Ludwig Mies van der Rohe

Not to be confused with Ludwig von Mises. Dutch van der, because the German form "von" was
a nobiliary particle legally restricted to those of genuine
aristocratic lineage.[7]
Ludwig Mies van der Rohe (/mis/ MEES; German:
[mis]; born Maria Ludwig Michael Mies; March He began his independent professional career designing
27, 1886 August 17, 1969) was a German-American upper-class homes, joining the movement seeking a re-
architect.[1] He is commonly referred to and was ad- turn to the purity of early 19th-century Germanic domes-
dressed as Mies, his surname. Along with Le Corbusier, tic styles. He admired the broad proportions, regularity
Walter Gropius and Frank Lloyd Wright, he is widely re- of rhythmic elements, attention to the relationship of the
garded as one of the pioneers of modernist architecture. man-made to nature, and compositions using simple cu-
Mies, like many of his post-World War I contemporaries, bic forms of the early nineteenth century Prussian Neo-
sought to establish a new architectural style that could Classical architect Karl Friedrich Schinkel. He rejected
represent modern times just as Classical and Gothic did the eclectic and cluttered classical styles so common at
for their own eras. He created an inuential twentieth- the turn of the 20th century as irrelevant to the modern
century architectural style, stated with extreme clarity times.
and simplicity. His mature buildings made use of modern
materials such as industrial steel and plate glass to dene
interior spaces. He strove toward an architecture with a 2 Personal life
minimal framework of structural order balanced against
the implied freedom of unobstructed free-owing open In 1913, Mies married Adele Auguste (Ada) Bruhn
space. He called his buildings skin and bones architec- (1885-1951), the daughter of a wealthy industrialist. The
ture. He sought an objective approach that would guide couple separated in 1918, after having three daughters:
the creative process of architectural design, but he was Dorothea (1914-2008), an actress and dancer who was
always concerned with expressing the spirit of the mod- known as Georgia, Marianne (1915-2003), and Waltraut
ern era. He is often associated with his quotation of the (1917-1959),[8] who was a research scholar and curator
aphorisms, "less is more" and "God is in the details". at the Art Institute of Chicago. During his military ser-
vice in 1917, Mies fathered a son out of wedlock.[9] In
1925 Mies began a relationship with designer Lilly Re-
ich that ended when he moved to the United States; from
1 Early career 1940 until his death, artist Lora Marx (1900-1989) was
his primary companion. Mies carried on a romantic re-
Mies was born March 27, 1886 in Aachen, Germany.[2] lationship with sculptor and art collector Mary Callery
He worked in his fathers stone carving shop[2] and at sev- for whom he designed an artists studio in Huntington,
eral local design rms before he moved to Berlin, where Long Island, New York.[10] He also was rumored to have
he joined the oce of interior designer Bruno Paul.[3] a brief relationship with Edith Farnsworth, who commis-
He began his architectural career as an apprentice at the sioned his work for the Farnsworth House.[11][12] Mari-
studio of Peter Behrens from 1908 to 1912,[4] where he annes son Dirk Lohan (b. 1938) studied under, and later
was exposed to the current design theories and to pro- worked for, Mies.
gressive German culture, working alongside Le Corbus-
ier and Walter Gropius, who was later also involved in the
development of the Bauhaus. Mies served as construction 3 Traditionalism to Modernism
manager of the Embassy of the German Empire in Saint
Petersburg under Behrens.[5] After World War I, Mies began, while still designing tra-
His talent was quickly recognized and he soon began ditional neoclassical homes, a parallel experimental ef-
independent commissions, despite his lack of a formal fort. He joined his avant-garde peers in the long-running
college-level education. A physically imposing, delibera- search for a new style that would be suitable for the mod-
tive, and reticent man, Ludwig Mies renamed himself as ern industrial age. The weak points of traditional styles
part of his rapid transformation from a tradesmans son had been under attack by progressive theorists since the
to an architect working with Berlins cultural elite, adding mid-nineteenth century, primarily for the contradictions
van der and his mothers surname Rohe,[6] using the of hiding modern construction technology with a facade

