PRESENTAION ON LUDWIG MIES VAN DER ROHE

CONSTRUCTED BY: ASHISH 4TH SEM.

BARCELONA PAVILION
the barcelona pavilion was designed by mies van de

rohe as the german national pavilion for the 1929 barcelona international exhibition, held on montjuc. the small ceremonial hall (for which he also designed the famous 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 placed vertically or orizontally, could be freely positioned and made it possible that space seems to flow through them.

Barcelona chair

Barcelona Pavilion

CONCEPT AND STYLE

The free plan, as it relates

to architecture refers to an open plan with non load-bearing partitions dividing interior space. Free plan, in the architecture world, refers to the ability to have a free floor plan with nonload bearing walls and floors by creating a structural system that holds the weight of the building by ways of an interior skeleton of load bearing columns. The building system carries only its columns, or skeleton, and each corresponding ceiling. Free plan gives the utilization of a free floor plan.

ARCHITECTURAL FEATURES
Notably, the Barcelona Pavilion expresses

free plan with by having glass walls and large expanses and openings in the outside faade of the building. It also has a completely open free floor plan in the interior with sections divided by walls lower than ceiling height to distinguish rooms and areas, something that can be done in any fashion through the use of free plan.

STUDY OF PAVILION
The building is also known as the German Pavilion or 'Mies van der Rohe Pavilion
Location: Hill of Montjuic, southwest Barcelona Date: 1929; pavilion building reconstruction 1983-86 Design: Mies van der Rohe, Architect

The Barcelona Pavilion building is for many architects their favourite building in the World. It's architecture is pure poetry, simple honest planes of stone with slim, graceful polished

steel cruciform columns. The integration of water through two shallow pools brings calmness and reflection to the pavilion. the Barcelona Pavilion building represents the apotheosis of Modernism, a building which is uncompromised by the complexity of functions.

 The design is constructed as a large

horizontal roof-plane under which columns and vertical planes of marble and glass are positioned. As a result of the apparently random positioning of the elements one experiences the building as an assemblage of different parts and different materials. Because all surfaces heavily reflect the sunlight and each other, all materials are transformed in their appearance marble becomes transparent, the steel columns become almost invisibly, the glass is so dark that it becomes a mirror, etc.

PLAN

Tugendhat House

INTRODUCTION
Villa Tugendhat is a historical building in Brno, Czech Republic. It is one of the pioneering prototypes of modern architecture in Europe, and was designed by the German architect Ludwig Mies van der Rohe. Built between the years 1928-1930 for Fritz

Tugendhat and his wife Greta, the villa soon became an icon of modernism. Building style is cultural. The house was inhabited by the Tugendhat just over seven years. In 1938, before the entrance of the Nazis decided to emigrate.

 Grete Tugendhat had lived several years in Berlin and

visited the house Perls, designed by Mies, which led since then to monitor the architect's artistic development. In the years 1928 and 1929, Mies made technical drawings of the house would begin to build in 1929. The money was the least of the Tugendhat gave him carte blanche and even the interior decoration of the house. The project offered the possibility Mies incomparable realize their ideas in detail architectural and furniture design without any restrictions for customers. In the mansion just could glimpse something that would contribute to solving social problems. The dimensions of the building materials and, above all, the amount of economic categorically documented not only his status as a work of art, but also private mansion.

Present work
Very few monuments of modern architecture have secured

its future as the Tugendhat Villa in Brno This is protected against inappropriate interference by its status as a national cultural monument and has also been proposed in view of the UNESCO Cultural Heritage and National and International. Since 1994, when the Museum of the City of Brno was credited with the management and use of the Villa Tugendhat, this institution has been involved in preparing a design for renovation, which is the restoration of this architectural monument, with a emphasis on ensuring as far as possible the authenticity of all original materials and details, many of which are for the Tugendhat Villa, including materials and details that are usually replaced with new buildings.

