Mies Van Der Rohe Presentation j6c
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LUDWIG MIES VAN DER ROHE (1886-1969)
BIOGRAPHICAL DATA
March 27 1886 Ludwig Mies van der Rohe was born in Aachen, · Ludwig began his career in his family stone-carving business in · He never received any formal architectural training, but when he was a teenager he worked as a draftsman for a stucco-decorating firm. · At the age of 19 while moving to Berlin, he found work in the office of architect and furniture designer Bruno Paul · From 1908-1912 he worked with industrial architect Peter Behrens. · In 1912, Mies van der Rohe opened his own practice in Berlin and studied the architecture of the Prussian Karl Friedrich Schinkel and Frank Lloyd Wright · 1n 1913 Mies got married · After World War I, he began studying the skyscraper and designed two innovative steel-framed towers encased in glass. One of them was the Friedrichstrasse skyscraper, designed in 1921 for a competition. · In 1921, when his marriage ended, he changed his name, adding the Dutch 'van der' and his mother’s maiden name, 'Rohe'. Ludwig Mies became Ludwig Mies van der Rohe. · In the 1920’s he was active in a number of the Berlin avant-garde circles (the magazine 'G' and organizations such as the 'novembergruppe', 'zehner ring', and 'arbeitsrat für kunst') that ed modern art and architecture along with artists
·
From 1926-1930 he was the artistic director of the Werkbundsponsored Weissenhof project, a model-housing colony in Stuttgart. · Mies began working with Lilly Reich, who remained his collaborator and companion for more than ten years. · In 1930, Mies met New York architect Philip Johnson, who included several of his projects in MoMA’s first architecture exhibition held in 1932, 'modern architecture: international exhibition', thanks to which Mies’s work began to be known in the U.S. · 1930-1933 he was director of the Bauhaus school until its disbandment. · In the 30s, none of his designs were built due to the sweeping economic and political changes overtaking . · 1937 he moved to the United States. · From 1938-1958 he was head of the architecture department at the Armour Institute of Technology, Chicago · In the 40s, was asked to design a new campus for the school, a project in which he continued to refine his steel-and-glass style. · He had also formed a new relationship with Chicago artist Lora Marx that would last for the rest of his life.
By 1944, he had become an American citizen and was well established professionally. · In the 50s he continued to develop his concept of open, flexible space on a much larger scale and realized his dream of building a glass skyscraper. · In 1959 he achieved the 'orden pour le merite' award () · In 1960 he received the AIA Gold Metal Award · In 1963 the 'presidential medal of freedom' (USA). · August 17 1969 Mies van der Rohe died in Chicago, Illinois.
SELECTED PROJECTS
· · · · · · · · · · · · · ·
1913: Kroller Muller Villa 1921: Friedrichstratte skyscraper 1924: Brick Country House 1926: Rosa Luxemburg Monument 1927: Weissenhof Apartments, Stuttgart, 1928: Krefeld House, Krefeld, 1929: Barcelona Pavilion, Spain 1930: Tugendhat House, Brno, Czech Republic 1939: Illinois Institute of Technology 1950: Farnsworth House, Plano, Illinois 1951: Lake Shore Drive Apartments, Chicago 1956: Crown Hall, Chicago 1958: Seagram Building, New York 1968: New National Gallery, Berlin,
THEORIES AND IDEALOGIES
·
Under Behrens' influence, Mies developed a design approach based on advanced structural techniques and Prussian Classicism. · He also developed sympathy for the aesthetic credos of both Russian Constructivism and the Dutch De Stijl group, thus removing himself from the mass production approach. · He borrowed from the post and lintel construction of Karl Friedrich Schinkel for his designs in steel and glass. · Three main influences seen in Mies’ work are: 1. Berlage brick tradition and the dictum “NOTHING SHOULD BE BUILT THAT IS NOT CLEARLY CONSTRUCTED” 2. Frank Lloyd Wright’s horizontal profiles 3. Kasimir Malevich’s Suprematism · Mies van der Rohe taught his taught students at IIT to build first with wood, then stone, and then brick before progressing to concrete and steel. He believed that architects must completely understand their materials before they can design. · He followed order, repose, symmetry and discipline in his earlier designs. ·
·
· His philosophy that “LESS IS MORE" became a guiding principle for architects in the mid-twentieth century. It took the Arts and Crafts movement forward in a belief system directly related to the flow of space between inside and outside. · Mies always tried through his designs to “EXPRESS THE TECHNOLOGY OF THE TIMES" and has successfully done so. · Mies attitude towards expressing technology further implies the engineering component, volume or spatial system to its essence. In buildings such as the Barcelona pavilion or the Farnsworth house of 20 years later, which has become the iconic Miesian models of such minimalist reduction, this credo is evident at every level; from the way materials are ed, through space planning to furniture design. · Mies van der Rohe’s famous dictum "less is more" is for modernists a defining statement and for minimalists it has become a kind of mantra to be repeated daily as they peruse their quest to strip away unwanted details · Object of all designs is to define the true essence of any given piece, whether it be a piece of cutlery, a gallery space or a house in the landscape.
