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Kit-of-parts philosophy goes hand in hand with advanced manufacturing, automation, and computer and information technologies. Handling multiple identical components as instances of a master element is an efficient use of the computer in the planning stage, and use of standard components can take advantage of mass-production and mass ...
Ludwig Mies renamed himself as part of his transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's maiden name "Rohe" [7] [8] and using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of German nobility lineage. [9]
Consequently, a scaled-down model of the Bacardí project this time rendered in steel rather than concrete was created. In March 1961, Mies also received a letter from the Senator for Building and Housing in Berlin, inviting him to build what was to be called the Neue Nationalgalerie, an exhibition space for the state's collection of early ...
Producing a quick sketch (esquisse) of the parti was a critical part of architectural training at the Beaux-Arts de Paris during the 19th and early part of the 20th Century. [5] In architecture school during the 1900s in the United States, one would have understood the term ‘parti’ as the "main idea" for the planimetric layout of a building.
Several partners and associates from the architecture firm, Skidmore, Owings and Merrill lived in 900/910. SOM took over the IIT commission when Mies retired and readily imitated the aesthetic of his highrise building designs. [9] Many members of the tightknit architecture community lived at 900/910 over the years.
The Peter Hamlin Construction Company was selected as the general contractor and construction began that Fall. The project began to attract interest when a model of the final version and a drawing of the steel-and-glass version were put on display for a Mies showcase at the Museum of Modern Art. By the time the building was completed in 1949 ...
During the 1990s, parts of the top and corners of the walls became damaged without repair for many years. [6] Mies van der Rohe Society raised more than $1 million to restore the chapel by the end of the summer in 2013. [8] [2] Donna Robertson, Dean of Architecture at the time, assisted in the restoration project, which began in 2008 ...
Most of Mies' projects have an odd number of bays (classic order) with a focused entry in the center, but Mellon Hall is an exception because it has 12 structural bays in the long direction and has less assuming split entrances. The three top levels have a black steel and tinted grey glass façade.