The Architect Charles Rennie Mackintosh - Essay Example

Charles Rennie Mackintosh Radical masterpieces will be far beyond the set norm in their times. The history of the twentieth-century architecture setsthe foundation for the transformation of the world’s contemporary architecture through the modernization. By the end of the 19th century, Glasgow School of Art was hailed as one of the leading art academics in Europe. Its reputation in the architecture and decorative arts had reached an all-time high fame, owing to the contributions of one of the young artist and designer of at that time, Charles Rennie Mackintosh. In a world of myriad styles, Mackintosh redefined domestic beauty with a sense of simplicity and creativity. His radical approach in designing the buildings and interiors set the foothold for the modern architectural designs. We shall discuss the contributions of Mackintosh to the Modern Movement in architecture. Renowned as one of the significant figures in the modern design history, his renaissance popularity and ‘Glasgow style’ can be undeniably attributed as a driving force to modern architecture. Charles Rennie Mackintosh is a Scottish architect, renowned for his architectural designs and is celebrated around the world for his creative sense and unique style. Born in Glasgow in 1868, he studied art and design at the Glasgow School of Art, and trained as an architect in a local practice. (Crawford 1995). On collaboration with few of his art school friends, he developed a distinct array of abstract images with feminine figures and metamorphic lines. They created designs for metalwork, furniture and illustrations, reminiscent to Aestheticism and Art Nouveau of then period. Mackintosh’s works were created within a short span of intense work between 1896 and 1910, with the help of his colleagues and a team of patrons. Supported by his master, Francis Newbery, he undertook the work of designing a new building for the art school, which turned out to be one of the prestigious projects in his career. His other remarkable works include series of Glasgow tearoom interiors for Miss Kate Cranston and large private houses like ‘Windyhill’ in Kilmacolm and ‘The Hill House’ in Helensburgh. Apart from architectural design, we also dabbled textile designing and painted floral watercolors. His floral inspired motifs with subtle curve mark a unique style of architecture accompanied with extensive specifications for the decorations and furnishing in his buildings. Though his career was a short one, its quality has its significance and impact for decades and even centuries ahead to come. In his short span career, he indulged in remarkable projects comprised of commercial buildings, private homes, interior renovations, church, and furniture. Mackintosh’s contribution to modern architecture is unquestioned. The main concept of the Modernist movement was to create innovative design that would be practical and functional, rather than conforming to the tradition and history. This so-called ‘modernist ideas’ was concerned with developing creative ideas with new technology for the present and future. Mackintosh’s designs were predominantly concerned with the modernist ideas, building his works with simplicity and style. His buildings were of creativity and simplicity surpassing the traditional views. “Glasgow School of Art, his greatest public building, and The Hill House, his domestic masterpiece, focus on his originality, uncompromising intelligence, and the creativity with which he transformed traditional references.” (Kaplan & Mackintosh 1996). What make his designs to be so peculiar from the bleak modernism were its artistic forms, which were distinct to the ideals of modernism. He sought to transform the living spaces to the needs of the individuals blended with a work of art. Mackintosh’s works reflected a practical application in its interiors and favored functional designs for living spaces, which was an innovative kind of approach for the contemporary artists. “Mackintosh had a closer reflection of the need for quality, artistry and functionalism than in the work of other contemporary architects.” (Buchanan 2004, p.2). His furniture and interiors exhibited a more ‘impure’ form of modernity, hailing him to be a purifier in the field of architecture. The opening of the Japanese isolationist regime created a notable influence around the world and Mackintosh’s designs were mostly influenced by these modernist ideas and Asian style design. The fascination of the Western World and its preoccupation with the Japanese art has inspired Mackintosh, because of its simple forms and usage of natural materials, rather than artifice and elaboration. The use of texture, light and shadow, instead of patterns and ornamental designs created a unique style that influenced the designs of Mackintosh. He stressed on creating quality focused designs that are prone to evoke a calm, organic feel for living, on contrary to the ornamental, old-western style of living spaces. His style was truly unique showing a crisper and stronger version of Art Nouveau that was based on right angles. “Mackintoshs art depended on creating a balance between forces like darkness and light, line and curve, abstraction and sensuality, function and symbol.” (Meisler 1997). Mackintosh’s buildings and designs were created with unique attention, using his imagination and creativity. He approached each of his projects with this view, making it to be something special and whole for the users. In any Mackintosh building or interior design, everything holds a sense of scrupulous attention demanding ultimate passion and sophistication. This aesthetic view in his designs contributed to the emergence of the modern architectural movement. His interiors and buildings were called to be modern, as each object was conceived and executed with practical functionalities in mind, as well as were breathtakingly beautiful. Moreover, Mackintosh maintained a sense of wholeness in his architecture, as he intended to create an artistic environment, not an artistic single