LUDWIG MIES VAN DER ROHE
March 27,1886 August 17,1969
PRIT GOYANI- 15SA230
INTRODUCTION
MIES VAN DER ROHE
BORN: on march 27,1886 august 17,1969
NATIONATIONALIY: German (1886-1944) and American (1944-1949)
He was a German architect and educator, is widely acknowledged as
one of the 20th century's greatest architects.
By emphasizing open space and revealing the industrial materials
used in construction, he helped define modern architecture.
AWARDS:
order pour le merite (1959)
Royal gold medal (1959)
aia gold medal (1960)
Presidential medal of freedom(1963)
EARLY CAREER
He worked with his father in a stone carving
shop also at several local design firms before
moving to Berlin.
Worked for Bruno Paul, the art nouveau
architect and furniture design, after moving to
Berlin.
At the age of 20 he received his first
independent commission to plan a house (Riehl
House)for a philosopher (alois Riehl).
In 1908 he began working for the architect
peter behrens.
Despite of a formal college-level education He
opened his own office in Berlin in 1912
CHARACTERISTICS OF HIS WORK
He believed that the configuration and arrangement of every
architectural element must contribute to a unified expression.
Every aspect of architecture, from overall concept to the
smallest detail, supports his effort to express the modern age.
He called his buildings "skin and bones" architecture.
He is often associated with the aphorisms "less is more" and
"God is in the details.
His mature buildings made use of modern materials such as
industrial steel and plate glass to define interior spaces.
He strived towards an architecture with a minimal
framework of structural order balanced against the implied
freedom of free-flowing open space
Simple rectangular forms.
Open, flexible plans and multi-functional spaces.
Widespread use of glass to bring the outside in.
Mastered steel and glass construction.
Exposed and very refined structural details.
LESS IS MORE
GENERAL MEANING:
LESS COMPLICATED IS BETTER UNDERSTOOD AND MORE
APPRECIATED THAN WHAT IS MORE COMPLICATED.
SIMPLICITY IS PREFERABLE TO COMPLEXITY.
ARCHITECTURAL MEANING:
BUILDING SHOULD BE STRIPPED OF ANY EXTRAS AND
CONSTRUCTED ON ESSENTIALS OF CLARITY, UTILITY AND EFFECT.
MIES VAN DER ROHE USED THIS PHRASE TODESCRIBEHOW HE
THOUGHT BUILDINGS SHOULD BE CONSTRUCTED.
AIMS
ESTABILISHMENT OF A NEW ARCHITECTURAL STYLE FOR MODERN
TIMES AND ARCHITECTURE WITH A MINIMAL FRAMEWORK OF
STRUCTURAL ORDER BALANCED AGAINST THE IMPLIED FREEDOM
OF FREE FLOWING OPEN SPACES.
DINING AREA WITH MINIMUM
DESIGN ELEMENTS.
SIMPLE VOLUMES.
BALANCE BETWEEN EMPTY
AND FILLED SPACE.
TIMELINE OF HIS WORKS
FEW OF HIS WORKS
Barcelona Pavilion-1929
Farnsworth House-1951
Lake Shore Drive-1951
Seagram Building-1958
FARNSWORTH HOUSE, PLANO,
ILLINOIS
A WEEKEND RETREAT OUTSIDE CHICAGO FOR AN INDEPENDENT
PROFESSIONAL WOMAN - DR. EDITH FARNSWORTH. BUILT
BETWEEN 1946 AND 1951.
AREA- 1,500-square-foot (140m2)
A CENTRAL WOOD CORE CONTAINS SANITARY FACILITIES
AND CREATES A SEPARATION BETWEEN THE KITCHEN,TWO
BEDROOMS AND THE LIVING ROOM.
THE PLATFORM IS NOT THE FOCAL POINT;
IT IS THE EMPTINESS AND BEAMS WORK
LIKE SCREEN TO SURROUND SPACE OF
HOUSE.
THE SEPARATION OF THE
HOUSE FROM THE LAND ON GLAZING OF THE WALLS STEEL, LAMINATED
WHICH IT SITS BY PILLARS OF THE HOUSE ALLOWS GLASS PLATES AND
HAS BEEN ASSOCIATED WITH ONE TO PERCEIVE THE ROMAN TRAVERTIINE
AN IDEA OF PURITY, VERY LANDSCAPE IN WHICH IT IS ON FLOOR AND DECK.
TRADITIONAL JAPANESE INSERTED, BUIILDING AS
ARCHITECTURE. PART OF NATURE.
