Glass in Architecture: Van der Rohe Interpretation - Essay Example

Running Head: Glass in Architecture Glass in Architecture: Van der Rohe Interpretation of Glass as a Building Material [Client’s Name] [Affiliation] Ludwig Mies Van der Rohe, the genius behind various architectural feats, offered a different perspective when it comes to the materials he used for his architectural works. In “Tugendhat House”, Van der Rohe used glass as the entire facade of the building, emphasizing the materiality of surfaces in his work. His contribution in the modern architecture is not only devoted to the novel way of designing architectural facades but also in the development of the architectural thought that proposes that surface of any structure is not only a mere part of that structure but is the transmittal level of the structure between architecture as a design and the aesthetics of the architecture as viewers perceive it (Hammer, 2005). Mies’ unorthodox view towards the use of glass in as a primary building material is apparent in a variety of his works. His works are not only made of glass, the glass made his work complete. Moreover, his use of cadence and streamlines in his designs underscores the importance of the structure as a whole as can be seen from the glass facade. In order to have a better understanding of the importance of Mies Van der Rohe’s interpretation of glass as a material in his Tugendhat House, this paper will analyze the use of glass in architecture and how Mies Van der Rohe’s treatment of this material paved way to a modern thought in building designs. Purpose of Facade It would be difficult to discuss Mies Van der Rohe’s work without first examining the prominent glass facade with which the building is designed with. From an engineering (and pragmatic) perspective, the facade of a building does not only exist to conceal its inhabitants but also to protect the inhabitants from various natural and physical threats or danger (Mejicovski & Settlemyre, 2003). The very first buildings (be it for dwelling or for other functions) uses stronger materials for their facade in order to protect the people inside from the harsh climate of the outside environment. The walls enclosing the infrastructure do not only provide safety for the inhabitants but most importantly, it defines the fine line of privacy. This is why houses and buildings are built with strong and durable facade using various materials ranging from bricks, hollow blocks, sheets of metal, or steel. The thickness and the lack of transparency of these materials complement the required function of the facade. However, modern architectural movement treats building facade differently, giving it a different meaning and connotation (Burroughs, 2002). Building facades whose main purpose is to conceal and protect inhabitants from intrusion or unwanted exposures now use materials that do not necessarily serve that very purpose. One of the most interesting developments of modern architecture is the use of glass as the facade of the building. In architecture, the facade is treated not only as a functional part of any structure but it also introduces the audience towards what is within the walls of the building. For example, an audience seeing a building whose facade is littered with Ionic designs and details will most likely expect a display of Ionic architecture within the confines of the walls of the building. The facade serves as the most obvious statement of the artistry, design, and contents of the building as it stands as a symbol of the creativity of the structure as a whole (Burroughs, 2002). Architects put strong emphasis on the facade knowing that their appearance to the viewers will most likely create a strong perception of the artistry of the creator. Even though architects underscore the aesthetics involved in the design of facades, they have to take into consideration the pragmatic function and the major reasons why facades are created. Modernism As was mentioned, modern architecture through the aid of the architectural revolution set in motion by Mies Van der Rohe and his contemporaries employ an extensive use of glass as the main material for the facade. This radical change in architectural design not only deviated from the classical way of creating structures but also opened new ideas when it comes to the use of modern materials such as steel and glass in the creation and the design of structures. This school of thought in architecture, commonly referred to as modernism, introduces the use of modern materials, the employment of any technological advances in creating and structuring building designs, and the abstraction of the boundary line between the inside and the outside as well as the deviation from the normal expectations of building and building materials (Elkadi, 2006). In other words, modern approach to architecture has not only attempted to eradicate the demarcation line between what is on the “inside” from what is on the “outside” while at the same time creating a terminating point between the two but also changed the audience’s perception of the difference between nature (or environment) and building (habitat). The development of modern thoughts in architecture is prompted by the paradox that existed in classical and earlier structures. The need for protection and privacy has always been a necessity. For many centuries, structures were created with functional parts, forming facade and frames that reinforce the load distribution of the structures as well as to satisfy the requirement of separation of the outside from the inside world. However, as structures confined people from the external world, there is a growing need for the people to be once again one with nature, to allow light and fresh air to go through the structures (Gul, 2007). With the amount