1
2 4
Villa Tugendhat built in 1930 in Brno, in todays Czech Republic,
for Fritz Tugendhat
Barcelona Pavilion, 1929. (reconstruction)
of ornamented traditional styles.
The mounting criticism of the historical styles gained sub-
stantial cultural credibility after World War I, a disaster
widely seen as a failure of the old world order of imperial
leadership of Europe. The aristocratic classical revival
styles were particularly reviled by many as the architec-
tural symbol of a now-discredited and outmoded social
system. Progressive thinkers called for a completely new
architectural design process guided by rational problem-
solving and an exterior expression of modern materials
and structure rather than, what they considered, the su-
percial application of classical facades.
While continuing his traditional neoclassical design prac-
tice Mies began to develop visionary projects that, though
mostly unbuilt, rocketed him to fame as an architect
capable of giving form that was in harmony with the
spirit of the emerging modern society. Boldly abandon-
ing ornament altogether, Mies made a dramatic mod-
ernist debut with his stunning competition proposal for
the faceted all-glass Friedrichstrae skyscraper in 1921,
followed by a taller curved version in 1922 named the
Glass Skyscraper.[13]
He continued with a series of pioneering projects, cul-
minating in his two European masterworks: the tempo-
rary German Pavilion for the Barcelona exposition (often
called the Barcelona Pavilion) in 1929[14] (a 1986 recon-
EMIGRATION TO THE UNITED STATES
struction is now built on the original site) and the elegant
Villa Tugendhat in Brno, Czech Republic, completed in
1930.
He joined the German avant-garde, working with the pro-
gressive design magazine G which started in July 1923.
He developed prominence as architectural director of the
Werkbund, organizing the inuential Weissenhof Estate
prototype modernist housing exhibition. He was also one
of the founders of the architectural association Der Ring.
He joined the avant-garde Bauhaus design school as their
director of architecture, adopting and developing their
functionalist application of simple geometric forms in the
design of useful objects. He served as its last director.
Like many other avant-garde architects of the day, Mies
based his architectural mission and principles on his un-
derstanding and interpretation of ideas developed by the-
orists and critics who pondered the declining relevance
of the traditional design styles. He selectively adopted
theoretical ideas such as the aesthetic credos of Russian
Constructivism with their ideology of ecient sculp-
tural assembly of modern industrial materials. Mies
found appeal in the use of simple rectilinear and planar
forms, clean lines, pure use of color, and the extension
of space around and beyond interior walls expounded by
the Dutch De Stijl group. In particular, the layering of
functional sub-spaces within an overall space and the dis-
tinct articulation of parts as expressed by Gerrit Rietveld
appealed to Mies.
The design theories of Adolf Loos found resonance with
Mies, particularly the ideas of replacing elaborate applied
artistic ornament with the straightforward display of in-
nate visual qualities of materials and forms. Loos had
proposed that art and crafts should be entirely indepen-
dent of architecture, that the architect should no longer
control those cultural elements as the Beaux Arts princi-
ples had dictated. Mies also admired his ideas about the
nobility that could be found in the anonymity of modern
life.
The bold work of leading American architects was ad-
mired by European architects. Like other architects
who viewed the exhibitions of Frank Lloyd Wright's
Wasmuth Portfolio, Mies was enthralled with the free-
owing spaces of inter-connected rooms which encom-
pass their outdoor surroundings as demonstrated by the
open oor plans of the Wrights American Prairie Style.
American engineering structures were also held up to be
exemplary of the beauty possible in functional construc-
tion, and its skyscrapers were greatly admired.
4 Emigration to the United States
Commission opportunities dwindled with the Great De-
pression after 1929. Starting in 1930, Mies served as the
last director of the faltering Bauhaus, at the request of
his colleague and competitor Walter Gropius. In 1932,
 3

Nazi political pressure forced the state-supported school head of the architecture school at Chicagos Armour In-
to leave its campus in Dessau, and Mies moved it to an stitute of Technology (later renamed Illinois Institute of
abandoned telephone factory in Berlin. By 1933, how- Technology). One of the benets of taking this position
ever, the continued operation of the school was untenable was that he would be commissioned to design the new
(it was raided by the Gestapo in April), and in July of thatbuildings and master plan for the campus. All his build-
year, Mies and the faculty voted to close the Bauhaus. ings still stand there, including Alumni Hall, the Chapel,
He built very little in these years (one built commission and his masterpiece the S.R. Crown Hall, built as the
was Philip Johnson's New York apartment); the Nazis re- home of IITs School of Architecture. Crown Hall is
jected his style as not German in character. widely regarded as Mies nest work, the denition of
Frustrated and unhappy, he left his homeland reluctantly Miesian architecture.
in 1937 as he saw his opportunity for any future building In 1944, he became an American citizen, completing his
commissions vanish, accepting a residential commission severance from his native Germany.[15] His thirty years
in Wyoming and then an oer to head the department as an American architect reect a more structural, pure
of architecture of the newly established Illinois Institute approach toward achieving his goal of a new architecture
of Technology (IIT) in Chicago. There he introduced a for the twentieth century. He focused his eorts on en-
new kind of education and attitude later known as Second closing open and adaptable universal spaces with clearly
Chicago School, which became very inuential in the fol- arranged structural frameworks, featuring prefabricated
lowing decades in North America and Europe. steel shapes lled in with large sheets of glass.
His early projects at the IIT campus, and for developer
Herbert Greenwald, presented to Americans a style that
5 Career in the United States seemed a natural progression of the almost forgotten
nineteenth century Chicago School style. His architec-
ture, with origins in the German Bauhaus and western
European International Style, became an accepted mode
of building for American cultural and educational institu-
tions, developers, public agencies, and large corporations.

