Showing posts with label Meet The Classics. Show all posts
Showing posts with label Meet The Classics. Show all posts

NEVER CONFINED TO A SINGLE STYLE: MEET LE CORBUSIER


Long before Zaha Hadid, Le Corbusier was the original superstar architect, and the first to manipulate the emerging power of the media. Not only an architect but also an urban planner, a thinker and a painter, Le Corbusier was a self-promoter, and paved the way for the emergence of multi-disciplinary practices. Le Corbusier became the living embodiment of modern architecture. (READ MORE HERE)

"Emerging out of art nouveau and art deco, Le Corbusier created a new architecture for a new century."

Between his works of the Fallet house, built 1906–07, and his other projects, Le Corbusier’s productions spanned six decades and never ceased to amaze. Le Corbu constructed 75 buildings, in 12 countries, and took on 42 major city planning projects. He left behind 8,000 drawings (could have been 16,000 if he had used CAD), more than 400 paintings and pictures, 44 sculptures and 27 tapestry cartoons. He wrote 34 books, totalling some 7,000 pages, and wrote hundred of articles (wonder how much he’d write today if he were blogging?) He also gave lectures (today would be webinars) and wrote some 6,500 private letters (today would be emails, IM’s, texts and tweets). READ MORE HERE


One of the buildings I've always admired in New York City is Le Corbusier's United Nations Building... especially after discovering some of its' history while watching a segment on Robert Moses (The Documentary of New York). Moses was also in large part responsible for the United Nations' decision to be headquarter in Manhattan as opposed to Philadelphia. For this visionary project, Le Corbusier was chosen. 



Project: started in 1947 and completed in 1953

"Sited by the East River, the scheme is dominated by the towering slab block of the Secretariat Building, which, with its narrow end walls rising like sheer white cliffs and it longer sides clad in glass curtain walling, has had considerable influence on subsequent high buildings throughout the world."

— Sir Banister Fletcher. A History of Architecture from GreatBuildings.com




Le Corbusier was actually born Charles-Edouard Jeanneret-Gris, in La Chaux de Fonds, Switzerland, 1887. He trained as an artist, as an engraver and as a goldsmith but, from 1904, he studied architecture. He travelled extensively through Germany and the East. While in Paris, he studied under Auguste Perret and absorbed the cultural and artistic life of the city. During this period he developed a keen interest in the synthesis of the various arts. Jeanneret-Gris adopted the name Le Corbusier in the early 1920s.


Not every structure Le Corbu designed punctuated the space it captured. Le Corbrusier is well known for his expressive nest modern architecture and international style. He is probably most known for Notre Dame du Haut, in Ronchamp, France. Surrealism was the key here to this late work of church at Ronchamp, constructed from 1950 through 1954. This structure was a more extreme statement of Le Corbusier's late style and is reflective of his earlier training as an artist.

"Notre Dame du Haut, at Ronchamp is exceptional, and a ruthless blow to the rest of his life’s work, and himself." (READ MORE HERE)


Being an artist by nature, Le Corbusier formulated his ideas of modern architecture and journaled them in 1919 known as "L'Esprit Nouveau". As a painter, his emphasis was on clear forms and structures. This thought process corresponds to his architecture, which is based on elemental geometric forms.




Around the same time, the Bauhaus Movement was forming. Le Corbusier had
close contact to the Weimar Bauhaus Movement, especially to Walter Gropius. Le Corbu took part in the exhibition of 1923.


In 1928, he wrote Vers une architecture where he discussed the "5 Points of Architecture". These principles were best applied to his Villa Savoye.




1.Freestanding support pillars

2.Open floor plan independent from the supports
3.Vertical facade that is free from the supports
4.Long horizontal sliding windows
5.Roof gardens


In 1943 Le Corbusier applied a similar interdisciplinary approach to developing 'Modular', (a system of proportion based on the male figure and the Golden Mean). He used this theory to determine the proportions of units in architecture and technology and it is the basis of Le Corbusier's work in furniture design. (READ MORE HERE)



An innovative urban planner, Corbusier anticipated the role of the automobile and envisioned cities with big apartment buildings in park-like settings... It's no wonder today, in some many loft spaces, his classic furniture designs are the most natural fit.





