Tuesday 25 August 2015

5 Things the Tiny House Movement Can Learn from Post War Architecture

© Flickr CC user Tammy Strobel
One of the many problems with being deeply engaged in a niche subject such as architecture is that you can easily lose sight of what a "normal" person's perspective is on a topic. Through experience, we often assume that a rising trend that we notice on a daily basis has passed completely unnoticed by the general populace, and it's usually difficult to see when a topic has reached the critical mass to become a genuine social phenomenon. So imagine my surprise when I saw a joke about an architectural trend on a popular webcomic. Two months ago, Toothpaste For Dinner published an image of a character smugly telling his friend "that's cool... my Tiny House is a lot smaller, of course" as they tower over a comically small abode. Suddenly it became clear to me that the Tiny House movement was not just a curiosity for architects.
This realization leads to a number of questions: why are Tiny Houses such a big deal? What promise do they hold for society? And is there anything the movement is failing to address? These questions led me to conclude that, for better or worse, the Tiny House movement might just be the closest thing we have right now to a utopian housing solution - and if that's true, then the movement has a big task on its hands.
Quixote Village in Olympia, Washington. Image © Leah Nash for BuzzFeed
Quixote Village in Olympia, Washington. Image © Leah Nash for BuzzFeed
The Tiny House movement is, of course, a grass-roots solution to large scale economic forces: with huge swathes of the western world facing some sort of housing crisis, owning your own home is becoming increasingly expensive and increasingly unlikely. The Tiny House movement was born off the back of thousands of individuals who have decided that it is worth giving up some of their living space and possessions in return for the stability of home-ownership.
Ironically, the defining characteristic of Tiny Houses may not be their size; save for a handful of holier-than-thou ascetics (the likes of the cartoon character mentioned above), the driving influence behind these homes' small size is in fact simply cost. Cost is also the factor behind the movement's other main trait, the DIY culture surrounding the movement. For these prospective homeowners, building small and building it themselves is the only way forward.
When looked at in this way, the Tiny House movement actually exists on a spectrum of innovations, from minuscule anti-architect, anti-builder constructions on one end, to ideas such as the WikiHouse, an architect-designed system that proposes to bring DIY home construction in a range of sizes to people all over the world. What they all have in common is an attempt to bypass the normal systems of development, putting control into the hands of individuals rather than volume housebuilders and governments.
The challenge facing any kind of housing movement these days is a gargantuan one. Parts of the UK, for example, are said to be facing the worst housing crisis since the end of the second world war. In response, key thought-leaders have described the need for a "post-war spirit" in tackling the crisis, but what they've got instead is the lowest number of new homes constructed in any peacetime period for over a century. In the US, Wall Street investments are pushing up the price of both purchasing and renting homes, leading to "the worst rental affordability crisis that this country has ever known."
Considering these post-war-style conditions, it's no surprise that the spectrum of tiny/DIY house ideas has precedents from the post-war period. Jean Prouvé's Demountable House, for example, was an attempt to create small, cheap, prefabricated homes in the wake of France's devastation during the war. In the UK, Walter Segal developed a simple and inexpensive method for constructing homes that could largely be built by people with no previous experience. And in the US, the phenomenon of mail-order houses answered the call for housing shortages in the inter-war years, reaching their peak in the 1920s.
Interior of Jean Prouvé's Demountable house as adapted by Rogers Stirk Harbour + Partners. Image © Rogers Stirk Harbour + Partners
Interior of Jean Prouvé's Demountable house as adapted by Rogers Stirk Harbour + Partners. Image © Rogers Stirk Harbour + Partners
However, in the decades after the war all of these precedents were overshadowed - or entirely killed off - by a completely different model of housing. Inspired by the utopian ideas of architects such as Le Corbusier, housing shifted away from small structures initiated by individual demand, and towards mass housing spurred on by a government response to societal need.
Today, this history is unlikely to repeat itself. Firstly, the utopian housing developments of the postwar decades have gained such a poor reputation that they are widely reviled by the public, and no longer seem an appropriate solution to the majority of housing demand. Secondly, in the US and UK, as well as a number of other Western states, direct government intervention in the housing market is increasingly unlikely, as governments have shifted towards economically right-wing policies which privilege the market over state intervention. Finally, many postwar developments required almost wholesale destruction of their city's historic fabric, a move which would be met with widespread disapproval in the 21st century. All three of these conditions mean that this time around, Tiny Houses and DIY Houses are the most utopian housing strategy around today.
Design for HiveHaus, a modular home featured on the UK television show "George Clarke's Amazing Spaces". Image via Hivehaus
Design for HiveHaus, a modular home featured on the UK television show "George Clarke's Amazing Spaces". Image via Hivehaus
