presentaion on architect mies van der rohe

8/13/2019 PRESENTAION on Architect Mies Van Der Rohe

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PRESENTAION ON

LUDWIG MIES VAN DER ROHE

CONSTRUCTEDBY:ASHISH4TH SEM.


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BARCELONA PAVILION

the barcelona pavilion was designed by mies van deroheas the german national pavilion for the 1929barcelonainternational exhibition, held on montjuc.

the small ceremonial hall (for which he also designedthefamous chrome and leather 'barcelona chair'),had a flat roof supported on chrome columns.the steel skeletron and the pavilions walls,

rectangular planes of marble, glass, onyx placedvertically or orizontally, could be freely positionedand madeit possible that space seems to flow through them.


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BarcelonaPavilion

Barcelona

chair


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CONCEPT AND STYLE

The free plan, as it relatesto architecture refers to an openplan with non load-bearingpartitions dividing interior space.

Free plan, in the architectureworld, refers to the ability to

have a free floor plan with non-load bearing walls and floors bycreating a structural system thatholds the weight of the buildingby ways of an interior skeletonof load bearing columns. Thebuilding system carries only its

columns, or skeleton, and eachcorresponding ceiling. Free plangives the utilization of a freefloor plan.


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ARCHITECTURAL FEATURES

Notably, the Barcelona Pavilion expressesfree plan with by having glass walls and largeexpanses and openings in the outside faadeof the building.

It also has a completely open free floor plan inthe interior with sections divided by walls

lower than ceiling height to distinguish roomsand areas, something that can be done in anyfashion through the use of free plan.


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STUDY OF PAVILION

The building is alsoknown as the GermanPavilion or 'Mies vander Rohe Pavilion

Location: Hill ofMontjuic, southwestBarcelonaDate: 1929; pavilionbuilding reconstruction1983-86

Design: Mies van derRohe, Architect

The Barcelona Pavilion building is formany architects their favouritebuilding in the World. It's architectureis pure poetry, simple honest planesof stone with slim, graceful polished

steel cruciform columns. Theintegration of water through twoshallow pools brings calmness andreflection to the pavilion.

the Barcelona Pavilion building

represents the apotheosis ofModernism, a building which isuncompromised by the complexity offunctions.


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The design is constructed as a largehorizontal roof-plane under whichcolumns and vertical planes of

marble and glass are positioned. As aresult of the apparently randompositioning of the elements oneexperiences the building as anassemblage of different parts and

different materials. Because allsurfaces heavily reflect the sunlightand each other, all materials aretransformed in their appearance -marble becomes transparent, thesteel columns become almostinvisibly, the glass is so dark that itbecomes a mirror, etc.


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PLAN


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Tugendhat House


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INTRODUCTION

Villa Tugendhatis a historical buildingin Brno, Czech Republic.

It is one of the pioneering prototypes of modern

architecture in Europe, and was designed bythe German architect Ludwig Mies van der Rohe.Built between the years 1928-1930 for FritzTugendhat and his wife Greta, the villa soonbecame an icon of modernism.

Building style is cultural. The house was inhabited by the Tugendhat just

over seven years. In 1938, before the entrance ofthe Nazis decided to emigrate.


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Grete Tugendhat had lived several years in Berlin andvisited the house Perls, designed by Mies, which ledsince then to monitor the architect's artistic

development. In the years 1928 and 1929, Miesmade technical drawings of the house would beginto build in 1929.

The money was the least of the Tugendhat gave himcarte blanche and even the interior decoration of thehouse. The project offered the possibility Miesincomparable realize their ideas in detailarchitectural and furniture design without anyrestrictions for customers.

In the mansion just could glimpse something thatwould contribute to solving social problems. Thedimensions of the building materials and, above all,the amount of economic categorically documentednot only his status as a work of art, but also private

mansion.


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Present work

Very few monuments of modern architecture have securedits future as the Tugendhat Villa in Brno This is protectedagainst inappropriate interference by its status as anational cultural monument and has also been proposed inview of the UNESCO Cultural Heritage and National andInternational.

Since 1994, when the Museum of the City of Brno wascredited with the management and use of the VillaTugendhat, this institution has been involved in preparing adesign for renovation, which is the restoration of this

architectural monument, with a emphasis on ensuring asfar as possible the authenticity of all original materials anddetails, many of which are for the Tugendhat Villa, includingmaterials and details that are usually replaced with newbuildings.


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CONCEPT Rohe's design principle of "less is more" and accent

on functional amenities of the house created a fineexample of early functionalism architecture, agrounbreaking new vision in building design at thetime. Mies used the revolutionary iron framework

which enabled him to dispense with supporting wallsand arrange the interior in order to achieve a feelingof space and light.

