In 1986, a new Barcelona pavilion was built on the site of the 1929 German Pavilion. That decade also marked the 150th anniversary of photography and the centenary of Ludwig Mies Van der Rohe. Since then, much has been published about all three jointly and singly, more than doubling the combined literature on Mies from the preceding seven decades. Barcelona pavilion challenge the conventional boundaries of historical analysis. Moreover, the fundamental influence for multiple generations of architects
The Bauhaus was revolutionary because it shed a new light on what can be considered an art form from the traditional sense of art, who can be considered an “artist” and was founded on the idea that it would bring craftsmanship and the artist together along with combining different disciplines of art and exploration. It was a new way to explore and express creativity. The building itself was very revolutionary because they made it in less than a year, which was not common in that time, and the building
throughout his career. He studied architecture at the Technical Universities in Berlin and Munich, after which he was recruited by the credible industrial designer and architect Peter Behrens. Behrens was an inspiration to Gropius as he was to Ludwig Mies van der Rohe and Le Corbusier in their early careers. He was famous for designing such buildings as the AEG Turbine Factory, The Technical Administration Building of Hoechst
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
The Tugendhat House was a private villa designed by Mies van der rohe, which located in the Brno, Czech Republic. In this building, Mies used steel frame structure and glass material to create a unique flowing space, which connected the interior space and exterior space and also guaranteed the privacy of the residence at the same time The Tugendhat house sits on a hillside with two story floor plan and a semi-underground room which looks as if it were insert in the hillside. The first floor is a
employs a minimal, sans-serf typeface. Instead of having two alphabets, the uppercase and the lowercase, Bayer reduced the typeface to only lowercase letters, in his belief that the uppercase was redundant, since the distinction between lower and upper case conveyed no phonetic