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.

Architect Ludwig Mies van der Rohe used travertine in several of his major works, including the Toronto-Dominion Centre, S. R.

Concrete hid the structure of the building — something Mies wanted to avoid at all costs — so Mies used non-structural bronze-toned I-beams to suggest structure instead.

They first came to prominence with Hunstanton School which used some of the language of high modernist Ludwig Mies van der Rohe but in a stripped back way, with rough finishes and deliberate lack of refinement.

The sculpture also ties into the highly reflective materials Mies used — he chose the place where these optical effects would have the strongest impact ; the building offers multiple views of Alba.

Lots of designer furniture was also used, notably Ludwig Mies van der Rohe's 258-type couch, Harry Bertoia's Diamond-type armchair, Yrjö Kukkapuro's Karusseli-type armchair,

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.

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.

As opposed to Gropius's " study of essentials ", and Meyer's research into user requirements, Mies advocated a " spatial implementation of intellectual decisions ", which effectively meant an adoption of his own aesthetics.

A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding " van der " and his mother's surname " Rohe ", using the Dutch " van der ", rather than the German form " von " which was legally restricted to those of genuine aristocratic lineage.

Like other architects who viewed the Wasmuth Portfolio and its associated exhibit, Mies was enthralled with the free-flowing spaces of inter-connected rooms which encompass their outdoor surroundings as demonstrated by the open floor plans of the American Prairie Style work of Frank Lloyd Wright.

Mies designed a series of four middle-income high-rise apartment buildings for developer Herb Greenwald: the 860 – 880 ( which was built between 1949 and 1951 ) and 900 – 910 Lake Shore Drive towers on Chicago's Lakefront.

Using the Seagram as a prototype, Mies ' office designed a number of modern high-rise office towers, notably the Chicago Federal Center, which includes the Dirksen and Kluczynski Federal Buildings and Post Office ( 1959 ) and the IBM Plaza in Chicago ; the Westmount Square in Montreal, and the Toronto-Dominion Centre in 1967.

The archive consists of about nineteen thousand drawings and prints, one thousand of which are by the designer and architect Lilly Reich ( 1885 – 1947 ), Mies van der Rohe's close collaborator from 1927 to 1937 ; of written documents ( primarily, the business correspondence ) covering nearly the entire career of the architect ; of photographs of buildings, models, and furniture ; and of audiotapes, books, and periodicals.

** Mies Bouwman starts presenting the first live TV-marathon fundraising show ( Open Het Dorp ), which lasts 23 hours non-stop.

The city's most important sport complex is the Palau Municipal d ' Esports de Badalona ( Municipal Sports Palace ), which won the Mies Van der Rohe award in 1992.

Shimer resides on the IIT main campus, designed by Ludwig Mies van der Rohe, which was added to the National Register of Historic Places in 2005.

One aspect of a façade which Mies disliked, was the disordered irregularity when window blinds are drawn.

To reduce this disproportionate appearance, Mies specified window blinds which only operated in three positions – fully open, halfway open / closed, or fully closed.

Architect and future Bauhaus director Ludwig Mies van der Rohe designed in 1926 a 12 metre wide and 6 metre high red brick Monument to the Revolution which the National Socialists ( Nazis ) destroyed in 1935.

As Ludwig Mies van der Rohe was given " virtually a free hand to create Toronto-Dominion Centre ," the complex, as a whole and in its details, is a classic example of his unique take on the International style, and represents the end the evolution of Mies ' North American period, which began with his 1957 Seagram Building in New York City.

In 2001, the Chicago Park District, which owns the structure, faced substantial criticism when it announced plans to alter the stadium by architect Dirk Lohan, the grandson of architect Ludwig Mies van der Rohe, of the Chicago-based architecture firm of Lohan Associates in a joint venture with architect Benjamin T. Wood of the Boston-based architecture firm Wood & Zapata ; it was announced that the stadium's interior would be demolished and reconstructed while the exterior would be preserved.

