When going sharp perimeter design reminiscent of old fortifications Renaissance: The purpose it is the maximization of the outer surfaces to increase the walls and lighting to further the views.
From Chapter 6. Mies Van der Rohe. Of the total space
Tuesday, May 14, 2002
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Como II. 6. Ludwig Mies Van Der Rohe, Offices in the Friedrichstrasse, Berlin 1919
When going sharp perimeter design reminiscent of old fortifications Renaissance: The purpose it is the maximization of the outer surfaces to increase the walls and lighting to further the views.
From Chapter 6. Mies Van der Rohe. Of the total space
When going sharp perimeter design reminiscent of old fortifications Renaissance: The purpose it is the maximization of the outer surfaces to increase the walls and lighting to further the views.
From Chapter 6. Mies Van der Rohe. Of the total space
Sunday, March 24, 2002
Monday, January 21, 2002
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II. 4 Cornelis van and Theo van Doesburg Eesteren
Anonymous. Théo van Doesburg (right) and C. van Eesteren (left) working on their architectural models in their studio in Paris. 1923. Photo. Rotterdam, Netherlands Architecture Institute. 
Anonymous. Théo van Doesburg (right) and C. van Eesteren (left) working on their architectural models in their studio in Paris. 1923. Photo. Rotterdam, Netherlands Architecture Institute.
Friday, January 4, 2002
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II. 6. Ludwig Mies Van der Rohe, Skyscraper Glass, Berlin 1921
Visto in pianta, lo schema si definirebbe un’ameba ancorata a due cerniere legate da una cinghia di distribuzione (i nuclei di servizio in questo caso sono due e hanno forma circolare). Di questo edificio, Mies realizzò un grande e bellissimo modello: per presentare la strabiliante idea, che verrà parzialmente realizzata da altri mezzo secolo dopo e per verificare trasparenze, rifrangenze, riflessioni e l’illuminazione ...
Dal Capitolo 6. Mies Van der Rohe. Dello spazio totale 
Visto in pianta, lo schema si definirebbe un’ameba ancorata a due cerniere legate da una cinghia di distribuzione (i nuclei di servizio in questo caso sono due e hanno forma circolare). Di questo edificio, Mies realizzò un grande e bellissimo modello: per presentare la strabiliante idea, che verrà parzialmente realizzata da altri mezzo secolo dopo e per verificare trasparenze, rifrangenze, riflessioni e l’illuminazione ...
Dal Capitolo 6. Mies Van der Rohe. Dello spazio totale
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II. 6. Ludwig Mies vand der Rohe, Tugendhat Villa in Brno 1928-19299
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II. 5. Erich Mendelsohn, Universum Cinema, Berlin 1926-1928
... and at the same cinema that will build Universum in Berlin, the world Mendelsohn has points of contact with the constructivist research. The volumes in these cases, retain autonomy and the figurative and plastic fittings have some overlapping or interlocking. Are pushed apart. How to tie it plans to disconnect the joints, for volumes?
From Chapter 5.Mendelsohn. Curved space 
... and at the same cinema that will build Universum in Berlin, the world Mendelsohn has points of contact with the constructivist research. The volumes in these cases, retain autonomy and the figurative and plastic fittings have some overlapping or interlocking. Are pushed apart. How to tie it plans to disconnect the joints, for volumes?
From Chapter 5.Mendelsohn. Curved space
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II. 5. Erich Mendelsohn, Renovation of the headquarters of the 'Berliner Tageblatt', Berlin, 1921-1923
In 1923, Mendelsohn had completed the expansion the headquarters of the newspaper "Berliner Tageblatt" with an architecture that seems to foreshadow the images of the film Metropolis by Fritz Lang Mendelsohn breaks the corner of the existing building to make you enter the new body (the higher of two levels and three sides corner) as a ship's keel frightening
by paragraph 5. Mendelsohn. Curved space
In 1923, Mendelsohn had completed the expansion the headquarters of the newspaper "Berliner Tageblatt" with an architecture that seems to foreshadow the images of the film Metropolis by Fritz Lang Mendelsohn breaks the corner of the existing building to make you enter the new body (the higher of two levels and three sides corner) as a ship's keel frightening
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