Visiting Berlin, an essential city in universal and architectural History, among St. Matthäus Church (1846), Kulturforum and Potsdamer Platz, I discovered what I was looking for: the Neue Nationalgalerie (1962-1968) by Ludwig Mies van der Rohe (Aachen 1886 – Chicago 1969).

When I tried to enter the building at first time, I discovered that it was closed due to some works; in this moment, I did not know what they were about. I just observed around, out of the Mies van der Rohe's museum, workers cutting and carrying some trunks inside it. Then they putted them in vertical position coinciding perfectly with the nodes of the rectangular grid that composed the museum ceiling. Afterwards I found out that it was the setup of David Chipperfield’s exhibition “Sticks and Stones”.

The first impression that the building causes to me was having found a podium: a steel and glass temple. The similar relation of the horizontal planes established among the ground plane and the ceiling of the museum is reinforced by a resource of simple appearance: there are not pillars in the corners. In this case, the organization of the eight pillars, in association with the setback of the glass façade, consolidates the suspension link between the different levels: roof, platform and street. This way, Mies confers the Neue Nationalgalerie plain expressive strength.

At that time I focused on the building; a unitary volume of square plan, clear, open and single rise. The interior, of clear plan and fluid space, is the result of Russian Suprematism influences in Mies. The ceiling grid reminds some of K. F. Schinkel’s projects, as Altes Museum, a building admired and studied in depth by Mies.

On the other hand, I was conscious of two dichotomies in the museum: the first one is the alternation between the steel opacity and the glass reflection capacity, interrupted only by the stiles; and the second one is that depending on where we are situated, the landscape reflection is captured by the surrounding glass, putting ahead of the transparency and the emptiness that the glass evocates, making tangible the strong existing relation between interior-exterior.

The Bacardí offices in Cuba, designed in 1958, could be finding as a precedent of this project. It could not be realized because of change of the political situation in the country.

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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”.
 

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Published on: November 13, 2014
Cite: "The last Mies’ legacy; Neue Nationalgalerie" METALOCUS. Accessed
<https://www.metalocus.es/en/news/last-mies-legacy-neue-nationalgalerie> ISSN 1139-6415
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