious architecture for workers.

• Materials / Ornament: Brick, stone, wood, recycled tiles; ornament mimics nature.

• Context / Comparison: Early 20th century Barcelona; contrasts Loos’s minimalism.

Key Terms:

• Catenary arch – Arch shaped like a hanging chain.

• Biomimicry – Using nature as inspiration.

• Structural rationalism – Structure logically carries loads.

• Parti – Main idea of building layout.

• Organic architecture – Buildings shaped like natural forms.

Casa Batlló, Barcelona, Spain, 1904–1906
Architect / Designer: Antonio Gaudí

Architect / Designer: Antonio Gaudí
Movement / Style: Art Nouveau / Modernisme

Three Points of Significance:

• Main idea / innovation:

  • Townhouse with flowing shapes, decorative surfaces.

  • Roof mimics dragon’s back; windows/columns resemble bones.

  • Recycled glass and tiles for ornamentation.

  • Façade human-scaled; interiors enhance light and ventilation.

• Relation / reaction: Highly decorative; structure as art; opposite Loos.

• Architect’s thesis / context: Modernisme in Barcelona; experiments with natural and fantastical forms.

• Materials / Ornament: Iron, glass, stone; organic, bone-like forms.

• Context / Comparison: Early 20th century Barcelona; contrasts Loos.

Key Terms:

• Biomimicry – Nature-inspired design.

• Plasticity – Flowing or curved shapes.

• Gesamtkunstwerk – Unified design.

• Organic architecture – Natural form-inspired.

Park Güell, Barcelona, Spain, 1900–1914
Architect / Designer: Antonio Gaudí

Architect / Designer: Antonio Gaudí
Movement / Style: Art Nouveau / Modernisme

Three Points of Significance:

• Main idea / innovation:

  • Public park with nature-inspired architecture.

  • Organic forms in benches, paths, structures.

  • Color, mosaic tiles integrated with landscape.

  • Terraces and pathways frame Barcelona views.

• Relation / reaction: Expressive, decorative; contrasts Loos.

• Architect’s thesis / context: Modernisme combining public space, nature, and art.

• Materials / Ornament: Stone, ceramic tiles, iron; sinuous forms.

• Context / Comparison: Early 20th century Barcelona; contrasts Loos.

Key Terms:

• Biomimicry – Nature-inspired design.

• Organic architecture – Natural form-inspired.

• Public space design – Planning for all users.

Glasgow School of Art, Glasgow, UK, 1896–1909
Architect / Designer: Charles Rennie Mackintosh

Architect / Designer: Charles Rennie Mackintosh
Movement / Style: Art Nouveau

Three Points of Significance:

• Main idea / innovation:

  • Combines functional studio spaces with Art Nouveau style.

  • Light-filled creative spaces; geometric ornament integrated.

  • Window orientation maximizes daylight; circulation improved.

• Relation / reaction: Restrained compared to Gaudí/Horta; functional yet aesthetic.

• Architect’s thesis / context: Glasgow; blends functionalism with Art Nouveau.

• Materials / Ornament: Brick, iron, glass; geometric motifs.

• Context / Comparison: Late 19th–early 20th century Glasgow; geometric and functional.

Key Terms:

• Modernist geometry – Clear geometric shapes.

• Functional design – Layout works for purpose.

• Integrated ornament – Decoration part of structure.

Hôtel Tassel, Brussels, Belgium, 1892–1893
Architect / Designer: Victor Horta

Architect / Designer: Victor Horta
Movement / Style: Art Nouveau

Three Points of Significance:

• Main idea / innovation:

  • Early Art Nouveau; iron and glass interiors.

  • Columns mimic tree trunks; fluid interior circulation.

  • Ornament integrated into structure.

• Relation / reaction: Advances Arts & Crafts; organic and decorative.

• Architect’s thesis / context: Brussels; nature-inspired, total design.

• Materials / Ornament: Iron, glass, stone; plant-like forms.

• Context / Comparison: Late 19th century Brussels; contrasts Loos.

Key Terms:

• Ironwork – Structural/decorative use of iron.

• Flowing lines – Curved, natural lines.

• Gesamtkunstwerk – Total design unified.