With that in mind, what can the Tiny House movement do to fulfill its apparent destiny? Despite the overwhelming differences in approach, what can postwar housing teach our current crop of housing visionaries?
1. Systematize
For the most part, the Tiny House movement has so far been led by brave individuals, who have designed and constructed their own home from scratch, often using little more than trial and error as a guide. On one hand, this has allowed homeowners the opportunity to build the pleasing neo-colonial pastiche of their dreams, but on the other hand it serves as a deterrent to many others who don't have the courage to take that leap of faith.
For governments, the appeal of postwar housing largely lay in the fact that it was systematic: it required that you take certain elements and combine them in a certain way, and individuals are no different. They want detailed instructions, and preferably previous examples to follow. Attempts by projects such as WikiHouse to turn DIY construction into a simple system are welcome, but for DIY building to make a difference, they need to be more prevalent.
Diagram showing the construction of a WikiHouse design. Image © WikiHouse.cc
Diagram showing the construction of a WikiHouse design. Image © WikiHouse.cc
2. Make it customizable
With all that can be said for systematic design, it's important not to forget about people's need for individuality and appropriation. One of the most common complaints about postwar architecture is that it's "soulless" or "faceless." For designers of any DIY housebuilding system, it's important to offer the opportunity to add that neo-colonial pastiche, or anything else the owner desires, over the basic design.
3. Don't build to last
If there's one thing that postwar housing has shown us it's that once a crisis is over, the solution to that crisis may no longer be needed - and it's inconvenient if you built that solution out of millions of tons of reinforced concrete. We have no way of knowing whether there will be a future market for today's radical DIY constructions; it's also almost guaranteed that unless current housing crises persist, once the owners of Tiny Houses have children and move to a larger home, there will be noone looking to buy their old place.
A two-story WikiHouse produced for last year's London Design Festival. Image © Margaux Carron www.margauxcarron.com
A two-story WikiHouse produced for last year's London Design Festival. Image © Margaux Carron www.margauxcarron.com
4. Get governments onside
Even though governments won't be directly involved in constructing the next wave of utopian housing, prospective homeowners will still need their blessing, as governments can have just as much influence on the construction of DIY homes as they did on the construction of postwar superblocks. Legislation can either encourage or prevent homes of a certain size or construction type, and it can enable or outlaw construction by inexperienced builders. It can also either allow or forbid the use of certain plots of land for new homes, and it makes little sense to build a Tiny House on a plot of land big enough for a regular home.
Finnish Student Olli Enne's prototype for a small, prefabricated home which can fill leftover space within existing neighborhoods. Image © Marko Laukkarinen
Finnish Student Olli Enne's prototype for a small, prefabricated home which can fill leftover space within existing neighborhoods. Image © Marko Laukkarinen
One proposal by Finnish architecture student Olli Enne tackles the issue of land use head on. He describes how, in spite of the housing shortage in Helsinki there is still three million square meters of unused land tucked away in the residential areas of the city, between and behind the existing homes. To rectify this problem, with his proposal for a small DIY home he "wanted to create solution that would be tempting for land owners to activate that land." Which leads on to our final point:
5. Get NIMBYs on side
Site plan of Olli Enne's prototype showing how it fits within gaps in the existing neighborhood fabric. Image Courtesy of Olli Enne
Site plan of Olli Enne's prototype showing how it fits within gaps in the existing neighborhood fabric. Image Courtesy of Olli Enne
With current urban planning theory pointing towards a need for dense, diverse communities, the opportunity to fill in the gaps of existing neighborhoods - as with Enne's proposal - seems much more appealing than the prospect of monocultural Tiny House neighborhoods. Neighborhood integration, however, will require community integration on the part of the incoming residents. While postwar housing could afford to be obviously radical, DIY and Tiny Houses will require at least a veneer of conservatism. Again, this is apparent in Enne's housing proposal, with a pitched roof and timber facade that conceals the unconventional plywood staircase and a slatted upper floor that allows extra light through to the ground level. The design is also prefabricated in just four parts, meaning that construction requires almost no disruption to surrounding residents.
Elevation of Olli Enne's prototype. Image Courtesy of Olli Enne
Elevation of Olli Enne's prototype. Image Courtesy of Olli Enne
Currently, advocates of Tiny Houses and DIY Houses have not managed to fulfill all of these requirements. But with more and more architects getting involved in these increasingly popular movements, new and innovative proposals - from the WikiHouse, to the HiveHaus, to Olli Enne's small prototype - we could be getting ever closer to a radical solution that finally makes a noticeable difference to the world's many housing crises.
Inside of Olli Enne's prototype showing the slatted floor which lets light between stories. Image © Marko Laukkarinen
Inside of Olli Enne's prototype showing the slatted floor which lets light between stories. Image © Marko Laukkarinen
Cite:Rory Stott. "5 Things the Tiny House Movement Can Learn from Post War Architecture

