工業(yè)設(shè)計(jì)專業(yè)英語(yǔ)

1、Ludwig Mies van der Rohe米斯凡德洛directoy1234The design processProfile EndBuilding concept人物簡(jiǎn)介設(shè)計(jì)歷程建筑理念結(jié)語(yǔ)結(jié)語(yǔ)1Profile Ludwig Mies van der Rohe was born in 1886 in Germany, an ordinary stonemason. In 1907, he in belem, firm, is of the great influence of belem. Smith in 1908-1911 with the famous architect Pe

2、ter byrne, work together, and learned quite a lot of things. Later, he adopted the style of the Bauhaus school of architecture, and inherits the Walter Gropius legacy of style. In 1928, he proposed the less is more, advocating pure and simple architecture. 1Profile In 1929, who designed the Barcelon

3、a international exposition of the German pavilion, the internal space of the empty chang, elegant and simple modern furniture, make him at that time, the worlds most celebrated modern designer. The period 1930-1933 as President of the Bauhaus school in Berlin.In 1937 he moved to the United States, 1

4、938-1958 of amor institute of Chicago (later renamed the Illinois institute of technology) of the architecture department. On August 19, 1969 in Chicago, died at the age of 83.1Profile 米斯凡德洛于1886年出生在德國(guó),一個(gè)普通的石匠。 1907年,他在貝倫,公司的貝倫的很大的影響。史密斯在1908 - 1911年的著名建筑師彼得伯恩一起工作,學(xué)到了很多東西。后來(lái),他采用了包豪斯建筑學(xué)院的風(fēng)格,和繼承了沃爾特格羅

5、皮烏斯遺留下來(lái)的風(fēng)格。 1928年,他提出了“少即是多”,提倡純粹和簡(jiǎn)單的架構(gòu)。 1929年,他設(shè)計(jì)了巴塞羅那國(guó)際博覽會(huì)德國(guó)館,空的內(nèi)部空間,優(yōu)雅而簡(jiǎn)單的現(xiàn)代家具,讓他在那個(gè)時(shí)候,世界最著名的現(xiàn)代設(shè)計(jì)師。 1930 - 1933年期間擔(dān)任總統(tǒng)在柏林包豪斯學(xué)校的。1937年,他移居美國(guó),1938 - 1958年的芝加哥埃莫學(xué)院(后更名為伊利諾斯理工學(xué)院)架構(gòu)的部門。 1969年8月19日,在芝加哥,享年83歲。 2The design processBarcelona world exposition the German pavilion 1929巴塞羅那世界博覽會(huì)德國(guó)館 19292The d

6、esign process In Barcelona world exposition in the design of the German pavilion, both in architectural space partition and architectural form processing, fully embodies the designer Ludwig Mies van der Rohe quote less is more, using new materials and construction methods to create a rich artistic e

7、ffect. Smith believed that contemporary expo should no longer has a gorgeous Angle hence function design, and competitive city garden should be got in the field of cultural philosophy, the body of the building itself is exhibits. Mies van DE lo here realized his technology and ideal of cultural fusi

8、on. In Smiths view, building the best processing method is as far as possible with plain narrative tone cut directly to the building: the nature of space, structure, module and form. 在巴塞羅那世界博覽會(huì)德國(guó)館的設(shè)計(jì)中，無(wú)論是建筑空間劃分還是建筑形式處理上都充分體現(xiàn)了設(shè)計(jì)者米斯凡德洛的名言“少即是多”，用新的材料和施工方法創(chuàng)造出豐富的藝術(shù)效果。 密斯認(rèn)為，當(dāng)代博覽會(huì)不應(yīng)再具有富麗堂皇和競(jìng)市角遂功能的設(shè)計(jì)思想，應(yīng)該跨

9、進(jìn)文化領(lǐng)域的哲學(xué)園地，建筑本身就是展品的主體。密斯范德羅在這里實(shí)現(xiàn)了他的技術(shù)與文化融合的理想。在密斯看來(lái)，建筑最佳的處理方法就是盡量以平淡如水的敘事口吻直接切入到建筑的本質(zhì)：空間、構(gòu)造、模數(shù)和形態(tài)。2The design processFarnsworth house 19451951范斯沃斯住宅 19451951 2The design process Farnsworth house model is similar to a box around the overhead transparency, architectural appearance is concise and clea

10、r, elegant and chic. The full glass house is more a Smith the concept of building an experimental products, is relatively weak in habitant is convenient. Smith thinks the transparent way make residential space and air to flow freely, and in habitants view, this is undoubtedly make live a kind of pub

11、lic property, the behavior of the lack of privacy. This is the farnsworth house is the root cause of the controversial. 范斯沃斯住宅造型類似于一個(gè)架空的四邊透明的盒子，建筑外觀也簡(jiǎn)潔明凈，高雅別致。這棟全玻璃的房子更多是密斯建筑理念的一種實(shí)驗(yàn)性產(chǎn)品，在居住者便利方面則相對(duì)弱化。 密斯認(rèn)為這種透明的方式使得住宅的空間與空氣得以自由流動(dòng)，而在居住者看來(lái)，這無(wú)疑是讓居住成為一種公眾性、缺乏隱私的行為。這也是范斯沃斯住宅之所以備受爭(zhēng)議的根本原因。2The design process

