Ludwig Mies van der Rohe
Ludwig Mies van der Rohe was born in Aquisgran the 27th of Marz of 1886 and died in Chicago the 17th of August of 1969. He was active in Germany, from 1908 to 1938, when he moved to USA and where he was until his death. He was also considerate a “master” of the Modern Movement, since the 50s, and he was one of the fathers of this movement with Walter Gropius, Le Corbusier and Frank Lloyd Wright.
Mies van der Rohe, who in his childhood was guided by masters as Hendrik Petrus Berlage or Peter Behrens, he always kept tabs of the Villlet-Le-Duc’s rationalism or Karl Friedrich Schinkel eclectic classicism, having a strong connection with the architectural historicism. As he said in his manifesto “Baukunst und Zeiwille” about this: “it is not possible to move on looking back”.
In 1900 he began to work with his father in the stone workshop of the family and shortly afterward he move to Berlin to work with Bruno Paul in 1902, designing furniture. He planned his first house in 1907, the “Riehl House” in Neubabelsbers and worked from 1908 to 1911 in Peter Behrens’s studio. There he was influenced by structural technics and designs based on steel and glass, as the AEG project in Berlin. While he was in Behrens’s studio he designed the Perls House.
In 1912 he openned his own studio and projected a house in The Hague for Kröller-Müller marriage. The studio received few jobs in its first years, but Mies, contrary to architects as Le Corbusier, in his first years he already showed an architectural policy to follow, being an architect that changed little his architectural philosophy. To his epoch belonged the Heertrasse House and Urbig House as his principal projects.
In 1913 se move to the outskirts of Berlin with his wife Ada Bruhn with whom he would have three kids. The family broke up when Mies was posted to Romania during the World War I.
In 1920, Ludwig Mies changed his surname to Mies van der Rohe and in 1922 he joined as member to the “Novembergruppe”. One year later, in 1923, he published the magazine “G” with Doesburg Lisstzky and Rechter. During this period he worked in two houses, the Birck House and the Mosler House. In 1926, Mies van der Rohe held the post of chief commissioner of the German Werkbund exhibition, being his president this year. In this period he projected the Wolf House in Guden and the Hermann Lange House in Krefeld and in 1927, he met the designer Lilly Reich, in the house exhibition of Weissenhof, where he was director, and he planned a steel structure block for her.
In 1929, he received the project the German National Pavilion to the International Exhibition of Barcelona) rebuilt in 1986=, where he included the design of the famous Barcelona Chair.
In 1930, he planned in Brün – present Czech Republic -, the Tugendhat Villa. He managed the Dessau’s Bauhaus until his closure in 1933. The Nazism forced Mies to emigrate to the United States in 1937. He was designated chair of the Architecture department in Armour Institute in 1938, the one that later merged with the Lewis Institute, forming the Illinois Institute of Technology (IIT) and where he took the responsibility to build a considerable extent of the foundations of the Intitute from 1939 and 1958. One of the buildings of this complex is the Crown Hall, IIT (1950-1956).
In 1940, he met the person who would be his partner until his death, Lora Marx. He became citizen of the USA in 1944 and, one year later, he began with the Farnsworth House’s project (1945-1950). During this stage, in 1948, he designed his first skyscraper: the two towers of the Lake Drive Apartments in Chicago, which were finished in 1951. Shortly after, he planned other building of this typology, the Commonwealth Promenade Apartments, from 1953 to 1956.
In 1958 he projected his most important work: the Segram Building in New York. This building has 37 storeys, covered with glass and bronze, which built and planned with Philip Johnson. He retired from the Illinois Institute of Technology the same year. He also built more towers and complexes as: the Toronto Dominion Centre (1963-1969) and the Westmount Square (1965-1968) and designed the New Square and Office Tower of The City of London (1967).
From 1962 to 1968, he built the Neue Nationalgalerie in Berlin, which would be his last legacy to the architecture. The building that rose as exhibition hall is made of steel, glass and granite.
He died in Chicago the 17th of August if 1969 leaving behind a large legacy and influence to next generations.
The Mies van der Rohe’s most famous sentences are “Less is more” and “God is in the details”.
In 1912, she became a member of the Deutscher Werkbund (German Work Federation, an association founded in 1907 formed by industrialists, architects and artists that defined the German industrial design). In 1920, she became the first female member of its board of directors. She was also a member of the Freie Gruppe für Farbkunst (independent group for colour art) in the same organisation.
In 1914, she collaborated on the interior design of the Haus der Frau (woman’s house) at the Deutscher Werkbund exhibition in Cologne. She managed a studio for interior design, decorative art and fashion in Berlin until 1924. In the same year, she travelled to England and Holland with Ferdinand Kramer to view modern housing estates. Until 1926, she managed a studio for exhibition design and fashion in Frankfurt am Main and worked in the Frankfurt trade fair office as an exhibition designer.
Reich met Ludwig Mies van der Rohe in 1926 and collaborated closely with him on the design of a flat and other projects for the Deutscher Werkbund exhibition held in Stuttgart in 1928. In 1927, she moved into her own studio and apartment in Berlin. In mid-1928, Mies van der Rohe and Reich were appointed as artistic directors of the German section of the 1929 World Exhibition in Barcelona, probably owing to their successful collaboration on the Deutscher Werkbund exhibition in Stuttgart. In late 1928, Mies van der Rohe began to work on the design for the Tugendhat House in the Czech town of Brno. This was completed in 1930 and, alongside the Barcelona Pavilion, it is considered to be a masterpiece of modern architecture. The interior design for Tugendhat House was created in collaboration with Lilly Reich.
