• 주택과사람들
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• 통권199호
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• pp.62-63
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• 2006

20세기 건축의 선구자 중 한 명으로 손꼽히는 건축가 미스 반 데어 로에(Mies Van der Rohe). 요즘 주위에서 많이 볼 수 있는 유리로 만든 외벽을 처음 활용해 투명성과 반사 효과를 제시한 그의 건축 세계를 살펴본다.

• 건축사
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• 통권623호
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• pp.22-23
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• 2021

• 한국산학기술학회논문지
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• 제15권10호
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• pp.6372-6378
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• 2014

본 논문은 미스 반 데어 로에의 독일시대 사무소 프로젝트의 형태 유형과 그에 따라 형성되는 공공 공간을 분석하는 것을 주제로 삼는다. 사무소 계획안들의 투시도와 도면을 통해 형태 유형의 발생과 변화, 유형과 공공 공간의 관계, 위계에 따른 형태와 공공 공간 구성 등을 분석하였다. 본 연구의 결론을 요약하면 아래와 같다. 1. 초기에는 ㄷ자, ㅡ자 유형을 사용했고 후에 곡선 유형을 도입하여 ㅡ자 유형과 함께 형태들로 분절했다. 2. 단순한 형태 유형들 전면에는 진입광장을 계획했고 곡선 유형과 함께 다양한 위계의 중정과 후원을 형성했다. 3. 미스가 여러 시도를 통해 형태 유형과 공공 공간에 대한 생각을 구축해 가던 시기였음을 알 수 있다.

• 한국산학기술학회논문지
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• 제15권11호
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• pp.6915-6921
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• 2014

본 연구는 미스 반 데어 로에의 일리노이 공과대학 캠퍼스(1339-1359)의 구성과 공간적 특성을 분석하는 것을 주제로 한다. 미스의 건축에 대한 연구가 "보편적 공간"이나 구조적 합리성 등 단일 건축물에 치중되어 왔다면 IIT 캠퍼스는 여러 동의 건물로 공공 공간을 구성한 단지계획이라는 점이 연구의 동기라고 할 수 있다. 본 연구에서는 미스의 기존 작품들과의 연관성을 도출하고 IIT 캠퍼스의 계획의도를 분석하기 위해 미스가 그린 스케치, 배치도, 투시도 등을 분석하였다. 그리하여 도출한 결론은, 첫째 미스는 단순한 형태의 선형건물을 공공 공간을 규정하는 벽처럼 사용하여 "흐르는 공간"을 캠퍼스 전반에 구현하였다. 둘째, IIT 캠퍼스는 그 자체로 도시 공간의 한 일부분으로서 통합되는 "중립적 프레임"이 되었다. 셋째, 캠퍼스의 내부에는 학생들을 위해 외부의 혼잡함으로부터 보호받으며 조용한 안정감을 주는 동시에 주변 공간과 연속되고 개방된 공공 공간을 만들었다.

• 건축역사연구
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• 제16권2호
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• pp.43-58
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• 2007

This paper attempts to interpret the meaning of Mies van der Rohe's famous aphorism that "less is more" in terms of space. From his assertion that the art of building is the spatial execution of spiritual decisions, one can presume that his art of building was revealed through his spatial execution consciously guided by creative principles. One of his spatial principles was less is more a representative motto for the creation of sparsely furnished space with few objects and little perceptible architecture. After his awareness of an open plan, Mies intended to create less architecture by designing a minimal form of structural frames and maximum openness of open plans and glazed walls. This study posits that Mies created more potential space, for which he intended his open plans and neutral frames to be viewed as less. His building was designed to serve as the background of works of art and the changing nature outside so restrained its own existential voice in favor of the achievement of total harmony.

