A platform erected in Stuttgart Germany and completed in the year 2006 was because of the expression of the Mercedes Benz Company, displaying its art trends in the cars that they produce. Acting as an institution of technological research, the Illinois institute of technology built in the state of Illinois in the United States displays art works that go beyond the context of each of the structures. Aspiring architecture scholars within and outside the regions of Illinois and Germany are motivated by the building strategies of the buildings and the art features associated with the building.
French composers and art analysts such as Erik Satie have related their skills of art with paralysis. Architecture has a similar theory applied to it and the building strategies and designs as well. The most effective aspirant used to define the art features connected to the building is the paralysis linked to the buildings and art. Visitors in the cities who visit the buildings in discussion expound on the beauty of the art involved in the buildings in question. The local people in the town have however not attributed the art the architecture involved during construction. It has become difficult for the local people to appreciate the typology and art they are within every day. Only the experience that scholars interested in art and architecture can make them see the value of the building in art.
The Illinois institute of technology’s school of architecture and design was part of an initiative to renovate the IIT structure of the campus in the building. The “home for ideas and adventures” initiative has been in use for more than half a century. The policy has been in proposition for the building of the institute technology building up to the eighteenth floor. The construction plan stated through management that majority of the enhanced design became integrated using steel and glass upon the exterior design and construction of the building. The advanced design called for extra funding that the management of the building could not afford, neither did they obtain external assistance of the funding. The lack of subsidiaries made the construction of the institute turn out to be very slow until the year 1954 when Henry crown made the first donation towards the construction of the building. By turning in any direction, the onlooker will most certainly notice something he’d missed on the floor above. Dutch architect Ben van Berkel, one of the lead designers of the Museum, attributes this phenomenon to the museum’s architectural basis in nature.
“The structure of Mercedes-Benz is constructed using a trefoil. The clover-leaf is structured mathematically and consists of three overlapping circles that form a triangular atrium void at the centre. The semi-circular floor rotates around the central atrium forming horizontal plateaus that alternate between double and single heights. It is spatially complex; the trefoil cannot be observed from the museum. The use of a strong design model has enabled us organize ideas of infrastructure, exhibition spaces, programme and even structure. We looked at ideas at how, by moving through the chronologically ordered exhibition spaces from top to bottom, visitors follow the edge line of the building like a time machine. The line you follow becomes a wall then a ceiling and then a space, blurring the distinction between line, surface and volume.” (Berkel, e-architect)
Of course, behind every great work of originality, is a traceable path of a departure from tradition. In such a departure, the artist surely acknowledges his past, and boldly derives his work in a distinctive manner.
Original to Armour Institute, the campus which was erected between 1891 and 1901, and which stood on the site of what would become one of the foremost wonders of modern architecture, were three brick buildings in the standard style of educational typology of the time. When, in 1938, Mies van der Rohe began his twenty-year run as administrator of the, then, new IIT campus, he aspired to reinvent the campus in its entirety. In one of the first governmental commissions for urban renewal, and throughout the years between 1943 and 1957, Mies worked diligently on the construction of several new buildings, the eighteenth of which being the historic S.R. Crown Hall.
Mies was a modernist architect. This simplification of form, and ornamental theme of the structure itself, was overwhelmingly established by Mies in the design of the Crown Hall. “Some historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and thus the Enlightenment. The Modern style developed, in their opinion, as a result of social and political revolutions.” (Crouch, 106) In an effort to deviate from tradition and create simple and sleek buildings, Mies applied modernist themes to his ingenious design of the Crown Hall. Steel I-beams were used for exterior support, glass for the façade, and concrete for the floors. Tying the three together, and following the trend of modernist architecture, the pragmatic floor plan of the Crown Hall “epitomizes ‘Miesian’ modern architecture as well as the International Style, which has long been accepted as one of the 20th Century's most important and widely distributed architectural styles.” (National Historic Landmarks Program)
The S.R. Crown Hall may be looked upon as a breath of fresh air, a reaction to the excesses of Victorian and Edwardian architecture. Students of the Illinois Institute of Technology enjoy this fresh air as they strive for a newfound ingenuity among the lurking inspiration of Mies himself. The building’s physical space has a spiritual quality, and emits from its seams Mies’ dedication to his pupils, as their constant flow throughout the space justifies its modern essence. To say the same about even a few educational buildings throughout history would surely be a challenge. In comparison to the Illinois institute of technology, the Mercedes Benz Museum uses an array of classical arts in its buildings’ structures. In the plan, the building is formatted in a versatile combination that entails a combination of various architectural styles a modern way. The S.R. Crown Hall, architecture was meant to portray a rich history i9n the car producers’ works. The works are entirely specialized to give room for a better view of the products. The works exceeds that of the Illinois institute of technology.
