整理 | 最高贵的装饰品的艺术，密斯-凡-德-罗建筑中的雕像和柱子（上篇bb
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Feb 20, 2023 06:10 AM
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The art of the noblest ornaments. The statue and the column in the architecture of Mies van der Rohe
Marko Pogagnik
原载于《Architectura》1，2010，21-54，全文都是通过www.DeepL.com/Translator（免费版）翻译的，仅供学习使用
全文中英文共计6万字，不包括附注和参考书目，下篇在这：
Between 1925 and 1930. between his house designs for the Wolf family at Guben and the Tugendhat family at Brno, Mies van der rohe introduced and improved on a new architectural element in his architectural vocabulary the isolated free column. This innovation appears for the first time in the Barcelona pavilion even though its complex development seems to have begun in 1927 when Mies was planning for the Werkbund housing exhibition that led to the construction of the Weissenhof Siedlung at Stuttgart.
1925年至1930年间，在为古本的沃尔夫家族和布尔诺的图根哈特家族设计房屋期间，密斯-凡-德-罗在其建筑词汇中引入并改进了一种新的建筑元素--孤立的自由柱。这一创新首次出现在巴塞罗那馆中，尽管其复杂的发展似乎始于1927年，当时密斯正在为Werkbund住房展览进行规划，该展览导致在斯图加特建造Weissenhof Siedlung。
At Stuttgart Mies designed and built the glass exhibition space ( the Glasraum ) using a torso by Lehmbruck ( ill . 1 ) as a pivotal element in order to organize an architectural environment and orientate visitors . In Stuttgart Mies may have recognized that a similar function was performed in the work of Hans Scharoun and Mart Stam's by free-standing columns , a novelty introduced in their designs for the Weissenhof Siedlung . The relationship in Mies van der rohe's œcure of sculpture and isolated columns as devices capable of defining a new concept of space is an occurrence that art historical studies have not investigated deeply so far. Indeed this parallel provides an extraordinary opportunity to rethink not only the relationship between the art of construction and the plastic arts between architecture and sculpture. but also some fundamental aspects of Mies's architecture.
在斯图加特，密斯设计并建造了玻璃展览空间（Glasraum），使用Lehmbruck的躯干（图1）作为关键元素，以组织建筑环境并引导参观者。在斯图加特，密斯可能已经认识到，在汉斯-沙隆和马特-斯塔姆的作品中，独立的柱子也发挥了类似的功能，这是他们在为魏森霍夫山庄设计时引入的新事物。Mies van der rohe的雕塑和独立柱子作为能够定义新的空间概念的装置的关系，是艺术史研究迄今尚未深入调查的一个事件。事实上，这种平行关系提供了一个特殊的机会，不仅可以重新思考建筑艺术与建筑和雕塑之间的造型艺术的关系，而且可以重新思考密斯建筑的一些基本方面。
The kind of sculpture that Mies selected was always figurative, which, thanks to the correspondence between the human body and the column, was supported by a long-standing artistic tradition typified by the figure of the caryatid that Mies himself had used already in the design for the Koller Muller House ( 1912-13 ). Mies's œuvre, veiled by the architect's legendary laconicness(拉科尼式简略语), induces us to assign to It a profound meaning on each occurrence that at first glance might seem marginal; the critic is therefore forced to analyze carefully all the elements that make up the chessboard on which Mies challenges us to play the difficult game of exegesis
密斯选择的雕塑总是具象的，由于人体和柱子之间的对应关系，它得到了一个长期的艺术传统的支持，这个传统的典型就是密斯自己在设计科勒-穆勒之家（1912-13）时使用的卡利亚特形象。米斯的作品被这位建筑师传奇性的平易近人所掩盖，诱使我们为它的每一次出现赋予深刻的意义，而这些意义乍一看可能是边缘化的；因此，批评家不得不仔细分析构成棋盘的所有元素，米斯在棋盘上向我们挑战，玩起了困难的注释游戏。
In contrast to critics of modern architecture who ignore the matter. Mies's contemporaries were well aware of his use of sculpture as a catalyst for new architectural solutions. They clearly understood his innovative attitude towards sculpture.In 1932 Werner Hegennamn published in Wasmiaths Monatsbefte für Batkunst and Stdädteban, of which he was their editor, responses to a questionnaire he had circulated to a number of artists and architects soliciting their opinion about the future relationship between architecture and sculpture: Very often we receive negative comments from painters and sculptors speaking about architects indifference to the visual arts. For this reason, we would like to publish some of the answers we received to the question of whether architecture has ceased to have any relationship with the figurative arts. Among the statements, those of Paul Bonatz and Georg Kolbe were especially significant because both referred to the Barcelona pavilion as the best example of the collaboration between architecture and sculpture. Bonatz thought that Mies's - smooth walls, reflecting marble surfaces, and water pool were perfect backdrops for Kolbe's sculpture. The space had similar qualities to the Zeppelinbau in Stuttgart: a building with a steel skeleton is clad with very thin stone slabs. The visual seduction of the steel skeleton derives from the very thin stone curtain wall. On these walls, sculpture cannot come to life.