6 American work
Mies worked from his studio in downtown Chicago for his
entire 31-year period in America. His signicant projects
in the U.S. include in Chicago and the area: the residential
towers of 860880 Lake Shore Dr, the Chicago Federal
Center complex, the Farnsworth House, Crown Hall and
other structures at IIT; and the Seagram Building in New
York. These iconic works became the prototypes for his
other projects. He also built homes for wealthy clients.

6.1 Chicago Federal Complex

Chicago Federal Center Plaza, also known as Chicago

Federal Plaza, unied three buildings of varying scales:
the mid-rise Everett McKinley Dirksen Building, the
high-rise John C. Kluczynski Building, and the single-
story Post Oce building. The complexs plot area ex-
tends over two blocks; a one-block site, bounded by Jack-
son, Clark, Adams, and Dearborn streets, contains the
Kluczynski Federal Building and U.S. Post Oce Loop
Station, while a parcel on an adjacent block to the east
contains the Dirksen U.S. Courthouse. The structural
framing of the buildings is formed of high-tensile bolted
steel and concrete. The exterior curtain walls are de-
IBM Plaza, Chicago, Illinois ned by projecting steel I-beam mullions covered with
at black graphite paint, characteristic of Miess designs.
Mies settled in Chicago, Illinois, where he was appointed The balance of the curtain walls are of bronze-tinted
4 6 AMERICAN WORK

glass panes, framed in shiny aluminum, and separated
by steel spandrels, also covered with at black graphite
paint.[16][17] The entire complex is organized on a 28-
foot grid pattern subdivided into six 4-foot, 8-inch mod-
ules. This pattern extends from the granite-paved plaza
into the ground-oor lobbies of the two tower buildings
with the grid lines continuing vertically up the buildings
and integrating each component of the complex. Asso-
ciated architects that have played a role in the complexs
long history from 1959 to 1974 include Schmidt, Garden
& Erickson; C.F. Murphy Associates; and A. Epstein &
Sons.[18]
6.2 Farnsworth House
Main article: Farnsworth House
Between 1946 and 1951, Mies van der Rohe designed
Glass House by Philip Johnson, located near New York
City and also now owned by the National Trust.
The house is an embodiment of Mies mature vision of
modern architecture for the new technological age: a
single unencumbered space within a minimal skin and
bones framework, a clearly understandable arrangement
of architectural parts.[19] His ideas are stated with clar-
ity and simplicity, using materials that are congured to
express their own individual character.
6.3 860880 Lake Shore Drive
Main article: 860880 Lake Shore Drive Apartments
Mies designed a series of four middle-income high-rise

Mies van der Rohes Farnsworth House

and built the Farnsworth House, a weekend retreat out-

side Chicago for an independent professional woman, Dr.
Edith Farnsworth. Here, Mies explored the relationship
between people, shelter, and nature. The glass pavilion is
raised six feet above a oodplain next to the Fox River,
surrounded by forest and rural prairies.
The highly crafted pristine white structural frame and all-
glass walls dene a simple rectilinear interior space, al- 860880 Lake Shore Drive, Chicago, Illinois
lowing nature and light to envelop the interior space. A
wood-panelled replace (also housing mechanical equip- apartment buildings for developer Herbert Greenwald:
ment, kitchen, and toilets) is positioned within the open the 860880 (which was built between 1949 and 1951)
space to suggest living, dining and sleeping spaces with- and 900910 Lake Shore Drive towers on Chicagos
out using walls. No partitions touch the surrounding all- Lakefront. These towers, with faades of steel and glass,
glass enclosure. Without solid exterior walls, full-heightwere radical departures from the typical residential brick
draperies on a perimeter track allow freedom to provide apartment buildings of the time. Mies found their unit
full or partial privacy when and where desired. The house sizes too small for him, choosing instead to continue liv-
has been described as sublime, a temple hovering be- ing in a spacious traditional luxury apartment a few blocks
tween heaven and earth, a poem, a work of art. away. The towers were simple rectangular boxes with a
The Farnsworth House and its 60-acre (240,000 m ) non-hierarchical wall enclosure, raised on stilts above a
2

