It is a case study based on the famous architect ludwig mies van de rohe.

1. “LESS
IS
MORE”
SUBMITTED BY:
Y19AP0102
Y19AP0126
-LUDWIG MIES VAN DER
ROHE

2.  INTRODUCTION:
 Ludwig Mies van der Rohe was a German-born American architect whose
rectilinear forms, crafted in elegant simplicity, epitomized the International Style
and exemplified his famous principle that “less is more.” He went further than
anyone else regarding structural honesty, making the actual supports of his
buildings .
 Born in Aachen, Germany, on March 27, 1886, Miesspent the first half of his career
in his native country.Between 1897 and 1900 he attended the CathedralSchool.
After training with his father, a master stones man, hemoved to Berlin at the age
on 19, and became anapprentice in the office of Bruno Paul, and art
nouveauarchitect, and furniture designer, at the same time asGropius was a senior
assistant.
 Mies believed in adopting an objective approach that would guide the designer
through the creative process of architectural design. Detailing, according to him,
was key to the quality of a design; he advocated the use of modern materials like
industrial steel and plate glass, and taking care of the minutest of details.
 Mies first called his designs for steel-and-glass skyscrapers and horizontally-
oriented houses and pavilions "skin-and-bones" architecture due to their minimal
uses of industrial materials, definition of space, along with the rigidity of structure,
and their transparency. emphasizing open space and revealing the industrial
 Ludwig Mies Vander Rohe

3.  BIOGRAPHY:
 . Born in Aachen, Germany, Mies spent the first half of his career in his
native country. His early work was mainly residential, and he received his
first independent commission, the Riehl House, when he was only 20 years
old.
 He worked in his father's stone carving shop and at several local design
firms before he moved to Berlin, where he joined the office of interior
designer Bruno Paul.
 He began his architectural career as an apprentice at the studio of Peter
Behrens from 1908 to 1912, where he was exposed to the current design
theories and to progressive German culture, working alongside Walter
Gropius and Le Corbusier, who were later also involved in the
development of the Bauhaus.
 Mies served as construction manager of the Embassy of the German
Empire in Saint Petersburg under Behrens.
 Mies quickly became a leading figure in the avant garde life of Berlin and
was widely respected in Europe for his innovative structures, including the
BarcelonaPavilion.
 In 1930, he was named director of the Bauhaus, the renowned German
school of experimental art and design, which he led until 1933 when he
closed the school under pressure from the Nazi,BAUHAUS

4.  PERSONAL LIFE:
Mies married Adele Auguste Bruhn the daughter of a wealthy industrialist. The couple separated in 1918, after having
three daughters: Dorothea, an actress and dancer who was known as Georgia, Marianne and Waltraut who was a
research scholar and curator at the Art Institute of Chicago. During his military service in 1917, Mies fathered a son out of
wedlock.In 1925 Mies began a relationship with designer Lilly Reich that ended when he moved to the United States; from
1940 until his death, artist Lora Marx was his primary companion.
 HOW IT STARTED?
 In 1907, he built the Riehl House as an independentarchitect. It was a wooden house in eighteenth-centurystyle under
the influence of English domesticarchitecture. In 1908 he joined Peter Behrens at his studio, which was a successful
artist, graphic designer and architect.
 By that time he designed his most famous AEG TurbineFactory, being one of the first artists to embraceindustrialization
as a way to provide well designedproducts, and offer them to the masses.
 In 1927 Mies van der Rohe was designated director anddesigner of the Werkbund Exposition, "The
Weissenhofsiedlung," set on a hill overlooking Stuttgart.Sixteen most famous European architects, including
LeCorbusier, Peter Behrens, Richard Docker, Hans Pelzig,Hans Scharoun, and Walter Gropius were invited to designand
build 21 white houses.
 The houses were of the verylatest design, using the most recently developedmaterials. This was the first housing
project to be built inEurope using designs that were the last word inmodernity - flat roofs and cubic forms.
 Glass and concrete were the main construction materials.By 1927 Marcel Breuer had already designed the famous
Wassily chair, the first tubular chair, which marked a shiftto modern furniture design. Soon after that, Mies cratedthe
MR Chair, by reducing the chair to its main parts, which came out to be of a cantilever form.
 The same year,he designed the MR Lounge Chair, which is also made oftubular stainless steel, and has a cantilever
frame. Hetook example from the iron rocking chairs, which werefashionable in the 19th century in Europe, and reduced
it to a minimalistic standard.

