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3 Curs7-MIES, 307s '14 (FILEminimizer) PDF
3 Curs7-MIES, 307s '14 (FILEminimizer) PDF
Less is
more. Mies
van der Rohe
MIES- CASA FARNSWORTH
Mies van der
Rohe, 50 x 50
House Proposal,
1951
plan for a Brick Country House, 1923
God is in the details
The Imperial German Embassy
in 1913
Dioskouroi statue from
the Embassy of Germany
in SPB
Image Courtesy of
Bauhaus-Archiv Berlin,
Photo: Markus Hawlik
An almost invisible glazed canvas invisible due to its ubiquity at the
expense of architectural ingenuity wraps our buildings and,
contradictorily, masks our cities; an exhausted remnant of
Modernisms form follows function mantra.
While the curtain wall system had the purest of intentions (to create
architecture in service of light) it has become a benign design tool, a
patsy in the architects repertoire.
Ludwig Mies van der Rohe and Philip
Johnson by Irving Penn
New York, 1955
Ludwig Mies van der Rohe Villa Riehl ,1907 Neubabelsburg,Berlin
Ludwig Mies van der Rohe Villa Perls ,1911 Zehlendorf,Berlin
Ludwig Mies van der Rohe Villa Perls ,1911 Zehlendorf,Berlin
Ludwig Mies van der Rohe Villa Werner ,1913 Zehlendorf,Berlin
Ludwig Mies van der Rohe Villa Urbig ,1914 Neubabelsberg,Potsdam,Germania
Ludwig Mies van der Rohe Haus Lange
Ludwig Mies van der Rohe Glass
Skyscraper(zgaraie-nori de sticla),1922
A chair is a very
difficult object. A
skyscraper is
almost easier. That
is why
Chippendale is
famous.
Mies van der Rohe determined the faceted, prismatic shapes of its three
connecting towers by experimenting with light reflections on a glass model. While
the design anticipates his later preference for steel and glass, here a highly
expressionistic character is more evident than any kind of rationalist intention.
A leader of the revolutionary modern movement in architecture, Mies van der Rohe
designed a series of five startlingly innovative projects in the early 1920s, each of
which had a profound influence on progressive architects all over the world. This
competition entry was one of them. Code-named "Honeycomb," the
Friedrichstrasse Skyscraper was distinguished by its daring use of glass, which
symbolized the dawning of a new culture, and by an expressive shape that
seems to owe nothing to history.
Ludwig Mies van der Rohe Concrete Country House(casa din beton),1923
Ludwig Mies van der Rohe Concrete Office Building(cladirea de birouri din beton),1923
Ludwig Mies van der Rohe Traffic Control Tower(turnul de control al traficului),1924
Ludwig Mies van der Rohe Villa Eichstaedt,1922 Wannsee,Berlin
Ludwig Mies van der Rohe Memorial to Rosa Luxemburg & Karl Liebknecht,1926 Berlin
Ludwig Mies van der Rohe Haus Wolf,1925-1926 Guben
Ludwig Mies van der Rohe Municipal Housing Development,1926-1927 Berlin
Ludwig Mies van der Rohe Haus Esters, 1928 Krefeld ,Germany
Ludwig Mies van der Rohe Haus Esters, 1928 Krefeld ,Germany
Ludwig Mies van der Rohe Haus Lange, 1928 Krefeld ,Germany
Ludwig Mies van der Rohe Haus Lange, 1928 Krefeld ,Germany
Ludwig Mies van der Rohe Silk Industry Complex,1932-1933 Germany
Ludwig Mies van der Rohe Krefeld Administration Building,1937
The Weissenhof Estate (or Weissenhof Settlement; in German
Weienhofsiedlung) is a housing estate built for exhibition in Stuttgart in 1927. It
was an international showcase of what later became known as the International
style of modern architecture.
The estate was built for the Deutscher Werkbund exhibition of 1927, and included
twenty-one buildings comprising sixty dwellings, designed by sixteen European
architects, most of them German-speaking. The German architect Mies van der
Rohe was in charge of the project on behalf of the city, and it was he who
selected the architects, budgeted and coordinated their entries, prepared
the site, and oversaw construction.
Le Corbusier was awarded the two prime sites, facing the city, and by far the
largest budget.
The twenty-one buildings vary slightly in form, consisting of terraced and detached
houses and apartment buildings, and display a strong consistency of design.
What they have in common are their simplified facades, flat roofs used as
terraces, window bands, open plan interiors, and the high level of prefabrication
which permitted their erection in just five months. All but two of the entries were
white. Bruno Taut had his entry, the smallest, painted a bright red.
Advertised as a prototype of future workers' housing, in fact each of these houses
was customized and furnished on a budget far out of a normal workers reach, and
with little direct relevance to the technical challenges of standardized mass
construction. The exhibition opened to the public on July 23, 1927, a year late,
and drew large crowds.
Of the original twenty-one buildings, eleven survive as of 2006.