THE BRILLIANCE
IN ITS ARTISTIC
DESIGN BECAME
THE INSPIRATION
FOR OTHER
WORKS, SUCH AS
PHILIP
JOHNSONSGLASS
HOUSE.
SHADING AND PRIVACY
THROUGH THE TREES AROUND.
MIES EXPLAINED THIS CONCEPT
IN AN INTERVIEW ABOUT THE
GLASS PAVILION STATING,
NATURE, TOO, SHALL LIVE ITS
OWN LIFE. WE MUST BEWARE
NOT TO DISRUPT IT WITH THE
COLOR OF OUR HOUSES AND
INTERIOR FITTINGS. YET WE
SHOULD ATTEMPT TO BRING
NATURE, HOUSES, AND HUMAN
BEINGS TOGETHER INTO A
LAKE SHORE DRIVE
APARTMENTS, CHICAGO
860880 LAKE SHORE DRIVEIS A TWIN PAIR OF GLASS-AND-
STEEL APARTMENT TOWERS ON N.LAKE SHORE
DRIVEALONGLAKE MICHIGANIN THE
STREETERVILLENEIGHBOURHOOD OF CHICAGO,ILLINOIS.
CONSTRUCTION BEGAN IN 1949 AND THE PROJECT WAS
COMPLETED IN 1951.
THE 26 FLOOR, 254FT (82 M) TALL TOWERS WERE DUBBED AS
THE "GLASS HOUSE" APARTMENTS.
THE TOWERS WERE NOT ENTIRELY ADMIRED AT THE TIME THEY
WERE BUILT, YET THEY WENT ON TO BE THE PROTOTYPE FOR
STEEL AND GLASS SKYSCRAPERS WORLDWIDE.
APARTMENTS EMBODY A
MODERNISTIC TONE WITH
THEIR VERTICALITY, GRIDS OF
STEEL AND GLASSCURTAIN
WALLS(A HALLMARK OF MIES
SKYSCRAPERS), AND
COMPLETE LACK
OFORNAMENTATION
INDICATING MIES MOTTO OF
LESS IS MORE.
THE MULLIONS
ON BUILDING
REFLECT THE
INNER STRUCTURE
AND GIVE TRUTH
TO THE AESTHETIC
OF THE BUILDING.
SEAGRAM BUILDING
THE BUILDING STANDS 515 FEET (157 M) TALL WITH 38
STORIES, COMPLETED IN 1958.
IT STANDS AS ONE OF THE FINEST EXAMPLES OF
THEFUNCTIONALISTAESTHETIC AND A MASTERPIECE OF
CORPORATEMODERNISM.
IT WAS DESIGNED AS THE HEADQUARTERS FOR THE
CANADIAN DISTILLERSJOSEPH E. SEAGRAM'S & SONS.
ELEVATION OF
THE BUILDING
ACHIEVES ITS
EXPRESSIVE
PERFECTION,AND IS BLINDS
IT WAS EVIDENT THAT A BUILDING OF
VERTICALLY SUCH HEIGHT WOULD HAVE A HUGE AREA
EMPHASIZED. OF BLINDS, WHOSE USERS TEND TO
UPLOAD OR DOWNLOAD THEM AS THEY
LIKED.
THE OFFICE SPACES
ABOVE THE LOBBY,
FURNISHED BY PHILIP
JOHNSON, HAVE
FLEXIBLE FLOOR PLANS
MATERIALS LIT WITH LUMINOUS
CURTAIN WALL OF GLASS CEILING PANELS.
AND BRONZE IN THE FRONT
DUE TO THE FIRE LAW IN THESE FLOORS ALSO
FORCE IN 1954, AT THE TIME GET MAXIMUM
OF CONCRETE NATURAL LIGHTING
CONSTRUCTION WAS USED AS WITH THE EXTERIOR
A STRUCTURAL MATERIAL, BEING GLASS PANES OF
BOTH OUTSIDE AND INSIDE. GRAY TOPAZ THAT
PROVIDE FLOOR-TO-
CEILING WINDOWS FOR
THE PLAZA ATTRACTS USERS
WITH ITS TWO LARGE FOUNTAINS
SURROUNDED BY GENEROUS
OUTDOOR SEATING.
ADDITIONAL VERTICAL ELEMENTS
WERE ALSO WELDED TO THE WINDOW
PANELS NOT ONLY TO STIFFEN THE
SKIN FOR INSTALLATION AND WIND
LOADING, BUT TO AESTHETICALLY
FURTHER ENHANCE THE VERTICAL
ARTICULATION OF THE BUILDING.(10)
THANK YOU
