Materials and techniques of Art Nouveau architecture in Italy and Portugal: a first insight for an European route to consistent restoration

The results of the investigations on building materials and techniques of Casa Major Pessoa, a typical Art Nouveau construction in Aveiro (Portugal), and two coeval Art Nouveau buildings in Bologna (Italy) are presented as a methodological contribution to the restoration of this kind of buildings. This is the first step to ascertain the existence of a common thread between local materials, technologies and architecture in European countries at the same period. A holistic approach was adopted: materials were investigated along with architectural, structural and technological features, in order to achieve a first insight into the Art Nouveau architecture in Europe in particular for its consistent restoration without loss of historical memory

Materiales y tecnologías en la Arquitectura Modernista: casos de estudio de decoración de fachadas en Italia, Portugal y Polonia persiguiendo una restauración racional

The results of a diagnostic survey on the materials of representative Art Nouveau buildings in Italy, Portugal and Poland are here presented and compared, as a contribution to their understanding and, hence, to support compatible restoration. In particular, the facade decorations were investigated for the appraisal of their materials and technologies, often neglected in current maintenance/restoration works and so cancelled, leading to a severe loss in architectural image. The ongoing diagnostic campaign, in collaboration among different universities, is aimed to set up a database on materials and technologies of Art Nouveau facade decorations at a European scale, as a technical-scientific background for the highlighting of preservation guidelines

Engineering Art Nouveau

The purpose of this design is to virtually engineer digital textile prints and laser cut patterns to explore innovative design methods and create a complex dress: both laser cutting and digital printing explore various ways to replicate the stained leaded glass effects. The source of design inspiration of this design is Tiffany lamps, which is stained leaded glass lamps originally designed by Louis Comfort Tiffany (Frelinghuysen, Cooney, & Obniski, 2007): these lamps are considered part of the Art Nouveau movement. The designer explored digital print patterns with different hues and saturations for the effects of lights that come out of the lamp. This design process of integrating various technologies gives new insights to design students in an educational setting. Therefore, designers can also take opportunistic advantage of emerging technologies that give them access to new solutions and aid the productivity of the design process

The Activation-Relaxation Technique : ART nouveau and kinetic ART

The evolution of many systems is dominated by rare activated events that occur on timescale ranging from nanoseconds to the hour or more. For such systems, simulations must leave aside the full thermal description to focus specifically on mechanisms that generate a configurational change. We present here the activation relaxation technique (ART), an open-ended saddle point search algorithm, and a series of recent improvements to ART nouveau and kinetic ART, an ART-based on-the-fly off-lattice self-learning kinetic Monte Carlo method

Perancangan Desain Produk dengan Inspirasi Art Nouveau Era Tahun 1809-1920 dengan Metode Peta Morfologi

Peta morfologi berasal dari keilmuan teknik. Artikel ini mempelajari cara menerapkannya dalam  proses desain kreatif yang memungkinkan pemikiran yang berbeda dan logis untuk digunakan secara bersamaan. Selanjutnya dibahas karya mahasiswa desain produk yang merancang dengan menggunakan grafik morfologi. Sejarah, bagaimanapun, telah mengilhami banyak desainer untuk menciptakan banyak hal baru. Art Nouveau adalah sebuah gerakan seni arsitektur dan dekoratif yang lahir dan berpusat di Eropa Barat sekitar tahun 1809 - 1920 berawal dari Paris dan menyebar ke Amerika Serikat dan wilayah Eropa lainnya. Salah satunya adalah Catalan, juga dikenal sebagai Art Nouveau Catalan, gerakan seni dari wilayah Catalan (Barcelona, Girona, Lleida, Tarragona). Garis asimetris dan bergelombang, bentuk alami (organik) seperti tangkai, kuncup bunga, tanaman merambat dan sayap serangga adalah ciri khas Art Nouveau Catalan untuk memberikan kesan elegan. Sementara Art Nouveau AS terkenal dengan mosaik kaca organik. Tujuan dari studi ini adalah untuk mencapai kaca dan desain lampu dinding yang menggabungkan elemen Art Nouveau dengan preferensi mahasiswa desain produk. Hasil riset adalah kerangka untuk menggunakan grafik morfologi dalam proses desain proyek jangka pendek. Luaran akhir artikel ini menghasilkan 11 (sebelas)  ide desain produk baru.Morphology charts come from engineering discipline, this paper studies how to apply them in a creative design process that allows divergent and logical thinking to be used simultaneously. The paper discusses product design students' work to design using morphological charts. History, however, has inspired many designers to create many new things. Art Nouveau is an architectural and decorative art movement that was born and centered in Western Europe around 1809 – 1920 from Paris and spread to the US and other regions of Europe. One of them is Catalan, also known as Art Nouveau Catalan, art movements from the Catalan region (Barcelona, Girona, Lleida, Tarragona). Asymmetrical and wavy lines, natural (organic) forms like stalks, flower buds, vines and insect wings are unique works of Art Nouveau Catalan to give an elegant impression. While Art Nouveau US is renowned for organic glass mosaics. The paper objective is to achieve glassware and wall lamp design combining Art Nouveau elements with product design student preferences. The result of this paper is a framework for using morphological charts in a short-term project design process. This exercise produces 11 (eleven) new product design ideas

