Ludwig Mies van der Rohe and Architecture’s Spatial Distraction: The Hofhauser Sketch of c. 1935

Luscombe, D

Ludwig Mies van der Rohe and Architecture’s Spatial Distraction: The Hofhauser Sketch of c. 1935

Luscombe, D

Permalink

Publisher:: Lund Humphries
Publication Type:: Chapter
Citation:: Architecture Through Drawing, 2019, pp. 40-51
Issue Date:: 2019

Closed Access

	Filename	Description	Size
	Pages from 190729_AtD_0_COMPLETE.pdf	Published version	259.79 kB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Luscombe, D https://orcid.org/0000-0002-6574-0208
dc.contributor.editor	Luscombe, D https://orcid.org/0000-0002-6574-0208
dc.contributor.editor	Hobhouse, N
dc.contributor.editor	Thomas, H
dc.contributor.editor	Mallison, H
dc.date.accessioned	2020-06-22T22:48:27Z
dc.date.available	2020-06-22T22:48:27Z
dc.date.issued	2019
dc.identifier.citation	Architecture Through Drawing, 2019, pp. 40-51
dc.identifier.isbn	978-1-84822-354-7
dc.identifier.uri	http://hdl.handle.net/10453/141624
dc.description.abstract	An architect’s design sketches are rarely questioned for repurposing drawing conventions that are otherwise common to the profession. However, an architect’s sketches are most often characterised in some way by techniques and conventions underpinning perspective, axonometry or orthography. These conventions define certain ways of thinking about architecture.Through an investigation of a single sketch by Ludwig Mies van der Rohe titled Hofhäuser (Court Houses), completed around 1935, this chapter questions the purpose of framing architectural ideas through perspectival techniques. What these techniques offer is the capacity for the architect’s design sketch to reinforce architecture’s ordered regularity. For Mies, this attribute supported a specific notion of spatial and material value. In his sketch, perspectival conventions equally reflect a desire for certain human values to be recognised by the viewer. Certain moral inferences within his approach to representation have a mirroring effect on viewer comprehension. The Hofhäuser sketch provides the expectation that potential occupants of his architecture and the architecture itself will unite to reflect the same moral values.
dc.format.extent	21
dc.language	en
dc.publisher	Lund Humphries
dc.relation.ispartof	Architecture Through Drawing
dc.rights	info:eu-repo/semantics/restrictedAccess
dc.title	Ludwig Mies van der Rohe and Architecture’s Spatial Distraction: The Hofhauser Sketch of c. 1935
dc.type	Chapter
utslib.for	1201 Architecture
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
pubs.organisational-group	/University of Technology Sydney
utslib.copyright.status	closed_access	*
pubs.consider-herdc	false
dc.date.updated	2020-06-22T22:48:23Z
pubs.place-of-publication	London
pubs.publication-status	Published
dc.location	London

Abstract:

An architect’s design sketches are rarely questioned for repurposing drawing conventions that are otherwise common to the profession. However, an architect’s sketches are most often characterised in some way by techniques and conventions underpinning perspective, axonometry or orthography. These conventions define certain ways of thinking about architecture.Through an investigation of a single sketch by Ludwig Mies van der Rohe titled Hofhäuser (Court Houses), completed around 1935, this chapter questions the purpose of framing architectural ideas through perspectival techniques. What these techniques offer is the capacity for the architect’s design sketch to reinforce architecture’s ordered regularity. For Mies, this attribute supported a specific notion of spatial and material value. In his sketch, perspectival conventions equally reflect a desire for certain human values to be recognised by the viewer. Certain moral inferences within his approach to representation have a mirroring effect on viewer comprehension. The Hofhäuser sketch provides the expectation that potential occupants of his architecture and the architecture itself will unite to reflect the same moral values.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/141624