wooded site was purchased at auction for US$7.5 million glass-enclosed lobby.
by preservation groups in 2004 and is now owned and op- The lobby is set back from the perimeter columns, which
erated by the National Trust for Historic Preservation as were exposed around the perimeter of the building above,
a public museum. The building inuenced the creation creating a modern arcade not unlike those of the Greek
of hundreds of modernist glass houses, most notably the temples. This conguration created a feeling of light,
6.5 Museum of Fine Arts, Houston 5

openness, and freedom of movement at the ground level

that became the prototype for countless new towers de-
signed both by Miess oce and his followers. Some his-
torians argue that this new approach is an expression of
the American spirit and the boundless open space of the
frontier, which German culture so admired.
Once Mies had established his basic design concept for
the general form and details of his tower buildings, he
applied those solutions (with evolving renements) to his
later high-rise building projects. The architecture of his
towers appears to be similar, but each project represents
new ideas about the formation of highly sophisticated ur-
ban space at ground level. He delighted in the compo-
sition of multiple towers arranged in a seemingly casual
non-hierarchical relation to each other. Caroline Wiess Law Building in Houston, Texas

Just as with his interiors, he created free owing spaces

and at surfaces that represented the idea of an oasis of
uncluttered clarity and calm within the chaos of the city. 6.5 Museum of Fine Arts, Houston
He included nature by leaving openings in the pavement,
through which plants seem to grow unfettered by urban- Mies designed two buildings for the Museum of Fine
ization, just as in the pre-settlement environment. Arts, Houston (MFAH) as additions to the Caroline
Wiess Law Building. In 1953, the MFAH commissioned
Mies van der Rohe to create a master plan for the in-
stitution. He designed two additions to the building
Cullinan Hall, completed in 1958, and the Brown Pavil-
ion, completed in 1974. A renowned example of the In-
6.4 Seagram Building ternational Style, these portions of the Caroline Wiess
Law Building comprise one of only two Mies-designed
museums in the world.[20]
Main article: Seagram Building

Although now acclaimed and widely inuential as an ur-

ban design feature, Mies had to convince Bronfmans
bankers that a taller tower with signicant unused open 6.6 National Gallery, Berlin
space at ground level would enhance the presence and
prestige of the building. Mies design included a bronze Miess last work was the Neue Nationalgalerie art mu-
curtain wall with external H-shaped mullions that were seum, the New National Gallery for the Berlin National
exaggerated in depth beyond what was structurally neces- Gallery. Considered one of the most perfect statements
sary. Detractors criticized it as having committed Adolf of his architectural approach, the upper pavilion is a pre-
Looss "crime of ornamentation". Philip Johnson had a cise composition of monumental steel columns and a can-
role in interior materials selections, and he designed thetilevered (overhanging) roof plane with a glass enclosure.
sumptuous Four Seasons Restaurant, which has endured The simple square glass pavilion is a powerful expres-
un-remodeled to today. The Seagram Building is said to sion of his ideas about exible interior space, dened
be an early example of the innovative fast-track con- by transparent walls and supported by an external struc-
struction process, where design documentation and con- tural frame. Art installations by Ulrich Rckriem (1998)
struction are done concurrently. or Jenny Holzer, as much as exhibitions on the work of
During 19511952, Mies designed the steel, glass, and Renzo Piano or Rem Koolhaas have demonstrated the ex-
brick McCormick House, located in Elmhurst, Illinois ceptional possibilities of this space.
(15 miles west of the Chicago Loop), for real-estate de- The glass pavilion is a relatively small portion of the
veloper Robert Hall McCormick, Jr. A one-story adap- overall building, serving as a symbolic architectural en-
tation of the exterior curtain wall of his famous 860880 try point and monumental gallery for temporary exhibits.
Lake Shore Drive towers, it served as a prototype for an A large podium building below the pavilion accommo-
unbuilt series of speculative houses to be constructed in dates most of the museums total built area with conven-
Melrose Park, Illinois. The house has been moved and re- tional white-walled art gallery spaces and support func-
congured as a part of the public Elmhurst Art Museum. tions. A large window running along all the West facade
He also built a residence for John M. van Beuren on a opens these spaces up to the large sculpture garden which
family estate near Morristown, New Jersey. is part of the podium building.
6 9 LATER YEARS AND DEATH

