Werner Blaser

Mies van der Roheless is more

Waser Verlag Zürich • New York

:sverzeichnis

EinführungDer aktuelle alte Mies

1.Aachen: seine Erziehung, Material und Geist

DomschulePfalzkapelle (798-805 n.Chr.)«Stein auf Stein» in der väterlichen Maurer- undSteinmetzwerkstattGewerbeschuleZeichner, Stuckornamente, im «Renaissancestil»

Berlin: sein Weg, Offenheit und Gelassenheit

Lehre beim Möbelentwerfer Bruno PaulMitarbeiter im Büro Peter Behrens'Seit 1912 eigenes Büro, Einfluss des Neoklassi-zismus durch Karl Friedrich SchinkelStrukturelle Ehrlichkeit bei Heinrich Petrus Berlagein AmsterdamErste bedeutende Werke und Aussagen alsArchitekt und Erzieher

Chicago: seine Emigration, ein Neubeginn

Lehrauftrag am MT (Illinois Institute of Technology inChicago) «Program for architectural education», 1937Mies in seiner Wohnung an der Pearson Street undseinem Büro an der Ohio Street in Chicago von 1964Mies am NT und in seinem Büro1 Dialogisches Erarbeiten der architektonischen

Problemlösung2 Stufenweises kritisches Erproben der Stimmigkeit

des Ganzen3 Neue technologische Dimension und konse-

quentes Durchhalten ergibt architektonischeFreiheit

Die Aussage Behrens' "weniger ist mehr" wird zum"less is more".

38-61 2.Möbel und RäumeExperimente des Bauens

- Zen-Abt Kobori Sohaku im Ryöko-in, Wohn-tempel im Daitöku-ji, Kyoto- Die Kultur des Sitzens- Architektur und Möbel als ein Ganzes

40 Möbel: Knoll International,Experimente: Tecta-Möbel, MR-Collection, 1926

44-51 Deutscher Pavillon auf der Internationalen Ausstel-lung in Barcelona, 1928-29 (seit 1986 neu erstellt)

52-53 «Barcelona-Collection», 192954-59 Interieur: Tugendhat-Haus, Brno, 1928-3058-59 «Brno-Stuhl» und «Tugendhat-Stuhl», 193060-61 Skizze für einen Schalenstuhl in Kunststoff, 1946

63-159 3.Bauten und Projekteeine objektive Architektur

Ausgewählt nach den 5 Architekturprinzipien, wiesie Mies in Graduate Courses nach 1944 seinenStudenten stellte.1 the structure as an architectural factor: its pos-

sibilities and limitations2 space as an architectural problem3 Proportion as a means of architectural expression4 the expression value of materials5 painting and sculpture in their relationship to

architecture

Beispiel 1:The structure as an architectural factor: its possibil-ities and limitations

- Tempel der Athene auf Aegina, 5. Jh. v. Chr.- Tragen und Getragenwerden- Klärung struktureller MöglichkeitenGlashochhaus mit prismatischer GliederungProjekt, Berlin, 1919, eine städtebauliche Lösungwird nach 30 Jahren realisiert860-880 Lake Shore Drive Apartments,Chicago, 1948-51McCormick-Haus in Elmhurst, Illinois, 1951-52(aus vorfabrizierten Elementen)Seagram-Verwaltungsgebäude, New York, 1954-58

Beispiel 2:Space as an architectural problem

- Die Alhambra über Granada in Andalusien, Hofder Myrten, Patios de los Arrayanes, 13.-14. Jh.- Der leere Raum- Von den Räumen zum RaumWolf-Haus-Terrasse in Ziegelsteinen, Guben,Deutschland, 1926Hofhausprojekte, 1931-34, eine verdichteteWohnform wird den klassischen Hu-t'ung-Allee-hofhäusern in Beijing gegenübergestelltFarnsworth-Haus in Piano, Illinois, 1945-50Mehrräumiges Haus, Projekt, 1950