· Mies attempted to create contemplative, neutral spaces through an architecture based on material honesty and structural integrity. Over the last twenty years of his life, Mies achieved his vision of a monumental 'skin and bone' architecture. · Mies van der Rohe was not the first architect to practice simplicity in design, but he carried the ideals of rationalism and minimalism to new levels. His glass-walled Farnsworth House near Chicago stirred controversy and legal battles. His bronze and glass Seagram Building in New York City is considered America's first glass skyscraper. Skyscrapers around the world are modeled after designs by Mies van der Rohe.
FAMOUS QUOTES
“Object of all designs is to define the true essence of any given piece, whether it be a piece of cutlery, a gallery space or a house in the landscape.” · He said, “I consider the industrialization of building to be the main concern of our times. If we succeed with this industrialization, consequently the social, economical, technological and artistic questions will be easily solved.” · “Architecture is the will of the age conceived in spatial . Living, changing, new ….” ·
BARCELONA PAVILION
· In 1927 he designed one of his most famous buildings, Barcelona pavilion for which he also designed the famous chrome and leather 'Barcelona chair', · Had a flat roof ed by columns. · The building is made of green Tinian marble, travertine, chrome steel and tinted plate glasses. · The pavilion’s internal walls, made of glass and marble, could be moved around as they did not the structure.
BARCELONA PAVILION
· The exterior is of steel frame with glass and polished stone Mediterranean · Like a Greek temple, the pavilion rests on a podium, in this case of travertine and placed along side a pool · The concept of fluid space with a seamless flow between indoors and outdoors was further explored
The building was demolished in1930 and rebuilt in 1981 as a exhibition building · At the end of the courtyard is a sculpture reflecting classicism. known as “the dancer”. · The famous Barcelona chairs were deigned specially for the pavilion
·
BRICK COUNTRY HOUSE
· With a view towards universality Mies made open plans by erecting free standing walls that defined spaces without enclosing them · He himself identified parts of the house only as “living spaces” and “service spaces”.
WEISSENHOF ESTATE APARTMENT BUILDING
· These were the low-cost apartments in the International Style · The steel skeleton structure allowed apartment plans to be changed by the residents. · His approach to design, whether it was on large scale or on small scale remained the same throughout his career. · Symmetrical composition and regularity of the building.
Exterior façade is monotonous but the apartments vary in plan. · The exterior walls of the three-story apartment block consisted of masonry infill covered by smooth stucco, large windows, and glass doors; floors and roof were hollow block between joists. · The steel frame was crucial to Mies's architectural vision in this project · It enabled him to limit the use of solid walls to separations between apartments, to introduce moveable partition walls, and to extensively open the facades with glass.
TUGENDHAT HOUSE
· Built on a steeply sloping site overlooking the city of Brno, the house adapted the spatial concept of the Barcelona pavilion to a domestic programme. · It was a combination of Wrights Robie House and Schinkel Italianate Villa · Internal spaces opened up in a well-controlled manner. · The curved walls of frosted glass along the entrance hallway lets in light and marks the staircase to a lower level. · The garden elevation with its long transparent wall of glass is the organizing feature of the design. · The elegant living and dining areas are separated by an onyx partition, retaining the sense of one large space. · The neutral colours of interiors are a strong contrast to the chrome columns and glass.
