Fritz Neumeyer interprets Ludwig Mies van der Rohe as more varied and relevant to contemporary discourse than usually presented. He reviews the historical roots of Mies’s architecture and how they relate to the modern movement in general. He discusses Mies’s critical heritage, and his own research on Mies’ original notebooks. Neumeyer argues that Mies’s 1923 concrete office building should be seen as a response to classicism.
Video Archive | Classicism (7)
Fritz Neumeyer reviews some of Mies’ work, including his 1923 concrete office building. Neumeyer rejects the traditional view that the design is rigid, rational and repetitious. He proposes that the building should be considered as reference to classicism. He later documents Mies’ use of concrete as a new material for expressive means. Neumeyer relates Mies’ work to Postmodernism and a broader theoretical discourse.
Graves concludes the review of his own work by revisiting the Portland Building. As the frequent target of negative criticism, Graves argues that it’s important to maintain criticism as a forum for opinion, but not to misuse criticism to silence voices or sabotage work that might be
unpopular. He ends by warning students not to copy his mannerisms, but to engage in classicism creatively and thoughtfully. He particularly warns against the new classical revival movement, which he characterizes as “trite.”
G?ran Schildt reads fragments written by Aalto relating to his architectural ambitions. Schildt claims that all of Aalto’s buildings are individual creations, and they are designed exclusively for the specific clients and site. Schildt concludes the lecture by stating that Aalto is a mediator between the classical and modernist traditions.
Silvetti describes a hotel project for a hill in San Juan Capistrano. Part of the challenge was to make the building look like it had been there for hundreds of years. Due to the location and the parking lot needed, the top of the hill needed to be removed. The fortress like facade transitioned to a two point perspective interior.
Roland Coate introduces Charles Jencks, who discusses postmodern classicism as it evolved from modernism by pointing out selected projects and typical features that exemplify the new movement. Jencks gives numerous examples that explain the polemics this movement tries to investigate in the wake of failed modernist dogma. He maintains the new style represents all the features of modernity without the machine aesthetic of modernism, and, in some respect, invigorates old theories with new formal ideas regarding symbolism and semantics, and, place and association.
Fred Koetter presents historic and classical architectural expressions, such as windows, stairs and walls, and their reinterpretations into inventive solutions. Koetter discusses how these “spare parts” are reassembled to define alternative hierarchies and a certain ambiguity in the overall architectural expression.