Tugendhat House 1928-30 Ludwig Mies van der Rohe Brno, Czech Republic
1. Fritz and his wife Grete Tugendhat received the land in Brno as their wedding gift from Grete’s father. They commissioned a family house from Mies, and asked for a modern spacious house with simple shapes.
2. The site has a marvelous view of the historical panorama of Brno.
3. The free standing three-level villa is situated on a sloped terrain and faces to the south-west. The main entrance is on the top story, while the living area is one level below.
4. Supported by a reinforced concrete, steel skeleton, and brick masonry. The subtle supporting grid system consists of chrome, cross-shaped columns that anchor in concrete base. There are circular and linear non load-bearing walls made of rich materials, such as onyx, glass and ebony wood, to separate living area.
5. The free, floating, open style is highly consistent with his Barcelona Pavilion built in the same period. Mies seems to believe that large spaces provide freedom. Space has a completely special calm in its rhythm which cannot be provided by a closed room
6. Even if Tugendhat shares many elements with the honorific exhibition building, it rejected the view that the monumental, impassioned living space would only allow for a kind of ceremonial or showpiece housing, and in contrast expressed their complete satisfaction with its variable character.
Villa Stein de Monzie (Les Terrasses) 1926-28 Le Corbusier Garches
1. The Stein house was designed for Michael Stein
2. Built in Garches, a place outside Paris. The building was commissioned as a work of art to displace collections collected by Stein family.
3. The villa features open spaces formed by the various terraces and levels, and the richness of movement. People are invited to ascend.
The proportions of the facade are purely Palladian. The vertical arrangement of the space is quite clear and logical.
The cubical feeling is broken only with oval shapes and projected-out elements.
The strips of windows give the interior adequate sunlight.
4. A flat-roofed, concrete structure on pillars featuring an open plan, smooth transitions independent of other structural elements and showcasing almost ceremonial route from the door to the interior and ending on the roof of the house.
5. the staircases and the curved walls considered by Le Corbusier as "compressed bodies," the types of objects that appeared in puristic paintings. In this way you can compare the house, with an unpacked box in space.
Villa Savoye 1928-31 Le Corbusier Poissy
1.1 originally built as a country retreat commissioned by the Savoye family
2.1 The site was on a green field on a wooded land with magnificent view of surrounding landscape. Combined with only a few requests from the clients, it left Corbusier with unprecedented freedom.
3.1 The free floor plan, relieved of load-bearing walls, allowing walls to be placed freely and only where aesthetically needed. The curvature of the ground level wall thus became a mark of modernity.
3.3 The roof is functional, serving as a garden and terrace, reclaiming for nature the land occupied by the building.
4.1 Corbusier's piloti perform a number of functions around the house. On the two longer elevations they are flush with the face of the façade and imply heaviness and support, but on the shorter sides they are set back giving a floating effect against the background. The pilotis also allowed a driveway beneath the living area. Which can show…
4.2 The house, designed as a second residence and sited as it was outside Paris was designed with the car in mind. The sense of mobility that the car gave, translated into a feeling of movement that is integral to the understanding of the building.
4.3 The ramp, rising from the ground floor to the top floor solarium, provided a sense of movement running through the horizontal planes.
4.4 The Villa Savoye uses the horizontal ribbon windows found in his earlier villas. Corbusier often chose to use timber frames rather than metal ones for glass’s planar properties and that the set-back position of the glass in the timber frame allowed the façade to be seen as continuous planes.
1.2 A manifesto of Le Corbusier's "five points" of new architecture, the villa is representative of the bases of modern architecture, and is one of the most easily recognizable and renowned examples of the International style.
6.1 Villa Savoye’s detachment from its physical context lends its design to be contextually integrated into the mechanistic/industrial context of the early 20th century, conceptually defining the house as a mechanized entity.
6.2 The statement “a house is a machine for living” is not simply translated into the design of a human scaled assembly line; rather the design begins to take on innovative qualities and advances found in other fields of industry, in the name of efficiency.
Villa Mairea 1939 Alvar Aalto Noormarkku
1.1 The rural retreat was commissioned by Harry and Maire Gullichsen, a rich couple in timber business, with the maximum freedom. They told Aalto to see this house as an experimental house for their utopian vision, but they also wanted “something Finnish in the spirit of today”.
2.1 It was built on a wooded site. As it is placed in such a mesmerizing natural environment, Aalto designed with the intentions of blurring the lines between inside and outdoors.
3.1 The L-shaped plan with a pool situated in the semi-enclosed is common amongst Scandinavian vernacular residences.
3.2 Aalto fuses a modern open plan with the ghost of a traditional-style tupa, which is a large living room of a farmhouse in which there are poles marking the boundaries of functional areas and fireplace in the middle.
4.2 The windows on the second floor are obliquely projecting out, which read almost as objects on the façade, rather than openings in it. Their angle might be set to catch the sunlight more efficiently.
3.3 the grid structure Aalto used in the living area contrasts that of the conventional Le Corbusier’s. The dimensions of the grids are adjusted to suit the rooms above, and the steel columns are randomly placed.
4.1 The use of wood combined with a various range of glazing, the house asserts the presence of nature within the dwelling. The continuous pine-strip suspended ceiling and the textured floor, the tree-like poles that rhyme with the steel columns, and the wooden cladding on the columns all serve to naturalize and humanize the standard industrial product, but also evoke memories of classical and natural forms.
