PROFESSOR MATTEO MOSCATELLI TUTOR: ELENA SARTINI
ARCHITECETURE OF INTERIORS DESIGN STUDIO POLITECNICO DI MILANO 2020-2022
HAYA ARAFA 963493
LUDWIG MIES DER ROHE CROWN HALL - IIT CAMPUS - CHICAGO
VAN
CROWN HALL BUILDING ANALYSIS
It is characterized by an industrial aesthetic of simplicity, clearly stated in their steel frames.
WHAT ARE THE LAYERS OF THE BUILDING?
The main floor, which occupies 50% of the building, comprising a single glass-enclosed space devoted to the study of architecture. Mies called it a “universal space” to be totally flexible in its use. The divisions that has very few moving parts, made with lightweight panels that allow you to place the space as required.
1- The suspended roof, without interior col umns, created universal space that could be endlessly adapted to new uses
3- Semi-buried where they are located the offices, meeting rooms and services. Support System: Columns on Grid of points discrete in the lowere level.
2- Open Exhibition Space
Crown Hall Building
All the other buildings are are entered directly from the flat plane of the site but the Crown Hall’s building is dra matically raised above
Oak Partition Walls
2- Uninterrupted Space
3- Sunken Lower Level MainGlazingEntranceSkin
AcousticalFlatSystemRoofCeiling
Flat SupportedRoof by an external Steel Structure for an open flexible space to see work of others
The building is configured as a self-contained in a rectangular shape on two levels. Is a free volume with its four walls of glass, surrounded by a large green area, with large trees, mainly in the south facade. The glazing on all sides that allows the faculty do not give back the rest of the buildings, while respecting the context.
The building is divided into two levels: the main floor, shaped like a large space and a semi-buried where they are located the offices, meeting rooms and services.
1- Steel Structure
form &
Symmetry: Correspondence in size, arrangement of elements on both sides. Both Buildings are derived from Classical Architectural Geometry. Strict Rigid similiar, and equal Proportions. The heigh, roof slab, columns. The Frameworks of Greek Temples.
SPECULAR SYMMETRY AND MODULAR GEOMETRY
Altes Museum, Karl Schinkel, Neoclassical Architecture, Germany, 1825- 1830 Modular Geometry in Neoclassical Architecture SIMILARITIES Modular Geometry in Modernism Column Column 27.7 m 84.2 m 67.4m 16.0 m 16.0 m Crown Hall Building, Mies Van Der Rohe, IIT Chicago, 1950-1956 1.30 m 11.70 m 2.92 m 1.76 8.36mm 1.55 m 24,07 m18,0 m24,07 m
PRESENCE AND ABSENCE OF SYMMETRY
DIFFERENCES
CorrespondenceSymmetry: in size, form & arrangement of elements on both sides. Symmetrical Structural plan & Entrance Symmetric TheAsymmetry:Partitionstwosidesofthe building are not the same Barcelona Pavilion is very asymmetrical in its structural plan The walls, when viewed in plan, appear to be placed at random and are not symmetri cal
Crown Hall Building, Mies Van Der Rohe, IIT Chicago, 1950-1956 24,07 m18,0 m24,07 m
Specular Symmetry
Barcelona Pavillion,Spain, 1928 Absence of Symmetry 42.79 m 14.24 m
Mies in Europe & U.S.
Crown Hall, Chicago
Different Support: 4 Repetitive Tangent Pillars
DIFFERENCESSIMILARITIES
Different Support 8 Repetitive Exterior Columns
-Repition is the repeated use of elements that is not due to symmetry
Common: Facade Composition: The Regular Rhythym in Glass.
-Repitition of Single Elements whose composition creates Architectural system.
REGULAR RHYTHYM
Geometry: Rectangle
Composition of the Facade:
Common: Composition of the Facade: The Regular Rhythym in Glass.
What is Common in Mies works?
Neue Nationalgalerie – Berlin
-Carefully proportioned repetitive elements that conveys uniformity and Precision of Construction
Same Linear Structural System - Different Support Technique
Neue Nationalgalerie – Berlin
Crown Hall, Chicago
Geometry: Square
Same Linear Structural System - Different Support Technique
Crown Hall Building, Mies Van Der Rohe, IIT Chicago, 1950-1956
Different approaches in Mies and Charles Eames work in the same period
Charles & Ray Eames House, Los Angeles, California, 1949
Color & Variation in Eames
Contrasting the cool tone of the blue are the neighboring warm orange and gold-foiled panels. The Eameses referenced a “warm grey web” of the structure countless times, describing the color of the steel beams and steel window fittings that encased the painted and bare Cemesto rectangles Eameses took this method of collaging further in formulating the placement of various colors and materials on the house’s facade.
I did not know how colorful nature really was. But you have to be careful in the inside to use neutral colors, because you have the colors outside. These absolutely change and I would say it is beautiful. [White] was the right color [for buildings] in the country, against the green. I like black too, particularly for cities. Even in our tall glass buildings, you see the sky, and even the city, changing every hour.
Muted Color & Regularity in Mies
Mies 1950
DIFFERENCES
COLOR
Eames 1949
“Looking For Mies” Book by Ricardo Daza
“Crown Hall” Book by Werner Blaser - Birkhauser https://www.architecture.org/learn/resources/buildings-of-chicago/building/crown-hall/ https://en.wikiarquitectura.com/building/crown-hall/
SOURCES