Dissertation Draft Report

DISSERTATION REPORT
Session: 2018-2019
STUDY OF PRINCIPLES/ & WORK OF ARCHITECTS ON

MINIMALISMALISTIC BUILDINGS
Undertaken by:
Aniruddh Babbar
Enrollment no:1406160003
V Year, B.Arch.
GUIDE: AR. SHIVANI SINGH

COORDINATOR: AR. PANKAJ DHAYAL
DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE B.ARCH.

DEGREE
MINIMALISM i
School of Architecture & Planning
K.R. Mangalam University
Gurgaon
DECLARATION
I,Aniruddh Babbar, hereby solemnly declare that the dissertation work undertaken by me,
titled Study of Principles & Works of Architects on Minimalismalistic Buildingsis my
original work and whatever information I have incorporated in the form of photographs,
text,data,maps,drawings,etc., from different sources, has been duly acknowledged in my
report.
Date:……………………….
Place:………………
Aniruddh Babbar
Enrollment no: 1406160003
V Year B.Arch.
School of Architecture & Planning,
K.R.MangalamUniversity,Gurgaon
MINIMALISM ii
CERTIFICATE
This dissertation report is submitted by ANIRUDDH BABBAR, ENROLLMENT NO-

1406160003, studentof 5th Year School of Architecture & Planning, K.R.Mangalam
University, Gurgaon,Session: 2018-2019.
The originality of information and opinion expressed in this dissertation are of the Author and
do not necessarily reflect those of the Guide or the Coordinator or the Institute.
Date:……………………….
Place:………………
Student: ANIRUDDH BABBAR
Guide: AR.SHIVANI SINGH External Examiner:
Dissertation Coordinator: Dean:

Ar.Pankaj Dhayal Prof. IndraniBasu
School of Architecture & Planning,

K.R. Mangalam University,
Gurgaon
MINIMALISM iv
ACKNOWLEDGMENT
Many people have made significant contributions to the research, data collection and data
analysis required in this report.
I would like to express my deep and sincere gratitude to my supervisor, Ar. Shivani Singh for
her continued guidance throughout the dissertation.
I would also like to thank the dissertation coordinator Ar. Pankaj Dhayal.
MINIMALISM 1
ABSTRACT
MINIMALISM 2
CONTENTS
Declaration.........................................................................................................................(i)
Certificate..........................................................................................................................(ii)
Acknowledgment...............................................................................................................(iv)
Abstract..............................................................................................................................(v)
Contents............................................................................................................................(xi)
1. Overview
1.1.Introduction...................................................................................................................1
1.2. Need of Study...................................................... .........................................................2
1.3. Aim................................................................................................................................2
1.2.1. Scope & Limitations...................................................................................................2
1.4. Objectives......................................................................................................................3
1.5. Research Methodology..................................................................................................3
2. Minimalism
2.1. History...........................................................................................................................6
2.2. Timeline.........................................................................................................................6
2.3. Principles of Minimalism..............................................................................................7
2.4. Elements of Minimalist Design.....................................................................................9
3. Mies Van Der Rohe
3.1. Life & Work................................................................................................................13
3.2. Career..........................................................................................................................19
3.3. Principles & Philosophies...........................................................................................24
3.4. Furniture......................................................................................................................25
3.4.1. Tugendhat Chair..................................................................................................26
MINIMALISM 3
3.4.2. Barcelona Chair...................................................................................................26
3.4.3. Barcelona Couch.................................................................................................27
3.4.4. X-Table/Barcelona Table....................................................................................29
3.4.5. Barcelona Stool...................................................................................................29

3.4.6. Brno Chair...........................................................................................................29
3.4.7. MR Chair.............................................................................................................29
3.4.8. MR Chaise Lounge Chair....................................................................................30
3.5. Realized Works............................................................................................................32
3.5.1. Barcelona Pavilion...............................................................................................32
Construction.....................................................................................................33
Planning............................................................................................................33
3.5.2. Farnsworth House................................................................................................37
Site....................................................................................................................39
Planning............................................................................................................40
Structure...........................................................................................................41
Other Materials.................................................................................................42
Internal Environment........................................................................................42
Rainwater Drainage..........................................................................................43
Inferences.........................................................................................................46
3.5.3. Seagram Building................................................................................................47
Planning & Designing......................................................................................49
Structure...........................................................................................................49
Materials...........................................................................................................49
4. Tadao Ando
4.1 Life...............................................................................................................................51
4.2 Career & Works............................................................................................................53
MINIMALISM 4
4.3 Principles & Philosophies............................................................................................57
4.4 Realized........................................................................................................................59
4.4.1 Koshino House....................................................................................................60
Site....................................................................................................................60
Planning & Design...........................................................................................61
Materials...........................................................................................................64
Natural Lighting...............................................................................................64
Integrity with Surroundings..............................................................................65
Additions............................................................................................ ..............65
4.4.2 Church of Light...................................................................................................66
Site....................................................................................................................66
Concept.............................................................................................................67
Planning & Design...........................................................................................67
Construction.....................................................................................................69
5. Case Studies and Examples
5.1 Examples......................................................................................................................70
5.1.1 F3 Farmhouse/ DADA & Partners......................................................................70
5.1.2 Gurgaon House/ DADA & Partners....................................................................71
5.1.3 Glass House / California......................................................................................72
5.2 Live Case Study............................................................................................................72
5.2.1 Bharat Bhawan/ Charles Correa..........................................................................72
6. Analysis................................................................................................................................73
Case Study Analysis..................................................................................................................73
Questionaires Result.................................................................................................................74
MINIMALISM 5
Questionaires Inferencest.........................................................................................................75
Conclusions..............................................................................................................................75
Bibliograpy...............................................................................................................................79
MINIMALISM 6
Minimalism was constantlypracticed by
CHAPTER-1
customary Japanese architects, however, the
OVERVIEW main consideration in the twentieth century
1.1 INTRODUCTION in attaining the plan and form of the
building structures was the cataclysmic
M
inimalism speaks to
World Wars. The World Wars annihilated
movements of art and
the entire urban communities, as it was
design, particularly visual
on a huge scale, the architects of that
art and music, where the work is stripped
period were essentially disposed towards
down to its most practical highlights.
quicker reconstructing and thus a
Modernism in design has perserved for a
Minimalism came into being. This aided in
long time now. At first, it was only a
accelerating the development procedure and
hypothesis but now its the nerve of the
furthermore, minimalism in design
building. The theories and standards of
appeared. The idea was coined by the
different architects of the mid-twentieth
British philosopher, Robert Wollheim in a
century and that of the contemporary
1965 paper in Arts Magazine. There have
architects have given a more extensive point
been numerous planners who have added to
of view on the present situation of the
this theory.
patterns in modern architecture. Numerous
improvements have been made as far as for
plan, innovation, strategies and so on which
gives the significance to the architecture.
Diverse identities have distinctive methods
of insight and meaning of their type of
work. Figure-1Definition of Minimalism.
MINIMALISM 1
1.2 NEED OF STUDY 1.3 AIM
In the current contemporary situation, To achieve minimalism in public/residential
except for someorientation, most of the buildings through principles and elements of
others do not have a deeper meaning in design as a feature of minimalistic
architecture resulting in inappropriate architecture.
ornamentation, disquietingly ornate

1.3.2 SCOPE
ignoring the spaciousness, and qualitative
1. Minimalism is a large subject area
aspects.
which can be applied to life, nature and
Minimalism as a design approach which all kinds of arts, architecture, but this
facilitates meaningful architecture by dissertation pays particular attention to
providing calmness and simple wonderful the minimalistic building.
spaces may be the best way to get rid of 2. Studying the works of two prominent
today's feverish and hectic environments. minimal architects Ludwig Mies van der
Rohe, Tadao Ando, which will provide

The challenge is to create calm
thorough knowledge about the basics of
contemplative, soothing spaces in the hectic
minimalism.
urban environments.
3. Live and Literature case studies.
Therefore the importance of this study is to 4. Since the quality of space would be
encourage minimal architecture and considered here, the contribution of the
investigate the appropriateness of this form will be discussed.
approach to design contemporary houses. 5. Also, the dissertation focuses on, the use
of color, texture, and light, materials
&another elementindetails to elevate the
spatial quality of the space.
MINIMALISM 2
1.3.2 LIMITATIONS 1.3 OBJECTIVES
1. The study is limited to minimalism  To study aesthetical elements like
regardless of other design principles. colors, form, materials, light.
2. Live case study of buildings in Delhi  To understand the prominenceof forms,
was not possible as the buildings views,and daylight.
identified were private home of their

1.4 RESEARCH METHODOLOGY
residents.
3. This dissertation does not focus on
how minimalism can have cost-
cutting/adding effects.
Illustration-1 Research Methodology.
MINIMALISM 3
Instead, I will acquire just the most
CHAPTER 2
elegant basic items. Minimalism is
MINIMALISM
absolutely not a shoddy design, but rather
M
inimalism depicts
movements in different likewise it'snot an absence of design either.
types of art and design.
These days beautifications have turned out
to be intense to the point that it had started
to undermine the function of
room/building/question. This is the where
the motto Less Is More is determined.
Minimalist design is highly affected by
conventional Japanese. One of the major
references for the minimal approach is Stijl.
For an intentional Architecture, it is
important to remove improper

Figure-2Junsei House by Suyama Peterson.
ornamentation and uneasingly ornates in Minimalism Architecture is about designing
Architecture, which disconnects the feeling better structures through effortlessness, as
of spaciousness. A few people mistake far as straightforward structures, spaces,
Minimalism for Simplicity, be that as it materials, and colors, ornamentations are in
may, Minimalism was never characterized quality instead of amount.
by destitution and poverty, truth be told, it is
Formally, minimalismemerged in the 1970s
considered as a style of the super-rich. The
Be that as it may, De Stijl and conventional
state of mind is: I can have
anything, however, I won't miss my home,
MINIMALISM 4
Japanese plan were viewed as antecedents Rams' rule "Less but Better", or, in other
of minimalism. words, Mies' principles.
De Stijl (Dutch for "The Style"), otherwise Minimalist architectural designers center
called neoplasticism, was an around the association between two perfect
artisticmovement in the Netherlands. It planes, the lighting (tasteful and exquisite)
started in 1917 and blurred around 1931. Its and the voids left by the expulsion of those
driving figure was Theo van Doesburg died components which are stripped off. All the
in 1931, and this essentially denoted the end more stylishly satisfying home plans are
for the De Stijl movement. This movement significantly more costly materials than
existed just for a short timeframe, however, regular outlines. Likewise because of the
establishing the frameworks of minimalism. fact that these were substantially greater in
The significant principlespromoted by De size.
Stijl development are simplified visual
organizations to the vertical and horizontal
directions, and utilization of just primary
colors (together with high contrast).
Architect Ludwig Mies van der Rohe
adopted the principleof "Less is More" to
portray important strategies of arranging
parts of a building to make an impression of
extraordinary simplicity, without Figure-3 Quote by Mies Van Der Rohe.
overlooking the style of that structure, both
inside and outside. A similar notion was
passed on by industrial designer Dieter
MINIMALISM 5
2.1 TIMELINE
Figure- 4 Quote by Mies Van Der Rohe.
2.2 HISTORY
Rietveld applied De Stijl principles to
The origins of minimalist architecture can
architecture by way of a design philosophy
be found in traditional Japanese
based on functionalism, a lack of surface
architecture. Japanese design philosophies
decoration, and rectilinear planes as
are greatly influenced by Zen and
exemplified in Rietveld's Schroder House.
simplicity. Everything focuses on simplicity
and functionality. Due to an appreciation of The Bauhaus approach had close ties to De
plain and simple objects, it always revolved Stijl and shared the principles in cleanliness,
around the idea of minimalism and focused functionalism, purity, and reduced forms.In
on adding only what is needed. 1947, after the Bauhaus emerged in the
United States and became known as the

