| Papers [1-3] of 3 | Search results on "TUGENDHAT HOUSE": |
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The Tugendhat House, 2004.
An overview of the architectural features and style of Mies van der Rohe's Tugendhat House.
1,670 words (approx. 6.7 pages), 2 sources, MLA, $ 54.95
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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."
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The Tugendhat House, 2005.
An overview of the architecture of Tugendhat House in the Czech Republic.
1,673 words (approx. 6.7 pages), 4 sources, APA, $ 54.95
»
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Abstract
This paper examines the design and layout of the Tugendhat House, built by Ludwig Mies van der Rohe for Grete and Fritz Tugendhat in the 1920's. It looks at how some of the structure's themes may be found in works done by Le Corbusier, Schinkel and Mies himself and how, 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. It explores how the Tugendhat House a revolutionary concept that rejects traditional arrangements of the interior and promotes simplicity throughout.
From the Paper
"The centre stage of the main floor is occupied by an enormous open space that contains the living and dining room. Though a semi-circular wood veneer wall pronounced the dining area, the general space is open and not or-ganized or categorized by the use of dividing walls, but more by the placement of the furniture, which Mies himself designed specifically for the residence. In accordance with so many of Mies' works, such as the Barcelona Pavilion and the Toronto Dominion Centre, a single spot from which an ob-server may embrace the structures and dimensions does not exist. For that reason, the house begs you to wander through it, to discover it and its se-crets."
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Ludwig Mies van der Rohe, 2004.
Examines two works by minimalist architect, Ludwig Mies van der Rohe.
1,871 words (approx. 7.5 pages), 4 sources, MLA, $ 59.95
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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."
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