How to Render Your Building to Sell it, Not Just Show it

© PiXate Creative
© PiXate Creative
"The Rendering View," is a new monthly column on ArchDaily by PiXate Creative founder Jonn Kutyla which will focus on hints, tips, and wider discussions about architectural rendering.
As an architect you have spent countless hours designing, modifying, and refining what you believe to be the very best possible layout for a building. The numerous projects you have imagined, designed, and then seen as a finished building have given you the ability to visualize it with incredible accuracy. Unfortunately, your clients often lack the ability to visualize a space before it is built.
3D rendering seeks to solve that problem by accurately depicting what a building will look like with photo-realistic quality long before it exists – but there is a huge difference between showing your building and selling the concept of your building. Showing your building does just what the name implies: generally the camera is pulled back and the focus is on the entire building. When you want to sell the concept of a building you want to focus on a very small aspect of the building that is incredibly interesting to look at.
© PiXate Creative
© PiXate Creative
At this point you are probably thinking to yourself: “The whole building is interesting to look at, I spent a lot of time on the design”. Your thinking is correct. Remember though, when you are trying to sell the concept, details are crucial. As 3D rendering artists, we should think of ourselves as photographers. We do not actually compete with architectural photographers as what we seek to “photograph” doesn’t exist. We are however attempting to accomplish the same thing, which is framing the building is such a way that the viewer can emotionally connect to the image. In order for a viewer to connect with an image, you need to tell a story with your renderings just as photographers tell a story through photos.
While renderings help you connect with the emotions of your clients the development of renderings is built upon art and based in science. Choosing the right POV can make a drastic difference in the quality of architectural photography and the same holds true for renderings. As rendering artists we should look to photographers and study their techniques to improve our work. While doing some research I ran across Heather Conley Photography and was rather impressed with the extensive DIY (Do-it-Yourself) vs. PRO section on her website. Below is a great example from her work of the difference between a photo that tells a story and one that does not.
Courtesy of Heather Conley Photography
Courtesy of Heather Conley Photography
On the left you see a boring image that does not help you envision the use of space. On the right you see a couple of people walking together and the possibilities of what they could be doing are near endless. More so, it tells a story about the station that you as the viewer can relate to and imagine yourself in. The POV for the shot focused on the overall mode of transportation and composing it with a strong leading line element that draws your eye along the side of the rail car to the commuters in it. Aside from that you also notice a significant difference in the lighting of the two images. What story is the Amtrak bulletin board dotted with lens flare saying? It isn’t telling one. Without a story the connection with the viewer is lost and with it, the ability to evoke strong emotions are greatly reduced.
As with photography, selecting a proper POV for an architectural rendering is crucial. It allows the viewer to envision themselves in a space, enabling them to fill in the details of their story with the space. When you are setting up the POV for your rendering here are some tips to help your renderings connect viewers to the space.
© PiXate Creative
© PiXate Creative
Positioning the Camera
When a viewer looks at your rendering it should be as if they are standing in the building. Placing the camera at around 5’ 8” (1.73 meters) or within a 6” height variation will provide an accurate perspective for a person of average height. In addition to selecting a proper height, you should avoid tilting the camera left or right. If you need to show off a detail at a higher or lower height, instead of tilting the camera up or down, using lens shift will allow you to have straight vertical lines. In MODO this is called film offset.
Courtesy of Jonn Kutyla
Courtesy of Jonn Kutyla
Another setting in MODO that will help your renders is focal length. Using a lens focal length of 28MM or higher reduces the occurrence of perspective distortion in your images. Perspective distortion is especially harmful to renderings as it will prevent an accurate representation of the space.
Thinking Like a Photographer
In order to create a great-looking 3D rendering we must also get in the mindset of an architectural photographer. Here are three basic rules that you should be aware of:
The Rule of Thirds - This rule is one of the most basic fundamentals of photography. The purpose of it is to create a balanced photo. In order to do so, photographers generally break down the photo into 3 vertical and 3 horizontal segments, essentially creating a 9 box grid over any photo. In addition to creating balance, placing focal points at grid line intersections is supposed to create a focus. In regards to renderings, you should place areas that you want the viewer to focus on in the intersection.
© PiXate Creative
© PiXate Creative
Golden Ratios - While the golden ratio is certainly not exclusive to photography, it plays a very important role in creating great images. The golden ratio has appeared throughout history in architecture, math, and even in nature. Much like the rule of thirds, the golden ratio is all about creating balance. The golden ratio is a very interesting subject, and while it is too complex to discuss in detail here, taking the time to learn more about it could make a big difference in the quality of your renderings.
Leading Lines - Wouldn’t it be great if you could tell people exactly where to look in your photo or rendering? Well, you can and leading lines are how. Leading lines generally start in the foreground and on the outer edges of an image. The purposes of these lines is to guide the viewer’s eye to certain points in the photo. In an architectural rendering, you could incorporate a leading line that draws the viewer to a fireplace, which is a great way to help them visualize themselves using the space.
Telling a Story - Remember, the very reason we create renderings is to help viewers connect with a space that does not yet exist. If you were selling your house, you would stage it in such a way that helps the potential buyers visualize their families using a space, sitting around a table, or gather at the kitchen island. If you wanted to sell a car, you would highlight the features of the car that meet the needs of the potential buyer and allow them to picture themselves in it. The exact same approach needs to be incorporated into renderings. Think about the features shown in your rendering and add details that make those features come to life.
Combining the basic rules of photography with storytelling will allow you to make a rendering come to life for the viewer. The same subtle details that make a world of difference in photos are also very important to consider when creating a rendering. While you shouldn’t limit your imagination with those rules, they serve as a solid starting point for any rendering or photo shoot.
Jonn Kutyla is the founder of PiXate Creative, a company that specializes in creating compelling 3D visualizations.

