20th century 2 - expressionism and art deco - copy

8/12/2019 20th Century 2 - Expressionism and Art Deco - Copy

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EXPRESSIONIST ARCHITECTUREwasan architectural movement that

developed in Europe during the firstdecades of the 20th century in parallel

with the expressionist visual andperforming arts.


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The term "Expressionist architecture"

initially described the activities of the

German, Dutch, Austrian, Czech andDanish AVANT GARDE from 1910 until

ca. 1924. Subsequent redefinitions

extended the term backwards to 1905and also widened it to encompass the

rest of Europe.


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The style was characterised by an EARLY-MODERNIST adoption of

NOVEL MATERIALS FORMAL INNOVATION VERY UNUSUAL MASSING, INSPIRED BY

NATURAL BIOMORPHIC FORMS OR BYNEW TECHNICAL POSSIBILITIES OFFEREDBY THE MASS PRODUCTION OF BRICK,STEEL, AND GLASS.


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Many expressionist architects fought in WorldWar I and their experiences, combined withthe political turmoil and social upheaval thatfollowed the German Revolution of 1919,resulted in a UTOPIAN OUTLOOK and aROMANTIC SOCIALIST AGENDA.

UTOPIA is an ideal community or societypossessing a perfect socio-politico-legalsystem.


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Economic conditions severely limited thenumber of built commissions between 1914and the mid 1920s, resulting in many of themost important expressionist worksremaining as projects on paper, such asBRUNO TAUT'sAlpine

Architectureand HERMANNFINSTERLIN's Formspiels. Ephemeralexhibition buildings were numerous andhighly significant during this period.


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Economic conditions severely limited thenumber of built commissions between 1914and the mid 1920s, resulting in many of themost important expressionist worksremaining as projects on paper, such asBRUNO TAUT'sAlpine

Architectureand HERMANNFINSTERLIN's Formspiels. Ephemeralexhibition buildings were numerous andhighly significant during this period.


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Important events in expressionistarchitecture include; the WERKBUND

EXHIBITION (1914) in Cologne, thecompletion and theatrical running ofthe Grosses Schauspielhaus, Berlin in 1919,the Glass Chain letters, and the activities ofthe Amsterdam School.


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The major permanent extant landmark ofExpressionism is Erich Mendelsohn's Einstein

Tower in Potsdam.


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By 1925 most of the leading architects ofExpressionism such as; BRUNO TAUT, ERICHMENDELSOHN, WALTER GROPIUS, MIESVAN DER ROHE and HANS POELZIG, alongwith other Expressionists in the visual arts,had turned toward the Neue

Sachlichkeit(NEW OBJECTIVITY) movement,a more practical and matter-of-fact approachwhich rejected the emotional agitation ofexpressionism.


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The NEW OBJECTIVITY (Neue Sachlichkeit)art movement arose in direct opposition to

expressionism.

A few, notably HANS SCHAROUN,continuedto work in an expressionist idiom.


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In 1933, after the Nazi seizure of power inGermany, expressionist art was outlawed

as DEGENERATE ART. Until the 1970sscholars commonly played down theinfluence of the expressionists on thelater International style, but this has been re-evaluated in recent years.


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The Amsterdam Schoolis a style ofarchitecture that arose from 1910

through about 1930 in TheNetherlands. The Amsterdam

School movement is partof international Expressionist

architecture.


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Buildings of the Amsterdam School arecharacterized by:

BRICK CONSTRUCTION WITHCOMPLICATED MASONRY WITH AROUNDED OR ORGANIC APPEARANCE

RELATIVELY TRADITIONAL MASSING


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THE INTEGRATION OF AN ELABORATESCHEME OR BUILDING ELEMENTS INSIDEAND OUT: decorative masonry,

art glass,

wrought ironwork

spires "ladder" windows (with horizontal bars)

integrated architectural sculpture


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. The three leaders of the Amsterdam SchoolMICHEL DE KLERK, JOHAN VAN DER MEY

and PIET KRAMER all worked for Cuypersuntil about 1910. Impetus for the movementalso came from the city.


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In 1905 Amsterdam was the first city toestablish a building code, and the city hired

Johan van der Mey afterwards, in the specialposition as "Aesthetic Advisor", to bringartistic unity and vision to its builtenvironment.


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Van der Mey's major commission, the 1912cooperative-

commercial SCHEEPVAARTHUIS (ShippingHouse), is considered the starting point of themovement.


