Reason of Traditionalism to modernism
(show the aristocratic classical revival style -> compare )
After World War I , Mies began, while still designing traditional neoclassical homes, a parallel experimental effort. He joined his avant-garde peers in the long-running search for a new style that would be suitable for the modern industrial age.
The aristocratic classical revival styles were particularly reviled by many as the architectural symbol of a now-discredited and outmoded social system. Progressive thinkers called for a completely new architectural design process guided by rational problem-solving and an exterior expression of modern materials and structure rather than, what they considered, the superficial application of classical facades.
To be famous
Boldly abandoning ornament altogether, Mies made a dramatic modernist debut with his stunning competition proposal for the faceted all-glass Friedrichstraße skyscraper in 1921, followed by a taller curved version in 1922 named the Glass Skyscraper
He continued with a series of pioneering projects, culminating in his two European masterworks: the temporary German Pavilion for the Barcelona exposition (often called the Barcelona Pavilion) in 1929
He joined the avant-garde Bauhaus design school as their director of architecture, adopting and developing their functionalist application of simple geometric forms in the design of useful objects.
The Essay on Classical Design Elements In Architecture
... of Classical design in his works to achieve simplicity and harmony. "The preeminent architect of the Mannerist style was ... is also similar to designs seen in American Neo-Classical buildings. The Neo-Classical Period evidenced Classical design elements that can be ... Pietro, Christopher Wren and Thomas Jefferson used these Classical design elements in their respective works. These highly regarded ...
Significance and meaning
Mies pursued an ambitious lifelong mission to create a new architectural language that could be used to represent the new era of technology and production.
He believed that the configuration and arrangement of every architectural element, particularly including the character of enclosed space, must contribute to a unified expression.
Yet his buildings are executed as objects of beauty and craftsmanship, and seem very direct and simple when viewed in person.
http://en.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe
time line
http://miessociety.org/legacy/
famous before
after world war I, he began studying the skyscraper and designed two innovative steel-framed towers encased in glass. one of them was the friedrichstrasse skyscraper, designed in 1921 for a competition. it was never built, although it drew critical praise and foreshadowed his skyscraper designs of the late 40s and 50s.
the german pavilion
this small hall, known as the barcelona pavilion (for which he also designed the famous chrome and leather ‘barcelona chair’), had a flat roof supported by columns. The pavilion’s internal walls, made of glass and marble, could be moved around as they did not support the structure. the concept of fluid space with a seamless flow between indoors and outdoors was further explored in other projects he designed for decades to come.
Other famous building: Farnsworth house
a small weekend retreat outside chicago, a transparent box framed by eight exterior steel columns.
Farnsworth house is one of the most radically minimalist houses ever designed.
less is more
minimalism design style
used “modern” materials–industrial steel and glass–to create the “bones” of interiors, while emphasizing open spaces and simplicity
The notion that simplicity and clarity lead to good design
his phrase goes against the ecclectic Victorian approach to design with its clutter and lack of style. Mies was referring to the use of less material, cleaner, sharper lines and gracfullness of high-quality materials to really be the show piece of design. Less crap=more reward, more beauty.
The Essay on Alexander Mcqueen Designs Fashion Style
Born in London in 1969, leaving school at 16, Alexander McQueen stepped into the world of fashion. Creating and manipulating his unique designs with his talented skills, McQueen mastered 6 methods of pattern cutting from the 16 th century and tailoring skills which today have given his McQueen signature. Also dubbed 'enfant terrible' by the fashion press Receiving British Designer of the Year in ...
Skin and bone : His “skin and bones” philosophy of architecture is summed up in his famous phrase “less is more.
“http://library.thinkquest.org/26491/db-style.php3?browser=3&styleIndex=12
ppt :http://www.slideshare.net/fdjaipur/philosophies-of-mies-vander-rohe
God is in the details:
Affect: God is in the Details London Design Festival at the V&A
The detail might be hidden; it may be in a combination of objects, an uncovered texture, or it may reveal or redefine a gallery view.
http://www.londondesignfestival.com/events/god-details
Classical Revival Style (Neoclassicism)
This style was inspired by the World’s Columbian Exposition in Chicago held in 1893 which promoted a renewed interest in the classical forms.
