1. Ludwig Mies van der Rohe 1
Ludwig Mies van der Rohe
Ludwig Mies van der Rohe
Born Ludwig MiesMarch 27, 1886Aachen, North Rhine-Westphalia, Germany
Died August 17, 1969 (aged 83)Chicago, Illinois, USA
Nationality German 1886-1944/American 1944-1969
Awards Order Pour le Mérite (1959)
Royal Gold Medal (1959)
AIA Gold Medal (1960)
Presidential Medal of Freedom (1963)
Work
Buildings Barcelona Pavilion
Tugendhat House
Crown Hall
Farnsworth House
860-880 Lake Shore Drive
Seagram Building
New National Gallery
Toronto-Dominion Centre
Ludwig Mies van der Rohe (March 27, 1886 – August 17, 1969) was a German architect.
[1]
He is commonly
referred to and addressed by his surname, Mies, by his colleagues, students, writers, and others.
Ludwig Mies van der Rohe, along with Walter Gropius and Le Corbusier, is widely regarded as one of the
pioneering masters of Modern architecture. Mies, like many of his post World War I contemporaries, sought to
establish a new architectural style that could represent modern times just as Classical and Gothic did for their own
eras. He created an influential 20th century architectural style, stated with extreme clarity and simplicity. His mature
buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strived
towards an architecture with a minimal framework of structural order balanced against the implied freedom of
free-flowing open space. He called his buildings "skin and bones" architecture. He sought a rational approach that
would guide the creative process of architectural design. He is often associated with the aphorisms "less is more" and
"God is in the details".

2. Ludwig Mies van der Rohe 2
Early career
Mies worked in his father's stone-carving shop and at several local design firms before he moved to Berlin joining
the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter
Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture,
working alongside Walter Gropius and Le Corbusier. Mies served as construction manager of the Embassy of the
German Empire in Saint Petersburg under Behrens.
[2]
His talent was quickly recognized and he soon began
independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative,
and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an
architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe".
[3]
He began his
independent professional career designing upper class homes, joining the movement seeking a return to the purity of
early Nineteenth Century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic
elements, attention to the relationship of the manmade to nature, and compositions using simple cubic volumes of the
early 19th century Prussian Neo-Classical architect Karl Friedrich Schinkel. He dismissed the eclectic and cluttered
classical styles so common at the turn of the century as irrelevant to the modern times.
Traditionalism to Modernism
Villa Tugendhat built in 1930 in Brno, in today's Czech Republic, for Fritz
Tugendhat.
After World War I, Mies began, while still
designing traditional neoclassical homes, a
parallel experimental effort. He joined his
avant-garde peers in the long-running search
for a new style that would be suitable for the
modern industrial age. The weak points of
traditional styles had been under attack by
progressive theorists since the
mid-nineteenth century, primarily for the
contradictions of hiding modern
construction technology with an facade of
ornamented traditional styles. The mounting
criticism of the historical styles gained
substantial cultural credibility after World
War I, a disaster widely seen as a failure of
the old world order of imperial leadership of
Europe. The aristocratic classical revival
styles were particularly reviled by many as the architectural symbol of a now-discredited and outmoded social
system. Progressive thinkers called for a completely new architectural design process guided by rational
problem-solving and an exterior expression of modern materials and structure rather than the superficial application
of classical facades.
While continuing his traditional neoclassical design practice Mies began to develop visionary projects that, though
mostly unbuilt, rocketed him to fame as an architect capable of giving form that was in harmony with the spirit of the
emerging modern society. Boldly abandoning ornament altogether, Mies made a dramatic modernist debut with his
stunning competition proposal for the faceted all-glass Friedrichstraße skyscraper in 1921, followed by a taller
curved version in 1922 named the Glass Skyscraper.
[4]
He continued with a series of pioneering projects, culminating in his two European masterworks: the temporary
German Pavilion for the Barcelona exposition (often called the Barcelona Pavilion) in 1929 (a 1986 reconstruction is
now built on the original site) and the elegant Villa Tugendhat in Brno, Czech Republic, completed in 1930.

3. Ludwig Mies van der Rohe 3
He joined the German avant-garde, working with the progressive design magazine G which started in July 1923. He
developed prominence as architectural director of the Werkbund, organizing the influential Weissenhof Estate
prototype modernist housing exhibition. He was also one of the founders of the architectural association Der Ring.
He joined the avant-garde Bauhaus design school as their director of architecture, adopting and developing their
functionalist application of simple geometric forms in the design of useful objects.
Like many other avant-garde architects of the day, Mies based his own architectural theories and principles on his
own personal re-combination of ideas developed by many other thinkers and designers who had pondered the flaws
of the traditional design styles.
