Industrial Revolution, Arts&Crafts, Domesticity

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Looking out the window in York Bay, Wellington

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity INDUSTRIAL REVOLUTION

REVIVAL

GOTHIC ARCHITECTURE

BAROQUE

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity GOTHIC REVIVAL

ARTS AND CRAFTS MOVEMENT

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Pre-Industrial Production: Animal – People – Water – Wind

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity The ‘Dark Satanic Mills’, 14-16hr days, 7 days a week: From a ‘cottage industry’ to the ‘spinning jenny’ and factory production

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity 1870 1900 World War I - continual increase of mechanisation

Second Industrial Revolution

Combustion Engine and Electromotor Development of Capitalist Monopolys Development of Chemical Industry Fordism, Taylorism Steel Production Standardisation, Division of Labour New ways of labour division Beginnings of telecommunication technologies

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity 1920 World economy depression - Fascism - World War II 1940

Third Industrial Revolution

Motorising of the farming sector Nuclear power Scientific management applications to the home Electronics Automatic controls Automated production lines

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Economic recovery programme 1960 ‘Wirtschaftswunder’ Space race

Further increase of precision, control, rationalisation and standardisation of production Transfer of production knowledge from US to Europe and Japan Data processing Computer technology developments

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity "One man draws out the wire; another straights it; a third cuts it; a fourth points it; a fifth grinds it at the top for receiving the head; to make the head requires two or three distinct operations; to put it on is a peculiar business; to whiten the pin is another; it is even a trade by itself to put them into the paper; and the important business of making a pin is in this manner divided into about 18 distinct operations.”

Adam Smith in ‘The Wealth of Nations’ 1776 The result of labor division in Smith’s example resulted in productivity increasing by 24,000 percent (sic), i.e. that the same number of workers made 240 times as many pins as they had been producing before the introduction of labor division.

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Crystal Palace and the Great Exhibition at Hyde Park, London, Joseph Paxton, 1851

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Crystal Palace, Inside, London, Joseph Paxton, 1851

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Paddington Station, London, Isambard Kingdom Brunel, 1854: A new Building Typology

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity SS Great Western Isambard Kingdom Brunel, 1837

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity In the 1830s Ralph Waldo Emerson traveled to Europe on a sailboat and returned on a steamship. If we look at this moment symbolically, we could say he went over on a recyclable vessel that was solar-powered, operated by craftsmen practicing ancient arts in the open air. He returned in what would become a steel rust bucket spewing oil on the water and smoke in the sky, operated by men shovelling fossil fuels into the mouths of boilers in the dark. In his journals on the way back in the steamship, Emerson noted the lack of what he wistfully described as the connection to the ‘Aeolic kinetic’ – the force of the wind. He wondered at the implications of these changing connections between humans and nature.

From: Cradle to Cradle, McDonough and Braungart, 2002.

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity

Summary 1 of 2:

_Changing contexts: Population drift from rural to cities and towns 1500s

_From Cottage Industry to Factory production, beginning in England with textiles

_New technologies driven by alternative sources of energy

_Adam Smith’s ‘Invisible Hand’ and the division of labour as the key economic principles

_The Great Exhibition 1851: Colonisation and exploitation; rivalry and showcasing through World Expositions

_Rise of the Bourgeoisie: Nouveau riche 1800s, an ‘upper middle class’

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity “We have much studied and much perfected, of late, the great civilised invention of the division of labour; only we give it a false name. It is not truly speaking the labour that is divided; but the men: - Divided into mere segments of men - broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a head of a nail.”

John Ruskin, The Stones of Venice, 1851-53

_For people like John Ruskin the Gothic “represented the Christian belief and emphasis on the unique value of the human soul”. The Christian Gothic “not only recognises its [the human being’s] value; it confesses to its imperfection

_Ruskin compared the processes of production and the division of labour with that of a worker that is equally divided and destroyed,… not labour is divided, but men!”

_He promoted the involvement of the worker in all parts of a production, referring as a precedent to the medieval, gothic workshop practices

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity The Stones of Venice, Ruskin

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity 19th Century ‘Swiss Army Knife’

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Carved Oak Table, exhibited at Crystal Palace, 1851

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity _William Morris’s workshop was set up as an alternative to Industrial production, furniture, textiles carpets, wallpaper, stained glass, supporting individuality and ‘truth’

William Morris

_’Truth’ was to be achieved by honest ornamentation, human craftsmanship and imperfection as a consequence.

These led to Arts and Crafts characteristics of honest, pure use of materiality; expression of material and its properties; no nails or steel used in furniture; use of old craft knowledge

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Morris wallpaper: truth to nature was achieved by “logical structure and attention to nature”

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Kelmscott Press, 1891 onwards, Book Cover designs: “to produce books by traditional methods”, designs inspired by 15th C type

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity A.W.N. Pugin, Knock-down Table,

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Philip Webb, Red House for William Morris, 1859

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Philip Webb, Fire Place, Red House, 1859

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Chapman-Taylor Bach, York Bay, Wellington, 1920s

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity "Just as an artist must paint his own pictures, so must a domestic architect carry out his own designs”.

