The Private House in Regensburg was built in 1979, which is Thomas Herzog’s own home; one can declare that he is the client and designer himself thus fulfilling his own needs or desires for the site. The house demonstrates particular principles of energy efficiency, making it an early eco-home. This can be shown by the use of local materials, or taking advantage of the site for characteristics like protection and aesthetics. Thomas Herzog was born in during World War 2 (1941), in Munich, Germany. In 1965 he completed his diploma for architecture at the Technische Universität München (University of München) and in 1973 he became Germany’s youngest professor of architecture at the age of thirty-two. He is now known famously for his work on eco-tech architecture. Throughout this essay I will analyse Thomas Herzog’s House at Regensburg and explain the themes and principles behind different aspects of the houses in comparison to two other houses in extruded form. During the 1970s Architects first started to think about low-energy buildings, this was due to the oil crisis in the early 1970s. Which resulted in experimental houses, in different styles of ‘folksy or rustic’, thus being quoted as the ‘alternative anti-industrial ideology’. Whereas Herzog did not adopt this style, he carried on using the Modernist tradition. Herzog was an early pioneer of pneumatics and low-energy architecture in West Germany, a country that adopted the belief with enthusiasm, thus turning it into a ‘new orthodoxy’. Herzog’s first low-energy house, is the vice versa of ‘folksy or rustic’, thus creating a new invention, a design made from logic owing itself to science rather than to emotion. The house at Regensburg has the ‘pure prism form and rat... ... middle of paper ... ...ng materials also linking back to Herzog’s use of wood. This is reflected an interest in the use of Japanese wooden-frame traditions showing the sensitivity and irregularity of the composition. Such like the House at Regensburg; aestheticism played a part but here it is interpreted in a different sense. Eames created an aesthetic effect that arose from the ‘careful juxtapositions of ready-made structural elements’. This can be seen from the webbed trusses, which are formed from reflections and transparencies. Where selected objects are a part of the architecture itself, as much as the building. The eucalyptus trees filter the light entering the house, only selecting judicious objects, which creates a unique effect for the interior of the house. The design of the house achieved a ‘poetry of form’, that were in a state of difference with the ‘absolution of Mies’.
Many of Frank Gehry’s early works reflect a refined manipulation of shapes and structures, whereby many of his buildings present distorted shapes or apparent structures. From the Guggenheim museum to the Walt Disney concert hall, Frank Gehry’s architecture is close to none. He cleverly plays with shapes and geometries. In this essay, I shall start with a brief analysis of Gehry’s house and the influences in the design of the house. I shall then analyze the extent to which Frank Lloyd Wright has inspired and influenced Gehry in the design of his house through a comparison with Frank Lloyd Wright’s Jacob’s house.
But first let me tell of the rooms in which it was held. These were seven—an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different, as might have been expected from the duke’s love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose colour varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example in blue—and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange—the fifth with white—the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the
Using the quote by Habermas as a starting point, select up to two buildings designed in the twentieth century and examine what ‘sudden, shocking encounters’ they have encountered, or created. Analyse the building’s meanings as a demonstration of an avant-garde, or potentially arriere-garde, position.
Though the interiors he designed were created to be useful spaces, his focus was more on aesthetic than function . Within his individual objects of art such as chairs, tables, drawers, staircases and many others he focused more on the form of the object than on its intended use. Instead, Kuramata appeared to want the presence of the piece to surpass its function, something that is only possible when there is a symbolic value . One of the best examples of a work of art fitting these stipulations was his design of the Miss Blanche armchair (fig. 3) in 1988 . The chair is made of acrylic resin and embedded with artificial roses and aluminum . Kuramata’s title of the work, choice of materials, color contrast, process of creation and simple aesthetic combine to create a piece of work that forces the viewer to question whether or not it can even be considered a chair. This work of art allows the functionality to disapp...
When he first knocks on Madame Crommelynck’s door, he explains, “the big old house gave nothing away”(Mitchell 1). The house, of course, would not talk to Jason or give him any secrets. Once again, Mitchell makes the house come to life and have human like qualities. Rilke uses metaphors to elude to his central idea, while, Mitchell uses personification to demonstrate his beauty having no true
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
Q: Use St Peter’s basilica and Donato Bramante’s Tempietto in Rome, in opposition to John Balthasar Neumann’s Pilgrimage Church of Vierzehnheiligen in Bamburg, Germany, to argue that a rational engagement with architecture is a more effective means to comprehend and understand architectural form.
Gehry’s additional design of the exterior has created an unconventional model form of house. The asymmetrical form characterizes the entire external side of the house. According to Goldstein, Gehry tried to slant the house roofline, create a false perspective and cause an absurd viewer’ perception or expectation (1979, 9). The complexity of the form might also produce a relationship with the house’s elements such as door, wall, and roof. For example, those elements, which linearly constructed, were hardly noticed since the distraction of geometric form around the exterior part of the house. It’s even barely hard to find the entrance of the house as a result of the salient angles of exterior.