5.  By 1928 Mies was appointed Director of the GermanSection of the
International Exposition in Barcelona, because the Weimar Republic wished to
present itself asprogressive.
 The building was balanced with a pool and asculpture by Georg Kolb. He
became well known for theglass and steel “Skin and Bones” clarity that
BarcelonaPavilion expressed, as well as the belief that space must bemade
universal and flexible. The Barcelona Pavilion housed the first Barcelona chair,
which was designed for the pavilion, originally in whiteleather.
 In 1930 he designed the ‘Tugendhat house’ in Brno,Czechoslovakia. The
building is a luxurious two-story plan, which can be entered from the street
and the upper level.
 The individual spaces built, could be shut off using draperies on ceiling tracks.
Thisdesign, inspired Van der Rohe to design some of his mostfamous pieces of
furniture, including the Brno Chair, theTugendhat chair, and the X table.
 In 1930, Gropius recommended Mies van der Rohe assuccessor to Hannes
Meyer who had taken over WalterGropius as director of the Dessau Bauhaus.
Mies focused thecurriculum on architecture and interior design, with
moreintensity than for other subjects.
 When the Dessau Bauhaus was closed by the Nazis, Mies van der Rohe
moved it to Berlinin 1933, but on August 10, after 15 years of operation,
theschool was closed by the Nazi regime, because it didn’t suit
thenationalistic taste of German leaders. Same year, Mies’s work was on
display in The Modern Architecture-International exibhit.
 . It was at thisexhibition that the term “International Style” .
 FANSWORTH HOUSE [1951]
 SEAGRAM BUILDING [1958]

6.  STYLE AND FEATURSES:
 Mies, like many of his post-World War I
contemporaries, sought to establish a
new architectural style that could
represent modern times.
 Mies' architecture has been described as
being expressive of the industrial age.
 He created an influential twentieth-
century architectural style, stated with
extreme clarity and simplicity.
 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.Mies found appeal in the
use of simple rectilinear and planar
forms, clean lines, pure use of color, and
the extension of space around and
beyond interior walls.
TIME PERIOD WORKS OF MIES DE VAN DER ROHE
1921 MIES VAN DER ROHE DESIGNED FRIEDERICHSTRASSE
SKYSCRAPER
1922 MIES VAN DER ROHE DESIGNS GLASS SKYSCRAPER
1927 THE WEISSENHOF ESTATE WAS BUILT
1929 THE BARCELONA PAVILION
1930 BRNO CHAIR WAS DESIGNED, TUGENDHAT CHAIR
AND VILLA WAS DESIGNED
1946 THE SECOND CHIACAGO SCHOOL WAS DESIGNED
1949 LAKE SHORT DRIVE APARTMENT WAS DESIGNED
1951 FANSWORTH HOUSE WAS DESIGNED
1956 S. R. CROWN HALL WAS COMPLETED
1957 SEAGRAM BUILDING
1968 LAKE POINT TOWER WAS COMPLETED,
NEUV NATIONAL GALLERY WAS BUILT
 TIMELINE OF VAN DER ROHE WORKS:

7. The Barcelona Pavilion
 The Barcelona Pavilion, designed by Mies van der Rohe, was the
display of architecture's modern movement to the world. Originally
named the German Pavilion, the pavilion was the face .
 Situated at the foot of the National Art Museum of Catalonia and
Montjuic, the Barcelona Pavilion .
 The low stature of the building narrows the visitor’s line of vision
forcing one to adjust to the views framed by Mies. When walking
up onto the plinth, one is forced under the low roof plane that
captures the adjacent outdoor court as well as the interior
moments that induce circulation throughout the pavilion.
 The interior of the pavilion consists of offset wall places that work
with the low roof plane to encourage movement.
 This cyclical process of moving throughout the pavilion sets in
motion a process of discovery and rediscovery during ones
experience; always offering up new perspectives and details that
were previously unseen.
 The pavilion is designed as a proportional composition where the
interior of the pavilion is juxtaposed to two reflecting pools
 . The smaller reflecting pool is located directly behind the interior
space which allows for light to filter through the interior volume as
well illuminate the marble and travertine pavers.

8.  CONCEPT OF THE BUILDING:
 Unlike other pavilions at the exposition, Mies understood his pavilion simply as a building and nothing else,
would house art or sculpture, however the pavilion would be a place of tranquility in which to take refuge
from the bustle of the exhibition, which has itself flag in a living sculpture.
 It is an important step in the history of modern architecture building, since all ideas nascent modernism with
more freedom than in other works, its only function was to disseminate these new ideas, and the use of new
materials is reflected in it and construction techniques.
 DESIGN OF THE SPACES:
 The front yard, defined by the area of access and where the water
body is located. Here is an interesting relationship between the
opacity of the walls, the reflection of the water and the
transparency of the glass pavilion, a corner that marks the
entrance to the site is created. In the opposite corner is a small
enclosure services.
 The built kernel, determined by the planes of the walls built with
different materials, while maintaining control of the view through
the management of the opacities, transparencies and empty.
 The backyard. This enclosed by walls and the presence, again, of a
body of water on which the statue Alba, by Georg Kolbe is.