· Longer side faces the city and the shorter side a conservatory faced in large sheets of plate glass. · The floor is of white linoleum, the rug white wool. The curtains are of black and natural raw silk and white velvet. · Behind the dining room a double glass partition serves as a light source for the interior space, as in the Barcelona design. · The hillside site suggested a two-story scheme with the entry and bedrooms above with the main floor below. Across the living and dining areas the entire wall is of glass. Two of these large panes slide down into pockets as in an automobile window. · At one end the glass is doubled to provide a narrow conservatory running the depth of the plan.
TUGENDHAT HOUSE
ILLINOIS INSTITUTE OF TECHNOLOGY
· The early scheme for the campus was extended and changed over the years but retained the grid and the general layout. · Unit grid was of 7.3m *7.3m and was used to determine the modular height of the interiors, ensuring an architectural. · The low-rise rectangular steel framed blocks are staggered in plane to define a dynamic sequence of spaces. · The strips of grass and walkways create vistas, and connect different parts of the campus. · Consists of Minerals and Metals Research Building, Alumni Memorial Hall, Chemistry building and Crown Hall.
CROWN HALL
· The glass box with Mies uninterrupted “universal space” is suspended from steel trusses and raised of the ground, received by a grand staircase. · The open plan allows for great flexibility · Has an exposed steel frame and roof is suspended from spanning I-beams. · The buildings proportions, symmetry, clearly expressed structure; its floating entrance stairs and precise detailing are characteristics of the architect’s modern expressions of classical values. · The roof is suspended from the underside of four steel plate girders which in turn are carried by eight exterior steel columns.
These columns are spaced 60 feet apart with the roof cantilevered 20 feet at each end. · Crown Hall, in which architecture, city planning, and design are taught, has a symmetrical plan about its short axis. Freestanding partitions at the height of the window muntins partially subdivide the space. · Only two enclosed service ducts interrupt the ceiling. A pair of interior stairways leads to a basement level used for workshops, offices, toilet rooms, and mechanical equipment. ...Natural ventilation is provided by louvers at floor level.
LAKE SHORE DRIVE APARTMENTS
· The steel and glass twin towers derive their forms from the modular grid system. · At the core of each building is a service shaft while the apartments are on the perimeter. · The triangular site over looks the lake, giving each apartment drametic views of the land scape. · I–Beams, shiny black and glass towers remain as modern today as when built. · The scheme consists of two identical 26-story towers placed 46 feet apart with their long axes set perpendicular to each other.
The steel skeletal frame is based on a 21-foot grid and is clearly expressed in the elevations, indicated by black-painted steel sheets covering the fireproofed columns and beams. The rigorous consistency of the design is seen in the uniform treatment of each building face regardless of orientation. · Each bay is subdivided into four window units by three wideflange steel mullions. Within these divisions aluminum-framed floorto- ceiling windows are set. The significance of this work is a pioneer curtain-wall expression as well as a fulfillment of the all-glass skyscraper schemes proposed by Mies three decades earlier.
SEAGRAM BUILDING
· Building is 38 stories high and placed 27 m back from the street behind a deep plaza. · Plaza has a low wall and a number of pools. · Seagram Building is in a city already crowded with skyscrapers of unbroken height of bronze and dark glass juxtaposed to a granite-paved plaza below. · The siting of the building on Park Avenue, an indulgence in open space unprecedented in midtown Manhattan real estate, has given that building an aura of special domain.
· The commercial office building has been made like a monument which is unequal in the civic and religious architecture of our time. · The use of extruded bronze mullions and bronze spandrels together with a dark amber-tinted glass has unified the surface with color. · The positioning of the Seagram Building on the site and its additive forms at the rear, which visually tie the building to adjacent structures, make for a frontal-oriented composition. The tower is no longer an isolated form. It addresses itself to the context of the city."
