Synopses & Reviews
Less is more: Finding perfection in purity Ludwig Mies van der Rohe (1886–1969) was one of the founding fathers of modern architecture, and creator of the Barcelona Pavilion (1929), the Farnsworth House in Plano, Illinois (1945–1951) and the Seagram Building in New York (1954–1958). Famed for his motto "less is more," Mies sought a refined purity in architectural expression that was missing from the vocabulary of his Bauhaus peers. He aimed to build for those of modest income while also building economically and sustainably, both in technical and esthetic terms; the use of industrial materials such as steel and glass were the foundation of this approach. Though his stark forms and modern materials provoked some criticism, over the years many have tried—most unsuccessfully—to copy his original and elegant style.
This book explores more than 20 of his projects between 1906 and 1967, from his early work around Berlin to his most important American buildings. About the Series: Each book in TASCHEN’s Basic Architecture Series features:
- an introduction to the life and work of the architect
- the major works in chronological order
- information about the clients, architectural preconditions as well as construction problems and resolutions
- a list of all the selected works and a map indicating the locations of the best and most famous buildings
- approximately 120 illustrations (photographs, sketches, drafts and plans)
Synopsis
Ludwig Mies van der Rohe (1886-1969) was one of the founding fathers of modern architecture. The creator of the Barcelona Pavilion (1929), the Farnsworth House in Plano, Illinois (1945 1951) and the Seagram Building in New York (1954 1958), Mies was one of the founders of a new architectural style. Well known for his motto less is more, he sought a kind of refined purity in architectural expression that was not seen in the reduced vocabulary of other Bauhaus members. His goal was not simply building for those of modest income but building economically in terms of sustainability, both in a technical and aesthetical way; the use of industrial materials such as steel and glass were the foundation of this approach. Though the extreme reduction of form and material in his work garnered some criticism, over the years many have tried mostly unsuccessfully, to copy his original and elegant style.
About the Author
Claire Zimmerman worked on MoMA's 2001 exhibition "Mies in Berlin" and authored several essays for the exhibition catalog. A doctoral candidate at the CUNY Graduate Center, she holds a Master's in architecture from Harvard University and a BA from the University of Pennsylvania. She has taught at Yale, Barnard College, and Florida A&M University.Peter Gössel runs an agency for museum and exhibition design. For TASCHEN he published monographs on Julius Shulman, R.M. Schindler, John Lautner and Richard Neutra as well as several titles in the Basic Architecture Series.