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-Ludwig Mies van der Rohe 1886- 1969)
One of the four most famous modern architects in the world in the mid-20th century. Miss adheres to the architectural design concept of "less is more" and advocates the new concept of mobile space in handling methods. Every detail in his design works is reduced to an absolute state, and many works are almost completely exposed, but they are noble and elegant, which sublimates the structure itself into architectural art.
Misvandro was born in Germany, and the typical rationality and rigor of the German nation made him stand out easily among many architects in the early 20th century. Like most of his glass and steel works, we can easily see the great wealth left by this modern architect in the 20th century through appearances.
1886, Miss was born in a mason's family in Yacheng, Germany. If China people are still familiar with this place, it is because a China player, Xie Hui, is playing for Shen Ya Football Club. Few people know that the pioneers of modern architecture took their first step in life here. Miss has no formal architectural education. His initial knowledge and understanding of architecture began with his father's stonemason's workshop and exquisite ancient buildings. It can be said that his architectural thought comes from practice and experience. Whether he was an apprentice in Bruno Paul's office in Berlin, a draftsman under Peter Bachrens, or opened his own office in Berlin ... these experiences made him devote himself to the earth-shaking changes in the 20 th century step by step. And eventually led to the architectural ideology of the whole 20th century. Today, the followers of Mies style in the United States and around the world, including China, continue and develop this theory.
As a China student who is far away from Miss Smith in time and space, my first impression and deepest impression of Miss Smith came from his German Pavilion at the Barcelona International Expo. Huge transparent glass walls, light structural system, far-reaching thin roof and seemingly open and closed space impression ... The whole building is like a fresh wind blowing from the valley, which frees me from those miscellaneous decorative buildings. "Less is more" and "circulation space". The "whole space" can be perceived or predicted from this short-lived building. Indeed, this is the most classic annotation of Smith's style, and it is also 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 appreciate from China's traditional aesthetics and philosophy for thousands of years. The most artistic conception 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 simplified. "More" is not crowded, but perfect. Mies' architectural art depends on structure, but it is not limited by structure. It comes from structure, and structure needs fine structure. "Less is more," Miss told 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, Germany once participated in the 1929 World Expo. You will never see anything attached to the building, messy decorations, changes made out of nothing, grotesque furnishings, only the light and transparent building itself and its constantly circulating space inside and outside, and so on.
There is the Seagram Building, which was built in new york 1954- 1958. This skyscraper that seems to have sprung up in the air is undoubtedly one of the most exquisite buildings in new york. This exquisiteness comes from its exquisite structural components, tawny glass and simple interior space, not from the carved feet inside and outside the building.
Before the 20th century, the architectural form was restricted 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 symbols of unity. Only when new structural technologies and new materials are widely used will architecture undergo fundamental changes. The 20th century is a 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 Smith is such a pioneer. "Less is more" was born in such an environment. In Miss Smith's building, including interior decoration and furniture, it should be simplified to the point where it cannot be changed. We don't know how she found this classic sentence in the history of modern architecture with an epiphany. 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, the vibration of European architecture was enormous. 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-flowing and connecting. Separated space creates another concept. Interestingly, in the west, it is a brand-new thing, while in the ancient East, the famous or unknown literati and garden craftsmen in ancient China have long known and mastered the creation and application of the floating space, and the masterpiece < < Genji > > is theoretical. Suzhou's famous gardens at home and abroad are the summary of China's thoughts for thousands of years, and Qianshan's square water is their superb understanding and application of circulation space. "There is no doubt in the mountains and rivers, and there is another village in the dark." How similar is the understanding of this space between China literati and Smith.
Unlike Wright, one of the other three architects in the 20th century, Mies never showed interest and yearning for China culture. However, the concept of "circulation space" and the traditional gardening art in China have amazing commonness. However, just like my previous understanding of Smith's "less is more", "The reason why his circulation space is completely different from China's gardening art is that this difference even makes it impossible for ordinary people to connect them. However, the circulation space of China gardens is intentionally created as random, free and outdoor. It is movable and its purpose is decorative. Despite the appearance, it is really connected in essence. In these spaces created for people, both of them have achieved success.
Later, in the Tugenhart residence of the German Pavilion, Miss successfully applied the concept of "circulation space" again. The living part at the bottom of the house is the essence of the building. In the open space, the living room and the study are separated by exquisite striped agate slate walls, and the dining room is made of ebony. Therefore, the study, living room, dining room and hall, as four parts of living, are divided into interrelated spaces. At the same time, the internal circulation space is also covered by glass curtain wall.
Omnidirectional space, or cosmic space and unified space, is another important theory of Mies. I think it developed from "circulation space". In the "circulation space", a large space is divided into several interconnected small spaces. If we remove the partition wall, there will be a lot of space as a whole. In this space, we can arrange it at will.
The form we want. This is the "integrated space". I can't infer whether Miss Smith got the "comprehensive space" from the "circulation space" like me, but maybe I can try to find the master's footprint. Unlike Sullivan's "form obeys function", Miss believes that people's needs will change. Today he wants this, tomorrow he wants that, and the architectural form can remain unchanged. To paraphrase an old China saying,
1950-56, Miss expressed her ideas very clearly in the Krone Building of Illinois Institute of Technology. On the rectangular base of 120m*220m, the upper floor of Krone Building is a large space for 400 people to use at the same time, including studio, library, exhibition room and office. Different parts are separated by wooden partitions that are more than one person high. Just like its name-Crown, Krone Tower is exquisite, typical but not practical. It is said that few people are willing to study and work in its transparent glass wall. From this point of view, the Krone Tower is a failure, but the concept of "all-round space" it embodies is one of the most influential concepts in the 20th century.
Smith made good use of steel structure and large glass wall, which are the most conspicuous in most of his works. After several generations of oral and written communication, "less is more", "circulation space" and "comprehensive space" have become familiar and even commonplace. It is necessary and worthwhile to know this modern architect again. Just as we can see almost all the internal components through that huge glass wall, it seems that we can summarize and analyze for us through many people without thinking. However, all this is an illusion. Just as we can directly see the components but can't directly understand the connotation and expectation of the space given to these components by Mies, we only see the plane image outlined by others for us. Only by putting ourselves in Smith's working and living environment, walking with him and listening to his teachings can we understand why his thoughts influenced most of the twentieth century. Today, standing in the far east, I waved to the traveling lady. I, an ordinary young man, can understand very little. Only waving hands can show respect to the master. At the same time, because of the distance, I can observe, read and think about the master far away from his shadow. In other words, Miss and other architects have embarked on a broad road for modern architecture and modern architecture. Because of this, we have a chance to get out of this road. !