Medal to Art Nouveau

Artwor

The sociology of an artistic movement: art nouveau in Glasgow, 1890-1914

This thesis attempts to present a controlled sociological examination of Art Nouveau in Glasgow from the eighteen-nineties into the first decade of the twentieth century. The phenomenon of Glasgow Art Nouveau (its ideological groundings, its socio-cultural base, and the nature of its artistic production), provides a case-study of avant-gardism. The main intention is to illustrate, with historical exemplification, to what extent Art Nouveau can be interpreted as a radical social critique underpinned by specific theoretical and ideolgoical concerns. I begin by examining (a) the analytic means whereby statisfactory criteria are developed for the purpose of defining Art Nouveau as an artistic style; the specific manifestations of this style in a variety of European countries, and its transformation from organic/symbolic to abstract/geometric form-language; and (b) Art Nouveau as a distinctive cultural movement which was attempting to transform the public sphere in accordance with artistic principles. The second chapter has a dual purpose: firstly, it examines the status of Art Nouveau as an avant-garde movement, and, secondly, it attempts to construct the basis for a specifically sociological theory of Art Nouveau by bringing together the arguments of certain social theorists who have made significant reference to the phenomenon. Subsequently, it is demonstrated that, within the sphere of influence of the Glasgow School of Art, continental avant-gardiste trends at the end of the nineteenth century provided the frame of reference for the understanding of new artistic movements in Glasgow. This leads to an analysis of Mackintosh's extant writings in order that a reconstruction of the essentials of Scottish Art Nouveau's distinctive ideology can be presented. It is argued that Glasgow Art Nouveau had a coherent viewpoint in many respects deriving from the formulations of the Edinburgh sociologist and theorist Patrick Seddes. As well as demonstrating the closeness of Mackintosh's theorising to that of certain Viennese Art Nouveau exponents (Wagner, Hoffmann) with whom he had contact, it is shown to what extent Scottish Art Nouveau was attempting to transcend the traditional distinction between the utilitarian and the artistic, and address the issue of a social environment transformed in accordance with modern social needs. The remainder of the thesis substantively examines crucially related aspects of the Glasgow cultural context. Firstly, it focusses upon the Art School as institutional context within which Art Nouveau emerges, and demonstrates the relevance of the implementation of an experimental approach to art teaching there. Secondly, it examines the issue of the actual and potential production of goods manifesting the new form-language. Thirdly, the nature of the reception given to the new form-language is investigated: this invovles an analysis of relevant reportage in Glasgow. The reasons for the failure of the movement to gain ground in Glasgow are shown to be connected with a number of complex factors ranging from moral outrage at its `decadence' to the absence of the kind of technical expertise capable of consolidating its innovations for a mass society

PORTRET ART NOUVEAUA KAO ELEMENT MODNE ILUSTRACIJE

Fokus u radu je na modnoj ilustraciji 19. i 20. stoljeća, što je razdoblje kada pravac Art Nouveau doživljava svoj vrhunac te samim time snažno utječe na kulturu i umjetnost, arhitekturu i dr., poglavito na dizajn, i to u prvom redu grafički dizajn te dizajn namještaja i nakita te modni dizajn. U modnoj ilustraciji, koja zapravo najbolje predstavlja tu povezanost i isprepletenost umjetnosti i mode, Art Nouveau se odrazio u obliku oslobađanja od figuracije, bogatijim koloritom i posve novim formama.The focus of this paper is on the fashion illustration of the 19th and 20th centuries, which is the time when the Art Nouveau is culminating and thus strongly influences on culture and art, architecture and so on, especially on design, primarily in graphic design and furniture design and jewelry and fashion design. In the fashion illustration, which in fact best represents the interconnectedness and intertwity of art and fashion, Art Nouveau reflected in the form of liberation from figuration, richer color and entirely new forms