Opinion) Studying and understanding Mies van der Rohe's (MvdR) deep, sincere and profound appreciation towards the philosophy of sacred Greek architecture, I see how he demonstrates his way to respect, protect, preserve, and yet, perhaps genuflect to the orders of architecture (Doric, Ionic, and Corinthian—originated in Greece).
Today, the Seagram Building clearly demonstrates MvdR's intent again to allow two contrasting periods of architecture, in this case, Italian Renaissance (The Racquet Court Club --1876) and international style (Seagram Building) to co-exist by creating/extending the breathing/transition space known as the plaza. Furthermore, the plaza influenced the New York 1961 Zoning Resolution ordinance that allowed/incentivized developers to construct additional floor area in exchange for including plazas outside their buildings.
Other notable MvdR architecture responses that ascend by stairs harken the familiar plaza space include the Farnsworth House, Barcelona Pavillion, Neue National Gallery and Tugendhat Villa to name a few.
Additionally, MvdR's interest in architectures ability to enhance human wellness, the Seagram plaza brilliantly creates space for human interaction to relax in an metro city environment amongst the ambient noise of vehicles, foot traffic, conversation and the richochets of architectural acoustics. This was done by the plaza water fountains, once operational, would create what's called "brown/white noise" would mask the cacophony.
Architecture is the will of an epoch translated into space – Mies Van Der...
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