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Unformatted text preview: Art 152 24 March 2008 Nineteenth Century Art: Realism • Changing materials; more separation between an engineer (science – tension/support, heating/ac) and an architect (spaces, appearance – more artistic) new design and ideas o Past: wood, stone, brick (Romans had concrete) (iron in change to offer minor structural support for stone, etc.) o Now: Cast-iron, glass, steel Prefabrication (pre-made parts that were all the same) produced on a large scale Greater strength in a structure with less bulk (esp. steel) – change scale and dimension of interior spaces – more glass and light Iron, steel, and glass all start as liquid and can be shaped Originally chosen for structural reasons – iron hidden behind terra cotta; more economical Architecture is more dynamic • Joseph Paxton, Crystal Palace, 1851, London, England o Gardener – built greenhouses o London Great Exhibition, sponsored by Prince Albert – world’s fair, about Industrial Revolution; housed 245 world delegations to display objects, brightly lit, open Cover large area at low cost, flexibility of interior spaces, built in the middle of Hyde Park without damaging area, in 6 months (didn’t want it to be suggestive of previous buildings) o Modular iron structure; module: everything made to a specific size and repeated again o 1 cent/cubic foot o Not a lot of skill involved o Trees preserved; disassembled after exhibition o Basilica – long rectangular arm w/ trancept in the middle (vaulted); mostly flat- roofed – seems as a cathedral with a dematerialized wall o Bolted together; structure from water lily – cross-bracing on vault; seems infinite (can repeat module); no real ornament except the capitals at the top of each cast-iron...
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- Spring '08
- Beaux-Arts architecture, École des Beaux-Arts, Modular iron structure, large scale Greater, London Great Exhibition