Living spaces within an architectural concept emerged distinctly during the 20th century. It was during this time that Mies van der Rohe and Tadao Ando explored new architectural and spatial thoughts which were not only supposed to be conceptualized but also used in practice in the current era by modern architects. Known for his minimalist and stable designs, Mies van der Rohe's Vilaa Tugendhat project transferred the open living space concept he had used for the Barcelona pavilion to a residential context that represented the lives of wealthy newlyweds Grete and Fritz Tugendhat. Built in Brno's budding middle-class residential area, the Tugendhat House was known for its highly advanced space filled with sumptuous materials. Throughout its development, Mies focused on the close relationship between architecture and the natural environment using techniques such as floor-to-ceiling glazing which connected the interior and exterior facades. Say no to plagiarism. Get a Custom Essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayAlso known as the townhouse, the Azuma House was one of the early works of self-taught architect Tadao Ando. His presentation of a cement box in the middle of a dilapidated wooden house in which masses are located in the central districts of Osaka, Japan, creates a highly autonomous living space within this box. Like Mies van der Rohe, Ando designed this space to ensure individual privacy that traditional townhouses largely did not provide. Through a careful choice of materials, Ando attempted to reestablish contact with light, air, rain and other natural elements linked to the Japanese way of life. Spatial strategy Figure A. digital image, plan of Villa Tugendhat, accessed September 12, 2018 Figure B, digital image, main living space, accessed September 12, 2018 Designed on a steeply sloping site, Villa Tugendhat was designed to create a feeling of privacy when positioned within the living area of ​​the space. This was due to the reasoning that Mies had designed the large amounts of glass to face the garden rather than the public road, resulting in the entrance elevation providing no view of the house from the vantage point. view of the public highway. Throughout the development of the interior space, Mies deployed his functionalist concept of iron framing which allowed the interior of the house to move away from the load-bearing interior walls, which is the ground floor plan of Figure A where there are fewer walls separating the spaces. Thus, this resulted in more open spaces, interconnected rooms and bright spaces allowing heating, cooling and humidification at the same time. As Villa Tugendhat was developed at the start of World War II, when technology was still in its infancy. Although advanced, steel frame construction was considered uncommon for houses in Brno, Czechia. However, by using the steel frames for construction support, many benefits have been gained, such as an open floor plan that differs from level to level. By using large glass walls shown in Figure B, the living room was able to open up and be connected to spaces such as the garden and dining room, allowing the atmosphere of the areas to be dominated by a fundamental feeling of open space. which extends into the landscape as well as the colors of the precious materials chosen to dress the living room and the rest of the house. Indeed Mies “that a house should notbe built from the facade, but from the interior and that the windows of a modern building should no longer be holes in a wall but fill the space between the floor and the ceiling, thus becoming an element of the structure » . In doing so, Mies wanted to create a modern and spacious home connecting the living space with the dining room and the outdoors, giving a feeling of openness and light in the living room. Unlike Villa Tugendhat, designed specifically for a couple, Ando designed Azuma House to force visitors to the space to confront the natural elements as part of their movement through the space. As shown in Figure C, the courtyard, which is also considered a living space, intersects movement throughout the space, allowing the individual to connect with their surroundings inspired by the traditional connection of Japanese culture. The courtyard not only acts as a bridge between humans and nature, it also helps create the illusion of space in the confined proximity of the long and narrow house. In the area, the main natural elements were collectively meant to fade into the background, so that through the discrete elements a feeling of openness or emptiness emerges. As a result, this injection of movement throughout the home pushes individuals to connect with the environment and Japanese culture. “The courtyard is a core of light which unfolds inside the house and a device allowing the introduction of natural phenomena such as light, wind and rain which are forgotten in the city”. Thus, the courtyard was seen as the space within an omnipresent void that can be made perceptible, resulting in an establishment through changes in climate and light where the ethos within the space itself exchange. Subsequently, this idea became linked to the idea of ​​“yugen” in Japanese poetry which depicts nature as an ineffable presence felt through subtle weather conditions, for example a light drizzle or an unexpected breeze. Accordingly, Figure D shows that Ando seeks to instill the presence of nature into architecture which attempts to draw nature into an intimate association where forms of spiritual exercise are traditionally carried out within the context of human relationship with nature. , the Tugendhat House was known to be exceptionally expensive for its time, given Mie's use of immoderate materials, non-standard construction methods, and advanced new heating and cooling technologies. In the house, Mies designed the spatial interior as a fluid space with a steel structure and chrome coverings sourced from Germany and white linoleum spread on the floor to create a uniform surface with a most neutral color. As shown in Figure E, Mies' addition of the Tugendhat chairs covered in silver-gray fabric and the Barcelona chairs covered in emerald green leather were examples of the extravagant materials he used to represent the wealth of the house's occupants. The sumptuous choice of materials represented Tugendhat's vision: a modern, spacious home that captured a spiritual sense of life beyond the necessities. “While providing seclusion and privacy, there was at the same time a sense of belonging to the whole,” as shown in Figure F, the addition of silk curtains and draperies allowed users to create their own spaces private when they wanted. “Besides perfect architecture, the villa has exceptional service and technical equipment: notably the timeless system of large sash windows in the living space driven by the electric motor and a unique air conditioning system which treated the air of the living space”. Not only blinds.