1500 words+ history of architecture essay

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ununavav000

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I have already chosen the building Wolf House was designed by Mies van der Rohe in Guben . So, just focus on analysing this building feature.

So just following requirements on the file "outline". You may also quote some information from the textbook ( the below screenshots) or other references, but pls must remember to write down the work cited.

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1500 words minimum.

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This below is the outline of this essay, but you may revise as well as you want. (such as you think some parts of this essay should add or delete) Outline of essay 2 I am going to introduce the building Wolf House was designed by Mies van der Rohe in Guben which is Germany style and from the chapter 9 one page 188. (Modern Architecture by Alan Colquhoun) • Reason: I learned a lot of great designers in this class. But my favorite is Ludwig Mies van der Rohe. Because I think that in a sense, Ludwig Mies van der Rohe established a contemporary architecture standard. I think he is the founder of the steel frame structure and the creator of the glass curtain wall. His idea of "less is more" is not only a reflection of his architectural view but also a great influence on the architectural style and characteristics of the world. His glass and steel structures have even been affected to this day. I think he is. He adheres to the philosophy of architectural design, which is "less is more", and advocates a new concept of mobile space in the process of processing. • Background: The Villa Wolf is considered the first modern work by the great architect Ludwig Mies van der Rohe who is German-American. It stood between 1926 and 1945 between two parallel to the Neisse gardens located on Teichbornstraße 13 which is Gubin. The 1926 in Guben on the River Neisse for the art-loving cloth manufacturers Erich and Elisabeth Wolf built villa was built in 1945 in the last days of the war destroyed. Yet, the town was divided after World War II between Germany (Guben) and Poland (Gubin) as the Soviet Army pressed in from the east. • How to Weimar Germany impact this design: “The architecture that began to emerge in Germany around 1922 reflected a dramatic change of orientation in the visual arts as a whole.” (Colquhoun 171) • Features: -Modernist style -Clear and open skeleton -Flexible mobile space and concise and refined detail -Mobility -The independent wall is not only freely arranged inside the building, but also extends to the outside of the roof. -The shape of a building makes a different height according to the needs of the interior space, which is both changing and balanced. Conclusion The bedroom floors are set back to provide roof terraces. The Tugendhat House at Brno in the Czech Republic marks a new stage in Mies's development [119, 120, 121). No longer in brick, it is rendered and painted white. Its organization results from a site condition that recalls that of the Riehl House. Built against a steep slope, the house consists of a monolithic cubic mass with a set-back, fragmented upper floor, through which one enters from the street to descend to the living room on the floor below. The living room is an enormous space divided by fixed but free-standing screens. The monolithic volume of the house is wedged solidly into the sloping ground. The south and east sides of the living area are fully glazed with floor-to-ceiling, mechanically retractable, plate- glass windows, opening to a panoramic view. Thus, the inflected space, which in the Brick Country House extends out to infinity, is here contained within a cubic volume. But at the same time, this volume is made totally transparent. Classical closure and the infinite sublime are combined by means of modern technology. 119 Mies van der Rohe Tugendhat House, 1928–30, Brno, Czech Republic The building is wedged into the sloping site like the Riehl House. The living room with its continuous floor-to-ceiling window is one floor below street level. 189 / 318 8 Weimar Germany: the Dialectic of the Modern 1920–33 In Germany, as in France, there was a ‘return to order' after the First World War, though it was delayed by political and economic crisis. When it came it rejected not just Expressionism but the values of the Wilhelmine culture that Expressionism had attacked. Whereas in France the return to order, even its progressive form, could be seen as re-affirming an established and triumphant national tradition, in Germany, defeated in the war, it implied a radical break with the national past and a search for alternative principles. The architecture that began to emerge in Germany around 1922 reflected a dramatic change of orientation in the visual arts as a whole. The movement known as 'Neue Sachlichkeit (“New Objectivity' or more accurately ‘Fact-like-ness')," was indicative of a new realism. The term was first used in 1923 in the context of painting by museum director Gustav Hartlaub, who defined it as 'realism with a socialist flavour'. The movement was sometimes interpreted as a form of cynicisma reaction to the horrors of a disastrous war—and sometimes as a ‘magic realism'. The art critic Franz Roh expressed the situation thus: “The Expressionist generation had rightly opposed Impressionism with the man of ethical principles ... The most recent artist corresponds to a third type, one who shares Expressionism's far-sighted aims, but is more down-to-earth and knows how to enjoy the present. 12 171 / 318 Unlike Mies's early neoclassical houses, these first Constructivist houses have one storey and become progressively more fragmented. In the Brick Country House, closed volumes have disappeared and the space is defined only by free-standing planes, as in van Doesburg's Counter-constructions. 118 Mies van der Rohe Wolf House, 1925–7, Guben (demolished) This photograph shows Mies's attachment to conventional ideas of picturesque composition in his drawings. He seldom used axonometric projection, and made much use of diagonal perspective views, presenting buildings from the most favourable angle. These early Constructivist projects in which Mies explored some of the fundamental problems posed by new techniques and materials, comprise two Scheerbartian glass skyscrapers (1921–2), an eight-storey office block in reinforced concrete (1922), and two single-storey houses—a Concrete Country House (1923) and a Brick Country House (1924). The houses in this group, together with the little-known Lessing House project (1923), summarize the dialectic in Mies's work [117]. In the Concrete Country House the cube is dissolved into a spread-eagled, swastika-like form; in the Lessing House the cube is broken up into smaller cubes, interlocking with each other in echelon; in the Brick Country House the cubes are replaced by a system of planes. This progressive fragmentation and articulation, in which the external form of the house reflects its internal subdivision, betrays the indirect influence of the English free-style house, Berlage, and Wright, but its immediate ancestor is De Stijl. 27 The Wolf House [118], and the Lange and Esters houses, both built in Krefeld in 1927, explore the Lessing type. Built of the local building material, brick, they are broken up into interlocking cubes to form roughly pyramidal compositions of two and three storeys. The principal rooms on the ground floor are opened up to each other to form sequences in echelon. 188 1318 The Bauhaus: from Expressionism to Neue Sachlichkeit When Gropius was appointed to succeed Henry van de Velde as director of the Academy of Fine Art at Weimar in 1919, he was given the task of creating a new School of Architecture and Applied Art which would unify the Hochshule für Bildende Kunst with the recently disbanded Kunstgewerbeshule. The integration of fine arts with crafts was standard policy in German art schools at the time.4 But as we have seen Gropius had grander ambitions: he wanted the academy (which he now) renamed the Bauhaus) to become the spearhead of the AFK's programme for the transformation of German artistic culture under the wing of architecture (see page 96). This programme was predicated on the belief that artistic culture was threatened by the materialism of industrial capitalism and could only be saved by a spiritual revolution. In the ‘Bauhaus Manifesto' of 1919, Gropius wrote, in Expressionist vein, ‘Let us conceive a new building of the future architecture, painting, and sculpture rising to Heaven out of the hands of a million craftsmen, the crystal symbol of the new in the future’ [107].5 Between 1919 and 1923, however, the Bauhaus abandoned its Expressionist ideology and began to absorb the ideas of Neue Sachlichkeit, De Stijl, and L’Esprit Nouveau. The initial impulse for this change came in 19 21 when van Doesburg set himself up in Weimar in opposition to the Bauhaus, giving a series of lectures attended by many Bauhaus students in which he advocated an approach to design diametrically opposed to the ideology of craftsmanship and artistic ‘intuition' that still dominated the Bauhaus curriculum. A second influx of ideas came from Russian Constructivism. During the early 1920s there was considerable cultural interchange between Germany and Soviet Russia. In 1922 the first Exhibition of Soviet Art was shown at the Grosse Berliner Kunstausstellung. This coincided with the publication of El Lis sitzky's journal Veshch (see page 128). In 1921 the Constructivist-based Congress of International Progressive Artists was held in Düsseldorf, and this was followed by a Constructivist Congress in Weimar in 1922, organized by a splinter group from the Düsseldorf congress, including van Doesburg, the Hungarian artist and photographer László Moholy-Nagy, El Lissitzky, and the Dada artists Hans Richter, Hans Arp, and Tristan Tzara. These events greatly affected the climate of opinion within the Bauhaus. The first institutional change within the school took place in 1922, when the Swiss painter Johannes Itten was replaced by Moholy-Nagy as head of the Vorkurs (Preliminary Course). In contrast to Itten, whose mystical approach to art teaching was based on psychological- formalist principles, Moholy-Nagy (1895–1946) introduced into the school an ‘objective' Constructivist approach involving the manipulation of industrial materials such as steel and glass and mechanical techniques of assembly. The difference between Itten's and Moholy- Nagy's ideas roughly corresponded to that between the Rationalists and the Constructivists
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Explanation & Answer

