Mies van der Rohe (pictured)

One of the four most famous modern architectural masters in the world in the mid-twentieth century, known as Mies of the standard-bearer of modernist architecture. The building that insists on “less is more” involves philosophy and advocates a new concept of flow space in handling methods. In his designs, the details are reduced to an absolute state that cannot be streamlined. Many works are almost completely exposed, but they are noble and elegant, so that the structure itself is sublimated into architectural art. In the early days of Mies, he advocated the modern architecture, and advocated that the building must be contemporary. The steel and glass skyscraper plan proposed by him in 1919-1921 specifically reflected this feature. He believes that today's construction method must be industrialized, and it is a material problem. He found his new industrialized materials, namely steel and glass. After unremitting efforts, finally the bright glass skyscraper became a contemporary after the 1950s. One of the most popular styles in the world.
Glass Skyscraper Project Model 1920-1921 Mies's rigorous logical thinking made him adhere to the "less is more" architectural design philosophy. Its specific content mainly implies two aspects. First, in terms of structure, that is, to simplify the structural system, to streamline structural components, to pay attention to structural logic, to create a building space without barriers or barriers, so that this space can be freely divided into not only a variety of different functional needs. A variety of different parts, but also in accordance with the requirements of space art, create a rich and moving space and construction time and space. On the one hand, in the construction of artistic styling, this is the form of purification construction, making it a geometric configuration that does not have any extras, but consists of straight lines, right angles, rectangles and cuboids. On the other hand, precise and rigorous construction, material selection and careful exposure to the color, texture and texture of the material make the shape more clear, refined, pure and noble, with a form of beauty that never gets tired. This idea is reflected in the multi-storey apartments in the new village of Weisenhof, the German pavilion at the Barcelona International Fair and the Tuggenhardt residence.
Marble wall of the German Pavilion at the Barcelona International Fair
The German Pavilion at the Barcelona International Fair (1928-1929) with a cross-shaped column was held in 1927 under the auspices of Mies van der Rohe in Stuttgart, Germany, and a year later to 42 countries. Representatives of innovative architects gathered in Switzerland to form the International Association of Modern Architecture (MOMA), and the “Modernist Architecture” was also spread around. And Mies also became the name of a building genre. The unity of this expression technique and construction means; the coordination of architectural form and internal function; the logicality of architectural image; the flexible and balanced asymmetric composition; the simple handling method and the pure form give a design for the philosophy of design. A name that is too humorous? D?D rational architecture, even more so for the flat roof that appears in many countries for a time, asymmetric layout, smooth white wall surface, simple stack processing, glass of different sizes The window, the architectural image of the decorative line is rarely used or completely used, and people have given it a more dry name called "international" architecture. After the outbreak of World War II, the dictator who advocated classicism rushed the third President of Bauhaus and his followers to the other side of the earth. Who knows that it has created another way of architecture in the world? D ?D skyscrapers. In the architectural world, it seems that there is no super high-rise building today without Mies. It seems that only the rationalism of Mies has made people so close to the sky. Mies is a rigorous modernist architect, but his rigor and dedication make him an experimental architect rather than a practical architect. Mies once said to the head of the SOM office: "We can do things like a hospital, but you have to do it." This sentence clearly expresses the division of labor between experimental and practical architects. As the experimental architect, Mies, the significance is that the first glass curtain wall rises from the height of technology to the height of architecture and aesthetics. The SOM and the practice architects of the Mies School at the same time, their mission is to make the glass curtain wall building more suitable for various functions and different geographical needs, and finally make the glass curtain wall building popular and universal.
New National Gallery interior space
Seagram Building 1954-1958
New National Gallery of Berlin 1962-1968


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