Professional Documents
Culture Documents
Birkhuser
Basel
Layout, cover design and typography:
Annette Kern, Hamburg
Printed in Germany
ISBN 9783034607407
987654321
www.birkhauser.com
16 Riehl House
Neubabelsberg, Germany, 1908
20 Perls House
Berlin-Zehlendorf, Germany, 191112
28 Werner House
Berlin-Zehlendorf, Germany, 191213
32 Warnholtz House
Berlin-Charlottenburg, Germany, 191415
33 Urbig House
Neubabelsberg, Germany, 191517
36 Kempner House
Berlin-Charlottenburg, Germany, 192123
40 Eichstaedt House
Berlin-Nikolassee, Germany, 192123
41 Feldmann House
Berlin-Grunewald, Germany, 192123
42 Ryder House
Wiesbaden, Germany, 192327
44 Mosler House
Neubabelsberg, Germany, 192426
56 Wolf House
Guben, Poland, 192527
62 Glass Room
Stuttgart, Germany, 1927
5
68 Lange and Esters Houses 128 Crown Hall
Krefeld, Germany, 192730 Illinois Institute of Technology, Chicago, USA, 195056
81 German Electrical Industry Pavilion 136 Association of American Railroads Mechanical Laboratory
World Exposition, Barcelona, Spain, 1929 Illinois Institute of Technology, Chicago, USA, 195253
94 Model House for the Berlin Building Exposition 140 Siegel Hall
Berlin, Germany, 1931 Illinois Institute of Technology, Chicago, USA, 195558
106 Minerals and Metals Research Building 153 Arts Club of Chicago
Illinois Institute of Technology, Chicago, USA, 194143, 195658 Chicago, Illinois, USA, 194851
6
188 Federal Center
Chicago, Illinois, USA, 195974
7
Introduction Over the past few years, Ive often been asked: A book about
Mies what more is there to say? The idea for this project came
about during a vision to the Colonnade and Pavilion Apartments
in Newark, New Jersey, in October 2009. Several years earlier, an
artist in New York showed me a Super8 film of these buildings
which Id never heard of despite having read several books on
the architect Ludwig Mies van der Rohe (18861969) and having
studied for a while in New York. I was sceptical perhaps Mies
had acted simply as a consultant. Years later, on the occasion of
a lecture I gave at Columbia University on urban utopias for Ber-
lin, I decided to pay the buildings a visit. I was surprised to find
the buildings were only 20minutes by train from New Yorks Penn
Station. The two monumental slabs can be seen rising into the
sky immediately behind Newark Broad Street Station in a district
that has a reputation as being unsafe. I was immediately smit-
ten by the view from the platform (see page 182, top): it was the
built embodiment of the vision that Ludwig Hilberseimer, an ur-
ban planner and close collaborator of Mies, had elaborated in
texts and images for Berlin. Only as I began to explore the com-
plex did I properly comprehend its urban dimensions, which are
defined by a third high-rise slab located some 600 metres further
away. It was a stormy day and the thin panes of glass in the still
original aluminium faade designed in Mies office vibrated
with shivering reflections of the clouds.
In the 50 years since they were built, the profile of the resi-
dents has shifted radically: originally built to house white mid-
dle-class workers, it is now almost exclusively occupied by Af-
rican American tenants. I asked the resident manager whether
they received many architecturally interested visitors and was told
that they had one visitor last year. The complex is evidently not
a popular destination for architecture tourists and as I would
later find out like many of Mies other built works, is relatively
unknown compared with his famous buildings such as the Bar-
celona Pavilion, the Seagram Building and in particular the un-
built projects such as the Skyscraper for the Friedrichstrae Rail-
way Station in Berlin.
In my numerous conversations with architects, theorists and
historians during my research for Das ungebaute Berlin, 1 Mies van
der Rohe emerged as the most important figure for the present
day. His work has been enormously influential for contemporary
architectural practice. He himself hoped that his work would be
judged by the degree to which others adopted the principles he
had developed. Rather than seeking a unique, individual form
of expression, he strove to find generally applicable principles:
I think the influence my work has on other people is based on
its reasonableness. Everybody can use it without being a copy-
ist, because it is quite objective, and I think if I find something
objective I will use it. It does not matter who did it.2 This ra-
tional approach differs markedly, for example, from that of Frank
Lloyd Wright, whose creations became ever more fantastic over
the course of his career. During the same period, Mies model
of a high-rise tower became an almost ubiquitous element of
many North American cities. They were seen as being timeless.
Today, in the context of the formal excesses of the last 15 years
and the drive to create ever more spectacular and eccentric ges-
tures, Mies focus on the elementary aspects of architecture has
once again gained relevance.
The more I saw and the more I read, the more I felt that the
image portrayed in the available literature was distorted. Re-
search on Mies has concentrated on his canonical works and
long been reluctant to consider all his buildings as equally sig-
nificant works in his oeuvre. In the first book published on Mies
in 1947, Philip Johnson writes: All the buildings and projects
which Mies considers in any way important are illustrated in this
volume, with the exception of a few buildings which were not exe
cuted according to his standards [].3 In actual fact only about
8
half of his European buildings are shown, and even the two later
volumes Mies in Berlin and Mies in America, published in 2001,
show only about half his buildings with photos.
Ludwig Mies van der Rohe, Reconstruction of the garden Hall, reconstruction of the original 9
Riehl House, Neubabelsberg 1908 faade, photomontage colour scheme
have been redrawn by myself, based on the working drawings. the respective ideological climate. For example, the attitude to-
Because many of Mies American buildings were built in collabor wards vast apartment blocks has changed fundamentally since
ation with other architecture offices, many of the relevant work- the 1960s when the Colonnade and Pavilion Apartments were
ing drawings are not in the Mies van der Rohe Archives of the built. Past research also sidelined certain projects. Mies per-
Museum of Modern Art in New York nor in the various published sonal path to radical modernism was, for example, by no means
volumes of The Mies van der Rohe Archive. The architecture of- as linear as it is often portrayed. The conventional houses that
fices responsible for the restoration of Mies buildings were most Mies built during the 1920s some of them after publishing a
helpful, as were public records, building surveys and the archives series of avant-garde projects in the press were deemed sim-
of the owners. The existing monographs on Mies almost exclu- ply bread-and-butter work.7 In her book Mies in America, Phyllis
sively show cleaned presentation drawings without legends or Lambert attempts to highlight the works where Mies himself was
dimensions, partly because the information contained within the more intensely involved in the design process. Mies, however,
working drawings becomes illegible when reduced in size and stated that: I dont make every building different. 8
the plans themselves become harder to read. To reconstruct the
drawings, historical photographs as well as the buildings them- Mies own standpoint was influenced by the particular course of
selves proved to be an invaluable source. his career. Ludwig Mies he added van der Rohe later did not
The formal presentation of the newly drawn floor plans ech- study as an architect 9 but learned his trade from scratch work-
oes the reductive character of the plans that Mies published. Al- ing in practice: I learned from my father. He was a stonemason.
though he highlighted the objective character of his principles, [] My father said, Dont read these dumb books. Work. 10 Al-
the resulting work and the drawings of them are often idiosyn- though he did develop a strong interest in philosophical writ-
cratic. The new floor plans published here contain only what is ings and published texts of his own, Mies would always empha-
absolutely necessary and aim to be as consistent as possible, sise the enormous influence of his background as a craftsman in
lending them an objective character. Furnishings, paving pat- Aachen on his personal development. The discipline he applied
terns, vegetation, the arcs of door openings, directions of stairs to developing the building construction can be seen in the ex-
and ramps as well as the labelling of the individual rooms have treme attention he gave to the details. This precision contrasts
all been omitted in favour of showing the building structure as markedly with the later works of Le Corbusier and Walter Gro-
clearly as possible. The built elements of external landscaping pius and is one of the reasons for his lasting influence to the
and gardens designed by Mies, some of which have been recon- present day. Even after more than half a century, few buildings
structed from aerial photographs, are also shown. around the world can claim to be detailed to the same exacting
The plans have been drawn consistently to a scale of 1:400 level of quality as the Seagram Building. Its clarity of expression
and oriented north. Ensembles of buildings are shown at a scale set a benchmark that many contemporary buildings still fail to
of 1:4000 and details at a scale of 1:10. Each building is shown measure up to.
with at least one floor plan or site plan. Because relevant plans Looking back, Mies described the development of his work
were not always available, not all buildings are illustrated with a as a persistent path of striving for clarity of construction. His
floor plan. The drawings comprise lines and surfaces all drawn obsessive search for order means that his work can be seen as
with the same line thickness. an ongoing process of optimisation. His high-rise towers are
The photographs take an analytical view of the respective in principle essentially identical skeleton frame constructions
buildings and concentrate predominantly on the built structures, that permit an open-plan floor plan, but he refined the detail-
leaving out later conversions, current uses or changed urban sur- ing with each new building. While the early apartment blocks
roundings wherever possible. The focus lies on the building sub- on Lake Shore Drive in Chicago exhibit numerous deficits with
stance and the detailing, as well as the placement of the build- respect to their building physics, the later towers resolved many
ing in the landscape. Both the earlier private houses as well as of these problems. Ironically, although the quality of the con-
the later high-rise towers were placed at prominent positions, struction of the later buildings is much better, in history books
usually adjoining a park or a lake. For the Lafayette Park Estate, they are regarded as being less architecturally significant than
for example, it took decades for the trees to grow to maturity. the earlier prototypes.
The photos show that the architecture has transcended time. When Mies said, I always apply the same principles,11 he
In cases where buildings have been altered to such a degree that was referring to rational aspects that can be taught and analysed.
the original conception is no longer visible for examples the The building analyses in this book elaborate the principles that
garden faade of Mies very first work, the Riehl House the orig- Mies sought to communicate as a teacher: You can teach stu-
inal situation can be shown by means of a photographic montage. dents how to work; you can teach them technique how to use
Another approach is to colourise black-and-white photographs reason; you can even give them a sense of proportions of or-
to show the original colour scheme. Thomas Ruff, for example, der. You can teach general principles. 12
created a series of photographs of Mies works that consciously In the 1920s, Mies presented five speculative projects two
manipulates new and historic photographs. Digital techniques glass skyscrapers, an office building, and two country houses, one
have greatly simplified the retouching of photographs, and such made of ferro-concrete, the other of brick that explored the
techniques are now common practice in architectural photogra- constructional possibilities of particular building materials. With
phy. The photographs in this book have not been retouched and the exception of the Skyscraper on the Friedrichstrae, none of
have a strictly documentary character. the projects were designed for a specific location. They were in-
Although most of Mies buildings are now listed, the build- stead programmatic, visionary concepts that explored a prin-
ing substance is still in danger of being lost during renovation ciple to the point that the images acquired an iconic charac-
works. Many typical Miesian elements, such as his minimalist bal- ter. In his floor plan for a skyscraper with polygonal curves that
ustrades, do not conform to current building regulations and are aimed to achieve a rich play by the reflection of light13 he did
thus often the target of modernisation measures. Other build- not show the supporting structure at all. Similarly, his floor plan
ings, such as the IIT Test Cell from 195052, simply stood in the for the brick country house is more abstract and schematic in
way of new building projects and were demolished. Built situa- character than a floor plan for a real building. The diagrammatic
tions are not the only aspects that change over time; so too does character of these designs is significant because it would later
the appreciation of architecture, which in turn is influenced by influence his built work.
10
Ludwig Mies van der Rohe, Ludwig Mies van der Rohe,
Glass skyscraper, 1922, floor plan Project for a brick country house, 1924, floor plan introduction 11
4
3 9
1 2 10
5 7
11
12
1 Vestibule
2 Hall
3 Salon
4 Dining room
5 Gentlemans study
6 Living room
7 Anteroom
8 Ladys quarters
9 Exhibition gallery
10 Garden with fountain
11 Greenhouse
12 Water basin
introduction 13
13 Ludwig Mies van der Rohe, in: Frhlicht, vol. 4, 1922, p. 124.
14 Ludwig Mies van der Rohe in conversation with Bayerischer Rundfunk
(Bavarian Broadcasting), in: Der Architekt, 1966, p.324.
15 Wolf Tegethoff, Mies van der Rohe The Villas and Country Houses,
New York 1985, pp. 7778.
16 Stanford Anderson, Considering Peter Behrens: Interviews with Ludwig
Mies van der Rohe (Chicago, 1961) and Walter Gropius (Cambridge, Mass.,
1964), in: Engramma, no. 100, Sep./Oct. 2012. www.engramma.it.
17 Ludwig Mies van der Rohe in conversation with Christian Norberg-
Schulz, in: ditions de lArchitecture dAujourdhui, Luvre de Mies van
der Rohe, Paris 1958, p. 100.
18 Ludwig Mies van der Rohe in: Moiss Puentes (ed.), Conversations with
Mies van der Rohe, New York 2008, p. 54.
19 Ludwig Mies van der Rohe in conversation with Dirk Lohan, transcribed
manuscript, Mies van der Rohe Archive, Museum of Modern Art, New York
(translated into English by JR).
20 Cf. Andreas Marx and Paul Weber, Zur Neudatierung von Mies van der
Rohes Landhaus in Eisenbeton, in: Architectura, vol. 2, 2008, p. 160.
14 introduction
Riehl House Although the house for a philosophy professor is situated in a col
Neubabelsberg, Germany, 1908 ony of villas in what is now Potsdam, Mies noted that the house
was not a villa. Rather, its character resembled the houses in the
Mrkische region, like those in Werder which have a simple pitched
roof, a gable and a pair of dormers, usually of the eyebrow kind.1
Despite the modest appearance of the building, the basic typo-
logy has been significantly modified and reinterpreted. Rather than
arranging the long side parallel to the street, as is typical for this
house type, the building is rotated by 90 degrees and turns away
from the street, a gesture reinforced by the wall along the front.
Mies introduced a large step in the terrain of the steep slop
ing site to create a plinth on which the building stands, affording
a view of the Griebnitzsee lake. Both parts, the house and the
plinth, are fused to form a single structure. On entering the gar-
den, one is immediately drawn into the architectural composition,
as the upper terrace is already part of the constellation. Enclosed
by a perimeter wall, the garden has a cloister-like intimacy that
continues into the interior of the building.
In the centre of the house, Mies took the bold step at this early
juncture in his career of creating a general space, a term that
was used in a prominent publication of the day to denote a room
with no specific function.2 In the book in question, such halls are
described simply as the central room of the house, followed by
a detailed elaboration of their composition:
Even in small houses halls always have a fire-place. Halls are
furnished and their floors are carpeted. Wood panelling is the fa-
vourite treatment for walls, indeed it is considered the ideal dec
oration. [] In all circumstances, the hall is not permitted to rise
through two storeys []. The floor may be composed of [] a hard
wood. All-over carpeting is avoided []. But there is always a deep-
piled, warm rug in the centre and a thick one in front of the fire [].
[Where the staircase leads out of the hall], architects are reluctant
to expose the whole flight to view and permit only the first few
steps to be seen. [] In the [] country-house it is concealed be-
cause it leads only to the bedrooms, which are considered to be
private. [] There are certain pieces of furniture [] that reappear
in every kind of hall. These include a heavy hall-table and a settle.
[] English round gate-legged tables are very popular as hall-
tables. [] In smaller halls, there will be merely several wooden
chairs and a wooden settle.3
Mies use of a general space of the kind described here by
Hermann Muthesius does not necessarily imply that he was aware
of this text, or that it was a creation of his own devices: by then
this arrangement had become an established pattern a typo-
logy of sorts.
Although this central space was rather austere, especially when
the doors were closed, it was also spacious, a quality that Muthe-
sius deemed characteristic for this type of room. By arranging the
space so that it opens directly onto the loggia with a panoramic
view of the lake and the woodland beyond, the hall is transformed
into an architectural set-piece. On entering the room, visitors initi-
ally face the stairs, but a change in direction toward the light en-
sures that one only sees the first few steps. A door on the landing
signals unequivocally that what lies behind is private.
The floor plan of the house is organised in such a way that,
when the doors are open, one can see outside from this central
hall in several directions. A company of guests seated at the din
ing table would each have a view outdoors wherever they sat, and
all the visual axes cross in a star-shape at the centre of the room.
All of this lends the building as a whole an extremely open im-
pression. Two alcoves adjoining the hall can be separated off by
curtains, creating different situations: one more intimate and one
more open. The same opposition can also be seen in the diffe-
rent faces of the house: the introverted side facing the street and
the extroverted side facing the private garden.
18
Birds eye view riehl House 19
Perls House Although the house takes the form of a decidedly compact block,
Berlin-Zehlendorf, Germany, 191112 its design is dictated by a desire to relate the interior to the gar-
den. The straightforward and unassuming impression one has of
the building from the street belies the complexity of the circula-
tion within and the many-layered system of visual axes that con-
nect the indoors with outdoors.
A curved recess in the garden fence serves as an inviting ge-
sture, drawing the visitor through the gate and directing them
toward the asymmetrically placed entrance to the house. Alt-
hough the entrance vestibule is located in the corner of the buil-
ding like the house itself in the north corner of the site , one
has views from this first room in all directions. Several visual axes
pass through the house and cross at the point where the visitors
route into the house divides, one way leading on to the represen-
tative rooms, the other to the private areas. When the doors are
open, one has a view from this point in the entrance hall of the
entire ground floor with views beyond into the garden. Adjoining
the study of the houses owner, a lawyer and art collector, is the
central dining room with a long room for making music beyond.