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Van der Mey sought the assistance of his

former colleague-architects Michel deKlerk andPiet Kramer, and another architectnamed A.D.N. van Gendt was responsible forengineering the concrete structure.


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The Scheepvaarthuis is the prototype forlater Amsterdam School work. The most

important examples are obviously foundin Amsterdam. The movement and itsfollowers played an important role inBerlage's overall plans for the expansion of

Amsterdam.


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After De Klerk died in 1923 the style lost mostof its importance. The De Bijenkorf

department-store in the Hagueby PietKramer of 1926 is considered to be the lastexample of "classic" Amsterdam Schoolexpressionism. Moderate variants of the style

survived until the Second World War, forexample in Protestant church architecture.
http://en.wikipedia.org/wiki/The_Haguehttp://en.wikipedia.org/wiki/The_Hague


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Imbued with socialist ideals, theAMSTERDAM SCHOOL STYLE was often

applied to working-class housing estates,local institutions and schools.


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For many Dutch towns HENDRIKBERLAGE designed the new urban schemes,

while the architects of the Amsterdam Schoolwere responsible for the buildings.


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The members of WENDIGEN lived andworked in AMSTERDAM. Their designs owed

much to the work of H.P. BERLAGE (1856-1934) and stressed THE HANDICRAFTPROCESS OF BUILDING, THE REVELATIONOF STRUCTURE, AND THE RESULTING

DETAIL.


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BERLAGE is known forhis AMSTERDAMSTOCK EXCHANGE, a

brick and stonebearing-wall structureof medievalinspiration, but one

with a skylit iron-trussroof over the stock-exchange floor.


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While the Stock Exchange was conceivedquite rationally by Berlage, he had a number

of influences namely: GOTTFRIED SEMPER P.J.H. CUIPERS, a designer in the brick

tradition of Amsterdam VIOLLET-LE-DUC.


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His proposals for two-story walk-ups of brick,

with the street as the primary organizingelement, provided the environment forbuildings by such designers as PIET KRAMER(1881-1961) and MICHAEL DE KLERK (1884-

1923).


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KRAMER, an outgoing personality with aninterest in the occult as well as Communistsympathies, designed his units for the DEDAGERAAD HOUSING ASSOCIATION in1918-23.

He used brick to make taut planar andbulging curvilinear walls


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Insertedgrid-likewindowswith avianovertones,


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The single most important example of theAmsterdam School style is HET SCHIP,designed by de Klerk.


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DE KLERK was perhaps themost talented and originalamong the DutchExpressionists. His projectfor the EIGEN HAARDhousing association (1921)is more plastic thanKramers work, its

silhouette more irregular,and its detailing morehighly textured.


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De Klerks abilities went well beyond thetreatment of surfaces, however, as hisHOUSING ON THE HENRIETTARONNERPLEIN (1921) demonstrates.


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Here, he manipulated BATTERED WALLS,LINKING CHIMNEYS, AND COMPOSITEWINDOWS to produce a three-dimensionalarchitecture that is among the most originaland provocative of the early 20thcentury.


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DECORATIVE BRICKWORK


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STAIRCASE WINDOWS


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LADDERWINDOWS


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HOUSE NUMBER

PLAQUETTE


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The building is solidbrick with a rhythmicpattern of four stairwelltowers which jut outslightly from the frontfaade. They rise abovethe roof-line withunusual parabolic

gables, framed bycanted vertical blocksresembling chimneystacks.


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Het Schip("The Ship") is an apartment building in theSpaarndammerbuurt districtof Amsterdam, built inthe architectural style of the AmsterdamSchoolof Expressionist architecture. It is the single

most important example of this style of architecture,using the Brick Expressionismversion. The building was designed by Michel de Klerk. The

building vaguely resembles the outlines of a ship. Itsappearance is very unconventional from all angles.

