The Haus des Architekten (house of the architect) was built in 1930 and situated in Zehlendorf, 3km North of the Berlin border and 13km South-West of Berlin city-centre. The area of Zehlendorf is a well-educated and affluent area of Germany, also with some of the most remarkable natural scenery in Berlin. The site of the house is 100m from the west entrance to the street Sophie-Charlotten-Straße built on a plot of land surrounded by trees set back from the road. The architect of the house: Heinrich Tessenow (1876-1950) was a German architect who studied as an apprentice carpenter before studying architecture at a building trade school in Leipzig, followed by the technical University of Munich. ‘He was in no sense an official fascist ideologue: he was an outspoken anti-Nazi and at one time a member of the ring, but with Hitlers coming to power lost the teaching post.’ K.Michael Hays, Feb. 1989, Tessenows Architecture as National Allegory: Critique of Capitalism or Protofascism [ebook], MIT press, available at J Stor, http://links.jstor.org,sici?sici=0889-3012%28198902%290%. The architecture in Germany throughout 1920 followed into the early 1930’s and therefore influenced the style of Tessenow’s house. 1920’s housing …show more content…
By using 3 floors, he assigned the first floor to the living, social side of life, with a living room at the front half of the house fitted with a Grand Piano for his musician girlfriend to use and entertain and a kitchen and the staircase towards the back. On the first floor the main use is sleeping, with the only bedroom in the house there, along with a bathroom and plentiful storage rooms. The largest storage area though is the basement, which is completely left for this purpose; with no dividing walls it is the largest room within the house making it perfect for
Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for architecture” (Friedman M. , 2003, p. 42) and which he used as an inspiration for a project in Mexico . Through his interpretation of the paintings and artwork, Gehry looked for a new kind of architecture. His search for a new type of architecture culminated in 1978 with his own house in Santa Monica. What was once a traditional Californian house would be redesigned to become one of the most important and revolutionary designs of the 20th century, giving Gehry international prestige and fame. Frank Gehry’s “Own House” uses a mixture of corrugated metal, plywood, chain link and asphalt to construct a new envelope for an existing typical Californian house. This house has been inspired by Joseph Cornell, Ed Moses and Bob Rauschenberg. Gehry comments on his house by saying that there was something “magical” (Friedman M. , 2003, p. 54) about it. He admits having “followed the end of his [my] nose” (Friedman M. , 2003, p. 54) when it came to constructing the “new” house, which led Arthur Drexler, former Director...
To this day, Eichler is known as one of the nation’s most influential architects of modern homes. He was one of very few architects relevant in the Modernism Movement. Modernism opened up alternatives to suburban styles of home design, and created different kinds of architecture that pleased the desired lifestyle. This modernist architecture was able to thrive in the ways that it did as many families were looking to start over after the war. Modernist architects, similar to Eichler, were inspired industrial building techniques and the radical new forms of painting and sculpture in this age. Many people went along with the “make it new” phenomenon and appreciated these radical forms.
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.
First and foremost are the architectural elements. These encompass the structural components that Chareau uses to emphasize the current site’s condition, the regularity of the grid used, the characteristics of the materials, the spatial alignment of the program, and so forth. The Maison de Verre would not have been designed the same way if it had been erected elsewhere. The same design principles would have been apparent, but there were extenuating circumstances that the client and the architect encountered at the site. The clients, Dr. and Mrs. Dalsace, inherited the building and the surrounding property from her father, and had the sole intention of tearing down the existing building and resurrecting a new, modern structure that would showcase Chareau’s furniture designs. (Vellay 63). The only thing stopping them was an elderly woman who lived on the second floor of the existing building who refused to leave her apartment (Frampto...
Speer had been handed numerous structures to designs for celebrations of Berlin’s May Day, the Nuremberg Rally as well as the refurbishment of the Chancellery. His reputation increased significantly amongst the Nazi Party and was given a number of important architectural ideas following the party’s rise to power in 1933. It was known that Speer was building a reputation not only for his architectural designs but also his excellent organisational skills. As Speer became well known amongst the Nazi party he was delegated the position of designing and decorating the Nuremburg Rally, where he incorporated his theory ‘ruin value’. ‘Ruin value’ reflected the sights history and importance, this theory realised Hitler’s concept of the ‘thousand year reign’. As historian Fest has viewed this period, it is evident that he sees this rally at Nuremberg is the start to his career as it ...
The success of the Van Nelle Factory as an icon of modern architecture was due to its functional design concepts fused with the principles of progressivism and idealistic concepts. The flexible interior, the large amounts of penetrating light, the elegance of clean and healthy functionalism, and the weightless mass were the strongest attributes for the complex. With Brinkman’s, Van der Vlugt’s, and Van der Leeuw’s combined education of modern architecture they were able to employ their design ideologies to create one of the most renowned factories in Europe. Paul Bromberg wrote that the Dutch architects soon “… realize[d] that even the most utilitarian buildings can and should be beautiful. Building should always be architecture, even when it is ‘only’ a factory.”
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’.
Mies' well known theory of “less is more” is apparent by the spaciousness and functional quality of the Seagram building; everything serves a purpose, either for aesthetic appeal or functionality. “Less is more” is a concept used throughout the architectural world today. “Mies van der Rohe stands as a great moral force of the International Style. The essence of architecture, to Mies, lies in the expression of structure. And his precise, sophisticated, and consistent style of architecture sets an exam...
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.
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.
1992, an unbuilt architecture for the city of Berlin that can be formally read in two different
...s considered modern at that time, it still contained references to Classicism and neo-Renaissance. This resulted in his modern architecture arguments not to be completely distinct and leave the traditional architecture of the past. John Ruskin decried the type of restorations employed by Viollet-le-Duc stating that it is “a destruction out of which no remnants can be gathered, a destruction accompanied with false description of the thing destroyed” (Viollet-le-Duc 35). Because Viollet-le-Duc refuted the challenge of his own ideas, he continued to design buildings in eclectic styles. Both Wagner and Viollet-le-Duc did not succeed to completely avoid using traditional architecture as reference to modern architecture. The preservation movement widely rejected Viollet’s methods because it threatened the autonomy of the observed historical past.
The Bauhaus, which translates to the “Building House” in English, was a revolutionary institute of architecture and design that fashioned the face of the 20th century. Its key objective was to re...
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.
Vidler, Anthony. The writing of the walls: Architectural theory in the late enlightenment. Princeton: Princeton Architectural Press, 1987.