• Title/Summary/Keyword: 미스 반 데르 로에

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A Study on the Effect of the Lao Tzu's Philosophy on Architectural Ideology of Mies van der Rohe (노자사상(老子思想)과 미스 반 데르 로에(Mies van der Rohe)의 건축사상에 관한 비교연구)

  • Lee, Ho-Jung
    • Korean Institute of Interior Design Journal
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    • v.23 no.3
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    • pp.92-99
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    • 2014
  • Quantum theory of Niels Bohr received the Nobel Prize in Physics was rooted to the Oriental thought 'Yin-Yang and the Five Elements 陰陽五行', and architect Frank Lloyd Wright is also known as Lao Tzu's thoughts on the best architectural theory. Thus, the western architecture and oriental thought is very similar to the concept development. On the basis of this fact, the architectural philosophy of Mies van der Rohe is closely contact with Lao Tzu's Taoism, that is 'The greatest has no boundary 大象無形, Tao Te Ching chap.41' or 'The way to be is not to be 有道者 不處, Tao Te Ching chap.24'. Hence the aim of this thesis is to investigate the interrelation between the German architect Mies van der Rohe's 'almost nothing' and the Chinese philosopher Lao Tzu's 'Taoism'.

A Study on the effect Malevich's Suprematism on Architectural Ideology of Mies van der Rohe (말레비치(K.Malevich)의 절대주의 회화(絶對主義 繪畵)와 미스 반 데르로에(MiesvanderRohe)의 건축사상(建築思想)에 관한 비교연구(比較硏究))

  • Lee, Ho-Jung
    • Journal of The Korean Digital Architecture Interior Association
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    • v.10 no.3
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    • pp.47-52
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    • 2010
  • This study aims to compare the Malevich's 'non-objectivity' and Mies van der Rohe's 'almost nothing'. K. Malevich who, as a painter, was a pioneer of abstract art and an initiator of Suprematism, was sought an ultimate value of art to non objective world, namely non of consciousness or a world of a non-being, In the same way, 'Mies van der Rohe was also sought for architectural space of non objectivity, as non of objective, being introduced 'less is more' or 'almost nothing' to architectural space.

A Study on the Characteristics of Museum Projects by Richard Meier (리챠드 마이어의 미술관 특성에 관한 연구)

  • 김용립
    • Archives of design research
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    • v.12 no.4
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    • pp.231-241
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    • 1999
  • This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.

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