与忽视此事的现代建筑批评家相比。密斯的同时代人很清楚他把雕塑作为新建筑解决方案的催化剂。1932年，Werner Hegennamn在他担任编辑的Wasmiaths Monatsbefte für Batkunst and Stdädteban上发表了对他向一些艺术家和建筑师分发的调查问卷的答复，征求他们对建筑和雕塑之间未来关系的意见。我们经常收到画家和雕塑家的负面评论，说建筑师对视觉艺术漠不关心。出于这个原因，我们想公布一些我们收到的关于建筑是否已经不再与具象艺术有任何关系的答案。在这些发言中，Paul Bonatz和Georg Kolbe的发言尤为重要，因为他们都提到了巴塞罗那馆是建筑与雕塑合作的最佳范例。博纳茨认为，密斯的光滑墙壁、反射的大理石表面和水池是科尔贝雕塑的完美背景。这个空间与斯图加特的Zeppelinbau有类似的特质：一个有钢筋骨架的建筑被非常薄的石板包裹着。钢筋骨架的视觉诱惑力来自于非常薄的石头幕墙。在这些墙壁上，雕塑无法活起来。
Wasmiaths Monatsbefte für Batkunst and Stdädteban
Bonatz's text was followed by a short and very intense one by Kolbe illustrated with a picture of his sculpture Morgen in the interior pool of Mies's pavilion I am not disturbed by the absence of sculptural works in truly functional [ sachlich ] buildings. If , here or there, there is a blank wall, it was meant to be so. Not all blank pages ought to be written upon. Neues Bauen and sculpture get along very well. Mies van der Rohe has often inserted one of my sculptures in his buildings that are mainly functional structures. The result is a perfect integration and thus reciprocal enrichment. My request to architects is not for empty walls, but for spaces.
在博纳茨的文章之后，科尔贝发表了一篇简短而激烈的文章，并配上了他在密斯馆内部水池中的雕塑作品《摩尔根》(明日)的图片。 我并没有因为真正的功能性建筑中没有雕塑作品而感到不安。如果这里或那里有一堵空白的墙，它本来就是这样的。不是所有的空白页都应该被填满。新建筑和雕塑相处得非常好。密斯-凡-德-罗经常在他的主要是功能结构的建筑中插入我的一件雕塑作品。其结果是一个完美的整合，从而相互丰富。我对建筑师的要求不是要空墙，而是要空间。
Before this Werner Hegemann did not publish the Barcelona pavilion nor the Tugendhat house in his magazine but referring to Mies's œuvre was inevitable when he had to discuss the relationship between sculpture and architecture. Observing Mies's projects of the early and mid-thirties for the Berliner Bauausstellung, the courtyard houses, and the Lange and Hubbs houses, one finds drawings overlapped with studies for sculpture, these confirm that Mies considered architecture and sculpture as part of the same design process.
在此之前，Werner Hegemann没有在他的杂志上发表过巴塞罗那馆和Tugendhat房屋，但当他要讨论雕塑和建筑之间的关系时，提到密斯的作品是不可避免的。观察密斯在30年代早期和中期的Berliner Bauausstellung、庭院住宅、兰格和胡布斯住宅，我们发现图纸与雕塑研究重叠在一起，这些证实了密斯认为建筑和雕塑是同一设计过程的一部分。
Berliner Bauausstellung exhibition house
Ludwig Mies van der Rohe with Lilly Reich | Deutsche Bauastellung ,Die Wohnung unserer Zeit Berlin 1931
The courtyard houses
Black on White Assembly (Nathan Morales-Gallardo)
Hubbs House by Mies ( sketch )
That this attitude was not so common in contemporary architectural practice is confirmed by looking at Le Corbusier's experience. Le Corbusier developed an intense relationship with the plastic arts earlier than Mies as one discovers from his essay on L'esprit nouveau as well as from the programmatic caption to Jacques Lipchitz's statue Nu couché avec guitare located on the terrace of the villa of M.me de Mandrot ( 1930-31 ) and published in his ( Euvre Complete : La stataire est destinée ( si les sculpteurs s'en rendent dignes ) à joure un rôle considérable dans I'architecture contemporaine . ( ill . 4 ) . On the other hand, it is difficult to find in Le Corbusier's work a similarly intense relationship between sculpture and space as one finds in Mies. Undoubtedly sculpture is a pivotal element both in the interior as well as exterior of Le Corbusier's buildings but it appears once the overall architectural setting has been already defined. The sculptural work can be removed without effecting the architectural space stantially .
这种态度在当代建筑实践中并不常见，这一点从勒-柯布西耶的经历中可以得到证实。勒-柯布西耶比密斯更早地发展了与造型艺术的密切关系，正如我们从他关于L'esprit nouveau（新精神）的文章以及Jacques Lipchitz的雕像Nu couché avec guitare（位于M. me de Mandrot别墅的露台上）的纲领性标题中所发现的。 M.me de Mandrot（1930-31）的雕像，并在他的完成作品集( Euvre Complete : La stataire est destinée ( si les sculpteurs s'en rendent dignes ) à joure un rôle considérable dans I'architecture contemporaine中发表：雕像是注定要在当代建筑中发挥重要作用的（如果雕塑家们能保持尊严）。(插图4) 。另一方面，在勒-柯布西耶的作品中很难找到与密斯类似的雕塑与空间之间的紧密关系。毫无疑问，雕塑在勒-柯布西耶的建筑内部和外部都是一个关键的元素，但它是在整个建筑环境已经确定之后出现的。雕塑作品可以在不影响建筑空间的情况下被移除。
Viila de Madame Mandrot by Le Corbusier
Viila de Madame Mandrot by Le Corbusier
Viila de Madame Mandrot by Le Corbusier
Mies carefully selected the sculptural works to be accommodated in his buildings, as we know well from his collages and architectural designs, In particular, he chooses works by only three artists: Wilhelm Lehmbruck , Georg Kolbe and Aristide Maillol. The criticism directed at Mies, that typically he selected sculptures that were traditional rather than abstract, is undoubtedly true but this example is reductive in relation to the scope and vision of his work.
