AArchitectural

． 。 hi ， 。 。 ， 。 ． 。 ・ エ ， i，
Institute
。 。 ， f 　Japan
of P n 。 。 。 3。 。

【カ テ ゴ リー 1 】 　　　 日 本建 築学 会計 圃 系 論 文 集 　第 559号 ，291−299，2002年 9 月

J．
Archit ．
　Plann ．
Environ ．
　 E ．
， 　 No ．
AIJ，   291−298，
559， 　 Sep．
，2002
　 　

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　ヤ
STUDY 　 ON 　THE 　CHARACTERISTICS 　 OF 　MIES 　VAN 　 DER 　ROHE ’
S
DESIGN 　 PROCESS 　 OF 　EARLY 　1930 S 　HOUSES
’

2）
　（
Relevance　of 　Conceptua正Sketches　and 　Collaborated
　Perspective　Drawings

　　　　　　　　　　　for　the　Creation　of 　the　Hubbe 　House 　Project

ミー ス ・フ ァ ン
・デ ル ・ロ ー エ の 1930年 代 初 期 住 宅 建 築 の 設 計 過 程 2）
に お け る 特 質 　（
邸案 に お け る ・ス
　　　　　 フ ッベ コ ン セ プ ト ケ ッ チお よび 透視 図 ス ケ ッ チ協 働制作 の 意義

fuan Rblfio （）ASTILLO

　 η
＊
and 　 Toshimasa　SUGIMOTO ＊ ＊

　　　　　 フ ァ ン ル フ ィ ノ カ ス テ ィジ ョ ， 杉 本 俊 多

The　present　research 　studies 　 M 重
es 　van 　der　Rohe7s 　design
　pm   ss 蔽）r　the　Hubbe H6use
　 ，
（1935）　The 　creative 　pr（）cess 　was ・
clarified through two
　 　

stages ．
First，
　 Ule study　 　 　on 　 the顔 o擢
繍 ∫ ゾ疏 θ 伽 8
渉殍 σ o η c 印 ’where 　 Mies   ∋a 萱ed 　the 　basis　of　the　final
　
p朗   t　out 　of 　the　Oonditions ef thesite 　 　 　

． ．
　p ［
reflected 　over eliminaTy 　layouts 　And 　s  ond 山 e ρ凹 伽 cπo の『the jinal sptbce π 　 　 　whe 炉e　the　closer 　collabOration 　with his　assistants 　was
da 翩 ed   ugh 　the　study 　of 　p玲 1imi  y 　and ほnal　rendedngs ． ’
　We have f und 瞰 　 　 （）
Mes s　drawings 　we 陀 done 　a負er 　 a 　Iarge脚   ss き 圃 ng

on thevisualiza 薗on 　of 　prelimlnay 　sp 母ce ， 　on 　the

．definition 瞬 on 　d 繭 ngs ）山 at　oould 　ease 重he
　 　
　and 　ending 匸　of 　a 　spatial　atmosphere pnesen
（
co   皿 ica血on 舳 his　dient蜘 ．
garete　Hubbe）　Those 贓 蹌 n  噸 we   藪ned 血 ough 血 e　smdio 酬 ngs 　 gf 　his
　cottabOrators ，
eo 面 ming 血 at 　 eonceptUa1 　shetehes 　 alone　woUld 　have　never 　comp 〔
eted 血e 盛nal   ofthe house．
　

’V
κ砂 膨 0鴻 3翅 鰐 απ 4♂ ノ〜0 舵 ，
伽 8 Pr
∫ StudioCollaborations
， η   伽 ’9 CO 0 砂 ち 柚 舶 ’A 吻 5ρ惚
， 己∬ 　 　Lineq．
，
　 Draivings
r． η η θ

ー
　　　　　　ミ ス ・フ ァ ン ・デ ル ・ロ ーエ 、設 計 過 程 、協働 制 作 、デ ザ イ ン ・コ ン セ プ ト、空 間特 性 、線 的 透 視 図

1．互nt 『eduction
’
　　Hubbe 　House 孟s　one 　of 　the　last　dcs重g 日s 　of 　Mies s 　European cha 聡 cte 亘stics 　ofthe 　design  
【 s　of 　Mes 　that（油 er　resear じhefs ，

career ．
　Some 　researchers　have　coincided 　that　the　f）fmai　solutioil
（ have　 not 　 studied in　 I血eir 　 a 剽 yses．
　 　 Tbe 　 second 　 a 皿 d 　 spec 洫 c

’ ’
of 　this　house　fol盟ows 　 the 　Clothrt
　House 　
projects
　of 　early 正OSO s ；エ pu甲 Ose isto see 　 　 　 　how 　the　studio 　collabOrations 　between　Mies　and

has philosophically ’
on Mies s apParent theine
some 　 　
elaborated for 　 　 　 　 　 　 his　assis伽 ts　shaped 血 e 　eve 血 脱 山 e 副 ts　of 　the　p呵   t，
this house
“ 1us重on and open expa se ” ，2 And some
　 亘et s ； 中 　   has 　 　 　 皿 　 　 　

oonside 面 山 at 　it
　is
　part
　of the 　resUltS 　crystallircd
　 　 in　ti［e 　Ge   ξm
’
Pav 護ion（
Ba rceloma ，1929）．
3

