This paper would like to analyze how in Mies van Der Rohe's work the fabric becomes a structuring constructive element of the architectural space expressing a limited temporal dimension. In the Miesian poetics the abstractness of the form is a consequence of the accuracy of detail choices. The absoluteness of its architecture is conveyed by many factors, among the others has a fundamental importance the selection of a few elements studied very precisely. The solemnity of these tectonic parts is noticeable among the rest by their material composition able to express great solidity and constructive clarity, in other words exceptional durability, incorruptibility. The work of Mies seeks to express the essence of historical time, escaping the manifestation of the passage of material time. This conceptual and physical timelessness in the his works seems to be in dialectical contradiction in many of his most important works with textile elements. The presence of fabrics seems to oppose the durability of the construction, relating architecture to the temporally limited dimension of human life. The fragile materiality of the fabric, the unnoticeable movements that curtains make in public spaces, such as those of the Neue National Galerie, the possibility of interacting with them in domestic spaces, remodelling the room space, as in the Tugendhat house, the different intervention that can be set with natural elements and landscape, as in the Farnsworth house, suggest complex view of Miesian thought regarding temporal dynamics in architecture. This conceptual position in relation to the passage of time is perhaps attributable in some points to the philosophy of Romano Guardini and Saint Augustine - two of the architect-beloved philosophers - in which a dialectical opposition of the present time dissolves between past and future, obliging us to a slow interior reflection for the understanding of the temporal dimension which at times may seem to us both eternal and non-existent.
Textiles and oppositions in Mies van der Rohe’s public spaces / Marchese, Edoardo. - (2023), pp. 195-202.
Textiles and oppositions in Mies van der Rohe’s public spaces
Edoardo MarchesePrimo
2023
Abstract
This paper would like to analyze how in Mies van Der Rohe's work the fabric becomes a structuring constructive element of the architectural space expressing a limited temporal dimension. In the Miesian poetics the abstractness of the form is a consequence of the accuracy of detail choices. The absoluteness of its architecture is conveyed by many factors, among the others has a fundamental importance the selection of a few elements studied very precisely. The solemnity of these tectonic parts is noticeable among the rest by their material composition able to express great solidity and constructive clarity, in other words exceptional durability, incorruptibility. The work of Mies seeks to express the essence of historical time, escaping the manifestation of the passage of material time. This conceptual and physical timelessness in the his works seems to be in dialectical contradiction in many of his most important works with textile elements. The presence of fabrics seems to oppose the durability of the construction, relating architecture to the temporally limited dimension of human life. The fragile materiality of the fabric, the unnoticeable movements that curtains make in public spaces, such as those of the Neue National Galerie, the possibility of interacting with them in domestic spaces, remodelling the room space, as in the Tugendhat house, the different intervention that can be set with natural elements and landscape, as in the Farnsworth house, suggest complex view of Miesian thought regarding temporal dynamics in architecture. This conceptual position in relation to the passage of time is perhaps attributable in some points to the philosophy of Romano Guardini and Saint Augustine - two of the architect-beloved philosophers - in which a dialectical opposition of the present time dissolves between past and future, obliging us to a slow interior reflection for the understanding of the temporal dimension which at times may seem to us both eternal and non-existent.File | Dimensione | Formato | |
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