Ludwig Mies Van Der Rohe

Behind every building, there is an idea. No architect can deny that both Frank Lloyd Wright and Ludwig Mies van der Rohe developed and introduced a style of architecture that has left a lasting influence on design and concept. Their philosophy of modernism has similarities that can be seen throughout the design of their structures, however, their, contrasting views of modernism is distinguishable in Wright’s Falling Water and Mies’ Farnsworth house. Their choices of the building site, material, and idea behind the structures separate the two architects and their philosophies.

Although architecture has no precise definition, it can range from being defined as an art, practice, or complexity of designing something, to being a challenging profession in itself. It is said that “architecture serves a purpose, stand erect, and is capable of moving us emotionally.” For one to understand how architecture is seen by the creator, it is important that we understand the theoretical underpinning of architecture, of its time, and also how it advanced up to that time. “Architecture is that great living creative spirit which from generation to generation, from age to age, proceeds, persists, and creates, according to the nature of man, and his circumstances as they change. That is really architecture.” Architectural

Sydney Ancher was a Sydney based architect whose work is known for its simplicity. The development Ancher had throughout his practice, as noted by Robin Boyd, was an “unaffected, uncomplicated and undeviating search for simplicity2.” Ancher encountered the work of Mies van der Rohe at an international building exhibition in Berlin, in 1931, during his five years of travel and work abroad and has been influenced by it since then3. The work was a single storey building with extensive use of glass walls and a modular plan that linked indoor and outdoor space,

Leon Krier was criticised for publishing a costly monograph on Albert Speer’s architecture (1985)in which, while acknowledging the crimes of the Nazis and the man, Krier nonetheless claimed the book’s only subject and sole justification was “Classical architecture and the passion of building” (cited by Jaskot, ‘Architecture of Oppression’, 2000). Discuss this claim, the controversy and the issues (historical, philosophical and ethical and possibly others) they raise. Can architecture, Classical, Modern or otherwise, be autonomous from politics and valued independently of the circumstances of politics and history that adhere to it?

Ludwig van Beethoven, also known as " The General of Musicians," was born on December 16, 1770. However, this date is not exact because it is believed that Beethoven's father lied about his son's age in order to portray him as an infant prodigy. As a result, Beethoven is convinced he was born on December 16, 1772 at the Rheingasse home, which belonged to the Fischers, who were close friends of the family (Orga 8).

“Always design a thing by considering it in its next larger context - a chair in a room, a room in a house, a house in an environment, an environment in a city plan”by Eliel Shaarinen(as cited in Enquist, 2002). Design context is everything, context is about knowing that there have to be circumstances in order for the design or outcome to be fully thought out. Everything occurs within a context and is vitally important because it controls, influences and affects everything in relation to the outcome. This essay compares and contrasts Ludwig Mies van der Rohes “Farnsworth House” from 1951 with George Franklin Barber’s “Clyde Royal Joy House” which was completed in 1897. These houses were built over fifty years apart and in that time there had

Charles Rennie Mackintosh , architect, interior designer and watercolourist, was one of the most enigmatic personalities contributing to the rise of Modern Architecture during the early 20th Century. ‘Mackintosh saw things differently, he was a modern man, ahead of his time.’ As an architect he applied his sense of three-dimensional form to create distinctly sculptural works including buildings and furniture. A terrific draughtsman, the young Mackintosh sketched the architectural tradition of Scotland, England and Italy. He was a man of great genius and a pioneer of the Modern Movement; yet he was virtually forgotten even before his death.