Relying on stylistic details of the earlier Greek Revival style, Classical Revival style buildings often have massive columns with classical Corinthian, Doric or Ionic capitals, topped by a front facing pediment.
Over variations of this style may feature a rounded front portico with columns and a balustraded flat roof, or a flat-roofed, full or partial front porch with columns. The arrangement of windows and doors is formal and symmetrical, with the front door often flanked by pilasters or side lights and capped with a flat entablature, broken pediment or rounded fanlight. The Classical Revival style is less ornate than the Beaux Arts style which was also popular in the 1885 to 1930 period and employs similar classical details.
Barcelona pavilion
http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/
BBC- Barcelona pavilion
http://www.bbc.com/culture/story/20130924-less-is-more-a-design-classic
Wikipedia
http://en.wikipedia.org/wiki/Barcelona_Pavilion
Video
http://www.ad.ntust.edu.tw/grad/think/93modernwork/modern%20arch/2/A9313016/1/Haus.htm
The Term Paper on Piano Sonata In The Classical Era
The Piano Sonata in the Classical Period The piano sonata was an important part of music during the Classical period . It characterizes the Classical era's new trend of musical form. Originally, the sonata was made up of several dance movements, but then in the Classical era, it changed to a fast-slow movement style, each of the movements being composed in one of the forms popular during the ...
http://blog.yuntech.edu.tw/meworksv2a/meworks/page1.aspx?no=38103
五項建築主義
* 底層架空：主要層離開地面。獨特支柱使一樓挑空。
* 屋頂花園：將花園移往視野最廣、濕度最少的屋頂。
* 自由平面：各層牆壁位置端看空間的需求來決定即可。
* 橫向的長窗：大面開窗，可得到良好的視野。
* 自由立面：由立面來看各個樓層像是個別存在的樓層間不互相影響。
Pilotis – The replacement of supporting walls by a grid of reinforced concrete columns that bears the load of the structure is the basis of the new aesthetic.
Roof gardens – The flat roof can be utilized for a domestic purpose while also providing essential protection to the concrete roof.
The free designing of the ground plan – The absence of supporting walls means that the house is unrestrained in its internal usage.
The free design of façade – By separating the exterior of the building from its structural function the façade becomes free.
The horizontal window – The façade can be cut along its entire length to allow rooms to be lit equally.[2]
http://m.dajianet.com/?app=m&controller=book&action=show&bookid=1308192§ionid=5658747
