Elements like "exposed concrete beams, flat roofs, and large metal windows" are signature elements of both Villa Tegendhat and the Eames House (Neumann 88). What these structures do is to reduce the gap between commercial and personal, between home space and work space. After all, the Eames House was erected as a working studio by its own architectural team. It is a literal fusion of form and function; it is both work house and living space. The concept of blending industrial and domestic elements of design was quintessentially modern. With Villa Tegendhat, Mies would "revolutionize the aesthetics of the bourgeois interi- or by adopting materials and visual elements from the commercial architecture of store displays and exhibition spaces," (Neumann 88). In fact, Mies had revealed the multiple uses for chrome plating, which would be used in domestic architecture for the first time concurrently with uses in the automotive industry (Neumann).
If Villa Tegendhat represents the architectural counterpart to Futurist art, then the Eames House is even more clearly a tribute to the De Stijl aesthetic and especially to Mondrian. The royal blue, red, and yellow plates on the window panes, with their thick black lines framing them and the alternating white spaces, are the Eames' homage to the Dutch painter. Strict angularity, unrelenting vertical and horizontal lines, make the Eames House qualitatively different from Villa Tegendhat mainly in that the latter has a more organic feel due to its use of at least some curvilinear elements. On the outside, though, the Villa Tegendhat is as angular and stark as the Eames House.
The Modernist style and its presumption of internationalism is a primary subject of Frampton and other critical regionalists. In Part 2 of "Toward a Critical Regionalism," Frampton argues that the emergence of the avant-garde, represented by architects like Mies, "is inseparable from the modernization of both society and architecture," (18). According to Frampton, modernism arose out of the ashes of the First World War, from where it was necessary to distinguish artistic enterprise from capitalism. In the pursuit of a liberated artistic spirit came revolutionary forms. This is theoretically present in the Mies construction, but a far more obvious manifestation of the separation of capitalism and art can be seen in the Eames House. Both the Eames House and Villa Tegendhat encompass the paradoxes of modernism: there is simultaneously convergence and divergence of technology and art.
The Eames House was designed a generation later, and its structural elements reflect post-World War Two industry rather than post-World War One industry. There are many structural and material similarities between the two buildings, even though they were constructed a continent and a generation apart. Both are built on a hill, and a strategic vantage point. The architect used the position and the irregularity of the geophysical features to the advantage of the homes. Entrances are not at their most obvious or "central" spaces. Privacy and seclusion are secured, while allowing the residents to interact with the...
Claude Perrault and why it supports Perrault's ideas which marked the origins of modern reflection on the theory of architecture. The paper also presents fundamental proves and the reason why Perrault's theory of architecture were very controversial in the past. The paper also talked about Parallel and the buildings measured According to Claude Perrault's Theory and it achievement which led to the establishment of modern reflection of architecture. The concept
The open space invites you to dwell on the mysterious and contemplate the interior life -- away from the crowded, stacked-up world just beyond the walls: "deliberately placed…beyond the limits of control" (Witcombe). The Guggenheim, therefore, takes you out of your element: it transports you into another time, another place -- a time and place that never existed and has yet to come into existence: a sanctuary where modern art
Santiago Calatrava's name is synonymous with modern architectural design. This Spaniard architect single-handedly revolutionized our concept of modern, chic, futuristic yet functional architecture by giving putting some of the most unforgettable structures on global landscape. Calatrava had once aspired to become a sculptor and was keenly interested in arts but an early encounter with the work of Ludwig Mies van der Rohe forced him to change directions. But art was
Construction Daily Field Construction Report DeMatteis/Turner Construction Site Contractor: DeMatteis/Turner Report No: Weather Temperature Conditions a.MP.M Low Temperature: |_| Partly Cloudy . |_| High Temperature: 50F |_| Cloudy |_| |_| Windy |_| Notes ? |X| Rain |X| |_| Snow |_| |_| Other ? |_| Workmen/Visitors Total Total Total Abatement ? Field Staff ? Plasterers 1 Others: (list trade) Balancing ? Finish Carpenters 1 Plumbers ? 1 safety officer ? Carpenters 7 Flooring ? Roofers 1 laborer Caulking ? Insulator ? Sheet metal Ceiling Iron Workers ? Sheet rockers/Tapers Concrete Finishers
Legal Research and Argument To begin the research for this case and the argument that follows, one must first examine the case and determine what is essential. It is assumed that the engineer was negligent because he should have known about the circular which advised that further structural support would be required for the type of building he was constructing. It is not enough to rely upon 20 years-worth of experience
French Romantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and
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