Uploaded byAmr Alaaeldin Elesawy
100421 Architectural History POLIMI
The document discusses the architectural contributions of Ludwig Mies van der Rohe, particularly his transition from Germany to the USA and the development of the International Style. It highlights significant works such as the Seagram Building in New York, detailing its construction, design elements, and architectural significance. The text underscores the lasting impact of the Seagram Building on corporate architecture and urban design.
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100421 Architectural History POLIMI
- 1. Presented by: Amr Elesawy Cesar Osorio Birhane Aregawi Rohit Perla Can Donmez Presented to: Ludwig Mies Van Prof.ssa Barbara Galli DER ROHE… Date: 21-‐04-‐2010 ! Architectural Eng. MSc Less is More 2nd Semester
- 2. Ludwig Mies Van DER ROHE… ! Less is More
- 3. ELEMENTS FROM THE GERMAN PERIOD WHY MOVING TO USA? INTERNATIONAL STYLE SOME WORKS IN THE USA THE SEAGRAM BUILDING THE SEAGRAM EFFECT!
- 4. ELEMENTS FROM THE GERMAN PERIOD
- 5. ELEMENTS FROM THE GERMAN PERIOD -‐ THE BARCELONA PAVILLION -‐ Casa Brno
- 6. ELEMENTS FROM THE GERMAN PERIOD -‐ THE BARCELONA PAVILLION -‐ Casa Brno
- 7. ELEMENTS FROM THE GERMAN PERIOD -‐ THE BARCELONA PAVILLION -‐ Casa Brno
- 8. ELEMENTS FROM THE GERMAN PERIOD -‐ The Barcelona Pavillion -‐ CASA BRNO
- 9. ELEMENTS FROM THE GERMAN PERIOD -‐ The Barcelona Pavillion -‐ CASA BRNO
- 10. WHY MOVING TO USA?
- 11. WHY MOVING TO USA? -‐ The worldwide depression aJer 1929 -‐ AJer 1933, Nazi poliOcal pressure (Buildings – Style) -‐ Leaving homeland in 1937 (residenOal commission in Wyoming) -‐ head Illinois architectural school in Chicago (Designing new campus bldgs) -‐ In 1944, he became an American ciOzen
- 12. WHY MOVING TO USA? -‐ The worldwide depression aOer 1929 -‐ AOer 1933, Nazi poliVcal pressure (Buildings – Style) -‐ Leaving homeland in 1937 (residenOal commission in Wyoming) -‐ head Illinois architectural school in Chicago (Designing new campus bldgs) -‐ In 1944, he became an American ciOzen
- 13. WHY MOVING TO USA? -‐ The worldwide depression aJer 1929 -‐ AJer 1933, Nazi poliOcal pressure (Buildings – Style) -‐ Leaving homeland in 1937 (residenVal commission in Wyoming) -‐ Head of Illinois architectural school in Chicago (Designing new campus bldgs) -‐ In 1944, he became an American ciVzen CROWN HALL IIT
- 14. WHY MOVING TO USA? -‐ The worldwide depression aJer 1929 -‐ AJer 1933, Nazi poliOcal pressure (Buildings – Style) -‐ Leaving homeland in 1937 (residenVal commission in Wyoming) -‐ Head of Illinois architectural school in Chicago (Designing new campus bldgs) -‐ In 1944, he became an American ciVzen ALUMNI HALL
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- 16. INTERNATIONAL STYLE The InternaVonal style implied a universal approach which generally favored light weight technique, syntheVc modern materials and standard modular parts (to facilitate fabricaOon) It tended as a general rule towards the hypotheVcal IS A CUBIST MODE OF flexibility of the free plan (so, it preferred skeleton frame ARCHITECTURE WHICH HAD construcOon to masonry) SPREAD ALL OVER THE Its apparent homogeneity was decepVve (didn’t respond to WORLD BY THE TIME OF THE different climaOc and cultural condiOons) SECOND WORLD WAR It never became truly universal (Unlike the Neo Classical manner, late 18th century)
