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Art Nouveau: According to Hector Guimard
History
Art Nouveau
Art Nouveau started around 1890 and was a reaction to 19 century designs that were dominated by historicism and neoclassicism. This came from the idea that art and design should be incorporated in everyday life. This art form flourished throughout Europe and the United States. This concept was imparted into different forms including architecture, decorative art, applied art and fine art. Curvilinear patterns, asymmetric shapes, long and sinuous organic lines were all used in architecture, interior design, glassware, illustrations, paintings, sculptures, and the list continues.
Hector Guimard
Hector Guimard was known as the best-known Art Nouveau French architect. At times, Art Nouveau was also referred to as “Style Guimard” as his work was easy to distinguish among other Art Nouveau architects. Guimard attended the Ecole Nationale des Beaux-Arts in Paris where he learned the foundation and structural principles for Art Nouveau. He was fascinated by Eugéne Viollet-le-Duc’s and his theory of structural rationalism, which is an approach defined by the materials and purpose of the structure. Since ornament is huge in symbolism, he made it clear to make a point that ornament is not just a means of illustrating structure, but also a great indication for the structure of the building. He blended this with his influences from the Arts and Crafts movement, and from there produced his own type of Art Nouveau. He devoted his practice to have the ideals of harmonious and continuous motifs, which eventually led him to develop this same style for the interiors of the structures he designed. Hector Guimard’s architectural work was expressed in multiple art forms from paintings and graphics to sculpture and typography. The flow and harmony that Guimard showed in his work along with the aesthetic he created, mirrored the harmonious society that Guimard hoped the place he lived in would eventually achieve. Though his work was nationalistic, he also acknowledged the different ethnicities and nationalities around the world. Common things that were seen in his work are abstract floral imagery in iron, glass and stone. These forms usually took on an irregular or asymmetrical form. His use of impressive materials, fine design and carved wood was expressed not only through geometric shapes, but also through organic natural shapes.
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Paris Métro
He had great success in producing new art at a large scale with cast iron. This resulted in one of his most famous and well-known pieces, Paris Métro. This metro was created around the 1900’s during the Paris World Fair. This was created from the pressure of the exposition that was coming to Paris and it was built to move a lot of people around the city. The winding organic lines and the amber glass lamps, which appear as flowers, is what really makes this metro scream Art Nouveau. This beautiful art Nouveau piece with slender curves has been replicated and is now found and scattered throughout the front entrances to Metropolitan subway systems. This piece that was made out of cast iron, was painted green to look like bronze patina. It was manufactured in a modular system that allowed it to be produced in large number that could be easily assembled. To counter all the modernity that has been a part of the 1900s, he decided to create something that was more modern, but it’s interesting to see that he looked towards nature to do this. It’s important to note that this style is not a representation of nature, but instead stylizing of the quality of growth and of organic in motion.
Fireplace and Chimney Piece
An example of ceramics that he made was the Fireplace and Chimney Piece. Guimard was given the opportunity to design a fully intergraded architectural composition. This was created in 1898 and made from an enameled stoneware, which is also reconstructed lava powder fused into molds. This was fired at high temperatures which created a textured enamel on the surface. This fireplace and chimney piece was framed within an archway formed by a curving wall-sized dresser.
Ceramics
Hector Guimard created different vases made of ceramic material as early as 1898, which seemed to only exist for his own personal use. Around 1907, he decided to explore the same shapes he created with ceramics, but by using cast iron instead. Guimard started to mass produce his vases in both of these materials, and it's interesting to see that the quality or these pieces remained as great as the ones that were handmade. These vases reflect his creativity and his passion of exploring materiality. The way he designed these vases suggest the essential properties of the material. Whether being short and thick because of the limited structural properties of ceramic, or long and slender because of the qualities of the bronze or cast iron.
Agoudas Hakehilos Synagogue, Paris (1913)
The only religious structure that Hector Guimard created was this synagogue that was located in the most traditional Jewish district of Paris. Built on a narrow lot, Guimard was commissioned to build this from Jewish Orthodox immigrants choosing to give this structure a distinctive presence. With a smooth façade that is capped by a roof that projects forward at the center, this building shows his transition from less flamboyant of an approach and more towards an angular and stiffer design, which is evident by the layout in the worship space shown. The interior has a very condensed footprint as the worship space is organized on three levels around the central nave. This type of arrangement brings the congregation closer together as they face one another. The front of this building has offices and educational spaces which was a priority for Guimard to include simply because one of the characteristics of Orthodox Jewish Buildings is to engage with the daily activities in the outside world rather to focus on itself. Some people even say that that is why the front façade caves in with the capped roof, simply to welcome those who are entering the building.
Castel Henriette, Paris (1899; destroyed 1969)
Several of Guimards clients commissioned him for many suburban homes or vacation houses just like this one. Usually homes just like this one, was designed with exposed wood framework of curved members was filled in with rusticated millstone. These designs were picturesque, asymmetrical forms, and usually with a gable roof. The exterior of Castel Henriette was combined with elements from the medieval resonance while the interior left the girders visible in the ceilings. He also designed the layout of the garden which was strategically placed to get maximal views from the interior.
Humbert de Romans Concert Hall and School, Paris (1897-1901; destroyed 1905)
This building was a combination of a concert hall and of a school complex. This construction uses a lot of expensive materials including marble, stained glass and a lot of mahogany, which led to the construction being highly expensive. This building created a continuous sense of movement and animation for the visitors walking through. The main part of this building was the octagonal concert hall. It had a vaulted roof structure made from iron which contributed to the balance of interior lighting. Even though this building was remarkably beautiful, it was quickly sold, demolished and tuned into tennis courts due to the stuggles of making a profit.
Dining Room suite for the Hôtel Guimard, Paris (1909)
An example of an interior would be the Dining Room suite for Hôtel Guimard. Guimard was someone that liked producing total works of art. He wanted to make sure the aesthetic of the entire building was harmonious and seamless. He designed everything from the chairs and tables, and even to the tableware and napkins that were used. His design was easily recognizable due to his personal aesthetic. The furniture designs he made for a singular project was usually not one that could be reused for another. His seating designs have tall and thick backs which usually come to an end with ear shaped handles at the top. Along with the legs that have subtle curves to them. This sort of shape and pattern is imitated very much in the cabinetry that was made by him. This kind of design has curves that bulge forward and recede backward as well. It keeps the viewers eye moving around the room as they come across organic shapes within the structural members.
Furniture
Hector believed that simple things such as furniture should also be sculpted in a way that can reflect the dynamics's of the universe. He did not embrace straight lines or perfect geometric symmetry. It was part of his design process to continue the movement of the grain of wood in his furniture. As it can be seen in his furniture, he does not follow rigidity, but embraces forms that are echoing the movements found in nature.
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Interiors
Guimard was so devoted to keep harmony within his work, which also started to represent his personality. As a result of this, he decided to design the interiors of his buildings as well. He continued what was expressed on the façade, and/or the plan of the building, and created interiors with volumetric ornamentation that would define space. His interior decoration consisted in utilizing wood or iron guided by the same “whiplash” organic lines that were specific to his style. By doing this he would keep the same dynamics that were expressed on the exterior and reflect those in the interior.