FRIEDRICHSTRASSE,BERLIN
· He has rendered the glass as a complex reflective surface, which would be constantly, subjected to transformation under the impact of light. · Prismatic form has been used to best fit the triangular site. · Glass walls have been placed slightly at an angle to break the monotony. · The important thing was the play of reflections and not of light and shadow as in ordinary buildings. · The curves of the building are governed by: sufficient illumination of interiors, the massing of the building from the road and play of reflection. (By the model he proved that cal. of light and shad do not help in deg of bldgs.)
FARNSWORTH HOUSE
· In this period he designed one of his most famous buildings, a small weekend retreat outside Chicago. · It is a transparent box framed by eight exterior steel columns. · It is one of the most radically minimalist houses ever designed. · Its interior, a single room, is subdivided by partitions and completely enclosed in glass. · The seminal glass pavilion synthesizes Mies’ ideas at the domestic level.
· In plan, the planes of the unit and the deck slide past each other in a painterly composition. · The revolutionary design though impractical design has been one of the most ired designs of his.
NEW NATIONAL GALLERY
·
· In 1962, his career came fullcircle when he was invited to design the 'new national gallery' in Berlin. · His design for this building achieved his long-held vision of an exposed steel structure that directly connected interior space to the landscape. · He returned to Berlin several times while the gallery was under construction, but was unable to attend the opening in 1968. · It employs a two-way roof structure ed along the perimeter on eight columns. · The building defines large open spaces on an elevated platform.
· The great room would house temporary exhibitions while the permanent collection together with istrative offices and auxiliary services would be lodged in the podium, where they would not violate the space above. · Once completed, the hall, walled totally in glass, measured 166 feet square, with a 26-foot height, comprising an area of 27,000 square feet. · The 213-foot-square roof, the first rigid plate ever executed, was constructed in the form of an orthogonal grid of web girders 6 feet deep separated at 12-foot intervals.
CHICAGO CENVENTION HALL
· In this un built project the horizontal “universal” clearspan box is taken to its conclusion. · Working with three IIT graduate students and his favourite engineer Frank Kornacker, Mies’ monumental structure was not only the largest space he had ever designed but would have been the largest exhibition hall in the world at the time.
PROMONTORY APARTMENTS
· First designed as a steel structure, the 22story building was built using a concrete frame because of postwar shortage
BIOGRAPHICAL DATA
March 27 1886 Ludwig Mies van der Rohe was born in Aachen, · Ludwig began his career in his family stone-carving business in · He never received any formal architectural training, but when he was a teenager he worked as a draftsman for a stucco-decorating firm. · At the age of 19 while moving to Berlin, he found work in the office of architect and furniture designer Bruno Paul · From 1908-1912 he worked with industrial architect Peter Behrens. · In 1912, Mies van der Rohe opened his own practice in Berlin and studied the architecture of the Prussian Karl Friedrich Schinkel and Frank Lloyd Wright · 1n 1913 Mies got married · After World War I, he began studying the skyscraper and designed two innovative steel-framed towers encased in glass. One of them was the Friedrichstrasse skyscraper, designed in 1921 for a competition. · In 1921, when his marriage ended, he changed his name, adding the Dutch 'van der' and his mother’s maiden name, 'Rohe'. Ludwig Mies became Ludwig Mies van der Rohe. · In the 1920’s he was active in a number of the Berlin avant-garde circles (the magazine 'G' and organizations such as the 'novembergruppe', 'zehner ring', and 'arbeitsrat für kunst') that ed modern art and architecture along with artists
·
From 1926-1930 he was the artistic director of the Werkbundsponsored Weissenhof project, a model-housing colony in Stuttgart. · Mies began working with Lilly Reich, who remained his collaborator and companion for more than ten years. · In 1930, Mies met New York architect Philip Johnson, who included several of his projects in MoMA’s first architecture exhibition held in 1932, 'modern architecture: international exhibition', thanks to which Mies’s work began to be known in the U.S. · 1930-1933 he was director of the Bauhaus school until its disbandment. · In the 30s, none of his designs were built due to the sweeping economic and political changes overtaking . · 1937 he moved to the United States. · From 1938-1958 he was head of the architecture department at the Armour Institute of Technology, Chicago · In the 40s, was asked to design a new campus for the school, a project in which he continued to refine his steel-and-glass style. · He had also formed a new relationship with Chicago artist Lora Marx that would last for the rest of his life.
