History of Interior

EXAM TERM II, 2020

Zahra Kazmi | History of Arts | 2/05/2021

As referring to my taste in interior style and details reflect the thought of less ornamentation
and more exposure to plain materials. The space that reflect it actuality in totality without
adding more and more decoration to hide the actual meaning of the space occupying
structure. I believe in the exposition of structural details, space planes, angles and simple
and clean line abstract geometries that the structure holds without the interference of extra
decorations in terms of heavy furniture or unnecessary interior details and ornamentation
that hide the real essence of structure and space, anything that distort the focus from the
real structure and the space that it envelops.

The space that flow into another space without the solid interior walls creating an illusion
of an eye that in perception moves to another space approaching without making a physical
movement to be there. The feel of existing into another space while sitting outside of it.

By taking my thoughts under consideration that is highlighting “Minimal” interior Spaces

and “” Less is more” ideologies regarding the interior of my house, I will follow the Ludwig
Mies van der Rohe, regarded as one of the pioneering masters of modern architecture,
establish a new architectural style that could represent modern times just as classical and
gothic did for their own eras, stated with extreme clarity & simplicity.

Created buildings that made use of modern materials such as industrial steel & plate glass
to define interior spaces. Fashioned architecture with a minimal order structural framework
balanced against the implied freedom of free-flowing open spaces. Called his buildings
“Skin & bones” architecture and is known for his aphorisms “Less is more” and “God is
in the details”.

Build free and open spaces enclosed within a structural order with minimal presence that
reflects his goal to provide the individual a place to fulfill himself in the modern era. Because
of his admiration of broad proportions, regularity of rhythmic elements, attention to the
relationship of the man-made to nature and composition using simple cubic forms.

Addition to more, His development of his functionalist application of simple geometric

forms in the design of useful objects. His selective adaptation of theoretical ideas such as
the aesthetic credos of Russian Constructivism with their ideology of "efficient" sculptural
constructions using modern industrial materials, the use of simple rectilinear and planar
forms, clean lines, pure use of color, and the extension of space around and beyond interior
walls expounded by the Dutch De Stijl group.

In particular, the layering of functional sub-spaces within an overall space and the distinct
articulation of parts as expressed by Gerrit Rietveld appealed to Mies, particularly the ideas
of eradication of the superficial and unnecessary, replacing elaborate applied ornament with
the straightforward display of materials and forms. Loos had famously declared,
"Ornament is a crime". Mies also admired his ideas about the nobility that could be found
in the anonymity of modern life.

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Also, Mies fascination with the free-flowing spaces of inter-connected rooms which
encompass their outdoor surroundings as demonstrated by the open floor plans of the
American Prairie Style work of Frank Lloyd Wright. He design architecture expressive of
and in harmony with his epoch. He believed that the configuration and arrangement of
every architectural element must contribute to a unified expression.

As Mies' architecture was created at a high level of abstraction, and his own generalized
descriptions of his principles intentionally leave much room for interpretation. Yet his
buildings also seem very direct and simple when viewed in person. Every aspect of his
architecture, from overall concept to the smallest detail, supports his effort to express the
modern age. His 30 years as an American architect reflect a more structural, pure approach
towards his efforts on enclosing open and adaptable "universal" spaces with clearly arranged
structural frameworks, featuring prefabricated steel shapes filled in with large sheets of
glass.

Even in the field of furniture, designed modern furniture pieces using new industrial
technologies that become popular classics, such as the Barcelona chair and table, the Brno
chair, and the Tugendhat chair. A mix of traditional luxurious fabrics like leather combined
with modern chrome frames, and a distinct separation of the supporting structure and the
supported surfaces, often employing cantilevers to enhance the feeling of lightness created
by delicate structural frames.

Mies minimalist style characterized by simple design elements. Elimination of

ornamentation and decoration. Style design as to achieve design from its base essentials
reveals its true essence. Featuring pure organic forms, plain materials, clean lines and
repetition.

E.g. Barcelona Pavilion / Mies van der Rohe 1929

Open Plan with sleek line design established the space of solitude & reflection. Rich natural
materials. Design based on formulaic grid system in which the wall system works efficiently.
Low flat roof supported by eight columns over the interior volume. Interior juxtaposition
with two reflecting pools that filter light throughout the interior volume by illuminating the
marble and tervatine pavers. Main materials include Marble, chrome and glass.

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E.g. The Farnsworth House / Mies van der Rohe 1945-1951

The glass pavilion achieving Mies' concept of a strong relationship between the house and
nature. Eight I-shaped steel columns that support the roof and floor frameworks, and
therefore are both structural and expressive. Mies intended for the house to be as light as
possible on the land, and so he raised the house 5 feet 3 inches off the ground, allowing only
the steel columns to meet the ground and the landscape to extend past the residence. In
order to accomplish this, the mullions of the windows also provide structural support for
the floor slab. The ground floor of the Farnsworth House is thereby elevated, and wide steps
slowly transcend almost effortlessly off the ground, as if they were floating up to the
entrance. Aside from walls in the center of the house enclosing bathrooms, the floor plan is
completely open exploiting true minimalism. Farnsworth House is the essence of simplicity
in its purest form.

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