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Eclecticism in architecture is a 19th and 20thcenturyarchitectural style in which a single piece of work incorporateseclecticism, amixture of elements from previous historical styles to create something that is new and original. Inarchitecture andinterior 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.
The term is also used of the many architects of the 19th and early 20th centuries who designedbuildings in a variety of styles according to the wishes of their clients, or their own. The styles were typicallyrevivalist, and each building might be mostly or entirely consistent within the style selected, or itself an eclectic mixture.Gothic Revival architecture, especially in churches, was most likely to strive for a relatively "pure" revival style from a particular medieval period and region, while other revived styles such asNeoclassical,Baroque,Palazzo style,Jacobethan,Romanesque and many others were likely to be treated more freely.
Eclecticist architecture came into practice during the late 19th century, as architects sought 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 differed, as the main driving force was creation, notnostalgia[2] and there was a desire for the designs to be original.
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Eclectic architecture first appeared across continental Europe in various countries such as France (Beaux-Arts architecture), England (Victorian architecture) and Germany (Gründerzeit),[2] in response to the growing push amongst architects to have more expressive freedom over their work.
TheÉcole des Beaux-Arts inParis, considered to be one of the first professional architecturalschools, trained students in a rigorous and academic manner, equipping them with skills and professional prestige. Teachers at the École 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, and used theirBeaux-Arts training as a foundation for new eclectic designs.
Whilst the practise of this style of architecture was widespread (and could be seen in many town halls constructed at the time),[1] eclecticism in Europe did not achieve the same level of enthusiasm that was seen in America – as it was assumed that the presence of old, authentic architecture, reduced the appeal of historical imitation in new buildings.[3]
The end of the 19th century saw a profound shift in North American Architecture. Architects educated at theÉcole des Beaux-Arts in Paris, such asRichard Morris Hunt andCharles Follen McKim were responsible for bringing thebeaux-arts approach back from Europe, which was said to be the cornerstone of eclectic architecture in North America.[3] At a time of increasing prosperity and commercial pride, many eclectic buildings were commissioned in large cities around the US. The style thrived, as it introduced historical features, previously only seen in the aristocratic architecture of European countries such as Britain and France, contributing to a richer sense of culture and history within the US. 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 flexibility to adapt, and to blend freely between styles gave eclectic designers more appeal to clients.[3]
The creation ofskyscrapers 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 first Madison Square garden—both inNew York City), projects that remain from this era are still valued as some of the most important structures in the US.
Some of the most extreme examples of eclectic design could be seen onboardocean liners (which at the time were the primary form of overseas transport). The lavish interiors were crafted with a mix of traditional styles—in 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 and Gothic motifs.
To a lesser extent, Eclecticism appeared across Asia, as Japanese and Chinese architects who had trained at AmericanBeaux-Arts influenced schools, returned to produce eclectic designs across Asia such as the Bank of Japan (1895) byTatsuno Kingo.[3] The so-calledIndo-Saracenic Revival architecture, which added details from traditionalIndian architecture, mostlyMughal architecture, to essentially Western forms of public buildings and palaces, was an inherently eclectic style. Most of the architects were British.[citation needed]
As a style that offered 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 different styles were subject tocriticism from professionals (particularly those who opposed the movement).[1]
Enthusiasm for historicalimitation 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 towardsLate Modernism,Postmodernism,Brutalism,Art Deco andStreamline Moderne[4] was significant as it was seen by many asavant-garde and the new technology and materials being produced at the time allowed for greaterinnovation.[5] Despite the move away from eclecticism, the era still remains historically significant as it "re-opened the doors to innovation and new forms" for architecture in the following years.[6]
The rise in eclectic architecture created a need for interior specialists who had the skill, understanding and knowledge of past historical styles, to produce suitable accompanying interiors. This resulted in the emergence ofinterior designer as a regarded profession.[3] Prominent interior designers in this era (between the late 19th and early 20th century) includeElsie De Wolfe,Rose Cumming, Nancy McClelland,Elsie Cobb Wilson, Francis Elkins, Surie Maugham andDorothy Draper. Whilst the clientele of these early designers consisted exclusively of wealthy families and businesses, the works of such decorators were regularly featured in popularpublications such asHouse and Garden,House Beautiful, and theLadies Home Journal. Publishing the lavish interiors of these magnificent 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, withSpanish styles being favoured inCalifornia, and elements ofAmerican Colonial architecture being popular inNew England.[3]
In contemporary society, styles that draw from many differentcultural 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.
