Ludwig Mies van der Rohe

Transcription

Mies van der Rohe
Mies in S.R. Crown Hall
Photo: Hedrich Blessing
“Architecture starts when
you carefully put two
bricks together. There it
begins”.
“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
Embassy of Germany in Saint Petersburg
Friedrichstrasse Skyscraper Project, BerlinMitte, Germany, Exterior perspective from north
Ludwig Mies van der Rohe (American, born
Germany. 1886-1969)
1921. Charcoal and graphite on paper mounted on
board, 68 1/4 x 48" (173.4 x 121.9 cm). Mies van
der Rohe Archive, gift of the architect. © 2010
Artists Rights Society (ARS), New York / VG BildKunst, Bonn
It was Mies van der
Rohe’s Glass
Skyscraper Proposal
(1922) that brought this
new structural concept
to the attention of the
architectural elite.
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
Modernism’s “form follows function” mantra.
Subsequently, a generation of architects neglect to recognise it as an
architectural device, and rather view the scope of design
engagement as legitimising the marketing of construction methods
as products.
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 architect’s 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”.
Ludwig Mies van der Rohe – Glass Skyscraper(zgaraie-nori de sticla),1922
The Museum of Modern Art, MoMA Highlights, New York: The Museum of
Modern Art, revised 2004, originally published 1999, p. 121
This design for a crystal tower was unprecedented in 1921. It was based on the
untried idea that a supporting steel skeleton would be able to free the exterior
walls from their load-bearing function, allowing a building to have a surface that is
more translucent than solid.
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
Weißenhofsiedlung) 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.
Combined with materials of
glass, steel and extravagant
marble. The same features
of minimalism can be applied
to the prestigious furniture
specifically designed for the
building, among which the
iconic Barcelona chair.
As part of the1929 International Exposition in Barcelona Spain, the
Barcelona Pavilion, was the display of architecture’s modern movement
to the world.
The Barcelona Pavilion, an emblematic work
of the Modern Movement, has been
exhaustively studied and interpreted as well
as having inspired the oeuvre of several
generations of architects.
The pavilion’s design is based on a
formulaic grid system developed by
Mies that not only serves as the
patterning of the travertine pavers, but
it also serves as an underlying
framework that the wall systems work
within.
By raising the pavilion on a plinth in
conjunction with the narrow profile of
the site, the Barcelona Pavilion has a
low horizontal orientation that is
accentuated by the low flat roof that
appears to float over both the interior
as well as the exterior.
Ludwig Mies van der Rohe – Pavilionul de la Barcelona, 1929
Ludwig Mies van der Rohe – Pavilionul de la Barcelona –schite- 1929
Ludwig Mies van der Rohe – Pavilionul de la Barcelona –interior- 1929
georg kolbe
"Radical rationalist that he is, his designs
are governed by a passion for beautiful
architecture. He is one of the very few
modern architects who has carried its
theories beyond a barren functional
formula into the plastically beautiful.
Material and space disposition are the
ingredients with which he gets his effect of
elegant serenity. Evincing in his work a
love for beautiful materials and textures he
emphasizes this predilection."
— Helen Appleton Read. from John
Zukowsky, organizer. Mies Reconsidered:
His Career, Legacy, and Disciples. p18.
In 1955, Gerrit Rietveld (18841964) designed a pavilion for the
display of small sculptures at the
Third International Sculpture
Exhibition in Arnhem’s Sonsbeek
Park.
Ludwig Mies van der Rohe – Villa Tugendhat, 1931 Brno,Cehoslovacia
The photo gallery consists of shots of the exteriors and interiors of
Villa Tugendhat during February 2012, shortly prior to the Villa being
reopen to the public. The author of the photography is David Židlický.
Mies van der Rohe
Lámpara diseñada
para la Villa
Tugendhat
Brno, Czech
Republic
1928-1930
Ludwig Mies van der Rohe – Farnswort House ,1945-1951
Glass was seen as a quintessentially
modern material that also had the ability to
reconnect humans to nature and even
change how we perceive it. Designed in
1945 and constructed in 1951, the iconic
Farnsworth House is the epitome of
Mies van der Rohe’s use of glass, and
was in many ways an experiment to test
his design ideals to the limit.
Philip Johnson, another early innovator in
the use of glass, remarked, “The
Farnsworth house with its continuous
glass walls is an even simpler
interpretation of an idea. Here the purity
of the cage is undisturbed. Neither the
steel columns from which it is
suspended nor the independent floating
terrace break the taut skin.”
The essential characteristics of the house are
immediately apparent. The extensive use of
clear floor-to-ceiling glass opens the interior to
