Victor Horta

Topic: ArtDesign
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Last updated: June 4, 2019

Victor Horta, Tassel House Brussel, 1892-1893 Victor Horta (Gent, 6 January1861 – Brussel, 9 september 1947) was an Belgian architect. He played an important role in the origin and development of Art Nouveau or Jugendstil movement. The Tassel House is the first major work of Victor Horta. Horta was an important European predecessor of the modern 20th century International Style. Good designers are those who look outside of themselves for inspiration, which can be found whitin every corner, crevive, person, or thing in the world.The modern style of simplicity and minimalism influences many other artist and designers to join the movement. In the Tassel house he set forth the principal themes: exposed cast iron as a structural material: produces a centralized floor plan in place of the traditional corrido arrangement.

He produces glass and iron facades that were some of the most advanced of the day. Nature also serves as a widely understood inspiration to Horta. He was inspired by natural forms that every aspect of his structes resembles stems, leaves and other plant motifs.This style was not only innovative in the use of typical forms of decoration, but also by an experimental layout of the interiors. The use of level changes, special windows, conservatories, staircases and glass skylights, he brought to all floors in all rooms and light inside, and he created an unprecedented sense of space for public housing at that time. The floor plan was always in the same layout: a long and narrow site (the typical Brussels site had an average width of 7 meters) above with three successive rooms and also the hall with staircase.The staircase is often fitted with skylights that because of the massive partitions, can not penetrate the living quarters.

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The kitchen is usually housed in a basement, while the reception rooms and living room located on the first floor, half levels above ground floor vestibule. The high and dark rooms rather than a single sequence that they merge and they are often overly decorated with a heterogeneous collection of frills, while a furniture or other prestigious style imitating the past.Horta’s inspiration was the Theorists Viollet-le-Duc, whose writings to Horta’s library belonged, brought him to a broader vision of architecture with industrial progress, new materials developed, so everyone is committed to its capabilities to fully exploit a own stylistic language development. This form language in architecture I find very inspiring. The simplicity of the floor plan and routing through the house talking to me very much with the contrasting element of the abundance of ornamentation that can be found in each element. This form language in architecture I find very inspiring.The simplicity of the floor plan and routing through the house talking to me very much with the contrasting element of the abundance of ornamentation that can be found in each element. There is openness created in this house, with a feeling of spaciousness in the adjoining room increases.

This creates a spatial illusion is enhanced by the mirrors, which areas are reflected and the decoration is created. By using glass walls and the settlement penetrate the spaces between, merge into one another, as if the visual presence of the one the feeling of grandeur of the other provided.The traditional format with the three consecutive rooms and also the hall with staircase was designed by Horta. He moved the entrance to the center of the building and created a central axis to the center of the house leads. The most interesting fact is that Horta was the first with a new construction method, which until then had only been applied in the industrial architecture of factories, railway stations and exhibition pavilions, dared to use in a private home. He dared to be innovative and challenged himself with the build of this house.

Until then nobody had succeeded in this material a form that was adapted to the scene of a house. In order to achieve this integration, but without the rules of Viollet-le-Duc in mind, this material to hide behind a traditional decor, Horta applied to the metal, as in other materials, decoration a whole new repertory, based on the curve of floral origin, a whole new aesthetic. The construction of this house there was a discussion, it surprised the people or the opposite happened, people didn’t understand this entirely new style. Interesting to see what is generated at the man as a completely new look and way of thinking is introduced.

Outside architecture and urbanism my inspiration comes from psychology. How do people think, how do they feel in a given environment and how do they respond. Actually psychology comes with architecture and urbanism, we must conceive and design is what the idea of humans deal. Often we try to design to the idea or a fantasy of someone else, to the thought process that takes place in someone else’s head. You have to stand in the shoes of another person and with this information, you hope to fulfill his or her wishes. Architecture can mark its own territory, yet the discipline never isolated from its environment. utside the borders, architects and urban planners derive theory from the related disciplines of sociology, philosophy and psychology.

Many people do professionally concerned with the environment: architects, urban planners, landscape and garden architects, project managers and clients. All these professionals make choices and take decisions that the perception of the environment influence. After an intervention in an existing environment or a realization of a design is often an assumption, a hypothesis or a guess how this experience will be.Make informed decisions to be taken, these professionals should have more knowledge. But can they do? The consequences of their decisions are not the experience in their field, but in that of psychology. The physical environment, the behavioral capabilities of an individual determination, and so that a direct influence on how people function. Besides these direct effects can also be indirect effects of the spatial environment.

