工业设计专业英语

1、Ludwig Mies van der Rohe米斯凡德洛directoy1234The design processProfile EndBuilding concept人物简介设计历程建筑理念结语结语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年出生在德国,一个普通的石匠。 1907年,他在贝伦,公司的贝伦的很大的影响。史密斯在1908 - 1911年的著名建筑师彼得伯恩一起工作,学到了很多东西。后来,他采用了包豪斯建筑学院的风格,和继承了沃尔特格罗

5、皮乌斯遗留下来的风格。 1928年,他提出了“少即是多”,提倡纯粹和简单的架构。 1929年,他设计了巴塞罗那国际博览会德国馆,空的内部空间,优雅而简单的现代家具,让他在那个时候,世界最著名的现代设计师。 1930 - 1933年期间担任总统在柏林包豪斯学校的。1937年,他移居美国,1938 - 1958年的芝加哥埃莫学院(后更名为伊利诺斯理工学院)架构的部门。 1969年8月19日,在芝加哥,享年83岁。 2The design processBarcelona world exposition the German pavilion 1929巴塞罗那世界博览会德国馆 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. 在巴塞罗那世界博览会德国馆的设计中，无论是建筑空间划分还是建筑形式处理上都充分体现了设计者米斯凡德洛的名言“少即是多”，用新的材料和施工方法创造出丰富的艺术效果。 密斯认为，当代博览会不应再具有富丽堂皇和竞市角遂功能的设计思想，应该跨

9、进文化领域的哲学园地，建筑本身就是展品的主体。密斯范德罗在这里实现了他的技术与文化融合的理想。在密斯看来，建筑最佳的处理方法就是尽量以平淡如水的叙事口吻直接切入到建筑的本质：空间、构造、模数和形态。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. 范斯沃斯住宅造型类似于一个架空的四边透明的盒子，建筑外观也简洁明净，高雅别致。这栋全玻璃的房子更多是密斯建筑理念的一种实验性产品，在居住者便利方面则相对弱化。 密斯认为这种透明的方式使得住宅的空间与空气得以自由流动，而在居住者看来，这无疑是让居住成为一种公众性、缺乏隐私的行为。这也是范斯沃斯住宅之所以备受争议的根本原因。2The design process

12、West gramm building 19541958 西格拉姆大厦 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. 大厦的设计风格体现了密斯凡德罗一贯的主张，那就是基于对框架结构的深刻解读，发展出一种强有力的建筑美学。那就是用简化的结构体系，精简的结构构件

15、，讲究的结构逻表现，使之产生没有屏障可供自由划分的大空间，完美演绎“少即是多”的建筑原理。 二战后的上世纪50年代，讲究技术精美的倾向在西方建筑界占有主导地位。而人们又把密斯追求纯净、透明和施工精确的钢铁玻璃盒子作为这种倾向的代表。西格拉姆大厦正是这种倾向的典范作品。 2The design processThe new national gallery in Berlin 19621968 柏林新国家美术馆 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. 密斯凡德罗60年代初应邀为西柏林设计新的

19、国家美术馆，1968年落成。这座美术馆在密斯逝世后才完工，是他毕生探索的钢与玻璃的纯净建筑艺术风格的绝唱，有人称它是钢与玻璃的现代“帕特农神庙” 。 美术馆为两层的正方形建筑，一层在地面，一层在地下。地面上的展览大厅四周都是玻璃墙，上面是钢的平屋顶。井字形屋架由八根十字形截面钢柱支撑着。柱子与屋面的接头处，按力学的要求，把它精简到只有一个小圆球。建筑物四周全是大面积的玻璃围墙，大厅内部只用活动隔断布置一些流动性的展览。大厅前的平台上设置了成组金属人体形抽象雕塑，与玻璃盒子的建筑既对比又相互呼应。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. 密斯没有受过正式的建筑学教育，他对建筑最初的认识与理解始于父亲的石匠作坊和涯深那些精美的古建筑。可以说，他的建筑思想是从实践与体验中产生的。无论是在柏林的布鲁诺，保罗事务所当学徒，还是在彼得贝伦斯手下做一名绘图员，或者是在柏林开办他自己的事务所.这些经历使他一步步的投身于二十世纪翻天覆地的重大变革中，并最终引领出一片贯穿二十世纪的建筑思想体系。直至现在，在美国和世界各地包括中国的密斯风格追随者还在引申和发展这套理论.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