This preview shows pages 1–2. Sign up to view the full content.
This preview has intentionally blurred sections. Sign up to view the full version.View Full Document
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 worlds 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 (didnt 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...
View Full Document
This note was uploaded on 03/29/2008 for the course ART 152 taught by Professor Bauer during the Spring '08 term at UNC.
- Spring '08