密斯精心挑选了容纳在他的建筑中的雕塑作品，正如我们从他的拼贴画和建筑设计中所知道的那样，特别是他只选择了三位艺术家的作品。Wilhelm Lehmbruck , Georg Kolbe和Aristide Maillol。针对密斯的评论，即他通常选择传统的而不是抽象的雕塑，无疑是正确的，但这个例子与他的工作范围和视野相比是缩减的。
Wilhelm Lehmbruck's artistic production was cut short by his all too premature death immediately after the First World War. He had spent many years in Paris where he met the most notable European artists of the time such as Constantin Brancusi and Alexander Archipenko. The Armory Show in New York in 1913 was the first international exhibition in which he participated: he exhibited Knieende and Dusbrugerin next to artworks by Maillol and Brancusi -( ill . 5 ).
Wilhelm Lehmbruck的艺术创作因他在第一次世界大战后立即过早地去世而中断。他在巴黎呆了很多年，在那里他遇到了当时最著名的欧洲艺术家，如康斯坦丁-布朗库西和亚历山大-阿奇彭科。1913年在纽约举行的军械库展览是他参加的第一个国际展览：他在Maillol和Brancusi的艺术作品旁边展出了Knieende和Dusbrugerin（图5）。
Archipenko valued his German colleague's work highly and indeed Archipenko's Medrano ( 1912 ), as well as Diana ( 1925 ), have compositions similar to Lehmbruck's Knieende . These similarities reveal how permeable the boundaries between abstract and figurative art were. When Lehmbruck died. Archipenko remembered his friend with emotional words: He and I were good friends. Lehmbruck was very good and nice to me and when I had hard times, he bought several of my statues and told me that a German friend of him wanted to have them.
阿奇彭科高度评价他的德国同事的作品，事实上，阿奇彭科的《梅德拉诺》（1912年）以及《戴安娜》（1925年）的构图与莱姆布鲁克的《Knieende》相似。这些相似之处揭示了抽象艺术和具象艺术之间的界限是多么容易渗透。莱姆布鲁克去世后。阿奇彭科用感性的语言回忆了他的朋友。他和我是好朋友。莱姆布鲁克对我非常好，当我遇到困难的时候，他买了我的几个雕像，并告诉我他的一个德国朋友想拥有它们。
Archipenko Medrano II 1913-14 （我只找到了Medrano II，这里并不是原文说的那个Medrano 1912）
alexander Archipenko (救命，上面提到的我真的是一件也找不到，凑合看吧，阿奇彭科的雕塑作品)
Georg Kolbe was affiliated to Arbeitsrat fur Kunstone of the most important avant-garde art circles in Berlin, which he joined upon invitation of Walter Gropius. Kolbe met Gropius at the time of the Cologne Werkbund exhibition where he executed the fountain in front of Gropius model factory building. kolbe's participation in the 1927 annual Glaspalast exhibition in Munich was very well received and an entire hall was dedicated to his artworks, the central piece being Morgen ( Morning ), the sculpture later placed in Mies's Barcelona pavilion. Kolbe's statue was one of two artworks, Morning and Evening ( ill . 6 ), created for the garden of a residential estate built by Heinrich Lassen in 1925-26 in Berlin-the Ceciliengarten - where one can still admire them.
乔治-科尔贝隶属于柏林最重要的前卫艺术圈Arbeitsrat fur Kunstone，他是在沃尔特-格罗皮乌斯的邀请下加入该艺术圈。科尔贝在科隆工业博览会上认识了格罗皮乌斯，他在格罗皮乌斯的工厂模型前建造了喷泉。科尔贝参加了1927年在慕尼黑举行的年度Glaspalast展览，受到好评，整个大厅都是他的艺术作品，中心作品是Morgen（早晨），这个雕塑后来被放在密斯的巴塞罗那展馆。科尔贝的雕像是为海因里希-拉森1925-1926年在柏林建造的住宅区--塞西利花园--的花园创作的两件艺术品之一，即《早晨》和《傍晚》（图6），现在人们还可以在那里欣赏到它们。
《早晨》和《傍晚》（图6）在这突然欣赏到了这对雕塑的美，没有任何自然环境，却用人体的表现表达了自然环境和时间的变化
Maillol's artwork was introduced to Germany early on by Julius Meier-Graefe , Harry Graf Kessler and Karl Ernst Osthaus. Kessler and Osthaus being the most important clients of the artist around 1904 and 1905. Mediterranéen was commissioned by Harry Graf Kessler in 1904, while in 1907 Peter Behrens created an exhibition space at the Mannheimer jubiläums-ausstellung，which featured the same statue ( ill . 7 ). Thirty years later in the United States, Mies also used this statue in various collages.
马约尔的艺术作品很早就被朱利叶斯-迈尔-格拉夫、哈里-格拉夫-凯斯勒和卡尔-恩斯特-奥斯特豪斯介绍到德国。凯斯勒和奥斯特豪斯是艺术家在1904和1905年左右最重要的客户。1904年哈利-格拉夫-凯斯勒（Harry Graf Kessler）委托创作了《地中海》（Mediterranéen），而1907年彼得-贝伦斯（Peter Behrens）在曼海姆博物馆（Mannheimer jubiläums-ausstellung）创建了一个展览空间，其中有同一座雕像（图片7）。30年后在美国，密斯也在各种拼贴画中使用了这个雕像。
Maillol 《地中海》（Mediterranéen）
If we consider all these episodes, Mies's selection of these artists' works reveals a new dimension of his own work. Ar the opening of the 2oth century these artists were recognized and central figures of the artistic debate. Mies's first studies dedicated to sculpture started that period and resulted in a predilection that persisted even once he had become engaged with the Dada and Novembergruppe avant-garde groups in Berlin.
