This essay looks at the influences, beliefs and work of Mies van der Rohe, from 1906 to 1930, and asks how and why he made the transition form traditionalism to modernism? Mies van der Rohe’s first commission, Riehl House, was a success and, the critic, Anton Jaumann and commented that it was so faultless that one would never guess that it was a young architect’s first independent commission. Even in this first independent commission Mies, through his integration of house and garden, reveals a theme which appears in his later modernist designs. Mies followed developments in garden design and was aware of Hermann
Historian of modern architecture As a historian of modern architecture, many great architects, design ideas, planning efforts and building from the 19th century to the 21st century would be considerable works that can be documented for this history book. Many well know designers will be mention in the document because of the contribution to the body of architecture. The goal of categorizing individual works as iconic or canonical in an effort to understand the progress of Architectural history is necessary to comprehend the scope and impact of the practice over time. As an historian of architecture I will analyze the individual iconographical contribution through a individual works of Walter Gropius, Mies van der Rohe , Le Corbusier, Eliel Saarinen, Philip Johnson, Buno Taut, Louis Sullivan, Edwin Lutyen, Gunnar Asplund and Eero Saarinen. Walter Gropius will be mention.
Early modernism began as a means of addressing worsening social conditions brought about by failures in urban and architectural design, as well as utilizing a variety of new materials which allowed designers to explore new territories in building design. One architecture theorist in particular, Eugene Viollet-le-Duc, struggled to conceptually bring these new ideas to the field. It was his belief that while the traditions of architecture at the time should not be eradicated, new construction techniques and materials should inform future design. He was clear to distinguish between the simple revival of imitation of past design styles, and the use of historic architectural motifs while incorporating new ideas and
|[pic] | |IMC Individual Assignment | |IMC 706003 | |Liesl Allen | Contents page Content Page number Russell Hobbs introduction 3 Question one The target market 4 Question two Brand equity 7 Question Three Integrated marketing Communication 9 Question Four The strategy 10 Bibliography 15 Russell Hobbs Elegantly modern, traditionally stylish According to the website, http://www.russellhobbs.co.uk/about_us.html, the Russell Hobbs brand was “founded in 1952 by Bill Russell and Peter Hobbs.” It is also said that “the brand has led the way by introducing products which offer real consumer benefits and technological advancement.” With products such as kettles, toasters, coffee makers, cookware, floor care and irons, the Russell Hobbs brand continues to be synonymous with quality, style and innovation for over 50 years. Russell Hobbs was the first company to use a combination of glass, chrome and wood in an appliance range. With gleaming chrome outlining etched glass, this range offers crisp, clean lines that look good on display in any kitchen. It is said that Russell Hobbs is “known for its innovation, quality and style in the small electrical appliance market.” Their number one objective is in the quest for quality; quality is paramount to the Russell Hobbs brand and the values associated with the brand include, innovation, trend-setting style, visual appeal, as well as aspiration. Their Products Research shows that Russell Hobbs has been expanding and creating depth in its product range for many years.
The particular essay I have chosen from this volume to use as the subject of my critical review is John Cornforth’s essay entitled The Genesis and Creation of a Great Interior, chapter four in the volume. This essay investigates 18th century Houghton through its interior, which Cornforth approaches directly by way of its designer, William Kent. Ultimately, this chapter of the book is very much an essay on Kent and, not only his contribution to the interior architecture of Houghton Hall specifically, but his prominence within the history of British architecture. By utilising the interiors of Houghton Hall as evidence for Kent’s ingenuity as an architectural designer, Cornforth, in turn, aims to raise the status of Houghton Hall. These motives must be kept in mind when reviewing this essay, as it is likely that through the author’s desire to promote the status of Kent and Houghton, certain details will be overlooked, whilst others may be exaggerated, as the author aims to frame his subject in its most positive light.
The ‘Grand Confort’ by Le Corbusier(1887-1965) and the Barcelona chair by Ludwig Mies van der Rohe(1886-1969), are both important pieces of the twentieth century. Both chairs were designed by pioneers and highly influential architects who played a significant role in shaping what is now called Modernism, or the International Style. They wanted to establish a style of design that would represent modern times and in many ways they achieved this but also transcended it, creating designs that appeared far more timeless than timely. Although they were designing at a time when Modern design rejected the past in its attempt to build a brave new world, ancient forms and concepts were still apparent in many emerging designs. Both Corbusier and Meis had a deep understanding of the aesthetics of historic design.
The modernist project, the Schminke house that was created in 1933, was designed by one of the leading advocates of modern design, Hans Sharouns. Inspiration behind the piece was the Villa Savoye, created by Le Corbusier. The Schminke house was referred to as ‘organic architecture’, Hans Scharouns approach to the structure was to shape it by its use and the movement which will be created throughout it. The materiality of the house consisted mainly of steel for structure purposes and glass; the different colours of steel within the structure and the large area of space gave it an industrial feel. The interiors of the house have various soft vibrant colours, which contribute to the soothing, warm atmosphere created throughout the house.
James Dyson invented the vacuum cleaner that bears his name, made famous with late night infomercials in which Dyson, with his British accent, describes the machine's ball bearing steering and "superior suction". James Dyson was raised in a middle class family; he studied industrial design at the Royal College of Art in London, and later helped design the Sea Truck, a short-distance boat, for Rotork Marine in the 1970s. He made a business partnership in 1974 to manufacture the Ballbarrow, a lightweight wheelbarrow designed by Dyson with a large ball in place of the front wheel, which gives the Ballbarrow improved stability, manoeuvrability, and helps prevent it from sinking deep into mud. Despite the popularity of the Ballbarrow, Dyson himself saw only a sliver of the proceeds. In what he called "naked naïveté", he had assigned his patent to the company, and he was squeezed out of his ownership stake in the business in a dispute over marketing strategy.
On the exterior, this building focuses on centrality and simplicity with over 30,000 square meters of exhibition space, where the windowless horizontal building is complimented by the wide, open porches, curving ramps and intricate gardens. The newest and most attention calling aspect of the building, affectionately deemed “the eye”, is balanced on a vibrant, yellow pedestal and contrasts strongly with the practical buildings found in Curitiba. The contrast between practicality and aesthetics along with the modern advancements of its surrounding city is what drew me to this museum. The inspiration from Oscar Niemeyer is what allowed me to choose this building as my term paper project. 7 1.
"One of the distinctive virtues of modernism is that it leaves its questions echoing in the air long after the questioners themselves, and their answers, have left the scene." - Marshall Berman In the introduction to All That Is Solid Melts into Air: The Experience of Modernity, Marshall Berman looks back over five centuries of modernity, focusing on the nineteenth century, and introduces that in the most basic ways the experience of modernity then is the same as our own in the twenty-first century. By comparing the ideas of nineteenth-century European social philosophers, (such as Marx, Nietzsche, and Rousseau), Berman explains the vital interaction between modern experience and modern culture. After reading and analyzing his introduction, I understand modernism as any attempt by modern men and women to become subjects as well as objects of modernization, to get a grip on the modern world, and make themselves at home in it. They are moved at once by a will to change - to transform both themselves and their world - and by a terror of disorientation and disintegration, of life falling apart.