Abstract
This proposal commences from a fixed question to indicate the importance of Mies van der Rohe's origins in a particular period in Germany as explains his philosophy of architecture and his undertakings. The paper shows how Mies van der Rohe's 'international modernism' was largely a reaction to all that went terribly wrong in German culture and society through the 1920s and 1930s.

From the Paper
"The periods in which Karl Friedrich Schenkel and Ludwig Mies van der Rohe lived were vastly different, their works expressing the spirits of contrasting ideals. The final project will attend to the sparseness of Mies van der Rohe's international modernism as a reflection of what members of his generation in Germany sustained, faith placed only in rationality, in contrast with Schenkel's day of great German confidence..."

Tags:mie van der rohe, product of period, implications

Abstract
This paper analyzes Ludwig Mies van der Rohe from awareness of his origins/time, in contrast with Schenkel. The paper provides an exploration of his early career, and his migration to the US of 1938. The paper looks at three examples of his work in Farnsworth House, TD Centre, Toronto and the Illinois Institute of Technology, and offers a discussion of philosophy, international style, the lifelong influence of experiencing the Nazi rise to power, and what good design was not.

From the Paper
"The periods in which Karl Friedrich Schenkel and Ludwig Mies van der Rohe lived were vastly different, their works expressing contrasting ideals. Mies van der Rohe's international modernism proved a reflection of all that members of his generation in Germany withstood towards a faith placed only in rationality, in contrast with Schenkel's day of great German confidence and regard for aestheticism in relation to spirituality. Architects and architecture are products of their historical milieux."

Tags:van der rohe, schenkel, three examples

Abstract
More than any other architect of the 20th century, Ludwig Mies van der Rohe represents the ascendancy of Modernism in its most Minimalist incarnation. While this emphasis on the importance of spare lines and lack of fussiness is understandable, given what had come before in terms of both architecture and decorative arts, this does not necessarily make it more palatable from the perspective of the 21st century. This essay focuses on two specific buildings by Van Der Rohe: the 1930 Tugendhat house in Moravia and the 1929 German Pavilion that he designed for the International Convention in Barcelona, Spain, as a way of delineating the strengths of his work, as well as serving as a reminder of the distinct limitations of Minimalism within the realm of architecture.

From the Paper
"When we look at Tugendhat House what we see is a building that rather aggressively protrudes from the hill to which it is anchored. Mies set the building apart from the hill both in terms of color - it is gray and black, entirely lacking in the greens and earth-tones of the surrounding hillside - and in terms of form. The hill is rounded, gently sloping, its curve emblematic of the ways in which water and geological stratigraphy and wind shape the earth. The building's exterior is none of these things: It is not only rectilinear (as are most structures in the modern world) but it flaunts this rectilinearity. Its solidity emphasis the human-constructed nature of the structure: We would never (no matter from what distance we viewed this building or from what angle) confuse this with something created by nature."

Tags:Bauhaus, School, Seagram, Building

From the Paper
" Body Gestures in the Paintings of Rogier Van Der Weyden
The end of the Middle Ages saw an increase in the numbers of painters, illuminators, tapestry makers and other artists of the Burgundian States. Notable among these was Rogier Van Der Weyden, the official painter of Brussels, who achieved great heights in his ability to portray emotion from a personal point of view. The art of Van Der Weyden was striking to his contemporaries in his methods of using gesture, particularly hand gesture, to convey symbolic meaning..
It is important to note that in medieval iconography, position, grouping, and symmetry were of extraordinary importance. Attributes to the saints, the usual subjects of religious art, were commonly understood. In some artistic works.."

From the Paper
"The painting "The Dream of Pope Sergius" by the artist identified as the Follower or Rogier van der Weyden now resides at the J. Paul Getty Museum. If little is known about the Follower, including his name, not very much is known about Rogier van der Weyden, either. A few facts of his life and work have been uncovered through archival research, but the interpretation of several facts remains controversial. His most celebrated paintings were destroyed at the end of the seventeenth century, but still it is possible to cite him as one of the most powerful and perhaps most influential of all fifteenth-century European painters (Campbell 5). Van der Weyden revolutionized the art of Brussels and also had a major influence on every branch of the visual arts throughout the Netherlands. This influence is evident in the painting under discussion and in many other works.."

