Industrial architecture
The advent of railways made it possible to build affordably in brick, even in areas lacking suitable clay for brick-making, or to construct relatively inexpensively in stone and marble, in towns far from quarries. This newfound mobility allowed architects and builders to transport ideas, drawings, and materials to virtually any location, with both positive and negative outcomes. While skilled architects could now elevate the quality of buildings in previously overlooked towns, there was also a risk of architectural uniformity, as seen in the vast swathes of red brick houses that blanketed Victorian England during the 19th century.
The Palm House, Kew Gardens, London - England (1848)
There are distinct differences between the buildings. Paxton had arranged his glass sheets in sharp ridges and furrows, while here they are applied in even, smooth planes to create a seamless surface. Both Chatsworth and Kew showcased the remarkable potential of prefabrication using iron and glass. This revolutionary approach to building foreshadowed the development of mass production, marking a significant shift in architectural style and technique.
King's Cross Station, London - England (1852)
Architect Lewis Cubitt’s pragmatic solution, built between 1799 and 1883, was a vast, almost unadorned, brick-built Italianate structure. The façade featured a central tower flanked by two large arches, directly reflecting the two glass-and-iron barrel vaults covering the platforms behind them. The result is one of London’s most satisfying early Victorian buildings—a pair of triumphal arches pressed into service for the railways.
National Library, Paris - France (1868)
Labrouste’s pioneering use of iron and glass, first seen at the Library of Sainte Geneviève in the 1840s, reached new heights in the design of the National Library. The main Reading Room features a series of nine shallow terracotta domes, each topped with a circular window to ensure even lighting. These domes are supported by cast-iron columns arranged in four rows of three, from which arches spring to hold up the domes. The lower edges of the arches are adorned with intricate wrought iron patterns. The spacious elegance of Labrouste’s Reading Room reflects the 19th-century expansion of knowledge and the increasing significance of public libraries in society.
The Eiffel Tower, Paris - France (1889)
The Eiffel Tower stands as a triumphantly bold monument to cast iron construction. It is not a “building” in the traditional sense, even by the broadest definition. Rather, it is a magnificent and awe-inspiring statement of late 19th-century engineering, showcasing the possibilities of new technology on an intentionally grand scale. Its design, though seemingly without functional purpose, is a testament to the era’s ambition and ingenuity.
Aeg Turbine Factory, Berlin - Germany (1909)
The AEG Turbine Factory, designed by Peter Behrens (1868-1940), was a pivotal precursor to Modernism. It represented an entirely new kind of building—a factory that, while fully functional both inside and out, was also unmistakably conceived as a work of architecture. The idea of imparting monumental dignity to a place of work was groundbreaking, marking a shift in how industrial buildings were perceived and designed.
Galleria Vittorio Emanuele, Milan - Rome (1877)
Covered arcades with iron and glass had been constructed in Europe prior to the Galleria, but the Galleria was designed as a symbol of the newly unified Italy, particularly representing the union between church and state. Architecturally conventional but daring from an engineering standpoint, the Galleria magnificently embodied the spirit of modern Italy, merging tradition with innovation.
Wainwright Building ST. Louis - Mo (1891)
Sullivan’s Wainwright Building is an early milestone in the development of the skyscraper and Modernism, designed by an architect known for his forward-thinking vision. He articulated one of Modernism’s key principles: “Form ever follows function.” This idea emphasized that a building’s exterior should reflect its fundamental structure—in this case, a steel frame. However, only every other bold, brick-clad vertical on the exterior represents a steel support, while the rest are purely aesthetic. Additionally, there is no structural necessity for the corner verticals to be wider than those elsewhere on the building, highlighting Sullivan’s innovative approach to design.
Bradbury Building, Los Angeles, California - USA (1893)
The Bradbury Building is truly unique. Designed by an unknown, largely self-taught architect for a mining tycoon, its exterior is modest—just a five-story brick-and-sandstone box in a functional Renaissance style. However, the interior is nothing short of extraordinary. The central court, bathed in natural light from a large glass roof, is the focal point. Cast-iron staircases stand at either end, while two hydraulic glass-cage elevators with fully exposed mechanisms face each other across the atrium. Wrought iron, glazed bricks, marble, and tiles dominate the space, creating an astonishingly dramatic effect.