Mies' modernist thinking was influenced by many of the design and art movements of the day. He selectively
adopted theoretical ideas such as the aesthetic credos of Russian Constructivism with their ideology of "efficient"
sculptural constructions using modern industrial materials. Mies found appeal in the use of simple rectilinear and
planar forms, clean lines, pure use of color, and the extension of space around and beyond interior walls expounded
by the Dutch De Stijl group. In particular, the layering of functional sub-spaces within an overall space and the
distinct articulation of parts as expressed by Gerrit Rietveld appealed to Mies.
The design theories of Adolf Loos found resonance with Mies, particularly the ideas of eradication of the superficial
and unnecessary, substituting elaborate applied ornament with the straightforward display of rich materials and
forms. Loos had famously declared, in the tongue-in-cheek humor of the day, that "ornament is a crime". Mies also
admired his ideas about the nobility that could be found in the anonymity of modern life.
The bold work of American architects was greatly admired by European architects. Like other architects who viewed
the Wasmuth Portfolio and its associated exhibit, Mies was enthralled with the free-flowing spaces of
inter-connected rooms which encompass their outdoor surroundings as demonstrated by the open floor plans of the
American Prairie Style work of Frank Lloyd Wright. American engineering structures were also held up to be
exemplary of the beauty possible in functional construction.
Significance and meaning
Mies pursued an ambitious lifelong mission to create a new architectural language that could be used to represent the
new era of technology and production. He saw a need for an architecture expressive of and in harmony with his
epoch, just as Gothic architecture was for an era of spiritualism. He applied a disciplined design process using
rational thought to achieve his spiritual goals. He believed that the configuration and arrangement of every
architectural element must contribute to a unified expression. The self-educated Mies painstakingly studied the great
philosophers and thinkers, past and present, to enhance his own understanding of the character and essential qualities
of the technological times he lived in. More than perhaps any other practising pioneer of modernism, Mies mined the
writings of philosophers and thinkers for ideas that were relevant to his architectural mission. Mies' architecture was
created at a high level of abstraction, and his own generalized descriptions of his principles intentionally leave much
room for interpretation. Yet his buildings also seem very direct and simple when viewed in person. Every aspect of
his architecture, from overall concept to the smallest detail, supports his effort to express the modern age. The depth
of meaning conveyed by his work, beyond its aesthetic qualities, has drawn many contemporary philosophers and
theoretical thinkers to continue to further explore and speculate about his architecture.
Emigration to the United States
Opportunities for commissions dwindled with the worldwide depression after 1929. In the early 1930s, Mies served
briefly as the last Director of the faltering Bauhaus, at the request of his colleague and competitor Walter Gropius.
After 1933, Nazi political pressure soon forced Mies to close the government-financed school. He built very little in
these years (one built commission was Philip Johnson's New York apartment); his style was rejected by the Nazis as
not "German" in character. Frustrated and unhappy, he left his homeland reluctantly in 1937 as he saw his

4. Ludwig Mies van der Rohe 4
opportunity for any future building commissions vanish, accepting a residential commission in Wyoming and then
an offer to head the department of architecture of the newly established Illinois Institute of Technology in Chicago.
Here he introduced a new kind of education and attitude later known as Second School of Chicago, which became
very influential in the following decades in North America and Europe.
IBM Plaza, Chicago, Illinois
Career in the United States
Mies settled in Chicago, Illinois where he was appointed as head of the
architecture school at Chicago's Armour Institute of Technology (later
renamed Illinois Institute of Technology - IIT). One of the benefits of
taking this position was that he would be commissioned to design the
new buildings and master plan for the campus. All his buildings still
stand there, including Alumni Hall, the Chapel, and his masterpiece the
S.R. Crown Hall, built as the home of IIT's School of Architecture.
Crown Hall is widely regarded as Mies' finest work, the definition of
Miesian architecture.
In 1944, he became an American citizen, completing his severance from
his native Germany. His 30 years as an American architect reflect a
more structural, pure approach towards achieving his goal of a new
architecture for the 20th century. He focused his efforts on enclosing
open and adaptable "universal" spaces with clearly arranged structural
frameworks, featuring pre-manufactured steel shapes infilled with large
sheets of glass. His early projects at the IIT campus and for developer
Herb Greenwald opened the eyes of Americans to a style that seemed a
natural progression of the almost forgotten 19th century Chicago School
style. His architecture, with origins in the German Bauhaus and western
European International Style, became an accepted mode of building for American cultural and educational
institutions, developers, public agencies, and large corporations.
American work
Mies worked from his studio in downtown Chicago for his entire 31-year period in America. His significant projects
in the U.S. include in Chicago and the area: the residential towers of 860-880 Lake Shore Dr, the Chicago Federal
Center complex, the Farnsworth House, Crown Hall and other structures at IIT; and the Seagram Building in New
York. These iconic works became the prototypes for his other projects.
