" Gerrit Rietveld: A Centenary Exhibition " at the Barry Friedman Gallery, New York, in 1988 was the first comprehensive presentation of the Dutch architect's original works ever held in the U. S. The highlight of a celebratory “ Rietveld Year ” in Utrecht, the exhibition “ Rietveld ’ s Universe ” opened at the Centraal Museum and compared him and his work with famous contemporaries like Wright, Le Corbusier and Mies van der Rohe.

He worked on famous projects like the Century 21 Exposition, 1964 New York World's Fair and Expo 67, with such notables as Walt Disney, Frank Lloyd Wright, Buckminster Fuller, Mies van der Rohe, Louis I. Kahn, Paul Rudolph, Marcel Breur, José Luis Sert, Edward Durell Stone, Minoru Yamasaki, Harry Weese, Moshe Safdie, Jacques Yves Cousteau, Alexander Calder, and Edward Larrabee Barnes.

He visited buildings designed by renowned architects like Le Corbusier, Ludwig Mies Van der Rohe, Frank Lloyd Wright and Louis Kahn before returning to Osaka in 1968 and established his own design studio, Tadao Ando Architect and Associates.

1994 saw the headquarters relocated once again, this time to Mies, Switzerland, and occupy its own building for the first time, shaped like a stylized motorcycle.

This, in contrast to someone like Mies Van der Rohe whom they call a hedgehog, for being overly focused on a narrow concept.

As the style hit its stride in the highly-developed postwar work of Mies van der Rohe, the tenets of 1950s modernism became so strict that even accomplished architects like Edward Durrell Stone and Eero Saarinen could be ridiculed and effectively ostracized for departing from the aesthetic rules.

When Hitler's chief engineer, Fritz Todt, began opening the new autobahn ( highways ) in 1935, many of the bridges and service stations were " bold examples of modernism " – among those submitting designs was Mies van der Rohe.

Like many other avant-garde architects of the day, Mies based his own architectural theories and principles on his own personal re-combination of ideas developed by many other thinkers and designers who had pondered the flaws of the traditional design styles.

Mies ' modernist thinking was influenced by many of the design and art movements of the day.

The concept of a Glass House set in a landscape with views as its real “ walls ” had been developed by many authors in the German Glasarchitektur drawings of the 1920s, and already sketched in initial form by Johnson's mentor Mies.

Some notable examples among many are Henry Cobb's John Hancock Tower in Boston, much of I. M. Pei's work including the Dallas City Hall, and Mies van der Rohe's Neue Nationalgalerie in Berlin.

In 1923 he went to study at the École nationale supérieure des beaux arts in the atelier of Léon Jaussely, and in the following years got to know many other Paris based architects including Auguste Perret, Mies van der Rohe and Le Corbusier.

The collections of drawings and manuscripts include many architectural drawings by leading British and international architects such as Andrea Palladio, Pugin, Ernő Goldfinger, Frank Lloyd Wright, Le Corbusier, Ludwig Mies van der Rohe, Charles Holden and Sir Christopher Wren.

Richard Nickel documented many of the architectural masters of Chicago, photographing the work of Burnham & Root, Holabird & Roche, Ludwig Mies van der Rohe, C. F. Murphy Associates, Frank Lloyd Wright, and Skidmore, Owings & Merrill.

Lake Point Tower is much taller than van der Rohe ’ s original project, more regular in form, and its exterior glass curtain wall is tinted ; however, the building owes much of its innovative design to the van der Rohe original-and because of the design's origins, many in Chicago still consider Lake Point Tower to be a Mies van der Rohe building, albeit executed by two of his protégés.

After World War I, Mies began, while still designing traditional neoclassical homes, a parallel experimental effort.

Mies was given carte blanche in the large commission, and the university grew fast enough during and after World War II to allow much of the new plan to be realized.

" Mies van der Rohe held the Chair of the Illinois Institute of Technology in Chicago when I visited him.

Mies sought to create free and open spaces, enclosed within a structural order with minimal presence.

Mies appointed no new faculty other than his close confidant Lilly Reich.

In late 1932, Mies rented a derelict factory in Berlin to use as the new Bauhaus with his own money.

Mies pursued an ambitious lifelong mission to create a new architectural language that could be used to represent the new era of technology and production.

The house is an embodiment of Mies ' mature vision of modern architecture for the new technological age: a single unencumbered space within a minimal " skin and bones " framework, a clearly understandable arrangement of architectural parts.

Mies designed modern furniture pieces using new industrial technologies that have become popular classics, such as the Barcelona chair and table, the Brno chair, and the Tugendhat chair.

