ARCHITECTURAL BOUNDARIES: LUDWIG MIES VAN DER ROHE AND PHILIP JOHNSON Architecture has undergone a rapid and revolutionary transformation in the modern era. Through the work of Ludwig Mies van der Rohe‚ this essay attempts to chart the transition in architecture from nineteenth century Romanticism and Neoclassicism to High Modernism. Mies van der Rohe redefined architectural boundaries and emphasised the beauty of simple forms‚ the importance of functionality and the versatility of new materials such as
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morality of the building. (The artless word P96) Ludwig Mies van der Rohe‚ as one of the most “Zeigeist” architects in the biography of modern architecture‚ began his career under this ultimate paradox era. Now we scale our eyes down to the three projects successively done by Mies van der Rohe during the 1920s‚ that is the Brick Country House‚ the Wolf House‚ and the Barcelona Pavilion‚ through which‚ we can follow the penetration of Mies’ ideological transformation from the neoclassicism to
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Spain‚ the German Pavilion‚ designed by Mies van der Rohe‚ was used for the official opening of the German portion of the exhibition. To this day‚ the German pavilion is seen as one of the most significant buildings built during the 20th century. When analyzing the building formal‚ structural‚ and material qualities‚ it becomes effortless to support the proposition that the German Pavilion was built with the concepts of nature in mind where Mies van der Rohe successfully blurred the lines between
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designs by Ludwig Mies van der Rohe and Marcel Breuer. In design‚ external influences have always played a vital role in any given trend. In the 1920’s‚ an era commonly referred to as the Machine Age ‚ modernist design followed a very focused approach: a desire to create a better world. In this essay‚ I will make a brief overview of the socio-economic situation of this time period‚ with a short introduction to the life of the two practitioners whose work I will analyse: Marcel Breuer and Ludwig Mies
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discussing works by Ludwig Mies van der Rohe. I will carry out a concise discussion of the position and views of Ludwig Mies van der Rohe‚ as well as addressing his understanding of architecture. I will also be doing a concise analysis of two exemplary works by Mies. Finally I plan on discussing Mies position in and contribution to the development of Modern movement. The two examples I will be analysing are the Barcelona Pavilion and the Seagram Building. Ludwig Mies van der Rohe in my opinion redefined
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“Less is More” Ludwig Mies van der Rohe is best known for his popular aphorism “less is more‚” which describes the simplicity of his modernist architectural style. As described by Robert Hughes in Visions of Space‚ Mies van der Rohe transformed America’s major cities from heavy‚ clad masonry to high-rising steel and glass skyscrapers. Mies van der Rohe’s style was praised and adopted by many other architectural professionals. However‚ not all architects were fond of Mies van der Rohe’s “less is
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The school existed in three German cities: Weimar from 1919 to 1925‚ Dessau from 1925 to 1932 and Berlin from 1932 to 1933)‚ under three different architect-directors: Walter Gropius from 1919 to 1928‚ Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933‚ when the school was closed by its own leadership under pressure from the Nazi regime. The Nazi government claimed that it was a centre of communist intellectualism. Though the school was closed‚ the staff continued to
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Barcelona Pavilion The Barcelona Pavilion (Catalan: Pavelló alemany; Spanish: Pabellón alemán; "German Pavilion")‚ designed by Ludwig Mies van der Rohe‚ was the German Pavilion for the 1929 International Exposition in Barcelona‚ Spain. This building was used for the official opening of the German section of the exhibition. Technically this building should be called the German Pavilion in Barcelona‚ since it was constructed as a temporary building for the International Exposition in Barcelona of 1929
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across Europe. In Holland‚ Theo Van Doesburg and a small group of artists‚ founded a movement and magazine named De Stijl in 1917. The iconic elements in the works of supporters of this artistic movement were simple compositions of vertical and horizontal lines with black‚ grey‚ white and primary colors. In Germany‚ modernism started in Bauhaus (1919-1933)‚ a school of art and design. It was founded by Walter Gopius and directed by the architect‚ Mies van der Rohe in its last year. The main purpose
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The Bauhaus was the first model of the modern art school. The Bauhaus curriculum combined theoretic education and practical training in the educational workshops. It drew inspiration from the ideals of the revolutionary art movements and design experiments of the early 20th century. A woodcut (shown right) depicted the idealized vision of Walter Gropius‚ a "cathedral" of design. Bauhaus 1919-33 The Bauhaus began with an utopian definition: "The building of the future" was to combine all the arts
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