Farnsworth House
Between 1946 and 1951, Mies van der Rohe designed and built the Farnsworth House, a weekend retreat outside
Chicago for an independent professional woman, Dr. Edith Farnsworth. Here, Mies explored the relationship
between people, shelter, and nature. This small masterpiece showed the world that exposed industrial steel and glass
were materials capable of creating architecture of great emotional impact. The glass pavilion is raised six feet above
a floodplain next to the Fox River, surrounded by forest and rural prairies. The highly crafted pristine white
structural frame and all-glass walls define a simple rectilinear interior space, letting nature and light envelop the
interior space. A wood-panelled fireplace (also housing mechanical equipment, kitchen, and toilets) is positioned
within the open space to suggest living, dining and sleeping spaces without using walls. No partitions touch the
surrounding all-glass enclosure. Without solid exterior walls, full-height draperies on a perimeter track allow
freedom to provide full or partial privacy when and where desired. The house has been described as sublime, a

5. Ludwig Mies van der Rohe 5
temple hovering between heaven and earth, a poem, a work of art.
The Farnsworth House and its 60-acre ( m
2
) wooded site was purchased at auction for US$7.5 million by
preservation groups in 2004 and is now operated by the Landmarks Preservation Council of Illinois as a public
museum. The building influenced the creation of hundreds of modernist glass houses, most notably the Glass House
by Philip Johnson, located near New York City and also now owned by the National Trust for Historic Preservation.
The iconic Farnsworth House is considered among Mies's greatest works. The house is an embodiment of Mies'
mature vision of modern architecture for the new technological age: a single unencumbered space within a minimal
"skin and bones" framework, a clearly understandable arrangement of architectural parts. His ideas are stated with
clarity and simplicity, using materials that are allowed to express their own individual character.
860–880 Lake Shore Drive, Chicago, Illinois.
860-880 Lake Shore Drive
Mies designed a series of four middle-income high-rise apartment
buildings for developer Herb Greenwald: the 860/880 (which was
built between 1949 and 1951) and 900-910 Lake Shore Drive towers
on Chicago's Lakefront. These towers, with façades of steel and
glass, were radical departures from the typical residential brick
apartment buildings of the time. Mies found their unit sizes too small
for himself, choosing instead to continue living in a spacious
traditional luxury apartment a few blocks away. The towers were
simple rectangular boxes with a non-hierarchical wall enclosure,
raised on stilts above a glass enclosed lobby. The lobby is set back
from the perimeter columns, which were exposed around the
perimeter of the building above, creating a modern arcade not unlike
those of the Greek temples. This configuration created a feeling of
light, openness, and freedom of movement at the ground level that
became the prototype for countless new towers designed both by
Mies's office and his followers. Some historians argue that this new
approach is an expression of the American spirit and the boundless open space of the frontier, which German culture
so admired.
Once Mies had established his basic design concept for the general form and details of his tower buildings, he
applied those solutions (with evolving refinements) to his later high-rise building projects. The architecture of his
towers appears to be similar, but each project represents new ideas about the formation of highly sophisticated urban
space at ground level. He delighted in the composition of multiple towers arranged in a seemingly casual
non-hierarchical relation to each other. Just as with his interiors, he created free flowing spaces and flat surfaces that
represented the idea of an oasis of uncluttered clarity and calm within the chaos of the city. He included nature by
leaving openings in the pavement, through which plants seem to grow unfettered by urbanization, just as in the
pre-settlement environment.
Seagram Building
In 1958, Mies van der Rohe designed what is often regarded as the pinnacle of the modernist high-rise architecture,
the Seagram Building in New York City. Mies was chosen by the daughter of the client, Phyllis Bronfman Lambert,
who has become a noted architectural figure and patron in her own right. The Seagram Building has become an icon
of the growing power of the corporation, that defining institution of the 20th century. In a bold and innovative move,
the architect chose to set the tower back from the property line to create a forecourt plaza and fountain on Park
Avenue. Although now acclaimed and widely influential as an urban design feature, Mies had to convince

6. Ludwig Mies van der Rohe 6
Bronfman's bankers that a taller tower with significant "unused" open space at ground level would enhance the
presence and prestige of the building. Mies' design included a bronze curtain wall with external H-shaped mullions
that were exaggerated in depth beyond what was structurally necessary. Detractors criticized it as having committed
Adolf Loos's "crime of ornamentation". Philip Johnson had a role in interior materials selections, and he designed the
sumptuous Four Seasons Restaurant, which has endured un-remodeled to today. The Seagram Building is said to be
an early example of the innovative "fast-track" construction process, where design documentation and construction
are done concurrently.
Using the Seagram as a prototype, Mies' office designed a number of modern high-rise office towers, notably the
Chicago Federal Center, which includes the Dirksen and Kluczynski Federal Buildings and Post Office (1959) and
the IBM Plaza in Chicago; the Westmount Square in Montreal, and the Toronto-Dominion Centre in 1967. Each
project applies the prototype rectangular form on stilts and ever-more refined enclosure wall systems, but each
creates a unique set of exterior spaces that are an essential aspect of his creative efforts.