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

on functional amenities of the house created a fine example of early functionalism architecture, a grounbreaking new vision in building design at the time. Mies used the revolutionary iron framework which enabled him to dispense with supporting walls and arrange the interior in order to achieve a feeling of space and light. He also designed all furniture (two types of armchair designed for the building, the Tugendhat chair and the Brno chair, are still in production). There were no paintings or decorative items in the villa but the interior was by no means austere due to the use of naturally patterned materials such as the captivating onyx wall and rare tropical woods.

 The restoration will be in the building, its interior and technical facilities, its land and fixed furniture, fencing and garden. The zoning of the garden 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 original form, including furniture, was opened to the public and, again, is used as a monument that includes a museum of architecture with an audio-visual program, a small conference center,

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

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

faces the street is isolated, however, the opposite side offers superb views of the old city of Brno The property that was intended to be built was a wedding gift 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 was contrary to the southwest to the center of the city skyline including the monument to Pilberk Castle and St. Peters House, and slightly hidden from view by trees from the site of the future construction. Soon found that the location was extremely favorable, which was another factor of considerable influence to the project designed by the terms of the appearance of the house.

Spaces
Despite that, for this project took some ideas from

Mies Barcelona Pavilion, the building is fully adapted to the different needs of a house. The house consists of 3 floors, each has different distributions and facades. On the first floor (basement) is accessible from inside the house using a ladder espiralaza which is in the kitchen, and two from the outside, is composed of areas of maintenance and technical operation of the house with the exception a laboratory for photos. The area of domestic services, including housing for servants is clearly separated from the living space.

 On the second floor of the House (Ground Floor) for which

is accessed from a twisted ladder located at the entrance, is also accessible from the front, composed of 3 parts, the main living and social area with a winter garden implies a higher division. Functionally different, there is room for guests with a small library and a semicircular dining. The second part of the plant that is the other side consists of a kitchen 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 as the lobby for guests and a corridor that leads the way to the rooms of the children, the nanny and all bath and laundry. On the side facing the garden opens to the foyer and master bedroom to the bathroom attached to a dressing room which is located opposite the entrance to the terrace, slightly tilted, the garden is accessible from the floor at the entrance to the winter garden or the courtyard opposite the western spine of the house.

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 doubt Mies design them some basic furniture and under whose use and location are more or less defined by the interior architectural appearance. This includes, for example, the famous Brno chair or recessed cabinets and independent rooms found on the upper floor and the master bedroom, the sofa table with four pieces also plated bridge Macassar 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 set in a cross-shaped. Numerous pieces were created for this house, however, are probably the work of specialists in cooperation with Mies. Is essentially the work of Lilly 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 the designs of one of the interior designers. Most of the furniture made of tubular steel bars were made by the company Metalgewerbe Jos Berlinger. Miller. Including in between these walls clad in ebony cabinets. For the lighting contract to Louis Poulsen.

Materials
With regard to the location of the embankment, the

building is protected by a solid concrete wall in the building. The skeleton of the work, with the exception of the front sections and external outreach maintenance garage, is a chrome steel frame, the structure of the glass panels, railings, doors and windows and the basement stairs be materialized in stainless steel. The floors are covered with square tiles of soft colors that make up the entrance. The external staircases are lined with travertine of various types and colors. The main area and social area are divided by walls made of five pieces in honey onyx yellow-white betas, partly translucent with direct light, and the semicircular wall above the 12 pieces with a diameter of 6.90 meters. Plywood originally Macassar ebony.

BUILDING
The onyx wall is partially translucent and

changes appearance when the evening sun is low. The architect also managed to make the magnificent view from the villa an integral part of the interior. The structure consists of small metal cruciform pillars releasing the area of the plant.

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SEAGRAM BUILDING NEW YORK

Introduction The Seagram Building is a modern office tower designed by famed German architect Mies van der Rohe, in collaboration with Philip Johnson. It is the headquarters of the Seagram corporation, originally belonging to a rich bootlegger during Prohibition by selling alcohol illegally.

