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An introduction to the life of ludwig mies van der rohe

For the top architects, painters, sculptors, and designers, like Modern Artists present. Biography Closely associated with the International Style of modern architecture as well as the group known as the Second Chicago School c. Like many of his post-World War I contemporaries, Mies sought to establish a new architectural style that could represent modern times just as Gothic and Baroque did for their own eras.

  • For the top architects, painters, sculptors, and designers, like Modern Artists present;
  • Despite having no architectural training, his influence can be seen in cities the world over, from Anchorage to Adelaide, and the term 'Miesian' is now used to compliment the simplest, most elegant examples of Modernist architecture.

In his case, he created an influential style of skyscraper architecturestated with extreme clarity and simplicity. For Mies, technology was the most significant force shaping this or any other time. His work expresses this, by raising the materials of the Industrial Revolution - glass, steel and reinforced concrete - to the realm of art.

He is often associated with the aphorism "less is more", referring to his modernist style of minimalismdevoid of all decorative references to historical movements.

Mies, like Gropius, sought to devise a "modern" style of architecture for the modern age: Touchingly, Mies van der Rohe remained true to his close friendship with the talented but short-lived German sculptor Wilhelm Lehmbruckby introducing Lehmbruck statues into his buildings for much of his career.

Until age 13 he attended Aachen's cathedral school and then trade school, followed by apprenticeship as a brick mason.

Three years with a firm of interior decorators refined his talent for freehand drawing ; a short time in an architect's office developed his drafting skills. Finding Aachen's opportunities limited, Mies moved to Berlin, where, after two years' further tutelage, including a period in the office of interior designer Bruno Paul, he designed the Riehl Housedescribed as a work so faultless that no one would guess it was the first independent work of a young architect.

At age 23, feeling the need for further training, Mies entered the office of Europe's most influential architect, Peter Behrensa pioneer of the modernist school, and a founder of the Deutscher Werkbund. Arts and Crafts Movement.

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Behrens employed two other future leaders of modern architecture, Walter Gropius and Le Corbusier He remained with Behrens for four years, untilduring which time he absorbed many of the prevailing architectural theories. He also managed the construction of the German Embassy in St Petersburg. Ambition to Succeed Mies's architectural flair was quickly recognized and - despite his lack of formal qualifications as an architect - he soon began to handle independent commissions - mostly private houses for Berlin's cultural and business elite, using neoclassical architecturein the manner of the prolific Prussian architect Karl Friedrich Schinkel Even at this early stage, however, Mies's designs were noticeably free of unnecessary or eclectic decoration, a tendency which would later lead to his signature minimalist style.

He was also an exceptionally ambitious individual, and took advantage of his growing reputation to change his name: Avant-Garde Designs Experience in supervising war-related construction coupled with the artistic liberation occasioned by the German Kaiser Wilhelm II's abdication unshackled Mies's creativity. During the early years of the Weimar Republic, Mies - along with other avant-garde designers - searched hard for a new style of "modern architecture" suitable for the "modern era".

Associated with the radical design magazine "G", he became a founder of the architectural association Der Ring, and Director of Architecture with the German Work Federation, or Association of craftsmen Deutscher Werkbundfor whom he organized the important Weissenhof Estate prototype housing exhibition.

Architecture was rapidly coming of age.

Ludwig Mies van der Rohe

The older historical styles - many of which hid their modern construction methods and materials underneath a facade of traditional decoration - were seen as obsolete, and theorists now demanded a brand new type of design process regulated by rational problem-solving and an exterior that showcased its modern structure and components. Spurred on by this revolutionary quest, Mies van der Rohe showed off several designs which were so visionary as to place him at the forefront of modern architecture.

See, for instance, his design for the faceted all-glass Friedrichstrasse skyscraper inas well as his taller curved version in named the Glass Skyscraper. His furniture designs, successfully applying the cantilever principle, produced the most enduring symbol of excellence, the Barcelona chair Other classic Mies designs include the Barcelona table, the Brno chair, and the Tugendhat chair. Between and he designed two important buildings, the German Pavilion and Industrial Exhibits at the International Exhibition, Barcelona, Spainand the elegant Tugendhat House, Brno, Czechoslovakiaboth pure expressions of architectural space defined, not enclosed, by walls, floors and ceiling planes.

In he was appointed to replace Hannes Meyer as director of the Bauhaus Design Schooland in his European career reached its zenith with his election to the Prussian Academy. Influences on Mies's Style of Architecture Mies's attitude to building design was shaped by a number of schools of avant-garde art which blossomed in the s, including: Loos had published his theories in his landmark essay Ornament and Crimeand put them into practice in his concrete Steiner House in Vienna ; 5 the American Prairie Style building designs of Frank Lloyd Wright His an introduction to the life of ludwig mies van der rohe style, deemed un-German by the authorities, could not compete with the imposing Totalitarian architecture being adopted by Albert Speer and others.

See Nazi art A major attraction of the new post was that Mies was commissioned to design many of the new IIT campus buildings, including the Chapel, the Alumni Hall, and his masterpiece - the School of Architecture itself - known as S.

Ludwig Mies Van Der Rohe

It was also here that he introduced a new kind of education and design style, known as the Second Chicago School of architecturewhich became the dominant building style in America during the s and s.

However, he injected a huge dose of European modernism, derived from the Bauhaus, Le Corbusier and Adolf Loos, which was already known as The International Style of modern architecture.

Characterized by sleek modern-looking minimalist buildings made from glass, steel and reinforced concrete, without any old-fashioned revivalist decoration in the manner of say Greek, Romanesque, Gothic, Renaissance or Baroque architecture, Mies's International Style became the dominant mode of building for American corporations, public agencies and cultural institutions during the middle decades of the 20th century.

Corporate America, in particular, loved being associated with its progressive, high-tech look.

Masterworks Mies designed and built a number of iconic buildings. He designed the Seagram Building New York's most elegant and, at the time, most expensive office building, in collaboration with Philip Johnson ; and as part of Detroit's renewal, his design for Lafayette Park demonstrated that urban life could combine the best of city and country living. Teaching Architecture Mies believed that his architectural language could be taught and then applied to any type of modern building.

To this end, he established a radical new system of architectural education at the Illinois Institute of Technology. The traditional Ecole des Beaux-Art curriculum was replaced by a three-step-program consisting of 1 drawing and construction 2 planning 3 theory of architecture; some of which is still in use.

Paradoxically, while Mies' approach had a huge impact on students, and the aesthetics of his finest buildings proved impossible to match, his very success led to such slavish imitation that architects and public got bored. For his postmodernist creative equivalent, see the designer Frank O.