During 1951-1952, Mies' designed the steel, glass and brick McCormick House, located in Elmhurst, Illinois (15
miles west of the Chicago Loop), for real-estate developer Robert Hall McCormick, Jr. A one story adaptation of the
exterior curtain wall of his famous 860-880 Lake Shore Drive towers, it served as a prototype for an unbuilt series of
speculative houses to be constructed in Melrose Park, Illinois. The house has been moved and reconfigured as a part
of the public Elmhurst Art Museum.
Caroline Weiss Law Building in Houston, Texas, U.S.A.
Museum of Fine Arts, Houston
Mies designed two buildings for the Museum of Fine
Arts, Houston (MFAH) as additions to the Caroline
Weiss Law Building. In 1953, the MFAH
commissioned Mies van der Rohe to create a master
plan for the institution. He designed two additions to
the building—Cullinan Hall, completed in 1958, and
the Brown Pavilion, completed in 1974. A renowned
example of the International Style, these portions of the
Caroline Wiess Law Building comprise one of only two
Mies-designed museums in the world.
[5]
National Gallery, Berlin
Mies's last work was the Neue Nationalgalerie art museum, the New National Gallery, in Berlin. Considered one of
the most perfect statements of his architectural approach, the upper pavilion is a precise composition of monumental
steel columns and a cantilevered (overhanging) roof plane with a glass enclosure. The simple square glass pavilion is
a powerful expression of his ideas about flexible interior space, defined by transparent walls and supported by an
external structural frame. The glass pavilion is a relatively small portion of the overall building, serving as a
symbolic architectural entry point and monumental gallery for larger scale art. A large podium building below the
pavilion accommodates most of the buildings actual built area in more functional spaces for galleries, support and
utilitarian rooms.
Ben Daniels considers this building to be egotistical mania in steel and glass, a gallery that hides its art from the light
of day.
The campus of Whitney Young High School and the adjacent Chicago Police Academy are two examples of the
influence van der Rohe had on Chicago architecture.

7. Ludwig Mies van der Rohe 7
Furniture
Mies designed modern furniture pieces using new industrial technologies that have become popular classics, such as
the Barcelona chair and table, the Brno chair, and the Tugendhat chair. His furniture is known for fine craftsmanship,
a mix of traditional luxurious fabrics like leather combined with modern chrome frames, and a distinct separation of
the supporting structure and the supported surfaces, often employing cantilevers to enhance the feeling of lightness
created by delicate structural frames. During this period, he collaborated closely with interior designer and
companion Lilly Reich.
Mies as educator
Mies played a significant role as an educator, believing his architectural language could be learned, then applied to
design any type of modern building. He set up a new education at the Department of Architecture of the Illinois
Institute of Technology in Chicago replacing the old-fashioned Ecole des Beaux-Art attitude by a
three-step-education beginning with crafts of building leading to planning skills and finishing with theory of
architecture (compare Vitruvius: firmitas, utilitas, venustas). He worked personally and intensively on prototype
solutions, and then allowed his students, both in school and his office, to develop derivative solutions for specific
projects under his guidance. Some of Mies' curriculum is still put in practice in the first and second year programs at
IIT, for example the excruciating drafting of bricks in second year. But when none was able to match the genius and
poetic quality of his own work, he agonized about where his educational method had gone wrong. Nevertheless his
achievements for an architecture created out of modern technology survived very successfully until today by others
and is known as High-tech architecture.
Mies placed great importance on education of architects who could carry on his design principles. He devoted a great
deal of time and effort leading the architecture program at IIT. Mies served on the initial Advisory Board of the
Graham Foundation in Chicago. His own practice was based on intensive personal involvement in design efforts to
create prototype solutions for building types (860 Lake Shore Dr, the Farnsworth, Seagram, S.R. Crown Hall, The
New National Gallery), then allowing his studio designers to develop derivative buildings under his supervision.
Mies's grandson Dirk Lohan and two partners led the firm after he died in 1969. Lohan, who had collaborated with
Mies on the New National Gallery, continued with existing projects but soon led the firm on his own independent
path. Other disciples continued his teachings for a few years, notably Gene Summers, David Haid, Myron
Goldsmith, Jacques Brownson, and other architects at the firms of C.F. Murphy and Skidmore, Owings and Merrill.
But while Mies' work had enormous influence and critical recognition, his approach failed to sustain a creative force
as a style after his death and was eclipsed by the new wave of Post Modernism by the 1980s. He had hoped his
architecture would serve as a universal model that could be easily imitated, but the aesthetic power of his best
buildings proved impossible to match, instead resulting mostly in drab and uninspired structures. The failure of his
followers to meet his high standard may have contributed to demise of Modernism and the rise of new competing
design theories, notably Postmodernism.

8. Ludwig Mies van der Rohe 8
Mies van der Rohe's grave marker in Graceland
Cemetery
German commemorative stamp marking 100 years
since Mies's birth
Death
Over the last twenty years of his life, Mies developed and built his
vision of a monumental "skin and bones" architecture that reflected
his goal to provide the individual a place to fulfill himself in the
modern era. Mies sought to create free and open spaces, enclosed
within a structural order with minimal presence. Mies van der Rohe
died on August 17, 1969. After cremation, his ashes were buried near
Chicago's other famous architects in Chicago's Graceland Cemetery.