Located in once the bombarded Berlin, a new language of architecture emerged. It appears with multiple contradictions, yet not confliction, from itself to the surroundings and within its own construction. That is the Berlin Jewish Museum, submitted by the young Daniel Libeskind in a competition to provoke the unsavory history of Berlin very soon after the fall of the Berlin Wall in 1989. The Western tradition in building museum is twisted by its expressionistic form, not merely to house the remains, the relics, the display of art, it stands by itself naked, untreated to house the ghost of German Judaism, a rare opportunity to visit an empty building for its such high profile budget. The challenge is to excavate the memory that was already there but suppressed by the medium of contemporary architecture, uncanny. This essay is to analyze the capturing of a spiritual existence from a part of the bygone Berlin, and the museum’s capacity to address one of the most profoundly tragic events of the twentieth century, the Holocaust, in the use of light, material, and structural methods of construction. Moreover, this study is an attempt to evaluate the Libeskind’s response to the concept to reveal the implication in its shape, and its spatial quality. This project is also a chance to examine the interdisciplinary character of architecture in combining social-cultural relationship, psychology, history, theory, music, material methodology, vision, etc. To be able to do that, the architect’s background and his operations of process to the problem will be shortly studied, then his solution in dealing with the res...
Ludwig Mies van der Rohe, later addressed as Mies, was born in the German town of Aix La Chapelle. At a young age he gained fundamental experience in the craftsman’s tradition and skills, later after commissioning his first project as an independent architect, Mies “executed in the then popular traditional style of steep roofs, gables and dormer windows with precision and careful attention to detail.” Next, he had the opportunity to train under Peter Behrens, where Mies learned to appreciate order and fine detail, as well as new ideas on proportion, simplicity, and the use of steel and glass. Mies acquired a romantic language from Behrens that derived from “ his domestic architecture from Karl Friedrich Schinkel. It was characterized by a unique sense of rhythm and proportion, a purity of form, and a nobility that stemmed from the practice of placing structures on wide platforms or pedestals.” T...
The German Pavilion, more commonly known as the Barcelona Pavilion, is one of the most recognizable buildings of the modern period during the early 20th century. It encapsulates every element of modern architecture in one structure. Ludwig Mies van der Rohe, one of the fathers of modern architecture, was the architect of this beautiful building. In this essay I will explore how Mies impacted the modern movement in architecture through his groundbreaking ideas using the Barcelona Pavilion as a case study.
of their buildings. One of the basic questions that this paper will be seeking to answer is whether architects and critics accepted ...
As a proponent of Architectural Realism, Otto Wagner was interested in urban planning. Although Wagner began as a traditional architect, he promoted the transition from historicism to the idea of an architecture that spoke to its time. As an architect, Wagner began his career with buildings that were designed in the conventional Baroque and neo-classical styles. Wagner attempted to turn away from the accepted traditional forms of architecture by bringing together structural rationalism and technology. However, he retained a sense of historicism and eclecticism. (Wagner 21). Wagner’s architectural style embraced and clearly manifested a distinct change in traditional and the emergence of purpose built buildings. The church at Vienna’s Steinhoff sanitarium, the Postal savings Bank and several entrances for Vienna’s city railway are some of Wagner’s most memorable buildings. (100) . The belief of art having purpose was expressed when he stated, “ The practical element in man, which is particularly pronounced, is evidently here to stay and every architect is going to have to come to grips with the postulate, a thing that is unpractical cannot be beautiful” (100). In the exploration of the idea of modernity in architecture, he used the designs of his own buildings, where he used new technology, materials and simpler ornamentation.
Frank Lloyd Wright and Le Corbusier are two very prominent names in the field of architecture. Both architects had different ideas concerning the relationship between humans and the environment. Their architectural styles were a reflection of how each could facilitate the person and the physical environment. Frank Lloyd Wright’s Robie House, is considered one of the most important buildings in the history of American architecture and Le Corbusier s Villa Savoye helped define the progression that modern architecture was to take in the 20th Century. Both men are very fascinating and have strongly influenced my personal taste for modern architecture. Although Wright and Corbusier each had different views on how to design a house, they also had similar beliefs. This paper is a comparison of Frank Lloyd Wright‘s and Le Corbusier ‘s viewpoints exhibited through their two prominent houses, Frank Lloyd Wright’s Robie House and Le Corbusier’s Villa Savoye.
Jencks believes “the glass-and-steel box has become the single most used form in Modern Architecture and it signifies throughout the world ‘office building’” (27). Thus, modern architecture is univalent in terms of form, in other words it is designed around one out of a few basic values using a limited number of materials and right angles. In...