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Mies Van Der Rohe Modernism
- 1. The peak of Modernism: MIES VAN DER ROHE Amrutha.G
- 2. Who is Mies? 1. Ludwig Mies Van Der Rohe - German American Architect 2. Along with Le Corbusier, Walter Gropius and Frank Lloyd Wright - pioneers of Modern architecture 3. Awards - Pour le Merite, Royal Gold Medal, AIA Gold Medal, Presidential Medal of freedom 2 “Apprentice under Peter Behrens 1908 - 1912 With Le Corbusier and Walter Gropius - the Bauhaus team.”
- 3. Who is Mies? 1. 1920s 1930s German Architect, moved to the United States after the closing down of Bauhaus by the Nazi powers 2. Crafted a symbol for the Modernist era, like the Classical and Gothic times 3. Use of modern materials - Steel and plate glass 4. Minimal framework - implied freedom of unobstructed open-space 3
- 4. Why is Mies important? 1. Influenced an entire generation of architects 2. Tenured as the head of the architecture department at the Illinois Institute of Technology IIT 3. During his 60-year career, Mies established a design vocab that helped define Mid- century Modern Architecture 4 “His architecture is profoundly ideological, a dabble into pure geometry trying to iron out the messy contradictions of this world. His moment of glory came in the moment that ornamentation and the Classical orders were reviled as symbols of the decadent establishment that had brought the West into two ruinous wars.”
- 5. Why is Mies important? 1. Influenced an entire generation of architects 2. Tenured as the head of the architecture department at the Illinois Institute of Technology IIT 3. During his 60-year career, Mies established a design vocab that helped define Mid- century Modern Architecture 5 “I am not interested in the history of civilization. I am interested in our civilization. We are living it. Because I really believe, after a long time of working and thinking and studying that architecture...can only express this civilization we are in and nothing else.”
- 6. German Domestic Influence ╺ Began career by designing upper-class homes ╺ Seeking to return to the 19th Century Germanic domestic style ╺ Appreciated the broad proportions, regularity of rhythmic elements ╺ Attention to relationship between man- made and nature ╺ Compositions using simple cubic forms 6
- 7. German Domestic Influence 1. Influenced by Behrens, Corbusier and Gropius to create a modern statement in architecture 2. Influenced by Neoclassical architect Karl Friedrich Schinkel - Cubic forms 3. Layering of subspaces within an overall space - Gerrit Rietveld influence 7
- 8. German Domestic Influence 1. 1920s 1930s German Architect, moved to the United States after the closing down of Bauhaus by the Nazi powers 2. Crafted a symbol for the Modernist era, like the Classical and Gothic times 3. Use of modern materials - Steel and plate glass 4. Minimal framework - implied freedom of unobstructed open-space8
- 9. MODERNISM 1. Modernism - 20th century - strictly rational use of materials 2. Openness to structural innovation 3. Elimination of ornament - International style or International Modern 4. Modernism also encompasses Futurism, Constructivism, De Stijl, Bauhaus. 5. Walter Gropius (1883-1969) and Le Corbusier (1887-1965) were the leaders of the movement. 9
- 10. 10 MODERNISM
- 12. Design Philosophy- Less is more 1. His vision was to create architecture that was pure and honest 2. That reflected the nature around it by using pure colors - mostly white and shades of steel and wood 3. He embraced openness and functionality as opposed to the sophisticated ornamentation of the older styles 12
- 13. Design Philosophy 1. Simple rectangular forms 2. Open flexible plans and multi- functional spaces 3. Widespread use of glass to bring the outside in 4. His idea was to integrate nature to the industrialized lifestyle buildings - using glass 13
- 14. Farnsworth House 1. Built: 1951 2. Architect: Mies Van Der Rohe 3. Architectural Style: International Style, Modernism 4. Basic structure of Farnsworth House consists of 8 wide- flange steel stanchions 5. Steel-frame - allowed open plan interiors 6. Laminated glass plates 14
- 15. Farnsworth House 1. Used heavy steel sections 2. All the building parts are factory made 3. Technique : Steel jointing 4. Restricted to :Travertine flooring 5. Primavera wood for core walls 6. Teak wood for wardrobe 7. Plaster Ceiling 8. Finest example of Steel-frame Structure 15
- 16. 16
- 17. Farnsworth House 1. Expression for Minimalism 2. Elements include 8 columns, separated by a distance of 6.6 m, supporting the two slabs that form the floor and ceiling 3. Interior height of 2.85m 17
- 18. Bacardi Office 1. Concrete structure 2. Strict geometric form as its principle order 3. 2 floors - rely on a high platform 4. Supported by 8 columns that leave 4 corners open 5. 2 Floors- platform partially buried in response to the slope of the terrain 18
- 19. Bacardi Office 1. Floor plan completely open 2. Glass enclosure on all four sides 3. 6 metre insets from the edges of the roof 4. Contains wooden partitions that are 2 metres tall 5. 54 sq.m deck supported on 8 cruciform columns 7 m tall 19
- 20. Bacardi Office 1. Materials: Enclosure is made of Skoky glass 2. Interior panels are of timber 3. Structure is reinforced concrete 20
- 21. Seagram Building 1. 39-storied, 516 foot tall office building 2. Commissioned by Joseph E.Seagram 3. Completed in 1958 4. Finest examples of the functionalist aesthetic and a masterpiece of Modernism 5. Building used 1500 tons of bronze 6. Steel frame with non- structural glass hung from the walls 21
- 22. Seagram Building 1. Use of expensive high-quality bronze, travertine, marble 2. Another interesting feature is the window blinds 3. Mies wanted the building to have a uniform appearance when the blinds are drawn 4. Hence the blinds are operable in only 3 positions 5. Fully open, halfway open, fully closed 6. Master of Purist Geometry 22
Editor's Notes
- ,[4]where he was exposed to the current design theories and to progressive German culture, working alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus
- His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. He called his buildings "skin and bones" architecture.
- His architecture is profoundly ideological, a dabble into pure geometry trying to iron out the messy contradictions of this world. His moment of glory came in the moment that ornamentation and the Classical orders were reviled as symbols of the decadent establishment that had brought the West into two ruinous wars.
- “I am not interested in the history of civilization. I am interested in our civilization. We are living it. Because I really believe, after a long time of working and thinking and studying that architecture...can only express this civilization we are in and nothing else.”
- He began his independent professional career designing upper-class homes, joining the movement seeking a return to the purity of early 19th-century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the man-made to nature, and compositions using simple cubic forms of the early nineteenth century Prussian Neo-Classical architect Karl Friedrich Schinkel. He rejected the eclectic and cluttered classical styles so common at the turn of the 20th century as irrelevant to the modern times
- His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. He called his buildings "skin and bones" architecture.
- Built 1951[2] Architect Ludwig Mies van der Rohe Architectural style International Style, Modernist[3]
- Built 1951[2] Architect Ludwig Mies van der Rohe Architectural style International Style, Modernist[3]
- Built 1951[2] Architect Ludwig Mies van der Rohe Architectural style International Style, Modernist[3]
- Built 1951[2] Architect Ludwig Mies van der Rohe Architectural style International Style, Modernist[3]
- The structure is reinforced concrete. The enclosure is made of skoky glass. The interior panels are of timber.