His grave is marked by a simple black slab of granite and a large
Honey locust tree.
[1]
Archives
The Ludwig Mies van der Rohe Archive, an administratively
independent section of the Museum of Modern Art's Department of
Architecture and Design, was established in 1968 by the Museum's
trustees. It was founded in response to the architect's desire to
bequeath his entire work to the Museum. The Archive consists of
about nineteen thousand drawings and prints, one thousand of which
are by the designer and architect Lilly Reich (1885–1947), Mies van
der Rohe's close collaborator from 1927 to 1937; of written
documents (primarily, the business correspondence) covering nearly
the entire career of the architect; of photographs of buildings, models, and furniture; and of audiotapes, books, and
periodicals.
Archival materials are also held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The Ludwig
Mies van der Rohe Collection, 1929-1969 (bulk 1948-1960) includes correspondence, articles, and materials related
to his association with the Illinois Institute of Technology. The Ludwig Mies van der Rohe/Metropolitan Structures
Collection, 1961–1969, includes scrapbooks and photographs documenting Chicago projects.
Other archives are held at the University of Illinois at Chicago (personal book collection), the Canadian Center for
Architecture (drawings and photos) in Montreal, the Newberry Library in Chicago (personal correspondence), the
Library of Congress in Washington D.C.
Gallery
Martin Luther King
Jr. Memorial
Library,
Washington.
Interior of
Neue
Nationalgalerie
museum in
Berlin,
Germany
Lafayette Park, Detroit is on the
U.S. National Register of
Historic Places
Lafayette
Towers
Apartments
East,
Detroit.

9. Ludwig Mies van der Rohe 9
Toronto-Dominion
Centre logo includes
the font text created
by Mies
TD Centre pavilion, Toronto,
used as a branch for TD
Canada Trust bank
S.R. Crown Hall on the
campus of the Illinois
Institute of Technology is a
National Historic Landmark
Highfield House, Baltimore
Barcelona Pavilion
(reconstruction)
University of
Chicago
School of
Social Service
Administration
List of works
A memorial to the Spartacist leaders Karl Liebknecht and Rosa Luxemburg,
commissioned by Eduard Fuchs, president of the German Communist Party in Germany
designed by Ludwig Mies van der Rohe, built by Wilhelm Pieck, and inaugurated on 13
June 1926, later destroyed by the Nazis
Canada
• Toronto-Dominion Centre - Office
Tower Complex, Toronto
• Westmount Square - Office &
Residential Tower Complex,
Westmount
• Nuns' Island - 3 Residential towers
and a filling station (closed),
Montreal (c.1969)
Czech Republic
• Tugendhat House - Residential
Home, Brno
Germany
• Riehl House - Residential Home,
Potsdam (1907)
• Peris House - Residential Home,
Zehlendorf (1911)
• Werner House - Residential Home,
Zehlendorf (1913)
• Urbig House - Residential Home, Potsdam (1917)
• Kempner House - Residential Home, Charlottenburg (1922)
• Eichstaedt House - Residential Home, Wannsee (1922)
• Feldmann House - Residential Home, Wilmersdorf (1922)

10. Ludwig Mies van der Rohe 10
• Mosler House - Residential Home, Babelsberg (1926)
• Weissenhof Estate - Housing Exhibition coordinated by Mies and with a contribution by him, Stuttgart (1927)
• Lemke House - Residential Home, Weissensee (1932)
• Haus Lange/Haus Ester - Residential Home and an art museum, Krefeld
• New National Gallery - Modern Art Museum, Berlin
Mexico
• Bacardi Office Building - Office Building, Mexico City
Spain
• Barcelona Pavilion - World's Fair Pavilion, Barcelona
United States
• Cullinan Hall - Museum of Fine Arts, Houston
• The Promontory Apartments - Residential Apartment Complex, Chicago
• Martin Luther King, Jr. Memorial Library - District of Columbia Public Library, Washington, DC
• Richard King Mellon Hall of Science - Duquesne University, Pittsburgh, PA (1968)
• IBM Plaza - Office Tower, Chicago
• Meredith Hall - College of Journalism and Mass Communication, Drake University, Des Moines, IA
• Lake Shore Drive Apartments - Residential Apartment Towers, Chicago
• Seagram Building - Office Tower, New York City (1958)
• Crown Hall - College of Architecture, and other buildings, at the Illinois Institute of Technology (1956)
• University of Chicago School of Social Service Administration - Chicago, IL (1965)
• Farnsworth House - Residential Home, Plano, Illinois (1946)
• Chicago Federal Center
• Dirksen Federal Building - Office Tower, Chicago
• Kluczynski Federal Building - Office Tower, Chicago
• United States Post Office Loop Station - General Post Office, Chicago
• One Illinois Center - Office Tower, Chicago
• One Charles Center - Office Tower, Baltimore, Maryland
• Highfield House Condominium | 4000 North Charles - Condominium Apartments, Baltimore, Maryland
• Colonnade and Pavilion Apartments - Residential Apartment Complex, Newark, New Jersey (1959)
• Lafayette Park - Residential Apartment Complex, Detroit, Michigan (1963).