Weissenhof Siedlung
(Mies van der Rohe)
The Scharoun residence, Weissenhof
Terraced houses - J.J. Oud
Alexanderplatz
Mies van der
Rohe
Adam department store
Berlin (1928)
Casa de ladrillo
Postdam-Neubabelsberg
1924
The Barcelona Pavilion, also
known as the German
Pavilion, designed by Ludwig
Mies van der Rohe, as the
German national Pavilion for
the 1929 Barcelona
International Exhibition.
The building has become a
seminal icon of modernist
twentieth-century
architecture, comprising
symmetry, open-plan
spaces, precise proportion
and minimalist design.
The Glass House or Johnson house, built in 1949 in New Canaan, Connecticut,
was designed by Philip Johnson as his own residence and is a masterpiece in the
use of glass.
It was an important and influential project for Johnson and his associate Richard
Foster, and for modern architecture. The building is an essay in minimal structure,
geometry, proportion, and the effects of transparency and reflection. The basic
concept for Johnson's glass house was borrowed from Mies van der Rohe, who
was designing the glass-and-steel Farnsworth House during the same period.
Unlike the Farnsworth House, however, Philip Johnson's home is symmetrical and
sits solidly on the ground. The quarter-inch thick glass walls are supported by black
steel pillars. The interior space is divided by low walnut cabinets and a brick
cylinder that contains the bathroom. The cylinder and the brick floors are a polished
purple hue.
Rosen House 1961-63
Craig Ellwood
SMO HOUSE by ATELIER ARS-2004
Rockefeller
Guest House
Philip
Johnson,
Leonhard
t House,
Lloyds
Neck
Long
Island,
1955
The Wiley House by Philip Johnson for the Wiley family. Robert C. Wiley
acquired the land in 1952. The house was completed in 1953.
Glass Pavilion in
Montecine, California
Ludwig Mies van der Rohe Lake Shore Drive,1946
Grande Mies
Lake Shore Drive
under construction.
Mies van der Rohe
1948
Ludwig Mies van der Rohe Lake Shore Drive,1946
Ludwig Mies van der Rohe Lake Shore Drive,1946
Ludwig Mies van der Rohe Lake Shore Drive,1946
LAKE SHORE DRIVE APARTMENT
MIES VAN DER ROHE
1948_CHICAGO
John Heinrich y
George Schipporeit,
ambos fueron
estudiantes de Mies.
Ludwig Mies van der Rohe Crown Hall,1950-1956
True education is
concerned not only with
practical goals but
also with values.
Our aims assure us of
our material life, our
values make possible
our spiritual life.
The grid created the space between
and within the two to three story
buildings and incorporated Mies
concept of universal space. His
ideas on this included the expression
of structure, exterior walls used as
skin, and the overlapping placement of
buildings to allow space to flow. The
design challenge for Mies arose with
programs that did not fit within the
activities with which he structured the
grid around,
Mies applied this space concept, with variations, to his later buildings, most notably at
Crown Hall, his IIT campus masterpiece. The notion of a single room that can be freely
used or zoned in any way, with flexibility to accommodate changing uses, free of
interior supports, enclosed in glass and supported by a minimum of structural framing
located at the exterior, is the architectural ideal that defines Mies' American career. The
Farnsworth House is significant as his first complete realization of this ideal, a prototype
for his vision of what modern architecture in an era of technology should be.
Ludwig Mies van der Rohe Crown Hall,1950-1956
Let us guide our students over the road of discipline
from materials, through function, to creative work.
(Ludwig Mies van der Rohe)
this building epitomizes the importation of modernist ideals from Europe to the
United States. In its monumental simplicity, expressed structural frame and rational use
of repeated building elements, the building embodies Ludwig Mies van der Rohe's oft-
repeated aphorisms that "structure is spiritual" and "less is more." He believed that
the more a building was pared to its essential structural and functional elements,
and the less superfluous imagery is used, the more a building expresses its
structure and form.
Following these premises, the Seagram Building is meant to confirm Mies' assertion that
when modern industrialized building technology is truthfully expressed, architecture
becomes transcendent. Ironically, the luxurious materials used (marble for the plaza
benches, travertine for the lobby walls and floor, tinted glass and bronze for the curtain
wall) and the carefully controlled customized details that pervade the building remind the
viewer that this building is far from being the simple result of rationalized industrial
production and construction techniques.
Much copied but not matched, the Seagram Building is generally recognized as the
finest example of skyscrapers in the International Style.
Much of the building's success comes from its elegant proportions, and its relation to the
overall site: the building is set back from the street by ninety feet, and in from the side by
thirty. The forecourt so created uses reflecting pools and a low boundary wall in green
marble to set off the building, borrowing heavily from Mies' earlier Pavilion in Barcelona
(1929).
The building's external faces are given their character by the quality of the materials
used - the tinted glass and the bronze 'I-beams' applied all the way up the building. The
Seagram Building is the first bronze-colored skyscraper.
Mies had first used similar applied I-beams (but in steel) at his 1951 apartment towers at
Lake Shore Drive in Chicago, welded to the outside of the structural columns.
'His purported aim was the stiffening of the frame of each bay, but more important
was the creation of a surface texture that relieved the potential monotony of a
smooth facade, while emphasizing the verticality of the overall form. The architect
later explained that he had used the device primarily because, without it, the
building simply "did not look right."