• 한국실내디자인학회논문집
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• 제12호
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• pp.3-9
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• 1997

• 건축역사연구
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• 제15권3호
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• pp.119-135
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• 2006

This study based on the hypothesis which the spatial qualities in the Mies's early works are not extinct but potentially immanent in his latter works. In Mies's early works, destruction of outline, centrifugal extension of fluid space, and asymmetry are distinctly showed. These qualities probably revert to the indefiniteness of space. In Mies's latter works, however, these dynamic qualities are disappeared. Geometrically precise outline and exact grid structure represent universal space derived from zero-degree pure box. These qualities probably revert to tile definiteness of space, characterized by the unmovable emptiness. Although Mies works vary in external form, his expression technique of space reveals continually both the qualify of definitive and indefinitive space. For example, in the Museum for a Small City(1942) unbuilt project. elements defined by the perspective are fixed and static, but elements defined by the collages are floated and dynamic. The former reigns over the realized buildings of Mies, while the latter seems to be latent in terms of Schein which transcends reality. If we can penetrate this point, it's possible to read the other side of Mies' architectural works, distinct from both the canonized interpretation and the excessive criticism. Point is that later works of Mies must be understood as interplay of universal space appeared as phenomenon and flowing elements latent in. Architectural space of Mies keeps a distance with actual space through latent manner of being while preserves the empirical actuality It provides us with an occasion which appears only in an instant, in which even the ordinary things reveal its poetics.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.123-130
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• 2007

This paper Is to reconsider his architectural significance by understanding the role and moaning of the columns shown in the works of Mies. The reason of such an approach is to reflect the tendency to overlook the various significances of Mies's works as we interpret his architecture simply as a simplified work by abstraction. The process of simplification often neglects open interpretation so that it offers partial and unified cognition frame and causes remaking of closed meanings. It removes some possibilities of new interpretation for Mies's works. The study suggests that his columns are a medium to show the solid body transferring architectural significance in contrast to the immaterialization of body as transparency of modem architecture. It can be said that all the human cognition is usually made within the material limit of visibility and tangibility.

• 한국실내디자인학회논문집
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• 제13권5호
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• pp.21-31
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• 2004

There are probably no architects of the 20th Century who had more influence on modern architecture than Mies van der Rohe and Le Corbusier. Although the two architects share one thing in common, namely, both are master of modernism, each has developed unique architecture of his own. The objective of this study is to investigate the characteristics of their works through a comparison analysis of the Ideas, design principles and architectural language reflected in the works, focusing on the houses. this study will also aim to provide a foundation for a new design that harmonizes the design principles and architectural language of the two. Through the study the following common points and differences were found between the houses of the two. A) Common points: Both architects avoided ornamentation In houses while placing weight on the functions of houses and they tried to plan rational floor plans by separating the wall from the structure. B) Differences: \circled1 The houses of Mies express the structure in a straight forward manner, while those of Corbusier are formative houses focusing more on shapes. \circled2 The shapes of the houses of Mies are limited to basic shapes, quadrangle while those of Corbusier employ various geometric curves. \circled3 Using steel and glass, the houses of Mies are light and transparent. On the contrary, using concrete, the houses of Corbusier are somewhat bulky with Three-dimensional changes. \circled4 The houses of Mies show the value of moderation based upon the classical principles of design, while the houses of Corbusier show the value of moderation based upon geometry. \circled5 The houses of Mies feature horizontal intoners with flexibility. However, Corbusier's houses have vertical interiors with some changes in the cross sections. \circled6 In terms of material, the interiors of Mies' houses employ materials with various tones and textures, while interiors of Corbusier's houses are painted in simple white. Summing up these characteristics, it could be said that the houses of Mies have logical and rational beauty, whereas the houses of Corbusier have more emotional beauty.

• 한국실내디자인학회논문집
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• 제13권6호
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• pp.12-19
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• 2004

Mies van der Rohe is still known as the architect whose influence is the largest among modem architects. As his work is typical of modern architecture, the architecture of Mies shows an interest in materials and techniques, even though It established the new architectural world by glass and iron, and only transparency is emphasized with glass. So it is blame for the loss of peculiarity a result of thinking In the way of sachlich with expression and structure of material and hierarchical relation. Vincent Scully has insist on that an appearance of modem architecture be occur not by simply a technical request of a technician but by reflection of the times and times' spirit. In this means, the works of Mies is the trial to express the new times' spirit that the new times order and an understanding of material properties about glass with new material of modern. For that, this study tries to consider that Mies'work is the new trial through reflection of material to express about the bstraction beyond the limit of sachlich expression, on the point of expresslonal characteristics of material shown in plan of the Barcelona Pavilion and skyscraper and on the basis of the theory of Gottfried Semper and Karl Boetticher that architectural surface Is a medium which can define space and also express mass.