The Mercedes Benz museum structure, displays a better room for the display of the automobiles for both those who are out of the building and the ones out. The modernity as been made possible by round harmonized coulombs. The parking can be done in a way to allow for the best access, however visitors can find themselves back in the original point according to the structure. The roof change with the floor in a uniform manner, this is beyond architecture.
The technical data of the Mercedes Benz building is it goes up to a height of 47.50m with nine floors above the ground. The building is a high rise building with a curtain wall. The façade color is light gray and the architectural style used is deconstruction. This is the largest car museum in the world. The building is a modern piece of art and it represents the modern architectural styles that have replaced the olden styles. Deconstructivism is reflected in this type of building as it has some ideas of fragmentation. The building is characterized by a controlled sense of chaos which is a modern character in many buildings.
Crown hall is an architectural masterpiece built in the 1950s. In creation of light and space the building has attained this, a form of early modern architectural styles. Light is achieved through the one-storey building is by use of glass. The building creates universal space inside it as it has no interior supports and thus allows for temporary walls and partitioning. More space is created by ensuring that faculty offices are in the basement. The back and front of crown hall are identical an important architectural style.
The architectural context bears significant relevance in the Mercedes Benz classifications of the taxonomical units necessary. As a significant aspect of comparison, the type of urban planning does not resemble the magnificent sight of the Mercedes-Benz Museum. The revolution that has taken toll of the society is visible in the new magnificent Mercedes-Benz museum. Following the World War II, the real estate developer served a great role in making popular the planned community, for innovations to result in affordable housing. This was relevant in providing the working community with an efficient and conducive way of life, in which financial considerations would be put in context, improving the way of life. This is an advantageous feature of the 21st century architectural work. However, it is worth noting that the number of people during the 21st century had considerably swollen, making a compensation for the otherwise improved way of life. The two buildings used the same context; modernism. Considering the fact that the time in which these two architectural works were erected, various modernist affairs were taking effect of the globe, various similarities are, with conviction, visible on both architectural works.
Works Cited
Mies van der Rohe Society. "S.R Crown Hall: The Story." 2010. http://www.miessociety.org/legacy/projects/
National Historic Landmark Program. "S.R Crown Hall." 2008.
http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1989164123&ResourceType=Building
Whitman, Alden. "Mies van der Rohe Dies at 83; Leader of Modern Architecture." 1969.
http://www.nytimes.com/learning/general/onthisday/bday/0327.html
Moore, Robbie. "The Benz." 2006.
http://www.specifier.com.au/pastissues/9592/The-Benz.html
E-Architect. "New Mercedes-Benz Museum, Stuttgart." 2006.
http://www.e-architect.co.uk/stuttgart/mercedes_benz_museum_stuttgart.htm
Stuttgart-Tourist. "Mercedes-Benz Museum." 2006.
http://www.stuttgart-tourist.de/ENG/events_freetime_culture/mercedesbenzmuseum.htm
Schweiterman, Joseph P. The Politics of Place: A History of Zoning in Chicago. Chicago, IL: Lake Claremont Press, 2006.
Crouch, Christopher. Modernism in Art Design and Architecture. New York: St. Martins Press, 2000.