如果我们考虑所有这些事件，密斯对这些艺术家作品的选择揭示了他自己工作的一个新维度。二十世纪初，这些艺术家是公认的艺术辩论的核心人物。密斯对雕塑的首次研究始于那个时期，并形成了一种偏爱，甚至在他与柏林的达达和11月集团的前卫团体接触后仍然存在。
Most likely Mies was encouraged to consider sculpture and architecture in relation to one another already while at Peter Behrens " atelier, where he began his formal training. In this regard, Behrens' installation in the exhibition hall in Mannheim, as well as Behrens'gardenin Neu-Babelsberg, might have been important points of reference for Mies.
最有可能的是，密斯在彼得-贝伦斯（Peter Behrens）的工作室时就被鼓励考虑雕塑和建筑之间的关系，他在那里开始了他的正式培训。在这方面，Behrens在曼海姆展览厅的装置以及Behrens在新巴贝尔斯堡的花园可能是密斯的重要参考点。
The hall in Mannheim has a simple geometrical skeleton defined by three squares on the ceiling-forming wide lacunars with big center rosettes - and another square on the wall that framed a niche displaying the statue Mediterranée by Aristide Maillol. A stylized linear cornice divides the wall in two parts: a lower one operating as a neutral background for paintings and sculptures and the upper one divided in panels based on a smaller square module that defines and unifies the space.
曼海姆的大厅有一个简单的几何骨架，由天花板上的三个正方形定义，形成宽阔的裂缝，中间有大的玫瑰花，墙壁上的另一个正方形框住了一个壁龛，展示阿里斯蒂德-马约尔的雕像地中海。一个风格化的线性檐口将墙壁分为两部分：下部作为绘画和雕塑的中性背景，而上部则根据较小的方形模块划分为板块，以界定和统一空间。
In some letters that Behrens sent to Karl Ernst Osthaus-the industrialist and patron who commissioned to Behrens the Crematorium , House Cuno and House Schröder, all in Hagen-one finds that part of the sculptures to be exhibited in the hall in Mannheim, where selected by Behrens. who preferred Maillol's sculptural work to Johann Thorn-Prikker paintings that he considered too geometrical. Behrens favored the plasticity and chiaroscuro of the female figures sculpted by Maillol because he thought that, by contrast, they better harmonized with his architecture ( an abstract geometrical volume without any relief ) compared toThorn-Prikker stylized and abstract artwork. This attitude towards sculpture was certainly highly prized by Mies himself.
在贝伦斯寄给卡尔-恩斯特-奥斯特豪斯（Karl Ernst Osthaus）的一些信件中，他是委托贝伦斯建造火葬场、（House Cuno）库诺之家和（House Schröder）施罗德之家的工业家和赞助人，这些建筑都位于哈根--人们发现，将在曼海姆大厅展出的部分雕塑是由贝伦斯挑选的，他更喜欢马约尔的雕塑作品，而不是他认为过于几何的约翰-托恩-普里克的绘画。贝伦斯喜欢马约尔雕塑的女性形象的可塑性和明暗度，因为他认为，相比之下，她们与他的建筑（没有任何浮雕的抽象几何体）相比，托恩-普里克的风格化和抽象艺术作品更协调。这种对雕塑的态度当然也受到密斯本人的高度重视。
Peter Behrens, Crematorium in Hagen-Delstern, Germany
Peter Behrens, Crematorium in Hagen-Delstern, Germany
Peter Behrens, Crematorium in Hagen-Delstern, Germany
The garden next to Behrens's studio in Neu-Babelsberg was a kind of open-air museum where one could admire the various statues Behrens had used in different temporary exhibitions he had curated in recent years. In the background of the famous picture ofBehrens'assistants at the atelier window one can makeout Karl Albicker's Liegende exhibited at Mannheim in 1907; behind the building was Rudolf Bosselt's Jüngling . a statue Behrens had used in various exhibitions like the 1904 Düsseldorfer Gartenausstellung and the 3rd Kunstgewerbeaustellung in Dresden in 1906( ill . 8 ). Other smaller scale statues were to be found indoors.
贝伦斯在新巴贝斯堡的工作室旁边的花园是一种露天博物馆，人们可以欣赏到贝伦斯近年来在不同临时展览中使用的各种雕像。在贝伦斯的助手们在工作室窗口的著名照片的背景中，人们可以看到卡尔-阿尔比克1907年在曼海姆展出的莱根德（Liegende）；建筑物后面是鲁道夫-博塞特（Rudolf Bosselt）的琼格林（Jüngling），这是贝伦斯在各种展览中使用的雕像，如1904年的杜塞尔多夫艺术博览会（Düsseldorfer Gartenausstellung）和1906年在德累斯顿举行的第三届艺术博览会（ill. 8 ）。其他较小规模的雕像在室内也可以找到。
The project for the 1905 Kölner Kunstausstellung is a very poignant example with which to understand Behrens' ideas about locating sculpture within architecture ( ill. 9 ); the exhibition building was a compact volume with two statues placed symmetrically at the front acting as pivotal elements for the spatial composition; the statues were located at the point of intersection where a stairway lead from the lower garden parterre to a boulevard at an intermediate level and situated on the building's central axis. The compact base of the sculpture, consisting of two embracing seated figures, was a very clear point of orientation for anyone approaching them from the lower garden level. At the same time, it increased the Perspective depth towards the exhibition building where, at the center of the facade, there was a monumentalbas-relief.
