1800
1851
Great Exhibi,on London
Crystal
Palace
1900
France
1760
JNL
Durand
1834
1755
Quatremère
de
Quincy
1849
1814
Eugène‐Emmanuel
Viollet‐le‐Duc
1879
1841
Auguste
Choisy
1909
Germany
1781
Schinkel
1841
1803
Go4ried
Semper
1879
1841
O8o
Wagner
1918
1870
Adolf
Loos
1933
England
1812
Pugin
1852
1819
Ruskin
1900
1834
William
Morris
1896
1812
Born
in
London,
middle
class
family
Father,
Augustus
Charles
Pugin
(1762‐1832),
publ.
Specimens of Gothic Architecture (1821‐28).
French.
1835
Converted
to
Catholicism
1836
Contrasts Non‐architectural and non‐aesthe,c considera,ons gained the upper hand.
1838‐44
Professor
of
EcclesiasQcal
AnQquiQes,
St.
Mary’s
College,
Osco8.
1841
True Principles of Pointed Architecture
1859
Death
Auguste
Welby
Northmore
Pugin
(1812_52)
Contrasts 1836
Parallel between the Noble Edifices of the Middle Ages and Corresponding Buildings of the Present Day; Showing the Present Decay of Taste
Ch
1:
On
the
Feelings
which
produced
the
Great
Edifices
of
the
Middle
Ages
Ch
2:
On
the
Revived
Pagan
Principles
Ch
3:
Of
the
Protestant
Principle
and
Pillage
and
DestrucXon
of
churches
under
Henry
the
Eight
Ch
4:
On
the
Ravages
and
DestrucXon
of
the
Churches
Under
Edward
VI,
and
A]er
the
Final
Establishment
of
the
New
Opinions
of
the
Act
of
Parliament
Ch
5:
On
the
Present
Degraded
State
of
EcclesiasXcal
Buildings
Contrasts 1836
Parallel between the Noble Edifices of the Middle Ages and Corresponding Buildings of the Present Day; Showing the Present Decay of Taste
Combines medieval architecture (which he considered superior to post‐medieval architecture) with French func,onalist views:
“the great test of Architectural Theory is the fitness of the design to the purpose for which it is intended, and that the style of a building should so correspond with its use that the spectator may at once perceive the purpose for which it was erected.”
For
medieval
architecture
that
purpose
was
religious.
Contrasts 1836
Parallel between the Noble Edifices of the Middle Ages and Corresponding Buildings of the Present Day; Showing the Present Decay of Taste
Transcribes the role of architecture into a call for social reform.
”the
once
glorious
Gothic
town
has
become
place
of
decaying
churches,
prisons
smoking
factory
chimneys
and
tenements.”
True Principles of Pointed or ChrisFan Architecture
1841
Two great immutable principles of architecture :
“1st. that there should be no features about a building which are not necessary for convenience, construc,on, or propriety; 2nd. that all ornament should consist of enrichment of the essen,al construc,on of the building.” Only clima,c and na,onal varia,ons are permiSed. “ True architectural Principles = Gothic = Chris,an”
1812‐52
Introduces a new polemic and ideological tone in the Neo‐Gothic debate. A Fervent Catholic convert. Transcends the role of architecture pure into a call of social reform. Combines medieval architecture with French funcFonalist views.
Rejects Greek Architecture‐Pagans Demagogic‐ Insane‐Intolerant
Auguste
Welby
Northmore
Pugin
(1812_52)
1819
Born
in
London
to
ScoZsh
parents
Utopian
Theorist,
Social
CriQc,
Author,
Art
CriQc,
ArQst,
&
Poet.
Most
important
protagonist
of
the
Gothic
cause
in
England
Studied
at
King’s
College
of
London,
Christ
Church,
Oxford
1849
The Seven Lamps of Architecture (1849)
1851‐53
The Stones of Venice Volume I. The Founda,ons (1851)
Volume II. The Sea–Stories (1853)
Volume III. The Fall (1853)
1868‐79
First
Slade
Professor
of
Art
in
Oxford
1900
Death
John
Ruskin
(1819‐1900)
The Seven Lamps of Architecture (1849)
Influenced
by
Pugin,
Pugin’s
Religion
became
Ruskin’s
Ethics.
Moral
tone.
Architecture
is
only
a
part
of
a
much
larger
sociological
complex.