of stress experienced by individuals and the need to come up with structural designs that meet the technological and material requirements of the age, architecture again needs to be updated to adapt. The search for the ways to confine oneself in without really constricting one’s harmony with nature and light thus began. Glass in Architecture Although glass was discovered as early as 3500 BC (Dayton, 1993; 132), its application in architecture came late. The earliest known record of the use of glass in architecture was a little after the development of blown glass which eventually led to the discovery of the methods of creating thin sheets of glass that are strong enough to allow them to be used in building structures some two thousand years ago (Slessor, 1998). With the discovery of glass and of the cheaper process of creating various types of glasses, architecture rapidly began to integrate glass in its architectural designs. Architectural designs typically limit the use and function of glasses to windows and for decoration of walls, ceilings and floors both in private and public buildings (Elkadi, 2006). Gothic churches and buildings have made good use of the impression of light and darkness created by the diffusion of light as it goes through glass. Gothic architecture liberated dull walls and unadorned arches by placing stained-glasses on the otherwise flat areas and surfaces typically characterized by doors, windows, and arches (Burroughs, 2002) (Appendix A). With the strategic and aesthetic integration of glass in these areas, these structures have allowed the light from the external world to permeate its darkest corners, creating the impression of holiness and reverence (Slessor, 1998). The result of this integration is astounding, allowing the inhabitants of the building to experience and revere the outside world as can be easily noted with the famous Gothic churches like the Westminster Abbey (Appendix B). During the 19th Century, the use of glass in architecture is largely adopted by everybody. The use of glass is no longer confined to the churches as Greenhouses, manufacturing plants, and even private dwelling homes have used glass as its secondary material. Gottfried Semper and Otto Wagner are among the very first architects that have studied the properties of glass and how they can be used in architectures. Their extensive discussion on glass works is seen in Their works became the foundations of the extensive use of glass in architectural designs both in modern and post-modern architectural movements. Two examples of the 19th modern architecture that uses glasses as its secondary element are Palais de Machines by Ferdinand Dutert (Appendix C) and The Crystal Palace by Joseph Paxton (Appendix D). The 19th Century architecture involving glass typically includes skeletal frames to provide support for the glass. This architectural approach is prompted by the increasing need to create buildings specifically designed to complement the industrial revolution but are done so in a less expensive but more complicated manner (Slessor, 1998). In the light of the need to design a more functional structure with the incorporation of glass – whether to allow light in or to create an inexpensive alternative for the regular roofing materials, Ludwig Mies von Der Rohe designed something that goes beyond quality or relevance. He created something that would endure structurally and at the same time allow inhabitants to experience the external world without even isolating them from their confines. His indomitable spirit that aimed for the highest perfection in the field of architecture led him to design structures that offer every known detail imaginable by presenting the whole design with fewer distinguishable features. More importantly, he successfully used glass in majority of his structural designs as a facade, creating a continuity of perspective of the internal and external world separated by the usual building facade. Ludwig Meis Von der Rohe Even though architectural designs involving glass have been widely used, there is something about these designs that earns Ludwig Meis Von der Rohe’s displeasure. The popular importance of glass in architecture during his period lies in the ability of the glass to permit light within the confines of the home. Because of the economic thrust characterized during the period, there was no significant move to change this perspective towards glass and its uses in architecture, until Ludwig Meis Von der Rohe delved into the complexities involved in designing structures with glass as its primary material (Hammer, 2005). Meis is famous for his dictum “Less is more” and “God is in Details” which directly opposes the excessiveness of the architectural designs during the period (Schulze, 1985). Meis strongly believes that the real beauty of any architectural design is seen in its ability to show everything it has – flaws or perfection – to its audience, as if a stranger searching though his soul by looking at the eyes of another stranger. By presenting architectural designs where the viewers can easily discern the structural integrity and architectural difficulties of his work, he believed that he can be able to make good use of the available materials and technology during that time to create architectural designs that were not only durable and strong, but are also able to withstand the criticisms that it will eventually encounter given the architectural view held during the period in order to be hailed as among the most beautiful architectural masterpieces of all time. Instead of using steel alongside glass in his architectural design, an architectural approach that is very common during his time (as was seen in Appendices C and D), Meis used glass as the primary material for his building without making the