Designed in 1919, the building contains 102 homes forthe working class, a small meeting hall and a postoffice, which as of 2001 is the museum of theAmsterdam School.
http://en.wikipedia.org/wiki/Amsterdamhttp://en.wikipedia.org/wiki/Amsterdam_Schoolhttp://en.wikipedia.org/wiki/Amsterdam_Schoolhttp://en.wikipedia.org/wiki/Amsterdamhttp://en.wikipedia.org/wiki/Amsterdam_Schoolhttp://en.wikipedia.org/wiki/Expressionist_architecturehttp://en.wikipedia.org/wiki/Expressionist_architecturehttp://en.wikipedia.org/wiki/Amsterdam_Schoolhttp://en.wikipedia.org/wiki/Amsterdam_Schoolhttp://en.wikipedia.org/wiki/Expressionist_architecturehttp://en.wikipedia.org/wiki/Architecturehttp://en.wikipedia.org/wiki/Brick_Expressionismhttp://en.wikipedia.org/wiki/Architecturehttp://en.wikipedia.org/wiki/Brick_Expressionismhttp://en.wikipedia.org/wiki/Michel_de_Klerkhttp://en.wikipedia.org/wiki/Michel_de_Klerkhttp://en.wikipedia.org/wiki/Post_officehttp://en.wikipedia.org/wiki/Post_officehttp://en.wikipedia.org/wiki/Post_officehttp://en.wikipedia.org/wiki/Post_officehttp://en.wikipedia.org/wiki/Post_officehttp://en.wikipedia.org/wiki/Michel_de_Klerkhttp://en.wikipedia.org/wiki/Brick_Expressionismhttp://en.wikipedia.org/wiki/Architecturehttp://en.wikipedia.org/wiki/Expressionist_architecturehttp://en.wikipedia.org/wiki/Amsterdam_Schoolhttp://en.wikipedia.org/wiki/Amsterdam_Schoolhttp://en.wikipedia.org/wiki/Amsterdam


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German expressionism was more diversethan the Dutch, concerned with both FORMand UTOPIANISM. Central to much GermanExpressionist thinking was the writing ofPAUL SCHEERBART and his vision for a glassor crystalline architecture that would

somehow ameliorate the repressive opacityof modern culture.


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In part a reaction against the directions beingpursued by the state-run DEUTSCHEWERKBUND, the counter-proposals of

German Expressionism appeareddramatically at the 1914 Werkbund Exhibtionin Cologne where HENRI VAN DE VELDEsWERKBUND THEATER explored the theme ofKUNSTWOLLEN, or the will to form, incontrast to the mechanistic type-formprecepts of mainstream Werkbund thinking.


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Perhaps the most idiosyncratic of all builtGerman Expressionist work was theGOETHEANUM designed by an amateur,RUDOLF STEINER (1861-1925).

A philosopher, scholar and student of the occult,Steiner founded the Anthroposophical Society in1912 and set out to build a free high school for

spiritual science called GOETHEANUM, soconnecting his thinking to the writings ofGoethe.


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A philosopher, scholar and student of theoccult, Steiner founded the AnthroposophicalSociety in 1912 and set out to build a FREEHIGH SCHOOL FOR SPIRIT SCIENCE calledthe Goetheanum, so connecting his thinkingto the writings of GOETHE.


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There were in fact, two GOETHEANIUMS,both in Domach, the first built of wood in1913 and destroyed by fire at the end of 1922,and the second of concrete, which opened in1928. GOETHEANIUM I can be compared toVan de VeldesWERKBUND THEATER; it was

dominated by CURVILINEAR SHAPES, manythat seemed melted and deformed.


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Underlying this deformity, however, was aSYMMETRICAL PLAN COMPOSED OFINTERLOCKING CIRCLES, and the ROOFSWERE LIKE MANY TRADITIONAL GERMANPROFILES, intended to shed snow.


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The EINSTEIN TOWER in Potsdam (1920-21)and the design for a HAT FACTORY inLuckenwalde (1921-23) by ERICHMENDELSOHN (1887-1953) offer yet anotherExpressionistic approach to architecture.


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The dynamic qualities of the EINSTEINTOWER, built of brick covered with stucco,demonstrate MENDELSOHNs interest instreamlined forms, with little connection tothe Italian Futurists, but certainly a kinship toVan de VeldesWerkbund Theater and with

the Secessionist productions of Joseph MariaOlbrich.


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Mendelsohn exploited the metaphoricalqualities in his hat factory design. Here heproduced a scheme appropriate both to therealities of industrial manufacturing and thespirit of German economic aspirations.


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The ADMINISTRATION BUILDING has a DESTIJL quality, with its assymetricalcomposition of orthogonal shapes, but in thePRODUCTION FACILITIES, Mendelsohnexploited structural and mechanical systemsto produce logical but highly provocative

forms.