In the plan, a further rounded element, the bottom step of the
stairs, serves as a similar inviting gesture encouraging people to
move through the house.
Mies, then 25 years of age and working in Peter Behrens ar-
chitecture office, told the client, who was the same age as him,
that, The architect must get to know the people who will live in
the planned house. From their needs, the rest inevitably follows. Of
course, in addition to the wishes of the client, the position, orien-
tation and size of the plot also play an important role in determin
ing the final plan of the house. The where and how of the ex-
terior then follows naturally from all of that.1 As the building was
to house a collection of artworks, the rooms of the ground floor
have a representative character while the bedrooms and childs
room, as well as the bathroom, closet and guest rooms, are loca-
ted on the upper floor. The lower ground, which opens onto a nar-
row yard to the north, houses the kitchen, washroom and a maids
room. Thanks to a steep slope, the two-storey building appears
as if it has three storeys on the north side.
The clear proportions of the rooms in the interior are reflected
in the outdoor areas. The ratio of length to height of the house cor-
responds to the Golden Section, echoing Karl Friedrich Schinkels
Altes Museum. Two different gardens, each the same width as
the house, are related directly to the building. The first of these
is enclosed on three sides by a plant-covered wooden pergola
and reached directly from the loggia, itself a transitional zone ex-
tending deep into the building. The second part of the garden, a
sunken rectangular court, also relates directly to the faade. Five
floor-to-ceiling French windows open extrovertly onto the gar-
den presenting a panoramic view of the surroundings. A single
step leads from the house into the garden, and from there a small
stair on into the sunken garden terrace. A figurative sculpture was
placed in the garden, its position as marked in the plans of the
garden aligning with the main axis of the house. The sculpture
marks the end of this axis and helps to maximise the spacious im-
pression of this otherwise modest-sized house.
1 As recalled by Hugo Perls in: Warum ist Kamilla schn? Von Kunst, Knst-
lern und Kunsthandel, Munich 1962, p. 16.
2 Von Beulwitz assembled a collection of all the documents he could find
perls Ho u se 23
Krller-Mller House, Faade Mock-up
Wassenaar, Netherlands, 191213
destroyed
2 4
3 8
1 Vestibule
2 Hall
3 Dining room
4 Corridor
5 Pergola
6 Water basin
7 Ladys living quarters
8 Gallery
9 Garden with small pond
10 Greenhouse
Elevation
24 Ground floor plan
On a coastal site on the Dutch North Sea coast, a full-scale mock-
up of the faades of a house, constructed of painted sailcloth over
wood framing, was erected in winter 1912/13 between the dunes
and woods. The only known photograph of the installation was
published 15 years later in an article, accompanied by the note:
Mies was quite right when he remarked on this project that if
one were to remove the detailing of the faade, one would have
a building very much like those he makes today. That is, a building
in which living is not dictated by the arrangement of the house,
but the arrangement of the house follows the process of living.1
The original floor plan no longer exists, but Mies later sket-
ched a sequence of some of the spaces from memory. 2 He placed
the entrance at the corner of the H-shaped plan of the building.
Visitors pass through a vestibule into a representative hall from
which a path leads to the dining room and a long passage to a
second wing with a large exhibition gallery. In this second wing
on the far side, a hall also serves as a vestibule distributing the
visitors in all directions.
The lady of the house, Helene Krller-Mller, had specific
ideas of her own for a monumental country house. To exhibit
their collection of paintings, a windowless hall was required that
she wanted placed near to her own room.3 The organisation of
the programme of spaces was complex as the different functio-
nal areas needed to be independent of one another but still be
incorporated into an overall composition. The different areas in-
cluded a succession of reception rooms for entertaining, the pri-
vate residence of the couple, a service wing for the servants as
well as semi-public areas for the art collection. This programme
of spaces, representing the different living processes, was recor-
ded by Peter Behrens, who was originally commissioned to un-
dertake the project. His design was also tested on site as a full-
7 9 10
scale model but was ultimately turned down. Mies worked at the
time as Behrens assistant and was able to establish a good work
ing relationship with the clients. Mies was then asked to deve-
lop a design of his own for the house, which in turn marked the
end of his collaboration with Behrens.
In Behrens earlier project, visitors were also led via a vesti-
bule into a hall from which a corridor continued onto the far wing
with the windowless gallery space. The living room, in which the
family usually dined, as is typical in Holland,4 is axially aligned
with a pool of water in front of it while the dining room was used
only for special events or entertaining guests. The wing with the
succession of reception rooms is divided into two linear zones,
one for the service functions and one for the served rooms. The
kitchen was situated on the upper storey. Fritz Hoeber wrote of
the ladys rooms: The square of the gentlemans room at one end
corresponds to a large vestibule at the other end from which the
ladys personal living quarters can be reached. Her living room,
replete with a special wardrobe, can only be reached through
this room; there is no door directly from the hallway. And to con-
tinue this analogy with a monastic cell, the ladys living room has
its own private garden, its giardino secreto in an intimate cour-
tyard whose short sides are flanked by freestanding columns, af-
fording an expansive view from the windows of her room while
still providing a sense of enclosure. 5
Mies carried over this arrangement of the garden into his own
project, flanking it with a greenhouse, and likewise attributing it
to the ladys quarters.6 He heightened its sense of intimacy by
making only one room open onto the garden. We know from rec
ords that Helene Krller-Mller had found Behrens architecture
to be lacking in intimacy. 7
One can only speculate as to why Mies design was eventu-
ally rejected. While Mies was developing his design, Hendrik Pe-
trus Berlage was also commissioned to draw up a second design.
The Krller-Mllers consulted their artistic advisor, who is repor-
ted to have said of Berlages project, that is art, and of Mies,
25
Elevation
26 Upper floor plan
that is not. However, Berlages project also never came to fru-
ition. Mies even went to Paris to solicit a critique of his own de-
sign from the art critic Julius Meier-Graefe, who wrote in praise
of the handsome asymmetrical arrangement of the complex,
declaring: Nothing is piecemeal. All the parts hang together
and are developed logically. 8
1 Paul Westheim, Mies van der Rohe Entwicklung eines Architekten, in:
Das Kunstblatt, vol. 2, 1927, p. 56.
2 Sketch of the Ground floor plan from around 1931. Published in: Barry
Bergdoll and Terence Riley (eds.), Mies in Berlin. Ludwig Mies van der Rohe.
Die Berliner Jahre 19071938, Munich 2001, p. 166.
3 Cf. Sergio Polano, Rose-shaped, Like an Open Hand. Helene Krller-
Mllers House, in: Rassegna, Dec. 1993, p. 23.
4 Fritz Hoeber, Peter Behrens, Munich 1913, p. 201.
5 Ibid., pp. 201202.
6 Cf. Mies legend House of flowers for the lady.
7 Cf. note 3.
8 The letter from Julius Meier-Graefe can be found in the MoMA Archives.
Cited in: Franz Schulze and Edward Windhorst, Mies van der Rohe A
Critical Biography, Chicago 2012, pp. 4142.
9 Mies van der Rohe in conversation with Henry Thomas Cadbury-Brown in:
Architectural Association Journal, July/Aug. 1959, p. 29.
10 Rem Koolhaas, S,M,L,XL, Rotterdam 1995, p. 63.
11 Cf. note 9, p. 28.
12 Cf. note 2.
K r ller-M ller Ho u se , Fa a de M o ck - up 27
Werner House On a site directly adjacent to the Perls House, Mies designed a
Berlin-Zehlendorf, Germany, 191213 second L-shaped building made up of a constellation of differ
ent building volumes. The building is placed at the north end of
a large site, turning its back on its neighbour to the north, while
the southern part of the site is kept free for use as a vegetable
garden. As with the earlier houses for Riehl and Perls, the faade
facing the garden is more open and monumental than the street
elevation and features a central frontal projection emphasising
the symmetry of the garden elevation. From the north, by cont-
rast, one sees only a wall that conceals the service yard and the
windows closest to the street are the kitchen windows. With this
gesture the house turns away from the street and opens onto the
private outdoor areas.
Stylistically, the stuccoed building with a large mansard roof
follows a regional building pattern reminiscent of that used by
Alfred Messel for similar buildings, as and described by Paul
Mebes in his book Um 1800.1 This stylistic direction emphasises
simplicity over the prestige of classicism. The plan of the house
bearssimilarity to that of Peter Behrens Wiegand House, espe-
cially the pergola that extends out into the garden, but its charac-
ter is less monumental: its dimensions are more modest and the
atmosphere more intimate.
The path from the street to the main entrance ascends a couple
of steps to a raised podium. All these elements the path, steps
and podium are paved with brick. From the entrance, the path
through the house does not lead in a straight line to the garden
but towards a radiator concealed by a radiator screen that sha-
res the same detailing as those in the Perls House, with alterna-
ting square-section and round-section bars that have been given
a slight entasis much like classical columns. Elsewhere, the deco-
rative details have been handled sparingly, with just the sugges-
tion of a capital on the columns of the pergola and a heavily ab
stracted eaves cornice detail.
On stepping out into the garden, one enters a further ar-
chitectonically defined space. Here the commingling of architec-
ture and the plots topography is more strongly articulated than in
Mies earlier buildings. In this L-shaped complex, the architecture
and the garden are likewise conceived as a whole. Like the Perls
House next door, the house opens onto a sunken garden area ex-
cept that here it is enclosed by a walkway, which takes the form
of a colonnaded structure. In his earlier design for the Krller-Ml-
ler House, Mies describes a similar construction as a pergola,
however these are less like open structures than roofed-over sec-
tions of the building complex.
The garden at the rear a terrace with rough-hewn stone pa-
ving is accessed, like in the Wiegand House, via three French
doors in the central, axially-arranged room, as well as from the
neighbouring dining room that opens directly onto the pergola.
Again echoing the arrangement of the Wiegand House, the gar-
den is divided into different conceptual areas: a formal, geo
metrically defined area that relates directly to the architecture,
and a landscaped garden area. The path through the architec-
ture is articulated to provide framed views and leads up two sets
of stone steps to a wooded area from which one has a view of
the entire ensemble.
Pergola
Stairs to entrance
30 Radiator screen
Garden faade Werner Ho u se 31
Warnholtz HOUSE This house on the Heerstrae, which was only attributed to Mies in
Berlin-Charlottenburg, Germany, 191415 20011, continues the formal language of the Werner House. Visi-
destroyed tors pass by the shortest possible path through the house along a
central axis. A central salon is flanked to the west by a music room
and dining room, and to the east by a library and study. The clear
proportions of the rooms are a product of their round dimensions:
the salon measures exactly 5 by 7.50 metres, the entrance 3 by 4
metres, the closed veranda to the west 4 by 5 metres and the li
brary 4 by 3 metres.2 A second transverse axis offers views per-
pendicular to the main axis, creating a maximum sense of breadth.
Mies declared admiration for Alfred Messel, and for his design
of the Oppenheim House in particular, can be seen in the detai-
ling of the faade as well as the design of the open veranda. The
house was demolished around 1960 and the garden destroyed.
1 Markus Jager, Das Haus Warnholtz von Mies van der Rohe (1914/15),
in: Zeitschrift fr Kunstgeschichte, 2002, pp. 123136. The design of the
garden has been reconstructed from historical aerial photographs. With
thanks to Markus Jager for his valuable input.
2 These dimensions are given in the building records at the Berlin
Landesarchiv.
Elevation
32 Ground floor plan
urbig House The design for this villa exploits the topography of the sloping site
Neubabelsberg, Germany, 191517 on the banks of Griebnitzsee lake in such a way that it presents
two storeys on one side and three on the other. As with the Warn-
holtz House, a succession of stairs leads from the living area via a
terrace down to the garden. A further open staircase next to the
house leads to a small seating area. The terrace is articulated as a
podium and appears to extend through the entire house, reappea-
ring on the street elevation as a large travertine step and giving the
impression that the house rests on a plinth. The travertine paving of
the terrace has since been reconstructed, as have the balustrades,
window shutters and garden fence. The access to the lower storey
has also been changed. The boathouse was demolished in 1961
when the Berlin wall was built, which passed through the garden.1
1 Further information on the history of its use and restoration, see: Winfried
Brenne, Haus Urbig, Neubabelsberg. Baugeschichte und Wiederherstellung,
in: Johannes Cramer and Dorothe Sack (eds.), Mies van der Rohe: Frhe
Bauten. Probleme der Erhaltung, Probleme der Bewertung, Petersberg 2004,
pp. 6270; as well as: Claudia Hain, Villa Urbig 19151917 Zur Geschichte
und Architektur des brgerlichen Wohnhauses fr den Bankdirektor Franz
Urbig Ein frhes Werk von Ludwig Mies van der Rohe in Potsdam-
Babelsberg, Berlin 2009, private print. This contains a print of the plan of the
boathouse signed by Mies.
Tombstone 35
Kempner House
Berlin-Charlottenburg, Germany, 192123
destroyed
Elevation
36 Ground floor plan
The building is placed in the far northeast corner of the plot. The
house consists of a series of different wings adjoining a main vol
ume. Two service wings containing the servants quarters and the
kitchens are placed to the east of a firewall and together enclose
a courtyard. The building records document that Mies skilfully ne-
gotiated the placement of the building closer to the boundary of
the plot than was actually allowed,1 arguing that this was the only
way to preserve the mature trees on the site.
The ground floor plan is a complex configuration that organi-
ses the representative needs of the owners and the functions of
the servants. The plan can be read as a diagram with a dividing
line between the serving and the served spaces. The rooms of
the man of the house were also separate from those of his spouse.
While the gentlemans room with bay and fireplace forms the north
ernmost of the succession of representative spaces, which could
be connected or divided by sliding doors, the lady of the house
resided on the first floor with access to the roof terrace. A second
roof terrace is arranged on top of the L-shaped kitchen wing.2
The approach to the house is not organised around a cen-
tral axis, but rather from the side via a somewhat inconspicuous
entrance. Visitors enter the site in the northwest corner and walk
along a long pre-existing wall towards a service wing before, after
a couple of steps, turning through 90 degrees to enter the house.
Upon entering, the visitor sees a succession of rooms extending
the entire length of the house to the garden. As with Mies later
designs for the Lange and Esters Houses in Krefeld, the build
ing transitions into the garden via a paved terrace in the terrain.
The floor plan shown before does not reflect what was actu-
ally built but an earlier design that was altered several times dur
ing construction.3 In those plans the door to the service wing is
shown directly on axis with the path that visitors take as they ap-
proach the house. They would then have walked directly towards
this ancillary door, a situation that Mies obviously saw as an er-
ror as he later replaced this door with a window into the service
wing and repositioned the service door next to the main entrance.
The linear path through the house leads from the entrance to
the veranda, which is open on one side and has a window on the
other. The placement of the glazing between two outdoor areas
is a somewhat unusual solution but one that Mies also uses in the
houses for the Riehl, Urbig, Esters and Lange families. This provi-
des a framed view of the landscape while still being able to sit out-
doors protected from the elements. The result is a sheltered space,
an intermediary zone that is at once part of the house as well as
part of the garden. Although stylistically different, the Kempner
House and the later Esters House employ the same structural se-
quence of spaces from the dining room via a half-open covered
veranda that effects a 90 degrees turn before descending via a
flight of steps into the garden.
The house has a pronounced Dutch character. The building is
made of brick laid in Dutch bond with a stepped gable over the
service wing. Even the raised pointing of the brickwork is Dutch
in origin. Mies recounts that he was heavily influenced by the
work of the Dutch architect Hendrik Petrus Berlage. This house,
with its complex asymmetric, staggered arrangement of different
building volumes with bays and tall chimneys, is in spirit closer to
Berlage than the Berlin tradition in the vein of Schinkel. The col
oured glazing in the vertical windows of the staircase and the wo-
ven patterning of the floor tiles are likewise similar in character to
Berlages architecture.
1 See the building records for Sophienstrae 57 in the Berlin State Archives:
B Rep. 207 no. 1608.
2 Immediately on entering the house, one finds a coatroom and toilet to
the left while the private rooms of the houses owner the Privy Councillor
Maximilian Kempner are on the right. The path leads straight ahead from
the entrance through a central hall and stairway to the dining room and
veranda beyond. Adjoining the dining room is the living room, which opens
on to the terrace, as well as a serving area that can be reached directly
from the kitchen. A second service wing with its own living quarters and
kitchen for the servants is reached via a separate entrance. A stair leads up
to the sleeping quarters. The bedrooms of the owner and his wife Franziska
Kempner and their son as well as the ladys living quarters are arranged
on the first floor.
3 The floor plan is published in: Fritz Neumeyer, The Artless Word Mies
van der Rohe on the Building Art, Cambridge, Mass. 1991, p. 85. The most
comprehensive study of this house can be found in: Andreas Marx and Paul
Weber, Konventioneller Kontext der Moderne Mies van der Rohes Haus
Kempner 192123 Ausgangspunkt einer Neubewertung des Hochhauses
Friedrichstrae, in: Berlin in Geschichte und Gegenwart Jahrbuch des
Landesarchivs Berlin, Berlin 2003, pp. 65107. The floor plans published
here also do not correspond to what was actually built.