- 17. INTERNATIONAL STYLE THE INTERNATIONAL STYLE IMPLIED A UNIVERSAL APPROACH WHICH GENERALLY FAVORED LIGHT WEIGHT TECHNIQUE, SYNTHETIC MODERN MATERIALS AND STANDARD MODULAR PARTS IS A CUBIST MODE OF IT TENDED AS A GENERAL RULE TOWARDS THE ARCHITECTURE WHICH HAD HYPOTHETICAL FLEXIBILITY OF THE FREE PLAN SPREAD ALL OVER THE IT PREFERRED SKELETON FRAME CONSTRUCTION TO WORLD BY THE TIME OF THE MASONRY SECOND WORLD WAR Its apparent homogeneity was decepVve (didn’t respond to different climaOc and cultural condiOons) It never became truly universal (Unlike the Neo Classical manner, late 18th century)
- 18. INTERNATIONAL STYLE The InternaVonal style implied a universal approach which generally favored light weight technique, syntheVc modern materials and standard modular parts (to facilitate fabricaOon) It tended as a general rule towards the hypotheVcal IS A CUBIST MODE OF flexibility of the free plan (so, it preferred skeleton frame ARCHITECTURE WHICH HAD construcOon to masonry) SPREAD ALL OVER THE ITS APPARENT HOMOGENEITY WAS DECEPTIVE WORLD BY THE TIME OF THE (didn’t respond to different climaOc and cultural condiOons) SECOND WORLD WAR IT NEVER BECAME TRULY UNIVERSAL (Unlike the Neo Classical manner, late 18th century)
- 19. INTERNATIONAL STYLE EXAMPLES BRAZILIAN PAVILION, NEW YORK, 1939 THE PHILADELPHIA SAVING FUND KAUFMAN DESERT HOUSE, SOCIETY BUILDING PALM SPRINGS, 1946-‐47
- 20. INTERNATIONAL STYLE EXAMPLES BATA SHOE STORE BOOTS PHARMACEUTICAL PLANT PRAGUE 1929 BEESTON 1932 THREE POWERS SQUARE NATIONAL OLYMPIC GYMNASIUM BRAZIL 1956-‐1963 TOKYO 1964
- 21. INTERNATIONAL STYLE EXAMPLES LOVELL BEACH HOUSE LOVELL HEALTH HOUSE 1925 -‐ 1926 LOS ANGELES, 1927 NEUBUHL SIEDLUNG VILLA SAVOYE ZURICH, 1932 FRANCE 1929
- 22. INTERNATIONAL STYLE EXAMPLES GLASS PALACE HARLEEN, NETHERLANDS 1935 KAGAWA PREFECTURAL OFFICE TAKAMATSU 1955-‐1958
- 23. SOME WORKS IN THE USA
- 24. SOME WORKS IN THE USA 860-‐880 LAKE SHORE DRIVE 1949 Chicago, illinois
- 25. SOME WORKS IN THE USA FARNSWORTH HOUSE 1946 Plano, illinois
- 26. SOME WORKS IN THE USA ILLINOIS INSTITUTE OF TECHNOLOGY 1945-‐1960 Chicago, illinois S.R. Crown Hall S.R. CROWN HALL Alumni Hall IIT Chapel
- 27. SOME WORKS IN THE USA ILLINOIS INSTITUTE OF TECHNOLOGY 1945-‐1960 Chicago, illinois ALUMNI HALL S.R. Crown Hall Alumni Hall IIT Chapel IIT CHAPEL
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- 29. SEAGRAM THE SEAGRAM COMPANY LTD. WAS A LARGE CORPORATION HEADQUARTERED IN MONTREAL, QUEBEC, CANADA THAT WAS THE LARGEST DISTILLER OF ALCOHOLIC BEVERAGES IN THE WORLD.
- 30. SEAGRAM BUILDING 375 Park Avenue New York City NY United States CO-‐DESIGNER Pritzker Arch. Prize PHILIP JOHNSON KAHN & JACOBS
- 31. SEAGRAM BUILDING WAS DESIGNED AS THE HEADQUARTERS FOR THE 375 Park Avenue CANADIAN DISTILLERS JOSEPH E. SEAGRAM'S & New York City NY United States SONS WITH THE ACTIVE INTEREST OF PHYLLIS LAMBERT, THE DAUGHTER OF SAMUEL BRONFMAN, SEAGRAM'S CEO. CO-‐DESIGNER THE SEAGRAM IS THE ONLY BUILDING IN NEW Pritzker Arch. Prize YORK DESIGNED BY MIES VAN DER ROHE PHILIP JOHNSON KAHN & JACOBS
- 32. SEAGRAM BUILDING DATA HEIGHT = 156.97 M FLOORS (ABOVE GROUND) = 38 WIDTH = 43 m DEPTH = 26 m FLOORS AREA = 46,000 m² CONSTRUCTION BEGAN 1954 CONSTRUCTION ENDED 1958 RENOVATED 2000 USES OFFICES ARCH STYLE INTERNATIONAL MATERIALS GLASS, STEEL FAÇADE MATERIAL BRONZE FAÇADE COLOR BLACK FAÇADE SYSTEM CURTAIN WALL
- 33. SEAGRAM BUILDING ARCHITECTURE FUNCTION THE FOUR SEASONS RESTAURANT TWO LINKED ROOMS WITH THE CENTERPIECE OF: ONE A POOL AND THE OTHER A BAR THAT IS TOPPED BY A QUIVERING RICHARD LIPPOLD SCULPTURE – DESIGNED BY PHILIP JOHNSON