This essay will inform the contrasts of two very important art galleries built 9 years apart. The Guggenheim, 1943-59, was built solely for Solomon R, Guggenheim to exhibit his collection of both modern and contemporary art from around the world. This building in New York was said to be one of the architect’s most important public projects , the architect being Frank Lloyd Wright. The building that will be put into contrast with the Guggenheim is the Neue Nationalgalerie in Berlin, 1962-68. Mies Van der Rohe was asked to design this new gallery during the modernism period in an act to revive the city of Berlin after the war as part of

Postmodernism is a universal movement, present in every art and discipline. In architecture, postmodernism is precise as well as ambiguous thereby in need of an explorative pursuit for a consensus of what is meant by the movement in this perspective - between the works of Charles Jencks, a primary theorist of this architectural turn; Heinrich Klotz, a leading architectural critic; and William Curtis, an architectural historian. The progression of this paper is highly influenced with Jencks’ studies as his works are often times referenced as well by both Klotz and Curtis in their individual interpretations and further accompanied with either supporting statements or contradictions.

Case Study House #22 was the pioneer of building homes with glass and steel and it was also a triumphal combination of art and science. In this architecture, Glasses were used on three side of the building to form the environment of modern living style and an umbrella of steel decked roof was made to provide a covered area for the pool. [2] The whole building was designed to emphasize the openness and transparency by using these modern industrial materials.

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

Considered by many to be one of the best architects of the 20th century, Frank Lloyd Wright (1867-1959) introduced to both the United States and Europe new types of housing that centered on spacious, open floor plans, horizontal formats, and a “cleaner aesthetic” (Bio). Early on in his career as an architect, he worked under Louis Sullivan, who was known as the, “father of skyscrapers” in the architecture world. Wright’s preference for sleek and modern-looking buildings was definitely caused by working under Sullivan. Wright’s architectural work was highly popular in Europe, more so than in the United States (Lucie-Smith). He developed a certain style to which he designed most of his works which he called, “prairie school style” (Bio).

At the Art Institute of Chicago, there is a postmodern design show called the “Design Episodes: Form, Style, and Language”. There were three exhibits in one room included in this show. On one side of the room there was an exhibit that featured works and materials about graphic design. Another side of the room was an exhibit was about the evolution of the ‘modern’ chair, and the last side of the room was about an architectural design exhibit. I chose to write about the architectural design exhibit for this exhibit review. This particular exhibit features seventeen works done by the radical Italian group called ‘Memphis’ and the architectural firm Coop Himmelblau. It features works of postmodern furniture, ceramics, and glass and metal objects.

Gropius traces the growth of the New Architecture and the work of the now well-known Bauhaus, with accuracy, calls for a new artist and architect educated to new materials and approaches as well as meeting the requirements of the age. It is also mentioned in The New Architecture and the Bauhaus that the intention of the Bauhaus was not to reproduce any “style”, system or belief, but simply to exert a revitalizing impact on design. Even though the outward forms of the New Architecture differ primarily in an organic sense from the old, it is the inevitable logical product of the intellectual, social and technical conditions of our age. A gap has been made with the past, allowing us to face a new aspect of architecture corresponding to the technical civilization of the age we live in. The analysis of the dead styles has been destroyed. Furthermore, the new building throws open the walls like curtains to allow an abundance of fresh air, daylight and sunshine. Instead of securing the building ponderously into the ground, it poises them lightly, yet firmly at the same

Modernism first emerged in the 20th century, in order to help the recovery and progression within Britain after the war. Prominent modern designers such as Mies Van Der Rohe, Le Corbusier and Walter Gropius changed the way people interacted with space, by blending exteriors and interiors together & exploring new simplified forms. Which were mass-produced often on an assembly line in order to make them fast and cost-effective. These Ideologies overruled previous Designers within the Art Nouveau movement, as the idea of ornamented living did not meet basic social needs any more. By disposing of these old fashioned ways, Modernism helped implement a solution into a less complex living that was easily obtained and affordable. Many of their ideologies focused around industrial design, responding to ever growing changes within technology and society. Le Corbusier believed in Creating a better urban environment to improve on light and space, increasing physical space and maximising it; for example movable light sources. These ideas became a new way of thinking in both the US and Britain. In my essay, I will respond to the modernist ideologies found within the Royal Festival Hall, Southbank Centre and if the building was a Modernist success or disaster.