“Laws
of
architecture
are
idenXcal
with
those
of
man’s
moral
life.”
Like
Semper,
“There
is
no
law,
no
principle,
based
on
past
pracXce,
which
may
not
be
overthrown
in
a
moment,
by
the
arising
of
a
new
condiXon,
or
the
invenXon
of
a
new
material.”
The Seven Lamps of Architecture (1849)
seven
lamps
(chapters)
• • • • • •
sacrifice,
truth,
power,
beauty,
life,
memory
and
obedience
The Seven Lamps of Architecture (1849)
seven
lamps
(chapters)
• • • • • •
sacrifice,
truth,
power,
beauty,
life,
memory
and
obedience
The
Lamp
of
Truth
Ruskin
warns
against
three
‘architectural
deceits’:
1st
The
suggesXon
of
a
mode
of
structure
or
support,
other
than
the
true
one…
nd 2
The
painXng
of
surfaces
to
represent
some
other
material
other
than
that
of
which
they
actually
exist…
3rd
The
use
of
cast
or
machine
made
ornaments
of
any
kind.
“
One
should
stay
true
to
materials
and
use
of
hand
made
ornament”
”forms
which
are
not
taken
from
natural
objects,
must
be
ugly”
The Seven Lamps of Architecture (1849)
seven
lamps
(chapters)
• • • • • •
sacrifice,
truth,
power,
beauty,
life,
memory
and
obedience
The
Lamp
of
Beauty
only
chapter
that
deals
with
aestheXcs
views
ornament
as
the
expression
of
its
creators
state
of
mind
should
be
from
nature
reflects
on
society
symmetry
is
balancing
equal
quanXXes
Influenced
Sullivan
RestoraXon
meant
destrucXon
to
Ruskin
his
slogan
was,
“take
proper
care
of
your
monuments,
and
you
will
not
need
to
restore
them.”
Not
RestoraXon
but
ConservaXon
The Stones of Venice (1851‐53)
Volume I. The Founda,ons (1851)
Volume II. The Sea–Stories (1853)
Volume III. The Fall (1853)
1819‐1900
truth
to
materials
construcXve
honesty
organic
ornament
the
cra]smanship
of
the
individual
(not
machines)
conservaXon
(not
restoraXon)
John Ruskin (1819-1900)
“What
we
think
or
what
we
know
or
what
we
believe
is,
in
the
end,
of
likle
consequence.
The
only
consequence
is
what
we
do.”
‐
John
Ruskin
1834
Born
in
London
Designer,
Illustrator,
Printer,
Poet,
Socialist
Influenced
by
Pugin
and
Ruskin
Classical
EducaQon
at
Marlborough
Oxford
1861
Est.
Firm
Morris
and
Co.,
with
Marshall,
Faulkner,
Brown,
RosseZ,
Webb,
and
Burne‐ Jones
1868‐70
Lectures: The Earthly Paradise
1877
The DecoraFve Arts
1883
Art under Plutocracy
1884
Useful Work versus Useless Toil
1888
The Revival of Architecture picturesqueness
1890
News from Nowhere
William Morris (1819-1900)
The Revival of Architecture(1888)
Equally
opposed
to
Classicism
and
neo‐Gothic
However,
sXll
advocaXng
historical
study.
‘a logical organic style evolved as a ma[er of necessity from the ancient styles of the classical peoples.’ ‘there is sFll only one style of architecture on which it is possible to found a true living art…and that style is Gothic.’ ‘Architecture is the expression of social life.’
News from Nowhere(1890)
Proposes
a
new
utopia
for
London
in
the
21st
Century
Emulates
the
Middle
Ages
and
their
cra]ed
forms
Abolishes
factories
and
machines
Introduces
the
principle
of
voluntary
labor
Art
is
applied
art,
shaping
of
man’s
environment
Work
and
happiness
–
banded
workshops
–
guilds
1819‐1900
With
Ruskin
the
pioneers
of
the
ARTS
&
CRAFTS
movement
which
combined
a
commitment
to
socialism
with
the
integraXon
of
art
and
handicra]s
John Ruskin (1819-1900)
And
precursor
of
the
Art
Nouveau
1871
Ruskin’s
St.
George’s
Guild
Morris’
Century
Guild
Workshops
Werkstake
William Morris (1819-1900)