The House islecated　i曲

　
gdeb皿 g （
　 　
伽   y ）on an island 　 　

alo gロ the 　　E 韮be 　River （Fig ． 1） ．

　The 　 building　 sれe 　is　large　and 血
’
house　o   upies 　a　relatiyely 　small 　pad 　of 　it． 　The 　rest 　of 廿le　plot　of
藍and 　is　subdi ▼ ided 　suggesting 　a 　fUrther
　dev　
elopme 皿 t．
　The 　bUilding

s　compOsed
童 　of 　1arge　 publiC
areas 　 　Open　mainly 　 to　the　east （
river

ew ）thmugh de　te  es ； Mies s　 ideas

’
v圭 　 glass wa1 璽s　and
　 輌 　 are

  鵬 ed 　on 曲 se 蹴 お lca▼ing 血 e 讎 t　of   【ns 　 COmmonplace

fi】皿 ctioma 置so 置utions （ 3project＿
Fig． F）．
4

　　The 　 irresent
　study 　is　 pa亘 of 　a 　thes重s　 that　studies 　the　ma 重n
’
houses　 designed
by 　 Mies 　 during　 　 IO80 s （Gericke 　 House ，
’
Mou 皿tain　Hou 　C）
se ， ．
ourt Houses）　Our 　gene鋤 aim istO
　
　 　 　analyze ，
through　the　CAD Struction 　of 　sketches drawings，
5 Rg ．
1．PRE 凵 MINARY SITE PLAN WITH F 困 A し PROPOSAL
　血 e 　ゆn 　 　
　 　 　 　
　reco 皿 　or 　
（wordsw 「陬  on or 司 d 臓 wlngs l卩He 掬 師ca 啝 lace by重heauIhors）
’Doctorate Course ，GraduateSchool of Engineering，Major of Environmental
　 　 　 　 　 　 　 　 広 島大 学 大学 院 工 学研 究科環境工 学 専攻
　 Science　and 　Engineering，　 Hiroshima 　 University （Bachelor　of 　Architecture　 and 博 士 後 期 課程 建築 ・ ・
都 市 工 学 士 〔ド ミ ニ カ 共 和 国 ）
　 Urbanism ，　Dominican 　Republic｝
＊＊
Prof．，Graduate Schoel of Engineering，
　 Hiroshirna University，
　 　 Dr ．
　 Eng ． 　 　 　 　
広 島大 学大 学 院 工 学 研 究 科 社 会 環 境 シ ス テ ム専攻
教授 工 博 ・

一 291 一

一
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Though the trajectaryof any designprocess is usually Expesition(l931).i2 Thiswas a theme that he proposed foral1his
unknewn, thepresentresearch organizes the results ef Mies's modern European hoases,reaching the inconclusiyeform of his
desigri intotwo
Iifocess main firsLthe dojinition
stages: ofthe court-houses Though that could be an eventual concept.
lnejects.
designconcept. and seconq theproductionclft7nat space. In the Mies used a combination of courtyards alld 1argeopen spaces

Iatter
stage we will see how the cooperation of Mies'sassistants through the whole design process. Sometimes he was

was crucial to produoe the finalimage of the bouse. concenirated on the operrness of spaoes (Hg.2a) or confined to
the intimacy of courtyards (Fig.2b).Bet1icases are everrtually

IL Metbod ofAmaIysis arranged as a single iclea layouts.

on preliminary

Our method of analysis is based onthe parallelstudy of the Ftg.2.PREUMINARYCONCEPTUALSKETCHES

2a, VIEW FROM LSVSNG RcoM 2b, VIEW ONTO COUFffYARD
Mies CAD threedimeRsional

ll'l"ll.$,
their

//'ee･..,
original chawings ef and
'"i"'l'i'iillli･i"ii?li'lllll.
' 'l'Illl"iliil"i'il"/i

reconstruction. This comparative analysis serves to visualize the ue....

hidden concepts withiRsketehes, and leadsto the understanding t../tt'; ,.t.-..v
.,-, ..ee
,.,--- -･eess#ss
'l-i':-tt,'t"'
"pt.y{f,1..t･
/ttltttt//t/t..t..t1'.'
Mies's designprocess.6 fial.i,l.'xi
li'

of the characteristics of i

..1 #eeee,ewma,･.,
H.1) PtoJestRecenstnection tt t
. zasuy-...'･,･ ,ti iX- "

a) Sources avaikible
The graphics{Niiees were QbtaiRed ffom fhe Mies van do
main The desigriconcept was explicitiy transcribed to the form of
Rehe Archive.7 We have also found re1ated data publishedby thebouse(Fig,
3 Project-D.
A continuous exterior brickworkwall
Jeafiimis Cbhen and phetographs of the original model in arKl freestanding
irrterior (icfined tbe
partitions main form of the
Ludwig }lilberseimer's
menograph on Mies.8 The Archiye building.The exterior wal1 contains privacycemplemented to the

published289 siieets ef drawings inclndingope fioorplan and openness which interior

partitionsprovide.Therefore,livingareas
four vievvs made purposes. We used three
for preserrtation expand toward courtyardsin one side and to the landscapeon the
presentaden dmwings and eleven preliminary sketches to other, and bedrooms and service aieas are selfLcorrtained as

visualize the design processof Mies. Mies's sketches only ordinary rooms. Those design consi(leraiions caii be found in any

represent necessary things. Building materials were representod as of proposals.confirming that they were already
the preliininary
surfaces: hrickworkas horizontal lines.woodwork as venical established before 1935 and were refined in the residential form
lines and glazedwalls as shades or frames.Presentation drawings of tlieHtibbeHbuse.
are freehand renderings following faint hafd-line
traced over M2)DesignEvolutientLayoutFt"'nmtion
beaid.They done pencil-a fiexiblemedium Mies said in hisdescription
of the Hubbe House:
"it

illustration are on "zLs an

thatpermits clean corrections and finalvisual perfettion.9 All uncomn;only beautpmlbuildingsite. 11helovelyviev lay to the

drawings of the set were important to our analysis. even the east. u,hereas to the south thevievv uas utierly witheut chann... it
hastiestones, tmt we (mly reproduced here the (mes that could uas ne(:essary to balance this faw by the dyoutof tiie
betterexplain our findings. structure."i3 The search for that balance was a primarydesign
b)71hree-dimensionalneconstruction problem,and itjustifies
the 1argenumber of existing floorplans
The final prctject
and five preliminary
proposalswere in the Archiye.The analysis on significant layontscould reveal

re[oristructed threedimensionally. The sources for the theevolution of thedesignconcept.