Beispiel 3:Proportion as a means of architectural expression

- King's College Chapel, Cambridge (England)- Modulare Koordination im Aufbau- Massstäblichkeit und ProportionBürogebäude aus Stahlbeton, Projekt, Berlin, 1922Campusbauten des Illinois Institute of Technol-ogy, Chicago, 1938-58 (NT), Architektur bis insDetail: die EcklösungConvention Hall am Seeufer von Chicago,Projekt, 1953-54Nationaltheäter Mannheim, Projekt, 1952-53Bacardi Office Building, Santiago de Cuba,Projekt, 1957

Beispiel 4:130-145 The expression value of materials

130-131 - Stallscheune mit Blockständerwand in Soglio- Holz und Stein

132-133 - Würde des Materials134-139 Landhaus aus Backstein, Projekt, 1923

Lafayette Park, eine städtbauliche Planung,Detroit, 1955-63

140-145 Federal Office Building Complex, Chicago, 1959-73

Beispiel 5:146-159 Painting and sculpture in their relationship to

architecture

146-147 - Cho-cheng-yüan-Wohnsitz «Garten der Politikdes einfachen Mannes», Soochow, 16. Jh.- Höchstmass an Überlegungen und Kunstverstand

148-149 - Auseinandersetzung mit Bau und KunstDenkmal für Karl Liebknecht und Rosa Luxemburg,Berlin, 1926

150-151 Museum für eine kleine Stadt, Projekt, 1942152-153 Konzerthalle, Projekt, 1943154-159 Museum of Fine Arts, Houston, Texas 1954-58,

Erweiterungsbau an ein klassizistisches Bauwerk

160-175 4.Dem Geist von Mies verpflichtetNeubeginn der nächsten Generation

- George Washington Bridge über den HudsonRiver, New York, von O. H. Ammann, 1925-27- Nach Mies das schönste Gebäude von New York- Continuing the Chicago School of ArchitectureDie Mies-Prinzipien werden neu interpretiert

162-165 Arthur Takeuchi, Hofhaus-Studien am IIT inChicago, Undergraduate Course

166-169 Myron Goldsmith, Ruck-a-Chucky Bridge, Auburn,California, 1978

170-175 Alfred Caldwell, Farmhaus und Studio inBristol, Wisconsin, eigenes Haus 1948-86

176 Nachwort und Dank178 Biographie179 Bibliographie180-183 Bauten und Projekte

of Cö'ntents

IntroductionMies, the timeless

1.Aachen: his education, matter and spirit

Cathedral schoolPalatine chapel (798-805 AD)"Stone on stone" in his stonemason father's Work-shopTrade schoolDraughtsman for stucco Ornaments in "Renaissancestyle"

Berlin: his way, open-mindedness and serenity

Apprenticeship with the furniture designer Bruno PaulEmployment in Peter Behrens' OfficeOffice of his own from 1912, influence of neoclassi-cism through Karl Friedrich SchinkelStructural honesty in the work of Heinrich PetrusBerlage in AmsterdamFirst important works and Statements as architectand educator

Chicago: his emigration, a new start

Teaching-post at the NT (Illinois Institute of Technol-ogy in Chicago) "Program for architectural educa-tion", 1937Mies in his apartment in Pearson Street and in hisOffice in Ohio Street in Chicago, 1964Mies at the NT and in his Office1 Elaboration of solution to architectural problems

in dialogue2 Stepwise appraisal of the harmony of the whole3 Newtechnological dimension and rigorous pur-

suit of principle confer architectural freedomBehrens' dictum "weniger ist mehr" becomes"less is more".

