German Pavilion
1. Argue for one building built between 1880 and 1950 that embodies the zeitgeist of the early modern movement in three ways. Your argument should be uniquely yours. Attempt to take into account the local cultural and physical context. It is important that you rely on the primary materials you can find (images, plans, first hand accounts, etc.).
Notes
From modern architecture: a critical history
-It then became clear to me that it was not the task of architecture to invent form. I tried to understand what that task was… the others said, ‘what we build is architecture’, but we weren’t satisfied with this answer. By mies
-The idea of a clear construction came to be there, as one of the fundamentals we should accept. We can talk about that easily but to do it is not easy. I is very difficult to stick to this fundamental construction, and then to elevate it to a structure. I must make it clear that in the English language you call everything structure. In Europe language you call everything structure. IN Europe we don’t. WE call a shack a shack and not a structure. By structure is the whole from top to bottom, to the last detail – with the same ideas. That is what we call structure.
-Mies was as much inspired by the work of the Dutch architect Berlage as by that Prussian school of Neo-Classicism to which he became the direct heir.
Mies van der rohe at work by peter carter
-While he was concentrating upon the planning of this pavilion he suddenly became aware, as if after years of rumination, that structural elements and space-defining elements could be separate entities, and by being so would release a new and significant architectural force. (20)
-Mies van der Rohe and Lilly Reich were jointly responsible for the design of the German section of the 1929 International Exposition at Barcelona; when France and Britain decided to build national pavilions at the exposition, the German government commissioned Mies van der Rohe to prepare the
Notes
From modern architecture: a critical history
-It then became clear to me that it was not the task of architecture to invent form. I tried to understand what that task was… the others said, ‘what we build is architecture’, but we weren’t satisfied with this answer. By mies
-The idea of a clear construction came to be there, as one of the fundamentals we should accept. We can talk about that easily but to do it is not easy. I is very difficult to stick to this fundamental construction, and then to elevate it to a structure. I must make it clear that in the English language you call everything structure. In Europe language you call everything structure. IN Europe we don’t. WE call a shack a shack and not a structure. By structure is the whole from top to bottom, to the last detail – with the same ideas. That is what we call structure.
-Mies was as much inspired by the work of the Dutch architect Berlage as by that Prussian school of Neo-Classicism to which he became the direct heir.
Mies van der rohe at work by peter carter
-While he was concentrating upon the planning of this pavilion he suddenly became aware, as if after years of rumination, that structural elements and space-defining elements could be separate entities, and by being so would release a new and significant architectural force. (20)
-Mies van der Rohe and Lilly Reich were jointly responsible for the design of the German section of the 1929 International Exposition at Barcelona; when France and Britain decided to build national pavilions at the exposition, the German government commissioned Mies van der Rohe to prepare the