• 건축역사연구
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• 제14권3호
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• pp.89-102
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• 2005

Frank Lloyd Wright and Mies van der Rohe are two of the most influential architects in modern architecture. In spite of the different values in their architectural lives, the design of high-rise building had been a continuous matter of primary concern for them. The purpose of this study is to compare the architectural characteristics of the two master architects in terms of building form, structure, function, and envelop skin. glass. Both of them shared with the principle of organic architecture even in the design of high-rise buildings. However, the specific approaches to realize it in high-rise buildings are significantly different. Although they emphasized the integration of building form and structure, Wright regarded the reinforced concrete structure as an organic form-giver, while Mies introduced the steel skeleton structure only as an efficient and flexible building frame. As primary finishing materials for high-rise buildings, glass was used for functional purpose by Wright, but for visual purpose by Mies.

• 한국실내디자인학회논문집
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• 제23권3호
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• pp.92-99
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• 2014

Quantum theory of Niels Bohr received the Nobel Prize in Physics was rooted to the Oriental thought 'Yin-Yang and the Five Elements 陰陽五行', and architect Frank Lloyd Wright is also known as Lao Tzu's thoughts on the best architectural theory. Thus, the western architecture and oriental thought is very similar to the concept development. On the basis of this fact, the architectural philosophy of Mies van der Rohe is closely contact with Lao Tzu's Taoism, that is 'The greatest has no boundary 大象無形, Tao Te Ching chap.41' or 'The way to be is not to be 有道者 不處, Tao Te Ching chap.24'. Hence the aim of this thesis is to investigate the interrelation between the German architect Mies van der Rohe's 'almost nothing' and the Chinese philosopher Lao Tzu's 'Taoism'.

• 한국실내디자인학회논문집
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• 제17권4호
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• pp.58-65
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• 2008

The purpose of this study is to explore the revealing corporality in Mies' architecture. The character of such technical materials refuses or weakens the physical reality of the wall by the thoughts concerning the unlimited space or continuous space in Modern architecture. The wall or facade revealed visually is substituted to substance without materiality or just disappeared. This causes a problem of perception of architectural form itself in Modern architecture. Leonardo suggested that all kinds of human perception happens within the visibility and touchability. Likewise, the corporality as a visual reality can be perceived as an important and fundamental value, which can measure the real being. In this respect, This study reviews his architectural meaning by tracing the visual reality in his works. Namely, the emphasis of architectural elements through the relief effect, the expression of massiveness through the reflection of the glass wall and the emphasis of the color through the contrast are interpreted in the intention of Mies to emphasize the visual corporality of the building. This study is to reevaluate the meaning of Mies's architecture through understanding of his thought about the architectural corporality, which has been forgotten by the transparency concept of Modern architecture.

• 한국산학기술학회논문지
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• 제15권10호
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• pp.6372-6378
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• 2014

본 논문은 미스 반 데어 로에의 독일시대 사무소 프로젝트의 형태 유형과 그에 따라 형성되는 공공 공간을 분석하는 것을 주제로 삼는다. 사무소 계획안들의 투시도와 도면을 통해 형태 유형의 발생과 변화, 유형과 공공 공간의 관계, 위계에 따른 형태와 공공 공간 구성 등을 분석하였다. 본 연구의 결론을 요약하면 아래와 같다. 1. 초기에는 ㄷ자, ㅡ자 유형을 사용했고 후에 곡선 유형을 도입하여 ㅡ자 유형과 함께 형태들로 분절했다. 2. 단순한 형태 유형들 전면에는 진입광장을 계획했고 곡선 유형과 함께 다양한 위계의 중정과 후원을 형성했다. 3. 미스가 여러 시도를 통해 형태 유형과 공공 공간에 대한 생각을 구축해 가던 시기였음을 알 수 있다.

• 한국산학기술학회논문지
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• 제15권11호
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• pp.6915-6921
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• 2014

본 연구는 미스 반 데어 로에의 일리노이 공과대학 캠퍼스(1339-1359)의 구성과 공간적 특성을 분석하는 것을 주제로 한다. 미스의 건축에 대한 연구가 "보편적 공간"이나 구조적 합리성 등 단일 건축물에 치중되어 왔다면 IIT 캠퍼스는 여러 동의 건물로 공공 공간을 구성한 단지계획이라는 점이 연구의 동기라고 할 수 있다. 본 연구에서는 미스의 기존 작품들과의 연관성을 도출하고 IIT 캠퍼스의 계획의도를 분석하기 위해 미스가 그린 스케치, 배치도, 투시도 등을 분석하였다. 그리하여 도출한 결론은, 첫째 미스는 단순한 형태의 선형건물을 공공 공간을 규정하는 벽처럼 사용하여 "흐르는 공간"을 캠퍼스 전반에 구현하였다. 둘째, IIT 캠퍼스는 그 자체로 도시 공간의 한 일부분으로서 통합되는 "중립적 프레임"이 되었다. 셋째, 캠퍼스의 내부에는 학생들을 위해 외부의 혼잡함으로부터 보호받으며 조용한 안정감을 주는 동시에 주변 공간과 연속되고 개방된 공공 공간을 만들었다.