Quoted as saying, "the house is a machine for living", his theory is most evident in his furniture designs where he applied inspirations of cars and airplanes (sounds familiar: another well known designer employs the same inspirations into his designs: Ralph Lauren).




His architecture was declared and revealed through written word, which explained his intentions. Because he was capable of theorizing, Le Corbusier is acknowledged as an innovator. However, no one was less "Corbusian" than the man himself. He never confined himself to a single style, even if it was his: he always continued to challenge himself.



MEETING MIES ON MONDAY: Part 2


About Ludwig Mies van der Rohe Furniture...
Along with many architectural contributions to modern design, Mies van der Rohe also engaged himself in furniture design, to further demonstrate his design philosophies. Although some pieces designed were never used at the time of their execution, for example the Barcelona Chair designed and fabricated especially for the pavilion, many have withstood the test of time. His designs are icons of modernism in furniture design, and still manufactured to specifications by Knolls and licensed distribution is made to the public through a store known as Design Within Reach.

 


Ludwig Mies van der Rohe’s MR Chair was designed in 1927 as part of his contribution to the Weissenhof exhibit in Stuttgart, Germany. The chair’s cantilevered design uses tubular steel, then a technological novelty, to create an intuitively accessible and ergonomic seat. (When asked why he created chairs with generously sized seats, Mies van der Rohe allegedly replied that he designs chairs he’d be most comfortable sitting in.)




Ludwig Mies van der Rohe’s MR Lounge Chair was designed in 1927 as part of his contribution to the Weissenhof exhibit in Stuttgart, Germany.



Incorporating his signature stylized cross form, Ludwig Mies van der Rohe's Barcelona Table (1927) expresses a clarity of form and materials that is immediately recognizable. Originally designed for the Tugendhat House in Brno, Czechoslovakia, the table is often paired with the Barcelona Chair for their stylistic parallels.


Ludwig Mies van der Rohe's Barcelona Chair and Stool (1929), originally created to furnish his German Pavilion at the International Exhibition in Barcelona, have come to epitomize modern design. Mies van der Rohe designed the chair to serve as seating for the king and queen of Spain, while the stool was intended to accommodate their attendants. To create the deep, precise tufting, individual panels of leather are cut, hand welted and hand tufted.





Ludwig Mies van der Rohe's Barcelona Couch (1930) was added to his Barcelona Collection in the year following the introduction of the Chair and Stool. Still produced to his original specifications, the couch gained widespread popularity in 1953, when architect Philip Johnson selected it for his New York apartment.




The Brno Flat Bar Chair (1930) is a masterpiece of structure, paying tribute to early modernism's gravity-defying skyscrapers. Designed by Ludwig Mies van der Rohe to have a cantilevered base, the Brno offers the comfort of an armchair without the old-line stuffiness or bulk of upholstery.
Although Mies is more known for creating chairs designed with balance of metal and leather, he did also create an all leather with wood collection called
the Krefeld Collection in 1927. The collection was conceived as a complement to his brick and glass design for the Esters and Lange residences in Krefeld, Germany. (The buildings, now called the Krefeld Villas, have since been converted into a museum of post-war contemporary art.)

By far, the most popular of his furniture designs, used in both residential and commercial spaces is the Barcelona... which is also available and several powerful colors... and MY personal favorite chair. Below are a few photos I shot at a local DWR store...

NYCLQ

NYCLQ

NYCLQ

NYCLQ

Design Within Reach, (aka DWR) can be found online, locally here in Coral Gables-Florida, become a fan on facebook, and for immediate personal assistance (no matter where you are located), you can contact Rebeca Suarez...