12、West gramm building 19541958 西格拉姆大廈 195419582The design process Building design style reflects the meters, Ludwig Mies van der Rohe consistently argued that it is based on a profound interpretation of frame structure, developing a strong architectural aesthetics. That is the structural system with s

13、implified, streamlined structure components, pay attention to the structure of the logical expression, make it produce no barrier for free division of large space, perfect deduce the construction principle of less is more. After the second world war in the 1950 s, pay attention to the tendency of te

14、chnology exquisite architectural dominant in the west. And people and Smith pure, transparent and accurate construction steel glass box as the representative of this tendency. West gramm building this kind of tendency model work. 大廈的設(shè)計(jì)風(fēng)格體現(xiàn)了密斯凡德羅一貫的主張，那就是基于對(duì)框架結(jié)構(gòu)的深刻解讀，發(fā)展出一種強(qiáng)有力的建筑美學(xué)。那就是用簡(jiǎn)化的結(jié)構(gòu)體系，精簡(jiǎn)的結(jié)構(gòu)構(gòu)件

15、，講究的結(jié)構(gòu)邏表現(xiàn)，使之產(chǎn)生沒(méi)有屏障可供自由劃分的大空間，完美演繹“少即是多”的建筑原理。 二戰(zhàn)后的上世紀(jì)50年代，講究技術(shù)精美的傾向在西方建筑界占有主導(dǎo)地位。而人們又把密斯追求純凈、透明和施工精確的鋼鐵玻璃盒子作為這種傾向的代表。西格拉姆大廈正是這種傾向的典范作品。 2The design processThe new national gallery in Berlin 19621968 柏林新國(guó)家美術(shù)館 19621968 2The design process Ludwig Mies van der Rohe early 60 s west Berlin was invited to d

16、esign the new national art museum, opened in 1968. The museum completed only after Smiths death, his life is to explore the purity of steel and glass buildings to the swan song of artistic style, some say it is a steel and glass modern Parthenon. Art gallery for two layers of square building, a laye

17、r on the ground, a layer in the ground. The exhibition hall on the ground glass walls on all sides, the above is a flat roof steel. Well glyph of roof is supported by eight root cross section steel column. Pillars and roof shall, according to the requirement of the mechanics, compress it to only a s

18、mall ball. Buildings surrounded by large areas of glass walls, only activity partition layout some mobility within the hall of exhibition. The hall in front of the platform set up a group people form abstract sculpture, metal and glass box building both contrast and mutual echo. 密斯凡德羅60年代初應(yīng)邀為西柏林設(shè)計(jì)新的

19、國(guó)家美術(shù)館，1968年落成。這座美術(shù)館在密斯逝世后才完工，是他畢生探索的鋼與玻璃的純凈建筑藝術(shù)風(fēng)格的絕唱，有人稱它是鋼與玻璃的現(xiàn)代“帕特農(nóng)神廟” 。 美術(shù)館為兩層的正方形建筑，一層在地面，一層在地下。地面上的展覽大廳四周都是玻璃墻，上面是鋼的平屋頂。井字形屋架由八根十字形截面鋼柱支撐著。柱子與屋面的接頭處，按力學(xué)的要求，把它精簡(jiǎn)到只有一個(gè)小圓球。建筑物四周全是大面積的玻璃圍墻，大廳內(nèi)部只用活動(dòng)隔斷布置一些流動(dòng)性的展覽。大廳前的平臺(tái)上設(shè)置了成組金屬人體形抽象雕塑，與玻璃盒子的建筑既對(duì)比又相互呼應(yīng)。3Building concept Smith had no formal education of

20、 architecture, he first understanding and the understanding of construction began in his fathers masons mill and ya deep those exquisite ancient architecture. , so to speak, his architectural thought from the practice and experience. Whether in Berlin Bruno, Paul firm as an apprentice, or under Pete

21、r byrne, do a draftsman, or set up his own firm in Berlin. These experiences made him step by step into the earth-shaking change of the 20th century, and eventually leads to a piece of the twentieth century architectural thought system. Until now, in the United States and around the world including

22、China style of mies followers also in the extension and development of this theory. 密斯沒(méi)有受過(guò)正式的建筑學(xué)教育，他對(duì)建筑最初的認(rèn)識(shí)與理解始于父親的石匠作坊和涯深那些精美的古建筑?？梢哉f(shuō)，他的建筑思想是從實(shí)踐與體驗(yàn)中產(chǎn)生的。無(wú)論是在柏林的布魯諾，保羅事務(wù)所當(dāng)學(xué)徒，還是在彼得貝倫斯手下做一名繪圖員，或者是在柏林開辦他自己的事務(wù)所.這些經(jīng)歷使他一步步的投身于二十世紀(jì)翻天覆地的重大變革中，并最終引領(lǐng)出一片貫穿二十世紀(jì)的建筑思想體系。直至現(xiàn)在，在美國(guó)和世界各地包括中國(guó)的密斯風(fēng)格追隨者還在引申和發(fā)展這套理論.3Build

23、ing concept After the first world war, mies completely abandoned the traditional architectural style technique, changed the le corbusier and walter gropius vigorously promote new architectural concept (called avant-garde). So common in traditional architecture to the rigorous decorative pattern, loc

24、al modification are in addition to, to give priority to with function, with a strong rational style of modern architecture. Society at that time in addition to advocate savings ethos, theorists also greatly criticized the past classical revival style architecture is the European aristocracy waste of hua qiao empirical. 1919 mies