最近想把自己喜欢的大师的作品和设计的感想总结一下
发上来和大家一起学习。今天就先从 密斯·凡德罗（Ludwig Mies van der Rohe 1886-1969):
二十世纪中期世界上最著名的四位现代建筑大师之一。密斯坚持“少就是多”的建筑设计哲学，
在处理手法上主张流动空间的新概念。他的设计作品中各个细部精简到不可精简的绝对境界，
不少作品结构几乎完全暴露，但是它们高贵、雅致，已使结构本身升华为建筑艺术。
听过王老师的中外建筑史，讲到他是一个体态偏旁的德国大胖子，是彼得.贝伦斯的
第二个徒弟，一个没有受过学院派影响的年轻人，但对建筑的施工很了解，这也成就了
他的大师之路的开始，彼得.贝伦斯只招了3个徒弟，密斯、各罗皮乌斯、可布西耶。
Recently, trying to master their own feelings about the design of works and made up to sum up and learn together.
Today first from miss · every Deluo (Ludwig Mies van der Rohe 1886-1969): in the mid-20th century in world one of most famous four modern architecture masters. Mies adhere to the "less is more" philosophy of architectural design, that the modus operandi in dealing with the new concept of space of flows.In his design work each detail simplifies to the absolute boundary which cannot be simplified, the many work structures exposes nearly completely, but they are noble, are refined, has caused the structure itself to sublimate into the chitectural art.
Has listened to the Mr. Wang’s Chinese and foreign history of architecture, said he is a body fat is identical to that of
他们算是现代建筑的开山鼻祖。下面就从密斯的作品中大家来了解他。
他的照片（真的不好找啊）
They are the modern architecture founders. The following from Mis works we come to know him
这个算是他的成名作了吧，巴塞罗那世博会的德国馆，他和各罗皮乌斯相比算是大气晚成吧。
从他的平面中能看从空间划分的很灵活，在实际的建筑中也体现了这一点，空间的流线有点
中国的园林的感觉，移步换景。室外空间和室内空间的分界并不是十分的明显。
This was his signature work, Barcelona World Expo's German hall, compared with Walter Gropius , he later became regarded as the atmosphere . From his plane to see the division of space is very flexible, in the actual construction also reflects this point, the flow space of the garden a little feeling of the Chinese, walk-for-King.
Outdoor space and indoor space is not very clear boundaries
这是每个方位的立面
This is each elevation
建筑实景1
外廊
室内景观（著名的巴塞罗那椅）
Indoor landscape (famous Barcelona chair)
石材的选择很漂亮。
The stone material choice is very attractive.
馆的外墙，石材的纹路选择很到位。
The hall outer wall,the Stone' s texture are in place to choose
外立面实景
Elevation
通过玻璃向室内看。
through the glass to the interior.
移步换景
Walk-for-King
玻璃幕墙，当时应该是很新鲜的构建吧。
The glass curtain wall, at that time should be the very new construction
大水池，增加空间的灵性。
Large pool, an increase of spiritual space
大理石雕像是点睛之笔
The marble statue is adds the finishing touch the pen
不锈钢十字钢柱。上帝存在于细部，
埃森曼在为《密斯在美国》一书所撰写的“密斯和不在场的成形”
一文中指出，柯布西耶惯用的圆柱暗示了周围空间无方向地自由流动伸展，
而密斯的不锈钢十字形柱则在于含蓄地矢量化四周的“空”。
埃森曼的观点从结构上可以讲的通，然而我认为，
密斯的不锈钢十字形柱不是结构问题，也不是埃文斯(Robin Evans)所论证的，
密斯所谓的结构并非工程意义上的结构，而是一种审美意义上的概念结构的说法，
有人认为密斯的十字形柱是一种信仰结构。
Stainless steel cross steel pole. God exists in the detail,
the Essen is graceful, in is "Miss in the US" a book composes “the miss and forming not on the scene” in a article pointed out that tan oak Bussy Ye habitually uses the column suggested periphery the space does not have the direction unrestricted flow extension, , but the miss stainless steel cruciform column lies in implicitly the arrow quantification all around “spatial”. the Essen graceful viewpoint may say structurally passing, however I believed that the miss's stainless steel cruciform column is not the structure question, is also not, which Evans (Robin Evans) proves in miss so-called structure by no means project significance structure, but is in one kind of esthetic significance concept structure view, Some people think that Smith's cross-chu is a belief structure.
灰色空间
Pessimistic spatial
自然才是空间的缔造者。
Is the founder of the natural
上帝存在细部之中
God in detail
DETAIL（1）
连椅
stone-chair
全景
perspective
俯视
eyebird
对于空间产生的意境和布局是值得，后来人努力学习的。
The resulting conception of space and layout is worth the efforts of later learning.
最后用巴塞罗那椅来结束，重温经典。
巴塞罗纳国际博览会德国馆（1928-1929）是密斯的代表作
人们对整个主厅承重结构只有八根十字形断面的钢柱，
所有大理石墙和玻璃隔断背叛传统结构关系，
以及创造出前所未有的流动空间印象深刻。
然而这座建筑对于密斯来说最重要的是创造了不锈钢十字形柱的结构，
和巴塞罗那椅，这个结构和家居成为象征密斯的符号。
是我们看到它们就想到的密斯。
这里对影响世界1/3的天际线的密斯致敬。
Finally used Barcelona chair to finish, reviews the classics.
the Busser render international fair
People to the entire host hall load-bearing member only then eight cruciform cross section steel pole, possesses the Dali stone wall and the glass separates the betrayal tradition structural relation, as well as creates the unprecedented mobile spatial impression to be profound.however this building has created the stainless steel cruciform column's structure most importantly regarding the Miss, and Barcelona chair, the structure and Mies home has become a symbol of the symbol, so that we can see that they think of Mies.Here to affects the world 1/3 horizon the Miss to salute.
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