In the early 1900s the De Stijl movement
International Style, its famous architect
endorsed abstraction and simplicity by
Ludwig Mies van der Rohe summarized its
reducing art to its essential forms and
minimalist philosophy:'Less is more.
colors. Theo Van Doesburg and Gerrit
MINIMALISM 6
2.3 PRINCIPLES OF MINIMALISM
with the materials used, create a relationship
The basic concept of any minimalist design
between building and the environment in
is to strip everything down to its essential
which it exists.
quality and achieve simplicity. The idea is
not to leave the design with no
ornamentation at all, but all those parts,
joinery and details are considered to reduce
to a stage where no one can remove
anything further to improve the design.
Minimalist architects not only look into the
physical quantities of the building. They
have a more elaborate approach. They look
deeply into the spiritual dimension and the
invisible, by listening to the figure and
paying attention to the details, the people, Figure- 5 Overhang House by DADA &
Partners.
space, its nature and the materials used in
The principles of minimalism can be easily
that space. This reveals the abstract quality
differentiated. The following are some of
of anything in that space and one can feel
the characteristics of a minimalist design:
the design by its simplicity and essence of
 Omit needless things: don't include
the space.
unnecessary elements in the design.
The design also opens up to the surrounding
Only include what is necessary to the
environment. The essence of that space, be
form and function of the design.
it interior or exterior, is defined by the
 Reductive approach: remove the
natural elements such as natural light,
elements in the design until it stops
air,and earth. These elements, when infused
MINIMALISM 7
working the way it should. The point throughout the building. The open
right before that is when one would planning helps to achieve a multi-
achieve the most minimalist design functional space. Spaces
possible that cannot be improvedfurther. without partition walls create a barrier-
Never settle on your first draft; instead, free environment.
cut elements one-by one until your  Surroundings: the surrounding
design no longer meets its goal. the environment also plays an important
Remember that minimalist designs use role in determining a minimal design.
the fewest elements possible to achieve The site environment should be
its goal. integrated with the building so that
 Essence: the elements which designer  there is a connection to nature and so
thinks would please and would leave an that people don't feel trapped in a box
impression on the visitors/inhabitants with a large space.
should be included. The essential part of  White spaces: White space is key to a
the design would be that the designer great minimalist design because the
leaves in. absence of clutter helps viewers focus
 Details: all the details that a designer on the content.
includes should give that feeling  Purposeful design: Every graphic,
(modern, clean, elegant, image, and content element should have
sophisticated and so forth) to the visitor a clearly defined purpose. It's important
that you want to feel when you are in to understand the goal of your design
that space. before you create it, so you can ensure
 Large spaces: the design principle that only those elements that serve your
follows an open-planning style of floor end-goal survive.
plans which makes out more space
MINIMALISM 8
materials and repetition of elements
represents a sense of order and essential
quality. Usually, these elements are used to
emphasize the essence of the space. These
elements can be anything, furniture,
artifacts, sculptures, wall murals, paintings,
etc. Movement of natural daylight
throughout the space gives an emphasis on
the clean spaces and simple linear planes.
Minimalist architects seek essence and
simplicity by rediscovering valuable
Figure -6Gallery House by DADA & qualities in common and simple materials.
Partner.
Minimalism is all about extreme
These are some basic fundamental
simplification of form. As a result, you can't
principles that can be applied to achieve a
expect complex shapes and all the subtle
simple and minimal design. These practices
shades of a color you never knew existed.
can help to provide the simplest of the
The use of color palettes and shapes varies
simplest designs. Also, there are several
through time. Stijl artists limited themselves
other aspects like elements of design that
to squares, rectangles, horizontal and
elucidates the concept of minimalism.
vertical lines,and primary colors. The
2.4 ELEMENTS OF MINIMALISM
minimalists of today use more complex
In minimalist architecture, design
shapes and richer color palettes.
elements convey a message of simplicity.
Nevertheless, it's still typical for minimalists
The basic geometric forms, elements
to use clean, simple shapes and color
without ornamentations/decoration, simple
palettes that are either limited to multiple
MINIMALISM 9
shades of one color.These elements play an the landscape is a very common
important role in creating an aesthetically practice.
pleasing space.  Materials: the materials can be used
wisely so that they "divide' space for

 Shapes: basic geometrical shapes like
different use of a space as well as create
square, rectangle, circle, etc are the basis
an integrity among themselves so that it
of the planning of space. This ensures
doesn't look like the spaces are divided.
the most simple design and maximum
Different designers use materials
surface area.
differently. Some prefer simple
 Colors: the appearance of a certain
materials while some prefer the
feature of the building depends on the
extravagant material to accentuate their
color it is coated with. The contrasting,
simple space.
harmonic or complementary nature of
 Furniture: furniture is a very
the space with respect to the element
an important part of a minimal design,
used depends totally upon the color of
for obvious reasons. The type of
that space. The minimalistdesign
furniture used in the space gives the
incorporates minimal use of color.
interior its own identity. The color,
Colors should be used to draw attention
shape size, scale and proportion all
to specific design elements, either to
matter when selecting the furniture. Low
help convey a mood or stimulate a
height Furniture creates a modern look
response.
and also reflects the Japanese influences
 Lighting: it is one of the key aspects of
in the style. Use furnishings that do not
highlighting certain
take up too much space and provide
features/elements of the interiors and
only what is necessary, such as a resting
also of the exteriors. Use of lighting in
area made up of simple chairs and large
MINIMALISM 10
floor pillows or a bed that sits low in mirror doors made in a way to accent
height with a simple wooden the design.
surrounding.
 Windows:Windows are a major design
element in the minimalist design. Large
windows work best because they allow
space to virtually become one with its
natural surroundings. Fussy blinds or
curtains are usually not used. If you
prefer to use blinds or curtains, choose
natural wood or bamboo shades and
sheer curtains. Keep windows clean to
prevent build-up that may block an

Figure- 7Morrone House by Bloco
outdoor view. Arquitetos.
 Walls: Walls are usually white in  Accessories: Accessories should
minimalist interior design. The idea is provide visual interest in the space.
to create a space that looks clean, which Bolder colors and designs can be used
is why white pairs so well with the in the accessories because they are
style. Pale terra-cottas, neutrals or small and not too distracting. Make use
colors reflecting the surrounding nature of materials such as chrome and steel to
may also be used on the walls, as long create a look of cleanliness and wood
as they are not distracting or make or clay to bring in a touch of nature.
space feel enclosed. Storage may be Onlythe minimal amount of
hidden in the walls, such as a large accessoriesshould be used to avoid
closet that is covered by reflective clutter.
MINIMALISM 11
Figure -8 Residence by Mohammad Figure -10 Tudor Apartments / Urko
Khavarian. Sanchez Architects.
Figure -9Residence La cité Curial-Cambrai Figure -11 Countryside chapel by Álvaro

in Paris. Siza Viera.
MINIMALISM 12
did for their own eras, he created an
CHAPTER 3
influential twentieth-century architectural
MIES
style, stated with extreme clarity and
L udwig Mies van der Rohe (born
to Maria Ludwig Michael Mies;
March 27, 1886 —August 17,
1969) was a German-American architect.

simplicity. His mature buildings made use
of modern materials such as industrial steel
and plate glass to define interior spaces. He
strove toward an architecture with a

He is commonly referred to and was minimal framework of structural order
addressed as Mies, his surname. Along with balanced against the implied freedom of
Le Corbusier, Walter Gropius and Frank free-flowing open space. He called his
Lloyd Wright, he is widely regarded as one buildings "skin and bones" architecture. He
of the pioneering masters of modern is often associated with his quotation of the
architecture. aphorisms, "less is more' and "God is in the
details".
3.1 LIFE & WORK
He developed a new language of
architecture after he served in the World
War-1 from 1915-1918. He continued to
build within his established ideas, though,
Mies increasingly concerned himself with
Figure -12 Mies Van Der Rohe. theoretical questions on the nature of
Mies, like many of his post-World War I
architecture. After the dissolution of his
contemporaries, sought to establish a new
marriage with Ada Bruhn in 1921, he
architectural style that could represent
designed five projects in the course of four
modern times just as Classical and Gothic
years, none of which were realized.
MINIMALISM 13
rogressive thinkers called for a completely develop visionary projects that, though
new architectural design mostly unbuilt, rocketed him to fame as an
architect capable of giving a form that was
in harmony with the spirit of the emerging
modern society. Boldly abandoning
ornament altogether, Mies made a dramatic
modernist debut with his stunning
competition proposal for the faceted all-
glass Friedrichstrasse skyscraper in 1921,

Figure- 13 Riehl Holum Potsdam (1907). followed by a taller curved version in 1922
a process guided by rational problem-solving
named the Glass Skyscraper.
and an exterior expression of modern
He continued with a series of pioneering
materials and structure rather than, what they
projects, culminating in his two
considered, the superficial application of
European masterworks: the temporary
classical facades
German Pavilion for the Barcelona
exposition (often called the Barcelona
Pavilion) in 1929 (a 1986 reconstruction is
now built on the original site) and the
elegant Villa Tugendhat in Brno, the
Czech Republic, completed in 1930.
Figure- 14 Tugendhat House, Potsdam He joined the German avant-garde,

(1930)
While continuing his traditional working with the progressive design
neoclassical design practice Mies began to magazinewhich started in July 1923.
MINIMALISM 14
He was also one of the founders of the color, and the extension of space around
architectural association Der Ring. He and beyond interior walls expounded by
joined the avant-garde Bauhaus design the Dutch D Stijl group. In particular, the
school as their director of architecture, layering of functional subspaces within
adopting and developing their functionalist an overall space and the distinct
application of simple geometric forms in articulation of parts as expressed by
the design of useful objects. He served as Gerrit Rietveld appealed to Mies,
its last director.

The German Pavilion, Barcelona and the
Villa Tugendhat in 1929 and 1930
respectively, brought Mies into
international attention. These two buildings
were radically the developed form of his
idea of open, free space that he derived
from the exhibition in Stuttgart. These
Figure- 15 Bauhaus School, Germany of buildings emerged as a notion of dynamic

which Mies overtook the directorship in
1933. space and went on to be the core
Like many other avant-garde architects of inspiration behind hislater works.
the day, Mies based his architectural
mission and principles on his
understanding and interpretation of ideas
developed by theorists and critics who
pondered the declining relevance of the
traditional design styles. Mies found
appeal in the use of simple rectilinear and

Figure -16 German Pavilion (best- known
planar forms, clean lines, pure use of as Barcelona Pavilion), Barcelona (1929).
MINIMALISM 15
After he moved into the United States, his forms. Loos had proposed that art and
work changed radically, although the crafts should be entirely independent of
themes re-emerged overtime. He designed architecture, that thearchitect should no
two private houses of lasting significance longer control those cultural elements as
and only one of those under commission the Beaux Arts principles had dictated.
from a client. The second project that he Mies also admired his ideas about the
undertook was an entire campus of the nobility that could be found in the
Illinois, Chicago which brought up the anonymity of modern life.
issues of type-solution and modular design