He also designed all furniture (two types of armchairdesigned for the building, the Tugendhat chair andthe Brno chair, are still in production). There were nopaintings or decorative items in the villa but theinterior was by no means austere due to the use ofnaturally patterned materials such as thecaptivating onyx wall and rare tropical woods.


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The restoration will be in the building, its interiorand technical facilities, its land and fixedfurniture, fencing and garden. The zoning of thegarden and the variety of plants containing,where Ludwig Mies van der Rohe also had a hand(as in the design of the interiors and furniture)increases the importance of the building.

When the mansion was restored to its originalform, including furniture, was opened to thepublic and, again, is used as a monument thatincludes a museum of architecture with anaudio-visual program, a small conference center,

a center research and information centerfocusing on the modern architecture of Brno andthe life and work of the architect.


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The land The mansion is located in a very steep slope. The side that

faces the street is isolated, however, the opposite sideoffers superb views of the old city of Brno

The property that was intended to be built was a weddinggift from the bride. It was a long ground apaisajado is

artificially removed from the suburbs. It was part of Lw Beer garden separated from the family

home with this one did everything. The hearing wascontrary to the southwest to the center of the city skylineincluding the monument to Pilberk Castle and St. Peters

House, and slightly hidden from view by trees from the siteof the future construction. Soon found that the locationwas extremely favorable, which was another factor ofconsiderable influence to the project designed by the termsof the appearance of the house.


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Spaces

Despite that, for this project took some ideas fromMies Barcelona Pavilion, the building is fully adaptedto the different needs of a house.

The house consists of 3 floors, each has differentdistributions and facades.

On the first floor (basement) is accessible frominside the house using a ladder espiralaza which is inthe kitchen, and two from the outside, is composedof areas of maintenance and technical operation ofthe house with the exception a laboratory forphotos. The area of domestic services, includinghousing for servants is clearly separated from theliving space.


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On the second floor of the House (Ground Floor) for whichis accessed from a twisted ladder located at the entrance, isalso accessible from the front, composed of 3 parts, themain living and social area with a winter garden implies ahigher division. Functionally different, there is room forguests with a small library and a semicircular dining. Thesecond part of the plant that is the other side consists of akitchen with room for food preparation in a separate sector

is intended to serve quarts Staff. On the third floor is a hidden entrance to the street by a

semicircular wall of glass skin of the ladder. Which serves asthe lobby for guests and a corridor that leads the way to therooms of the children, the nanny and all bath and laundry.On the side facing the garden opens to the foyer andmaster bedroom to the bathroom attached to a dressingroom which is located opposite the entrance to the terrace,slightly tilted, the garden is accessible from the floor at theentrance to the winter garden or the courtyard oppositethe western spine of the house.


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FURNITURE The couple Mies Tugendhat ordered the furnishing of the house at the

end of 1929, which were not the work of Mies. However, without doubtMies design them some basic furniture and under whose use andlocation are more or less defined by the interior architecturalappearance. This includes, for example, the famous Brno chair orrecessed cabinets and independent rooms found on the upper floor andthe master bedroom, the sofa table with four pieces also plated bridgeMacassar ebony, and the chairs of the type Brno tubes made of curved

steel and chrome in the library's extensive dining table on a steel leg setin a cross-shaped.

Numerous pieces were created for this house, however, are probably thework of specialists in cooperation with Mies. Is essentially the work ofLilly Reich, who worked for Mies until about 1927.

The furniture was usually placed on white or gray carpet, and some were

owned by the family but most was a new acquisition according to thedesigns of one of the interior designers.

Most of the furniture made of tubular steel bars were made by thecompany Metalgewerbe Jos Berlinger. Miller. Including in between thesewalls clad in ebony cabinets. For the lighting contract to Louis Poulsen.


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Materials

With regard to the location of the embankment, thebuilding is protected by a solid concrete wall in thebuilding.

The skeleton of the work, with the exception of the front

sections and external outreach maintenance garage, is achrome steel frame, the structure of the glass panels,railings, doors and windows and the basement stairs bematerialized in stainless steel.

The floors are covered with square tiles of soft colors thatmake up the entrance. The external staircases are linedwith travertine of various types and colors.

The main area and social area are divided by walls made offive pieces in honey onyx yellow-white betas, partlytranslucent with direct light, and the semicircular wallabove the 12 pieces with a diameter of 6.90 meters.

Plywood originally Macassar ebony.


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BUILDING

The onyx wall is partially translucent andchanges appearance when the evening sun islow. The architect also managed to make themagnificent view from the villa an integralpart of the interior.

The structure consists of small metal

cruciform pillars releasing the area of theplant.


