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Hagen Stier

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Spotlight: Mies van der Rohe

03:30 - 27 March, 2019
Spotlight: Mies van der Rohe, Barcelona Pavilion. Image © Gili Merin
Barcelona Pavilion. Image © Gili Merin

Ludwig Mies van der Rohe (27 March 1886 – 17 August 1969) is one of the most influential architects of the 20th century, known for his role in the development of the most enduring architectural style of the era: modernism. Born in Aachen, Germany, Mies' career began in the influential studio of Peter Behrens, where Mies worked alongside other two other titans of modernism, Walter Gropius and Le Corbusier. For almost a century, Mies' minimalist style has proved very popular; his famous aphorism "less is more" is still widely used, even by those who are unaware of its origins.

Neue National Gallery in Berlin. Image © Guillermo Hevia García The Farnsworth House. Image © Greg Robbins IBM Building. Image © Bluffton University Seagram Building. Image © <a href='https://commons.wikimedia.org/wiki/File:NewYorkSeagram_04.30.2008.JPG'>Wikimedia user Noroton</a> licensed under public domain + 14

Kinderkrippe Nursery School / KRAUS SCHÖNBERG ARCHITEKTEN

03:00 - 4 May, 2016
Kinderkrippe Nursery School / KRAUS SCHÖNBERG ARCHITEKTEN, © Hagen Stier
© Hagen Stier

© Hagen Stier © Hagen Stier © Hagen Stier © Hagen Stier + 19

Renzo Piano on the Whitney Museum and the Value of Public Space

09:30 - 9 June, 2015
Renzo Piano on the Whitney Museum and the Value of Public Space, © Nic Lehoux
© Nic Lehoux

Throughout his career, Renzo Piano has designed dozens of museum buildings becoming the most prolific museum designer of our time. Yet, it has been some time since one of his designs has been as widely discussed and analyzed as his latest, the Whitney Museum in New York. In this interview, originally published on The Value of Architecture as "A House for Freedom: an Interview with Renzo Piano," David Plick speaks with Piano about the many inspirations of the Whitney Museum, from the previous Whitney Museum by Marcel Breuer to the neighboring High Line, the city on one side and the river on the other.

Renzo Piano is the great champion of public space. Whether the visitors and citizens of the city are aware of it or not, he improves their quality of life by sharing with them a living space designed specifically for the cultivation and dispersion of ideas and the enrichment of civic life. He’s the architect who cares about the individual’s experience of a building, who cares about how people interact with the space, and how the space then interacts with the world. At the Whitney Museum of American Art, much like the Centre Pompidou, or Beaubourg as he would say, he showed this by including a large area in front—a “piazza” he calls it—for people to meet, congregate, chat, and even loiter. He’s somehow simultaneously innovative and selfless. And because of this, he can masterfully fuse form and function, creating beauty for himself because he loves it and thinks it will save people, yet it all means nothing to him if he can’t share in this emotion with others.

The Relationship between the Whitney Museum and the Southern End of the High Line. Image © Nic Lehoux © Nic Lehoux © Nic Lehoux © Nic Lehoux + 9

Material Masters: Glass is More with Mies van der Rohe

00:00 - 3 December, 2014
Material Masters: Glass is More with Mies van der Rohe

To celebrate the first anniversary of our US Materials Catalog, this week ArchDaily is presenting a three-part series on "Material Masters," showing how certain materials have helped to inspire some of the world's greatest architects.

Mies van der Rohe, famous for his saying “less is more,” was one of the preeminent modernist architects, well known for pioneering the extensive use of glass in buildings. His works introduced a new level of simplicity and transparency, and his buildings were often referred to as "skin-and-bones" architecture for their emphasis on steel structure and glass enclosure. In addition to Mies van der Rohe, glass was a major influence for many architects of the modernist movement and reshaped the way we think about and define space. Today, glass has become one of the most used building materials, but its early architectural expression is perhaps best exemplified in the works of Mies.

Invisible Cities and the Curtain Wall: The Last Remnant of Modernism

00:00 - 27 October, 2014
Invisible Cities and the Curtain Wall: The Last Remnant of Modernism, The National September 11 Memorial entry pavilion appears camouflaged against the backdrop of neighbouring glass curtain walls. Image © Joe Woolhead
The National September 11 Memorial entry pavilion appears camouflaged against the backdrop of neighbouring glass curtain walls. Image © Joe Woolhead

Few of the architectural principles developed in the 20th century have been as widely accepted as the curtain wall, with the technology going from an implied feature of Le Corbusier's Five Points of Architecture to the go-to facade treatment of architects worldwide. In this article, originally published on Australian Design Review as "Invisible Cities - The Last Remnant of Modernism," Annabel Koeck argues that the curtain wall, initially prized for its glassy transparency, is now making buildings and even entire cities invisible thanks to its sheer ubiquity - at the expense of architectural expression.