(new) Sole Proprietor
@77Miricle Mile
DWR - Coral Gables - FL




MARCH MODERN MADNESS


above photo by Lynda Quintero-Davids

March Modern Madness is a blog series I'll be featuring Mondays and Fridays throughout the month of March. Mondays will be more documentary postings of classic architects and furniture designers called Meet The Classics. This particualr post on Mies van der Rohe is FOCUSed on ARCHITECTURE. A furniture post will follow later today as Part 2 of Meeting Mies on Monday. Photos for Fridays will be another means of sharing a gallery of modern works & contributions relevant today... enJOY!

above photo by Lynda Quintero-Davids

MEETING MIES ON MONDAY
Ironically, born in the month of March is the first featured architect: Ludwig Mies van der Rohe. Ludwig Mies van der Rohe began his career in his family stone-carving business in Germany. Surprisingly, he never received any formal architectural training, but when he was a teenager he worked as a draftsman for several architects. Moving to Berlin, he found work in the offices of architect and furniture designer Bruno Paul and industrial architect Peter Behrens. READ MORE AT ABOUT.COM

March 27, 1886 to August 17, 1969

Believing that "less is more," Mies van der Rohe designed rational, minimalist setting the standard for modernist design. Mies attempted to create contemplative, neutral spaces through an architecture based on material honesty and structural integrity. Two of his most recognized commercial architectural structures demonstrating this philosophy are the Seagrams Building in New York City (designed with Philip Johnson in 1958) and the German Pavilion in Barcelona, Spain (designed in 1929).



The inescapable drama of the Seagram Building in a city already dramatic with crowded skyscrapers lies in its unbroken height of bronze and dark glass juxtaposed to a granite-paved plaza below. The site of the building on Park Avenue, an indulgence in open space unprecedented in midtown Manhattan real estate, has given that building an aura of special domain.   READ MORE AT GreatBuildings.com

375 Park Avenue New York, New York
American Institute of Architects 25 Year Award, 1980

Although this above photo is from GreatBuildings.com,
my husband shot the photo below:
an interesting perspective from a cab on our way to Central Park
when we were on our way to find a location for our wedding.


The site Mies selected for the German Pavilion in Barcelona allowed for the transverse passage of visitors from a terrace-like avenue bordering the exhibition palaces to the other attractions. In addition, it afforded fine views of the exposition grounds and of the city of Barcelona. The building had no real program, as that term is understood and used by architects today. It was to be whatever Mies chose to make of it. The only function it had to accommodate was a reception for the King and Queen of Spain as they signed the "Golden Book" officially opening the exposition. The Pavilion opened on May 27, 1929 and was demolished in January, 1930; however it was reconstructed in 1959 to the original design. READ MORE AT GreatBuildings.com


 "For me working in Barcelona was a brilliant moment in my life."



One of his more notable residential structures is the Farnsworth House, designed in 1950. "The Farnsworth House is Mies's summary statement of those spatial and architectural concerns he first realized in the Barcelona Pavilion” READ MORE HERE.




Mies also worked with the magazine G which started in July 1923. He made major contributions to the architectural philosophies of the late 1920s and 1930s as artistic director of the Werkbund-sponsored Weissenhof project and as Director of the Bauhaus, working together with other famed architects, such as lead Bauhaus architect, Walter Gropius.


SIDE NOTE: Bauhaus is a German expression meaning house for building. In 1919, the economy in Germany was collapsing after a crushing war. To help rebuild the country and form a new social order, Bauhaus was born. Its design uses the principles of Classical architecture, in its purest form, free of ornamentation of any kind. Bauhaus buildings have flat roofs, smooth facades, and cubic shapes. Colors are white, gray, beige, or black. Floor plans are open and furniture is functional, further demonstrating Mies’s concepts of “skin & bones” architecture.

When asked why he created chairs with generously sized seats,
Mies van der Rohe allegedly replied that
he designs chairs he’d be most comfortable sitting in 

The United States has a love-hate relationship with Mies van der Rohe. Some say that he stripped architecture of all humanity, creating cold, sterile and unlivable environments. Others praise his work, saying he created architecture in its most pure form.

Stay tuned for Part 2 of Meeting Mies on Monday... His furniture.


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