7 Furniture pendent path. Other disciples continued Miess architec-

tural language for years, notably Gene Summers, David
Mies, often in collaboration with Lilly Reich, designed Haid, Myron Goldsmith, Y.C. Wong, Jacques Brown-
modern furniture pieces using new industrial technologies son, and other architects at the rms of C.F. Murphy and
that have become popular classics, such as the Barcelona Skidmore, Owings & Merrill.
chair and table, the Brno chair, and the Tugendhat chair. But while Mies work had enormous inuence and critical
His furniture is known for ne craftsmanship, a mix of recognition, his approach failed to sustain a creative force
traditional luxurious fabrics like leather combined with as a style after his death and was eclipsed by the new wave
modern chrome frames, and a distinct separation of the of Post Modernism by the 1980s. Proponents of the Post
supporting structure and the supported surfaces, often Modern style attacked the Modernism with clever state-
employing cantilevers to enhance the feeling of lightness ments such as less is a bore and with captivating images
created by delicate structural frames. such as Crown Hall sinking in Lake Michigan. Mies had
hoped his architecture would serve as a universal model
that could be easily imitated, but the aesthetic power of
his best buildings proved impossible to match, instead re-
8 Educator sulting mostly in drab and uninspired structures rejected
by the general public. The failure of his followers to
Mies served as the last director of Berlins Bauhaus, and meet his high standard may have contributed to demise
then headed the department of architecture, Illinois Insti- of Modernism and the rise of new competing design the-
tute of Technology in Chicago, where he developed the ories following his death.
Second Chicago School. He played a signicant role as
an educator, believing his architectural language could be
learned, then applied to design any type of modern build-
ing. He set up a new education at the department of archi-
tecture of the Illinois Institute of Technology in Chicago
replacing the traditional Ecole des Beaux-Art curriculum
by a three-step-education beginning with crafts of draw-
ing and construction leading to planning skills and nish-
ing with theory of architecture (compare Vitruvius: r-
mitas, utilitas, venustas). He worked personally and in-
tensively on prototype solutions, and then allowed his stu-
dents, both in school and his oce, to develop derivative
solutions for specic projects under his guidance.
Some of Mies curriculum is still put in practice in the
rst and second year programs at IIT, including the pre-
cise drafting of brick construction details so unpopular Mies van der Rohes grave marker in Graceland Cemetery
with aspiring student architects. When none was able to
match the quality of his own work, he agonized about
where his educational method had gone wrong. Never-
theless, his achievements in creating a teachable archi-
tecture language that can be used to express the modern
technological era survives until today.
Mies placed great importance on education of architects
who could carry on his design principles. He devoted a
great deal of time and eort leading the architecture pro-
gram at IIT. Mies served on the initial Advisory Board of
the Graham Foundation in Chicago. His own practice
was based on intensive personal involvement in design
eorts to create prototype solutions for building types
(860 Lake Shore Drive, the Farnsworth House, Seagram German commemorative stamp marking 100 years since Miess
birth
Building, S. R. Crown Hall, The New National Gallery),
then allowing his studio designers to develop derivative
buildings under his supervision.
Miess grandson Dirk Lohan and two partners led the 9 Later years and death
rm after he died in 1969. Lohan, who had collaborated
with Mies on the New National Gallery, continued with Over the last twenty years of his life, Mies developed and
existing projects but soon led the rm on his own inde- built his vision of a monumental skin and bones archi-
 7

tecture that reected his goal to provide the individual a

place to fulll himself in the modern era. Mies sought to
create free and open spaces, enclosed within a structural
order with minimal presence.
Mies van der Rohe died on August 17, 1969. After cre-
mation, his ashes were buried near Chicagos other fa-
mous architects in Chicago's Graceland Cemetery. His Interior of Neue Nationalgalerie
grave is marked by a simple black slab of granite and a museum in Berlin, Germany
large honey locust tree.[1]

10 Archives Lafayette Park, Detroit is on

the U.S. National Register of Historic Places

The Ludwig Mies van der Rohe Archive, an adminis-

tratively independent section of the Museum of Modern
Art's department of architecture and design, was estab-
lished in 1968 by the museums trustees. It was founded
in response to the architects desire to bequeath his entire
work to the museum. The archive consists of about nine-
teen thousand drawings and prints, one thousand of which
are by the designer and architect Lilly Reich (1885
1947), Mies van der Rohes close collaborator from 1927 Lafayette Towers Apartments
to 1937; of written documents (primarily, the business East, Detroit
correspondence) covering nearly the entire career of the
architect; of photographs of buildings, models, and fur-
niture; and of audiotapes, books, and periodicals.
Archival materials are also held by the Ryerson & Burn-
ham Libraries at the Art Institute of Chicago. The Lud-
wig Mies van der Rohe Collection, 19291969 (bulk
19481960) includes correspondence, articles, and mate-
rials related to his association with the Illinois Institute of
Technology. The Ludwig Mies van der Rohe Metropoli-
tan Structures Collection, 19611969, includes scrap- Toronto-Dominion Centre
books and photographs documenting Chicago projects. logo includes the font text created by Mies
Other archives are held at the University of Illinois at
Chicago (personal book collection), the Canadian Center
for Architecture (drawings and photos) in Montreal, the
Newberry Library in Chicago (personal correspondence),
and at the Library of Congress in Washington D.C. (pro-
fessional correspondence).

