Ludwig Mies van der Rohe

Courthouse with Garage


15062303   Mies van der Rohe architecture plans   3404i04

14122601   site plan 1100x550 NNTC   2160i00

14122502   Tugendhat House Courthouse with Garage Farnsworth House plans @ Pennypack   2158i04   b

14120101   collection of domestic elevations @ 3398   2080i36

14101603   model elevation   2160i03

11110701   plans contemporary architecture   2170i22   3296

09061703   domestic architecture Tower of Shadows plans   2419i15

09011101   St. Agnes Basilica Santa Costanza Pantheon Courthouse Plus Ultra plans Medica Minerva scan plan   2419i02
09011001   Pantheon Courthouse Plus Ultra plans St. Agnes Basilica Santa Costanza scan plan   2419i01

08121702   Durand scanned plans Palace of Versailles Courthouse Plus Ultra   2390i25
08121701   Durand scanned plans Old St. Peter's Basilica Courthouse Plus Ultra   2390i24
08121503   Durand scanned plans St. Peter's Basilica and Square Courthouse Plus Ultra   2390i23
08121502   Durand scanned plans churches Courthouse Plus Ultra   2390i22
08120602   Durand scanned plans ancient medieval Courthouse Plus Ultra   2390i17

07092201   axonometrics perspectives   2160i02

07092103   model   2160i01   b

07092102   scale comparisons   2156i12
07091201   plans scale comparisons   2156i11

07081601   Courthouse with Garage Villa Savoye plans   2370i22

Courthouse Plus Ultra   2399
Mies van der Hejduk House Quondam   2450

And in Aalto's Woflsburg Cultural Center the rectangular configuration of the whole composition is barely maintained as he organizes the necessary diagonal shapes of the auditorium.
This is different from Kahn's Goldenberg House project where the exceptional diagonal is in part an element of the structural pattern and partially spatial, to make a series of spaces that go around the corners of the building continuously, rather than one side overlapping the other.
Mies allows nothing to get in the way of the consistency of his order, of the point, line, and plane of his always complete pavilions. If Wright camouflages his circumstantial exceptions, Mies excludes them: less is more. Since 1940 Mies has not used a circumstantial diagonal, and in his series of courthouse projects of the 1930s, the diagonal is a function of the free plan rather than a condition of the circumstantial. Because the diagonal is dominant rather than exceptional and loosely contained within its rectalinear frame, there is little tension between the diagonals and the rectangles. The diagonal chords of the trusses in Mies' large-span buildings are, of course, not circumstantial exceptions.
In the Villa Savoye., again, the exceptional diagonal of the ramp is clearly expedient in section and elevation and allows Le Corbusier to create a strong opposition to the regular order of column bays and envelope.
--Robert Venturi, Complexity and Contraction in Architecture (New York: The Museum of Modern Art, 1966), pp.57-8.

It should be noted, however, that the dominant diagonal of Mies' Court-house of 1936 is indeed a garage, and this positioning of the garage allows for an easier backing of a car into the garage.

Domestic or QE: Domestic
...collect domestic Mies material... ...become an expert on his house plans and the "collage" perspectivism.

I want to write...
Distort the courthouse with garage model. Mix up the Ichnographia plans.




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