Mies worked from his studio in downtown Chicago for his entire 31-year period in America.

Between October 1910 and March 1911, he worked near Berlin for the renowned architect Peter Behrens, where he might have met Ludwig Mies van der Rohe and Walter Gropius.

He arranged for Le Corbusier's first visit to the United States in 1935, then worked to bring Mies and Marcel Breuer to the US as emigres.

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.

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.

For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source ; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.

Emigrants did succeed, however, in spreading the concepts of the Bauhaus to other countries, including the “ New Bauhaus ” of Chicago: Mies decided to emigrate to the United States for the directorship of the School of Architecture at the Armour Institute ( now IIT ) in Chicago and to seek building commissions.

" 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.

Mies ' architecture was guided by principles at a high level of abstraction, and his own generalized descriptions of those principles intentionally leave much room for interpretation.

Starting in 1930, Mies served as the last Director of the faltering Bauhaus, at the request of his colleague and competitor Walter Gropius.

Mies settled in Chicago, Illinois where he was appointed head of the architecture school at Chicago's Armour Institute of Technology ( later renamed Illinois Institute of Technology – IIT ).

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.

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.

His fellow employees at this time included Ludwig Mies van der Rohe, Le Corbusier, and Dietrich Marcks.

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.

In 1947 he applied for graduate studies at Harvard, Yale, and Illinois Institute of Technology and was accepted at all three institutions, and left Ireland in 1948 to study under Ludwig Mies van der Rohe at the Illinois Institute of Technology.

The disposition, steel frames and panels of brick and glass most obviously echoed the work of Mies Van Der Rohe at MIT Cambridge, Massachusetts, USA.

The Seagram Building, the company's American headquarters office tower at 375 Park Avenue in New York City, was designed by architect Ludwig Mies van der Rohe with Philip Johnson.

* 1969 in art-Death of Otto Dix, Ben Shahn, Mies van der Rohe, Walter Gropius, first Lyrical Abstraction exhibition at the Aldrich Contemporary Art Museum marking a significant return to expressivity in painting

In the 1940s, a " Second Chicago School " emerged from the work of Ludwig Mies van der Rohe and his efforts of education at the Illinois Institute of Technology in Chicago.

He was rediscovered in the post-modernist era: his autobiography Too Much is Never Enough, 1996, takes a shot at modernist guru Ludwig Mies van der Rohe's dictum ' Less is more.

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.

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.

On the 30 July 2009, the Austrian Ambassador to the Netherlands, Wolfgang Paul presented Grand Decoration of Honour for Services to the Republic of Austria to Mies at her home.

In 1941, a graduate student at the Illinois Institute of Technology accidentally discovered that the Seminary was moving ahead with a plan to demolish the Robie House and informed his instructors, including Ludwig Mies van der Rohe.

After completing several houses in the idiom of Mies and Breuer, Johnson joined Mies van der Rohe as the New York associate architect for the 39-story Seagram Building ( 1956 ).

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

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

Maria Mies ( born 1931, Steffeln ) is a professor of sociology and author of several feminist books, including Indian Women and Patriarchy ( 1980 ), Patriarchy and Accumulation on a World Scale ( 1986 ), and ( with Bennholdt-Thomsen and von Werlhof ) Women: The Last Colony ( 1988 ).

Finely crystallized specimens have been obtained from the Friedrichssegen mine in Lahnstein near Nassau, Johanngeorgenstadt in Saxony, Mies in Bohemia, Phoenixville in Pennsylvania, Broken Hill, New South Wales ; and several other localities.

He was important for the modernist movement, and several of the movement's leading names ( including Ludwig Mies van der Rohe, Le Corbusier and Walter Gropius ) in earlier stages of their careers.

The construction of a teak wardrobe closet and the system of bronze-framed screens to enclose the deck porch were completed to Mies ’ designs by his former employee and architect William Dunlap and a local millworker who mediated between them.

Bacardi had architects Ludwig Mies Van Der Rohe and Felix Candela design office buildings and a bottling plant for them in Mexico City during the 1950s.

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.

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 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.

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

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

Mies placed great importance on education of architects who could carry on his design principles.

The Ludwig Mies van der Rohe Archive, an administratively independent section of the Museum of Modern Art's department of architecture and design, was established in 1968 by the museum's trustees.

Koolhaas's design won the Architekturpreis Berlin in 2003 and the Mies van der Rohe Award for European Architecture in 2005.

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.

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.

The project was the inspiration of Allen Lambert, former President and Chairman of the Board of the Toronto-Dominion Bank, with Phyllis Lambert, recommending Ludwig Mies van der Rohe as design consultant to the architects, John B. Parkin and Associates and Bregman + Hamann, and the Fairview Corporation as the developer.

Also extending to this area was Mies ' strict design sense ; to maintain the clean-lined and ordered aesthetic of the environment, Mies stipulated, with the backing of both Phyllis and Alan Lambert, that the store fronts must consist only of the glass panels and black aluminum that he specified.

The functional design and elements of it that were patented by Mies in Germany, Spain and the United States in the 1930s have since expired.

However, Mies had severe time constraints — he had to design the Barcelona Pavilion in less than a year — and was also dealing with uncertain economic conditions.

Mies ' design for the building was essentially the same as his headquarters for Bacardi-an unrealized building made of concrete-but rendered in steel.

Ludwig Mies van der Rohe was retained by Dr. Edith Farnsworth to design a weekend retreat during a dinner party in 1945.

Mies developed the design in time for it to be included in an exhibit on his work at MOMA, the Museum of Modern Art in New York in 1947.

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.