reconstruction were thefiooiplan, elevatians aird perspective We have selected the only six fieor planswith clear

views thefinal
of proposalrendered by Mies's offlce. The heighi distribution
of the space. Tbough Mies drew them on freehand.
of thebousewas scaled from the pfeliminaryeleyations (3.00 they are proportionedas ifhe
carefUlly a was sl[etehing
over

meters). The slzeof some elements likethe cruciform columns s(luaied paper. Mies clearly differeniiate
i4
epeningsfrom walls in
were obiaii)ed the drawings
interpreting {m the Barceloma
Patrilion hisskotehes -walIsare thicker whereas openings are faint
lines,
-supposing
tu he was thinlcingofusing the same size forHubbe We haye sealed al1 se1ected plans and found they are of simitar

H(vusetoo.ie sizes as if tltey were actually clrawn at a ctetermined As scale.

theselayoatsalsopresenta carefu1 there is

ftimituredistribution.
M. Stage 1:befinition
ef Design Coneept no doubt they were importantto Mies in some moments of the

M.l) ifubbe HozaseDesign Concept designpreoess.

A '･coritrast
of clpiet seclusion and open expanse" was the leading We have alsoorganized the layoutsiA a se{luence foltowing
idea fhr the Hubbe House preject. Mies already buittthe ti theirformalsimilarities (Hg.
3).There isa version excluded ffom
oombination of openncss and illtimacy
in the BarcelonaPtivilion our sequence foT lackingdesigndata,but we consider itpartof
(1929)
and re-affirmed itin hishcniseforthe BerlinBui1ding Pteject-Aforthe solution of the livingroom issimi1ar and bcrth

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OR[GINALLAYOUIS
Fig.3. HUBBE HOUSE PRELI MI NARY PROJECTS
PERSPECTIVE-PLANVIEW CADEYELEVELPERSPECTIVE
{CADReconstructlon) (living
noom Eagt vaews)

PR(NEouA

f'm6ifgg

rnabed

PRouECT-B

rpP86cr9s

PFKXjEonC

9F
8
6m
-,8

PRorECTLD

qF86eca.8

PRocEorLE
-tsny2F8

L"oagom"+co

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ArchitecturalInstitute
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of

havespread volumes. and partof Proje(

t-B beeause of the curved to themain bedroom (intimacy)
referring and the livingTeom

cffurtyard Thisstage isinainlyworking the site plan rather than <openness).

Mies studied both concepts carefully. and develeped

the specific (lesign of the bouse (Fig.

4). an equalqualityof spatial sotiuions 'for each pteliminary
pr(}ject.
'
The main bodroom is always facinga courtyard and providesa
'
glimpse to the landscapethrough the glasswalls of the liying
ioom -exceptin Project-Athat itisstraight open to east. In tirm,
the livingroom isopencd to the surroundings dnd
t expanded t toa
garden terrece -exceptPtoject-Dthatisan inward solution. We
caii see in the CAD perspective(east view), thatthe irrtimacyof

iooms was determinedthrough the 1ocationand qualityof walls

(opaqueor transparent) and the openness was obtained through
ffg 4. EARLY SITE PLAN SCHEME theexpansion of inierior
rooms toward courtyards and to the wide

The sequence is anatyzed fo11owingthe threc basic(icsign gardenterraoes.

ccmsi(teradons: first,
layoutformation,second, predominance of Thc al)ovedesign piooess clarifies that the finalproposal
the contrast (Prc!ject-F in our se[luence) is clearly the carefu1
"quiet
the east over south yiews, and third, of the result of

seclusion and open The layouts are reconstructed

expanse". (lesign of views <either te oourtyards oT to the laiidscape}.
The
using CAD. and pTpjected the livingtoom east view in order to control of views was Mies's answer to the conditions of the site

ef the design concept (Hg.3). 'they Roor plansaionedid

the clieni's program forthe house. iS
psoyide a spatial dimension and to
a) Oyerall Fennal iinTangement net produoe the wboIe for
prc?ject. were defined spatially.
As the finalproposaliscontained within a surrounding wal1, the Obviously,iayeutsand views are simultaneousiy thoughi,aird this
firststage of our se(luence is the one where external walls slide characteristic isevident of the final
in the pio(iuction spaoe.

foming 1argeopenings and onto the landscape.

spreading volumes

Ilroject-A revolves the form with oenter in the livingroom. and rv. Stage 2: I!roduetionof the FinalSpaee
(nily the walls of thccourtyard unite the velumes. In Preject-Bthe IMI) VisuaEzntionofPtelimt'ntuv Space
service area is detached of the rnain structllre. and three The
pseliminary space was a collaborative
visualization of

courtyards create the main tensicm. Project-Ccompact interior process:itdepended on thF closer communicaticm between the'
spaces using courtyar(lsand thesurrounding walls is closing as if Mies aiid his assistaiits. It oould have been a verbal discussion
forminga square shaped bouse.Project-D is completely closed oniy, but we have found that the prooessiirvolved a more complex

within the exterior brickwork wal1. and completes the square set of drawings where two three-dimensional
prejections
and were

shaped of prpject-C. Preject-E isstill enclosing interior

spaces but complementing each ether (ffg. 5).'6Each iineof the plan cuuld
'its
tectffngular outiine providesthe proportionof thefinalso1irtion be clearly identifiedin the perspectivesketch 5b)
(Fig. suggesting