By 1944, he had become an American citizen and was well established professionally. · In the 50s he continued to develop his concept of open, flexible space on a much larger scale and realized his dream of building a glass skyscraper. · In 1959 he achieved the 'orden pour le merite' award () · In 1960 he received the AIA Gold Metal Award · In 1963 the 'presidential medal of freedom' (USA). · August 17 1969 Mies van der Rohe died in Chicago, Illinois.
SELECTED PROJECTS
· · · · · · · · · · · · · ·
1913: Kroller Muller Villa 1921: Friedrichstratte skyscraper 1924: Brick Country House 1926: Rosa Luxemburg Monument 1927: Weissenhof Apartments, Stuttgart, 1928: Krefeld House, Krefeld, 1929: Barcelona Pavilion, Spain 1930: Tugendhat House, Brno, Czech Republic 1939: Illinois Institute of Technology 1950: Farnsworth House, Plano, Illinois 1951: Lake Shore Drive Apartments, Chicago 1956: Crown Hall, Chicago 1958: Seagram Building, New York 1968: New National Gallery, Berlin,
THEORIES AND IDEALOGIES
·
Under Behrens' influence, Mies developed a design approach based on advanced structural techniques and Prussian Classicism. · He also developed sympathy for the aesthetic credos of both Russian Constructivism and the Dutch De Stijl group, thus removing himself from the mass production approach. · He borrowed from the post and lintel construction of Karl Friedrich Schinkel for his designs in steel and glass. · Three main influences seen in Mies’ work are: 1. Berlage brick tradition and the dictum “NOTHING SHOULD BE BUILT THAT IS NOT CLEARLY CONSTRUCTED” 2. Frank Lloyd Wright’s horizontal profiles 3. Kasimir Malevich’s Suprematism · Mies van der Rohe taught his taught students at IIT to build first with wood, then stone, and then brick before progressing to concrete and steel. He believed that architects must completely understand their materials before they can design. · He followed order, repose, symmetry and discipline in his earlier designs. ·
·
· His philosophy that “LESS IS MORE" became a guiding principle for architects in the mid-twentieth century. It took the Arts and Crafts movement forward in a belief system directly related to the flow of space between inside and outside. · Mies always tried through his designs to “EXPRESS THE TECHNOLOGY OF THE TIMES" and has successfully done so. · Mies attitude towards expressing technology further implies the engineering component, volume or spatial system to its essence. In buildings such as the Barcelona pavilion or the Farnsworth house of 20 years later, which has become the iconic Miesian models of such minimalist reduction, this credo is evident at every level; from the way materials are ed, through space planning to furniture design. · Mies van der Rohe’s famous dictum "less is more" is for modernists a defining statement and for minimalists it has become a kind of mantra to be repeated daily as they peruse their quest to strip away unwanted details · Object of all designs is to define the true essence of any given piece, whether it be a piece of cutlery, a gallery space or a house in the landscape.
· Mies attempted to create contemplative, neutral spaces through an architecture based on material honesty and structural integrity. Over the last twenty years of his life, Mies achieved his vision of a monumental 'skin and bone' architecture. · Mies van der Rohe was not the first architect to practice simplicity in design, but he carried the ideals of rationalism and minimalism to new levels. His glass-walled Farnsworth House near Chicago stirred controversy and legal battles. His bronze and glass Seagram Building in New York City is considered America's first glass skyscraper. Skyscrapers around the world are modeled after designs by Mies van der Rohe.
FAMOUS QUOTES
“Object of all designs is to define the true essence of any given piece, whether it be a piece of cutlery, a gallery space or a house in the landscape.” · He said, “I consider the industrialization of building to be the main concern of our times. If we succeed with this industrialization, consequently the social, economical, technological and artistic questions will be easily solved.” · “Architecture is the will of the age conceived in spatial . Living, changing, new ….” ·
BARCELONA PAVILION
· In 1927 he designed one of his most famous buildings, Barcelona pavilion for which he also designed the famous chrome and leather 'Barcelona chair', · Had a flat roof ed by columns. · The building is made of green Tinian marble, travertine, chrome steel and tinted plate glasses. · The pavilion’s internal walls, made of glass and marble, could be moved around as they did not the structure.