Norwegian architects Snøhetta, based between Oslo and New York, designed the glass structure for the The National September 11 Memorial entry pavilion, which appears camouflaged against the backdrop of neighbouring glass curtain walls that define the New York skyline. Admittedly, Snøhetta’s pavilion was conceived by a very different brief, one defined by timidity and subtlety; yet paradoxically it was the curtain wall that facilitated this. Looking over the South Pool towards an array of glazed elevations that dominate the skyline it is ironic that a Modernist technique – the curtain wall – could now spell the end for architectural diversity in cities.

Chicago Unveils Plans for Its Own Architecture Biennial

00:00 - 24 June, 2014
Chicago Unveils Plans for Its Own Architecture Biennial, Willis Tower (Sears Tower) / SOM. Image © Flickr CC User skydeckchicago
Willis Tower (Sears Tower) / SOM. Image © Flickr CC User skydeckchicago

Today, Chicago Mayor Rahm Emanuel will announce plans for a new international architecture exhibition in his city which hopes to rival the reach and influence of the Venice Architecture Biennale. The first Chicago Architecture Biennial is planned to be held in late 2015, and will be co-curated by Director of the Graham Foundation Sarah Herda, and Joseph Grima, former editor-in-chief of Domus Magazine and co-curator of the 2012 Istanbul Design Biennial.

They will develop the program with help from David Adjaye, Elizabeth Diller, Jeanne Gang, Frank Gehry, Stanley Tigerman, Sylvia Lavin, Hans Ulrich Obrist, and Pritzker Prize Jury Chair Peter Palumbo.

More on the plans for the Chicago Architecture Biennial after the break

Light Matters: Richard Kelly, The Unsung Master Behind Modern Architecture’s Greatest Buildings

01:00 - 29 April, 2014
Light Matters: Richard Kelly, The Unsung Master Behind Modern Architecture’s Greatest Buildings, Seagram Building, New York.
Seagram Building, New York.

Richard Kelly illuminated some of the twentieth century’s most iconic buildings: the Glass House, Seagram Building and Kimbell Art Museum, to name a few. His design strategy was surprisingly simple, but extremely successful.

Lighting for architecture has been and still often is dominated by an engineering viewpoint, resigned to determining sufficient illuminance levels for a safe and efficient working environment. With a background in stage lighting, Kelly introduced a scenographic perspective for architectural lighting. His point of view might look self-evident to today’s architectural community, but it was revolutionary for his time and has strongly influenced modern architecture.

Read more about Richard Kelly’s remarkable, and unsung, contribution to architecutre, after the break.

Entrance, Seagram Building, New York. Image © Ezra Stoller/Esto Seagram Building, New York. Image © Thomas Schielke Entrance, Seagram Building, New York. Image © Ezra Stoller/Esto Bar, Four Seasons Restaurant, Seagram Building, New York. Image © Hagen Stier + 11

E.On Avacon / Bof Architekten

01:00 - 26 July, 2013
© Hagen Stier
© Hagen Stier
  • Architects

  • Location

    Joachim-Campe-Straße 13, 38226 Salzgitter, Germany
  • Category

  • Design Team

    Lutz Schneider, Frank Keikut, Leonie Willnauer, Katrin Becker Timo Eisele, Tim Kalka, Romain Taunais, Judith Overberg
  • Area

    8436.0 sqm
  • Project Year

    2012
  • Photographs

© Hagen Stier © Hagen Stier ©  Thomas Lewandovski © Hagen Stier + 26

Bildungszentrum Tor zur Welt / Bof Architekten

01:00 - 24 July, 2013
© Hagen Stier
© Hagen Stier

© Hagen Stier © Hagen Stier © Hagen Stier © Hagen Stier + 24

AD Classics: Whitney Museum / Marcel Breuer

00:00 - 18 April, 2011
AD Classics: Whitney Museum / Marcel Breuer, © wikimedia commons
© wikimedia commons

© Hagen Stier Courtesy of Andre Salvador © wikimedia commons Courtesy of Andre Salvador + 15

AD Classics: 860-880 Lake Shore Drive / Mies van der Rohe

00:00 - 11 May, 2010
AD Classics: 860-880 Lake Shore Drive / Mies van der Rohe, © Hagen Stier
© Hagen Stier

© Hagen Stier © Hagen Stier © Hagen Stier © Hagen Stier + 10