الصفحة 1
الصفحة 1
Mies van der Rohe = The Krefeld Villas
The architect proffered his only known assessment of the villas in a public dialogue at the Architectural Association in 1959. With thirty years of hindsight, Mies made his fateful condemnation: “I wanted to make this house [Haus Lange] much more in glass, but the client did not like that. I had great 1 trouble. ” This single remark—often published in tandem with an early pastel sketch of Haus Esters depicting a generously glazed garden facade or a photograph of the architect at work on the same—has been repeatedly cited to explain away these “compromised” works as the result of dif?cult clients.
Architectural drawings as investigating devices : Architecture’s changing scope in the 20th century
Explores how the changing modes of representation in architecture and urbanism relate to the transformation of how the addressees of architecture and urbanism are conceived. Diagnoses the dominant epistemological debates in architecture and urbanism during the 20th and 21st centuries. It traces their transformations, paying special attention to Le Corbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of functionalism, and the upgrade of the artefactual value of architectural drawings in Aldo Rossi, John Hejduk, Peter Eisenman, and Oswald Mathias Ungers, and, finally, to the reinvention of architectural programme through the event in Bernard Tschumi and the Office for Metropolitan Architecture (OMA). Particular emphasis is placed on the spirit of truth and clarity in modernist architecture, the relationship between the individual and the community in post-war era architecture, the decodification of design process as syntactic analogy and the paradigm of autonomy in the 1970s and 1980s architecture, the concern about the dynamic character of urban conditions and the potentialities hidden in architectural programme in the post-autonomy era.