9.  Details of pavilion:
 In addition to the design, the materials are what give the
Barcelona Pavilion its true architectural essence as well as
the ethereal and experiential qualities that the pavilion
embodies.
 The pavilion meshes the man-made and the natural
employing four types of marble, steel, chrome, and glass.
 The marble originates from the Swiss Alps and the
Mediterranean. Mies’ implementation of the marble is
created through a process of splitting, called broaching.
 That creates a symmetrical patternization that’s found in the
marble.
 STRUCTURE DETAILS:
 The structure is created with eight steel pillars in a cross
holding a flat roof.
 Complete the work a relieved from large glass structure and
interior walls.
 The regular grid system developed by Mies not only serves
as a pattern for laying travertine pavers, but also serves as an
underlying framework of working systems for interior walls.
Floor plans

10.  The barcellona pavilion : picture gallery

11.  THE CROWN HALL:
 One of Mies van der Rohe's last building erected on the Illinois
Institute of Technology campus is Crown Hall, a superb example
of his clear span designs.
 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.
 Free-standing 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.
 Crown Hall is one of 20 buildings designed by Mies van der
Rohe for the Illinois Institute of Technology (IIT) in Chicago. This
is the centerpiece of a masterplan for the campus founded in
1940 that covers approximately 50 hectares, the highest
concentration of works by Mies in the world.

12.  CONCEPT OF THE BUILDING:
 The building is configured as a self-contained in a rectangular shape
on two levels.
 It is a free volume with its four walls of glass, surrounded by a large
green area, with large trees, mainly in the south facade.
 The glazing on all sides that allows the faculty do not give back the
rest of the buildings, while respecting the context.
 It is characterized by an industrial aesthetic of simplicity, clearly
stated in their steel frames.
 DESIGN SPACES DETAILS:
 The building is divided into two levels: the main floor, shaped like a
large space and a semi-buried where they are located the offices,
meeting rooms and services.
 The main floor, which occupies 50% of the building, comprising a
single glass-enclosed space devoted to the study of architecture.
 Mies called it a “universal space” to be totally flexible in its use.
The divisions that has very few moving parts, made with
lightweight panels that allow you to place the space as required.

13.  The vegetation surrounding the building a calm working environment,
helps regulate the sunlight on the glass facade and makes the view
much more pleasant for users inside the building.
 The building itself is designed for the benefit of users and not only as
an aesthetic element as we can think of many instances if you have
not studied the work.
 The facades of glass create an open environment, giving the feeling
of working outdoors in a park, with the view to the skyscrapers of
Chicago and vegetation.
 STRUCTURAL DETAILS:
 The cover 36 x 67 meters is based on a series of exterior columns
of steel that are placed tangent to the wall and are related through
jácenas song visible on the steel deck.
 This technique allowed to cover important Mies lights without
intermediate support and maintain a standard thickness forged.
 The plant is semi-supported in a frame of columns 6 x 9 meters.

14.  MATERIALS USED:
 The main materials are steel, reinforced concrete and glass.
 In 2005 the restoration of the original painting of the steel structure
was replaced by a black lead-free coating.
 The glass was replaced in its entirety by panels that meet the wind
load requirements.
 The surface of the travertine terrace in the south was replaced.
 The interior wood panels and cabinets were replaced. Were added
and electrical wiring to the main floor.

15.  PHILOSOPHY OF VAN DER ROHE:
 Mies believed in adopting an objective approach that would guide
the designer through the creative process of architectural design.
 Detailing, according to him, was key to the quality of a design; he
advocated the use of modern materials like industrial steel and plate
glass, and taking care of the minutest of details.
 His design principle outlines clarity and simplicity as the two main
pillars of the modern international style of architecture. He never
liked to hide the structural elements, calling his buildings as ‘skin and
bones’.
 PRODUCT DESIGN:
 From architecture to furniture design, an icon in the history of design.
Inspired by the purity of the interior of the Farnsworth House, I have
made a selection of his renowned pieces to celebrate his permanence
until today.
 The magnificent selection of very few materials & the way the building
allows for the interior to interact with the surroundings is simply
exquisite.
 How ever this i s very exceptional project, therefore I have looked into
more achievable scenarios where these iconic furniture pieces can take
place in our current day in life.

16.  BARCELONA CHAIR:  BARCELONA COUCH:  BRNO CHAIRS
 MR CHAIR CANE  THONET CHAIR
 BAUHAUS CHAIR

17.  CONCLUSION:
 Ludwig mies van der rohe, regarded as one of the pioneers of modern
architecture was very much known for his works of simple and
minimalistic design concepts and structural buildings.
 The architect’s philosophy “less is more” became a guiding principle in his
structures.
 The designs and the structural elements of his design are based on his
philosophical terms, he quoted “god is in details” making the aspect of
the building his main design features.
 He also created unique products of chair designs with comfort and
aesthetic appeal.
 He died living a legacy of revolutionary architecture other than buildings,
he is remembered by his approach to architecture by saying
“ARCHITECTURE IS THE WILL OF AN EPOCH TRANSLATED INTO SPACE”.
“ARCHITECTURE BEGINS WHEN YOU CAREFULLY PUT TWO BRICKS
TOGETHER.”
 REFERENCE:
 https://en.wikiarquitectura.com/architect/mies-van-der-rohe-ludwig/
 https://builtarchi.com/ludwig-mies-van-der/
 http://nirman.com/blog/2017/04/26/mies-van-der-rohe-god-of-
detailing/#:~:text=Mies%20Van%20der%20Rohe%20had%20a%20great%20and,tribute%20to%20his%20philosophy%20of%20clarit