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Eclecticism in architecture

Eclecticism is a nineteenth and twentieth-century architectural style in which a single piece of work incorporates
a mixture of elements from previous historical styles to
create something that is new and original. In architecture
and interior design, these elements may include structural
features, furniture, decorative motives, distinct historical
ornament, traditional cultural motifs or styles from other
countries, with the mixture usually chosen based on its
suitability to the project and overall aesthetic value.

History
The church of the Sagrada Familia in Barcelona designed by
Antonio Gaudi is a notable example of eclecticism. Elements of
the gothic style were merged with oriental motifs and forms found
in the natural world, resulting in a structure that was distinctive
and original.[2] Although it was designed during the peak of the
eclectic period (18831926), it remains under construction today.

dents in a rigorous and academic manner, equipping them


with skills and professional prestige. Teachers at the
cole were some of the leading architects in France, and
this new method of teaching was so successful, that it
attracted students from across the globe.[3] Many of the
graduates went on to become pioneers of the movement,
Residence of Bukovinian and Dalmatian Metropolitans, by Josef and used their beaux-arts training as a foundation for new
Hlvka, 1882, Chernivtsi.
eclectic designs.
Eclecticism came into practice during the late 19th century, as architects sought after a style that would allow
them to retain previous historic precedent, but create unseen designs. From a complete catalogue of past styles,
the ability to mix and combine styles allowed for more
expressive freedom and provided an endless source of inspiration. Whilst other design professionals (referred to
as 'revivalists') aimed to meticulously imitate past styles,
Eclecticism diered, as the main driving force was creation, not nostalgia[1] and there was a desire for the designs to be original.

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Whilst the practise of this style of architecture was


widespread (and could be seen in many of the town halls
constructed at the time),[2] eclecticism in Europe did not
achieve the same level of enthusiasm that was seen in
Americaas it was assumed that the presence of old, authentic architecture, reduced the appeal of historical imitation in new buildings.[3]

1.2 North America


The end of the 19th century saw a profound shift in American Architecture. Architects educated at the cole des
Beaux-Arts in Paris, such as Richard Morris Hunt and
Charles Follen McKim were responsible for bringing the
beaux-arts approach back from Europe, which was said to
be the cornerstone of eclectic architecture in America.[3]
At a time of increasing prosperity and commercial pride,
many eclectic buildings were commissioned in large cities
around the country. The style thrived, as it introduced
historical features, previously only seen in the aristocratic

Europe

Eclectic architecture rst appeared across continental Europe in established countries such as France, England and
Germany,[1] in response to the growing push amongst architects to have more expressive freedom over their work.
The cole des Beaux-Arts in Paris, considered to be one
of the rst professional architectural schools, trained stu1

architecture of European countries such as Britain and


France, contributing to a richer sense of culture and history within America. In the case of Hunt and many other
eclectic architects, his 'typically eclectic viewpoint' enabled him to make stylistic choices based on whatever
suited the particular project or the client. This exibility
to adapt, and to blend freely between styles gave eclectic
designers more appeal to clients.[3]
The creation of skyscrapers and other large public spaces
such as churches, courthouses, city halls, public libraries
and movie theatres, meant that eclectic design was no
longer only for members of high-society, but was also
accessible to the general public.[3] While some of these
buildings have since been demolished (including the original Pennsylvania station and the rst Madison Square
gardenboth in New York), projects that remain from
this era are still valued as some of the most important
structures in America.

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INTERIOR DECORATION

as avant-garde and the new technology and materials being produced at the time allowed for greater innovation.[4]
Despite the move away from eclecticism, the era still remains historically signicant as it re-opened the doors
to innovation and new forms for architecture in the following years.[5]

2 Interior decoration

Spread

Some of the most extreme examples of eclectic design


could be seen onboard ocean liners (which at the time
were the primary form of overseas transport). The lavish
interiors were crafted with a mix of traditional stylesin
an attempt to ease the discomfort of months abroad and
to create the illusion of established grandeur.[3]
At a similar time, such vessels were being used to transport colonists to undeveloped areas of the world. The
colonisation of such areas, further spread the Eclectic architecture of the western world, as newly settled colonists
built structures commonly featuring Roman classicism Publications such as the Ladies Home Journal (1900) helped to
spread eclecticism to the masses.
and gothic motifs.
To a lesser extent Eclecticism appeared across Asia,
as Japanese and Chinese architects who had trained at
American Beaux-Arts inuenced schools, returned to
produce eclectic designs across Asia such as the Bank of
Japan (1895) by Kingo Tatsuno.[3]