PrQject-Fconserves thc shape of"E" but opens the interior

spaces that planand views togethcr complete the architectural idea.
through the east-view terrace. Therefore. the visualization of ooncepts now became an

b) IVieRole ofthe
EtrstWew Opening interactiyeactivity so thatMies and hisassistants could easily see
The east yiew finalimpact depended on the way courtyards any transformation in any graphicdimellsion. Though thereare
screened In Project-A
the south the east view ispartially several transformationsin ficor plan, thc discussionswere
one.

providinga wides(nith
bloclred vista. We considered itone of the fbcusedon the entrance area because itisthe oniy one represented
first
stages, as lcxngas we poncler thatMies was conoeptually three-dimensienaily. The act of entering the house is seen froin
banning thesouth view. Project-Bopens completely the dining
t t three differerrt
standpoirrts (Hg.5c>.As CAD drawingsrepreserrt
and livingrooms to east and a ful1-closed courtyard avoids the the finalpreposal,we will see thatthe version represented in
south view Project-Cfusedcourtyard
pertially. with the sollth side figure5a belongsto one of the finaldesignstages.
of thelivingioom open widely onte the northeast. In psejects `'D"
View-1 represents the access to the house.It is similar to the
arKl
"E'.
interiorspaces expand toward courtyards without finalproposal except forthe pavemcnt thatinthe finalversion is
accessing to the 1andscapevisually, and only a relatively smali 1arger. Transfoimationson this partof the pr(}ject (entrarioe) were

(rpeningin the livingareas fneyides a straight view to the east. rare. and itsoems that this view existed more as a confimiation of
'
Preject-Fopens dining and liyingareas to the northeast through a itsideathan thecorrection of itsforrnalelements.
1argsterTacegarden. View-2 describesan alternativefor the connection between
c) 71heLevel of'(
ipenness
and Pn'vacy the vestibule and service areas. The access to the kitchen is
When Mies wrote on
"quiet
secluslon and openexpanse" he was elaborated inthe preliminarysketch ina marmerthat theyestibule

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ispartially
divided imo two coni(tors. But)vties
decicicd
thatthe Fig.s.VtSUALIZATION OF PRELIMINARY CONCEPTS
finalproposa1imist p[esenia simpler yestibule thattends te (yvords-rlttemonoriginaSdrawiRgsinHeivetioatvpetacebytheauth
contain visitors within a rectangular space insteadof metivatifig
them to explore the privateareas of the bouse.In other sketehes
Mies explored fiirther
this space but everything was followingthe

finalproposal solution.i7 The vestibule in Mies's houses was

alwaysimportarttand itseems tl)at in the IIubbe Ht}usecase it
was designedin consultation with hisassistants becauseits
sketches always exist next tostudio drawings.i8

Vievv-3is facingthe glazedwall of the vestibt:le suggesting

the exit orrto the main entranoe porch.This view isimpossibleto

soe witbout omiuing the watl facingthe entry --the
one we have

drawn inhidclen linesin thc CAD drawingfo11owingthe aetual

position the viewer. As the existence of this wall is oniy in fioor
plan.it is necessary to re1ate view and plan in order to get a
complete image of the spatiat situation here.Therefore. we need Ftg.5e.OFtEGtNALDRAvaNG:PtaNANDMEWJUXTAPO$ITIou

to read the whole sheet of paper as a single clrawing to see vvhat Fig.5b. DETAIL
haye spatial
possibilities ideasand fioorplans.
Tbe study of the above yiews has suggested that interior
design and the generalform of the house were simultaneously

created; Mies could eventually changed the forrnof the bouse if

interiorspaoes did not fit within the generalscheme. This
phenomenon explains why he aiKt hisassistairts needed to
evaluate concepts three-dimensionally, aed why they piejected PlanctVlew,2i PerspectiveotViewW

fioorplanan(i perspec
tiveviews as complementary drawingsin Fi9.5c.VIEWS
ORIGINALDRAWING CADVIEW(FINALPROPOSAL)
tltse
satne paper.i9
sheer of

IVL2)imkction ofFinal bx,pasal

Once the preliminaryspace was visualized, itwas necessary to Tl->
prcriectthe fimal
spaoe of thebouse.
During this prooess.the space
isreduced to itselemental fomi (linesand volumes) resulting in
an abstract visualization. 20 Because of theal)stract
content of this
partof the precess, this stage is nct meant forthe understanding
of the client butforthe internalocnmnimication intheoMce.
Afterseleodng the finalproposalfioorplan, thesecond step
ecsw>
was projectthe basisof the finalspaoe (hard-line
to drawings).
These diawings <Hg. 7a-b)are usuaily executed by assistarrtswith
the inputof the architect They are usefu1 to visualize the location
and visual proportien so thatthespatial dimension of
of objects,

the house could be clearly grasped.Therefore, the conceptual part

of the design creation was InecessedthTough a minimal image of
space.2i Tbongh thisprecess tlre finalscheme of the
pr(ijects
bouseit cannet clearly materialize the yision of the architecL "" .-.
Therefore,
the finalimage had to be closer to the demestic
atmosphere of a residence. so thatMies could cletermine the real riverand ether comrnonplace objects endgw tliefinal
space with
impac tof thebouse over the client's expectations. Z2 an espeeial atmasphere. ts

iV:3) CteationofSiczitiatAtmosl"ie,e We have found that duringthisstage the spatial atmosphere

Afterprojectingthe finalspace. the execution of more figurative was obtained through two phases: first.transcribed from
realms was essential to the commurtication between client and conceptual ideas,
and second, derived directlyftom the final
architect Therefore.the rendering of sculpturws. trees,ivies. the space.