- 34. SEAGRAM BUILDING ARCHITECTURE FUNCTION OCCUPIES ONLY 40% OF THE ALLOWABLE ZONING ENVELOPE, FREEING UP SPACE FOR A GRANITE-‐PAVED PUBLIC PLAZA THE PLAZA IS AN EXPENSIVE AESTHETIC AND SYMBOLIC GESTURE, ESPECIALLY SIGNIFICANT IN THE DENSE URBAN ENVIRONMENT WHICH SURROUNDS IT
- 35. SEAGRAM BUILDING ARCHITECTURE MATERIALS & AESTHETICS THE USE OF EXTRUDED BRONZE MULLIONS AND BRONZE SPANDRELS TOGETHER WITH A DARK AMBER-‐TINTED GLASS HAS UNIFIED THE SURFACE WITH COLOR “A BUILDING'S STRUCTURAL ELEMENTS AS DESIGNED, THE BUILDING USED 1,500 SHOULD BE VISIBLE” TONS OF BRONZE IN ITS CONSTRUCTION MIES THOUGHT
- 36. SEAGRAM BUILDING ARCHITECTURE MATERIALS & AESTHETICS A STEEL FRAME, FROM WHICH NON-‐ STRUCTURAL GLASS WALLS WERE HUNG. AMERICAN BUILDING CODES “ALL STRUCTURAL STEEL BE COVERED IN A MIES USED FIREPROOF MATERIAL -‐ NON-‐STRUCTURAL USUALLY CONCRETE” BRONZE-‐TONED I-‐BEAMS
- 37. SEAGRAM BUILDING ARCHITECTURE MATERIALS & AESTHETICS WINDOW BLINDS!! UNIFORM APPEARANCE x IRREGULARITY WHEN WINDOW BLINDS ARE DRAWN MIES SPECIFIED WINDOW BLINDS WHICH ONLY OPERATED IN THREE POSITIONS -‐ FULLY OPEN, HALFWAY OPEN/CLOSED, OR FULLY CLOSED
- 38. SEAGRAM BUILDING STRUCTURE FACADE FAÇADE CONSISTS OF ALTERNATING BANDS OF BRONZE PLATING AND AMBER-‐TINTED GLASS WINDOWS, WHICH ARE SEPARATED BY BRONZE-‐ TONED I-‐BEAMS RUNNING VERTICALLY LIKE MULLIONS TO THE BUILDING’S APEX
- 39. SEAGRAM BUILDING STRUCTURE FACADE
- 40. SEAGRAM BUILDING STRUCTURE FACADE
- 41. SEAGRAM BUILDING According to SEVERUD ASSOCIATES – The Structural Engineering Consultants STRUCTURE IT WAS THE FIRST TALL BUILDING TO USE HIGH STRENGTH BOLTED CONNECTIONS THE FIRST TALL BUILDING TO COMBINE A BRACED FRAME WITH A MOMENT FRAME ONE OF THE FIRST TALL BUILDINGS TO USE A VERTICAL TRUSS BRACING SYSTEM THE FIRST TALL BUILDING TO EMPLOY A COMPOSITE STEEL AND CONCRETE LATERAL FRAME
- 42. SEAGRAM BUILDING FACTS IN 1984 THIS BUILDING BECAME THE 15TH RECIPIENT OF THE AMERICAN INSTITUTE OF ARCHITECTS' PRESTIGIOUS TWENTY-‐FIVE YEAR AWARD IN 1989 IT WAS DESIGNATED AN ARCHITECTURAL LANDMARK IT HAS WON NUMEROUS ARCHITECTURAL AWARDS, INCLUDING THE COVETED BOMA/NY PINNACLE AWARD & THE REAL ESTATE INDUSTRY'S HIGHEST HONOR
- 43. SEAGRAM BUILDING FACTS IT COSTED $36 MILLION TO BE BUILT AND USED 3.2 MILLION POUNDS OF BRONZE IN ITS CONSTRUCTION ON COMPLETION, THE CONSTRUCTION “The Seagram Building Was The First Modern Building In A COSTS OF SEAGRAM MADE IT THE Major Metropolitan City To WORLD'S MOST EXPENSIVE Have A Bronze Curtain-‐wall, SKYSCRAPER, DUE TO THE USE OF Many Architects Have Tried EXPENSIVE MATERIALS AND LAVISH To Duplicate It, But No INTERIOR DECORATION Building Can Compare To It.” FRANK FARELLA, THE BUILDING’S PROPERTY IT WAS THE WORLD'S FIRST OFFICE MANAGER TOWER TO FEATURE FLOOR-‐TO-‐CEILING HEIGHT GLAZING
- 44.
- 45. THE SEAGRAM EFFECT THE BUILDING IS SET BACK 30 METRES FROM PARK AVENUE. IN 1961, THIS BUILDING'S DESIGN LET TO NEW LEGISLATION WHICH DETERMINED HIGHRISE BUILDINGS SHOULD BE SURROUNDED BY OPEN SPACES THIS STEEL FRAMED TOWER, HEADQUARTERS OF THE SEAGRAM LIQUOR COMPANY, ESTABLISHED THE BASIC FORM OF THE CORPORATE TOWER FOR YEARS TO COME
- 46. THE SEAGRAM EFFECT! Project for an office block, London 1967 SEAGRAM
- 47. THE SEAGRAM EFFECT! Westmount Square, Montreal, 1965-‐1969 SEAGRAM
- 48. FINAL WORDS A NEW APPROACH, DIFFERENT IDIOLOGY, NEW ARCHITECTURAL STYLE NEGLECTANCE OF ENVIRONMENTAL & CULTURAL ASPECTS
- 49.