The bold work of American architects
to the center of his concerns. He combined
was greatly admired by European
the technological advancements to the
architects. Like other architects who viewed
building with an increased volume of
the exhibitions of Frank Lloyd Wright's
commissions coming into Mies's office,
Wasmuth Portfolio, Mies was enthralled
This resulted in steel andglass construction
with the free-flowing spaces of inter-
on an unprecedented scale. Details studied
connected rooms which encompass their
by Mies in these years included steel-to-
outdoor surroundings as demonstrated by
steel, steel-to-brick,and steel-to-glass
the open floor plans of the Wright's
connections.
American Prairie Style. American
The design theories of Adolf Loos engineering structures were also heldup to
foundresonance with Mies, particularly the be exemplary of the beauty possible in
ideas of replacing elaborate applied artistic functional construction, and its skyscrapers
ornament with the straightforward display were greatly admired.
of innate visual qualities of materials and
MINIMALISM 16
solutions with an equal flexibility to
accommodate different challenges of
modular. Design and construction also
occupy Mies's attention in the many high-
rise building of his years of work in
America. The high rise buildings require
carefully detailed building skin. This
problem of vertical, rather than horizontal
plane involved far more sophisticated
engineering solutions. Codes demanding
fire retardant for steel structure over one
story high introduced an extra layer
Figure-17 860-880 Lake Shore Drive between the building's structure and its
Apartments, Chicago (1951).
exterior skin. He confronted this new
Mies worked for the developers in the
condition in his new 2 story buildings of
residential projects and not private
IIT, devising some of his most brilliant and
individuals. This way Mies began to develop
best solutions in response to it. The load
the archetypes of modern capitalism.
bearing structure is echoed in nonstructural
Mies developed a system where building
steel elements on building's skin, depicting
skin and frame were once again connected
the encased steelwork frame on the façade
to each other, in his buildings for IIT. He
and at the corners of the building. Thus
also developed an integrated system of
Mies's earlier ideas of the importance of a
modules as determinants of a architectural
clear conceptual structure came out in the
space. The buildings he made there show the
buildings of IIT.
advantages of a system that allowed a large
degree of similitude in architectural
MINIMALISM 17
In the Barcelona pavilion, he covered the Figure-18 S.R. Crown Hall, Illinois
Institute of Technology. Chicago (1956).
cruciform columns with chrome wrap,
The theoretical decisions could only be
creating a conceptual structure over the
implemented late in his work, but it
engineered structure to give it a different reinforces the notable persistence between
meaning. In the skyscrapers he builds in early and late modernism, between pre-war
America, conceptual structures depicted an European and posts war American contexts.
articulated curtain wall also presented the The Seagram building was undoubtedly the
complex engineering of his high rise designs finest high rise building designed by Mies
as he wished them to be understood. This in this paradigmatic fashion. The building
was a process that developed over the years. represents the architecture of capitalism
His task became clear over the years of work

A group of conceptual works spanning over
that he had to make buildings carry an idea
the years makes an interesting comparison
with its most essential concentrated face. It
with famous "Five Projects". Mies used
also suggests the importance of the public
these projects to test out new ideas. These
sphere through its location on Park Avenue.
theoretical works share a common
constructional theme: the separation of the
roof and its support from the spatial events
found beneath. The creation of a support-
free space constituted a significant
engineering challenge, but we might also
note the philosophical implications of this
process, which occupied so much of
MINIMALISM 18
Mies's attention. Mies created one-room 3.2 CAREER
buildings beyond mundane purpose or clear

Mies' career was definitely shaped by the
programmed activity, with complete
events of 20th century. He occupied one
freedom from structural constraint. We
position in German architecture culture
might contrast this idea of empty space,
until the late 1930s, and quite a different
increasingly more urgent as the years went
one across the ocean in Chicago after 1938,
by, with the very different task of the IIT
when he moved to the United States. A
campus that had confronted him upon his
marvelous talent from a provincial far from
arrival in 1938. But we might also note the
the cosmopolitan of Berlin, he made his
overall design strategy and usable for a
mark through ability and strength of
wide variety of individual purposes.
character, without the aid of wealth or an
Over the last twenty years of his life, Mies elite status and education. in contrast, from
developed and built his vision of a the time he arrived in Chicago, Mies had an
monumental "skin and bones" architecture eminent reputation as one of the most
that reflected his goal to provide the talented modern architects of Europe and an
individual a place to fulfill himself in the expert on progressive European culture. He
modern era. Mies sought to create free and was absorbed in a single task throughout
open spaces, enclosed within a structural his life; to the find the solution to new
order with minimal presence. On 17th architectural problems of an industrialized
August 1969, Ludwig Mies van der Rohe age.
breathed his last. After cremation, his ashes

Mies left the Cathedral School in Aachen
were buried near Chicago's other famous
in 1899 and started working as an
architects in Chicago's Graceland Cemetery.
apprentice at local building sites and
His grave is marked by a simple black slab
developed skills in freehand sketching at a
of granite and a large Honey locust tree.
MINIMALISM 19
company that specialized in decorative Lloyd Wright, possibly at a lecture in 1910
plasterwork. He arrived in Berlin in 1905 in Berlin. Another important influence on
and by the time he arrived here, he could Mies analyzed the writings of Dutch
draft at full scale on a vertical drawing architect Hendrik Petrus Berlage. Mies
board, lay bricks and carve stone. stated that it was Berlage who imparted
him the idea of "clear constructions one of

While working as a draftsman for architect
the fundamentals we should accept."
Bruno Paul, he studied from 1906 to 1908.
Mies was around 20 when he received his In 1912, Mies established his own business
first commission in 1906. It was a house to in Berlin. He was aided by his marriage to
be built for philosophy professor Alois Ada Bruhn in 1913. As he pursued
Riehl and his wife Sophie Riehl in Potsdam connections with Berlin's artistic circles,
suburb of Neubabelsburg. He became Mies continued to build private houses for
friends with Riehls in the course of this well-to-do clients, mostly in the Berlin and
project. Alois also opened up a new world Potsdam suburbs.
for the young architect. He met several
industrialists, writers, philosophers,and
artist as he was a regular guest of the Riehl.
The success of this commission helped
Mies' 1908 entry into the atelier of Peter
Behrens, who was at the time one of the
most important architects in Europe. Mies
claimed that Behrens taught him the
significance of The Great Form" which is
evident in Behrens' Turbine Hall of 1909.
He was first exposed to the works of Frank
MINIMALISM 20
Figure-19 Mies Van Der Rohe in Germany. the handling of space, distancing himself
It was after he dissolved his marriage to from the materialist position of the 1920s
Ada Bruhn in 1921, he designed the famous in favor of the more idealist one. After the
"Five Projects". These five projects new experience of space he discovered
catapulted him into the avant-grade. The from the exhibition, he integrated that ideal
year 1926 marked a turning point for Mies. into a developed form in the 1929 German
At the age of 40, he assumed vice Pavilion in Barcelona and in 1920 Villa
presidency of German Werkbund, a position Tugendhat, Brno. These ground-breaking
he would hold till 1932. He was well buildings brought Mies international
positioned as a central figure in German attention.
architecture and in the fledgling movement
There was an increased criticism of Mies's
for international modernism blossoming
and Neues Bauen's architects' work after
among intellectuals in Europe. At this time,
1927, first having material effect after the
he was commissioned to direct The
financial crisis of 1929, and resulting in
Dwelling" which was a major exhibition
decreasing commissions for Neues Bauen
slated to take place in Stuttgart in 1927.
architects in the early years of the 1930s.
This was the first of many collaborations
with Lily Reich, who would be his The years following the Stuttgart
companion until 1938. The exhibition the exhibitionwas Mies's most productive
worked as a demonstration of the works of years and influenced future generations.
Neues 8Guen. Mies was an essential Due to his increasing reputation and role in
member of this group of modernists. German cultural politics, he was even
offered the directorship of Bauhaus in

Mies himself called the year 1926 the most
1930. The use of progressive art in other
"significant" one of his career. It was the
media framed Bauhaus, resulting in
year in which Mies made new grounds in
MINIMALISM 21
threatening of closure in 1930. Mies As much as Mies's working and living
gratefully accepted the directorship from his conditions changed after moving to
Swiss counterpart Hannes Meyer. Though in America, and as much as he was now
1931 the new council passed a resolution to confronted with entirely different
close the school. Mies and his students took challenges, he continued with his earlier
refuge in an old factory building in Berlin- years also emerged with the importance.
Steglitz. Bauhaus continued to work from The later projects reflect Mies's early
there until it finally closed down in 1933 as statements about the essential qualities of
a result of the National Socialist assumption modern architecture.
of power.
In 1944, Mies became a permanent
Most of the Neues Bauen architects resident of America and was also offered
emigrated after the closure, though Mies the citizenship of the United States. It was
remained until 1938. Mies visited the then in 1947 that he completed the
United States in 1937 to meet a potential Perlstein Hall and the Wishnick Hall at
dent. MoMA trustee Helen Resor knew his IIT. Monographic exhibition of Mies's
work from the International Style exhibition work was organized at the Museum of
held in 1932. Mies accepted the offer of Modern Art of which the installations were
directorship of the Illinois Institute of designed by Mies. The next ground-
Technology, Chicago. He was appointed as breaking work of Mies came in 1951. It
the head of the department of architecture. was the Farnsworth House which is now
He re-designed the curriculum and one of the best-known works of Mies
necessitated the design needs of the newly along with Barcelona Pavilion, Seagram
enlarged campus. Building,and others. He also completed the
Lake Shore Drive apartments in Illinois,
MINIMALISM 22
German society "Pour le nitrite for science
and arts" in the same year, he completed the
promenade and Esplanade Apartments in
Chicago.
The following year he designed the Bacardi
Office building in Santiago and Cuba
(unbuilt). Many other projects like the
much-known Seagram building, New York
and Cullinan Hall, the Museum of Fine Arts,
Houston, Texas was also completed.

Figure 21 The Seagram Building, New York
The following year he designed the Bacardi (1958).
Office building in Santiago and Cuba
(unbuilt). Many other projects like the
much-known Seagram building, New York
and Cullinan Hall, the Museum of Fine Arts,
Houston, Texas was also completed.
Figure-22 The Toronto Dominion Centre,

Toronto (1969).
In 1959, Mies retired from the directorship
of Illinois Institute of technology and hence
he loses all the commission work that he
was assigned for the campus building. His

Figure-20 Farnsworth House, Fox River,
Chicago (1951). collaborator and developer, Herbert
Greenwald died in a plane crash the same
year. In 1963, Mies received the
MINIMALISM 23
Presidential Medal of Freedom from Lyndon diversity of his interests. An auto-didactic,
B. Johnson, Lafayette Towers at Lafayette Mies studied philosophy and science as
Park in Detroit, Michigan were also well as design. He focused on building
completed in the same year. In 1968, Mies structures that reflected the modern context
completed the New National Gallery in and creating a space that is both flexible as
Berlin and in '69 he completed the Dominion well as functional. He included limited
center in Toronto, Canada. This building spaces which were enclosed within the
marked the last structure that Mies designed confines of walls.
and built. All the other works were
posthumous. Mies had developed the concept of "less is
more". The minimalist approach towards
3.3 PRINCIPLES & PHILOSOPHIES design and architecture during the 1930s
helped him to realize what he wanted to

Mies began to develop this style through
work on. He was intrigued by the idea of
the 1920s, combining the functionalist
having larger and multipurpose spaces that
industrial concerns of his modernist
would be devoid of the mess and clutter of
contemporaries and an aesthetic drive
small and closed spaces. This concept can
toward minimal intersecting planes —
be seen in his later projects like Barcelona
rejecting the traditional systems of enclosed
Pavilion, Farnsworth House, Seagram
of rooms and relying heavily on glass to
Building and many others. He created
dissolve the boundary between the building's
designs that had a seamless flow between
interior and exterior. The purity of Mies's
the interiors and exteriors of the building,
architecture is almost surprising in light the
MINIMALISM 24
which he achieved by integrating the The idea of giving a space a specific
elements and materials of indoors and expression rather than a specific function
outdoors. He believed that "a man should helped him to achieve the most minimal
be close to its surroundings and nature" and design possible. Mies believed that
hence built structures that were perpetually furniture played a vital role in defining the
transparent and the integrity with its spaces and so he used furniture to "divide'
surroundings as possible. The concept of the space for its function.
fluid space is further embodied in the

3.4 FURNITURE
design of his Barcelona Pavilion, where
movable glass and marble partitions As Mies believed that furniture played an
allowed for space to be seen as flexible and important role in defining the space, he
independent of the structure itself. Here designed exclusive furniture for most of his
once again the glass provides enclosure but projects. Comfort and exclusivity of the
does not detract from the architectural idea furniture pieces were what Mies gave stress
of a series of perpendicular planes beneath on. The material used for furniture is always
a flat roof. in context to the color scheme and theme of
the building it was made for. His furniture is