4 Cf. Andreas Marx and Paul Weber, Konventionelle Kontinuitt Mies
van der Rohes Baumanahmen an Haus Urban 192426. Anlass zu einer
Neuinterpretation seines konventionellen Werkes der 1920er Jahre, in:
Johannes Cramer and Dorothe Sack (eds.), Mies van der Rohe: Frhe
Bauten Probleme der Erhaltung, Probleme der Bewertung, Petersberg
2004, pp. 163178.
5 Ludwig Mies van der Rohe Inaugural address, in: Fritz Neumeyer, The
Artless Word Mies van der Rohe on the Building Art, Cambridge, Mass.
1991, p. 317.
kempner house 39
Eichstaedt House A series of different spaces adjoin the almost square-plan house
Berlin-Nikolassee, Germany, 192123 and serve as a transition between indoors and outdoors, or make
it possible to experience the world outdoors from within: a round
bay separated from the interior by a step, a banked terrace with
adjacent veranda and a projecting entrance vestibule. In the pre-
liminary design, this projection was not present but its later addi-
tion made it possible to make the entrance area more spacious.
This entrance leads via a hallway to the stairs, the living room and
the dining room, separated off by a curtain, while the pathway
through the building always leads towards the light. Two glazed
doors and a strip of windows illuminate the dining room. The kit-
chen and pantry lie in the northwest part of the house. Although
the site does not directly adjoin the lake, 150 metres away, it opens
onto woodland to the south. The house has experienced succes-
sive alterations: an extension was added to the west, the veranda
closed off and the front porch extended.1
1 The building records are available from the Bau- und Wohnungs
aufsichtsamt Charlottenburg-Wilmersdorf (Building Control and Housing
Department).
Elevation
First floor plan
Ground floor plan 41
Ryder House The plan of the house is very similar to that of the Riehl House. In
Wiesbaden, Germany, 192327 contrast to the earlier house, however, the staircase is not placed
out of sight. Instead visitors walk directly towards it on entering
the house. On the upper floor, diagonal sight lines afford a view of
the large windows which turn the corner of the building. Schne
Aussicht (pleasant vista) is not only the name of the street one
of the most prestigious in Wiesbaden but also the theme of
the architecture. A glazed conservatory on one side of the house
with a large terrace on its flat roof made the most of its dramatic
situation overlooking the city. The house has since been changed
beyond recognition. The faades have been remodelled and a
hipped roof was added in the 1980s. Today, only isolated elements
of the original architecture still exist.1
1 This project was undertaken jointly with Gerhard Severain. The history
of the house is described in: Dietrich Neumann, Das Haus Ryder in
Wiesbaden (1923) und die Zusammenarbeit zwischen Ludwig Mies van der
Rohe und Gerhard Severain, in: Architectura, vol. 36, 2006, pp. 199222.
Elevation
First floor plan
42 Ground floor plan Balcony
Gymnasium for Frau Buttes Private School The gymnasium is an addition to an existing school building. The
Potsdam, Germany, 192425 building is entered via a projecting porch that houses a couple
of steps leading down into the gymnasium.1 The floor plan has
a clear structure. The room is illuminated by a series of tall win-
dows. Cornices lend the exterior an austere and classical impres-
sion. Although reminiscent of historical architecture, the construc-
tion is entirely modern. As with the industrial buildings by Peter
Behrens, a monumental faade design encloses an open interior
covered by a delicate steel roof construction.
The building has undergone significant alterations. Two storeys
were added and a new level introduced within the interior. The cor-
nices of the faade were removed and replaced with a scraped ren-
der. Only the windows have been reconstructed as they once were.
1 The ground floor plan of the building as originally built (dated 28 Aug.
1925) is available from the Conservation Department in Potsdam building
record SvPAD, Acta specialia Helene-Lange-Strae 14.
Elevation
Floor plan
Detail of the faade 43
Mosler House
Neubabelsberg, Germany, 192426
Street faade
View from the garden
View over the lake 45
Detail of the stairs
46 Dressing room
Ceiling detail
Entrance hall Mosler house 47
precise detailing of these cladding layers can be seen in the in- with which Mies resolved the problem that the distance between
dented brickwork corner detail of the shafts of the loggia columns the door handle and the frame is typically different on either side
and the cross-jointed mirrored arrangement of the Caucasian wal- of the door. Around the same time, Ludwig Wittgenstein develo-
nut veneer in the square ceiling coffers. ped his famous bent door handle to resolve precisely this design
problem. Mies invested great effort in realising a complex techni-
Later alterations to the building cal solution that remained entirely hidden from view.
Georg Mosler, a Jewish banker, emigrated with his family at the
end of the 1930s after the Nazis expropriated his house and pos- 1 The dimensions of exactly 6 by 9 metres are given in the planning
application documents submitted on 23 July 1924. See the planning
sessions. The German Red Cross then used the house as an ad-
documents held at the Conservation Department of the Potsdam Building
ministrative building. After the war, the building lay in the restric- Authority.
ted zone of the border strip between the two German states, and 2 This is the term used to describe the house in the working drawings.
was used by the GDR as a childrens clinic and home for disabled 3 In this masonry bond, the header and stretcher alternate. It is also
children. The walls, wooden panelling and open fireplace were know as Gothic or Polish bond, and in Holland it is called Flemish bond.
Mies, however, termed this Dutch bond, writing: The plinth of the fence
lost, the bathrooms were converted and PVC flooring was applied
is executed using Dutch facing bricks laid in Dutch bond pattern to
over the parquet. In 2000, a building developer used the house correspond with the house. (see the planning documents).
as its headquarters for the duration of just a few months and re- 4 The alterations are documented in detail in: Johannes Cramer and
moved many of the remaining original finishes. Tiling, linoleum Dorothe Sack (eds.), Mies van der Rohe: Frhe Bauten Probleme der
and parquet flooring was removed as well as the historical lift,4 Erhaltung, Probleme der Bewertung, Petersberg 2004, pp. 7986.
5 Werner Blaser, Mies van der Rohe, Zurich 1991, p. 18.
and doors, door frames and skirting boards were shortened to ac-
6 Mies van der Rohe, lecture manuscript from 19 June 1924, in: Fritz
commodate new carpeting. Thereafter the building remained un- Neumeyer, The Artless Word Mies van der Rohe on the Building Art,
used for several years. The house has since been renovated com- Cambridge, Mass., 1991, p. 250.
prehensively and a new entrance added to the side of the house. 7 Cf. Franz Schulze, Mies van der Rohe A Critical Biography, Chicago,
London 1985, p. 121.
The building now serves once again as a home.
8 Ludwig Mies van der Rohe, Building Art and the Will of the Epoch!
(1924), in: Fritz Neumeyer: The Artless Word Mies van der Rohe on the
The building as seen from the present Building Art, Cambridge, Mass., 1991, p. 246.
There are no corridors5 remarked Werner Blaser in a descrip-
tion of the key characteristics of Mies unrealised design for a Brick
Country House from 1924. Mies had published two drawings of this
project to demonstrate an architectonic principle: The wall loses
its enclosing character and serves only to articulate the house or-
ganism.6 At the time Mies wrote this, he was working on the de-
sign of the Mosler House. Although the concept here is different,
the layout of the rooms is such that there are indeed no corridors.
A theme of the unbuilt project for a Brick Country House is the
connection between the interior and exterior. Although the Mos-
ler House is not as dynamic in its layout and the walls have an en-
closing character, the quality of the living areas is strongly infor-
med by the connection between the interior and exterior. The
rooms are linked with the exterior via four large, differently orien-
ted and partially covered terraces that offer different kinds of out-
door experiences depending on the time of day or the prevailing
weather conditions.
The fact that Mies later placed greater emphasis on his vision
ary but unbuilt designs for the Brick and Concrete Country Hou-
ses in the publication of his oeuvre than on his built work from
the same period contributed to the Mosler House being regarded
as anachronistic.7 In 1924, as Mies began with the plans, he re-
marked that, My receptiveness to the beauty of handwork does
not prevent me from recognizing that handicrafts as a form of eco-
nomic production are lost. [] We cannot save them any more.8
Although his prognosis is expressed dispassionately and without
the slightest hint of nostalgia, the Mosler House appears in retro-
spect to champion the very opposite. Today we know that Mies
prognosed decline in the quality of craftsmanship was correct, and
in this respect the house represents a landmark in Mies work for
the quality of its execution.
Despite the fact that the house demonstrates Mies declared
principle of maximising the spatial impression of the plan, from
outside it looks plain and even austere, causing the building com-
mission to take it for a military barracks. However, its sizeable di-
mensions and the exceptionally high quality of its fittings can also
evoke associations with a castle or manor. Mies invested a large
part of the financial resources in the materials and detailing.
The seemingly insignificant detail of the door fittings with
handles at two different positions necessitated a complex inter-
nal locking mechanism and was an elaborate custom-made fitting
48 M o sler h o u se
Urban House, Conversion In this conversion of an existing house, Mies converted the conser-
Berlin-Charlottenburg, Germany, 192426 vatory into a room for the lady of the house. In addition to insert
ing new sliding doors, he created a glazed bay window, which has
since been destroyed. A residence for the chauffeur was also built
on top of the garage. These conversions were made in the spirit of
the original building rather than contrasting with it. While his de-
sign for the new windows emulated the other windows down to the
last detail, the detailing of the new sliding doors lends them a char
acter of their own. In the most recent renovation in 2010, further
original details were lost. The timber windows of the chauffeurs
residence were replaced with plastic windows.1
1 For further information on the history of the building see: Andreas Marx
and Paul Weber, Konventionelle Kontinuitt Mies van der Rohes Bauma
nahmen an Haus Urban 192426. Anlass zu einer Neueinschtzung seines
konventionellen Werkes, in: Johannes Cramer and Dorothe Sack (eds.),
Mies van der Rohe: Frhe Bauten. Probleme der Erhaltung, Probleme der
Bewertung, Petersberg 2004, pp. 163178.
Site plan
50 End buildings
Terraced housing
End building 51
Ground floor plan
52 Elevation of an end building
Faade of the terraced housing Housing on the Afrikanische Strasse 53
French windows in the living and dining area
54 Balcony
diagram that reflects the internal arrangement of the house and produced on a phonograph record, Mies in Berlin, Bauwellt, Berlin 1966.
refrains entirely from individual variation or expressive gestures. 7 Franz Schulze and Edward Windhorst, Mies van der Rohe A Critical
Biography New and Revised Edition, Chicago, London 2012, p. 83.
The precision of the proportioning was described by Sergius
8 Ludwig Mies van der Rohe in: Moiss Puente (ed.), Conversations with
Ruegenberg, a member of Mies staff: From the very beginning Mies van der Rohe, Barcelona 2006, p. 20 (in: Interbuild, June 1959).
as I started making drawings for him for a block of housing on the
Afrikanische Strae, he was interested in every detail. This house
was to be built with very conventional materials []. We had brick,
we had timber windows and ceiling joists, which are as old as can
be. The only truly new aspect was the flat roof. And that inter
ested him so much that he sat down next to me and worked with
me sketching out details of the timbers. It was the same with the
proportions of the windows in the wall surfaces. That was really
all we had to play with: making the fronts of these large hous-
ing blocks as beautiful as possible by proportioning the windows
and wall surfaces. I laid sheet after sheet of tracing paper over
one another and then we shifted the lines micrometre for micro-
metre, made them wider apart, then smaller and compared them
with one another.4
1 Peter Blake describing the Perls House in: The Master Builders: Le
Corbusier, Mies van der Rohe, Frank Lloyd Wright, New York 1960, p. 176.
2 Fritz Neumeyer, Schinkel im Zeilenbau Mies van der Rohes Siedlung
an der Afrikanischen Strae in Berlin-Wedding, in: Andreas Beyer, Vittorio
Lampugnani and Gunter Schweikhart (eds.), Hlle und Flle Festschrift fr
Tilmann Buddensieg, Alfter 1993, p. 420.
3 Mies used this cross bond a second time for the Verseidag Factory in
Krefeld.
4 Sergius Ruegenberg in conversation with Gnther Khne on 28 Feb. 1986,
in: Bauwelt, vol. 11, 1986, pp. 348349.
5 Philip Johnson, Mies van der Rohe, New York 1947, p. 35.
6 Ludwig Mies van der Rohe in conversation with Ulrich Conrads in 1964,
1 Leo Schmidt (ed.), The Wolf House Project. Traces, Spuren, Slady,
Cottbus 2001.
1 Mies in a letter to Donald Drew Egbert, in: idem., Social Radicalism and
the Arts Western Europe, New York 1970, pp. 661662.
2 Mies Haus Magazin. Periodikum zur Kultur der Moderne 2, 2006, p. 40.
Elevation
Top view 57
Weissenhofsiedlung Apartment Block Mies was commissioned with the design of a demonstration
Stuttgart, Germany, 192627 housing colony in his position as vice-chairman of the Deutscher
Werkbund. The houses designed by different architects including
their fully-furnished interiors were part of an exhibition open to
the public. In addition to developing the urban concept for the
colony, Mies also designed the largest of the buildings including
two apartments and their furnishings. He was even able to decide
which architects were to design the houses and invited leading
representatives of the modern movement1 who would transport
the model character of the colony.
It was something like a mediaeval town, 2 remarked Mies
and presented a massing model that in its original version re-
sembled less a master plan than a structural principle which,
like the monument for Karl Liebknecht and Rosa Luxemburg,
was defined by a free arrangement of projecting and receding
cubist forms. Mies designed a sculptural constellation of build-
ing volumes that followed the contours of the site, resulting in
a terraced complex that rode the arc of the hillside, the back-
bone of which was his own housing block. This was a long row
of buildings with a nearly north-south orientation. The build-
ing was placed on a plinth that was articulated like a step in
the topography and served as a terrace for the apartments. The
roof was also used as a terrace. Peter Behrens, who also con-
tributed to the project, examined the same theme in his ter-
raced rental house.
Even without imposing rules on the participants, it proved pos-
sible to achieve a degree of uniformity. Mies explains: I have re-
frained from laying down a rigid program in order to leave each
individual as free as possible to carry out his ideas. In drawing up
the general plan I felt it important to avoid regulations that might
interfere with free expression.3 Nevertheless he did ask each of
the architects to embrace one principle: Paint it white.4
As with his earlier freestanding buildings, Mies gave his apart-
ment building a public frontage to the street and a private
faade facing the garden. While the entrance side presents a
closed and austere face, the rearward side opens onto the land-
scape. Positioned on top of a hill, the central apartment building
of the Weienhofsiedlung offers a panoramic view over the land-
scape as if from a high-rise tower. The building responds to the
context that Mies himself had developed and at the same time
presents itself to the road like the Afrikanische Strae housing
scheme in Berlin before it as an ideal stereometric building
volume. Here too the windows are placed almost flush with the
outer face of the building so that the wall, lacking the modula-
tion provided by window jambs, appears to span the frontage
like a membrane rather than as a massive wall. This emphasises
the volumetric quality of the architecture, which together with
the surrounding buildings and the topography is perceived as
a coherent entity.
This impression of the stylistic consistency of the colony caused
Philip Johnson to later coin the word International Style. Its pri-
mary characteristic, he notes, is the regularity of the skeleton
structure as an ordering force in place of axial symmetry.5 In the
case of Mies apartment building, this does not apply. While it
does have a skeleton frame structure, the spacing of the axes is
irregular: the structural system has a rhythmic arrangement and
the faade is arranged symmetrically. The rows of windows recall
the industrial character of ribbon windows, but closer inspection
reveals that these are subdivided rhythmically at intervals, albeit
discreetly. The classical articulation of the corners of the build
ing is only apparent in the setback top floor on the roof. The load
bearing structure remains concealed.
The building is a steel construction with masonry wall in-
fill. The skeleton frame makes it possible to arrange the floor
plans more flexibly, which are designed by different architects.
In his own apartment design, Mies demonstrates a system of
East faade
Staircase window
60 Stair balustrade
Without maintenance and renovation, the building would today
be a ruin. It was, however, built quite consciously as a prototype,
and it would be wrong to declare the building a typical example
of functionalist architecture for the most basic needs of living. It
differs from most of the radically modern buildings of the time, in
which being avant-garde conditioned breaking with the tradition
of building. The architectural quality of Mies apartment building
is the product of his twenty years of experience of erecting good
buildings in almost any situation good in terms of their use of
materials, solid construction and the perfection of details.
1 Ludwig Mies van der Rohe in: Deutscher Werkbund (ed.), Bau und
Wohnung, Stuttgart 1927.
2 Ludwig Mies van der Rohe in conversation with Henry Thomas Cadbury-
Brown in: Architectural Association Journal, July/Aug. 1959, p. 31.
3 Cf. note 1.
4 Cf. note 2.
5 Philip Johnson, Mies van der Rohe, New York 1947, p. 43.
6 Ludwig Mies van der Rohe in a letter to Erna Meyer from 6 Jan. 1927, in:
Karin Kirsch, The Weienhofsiedlung, New York 1989, pp. 4748.