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Phase `A'
(Hg 6) FiglRgop
6 SPATIALATMOSPHERE CREATION PHASE ,Ai

Tbough commonplaoe oojects were alreadythougin dunng the

'

conoeptual stagt ,lt was ln the finalspat1al compositton thatthelr ' tt

..A;
'

importance mcreased M Oonceptualspaces o[nitatn the essence of -idiEa'v>

/.--x'ffs[i
.
''ttt'

tbe finaltmage of the bouse. so that objects likefunuture. ffti-e--.ta'

bmlding matenals 1andscapetransformed the vntual idea of
--1 '"'
pm
triE:i
and
11""i I .

the architeet into Fbr the defimtion ..

of thc hymg toom,
a possibleactual environmeirt
Mies executed two matn views that he
i
I-
fo11oveduntil the final decision In view 6a two rows of columns

split the spaoe into two z(nies It is a view composed mainly by :evopIdiEel->
arcintectural eleincnts bnt the intention to comptete it with

commorrptace objects hke trees fmmed by glasswalls at

background
ayoid ttns view to become an abstract visualization

View 6b is irKrre expliort in forthe presenceof

its oantents,

fumitureand obvious largetreesbeyondthecourtyard makes it

final 6c In this latter
'''

closer to the image otrtairtsed

in view view.
t.'yv"itrvttk'.'vtpte{ptgliISt'gk

the finalspace isdefinedso that architecture becomes a

"neutral
ff
.-g}'.pt.de,i..fiV
frame in winch 1ifeoould take place", es thatis, cominonplace

objects are highlrghtedto tmng a spatsal atmosphere to the rrnnd

ezsadicriti8l-.
of the clienL

Uniil now. we have only descnbed Mies's partiorpation

in tins
tNrtthe finaldrawmg
piooess. of tllls Phasewas tmpossuble
without his assistants' aid That is. we have drsoovered the
emstenoe of a hnear drawing on ruler below the fteehandtraces of
Mies thatcla"fy why his rcndenngs
pioportionate His aTe so
assistanis executed thosefinnt
hfies.
and he itSlowed
!t closely to

get an actual image of the view26 If we oompare 6c against the

CAD model in 6d, we will see slighr defferences. so that Mies

fOEIotved studto drawings to get an acteqpate spatial proportion

Itis possibiethat for tbe pre(luetaon of the hving reom final :fii;---'
rd8sa(o8)">
space Mies's oMce made the rtsecessary final study.bnt the enrtww

corresponding hard lioedrawtng is nonexisterrt in theArctuve in

.rm
any case, phase
`A'
descnbes bow clear was the spataal irnago m

Mies's rmnd and how c(mceptual skeiches affected the finalform 'Uatin.ljrEE}ttxt...-.=-

Qf tbe house
Phase `B' (Eg 7)
The c(nlaboiatien of Mtes'sassistantsis obvious in phase for `B',

ltNrvr..."

theuse of hard4me perspectiyesftamed the finalaimosphere 1

the finai sl8"tz6szfen8

Whcn we Tecaastructed the views of proposalin CAD
(Hg 7d) we found mo reIeyarrt differences,
and we could figure
out hcrwclose finalrenclenngs followedthe solu"ons explored in
hard-lineperspectiyes O

evolution ffom firial

The firstsigrt of a possibie spaoe to an

atmosphere is represented m Hg 7a We couId see that Mies 5 1

inserted a missing column in the drawing suggesting he wanted FlNALPROPOSALRECONSTHUCTEDFLooRPLAN

thiselemerrt to be seen in the finaiview za See that in view 7b and

7c theoolumn is drawn as was clearly placed on the fioorplan noTr

(Fig7e) The second sign oecur in the depth of thc background

wal1 7a looksvery fai,but m 7b it became closer to the final e AXtS OF THE UVING
1THtSSYMBOLREFERSTOTHEPERSPECTtVEVtEWPOINT
noOM VSEW ON THE FLooR PLANANGLEAND

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ArchrtecturalInstrtuteof
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Fig.7. SPATIALATMOSPHERE CREATION: PHASE 'B'

version 7c,29 thatis,

he explored theyisual proportions through
twordswrittenononginaldrawingsinHelveticatypetacebytheauthors)
the finalspaoe and then he fitthe spatial atmosabere withinthis
frame. This also explains why there is n)ore than (mc linear
'9icEecntltR)->

drawing for each view 7a. 30 After )vfies

set the finalspace he
proceededto render the spatial atrnosphere. Contraryto phase `A'.

phase highlightedthe architectural aspect of the yiew, tu the

`B'

insertionof landscapeelernents and seulptures relate beholders

and views to any ordinary atmosphere.

Itseems thatMieswas mainiy concerrtratecl on interioT

spaces

during the designprooess,forthereare ffontal aiKi backyard

£ levations as lineardrawingscorrespcmding
/･/ee perspective executed

to the finalversion but (nnitted as presentation

es
perspectives.3i
"ezEE2:.#.

.,t.,..ttiftet... The whole process suggests that the inter-co11aboratianin the

£

ee#-...t.,t.ec
studio was to defitre
crucial the finalimage of tltsehouse. Mies
could have drawn creative sketehes, bat withoutthe support of his
assistants thoseoonceptual drawingsalonewould neyer complete

tliefinalproposal
of the house.