Futurism the Art Movement

Futurism began its transformation of Italian culture on February 20th, 1909, with the publication of the Futurist Manifesto, authored by writer Filippo Tommaso Marinetti.
It appeared on the front page of Le Figaro, which was then the largest circulation newspaper in France, and the stunt signaled the movement's desire to employ modern, popular means of communication to spread its ideas. The group would issue more manifestos as the years passed, but this summed up their spirit, celebrating the "machine age", the triumph of technology over nature, and opposing earlier artistic traditions. Marinetti's ideas drew the support of artists Umberto Boccioni, Giacomo Balla, Gino Severini, and Carlo Carrà, who believed that they could be translated into a modern, figurative art which explored properties of space and movement. The movement initially centered in Milan, but it spread quickly to Turin and Naples, and over subsequent years Marinetti vigorously promoted it abroad.

Concepts and Styles

The Italian group was slow to develop a distinct style. In the years prior to the emergence of the movement, its members had worked in an eclectic range of styles inspired by Post-Impressionism, and they continued to do so. Severini was typical in his interest in Divisionism, which involved breaking down light and color into a series of stippled dots and stripes, and fracturing the picture plane into segments to achieve an ambiguous sense of depth. Divisionism was rooted in the color theory of the 19th century, and the Pointillist works of painters such as Georges Seurat.
Futurist Monthly Magazine
In 1911, Futurist paintings were exhibited in Milan at the Mostra d'arte libera, and invitations were extended to "all those who want to assert something new, that is to say far from imitations, derivations and falsifications." The paintings featured threadlike brushstrokes and highly keyed color that depicted space as fragmented and fractured. Subjects and themes focused on technology, speed, and violence, rather than portraits or simple landscapes. Among the paintings was Boccioni's The City Rises (1910), a picture which can claim to be the first Futurist painting by virtue of its advanced, Cubist-influenced style. Public reaction was mixed. French critics from literary and artistic circles expressed hostility, while many praised the innovative content.
Boccioni's encounter with Cubist painting in Paris had an important influence on him, and he carried this back to his peers in Italy. Nevertheless, the Futurists claimed to reject the style, since they believed it was too preoccupied by static objects, and not enough by the movement of the modern world. It was their fascination with movement that led to their interest in chrono-photography. Balla was particularly enthusiastic about the technology, and his pictures sometimes evoke fast-paced animation, with objects blurred by movement. As stated by the Technical Manifesto of Futurist Painting, "On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular." Rather than perceiving an action as a performance of a single limb, Futurists viewed action as the convergence in time and space of multiple extremities.

Later Developments

Futurist artists in 1913; from left - Decio Cinti, Luigi Russolo, Armando Mazza, Filippo Tommaso Marinetti, Paolo Buzzi, and Umberto Boccioni
In 1913, Boccioni used sculpture to further articulate Futurist dynamism. Unique Forms of Continuity in Space (1913) exemplifies vigorous action as well as the relationship between object and environment. The piece was a breakthrough for the Futurist movement, but after 1913 the movement began to break apart as its members developed their own personal positions. In 1915, Italy entered World War I; by its end, Boccioni and the Futurist architect Antonio Sant'Elia perished. Following the war, the movement's center shifted from Milan to Rome; Severini continued to paint in the distinctive Futurist style, and the movement remained active in the 1920s, but the energy had passed from it.
