Similarities Between Mies Van De Rohe And The German Pavilion

Stability and balance is also achieved through the incorporation of the vertical and horizontal planes. In the southwest facade of the building the vertical slits are balanced with the horizontal planes created by the cubes, cornice and the ornamental horizontal band that runs halfway through the walls. These vertical and horizontal planes further dictate a rhythmic continuity throughout the building. Building's scale is rather modest in comparison to its site and the surrounding landscape and the smooth texture of the facade helps its integration to the environment. (Figure 4)

The wall was built from two concrete walls, each one hundred and sixty yards long, with hundreds of watch towers, and other trap mechanisms. Because of these ‘trap mechanisms’ people had to become more creative with their

The Memorial to the Murdered Jews of Europe, also known as the Holocaust Memorial, is a monument in Berlin to commemorate the Jewish victims of the Holocaust. The Memorial for the Murdered Jews of Europe causes us to reflect on how the transgressive gesture of architecture puts the issue of balance between the medium and the message into question. The memorial could have been viewed as a way to threaten the importance of remembrance. According to Elke Grenzer, “Architecture itself in a commemorative gesture because it wants to commemorate its action in its present as something that might not be lost in the future.” An abundance of political drama about the memorial almost caused the world to forget the significance of the structure. After the Berlin Wall came down, Germany had to find their own self-identity while memorializing the Jews, which led to a debate on how to successfully move on as a nation. The monument appears to be the preserver of Holocaust memory, however it is the people of Germany and what they created after visiting the memorial that safeguards the Holocaust memory.

The building is unusual for a Minoan site in that it is more symmetrical and less labyrinthine than most Minoan remains. The simple design consists of three rectangular rooms in a row, and a corridor or antechamber running the length of the three rooms to the north of the building. There is no other example of such a building from the Minoan-Mycenean periods. However, Dennis Hughes points out in his book

The term “Glass House” does not just describe the house itself; but also the surrounding environment. While designing and building the house, Johnson has also found architect to re-design the surrounding landscape. In fact, part of the designed landscape refers to the The Burial of Phocion by France artist Nicolas Poussin. (Tutter, 2011, p.2) The sense of enclosure seems to be disappeared, or expanded widely to not just where the four glass-walls are; but the entire land that the Glass House is positioning on. The image of the landscape is reflecting, as well as showing through the house which sense of interior and exterior become unsettle, persistently questioning the entire problem of the relationship of the numerous spatial elements in particular

Peter Behrens is one of the most influential German designers. At the beginning of the century, he brought forth amazing works in architecture, graphic design, and painting, which began to influence in all these various fields, opening uncharted territory for the generations to come. He is viewed as the founder of modern objective industrial architecture as well as modern industrial design. From the late 1800's he worked as a graphic artist in Munich, where he joined the Jugendstil movement. He produced woodcuts, colored illustrations, designs for book bindings and craft objects. Peter Behrens designed china, glass objects, and patterned linoleum flooring. This fused Graphic Design and Architecture.

TXT- This architectural building is designed to have a organic feel to the surface and a natural movement along the entire structure. This original piece was created to demonstrate the special qualities of the texture, like curved walls along the windows and twisted style chimneys that stick out on the roof. Pg 81

Around the beginning of the story, the narrator skimmed over the house and noticed the excessive antiquity of the building; however, he realized the true inconsistency of the apparently perfect adaptation of parts and the crumbling of each individual stone. As the narrator observed the building more closely he spotted a barely noticeable fissure that ran from the roof of the building down to the waters if the

Also, another claim that these structures were used as store food aupplies, is rejected by the narrator. Indeed, in this building there are no remainig grain maize on the floor. In addition, the storing grains must be kept in the big containers; but, like remaining grain there are not any big containers

For example, to guarantee solidness in a post-and-lintel structure, the Egyptians regularly set enormous sections one next to the other, making a thick, timberland like impact. This was a more secure approach to work, as well as mirrored the monumentality of their reality view. That is, the forcing, close-pressed mainstays of an Egyptian sanctuary fittingly bespeak the feeling of time everlasting and extraordinary quality that elements so unequivocally in whatever is left of their human progress, as though this hallowed space were sure to stand for eternity. Aloof to time and mankind, it rejects the "airiness" motivating later Greek and Roman engineering and gives the guest little space or cause to look past its base. Rather it looks down, trying to cover and overpower or, in any event, outlive the weak fleeting tide of mortality washing about its foundations.Moreover, the splendor of this current building's origination is unparalleled, which, to handle its virtuoso completely, one must find in the way an antiquated designer would have.

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.

Comparing the Rothko Chapel, Flavin Installation, and the Infinity Machine they all had significant value of space in their architecture buildings. The Rothko Chapel had dark pieces on the walls, all surrounded by white. The open space in the room allowed for a place to be calm and enter your thoughts. The Infinity Machine was a very strange

Internationally, Frank Lloyd Wright was a prominent figure in mid-century modern architecture (as was Mies van der Rohe, Walter Gropius and Le Corbusier)

Villa Tugendhat, was designed by the modernist architect Ludwig Mies Van Der Rohe, bornin 1886 march 27, he worked under the art nouveau architect Bruno Paul. only at 20 years of age he got his first job of philosopher to create a plan. he later worked under the architect peter berhens then opened his own practice in 1912. Mies was well known for his modern architecture from moving away from the movement art nouveau of his first boss, Mies is famous for the saying “less is more”.

The entryways of the building come from four different sides and meet in the middle. The overall shape of the building creates different views and facades. The building was not created just on the looks of it; it is made up of a three dimensional, stimulating, tactile human thing.