A history research presentation made with Cesar Osorio, Rohit Perla, Birhane Aregawi, and Can Donmez.

1. MIES
VAN
LUDWIG
DER
ROHE
(March
27,
1886
–
August
17.
1969)

2. Why
Choosing
LUDWIG
?

3. *LUDWIG
was
one
of
the
Pioneering
masters
of
modern
Architecture.
Why
Choosing
*Like
many
of
his
post
World
War
I
LUDWIG
contemporaries,
sought
to
establish
A
NEW
ARCHITECTURAL
STYLE
THAT
COULD
REPRESENT
MODERN
TIMES
?
JUST
AS
CLASSICAL
AND
GOTHIC
DID
FOR
THEIR
OWN
ERAS.

4. *LUDWIG
was
one
of
the
Pioneering
masters
of
modern
Architecture.
Why
Choosing
*Like
many
of
his
post
World
War
I
LUDWIG
contemporaries,
sought
to
establish
A
NEW
ARCHITECTURAL
STYLE
THAT
COULD
REPRESENT
MODERN
TIMES
?
JUST
AS
CLASSICAL
AND
GOTHIC
DID
FOR
THEIR
OWN
ERAS.
*TO
KNOW
and
understand
an
architectural
style,
stated
with
extreme
clarity
and
simplicity
using
raDonal
approach
that
lead
to
creaDve
process
of
architecture
(LESS
IS
MORE
AND
GOD
IS
IN
THE
DETAILS)
*TO
STUDY
how
to
use
Modern
Materials
in
Architecture
with
Minimizing
the
framework
of
structutral
axonometry
(Skin
and
bone
architecture).

5. MIES
VAN

6. *His
Qme
A
Qme
of
changes.
Antonio
Gaudi,
1904
Peter
Bherens,
1909
L’Corbusier,
1929
Burnham,
1902
L’loyd
Wright,
1934
Terragni,
1936

7. *THE
CONSTRUCTIVISM
ARCHITECTURE
IN
THE
SOVIET
UNION,
1918
–
32
*DE
STILJ
EVOLUTION
AND
DISSOLUTION
OF
NEO
PLASTICISM,1917-­‐31
*THE
BAUHAUS
THE
EVOLUTION
OF
AN
IDEA,1919-­‐32
*INTERNATIONAL
STYLE
THEME
AND
VARIATIONS,1925-­‐65
INFLUENCES

8. *An
arDsDc
and
architectural
movement
that
originated
in
Russia
from
1919
in
favour
of
art
as
a
pracDce
directed
towards
social
purposes.
*It
combined
advanced
technology
and
engineering
with
an
avowedly
Communist
social
purpose.
*
A`er
the
Russian
RevoluDon
of
1917
it
turned
its
a[enQons
to
the
new
social
Tatlin
,
model
of
monument,
1919-­‐20
demands
and
industrial
tasks
required
of
the
new
regime.
*THE
CONSTRUCTIVISM
* Two
disDnct
threads
emerged,
the
first
The
exuberant
romanQc
concepQon
of
concerned
with
space
and
rhythm,
the
second
technique
gave
way
to
a
sober
realizaQon
represented
a
struggle
between
those
who
that
technique
in
Russia
meant
a
hard
uphill
argued
for
pure
art
and
the
producDvists
,
a
struggle
to
transform
a
peasant
economy
more
socially-­‐oriented
group
who
wanted
this
into
a
modern
industrial
organism,
starQng
to
be
absorbed
in
industrial
producQon.
with
the
most
primiQve
means.
Berthold
Lubetkin
*Its
effects
have
been
marked
on
later
Soviet
architecture:
notes
on
development
developments
in
architecture.
1917-­‐32

9.
Red
Banner
TexDle
Factory,
TexDle
InsDtute,
Moscow,
Svoboda
Factory
Club,
NovoRyazanskaya
Street
Garage,
1926
1930
Moscow
1926
*THE
CONSTRUCTIVISM
Narkomzem
Building,
1928

10. Zuev
Workers'
Club,
Rusakov
Workers'
Club,
1927
1927
Town
Hall
,
Leningrad,
1932
*THE
CONSTRUCTIVISM
Tsentrosoyuz,
Le
Corbusier,
1933
Narkomfin
Building,
1930