Mies's buildings were referred to be of the
known for fine craftsmanship, a mix of
"skin and bones" architecture due to
traditional luxurious fabrics like leather
extensive use of steel and glass for the
combined with modern chrome frames, and
construction of buildings. After he moved
a distinct separation of the supporting
to the United States, almost all of his
structure and the supported surfaces, often
designs included steel structure and glass
employing cantilevers to enhance the feeling
walls. Use of glass also ensured openness
of lightness created by delicate structural
and integrity of the space.
frames. Almost all of the furniture that he
MINIMALISM 25
designed was in Germany as in Germany he 3.4.2 BARCELONA CHAIR
was more involved in commissions from
private individuals for their residences.
There were several pieces of furniture that
Mies designed over the course of his
architectural career.
3.4.1 TUGENDHAT CHAIR
Seeking to make a comfortable lounge
a chair that maintained the restraint of his Illustration-2 Barcelona Chair Sketch.
minimalist aesthetic, Mies arrived at the Perhaps the most iconic work from Mies'
Tugendhat. Here, the cushions of the oeuvre, the Barcelona Chair at once gives
Barcelona meet the cantilever frame of the life to and is born from its materials. Like
MR, arriving at an elegant solution to the the MR and Brno Chairs, it is composed of
overstuffed club chair. In appearance, the steel and leather. The steel bar legs ease up
Tugendhat chair is somewhat of a hybrid of and over to support the seat and back of the
van der Rohe and Reich's 1929 Barcelona chair. Mies' gift was to endow gracein
chair and 1929-1930 Brno chair. Like the otherwise monotonous substances. The
Barcelona chair, the Tugendhat chair has a Barcelona Chair attests to his mastery of
large padded leather seat and back, form, function, and beauty. The frame was
supported by leather straps mounted on a initially designed to be bolted together but
steel frame and legs. However, like one was redesigned in 1950 using stainless
variant of the Brno chair, the frame is flat steel, which allowed the frame to be formed
solid steel, formed under into a C-shape by a seamless piece of metal, giving it a
under the seat to create a cantilever. smoother appearance.
MINIMALISM 26
3.4.3 BARCELONA COUCH after the chair — and the pavilion for
which it was created-debuted, this

The Barcelona Couch was first used in
rectangular couch is basically flat, with a
the New York apartment of Architect
top made from 74 individually-cut, hand-
Phillip Johnson in 1930. Scholars cite
welted, and hand-tufted panels from a
Lilly Reich as a co-designer. The
singlecowhide, a Sapele Mahogany
Barcelona Couch shares the same simple
platform, polished stainless steel legs,
elegance as the iconic lounge chair of the
and a single cylindrical cushion at one
same name. Mies van der Rohe's
end.
command of line and material in all
medium, from architecture to furniture,
helped define the modern vocabulary.
Reich also designed the interiors for the
Johnson project. Designed in 1930 a year
Figure-23The Tugendhat Chair. Figure-24 The Brno Chair, which was

designed for the Tugendhat House, Brno,
Czechoslovakia.
MINIMALISM 27
Figure-25 The Barcelona Chair, Barcelona Couch, Barcelona Stool and the X-
Table/Barcelona Table in a living room. These four pieces of furniture are a part of the
Barcelona Pavilion and were also used in the Tugendhat House.
MINIMALISM 28
3.4.4 X-TABLE/BARCELONA TABLE tufting, individual panels of leather are
cut, hand welted and hand tufted.

The perfect complement to the Barcelona
Thechromedsteel frame is hand buffed to
Chair, Mies Van Der Rohe's chrome,and
mirror-like perfection.
glass table design exude modern style and
simple sophistication. The X Table made 3.4.6 BRNO CHAIR
its first appearance in the Tugendhat

Made of steel and leather, the Brno Chair
House.
expresses Mies' regard for simplicity. The
3.4.5 BARCELONA STOOL chair is named after Brno,
Czechoslovakia, where it debuted in the

Ludwig Mies van der Rohe's Barcelona
Tugendhat House. The Brno chair has
Chair and Stool (1929), originally created
become a modern furniture classic. It has
to furnish his German Pavilion at the
very clean lines, consisting of a steel
International Exhibition in Barcelona,
frame in a single piece, bent into a C-
have come to epitomize modern design.
shape from the middle of the back, round
Mies van der Rohe designed the chair to
past the front edge of the seat (to create
serve as seating for the king and queen of
arms), and back under the seat to create a
Spain, while the stool was intended to
cantilever, with taut seat and back
accommodate their attendants. Still
upholstered in leather. There are two
produced to his original specifications,
versions of the chair, one in tubular steel
Barcelona is of quality fit for royalty. The
and the other in flat steel. The metal was
cushions — welting and buttons included
originally polished stainless steel; some
— come from a single Spinneybeck Volo
modern examples are chrome plated.
cowhide and are supported by cowhide
belting straps, dyed to match the color of 3.4.7 MR CHAIR

the stool. To create the deep, precise
MINIMALISM 29
Marcel Breuer, Mies' peer at the Bauhaus, 3.4.8 MR CHAISE LOUNGE CHAIR
constructed the first tubular chair in 1925.

Like the MR Chair, the MR Lounge Chair
It became known as the "sassily," for
features tubular stainless steel and a
another Bauhaus member, Wassily
cantilever frame. Mies began with the
Kandinsky, and marked a shift in modern
iron rocking chairs that were the standard
furniture design. Soon after, Mies created
in 19th century Europe. He then injected
the MR Chair. By reducing the chair to its
them with modern materials and a
main parts and reconfiguring their relation
minimalist aesthetic, This was another
to each other—clearly delineating the
instance in which the architect reused a
leather seat and back supports from the
conventional, classic form to produce a
metal frame—he arrived at a fluid, refined
work of sheer innovation. The MR
cantilever form.
Lounge exists as a chaise lounge, an
When it debuted, the chair was both armchair, an armless chair, and an
lauded for its aesthetic accomplishments adjustable chaise lounge.
and laughed at for its aeronautical
The MR Collection represents some of
tendencies: the chair would propel the
the earliest steel furniture designs by Mies
sitter forward should he try to stand up.
van der Rohe. The material choice was
This has since been fixed.
inspired by fellow Bauhaus master Marcel
The MR Chair is available as a side chair, Breuer, while the forms are thought to be
an armchair, chaise lounge,and adjustable modern derivatives of 19th-century iron
chaise lounge. rocking chairs.
MINIMALISM 30
Figure-26 The MR Chaise Lounge Chair. There were two versions of this chair made; one
with adjustable seat and the other was fixed. It was a part of the MR furniture range designed
by Mies.
Figure-27 The MR Chair in Tugendhat house, Brno.
MINIMALISM 31
3.5 REALIZED WORKS spaced planes". Nevertheless, the
structure was more of a hybrid style, with

3.5.1 BARCELONA PAVILION (1929)
a very simple floor plan. The architect's
Hedesigned the Barcelona Pavilion, a aim was for the building to be an
German Pavilion for the International expression of tranquillity.
Exposition in Barcelona, in 1929. This

Even though it is a visually simple floor
special building was representing
plan, its complexity comes from the
Germany in the international exhibition
strategic layout of walls. The unforced
and was used for the official opening. It is
direction of visitor's movements
a building of great importance in the
throughout the space happens naturally
history of modern architecture, with its
without clear knowledge of the visitor.
simple form and fancy materials
Walls are not there as bare structural
prevailing, such as marble and travertine.
support but rather spatial dividers and
The building was meant to represent "directors" of the space.
Germany in a democratic, and culturally

Another interesting element Van Der
prospering country, after the recovery of
Rohe considered while building the
World War I. So, Mies has to design a
pavilion (in bare 8 months) was his
pavilion to be the 'voice to the spirit of a
selective choice of materials and colors.
new era'. In that way, the concept should
Glass, travertine, marble, onyx,and steel
be realized under the principles of free
were his only a few choices. As far as
plan and the flow between rooms.
colors selection, Van Der Rohe let the
The design was predicated on an absolute natural materials speak for themselves.
distinction between structure and
enclosure—a regular grid of cruciform
steel columns interspersed by freely
MINIMALISM 32
A. CONSTRUCTION smaller basin was situated on the north
side, where the plinth is bordered by a

The building rested on a plinth of
green marble.
travertine with a southern U-shaped
enclosure of the same material leading The circulation routes through the various
into a small annex. The building's roof spaces of the building complex include
plate was carried by cruciform, chrome the rhythmic movement coordinated with
wrapped columns giving an impression of carefully composed views. Ascending the
hovering roof and disclosing the non- stairs to the building's podium, the visitor
supporting character of the walls. Plates stands
of high-grade stone like Tinos-Marble, before the larger pool planted with lines
Vert-Antique Marble and onyx dare as then turns to enter the building. A narrow
well as tinted glass performed the entry corridor flanked by green marble
exclusive function of spacious dividers, slabs on the left and the eastern outer
sliding under the roof plate creating a glass wall on the right wall into the main
floating transition between space. interior space; a rectangular space cut by
B.PLANNING one long plane of onyx more in front of
which chairs and table sit on a black

For the first time in his career, Mies
carpet, shielded from the glass window-
carried out entirely at the Pavilion,
wall behind by a rich red silk curtain. Left
consisted of the realization of the "free
of the onyx wall is a 'light-wall’ a
plan" and "floating rooms". A large water
translucent box of milky glass lit
basin sprawled out towards the southeast.
artificially from within. Like all the other
Its floor slabs project over the edge and
was, this box will also rise from the floor
give an impression that water's surface
to ceiling.
continues underneath the plinth. A second
MINIMALISM 33
Figure-28 View of Barcelona Pavilion showing the roof, large water basin and the stone on
the edge of the basin
MULTITASKING VARIATION SET OF PLANES

SPACE S
LESS IS
NON- MORE
AXIAL
ORGANIZA FLUIDITY
TION
MOTION
SEQUENCE
Illustrartion-3 Concept of Barcelona Pavillion.
MINIMALISM 34
Other wall elements break up the large pool again. Travertine bench along
regularity of the wall changing from glass the side of the poolinvites a rest and a
to marble, leading the visitor to a small look back across the long backside.
court open to the sky with the smaller

At the time it was constructed, the critics
pool. In this pool, stands an over-life-
characterized the assemblage as an oasis
sized sculpture of "Der Morgan" (The
for the visitor for a momentary pause
Morning) by sculptor Georg Kolbe. This
from the over-crowded and tiring
sculpture rises from the water and
International Exposition.
gestures toward the rising sun.
It was planned as an exhibit in the
Turning left, past the statue, the visitor re-
Exposition and so it was intended to exist
enters the building behind a beautiful slab
only for a limited time. The small time-
of onyx with a view down to the lightbox
frame, budget and relatively outdated
in the depth. One can also leave the
building methods on site was accounted
interior here, walk down the long side of
for some difficulties in construction and
the back and away from the statue. An
some structural flaws, resulting in water
exit to the right leads directly to the
damage. Completed in 1929, it was torn
"Spanish Town" assembly of the
down completely in 1930. Though, in
exhibition. Alternatively, the visitor can
1983, some Spanish architects, with the
also turn into a covered open space
help of photographs and careful study,
outside the glass box and overlooking the
rebuilt the whole structure.
MINIMALISM 35
Figure-29 The covered space by the side of the large pool and the travertine benches.
Figure-30 Exclusively designed furniture for the Pavilion adjoining the onyx more wall.
MINIMALISM 36
3.5.2 FARNSWORTH HOUSE (1951) floor and a roof. Welded to the leading
edge of each plane are steel columns which

The Farnsworth house was an entire steel
keep them all suspended in midair. Because
and glass built structure that lies in near the
they do not rest on the columns, but merely
secluded woods by the Fox River. This open
touch them in passing, these horizontal
glass house was Mies's most radical
elements seem to be held to their supports
domestic design. It was meant to serve as a
by magnetism. Floor and roof appear as
weekend getaway house which deploys
opaque planes defining the top and bottom
eight I-shaped columns to support roof and
of a volume whose sides are
floors framework. The steel is highly
finished
Figure 31 Farnsworth House, Illinois When built it was unlike any known house
and is painted in white, in a dramatic and a
contrast to the black enamel paint which
description written by the American critic
was the staple of Mies in the ilT campus.
Arthur Drexler soon after its completion in
1951 captures its essence: The Farnsworth
MINIMALISM 37
House consists of three horizontal planes: aterrace, a simply large panel of glass.
4
4 5 6
C
B
2 3
A
4
7
Figure 32Farnsworth House Site Plan.