James Walter Chapman-Taylor, Homecrafts, Wellington, 1911; promoter of the English Cottage Style

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity “If the machine could work my timber so as to retain its character, if it could give me infinite variety of light and shade and of facets to give play to these as such as I get easily with an adze, then I would use the machine. But the machine tears its brutal way regardless of such considerations and the result is monotony which is ugly. There are still craftsmen man enough to take their coats off and work all day with an adze rather than put up with the degrading result of the sawmill. And I am one of them.”.

James Walter Chapman-Taylor, Homecrafts, Wellington, 1911

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Arts & Crafts Chair, Chapman-Taylor Workshop

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Arts & Crafts Chair, Detail, Chapman-Taylor Workshop

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity F.L. Wright Chair

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Robie House, Chicago, Frank Lloyd Wright, 1910

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Robie House, ‘Breaking of the box, the cantilevered roof and relationship to nature

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Robie House, Interior

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity _Home planning solutions are regarded as timeless

_Ordinary plans might reveal extra-ordinary facts

_privacy through architecture is recent

_renaissance planning divides, then unifies

_regarded as a primitive stage of home planning

Andrea Palladio, Villa in Udine, from: Robin Evans, Translations from Drawing to Building, 1993

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity _Figures portray degree of relationships

_Illustrations of conduct

_different understanding of domestic living

_touch and body emphasised

_design of rooms not as relevant, only peripheral

_the space is the people, [filled in]

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Andrea Palladio, Villa in Udine, from: Robin Evans, Translations from Drawing to Building, 1993

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity _Matrix is a way of encouraging meeting

_’Carnality’ emphasised

Robin Evans: The Quilt

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Enfilade in Versailles, looking towards the ‘Galerie des Glaces’

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Robin Evans: Apples on a Tree _Occupants become a source of irritation

_only ‘necessary visits’ allow for meetings

_compartmentalisation

_carnality distasteful – reflection of Victorian values

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Red House plans, ‘Medieval’ outside, Victorian inside

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity “[The matrix of connected rooms]… was challenged in the seventeenth Century and finally displaced in the nineteenth by the corridor plan, which is appropriate to a society that finds carnality distasteful, which sees the body as a vessel of mind and spirit and in which privacy is habitual.”

Robin Evans, Translations from Drawing to Building and other Essays, 1997

From: Robin Evans, Translations from Drawing to Building and other Essays, 1997

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity From: Robin Evans, Translations from Drawing to Building and other Essays, 1997

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Antoni Gaudi, Sagrada Familia, Barcelona, 1882- [2026?]

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity For the Sagrada church, Gaudi combined many geometrical forms such as hyperboloids, paraboloids, helicoids, conoids and ellipsoids, all chosen for their formal, structural, luminous, acoustic, and constructive qualities. All of these surfaces were ruled, which makes the construction easier. He also developed a system of proportions for applying to all the dimensions and elements of the church

From: AECbytes – Smart Geometry by Lachmi Khemlani

Antoni Gaudi, Sagrada Familia, Barcelona, 1882- [2026?]

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Antoni Gaudi, Sagrada Familia, Barcelona, 1882- [2026?]

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Lionel Feininger, Woodcut ‘Cathedral’, 1919

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Summary 1 of 2:

_destruction of fundamental human values was equated with with “poverty, overcrowded slums, grim factories, a dying countryside and apotheosis of the cheap and shoddy”

_arts and crafts was to improve the moral and social conditions caused by the Industrial Revolution

_its aesthetic was based on medieval / preindustrial cultural production; art and craft

_medieval vernacular [common rural language, in this context meaning visual language]

_aesthetic ideals (how to find / achieve beauty) were found in honesty and individual craftsmanship

_for people like John Ruskin, the Gothic “represented the Christian belief and emphasis on the unique value of the human soul”. The Christian Gothic “not only recognises its [the human being’s] value; it confesses to its imperfection

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Summary 2 of 2:

_Ruskin compared the processes of production and the division of labour with that of a worker that is equally divided and destroyed,… not labour is divided, but men!”

_promotion of the involvement of the worker in all parts of a production, referring to the medieval workshop practices

_Morris’s workshop was set up as an alternative to Industrial production, furniture, textiles carpets, wallpaper, stained glass, supporting individuality and ‘truth’

_truth was to be achieved by honest ornamentation, human craftsmanship and imperfection as a consequence, honest, pure use of materiality, expression of material and its properties, no nails or steel used in furniture, use of old craft knowledge

_domestic planning developed in the 19th Century from a ‘thoroughfare’ to a ‘terminal’ room system

_change in society’s belief systems can be read in planning of the house changing from a matrix of rooms to one with corridors, servant-owner distinction and separation, one that Evans equates with a ‘Victorian distaste for carnality’ – opportunity to be surrounded by, and in closer proximity to people negated

Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity Lecture 3: 19th Design: Industrial Revolution, Arts&Crafts, Domesticity