I
ss V. Conelmsion
The presentresearch isthe first
process on

theoretical
Hubbe House
researcbes
attempt to visualize the design

graphically(therehave been anly

on this house).Our rcsults were possible
e!Eadimtz+R)tus reconstructing the original views through CAD. forthey helpe(lus
to see tliedesigncharacteristics of Mies.
The design preoesswas clearly un(lerstood through two main
stages of design.The firstisthe study on thc dojimtionofthe
designconcept where Mies origimated his spatial vision out of the
oenditions of the site and clevelope(l it through the layont

formationof the preliminaryl"(ije[rts eyolving ftom spreadto

oornpact votumetric compositions. The second prooessison the
productien ofthe jinalspace,where we visualized how the
creaiive piecesseyolyed ffomprelimimaryspace to thecreation of
a finalspatial atmosPhere. During this prooess.Mies had firstto
visualize the bouse as a complete archite(tural composition
di8:{;l
<conceptual
sketches) and then, he had to reduDe itto itsessences
in order to set the spatial dimension of the bouse. As a

conseqtience, he had to definea spstial atmosphere that could

ease the cominunication between he arKi his clieirt.The
of his assistants isevident in the rrK)stimportant
participati(m
stages of designbut mostly atthe end when he needed to pfoduoe
the conerete architect]iral irnagoof the bouse.
gE84!oB2:9re
Through Hubbe Hbuse's designprooess Mies started to
dismissthe deep visual focuswhich he used infneviouspr(xiects'
perspectives and shift to images proportionedto the human eye.

His carefu1 contro1 of the visual fbcus(nodoep views) and the

relevance of surfaoes inhissketches coald have been importantto
FtNALPROFOSALRECONSTRUorEDFLooRPLAN
yisualize hisAmerican Court Hbuses' collages inthe 19tro's.

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エnstitute Japan
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of 　 　

Ac   edgemen重s
ow 量 24 ｝　 K ．
Framp 賦m 廿iinl［s 　that　sculptupcs 　 in Mies’
　 s drawingsareanalogous
　 　 　to 血 o

Th 邑sSt dy　is　p
t　of 血 e 　resu 塵
ts　ofthe 　pr 垂
服vestigation 　work （レmo 胎 d 　by　the　reseaTch 　　 h ロ an
p
　 齢 enco．See Kenneth FraniPto 5 認 跏 7衫 廨 o C 勧
　 　 　 r8 叫 跏 郡 彼 　 蹴 圏 ： 刀

’
“ 訂 皿

g田 t 12 −102
皿 　 theyear2000 of theUnion Foundation亅br　E 唱 odesign 　oul加 r6．
　of 　 　 　 　 　 　 　 　　P圃 施 3q ヂ （Jons ction bt Alineteenth
伽 Cer婀 Arehitectttre，
wid rwetttieth 　 　 　 　
ワ

Notes an 磁 Refererlces
　 　 　 M 正TI ヤes 馬 p ．
202 ．
’ impo mt 　 hisconcern fer ・
1）　 See Wolf Tegethoff 　 ． Mies Vtm d妙 Rohe 伽 Uillas α
　 ηゴ （］ 吻 伽 ses
　 　 　 　 ’ o 25）
　Ihough 　the　building lobj
　as　 ect／　was
　 very to Mie 　 血 　 購　 　 　 　

’
　　N ¢ ，．
wYork61985垂21 ，Franz Sch IZG， Mies Vtm de Rehe aditica
　p ’ 　 　 ロ 　 　 　 ア ： 　 　 Natu e a d respect f f M3n s activitieswe o 訓sO pert．
τ 　 且 　 of hisooncept
　 ‘
〕　 　 　 τ 　 　 　 　  

　 “ ” ．See 　
A　Tatk with 　 Mies ． van tla ・
Rahe by Chris匠a Norb 9 −
　
　 　 飯 og 伽 π ． ．p
Cbjoago 1985
屮 ． 193 ．Konno 廿 FramptoL 3 5 titTeettuaic 　 　 匚 　 血 認 θ 　 　 　 bui娩 ng 頭 　 　 　 　 　 皿 唱置

　　 C 跏 ， 認 MassachuseOS l995，
肥 p．1a2 ．
P t r EiseB 垣 n 瀦 e5 伽 勵 e 　 　 　 巳 ¢ 　     二 　 　 Sch lzin F 惚 Ne mcyer ．
ロ 　
OP ．cit ．
　 ． P． 339， ロ 　 　 　 　

’
　　 sa earrie 　 1， 5 勧 r  ，eises discip
雇 es ，
Cenθ孵 e Goorgos Pb pidog ，
Flarisθ　 　 ’ 　 廿 　 　 田 　 　 Itse ms thatth se linoswcre haced by h iess assistantS and ar so f訟int
26 ） 　 ｛｝ 　 　 ¢ 　 　 　 　 　 矼 　 　 　 ¢ 　

　 　 1987 ， P ．
102 ． 　 　 that丘
重 was 量
丗
PDSS量bleto 　 　notiOO 樋rem ロ璽 益聖we 　studi θ d血G 　actual 　 draw量ngs in 　

2 ）　 See FrjtzNeumeyer ．
　 Z馳 ！嫌 　 4 甅 ssachuse 鵬 199 ユ， p，217 ．
　 And ∬ 凧 碗 　 　 　 　   cMnseum 　ofMod   A 塊 Now 　 York

　 　 Colin Rowe ． henaatics

　 of the1deal h ’ ia mtci Other E
刀短 撫 ys．  　 　 　 　 　 　 　 ∬ の 27 ）
　 In 血 CAD 　 drawing 篝 翫c 　
Cye IGvd is p 匪
　 aGed 　 　 　at ・
the middlo
　 　of 丗e ．
flooro 重

　 　 Pres 霑P ．49 ． 　　 ceiling 　 hoightas 　 　was 　customa

y な Mles，
童 and） 　 　wore 　car 曲 11yprojected i
　 　 皿

li面 in輌 ect　for 　

to　 the era cs ． dis重o 面 ons ’fbo s g
3） PVterCarter 醜 9Gst曲 伽 伽   跏 s 　a   　 　 order a oid ▼ 　 腫 s“ a 翌 oomp
　 鵬 r s　 悶 　   重