BARCELONA PAVILION
· The exterior is of steel frame with glass and polished stone Mediterranean · Like a Greek temple, the pavilion rests on a podium, in this case of travertine and placed along side a pool · The concept of fluid space with a seamless flow between indoors and outdoors was further explored
The building was demolished in1930 and rebuilt in 1981 as a exhibition building · At the end of the courtyard is a sculpture reflecting classicism. known as “the dancer”. · The famous Barcelona chairs were deigned specially for the pavilion
·
BRICK COUNTRY HOUSE
· With a view towards universality Mies made open plans by erecting free standing walls that defined spaces without enclosing them · He himself identified parts of the house only as “living spaces” and “service spaces”.
WEISSENHOF ESTATE APARTMENT BUILDING
· These were the low-cost apartments in the International Style · The steel skeleton structure allowed apartment plans to be changed by the residents. · His approach to design, whether it was on large scale or on small scale remained the same throughout his career. · Symmetrical composition and regularity of the building.
Exterior façade is monotonous but the apartments vary in plan. · The exterior walls of the three-story apartment block consisted of masonry infill covered by smooth stucco, large windows, and glass doors; floors and roof were hollow block between joists. · The steel frame was crucial to Mies's architectural vision in this project · It enabled him to limit the use of solid walls to separations between apartments, to introduce moveable partition walls, and to extensively open the facades with glass.
TUGENDHAT HOUSE
· Built on a steeply sloping site overlooking the city of Brno, the house adapted the spatial concept of the Barcelona pavilion to a domestic programme. · It was a combination of Wrights Robie House and Schinkel Italianate Villa · Internal spaces opened up in a well-controlled manner. · The curved walls of frosted glass along the entrance hallway lets in light and marks the staircase to a lower level. · The garden elevation with its long transparent wall of glass is the organizing feature of the design. · The elegant living and dining areas are separated by an onyx partition, retaining the sense of one large space. · The neutral colours of interiors are a strong contrast to the chrome columns and glass.
· Longer side faces the city and the shorter side a conservatory faced in large sheets of plate glass. · The floor is of white linoleum, the rug white wool. The curtains are of black and natural raw silk and white velvet. · Behind the dining room a double glass partition serves as a light source for the interior space, as in the Barcelona design. · The hillside site suggested a two-story scheme with the entry and bedrooms above with the main floor below. Across the living and dining areas the entire wall is of glass. Two of these large panes slide down into pockets as in an automobile window. · At one end the glass is doubled to provide a narrow conservatory running the depth of the plan.
TUGENDHAT HOUSE
ILLINOIS INSTITUTE OF TECHNOLOGY
· The early scheme for the campus was extended and changed over the years but retained the grid and the general layout. · Unit grid was of 7.3m *7.3m and was used to determine the modular height of the interiors, ensuring an architectural. · The low-rise rectangular steel framed blocks are staggered in plane to define a dynamic sequence of spaces. · The strips of grass and walkways create vistas, and connect different parts of the campus. · Consists of Minerals and Metals Research Building, Alumni Memorial Hall, Chemistry building and Crown Hall.
CROWN HALL
· The glass box with Mies uninterrupted “universal space” is suspended from steel trusses and raised of the ground, received by a grand staircase. · The open plan allows for great flexibility · Has an exposed steel frame and roof is suspended from spanning I-beams. · The buildings proportions, symmetry, clearly expressed structure; its floating entrance stairs and precise detailing are characteristics of the architect’s modern expressions of classical values. · The roof is suspended from the underside of four steel plate girders which in turn are carried by eight exterior steel columns.
These columns are spaced 60 feet apart with the roof cantilevered 20 feet at each end. · Crown Hall, in which architecture, city planning, and design are taught, has a symmetrical plan about its short axis. Freestanding partitions at the height of the window muntins partially subdivide the space. · Only two enclosed service ducts interrupt the ceiling. A pair of interior stairways leads to a basement level used for workshops, offices, toilet rooms, and mechanical equipment. ...Natural ventilation is provided by louvers at floor level.