role of steel supports less important (Hammer, 2005). Meis, in a way, was the very first architect to create a design that solves the architectural paradox that required structures to be built with strong facade to define the limits of the internal from the external space while at the same time allowing air and light to be able to enter the structure in harmony with the nature and the surroundings. By using glass in as the primary material for structures and using steel and other materials as the secondary image in the picture (but not necessarily unimportant), Meis was able to create a perfect union between the nature and structure, eradicating the fine line that separates the space inside the structure from the space outside the structure. What is more breathtaking is the manner with which he projects the steel columns in a simplistic, less complicated manner where the transparency offered by the glass facade makes it clear that the columns weren’t there for no particular reasons. The columns, according to Meis (as Mrs Tugendhat recalled in Schulze (1985)) serves as the skeletal framework of the house. But they were not designed to look like the steels found in Palais de Machines or in The Crystal Palace. They are placed conservatively so as to allow a freedom of sight when surveying the creation in great detail. Looking closely at the design, it appears that the glass underscores the important roles played by these beams and columns, that the glass exist for one reason which is to appreciate the existence of the beam columns inside the house. One of the best examples of his architectural work that promotes his line of thought is the Tugendhat House. Tugendhat House The Tugendhat House serves as one of the icons for modern architecture where the use of space is minimized thus creating a maximized opportunity for functionality. Designed in 1930s, the house is constructed in such a way that the exterior of the house, particularly its facade, is composed mainly of glass. The design of the house was so baffling at first that even the owners have a hard time comprehending what Meis wants them to see. The house does not look like any house that was built prior 1930. It looks more like a Greenhouse without any plants on it. Because the appreciation of beauty is subject to one’s experience, his architectural design was accepted, but not applauded. In the Tugendhat House, the functional areas of the house are concealed by the walls that appear odd given that the enclosure of the house is made up of transparent glass. What is even more baffling is that the design allowed too many unoccupied spaces, making it difficult, if not impossible, to determine their main functions. Clearly, the architectural community thought that Meis’ design was just made to impress, but did not (Schulze, 1985). The beauty of his design lies in the transparency it afforded to create. Meis allowed his audience to see beyond his walls, into the greater possibilities right around him while at the same time allow the viewers from the outside to evaluate the content of the audience’ thoughts by exposing them to some degree of non-privacy. The whole notion of his artistry becomes more like the Psychological concept of Johari’s window. This revolutionary thought process represents in vivid detail the complexities of Meis’ simple approach of what is real. He has allowed the fusion of man and nature without having man go beyond his confines. Similarly, he forged the idea of continuity which was not characterized in earlier architectures eventually letting streams of powerful structural ideas involving glass and minimalism concepts to surge forward. By doing so, Meis was able to perfect the contextual definition of modern art which is mainly to employ the artistic influences and ideas characterized by the modern period – freedom and harmony. In a way, it can be argued that the seemingly perfect works of Meis would not have been made possible had he not used glass in his architectural design. The use of glass in his structures allowed him to freely express the modern thoughts from his period up to now which is characterized by the search for freedom and harmony with the environment while at the same time banking on strong, transparent foundations. The Tugendhat House of Ludwig Meis von Rohe is a great example of how the characteristics of modern society is expressed in architectural works as it allows so much freedom without too broad, so much transparency without revealing much, and so much beauty without the unnecessary things incorporated in the design. References Burroughs, C. (2002).The Italian Renaissance Palace Facade: Structures of Authority Surfaces of Sense. Cambridge University Press. Dayton, J. (1993). Discovery of Glass. Peabody Museum Press. Elkadi, H. (2006). Cultures of Glass Architecture. Ashgate Publishing Ltd. Gul, L. (November 2007). The Use of Glass in Contemporary Architecture. Proceedings of SERES 07.pp 1-11. Hammer, I. (2005). The White Cubes Haven’t Been White. Biuletyn Informacyjny Konserwatorów Dzie Sztuki Vol. 16 No 1 (60) Mejicovski, T & Settlemyre, K. (2003). Achieving Innovation in Facades. Architectural Engineering 2003 – Building Integration Solutions. American Society of Civil Engineers. Quetglas, J.() Fear of Glass: The Barcelona Pavilion. Schulze, F. (1985). Mies Van der Rohe: A Critical Biography. University of Chicago Press. Slessor, C. (May 1998). Glass Evolution – Use of Glass in Architecture. The Architectural Review. Retrieved online http://findarticles.com/p/articles/mi_m3575/is_n1215_v203/ai_20827712/ on October 21, 2009 Appendices Appendix A: A Window of a Gothic Church Appendix B: Westminster Abbey: The use of Glass in Gothic Churches Appendix C: Palais de Machines Appendix D: The Crystal Palace Appendix E: Tugendhat House Read More