• Organic structure – Nature-inspired forms.

Maison du Peuple, Brussels, Belgium, 1899–1965
Architect / Designer: Victor Horta

Architect / Designer: Victor Horta
Movement / Style: Art Nouveau

Three Points of Significance:

• Main idea / innovation:

  • Civic building; function + flowing design.

  • Iron and glass structure; light-filled interior.

  • Ornament integrated; dynamic, organic forms.

• Relation / reaction: Contrasts Loos; functional + expressive.

• Architect’s thesis / context: Brussels; public buildings can be beautiful and functional.

• Materials / Ornament: Iron, glass, stone; flowing decoration.

• Context / Comparison: Early 20th century Brussels; contrasts Loos.

Key Terms:

• Ironwork – Structural/decorative iron.

• Civic Art Nouveau – Decorative public architecture.

• Organic structure – Nature-inspired forms.

• Flowing lines – Curved, smooth lines.

Stoclet Palace, Brussels, Belgium, 1905–1911
Architect / Designer: Josef Hoffmann

Architect / Designer: Josef Hoffmann
Movement / Style: Art Nouveau / Secessionstil

Three Points of Significance:

• Main idea / innovation:

  • Private palace as Gesamtkunstwerk.

  • Minimal geometric ornament integrated with structure.

  • Interior: luxury materials, coordinated furniture.

• Relation / reaction: Geometric style contrasts flowing Art Nouveau.

• Architect’s thesis / context: Vienna Secession; harmonizes architecture, interiors, art.

• Materials / Ornament: Stone, marble, metal; geometric and unified.

• Context / Comparison: Early 20th century Vienna; contrasts organic Art Nouveau.

Key Terms:

• Gesamtkunstwerk – Total unified design.

• Geometric ornament – Squares, circles, triangles.

• Secessionist design – Abstract, geometric style.

Paris Métro Entrances, Paris, France, 1896–1904
Architect / Designer: Hector Guimard

Architect / Designer: Hector Guimard
Movement / Style: Art Nouveau

Three Points of Significance:

• Main idea / innovation:

  • Subway entrances with artistic urban design.

  • Flowing ironwork mimics plants.

  • Standardised modular iron for mass production.

• Relation / reaction: Decorative yet functional; contrasts Loos.

• Architect’s thesis / context: Paris; urban integration of artful architecture.

• Materials / Ornament: Iron; plant-like forms.

• Context / Comparison: Late 19th–early 20th century Paris; contrasts Loos.

Key Terms:

• Urban Art Nouveau – Art Nouveau for city buildings.

• Functional ornament – Decoration with practical use.

• Flowing ironwork – Curved iron shapes.

Austrian Postal Savings Bank, Vienna, Austria, 1903–1912
Architect / Designer: Otto Wagner

Architect / Designer: Otto Wagner
Movement / Style: Art Nouveau / Secessionstil

Three Points of Significance:

• Main idea / innovation:

  • Machine aesthetic; structure + ornament linked.

  • Minimal decoration; geometric lines.

  • Interior designed for functionality.

• Relation / reaction: Less organic, more rational; contrasts Gaudí/Horta.

• Architect’s thesis / context: Vienna; modern materials + functionalism.

• Materials / Ornament: Concrete, stone, metal; minimal decoration.

• Context / Comparison: Early 20th century Vienna; functional focus.

Key Terms:

• Machine aesthetic – Inspired by machines, clean lines.

• Functionalism – Form follows function.

• Modern materials – Concrete, steel, glass.

Secession Building, Vienna, Austria, 1897–1898
Architect / Designer: Joseph Maria Olbrich

Architect / Designer: Joseph Maria Olbrich
Movement / Style: Art Nouveau / Secessionstil

Three Points of Significance:

• Main idea / innovation:

  • Vienna Secession HQ; represents new art style.

  • Dome and façade with symbolic ornament.

  • Unity of arts + architecture (Gesamtkunstwerk).

• Relation / reaction: Geometric, symbolic; less organic.

• Architect’s thesis / context: Vienna; promotes modern art/design.

• Materials / Ornament: Stone, metal; geometric, symbolic.