11. Rietveld
Schröder
House,
*
A`er
World
War
I
there
was
a
turning
away
1924
from
old
forms
and
philosophies
among
architects
and
designers.
*
Many
of
the
same
abstract
ideas
came
into
play,
as
did
ideas
that
incorporated
the
machine
aestheQcs
of
the
new
industrial
age.
*
The
philosophy
was
based
on
funcQonalism,
with
a
severe
and
doctrinaire
insistence
on
the
recDlinearity
of
the
planes,
which
seem
to
slide
across
one
another
like
sliding
panels.
*
The
main
views
of
the
De
SDjl
movement
*DE
STILJ
greatly
influenced
the
Bauhaus
movement
in
There
is
an
old
and
new
consciousness
of
the
Germany
in
the
1920’s.
age.
The
old
one
is
directed
towards
the
individual
and
the
new
one
towards
the
*In
spite
of
the
apparently
small
output
of
this
universal.
The
conflict
of
the
individual
and
group,
they
would
be
very
influenQal
on
the
universal
is
reflected
in
the
world
war
as
subsequent
design
styles.
well
as
in
art
today.
First
manifesto
of
De
SQlj
1918

12. *
Defeat
in
World
War
I,
the
fall
of
the
German
monarchy
and
the
aboliDon
of
censorship
under
the
new,
liberal
Weimar
Republic
allowed
an
upsurge
of
radical
experimentaQon
in
all
the
arts,
previously
suppressed
by
the
old
regime.
*The
ideals
of
this
group
were
social
and
poliDcal
as
well
as
aestheDc.
They
sought
soluQons
for
the
problems
faced
by
the
working
classes
in
the
depression
years
of
Post
World
War
I
Germany.
*Their
concerns
included
urban
planning,
housing,
and
the
development
of
high-­‐quality,
uQlitarian
mass
producQon
of
consumer
goods.
*BAUHAUS
*Many
Germans
of
le`-­‐wing
views
were
influenced
by
the
cultural
experimentaQon
that
followed
Lets
create
a
new
guild
of
crafsmen
without
the
Russian
RevoluDon,
such
as
construcDvism
the
class
disQncQons
which
raise
an
arrogant
barrier
between
crafsmen
and
arQst.
*The
most
important
influence
on
Bauhaus
was
modernism,
a
cultural
movement
whose
origins
lay
as
far
back
as
the
1880s
ProclamaQon
of
the
Weimer
Bauhaus
1919
*Following
World
War
II
the
style
broadened
into
what
became
known
as
the
internaQonal
modern
style
.

13. The
Engel
House
in
the
White
City,
Tel
Aviv
1933
Bauhaus
building
in
Chemnitz
*BAUHAUS
Walter
Gropius's
Monument
to
the
March
Dead,
1921

14. Brazilian
pavilion,
New
York,
Kaufman
desert
house,
1939
palm
springs,
1946-­‐47
The
Philadelphia
Saving
Fund
Society
Building
*INTERNATIONAL
STYLE
The
prime
architectural
symbol
is
no
longer
the
dense
brick,
but
the
open
box.
Henry
–
Russell
Hitchcock
and
Philip
Jhonson
Lovell
beach
house,
Lovell
health
house,
Meuseum
of
modern
art,
New
York
1925
-­‐
26
los
Angeles,
1927
1919

15. Bata
shoe
store,
Prague,
Boots
pharmaceuDcal
plant,
1929
Beeston,
1932
Villa
Savoye,
France.
1929
*INTERNATIONAL
STYLE
Glass
palace,
Harleen,
Netherlands,
1935
Neubuhl
siedlung,
zurich,
1932

16. Three
powers
square,
Brazil,
1956-­‐63
NaDonal
Olympic
gymnasium,
Kagawa
prefectural
office,
Tokyo,
1964
Takamatsu,
1955-­‐58
*INTERNATIONAL
STYLE

17. *THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

18. *LUDWIG
was
born
in
Aachen,
Germany
in
1886.
He
amended
the
Cathedral
School
there
between
1897
and
1900.
*
His
Father
owned
a
small
Stone-­‐
cuhng
Shop
that
produced
funeral
monuments
and
carved
fireplace
mantelpieces.
*
1899
apprenQced
as
a
brick
*THE
BEGINNING
mason
*THE
GERMAN
PERIOD
He
learned
the
physical
properDes
of
stone
and
the
value
of
fine
materials
and
(Buildings,
Influences,
Comparison
cra`smanship
with
other
examples)
*TO
THE
USA
&
BACK
*
1901
worked
for
Max
Fischer
(Buildings,
Influences,
Comparison
specialized
in
stucco
decoraDons
for
with
other
examples)
interior.
He
developed
talent
for
drawing.
*FINAL
WORDS

19. Bruno
Paul,
Westund
house,
Berlin,
1906
In
1905
he
moved
to
Berlin
and,
without
formal
architectural
training,
became
an
apprenDce
in
the
office
of
Bruno
Paul,
Tennis
club,
Grunewald,
1908
furniture
designer
(famous
interior
designer)
BRUNO
PAUL
*THE
BEGINNING
“I
HAD
NO
CONVENTIONAL
*THE
GERMAN
PERIOD
ARCHITECTURAL
EDUCATION.
I
(Buildings,
Influences,
Comparison
WORKED
UNDER
A
FEW
GOOD
with
other
examples)
ARCHITECTS;
I
READ
A
FEW
GOOD
*TO
THE
USA
&
BACK
BOOKS
AND
THAT’S
ABOUT
IT”
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