7 Ludwig Mies van der Rohe in: Frhlicht, no. 4, 1922, p. 124. English trans-
lation in: Fritz Neumeyer, The Artless Word Mies van der Rohe on the
Building Art, Cambridge, Mass. 1991, p. 240.
8 Cf. Hermann Ngele, Die Restaurierung der Weienhofsiedlung 198187,
Stuttgart 1992.
1 In the exhibition catalogue, the room is called the living room. See also
Karin Kirsch, Die Weienhofsiedlung, Stuttgart 1987, p. 36.
62 Floor plan
Samt und Seide Caf (Velvet and Silk Caf) Together with Lilly Reich, Mies created a temporary installation for
Berlin, Germany, temporary installation for an exhibition 1927 the fashion exhibition Die Mode der Dame (Womens Fashion)
destroyed at the Funkturm in Berlin. At one end of a long hall, coloured fab-
ric was draped over bent tubular metal rods: black, orange and
red velvet; gold, silver, black and lemon-yellow silk.1 As with the
Glass Room, the installation demonstrated a spatial principle that
would come to be known as flowing space in which the different
spatial areas are linked to one another at their corners. In contrast
to the orthogonality of the Glass Room, the character of the fabric
is additionally emphasised by the use of curved forms.
The reconstructed floor plan, which is reminiscent of an
abstract De-Stijl composition, shows the structure of the draped
walls between which Mies chairs and table stood. The sumptious
quality of the fabric is heightened by the light colour of the
linoleum floor.
1 Philip Johnson, Mies van der Rohe, New York 1947, p. 50. A detailed
description of this project, which was later also erected in Holland, can be
found in: Christiane Lange, Ludwig Mies van der Rohe Architektur fr die
Seidenindustrie, Berlin 2011, p. 7182.
Floor plan 63
Fuchs Gallery, Addition to the Perls House This building is an extension to the Perls House. The scholar and
Berlin-Zehlendorf, Germany, 192728 art collector Eduard Fuchs had since acquired Mies second house
and required additional space to house his collection. The first
room of the extension is an L-shaped library reached via the mu-
sic room of the house, with two exhibition spaces beyond, one of
which echoes the study in the main house.1 The row of five French
windows, complete with its cornice designed in 191112, has also
been mirrored in the extension.
In the ground plan, I have abandoned the usual concept of en-
closed rooms and striven for a series of spatial effects rather than
a row of individual rooms.2 Although Mies was referring here to
his unbuilt project for a brick country house, his words also aptly
describe the character of the Fuchs Gallery. As in the Glass Room
in Stuttgart, the visitor is led along an S-shaped path through the
spaces, which flow into one another. Despite the conceptual con-
trast to the earlier Perls House, the new building also faces onto
the existing garden. The central gallery space opens directly onto
the sunken garden courtyard that Mies had already used to esta-
blish a connection between indoors and outdoors. The continu-
ity of the formal language of the architecture, as seen in the uni-
form appearance of both faades, reinforces the spatial definition
created by the building. By using two similar faades to define a
space either opposite one another, such as in the Afrikanische
Strae housing project, or in an L-shaped constellation as here
the outdoor space becomes part of the architecture.
The addition has an accessible flat roof upon which a further
building element is placed at right angles. The roof terrace and
the pavilion can only be reached via the main house. The pavilion
is connected to the house by a horizontal plane that arches very
slightly to create the visual impression of a perfectly horizontal
line.3 From the roof terrace one can look over the garden as well
as over the L-shaped complex of the Werner House next door,
where the gesture of a wing extending into the landscape reoccurs.
1 The original floor plan of the executed design, dated 10 May 1928, is
available in the building records for the Hermannstrae 1416 in the
Bau- und Wohnungsaufsichtsamt Zehlendorf (Building Control and Housing
Department). Very few photos remain of the original building.
2 Mies van der Rohe in a manuscript from 19 June 1924, in: Fritz Neumeyer,
The Artless Word Mies van der Rohe on the Building Art, Cambridge,
Mass., 1991, p. 250. Mies was describing his unbuilt design for a brick
country house.
3 Jrn Kppler, Natur und Poetik in Mies van der Rohes Berliner Werken,
in: Christophe Girot (ed.), Mies als Grtner, Zurich 2011, p. 33.
4 Dietrich von Beulwitz, who renovated the building, assembled a
collection of all the available documents he could find (to date still in his
ownership) that record the original condition of the building. For further
information on the renovation, see: Dietrich von Beulwitz, The Perls House
by Ludwig Mies van der Rohe, Architectural Design, vol. 1112, 1983.
5 Ludwig Mies van der Rohe in: Moiss Puente (ed.), Conversations with
Mies van der Rohe, Barcelona 2006, p. 20 (in: Interbuild, June 1959).
1 The principle of using windows between two outdoor areas can also be
seen in Mies earlier Riehl, Urbig and Kempner Houses.
2 While the working drawings set out the precise position of every facing
brick, the loadbearing walls were executed in cross bond. Cf. Kent Klein-
mann and Leslie Van Duzer, Mies van der Rohe The Krefeld Villas, New
York 2005, p. 69.
3 Philip Johnson, Mies van der Rohe, New York 1947, p. 35.
4 Ludwig Mies van der Rohe, Building (1923), in: Fritz Neumeyer, The
Artless Word Mies van der Rohe on the Building Art, Cambridge, Mass.
1991,
p. 243.
5 For further information on the restoration of the house, see: Klaus Rey-
mann and Patrick Hoefer, Eine behutsame Erneuerung Restaurierung von
Haus Lange und Haus Esters, in: Das Architekten-Magazin, vol. 1, 2001,
pp. 2833.
Floor plan
76 View looking south
Sculpture by Georg Kolbe
View from outside 77
78 Interior areas
Outdoor areas barcelona pavilion 79
The roof is borne by eight evenly spaced columns that are po- of the marble is reflected about a horizontal line at half-height.
sitioned to one side of the walls. Together with the roof slab, the In the original wall there was also a horizontal joint Mies descri-
columns form a structural unit that represents a separate architec- bed the space as being twice the height of the onyx block but
tonic element independent of the non-loadbearing partitioning the stone patterning was not originally reflected.
walls. Different means of expression are used to emphasise the
contrast between the two elements: while the symmetrical regular The building as seen from the present
ity and static repose of the columns and roof emphasises its struc- Although specific details of the reconstructed building differ from
tural clarity, the walls create a labyrinthine constellation of spaces the original, it still provides us with an insight into Mies architec-
that lead the visitor in a circulatory passage through the pavilion. ture. Robin Evans discovered in his own slides of the building the
And while the columns are made to recede by giving them a re- phenomenon of a horizontal mirrored axis a product of the mod
flective surface treatment that blends their materiality into their ern version of the onyx wall that he argues makes it hard to tell
surroundings, the walls are clad with extremely sumptuous mate- apart what is up and what is down: Notice the difficulty of dis-
rials that assert themselves and define the character of the space tinguishing the travertine floor, which reflects the light, from the
around them. plaster ceiling, which receives it. If the floor and the ceiling had
The industrial-looking columns have neither base nor capital been of the same material, the difference in brightness would have
and span between the floor and roof slab, while the roof slab ap- been greater. Here, Mies used material asymmetry to create op-
pears to rest like a homogenous plane on the walls. The entire tical symmetry, rebounding the natural light in order to make the
building is, however, a steel construction that is clad with differ ceiling more sky-like and the ambiance more expansive.12 This
ent materials. Even the roof which was erroneously described as phenomenon he has described as a paradoxical symmetry, al
being a monolithic white slab9 in an early article on the pavil though we now know that at the time the photos of the pavilion
ion is a hollow steel construction. During construction, a further were retouched to emphasise this effect.
sheet of metal was riveted in place at one corner near the entrance The built context in which the building stands has since been
in order to achieve the necessary cantilever, reported Ruegen- altered. Originally a row of classical columns stood in front of the
berg. Mies did not like that at all, but in the end the whole steel building through which a path and stairs led up to the Spanish
construction of the roof was rendered giving it the impression village, a part of the original exposition that still exists today. Vis
of a slab (of concrete for example) with a thickness of 24cm.10 itors passed through this building and past the plateau. The Barce-
That the roof plane is articulated as a flat surface without sup- lona Pavilion is more than just a building; it is a complex in which
porting beams is a direct consequence of the principle of the free the interior fuses with the architectural landscape of its surround-
plan. Le Corbusier had previously illustrated this same principle ings to form a single entity.
in his concept of the plan libre executed in concrete, where two
horizontal slabs sandwich a space between them. Colin Rowe de- 1 Ludwig Mies van der Rohe in conversation with Henry Thomas Cadbury-
Brown in: Architectural Association Journal, July/Aug. 1959, pp. 2728.
scribes the reasoning behind this: In fact, the appearance of
2 Justus Bier, Mies van der Rohes Reichspavillon in Barcelona, in: Die
beams could only tend to prescribe fixed positions for the parti- Form, 15 Aug. 1929, p. 423.
tions; and, since these fixed positions would be in line with the 3 Ludwig Mies van der Rohe in a manuscript dated 19 June 1924, in: Fritz
columns, it was therefore essential, if the independence of col Neumeyer, The Artless Word Mies van der Rohe on the Building Art,
umns and partitions was to be asserted with any eloquence, that Cambridge, Mass. 1991, p. 250. Mies was referring to his unbuilt design for
a Brick Country House.
the underside of the slab should be expressed as an uninterrup-
4 Cf. note 2.
ted horizontal surface.11 5 Cited by Sergius Ruegenberg in a manuscript, Mies van der Rohe Archive,
While the classical structure of columns always sees column, MoMA in New York.
capital and architrave as a single tectonic unit, in the case of the 6 Ludwig Mies van der Rohe in conversation with Ulrich Conrads in 1964,
pavilion, the beam is concealed within the ceiling. Nevertheless produced on a phonograph record, Mies in Berlin, Bauwelt,
Berlin 1966.
the cruciform columns are not entirely devoid of classical qual
7 Ludwig Mies van der Rohe in an interview on 13 Feb. 1952, in: Master
ities: the indented vertical profiling recalls the fluting of columns Builder, no. 3, 1952, p. 28.
from antiquity. The columns in Barcelona are made out of a com- 8 Sergius Ruegenberg in a manuscript in: Eva-Maria Amberger, Sergius
plex assembly of standard profiles. Four rounded-edged angle Ruegenberg Architekt zwischen Mies van der Rohe und Hans Scharoun,
Berlin 2000, p. 78 (translation JR).
profiles of even dimensions are welded together with four T-pro-
9 Cf. note 2.
files with symmetrically trimmed crossbars to form the shape of
10 Cf. note 8, p. 81.
a cross. An encasing mantle of chrome-plated sheet metal defi- 11 Colin Rowe, Neo-Classicism and Modern Architecture II (written
nes the final form of the column but does not reveal how the pro- 195657, first published in 1973), in: The Mathematics of the Ideal Villa and
files were put together. This mantle can be thought of as a skin, Other Essays, Cambridge, Mass. 1987, p.143.
12 Robin Evans, Mies van der Rohes Paradoxical Symmetries, in: AA
and Mies did indeed term skeleton frame buildings as skin and
Files, no. 19, 1990, pp.6364.
bones architecture.
80 barcelona pavilion
German Electrical Industry Pavilion Although the second of the pavilions that Mies designed for the
World Exposition, Barcelona, Spain, 1929 World Exposition in Barcelona appears to be an antithesis of his
destroyed more famous Barcelona Pavilion, there are conceptual similarities. 1
Here the supporting construction is also separated from the wall,
and here too eight columns arranged in two parallel rows support
the roof. The use of I-beams as pilasters appears here for the first
time in Mies oeuvre and presents a structural system that spans
20 metres.2 This pavilion also employs visual means to create the
illusion of an expansive interior. From outside, the pavilion is as it
seems: a white cube. The interior walls, however, were papered
with photographic panels that were assembled to form vast pan
oramas, creating the illusion of an expanse of space. Although the
interior design was not from Mies own hand, he was obsessed
with the idea of photographic wallpaper and even applied for a
patent. He wrote, Through this invention, it becomes possible
to manufacture wallpapers that create an entirely new effect, es-
pecially with regard to the impression of depth. [] A particu-
lar advantage of the approach described in this invention is that
wallpaper designs will no longer need to be made but can be re-
produced from nature in the form of photographs that are then
used to make wallpaper.3
The square floor plan that Mies had previously avoided can be
attributed to the need for four interior wall elevations of equal im-
portance. Although the ceiling spanned in one direction, this was
not visible due to the insertion of a suspended ceiling at a height
of about 10 metres. The design went to great lengths to commu-
nicate the impression of simplicity, concealing the rainwater gut-
ters by incorporating them into the white rendered brick walls.
Elevation
Floor plan 81
Tugendhat House Situated on a steeply sloping site, the house all but turns its back
Brno, Czech Republic, 192830 on the public street. It is so uncompromisingly oriented towards
the garden that the entrance elevation offers no views into the
house. Even the front door is tucked away out of sight. A single
inviting gesture is, however, made from the entrance in the form
of a framed panoramic view over the roofs of the city to the castle
on the horizon. It serves as an open belvedere. From the street,
the building appears to consist of several distinct and clearly dif-
ferentiated elements: an artificial plateau, a roof slab held up by a
column, a non-loadbearing milk-glass wall that spans membrane-
like from floor to ceiling, and a monumental chimney.1
From the entrance hall, a staircase leads down to the living
area. At the foot of the stairs, the path appears to lead directly to-
wards a table in the library, presumably the owners desk, before
opening out onto an expansive living area. This central space can
be transformed into an open terrace through the ability to lower
sections of the glass walls into the floor. The room is a Gesamt-
kunstwerk: the house, its furniture and fittings are conceived as a
whole. Mies not only designed a number of items of furniture for
the house, including the Brno Chair and Brno Armchair, but also
specified where they should stand. Even the round dining table
is anchored to the floor.
The atmosphere is dominated by a radical sense of open space
that extends out into the landscape as well as by the colours of
the precious materials: Living room wall: tawny gold and white
onyx. Dining room wall: striped black and pale brown Macassar
ebony. Curtains: black and beige raw silk, white velvet. Rug: natural
wool. Floor: white linoleum. Chairs: white vellum, natural pigskin
and pale green cowhide upholstery.2 The colours of the textile
furnishings and furniture can be attributed to Mies partner Lilly
Reich. Alongside the green Barcelona Chairs stands a red recliner.
In contrast to this polychromatic use of colour, however, the build
ing itself expresses colour only through the materials used. Des-
pite Mies professed love of natural materials,3 this did not mean
that these were employed only in untreated form. In his later work,
for example, Mies would employ aluminium in anodized form so
that it acquired a bronze colour; in the Villa Tugendhat, the inter
ior columns of the steel supporting structure are elaborately en-
cased in a chrome mantle and the outdoor columns given an arti-
ficial patina to bring out the high copper content of the brass so
that it looks like bronze. In the ancillary spaces and lower floor, by
contrast, the construction is not clad.
In Brno, Mies transferred the concept of the open plan he had
used for the Barcelona Pavilion to a residential context, applying
it, however, not to the whole house but just to the lower floor with
the representative living areas. The upper storey with the bed
rooms contains a series of traditional enclosed rooms.4 The skel-
etal frame construction made it possible to employ both traditio-
nal as well as modern spatial concepts. Although the two concepts
are opposing, the contrast between the two is not apparent as the
architecture consistently reconciles the two. The cruciform columns
are likewise a synthesis of the traditional and modern, their cur-
ved mantle creating a vertical delineation reminiscent of the flut
ing of classical pillars. At the same time the reflective chrome sur-
face has a dematerialising effect. Kenneth Frampton has remarked
on the tectonic implication of this solution:
Like Le Corbusiers piloti in his purist plan libre, this col
umn has neither base nor capital. Both column types are, in fact,
abstractions of the idea of support, since, due to the fact that no
beams are expressed in either instance, a somewhat insubstant
ial act of bearing is conveyed by the form. In both instances the
ceiling is treated as a flat, continuous plane. Here we see how mo-
dern, beamless construction favours the suppression of the frame;
that is to say, it eliminates the very trabeation.5
Even though Mies never described it as such, the spatial con
stellation creates a Promenade architecturale that leads the visitor
Entrance
Interior of the entrance area
84 Reconstructed bathroom
Living room
Conservatory Tugendhat house 85
retractable glass wall, whose only function was to advertise the
spatial qualities of the architecture.
86 Living areas
Terrace overlooking the garden tugendhat house 87
Henke House, Addition Although the plan shows an L-shaped space and the section sug-
Essen, Germany, 1930 gests a two-storey extension, Mies addition was a single storey
destroyed rear extension to an existing building from 1911.1 The L-shape re-
sults from the connection between the extension and the existing
room and the second storey is a lower storey into which the vast
glass wall can be sunk. Mies addition extends the house into the
garden and employs a floor paving made of Roman travertine that
covers the entire terrace so that indoors and outdoors become a
single space when the window is sunk into the floor. The addition
was destroyed during the war.
1 The building records for the Virchowstrae 124058 at Institute for the
Protection and Conservation of Monuments in Essen document just the
original building.
