Mies Van Der Rohe and the Sense of Space

unveiling From the mid 17th-century to the starting line twentieth-century, after the renaissance and the enlightenment thought, the piece again experienced a flourishing revolution throughout almost every last(predicate) the realm including architecture, culture etc. , initiating numerous different movements. As a chemical reaction to the declining aristocracy and the rising bourgeoisie, the neo-classicism began to spring up to accommodate the new institutions of bourgeois nine through the re-adoption of antique doctrines. new(a) architecture A captious History P12) Although it acts as an introspection of the over-elaboration of architectural language in Rococo interiors of Ancien Regime and the secularization of insight thought ( red-brick architecture A Critical History P12), architects cannot simply be sufficed with the detail a reverence for the classical old (Pragmatism and Modern Architecture, William G. Ramroth P31) They started to discover the fundamental mo rals of the construct. (The unsophisticated word P96)Ludwig Mies train der Rohe, as one of the most Zeigeist architects in the sprightliness of modern architecture, began his career under this final paradox era. Now we scale our eye down to the three projects successively make by Mies van der Rohe during the 1920s, that is the Brick Country House, the woman chaser House, and the Barcelona Pavilion, through which, we can follow the insight of Mies ideological transformation from the neoclassicism to the modernism, to trace the differences in the midst of them. Fan of skyscraper P2 Only skyscrapers under twist reveal the bold constructive thoughts. Mies van der Rohe, published in Fruhlicht, 1, no. 4(1922) 122-124 Mies Intro The idealistic principle of orderwith its over emphasis on the ideal and formal, satisfies neither our interest in simple human beings nor our practical commonsense. Philip Johnson, Mies van der Rohe, New York Museum of Modern Art, 1947, p. 194 In a Hege lian sense, Mies conceived of the Zeigeist as a driving force in history infused in and identified with technology. Mies_van_der_Rohe_The_Genealogy_of_Column_and_W any P44 He claimed that Technology is rooted in the past.It dominates the constitute and tends into the future. Mies believed that the linear progression of technology would whip its practical dimension to become something that has a meaning and powerful form. Conrads, Ulrich, Programs and Manifestoes on 20th Century Century Architecture MIT promote 1975 P154 This monism initiates an architectural discourse which rejects all esthetic, all doctrine and all formalism, and restores architecture to what it should just be building. -Mies van der Rohe, Aphorisms on Architecture Form uoted by Johnson, Philip C. , Mies van der Rohe(New York The Museum of Modern Art, 1947), P 188-189 Essentially our task is to renounce the practice of building from the control of esthetic speculators and restore it to what it should excl usively be building. -Mies van der Rohe, Aphorisms on Architecture Form quoted by Johnson, Philip C. , Mies van der Rohe(New York The Museum of Modern Art, 1947), P 188-189 The refurbishment of the building art from its foundation up had to begin with the reestablishment of a fundamental faith of building.As its apostle, Mies entered the debate. Part of his program was, first of all, the rejection of a past, that had, after World fight I, experienced a total collapse, a heroic finale. The purging of the building art from this history of decline began with a rejection of all aesthetic and symbolic references and contents. The clenched fist spoke, as it were, in the rhythmically insistent verdict of Mies Any aesthetic speculation, any doctrine, and any formalism we reject. -the artless word P96-97