Mies viewed the technology-driven modern era in which an ordinary individual exists as largely beyond his control.

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

The house's close proximity to the tree, some ten feet, led to a feeling of oneness with nature, which was integral to the design aesthetic that Mies was going for in designing the house.

It was announced in 2011 that the Illinois Institute of Technology ( which Mies restructured and designed the Master Plan for ) was going to build a permanent exhibition space for the massive wardrobe, which formerly resided in the house.

Notably, it included four buildings by Ludwig Mies van der Rohe: three high rise apartments, the first of which, 201 rue Corot, was occupied in 1969, and an Esso filling station of the same vintage.

However, the university wanted an architecturally significant building to add onto its original main campus, which is home to the densest concentration of buildings designed by Ludwig Mies van der Rohe in the world.

In 1972 he bought Farnsworth House, designed by Mies van der Rohe, to which Palumbo added the designer's furniture.

This lack of accommodation enabled Mies to treat the Pavilion as a continuous space ; blurring inside and outside.

" 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.

While continuing his traditional neoclassical design practice Mies began to develop visionary projects that, though mostly unbuilt, rocketed him to fame as an architect capable of giving form that was in harmony with the spirit of the emerging modern society.

Mies found their unit sizes too small for him, choosing instead to continue living in a spacious traditional luxury apartment a few blocks away.

* Weissenhof Estate – Housing Exhibition coordinated by Mies and with a contribution by him, Stuttgart ( 1927 )

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

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

Boldly abandoning ornament altogether, Mies made a dramatic modernist debut with his stunning competition proposal for the faceted all-glass Friedrichstraße skyscraper in 1921, followed by a taller curved version in 1922 named the Glass Skyscraper .< ref > Compare Arthur Lubow's " The Contextualizer ," New York Times.

The design theories of Adolf Loos found resonance with Mies, particularly the ideas of eradication of the superficial and unnecessary, replacing elaborate applied ornament with the straightforward display of materials and forms.

Once Mies had established his basic design concept for the general form and details of his tower buildings, he applied those solutions ( with evolving refinements ) to his later high-rise building projects.

Although now acclaimed and widely influential as an urban design feature, Mies had to convince Bronfman's bankers that a taller tower with significant " unused " open space at ground level would enhance the presence and prestige of the building.

Mies ' design included a bronze curtain wall with external H-shaped mullions that were exaggerated in depth beyond what was structurally necessary.

Some of Mies ' curriculum is still put in practice in the first and second year programs at IIT, including the precise drafting of brick construction details so unpopular with aspiring student architects.

Lohan, who had collaborated with Mies on the New National Gallery, continued with existing projects but soon led the firm on his own independent path.

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

The Ludwig Mies van der Rohe Collection, 1929 – 1969 ( bulk 1948 – 1960 ) includes correspondence, articles, and materials related to his association with the Illinois Institute of Technology.

The audiobook Bauhaus Reviewed 1919 – 33 includes a short English language interview with Mies.

Modernist Ludwig Mies van der Rohe is associated with the phrase " less is more "; in contrast Venturi famously said, " Less is a bore.

Walter Adolph Georg Gropius ( May 18, 1883 – July 5, 1969 ) was a German architect and founder of the Bauhaus School who, along with Ludwig Mies van der Rohe, Le Corbusier and Oscar Niemeyer, is widely regarded as one of the pioneering masters of modern architecture.

" From 1923 to 1926, Richter edited, together with Werner Gräff and Mies van der Rohe, the periodical G. Material zur elementaren Gestaltung.

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.

In 1928 Johnson met with architect Ludwig Mies van der Rohe, who was at the time designing the German Pavilion for the 1929 Barcelona International Exposition.

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.

Johnson was pivotal in steering the commission towards Mies, working with Phyllis Lambert, the daughter of the CEO of Seagram.