1. River Road
2. Piano Millbrook Road (1951) 8. Fox River Approximate heights above

3. Fox River Drive (today) river level: Farnsworth House floor 15 ft
4. Trees (4.6m)
5. Garage built by Dr. Farnsworth 9. Contour A (high water mark for a few
6. Original site boundary days every year) 14ft (4.3m)
7. New parking area added by Lord 10. Contour B (high water mark when the
Palumbo ice breaks up) 16ft (4.9m)
MINIMALISM 38
11. Contour C (high water mark during the 1996 flood) 20ft (6.Om)
OPEN FLOOR PLAN
Figure-33 Farnsworth House Plan.

The Farnsworth House is, indeed, a quantity within it. It is Mies van der Rohe's last
of air caught between a floor and a roof." In realized house, built to provide a cultivated
spring the pavilion stands on a carpet of and well-to-do urbanite with a quiet retreat
daffodils, in summer upon a green meadow, where she could enjoy nature and recover
in autumn amid the glow of golden foliage; from the cares of work.
and when the adjacent river overflows the

A.SITE
house resembles a boat floating on the great
In a low-lying meadow beside the Fox
expanse of water. It is in effect a raised
River at Piano, Illinois, stands a serene
stage from which an entranced viewer may
pavilion of glass, steel,and travertine. The
not merely observe ever-changing nature,
house stands about 1.6 meters (just over 5
but almost experience the sensation of being
ft.) above the surrounding meadow, leaving
MINIMALISM 39
the site completely undisturbed and giving floor was covered in creamy, off-white
its occupants a magnificent belvedere from linoleum. There was a black silk curtain
which to contemplate the surrounding before the glass wall by the winter garden;
woodland. The practical reason for the a silver-grey silk curtain before the main
raised floor is that the meadow is a glass wall; the library could be closed off
floodplain, but Mies has characteristically by a white velvet curtain; and a black
managed totransmute a technical solution to velvet curtain ran between the onyx wall
an aesthetic masterstroke. Being elevated, and the winter garden. This neutral
the house is detached from disorderly reality backdrop heightened the dramatic effect of
and becomes an exalted place for a few carefully devised focal points - the
contemplation -safe, serene and perfect in rich black-and-brown ebony curved
all its smooth, machine-made details. partition; the tawny-gold onyx flat
partition; the emerald-green leather, ruby-

B. PLANNING
red velvet, and white vellum furniture
The living room was extensive and tranquil, claddings; and the lush green jungle of
enclosed by glass walls so transparent that plants filling the winter garden.
the outer landscape and sky seemed almost

Bedrooms face east so that the sleeper
to form the mom boundaries. The room was
wakes to the glory of the morning sun, a
subtly zoned into the conversation, dining,
dining area to the west, and a general
study,and library areas by only two or three
sitting area between the two. The sleeping
freestanding partitions and a few precisely-
zone is served by a freestanding teak-faced
placed pieces of furniture. It was virtually
cupboard.
empty except for these artwork-like
Outside, the raised terrace to the west is a
items of furniture, and there was no
splendid place for sitting at the end of the
allowance for pictures on the walls. The
day, watching the sunset. Turning from
MINIMALISM 40
internal to external planning, it seems to
have been decided that allowing motor
vehicles to drive right up to the pavilion.
Figure 34 Farnsworth House, Illinois during

the Fox River floods. During the floods, the
house can only be approached by a canoe.
In another pre-figuration of the Figure 35 Exploded view of Farnsworth

House.
Farnsworth House the colors were
The basic structure of Farnsworth House
predominantly neutral and unassertive.
consists of eight wide-flange steel
C. STRUCTURE stanchions, to which are welded two sets
of fascia channels to form a perimeter
frame at roof level, and a similar perimeter
frame at floor level.
Sets of steel cross-girders D and E are
welded to the longitudinal channels, and
pre-cast concrete planks I and N placed
upon these to form the roof and floor slabs
respectively. The loading imposed upon C
by the floor construction is obviously
greater than that imposed on B by the roof,
MINIMALISM 41
but for the sake of visual consistency Mies a practical standpoint, the steel frame
has made them of equal depth —an allowed open-plan interiors in which walls
example of the primacy of 'form' over could be freely disposed.
'function' to which he was in principle

Mies used conventional bolted
opposed, but which stubbornly emerges in
connections in the less visible parts of his
almost all his mature work.
structures, but in exposed positions he
The steel stanchions stop short of the wished his elegant steel members to be
channel capping, making it clear that the displayed cleanly, uncluttered by bolts,
roof plane does not rest on the columns but rivets or plates; and here he defied normal
merely touches them in passing, thus practice by using more expensive welded
helping to create the impression alluded to joints, preferably concealed and invisible.
at the start of this essay - that the horizontal If the weld could not be totally hidden he
elements appear to be held to their vertical would have the steel sections temporarily
supports by magnetism. Above the roof,the joined by means of Nelson stud bolts and
slab is a low service module containing a cleats, apply permanent welding, and then
water tank, boiler, and extract fans from the burn off the holding bolts and plug the
two bathrooms and a flue from the fireplace. holes.
Beneath the floor slab is a cylindrical drum

D. OTHER MATERIALS
housing all drainage pipes and incoming
Passing on from the steel-and-glass
water and electrical services.
envelope, the other materials used in the
Aesthetically the steel frame lent itself to
Farnsworth House are rigorously
clear structural display and was 'honest' and
restricted to travertine (floors), wood
free of rhetoric or historical associations
(primavera for the core walls, teak for the
highly-prized characteristics to the future-
wardrobe) and plaster (ceilings).
worshipping avant-garde of the 1920s. From
MINIMALISM 42
The range of colors is equally limited, the radiant, and with temperatures at a head
better to set off the few artworks and level not much higher than at floor-level),
carefully-chosen items of furniture inside, but
and the framed views of nature outside -
white columns and ceiling, off-white floors
and curtains, and pale brown wood. Such
sobriety was a longstanding Miesian
characteristic.
E. INTERNAL ENVIRONMENT
Figure 36 The living room in Farnsworth
House, Illinois.
As regards thermal comfort, the Farnsworth
In here is the furniture that was designed
House performed poorly before the
by Mies; the Barcelona Couch, MR Chair
implementation in the 1970s of corrective
and the Tugendhat Chair,insufficient in
measures. In hot weather, the interior could
midwinter.
become oven-like owing to inadequate
cross-ventilation and 110 sun-screening F. RAINWATER DRAINAGE
except for the foliage of adjacent trees. To Underfloor systems also have a long
create some cross ventilation occupants warming-up period that is ill-suited to an
could open the entrance doors on the west Efficient rainwater disposal requires ash.
and two small hopper windows on the east, The worst cold-weather failing was the
and activate an electric exhaust fan in the amount of condensation streamming down
kitchen floor, but these measures were often the chilled glass panes andcollecting on the
inadequate. In cold weather the underfloor floor. Intermittently occupied house. To
hot water coils produced the pleasant heat sloping surfaces, a characteristic that
output characteristic of such systems (partly increases the supply of heat, and givessomewhat at odds wi
MINIMALISM 43
into the south face of the drainage pipe The travertine-paved terrace has a perfectly
directly above the utilitycentral core, facing level upper surface and yet remains dry.
the living area, which room stack. The steel This has been achieved by laying the slabs
fascia and it's it is said to have covered with on gravel beds contained in sheet-metal
a layer of capping stand sufficiently high troughs with water outlets at their lowest
above the roof surface to conceal the sloping points. Rainwater, therefore, drains down
roof from all surrounding sight-lines, and to between the slabs, through the gravel beds
prevent water spilling over the edge and and out via the base outlets.
staining the white paint.
Figure-37 Elevation of Farnsworth House, Illinois.
Figure-38 Section of Farnsworth House, Illinois.
MINIMALISM 44
A
G
H
B
I
C D
J
F
K
L
Figure-39 Isometric section of Farnsworth House showing joining details, materials and
steel members used in construction.
STEEL FRAME ROOF CONSTRUCTION
G. Waterproof membrane on
A. Steel stanchion
H. Foam glass insulation on
B. Steel channels forming perimeter frame
I. Precast concrete planks
at roof level
C. Steel channels forming perimeter frame FLOOR CONSTRUCTION
at floor level
J. Travertine slabs on
D. Steel cross-girders at roof level
K. Mortar bed on
E. Steel cross-girders at floor level
L. Crushed stone en
F. Intermediate mullion built up from flat
M. Metal tray on
steel bars.
N. Lightweight concrete fill on precast
concrete slabs
MINIMALISM 45
G. INFERENCE point, the Farnsworth House uses rolled
steel sections and plate glass to present

The Farnsworth House expresses to near
itself as a
perfection Mies van der Rohe's belief in an
architecture of austere beauty, relying on
clean forms and noble materials. This is model of industrial -age construction when
especially true of 'honest' modern design, in in fact it is an expensive artwork fabricated
which components and joints are nakedly largely by handcraft.
displayed. Unlike contemporary buildings,
The result stands as an object lesson for all
whose complex moldings and overlapping
designers, and the core of the lesson is that
finishes and coverings may conceal a host
excellence cannot be achieved without an
of imperfections, the clarity of such design
insistence on fine materials, consummate
allows few hiding places, and it requires a
details and unremitting design effort.
Miesian drive for perfection to achieve the
result.
In its very perfection, by these exalted
criteria, like the building's great strengths
but also its weaknesses. The first strength is
its success as a place, The manner in which
man, architecture and nature have been
brought together on this riverside meadow
creates a magical sense of being within
nature, not separated from it as in traditional
buildings. Turning to weaknesses, the first
MINIMALISM 46
3.5.3 SEAGRAM BUILDING (1958) which the big building also paid its debt to
the society by fostering civic life.

The commission for the Seagram Building
on Park Avenue, New York came to Mies's The Seagram Plaza had two direct effects:
office by the efforts of Phyllis Lambert, it influenced the revision of New York's
daughter of Seagram owner. According to zoning codes in 1961 and in turn led to a
design guidelines, the building needed to be higher tax premium for the building's low
not only suitable for its high profile site but floor area ratio.
also extremely sophisticated. After Mies

Paved with granite slabs, containing two
secured the commission, he brought Philip
Johnson into the project as an associate. shallow pools and flanked by marble
bench-like blocks, the plaza represents an

The Seagram Building was Mies's first
essential part of the architecture,
foray into tall office buildings. Itwas
functioning as a podium that visitors must
considerably bigger than the earlier projects
cross before they pass through the columns
that he undertook and involved a central
of the entrance lobby. Raised a few steps
urban gesture. He removed the vertical slab
above thestreet, the plaza forms a plinth
of the building from the street edge and
akin to that of a Greek temple and denotes
inserted a generously open plaza at the
a space set apart from the hustle and bustle
front, neglecting strictly economic
of the sidewalk,
considerations. This helped Mies to distance
the building from the New York urban The broad plane of the Seagram Plaza
morphology and the conventional sweeps through the entry doors into the
economics of a skyscraper construction. building's lobby, marking strict boundaries
Mies created an alternative urbanism, one in between indoors an
MINIMALISM 47
outdoors. The white ceiling of the lobby Mies designed his building to the manner of
stretches out through and over the entry ancient columns, with bases, shaft,and
doors, further eroding the edge between capital.
inside and out maintaining the continuity

Indeed, the basement, put on a sumptuous
marble plaza with fountains dry, houses the
lobby, however, the ground in the ground
floor is cleared and the building is
supported on piles, the shaft remains
undifferentiated for the succession of office
floors, which ends in a triple body height,
while continuing strictly the volume of the
tower, is expressed plastically as the
Figure 40 The Plaza in front of the Seagram pinnacle of the whole.

