Architecture édouardienne

Edwardian architecture is a Neo-Baroque architectural style that was popular in the British Empire during the Edwardian era (1901–1910). Architecture up to the year 1914 may also be included in this style. Edwardian architecture is generally less ornate than high or late Victorian architecture, apart from a subset – used for major buildings – known as Edwardian Baroque architecture. The Victorian Society campaigns to preserve architecture built between 1837 and 1914, and so includes Edwardian as well as Victorian architecture within its remit. The characteristic features of the Edwardian Baroque style were drawn from two main sources: the architecture of France during the 18th century and that of Sir Christopher Wren in England during the 17th—part of the English Baroque (for this reason Edwardian Baroque is sometimes referred to as "Wrenaissance"). Sir Edwin Lutyens was a major exponent, designing many commercial buildings in what he termed 'the Grand Style' during the later 1910s and 1920s. This period of British architectural history is considered a particularly retrospective one, since it is contemporary with Art Nouveau. Typical details of Edwardian Baroque architecture include extensive rustication, usually more extreme at ground level, often running into and exaggerating the voussoirs of arched openings (derived from French models); domed corner rooftop pavilions and a central taller tower-like element creating a lively rooftop silhouette; revived Italian Baroque elements such as exaggerated keystones, segmental arched pediments, columns with engaged blocks, attached block-like rustication to window surrounds; colonnades of (sometimes paired) columns in the Ionic order and domed towers modelled closely on Wren's for the Royal Naval College in Greenwich. Some Edwardian Baroque buildings include details from other sources, such as the Dutch gables of Norman Shaw's Piccadilly Hotel in London. Other characteristics include: Colour: lighter colours were used; the use of gas and later electric lights caused designers to be less concerned about the need to disguise soot buildup on walls compared to Victorian era architecture.