Modern in architecture. V. Orta
Architecture of the late 19th – early 20th centuries demonstrated the spirit and power of the industrial era. Stone and wood gave way to concrete, steel structures, lightweight and durable aluminum, large glass surfaces that form huge facades and vaults, and then plastics. Erected at the end of the 19th century. The Eiffel Tower in Paris and the Brooklyn Bridge in New York showed not only the possibilities of new steel structures, but also their lightness, height and length.
Relying on the best achievements of world architecture, having mastered new materials and technologies, the architects of the XX century. got an exceptional opportunity to experiment. Improvisation has now become the main principle of their creative activity.
The new Art Nouveau style clearly manifested itself in architectural structures. Compared with the “calm” of the XIX century. it was a true revival of architecture, a new stage in its rapid and rapid development. Asymmetric spatial compositions, combining volumes of different scales and shapes, were made in a single style.
Exceptional importance was attached to new building and finishing materials (concrete and steel), expressiveness of flowing rhythms and smooth lines, manifested in the curves of walls, complex curvilinear outlines of parts, windows and doors. Architectural structures were distinguished by picturesque colors, silhouette of forms. The design of the facades of dwellings and public buildings included floral ornaments, stained glass windows, ceramic panels, decorative sculpture, and forged bent iron. Masterly possession of various decorative means has become a characteristic sign of the times.
The idea of the organic unity of architecture with the environment was of particular importance. The architects were inspired by everything that resembled living nature: plants, shells, fish scales, the play of streams of water. Everything was designed to refine everyday life and bring beauty to it.
Modernity in architecture has shown itself in almost all European countries, and it has responded in America. It was most widely used in France, Belgium and Holland. The main centers of Art Nouveau architecture were Paris, Vienna and Brussels; in Germany – Munich and Darmstadt, in Great Britain – Glasgow, in Spain – Barcelona, in Italy – Turin, in Russia – Moscow. In these cities, it is represented mainly in the architecture of urban mansions for wealthy customers, in expensive apartment buildings, country villas and summer cottages. The pretentiousness and theatricality of modernity, alien to the rational nature of construction, did not contribute to its consolidation in architecture for a long time. Having completed his creative searches and demonstrated new possibilities at the very beginning of the 20th century, Art Nouveau had a great influence on all subsequent development of architecture.
The Belgian architect Victor Horta (1861-1947) is called “the perfect architect of Art Nouveau”. The rhythmic, smoothly curved lines of the facades gave its structures amazing mobility. They are asymmetric, devoid of sharp transitions, the lines intertwine, scatter and converge again at one point. He could combine the softness of wood, strength of stone and the grace of lines of metal structures into one whole. Wood and stone sometimes lost their characteristic features, became plastic, unsteady and fluid. Metal structures, like living beings, were also imparted with “movement.” The openwork weaving of metal lattices organically combined with the surface of the walls, window openings, balconies and bay windows.
The adherence to natural motives of ornaments has determined the style of many works of Victor Orta. The Tassel House is rightfully considered the first example of “pure modern”. He brought worldwide fame and glory to the aspiring architect. The octagonal lobby, bounded by metal structures, merges into the living room and staircase. The wavy lines of balustrades and supporting columns, the flowing movement of curved lines are not limited only to the horizontal direction. With the help of curved flights of stairs, which resemble a stream meandering among trees, grasses and flowers, the impression of a vertical movement is created. Metal “comes to life”, turns into clouds of smoke, tree trunks, on which metal branches and leaves “grow”. The overall impression is enhanced by the delicate ornament of forged stair railings, geometric patterns of mosaic floors,multicolored bright glass of stained-glass windows penetrated by sunlight.