its natural surroundings to an extreme degree.
Two distinctly expressed horizontal slabs, which
form the roof and the floor, sandwich an open
space for living. The slab edges are defined by
exposed steel structural members painted pure
white.
The house is elevated 1.60 m above a flood plain
by eight wide flange steel columns which are
attached to the sides of the floor and ceiling slabs.
The slabs' ends extend beyond the column
supports, creating cantilevers.
The house seems to float weightlessly above
the ground it occupies.
A third floating slab, an attached terrace, acts as a
transition between the living area and the ground.
The house is accessed by two sets of wide steps
connecting ground to terrace and then to porch.
Mies van der Rohe y la señora Farnsworth visitando la estructura metálica de la casa en
1950
Mies found the large open exhibit halls of the turn of the century to be very much in
character with his sense of the industrial era. Here he applied the concept of an
unobstructed space that is flexible for use by people. The interior appears to be a
single open room, its space ebbing and flowing around two wood blocks; one a
wardrobe cabinet and the other a kitchen, toilet, and fireplace block (the "core"). The
larger fireplace-kitchen core seems like a separate house nesting within the larger glass
house.
Dr. Edith
Farnsworth
Mies’s belief that “We should
attempt to bring nature, houses,
and the human being to a higher
unity.” Reflecting on his
achievements in the design of
the Farnsworth House, Mies
added: “If you view nature
through the glass walls of the
Farnsworth House, it gains a
more profound significance
than if viewed from outside.
That way more is said about
nature – it becomes a part of a
larger whole.”
The building is essentially one large
room filled with freestanding elements
that provide subtle differentiations
within an open space, implied but not
dictated, zones for sleeping, cooking,
dressing, eating, and sitting. Very
private areas such as toilets, and
mechanical rooms are enclosed within
the core.
Drawings recently made public by
MOMA indicate that the architect
provided ceiling details that allows for
the addition of curtain tracks that would
allow privacy separations of the open
spaces into three "rooms". The drapery
was never installed.
Philip Johnson si Mies van
der Rohe
Philip Johnson Glass House in New Canaan
“The only house in the world where you can watch the sun set and the moon rise at
the same time. And the snow. It’s amazing when you’re surrounded at night with the
falling snow. It’s lighted, which makes it look as though you’re rising on a celestial
elevator.”
Alice Rawsthorne, the International Herald Tribune
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,
Lloyd’s
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
LAKE SHORE DRIVE APARTMENT
MIES VAN DER ROHE
1948_CHICAGO
“Hoje prefiro Niemeyer’’
(John Winter, 1972)
Almost from the day it
opened, critics have
insisted that Lake Point
Tower was modeled on
Mies’s 1922 unbuilt
Glass Skyscraper
project in Berlin.
La casa de Alice Cooper en
Lake Shore drive, 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.
“Let us guide our students over the road of discipline
from materials, through function, to creative work”.
(Ludwig Mies van der Rohe)
Ludwig Mies van der Rohe – Segram Building,1957
Seagram Building from
Mies van der Rohe
1958
This structure, and the INTERNATIONAL STYLE in which it was built, had
enormous influences on American architecture. One of the style’s
characteristic traits was to express or articulate the structure of buildings
externally. A BUILDING’S STRUCTURAL ELEMENTS SHOULD BE VISIBLE,
MIES THOUGHT. The Seagram Building, was built of a steel frame, from which
non-structural glass walls were hung. Mies would have preferred the steel frame
to be visible to all; however, American building codes required that all structural
steel be covered in a fireproof material, usually concrete. Concrete hid the
structure of the building — something Mies wanted to avoid at all costs — so
Mies used non-structural bronze-toned I-beams to suggest structure
instead. These are visible from the outside of the building, and run vertically, like
mullions, surrounding the large glass windows. This method of construction using
an interior reinforced concrete shell to support a larger non-structural edifice has
since become commonplace. As designed, the building used 1,500 tons of
bronze in its construction.
On completion, the construction costs of Seagram made it the world’s most
expensive skyscraper at the time, due to the use of expensive, high-quality
materials and lavish interior decoration including bronze, travertine, and marble.
Mies wanted the building to have a uniform appearance. One aspect of a
façade which Mies disliked, was the disordered irregularity when window blinds
are drawn. Inevitably, people using different windows will draw blinds to different
heights, making the building appear disorganized. To reduce this disproportionate
