Art Deco (Art of Century)
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Architecture, painting, furniture and sculpture, dissected by the author, proclaim the druthers for sharp lines and broken angles. Although ephemeral, this movement keeps on influencing contemporary design.
thoroughfares and opened up for the visitor coming from the centre of the city. At a time when the barriers fall, when the exchanges of all kinds multiply, does not the phrase “monumental gate” awaken more than a vague idea? In fact, they were not the gates of cities, but the gates of an exhibition. Since an enclosure had been traced, it was necessary to create gates to get in and get out. For all of them, the same strategy was adopted: the entrance on the sides where the visitors waited in
composition to the terrain and the existing topiary. Le Corbusier, on the contrary, wanted to demonstrate a priori, his abstract schema, able to be replicated on any other site, with contempt for the trivial circumstances to which others did not hesitate to alter their designs. This schema, in spite of the excesses, is well worth considering and could open up new prospects to observers. The rest-stop pavilion, where a pleasant restaurant fits naturally into its space, was halfway between the old
and, during our great artistic century, the 18th century, no country has better understood the driving force, the grace, and the harmony of French artistic culture than Sweden. The construction and, above all, the furnishing of the Royal Palace of Stockholm served to propagate this French style, which however, was not copied, rather the Swedes put a bit of their soul into it, as well as a touch of sober simplicity and architectural clarity. The French influence had a revival when Bernadotte, as
its interior decoration were of modernised Moorish style. On the ground floor of the Grand Palais, the Sevillian kitchen constituted a picturesque stand, richer of local savour than of true innovation. Thus the Iberian Peninsula – left out of international developments due to its geographical position – dwelled in the past, preserving all its charm. Only the dynamic Catalonia testifies to a bold avant-garde spirit by its constructions, its publications, and its many exhibitions. Wilhelm Kage,
characterised the typical houses of the north-eastern French towns of Roubaix and Tourcoing, along with those of Denmark and the Netherlands, and lastly those of Italy – to which the brick owed its blond colour. Stonework was represented, with infinite artistic talent, by the model that the School of the Paris employers’ federation of building, cement, and reinforced concrete contractors had carried out and displayed in the “teaching” group, according to the drawings of Pierre Paquet. This model