piece of work. “Mackintosh inherited aestheticism and carried it into his designs for the Glasgow School of Art, a masterpiece that often has been called the first modern building.” (Artner 1997). This prestigious project was attributed for its subtlety and creativity. Initially, the building was viewed to be primarily utilitarian for the art education. However, the school was impressive for its decorative curves and asymmetric facades. “The form of the building, is dictated entirely by its function and plan, and the large embellished windows look forward to the Modern Movement.” (Wintle 2008, p.475). Similarly, his Willow tea-room had its decorative motif, but in a slightly controlled ornament with greater attention to the details. This trend started setting its style and importantly brought a new perspective to the architectural sphere, thereby allowing experts as well as common public to become aware and thereby appreciate it. One of the reasons for him being called as the pioneer to modern architecture was that he overlooked many aspects of architecture that were ignored by the modernists of his period. His furniture and buildings had a symbolic decoration, which was an innovative feature that was mostly neglected by many. Similar to aestheticism, symbolism was manifested in many paintings and sculptures of Mackintosh in late 19th century. Furthermore, his symbolic decoration and art nouveau stylizations evoked popularity in his period, and he started using it in various ways in his creations as an ornamental piece of art. Though his works were marked by simplicity and reduced ornamentation, he did not seek to do away completely with it, as most of the then moderns, making his furniture and buildings to be truly minimalistic and modern yet beautiful in designing. The new approach to decoration and space provided in the interiors and buildings of Mackintosh was a trend-setting example for the Modernist Movement. “The artistic function of Mackintosh’s use of carpentry in these situations is to play with experience of space and structure, by forcing to pay an ambivalent attention to both.” (Brett, 2005, p.245). his concept on furniture design was quite different from that of his contemporary craftsman. He had an innovative modernist approach, proposing that furniture were not to promote craftsmanship embodied with ornamental carving and intense artwork. Instead, he emphasized on its functionality and consistence with the space of the environment. “It was more important for Mackintosh that his furniture should make strong visual statement, giving coherence to an interior, than embody handcraft virtuosity and a preoccupation with function.” (Fiell & Fiell, 2004). Moreover, Mackintosh was in constant disapproval of the usage of unnecessary ornamental elements into architecture, for the sake of artistic additions. this captured the trend of the Modernist Movement, favoring the minimalism and utilitarian nature. “He also deplored the addition of useless features or decorative details, however well they may be designed. These pertinent remarks assume added significance when seen in retrospect, for expression of function and fitness for purpose became the catch-phrases for the modern movement.” (Howarth, 1977, p.16). Mackintosh was credited for his modern architectural design with a credo of ‘form follows function’. However, he was also criticized for his works as they were at times visually satisfying with purposeful, decorative structures, yet of no utilitarian function. Some of his works, particularly, the Glasgow School of Art, is criticized for its functionality, where the wall extensions had no purpose other than letting light into the building, while the windows were beautiful to view, yet hard and impractical to clean. (Larmour 2009). Mackintosh’s works were unfortunately not recognized in his lifetime, however, gained significance outside of Glasgow for its rationale style and integrated decorations. His modest design commissions spurred an interest in his works, receiving recognition worldwide in the later years. Mackintosh is truly an avant garde and modern designer of his century and now a significant contributor to the modern movement of design and architecture. From his modernist buildings, distinctive furniture and evocative paintings, he is constantly hailed as a forerunner of Modernist Movement as he was one of the exponents for this idea among the United Kingdom and Europe. Since Art Nouveau was a complete style encompassing designs, architecture, decorative arts, furniture and even jewelry, Mackintosh’s multi-faceted artworks was adept to meet all the incarnations, making him a pioneer in the Movement. His distinct style and the idea behind the innovative art was much forward looking relating to the Modern art and design. The inspiration for the Modern art was gained from breaking the barriers of fine arts and applied arts, which was indeed implemented by Mackintosh by embracing the ideology of art as a part of life. His expressions of designs with emphasis on simplicity and beauty make him a great contributor to the Modernist Movement. References: Artner, AG., 1997. Pure And Simple. Available from http://articles.chicagotribune.com/1997-03-30/news/9703300241_1_furniture- and-interiors-radical-buildings(accessed on April 9, 2014) Brett, D., 2005. Rethinking Decoration: Pleasure and Ideology in the Visual Arts. Cambridge University Press. Buchanan, W., 2004. Mackintosh’s Masterwork: The Glasgow School of Art. Rutgers University Press. Crawford, A., 1995. Charles Rennie Mackintosh. Thames and Hudson. Fiell, C and Peter F., 2004. Mackintosh. Taschen. Howarth, T., 1997. Charles Rennie Mackintosh and the Modern Movement. Routledge & Kegan Paul. Larmour, P. (2009). Free State Architecture: Modern Movement Architecture in Ireland, 1922-1949. Gandon Editions. Meisler, S., 1997. “Ahead of the Curve: the Art of Charles Rennie Mackintosh.” Smithsonian Magazine. Kaplan, W., 1996. Charles Rennie Mackintosh. Abbeville Press. Wintle, J., 2008. The Concise New Makers of Modern Culture. Routledge. Read More