appearance, Mies specified window blinds which only operated in three positions
– fully open, halfway open/closed, or fully closed.
Bronze I-beams ready to ship from
Chicago Extruded Metals Company to
New York City, where it will be part of
the new Seagram's Building.
The Seagram - Mies
Van de Rohe - 1957 157m
The plan of the building is based on a 8.50 m
grid, pursued to unprecedented Miesian
accuracy. The elevator core is placed to the
back of the building, forming the protruding,
windowless back wall of the tower.
Set on bronze-clad pillars, the 38-storey
facade consists of alternating bands of bronze
plating and "whisky brown"-tinted glass.
The building was, notably, the first with floorto-ceiling windows, making the wall a true
curtain of glass, as foreseen by the visionaries
of Modern Movement, like Mies himself.
Between the windows, there are vertical
decorative bronze I-profiled beams attached to
the mullions to emphasize the vertical rise of
the facade. Van der Rohe personally stated
that this was his only building in the United
States which met exactly his European
standards.
Like Lever House, the curtain wall tower is not built to the edge of the site. It occupies
only 40 percent of the allowable zoning envelope, freeing up space for a granite-paved
public plaza enhanced by two reflecting pools and marble benches that is widely
regarded as one of the most successful in the city. The plaza is an expensive aesthetic
and symbolic gesture, especially significant in the dense urban environment which
surrounds it.
…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 oftrepeated 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."
Carter Wiseman in Shaping a Nation, 1998
The fame of the Lever House in the 1950s was matched by the Seagram
Building in the 1960s. This steel skeleton framed skyscraper, … established the
basic form of the corporate tower for years to come.
Lever House (on right) and neighboring buildings on Park Avenue,
Midtown
Lever
House,
designed by
Gordon
Bunshaft
and Natalie
de Blois of
Skidmore,
Owings and
Merrill
Pavillion Apartments and Low Rise
Buildings, Michigan, 1956-1958
Mies van der Rohe
Lafayette Park, Detroit
Mies van der Rohe
Ludwig Mies van der Rohe – Galeria Nationala din Berlin,1968
Mies Van der Rohe
Neue Nationalgalerie
Esculturas en la Neue Nationalgalerie.
(1968)
The Neue National Gallery was build between 1965 and 1968. It was
Mies’ only work built in Germany after World War II.
Chipperfield’s restoration will begin in 2015 and conclude in
2018. During this time, the gallery will be closed.
Federal Center Chicago
Mies van der Rohe 1959-64
Mies himself anticipated and encouraged this
development, believing that he was creating a
universal architectural language for the ages.
“Greek temples, Roman basilicas and
medieval cathedrals are significant to us as
creations of a whole epoch rather than as
works of individual architects,” he wrote.
“Who asks the names of these builders? Of
what significance are the fortuitous
personalities of their creators? Such buildings
are impersonal by their nature. They are pure
expressions of their time.”
Ludwig Mies van der Rohe – Cladirea IBM,1973 Chicago
Westmount Square
Chicago Federal center
Mies van der Rohe
Three of the Toronto-Dominion Centre
Dominion Centre, Bank Pavilion, Toronto,
Mies van der Rohe, 1963–69
Toronto-Dominion Centre,
Mies van der Rohe
Balthazar Korab, 1967
Dirksen Federal Building.
Mies van der Rohe, oficinas para Bacardí,
Tutltilán, Estado de México, 1957-61
Mies van der Rohe Gas Station
Martin Luther King Jr. Memorial Library
Ten firms chosen for second stage of MLK Jr. Memorial
Library renovation search, jan.2014
This library was Mies's last building, his only public library,
and his only building constructed in Washington, D.C. The
building was completed in 1972 at a cost of $18 million.
“Architecture is
the will of an
epoch translated
into space”.
Mies van der Rohe
pauses in a pub while
in London to receive
the Royal Gold Medal
for Architecture, 1959.
“Can anyone stand, unmoved, at the
top of a steel-framed skyscraper
today, looking out across a city’s
glittering twentieth century towers,
glass walls reflecting clouds, sky
and structures in a massed
changing pattern of light and color?”
she wrote.
“Only in Chicago,” she mused,
“has the Miesian lesson been
properly learned.” Ada Louise
Huxtable
IBM Building — the last skyscraper he
designed
According to Kenneth
Frampton’s Critical History of
Modern Architecture, Mies
said of his Friedrichstrasse
Skyscraper proposal:
“I placed the glass walls at
slight angles to each other
to avoid the monotony of
over-large glass surfaces.
I discovered by working with
actual glass models that the
important thing is the play of
reflections and not the effect
of light and shadow as in
ordinary buildings”. Image
Courtesy of Bauhaus-Archiv
Berlin, Photo: Markus Hawlik

Ludwig Mies van der Rohe

Transcription

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