It depends on a new conception of the function of the wall. The unit of design is no longer the cubic room but the free-standing wall, which breaks the traditional box by sliding out from the beneath the roof and extending into the landscape. This concept of architecture of flowing space, channeled by free-standing planes plays an important role in Mies’ later development and reaches its supreme expression in the Barcelona Pavilion of 1929. “zone houses”…. the living, sleeping and service areas were isolate from one another in wings, separated by courts.
From the horizontal line roofs, the compostion was not at rest, was not concluded or resolved, and so parted a powerful sense of dynamic. This the flow of space was force to the edge. This space became less dense in progressive contours as it ran outwards from the centre. Mies used this spatial technique to define a hierarchy of sub-spaces whitin the plan. Bathrooms, kitchens and storage space are densely confined in the centre of the plan, asn as the volume became frer towards the perimeter, so the use of space implicitly become of more consequence.
Mies desing for the Tugendhat House conceived the entrance and supplementary rooms at street level. Sloping level sites provoked house desing that usually either swept out horizontal into space on concrete stalks, or used the space enclosed between a flat rood at the upper level and the slope below to give a descending arrangement of floor level culminating in a double-height section. Analysis of sectional organization Analysis of relationship between interior and exterior
The court houses were girdled within walls, intovertedly, with the glazed interior spaces looking out to gardens, thence to the enclosures beyond.
Instead of forming a closed volume, these independent walls, joined only by planes of glass, create a new ambiguous sensation of space. Indoors and outdoor are no longer easily defined, they flow into each other. Both horizontal and vertical screens, creating a low of space between interior and exterior.
But at the same time, Mies demonstrated a new structural principle, the separation of structural elements from screening elements. Eight chrome-sheeted cruciform columns defined the space, while screen of onyx, marble and clear transparent glass channeled it. In terms of spatial continuity/discontinuity The feeling of endless, flowing space was increased by the hug, floor-to-ceiling panes of glass which formed the outer walls. In terms of fai? ade expression and interior arrangements The bold structural pattern in the work of Mies van der Rohe lies in the plan.
The transparency of the skin revealed the dynamic strength of the plan, repeated thirty times. Later, the plans become more symmetrical and static, the ‘life” on the inside was expressed in the classical order and refinement of the exterior; the quality of the plan can only experience at the ground level. There other means had to be found to express it in the facades. Despite the complex interior, the exterior design is so quiet that one is apt, at first glance, to miss the subtle proportions of the window band and the stairwell.
Consideration of qualities of architectural promenade (how the project structures our movement through the building) In all of them aesthetic character depends on movement contained within rigid limits. The few simple elements to which Mies has reduced buildings have been admired for their serenity. But the inner movement they provoke is restless and inexorable. The interiors of Mies’ most original buildings are like landscapes or city streets. Between their walls the spectator may pause but seldom rest; always there is something around the corner.