LAKE SHORE DRIVE APARTMENTS
· The steel and glass twin towers derive their forms from the modular grid system. · At the core of each building is a service shaft while the apartments are on the perimeter. · The triangular site over looks the lake, giving each apartment drametic views of the land scape. · I–Beams, shiny black and glass towers remain as modern today as when built. · The scheme consists of two identical 26-story towers placed 46 feet apart with their long axes set perpendicular to each other.
The steel skeletal frame is based on a 21-foot grid and is clearly expressed in the elevations, indicated by black-painted steel sheets covering the fireproofed columns and beams. The rigorous consistency of the design is seen in the uniform treatment of each building face regardless of orientation. · Each bay is subdivided into four window units by three wideflange steel mullions. Within these divisions aluminum-framed floorto- ceiling windows are set. The significance of this work is a pioneer curtain-wall expression as well as a fulfillment of the all-glass skyscraper schemes proposed by Mies three decades earlier.
SEAGRAM BUILDING
· Building is 38 stories high and placed 27 m back from the street behind a deep plaza. · Plaza has a low wall and a number of pools. · Seagram Building is in a city already crowded with skyscrapers of unbroken height of bronze and dark glass juxtaposed to a granite-paved plaza below. · The siting of the building on Park Avenue, an indulgence in open space unprecedented in midtown Manhattan real estate, has given that building an aura of special domain.
· The commercial office building has been made like a monument which is unequal in the civic and religious architecture of our time. · The use of extruded bronze mullions and bronze spandrels together with a dark amber-tinted glass has unified the surface with color. · The positioning of the Seagram Building on the site and its additive forms at the rear, which visually tie the building to adjacent structures, make for a frontal-oriented composition. The tower is no longer an isolated form. It addresses itself to the context of the city."
FRIEDRICHSTRASSE,BERLIN
· He has rendered the glass as a complex reflective surface, which would be constantly, subjected to transformation under the impact of light. · Prismatic form has been used to best fit the triangular site. · Glass walls have been placed slightly at an angle to break the monotony. · The important thing was the play of reflections and not of light and shadow as in ordinary buildings. · The curves of the building are governed by: sufficient illumination of interiors, the massing of the building from the road and play of reflection. (By the model he proved that cal. of light and shad do not help in deg of bldgs.)
FARNSWORTH HOUSE
· In this period he designed one of his most famous buildings, a small weekend retreat outside Chicago. · It is a transparent box framed by eight exterior steel columns. · It is one of the most radically minimalist houses ever designed. · Its interior, a single room, is subdivided by partitions and completely enclosed in glass. · The seminal glass pavilion synthesizes Mies’ ideas at the domestic level.
· In plan, the planes of the unit and the deck slide past each other in a painterly composition. · The revolutionary design though impractical design has been one of the most ired designs of his.
NEW NATIONAL GALLERY
·
· In 1962, his career came fullcircle when he was invited to design the 'new national gallery' in Berlin. · His design for this building achieved his long-held vision of an exposed steel structure that directly connected interior space to the landscape. · He returned to Berlin several times while the gallery was under construction, but was unable to attend the opening in 1968. · It employs a two-way roof structure ed along the perimeter on eight columns. · The building defines large open spaces on an elevated platform.
· The great room would house temporary exhibitions while the permanent collection together with istrative offices and auxiliary services would be lodged in the podium, where they would not violate the space above. · Once completed, the hall, walled totally in glass, measured 166 feet square, with a 26-foot height, comprising an area of 27,000 square feet. · The 213-foot-square roof, the first rigid plate ever executed, was constructed in the form of an orthogonal grid of web girders 6 feet deep separated at 12-foot intervals.
CHICAGO CENVENTION HALL
· In this un built project the horizontal “universal” clearspan box is taken to its conclusion. · Working with three IIT graduate students and his favourite engineer Frank Kornacker, Mies’ monumental structure was not only the largest space he had ever designed but would have been the largest exhibition hall in the world at the time.
PROMONTORY APARTMENTS
· First designed as a steel structure, the 22story building was built using a concrete frame because of postwar shortage
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