1905年的Kölner Kunstausstellung项目是一个非常有意义的例子，可以理解Behrens关于在建筑中定位雕塑的想法（图9）；展览大楼是一个紧凑的体量，两个雕像对称地放置在前面，作为空间构成的关键元素；雕像位于一个交叉点，从低层花园花坛的楼梯通向中间的林荫道，位于建筑的中轴线上。雕塑的紧凑底座由两个相拥而坐的人物组成，对于从低层花园走近他们的人来说，是一个非常明确的方向点。同时，它增加了对展览大楼的透视深度，在那里，外墙的中心有一个不朽的浮雕。
Unlike other prominent contemporary architects - Otto Wagner in Vienna or Fritz Schumacher in Hamburg - who used to incorporate sculpture in their projects, Behrens worked with sculpture but always preserved its autonomy, never transforming it into a decorative element.
与其他著名的当代建筑师--维也纳的奥托-瓦格纳或汉堡的弗里茨-舒马赫--不同，他们习惯于将雕塑纳入他们的项目中，贝伦斯与雕塑合作，但始终保持其自主性，从未将其转化为装饰性元素。
Mies's design ( 1913 ) for his own house at Werder, near Potsdam, shows clearly the young architect's familiarity with Behrens' strategies with regard to locating culture in architecture. In a perspective drawing of the house's asymmetrical design, Mies locates a large sculptural group as a spatial link between two terraces placed at different levels ( ill . 10) and connected by a wide staircase, similar to Behrens project for Cologne.
密斯在波茨坦附近的韦尔德为自己的房子所做的设计（1913年）清楚地表明，这位年轻的建筑师对贝伦斯在建筑中定位文化的策略非常熟悉。在房屋不对称设计的透视图中，密斯将一个大型雕塑群作为两个不同层次的露台之间的空间联系（图10），并由一个宽大的楼梯连接，这与贝伦斯的科隆项目类似。
（图10） Mies van der Rohe, Haus Rohe, Werder, 1914
In the other known perspective drawing of the same project two sculptures accentuate the central axis of the main building crowned by a sculptural group very much like used by Behrens in the German embassy inSt Petersburg, where Mies had served as site architect. This quasi-baroque use of sculpture-certainly derived from 17th and 18th-century art - had probably been investigated by Mies while employed at Behrens' office, and during long walks with the master near Potsdam to study Schinkel's architecture as well as the 18th-century buildings. A good example with which to verify this influence is the Urbig House ( Neu-babelberg, 1915-17 ) where Mies had obviously looked at Karl von Gontard's Marmorpalais ( 1787-91 ) in nearby Potsdam which influenced the way in which the wall is punctuated by windows and doors that are then framed by plain stone jambs and topped by exuberant floral decorated stone panels. (ill.11)
在同一项目的另一张已知的透视图中，两座雕塑突出了主楼的中轴线，冠以一个雕塑群，很像贝伦斯在德国驻彼得堡大使馆的使用，密斯曾在那里担任场地建筑师。这种准巴洛克式的雕塑使用--肯定来自17和18世纪的艺术--可能是密斯在受雇于贝伦斯的办公室时，以及在与大师在波茨坦附近长途跋涉研究辛克尔的建筑和18世纪的建筑时调查的。证实这种影响的一个很好的例子是乌尔比格之家（Neu-babelberg，1915-17），在那里，密斯显然看了附近波茨坦的卡尔-冯-冈塔德的马尔默帕莱（1787-91），这影响了墙体被门窗点缀的方式，然后用普通的石板框住，上面是繁复的花纹装饰的石板。(图11)
(图11) Mies van der Rohe, Haus Urbig, Potsdam, 1915-17
In these years Mies had the opportunity to investigate the relationship between architecture and sculpture further by looking at projects like the 1907 Garten-Ausstellung in Mannheim by Max Auger from Karlsruhe ( ill.12 ), the same exhibition where Behrens presented Maillol's Meditertee. The exhibition halls built by Luger were the first European examples of architecture that overcame the Jugendstil's formalistic obsessions without returning to historical models. The volumes of the building were defined by the rhythmic superimposition of wide wall bands that did not belong to the historical system of pilasters and trusses or to the primary load-bearing and secondary structural system, rather they continued the abstract spatial composition of boulevards. parterres and herbaceous borders that Auger designed for the surrounding gar .lens. Sculpture played an important role in outdoor spaces: standing or reclining figures, whether on high pedestals or low bases, were visual pivotal points marking thresholds, boundaries, crossings, changes of level, and transitions between areas of different constructional density
在这些年里，密斯有机会通过观察卡尔斯鲁厄的马克斯-奥格（Max Auger）于1907年在曼海姆举办的Garten-Ausstellung（图12）等项目，进一步研究建筑与雕塑之间的关系，在同一个展览上，贝伦斯展示了马约尔的Meditertee。卢格建造的展览馆是欧洲第一个克服了Jugendstil的形式主义痴迷而又不回归历史模式的建筑实例。建筑物的体量由宽大的墙带有节奏地叠加界定，这些墙带不属于历史上的壁柱和桁架系统，也不属于主要的承重和次要的结构系统，相反，它们延续了奥格为周围车库设计的林荫道、花坛和草丛的抽象空间构成。雕塑在户外空间中发挥了重要作用：站立或躺卧的人物，无论是在高高的基座上还是在低矮的底座上，都是视觉上的关键点，标志着门槛、边界、交叉点、水平的变化以及不同建筑密度的区域之间的过渡。
Das Jugendstilhaus in der Schwanthalerstraße wurde 1905 nach Plänen des Architekten August Zeh errichtet.
