• Korean Institute of Interior Design Journal
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• 제15권1호
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• pp.12-19
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• 2006

As an exhibition designer, clothing and furniture designer, and woman architect in Germany during the 1920s and'1930s Lilly Reich was an important pioneer of modern design and one of the most respected practitioners. In spite of that she has been until recently known primarily for the work she produced in association with the architect Ludwig Mies van der Rohe, because his fame has overshadowed her own contribution. For the first time only after her own works have been presented by MoMA in 1996, her artistic world could begin to be illuminated. This study discusses not only her collaboration with Mies van der Rohe, but also her own work as an individual artist. The aim of this study is concentrated on two aspects, which have been unexplored in the history of architecture and interior design. One of them is related to her effort, the essential elements and principles of the exhibition design disciplinarily to stand and through this the methodological basis of exhibition design to found. Another aspect is the contribution to the functionalist architecture by keeping in harmony the standardization and the individualism. This study is purposed to re-actualize the interior-architectural ideas of Lilly Reich into the present context through the consideration on the collaborations with Mies van der Rohe and her own works and to illuminate her complementary efforts to the functionalist architecture.

• Journal of the Korea Academia-Industrial cooperation Society
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• 제15권11호
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• pp.6915-6921
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• 2014

This study examined the composition and spatial characteristics of the Illinois Institute of Technology (1939-1959) campus by Mies van der Rohe. Studies of the Mies' architecture has been focused mostly on "universal space", structural rationality for a single building. Therefore, it is interesting to study an IIT campus through which Mies composed public space dealing with several buildings together. To determine the relationships with his previous works and the design intentions for IIT campus, this paper studied his preliminary sketches, perspective drawings etc.. By doing so, the paper presents the following conclusions. First, Mies composed the IIT campus with simple linear buildings as walls to create the "flowing space" through the campus. Secondly, the IIT campus could become the "neutral frame" integrating the campus with urban space. Third, Mies also created an open, continuous public space in the center of the campus that allows protective, quiet seclusion for the students.

• Korean Architects
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• 4호통권75호
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• pp.3-8
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• 1975

본 논문은 DIALOGUE 1974년 제 3호에 발표된 것을 번역한 것으로 21세기 건축에 큰 공헌을 한 MIES VAN DERROHE와 그의 고층건축에 관하여 설명하고 있다. 저자 '윌리암 조 -디'(WILLIAM H. JORDY)교수는 미국의 각문브라운 저자로는 'AMERICAN BUILDINGS AND THEIR ARCHITECTS'가 있다. 그는 건축계의 여러 잡지에 정기적으로 기고하고 있다.

• Journal of the Korean housing association
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• 제25권6호
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• pp.101-109
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• 2014

It was early in the $20^{th}$ century when the space was begun to say through the mutual circumstances of form and contents. Adrian Forty explained that the characteristics of space can be divided into three steps by the period: a space of enclosure, a space as continuum and a space as an extension of the body. And there is common condition that all three spaces are accompanied by the form. In the new thinking of architectural form in terms of text in modern society, architecture becomes to more complex to understanding. Saying that there is nothing outside text (Il n'y a rien en dehors du text.) in the world, Jacques Derrida insisted the world to be texted and not to be special centrality, where can be existed by difference and delay its meaning. Text is the structural meaning (sign), not a metaphorical one (symbol). Without the symbol, the architecture can be recognized as text with signing to the form. For that, there is a question how can be explained the space in terms of text extracting the meaning and the symbol. Absolutely not intended by Mies van der Rohe, but in his works of houses and pavilion, its characteristics and traces of text can be seen. If it is possible to analyse his works in the textual view, space of Mies will be found in the same direction of text. And it will be an important opportunity to re-evaluate the space of Mies works standing in the heart of Modern Architecture.

• Korean Architects
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• 통권543호
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• pp.98-105
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• 2014

• Korean Architects
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• 통권541호
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• pp.74-81
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• 2014

• Korean Architects
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• 통권623호
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• pp.22-23
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• 2021

• Korean Institute of Interior Design Journal
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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.

• Journal of the Korea Academia-Industrial cooperation Society
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• 제15권10호
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• pp.6372-6378
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• 2014

This study examined the formal types and public space of Mies van der Rohe's office designs in Germany. The characteristics of the formal types, the relationship between public space and formal types, and the composition of public space were analyzed by hierarchy with perspective drawings and plans. The conclusions were as follows. Mies used the formal types, such as U shape and I shape in his early days. Later, he adopted the curved shape and tried to fragment the forms by combining the curved shape with an I shape. Mies designed the entry space in front of the simple formal types. The curved shape was used to create various hierarchical courtyards and rear gardens. The results suggest that Mies developed his own ideas on the formal types and public space utilizing a variety of methods.

• Journal of architectural history
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• 제16권2호
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• pp.43-58
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• 2007

This paper attempts to interpret the meaning of Mies van der Rohe's famous aphorism that "less is more" in terms of space. From his assertion that the art of building is the spatial execution of spiritual decisions, one can presume that his art of building was revealed through his spatial execution consciously guided by creative principles. One of his spatial principles was less is more a representative motto for the creation of sparsely furnished space with few objects and little perceptible architecture. After his awareness of an open plan, Mies intended to create less architecture by designing a minimal form of structural frames and maximum openness of open plans and glazed walls. This study posits that Mies created more potential space, for which he intended his open plans and neutral frames to be viewed as less. His building was designed to serve as the background of works of art and the changing nature outside so restrained its own existential voice in favor of the achievement of total harmony.