　 　 Mios’
shot 匡 See ”
ses ． Mies
　 　 ▼ a霞 der　Roho 飢 W6r ゼ ． p、
　IDndoa 　1999．
　 20 、 28 ）　1］he　s 閃 u ¢ nce 飾 o伽 ，thongh we aTe aware 　 　
in
7a 的 7b　is血 e　Iogic
that 齟   ¢ 　 　 　 　

’ ’ ． We have arTanged itin this

4 ）　　For 　 a 踊 r　 interpretatio
of Hubbe House s 隅 皿 　 　 9G 　 comep し see 驚 to【 　 　 thcactual processitcould haveboefidifferent
　 　 　 　 　 　 　 　 　 　 　 　 　

of the designcreation．
　 　 Eisenman ρp ．
， dr ．
，pp ．
10（レ102． 　 　 way （from7a tO 7b ）to p vide a clear evolution
　 　 　 　 旗） 　 　 　 　 　 　 　
　 　

・ ’ ’
29 ）　 Mies uscd to draw deep views at the beginningof 1930 s buthe h n
5｝　 SkeiChes　and 　drawingsre eal theimerrtions
　ofMies s　d ¢ sign proccss ▼ 　 　 　 　 　 　 　 　 m 　 　 　 　 　 　 　 雪 ¢ 鋤

6）　 TllisreseErch is ho fir a mpt to apply 丗 s kindofme 血 諏ofanalysis

　 ｛ 　 加 就 鵬 　 　 　 　 α 　 　 thistendency i to
　
prept甬 onate spaco ．
　皿 （：f kericke House （1932）珊 e
　amore 　 ） 　 （ 　

’’ q ρ． P．
356 ．
　 　 Mies s Hubbe HOttsedesign PToccssdTaWings ． 　 　 　 　 　 　 ルf飴 5 rRc heA chiie，
cl自   o ， VbL 3． ｝ ア 　 　 彪 　 　 　

7）　　S t 彷e Mies von derRo ゐe 賓π 勇惚 ，

開 　 New Yer 私 1986 ，
　 VoL 4 ， pp232 駲
　 484， 　 ！ 　 　 　 　 　 Vol．
30 ）　 1う 6孟，ゴ 6， p．197． 　

． 87 −197 ． 272 −273 ．

pp ．
　　 跏 dVol 6，pp ． 　 韮 31 ）　 1椀 6正，
VoL 4 ， 　 　

8）
　　S ¢ ¢ 3ean 　L ｛川 isCobe
　 鴨 ル麁 51 翩 囗 hr Rahe ，
　 且996，
Lo do乢 　 p．
76 ．
Ludwig
　 餓 　 　 皿 鵬 m
重 翻on 　 Cre 煎 s （（踊 gina ヒ  。・ be欄   凹   1h。・i・）

　　 ．
H 鰍be　sseimrer
Mes 　 van
　 da ・
　 鯒 ¢ ，
Chicago，
　 p．
｝956，70 ． 　 　 　 ，vol ．
TlreMiosvan derRoheAArehive 4 Fig．
　 1（234 》2a（
　 ，
284 ） ，4（293）
2b （285｝ 　 　 ：

9）
　 We 　
could 　
see 　
some 膃 scd 　 linesi thefinalrenderingeq
皿 　 　 　st） Mios could havo
　 　 ，
3a（354 ） 3c （337 ），3d （287 ），
30 （347 ），
3f（240 ），
5 〔244＞，6a（283），6b（282 ），
6c（281）， 副

ip翩 出 。　vis ・ 1 掀 tea51 妙 in 酬 圃 7a（280）， 7b （279 ），7c （276 ）．

Jc Lo 甫s Cohen （cf ote 8 ）3b（76）．
　　   囎 。 ngS   　 跚 　 皿 　 ：

1 り　　Soo 7 劾 層 3
〔 　d抛rRoheA hive，q ． ci ，
θ ，VbL 2 ，
  p． 232． ハ： 　 ρ　 ’ 　 　 　
和 文 要約
11） 5 ＠ Mios’ s descriptiOttOfi theHous in Tagethoff
　 ．op ．cit ．
，p．121 ． 　 　 　 ¢ 　 　 　 　

12）　 Se Ihe Mies 6勧 1   8 ． 4 ぬ諏 ， op ．eit．，VoL 3， p．160 ．

　 本 論 文 は ミ ース ・フ ・デ ル ・ロ ーエ
¢ 　 剛 π θ　 　 　 　 　
ン の フ ッ ベ邸 （1935
B ） Cf note 11，
ァ
　 　

14）　 Mies had previo Slyused equa 置

　 ed paper in h Krefeld GolfClub project of
　 肪 　 　 　 　 電 ¢ 　 　 　 年） の 識計 過 程 に お い て 残 され た ス ケ ッ チ を分 析す る こ と に よ

6ワ、 ． Vo1 ． の で ある 。
　 　 1931． See lhe Mjes van derlZaheArchive
　 ， ，　 3， P，
8 ｝． 　 　 認’ 　 　 り 、そ の 設 計 過 程 の 特 質 を 明 らか に し よ う と す る も
lf ote 11． 一
15） （ 　＝ 　 設 計 過 程 は 大 き く 二 段 階 に 分 け る こ と が で き た 。第 段 階 は平
16） lhisrttanner　was 飢 i糊 細 貢 。fhis　design　process 　because　it　is　usually
面図 ス ケ チ を 通 し て の デ
ッ ザ イ ン コ ン セ プ ト の 決 定 過 程 で あ り、
　 　 se¢ n 　in　othor 曲 Gcts　ofHubh ，See t re Mies van derReheAre 舳 ， 夢 House 縦 　 　 　 　 　 　 昭
チ を通 し て の 空 間特 性 の 詳細 な 決定 過
第二 段階は透視図ス ケ ッ
　 　 6ワ， cit．， Vol． 4，pp ． 249 and 271 ．
242 ， 　 　 　 　