It has already been observed that Mies used freestanding statues in his Kröller-Müller house project. At the 1912 Cologne Sonderbund Ausstellung( where Lehmbruek also exhibited his Knieende, Helene, a passionate collector of Van Gogh paintings, had bought an artificial stone reproduction of Stehende Fran by Lehmbruck, a two-meter high statue that Ursel Berger, Director of the Georg-Kolbe-museum in Berlin. thinks she has identified as the one in the courtyard of Mies's project no one seems to have observed that the colonnade of the same courtyard had been transformed by Mies into a procession of caryatids that gave to the open loggias of the entrance and portico a unique architectural and scenic character( ill.13 ). In using caryatids, Mies wanted to add monumentality to the composition and underline the Importance of the wall behind them: the caryatids look like bas-reliefs sculpted on the exterior side of the pilasters and match the closed volume of the villas exhibition hall that has an almost primitive character with its blank wall surface. the over-dimensioned and, dentillated .frieze and the assertive texture of the stone slabs, This project reveals how Mies had been influenced by Peter Behrens' and Walter Gropius' ideas about the significance of Egyptian architecture with respect to the search for a new language for the modern metropolis-observations that can be found in Gropius' 1910 manuscript On the essence of the diverse artistic endeavors in the East and the West. A sketch included in the text clearly illustrates alternative ways of articulating the volume of the building that Gropius thought characterized Western, as opposed to Eastern architecture: on the one hand the additive approach-adding columns, pilasters, or other structural parts to a building and on the other the subtractive approach, deeply excavating the tectonic mass as in the Fagus factory in Alfeld. In Behrens'atelier Mies had the chance to earn about these ideas and indeed in the villa project, he seems interested in developing an architecture that is sculpted, excavated, and marked by shadows. The positioning of sculptural group on the garden side, against the blank wall of the exhibition hall, also reflected Adolf von Hildebrand's principle of not situating sculptures in the middle of big spaces - where they would have lost scale and proportion, but rather with a wall behind them. in such a way that the tension between artwork and background, highly lit zones, and areas in shadow would create an effect of depth.
人们已经注意到，密斯在他的Kröller-Müller住宅项目中使用了独立的雕像。在1912年的科隆Sonderbund Ausstellung（Lehmbruek也在那里展出了他的Knieende，Helene，一个热情的梵高画作收藏家，买了一个Lehmbruck的Stehende Fran的人造石复制品，一个两米高的雕像，Ursel Berger，柏林Georg-Kolbe博物馆的主任。她认为密斯项目的院子里有一座雕像，但似乎没有人注意到同一个院子的柱廊被米斯改造成了一队队的加丽塔，使入口和门廊的开放式木廊具有独特的建筑和风景特征（图13）。 密斯希望通过加冕词来增加构图的纪念性，并强调其背后墙壁的重要性：加冕词看起来像雕刻在壁柱外侧的浮雕，与别墅展厅的封闭体量相匹配，其空白的墙壁表面几乎具有原始的特征。 这个项目揭示了密斯是如何受到彼得-贝伦斯和沃尔特-格罗皮乌斯关于埃及建筑在为现代大都市寻找新语言方面的意义的影响的--这些观察可以在格罗皮乌斯1910年的手稿《东西方不同艺术努力的本质》中找到。文中的一张草图清楚地说明了格罗皮乌斯认为相对于东方建筑而言，西方建筑体积的另一种衔接方式：一方面是加法方式--在建筑上增加柱子、壁柱或其他结构件；另一方面是减法方式，像阿尔费尔德的法古斯工厂那样深入挖掘构造体。在Behrens的工作室里，密斯有机会了解这些想法，事实上，在别墅项目中，他似乎对发展一种雕刻的、挖掘的、以阴影为标志的建筑感兴趣。雕塑组在花园一侧的位置，靠着展厅的空白墙，也反映了阿道夫-冯-希尔德布兰的原则，即不把雕塑放在大空间的中间--在那里它们会失去规模和比例，而是在它们后面有一堵墙。这样，艺术品和背景、高亮度区域和阴影区域之间的张力会产生深度效果。
NL, Wassenaar, museumhouse Kröller-Müller. Architect Ludwig Mies von der Rohe, 1912
Ivan Meštrović,„Deutsche Kunst und Dekoration, 1910
Walter Gropius, Uber das Wesen des verschiedenen Kunstwollens im Orient und Occident, 1910
Mies may have been inspired by many different sources for his selection of the Telamoni in the Kröller-Müller project. Schinkel's Orinda project ( 1838 ) with the seafront loggia supported by Caryatids or Leo von Klenze's Hermitage in St.Petersburg ( 1839-1860 ) that Mies visited while supervising the construction of the German embassy ( 1911-13 ) ( ill . 14 ). Further influences could have been the contemporary plastic and sculptural work of artists such as Ivan Mestrovic, a Croatian sculptor living in Vienna, whose work was often published in the most known art magazines of the period such as Deutsche Kunst and Dekoration. Mestrovic's artwork may not have influenced Mies's work directly but it was a perfect example of the debate about monumentality and the plastic arts. This was a key theme, especially for artists involved in public art projects such as Hugo Lederer, Georg Wrba, Anton Hanak or Franz Metzner, Charles Edouard Jeanneret( the future Le Corbusier ) too became very interested in the general idea as well as in Metzner's artwork while traveling through Germany.