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The rigid frame supporting the WORKSHOPinspired a rhythmic composition of triangleson the exterior, and the VENTILATINGHOODS of the dry vats are both purposefuland evocative.


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Another German Expressionist monument isHANS POEZIGs (1869-1936) WATER TOWERat Posen (1911).


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The skin of the tower is faceted and highlytextured, with disparate masonry and glazingpatterns. Beneath the water reservoir,

Poelzig designed an exhibit hall that heplanned to be converted into a market hall.The tower is a combination of purpose and

fantasy.


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ART DECO, then known as LART

MODERNE, thrived in France from 1910,

and it continued to be popular inAmerica, especially for skyscrapers and

theaters, through the 1930s, into the

World War II era.


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Art Deco was a movement in search of

newness for a new century. Its LINEAR

SYMMETRY was a distinct departurefrom the flowing asymmetrical organic

curves of its predecessor style ART

NOUVEAU.


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However, its inspirations were eclectic andextreme:

CUBISM overlapping and faceted shapes

RUSSIAN CONSTRUCTIVISM the language of

mechanization

FUTURISM a fascination with motion


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MOTIFS are from ancient Egypt, Africa, theOrient, Aztecs. Decorative ideas came fromthe American Indian, Egyptian, Mayan and

Aztec cultures, and ancient Greece andRome.


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MOTIFS :

STYLIZED FLOWERS, FRONDS

COILED TENDRILS SCALLOPS

FACETED GEOMETRIES INCLUDING

CHEVRON, ZIGZAG PATTERNS STYLIZED, IDEALIZED HEROIC HUMAN

FIGURES


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Art deco's linear symmetry was a distinctdeparture from the flowing asymmetricalorganic curves of its predecessor style artnouveau; it embraced influences from many

different styles of the early twentieth century,including neoclassical,constructivism, cubism, modernismand futurism[5]and drew inspirationfrom ancient Egyptian and Aztec forms.

Although many design movements havepolitical or philosophical beginnings orintentions, art deco was purely decorative.[6]
http://en.wikipedia.org/wiki/Art_nouveauhttp://en.wikipedia.org/wiki/Art_nouveauhttp://en.wikipedia.org/wiki/Art_nouveauhttp://en.wikipedia.org/wiki/Art_nouveauhttp://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Neoclassical_architecturehttp://en.wikipedia.org/wiki/Futurism_(art)http://en.wikipedia.org/wiki/Futurism_(art)http://en.wikipedia.org/wiki/Constructivism_(art)http://en.wikipedia.org/wiki/Cubismhttp://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Futurism_(art)http://en.wikipedia.org/wiki/Futurism_(art)http://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Cubismhttp://en.wikipedia.org/wiki/Constructivism_(art)http://en.wikipedia.org/wiki/Neoclassical_architecturehttp://en.wikipedia.org/wiki/Art_nouveauhttp://en.wikipedia.org/wiki/Art_nouveau


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The most famous Art Decoskyscraper is the CHRYSLERBUILDING in New York (1928),

designed by WILLIAM VAN ALEN(1883-1954). Its crown-like dome ofstainless steel, with tiered arches

filled with sunbursts and cappedwith a spire, remains a classic forskyline-makers.


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Its other notableornamental featuresinclude EAGLE

GARGOYLES and thefamous RADIATOR-CAP ACROTERIA and

adjacent FRIEZE OFABSTRACTED CARWHEELS.


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NewYorkssmost prolific Art Deco designerwas ELY JACQUES KAHN (1884-1972), whosecareer spanned some 50 years.

Representative of his output is the buildingNUMBER TWO PARK AVENUE (1927), with itswealth of FACETED and GEOMETRIC DETAIL

both inside and out.


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In 1929-30, RAYMOND HOOD (1881-1934)designed the NEW YORK DAILY NEWSBUILDING in New York, which in some ways

approaches the minimalism of theInternational Style but also displays inciseddecorative panels of Art Deco inspiration and

includes a subtle color palette of greens andterracottas colors outside the range ofEuropean Modernist dicta.


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HOOD and FOUILHOUX, along with otherfirms, designed the complex of buildingscomprising the ROCKEFELLER CENTER

(begun 1929) and located within it asignificant body of public art, including ArtDeco sculpture by a variety of artists and the

famous DIEGO RIVERA fresco that wasdestroyed soon after completion because ofits sympathetic treatment of communism.