Elevation
88 Ground floor plan
Verseidag Factory
Krefeld, Germany, 193031
extended in 1935
South frontage
North faade
90 Escape stair balustrade
Warehouse
Window detail verseidag factory 91
Shed roof
92 Staircase
Later alterations to the building der Rohe Architektur fr die Seidenindustrie (Architecture for the Silk-
The later addition of further storeys to the warehouse was achie- Weaving Industry), Berlin 2011, p. 154.
2 Cf. Philip Johnson, Mies van der Rohe, New York 1947, p. 199.
ved using steel beams that span the entire almost 20-metre depth
3 Cited in Christiane Lange, Ludwig Mies van der Rohe Architektur fr die
of the building, allowing a column-free space to be created in the Seidenindustrie (Architecture for the Silk-Weaving Industry), Berlin 2011,
top storey. Later insertions have, however, obstructed a clear view p. 154.
through this space. The glazing has been replaced in all but five 4 Ludwig Mies van der Rohe wrote this in 1940. Published in: Philip
Johnson, Mies van der Rohe, New York 1947, p. 195.
of the windows on the ground floor and the new window profiles
5 Notebook entry from 1928, cited in: Fritz Neumeyer, The Artless Word
are noticeably thicker than before. Solar blinds have also been ad-
Mies van der Rohe on the Building Art, Cambridge, Mass. 1991, p. 275.
ded that change the proportions of the windows. In the main stair- 6 Alison and Peter Smithson, Mies van der Rohe in: Oswald Mathias Ungers
case the sill height has been raised and the glazing replaced with (ed.), Verffentlichungen zur Architektur, vol. 20, TU Berlin 1968, p. 9.
tinted glass. The factory remained in use until recently. 7 Ibid., p. 11.
8 Colin Rowe, Neo-Classicism and Modern Architecture II (written in
195657, first published in 1973), in: The Mathematics of the Ideal Villa,
The building as seen from the present and Other Essays, Cambridge, Mass. 1987, pp. 144145.
For the architects Alison and Peter Smithson, the factory building
represents a new concept of defining space that would later re-
appear in much of Mies later work: This open-space-structured
urban pattern first became real in his work in the grouping of the
out-riding pavilion buildings at the Krefeld factory in which are dis-
played all the formal characteristics in the buildings, in the lay-
out, and in the planting (weeping willows, smooth lawns) that
we are so familiar with from the IIT campus. In some way it was all
already there at Krefeld.6 Looking back, they trace a path from
the spatial concept of the factory to the Lafayette Park project,
which in 1968 they wrote was certainly the most civilized dwell
ing-quarter of this century so far.7
Even though this deduction may seem a little exaggerated to-
day, other aspects of the factory can in retrospect be regarded as
pioneering. Not only the staircase with its formally reduced ba-
lustrade and the exposed wide-flange I-beam, but also the H-
shaped columns can be seen as a precursor to the architecture of
the Illinois Institute of Technology projects. This shift in the tecto-
nic system of the column was analysed by Colin Rowe, who by ex-
amining different column concepts traces the fundamental deve-
lopment of Mies architectural system. Although the following was
written about the American projects, his analysis applies equally
to the Verseidag factory:
Mies characteristic German column was circular or cruciform;
but his new column became H-shaped, became that I-beam which
is now almost a personal signature. Typically, his German column
had been clearly distinguished from walls and windows, isolated
from them in space; and typically, his new column became an ele-
ment integral with the envelope of the building where it came to
function as a kind of mullion or residue of wall. Thus the column
section was not without some drastic effects on the entire space
of the building.
The circular or cruciform section had tended to push partitions
away from the column. The new tectonic tended to drag them to-
wards it. The old column had offered a minimum of obstruction
to a horizontal movement of space; but the new column presents
a distinctly more substantial stop. The old column had tended to
cause space to gyrate around it, had been central to a rather tenta-
tively defined volume; but the new column instead acts as the en-
closure or the external definition of a major volume in space. The
spatial functions of the two are thus completely differentiated.8
While the cruciform or circular columns bore a flat roof slab, the
new column has a direction and connects to a system of b eams.
The dividing walls are then installed in line with these axes. Even
though this is a typical construction principle for industrial build
ings, it is relevant from a tectonic point of view, because it re
presents a return to the frame as a structural principle.
verseidag factory 93
Model House for the Berlin Building Exposition This work is not an actual building but a full-scale model of a house
Berlin, Germany, 1931 erected as a temporary exhibit for a building exposition. 1 The roof
destroyed plane rests on a grid of 15 cylindrical columns that are chrome in
the living area and painted white in the bedroom and outdoor
areas. This construction made it possible to arrange the walls freely
and independently of the supporting structure. As further indepen-
dent elements, the service areas were arranged in compact enc-
losed blocks. The service area with kitchen and maids room is
placed in the corner of the plan while the bathroom with its roun-
ded wall functions as a spatial divider. The service rooms are min
imised and the rooms they serve maximised.
Visitors are led along an S-shaped path from the entrance to
the living room. On entering, they face a wall behind which the
service area lies. The door to this area is concealed by cladding it
with the same panelling as the wall. The service block is arranged
alongside a long wall that extends out into the garden, and is ab-
utted on the other side by a glass wall. This glass wall can be low
ered into the floor to allow space to flow freely. Unlike in Krefeld,
Brno and Essen, the glass wall is not placed at edge of the room
but in the middle of the space. Even when the wall is closed, the
space still appears to extend visually beyond the glass plane. This
same principle is repeated in the bedroom on the opposite side
of the house. While the living areas open out onto the landscape
in an extroverted manner, the bedroom opens onto an introver-
ted courtyard. This space extends as far as two freestanding walls
that adjoin a pool, in front of which a sculpture by Georg Kolbe
stood as a point of visual focus.
1 The exposition was reported on in Die Form, no. 6 and no. 7, 1931.
Elevation
94 Floor plan
Trinkhalle (Refreshment Stand) This project was a simple modification of the garden wall of the
Dessau, Germany, 1932 Masters House that Walter Gropius had designed for himself.1
reconstructed Mies found a solution that exudes simplicity an architecture of
almost nothing. The means required to achieve this maximum
degree of minimalism were, however, considerable. The detailing
of the window opening was complicated. The steel frame of the
window was mounted on rollers and could be retracted comple-
tely into the wall. Two slots were made in the wall so that when
the window was open, it appeared as if a window had been cut
out of the wall. The Trinkhalle was demolished in 1970 and was re-
constructed in 201314 by the architects Bruno Fioretti Marquez
in an abstracted way.
1 For further information on the history of the building, see: Helmut Erfurth
and Elisabeth Tharandt, Ludwig Mies van der Rohe Die Trinkhalle Sein
einziger Bau in Dessau, Dessau 1995. There are no plans of the building
in this publication, however working drawings and details have since
been discovered in the legacy of Eduard Ludwig and are now part of the
collection of the Bauhaus Dessau Foundation.
Floor plan
View from the street 95
Lemke House From the road, the house appears small and unassuming, an im-
Berlin-Hohenschnhausen, Germany, 193233 pression that heightens the element of surprise when reaching
the entrance at the side. Through the glazed door one has a long
view right through the house out over the lakeside plot. Before
even entering the house, one experiences a characteristic aspect
of the architecture: while the interiors are oriented outwards, the
volume of the building itself shapes the outdoor space.
A step in the volume of the building provides a sense of spa-
tial enclosure for the entrance, which is paved in the same mat
erial as the house itself. To the garden, the building frames a paved
terrace, creating a courtyard-like situation. The terrace was origi-
nally defined by two walnut trees that were placed in two asym-
metrically arranged openings let into the surface of the paving
in such a way that the L-shaped building appears to nestle up to
them. The trees were important as providers of shade as the two
large glazed frontages face south and west.
The house stands on a slightly elevated part of the site and the
terrain was modelled accordingly before work on the actual house
began. The raised situation is evident as a slight incline in the pa-
ved approach to the entrance. Although barely perceptible, this
artificial raising of the house contributes to how the space of the
house and the path down to the lake are perceived. Although the
house turns its back on its neighbours and the street, it is there-
fore still a product of its context.
From within, the house presents a series of framed panoramic
vistas of the landscape extending as far as the opposite side of
the lake. The trees on the horizon also form part of the concept of
the house, contributing to ones perception of the sense of space.
Their presence in the distance makes the relatively modest dimen-
sions of the house seem more expansive. The L-shaped arrange-
ment of the two glazed walls creates a diagonal visual axis not
unlike that in the later extension to the Perls House from the liv
ing room over the terrace to the elongated hall, linking the inter
ior and exterior spaces together in a single spatial composition.
The building itself is enveloped by a plain, unadorned brick
wall in which different sized openings have been cut. The windows
placed at the corners of the rooms have standard metal profiles
as used in industrial facilities. One sees neither window lintels nor
gutters. The incline of the flat roof slopes inwards from the exter-
nal walls to the centre, discharging rainwater in the centre of the
plan. Mies describes how working with brick influenced the de-
sign, calling it one of his teachers: How sensible is this small
handy shape, so useful for every purpose. What logic in its bon-
ding, what liveliness in the play of patterns. What richness in the
simplest wall surfaces. But what discipline this material imposes. 1
Despite the self-evident nature of the brick walls, they serve to
conceal the actual construction, as all one sees is the facing layer
of brickwork. A precisely executed brick bond creates only the ap-
pearance of a solid brick wall. The actual construction consists of
two layers, or leafs, made of different materials with different ma-
sonry bonds, the facing layer of which is anchored back to the in-
ner layer at intervals with ties. The choice of bond, according to a
manual of the day, is determined by economic considerations. As
the facing layer is generally half a brick thick, one should choose
a brick bond that uses as many whole bricks as possible, thus mi-
nimising wastage.2 Mies, however, did not adhere to this, choos
ing a brick bond with the same number of headers and stretchers
that resulted in a considerable degree of wastage. For Mies, the
precision of tectonic means outweighed economic considerations:
Simplicity of construction, clarity of tectonic means, and purity of
material shall be the bearers of a new beauty.3
Floor plan
96 View from the street
Garage door and entrance to the house
View from the garden 97
98 Hall
Living room lemke house 99
View from the street
100 Hall
plots adjoining the Obersee lake were declared part of a prohibi-
ted zone. The building has since been subject to numerous altera-
tions. Interior walls and doors have been changed, a new window
opening was inserted and the garden levelled. From 20002002,
the house was comprehensively renovated and the original situa-
tion was largely reinstated. Some original substance was, however,
lost in the process, including the paving of the entrance pathway,
the garage door and the double winder stairs. The oak parquet
flooring, glazed walls, doors and door handles were reconstruc-
ted, as was the garden.5 Today, the Mies van der Rohe Haus is
open to visitors and is used as an art gallery. However, the white-
walled interiors of the gallery spaces do not entirely reflect the
original condition, as the south wall of the narrow hall was origi-
nally clad with dark wood panelling.
1 Ludwig Mies van der Rohe, Inaugural address in Chicago on 20 Nov. 1938,
in: Fritz Neumeyer, The Artless Word Mies van der Rohe on the Building Art,
Cambridge, Mass. 1991, p. 316.
2 Eduard Jobst Siedler, Die Lehre vom neuen Bauen Ein Handbuch der
Baustoffe und Bauweisen (The Principles of New Building A Manual of
Building Materials and Construction Techniques), Berlin 1932, p. 56.
3 Ludwig Mies van der Rohe, manuscript from 13 March 1933, in: Fritz
Neumeyer, The Artless Word Mies van der Rohe on the Building Art,
Cambridge, Mass. 1991, p. 314.
4 For a comprehensive documentation of the history of the house, see: Wita
Noack, Konzentrat der Moderne Das Landhaus Lemke von Ludwig Mies
van der Rohe Wohnhaus, Baudenkmal und Kunsthaus (Concentrated
Modernism A Country House for the Lemkes by Ludwig Mies van der
Rohe), Munich, Berlin 2008.
5 The renovation concept is described in: Heribert Suter, Haus Lemke,
Berlin-Hohenschnhausen Baugeschichte, Voruntersuchung und
Instandsetzungskonzept, in: Johannes Cramer and Dorothe Sack (eds.),
Mies van der Rohe: Frhe Bauten. Probleme der Erhaltung, Probleme
der Bewertung (Mies van der Rohe Early Built Works: Problems in their
conservation and assessment), Petersberg 2004, pp. 115128.
6 Rem Koolhaas, Miestakes, in: Phyllis Lambert (ed.), Mies in America,
Montreal, New York 2001, p. 723.
7 Ludwig Mies van der Rohe, The H. House, Magdeburg, in: Fritz Neumeyer,
The Artless Word Mies van der Rohe on the Building Art, Cambridge, Mass.
1991, p. 314.
8 Ibid.
15
17
}0 18
14
4
10
16
21
1
13
6 7
9 12
19
11
104
Carman Hall and Chapel
Siegel Hall and Crown Hall illinois institute of technology 105
Minerals and Metals Research Building The first building block of the new campus complex of the Illi-
Illinois Institute of Technology, Chicago, USA, 194143 nois Institute of Technology was a research building for minerals
extended 195658 and metals with the typological characteristics of a factory shed.
The building stands immediately next to the railway lines in a lin
ear zone where all the campus buildings with an industrial char
acter were placed, for example the power station or electricity
substation. The building was originally designed to match the 24-
foot grid that determines the column spacing and volume of the
building, but the bay length of the actual building deviates from
this grid. The buildings length is instead a factor of the number
of bricks. The plinth is articulated as a continuous band laid in
Flemish bond and is placed in front of the structural framework
of the building.
Despite this separation between external skin and supporting
constructions, which Mies termed skin and bones, the axes of the
structural members are legible on the faade: every sixth verti-
cal profile in the windows is slightly wider. The bay interval of the
buildings depth also deviates from the 24-foot grid as the width
of the site and the span of the moving crane were predefined. As
such, the very first building that Mies built for the complex com-
promised his own rules on the arrangement and proportioning of
buildings according to a grid, although this was intended only as
guidance. Mies description of the building sounds like a list of
predefined conditions:
We had 64 feet (19.51 metres) from the railroad to the side-
walk; somebody gave them a traveling crane it was 40 feet (12.19
metres) wide, so we needed 42 feet (12.80 metres) from center of
column to center of column. The rest was laboratories, you know.
Everything was there we needed steel bracing in the wall, the
brick wall. It was a question of the building code. You can only
make an 8-inch (20cm) wall so big, otherwise you have to reinforce
it. So we did that. Then, when everything was finished, the people
from the Minerals and Metals Research Building, the engineers,
they came and said, We need a door here. So I put in a door.1
This description he offered as a rejection of the interpretation
of this minimalist abstract form with its net of black lines and dif-
ferent-sized rectangles as being influenced by Piet Mondrian. He
defended himself vehemently against such speculation, stating
that it failed to appreciate his conviction that the form derives from
the function and the possibilities that the material allows. In his
inaugural address on taking up his position in Chicago, he descri-
bed his programmatic intention: Thus each material has its spe-
cific characteristics which we must understand if we want to use it.
This is no less true of steel and concrete. We must remember that
everything depends on how we use a material, not on the mater
ial itself.2 For this building, one of the few to be realised during
the war, he was even permitted to use steel which was otherwise
reserved for armaments production because the building itself
was deemed as being important for the war effort. The building
was not only used to investigate the properties of materials but
also served as an architectural model, demonstrating par excel-
lence the art of constructing with steel.
In this building the steel construction is left unclad. To stif-
fen the brick panels, special hollow profiles were developed that
consisted of two standard U-profiles welded together and incor-
porated almost flush into the wall. At the corners of the building,
wide-flange I-beams are joined to the primary steel structure and
frame the faade. Although Mies was later to use suspended ceil
ing constructions, in this building the structural framework is also
visible on the ceiling. The concrete beams of the roof are left ex-
posed as were the drainpipes that ran inside the building: The ex-
posed beams and girders of the roof, wrote Philip Johnson, are
arranged as carefully as those of a Renaissance beamed ceiling.3
This building has a unidirectional loadbearing structural frame.
Mies referred to the one-way-span structure as a Gothic solu-
tion, writes Phyllis Lambert. As a linear system that could be
1 Ludwig Mies van der Rohe, in: Moiss Puente (ed.), Conversations with
Mies van der Rohe, Barcelona 2006, pp. 4344.
2 Ludwig Mies van der Rohe, inauguration address on 20 Nov. 1938 in
Chicago, in: Werner Blaser, Mies van der Rohe Principles and School,
Basel, Stuttgart 1977, p. 29.
3 Philip Johnson, Mies van der Rohe, New York 1947, p. 138.
4 Phyllis Lambert (ed.), Mies in America, Montreal, New York 2001, pp. 290291.
1 Myron Goldberg recalls that these are the terms that Mies used for these
two principles. Cf. Phillis Lambert (ed.), Mies in America, Montreal, New
York 2001, p. 229.
North faade
Corner detail
East faade 115
Corridor
116 Detail of door
wall as pilasters. This can be seen as a constructional develop-
ment of the Minerals and Metals Research Building.
1 Cf. Phyllis Lambert (ed.), Mies in America, Montreal, New York 2001,
pp. 303313.