路德維希·密斯·凡德羅提出了“流動空間”的建築新概念。這體現在巴塞羅那展覽館——德國館的設計中。該館建於1928—1929年，主廳承重結構為8根十字形截面的鋼柱。大理石牆和玻璃隔段都不承重。它們只是作為空間劃分的手段，有的獨立佈置，有的從室內延伸到屋頂以外，形成了似分似隔，似封閉似開敞的流動空間印象。整個建築一反過去煩瑣裝飾的舊習，顯得乾淨利落、清新明快。建築材料也達到了最佳的美學效果。灰色和綠色的玻璃隔牆配以挺拔光亮的鋼柱和豐富多彩的大理石牆面，顯得高雅華貴，具有新時代的特色。
http://zh.wikipedia.org/wiki/%E5%B7%B4%E5%A1%9E%E7%BD%97%E9%82%A3%E5%BE%B7%E5%9B%BD%E9%A6%86#cite_note-Zimmerman-1
*****密斯可以將展館設計為連續的空間，使得展館內外沒有明確的界限。「這座建築的設計將結構和圍護完全分開——自由排布的平面隔斷穿插於十字形的鋼材組成的矩形框架中。[2]」但是，實際上這座建築的隔斷也是承重的，所以它更接近於混合結構[2]。展館的平面圖非常簡單。展館的基礎是由洞石建造的，從平面圖上看接近「U」型，主展館、一個輔助用房和一個大型水池都坐落其上。地板從館內一直延伸到水池，和隔斷一樣，起到了連接內外的作用。展館相對大水池的另一側，圍牆也組成了「U」型，「U」型中間則是一個較小的水池，水池中豎立著格奧爾格·科爾貝所作的雕塑。屋頂由鍍鉻的十字形鋼柱撐起，給人以懸在空中的感覺。[1]羅賓·埃文斯說，閃閃發亮的柱子更像是在把「懸浮」的屋頂向下拉，而非向上支撐其重量。[2]
密斯希望德國館能夠作為路途中的參觀者「理想的休息之所」。它本身並不當作展覽館使用，相反，它本身就是一件展品。展館的設計使得遊客無法徑直穿過展館，從進入到走出的過程需要迂迴走過整座建築。在劃分空間的同時，隔斷或互相連接，或互相平行，組成了寬窄不一的空間，以達到引導客流的目的。參觀者沿數級台階而上進入展館，而由於地塊是傾斜的，展館出口處的台基和地面等高，參觀者無需再下台階，即可前往」西班牙村莊」。
德國館的另一個獨特之處在於，它的材料十分特殊。隔斷的石材採用了類似提諾斯（Tinos）大理石的飾面材料和金色的縞瑪瑙，而玻璃則有灰色、綠色、白色和半透明的材質。
由於是建造德國館的目的是參加展覽，它僅僅設計為臨時建築，而於1930年初被拆除，從建成到拆除甚至不足一年時間。不過，1983年到1986年，幾個西班牙建築師根據原始平面圖和一些黑白照片重建了德國館。[
The Term Paper on Reasons for Free Trade
Free trade can be defined as the situation whereby governments impose no artificial barriers to trade that restrict the free exchange of goods and services between countries with the aim of protecting domestic producers from foreign competitors. The argument for free trade is based on the economic concept of comparative advantage. Comparative advantage is the economic principle that nations should ...
展示自由藝術和建築設計交融的平台。密斯將格奧爾格·科爾貝的雕塑「黎明」（Alba）[4]安放在了較小的水池中，使得大水池顯得更加空曠。這座雕塑因為周邊材料和水面的反射而使參觀者可以同時獲得多角度的視覺效果。「從今以後，建築的建造和視覺設計將平起平坐，雕塑將不再像以前一樣是建築物的附屬，而將成為空間設計的一部分，並使空間更好地表達出來。這種趨勢的最佳範例就是巴塞隆納德國館。」
，我的感受是：［1］、在平面上，他所使用的自由平面，是人總能面臨一個選擇的機會，如圖［圖7］［圖8］，這樣人們行進的路線會發生選擇，人的流動發生了，空間的流動也就發生了。同時，如諸多文獻中所說，展館極大的魅力在於室內外空間的連通，［圖9］中的紅色部分算作室內的話，它還通過玻璃和通道與室外聯繫著。
http://www.ad.ntust.edu.tw/grad/think/92recentwork/StudentWorks/B9013024-35/A1/D.htm
德國館的建築形體極為簡單，它是立於一片不高的基座之上，以十字形斷面的鋼柱支撐，屋頂則是一塊薄薄的頂板，隔間牆則用玻璃和大理石兩種。而牆的形式縱橫交錯，有些延伸到室外成為分隔又連通的半戶外空間，並且在室內室外之間相互穿插，沒有明確的分界。此外，由於形體的簡潔與純粹，因而更加的突顯出建築材料本身的色彩、特性、紋理與質感，並且更加呈現出建築體本身的美感。
Mies利用了單純的石壁將空間切割，打破傳統封閉的箱式空間，從而讓空間自由流動，展現出現代主義的開始，不但實現了技術與文化融合的理想，也造就了一件現代主義建築的精品。
Mies他長年專注於探索「框架結構」和「玻璃」這兩種表現材料。他的作品總是帶有「整潔」和「骨架幾乎露明」的外觀，加上靈活多變的流動空間以及簡單卻又製作精緻的細部。極端簡潔的風格已成為Mies主要的手法與風格。
http://www.meworks.net/meworksv2a/meworks/page1.aspx?no=251155&step=1&newsno=72179
http://wenku.baidu.com/view/ac4c8202cc175527072208bf.html
ppt
