Industrial revolution

Transformed the way we think

Increase in production brought about by the use of machines
characterized by the use of new energy resources.
 It caused major changes in agriculture, manufacturing,
mining, transportation, technology and architecture.

The search for neo classical aesthetics turned into search

for an architecture made use of the new industrial process
and materials.
Rather than beautifully made buildings with the intent to
impress, building were developed with the possibilities
granted by the new technology materials, iron, steel and
glass.

Design of efficient spaces that could be economically

efficient in large scale
Crystal Palace Built for Great Exhibition 1851 London
Brooklyn Bridge New york, 1869 – 1883
The Eiffel Tower, Paris, 1889.
 Architecture and construction became more affordable with
prefabricated architectural elements and building material

The ability to prefabricate elements lead to the design of large

span spaces and structures.
Accommodating the needs of growing urban population
and increase in steel and iron production and structures
build out of these materials was largely driven by the
expansion of railway infrastructure, bridges in England
and other parts of the Europe.
 The industrial revolution time has shown the direct
translation of stone and timber structures into iron and
steel structures spanning larger areas constructed in less
time.
The Effects of Industrial revolution
MASS PRODUCTION

LOW-QUALITY

DEGRADATION OF SOCIAL VALUES

POOR WORKING CONDITIONS

POVERTY

EXPLOITATION
ARTS AND CRAFTS
MOVEMENT

Ar. Jagadeesh
SCHOOL OF ARCHITECTURE
G I TA M U N I V E R S I T Y
The rise of
Arts and crafts movement
ARTS AND CRAFTS MOVEMENT

The Arts and Crafts Movement was a reformist movement that

influenced European, Canadian, and American art,
architecture, furniture, and decorative arts.

The movement came toward the end of the nineteenth century

as a retaliation to the highly industrial Victorian style of
unnecessary ornamentation and gingerbread houses.
Theory and philosophy

The philosophy behind the Arts and Crafts

Movement was recognition that technology, or
industrialization, did not equate to a higher quality of
life for individuals.

This was a vision of a society in which the

worker was not brutalized by the working
conditions found in factories, but rather
could take pride in his craftsmanship and
skill.
Tools used to produce hand crafted furniture
during the arts and crafts movement.
Theory and philosophy

To create design that was... For the people and by the

people, and a source of pleasure to the maker and the
user.

Because of its strive for universal accessibility to art, the

movement was considered to be closely allied with
socialism in its dictate that "honest craftsmanship is good
for both the craftsman and the inhabitant of a 'reformed'
home“.
John Ruskin William Morris Charles Rennie Mackintosh Gustav Stickley
1819 - 1900 (1834-1896) (1868-1928) (1858-1942)
 Theory and philosophy

Life is short art is long

“When love and skill work together, expect a masterpiece,”

John Ruskin

"Nature is painting for us, day after day, pictures of

infinite beauty."
John Ruskin
Theory and philosophy

The Arts and Crafts Movement focused on personal

aesthetics and the individual.

In these aesthetic values, the movement believed

that society produced the art and architecture in
which it deserves.
INDUSTRIALIZATION ARTS & CRAFTS MOVEMENT

MASS PRODUCTION SOCIAL REFORM

LOW-QUALITY HANDMADE HIGH QUALITY

DEGRADATION OF SOCIAL VALUES

APPRECIATION OF ART
POOR WORKING CONDITIONS
AESTHETIC STYLE
POVERTY
CREATIVE FREEDOM
EXPLOITATION
When we build, let us think that we build
for ever.
John Ruskin
John Ruskin

Born in London, John Ruskin is mainly known for his

magnificent work in the field of art, literature and
architecture.

A fervent art critic, Ruskin is also remembered for his

ideas of socialism and immense contribution towards
promoting Gothic architecture.

He gained popularity as a social critic and a poet in

the Victorian and Edwardian eras.
 JOHN RUSKIN

Arts and crafts movement, which challenged the

tastes of the Victorian era, was inspired by the social
reform concerns of thinkers such as Walter Crane and
John Ruskin, together with the ideals of reformer and
designer, William Morris.
JOHN RUSKIN
"Sunshine is delicious, Rain is refreshing, Wind braces us
up, Snow is exhilarating; there is really no such thing as
bad weather, only different kinds of good weather."
– John Ruskin

John Ruskin, The Seven Lamps of

Architecture, 1855 Plate V, "Capital from the
Lower Arcade of the Doge's Palace, Venice,"
 William Morris (1834-1896)

"History has remembered the kings and warriors,

because they destroyed; art has remembered the
people, because they created."

"Have nothing in your homes that you do not

know to be useful or believe to be beautiful."
William Morris
William Morris

A committed socialist and medievalist, William

Morris (1834 - 1896) was horrified by increasing
mass-production and mechanisation in the arts and
wished to reinstate the values of traditional
craftsmanship and simplicity of design.