Nevertheless, Futurism sparked important developments outside Italy. A synthesis of Parisian Cubism and Italian Futurism was particularly influential in Russia from around 1912 until 1920, inspiring artists including Kazimir Malevich, Liubov Popova, Natalia Goncharova and David Burliuk. The developments in Russia made the movement very distinct from the Italian strain, and different aspects of it are often described as Rayonist, or Cubo-Futurist. Cubo-Futurism was also an influence on English art, where it gave rise to the Vorticist movement, which embraced philosopher T.E. Hulme, poet Ezra Pound, and artists Christopher Nevinson, Wyndham Lewis, David Bomberg and Jacob Epstein. Although the impact of Italian Futurism was concentrated in the visual arts, it did inspire artists in other media: Vladimir Mayakovsky was important in developing a Futurist literature in Russia; the Italian architect Antonio Sant'Elia developed a Futurist architecture, and is said to have penned a manifesto on the subject (his designs may have influenced the sets of Ridley Scott's film Bladerunner (1982)); and Luigi Russolo shifted from painting to creating musical instruments, and later wrote the manifesto "The Art of Noises" (1913), which has been a significant reference point for avant-garde music ever since. Although much of the energy had left the movement by the 1920s, the Futurist aesthetic also became part of the mix of modernist styles that inspired Art Deco.

Art Nouveau: The Arts and Crafts Styles

Art Nouveau (the "new art") was a widely influential but relatively short-lived movement that emerged in the final decade of the 19th century and was already beginning to decline a decade later. This movement - less a collective one than a disparate group of visual artists, designers and architects spread throughout Europe was aimed at creating styles of design more appropriate to the modern age, and it was characterized by organic, flowing lines- forms resembling the stems and blossoms of plants - as well as geometric forms such as squares and rectangles.
The advent of Art Nouveau can be traced to two distinct influences: the first was the introduction, around 1880, of the Arts and Crafts movement, led by the English designer William Morris. This movement, much like Art Nouveau, was a reaction against the cluttered designs and compositions of Victorian-era decorative art. The second was the current vogue for Japanese art, particularly wood-block prints, that swept up many European artists in the 1880s and 90s, including the likes of Gustav Klimt, Emile Galle and James Abbott McNeill Whistler. Japanese wood-block prints contained floral and bulbous forms, and "whiplash" curves, all key elements of what would eventually become Art Nouveau.
It is difficult to pinpoint the first work(s) of art that officially launched Art Nouveau. Some argue that the patterned, flowing lines and floral backgrounds found in the paintings of Vincent van Gogh and Paul Gauguin represent Art Nouveau's birth, or perhaps even the decorative lithographs of Henri de Toulouse-Lautrec, such as La Goule at the Moulin Rouge (1891). But most point to the origins in the decorative arts, and in particular to a book jacket by English architect and designer Arthur Heygate Mackmurdo for the 1883 volume Wren's City Churches. The design depicts serpentine stalks of flowers coalescing into one large, whiplashed stalk at the bottom of the page, clearly reminiscent of Japanese-style wood-block prints.label for source code