Attached.

History of Architecture (Wolf House) – Outline
Thesis statement – an essay about Wolf House explaining its features and design, program and
history that make it to be an example of innovative of the modern architecture.
i.

Introduction

ii.

Historical background

iii.

Features and design of Wolf House.

iv.

Wolf House as a modern innovative structure.

v.

Reconstruction processes of Wolf House.

vi.

Conclusion


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History of Architecture (Wolf House)
Introduction
There are many different types of buildings which have been developed by various
architects. Some of them have stood to become one of the most significant buildings that serve as
important structures to many individuals who want to build different types of buildings. There
have been many types of buildings constructed which became the basis for the evolution of
various structures that we see today. In the Colquhoun's Modern Architecture one of the
buildings that has been of importance, unique and that I admire a lot is the Wolf House which
was designed and built by Mies van der Rohe in Germany at a place known as Guben. The
architect was one of the individuals who operated in the Germany movement known as "Neue
Sachlichkeit" to represent the new realism (Colquhoun 171). It can also be said that the evolving
of different types of art became a leading platform towards the emergence of Wolf House. The
paper provides a discussion of the Wolf House building by Mies van der Rohe.

Historical Background
The Villa Wolf was the first modern building developed and built by the greatest
architect Ludwig Mies van der Rohe who was a German American. The building was
constructed between two parallel of the Neisse gardens. The building was erected in 1926 and
stood until 1945 where it was destroyed during the World War by the Soviet Army. The war led
to the division of Germany into two Guben which was based in Germany and Gubin which was
based in Poland (Tournikiotis 433). Thus the remains of t...


Anonymous
I was struggling with this subject, and this helped me a ton!

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