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Ronchamp gives people a sense of order and peace of mind. In addition to the horizontal floor, people can hardly see the right angle or straight line in the true sense. However, everyone feels peaceful, and there are a lot of visitors. The building continues to be a place of pilgrimage, and it is obvious that the number of visitors is quite Catholic. They offer sacrifices to the altar in front of the image of the altar and kneel down to pray. It is the main church of the Uighurs. Here a man is inevitably overwhelmed by the power of the building itself and the harmony of peace. Ronchamp's interiors are impressive, but measurable space will certainly not be close to the great Gothic cathedral or Hagia Sophia Church. The highest point in the interior seems to be the connection of the southeast wall. There are no real sizes and figures, but it marks a very special structure, which may play an important role in height and volume. The walls do not actually have a bond; there is a space between them, and parts are made of prisms of various shapes and sizes. The two walls are fixed only by the floor, roof, and two horizontal pillars, wherein the lower door is a lintel. At the top of the door, the openings on the two panels are filled with clear glass, and the upper pillars are spaced apart. This long vertical window has very complex aesthetic features. This long vertical window has a very complex aesthetic function, which is the only absolute vertical line in the building. In addition to the other two more important frames, it is a strong stabilizer. Since the form of abstraction can be seen from both the interior and exterior angles, the combination serves as a link between the inner and outer spaces . Internally, it has most of the functions of Gothic windows and arcades, which emphasizes height and squareness. It transmits light directly, and has a closed curved surface and very complex reflection patterns. In buildings, the use of color is limited to the interior and exterior of the main doors, and to certain windows with black symbols.
In terms of structure and volume, a large number of irregularly distributed windows and white walls are filled with quiet light, which is relative but absolutely light of disunity . The outer shell of this building is bulky, and this lack of any shock and depression may be related to an indefinite reading of the surface, which is rigid or flexible, mass or weightless. This again compares with the fuzzy effect of Gothic structure, but the effect is not achieved in the same way.
Le Corbusier's research made him shocked by the acoustic components of the form field. An unbelievable maths and physics ruled this form, and their interdependence, solidarity and family spirit combine to form architectural expressions. This is a kind of phenomenon, as he said; it is as soft, subtle, precise and mysterious as acoustics. Whether it's on the basis of a statement or on the relationship between architecture and landscape, it is clear that he uses more than just a rough analogy. He surveyed the surrounding hills and valleys with instruments and in some way worked out a basic set of terrain proportions, and then applied it to his design . He tells us that psycho physiological processes are determined by the feeling of the program and the outcome of the judgment.
Le Corbusier was not primarily a mathematician, but his architecture represented a new mathematical law. For him, any mathematical attribute of his imagination and creativity should be appropriate to consider mathematical analysis and check consistency. In this case, this part of the creative process of mathematics is irrelevant. The building is mainly designed for meditation rather than for musical ceremonies. There are many historical examples that show that creativity in aesthetic art sometimes increases with time, which usually falls in the forces of physical power and wisdom. It can be said that Le Corbusier's greatest achievement is the hilltop chapel of Ron Camp, which combines several religious traditions. Its relationship with the landscape can be traced back to the Neolithic shrines in Western Europe. The unexpected novelty of the Church of Ronchamp may be that Le Corbusier has never fully attributed himself to democracy, but has retained an intuitive and even mystical component . The dialectic of his creativity, reason, and intuition flows in interaction.
Mies van der Rohe
The two most influential architects in Germany, the Mies van der Rohe and the Karl Friedrich Schinkel, are praised by the world for their orderly structure and purist form. Mis broke up with the neoclassical style in 1921, and his intention to show objectivity and clarity in the architecture remains consistent . The most important determinant is his idea of construction. He visualized the building through coherent processing of architectural elements. In this respect, Mies is moving toward multifunctional space more and more. Even if the trend was the most obvious in the works he had moved to the United States, the well-known Barcelona Pavilion could no longer be called a functional building. Although this trend has caused several debates in the German modern movement, the modernist architects determined by rationalism and the modernist architects related to functionalism have formed a mutual objection. After the war, Mies built a new national gallery in the name of German rationalism. Mies firstly invented a vast glass space in 1957. The source of its design reveals a rigorous rational way to form a overall objectivity.
Recently, German architecture has not only demonstrated again that there is only a thin line between neoclassicism and rationalism, but only a small step from critical reconstruction to textual reconstruction . For Mies, Berlin's task at hand is not just to accommodate the past art, and is a collection of a lot of good easel and sculpture. He tried to plunk for even the emergence of fresh methods of showing and experiencing art, and even the creation of new methods.
Beginning with the court building in 1930s, Mies gradually developed a unique picture of sculpture, painting, landscape and architecture. Some outstanding interior ideas were generated. The combination of difference and coherence is a reflection of the concept, technology and construction of human architecture. Mies holds that autonomy is not an isolated creation, but a self-image that embeds and reflects context. Individuals are understood to occur in social structures, economic structures, and ideological structures . For Mies, the power of architecture disappeared with the great separation of communities from the Renaissance, and great social changes took place from the end of nineteenth century to the beginning of twentieth century.
The Barcelona Pavilion displays its own version of Mies, which has a hybrid space structure. Mies refuses to apply colored pigments to the surface of the building, but uses the color only as an overall performance of constructional materials. He made floors, ceilings and separate walls; it is not a homogeneous color, but a homogeneous material such as wood, glass, plaster and marble . Since the early 1940s, he has been developing variable ground plans or universal spaces, and the main advantage is the ability to adapt to change.
The stage of Mies has no set script, and no goals have been executed. On the contrary, its extreme openness is expected to have dramatic events. Mies captures this vitality in the works, and he draws the life in the universal space. This is an open and lightweight space that can easily configure and reconfigure partitions, furniture, and equipment. In his diagram, he marks the edge of a box, a wavy line around the empty center, and the shape and character of an event remain uncertain. The wavy lines of Mies depict the possibilities of architecture and the potential of a variety of specific configurations.
Conclusion
As a continuation of architectural enlightenment, modern architecture is a natural heir. Modern architecture is the branch of modern painting and the modern movement of all art. But most of the buildings made today are not in accordance with the historical scale and are alienated from architects and society. The cultural elite of modernism always has the mission of saving the fallen humanity and reconstructing the human spiritual homeland; modernism is devoted to the great narrative and is devoted to the construction of humanistic ideals or social ideologies. In the pursuit of the spirit of the times on the road, the modernism architecture pioneers often conceal the individual role of architects, turn to the relevance of the structure change and building society, and try to explore the future development of the building in the class rights and social change ideas (The Death of Modern Architecture). They try to consider the role of the new building in shaping the times from sociological and political perspectives, and to demonstrate the legitimacy of the new building through this effect. Today's buildings are harsh and cruel because buildings are made by absentee developers who want to make profits. All in all, I support the view that modern architecture is gradually desolate.
Reference
The Death of Modern Architecture.
Mertins, D. “Mies's event space”. Grey Room 20, no.20 (2005): 60-73.
Alford, J. “Creativity and intelligibility in le corbusier's chapel at ronchamp”. Journal of Aesthetics & Art Criticism 16, no.3 (1958): 293.
Dynes, W. R. “Medievalism and le Corbusier”. Gesta 45, no.2 (2006): 89-94.
Durth, W., & May, R. “Schinkel's order: rationalist tendencies in german architecture”. Architectural Design 77, no.5 (2010): 44-49.
Murphy, K. D. “The villa savoye and the modernist historic monument”. Journal of the Society of Architectural Historians 61, no.1 (2002): 68-89. |