 

 

 

 

 

Concepts and Styles

image of guiamard creation

Although Art Nouveau has become the most commonly used name for the movement, its wide popularity throughout Western and Central Europe meant that it went by several different titles. The most well-known of these was Jugendstil (Youth Style), by which the styles was known in German-speaking countries. Meanwhile in Vienna - home to Gustav Klimt, Otto Wagner, Josef Hoffmann and the other founders of the Vienna Secession - it was known as Sezessionsstil (Secession Style). It was also known as Modernismo in Spain and stile Liberty in Italy (after Arthur Liberty's fabric shop in London, which helped popularize the style). It also went by some more derogatory names: Style Nouille (noodle style) in France, Paling Stijl (eel style) in Belgium, and Bandwurmstil (tapeworm style) in Germany, all of which made playful reference to Art Nouveau's tendency to employ sinuous and flowing lines.
Art Nouveau's ubiquity in the late 19th century must be explained in part by many artists' use of popular and easily reproduced forms such as graphic art. In Germany, Jugendstil artists like Peter Behrens and Hermann Obrist, among many others, had their work printed on book covers and exhibition catalogs, magazine advertisements and playbills. But this trend was by no means limited to Germany. The English illustrator Aubrey Beardsley, perhaps the most controversial Art Nouveau figure due to his combination of the erotic and macabre, created a number of posters in his brief career that employed graceful and rhythmic lines. Beardsley's highly decorative prints, such as The Peacock Skirt (1894), were both decadent and simple, and represent the most direct link we can identify between Art Nouveau and Japonisme.

The Architecture of Europe

In addition to the graphic and visual arts, any serious discussion of Art Nouveau must consider architecture and the vast influence this had on European culture. In urban hubs such as Paris, Prague and Vienna, and even in Eastern European cities like Riga, Budapest, and Sveged, Hungary, Art Nouveau-inspired architecture prevailed on a grand scale, in both size and appearance. Turn-of-the-century buildings, like the Museum of Applied Arts in Budapest and the Secession Building in Vienna, are prime examples of Art Nouveau's decorative and symmetrical architectural aesthetic. The arrival in the same period of urban improvements such as subway lines also provided an important outlook for Art Nouveau designers. Hector Guimard's designs for entrances to the Paris subway (c.1900) are particularly fondly remembered examples of the style.

The Vienna Secession

No other group of artists did more to popularize and spread the Art Nouveau style than the Vienna Secessionists, the collective of visual artists, decorators, sculptors, architects and designers, who first banded together in 1897 to promote their own work and organize exhibitions that resisted the conservatism that still prevailed in so many of Europe's traditional art academies. Arguably the most prolific and influential of the secessionists was painter Gustav Klimt, creator of such definitive examples of early modernism as Hope II and The Kiss (both 1907-08). The elaborate decorations in his paintings, including gold and silver leaf, and rhythmical abstractions, make them some of the most widely revered examples of the style.

