This was the time of the World War I, and soon after the War, Mies began to get interested in the study of skyscrapers, and he thereafter designed two novel and innovative steel framed towers that would be encased in glass, one of them being the Friedrichstrasse, in 1921, and even though this design was never co

Mies became iconic of the cool and minimalist, 'less is more' internationally acclaimed style during the first half of the twentieth century, when his contemporaries were the famous Le Corbusier and Walter Gropius. It was in 1927 that the design and the patent for his cantilevered chair 'MR 20' was created, and this single event managed to shoot Mies into the limelight. (Mies Van der Rohe: www.r20thcentury.com) It is often said that the modern cityscape is partly owed to the minimalist designs of Mies van der Rohe, with the numerous towers made up of glass and steel. In a similar manner, Mies van Der Rohe's chair designs are exceptional in their sense of proportion, and in their minimalist forms, and also in their exquisite attention to detail. (Designer: Ludwig Mies Van der Rohe)

Mies also stated that when the outer walls are being put into place, then a morass of meaningless and trivial forms would inadvertently hide the very basic structural system, on which the artistic design is generally based. When it is glass that is placed in place of the old and traditional wall, then this means that the creator has taken into consideration the fact that from old problems and old forms can arise new forms, and when glass, which cannot hide anything at all because of its basic nature of transparency, is used instead of a wall, the result is not only a new solution, but also a beautiful new means of construction. In addition, the structural principles on which the building is based would also be revealed very clearly when glass is used instead of a wall, and today, this is very much a possibility, because in today's structures, in a skeleton building like the Seagram building, for example, the outer walls would not have to carry weight. Therefore, glass would provide the architect to new solutions to old problems, and also lead to the development of new concepts hitherto unthought-of. (The Seagram Building: www.greatbuildings.com)

As mentioned earlier, the Seagram building designed by Mies van der Rohe, with Philip Johnson, who did up the interiors space of the building, has been much copied over the years, but is as yet completely unmatched. The Seagram Building is in fact, recognized all over the world for its International Style in skyscraper building, and it is also one of the finest skyscrapers to have ever been made. What is so very impressive about this building that it cannot be matched by any other architect or by any other skyscraper? The fact is that most of the Seagram Building's charm and unmatched style stems from its elegant and graceful proportions, and also in its integral relationship with the overall site where it has been constructed. The Seagram is set back form the street by ninety feet, and in the side, by thirty feet. This has resulted in the formation of a large space for a forecourt, and this forecourt is put to maximum use: it not only houses two rectangular pools, but it also contains a low boundary wall that has been made out of green marble, and this green in fact serves to offset the other colors of the Seagram Building. This particular style has been borrowed form the architect's earlier work, called the 'Pavilion' in Barcelona. The 'I' beams that are used throughout the Seagram was also used earlier by Mies van der Rohe, in 1951, at his apartment tower buildings at Lake Shore Drive in Chicago. (Seagram Building, New York: www.galinsky.com)

The Seagram Building is essentially a logical and an elegant skyscraper designed by Ludwig Mies van der Rohe, and is an imposing structure made of steel and glass. It has alternating bands of bronze plating, and them bronze tinted glass, and these are interspersed with extremely decorative I Beams, which serve to lay emphasis on the building's verticality. Being placed as it is in the rear of its site, and to the back of Park Avenue, it has, incorporated within its basic design, a large Plaza, which has served the practically useful purpo

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Approximate Word count = 2655
Approximate Pages = 11 (250 words per page double spaced)