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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]
At the end of 1924, Ludwig Mies van der Rohe took over the chairmanship of the association. [11] In January 1925, the latter proposed that the management of the group must be professionalised in commercial terms.
Neue Nationalgalerie Berlin: Mies van der Rohe. Ostfildern: Hatje Cantz / Berlin: Staatliche Museen zu Berlin, 2011. ISBN 9783775731454; Bénédicte Savoy & Philippa Sissis (Hrsg.): Die Berliner Museumsinsel: Impressionen internationaler Besucher (1830–1990). Eine Anthologie. Böhlau, Wien/Köln/Weimar 2012, ISBN 978-3-412-20991-9.
The Tugendhat chair (model number MR70) is a modernist cantilever chair designed by Ludwig Mies van der Rohe in collaboration with Lilly Reich 1929–1930 for the Tugendhat House in Brno, Czechoslovakia. In appearance, the Tugendhat chair is somewhat of a hybrid of van der Rohe and Reich's 1929 Barcelona chair and 1929–1930 Brno chair.
The Weissenhof chair (also called MR 10 or MR 20) is a chair designed by the German architect and designer Ludwig Mies van der Rohe, in 1927. This first, springy cantilever chair was shown at the Weissenhofsiedlung Exhibition in 1927. It was made of 25 mm steel tube and with a wicker framework proposed by Lilly Reich. The MR20 version has forearms.
He followed Gropius's recommendation to hire Mies van der Rohe. [8] [9] Greenwald utilized Mies on several projects including: The Promontory, 5530 S. South Shore Drive, Chicago, IL (1949) Algonquin Apartments, 1606 E Hyde Park Blvd, Chicago, IL (1949-1951) [10] [11] 860-880 Lake Shore Drive Apartments, Chicago, IL (1949-1951)
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