Tugendhat House Ludwig Mies Van Der Rohe

Built and designed by Ludwig Mies van der Rohe 1928–1930, the Tugendhat House in Brno / Czech Republic is one of the most significant buildings of European modernism. In 2001, UNESCO added the house to the List of World Cultural Heritage Sites. In this third, updated edition, the authors give personal and historic insights relating to the house; also documenting aspects pertaining to art history and conservation-science studies. The comprehensive description and in-depth discussion of the materials used is a special feature in this field of research. The appeal of this monograph lies in the publication of photographs from the family archive which, for the first time, show the house in its lived-in condition. The experimental artistic color photographs by Fritz Tugendhat are among the pioneering achievements of amateur photography.

The Tugendhat House in Brno, the Czech Republic, was planned and built by Mies van der Rohe from 1928 to 1930, and is universally regarded not only as one of his masterpieces, but also as one of the most important buildings of European Modern architecture. This monograph on the Tugendhat House presents previously unpublished photographs belonging to the Tugendhat family, showing the house as it was when it was first inhabited. A representative collection of plans and drawings from Mies van der Rohe's atelier are also presented here for the first time. Carefully reproduced photographs of the original furniture in the family's possession, many of which have never been shown, are also included. Essays by Wolf Tegethoff, Franz Schulze, and Ivo Hammer give a detailed analysis of the significance of the Tugendhat House in the context of Mies's oeuvre.

The Tugendhat House in Brno (Czech Republic) was named by UNESCO in 2001 as one of the most important buildings of modern architecture and as a World Heritage Site. Mies van der Rohe designed and built it in 1928-1930 and it is beyond any doubt one of the pinnacles in his career. Based on the monograph of 1998 (in English: 2000) the authors describe the complex aspects of this house: personal, historical, art historical, architecture theoretical and restoration scientific ones. Most recent additions include personal reminiscences, photography experiments by Fritz Tugendhat and previously unpublished footage from the family mansion, the house's history after 1997, the conservation of scientifically important materiality of the house and comments on the methodology and techniques of restoration in 2010-2012.

High on a Czechoslovak hill, the Landauer House shines as a wonder of steel and glass. This radiant 1930s house, with its unique Glass Room, quickly tarnishes as the storm clouds of WW2 gather. The house passes from hand to hand, from Czech to Russian, and bears witness to both the best and the worst of the history of Eastern Europe.

Mies at Home is a radical rereading of one of the most significant periods in Mies van der Rohe’s career, from the mid- to late 1920s when he was developing his seminal spatial ideas— ideas that would culminate in his celebrated design of the Tugendhat House. The book examines how Mies’s experience of residing in his apartment, doubling as a studio, in central Berlin had an impact on his spatial concepts. It uncovers one of the most profound but virtually untold aspects of Mies’s development: how his visions of an ideal lifestyle came out of his own living experience and how they, in turn, informed his domestic architecture. Mies’s quest featured two breakthroughs. In the Weissenhof apartment building, he conveyed a flexible and manifold lifestyle that many of the avant-garde artists, including himself, were practicing. Later, in the Tugendhat House, he put forward an alternative way of living that centered on contemplation. Beautifully illustrated throughout, Mies at Home offers a fresh investigation of the diverse intentions and strategies the architect used in creating his iconic open spaces. It will be an insightful read for researchers, academics, and students in architectural history and theory.

This detailed and carefully reasoned study of the domestic architecture of Mies van der Rohe is a landmark contribution to contemporary understanding of the great architect's work. It is devoted to a close analysis of Mies' residential architecture, built and unbuilt, from 1923 to 1951. Many of its conclusions are pertinent to the whole of Mies' output. The book presents penetrating discussions of both the Concrete and the Brick Country House projects, two of the famous Five Projects of the 1920s which made Mies' early reputation; and, among others, the Lange and Esters Houses of 1927-1930; the Barcelona Pavilion and Tugendhat House of 1928-1930; and, in America, plans for a house in Wyoming for the Stanley Resors, and the Farnsworth House of 1946-1951. The analysis and the illustrations demonstrate a continuous development toward realization of the goal Mies himself described: &"To bring Nature, houses and people into a higher unity.&" The original German language edition accompanied an exhibition organized by the Kaiser Wilhelm Museum, Krefeld, in conjunction with the Mies van der Rohe Archive of the Museum of Modern Art, New York, on the occasion of the public opening of the restored Lange and Esters Houses, now owned by the Kaiser Wilhelm Museum. All of the works exhibited are reproduced in this volume. Dr. Tegethoff's text, based on extensive research in the Mies Archive and other sources, brings to light much new information on the origins of Mies's ideas, his working methods and relationships with clients, as well as the actual planning and structure of the houses. Wolf Tegethoff is a member of the faculty of the Kunsthistorische Institut of the University of Kiel, Germany.

"The thirty years modernist legend Mies van der Rohe spent working in America arguably reflect his most consistent and mature efforts toward achieving his goal: a new architecture for the twentieth century. Focusing on this American period, Conversations with Mies van der Rohe gives new credence to this claim by presenting the architect's most important design concerns in his own words. In this collection of interviews Mies talks freely about his relationship with clients, the common language he sought in his architectural projects, the influences on his work, and the synthesis of architecture and technology that he advanced in his designs and built works. An essay by Inaki Abalos provides a context for these interviews and looks at Mies's legacy from a contemporary perspective."--

An in-depth exploration of the interaction between mind and material world, mediated by language, image, and making—in design, the arts, culture, and science. In Material and Mind, Christopher Bardt delves deeply into the interaction of mind and material world, mediated by language, image, and the process of making. He examines thought not as something “pure” and autonomous but as emerging from working with material, and he identifies this as the source of imagination and creative insight. This takes place as much in such disciplines as cognitive science, anthropology, and poetry as it does in the more obvious painting, sculpture, and design. In some fields, the medium of work is, in fact, the very medium of thinking—as fabric is for the tailor. Drawing on the philosophical notions of the “extended mind” and the “enactive mind,” and looking beyond the world of material-based arts, Bardt investigates the realms in which material and mind interweave through metaphor, representation, projection, analogues, tools, and models. He considers words and their material origins and discusses the paradox of representation. He draws on the design process, scientific discovery, and cultural practice, among others things, to understand the dynamics of human thinking, to illuminate some of the ways we work with materials and use tools, and to demonstrate how our world continues to shape us as we shape it. Finally, he considers the seamless “immaterial” flow of imagery, text, and data and considers the place of material engagement in a digital storm.