His slogan was that art should be ‘by the people,

for the people’.
William Morris

The firm’s earliest commissions came from the

church. The projects took the form of stained glass
designs with a medieval theme.

Whilst concentrating on ecclesiastical stained glass,

the firm of Morris also produced hand-painted tiles,
table glass and furniture.

Its furniture ranged from simple, rush-seated

‘Sussex’ chairs to spectacular, one-off projects like
the St George cabinet, designed by Philip Webb and
decorated by Morris with scenes from the life of the
saint.
William Morris
William Morris

William Morris - "Seaweed" (1901) wallpaper,

Strawberry Thief-William Morris designed by John Henry Dearle.
William Morris & co.
William Morris Art works
Red House

"The only house commissioned, created and lived in by William

Morris, founder of the Arts & Crafts movement, Red House is a
building of extraordinary architectural and social significance.
Red House

Commissioned by William Morris and designed by

Philip Webb, two of the founders of the Arts and
Crafts movement, the house is a landmark in the
history of domestic architecture and the garden
inspired Morris’s early designs of wallpaper and
fabric.

Completed in 1859, Morris lived there with his wife

Jane for five years.
Red House was designed to express a set of social,
architectural and cultural values drawn from history.
It was Webb’s first private commission and with its garden
was planned as a single entity.

Morris believed that the garden should ‘clothe’ the house

linking it with the countryside which then surrounded it.
The house was constructed of warm red brick, under a steep
red-tiled roof, with an emphasis on natural materials.
The sense of space and light was a radical departure from
the high Victorian style of the day and much of the interior
was decorated by Morris and Webb with Rossetti and
Burne-Jones.
Red House
Charles Rennie Mackintosh(1868-1928)

Charles Rennie Mackintosh was a Scottish architect,

designer, watercolourist and artist.

He was a designer in the Arts and Crafts movement

and also the main representative of Art Nouveau in
the United Kingdom.
Mackintosh works
Oval room, Charles mackintosh
Glasgow School of Art
The building was built between 1897 and 1909 and
designed by Charles Rennie Mackintosh
Glasgow School of Art-Glasgow-Scotland
Glasgow School of Art-Glasgow-Scotland
 Weather vane, Glasgow School of Art
Glasgow School of Art Library.
Hill house- Charles rennie mackintosh
Helensburgh, Scotland1902 – 1904
Arts and crafts movement
In
America
Gustav Stickley (1858-1942)

Gustav Stickley. Huge influence in the Arts and Crafts

movement. Influenced many Architects including: Frank
Lloyd Wright, Greene and Greene and Charles Renee
Mackintosh. Over 100 years later his furniture designs
are still relevant.
Gustav Stickley

Gustav Stickley advocated the creation of a distinctive

American furniture style that would integrate furnishings,
architecture, handicrafts, and principles of harmonious
living; he believed that well-designed furnishings could help
"make life better and truer by its perfect simplicity."

Gustav Stickley's Home in New Jersey

Gustav Stickley chair,
American Arts and Crafts Manderley Manor - home of Gustave
movement Stickley- Toronto
Tall Case Clock. Oak and Brass. 1902
HARVEY ELLIS (1852 - 1904) GUSTAV STICKLEY, rare inlaid music
cabinet, 1904
Home in Philadelphia
Gustav Stickley swivel chair

Gustav Stickley (1857-1942). Dropfront Desk,

Open Medium: Oak with copper hardware
1903
The term Mission style was also used to describe Arts and Crafts
Furniture and design in the United States.
The use of this term reflects the influence of traditional
furnishings and interiors from the American Southwest, which
had many features in common with the earlier British Arts and
Crafts forms.
Charles and Henry Greene were important Mission style
architects working in California.
Mission Style interiors were often embellished with Native
American patterns, or actual Southwestern Native American
artifacts such as rugs, pottery, and baskets.
Gamble House - Greene & Greene

The developed style of Greene and Greene is very

distinguishable in the design world, as their Japanese
inspirations are incorporated into stain glass windows,
details carved and formed with wood, joinery and joint
pieces traditional to architecture in Japan.
The emphasis on the horizontal line, the use of
modular units, a taste for the asymmetrical, the
absence of clutter, extensive areas of unpainted
wood, a preponderance of natural and subdued
colors, a close relationship with the outdoors were all
key elements of Japanese architecture that are
incorporated into the Craftsman style.
Gamble House - Greene & Greene
The movement … represents in some sense a revolt against the
hard mechanical conventional life and its insensibility to beauty
(quite another thing to ornament).

It is a protest against that so-called industrial progress which

produces shoddy wares, the cheapness of which is paid for by the
lives of their producers and the degradation of their users
.It is a protest against the turning of men into machines,
against artificial distinctions in art, and against making
the immediate market value, or possibility of profit, the
chief test of artistic merit