2 Franz Schulze, Mies van der Rohe A Critical Biography, Chicago, Lon-
don 1985, p. 226.
3 Wolfgang Kemp, Ein Werkbeispiel: Eine Ecke von Mies van der Rohe,
in: Architektur analysieren Eine Einfhrung in acht Kapiteln, Munich 2009,
pp. 6568.
4 See the corners of the German Embassy in St. Petersburg and of the ent-
rance portal to the Frankfurt Gasworks, in: Carsten Krohn, Peter Behrens.
Architecture, Weimar 2013, p. 100 and p.128.
5 Ludwig Mies van der Rohe in conversation with the Bayerischen Rund-
funk, in: Der Architekt, vol. 10, 1966, p. 324 (translation JR).
6 Ludwig Mies van der Rohe in: Moiss Puente (ed.), Conversations with
Mies van der Rohe, Barcelona 2006, p. 34.
Floor plan
120 Detail of the north-facing faade
Institute of Gas Technology Building Originally planned as a steel construction with outlying steel mem-
Illinois Institute of Technology, Chicago, USA, 194750 bers, the building was eventually built using a more economical
concrete construction. The structural framework is exposed on the
external surface of the building while the panels of the skeleton
construction are filled with masonry. The brick panels are capped
with a concrete strip into which the windows are anchored. The
external stair leading to the main entrance is made with natural
stone, a higher-quality and more haptic material than the facing
concrete but of a similar colour so that the use of materials creates
a homogenous impression. The side stair at the rear of the build
ing is, however, made of concrete.
North faade
Stairs to the entrance 121
Association of American Railroads Research Laboratory Mies designed a group of buildings on the IIT Campus for the As-
Illinois Institute of Technology, Chicago, USA,194850 sociation of American Railroads that form a part of the IIT com-
plex and continue the architectural language of the preceding IIT
buildings. The first of these buildings was a two-storey research
and administration building which is fitted precisely into the ur-
ban grid. The building adheres to the architectonic principle of the
campus buildings, with one slight variation in its detailed execu-
tion: the corners of the building follow the principle used for the
Alumni Memorial Hall, except that the masonry plinth features in-
dented corners. A music college uses the building today.
1 In 1964 the architects Sargent & Lundy extended Mies plan of the build
ing a further six bays to the north. The building was extended again at a
later date.
2 Cf. Charles Jencks, The Language of Post-Modern Architecture, London
1977, p. 14.
1 Ludwig Mies van der Rohe in conversation with Henry Thomas Cadbury-
Brown 1959, in: Architectural Association Journal, July/Aug. 1959, p. 37.
2 Ludwig Mies van der Rohe, A Chapel Illinois Institute of Technology,
in: Arts and Architecture, vol. 1, 1953, pp. 1819.
3 Cf. note 1.
Floor plan
View from the northwest
124 Corner detail
West faade
Altar 125
Test Cell Although the building is an unassuming functional building,1 it is
Illinois Institute of Technology, Chicago, USA, 195052 nevertheless important as an urban ensemble. Designed together
destroyed with a wall to create a single ensemble, it marks the entrance situ-
ation to the campus. The freestanding wall, which was an impor-
tant element of Mies courtyard houses, here too serves as an inte-
gral part of the architecture. As the windows and doors open onto
the courtyard, one sees only an abstract volume dimensioned ac-
cording to the structural grid of the complex. This cell is presen-
ted as a basic three-dimensional urban module. I am convinced
that a campus must have a uniform design,2 remarked Mies as
changes started to be made to his urban concept. The building
was demolished in 2009.
1 While there is much to be found about the building on the internet, a brick-
clad concrete construction, in particular in the articles by Edward Lifson, all
we know about its use is that it was supposed to have been used during the
Cold War for testing weapons.
2 Ludwig Mies van der Rohe in conversation with Katharine Kuh in 1964, in:
Saturday Review, 23 Jan. 1965, p. 61.
Elevation
126 Floor plan with Boiler Plant
Mechanics Research Building The building is reduced to just a few elements, and replicates the
Illinois Institute of Technology, Chicago, USA, 195052 system of the neighbouring Institute of Gas Technology in a sim-
plified form. The articulated plinth has been omitted, as has the
concrete coping above the masonry infill panels. In this building,
the masonry infill is faced with a steel plate that forms the base of
the ribbon windows. The brick bond used for the masonry is also
simplified. The internal arrangement of the building has since been
changed. The building was later extended northwards according
to the original plans but by other architects.
East faade
Entrance stairs
130 Hall
Hall
Detail of the stairs Crown Hall 131
With Crown Hall, Mies demonstrated a typological concept
for an open-plan universal space. Mies had built smaller col
umn-free constructions in the past, for example the sports hall
in Potsdam or the electricity pavilion in Barcelona, but here the
construction is the dominant element. The supporting structure
of Crown Hall with its large steel plate girders arranged above
the roof plane is plainly visible and immediately legible even for
laypeople. In the interior, by contrast, the construction is not
visible. The suspended ceiling even appears to float, especially
when looking towards the light. It extends right up to the peri-
meter glazing and appears to do so in a continuous movement.
The tectonic handling of the interior and the exterior is there-
fore quite different. The rhythmic segmentation produced by the
deep I-beams that characterises the buildings exterior appear
ance is not apparent from within.
The strict symmetrical composition of the building and the
placement of the stairs are reminiscent of Schinkels Altes Mu-
seum in Berlin, but the two buildings differ in their articulation
of the central space. In Berlin, the central space is focussed and
converges on a single point crowned by a dome, while the cen-
tral zone of Crown Hall is characterised by a sense of emptiness
that animates one to pass through it. Colin Rowe has written of
this phenomenon that the flat slab of the roof induces a certain
outward pull; and, for this reason, in spite of the centralizing ac-
tivity of the entrance vestibule, the space still remains, though
in very much simplified form, the rotary, peripheric organisation
of the twenties, rather than the predominantly centralized com-
position of the true Palladian or classical plan.5
Although Mies originally foresaw the installation of an air
conditioning system, the building was initially only mechanically
ventilated, with the exhaust vents incorporated in the suspended
ceiling. An underfloor heating was installed beneath the terrazzo
floor and solar gain was regulated using blinds. A former stu-
dent, Peter Beltemachi, recalls that Hilberseimer used to walk
around and adjust them all day long. Hilberseimer and Mies de-
finitely knew about the light control, because when they adjus-
ted the blinds, a lot of it was to get some light up on to the ceil
ing to get it out onto the tables. We talk about it today, but it
was well known in those days. Light control just by adjusting the
Venetian blinds was part of the original use of the blinds. Hilber-
seimer ran this place with an iron fist. No feet on the furniture.
You couldnt play music. You couldnt smoke. It was like schools
used to be. People would still wear neckties to class, Hilbersei-
mer, when he died in 1967, thats when the Venetian blind busi-
ness went to hell.6 The next phase of renovations will include the
installation of a computerised system for regulating the blinds.
Hall
Lower floor
132 Toilets
an exhibition of Picassos works and concert by Duke Ellington
and his orchestra. But what was Mies alluding to when he said the
building expressed the clear lawfulness of a spiritual order? For
Mies, this refers to Saint Augustines declaration that there is no
ordered thing which is not beautiful, a sentence that he had un-
derlined in his own copy.8 Saint Augustine differentiated between
those qualities that can be perceived with the senses and the over
arching immutable laws such as symmetry, number and unit. He
wrote: We must indeed inquire what is the cause of our being dis-
satisfied if two windows are placed not one above the other but
side by side, and one of them is greater or less than the other, for
they ought to have been equal; while if they are placed one di-
rectly above the other, even though they are unlike, the inequality
does not offend us in the same way. [] Thus if I ask an architect
why, having constructed one arch, he builds another equal to it on
the other side, he will reply, I believe, that it is in order that equal
parts of a building may correspond to equal parts.9
In contrast to the other IIT buildings, the architectonic const-
ruction of Crown Hall is not the product of a schedule of required
spaces. The individual elements are joined together solely as a
product of the logic and order of the building itself. Mies belie-
ved in the continuity of this order, citing that Order m eans ac-
cording to St. Augustine the disposition of equal and unequal
things, attributing to each its place. 10
1 Ludwig Mies van der Rohe in conversation with Graeme Shankland, in:
The Listener, 15 Oct. 1959, p. 620.
2 Ludwig Mies van der Rohe, Inaugural address as Director of Architecture,
1938, in: Fritz Neumeyer, The Artless Word Mies van der Rohe on the
Building Art, Cambridge, Mass. 1991, p. 316.
3 Ludwig Mies van der Rohe in conversation with Henry Thomas Cadbury-
Brown in: Architectural Association Journal, July/Aug. 1959, p. 38.
4 Ludwig Mies van der Rohe in: Das Kunstblatt, no. 3, 1930, pp. 111113.
English language translation in Fritz Neumeyer, The Artless Word Mies
van der Rohe on the Building Art, Cambridge, Mass. 1991, p. 305.
5 Colin Rowe, Neo-Classicism and Modern Architecture II (written in
195657 but first published in 1973), in: The Mathematics of the Ideal Villa
and Other Essays, Cambridge, Mass. 1987, p. 149.
6 Peter Beltemachi in: lynnbecker.com/repeat/mies/crowndeclinerebirth.htm
7 Cf. Elizabeth Olson, S.R. Crown Hall in: docomomo-us.org/register/
fiche/sr_crown_hall
8 Cf. Fritz Neumeyer, The Artless Word Mies van der Rohe on the
Building Art, Cambridge, Mass. 1991, p. 317. (St. Augustine: For there is
no ordered thing which is not beautiful, De vera religione, XLI 77.)
9 St. Augustine, De vera religione (On the True Religion), XXX 5455 and
XXXII 59.
10 Ludwig Mies van der Rohe, Introduction in: Ludwig Hilberseimer, The
New City, Chicago 1944. Reproduced in: Fritz Neumeyer, The Artless Word
Mies van der Rohe on the Building Art, Cambridge, Mass. 1991, p. 323.
Detail
Exterior view
Interior view 137
Electrical Engineering and Physics Building Constructed out of reinforced concrete, the building was designed
Illinois Institute of Technology, Chicago, USA, 195456 for the Institute of Gas Technology. The open panels in the skele-
ton frame construction have a masonry infill laid in stretcher bond.
This brick bond, which is one brick thick, emphasises the non-load
bearing character of the infill panel, which is arranged flush with
the outer face of the loadbearing structure. A shadow line marks
the division between the loadbearing and the non-loadbearing
elements. The building has no faade in the sense of an applied
frontage, and a front or back has not been articulated: the structure
is made visible in the same way on all sides of the building. The
building stands exactly within the urban grid, with a width of three
modules and a length of nine. The articulation of the structural
framework as a visible net of lines can be seen as a diagram that
not only describes the internal structure of the building but also
the structure of the overall constellation of the surroundings. Un-
til the end of the 1970s, the building contained the first industrial
nuclear reactor. The building has since been extended and most
of the larger glazing panels have been replaced with small panes.
Faade
138 Corner of the building
Association of American Railroads Engineering Laboratory The large hall echoes that of the neighbouring Mechanical Labora
Illinois Institute of Technology, Chicago, USA 195557 tory, except that this building is one bay wider, making it exactly
twice as long as it is wide. Here too, the hall is an exposed steel
construction with an entrance large enough to accommodate rail-
ways wagons, and here too a small building has been built along-
side it. The positions of the two halls with respect to one another
are a product of the routing of the railway track. The extensive
glazing lies in the same plane as the wall, lending the building an
abstract, almost block-like appearance. The clarity of the buildings
original volume has since been compromised by the addition of
an extension on the north side. The building is used today by the
Chicago Transit Authority.
1 This gateway situation was part of the original campus plan from 1939
but had not been implemented. Cf. Philip Johnson, Mies van der Rohe,
New York 1947.
behest of the c lient, and then later removed, was a fly screen that
ran around the perimeter of the deck. In place of a fireplace on
the floor, Dirk Lohan later designed a raised hearth. Air conditio-
ning has since also been installed. The building of a new bridge
over the river within sight of the house also led to the rerouting of
a road, bringing traffic closer to the house.
146 Detail
View of the entrance Farnswo rt h Ho u se 147
Promontory Apartments Mies first realised design for a high-rise building was for a lake-
Chicago, Illinois, USA, 194649 side location and features large windows that afford a panoramic
view over Lake Michigan. The lakefront at this point takes the form
of a park-like landscape enabling Mies to realise the quintessen-
tially modernist vision of a high-rise tower in a park. The building
does not, however, stand alone but completes the existing urban
block, resulting in a twin-T-shaped floor plan. This typological ar-
rangement occupies the full width of the site, and because adja-
cent buildings can be built to the north and south of the build
ing, these end walls have no windows. On the east side, which
faces the lake, the glazing extends across the entire frontage of
the building and up to the ceiling of the apartments.
The building is divided into three sections: the ground floor
with its glazed entrance lobby is set back from the main front
age of the shaft of the 20-storey building, as is the roof zone.
Crowning the building are two protruding volumes that house
technical installations, under which is the so-called Solarium, a
large collectively used room with a glazed front facing the lake.
From the lake, the building is perceived as a large rectangular
slab raised off the ground by a series of columns, but to the rear
on the westward side the building has projecting sections that
form a more conventional courtyard elevation.
Each of the T-shaped halves of the building functions indepen-
dently with their own people and goods lifts and own fire escape
stairs. Each apartment has two means of access: the main ent-
rance and a second entrance providing direct access to the kit-
chen. On entering the lakeside apartments, a cupboard serves
as a room divider, obscuring a direct view into the living room.
Passing through a narrow opening, the view widens dramati-
cally, opening onto the central living area, which leads seam-
lessly on into the dining area. The floor plans avoid the use of
long corridors.
The architectonic articulation of the construction is exceptiona l.
The building is a concrete frame construction with an exposed
structural skeleton. Brick infill is used to close off the open
p anels between the reinforced concrete columns. The vertical
elements of the exposed structure are set back slightly every
five storeys so that the vertical lines of the columns appear to
grow more slender towards the top. This tectonic articulation
reflects not only the reduced load requirements of the upper
storeys but also represents an exemplary Miesian approach to
the design of a high-rise building made of concrete, as his later
work went on to show.
The construction gives the building its character. By showing
the structural system on the surface of the building, it aims to
express the honesty and simplicity of its construction. The brick
infill masonry is laid in stretcher bond, which demonstrates the
non-loadbearing nature of the brick panels. The facing brickwork
which is of the same colour as those of the IIT buildings is a
simple single-leaf stretch of wall, while the inner leaf and the in-
ternal dividing walls are made of large-format concrete blocks.
The building has been detailed with the utmost precision, which
is particularly evident in the entrance lobby and the good con-
dition of the aluminium window profiles.
1 A history of the development of the plan is given in: Franz Schulze (ed.),
The Mies van der Rohe Archive, vol. 14, New York, London 1992, p. 8,
and: Franz Schulze and Edward Windhorst, Mies van der Rohe: A Critical
Biography, Chicago 2012, pp. 383385.
Site plan
152 View from the northwest
Arts Club of Chicago The project is a conversion of an existing building.1 For Mies, this
Chicago, Illinois, USA, 194851 was a rare situation, but as a member of the club he offered his
services free of charge. He created a glazed lobby with a white-
painted steel stair that stands freely like a sculpture in the space.
The treads, carpeted in black, lead to the gallery spaces above.
Mies designed this lobby in the utmost detail, also selecting the
furniture. In the mid-1990s, however, the building was demolished,
although the stair itself was able to be saved and was subsequently
re-installed in another building. The sculptural object was, how
ever, originally conceived as part of a sequence of spaces designed
by Mies. As with the McCormick House, only the steel construction
of the original substance was transferred to a new location and
what remains is a fragment in a changed context.
1 Cf. Franz Schulze (ed.), The Mies van der Rohe Archive, vol. 14, New
York, London 1992, p. 224225.
Stairs 153
860880 Lake Shore Drive
Chicago, Illinois, USA, 194851
1 Ludwig Mies van der Rohe in: Frhlicht, no. 4, 1922, pp. 122124. English
translation in Fritz Neumeyer, The Artless Word Mies van der Rohe on the
Building Art, Cambridge, Mass. 1991, p.240.
2 Ludwig Mies van der Rohe in conversation with Graeme Shankland in: The
Listener, 15 Oct. 1959, p. 621.
3 This expression was used by Peter Carter in: Bauen + Wohnen, July 1961,
p. 240. (in: Architectural Design, March 1961).
4 Ludwig Mies van der Rohe in a letter dated 2 July 1928, in: Fritz
Neumeyer, The Artless Word Mies van der Rohe on the Building Art,
Cambridge, Mass. 1991, p. 305.
5 Ibid., p. 247.
6 Ludwig Mies van der Rohe cited in: Architectural Forum, Nov. 1952,
pp. 9499.
7 Cf. Franz Schulze and Edward Windhorst, Mies van der Rohe: A Critical
Biography, Chicago, London 2012, p. 293.
1 For a detailed history of the building see: Mies van der Rohe Houses, 2G,
no. 48/49, 200809, pp. 198205, and: Franz Schulze and Edward Windhorst,
Mies van der Rohe: A Critical Biography, Chicago, London 2012, p. 301.