Mies在选择Kröller-Müller项目中的Telamoni时，可能受到了许多不同来源的启发。密斯在监督德国大使馆的建设时参观了Schinkel的Orinda项目（1838年），该项目有一个由Caryatids支撑的海滨凉亭，或Leo von Klenze在圣彼得堡的冬宫（1839-1860）（图14）。梅斯特罗维奇的艺术作品可能没有直接影响到密斯的作品，但它是关于纪念碑性和造型艺术的辩论的一个完美例子。这是一个关键的主题，特别是对于参与公共艺术项目的艺术家，如Hugo Lederer、Georg Wrba、Anton Hanak或Franz Metzner，Charles Edouard Jeanneret（未来的Le Corbusier）在德国旅行时也对这个总体想法和Metzner的艺术作品非常感兴趣。
Leo von Klenze, Novij Hermitage, 1839–1852
The debate about the relationship between sculpture and architecture after the First World summarized b consulting two publications: Paul Wostheim's Arcbitektonik des Plasiscber, 1923, and Carla Burkhardr's, Rodin and das plastiche Problem, 1921
Westheim was in favor of a complete integration of the arts and offered the example of Tamzkasino and Wanant Scala in Berlin by Walter Wurzbach and Rudolf Belling. The significant factor here is that no one can say the architect's work ends here and the sculptor's art starts there..Westheim noted, Burkhardt's analysis of Rodin's oeuvre presented a very fervent notion; in his opinion, every art should operate according to its own rules. Orly after separating the arts could one detect a common denominate all of them; in Burklurdt's vision, this denominator was the concept of - Femnform- ( form as Perceived from faraway ) that brought together figures and space, Raumform. We do not know if Mies was interested in this debate ( even though Belling was part of the Novembergrappe ) but it is clear that at this time Mies had renounced the few sculptural elements he had been using in his pre-war architecture.
Sometime later Mies again demonstrated an interest in sculpture in Glasraum, a temporary exhibition were he presented a torso by Lehmbruck. This exhibition designed in 1927 for the German Glass Manufacturers Association (Verein Deutscher Spiegelglasfabriken), was one of the parallel events to the Werkbund bousing project at the Killersberg. Mies's intention was to present the nucleus of a model house composed with three principle spaces ( living room studio and dining room ) a vestibule and a glazed conservatory. The rooms had no doors between them and could be distinguished only by the linoleum floor in different colors ( white, red, grey ) and the furnishings.
第一次世界大战后关于雕塑和建筑之间关系的辩论总结了两本出版物。Paul Wostheim的Architektonik des Plastischen，1923年，和Carla Burkhardr的，Rodin and das plastiche Problem，1921年。
Architektonik des Plastischen, 1923
Rodin and das plastiche Problem
韦斯特海姆赞成艺术的完全融合，并提供了沃尔特-沃兹巴赫和鲁道夫-贝林在柏林的Tamzkasino和Wanant Scala的例子。韦斯特海姆指出，布克哈特对罗丹作品的分析提出了一个非常狂热的概念；在他看来，每一种艺术都应该按照自己的规则来运作。只有在将艺术分开之后，人们才能发现它们的共同点；在布克洛特的视野中，这个共同点就是"Femnform"（从远处感知的形式）的概念，它将人物和空间结合起来，即Raumform。我们不知道密斯是否对这场辩论感兴趣（尽管贝林是11月集团的一员），但很明显，此时的密斯已经放弃了他在战前建筑中使用的少数雕塑元素。
后来，密斯在Glasraum中再次表现出对雕塑的兴趣，这是一个临时展览，他展出了Lehmbruck的躯干。 这个展览于1927年为德国玻璃制造商协会（Verein Deutscher Spiegelglasfabriken）设计，是与Killersberg的Werkbund bousing项目平行的活动之一。密斯的意图是展示一个由三个主要空间（客厅、工作室和餐厅）组成的样板房的核心，一个前庭和一个玻璃温室。这些房间之间没有门，只能通过不同颜色（白色、红色、灰色）的油毡地板和家具来区分。
Mies van der Rohe, „Glasraum“, pavillion Verein Deutsches Spiegelglas-Fabriken, Stuttgart 1927
Mies van der Rohe, „Glasraum“, pavillion Verein Deutsches Spiegelglas-Fabriken, Stuttgart 1927
The entire exhibition space was then covered with a surface made of fabric and lit from above. The spaces were situated along a fluid , meandering path and were separated only by thin chrome metal frames clad with glass panels of various widths and technical characteristics like total transparency, absolute opacity, reflectivity as well as colored ( grey, olive-green ) or opalescent masses ( sandblasted on one or both sides ) . At that time the use of glass as interior space dividing or cladding material was not uncommon and crystalKristallspicgelglas or Gufglas ) was already manufactured in 2o square meter size plates, 7 see for example glass partition of the single family house designed by Hans Scharoun at the Weissenhof Siedlung. What is characteristic of Mies's use of glass however is his preference for large crystal plates that had no frames and were not subdivided in smaller panels but rather they extended from floor to ceiling. In this regard, Behrens'sarchitecture had certainly played an important role during Mies's formative years with project like House Schede in Wetter an der Ruhr(1904)
然后，整个展览空间被一个由织物制成的表面覆盖，并从上面照明。这些空间沿着一条流动的、蜿蜒的路径，仅由薄薄的铬金属框架隔开，上面覆盖着各种宽度和技术特征的玻璃板，如完全透明、绝对不透明、反射性以及彩色（灰色、橄榄绿）或乳白色块（单面或双面喷砂）。在当时，使用玻璃作为室内空间分隔或覆盖材料并不罕见，水晶玻璃（Kristallspicgelglas或Guflas）已经被制造成20平方米大小的板材，例如汉斯-沙伦在Weissenhof Siedlung设计的单户住宅的玻璃隔断。然而，密斯使用玻璃的特点是他偏爱没有框架的大型水晶板，而且没有细分为更小的面板，而是从地板延伸到天花板。在这方面，Behrens的建筑在密斯的成长岁月中无疑发挥了重要作用，他的项目包括Wetter an der Ruhr的House Schede（1904）。