• Context / Comparison: Late 19th century Vienna; contrasts flowing Art Nouveau.

Key Terms:

• Secession – Vienna Secession art movement.

• Gesamtkunstwerk – Unified design.

• Symbolic geometry – Shapes with meaning.

American Bar, Vienna, Austria, 1908
Architect / Designer: Adolf Loos

Architect / Designer: Adolf Loos
Movement / Style: Early Modernism / Critique of Art Nouveau

Three Points of Significance:

• Main idea / innovation:

  • Interior for comfort, simplicity, functionalism.

  • Rejects decoration; minimal ornament.

  • Example of “Ornament and Crime.”

• Relation / reaction: Opposite Art Nouveau; minimal, functional.

• Architect’s thesis / context: Vienna; early modernist functional design.

• Materials / Ornament: Wood, metal; minimal ornament.

• Context / Comparison: Early 20th century Vienna; contrasts Gaudí/Horta.

Key Terms:

• Functionalism – Design works efficiently.

• Anti-ornament – Against decoration.

• Comfort-focused design – Designed for human use.

Steiner House, Vienna, Austria, 1910
Architect / Designer: Adolf Loos

Architect / Designer: Adolf Loos
Movement / Style: Early Modernism

Three Points of Significance:

• Main idea / innovation:

  • Plain exterior; interior carefully designed.

  • Raumplan: different heights, no hallways.

  • Focus on living experience, light, and privacy.

• Relation / reaction: Anti-decoration; contrasts Art Nouveau.

• Architect’s thesis / context: Vienna; spatial complexity, modern living.

• Materials / Ornament: Stucco, wood; minimal.

• Context / Comparison: Early 20th century Vienna; internal richness, external plainness.

Key Terms:

• Raumplan – Rooms on different levels.

• Functionalism – Practical spaces.

• Spatial complexity – Varied heights/interconnected spaces.

Goldman & Salatsch Building, Vienna, Austria, 1910
Architect / Designer: Adolf Loos

Architect / Designer: Adolf Loos
Movement / Style: Early Modernism

Three Points of Significance:

• Main idea / innovation:

  • Façade plain; interior functional.

  • Minimal ornament; business efficiency.

  • Opposite Art Nouveau decorative excess.

• Relation / reaction: Functional commercial space.

• Architect’s thesis / context: Vienna; modernist architecture for business.

• Materials / Ornament: Stone, wood; simple.

• Context / Comparison: Early 20th century Vienna; minimal, rational.

Key Terms:

• Functionalism – Practical design.

• Minimalism – Plain, no decoration.

• Commercial space – Business building.

Villa Müller, Prague, Czech Republic, 1928
Architect / Designer: Adolf Loos

Architect / Designer: Adolf Loos
Movement / Style: Early Modernism

Three Points of Significance:

• Main idea / innovation:

  • Raumplan interior; plain exterior.

  • Natural materials: wood, marble.

  • Interior guides movement; large windows frame landscape.

• Relation / reaction: Opposite Art Nouveau; functional interiors.

• Architect’s thesis / context: Prague; advanced modernist residential design.

• Materials / Ornament: Stucco, wood, marble; minimal exterior.

• Context / Comparison: Late 1920s Prague; internal complexity, external plainness.

Key Terms:

• Raumplan – Multi-level rooms.

• Functional interior – Practical interior design.

• Anti-ornament – No decoration.

House for Josephine Baker (unbuilt), 1927
Architect / Designer: Adolf Loos

Architect / Designer: Adolf Loos
Movement / Style: Early Modernism

Three Points of Significance:

• Main idea / innovation:

  • Planned modernist residence; functional interior.

  • No exterior ornament; interior comfortable.

  • Raumplan optimizes space and height.

• Relation / reaction: Minimalist, functional; opposes Art Nouveau.

• Architect’s thesis / context: Designed for Josephine Baker; modern living principles.

• Materials / Ornament: Stucco, wood; simple, functional.

• Context / Comparison: 1920s; unbuilt; functional interior planning.

Key Terms:

• Raumplan – Multi-level rooms for different functions.

• Functionalism – Practical use.

• Anti-ornament – No decoration.