TD Centre pavilion,
Toronto, used as a branch for TD Canada Trust bank

11 Gallery

S.R. Crown Hall on the

Martin Luther King Jr. campus of the Illinois Institute of Technology is a
Memorial Library, Washington National Historic Landmark
8 12
Higheld House, Baltimore
University of Chicago School of
Social Service Administration
201 Corot, Montral
12 List of works
Buildings after emigration to the United States (19391960)
A memorial to the Spartacist leaders Karl Liebknecht and Rosa
Luxemburg, commissioned by Eduard Fuchs, president of the
German Communist Party in Germany designed by Ludwig Mies
van der Rohe, built by Wilhelm Pieck, and inaugurated on 13
June 1926, later destroyed by the Nazis
Early career in Berlin (19071938)
1907 Riehl House Residential Home, Potsdam,
Germany
1911 Perl House Residential Home, Zehlendorf
1913 Werner House Residential Home, Zehlen-
dorf
LIST OF WORKS
1917 Urbig House Residential Home, Potsdam
1922 Kempner House Residential Home,
Charlottenburg
1922 Eichstaedt House Residential Home,
Wannsee
1922 Feldmann House Residential Home,
Wilmersdorf
1923 Ryder House - Residential Home, Wiesbaden
1925 Wolf House - Residential Home Guben
1926 Mosler House Residential Home, Babelsberg
1926 Revolutionsdenkmal - Monument dedi-
cated to Karl Liebknecht and Rosa Luxemburg,
Zentralfriedhof Friedrichsfelde, Berlin
1927 Afrikanische Strae Apartments Multi-
Family Residential, Berlin, Germany
1927 Weissenhof Estate Housing Exhibition co-
ordinated by Mies and with a contribution by him,
Stuttgart
1928 Haus Lange and Haus Esters Residential
Home and an art museum, Krefeld
1929 Barcelona Pavilion Worlds Fair Pavilion,
Barcelona, Spain
1930 Villa Tugendhat Residential Home, Brno,
Czech Republic, designated a World Heritage Site
by UNESCO in 2001
1930 Verseidag Factory Dyeing and HE Silk Mill
Building Krefeld, Germany[21]
1932 Lemke House Residential Home,
Weissensee
1939-1958 Illinois Institute of Technology Cam-
pus Master Plan, Academic Campus & Buildings,
Chicago, Illinois
1949 The Promontory Apartments Residential
Apartment Complex, Chicago, Illinois
1951 Sheridan-Oakdale Apartments (2933 N Sheri-
dan Rd ) Residential Apartment Complex,
Chicago, Illinois
1951 Lake Shore Drive Apartments Residential
Apartment Towers, Chicago
1951 Algonquin Apartments Residential Apart-
ments, Chicago, Illinois