1. Fritz and his wife Grete Tugendhat received the land in Brno as their wedding gift from Grete’s father. They commissioned a family house from Mies, and asked for a modern spacious house with simple shapes.
2. The site has a marvelous view of the historical panorama of Brno.
3. The free standing three-level villa is situated on a sloped terrain and faces to the south-west. The main entrance is on the top story, while the living area is one level below.
4. Supported by a reinforced concrete, steel skeleton, and brick masonry. The subtle supporting grid system consists of chrome, cross-shaped columns that anchor in concrete base. There are circular and linear non load-bearing walls made of rich materials, such as onyx, glass and ebony wood, to separate living area.
5. The free, floating, open style is highly consistent with his Barcelona Pavilion built in the same period. Mies seems to believe that large spaces provide freedom. Space has a completely special calm in its rhythm which cannot be provided by a closed room
6. Even if Tugendhat shares many elements with the honorific exhibition building, it rejected the view that the monumental, impassioned living space would only allow for a kind of ceremonial or showpiece housing, and in contrast expressed their complete satisfaction with its variable character.
Villa Stein de Monzie (Les Terrasses) 1926-28 Le Corbusier Garches
1. The Stein house was designed for Michael Stein
2. Built in Garches, a place outside Paris. The building was commissioned as a work of art to displace collections collected by Stein family.
3. The villa features open spaces formed by the various terraces and levels, and the richness of movement. People are invited to ascend.
The proportions of the facade are purely Palladian. The vertical arrangement of the space is quite clear and logical.
The cubical feeling is broken only with oval shapes and projected-out elements.
The strips of windows give the interior adequate sunlight.
4. A flat-roofed, concrete structure on pillars featuring an open plan, smooth transitions independent of other structural elements and showcasing almost ceremonial route from the door to the interior and ending on the roof of the house.
5. the staircases and the curved walls considered by Le Corbusier as "compressed bodies," the types of objects that appeared in puristic paintings. In this way you can compare the house, with an unpacked box in space.
Villa Savoye 1928-31 Le Corbusier Poissy
1.1 originally built as a country retreat commissioned by the Savoye family
2.1 The site was on a green field on a wooded land with magnificent view of surrounding landscape. Combined with only a few requests from the clients, it left Corbusier with unprecedented freedom.
3.1 The free floor plan, relieved of load-bearing walls, allowing walls to be placed freely and only where aesthetically needed. The curvature of the ground level wall thus became a mark of modernity.
3.3 The roof is functional, serving as a garden and terrace, reclaiming for nature the land occupied by the building.
4.1 Corbusier's piloti perform a number of functions around the house. On the two longer elevations they are flush with the face of the façade and imply heaviness and support, but on the shorter sides they are set back giving a floating effect against the background. The pilotis also allowed a driveway beneath the living area. Which can show…
4.2 The house, designed as a second residence and sited as it was outside Paris was designed with the car in mind. The sense of mobility that the car gave, translated into a feeling of movement that is integral to the understanding of the building.
4.3 The ramp, rising from the ground floor to the top floor solarium, provided a sense of movement running through the horizontal planes.
4.4 The Villa Savoye uses the horizontal ribbon windows found in his earlier villas. Corbusier often chose to use timber frames rather than metal ones for glass’s planar properties and that the set-back position of the glass in the timber frame allowed the façade to be seen as continuous planes.
1.2 A manifesto of Le Corbusier's "five points" of new architecture, the villa is representative of the bases of modern architecture, and is one of the most easily recognizable and renowned examples of the International style.
6.1 Villa Savoye’s detachment from its physical context lends its design to be contextually integrated into the mechanistic/industrial context of the early 20th century, conceptually defining the house as a mechanized entity.
6.2 The statement “a house is a machine for living” is not simply translated into the design of a human scaled assembly line; rather the design begins to take on innovative qualities and advances found in other fields of industry, in the name of efficiency.
Villa Mairea 1939 Alvar Aalto Noormarkku
1.1 The rural retreat was commissioned by Harry and Maire Gullichsen, a rich couple in timber business, with the maximum freedom. They told Aalto to see this house as an experimental house for their utopian vision, but they also wanted “something Finnish in the spirit of today”.
2.1 It was built on a wooded site. As it is placed in such a mesmerizing natural environment, Aalto designed with the intentions of blurring the lines between inside and outdoors.
3.1 The L-shaped plan with a pool situated in the semi-enclosed is common amongst Scandinavian vernacular residences.
3.2 Aalto fuses a modern open plan with the ghost of a traditional-style tupa, which is a large living room of a farmhouse in which there are poles marking the boundaries of functional areas and fireplace in the middle.
4.2 The windows on the second floor are obliquely projecting out, which read almost as objects on the façade, rather than openings in it. Their angle might be set to catch the sunlight more efficiently.
3.3 the grid structure Aalto used in the living area contrasts that of the conventional Le Corbusier’s. The dimensions of the grids are adjusted to suit the rooms above, and the steel columns are randomly placed.
4.1 The use of wood combined with a various range of glazing, the house asserts the presence of nature within the dwelling. The continuous pine-strip suspended ceiling and the textured floor, the tree-like poles that rhyme with the steel columns, and the wooden cladding on the columns all serve to naturalize and humanize the standard industrial product, but also evoke memories of classical and natural forms.