Floor plan
Exterior views 159
Greenwald House The house is based on the same principle as the McCormick
Weston, Connecticut, USA, 195156 House, placing a single-storey of the Lake Shore Drive Apartments
at ground level into the landscape. In fact, the houses faade is
made of actual unused elements of the high-rise buildings faade.
The entrance leads directly into the central living room, which is
flanked on either side by two wood-panelled service cores. Next
to the entrance is a freestanding storage cabinet that serves as a
divider screening off the bedroom. A second entrance leads di-
rectly into the kitchen. A low wall of rough-hewn stone creates a
step in the terrain allowing the surrounding woodland to be appre-
ciated from a podium. The house, built for the brother of Herbert
Greenwald, Mies most important client at the time, was extended
in 195960 by two bays according to plans by Mies office. Later,
a further extension and pavilions were added that are grouped
around the building.1 The interior was also subsequently altered.
1 For further information on the alterations and additions, see: Paul Gold
berger, Modifying Mies Peter L. Gluck Rises to the Modernists Challenge,
in: Architectural Digest, vol. 2, 1992, pp. 7282.
Exterior view
Interior
160 Floor plan
Commonwealth Promenade Apartments Of the four towers originally planned, only the southern pair was
Chicago, Illinois, USA, 195357 completed. A covered walkway connects the towers with one an
other and extends out into the neighbouring Lincoln Park. The
detailing of the aluminium curtain walling is identical to that of
the Esplanade Apartments constructed at the same time. Pivoting
sections in the lower part of the window provide ventilation and
incorporate a fly screen in the plane of the glazing. Compared
with the buildings on 860880 Lake Shore Drive, the concrete
construction used here made it possible to incorporate an extra
storey within the same overall building height. In contrast to the
standard I-beam sections applied to the exterior of the Lake Shore
Drive Apartments, the aluminium profiles used here were develop
ed especially for the curtain wall faade. The more pronounced
thermal expansion of aluminium, however, made it necessary to
include expansion joints that interrupt the continuity of the vertic
al lines at each storey.
For Reyner Banham the use of a more lightweight material
represented a technical advancement: It is a material, where a
large order implies the ability to name your sections [] a choice
of section is as natural in aluminium as is the absence of choice
in steel, where the economics of rolling-mill manufacture still
make fancy sections pretty well impossible.1 As a proponent
of actively employing technical advancements in architecture,
Banham regarded the possibilities of detailing with aluminium
as far more elaborate.
Site plan
South faade
Window detail 161
Esplanade Apartments The two apartment buildings at 900910 Lake Shore Drive continue
Chicago, Illinois, USA, 195357 Mies series of lakeside buildings. On a site immediately north of
the existing towers at 860880 Lake Shore Drive, Mies planned
two further high-rise buildings that adhere to the same urban con-
cept: the buildings are placed as freestanding elements in space
and do not align with the massing of the historical urban grain of
the city. While the Esplanade apartment buildings also stand on
a trapezoidal site, the two buildings are not identical in size. The
southernmost of the two buildings is shaped like a monumental
slab and the two buildings are placed closer to each other than
their counterparts at 860880. Mies client, Herbert Greenwald,
paid the highest amount ever paid at that time for a site for resi-
dential use in Chicago.1
The consequent need to make optimal use of the site was
achieved by significantly increasing the size of the building vol
umes and by reducing the storey height. A new design for the ceil
ing construction made it possible to reduce the structural height
of the ceilings. This made it possible to incorporate three addi-
tional storeys and at the same time to slightly reduce the overall
height of the building. Although the fundamental concept of the
buildings that of fully glazed rectangular prisms is identical to
that of their predecessors, technical advances in the few years bet-
ween the buildings construction meant that the construction and
the materials used changed. While the buildings at 860880 were
prototypes, the Esplanade Apartments are optimised both tech-
nologically as well as economically.
The problems revealed by the prototypes were tackled in the
second pair of buildings not only by making modifications in de-
tail but also through the choice of a different material. The struc-
tural frame is again completely fronted by a glazed skin, but this
time the faade is made of anodized aluminium mounted on a con-
crete frame. The faade itself is articulated as a curtain wall con-
struction, this time with continuous, equally-sized large windows.
To resolve the overheating experienced in the earlier buildings,
tinted panes and air-conditioning were installed.
While the construction was previously left exposed on the fa-
ade, the reinforced concrete columns are now set back from the
edge of the building to provide a cavity between the columns and
the external skin for air-conditioning. The dark grey tint of the glaz
ing heightens the impression of the curtain wall as an indepen-
dent element and emphasises the volumetric sculptural quality of
the building. For the characteristic vertical mullions applied to the
outer face of the faade, a custom extrusion made of a luminium
was now used instead of the continuous lines of steel I-beams used
at 860880, which were made of two standard T-profiles welded
together. Because aluminium is more susceptible to thermal ex-
pansion than steel, the mullions are separated by small gaps at
each storey to accommodate thermal expansion.
A low-lying building was constructed to house a car park with a
flat roof that served as a communal sun deck. This however, com-
promises the expansive sense of space at ground level that charac-
terises the earlier buildings as well as the transition from outdoors
to indoors, achieved in the earlier building by using continuous uni-
form travertine paving. The entrance lobby is instead paved with
terrazzo flooring while the inner core is clad with marble. The glaz
ing at ground floor level is partially transparent and partially trans-
lucent, transforming the walls into illuminated objects at night. Un-
like the buildings at 860880, lamella can be seen beneath the first
floor ceiling that serve as vents for the air-conditioning.
1 This was not, however, the only record it broke: Esplanade was the tall
est concrete building yet constructed in Chicago, and the first with a flat-
slab concrete frame. It boasted the citys first central air-conditioning
for a residential tower; one of the first unitized, anodized aluminium cur-
tain walls; and Chicagos first large-scale use of tinted, heat-absorbing
glass. Franz Schulze and Edward Windhorst, Mies van der Rohe: A Critical
Biography, Chicago 2012, p. 294.
Faade details
170 Detail of the lift
View from the southwest Seagram B u i l di ng 171
Lafayette Park
Detroit, Michigan, USA, 195558
173
courtyard houses through the creation of a raised plateau. Steps
lead up to the entrances of these houses. The row houses mean
while have a cellar with continuous service corridors that also pro-
vide access to the heating systems and refuse containers.
The apartment blocks look like a continuation of the terraced
units but stacked vertically on top of one another. This stacked
appearance is a product of the large horizontal window panes
that have the character of a panoramic window and offer a view
of the skyline of the city and even as far as Canada. This solution
was achieved in combination with an unusual treatment of the
window profiles: instead of using Mies typical vertical I-beam,
they consist of two ][-profiles used back to back.
Courtyard house
174 Terraced houses
Views from the gardens L afaye tte Park 175
176 Pavilion Apartments
Site plan
Corner detail Lafaye tte Park 177
Colonnade and Pavilion Apartments
Newark, New Jersey, USA, 195860
Site plan
Upper floor plan
178 Ground floor plan
The three high-rise slabs are distributed across a site whose fourth
wall is the skyline of Manhattan in the distance. The complex lies
just 20 minutes by train from New Yorks Penn Station and bord
ers Branch Brook Park, which like Central Park was designed by
Frederick Law Olmsted. The largest of the three buildings, the
135-metre long Colonnade Apartment Building, directly adjoins
the park. The buildings are placed more than 600 metres apart.
Mies remarked that, Modern buildings of our time are so huge
that one must group them. Often the space between these build
ings is as important as the buildings themselves.1
The buildings could not contrast more with the dense pattern
of 19th century buildings that characterised Newark at that time.
The comprehensive urban-renewal project aimed to alleviate
what was then regarded as unhealthily cramped conditions in the
city. The project was part of a nationwide programme of similar
initiatives and was undertaken by the project developer Herbert
Greenwald with whom Mies worked regularly. For him, the vent
ure was financially lucrative. The rationalism of the architecture
eschews all forms of individual expression and makes neither re-
ference to local materials or building forms nor responds to the
historical plan of the city. The architecture of the buildings re-
plicates that of earlier buildings by Mies, for example in Detroit.
Mies himself conceded that if there really is no new way to be
found we are not afraid to stick with the old one that we found
previously. So, I do not make every building different. 2
As with his other work, Mies architecture nevertheless res-
ponds explicitly to the context. The project responds to the in-
cline of the topography, and the slabs of the Colonnade Apart-
ments are raised off the ground atop a large plinth reached by a
flight of steps from which one has a view over the site. This ena-
bles the ground floor zone to remain open by locating the ser-
vice and communal spaces laundry room, offices for the man
agement and shops in the plinth. The plinth takes the form of
a plateau that extends from the park right through the building.
The only fixed points in the ground floor plan are the stair and
elevator cores, and the entrance to the two glazed lobbies leads
through a forest of columns.
The floor plans of the apartments vary and each storey con-
tains a range of different-sized apartments. However, none of the
windows can be opened in a traditional sense and their arrange-
ment there are over 8000 identical windows is the same re-
gardless of which direction they face. Ventilation is instead prov
ided by fixed elements at floor level in which the air conditioning
unit is integrated. This element also contains flaps for providing
natural ventilation. In contrast to the well-illuminated interiors of
the apartments, the inner access corridors have no notable ar-
chitectural qualities.
The aluminium faades are a simplified variant of faades
developed for past projects. All the components have been
designed so that they can be handled by a single person and the
panes of glass are held in place by neoprene strips. The more
this process of simplification progressed, the closer it came to
a situation that Mies had prophesied back in 1924: The work
on the building site will then be exclusively of an assembly type,
bringing about an incredible reduction of building time. This
will bring with it a significant reduction of building costs.3 Mies
argued that the industrialization of the building trades is a mat-
ter of materials and called for the development of lightweight
materials. Years later in 1958 he would declare: When it be-
comes economically possible, building will become montage.4
Ludwig Hilberseimer who may have inspired the urban con-
cept of the complex regarded aluminium as a revolutionary ad-
vancement: It is possible that this material may revolutionize the
concept of building skins, as it is the least expensive, protects
the surface of the reinforced concrete and can be prefabricated
in any desired shape. 5 The architectural critic Reyner Banham
179
described the detailing of the aluminium faades as completely
convincing, especially when compared with the bronze faade
of the Seagram Building, which was so elaborate as to be out of
architectural and moral balance.6 Discussions of the project
have posed the question as to whether buildings of such dimen-
sions and forms can still be human. This was felt to be the case
as the spatial organisation and the spatial proportions com-
municate an impression of tranquillity and order. 7
1 Ludwig Mies van der Rohe in conversation with Katharine Kuh, in: The
Saturday Review, 23 Jan. 1965, p. 23.
2 Ludwig Mies van der Rohe in conversation with Ulrich Conrads in 1964,
produced on a phonograph record, Mies in Berlin, Bauwelt. English lan-
guage source: Ludwig Mies van der Rohe (1986), in: David Spaeth: Mies van
der Rohe, Stuttgart, 1986, p. 11
3 Ludwig Mies van der Rohe, Industrielles Bauen in: G Material zur
elementaren Gestaltung, no. 3, June 1924, pp. 813. English language
translation in Fritz Neumeyer, The Artless Word Mies van der Rohe on the
Building Art, Cambridge, Mass. 1991, p.249.
4 Ludwig Mies van der Rohe in conversation with Christian Norberg-Schulz,
in: Luvre de Mies van der Rohe, ditions de lArchitecture d Aujourdhui,
Paris 1958, p. 100.
5 Ludwig Hilberseimer, Mies van der Rohe, Chicago 1956, p. 64.
6 Reyner Banham, Almost Nothing is Too Much, in: Architectural Review,
Aug. 1962, p. 128.
7 Cf. berbauung Colonnade Park in Newark in: Bauen+Wohnen, July
1961, p. 248. The detailing of the buildings is presented as a progressive
solution elsewhere in the same journal one finds job advertisements from
modern architecture offices asking for candidates with a progressive
understanding of architecture.
Pavilion Apartments
Colonnade Apartments
180 Plinth of the Colonnade Apartments
View looking northwest
Colonnade Apartments C olonnad e and Pavi l io n A part ment s 181
Bacardi Office Building Mies had originally designed an office building for Bacardi in Cuba,
Mexico City, Mexico, 195861 but the project was abandoned following the Cuban Revolution.
Soon after, however, a second project followed for an office build
ing in the grounds of the Bacardi bottling plant in Mexico City,
which Flix Candela had designed as a concrete shell structure.
Mies building stands in front of the bottling plant and is raised
off the ground on columns so as to be visible at eye level from
the elevated highway passing the site.1 This decision was, how-
ever, anything but economical, especially as much of the usable
space had to be sacrificed for the staircase. The two service cores
are clad in Mexican mahogany and the floors and the stairs pa-
ved with travertine. Despite the two-storey nature of the structure,
the 24 steel columns could be left exposed. Curtains and the use
of tinted glass provide the only form of protection from the sun.
1 Mies explanation was as follows: The highway is higher than the site.
So if we would have built a one-story building there, you would see only
the roof. That was the reason that we made a two-story building there. in:
John Peter, The Oral History of Modern Architecture Interviews with the
Greatest Architects of the Twentieth Century, New York 1994, p. 172. The
building is documented in: Bauwelt, 6 Aug. 1962, pp. 886888.
1 Cf. Franz Schulze and Edward Windhorst, Mies van der Rohe: A Critical
Biography, Chicago, London 2012, pp. 369370.
Site plan
View of the Pavilion Apartments
186 Upper floor plan
The two parallel high-rise slab buildings are identical in arrange-
ment and detailing to the Pavilion Apartments in Newark, New
Jersey, that were planned at the same time. Here, though, the
buildings have been placed closer to one another with a car park
in between. The construction of the flat part of the building has a
continuous opening beneath the ceiling slab reminiscent of Mies
unbuilt concrete office building project from 1923. The roof ter-
race is designed as a sun deck with a swimming pool. The complex
is an extension of Mies earlier Lafayette Park estate, the urban
planning of which was conceived together with Ludwig Hilbersei-
mer. This second phase was originally also planned as a mixture
of single-storey courtyard buildings, two-storey terraced houses
and apartment blocks.1
Overall complex
Swimming pool
Parking garage 187
Federal Center The complex consists of a courthouse, offices and a single-storey
Chicago, Illinois, USA, 195974 post office. The urban concept of inserting a high-rise building
and an adjacent plaza into dense urban surroundings, as used
previously for the Seagram Building, is extended here to fill a lar-
ger site. Two high-rise slabs in the heart of Chicagos inner city are
grouped around a single-storey square pavilion to create an ex-
tensive outdoor area. In contrast to the deep canyon-like streets
of the surroundings, the buildings are perceived as freestanding
elements in urban space. The large scale of the complex is appar
ent throughout, for example in the over eight-metre-high room
height of the post office building.
Mies is known only to have commented on the project as fol-
lows: We put the buildings so that each one gets the best situ-
ation and that the space between them is about the best we can
achieve.1 For him this was a question of proportions. Several dif-
ferent variants of the urban massing were developed. In addition
to the asymmetrical arrangement that was eventually realised, a
variant with a single tower and one with two identical building slabs
arranged parallel to one another were presented. A fourth smaller
building was eventually created to house the technical services.
The resulting complex represents not only an architectural compo-
sition of abstract clarity but also a new urban concept in the city.
Although the faade articulation of the two towers is identical,
they contain different functions. The 42-storey Kluczynski Building
to the south contains offices for various federal authorities, while
the slab-like 30-storey Dirksen Building contains courtrooms. The
courtrooms, each two storeys high, are arranged above one an
other in the core of the building and are clad internally with stained
walnut panelling. Lacking windows, they are lit by continuous illu-
minated ceilings made of a suspended aluminium grid of square
panels. Offices are arranged next to the windows. Despite the uni-
form appearance of the exterior, the internal organisation of the
1
building is very complex, with public and private areas kept strictly
3 separate from one another: The judges private elevators connect
to underground parking; four special elevators carry prisoners to
2
cells adjoining the courtrooms; jurors use the private corridor, as
do judges, lawyers and staff; the public is restricted to the wide
corridor serving the courtrooms.2
Although the two towers are separate freestanding objects,
one perceives them as being part of the same complex, their L-
shaped arrangement marking out an urban space. Despite the
uniformity of the faades, they are vertically structured: the tops
of the towers are crowned by a band of opaque panels that encl
ose the services and plant room, and a similar band wraps around
the waist of the taller of the two towers just above a third of the
height of the building. Reflections play across the surfaces of the
faades as the ambient conditions change, lending the faades a
sense of dynamism. The towers are raised off the ground on col
umns with fully glazed lobbies, creating a sense of spatial conti-
nuity at ground level that is further underlined by the continuous
paving of the floor. The plaza is paved with grey Rockville granite
and this material continues on into the hall of the post office and
the lobbies of the high-rise towers.
The interior of the post office, which opens completely towards
the plaza, was originally planned as a clear-span structure, but the
soil conditions were deemed inadequate and the roof of the space
is borne instead by four cruciform columns. Two installation ducts
clad with green-coloured granite extend from the floor to the ceil
ing, which like that in Crown Hall is suspended from above. The
walls containing the post boxes are likewise clad with granite. Lorry
access for deliveries and collections is arranged below ground.