[6]
• Commonwealth Promenade Apartments - Residential Apartment Complex, Chicago (1957)
• Caroline Weiss Law Building, Cullinan Hall (1958) and Brown Pavilion (1974) additions, Museum of Fine Art,
Houston
• Richard King Mellon Building (1968) at Duquesne University, Pittsburgh
• American Life Building - Louisville, Kentucky (1973; completed after Mies's death by Bruno Conterato)
References
Notes
[1] "Mies van der Rohe Dies at 83; Leader of Modern Architecture" (http://www.nytimes.com/learning/general/onthisday/bday/0327.html).
The New York Times. August 17, 1969. . Retrieved 2007-07-21. "Mies van der Rohe, one of the great figures of 20th-century architecture, died
in Wesley Memorial Hospital here late last night. He was 83 years old."
[2] "German Embassy Building" (http://www.encspb.ru/en/article.php?kod=2804004653). Encyclopaedia of Saint Petersburg. . Retrieved
2008-08-11.
[3] "Ludwieg Mies van der Rohe (1886-1969)" (http://www.designboom.com/portrait/mies/bg.html). designboom.com. . Retrieved March
22, 2011.
[4] Compare Arthur Lubow's "The Contextualizer," (http://www.nytimes.com/2008/04/06/magazine/06nouvel.html?pagewanted=4&
sq=grande arche&st=nyt&scp=10) New York Times. April 6, 2008, p. 4; excerpt, "...a skyscraper that Nouvel (adapting a term from the artist

11. Ludwig Mies van der Rohe 11
Brâncuşi) called the “tour sans fins,” or endless tower. Conceived as a kind of minaret alongside the squat, monumental Grande Arche de La
Défense, the endless tower has taken on some of the mystique of Mies van der Rohe’s unbuilt Friedrichstrasse glass skyscraper of 1921. To
obscure its lower end, the tower was designed to sit within a crater. Its facade, appearing to vanish in the sky, changed as it rose, from
charcoal-colored granite to paler stone, then to aluminum and finally to glass that became increasingly reflective, all to enhance the illusion
of dematerialization."
[5] The Museum of Fine Arts, Houston Law Building (http://mfah.org/destination.asp?par1=1&par2=1&par3=1&par4=1&par5=1&
par6=1&par7=&lgc=3&eid=&currentPage=)
[6] Vitullo-Martin, Julio, . The Biggest Mies Collection: His Lafayette Park residential development thrives in Detroit (http://online.wsj.com/
article/SB119827404882045751.html).The Wall Street Journal. Retrieved on April 21, 2007.
Further reading
• Puente, Moisés (2008). Conversations with Mies Van Der Rohe. New York: Princeton Architectural Press. pp. 96.
ISBN 9781568987538.
• Schulze, Franz (1985). Mies Van Der Rohe, a Critical Biography. Chicago: University of Chicago Press.
ISBN 0226740595.
• Sharp, Dennis (1991). The Illustrated Encyclopedia of Architects and Architecture. New York: Whitney Library
of Design. p. 109. ISBN 082302539X.
• Spaeth, David (1985). Mies Van Der Rohe. New York: Rizzoli International Publications, Inc..
ISBN 0847805638.
External links
• Mies van der Rohe Society (http://www.mies.iit.edu/)
• Ludwig Mies van der Rohe (http://www.moma.org/collection/artist.php?artist_id=7166) at the Museum of
Modern Art
• Great Buildings Architects (http://www.greatbuildings.com/architects/Ludwig_Mies_van_der_Rohe.html)
• Mies in Berlin-Mies in America (http://www.moma.org/mies/)
• MoMA Architecture & Design Study Center (http://moma.org/research/studycenters/index.html/)
• Ludwig Mies van der Rohe YouTube (http://www.nou-sera.com/architect/mies.html#Anchor-14553)
• Mies van der Rohe Photo Gallery (http://www.danda.be/gallery/architect/mies-van-der-rohe/)
• Mies van der Rohe Foundation (http://www.miesbcn.com/en/foundation.html)
• Elmhurst Art Museum, featuring McCormick House (http://www.elmhurstartmuseum.org)
• Barcelona chair (http://www.miesbarcelonachair.com)
• Richard King Mellon Hall, Duquesne University, Pittsburgh, PA (http://www.bluffton.edu/~sullivanm/mies/
miespitt.html)
• The Farnsworth House, a property of the National Trust for Historic Preservation (http://www.farnsworthhouse.
org)
• Mies, IIT, and the Second Chicago School (http://www.artic.edu/aic/libraries/research/specialcollections/
subject/mies.html)
• Mies in America exhibition (http://cca.qc.ca/en/exhibitions/20-mies-in-america)
• Photo Pool on Flickr (http://www.flickr.com/groups/miesvanderrohe/pool)
• Travel guide to Mies Buildings (http://www.galinsky.com/buildings/lemke/index.htm)
• "Designs by Mies van der Rohe for the Neue Nationalgalerie, Berlin" (http://www.vam.ac.uk/collections/
architecture/Objects_in_architecture/mies_van_der_Rohe/index.html). Architecture. Victoria and Albert
Museum. Retrieved 2011-03-15.