• 건축역사연구
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• 제15권3호
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• pp.119-135
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• 2006

This study based on the hypothesis which the spatial qualities in the Mies's early works are not extinct but potentially immanent in his latter works. In Mies's early works, destruction of outline, centrifugal extension of fluid space, and asymmetry are distinctly showed. These qualities probably revert to the indefiniteness of space. In Mies's latter works, however, these dynamic qualities are disappeared. Geometrically precise outline and exact grid structure represent universal space derived from zero-degree pure box. These qualities probably revert to tile definiteness of space, characterized by the unmovable emptiness. Although Mies works vary in external form, his expression technique of space reveals continually both the qualify of definitive and indefinitive space. For example, in the Museum for a Small City(1942) unbuilt project. elements defined by the perspective are fixed and static, but elements defined by the collages are floated and dynamic. The former reigns over the realized buildings of Mies, while the latter seems to be latent in terms of Schein which transcends reality. If we can penetrate this point, it's possible to read the other side of Mies' architectural works, distinct from both the canonized interpretation and the excessive criticism. Point is that later works of Mies must be understood as interplay of universal space appeared as phenomenon and flowing elements latent in. Architectural space of Mies keeps a distance with actual space through latent manner of being while preserves the empirical actuality It provides us with an occasion which appears only in an instant, in which even the ordinary things reveal its poetics.

• 대한건축학회논문집:계획계
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• 제34권8호
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• pp.31-41
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• 2018

This research examines pioneering works of two representative Western modern architects which played a significant role in constructing modernity in the early 20th century: Frank Lloyd Wright's Florida Southern College and Ludwig Mies van der Rohe's Illinois Institute of Technology. These two campuses were constructed and developed at the similar period by two named architects, and these were considered the collections of iconic modern buildings in the States. However, design approaches and principles of these buildings were totally opposite ways: Frank Lloyd Wright's Florida Southern College was in the roof of organic architecture drawn from a great Chinese sage, Laotze, which have more five hundred years history. On the other hand, Ludwig Mies van der Rohe's Illinois Institute of Technology was well embodied the International Style which originated from European tradition in the early 20th century, and Mies was one of the leaders of the International Style. These different approaches could be understood in the discussion of the meaning of the Greek concept of paradoxa which was mentioned by a German philosopher Martin Heidegger. Comparing the paradoxical gestures of these two campuses can reveal the truth of each campus master plans and expand the discourse of modern architectures.

• 한국실내디자인학회논문집
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• 제14권1호
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• pp.134-141
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• 2005

Ludwig Mies van der Rohe, one of the influential modernist architects in early 20th century, had an great effort to found the modern architecture through various kinds of works. Conceptually he tried to develop the trans-temporal architecture language by involving a reintegration of countermanding principles in both ideas and practices for designing buildings. The model for his striving to find such a synthesis or a dynamic form was the neo-classicism of K. F Schinkel, inasmuch as Schinkel endeavored to combine the classical rationalistic order with the creative act of construction and to make these two melt into his age. In the same horizon with that Mies van der Rohe attempted to express the industrialized civilization of his time as a given fact, though this phenomenal substance was the only authentic form that has been conceivable to the people. For him the modern technology was regarded as the manifestation of rationalistic transcendency, which can be interpreted always consequentially. Here In this context this study is purposed to consider through the analysis of the ground ideas of architecture and the designed chairs, how commensurable the tectonic value (in the architecture) that is constantly evident in his works and the various autonomous drives toward deformalization (in the furniture design) that is concerned with his interest for cultural situation and materiality of form are with each other. And then it will be tried to prove, that on the ground of the trans-temporal achitecture language the furniture design of Mies van der Rohe, which emphasizes curves as individual forms, could correspond to his architecture that lays priority to space and construction

• 한국실내디자인학회논문집
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• 제15권1호
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• pp.12-19
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• 2006

As an exhibition designer, clothing and furniture designer, and woman architect in Germany during the 1920s and'1930s Lilly Reich was an important pioneer of modern design and one of the most respected practitioners. In spite of that she has been until recently known primarily for the work she produced in association with the architect Ludwig Mies van der Rohe, because his fame has overshadowed her own contribution. For the first time only after her own works have been presented by MoMA in 1996, her artistic world could begin to be illuminated. This study discusses not only her collaboration with Mies van der Rohe, but also her own work as an individual artist. The aim of this study is concentrated on two aspects, which have been unexplored in the history of architecture and interior design. One of them is related to her effort, the essential elements and principles of the exhibition design disciplinarily to stand and through this the methodological basis of exhibition design to found. Another aspect is the contribution to the functionalist architecture by keeping in harmony the standardization and the individualism. This study is purposed to re-actualize the interior-architectural ideas of Lilly Reich into the present context through the consideration on the collaborations with Mies van der Rohe and her own works and to illuminate her complementary efforts to the functionalist architecture.