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An artwork in itself s RADIO CITY MUSICHALL, with its plush furniture and lushmaterials and lighting.


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The tallest structure of the period was theEMPIRE STATE BUILDING (1931) byRICHMOND SHREVE (1877-1946), WILLIAM

LAMB (1883-1952), and ARTHUR HARMON(1878-1958).


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In Los Angeles, Art Deco buildings took twoforms: the so-called ZIG-ZAG MODERNE andthe STREAMLINE MODERNE.


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Zigzag Moderne was highly decorative with thefaade of zigzag buildings adorned withgeometric ornamentation from which it gets itsname.

While a few dwellings were designed in theZigzag Moderne style, it was primarily used for

large public and commercial buildings, especiallyhotels, movie theaters, restaurants, skyscrapers,and department stores.


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The style required expensive and exotic

materials that were artistically designed

and skillfully applied by artisans. It waslargely a system of ornamentation

applied to smooth building surfaces.


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Decoration was often completed in a

luxurious assortment of materials,

including exotic wood veneers, marble,painted terra-cotta, and metals.


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The principal characteristics of ZigzagModerne are:

SMOOTH SURFACED VOLUMES

WINDOWS ARRANGED IN SUNKENVERTICAL PANELS

FREQUENT USE OF CENTRAL TOWER,

WHOSE SUMMIT RECEDES IN A STEPPEDPATTERN

FLAT ROOF


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SYMMETRY AND BALANCE FOR EACHELEVATION

TENDENCY FOR BUILDINGS TO BE

MONUMENTAL, FORMAL AND HEAVY

ORNAMENTATION OF ZIGZAGS,CHEVRONS, SPIRALS, AND STYLIZED

PLANT AND ANIMAL MOTIFS.


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SMITH HOUSE - One of the few ZigzagModerne houses in the area in the LosAngeles area and probably one of the

greatest. It is very elegant in an extremelyelegant neighborhood. Paris would be proudof it."


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While Zigzag celebrated modern life,Streamline Moderne looked to a betterfuture. Homes were built in the Streamline

Moderne style, but commercial structures-gas stations, diners, bus terminals, stores-were more modest than in the Zigzag style.


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Features of the Streamline Moderne styleinclude:

AERODYNAMIC CURVES AND FLOWING FORMS

EMPHASIS ON SIMPLE LINES AND A VERYCLEAN LOOK

LONG HORIZONTAL LINES


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Use of new materials, such as glass block,chrome, vitrolite, stainless steel, and neonsignage

Flat roofs with ledge coping Horizontal bands of windows, often steel

casement, set flush with wall surfaces

Elements in groups of three


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Along with architecture, Streamline Modernewas a style that industrial designers appliedto everything, including cars, trains, movie

sets, furniture, fashion design, and householdappliances.

The style quickly went out of fashion duringWorld War II, but there was a renewedinterest in Art Deco design in the late 1960s.


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The WILTERNHOTEL (1931)and PANTAGES(1929) theatershave facades ofstepped-backvertical pylonsinterspersedwith ornamentalspandrel panels.


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Their interiors are a riot SUNBURST andFACETED GEOMETRIC MOTIFS, includingPRISM-LIKE MIRRORS and PRISMATIC FAN

VAULTS.


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The COCA-COLA BOTTLING PLANT (1936)by ROBERT DERRAH (1895-1946), actually aremodelling, illustrates the STREAMLINEMODERNE.


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It includes NAUTICAL MOTIFS such asPORTHOLE WINDOWS, HATCH-LIKEDOORWAYS, and OFFICES REACHED BY

WAY OF A PROMENADE DECK.


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A particularly rich body of Art Deco work canbe found at Miami Beach, Florida, where theinternational idiom was fused with a local

color palette and adapted to the subtropicalclimate.


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These modestly scaled buildings arePAINTED IN VIVID PINKS, GREENS,PEACHES and LAVENDERS that would be

garish inland but are delightful here, and areoften outfitted with STRONGLYHORIZONTAL SUNSCREENS and

BALCONIES and punctuated withDRAMATICALLY VERTICAL ENTRY BAYS andSTAIR TOWERS.


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Decoration includes stock Art Deco motifssuch as SUNBURSTS, but extends to localFLORA and FAUNA, including the ubiquitous

MIAMI PALMS and FLAMINGOS.