Construction restrictions, for example, a negative impact on the organization of a building. Also a design can be changed by an environment and lifestyle of the users.Look at the example of the residential neighborhood in the southeast Amsterdam Bijlmer. In the past, this district is characterized by ten-storey high-rise in a typical hexagonal honeycomb structure, who have emerged in the seventies.

The Bijlmer announced as the city of tomorrow for the man-of-now. This translates into high-rise buildings surrounded by extensive parks which you surrounded by nature feel, privacy in spacious but uniform houses with many public facilities per building, cars neatly out of sight in garages and motorized traffic separated from cyclists and walkers.The new city, the urban re-famous in Amsterdam. The Bijlmer is intended for families with children in the middle class.

Soon after completion, the Bijlmer flooded by many interrelated problems, there is a housing problem. In other areas around Amsterdam building family houses, which seem much more attractive for the intended audience. The houses are not of the quality as they were originally designed. As in 1975 Suriname becomes independent, this yields a large influx of migrants towards the empty homes in the Bijlmer. Many of the deals of the first hour into disadvantages. Privacy degenerates into anonymity, collective and egalitarian conceptualized not beat the benefits of road safety to save disadvantages of social insecurity. The semi-public spaces are a home for homeless and drug addicts.

This example clearly shows that psychology is related to architecture. It must constantly think of the user and should be predicted what in the future could happen with humans. Of course, this idea does not always capture to the design and can be adopted by other users than what it was intended.A building is only a shell in which a person moves freely, only sends the architect through his design the behavior of the people. Architecture is the art of building. That is one definition that everyone agrees.

Yet architecture is much more than that, like the way you experience a space. According to Vitruvius, architecture is based on three principles: beauty, strength and usefulness. Architecture can be described as the balance between these three elements, where no one dominates the others. Architecture is a shelter where you can withdraw and where you feel safe and protected.

Here you can do what you want, without anyone can see you from the outside. In our everyday life buildings play an important role. These buildings not only reflect the society and culture in which we live, but also work and look back on our inner life. Personally I think Architecture is the added value of building. The designer thinks in advance what his principles are, and put that idea through the entire building. and the number of designers were there first and put it in a revolution, in various stages of time, while other designers copied it indicated whether an individual twist.Since the designers were part of a culture or change in society that were often new insights of how architecture should be reflected. This architecture is indeed a reflection of society.

A building is an independent, well defined body, according to Palladio. He works with a proportional system he uses in all his designs. Another person is Vitruvius, one of his main theses is that the length, width, height and depth of building a human scale should reflect the proportions of the human body. Organic architecture is a diverse architectural movement with concern for the wellbeing and care for the natural environment are central.

In the history of organic architecture Frank Lloyd Wright, Antoni Gaudi and Rudolf Steiner played an important role. Oriented to these pioneers, each in their own way, on the principles from the natural world. This was not to mimic nature, but the search for a design that matches the human as a living and evolving being. On the organic architecture lies the conviction that architecture is not only an expression of culture, but they also reflected back on the outer and inner lives.

It is the man seen as a physical, mental and spiritual being in each of these levels is connected to its surroundings.At a time when the building industry heavily dominated by economic factors, technological innovations and bureaucratic regulation, to draw attention to the organic architecture integrated approach to building that should also for experience values, spirituality and cultural content. The key element in architecture is a study evaluating experience.

In architecture is the human dimension, and so is the perception, still a neglected topic. Exactly the architect who directs the design of complex systems, would more explicitly the human dimension must consider.To evaluate the architecture vision, principles, rules and guidelines that an architect for an organization develops and establishes a structural approach. It must first be determined which includes experience in architecture. And must clearly state what is currently good human scale, what is in man a pleasant experience? Experience takes place in people’s minds, but in emotions and behavior. Measuring the perception is by examining brain stimuli, observing behavior and emotions to the survey.

At the moment a design is made for a building, the experience itself has not yet occurred.It should therefore be predicted. Make such a prediction is possible by setting the target in the future with the solutions of the organization come into contact. By characterizing their characteristics, values and expectations of seeing the future situation to determine, the solutions that the proposed architecture, these groups are concentrated. the emotions of a visitor to manipulate architecture. Measuring perception of architecture is probably impossible.

The perception is because place in people’s minds, when they interact with the concrete results arise from the architecture.Nevertheless, a certain attention to architectural experience, she then makes a prediction about an expected experience in the future will “happen”. Evaluating perception in an architecture is therefore to determine the quality of those prediction. Finally, it can be said that predicting experience helps, but ensuring human scale and experience can only be achieved by measuring.

Measuring the perception artifacts of the architecture is for the input off a new battle of the architectural process. Assignment #1 History of Architecture and Urban Design I: 1750 – 1910 Ernie Mellegers Esther Bezem (code SA) 0784092 1 October 2010

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