Both the structural framework as well as the faade is made
of steel. For Mies, this represented an ideal combination, albeit
one he was only rarely able to realise. His residential towers were
mostly reinforced steel constructions clad with aluminium curtain
walling, and he had only once succeeded in combining a steel
Site plan
1 U.S. Post Office
2 John C. Kluczynski Federal Building
188 3 Everett M. Dirksen U.S. Courthouse
View from the west
View from the north 189
structural skeleton with a steel faade before, namely in his pro-
ject for the apartment blocks on 860880 Lake Shore Drive, also
in Chicago. Unlike the earlier prototypical project, however, the
external skin of the faade does not lie in the plane of the sup-
porting structure but is positioned in front of it. By locating the
loadbearing structure within the external skin, it is easier to handle
their respective differential thermal expansion because the struc-
tural frame and the faade are two separate elements indepen-
dent of one another. The steel profiles of the faade were welded
together on site and painted Mies trademark matt-graphite col
our. The individual window casements were made of dark-coloured
aluminium with dark-tinted panes of glazing.
1 Ludwig Mies van der Rohe in: Moiss Puente (ed.), Conversations with
Mies van der Rohe, Barcelona 2006, p. 78.
2 Architectural Record, March 1965, p. 132.
3 Detailed information on the alterations made to the building can be
found on the homepage of the U.S. General Service Administration:
www.gsa.gov.
4 Philip Johnson in conversation with Barbaralee Diamonstein-Spielvogel in
1978: library.duke.edu/digitalcollections/dsva.
1 The building is documented in: Peter Carter, Mies at Work, London 1974,
pp. 130131.
197
Faade overlooking the garden
198 Garden
building, which has an uncharacteristically rough surface quality
similar to that of brutalist concrete architecture.2 This contrast is
also evident in the paving. The paving slabs are made of concrete
mixed with coarse gravel aggregate and represent a continuation
of the typical materiality of Baltimores pavements. The entrance
hall is paved with terrazzo flooring made of the same basic gra-
vel, giving the impression that the paving has simply been sanded
and polished as if it were a refinement of an ordinary material.
1 The building is documented in: Bauen und Wohnen, May 1966, pp. 174176,
and in: Franz Schulze (ed.), The Mies van der Rohe Archive An Illustrated
Catalogue of the Mies van der Rohe Drawings in the Museum of Modern
Art, vol. 19, London, New York 1992, pp. 230248.
2 Cf. Reyner Banham, The New Brutalism Ethic or Aesthetic?, London
1966. Mies buildings for the IIT are also documented in this publication.
Banham argues that Mies use of steel exhibits an honesty of expression
s imilar to that of Le Corbusiers use of concrete.
3 Ludwig Mies van der Rohe in: Moiss Puente (ed.), Conversations with
Mies van der Rohe, Barcelona 2006, p. 14, 16 (in: Interbuild, June 1959).
209
210 Lower floor plan
in Europe, damaged sections of glazing have been replaced with
smaller panes bonded together with silicon joins. The stair balus-
trades have also been modified. After objections at an early date
by the building control authorities, glass panes were inserted into
the open balustrades. A handrail was also added to one of the
open flights of stairs. Aside from necessary alterations, such as the
provision of toilets for the disabled, the building is more or less in-
tact in its original condition. The gallery is due to be refurbished
by David Chipperfield Architects.
1 Ludwig Mies van der Rohe in conversation with Ulrich Conrads in 1964,
produced on a phonograph record, Mies in Berlin, Bauwelt, Berlin 1966.
2 Ludwig Mies van der Rohe, Manuscript from 19 Sep. 1960, published in:
Yilmaz Dziewior, Mies van der Rohe Blick durch den Spiegel (Mies van der
Rohe Looking Through the Mirror), Cologne 2005, p. 170.
Although Mies is describing his design for a museum in Schweinfurt, this
also applies to the Neue Nationalgalerie.
Ground level
Stairs
Lower level Ne u e Natio nalgaler i e 213
Sculpture garden
214 Outdoor stairs
Sculpture garden Ne u e Natio nalgaler i e 215
Toronto-Dominion Centre With this urban intervention, Mies changed the centre of Toronto.
Toronto, Canada, 196369 The complex consisting of two high-rise towers and a single-storey
bank building was realised in the heart of the city by grouping to-
gether several plots. In the financial district just south of the old
town hall, buildings were demolished to create a large building
site which was formed into a single plateau. The new building vol
umes are arranged freely on this plateau without paying regard
to the historical plan of the city. As with the Neue Nationalgale-
rie in Berlin in which the incline of the site is used to conceal a
full storey, Mies created a granite-paved plinth reached by a mon
umental flight of stairs. In both projects, the plinth houses many
of the principal spaces without being visible from outside. In To-
ronto, the plinth houses an artificially illuminated shopping con-
course and a cinema. This platform in the terrain is articulated ar-
chitectonically as a mound belonging to the ground and differs
markedly in its construction and materials from the steel and glass
buildings that stand on it.
The design for what was to be the tallest building in Canada
was originally going to be undertaken by Gordon Bunshaft, but
on Phyllis Lamberts recommendation Mies was invited to con-
tribute. He ended up producing designs for the entire complex,
which was then realised in conjunction with the Canadian offices
of John B. Parkin Associates and Bregman + Hamann Architects.1
The successively completed buildings of the 56-storey Toronto
Dominion Bank Tower (1967), the single-storey customer service
hall of the bank and the 46-storey Royal Trust Tower (1969) to-
gether form a coherent ensemble which despite their asymmetric
placement relate clearly to one another. The taller of the two tow-
ers is connected by a walkway to the single-storey pavilion creating
an L-shaped figure that encloses a plaza. The connecting walkway
is, however, designed in such a way that both building volumes
retain their autonomous character and are perceived as freestand
ing objects. The two towers stand with their narrow ends facing
the customer service hall of the bank.
As with Mies other buildings, the vegetation is conceived as
part of the overall architectural composition. Together with the
landscape architect Alfred Caldwell, Mies placed trees in an asym-
metrical pattern of recesses in the paving and integrated grass
lawns into the stone plinth. As a result the urban block provides
not only a public plaza but also an abstract natural landscape.
The design of the outdoor areas is a fundamental part of the ar-
chitecture, knitting together the plinth and the pavilion that sits
on it. The result is a balanced contrast between the sculptural
mass and weight of the podium and the slender lightweight im-
pression of the wide-span steel structural frameworks that extend
high up into the sky.
As in Berlin, the two monumental service ducts in the square
hall are clad with Greek Tinos marble, and visitors familiar with
the Neue Nationalgalerie will have a dj-vu experience on en-
tering the bank. A further similarity between the buildings is the
large column-free universal space covered by a grid of steel roof
trusses. The advantage of this method, which required the utmost
precision, is the low self-weight and construction depth of the roof
structure; its disadvantage the high assembly costs, which Mies
was nevertheless willing to accept in order to achieve the desired
impression of lightness. He declared, we have steel. I think that
this is a fine material. By fine, I mean it is very strong. It is very ele-
gant. You can do a lot with it. The whole character of the building
is very light. That is why I like it when I have to build a building in
a steel construction. What I like best is when I can use stone on
the ground.2
Like Corbusier, Mies regarded the George Washington Bridge
as the best structure in New York and he was obsessed with find
ing constructions that were adequate expressions of the material
employed. Because steel is able to achieve greater floor spans, he
developed a wide-span steel structure that he continually strove
Site plan
1 Royal Trust Tower
2 Toronto-Dominion Bank Tower
Detail of the faade 3 Toronto-Dominion Banking Pavilion 217
Detail of the plaza
218 Interior of the bank building
to improve. In contrast to his high-rise buildings, which in his la- 1 Phyllis Lambert, Punching Through the Clouds: Notes on the Place of
ter works were largely variations of an obligatory skeleton frame- the Toronto Dominion Centre in the North American uvre of Mies, in:
Detlef Mertins (ed.), The Presence of Mies, New York 1994, pp. 3349.
work, the column-free halls provided an opportunity to demon
2 Ludwig Mies van der Rohe in conversation in 1964, in: Moiss Puente
strate new solutions. While in Crown Hall the steel members span (ed.), Conversations with Mies van der Rohe, Barcelona 2006, p. 72.
in one direction and the roof of the Neue Nationalgalerie rests on 3 Ludwig Mies van der Rohe cited in: Only the Patient Counts Some Rad
eight articulated bearing points, the structural grid in Toronto is ical Ideas on Hospital Design, in: The Modern Hospital, 1945, pp. 6567.
4 Ludwig Mies van der Rohe in conversation with Graeme Shankland, in:
rigidly welded to sixty columns around the perimeter. As in Ber-
The Listener, 15 Oct. 1959, p. 622.
lin, the cruciform columns are made of an assembly of four T-pro- 5 Ludwig Mies van der Rohe in conversation with John Peter in 1955,
files but while the columns in Berlin bear just the structural load, transcription of the interview, pp.1415, Mies Archive, New York.
those in Toronto must also sustain the bending moment. The col
umns also hold the frames of the glazing and together with the
roof form a single framing enclosure. The abstraction of the ar-
chitecture is such that the building is perceived purely as structure.
1 The contrast is shown clearly in: Peter Carter, Mies van der Rohe at Work,
London 1974, p. 142.
2 Cf. the chapter Megacity Montreal, in: Reyner Banham, Megastructure
Urban Futures of the Recent Past, London 1976, pp. 104127.
3 Mies cooperated here with the architecture office of Greenspoon, Freed-
lander, Dunne, Plachta and Kryton in Montreal. See: Mies in Montreal, in:
LArchitecture dAujourdhui, Paris Jan./Feb. 2004, p. 108; and Alvin Boy-
arsky, End of the Line, in: Architectural Design, vol. 3, 1970, p. 157.
4 Leo MacGillivray, Westmount Square City-in-City, in: The Montreal
Gazette, 31 Jan. 1968, p.36.
5 Franz Schulze and Edward Windhorst, Mies van der Rohe A Critical
Biography, Chicago, London 2012, p.348.
Site plan
226 Brown Wing
Exterior views of the Brown Wing 227
Nuns Island Apartments The three apartment buildings are situated on an island in the
Montreal, Canada, 196669 St. Lawrence River a short distance from the centre of Montreal.
The development of the island only began in the 1960s and Mies
was able to position his slab-like apartment buildings close to the
waters edge in a park-like landscape. Like Highfield House in Bal-
timore, the buildings are made of concrete and here too the ex-
posed loadbearing structural frame steps back slightly at intervals
towards the top of the building. This, however, was the first time
that Mies incorporated balconies into high-rise buildings. As with
the service station nearby, he cooperated with local architecture
offices.1 David Cronenberg later used the buildings as the setting
for his film Shivers.
1 The two facing buildings were built together with Edgar Tornay and the
building that stands to one side with Philip D. Bobrow.
1 For further details on the planning of the building, see the description
by the project participant Rob Cuscaden in: The IBM Tower: 52 Stories
of Glass and Steel on Site that Seemed Almost Non-Existent, in: Inland
Architect, July 1972, p. 10.
colour module
23, 50, 55, 63, 76, 80, 82, 84, 121, 142, 146, 148, 174, 185, 188, 50, 104, 112, 115, 126, 130, 138, 168
190, 197
monument
concrete 8, 25, 28, 35, 43, 45, 57, 58, 82, 124, 162, 168, 170, 209, 216
10, 41, 50, 70, 82, 108, 112, 113, 114, 117, 119, 122, 123, 126,
129, 132, 136, 140, 150, 152, 154, 158, 160, 163, 164, 182, 184, movement
189, 192, 196, 199, 201, 206, 230 20, 23, 27, 56, 60, 68, 76, 93, 106, 110, 118, 132, 156, 211
core plinth
9, 35, 41,60, 115, 137, 143, 156, 160, 162, 179, 182, 188, 192, 16, 27, 33, 45, 48, 50, 58, 90, 104, 110, 115, 122, 124, 127, 146,
197, 202, 224 168, 179, 180, 197, 209, 216, 220
corner podium
20, 23, 25, 37, 42, 48, 50, 56, 58, 63, 68, 76, 80, 90, 93, 94, 96, 23, 28, 33, 45, 76, 160, 168, 194, 204, 209, 216
106, 108, 111, 114, 115, 117, 118, 122, 124, 134, 138, 141, 142,
146, 151, 158, 168, 169, 177, 183, 185, 194, 197, 211, 219, 225 proportion
10, 13, 18, 20, 23, 30, 32, 35, 41, 43, 45, 50, 54, 90, 93, 104, 106,
detailing 111, 113, 115, 124, 180, 188, 194, 197, 219, 220
10, 23, 25, 28, 48, 49, 50, 55, 61, 68, 84, 90, 95, 110, 115, 118,
120, 122, 124, 134, 136, 146, 148, 153, 158, 159, 161, 162, 180, reconstruction
185, 187, 192, 209, 220 10, 18, 20, 30, 32, 33, 43, 55, 60, 64, 76, 80, 84, 94, 95, 101, 118
236
spatial arrangement, concept, constellation Illustration Credits
9, 18, 23, 27, 39, 48, 50, 60, 63, 64, 72, 76, 82, 86, 93, 96, 123, All photographs and drawings by Carsten Krohn
124, 130, 140, 158, 180, 188, 220
stairs
10, 16, 18, 20, 29, 30, 33, 34, 37, 39, 40, 41, 42, 45, 46, 50, 55,
60, 72, 76, 80, 82, 90, 92, 93, 101, 110, 115, 117, 118, 119, 121,
130, 131, 132, 134, 136, 146, 148, 153, 179, 182, 185, 192, 202,
203, 208, 209, 211, 213, 214, 216, 220
steel construction
43, 58, 60, 68, 72, 76, 80, 82, 90, 95, 106, 110, 112, 115, 118,
120, 121, 126, 130, 132, 137, 139, 142, 146, 150, 151, 156, 158,
159, 162, 168, 182, 188, 190, 192, 199, 202, 211, 216, 219, 226,
230, 234
stone
10, 57, 64, 76, 80, 84, 121, 160, 197, 199, 209, 216
granite: 168, 188, 190, 192, 209, 216, 220; marble: 18, 45, 76,
80, 130, 162,168, 209, 216; onyx: 76, 80, 82, 84; shell lime-
stone: 35; travertine: 33, 45, 72, 76, 80, 84, 88, 124, 130, 142,
146, 156, 162, 182, 197, 220
tectonics
8, 18, 23, 72, 80, 82, 86, 93, 96, 132, 146, 148, 156
terrace
16, 20, 28, 33, 39, 40, 42, 45, 48, 56, 58, 64, 68, 82, 86, 87, 88,
96, 173, 174, 187
topography
18, 28, 30, 33, 58, 146, 179, 180, 197
type, typology
16, 18, 30, 35, 45, 90, 106, 110, 132, 148, 168, 173, 202, 209, 220
unity, entity
23, 30, 80, 104, 120, 133, 146, 168, 209, 58, 72, 80, 156
urban planning
13, 50, 58, 93, 104, 126, 138, 140, 162, 168, 173, 174, 179, 180,
187, 188, 190, 216, 219, 220, 232
visual axis
20, 32, 37, 39, 41, 45, 96, 104, 146, 173, 224
volume
27, 28, 37, 41, 50, 58, 68, 72, 90, 93, 96, 104, 106, 115, 118, 126,
139, 140, 146, 156, 162, 168, 173, 185, 204, 206, 216, 220, 234
water
25, 27, 28, 45, 76, 81, 96, 101, 142, 209, 220, 228, 230
237
Chronological Bibliography Martina Dttmann (ed.), Mies van der Rohe Die neue Zeit ist eine
(organised by original editions) Tatsache, Berlin 1986
Philip Johnson, Mies van der Rohe, New York 1947 Sandra Honey and others, Mies van der Rohe European Works,
London, New York 1986
Max Bill, Ludwig Mies van der Rohe, Milan 1955
Werner Blaser, Mies van der Rohe Less is More, Zurich 1986
Ludwig Hilberseimer, Mies van der Rohe, Chicago 1956
Werner Blaser, Mies van der Rohe Umgang mit Raum und Mbel,
ditions de lArchitecture dAujourdhui, Luvre de Mies van der Aachen 1986
Rohe, Paris 1958
Arthur Drexler (ed.), The Mies van der Rohe Archive, New York
Peter Blake, Mies van der Rohe Architecture and Structure, 19861993
Harmondsworth 1960
Rolf Achilles, Kevin Harrington and Charlotte Myhrum (eds.), Mies
Arthur Drexler, Mies van der Rohe, New York 1960 van der Rohe Architect as Educator, Chicago 1986
Werner Blaser, Mies van der Rohe The Art of Structure, London John Zukowsky (ed.), Mies Reconsidered His Career, Legacy and
1965 Disciples, New York 1986
James Speyer, Mies van der Rohe, Chicago 1968 Ajuntament de Barcelona, El Pavell Alemany de Barcelona de
Mies van der Rohe, 19291986, Barcelona 1987
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About the Author
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