 This office skyscraper built in New York in 1958 is in many ways the culmination of the purification process of expression, without any compromise in the ornamental, for high-rise buildings that

Mies van der Rohe had started earlier in the decade with the Apartments Lake Shore Drive 860-880 and had continued with other examples in Chicago as the Paseo del Commonwealth departments and the Esplanade. It is a sign of his rationalist mentality, an exercise in architectural elegance that use few elements measured results in one of the most beautiful jewels of twentieth century architecture.

Location
The building is located exactly at the 375 Park

Avenue, between the street No 52 and No 53 in downtown Manhattan. In the city of New York, USA.

Concept
Symbol of contemporary industrial world, illustrates the architect's motto "Less is more"

showing that a simple building can be just as surprising that a building with more composite designs. The Seagram Building is a refined synthesis of rationalist architecture in which Mies had formed, the international style that was beginning to dawn on architecture since 1950 and the contributions of the Chicago school.

Description
One of his most original details is that instead of

taking up all the available solar, Mies van der Rohe decided to release a space next to the building destined to square, so that when approaching the same sense of scale generated by the game full empty (building-square) and by the proportions of the building itself hardly features found in a city like New York. Asked the architect for the reason that post, he replied that the skyscraper retranqueba "to view it. If you go to New York, you really have to look at the marquees to know where you are. Not if you want to see the building, only see it from far. " The seat construction allows breathing amidst an urban density in the crushed leaves the viewer edification.

 It was evident that a building of such height would have a huge area of blinds, whose users tend to upload or download them as they liked. To avoid this display of disorganization, designed them so that solely having three possible positions. This aimed to maintain visual uniformity of construction. In addition, the mixture of external profiles stained with crystal tone of the skyscraper,

whose basic function is to reduce the interior temperature, contributes to more sober yet, if possible, the external image of the building, a dark glass prism in the middle one of the main avenues of New York.

Spaces
Mies designed his building to the manner of ancient

columns, with bases, shaft and capital. Indeed, the basement, put on a sumptuous marble plaza with fountains dry, houses the lobby, however the ground in the ground floor is cleared and the building is supported on piles, the shaft remains undifferentiated for the succession of office floors, which ends in a triple body height, while continuing strictly the volume of the tower, is expressed 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 spread sheets of water in symmetry, which is very characteristic of classical antiquity. The building is 157 meters high, spread over 39 floors.

Structure
It is a rectangular building supported on piles Plant The floor of the Seagram's, as in the Lake Shore

Drive, a rectangle of 5x3 squares structural modules. But the elevation of the building achieves its expressive perfection, simulating a column with its three constituent parts classic. Facade His typology shows clearly the structure in front, meeting both an ornamental role, consisting of steel beams and columns of bronze, that without a structural role fits perfectly the large windows that are the most visible epidermis of the work.

 As a building for offices and not leisure activities, its

facade is very simple, which betrays the time to observe 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 but because of complaints the company by resource economics decided to make bronze.

Materials
Due to the fire law in force in 1954, at the time of concrete

construction was used as a structural material, both outside and inside. Part of the expressive minimalist Mies van der Rohe in this work reaches its maximum level of refinement: the "mullions of Courtain-wall" which are special I double profiles have been added at both ends of the outer wing edges outgoing to generate a subtle emphasis of shape. The refinement showed that Mies on the Seagram extends to the choice of materials: metal profiles and panels in bronze and glass light shades of pink, in the curtain wall facade help to give this work a kind of charming New Yorker which lack the above examples, more austere in its technological thoroughness.

 Profiles Steel profiles seen in American buildings are rarely identical

to 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 had symbolized the pillar columns. But the relations of Mies pseudoconstrucciones more convinced with the real. With the standard alphabet in steel production, profiles I, H and L, Mies form welded profiles that are the equivalent of the carved profiles of the past. Careful proportion of the skeleton, the ranking of the various components of heavy to light, elegance sure their profiles and the subtle transitions in the corners or at points where various materials match. The maximum reflection and artistic understanding has never been attained by their followers. The architect also use as decorative travertine marble or pink granite.

curtain wall of glass and bronze in the front

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