Later Developments

Despite its popularity - both in terms of its geographical spread and its influence on the creation of so many media - Art Nouveau enjoyed very few moments during its heyday when all artistic elements came together to be recognized as a coherent whole. One exception was the 1900 World's Fair in Paris (Exposition Universelle), where the Art Nouveau style was present in all its forms. Of particular note was the construction and opening of the Grand Palais in 1900, a building which, although in the Beaux Arts tradition, contained an interior glass dome that clearly adopted the Art Nouveau decorative style. Other exhibitions took place throughout the continent during this time, but none could claim to be celebrating Art Nouveau in such a comprehensive manner as had the Paris Expo.
If Art Nouveau quickly stormed Europe in the late 19th century, artists, designers and architects abandoned it just as quickly in the first decade of the 20th century. Although the movement had made the doctrine that "form should follow function" central to their ethos, some designers tended to be lavish in their use of decoration, and the style began to be criticized for being overly elaborate. In a sense, as the style matured, it started to revert to the very habits it had scorned, and a growing number of opponents began to charge that rather than renewing design, it had merely swapped the old for the superficially new.

Original content written by Justin Wolf

Victor Horta biography and project - (Tassel House - 1893-1895)

Victor Horta - The Belgian architect Victor Horta was the initiator and leading exponent of Art nouveau in Belgium. In Brussels Victor Horta built a great many private houses as well as public buildings, which are among the most important examples of Art nouveau. Born the son of a shoemaker in Ghent in 1861, Victor Horta began studying architecture at the Académie des Beaux-Arts in Ghent; from 1874 until 1877 he attended the Royal Atheneum there. In 1878 Victor Horta went to Paris, where he worked until 1880 in the studio of the interior decorator Jules Debuyson.
Victor Horta would later write in his memoirs: "My stay in Paris, the walks I took, the monuments and museums I visited, awakened my artistic sensitivity. No academic education could have inspired me so strongly and lastingly as "reading" monuments." In 1881 Victor Horta moved to Brussels and finished his studies there at the Académie des Beaux-Arts. From 1881 Victor Horta also worked in the practice of the Neo-Classical architect Alphonse Balat. Victor Horta was particularly inspired by the French architect and theorist Eugène Viollet-le-Duc. On the one hand, Viollet-le-Duc clamored for protecting and restoring medieval buildings; on the other he was a passionate advocate of the new engineering in architecture and was committed to the use of the new building materials, particularly cast iron, and modern building techniques. In "Entretiens sur l'architecture" (published 1863 and 1872) Viollet-le-Duc drew a comparison between the Gothic skeletal method of construction and 19th-century cast-iron construction, emphasizing the close relationship between them.
From 1892 Victor Horta designed several houses and public buildings in Brussels, for which he used cast iron for structural and decorative reasons. In 1892-93 Hôtel Tassel was built, with an interior featuring exposed cast-iron construction and glass elements. Further, it was notable for the richness of its decoration, shaped by organic forms and soft lines. In 1893 Victor Horta built Maison Autrique, which was followed in 1895-96 by Maison Winssinger and, from 1895-1900, Hôtel Eetvelde, buildings Victor Horta conceived as total works of art in the Art nouveau style.
Between 1896 and1899 Victor Horta designed Maison du Peuple, the headquarters of the Belgian Socialist party, with a façade entirely constructed of cast-iron and glass - the first of its kind in Brussels. In 1900-01 "À l'Innovation", a department store, was built, for which Victor Horta also used the Art nouveau style. From 1912 Victor Horta taught at the Académie des Beaux-Arts in Brussels and was director of it from 1913 until 1915 . Between 1916 and 1919 Victor Horta lived in London and the United States of America. In subsequent years, Victor Horta distanced himself from Art nouveau, now designing buildings in a more Neo-Classical formal language featuring straight lines, as exexmplifed by the Palais des Beaux-Arts in Brussels, built between 1922 and 1928
Tassel House - 1893-1895
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Vestibule plan of entry and vestibule showing mosaic floors


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Impact of Industrial Revolution on Architectural Design

http://www.aenet.org/manila-expo/p16ima12.jpg
The Industrial Revolution, which happened in the latter half of the 18th century, brought about a number of changes in the architectural scenario all over the world.
The world turned greatly towards Greek and Roman forms of architectural design. It was considered fashionable, and rightly so, to borrow from various types of architectural designs. The Greek designs were what dominated the architectural designs that were taken up, right till the 19th century.


