Misvandro was born in Germany, and the typical rational rigor of the German nation made him stand out easily among many architects in the early 20th century. Just like most of his glass and steel works, we can easily see the great wealth left by this modern architect in the 20th century 1886. Miss was born in a stonemason's family in Yacheng, Germany. If China people are familiar with this place, it's because Xie Hui, a player from China, plays in the football club in Aachen. Few people know that it is here that a pioneer of modern architecture took his first step in life. Mies had no formal architectural education, and his initial knowledge and understanding of architecture began with his father's stonemason's workshop and the exquisite ancient buildings in Shen Ya. It can be said that his architectural thought comes from practice and experience. Whether as an apprentice in Bruno Paul's office in Berlin or as an apprentice in Peter. Baehrens is a draftsman or has opened his own office in Berlin. These experiences made him devote himself to the earth-shaking major changes in the twentieth century step by step, which eventually led to an architectural thought throughout the twentieth century. Today, the followers of Smith style in the United States and all over the world, including China, are still continuing and developing this theory. As an international student in China who is far away from missing in time and space. My first and deepest impression of Mies came from his German Pavilion at the Barcelona International Expo. Large transparent glass walls, light structural system, far-reaching thin roof and space impression that seems to be open and closed. . . The whole building is like the fresh wind blowing from the valley, which frees me from the decorative buildings full of miscellaneous classes. "Less is more", "circulation space" and "comprehensive space" can all be realized or predicted from this short-lived building. Indeed, this is the most classic annotation in Smith style. It is the most classic portrayal of this architect who came out of a small town in Germany. The meaning of "less is more" is not difficult to taste from China's traditional aesthetics and philosophy for thousands of years. The most artistic thing of Chinese painting masters is often not a full frame of ink, but a large blank. "Less is more" from Smith's mouth, of course, there is no leisure and happiness of the East, only the rigor and rationality of the Germans. Yes, "less" is not blank but concise, and "more" is not crowded but perfect. Smith's architectural art depends on structure, but is not limited by structure. It comes from structure, and structure needs fine structure. "Lessis more", Miss said to his students, "I hope you can understand that architecture has nothing to do with the creation of forms." The German Pavilion in Barcelona is such an example. In this exhibit 1929 in which Germany once participated in the World Expo, you will never see anything attached to the building. No messy decorations, no changes made out of nothing. There are no grotesque furnishings. Only the light and transparent building itself and its constantly circulating space inside and outside. Similarly, 1954- 1958 built the Seagram Building in new york. This skyscraper that seems to have sprung up in the air is undoubtedly one of the most exquisite buildings in new york. This exquisiteness does not come from the carved feet inside and outside the building, but from its exquisite structural components, brown glass and simple internal space. Before the twentieth century, the architectural form was limited by the structure and concept of the building owners at that time. In various forms of western architecture, numerous decorative pieces and huge structures are their unified signs. Only when new structural technologies and new materials are widely used will architecture undergo fundamental changes. The twentieth century is the century of steel and electricity. Before steel and glass were widely used in architecture, a group of architects with advanced ideas were at the forefront of the movement. There is no doubt that Miss is such a pioneer. "Less is more" is born in such an environment. In Miss's building, everything from interior decoration to furniture should be simplified to the point where it can't be changed. We don't know how Mies found this classic saying in the history of modern architecture in a flash of inspiration. In short, it has affected our world for 70 years. "Circulation space" should be an avant-garde term in the early 20th century. I believe that after Mies made the German Pavilion in Barcelona, it was a great shock to European architecture. Indeed, for those architects who came out of college and started from the ranks of water transport, and those architects who were more or less defined and restricted by various ancient western architectural schools, this kind of space is completely different from the closed or open space in the past, creating another concept. What's interesting is. In the west, this is a brand-new thing, while in the ancient East, the famous or unknown literati and garden craftsmen in ancient China already knew and mastered the creation and application of floating space, that famous book.