What Is Mies Van Der Rohe

Though the start of the modernisation may trace back to the beginning of Industrial Revolution. “Modernism in the design world did not exist in a fully developed form, until well after First World War.” (Wilk, 2006) Causing the great loss of lives and other countless damage to the world, it reshaped many people’s way of thinking the world. With the inspiration of early avant-garde movement, the modernism began to emerge advocating an utopian future and shared certain core principles by various styles of modernists: rejecting the past and applied ornament; forms follow function, a preference for

We can view this evolution in architecture because of new materials, technologies and ideals becoming available, new methods and possibilities were also opened up. Again, one of Kaufmann’s design principals is used in relation to the new advancements: Modern design should take advantage of new materials and techniques and develop familiar one. (Kaufmann, 1950)

Question 1. Choose an architect or practice whose work is covered by or relevant to this course and discuss critically one or more of their design projects or drawings or urban proposals as precedent case-studies. Selectively situate this work in relation to their body of work, and against the practices and concerns of the period. Focus on the architectural qualities of a specific key aspect of the design of the projects. Selectively consider how they might relate to the historical situation, cultural values, theoretical concerns and design practices of the time. This may involve a selective analysis of compositional design practices, material fabrication production and the experiential reception of built outcomes of the projects.

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,

Rogier Van Der Weyden was a highly successful Flemish painter of his time and one of the most influential painter in history. Weyden was primarily an expressionist artist, as he conveyed emotions in his paintings. The “Descent from the Cross” focuses on the emotions of Christ's followers as they lower his body from the Cross. “There you could see those face come alive and breathe which he wanted to show as living, and likewise the deceased as dead” (Janson, p.485). The image is very realistic, Weyden captured the group's emotion realistically. It is intensified by the Virgin Mary's swoon depicting grief and compassion. Weyden used an empty background to focus more on the figures' expressions while bringing them to life.

Peter Paul Rubens (June 28, 1577 - May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. (1) He is born in Siegen, Westphalia in Germany. He and his brother were sent to a Latin school in Antwerp. Due to lack of money, Rubens’ mother withdrew him from school in 1590 and sent him as a page to the Countess of Lalaing at the age of 13. She needed the extra money to pay a dowry for his sister. Although his job was very prestigious,

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.

The Museum of Modern of Art was the first to use the words “International Style”, which was a fitting term to introduce modernist arts to the world. Johnson and another renowned architect Henry-Russell Hitchcock organized a major show under the title “Modern Architecture: International Exhibition”. There they described the International Style that expresses several design principles, that concerns with volume rather than mass and solidity, regularity instead of axial symmetry, and the proscription of “arbitrary applied decoration”. Exhibits featured leading European and American architects, especially the likes of Le Corbusier and Ludwig Mies van der

Although, most post-modernist architects had been associated with modern architects in terms of training during the twentieth century, they refused most their teachers ideas. In addition, today's architects cannot deny the modern architecture ways of designing any building. Their design, for instance, has many philosophical meaning such as constructional, environmental, sociological, commercial and metaphorical meaning.

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”.

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

Le Corbusier, inspired by modern painting, the floating floor and transparency in his design is an echo of what was modern painting. In 1915, he drew six reinforced concrete pillars that held three horizontal slabs, which were connected by a staircase (fig.1). Ferroconcrete in his hand was like a sculpture’s clay used to express his ideas. Le Corbusier transmuted the concrete skeleton developed by engineer to a means of architectural expression that no one before him had tried.

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

Before the mid-twentieth century, museums in Europe and the United States were generally planned in variations of the neoclassical style. But, the Guggenheim museum in Bilbao moved the heading of gallery outlines, which gave an extensive show venue to twentieth century and modern art, designed by the famous architect Frank Gehry. Architecture is important nowadays to the public, because it offers a physical surrounding environment in where we live in. Moreover, architecture is not only affected by the culture, but also by the economy of the country.

It was the 1917 a period after the World Wat I when the De Stijl art movement in Netherlands was born. It was a period where in the art and in the design communities were changing and things starts to get the forms of the machine-like. It was also the period of the Cubism which was influencing al the new designs. Thanks to being neutral during the World War I, Netherlands’ artist were able to focus on art that didn’t reflect the dark moments of the war. The Schroder House and its furniture are one of the best and true example of the De Stijl Architecture. They were designed entirely by Gerrit Rietveld between 1919-1924. He was the main exponent of the movement. This paper will present an analysis on how Rietveld was able to create a new