• 주택과사람들
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• s.199
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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.

• Korean Architects
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• s.623
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• pp.22-23
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• 2021

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.10
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• pp.6372-6378
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• 2014

This study examined the formal types and public space of Mies van der Rohe's office designs in Germany. The characteristics of the formal types, the relationship between public space and formal types, and the composition of public space were analyzed by hierarchy with perspective drawings and plans. The conclusions were as follows. Mies used the formal types, such as U shape and I shape in his early days. Later, he adopted the curved shape and tried to fragment the forms by combining the curved shape with an I shape. Mies designed the entry space in front of the simple formal types. The curved shape was used to create various hierarchical courtyards and rear gardens. The results suggest that Mies developed his own ideas on the formal types and public space utilizing a variety of methods.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6915-6921
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• 2014

This study examined the composition and spatial characteristics of the Illinois Institute of Technology (1939-1959) campus by Mies van der Rohe. Studies of the Mies' architecture has been focused mostly on "universal space", structural rationality for a single building. Therefore, it is interesting to study an IIT campus through which Mies composed public space dealing with several buildings together. To determine the relationships with his previous works and the design intentions for IIT campus, this paper studied his preliminary sketches, perspective drawings etc.. By doing so, the paper presents the following conclusions. First, Mies composed the IIT campus with simple linear buildings as walls to create the "flowing space" through the campus. Secondly, the IIT campus could become the "neutral frame" integrating the campus with urban space. Third, Mies also created an open, continuous public space in the center of the campus that allows protective, quiet seclusion for the students.

• Journal of architectural history
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• v.16 no.2
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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.

• Journal of architectural history
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• v.15 no.3
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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.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.8
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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.

• Korean Institute of Interior Design Journal
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• v.14 no.1
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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

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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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.