In 1932, Lilly Reich played an important role at the Bauhaus in Dessau and Berlin. In January 1932, the third Bauhaus director, Ludwig Mies van der Rohe, appointed her as the director of the building/finishing department and the weaving workshop at the Bauhaus Dessau. She also continued to serve in this capacity at the Bauhaus Berlin, where she worked until December 1932.
In 1934, Reich collaborated on the design of the exhibition Deutsches Volk – Deutsche Arbeit (German people – German work) in Berlin. In 1937, Reich and Ludwig Mies van der Rohe were commissioned to design the German Reich exhibition of the German textile and clothing industry in Berlin. This was subsequently displayed in the textile industry section of the German Pavilion at the Paris World Exhibition of 1937. In 1939, she travelled to Chicago and visited Mies van der Rohe there. Following her return to Germany, Reich was conscripted to the military engineering group Organisation Todt (OT). After the war (1945/46), she taught interior design and building theory at Berlin University of the Arts. Reich ran a studio for architecture, design, textiles and fashion in Berlin until her death in 1947.
In 1901 she enrolled in drawing at the Slade School of Fine Arts in London, and during his visits to the Victoria and Alberto Museum he developed her admiration for the Asian works of lacquer and in 1902 she settled temporarily in Paris to continue her studies in drawing at the École Colarossi. Gray settled permanently in Paris in 1906. She practiced little as an architect due to the restrictions that women had at that time in the architecture profession. Among his scarce projects are Villa E-1027 and Villa Tempe á Pailla, on the Costa Azul.
She obtained more fame as an interior designer and furniture designer. Although after the Second World War was losing this reputation little by little. Only in her last years of life did she return to that fame when the designer Zeev Aram took control of the rights of her work and rediscovered it to the world.
Alvar Aalto (1898-1976) qualified as an architect from Helsinki Institute of Technology (later Helsinki University of Technology and now part of the Aalto University) in 1921. He set up his first architectural practice in Jyväskylä. His early works followed the tenets of Nordic Classicism, the predominant style at that time. In the late 1920s and early 1930s, he made a number of journeys to Europe on which he and his wife Aino Marsio, also an architect, became familiar with the latest trends in Modernism, the International Style.
The pure Functionalist phase in Aalto’s work lasted for several years. It enabled him to make an international breakthrough, largely because of Paimio Sanatorium (1929-1933), an important Functionalist milestone. Aalto had adopted the principals of user-friendly, functional design in his architecture. From the late 1930s onwards, the architectural expression of Aalto’s buildings became enriched by the use of organic forms, natural materials and increasing freedom in the handling of space.
From the 1950s onwards, Aalto’s architectural practice was employed principally on the design of public buildings, such as Säynätsalo Town Hall (1948-1952), the Jyväskylä Institute of Pedagogics, now the University of Jyväskylä (1951-1957), and the House of Culture in Helsinki (1952-1956). His urban design master plans represent larger projects than the buildings mentioned above, the most notable schemes that were built being Seinäjoki city centre (1956-1965/87), Rovaniemi city centre (1963-1976/88) and the partly built Jyväskylä administrative and cultural centre (1970-1982).
From the early 1950s onwards, Alvar Aalto’s work focused more and more on countries outside Finland, so that a number of buildings both private and public were built to his designs abroad. Some of his best-known works include Villa Mairea, Noormarkku, Finland (1937–1939), the Finnish Pavilion at the 1939 New York World's Fair, Baker House, Massachusetts Institute of Technology, Cambridge, Massachusetts, USA (1947–1948), Helsinki University of Technology, Espoo, Finland (1949–1966), The Experimental House, Muuratsalo, Finland (1953) or Essen opera house, Essen, Germany (1959–1988).
Charles-Ray Kaiser EAMES
Charles Eames was born in 1907 in St. Louis, Missouri. He attended school there and developed an interest in engineering and architecture. After attending Washington University in St. Louis on scholarship for two years and being thrown out for his advocacy of Frank Lloyd Wright, he began working in an architectural office. In 1929, he married his first wife, Catherine Woermann (they divorced in 1941), and a year later Charles’s only child, Lucia was born. In 1930, Charles started his own architectural office. He began extending his design ideas beyond architecture and received a fellowship to Cranbrook Academy of Art in Michigan, where he eventually became head of the design department.
Ray Kaiser Eames was born in 1912 in Sacramento, California. She studied painting with Hans Hofmann in New York before moving on to Cranbrook Academy where she met and assisted Charles and Eero Saarinen in preparing designs for the Museum of Modern Art’s Organic Furniture Competition. Charles and Eero’s designs, created by molding plywood into complex curves, won them the two first prizes.
Charles and Ray married in 1941 and moved to California where they continued their furniture design work with molding plywood. During World War II they were commissioned by the United States Navy to produce molded plywood splints, stretchers, and experimental glider shells. In 1946, Evans Products began producing the Eameses’ molded plywood furniture. Their molded plywood chair was called “the chair of the century” by the influential architectural critic Esther McCoy. Soon production was taken over by Herman Miller, Inc., who continues to produce the furniture in the United States today. Another partner, Vitra International, manufactures the furniture in Europe.
In 1949, Charles and Ray designed and built their own home in Pacific Palisades, California, as part of the Case Study House Program sponsored by Arts & Architecture magazine. Their design and innovative use of materials made the House a mecca for architects and designers from both near and far. Today, it is considered one of the most important post-war residences anywhere in the world.