1951 Farnsworth House Vacation Home, Plano,
Illinois
1952 Arts Club of Chicago Interior Renovation
Art Gallery, demolished in 1997, Chicago, Illinois
1952 Robert H. McCormick House - Residential
Home, relocated to the Elmhurst Art Museum,
Elmhurst, Illinois
1954 Cullinan Hall Museum of Fine Arts, Hous-
ton
1956 Crown Hall, Illinois Institute of Technol-
ogy College of Architecture Academic Building,
Chicago, Illinois[22]
1956 Esplanade Apartment Buildings (900-910
Lake Shore Dr) Residential Apartment Complex,
Chicago, Illinois
1957 Commonwealth Promenade Apartments (330-
330 W Diversey Parkway) Residential Apartment
Complex, Chicago (1957)[23]
1958 Seagram Building Oce Tower, New York
City, New York
1958 Caroline Wiess Law Building, Museum of
Fine Art, Houston
1959 Home Federal Savings and Loan Association
Building Oce Building, Des Moines, Iowa
1959 Lafayette Park Residential Development,
Detroit, Michigan.[24]
1960 Pavilion and Colonnade Apartments Resi-
dential complex, Newark, New Jersey
Late career Worldwide (196169)
1961 Bacardi Oce Building Oce Building,
Mexico City
1962 Higheld House Apartments Oce Build-
ing, Baltimore, Maryland
1962 Tourelle-Sur-Rive Residential apartment
complex of three towers, Nuns Island, Montreal,
Canada
Buildings on the Illinois Institute of Technology
1962 One Charles Center Oce Tower, Campus (19391958)
Baltimore, Maryland
1963 2400 North Lakeview Apartments Residen-
tial Apartment Complex, Chicago, Illinois
1963 Morris Greenwald House Vacation Home,
Weston, Connecticut
1964 Chicago Federal Center - Civic Complex,
Chicago, Illinois
9
1960-64 Dirksen Federal Building Oce
Tower, Chicago
Kluczynski Federal Building Oce Tower,
Chicago
United States Post Oce Loop Station Gen-
eral Post Oce, Chicago
1964 Higheld House Condominium, 4000 North
Charles Condominium Apartments, Baltimore,
Maryland
1965 University of Chicago School of Social Ser-
vice Administration Academic Building Chicago,
Illinois
1965 Richard King Mellon Hall Duquesne Univer-
sity, Pittsburgh, PA
1965 Meredith Hall School of Journalism and
Mass Communication, Drake University, Des
Moines, IA
1967 Westmount Square Oce & Residential
Tower Complex, Westmount, Montreal, Canada
1968 Neue Nationalgalerie Modern Art Museum,
Berlin, Germany
1965-68 Brown Pavilion, Museum of Fine Art,
Houston
1967-69 Toronto-Dominion Centre Oce Tower
Complex, Toronto, Canada
1969 Filling station Nuns Island, Montreal,
Canada (closed)
1970 One Illinois Center Oce Tower, Chicago,
Illinois (completed post-mortem)
1972 Martin Luther King, Jr. Memorial Library
District of Columbia Public Library, Washington,
D.C. (completed post-mortem)
1973 American Life Building Louisville, Ken-
tucky (completed after Miess death by Bruno Con-
terato)
1973 IBM Plaza Oce Tower, Chicago (com-
pleted post-mortem)
1943 Minerals & Metals Research Building
Research[22]
1945 Engineering Research Building Research[22]
1946 Alumni Memorial Hall Classroom[22]
1946 Wishnick Hall Classroom[22]
10
1946 Perlstein Hall Classroom[22]
1950 I.I.T. Boiler Plant Academic[22]
1950 Institute of Gas Technology Building
Research[22]
1950 American Association of Railroads Adminis-
tration Building (now the College of Music Build-
ing) Administration[22]
1952 Mechanical Engineering Research Building I
Research[22]
1952 Carr Memorial Chapel Religious[22]
1953 American Association of Railroads Mechani-
cal Engineering Building Research[22][22]
1953 Carman Hall at IIT Dormitory [22]
1955 Cunningham Hall Dormitory[22]
1955 Bailey Hall Dormitory[22]
1955 I.I.T. Commons Building Academic-
name="autogenerated2002"/>
1956 Crown Hall Academic, College of
Architecture[22]
1957 Physics & Electrical Engineering Research
Building Research[22]
1957 Siegel Hall Classroom[22]
1953 American Association of Railroads Labora-
tory Building Research[22]
1958 Metals Technology Building Extension
Research[22]
13 See also
International Style
Barcelona chair
14 References
[1] Mies van der Rohe Dies at 83; Leader of Modern Ar-
chitecture. The New York Times. August 17, 1969.
Retrieved 2007-07-21. Mies van der Rohe, one of the
great gures of 20th-century architecture, died in Wesley
Memorial Hospital here late last night. He was 83 years
old.
[2] Frank N. Magill (5 March 2014). The 20th Century Go-
N: Dictionary of World Biography. Routledge. pp. 2520.
ISBN 978-1-317-74060-5.
14 REFERENCES
[3] Jean-Louis Cohen (1996). Mies Van Der Rohe. Taylor &
Francis. pp. 13. ISBN 978-0-419-20330-8.
[4] Jean-Louis Cohen (1996). Mies Van Der Rohe. Taylor &
Francis. pp. 15. ISBN 978-0-419-20330-8.
[5] German Embassy Building. Encyclopaedia of Saint Pe-
tersburg. Retrieved 2008-08-11.
[6] Ludwieg Mies van der Rohe (18861969)" Check |url=
value (help). designboom.com. Retrieved March 22,
2011.
[7] Do Italian last names beginning with 'de,' 'del,' or 'della'
indicate nobility?" (April 6, 1990)The Straight Dope
[8] In Memoriam. Art Institute of Chicago Quarterly.
February 1960. JSTOR 4120547.
[9] Mies Children. tugendhat.eu. Retrieved October 22,
2012.
[10] Welch, Frank D. (2000). Philip Johnson & Texas (1st
ed.). Austin: University of Texas Press. p. 318. ISBN
0292791348.
[11] Davies, Colin (2006). Key Houses of the Twentieth Cen-
tury: Plans, Sections and Elevations. Laurence King Pub-
lishing. p. 113. ISBN 9781856694636.
[12] Coleman, Debra; Danze, Elizabeth; Henderson, Carol
(1996). Architecture and feminism: Yale publications on
architecture. Princeton Architectural Press. p. 216.
ISBN 9781568980430.
[13] Compare Arthur Lubows The Contextualizer, New
York Times. April 6, 2008, p. 4; excerpt, "...a skyscraper
that Nouvel (adapting a term from the artist Brncui)
called the tour sans ns, or endless tower. Conceived
as a kind of minaret alongside the squat, monumental
Grande Arche de La Dfense, the endless tower has taken
on some of the mystique of Mies van der Rohes unbuilt
Friedrichstrasse glass skyscraper of 1921. To obscure its
lower end, the tower was designed to sit within a crater.
Its facade, appearing to vanish in the sky, changed as it
rose, from charcoal-colored granite to paler stone, then to
aluminum and nally to glass that became increasingly re-
ective, all to enhance the illusion of dematerialization.
[14] Farnsworth House. History, Farnsworth House, Re-
trieved on 30 January 2013.
[15] Trevor Homer (13 December 2013). Born in the USA:
The American Book of Origins. Skyhorse Publishing. pp.
167. ISBN 978-1-62636-976-4.
[16] John C. Kluczynski Federal Building, Chicago, IL. Re-
trieved 2015-07-14.
[17] Everett M. Dirksen U.S. Courthouse, Chicago, IL. Re-
trieved 2015-07-14.
[18] Chicago Federal Center Plaza. Retrieved 2015-07-14.
[19] Alrevic Djordje, Simonovic-Alrevic Sanja.
Interpretations of Space Within Space Concept in
Contemporary Open-Plan Architecture / Primena
koncepta prostor u prostoru u savremenoj arhitekturi
otvorenog plana. Arhitektura i urbanizam (Belgrade),
No.42 (2016), pp. 2440.
 11