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Critical reception

As a style that oered so much creative freedom, and


no guiding rules, the risk of creating an unsuccessful design was apparent to all. Projects that failed to harmoniously blend the dierent styles were subject to criticism
from professionals (particularly those who were against
the movement).[2]

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Decline

Enthusiasm for historical imitation began to decline in the


1930s and eclecticism was phased out in the curriculums
of design schools, in favour of a new style. The shift towards Modernism was signicant as it was seen by many

The rise in eclectic architecture created a need for interior


specialists who had the skill, understanding and knowledge of past historical styles, in order to produce suitable accompanying interiors. This resulted in the emergence of Interior Decoration as a regarded profession.[3]
Prominent Interior Decorators in this era (between the
late 19th and early 20th century) include Elsie De Wolfe,
Rose Cumming, Nancy McClelland, Elsie Cobb Wilson, Francis Elkins, Surie Maugham and Dorothy Draper.
Whilst the clientele of these early decorators consisted
exclusively of wealthy families and businesses, the works
of such decorators were regularly featured in popular
publications such as House and Garden, House Beautiful, and the Ladies Home Journal. Publishing the lavish interiors of these magnicent homes helped to spread
the eclectic style to the middle classes, and less extravagant imitations or the incorporation of similar decorative
elements became a desirable feature in domestic decoration. Aesthetic preferences varied from region to region across America, with Spanish styles being favoured
in California, and elements of colonialism being popular
in New England.[3]

Contemporary context

In contemporary society, styles that draw from many different cultural and historical styles are loosely described
as eclectic though references to eclectic architecture
within literature and media are usually about buildings
constructed within the eclectic movement of the late
19th-early 20th century period.

Eclectic architects
Daniel Burnham
Alexander Jackson Davis
Antonio Gaudi
Josef Hlavka
Richard Morris Hunt
Charles Follen McKim
William Mead
Richard Norman Shaw
Stanford White

See also
Eclecticism
Eclecticism in art
Historicism
Neo-eclectic architecture (McMansions)
Revivalism (architecture)

References

[1] Hamlin, T, 1952. The Rise of Eclecticism in New York.


Journal of the Society of Architectural Historians, 11 (2),
pp. 38.
[2] Whittick, A, 1974. European Architecture in the Twentieth
Century. 1st ed. New York: Leonard Hill Books. pp. 17
27.
[3] Piles, J, 2005. A History of Interior Design. 3rd ed. London: Laurence King Publishing. pp. 305327.
[4] Cruickshank, D, 1996. Sir Banister Fletchers A History of
Architecture. 20th ed. London: Architectural Press. pp.
14831484.
[5] Meeks, C, 1953. Creative Eclecticism. Journal of the
Society of Architectural Historians, 12 (4), pp. 15-18.

7 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

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Text

Eclecticism in architecture Source: https://en.wikipedia.org/wiki/Eclecticism_in_architecture?oldid=696994160 Contributors: Menchi,


Bearcat, Gamaliel, Aeusoes1, Tom Morris, Myrabella, Srnec, Jprg1966, Themightyquill, Barticus88, Magioladitis, Nyttend, R'n'B, Addbot,
Mimosa.cb, Citation bot, Lotje, Rcsprinter123, Gray eyes, Nat 2710, Hmainsbot1, Lugia2453, Andrew J.Kurbiko and Anonymous: 8

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Images

File:Cernauti_Residentia_03.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/16/Cernauti_Residentia_03.jpg License:


CC BY-SA 3.0 Contributors: Own work Original artist: (Haidamac)
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File:Ladies_Home_Journal_1900.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/6f/Ladies_Home_Journal_1900.
jpg License: Public domain Contributors: Flickr: Ladies Home Journal 1900 Original artist: ?
File:Sagrada_Familia_01.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/ee/Sagrada_Familia_01.jpg License: CC
BY-SA 3.0 Contributors: Own work Original artist: Bernard Gagnon

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Content license

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