Building. It spans around 30 mt. from the
edge of the road.
between the horizontal sweep of the plaza
and glazed space of the lobby. In the office
spaces above, most of them furnished by
Johnson, flexible floor plans were lit
throughout with luminous fabric ceiling, in
addition to window panes of grey topaz
glass for sun and heat protection, the
window coverings were regulated so that
building's Venetian blinds could be fixed in
a limited number of positions for the sake of

Figure 41 The Seagram Building, Park
visual consistency from outside. Avenue, New York.
MINIMALISM 48
A. PLANNING & DESIGNING As a building for offices and not leisure
activities, its facade is very simple, which

To access the plaza area, we must undergo a
betrays the time to observe the functional
staircase between two large pillars or
characteristics of the building.
pedestals, where they spreadsheets of water
in symmetry, which is very characteristic of The ornamentation of the structure-borne
classical antiquity. by the facilities of steel beams and columns
of bronze, although the columns were to be

The building is 157 meters high, spread
built of steelbecause of complaints, the
over 39 floors.
company by resource economics decided to
make bronze.
B. STRUCTURE
The detailing of the exterior was carefully

It is a rectangular building supported on
determined by desired exterior expression.
piles. The floor of the Seagram's, as in the
Just like Lake Shore Drive, here Mies
Lake Shore Drive, a rectangle of 5x3
sheathed the exterior in a non-structural
squares structural modules. But the
metal skin of bronze that articulated an idea
elevation of the building achieves its
about the structure but inflected frame
expressive perfection, simulating a column
underneath.
with its three constituent parts classic.
His typology shows clearly the structure in

C. MATERIALS
front, meeting both an ornamental role,
Due to the fire law in force in 1954, at the
consisting of steel beams and columns of
time of concrete construction was used as a
bronze that without a structural role fits
structural material, both outside and inside.
perfectly the large windows that are the
most visible epidermis of the work. Part of the expressive minimalist Mies van
der Rohe in this work reaches its maximum
MINIMALISM 49
level of refinement: the "millions of past. The careful proportion of the skeleton,
Curtain-wall" which are special I double the ranking
profiles have been added at both ends of the

the various components of heavy to light,
outer wing edges outgoing to generate a
elegance sure their profiles and the subtle
subtle emphasis of shape.
transitions in the corners or at points where
The refinement showed that Mies on the various materials match. The maximum
Seagram extends to the choice of materials: reflection and artistic understanding have
metal profiles and panels in bronze and never been attained by their followers.
glass light shades of pink, in the curtain

The architect also used travertine marble
wall facade help to give this work a kind of
and also granite for the front plaza.
charming New Yorker which lack the above
examples, more austere in its technological
thoroughness.
Steel profiles seen in American buildings
are rarely identical to the building structures
because the legislation police fire
prevention prescribes the steel liner. Thus
the "structure" visible symbol of hidden
reality, as in the Renaissance had
symbolized the pillar columns. But the
relations of Mies pseudo constructions more
convinced with the real. With the standard
alphabet in steel production, profiles I, H
and L, Mies form welded profiles that are
the equivalent of the carved profiles of the
MINIMALISM 50
CHAPTER 4 started to visit temples, shrines and tea
houses in Kyoto and Nara; There's a lot of

TADAO ANDO great traditional architecture in the area. I
was studying architecture by going to see
the actual building, and reading books
about them." His first interest in
architecture was nourished in Tadao's 15
by buying a book of Le Corbusier sketches.
"I traced the drawings of his early period
so many times, that all pages turned black,"
says Tadao Ando: "in my mind, I quite
often wonder how Le Corbusier would

Figure 42 The Seagram Building, Park
Avenue, New York.
have thought about this project or that.'
Tadao Ando was born in 1941 in Osaka,
Japan. Growing up in that city as Japan

4.1. LIFE
recovered from the war, Tadao Ando spent
the most of time out of doors, and was

Tadao is a self-educated, having traveled
raised by his grandmother, whose name
around the world for most of his younger
was "and". From the age of 10 to 17, Tadao
years before opening his practice. When he
Ando worked at local carpenter, where
reached the age of two, his family decided
Tadao Ando learned how to work with
that he would be raised by his grandmother
wood and built a number of models of
while his brother would remain with their
airplanes and ships. His studying was very
parents. Ando's childhood neighborhood
unusual. was never a good student. “I
contained the workshops of many
always preferred learning things on my own
outside of class. When I was about 18, I
MINIMALISM 51
artisans, including a woodworking shop which is managed by his wife, Yumiko, is
where he learned the techniques of that still based in Osaka. Consequently, the great
craft. As an adult, his earliest design majority of his buildings are in or around
attempts were of small wooden houses and Osaka, including several projects in nearby
furniture. Kobe.
Tadao Ando took a number of visits to the

Ando abandoned his boxing career to
United States, Europe,and Africa in the
apprentice himself to a carpenter and might
period between 1962 and 1969. It was
have started a career as a builder instead of
certainly at that time that Tadao Ando
an architect except that he kept encouraging
began to form his own ideas about
his clients to accept his unconventional
architectural design, before founding Tadao
design ideas. He had no formal architectural
Ando Architectural gt Associates in Osaka
training. Using a list of the books
in 1969. Tadao Ando 's winner of many
architecture students were assigned to read
prestigious architectural awards, for
in four years, he trained himself within one
example, Carlsberg Prize (1992),
year. He did not apprentice to another
architect because every time he tried, he has

Pritzker Prize (1995), Premium Imperiale
explained in interviews, he was fired for
(1996), Gold Medal of Royal Institute of
"stubbornness and temper."
British Architects (1997) and now is one of
Ando further demonstrated his the most highly respected architects in the
independence by refusing to establish an world, influencing an entire generation of
office in Tokyo, which is generally thought students.
to be essential for architectural success in

The first impression of his architecture is its
Japan. He opened his practice, in 1969, at
materiality. His large and powerful walls set
the age of 28, in his native Osaka. His firm,
a limit. The second impression of his work
MINIMALISM 52
is the tactility. His hard walls seem soft to dining area, and bathroom on the lower
touch, admit light, wind,and stillness. The floor, and the children's bedroom on the
thirdimpression is the emptiness because upper floor. The second section, between
only light space surrounds the visitor in the other two, is a central courtyard.
Tadao Ando's building.

The courtyard that lies between the two
4.2 CAREER & WORKS bedrooms is walled but completely open to
the sky above. A bridge spans the

Ando first achieved recognition with the
courtyard and joins with a side staircase
Azuma House which received the
that descends to the courtyard. With the
Architectural Institute of Japan's annual
exception of the kitchen/dining/bath
award in 1979. Completed in 1976, and also
grouping, one must go outside to pass
known as the Rowhouse in Sumiyoshi, this
between rooms even during the winter and
small house in a working-class section of
rainy seasons. Ando believes the
Osaka introduced all the elements of his
inconvenience and discomfort are not
later work: smooth concrete walls, large
without recompense. His buildings force an
expanses of glass, uncluttered interiors, and
awareness onto the inhabitants of their
an emphasis on bringing nature into contact
place in the world. Moreover, the
with the residents. Only two stories high
introspective design of the home insulates
and just over three meters wide, its
its occupants from the sound and sights of
windowless front wall is made entirely of
the city and offers a tranquil space which is
reinforced concrete with a single recessed
still open to the sun, wind, and clouds. One
area that shelters the entrance. The home is
of Ando's larger well-known housing
composed of three cubic components. The
projects is his Rokko Housing Complex.
first cube contains the living room on the
The complex, which was built in three
ground floor and the master bedroom above.
stages on the sixty-degree slope of the
The third segment contains the kitchen,
MINIMALISM 53
Rokko mountain, contains open public angle by a freestanding wall which defines
spaces and insular private apartments. Each the entrance. Behind the altar, a clear glass
apartment features a terrace with a cross-shaped opening in the concrete wall
spectacular view of the port of Kobe and floods the interior with light. Water
the Bay of Osaka. Ando's Church on the Temple, in Hyogo, is a Buddhist temple
Water, in Hokkaido, is a Christian church built under a lotus pond. The entrance to
which features an artificial lake which the temple is a stairwell which bisects the
comes to the very edge of the building. The pond and leads to the temple below.
cubic concrete chapel has one entirely glass

Ando's four-story Japan Pavilion was
wall that slides completely away in good
considered the most impressive work of
weather. The pews in the chapel face the
architecture at Expo '92 in Seville, Spain.
lake and overlook a large steel cross
One of the largest wooden buildings in the
standing in the middle of the water. Church
world, the pavilion measures 60 meters
of Light, in Osaka, which is recognized as
wide, 40 meters deep, and 25 meters high
another masterful work, is a rectangular
at its tallest point.
concrete box, intersected at a 15-degree
MINIMALISM 54
Figure-43 Rokko Housing One, Kobe, Figure-45Azurna House, Osaka Japan.
Japan (1983).
Figure 44 Chapel on Mount Rokko, Japan (1986).
MINIMALISM 55
Figure-46 Awaji-Yumebutai, Awaji, Hyogo (2000).
MINIMALISM 56
a former chocolate factory in Milan, Italy, that landscaped Manchester's Piccadilly
into a suitable place for fashion shows and Gardens. Ando's work received mixed
other events. Architectural Review's Webb reviews, however. Questions were raised
declared that the design demonstrated how "about the value and possible loss of local
Ando "has reinvented the traditional identity. To what extent is this.... a Japanese
Japanese aesthetic of light and shade, garden? And is it at home in central
offering linear progression through a walled Manchester?" pondered Building Design's
labyrinth, guiding foot and eye, concealing Steven Morant, In 2004, another of Ando's
and selectively revealing to designs, the Langen Foundation, opened in
build anticipation for the drama to come. Neuss, Germany.
Materials are plain, forms simple, but the

Recent work by Ando includes the Hansol
effects are thrilling. From Buddhist temple
Museum in South Korea, whose doors
to European fashion house, Ando finds a
opened this past May, and the Asia
common thread between diverse cultures
University Art Museum, which has not yet
and patterns of human behavior.'
been constructed.
Also in 2002, construction was

4.3 PRINCIPLES &PHILOSOPHIES
completed on another one of Ando's
designs, the Modern Art Museum of Fort Ando was raised in Japan where the
Worth, Texas. "In Ft. Worth he's created a religion and style of life strongly influenced
rich architectural experience of materials his architecture and design. Ando's
and movement—you feel drawn through architectural style is said to create a 'haiku"
galleries that are both logical and effect, emphasizing nothingness and empty
mysterious, simple and surprising,' wrote space to represent the beauty of simplicity.
Newsweek's Cathleen McGuigan. Ando's He favors designing complex
first British project involved joining a group spatialcirculation while maintaining
MINIMALISM 57
the appearance of simplicity. A self- a sense of cleanliness and weightlessness at
taught architect, he keeps his Japanese the same time. Due to the simplicity of the
culture and language in mind while he exterior, construction, and organization of
travels around Europe for research. As an the space are relatively potential in order to
architect, he believes that architecture can represent the aesthetic of sensation.
change society, that 'to change the dwelling