From the Paper
"The New objectivity in German art was a reaction against the colder and more extravagant Expressionism. The new approach is evident in G. W. Pabst's silent film Die Liebe der Jeanne Ney (1927), a romantic film which has a strong sense of social realities and contrasts and which draws on the Soviet cinema of the time for inspiration. Pabst here intermixes the montage of the Russian filmmakers with camera movement and extended tracking in a realistic vision of the different social strata of the time. This approach differs from that of Expressionism, which was more rhythmic and expressive of internal states, while the new objectivity is precisely that--objective and so standing outside the object to observe and record.

The power of German Expressionism is evident in the images that persist from films of the 1920s and 1930s first from Germany ..."

From the Paper
" The VDL Research House, located at 2300 E. Silver Lake in Los Angeles, was built twice. The first version was designed by Richard Neutra and completed in 1933 as a home for his family. After a fire destroyed all of the main building in 1963, Neutra and his son, architect Dion Neutra, rebuilt the house in a somewhat altered form. The current version of the house continued many basic design elements from the first, but was larger and expanded on many of the ideas inherent in the first design.

The house was first designed by Neutra when a Dutch industrialist, C. H. Van Der Leeuw (hence, VDL) visited Los Angeles "especially to see Neutra's work" (Sack 40). According to Neutra, Van Der Leeuw was shocked, after a tour of some of Neutra's projects, to find that Neutra did not have a home of his.."

Abstract
This paper examines the various aspects of the Tugendhat House, designed by Ludwig Mies van der Rohe and compares them to Mies' other works. The house's architecture, layout, location and materials are analyzed and evaluated against the architect's style and not against the style of others. The paper offers pictures of the Tugendhat House to illustrate the architecture.

From the Paper
"Ludwig Mies van der Rohe has created numerous buildings with his own unique and distinct styles; the Tugendhat House is one of these buildings. Grete and Fritz Tugendhat, descendents of wealthy Jewish industrialists in Brno, Germany (now, Brno, Czech Republic), commissioned the construction of the building in the late 1920s. Some of the structure's themes may be found in works done by Le Corbusier, Schinkel, and Mies himself. Throughout the building, it is evident that great stress and preparation went into project, whether it be the location, the facade, the plan, or the material the Tugendhat House a revolutionary concept that rejects traditional arrangements of the interior and promotes simplicity throughout."

Tags:design, building, construction

Abstract
This paper shows how the key to understanding Brecht's "Der gute Mensch von Sezuan" and its place in the development of Epic Theatre is to understand the way in which he uses songs and poetic language throughout the action of the play. At certain significant moments, the actors break into song, or speak in blank verse, a style vastly different from their characteristic mode of expression. The essay's discussion of these moments, and explanation of their function within Brecht's dramatic theory, will enable the reader to fully understand the play and its importance. The essay concentrates fully on the text of the work rather than reworking critical literature on the subject.

From the Paper
"As well as the five songs, on around twenty-five occasions the play is "interrupted" by excerpts of free verse, lacking rhyme and meter but distinct in style and vocabulary from the character's normal speech. These interludes form a framework of comment and reflection embracing the action of the play and are usually directed to the audience rather than to the other characters. This commentary intertwined with the action of the play force the audience to consider it immediately whilst still under the direct influence of the playwright instead of reflecting on it later and at a distance. The characters are more perceptive in this altered mood and provide the audience with insight into their behavior, and for this reason as well as because the action of the play is interrupted, the songs and heightened lyrical passages are also an important part of Brecht's Verfremdungeffekt (estrangement effect). The fact that several of the characters break into song at different points in the play is an anti-naturalistic device and the elevated language is also clearly not spontaneous or believable dialogue. Some of the dialogue and songs also have a persuasive function, serving Brechts interests. Many of them could stand alone, indeed some did before Brecht appropriated them for his work, and are simple and memorable excerpts that the audience could take home from the theater."

Tags:bertolt, epic, epische, gute, mensch, theater, theatre, verfremdungseffekt

Abstract
What now seems repetitive was once radically innovative when architects, such as Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier, attempted to reshape the urban metropolis in order to reflect the aesthetic principles of an industrial, democratic age. This paper will examine the achievements of the three architects noted above. Their works will be examined with respect to both theory and practice. It will be argued that, while their legacy in the field of architecture remains controversial to this day, their contributions to the establishment of the International Style fundamentally altered the landscape of the modern city.