20. *1907
*He
built
HIS
FIRST
HOUSE
as
an
independent
architect
*Worked
as
a
dra`sman
and
designer
in
the
office
of
PETER
BEHRENS
where
GROPIUS
was
a
senior
assistant.
*THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

21. *1921,
Project
for
a
glass
skyscraper
in
Berlin.
*1922,
Project
for
a
glass
skyscraper.
*1922,
Project
for
the
Concrete
Office
Building,
published
by
G.
*1926,
Monument
to
Karl
liebknecht
and
Rosa
Luxemburg,
Berlin.
*THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

22. *Built
1928-­‐1929,
demolished
1930.
Barcelona
Pavillion.
Steel
frame
with
glass
and
polished
stone.
ExhibiDon
building.
An
Icon
of
the
Modern
movement.
free
plan
exemplar.
Rebuilt
in
1959
to
the
original
design.
*THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

23. *1930,
Tugendhat
House,Brno,
Czech
Republic.
Thin
+
shape
columns
held
in
from
exterior
walls.
Glazed
wall
toward
views.
entry
from
'back'.
Interior
recalls
Barcelona
Pavilion.
*THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

24. *THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS
*1946,
Farnsworth
house,
Illinois.
Steel
Frame
with
glass.
InternaDonal
Style
exemplar.
Glass
and
steel
house
hovers
in
meadow.

25. *THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS
*1954,
Seagram
Building,
New
York.
Steel
frame
with
curtain
wall,
bronze
exterior
"columns“.
Changed
the
concept
of
Skyscraper
allowing
a
free
space
in
front
of
the
building.
Influenced
future
similar
projects.
1965,
Westmount
Square
Montreal.
1967,
Project
for
an
office
block,
London.

26. *THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS
*1962,
New
NaDonal
Gallery,
Berlin.
Steel
frame
with
coffered
rib
roof.
Grid
structural
plan,
"free
plan"
interior,
conDnuous
space.

27. MIES
VAN
DER
ROHE
WAS
AWARDED
-­‐ The
Gold
Medal
of
the
Royal
InsDtute
of
BriDsh
Architects
in
1959
-­‐ The
AIA
Gold
Medal
in
1960
-­‐ The
J.
Lloyd
Kimbrough
Medal
in
1961.
MIES
VAN
DER
ROHE
WAS
*THE
BEGINNING
-­‐ The
first
architect
to
receive
the
American
PresidenDal
Medal
of
*THE
GERMAN
PERIOD
Freedom,
in
1963.
(Buildings,
Influences,
Comparison
-­‐ A
recipient
of
prizes
from
the
city
of
with
other
examples)
Munich
and
the
German
state
of
North
Rhine-­‐Westphalia,
and
from
the
Bund
*TO
THE
USA
&
BACK
Deutscher
Architekten
in
1966.
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

28. Mies
van
der
Rohe
HAS
BEEN
CRITICIZED.
"LESS
IS
A
BORE“
These
architectural
concepts
will
survive.
clarity
of
image,
careful
amenDon
to
Mies
van
der
Rohe
was
also
described
as
detail,
and
lightness
of
proporDon.
INSENSITIVE
TO
NEIGHBORING
STRUCTURES,
FUNCTIONAL
DEMANDS
AND
TO
ENVIRONMENTAL
CONCERNS
*THE
BEGINNING
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
with
other
examples)
*TO
THE
USA
&
BACK
(Buildings,
Influences,
Comparison
with
other
examples)
*FINAL
WORDS

29. AFTER
A
LONG
ILLNESS
…
MIES
VAN
DER
ROHE
DIED
IN
CHICAGO
*THE
BEGINNING
ON
AUGUST
17,1969
*THE
GERMAN
PERIOD
(Buildings,
Influences,
Comparison
AT
THE
AGE
OF
83
with
other
examples)
*TO
THE
USA
&
BACK
ONLY
A
MONTH
AFTER
THE
(Buildings,
Influences,
Comparison
DEATH
OF
WALTER
GROPIUS.
with
other
examples)
*FINAL
WORDS

30. *
Mies
Van
Der
Rohe:
The
art
of
structure,
Blaser
Werner.
*
Modern
architecture
–
a
cri6cal
history,
Kenneth
Frampton.
*
Internet.
Wikipedia.com
Arthistory.com
Cornell.edu
Greatbuildings.com
*Bibliography

31. THANK
U

32. CESAR
OSORIO
BY
ROHIT
PERLA
AMR
ELESAWY
BIRHANE
AREGAWI
CAN
DONMEZ
TO
PROF.SSA
BARBARA
GALLI