Because the Industrial Revolution also saw advancement in technology and manufacturing facilities, architecture became popular and it became easier to design the buildings. New architectural designs were incorporated with easeas one adapt one’s own designs on the architectural designs from over the world, giving an edge to almost all works produced after the Industrial Revolution. It was during the Industrial Revolution that the textile industry also boomed. Because of this development, architectural designs introduced fabrics like velvet and silk. This brought about the concept of interiors being incorporated into the architectural designs, making them interestingly different from all the designs known to exist before this era.
Many who have studied architecture would probably agree that because these architectural designs were drawn by the same contributing factors, they seemed to lack imagination and style. However, not a person can deny that these architectural designs were practical, lasting, and only got better with other accompanying advancements.
Advancements in the Industrial Revolution also contributed greatly in the evolution of architectural design as we see them today. At the height of the Industrial Revolution, architecture celebrated both the ornamental and the unadorned and embraced mass production in an almost unbelievable display of goods and resources.
The heavy industry growth brought about a flood of new building materials such as cast iron, steel, and glass, with which architects, with the help of engineers devised structures of or sizes bigger than before, of forms better than before, and fit to perform functions which were not possible before.
Apart from architectural designs flourishing with respect to housing and commercial buildings, architecture also saw a boom with respect to other forms of infrastructure such as canals, tunnels, bridges and the likes.
The Industrial Revolution brought about a number of changes in the way architecture was perceived post 18th century. Architectural design took a huge turn and all for the better. Access to better resources, more material, better techniques; all were contributing factors to architecture becoming a full-blown and still flourishing industry today.

Saturday 8 August 2015

Triangle House in Thailand features gabled walls, a courtyard and a lily pond

Built beside a lily pond on the outskirts of Bangkok, these two adjoining houses both feature prominent gable walls that prompted neighbours to name the property Triangle House (+ slideshow).
The Triangle House by Phongphat Ueasangkhomset
Thai architect Phongphat Ueasangkhomset designed the two buildings to provide a combined residence for a single family in Nakorn Pathom. Both structures sit on the northern side of the pond, separated by a central courtyard.
The Triangle House by Phongphat Ueasangkhomset
The clients requested a straightforward layout, with all rooms on one level to make it easier for elderly members of the family to move around.
To achieve this, Ueasangkhomset created one rectangular and one L-shaped building, both with a typical pitched roof.
The Triangle House by Phongphat Ueasangkhomset
Each house has its own living room, kitchen and dining space. There are two bedrooms in one and three in the other.
The Triangle House by Phongphat Ueasangkhomset
"I wanted the houses to be simple and modest, yet still have their own character," the architect told Dezeen. "With the 45-degree-sloped symmetrical and triangular roof shape, they are suited to the local climate."
"Since built, it's been called 'the triangle house' by the neighbourhood," he added.
The Triangle House by Phongphat Ueasangkhomset
The site itself is also triangular, which created opportunities for several gardens around the edges of the site.
The Triangle House by Phongphat Ueasangkhomset
The two houses sit on opposite sides of the paved courtyard. Glass walls run along both courtyard-facing facades, so residents can open their living rooms out to the space.
This allows it to become a central meeting place, and also makes the residence "party friendly".
The Triangle House by Phongphat Ueasangkhomset
"The living space and terrace of both houses are facing each other, visibly connected with large folding glass doors," said Ueasangkhomset. "They stay open most of the day."
The Triangle House by Phongphat Ueasangkhomset
Inside, the slope of the roof allows generous ceiling heights in these rooms, as well as in the adjoining kitchens. The architect said this was "because the family love to cook and spend most of the time here preparing the food, receiving family and friends".
The Triangle House by Phongphat Ueasangkhomset
All of the bedrooms are located on the eastern side of the site, as far away as possible from the noise of the road.
The Triangle House by Phongphat Ueasangkhomset
Triangle House was completed in 2013. Similar suburban properties in Thailand include a house featuring seven-metre-high doors by TACHA_Design and a family home by all(zone) that reinterprets standardised housing.
Photography is by Chaovarith Poonphol

Project credits:
Architects: Phongphat Ueasangkhomset
Interior designer: Parnduangjai Roojnawate
Lighting designer: Phongphat Ueasangkhomset, Parnduangjai Roojnawate

The Triangle House by Phongphat Ueasangkhomset
The Triangle House by Phongphat Ueasangkhomset

The Triangle House by Phongphat Ueasangkhomset
 The Triangle House by Phongphat Ueasangkhomset