12. Article Sources and Contributors 12
Article Sources and Contributors
Ludwig Mies van der Rohe Source: http://en.wikipedia.org/w/index.php?oldid=426952134 Contributors: 130.225.29.xxx, 777sms, Absecon 59, Afernand74, Ahoerstemeier, Aiko, Alansohn,
Alex88228, Alsandro, An Uninvited Guest, Andrea Cioffi, AndrewMcQ, Andy Marchbanks, Angusmclellan, ArthurDenture, Asenine, Aspaeth, AxelBoldt, Bearcat, Bender235, Beyond My Ken,
BigRat, Blue520, Bobbymcbobbert, Bongwarrior, BorgHunter, Brazzouk, Brosi, Bryanmackinnon, Butterscotch, Can't sleep, clown will eat me, Capricorn42, Carlroller, Causa sui, Cbernasc,
ChiArchitectureNerd, Chimin 07, Chowbok, Chris the speller, Classicalclarinet, Cmdrjameson, CommonsDelinker, Conversion script, Crix, Curiousa, D Monack, D6, DVD R W, DWaterson,
Dalau2, Damirgraffiti, Der Golem, Dibuap, Dinopup, Dmoss, Dmz5, Dneil, Docomomo, Dogears, Dtt, Elekhh, Emhoo, Endurance, Erebus555, Espoo, Esrever, ExplicitImplicity, Fabrictramp,
FeloniousMonk, Ferritecore, Fmph, Francs2000, Gaff, Gaius Cornelius, GcSwRhIc, Genaria07, George dodds, Georgefondue, Gfisch, Gidonb, GlassFET, Gotonull, Gridge, GroveGuy, Gurch,
Hajo4, Hans Dunkelberg, HarperUC, Helix84, Here2fixCategorizations, Herostratus, Hmains, Hoppacuppa, Ian Spackman, Imroy, Intersofia, Iphilblue, Iridescent, Isnow, Iwmills, J.delanoy, JIP,
Jac16888, Jack Bethune, Jahsonic, James Russiello, Japanese Searobin, Jcrocker, Jdmf2, Jebdogdaddy, JeremyA, Jfire, JillandJack, Jim, Jkelly, Joan sense nick, John Maynard Friedman,
JohnOwens, Johnuniq, Jonathan.s.kt, Joopercoopers, Jpers36, Jrostgh, K.lee, Kaihoku, Kelisi, Kiril Simeonovski, Klh5365, Kuru, Kusma, LOctopus, Laldm, Lexinexi, Libro0, Lightmouse,
LilHelpa, Limegreen, Lithoderm, Lmaxsmith, Lockley, Lokifer, Look2See1, Lpgeffen, M.nelson, MCGAEH, MER-C, MFAH archives, Magioladitis, Malcolm, Male1979, Mandarax, Mani1,
Manuel Anastácio, Marek69, Matthew Yeager, Mav, Maximus Rex, Mbecker, Mboverload, Meisterkoch, Mervyn, Michael Shields, Michael Zimmermann, Michal Nebyla, Miesbarcelonachair,
Miesling, Mike Rosoft, Mikeetc, Mikerussell, Milton Stanley, Moderndesigninmind, Modernist, Moncrief, Monegasque, Moniquestern, Mooreforpeople, Mr Stephen, Mus Musculus, Mwilsontlh,
NSK Nikolaos S. Karastathis, NawlinWiki, Nazimpak, Neutrality, Nfr-Maat, Olessi, Parallel or Together?, Parkwells, Pascal666, Passportguy, Pedro.conrado, Peter R Hastings, Pethan, Philg88,
Pko, PlaysInPeoria, Plm209, Preservationiscool, Professor water, Reedy, RetiredUser2, RexNL, Rich Farmbrough, Richard Arthur Norton (1958- ), Richard D. LeCour, Rick lightburn, Ripon
k20, Rjwilmsi, Rmhermen, RodC, Russavia, Samsara, Samuelbeek, Sannse, Saruwine, Schifo, Scott.graham, Sequestasome, Ser Amantio di Nicolao, Shaka, Shawn in Montreal, ShelfSkewed,
Shoessss, Shsilver, Sicilarch, SlaveToTheWage, Smittyfb86, SoWhy, Solipsist, Sonett72, Sparkit, Spinster, Stephen Burnett, Steven Andrew Miller, Stevenmitchell, Studerby, Suffusion of
Yellow, SunCreator, Swikid, THB, Tenmei, Tharnton345, The Mystery Man, The Parsnip!, TheParanoidOne, Themepark, Thomas Paine1776, TitaniumDreads, Tomer T, Twthmoses, Udibi,
Ulric1313, VAwebteam, Variable, VictorLaszlo, ViennaUK, Vitek, Vivio Testarossa, Warofdreams, Wars, Wetman, WhisperToMe, Wikinaut, Wikipelli, William Avery, Wimstead, Wwhyte,
YEvb0, Yamamoto Ichiro, Yun-Yuuzhan (lost password), Zscout370, Æthelwold, 352 anonymous edits
Image Sources, Licenses and Contributors
File:Ludwig Mies van der Rohe.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ludwig_Mies_van_der_Rohe.jpg License: unknown Contributors: Steven Andrew Miller