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The Miami Beach Art Deco District

The Art Deco District in Miami Beach contains the largest concentration of 1920s and 1930sresort architecture in the world.These vibrantly colored buildings represent an era when Miamiwas heavily promoted and developed as a "tropical playground." The Art Deco District was one ofthe earliest National Register listings to recognize the importance of the architecture of thisperiod

(continue reading: South Beach Art Deco Tours).

Architectural Styles

Vernacular Style: 1900-1930'sVernacular is not a style, but rather a common method of early construction in South Florida. Thematerials and forms encompassed wood frame and masonry construction. These materials andmethods were transferred from abroad with the Beach's early settlers. Through time, many ofthese structures were replaced.

Wood Frame construction was most evident in the earliest days of Ocean Beach and reflected asecluded resort-like character.
http://www.miamibeach411.com/news/index.php?/news/comments/southbeach-artdeco/http://www.miamibeach411.com/news/index.php?/news/comments/southbeach-artdeco/


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Mediterranean Revival Style: 1910's - 1930'sMediterranean Revival architecture was the "style of choice" for the first major boom period in Ocean Beach. It's connotation of Mediterraneanresort architecture, combining expressions of Italian, Moorish, North African and Southern Spanish themes, was found to be an appropriate andcommercially appealing image for the new Floridian seaside resort.

During the mid 1910s through the early 1930s the style was applied to hotels, apartment buildings, commercial structures, and even modestresidences. Its architectural vocabulary was characterized by stucco walls, low pitched terra cotta and historic Cuban tile roofs, arches, scrolled ortile capped parapet walls and articulated door surrounds, sometimes utilizing Spanish Baroque decorative motifs and Classical elements. Featuredetailing was occasionally executed in keystone.

Mediterranean Revival - Art Deco Transitional: 1920's - 1930's"Med-Deco" in Ocean Beach was a synthesis of Mediterranean Revival form and A Art Deco decorative detail. This unique hybrid style became a

fascinating bridge between the "familiar" and the "new" as the allure of Art Deco found its way into the Beach's architectural vocabulary. Cleanziggurat roof lines and crisp geometric detailing replaced scrolled parapets, bracketed cornices and Classical features on structures of clearMediterranean Revival form. Likewise, sloped barrel tile roofs rested gracefully on edifices with spectacular Art Deco entrances and facadetreatments.

Some of the most celebrated architects in Miami Beach designed structures in this brief-lived style, including V. H. Nellenbogen, Henry Hohauserand T. Hunter Henderson.The predominant exterior material of Med-Deco was smooth stucco with raised o r incised details. Featured stucco areas were often patterned orscored. Keystone, either natural or filled and colored, was frequently used to define special elements. Windows ranged from wood and steelcasement to wood double hung.

Art Deco Style: late 1920's - 1930's


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Mediterranean Revival Style: 1910's - 1930'sMediterranean Revival architecture was the "style of choice" for the first major boom period in Ocean Beach. It's connotation of Mediterranean resort architecture, combiningexpressions of Italian, Moorish, North African and Southern Spanish themes, was found to be an appropriate and commercially appealing image for the new Floridian seaside resort.

During the mid 1910s through the early 1930s the style was applied to hotels, apartment buildings, commercial structures, and even modest residences. Its architectural vocabularywas characterized by stucco walls, low pitched terra cotta and historic Cuban tile roofs, arches, scrolled or tile capped parapet walls and articulated door surrounds, sometimes utilizingSpanish Baroque decorative motifs and Classical elements. Feature detailing was occasionally executed in keystone.

Mediterranean Revival - Art Deco Transitional: 1920's - 1930's"Med-Deco" in Ocean Beach was a synthesis of Mediterranean Revival form and A Art Deco decorative detail. This unique hybrid style became a fascinating bridge between the"familiar" and the "new" as the allure of Art Deco found its way into the Beach's architectural vocabulary. Clean ziggurat roof lines and crisp geometric detailing replaced scrolledparapets, bracketed cornices and Classical features on structures of clear Mediterranean Revival form. Likewise, sloped barrel tile roofs rested gracefully on edifices with spectacularArt Deco entrances and facade treatments.

Some of the most celebrated architects in Miami Beach designed structures in this brief-lived style, including V. H. Nellenbogen, Henry Hohauser and T. Hunter Henderson.

The predominant exterior material of Med-Deco was smooth stucco with raised o r incised details. Featured stucco areas were often patterned or scored. Keystone, either natural orfilled and colored, was frequently used to define special elements. Windows ranged from wood and steel casement to wood double hung.