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VIDEO


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SEAGRAM BUILDING NEW YORK

IntroductionThe Seagram Building is amodern office tower designedby famed German architect Miesvan der Rohe, in collaboration

with Philip Johnson.It is the headquarters of theSeagram corporation, originallybelonging to a rich bootleggerduring Prohibition by selling

alcohol illegally.


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This office skyscraper built in New York in 1958 isin many ways the culmination of the purificationprocess of expression, without any compromisein the ornamental, for high-rise buildings thatMies van der Rohe had started earlier in thedecade with the Apartments Lake Shore Drive860-880 and had continued with other examples

in Chicago as the Paseo del Commonwealthdepartments and the Esplanade.

It is a sign of his rationalist mentality, anexercise in architectural elegance that use few

elements measured results in one of the mostbeautiful jewels of twentieth centuryarchitecture.


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Location

The building is located exactly at the 375 ParkAvenue, between the street No 52 and No 53in downtown Manhattan. In the city of New

York, USA.


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Description

One of his most original details is that instead oftaking up all the available solar, Mies van der Rohedecided to release a space next to the buildingdestined to square, so that when approaching thesame sense of scale generated by the game full -

empty (building-square) and by the proportions ofthe building itself hardly features found in a city likeNew York.

Asked the architect for the reason that post, hereplied that the skyscraper retranqueba "to view it. If

you go to New York, you really have to look at themarquees to know where you are. Not if you want tosee the building, only see it from far. " The seatconstruction allows breathing amidst an urbandensity in the crushed leaves the viewer edification.


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It was evident that a building of such heightwould have a huge area of blinds, whose userstend to upload or download them as they liked.

To avoid this display of disorganization, designedthem so that solely having three possiblepositions. This aimed to maintain visualuniformity of construction.

In addition, the mixture of external profilesstained with crystal tone of the skyscraper,whose basic function is to reduce the interiortemperature, contributes to more sober yet, if

possible, the external image of the building, adark glass prism in the middle one of the mainavenues of New York.


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Spaces

Mies designed his building to the manner of ancientcolumns, with bases, shaft and capital.

Indeed, the basement, put on a sumptuous marble plazawith fountains dry, houses the lobby, however the groundin the ground floor is cleared and the building is supportedon piles, the shaft remains undifferentiated for thesuccession of office floors, which ends in a triple bodyheight, while continuing strictly the volume of the tower, isexpressed plastically as the pinnacle of the whole.

To access the plaza area, we must undergo a staircase

between two large pillars or pedestals, where they spreadsheets of water in symmetry, which is very characteristic ofclassical antiquity.

The building is 157 meters high, spread over 39 floors.


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Structure

It is a rectangular building supported on piles

Plant

The floor of the Seagram's, as in the Lake ShoreDrive, a rectangle of 5x3 squares structural modules.But the elevation of the building achieves itsexpressive perfection, simulating a column with itsthree constituent parts classic.

Facade

His typology shows clearly the structure in front,meeting both an ornamental role, consisting of steelbeams and columns of bronze, that without astructural role fits perfectly the large windows thatare the most visible epidermis of the work.


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As a building for offices and not leisure activities, itsfacade is very simple, which betrays the time toobserve the functional characteristics of the

building. The ornamentation of the structure borne by the

facilities of steel beams and columns of bronze,although the columns were to be built of steel butbecause of complaints the company by resource

economics decided to make bronze.


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Materials

Due to the fire law in force in 1954, at the time of concreteconstruction was used as a structural material, both outsideand inside.

Part of the expressive minimalist Mies van der Rohe in thiswork reaches its maximum level of refinement: the"mullions of Courtain-wall" which are special I doubleprofiles have been added at both ends of the outer wingedges outgoing to generate a subtle emphasis of shape.

The refinement showed that Mies on the Seagram extendsto the choice of materials: metal profiles and panels in

bronze and glass light shades of pink, in the curtain wallfacade help to give this work a kind of charming New Yorkerwhich lack the above examples, more austere in itstechnological thoroughness.


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Profiles

Steel profiles seen in American buildings are rarely identicalto the building structures, because the legislation police fire

prevention prescribes the steel liner. Thus the "structure"visible symbol of hidden reality, as in the Renaissance hadsymbolized the pillar columns. But the relations of Miespseudoconstrucciones more convinced with the real. Withthe standard alphabet in steel production, profiles I, H andL, Mies form welded profiles that are the equivalent of the

carved profiles of the past. Careful proportion of theskeleton, the ranking of the various components of heavyto light, elegance sure their profiles and the subtletransitions in the corners or at points where variousmaterials match. The maximum reflection and artisticunderstanding has never been attained by their followers.

The architect also use as decorative travertine marble orpink granite.


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curtain wall of glass and

bronze in the front


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THANK YOU

presentaion on architect mies van der rohe

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