Image:Villa Tugendhat front.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Villa_Tugendhat_front.JPG License: Public Domain Contributors: Diligent, Gryffindor, JCBrunner,
7 anonymous edits
File:2004-09-02 1580x2800 chicago IBM building.jpg Source: http://en.wikipedia.org/w/index.php?title=File:2004-09-02_1580x2800_chicago_IBM_building.jpg License: Attribution
Contributors: user:Jcrocker
Image:860-880 Lake Shore Drive.jpg Source: http://en.wikipedia.org/w/index.php?title=File:860-880_Lake_Shore_Drive.jpg License: Creative Commons Attribution-Sharealike 2.5
Contributors: User:JeremyA
File:Museum of Fine Arts Houston.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Museum_of_Fine_Arts_Houston.jpg License: Apache Contributors: MFAH archives at
en.wikipedia
Image:Mies van der Rohe headstone.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Mies_van_der_Rohe_headstone.JPG License: Creative Commons Attribution-Sharealike 3.0
Contributors: User:Night Ranger
Image:Stamps of Germany (Berlin) 1986, MiNr 753.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Stamps_of_Germany_(Berlin)_1986,_MiNr_753.jpg License: unknown
Contributors: Deutsche Bundespost Berlin
Image:MLK Library.jpg Source: http://en.wikipedia.org/w/index.php?title=File:MLK_Library.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: User:Monack
Image:Berlin Neue Nationalgalerie June 2002.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Berlin_Neue_Nationalgalerie_June_2002.jpg License: Creative Commons Sharealike
1.0 Contributors: User:K.lee
Image:Mies van der Rohe Residential District.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Mies_van_der_Rohe_Residential_District.jpg License: GNU Free Documentation
License Contributors: CarolSpears, EPO, Xnatedawgx
Image:Lafayette Pavillion Apartments.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Lafayette_Pavillion_Apartments.jpg License: GNU Free Documentation License
Contributors: CarolSpears, EPO, KrakatoaKatie, Nyttend, TomAlt, Xnatedawgx, 1 anonymous edits
Image:Toronto Dominion Centre logo.png Source: http://en.wikipedia.org/w/index.php?title=File:Toronto_Dominion_Centre_logo.png License: unknown Contributors:
User:BetacommandBot, User:Cydebot, User:MBisanz, User:Miesianiacal, User:Themepark
Image:King and Bay.jpg Source: http://en.wikipedia.org/w/index.php?title=File:King_and_Bay.jpg License: unknown Contributors: Leslie, Skeezix1000, Themedpark
Image:Crown_Hall_060514.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Crown_Hall_060514.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors:
JeremyA, TomAlt
Image:HighfieldHouse_2008.jpg Source: http://en.wikipedia.org/w/index.php?title=File:HighfieldHouse_2008.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors:
User:BalPhoto
Image:Barcelona_mies_v_d_rohe_pavillon_weltausstellung1999_03.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Barcelona_mies_v_d_rohe_pavillon_weltausstellung1999_03.jpg License: GNU Free Documentation License Contributors: Elsapucai, Gaf.arq,
Hpschaefer, Ikiwaner, Mastacheata, Shaqspeare, Tmv23, Toutíorîx, Wiiii, Wst
Image:CHICAGOSSA.jpg Source: http://en.wikipedia.org/w/index.php?title=File:CHICAGOSSA.jpg License: Public Domain Contributors: Original uploader was Crimsonmaroon at
en.wikipedia
Image:Bundesarchiv Bild 183-H29710, Berlin-Friedrichsfelde, Revolutionsdenkmal.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Bundesarchiv_Bild_183-H29710,_Berlin-Friedrichsfelde,_Revolutionsdenkmal.jpg License: unknown Contributors: Erik Warmelink, FRZ,
Gödeke, Lotse, Mutter Erde, NSK Nikolaos S. Karastathis, Xenophon
License
Creative Commons Attribution-Share Alike 3.0 Unported
http://creativecommons.org/licenses/by-sa/3.0/