But while Mies ' work had enormous influence and critical recognition, his approach failed to sustain a creative force as a style after his death and was eclipsed by the new wave of Post Modernism by the 1980s.

The new design of dark steel and glass, by Gene Summers of C. F. Murphy and Associates ( and formerly of Mies van der Rohe's office ) contrasted markedly with the white look of the structure that had burned down.

The visual simplicity and conceptual clarity that were the hallmarks of Modernism as an artistic movement formed a powerful toolset for a new generation of graphic designers whose logos embodied Ludwig Mies van der Rohe ’ s dictum, " Less is more.

Mies was given the task of designing a completely new campus, and the result was a spacious, open, campus set in contrast to the busy, crowded urban neighborhood around it.

The first new buildings on Main Campus since the " completion " of the Mies Campus in the early 1970s were finished in 2003 — Rem Koolhaas's McCormick Tribune Campus Center and Helmut Jahn's State Street Village.

From 1943 to 1957, several new Mies buildings rose across campus, including the S. R.

SOM architect Walter Netsch designed a few buildings, including the new library that Mies had wished to create, all of them similar to Mies's style.

By the late 1960s, campus addition projects were given to SOM's Myron Goldsmith, who had worked with Mies during his education at IIT and thus was able to design several new buildings to harmonize well with the original campus.

The beverage company Joseph Seagram and Sons had recently completed their new building on Park Avenue, designed by architects Mies Van der Rohe and Philip Johnson.

Mies wanted to use architecture as a tool to help reconcile the individual spirit with the new mass society in which he exists.

The development of new technical and aesthetic possibilities helped Mies van der Rohe to create a solid foundation for his architecture.

They also connected to a new cafeteria in a renovated 1953 Commons building designed by Ludwig Mies van der Rohe.

The municipality was part of the Nyon District until it was dissolved on 31 August 2006, and Mies became part of the new district of Nyon.

Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach.

More than perhaps any other practising pioneer of modernism, Mies mined the writings of philosophers and thinkers for ideas that were relevant to his architectural mission.

Mies was chosen by the daughter of the client, Phyllis Bronfman Lambert, who has become a noted architectural figure and patron in her own right.

Mies played a significant role as an educator, believing his architectural language could be learned, then applied to design any type of modern building.

The most famous was probably Milton Keynes, roughly midway between London and the West Midlands, on account of its Modernist architectural ambitions, reflecting the thinking of Mies van der Rohe and other British architectural idealists.

Originally intended to be the site of an office tower designed by Mies van der Rohe in the manner of the Seagram Building NYC, that scheme was aborted following one of the great architectural and planning show-downs of the 1970s.

In 1923 Mies van der Rohe was working in Weimar Germany, and had begun his career of producing radically simplified, lovingly detailed structures that achieved Sullivan's goal of inherent architectural beauty.

In 1908 the Austrian architect Adolf Loos famously proclaimed that architectural ornament was criminal, and his essay on that topic would become foundational to Modernism and eventually trigger the careers of Le Corbusier, Walter Gropius, Alvar Aalto, Mies van der Rohe and Gerrit Rietveld.

This careful balance of free-flowing space and a stable arrangement of architectural components is typical of Mies van der Rohe's mature style.

Comparing the building to the Sullivan Center and the Art Institute of Chicago Building, Kamin describes the museum as an homage to two of Chicago's architectural influences: Ludwig Mies van der Rohe and Louis Sullivan.

The notion of a single room that can be freely used or zoned in any way, with flexibility to accommodate changing uses, free of interior supports, enclosed in glass and supported by a minimum of structural framing located at the exterior, is the architectural ideal that defines Mies ' American career.

Mies conceived the building as an indoor-outdoor architectural shelter simultaneously independent of and intertwined with the domain of nature.

Yet we should attempt to bring nature, houses, and human beings together into a higher unity .” With the concept of the weekend house, Mies van der Rohe has deeply marked the architectural culture, not to mention the art of material selection, construction and aesthetic perception.

The building design received accolades in the architectural press, resulting in swarms of uninvited visitors trespassing on the property to glimpse this latest Mies building.

In that same year, along with Ludwig Mies van der Rohe and Walter Gropius, he was one of the founders of the progressive architectural group known as Der Ring.

Tessenow is considered together with Hans Poelzig, Bruno Taut, Peter Behrens, Fritz Höger, Ernst May, Erich Mendelsohn, Walter Gropius and Mies van der Rohe one of the most important personalities of the architectural German panorama during the time of the Weimar Republic.