38-61 2.Furniture and interiorsExperiments in building

- Zen abbot Kobori Sohaku in the Ryöko-in,temple residence in the Daitöku-ji, Kyoto- The culture of sitting- Architecture and furniture as a whole

40 Furniture: Knoll International, Experiments Tecta41 -43 Möbel, MR Collection, 192644-51 German Pavilion at the International Exhibition in

Barcelona, 1928-29 (reconstructed 1985-86)52-53 "Barcelona Collection", 192954-59 Tugendhat House, Brno, 1928-3058-59 Brno chair, Tugendhat chair, 193060-61 Sketch for a plastic Shell chair, 1946

63-159 3.Buildings and projects -an objective architecture

Selected with reference to the 5 principles ofarchitecture which Mies formulated for his stu-dents in the Graduate Courses after 1944: '1 the structure as an architectural factor: its pos- !

f

sibilities and limitations ''2 space as an architectural problem '3 Proportion as a means of architectural expres-

sion4 the expression value of materials5 painting and sculpture in their relationship to

architectureWe think of Vitruvius' principles of architecture.The categories of the Roman architect Vitruvius .(Ist cent. BC) can still be seen in the Palatinechapel at Aachen. Vitruvius taught utilitas = com-modity, firmitas = firmness and venustas = delight...

Example 1:The structure as an architectural factor: its pos-sibilities and limitations

- Temple of Athene on Aegina, 5th cent. BC- Load and load-bearing- Clarification of structural possibilitiesGlass skyscraper with prism-like outline, project,Berlin, 1919; a solution to a problem ofurban development is realized after 30 years860-880 Lake Shore Drive Apartments,Chicago, 1948-51McCormick House in Elmhurst, Illinois, 1951-52Seagram Building, New York, 1954-58

Example 2:Space as an architectural problem

- The Alhambra above Granada in Andalusia,Court of the Myrtles, Patios de los Arrayanes,13th-14th cent.- Empty space- From rooms to spaceWolf House, terrace in brick, Guben, Germany, 1926Courtyard projects, 1931-34, a Condensedform of living is compared with the classicHu-t'ung avenue courtyard housesFarnsworth House at Piano, Illinois, 1945-50Multiroom house, project, 1950

Example 3:Proportion as a means of architectural expression

- King's College Chapel, Cambridge, England- Modular coordination in structure- Scale and ProportionOffice building of reinforced concrete, project,Berlin, 1922Campus buildings of the Illinois Institute of Tech-nology, Chicago, 1938-58 (NT), architecture downto detailing: external cornerConvention Hall on the lake shore of Chicago,project, 1953-54National Theatre Mannheim, project, 1953-54Bacardi Office Building, Santiago de Cuba,project, 1957

Example 4:130-145 The expression value of materials

130-131 - Alpine shieling at Soglio (Grisons)- Wood and stone- Dignity of material

132-133 Country house of brick, project, 1923134-139 Lafayette Park, development, Detroit, 1955-63140-145 Federal Office Building Complex, Chicago, 1959-73

Example 5:146-159 Painting and sculpture in their relationship to

architecture

146-147 - Cho-cheng-yüan residence "Garden of the PiainMan's Politics", Soochow, 16th cent.- Reflection and artistic sense ideally combined

148-149 - Art in terms of architectureMonument to Karl Liebknecht and Rosa Luxemburg,Berlin, 1926

150-151 Museum for a small city, project, 1942 '152-153 Concert hall, project, 1943154-159 Museum of Fine Arts, Houston, Texas, 1954-58, ;

extension to a neoclassical building

160-175 4.Committed to the spirit of MiesThe next generation Starts afresh

- George Washington Bridge over the HudsonRiver, New York, by O. H. Ammann, 1925-27- According to Mies, New York's finest "building"- Continuing the Chicago School of ArchitectureThe principles of Mies are reinterpreted

162-165 Arthur Takeuchi, courtyard house studies at the NTin Chicago, undergraduate course

166-169 Myron Goldsmith, Ruck-a-Chucky Bridge, Auburn,California, 1978

170-175 Alfred Caldwell, farmhouse and studio in Bristol,Wisconsin, built from 1948-86 by the architect

177 PostScript178 Biography179 Bibliography180-183 Buildings and Projects