Besides Japanese religious architecture,
is to change the city and to reform society'.
Ando has also designed Christian churches,
"Reform society' could be a promotion of a
such as the Church of the Light (1989) and
place or a change of the identity of that
the Church in Tarumi (1993.) Although
place. According to Werner Blaser, "Good
Japanese and Christian churches display
buildings by Tadao Ando createsa
distinct characteristics, Ando treats them in
memorable identity and therefore publicity,
a similar way. He believes there should be
which in turn attracts the public and
no difference in designing religious
promotes market penetration".
architecture and houses. Ando explains,
The simplicity of his architecture "We do not need to differentiate one from
emphasizes the concept of sensation and the other. Dwelling in a house is not only a
physical experiences, mainly influenced by functional issue but also a spiritual one.
Japanese culture. The religious term Zen The house is the locus of mind, and themind
focuses on the concept of simplicity and is the locus of god. Dwelling in a house is a
concentrates on inner feeling rather than search for the mind as the locus of God,
outward appearance. Zen influences vividly just as one goes to church to search for
show in Ando's work and became its god. An important role of the church is to
distinguishing mark. In order to practice the enhance this sense of the spiritual. In a
idea of simplicity, Ando's architecture is spiritual place, people find peace in their
mostly constructed with concrete, providing mind, as in their homeland."
MINIMALISM 58
mid-1980s. His buildings derive form from
simple geometries that contrast with
complex 3-dimensional circulation,
reflecting his desire for his architecture to
be an immersive physical experience. All
Tadao Ando's work is characteristically
simple, and we can find similar forms in the
first half of the 20th century. The Koshino
House, the secondrealization of Tadao
Ando, was completed in two phases (1980-

Figure 47 The Church of Light, Osaka,
81 and 1983-84). This house is a
Japan (1989).
masterpiece, and collects all fragments of
Besides speaking of the spirit of
Tadao Ando'sarchitectonical vocabulary,
architecture, Ando also emphasizes the
mainly the light.
association between nature and
architecture. He intends for people to easily 4.4 REALIZED WORKS
experience the spirit and beauty of nature

Tadao Ando's body of work is known for
through architecture. He believes
the creative use of natural light and for
architecture is responsible for performing
structures that follow natural forms of the
the attitude of the site and makes it visible.
landscape, rather than disturbing the
This not only represents his theory of the
landscape by making it conform to the
role of architecture in society but also
constructed space of a building. Ando's
shows why he spends so much time studying
buildings are often characterized by
architecture from physical experience.
complex three-dimensional circulation
Ando's mastery of light, nature, and space
paths. These paths weave in between
catapulted him onto the global stage by the
MINIMALISM 59
interior and exterior spaces formed both A. SITE
inside large-scale geometric shapes and in

Koshin The house is located in Ashiya, a
the spaces between them.
a small town located between Osaka and
4.4.1 KOSHINO HOUSE Kobe two major urban centers in Japan. It is
built in a residential area, suburban,in the

The Koshino House, an architectural
hills of the city. Located on a mountainside
masterpiece, represented a fresh start for
densely wooded, the House Koshin is
Ando, a famous Japanese architect. He
embedded in the ground, irregular shape
began the work of dismantling the
contrasts strongly with the sharpness of the
architectural prototype developed
geometric shapes of the building.
Earlier in the Row House inSumiyoshi
The effect is achieved through a strong
and of reassembling the pieces.The house,
slope, is that the visitor comes from
by Tadao Ando for the designer Koshin, is a
connection to the earth allows for a more
veritable maze of lights and shadows. Like
private atmosphere. The site is transformed
Barragan, the architect seeks to reconcile
into precisely assembled as craft
the tenets of international modernism with
work.above and before entering can see
tradition and landscape, in this case,
their feet the roof of the houseThe forms
Japanese. So, The House Koshin is an
are partially buried into the sloping ground
example of contemporary architecture built
of a national park and become a
in two parallel wings that barelyinterrupt
compositional addition to the landscape.
the landscape. The use of concrete,
simplicity,and treatment of light, typical
features of the architecture of the Japanese.
MINIMALISM 60
Figure-48 Koshino House, Hyogo, Japan (1980).
B. PLANNING & DESIGN exterior stairs of the courtyard. The entry
of this house, semi-batch, is level. From

He blends together the site and the building,
here go down in the living room with
incorporates the landscape into the building,
double height.
and makes use of every bit of the site. The
interior space is extended into the exterior In one wing parallel to the building,
space and the entire manipulation of light. connected through a corridor of almost
The northern volume consists of a two- underground, a number of halls and rooms
story height containing a double height for children, since that can be accessed by
living room, a kitchen and a dining room a long hallway. The entire house is
on the first floor with the master bedroom structured as a Japanese garden around a
and a study on the second floor. The series of scenic background, designed to
southern mass then consists of six linearly boost awareness of nature.
organized children's bedrooms, a bathroom
and a lobby. Connecting the two spaces is a
below grade tunnel that lies beneath the
MINIMALISM 61
The two big openings in the living room enclosed exterior space and allows the light
offer views of the steep slopes, trees,and that penetrates through the canopy of trees
hills in the distance. into the sunken courtyard. This self-
governing space represents the fold of

In 1983, Ando was asked to add a study.
nature that has been bound by the
The addition is totally underground north
conditioned structures and becomes
of the room, the containment wall account
synthetic.
of how the circumference of the plant.
Narrow apertures have been punched

Although this house is often linked to
through the facades adjacent to the exterior
minimalism can be better understood in
staircase and manipulate complex crossings
the context of archetypal forms of temples
of natural light and shadow into the interior
and aesthetic reduced by Zen Buddhism.
spaces. The patterns provide the only
Ando used the space within the two
amount of ornament to the simple rooms.
rectangular prisms as a way to express the
Other slots are cut from various planes of
fundamental nature of the site. This space
the two modules to produce the same effect
reveals a courtyard that drapes over and
of complexity throughout the entire house.
contours to the natural topography. A wide
set of stairs follows the sloping land into the
MINIMALISM 62
Figure-50 Living Room, Koshino Figure-52 Living Room, Koshino
House. House.
Figure-49Access path between two Figure-51 Study Room, Koshino

blocks. House.
Figure 53 The Atelier, added four years after construction.
MINIMALISM 63
C. MATERIALS The texture of the walls isunexpectedly
smooth because of the added luminous

Another factor worth noting is that there
coating, contradicting the concrete's
are no decorative elements. The view
toughness. The reactiveness of the
provided by the wide openings along with
concrete produces the illusion of a textile
the shadows cast by the narrow openings
surface rather than presenting it as a heavy
and skylights, and the texture of the
mass. The way Tadao Ando uses concrete
concrete both combined, operate as the
is to mold them into light homogeneous
only ornamentation.
surfaces. His intent is not to express the
All the walls are made of this material and
nature of the material itself, but to use it to
are free of ornamentation and in their
establish space.
natural form. Tadao Ando used this
D. NATURAL LIGHTING
material because it is a way to admit light
and wind within the walls and creating a Light enters through a skylight between
sense of serenity and wide open spaces. the wall and the roof, illuminating a
Another reason why using this material is curved wall; a large window has been
due to industrialization and technological opened in the living room wall. The
resources to which access is the architect interior is gradually assimilated into the
living in a developed country such as beautiful landscape. This house is

Japan. composed of two box-like buildings of
different volumes, arranged in parallel on

Widely used to make large glass windows
either side of a terrace. The main building
throughout the house. The reason for
contains a double-height living room, a
using this material is giving way to large
kitchen, a dining room, and, on the upper
quantities of light and offer a view of the
floor, the main bedroom.
garden.
MINIMALISM 64
The other building is the private quarters, bedrooms and—arranged in a row, as well
accommodating a total of six rooms— as
added to alter a form that was once

a bathroom. The two buildings are
complete in itself to create another
connected by an underground corridor.
complete form. The end result must
E. INTEGRITY WITH rise to a new level of perfection.
SURROUNDING Adding a few touches to a work
completed in the past is difficult.

Then there is the terrace between the
two buildings—an outdoor living room In the case of the Koshino House,
Ando soughtto develop a new

where one can fully appreciate the
overall image by contrasting the
abundant greenery. Ando suggests
addition to the existing portion. The
a life in which the occupant is made
addition is positioned higher up on
continually aware of the richness of
the hillside; a wall describing a
nature on a spacious site
quadrant in plan resists soil
surrounded by trees. This building,
pressure like a dam and encloses a
which can be used to accommodate
space.
guests on weekends, is predicated
on a lifestyle very different from F. ADDITIONSA slit is opened in

that in the city. the ceiling along the curving wall
of the addition, and light entering

An atelier was added four years
through the slit takes the form of a
after the completion of the house.
curving geometrical figure. This is
Ando's buildings are always
in do indeed need to transcend
formally complete. Thus, his task is
time.
MINIMALISM 65
4.4.2 CHURCH OF LIGHT The location was where the original
the church stood, adjacentto the

Church of the Light was completed in
chapel.Ando chose to use the orientation
1989 as an annex to an existing wooden
of the church as the overall layout of the
church and minister's house. Located in a
new building. This church is seen as a
small residential suburb of Osaka, the
place of retreat where the outside world is
building layout relates to the existing
forgotten and the natural world is
buildings on the site and the sun. The
emphasized in a rather abstract manner
budget was relativelylow, about $250,000
vis-a-vis Ando's control of the light. This
US in construction costs. All costs were
church beckons the fundamental simplicity
afforded by the church's congregation.
of Christianity with its low-tech, yet
Ando addressed this issue by using his
powerful design.
usual pallet of inexpensive materials such
as reinforced concrete and wood.

A. SITE
In the small town of Ibaraki, 25km outside
of Osaka, Japan, stands one of Tadao
Ando's signature architectural works, the
Church of the Light. The Church of the
Light embraces Ando's philosophical
framework between nature and
architecture through the way in which light
can define and create new spatial
perceptions equally, if not more so, like
that of his concrete structures. Completed

Figure-54 The church Of Light, Osaka,
Japan (1989). in 1989, the Church of the Light was a
MINIMALISM 66
renovation to an existing Christian of traditional Christian motifs and
compound in Ibaraki. The new church was aesthetic. Besides an extruded cross from
the first phase to a complete redesign of the east facing facade, the church is
the site — later completed in 1999 — composed of a concrete shell; the concrete
under Ando's design aesthetic. adds to the darkness of the church by
creating a more humble, meditative place

Located in a quiet residential
of worship. As a testament to minimalist
neighborhood in the suburbs of Osaka,
architecture, the crosses void in the east-
the small Christian church made of silky
facing wall is the only prominent religious
smooth concrete sits modestly within its
symbol present in the church.
environment.
C. PLANNING & DESIGN
B. CONCEPT
Ando's Church of the Light is minimalist
For Ando, the Church of Light is an and reductive of religious paraphernalia to
architecture of duality the dual nature of a simple cruciform extrusion, which is
[co]existence solid/void, light/dark, often criticized as disturbingly empty,
stark/serene. The coexisting differences void, and undefined. Although it has been
leave the church void of any, and all, stated to be nothing more than six walls
ornament creating a pure, unadorned and a roof, there is a whole level of design
space. The intersection of light and solid aesthetic implemented by Ando and his
raises the occupants' awareness of the contractors that is misread and
spiritual and secular within themselves. unrecognized by the occupants. As a
modern, minimalist structure the Church

