This in my final post in a series looking at a project I’m planning to undertake about a specific architectural style and its local communities.
In my last post I described the role of the Belgian architect Victor Horta in creating a unique ‘modern’ style in Brussels at the very end of the 19th Century. There followed a highly active period prior to the start of the First World War where other architects followed his example.
Horta’s style was somewhat disparagingly called ‘noodle’ or ‘whiplash’ by critics. This is because he used strong visual symbols based on nature within many aspects of it. More importantly, he perhaps unknowingly, trod in the footsteps of both the traditionalist ‘Arts & Crafts’ movement in England, and the ‘modernist’ approach starting to emerge particularly from the Chicago school of architecture in the USA. His was a complete solution to a client’s design brief covering every single aspect of a domestic and/or work residence using a range of materials and solutions.
Other architects in Belgium, Austria-Hungary, Germany, Finland, Scotland, Spain and the Baltic States drew courage from this radical new approach. It became known as ‘Art Nouveau’, ‘Moderne’, ‘Jugendstil’, ‘Liberty’ and ‘Secessionist’ to name a few terms. I particularly like the last one as it best conveys the idea of a break from the past.
In Latvia which was then a part of the Russian Empire, a frenetic period of activity took place for a decade or so after 1899. As a result, the capital Riga has become a World Heritage Centre for the extent of its architecture reflecting this time and style. There is a beautiful museum describing the buildings and key architects, one of whom stands out for me: Konstantins Peksens.
How does any of this relate to Sir John Wolfe Barry, civil engineer?
Probably not very much as he was from an earlier generation and clearly wasn’t an architect like his father and two of his brothers. However, he was in touch with communities: his greatest civil engineering achievement Tower Bridge has resonated with the people of London, in deed the world, for almost 125 years since it was completed.
In the previous post in this series I referred to a unique office building in Liverpool, England completed in 1864 and how it had influenced architectural thinking about high rise buildings in late 19th Century America.
This post is about the architect Victor Horta.
I knew little about him until recently, when I began researching the origins of Art Nouveau as a revolutionary architectural style which flourished across the turn of the 19th and 20th Centuries. This connects with investigations related to Augustus Pugin, as well as into the relationship between architectural aesthetics and engineering form, some of which is recorded on this website about the civil engineer Sir John Wolfe Barry.
Horta appears to me to have been a remarkable man. But he was also a reflection of the time and place he lived. Born in Ghent, Belgium in 1861, he eventually moved to Brussels, the Belgian capital, where his unique approach to architecture struck a chord with key members of the city community. One particular building stands out for me and many others who have like me appreciated his efforts. This is the Hotel Tassel.
It was to be the home of a professor of geometry who was a Freemason like Horta. It seems the architect was given complete artistic licence. But he approached this, as Morris and Webb had done with their ground-breaking Red House in England, with a philosophical bent which captured the full expression of his talent in design and the detailed application of materials and techniques.
My new project will look at how this created vision still reverberates within the community that is Brussels.
The final post in this series.