程で ある。
　 See 血 o M 瞳osvan dcr RoheAmhivc ，
17 ） 　 q μ cit．
，V6L 4 ， p．242． 　 　 　 　 　 　

　 平 面 図ス ケ ッ チ にお い て は 各空 間 の レ イ ア ウ トが 検 討 さ れ て
18 ）
　 V stibules were us ahn
¢ th vision of Mlos．
　 See his ske ch 血 r Peter
　 臆 　 ¢ 　 　 　 　 　 電 　

　 　 Behrens G
’ Embas5y （St．恥 tersburg ）in FranzScLulzo， ． ．
餌   ，p．
58 ． 　 　 　op 　cit 　 お り、計 6 段 階 に 整 理 で き た 。そ こで は 空 間構 成 の 大 き な変化

19） F ｝ ・ ・rp 匪
ans 　and 　vi 。ws 　 dm 伽 d 　in 伽 sam 。　sh 。 et　was 　usu 記 就 伽 begl畑 ng が 認 め ら れ る が 、開 放 的 な レ イ ア ウ トが 次 第 に 外 壁 の 矩 形 の 輪

　　 of 　tho　twentie止 Gcntu in 電ho 　oas¢ of Mie ＄ 重his　process　bcca c 　a y

置 ，a d
　 ロ 　 　 阻
郭 に 収 め られて い く過 程 が 見 出 さ れ た 。ま た 東側面 の 開 口 部 の

． ’
　 　 designtechnique fbr the masters
　 of the Renaisserioe C じ　Michelangelo
　as 　 s 　 　 　 　 　 　
配 置 に 着 目す る こ と に よ り 、東 方 向 へ の 視 野 が デザ イ ン 上 、重
　 　 sketches 　fbr　the　staircase　of tho　Bibliotcoa 　 LauTenziana in
　 　 Rudo f
ユ
。 眺 望 を CAD
　
視さ れ た こ とが 推 定 さ れ た そ の 東 方向 の 透視 図
　 　 Wittl
［ewe ゼs 拓 をσ 祕 伽 ge ：　Studies
　in　lhe　ltaEtmRenaissanee ． nd ，
恥
ーシ 、居
　  

で シ ミ ュ レ ョ ン す る こ と によ り 間 の 開 放性 と プ ラ イ ベ
　　 且978 P．
， 29 ．
ートな ール
閉鎖 空 間が 、眺 望 の 微妙な コ ン トロ に よ っ て 調 整さ
20 ） gh w are r feninS tO 止 gmphic des量gn proeess ｝rer ．
Tho 撹 　 。　 　 。 we d mt 　 。　 　 　 。 　 　 ・

　 　 disoattl 重ho ¢ Xistcnceof Study mOdcls duting the dosign p ocess ．Acoording
　 　 　 　 　 　 　 【
れた こ と が 明 らか と な っ た 。
　 　 to S rgi s Ruegenberg modols wcre usually dono，
　 ¢ “ 　 b t our conclus 量ons a1℃　 　 　 　 　 弱 　 　 　 　 壁 面位 置 の 微 妙 な 調 整 な どの 詳細 な 空 間デザ イ ン は 、ラ フ な
’ 、三 次 元 的 に 、ま
　 　 only 　relying 　on 　graphies 　for 重here ls no sllrvi 血 g 歯 sigl11爪 ）G¢ ss s加 dy 　 　 　
透視図 ス ケッ チ をい くつ か 描 く こと によ っ て

　　 modol α n 　this　 house．

　See　TegethoE （ ）
p． p．
cit ，75 ．
　 」 　
た眺 望 の 検 討 に よ っ て 決 定 され て いた こ と が 、試 行 錯 誤 を 示 す
21 ）
　 At　lho　ou ち 重hs 　s 由 go　secm d　to　us　to　b ¢ only 　a　dra伍 ng 　step til　wo
重se
。最 終段 階 の 透 視
¢  
ス ケ ッ チ の 詳 細 な 分 柝 か ら確 認 さ れ た 図ス ケ
hanges　linear 　Piesent　am 。ng 。aGb 　G血 町 ．
　drbWingS
　　 血 soovef
　　　　　　　　　　　　　　　　　 ヨ
　　
　　　
　 　
　　　
　　
副
　　
　　　
　　　
　　　
　　　
鴇

　
　　　　　　　
go 疲
ロ
。

ッ ヂ の 詳 細 な 分析 か ら 、 、設 空 間 構 成 の 枠 組 み が決 定 さ れ た後
22 ） 抽 。 is that tinear
drawingsart very usefu1 to communlcate
usual 　sitUStion 　 　 　 　 　 　 　 　 　
ー
計 助 手 が 定 規 を 用 い た 線 的 な 透 視 図 を 描 き 、ミ スが壁面の 素
　　 bettu architecty 　 but　rbO −arvhitect 　clieitts 　may 　 better
　und rstand 　 the　p lject
ー
皿 。 ［｛

． 材 、家 具 、 庭木 や 彫刻 、 ま た 遠 景 を フ リ ハ ン ドで 描 き 込み 、
　　 劃hrough皿 ore 　explicit 　
perspectives
23 ） 凶 ”董s usua 垂聰y d量f猛cu 阯to　define
　in l正terature 次 第 に 厳 密 に 決 定 され て い くと い うプロ セ ス を Lt っ た こ とが 明
　 Thougk atmosphore 　 　 　architectural 　

　　 i
戮 our 鄲 it
e 　 　m 。ans 止e 　spatia ’effect 　 drawings　exerts ・ vef 　b。holders ． らかに な っ た。

2002 年
｛ 4 月 10 日原 稿 受 理 ，2002年 7月 1 目採用 決定｝

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