[20] The Museum of Fine Arts, Houston Law Building. Mies in Berlin-Mies in America
Mfah.org. Retrieved 2012-03-27.
Great Buildings Architects
[21] Mies In Krefeld. Projekt Mik. Retrieved on 2013-12-23.
Elmhurst Art Museum, featuring McCormick
[22] Blaser, Werner. Mies Van der Rohe IIT Campus. Basel, House
Boston Berlin: Birkauser Publishers for Architecture.
2002. Print Richard King Mellon Hall, Duquesne University,
Pittsburgh, PA
[23] Commonwealth Promenade Apartments, 19531956.
Facebook. Retrieved 2012-03-27. Mies, IIT, and the Second Chicago School
[24] Vitullo-Martin, Julio.The Biggest Mies Collection: His Mies in America exhibition
Lafayette Park residential development thrives in De-
troit.The Wall Street Journal. Retrieved on April 21, 2007. Travel guide to Mies Buildings

Construction underway to transform famed Nuns

Island gas station
15 Further reading
Mies Lafayette Park in Detroit
Blake, Peter (1976). The Master Builders. New
York: W W Norton & Company, Inc. ISBN 0-393- Mies in IR
00796-0. Ludwig Mies van der Rohe architectural and furni-
Carter, Peter (1974). Mies van der Rohe at Work. ture drawings, 1946-1961, held by the Avery Archi-
New York: Praeger. OCLC 627943. tectural and Fine Arts Library, Columbia University

Daza, Ricardo (2000). Looking for Mies. Barcelona:

Actar. ISBN 9788496954373.

Puente, Moiss (2008). Conversations with Mies

Van Der Rohe. New York: Princeton Architectural
Press. p. 96. ISBN 978-1-56898-753-8.

Schulze, Franz (1985). Mies Van Der Rohe; A Crit-

ical Biography. Chicago: University of Chicago
Press, Inc. ISBN 0-226-74059-5.

Schulze, Franz; Windhorst, Edward (2012). Mies

Van Der Rohe, a Critical Biography (New and Re-
vised Edition). Chicago: University of Chicago
Press. ISBN 0-226-75600-9.

Sharp, Dennis (1991). The Illustrated Encyclopedia

of Architects and Architecture. New York: Whitney
Library of Design. p. 109. ISBN 0-8230-2539-X.

Spaeth, David (1985). Mies Van Der Rohe. New

York: Rizzoli International Publications, Inc. ISBN
0-8478-0563-8.

Zimmerman, Claire (2015). Mies Van Der Rohe.

Koln Germany: Taschen. ISBN 978-3-8365-6042-
9.

16 External links
Mies van der Rohe Society

Mies van der Rohe Foundation

Ludwig Mies van der Rohe at the Museum of Mod-

ern Art
12 17 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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