Art Deco Style: late 1920's - 1930'sArt Deco is considered one of the first twentieth century architectural styles in America to break with traditional revival forms. It emanated largely from the impact of the 1925 ParisExposition des Arts Decoratifs et Industriels Modernes, a design fair celebrating the reconciliation between the decorative arts and advancements in technology and industry.

Building forms in the Art Deco style were typically angular and clean, with stepped back facades, symmetrical or asymmetrical massing and strong vertical accenting. The preferreddecorative language included geometric patterns, abstracted natural forms, modern industrial symbols and ancient cultural motifs employing Mayan, Egyptian and IndigenousAmerican themes.

In Ocean Beach a unique form of Art Deco employed nautical themes as well as tropical floral and fauna motifs. Ocean liners, palm trees, and flamingos graced the exteriors andinteriors of the new local architecture. The favored materials for executing this distinctive "art" decor included bas-relief stucco, keystone, etched glass, a variety of metals, c astconcrete, patterned terrazzo, and others. Today this distinctive design vocabulary, which further incorporated glass block, vitrolite and stunning painted wall murals, has become thehallmark of Miami Beach's internationally recognized Art Deco gems.

Moderne Style - Streamline Moderne: 1930's-1940

As "Art Deco" evolved on the Beach in the 1930s modern transportation and industrial design began to have an even greater imp act upon new construction. The "streamlined"character of automobiles, airplanes, trains, buses, liners and even home appliances inspired powerful horizontal design compositions, accentuated by striking vertical features andpunctuated by icons of the technological era. Continuous "eyebrows", racing stripe banding, radio tower-like spires, portholes, and deck railings like those found on grand ocean liners,were among the unique features to set this architecture apart from anything before it. The creative incorporation of nautical themes showed this form of Art Deco to be true to itsorigins in Miami Beach.

Smooth, rounded corners often replaced sharp ones on Moderne buildings, especially on corner lots. "Eyebrows" swept around them as did other details. Street corners becameinviting architectural focal points, whether the special treatment employed was based upon curves or angles.

Post War Transitional Art Deco - Post War Deco: 1960Post War Deco drew significantly from the form and decorative vocabulary of both early Art Deco in Miami Beach and Moderne. Although single block massing was predominant theemphasis could be placed on either horizontal or vertical composition, dependent upon the size of the structure, the character of the site, and the will of the architect. Frequently,continuous us of eyebrows would be extended to form side or front canopies, either cantilevered or supported on their furthest edge by columns. New decorative materials wereintroduced which reflected changing tastes nationally, including brick, permastone, and cast architectural block in a variety of "open" patterns. Many of these delightful structures inOcean Beach paid wonderful tribute to their architectural origins while effectively addressing changing times.

Post World War II Modern S tyle - Post War Modern:1965


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The Miami Beach Art Deco District is a one-square-mile area that contains roughly 1,000 buildings whichwere constructed during the 1930s. The Miami DesignPreservation Leagueconducts daily walking tours of

the Art Deco District and their guides provide a wealthof information along the way. But, if youd like to explore Miami Beachs art deco

design heritage on your own, simply take a stroll upOcean Drive and down Collins Avenue, and thereyoull see 30 blocks of the greatest concentration ofhotels and apartment houses that date from the1920s to the 1940s.


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Modernedesign is generally divided into two verydifferent phases: Art Deco (once referred to as Zig ZagModerne) of the 1920s, and Streamlined Moderne ofthe 1930s.

The first phase developed out of many sources, from the

verticality of Eliel Saarinen to the forms of the ParisExposition Internationale des Arts Dcoratifs etIndustriels Modernesof 1925. As a matter of fact, theterm Art Deco is actually an abbreviation derived fromthe words Arts Dcoratifs.

Art Deco is characterized by lavish decoration,extravagant colorism, and elaborate eclecticornamentation.


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The second phase, Streamlined Moderne, was basedon a machine aesthetic. The term streamlinedcomes from aerodynamics to imply speed, efficiency,and functionalism. This style is characterized byreductive design, light smooth surfaces, rounded

edges, and sparing geometric decoration. Art Deco and Streamlined are not synonymous

termsthey are distinctly separate facets of the StyleModerne.

Ocean Drive is one of the most picturesque streets on

20th century 2 - expressionism and art deco - copy

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