The employment of simplistic materials
of the Light emits an architectural purity
reinforces the duality of the space; the
that is found in the details. The reinforced
concrete structure removes any distinction
MINIMALISM 67
concrete volume is void of any and all light. Ando's decision to place the cross on
ornament that is not part of the the east façade allows for light to pour into
construction process. The seams and joints space throughout the early morning and
of the concrete are built with precision and into the day, which has a dematerializing
care by master Japanese carpenters, along effect on the interior concrete walls
with Ando, that have worked to create an transforming the dark volume into an
immaculately smooth surface and illuminated box. Ando's approach to light
accurately aligned joints. So much So, that and concrete in the Church of the Light, as
the seams of the concrete formwork align well as his other projects, has a surreal
perfectly with the crosses extrusion on the effect that perceptually changes material
east side of the church. into immaterial, dark into light, light into
space.
The communal church consists of two
The space of the chapel is defined by light,
rectangular volumes that are both cuts at a
the strong contrast between light and solid.
15-degreeangle by freestanding concrete
In the chapel light enters from behind the
walls. One indirectly enters the church by
altar from a cross cut in the concrete wall
slipping between the two volumes, one
that extends vertically from floor to ceiling
that contains the Sunday school and the
and horizontally from wall to wall,
other that contains the worship hall.
aligning perfectly with the joints in the
The concrete construction is a
concrete. At this intersection of light and
reinforcement of Ando's principal focus on
solid the occupant is meant to become
simplicity and minimalist aesthetic;
aware of the deep division between the
however, the way in which the concrete is
spiritual and the secular within himself or
poured and formed gives the concrete a
herself.
luminous quality when exposed to natural
MINIMALISM 68
One feature of the interior is its profound worship hall. The benches, along with the
emptiness. Many who enter the church say floorboards, are made of re-purposed
they find it disturbing. The distinct void scaffolding used in the construction. It
space and absolute quiet amounts to a took more than two years to complete.
sense of serenity. For Ando, the idea of The delay in completing the work was due
'emptiness' means something different. It is to problems in raising the necessary funds.
meant to transfer someone into the realm Initially, it was feared that it would cost
of the spiritual. The emptiness is meant to more than the budget and Ando even
invade the occupant so there is room for considered building it without a roof, but
the spiritual to fill them. the construction firm donated the roof and
this became unnecessary.The one element

D. CONSTRUCTION
carried through Tadao Ando's structures is
The church has an area of roughly 113 of his idolization of the reinforced concrete
the same size as a small house. The church
wall. The importance given to walls is a
was planned as an add-on to the wooden distinct departure from Modernist
chapel and minister's house that already architecture. They are usually made of 'in-
existed at the site. The Church of the Light situ' poured in place concrete.
consists of three 5.9m concrete cubes
Considerable care is taken to see that the
(5.9m wide x 17.7m long x 5.9m high)
walls are as perfect as the technology will
penetrated by a wall angled at 15a,
allow. These walls are thick, solid,
dividing the cube into the chapel and the
massive, and permanent, The main
entrance area. One indirectly enters the
reinforced concrete shell of the Church of
church by slipping between the two
the Light is 15 inches thick.
volumes, one that contains the Sunday
school and the other that contains the
MINIMALISM 69
CHAPTER 5
CASE STUDIES AND
EXAMPLES
5.1 EXAMPLE 1 - F3 FARMHOUSE SIMPLE FORM
Figure-55 F3 Farmhouse. Figure-56 F3 Farmhouse.

BUCOLIC SETTING
Architects: DADA & Partners CONTRASTING COLORS
Location: New Delhi, India
Area: 14000 ft2
Project Year: 2011 LIMITED NO.
OF MATERIALS
USED
TRANSPERANCY
Figure-57 F3 Farmhouse Elevation. IN SPACES
Figure-58 F3 Farmhouse Section.

FLOW BETWEEN SPACES
MINIMALISM 70
LIGHT COLORED
5.2 EXAMPLE 2 - GURGAON HOUSE MATERIALS
Figure-61 Gurgaon House Interior.
Figure-59 Gurgaon House View.

Architects: DADA & Partners
Location: Gurgaon, Haryana
Area:350 m2
LIGHT COLORED
Project Year: 2006 WALLS
Figure 62 Gurgaon House Interior.
Figure 63 Gurgaon House Interior.

House is a mix of modern and minimalistic
design principles with an emphasis on
Figure 60 Outdoor View. spatial quality which is achieved through
aesthetic elements color, prominence on
light and views. The neutral colored
palette is used extensively.
MINIMALISM 71
5.2 EXAMPLE 3 - GLASS HOUSE
Figure 64 Glass House Front Elevation.

Architects: Steve Hermann Figure 66 Glass House View.
Project Year: 2010

This house is regarded as the most
minimalistic building, with elevational
elements and surrounding setting much like
the Farnsworth house.
A limited number of materials are used in

elevation which gives the building a
minimalistic look.
Almost all external walls are made of glass.
Figure 67 Glass House View.
The building is raised 1 foot above the floor
which makes it appear as floating.
Figure 68 Glass House Interior.

Figure 65 Glass House Rear View.
MINIMALISM 72
CHAPTER 6
ANALYSIS
6.1 CASE STUDY ANALYSIS
Illustration4 Comparative analysis of case studies and examples.
MINIMALISM 73
6.2 QUESTIONNAIRES RESULT ANALYSIS
Illustration-5 Age Groups Targeted. Illustration8 Clean Edges Or Multiple

Forms.
Illustration- 6 Would You Prefer To Live In Illustrartion 9 Neutral Or Bright Colored

Minimalist House Interior.
Illustration7 Change Of Interiors In Years Illustration10 Personal Interior Preference.
MINIMALISM 74
6.3 QUESTIONNAIRE INFERENCES  Meticulous use of the effect of artificial
and natural light in the interiors and as

 A survey of 50 people with mixed age
well as exteriors.
groups shows that out of which 44%of
 Less variety of materials are used to
people prefer minimalist interior
give a sense of simplicity.
designs,
 Prominence on spatial quality is given.
 And 91% people would like to have
 Forms are usually geometric with less
neutral colored interiors,
number of facade elements.
 With 94% of people preferring simple
 Use of materials like glass extensively is
designs and geometric forms.
not feasible in all type of climates.
 Usually, people would like to change
their interiors between 4-7 years, 6.5 CONCLUSION
 With that being said 94% of

 The minimalistic building uses
peoplewould prefer a Minimalist house.
relatively simple elegant designs;
6.4 COMPARATIVE STUDY ornamentations are quality rather than
INFERENCES quantity. The structure's beauty is also
determined by playing with lighting,

 The neutral color paletteis used with
using the basic geometric shapes as
splashes/contrast of colors on walls and
outlines, using only a single shape or a
furniture.
small number of like shapes for
 Visual transparency is tried to achieve
components for design unity, using
as much as possible through large
tasteful non-fussy bright color
openings in accordance with climatic
combinations, usually natural textures
conditions.
and colors, and clean and fine finishes.
MINIMALISM 75
 Using sometimes the beauty of natural careful consideration of the void spaces
patterns on stone cladding and real left by the removal of three-dimensional
wood encapsulated within ordered shapes from an architectural design.
simplified structures, and real metal Excellence cannot be achieved
producing a simplified but prestigious without an insistence on fine
architecture and interior design. May materials, consummate details and
use color brightness balance and unremitting design effort.
contrast between surface colors to  The following inferences are drawn
improve visual aesthetics. The structure after completing the study the concepts
would usually have industrial and space of minimalism and critically analyzing
age style utilities (lamps, stoves, stairs, the works of Mies and Tadao Ando:
technology, etc.), neat and straight  Minimal design can be achieved only
components (like walls or stairs) that when only those elements are included
appear to be machined with machines, which are adequately important in a
flat or nearly flat roofs, pleasing building and omitting the needless
negative spaces, and large windows to elements.
let in lots of sunlight.  Lighting and colors are the keys to
 Modern minimalist home architecture defining a space designed with a
with its unnecessary internal walls minimal approach. Lighting is used for
removed probably have led to the highlighting certain elements while
popularity of the open plan kitchen and colors are used in such a way that they
living room style. In minimalism, the bring out an expression out of the space.
architectural designers pay special  Materials are another most
attention to the connection between importantaspect as they help in defining
perfect planes, elegant lighting, and
MINIMALISM 76
the space and deriving the purpose and seeing the outcome of the weekend
function of that space. getaway home as it concerned her of her
 Mies used materials to define thespace privacy.
and not physical barriers, which in turn  The other thing that Mies focused on
helped to create a free-flowing and large was creating the whole space
space. showcasing different expression rather
 The spaces in Mies's works were than defining the space with a sole
designed in such a way that they can be function and purpose.
used formultiple purposes rather than  Tadao Ando's work is different in some
function only as one entity. aspects of the elements and approach
 Minimum use of opaque materials like being used, though the motive is the
concrete and bricks to achieve a same as that of Mies: creating a clutter
structure that responds to nature and the and barrier-free space with adequate
inhabitant feels connected to the functionality.
surroundings.  His construction was basically evolved
 Since most of the Mies's work was in around concrete and natural lighting.
Chicago (a cold city), use of steel and  His projects are highly influenced by
glass in tall buildings helped to achieve traditional Japanese Zen
the degree of warmth in the interiors. architecture which featured serene
 Extensive use of glass also caused environments, least possible
Mies's a fair bit of problems regarding elements and simple construction.
the privacy in privately owned  Use of open space was prominent in
residences. Farnsworth House was a Ando's works too but not as prominent
controversial project that Mies as in Mies's. There were physical
undertook. The owner wasn't happy
MINIMALISM 77
partitions that separated different
rooms.
 Ando's use of lights has been the most
influencing works. He used
strategically placed voids to let the
natural light come in. this also helped
in creating daylit spaces in the daytime,
hence helping to conserve energy.
 He had a different approach regarding
the site layout and planning. He
conceived the idea of building a
structure that would defy nature's
element in a way that the building itself
stands out, not merging with nature.
 Plain bare concrete facades with
window opening were his typical style
of designing the building.
 The only thing which Ando couldn't do
was apply his concepts to high rise
buildings. Almost all the projects he did
were low height buildings.
MINIMALISM 78

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DISSERTATION REPORT

STUDY OF PRINCIPLES/ & WORK OF ARCHITECTS ON

GUIDE: AR. SHIVANI SINGH

DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE B.ARCH.

This dissertation report is submitted by ANIRUDDH BABBAR, ENROLLMENT NO-

Student: ANIRUDDH BABBAR

Guide: AR.SHIVANI SINGH External Examiner:

Dissertation Coordinator: Dean:

School of Architecture & Planning,

2.3. Principles of Minimalism..............................................................................................7

2.4. Elements of Minimalist Design.....................................................................................9

3. Mies Van Der Rohe

3.1. Life & Work................................................................................................................13

3.3. Principles & Philosophies...........................................................................................24

3.4.1. Tugendhat Chair..................................................................................................26

3.4.3. Barcelona Couch.................................................................................................27

3.4.4. X-Table/Barcelona Table....................................................................................29

3.4.5. Barcelona Stool...................................................................................................29

3.4.8. MR Chaise Lounge Chair....................................................................................30

3.5. Realized Works............................................................................................................32

3.5.1. Barcelona Pavilion...............................................................................................32

3.5.2. Farnsworth House................................................................................................37

3.5.3. Seagram Building................................................................................................47

Planning & Designing......................................................................................49

4.2 Career & Works............................................................................................................53

4.4.1 Koshino House....................................................................................................60

Planning & Design...........................................................................................61

Integrity with Surroundings..............................................................................65

4.4.2 Church of Light...................................................................................................66

Planning & Design...........................................................................................67

5. Case Studies and Examples

5.1.1 F3 Farmhouse/ DADA & Partners......................................................................70

5.1.2 Gurgaon House/ DADA & Partners....................................................................71

5.1.3 Glass House / California......................................................................................72

5.2 Live Case Study............................................................................................................72

5.2.1 Bharat Bhawan/ Charles Correa..........................................................................72

Case Study Analysis..................................................................................................................73

1.1 INTRODUCTION in attaining the plan and form of the

building structures was the cataclysmic

improvements have been made as far as for

plan, innovation, strategies and so on which

gives the significance to the architecture.

Diverse identities have distinctive methods

of insight and meaning of their type of

work. Figure-1Definition of Minimalism.

In the current contemporary situation, To achieve minimalism in public/residential

others do not have a deeper meaning in design as a feature of minimalistic

architecture resulting in inappropriate architecture.

ornamentation, disquietingly ornate

facilitates meaningful architecture by dissertation pays particular attention to

providing calmness and simple wonderful the minimalistic building.

Rohe, Tadao Ando, which will provide

encourage minimal architecture and considered here, the contribution of the

investigate the appropriateness of this form will be discussed.

of color, texture, and light, materials

&another elementindetails to elevate the

spatial quality of the space.