In the exhibition setting of the Glasraum. Lehmbruck'sstatue played a fundamental role. Mies in fact studied the design of the statue and noticed it was based on two compositional axes: the frontal one marked by the fixed position of the statue's torso and the lateral one determined by its rotated head . Iehmbruck's sculpture was almost Cubist and its figurative qualities hid an anti-perspectival approach to space that might have triggered Mies' interest in the oeuvre of the sculptor like him from the Rheinland. All the body parts, face, arms, as to impose on the viewer specific point of views and -force- him to re-compose the sculpture's body in a space that went beyond the physical one and required an inner mental experience ( i.1). Lehmbruck's torso was placed by Mies on a high pedestal and located behind an opaque glass screen with the head pointing towards the vestibule ( ill. 15) . Upon entering the display visitors were to find the statue on the right. turn to the left to start the visit, then go right at the end of the vestibule to proceed into the living room; they would walk along the conservatory and change direction once again to enter the dining hall. In this room visitors would certainly have been surprised to face Lehmbruck's statue again, visible through glass planes ( ill . 16 ). Due to the different levels of transparency and reflectivity of the glass, it was possible to see the statue behind the screen but not the room on the other side. The state was a visual central Point for the dining room and the vestibule that were not directly connected with each other. Moreover, due to its off-center position, the statue was intended to activate the viewer's mental recollection of the itinerary which he had just completed, and encourage a reconstruction of the spatial relationships between the different spaces. In fact, Lehmbruck's sculpture was not only the mental centerpiece but also the visual hinge of the whole setting: following the direction suggested by the axis of the torso towards the dining hall, one could enter the final part of the itinerary and reach the study, which was the last of the exhibition halls. After this analysis one can understand just how innovative Mies's approach was; he demonstrated how to display a piece of sculpture without necessarily following either
Adolf von Hildebrand's principle the traditional repoussoir (baroque technique of framing a view with elements situated in the foreground ) or Point de vue formula. Mies in fact had been able to organize a complex space visually and conceptually using a sculpture enclosed in a glass vitrine slightly off center in relation to the visitors' route . As in Barcelona where Nolbc'sstatue st .in a far comer of the reflecting Pool so in Stuttgart. Mies positioned a freestanding sculpture that was not fully visible except from Particular visual axes, invisible lines the visitor was invited to follow into an apparently empty space. The Glasaaum introduced the main idea on which Miss focused thof his architectural career. see the statue behind the screen but not the room on the other side. The state was a visual central Point for the dining room and the vestibule that were not directly connected with each other. Moreover, due to its off-center position, the statue was intended to activate the viewer's mental recollection of the itinerary which he had just completed, and encourage a reconstruction of the spatial relationships between the different spaces. In fact, Lehmbruck's sculpture was not only the mental centerpiece but also the visual hinge of the whole setting: following the direction suggested by the axis of the torso towards the dining hall, one could enter the final part of the itinerary and reach the study, which was the last of the exhibition halls. After this analysis one can understand just how innovative Mies's approach was ; he demonstrated how to display a piece of sculpture without necessarily following either
Adolf von Hildebrand's principle the traditional repoussoir (baroque technique of framing a view with elements situated in the foreground ) or Point de vue formula. Mies in fact had been able to organize a complex space visually and conceptually using a sculpture enclosed in a glass vitrine slightly off centre in relation to the visitors' route. As in Barcelona where Nolbc'sstatue st .in a far comer of the reflecting Pool so in Stuttgart. Mies positioned a freestanding sculpture that was not fully visible except from Particular visual axes, invisible lines the visitor was invited to follow into an apparently empty space. The Glasaaum introduced the main idea on which Miss focused thof his architectural career.
在Glasraum的展览环境中。莱姆布鲁克的雕像发挥了重要作用。事实上，密斯研究了雕像的设计，并注意到它是基于两个构图轴：正面的轴由雕像躯干的固定位置标记，侧面的轴则由其旋转的头部决定。Iehmbruck的雕塑几乎是立体主义的，它的形象性隐藏了一种反视角的空间方法，这可能引发了密斯对像他这样来自莱茵地区的雕塑家作品的兴趣。所有的身体部位，脸部，手臂，强加给观众特定的观点，并迫使他在一个超越物理空间的空间中重新组合雕塑的身体，需要一个内在的心理体验（i.1）。莱姆布鲁克的躯干被密斯放置在一个高高的基座上，位于一个不透明的玻璃屏幕后面，头部指向前庭（图15）。参观者进入陈列室后，要在右边找到雕像，向左转开始参观，然后在前庭的尽头向右转，进入客厅；他们将沿着温室走，再次改变方向，进入餐厅。在这个房间里，游客们肯定会惊讶地再次面对莱姆布鲁克的雕像，通过玻璃平面可以看到（图16）。由于玻璃的透明度和反射率不同，可以看到屏幕后面的雕像，但看不到另一边的房间。这个状态是餐厅和前厅的一个视觉中心点，它们之间没有直接联系。此外，由于其偏离中心的位置，该雕像旨在激活观众对他刚刚完成的行程的心理回忆，并鼓励对不同空间之间的空间关系进行重建。事实上，莱姆布鲁克的雕塑不仅是精神上的中心，也是整个环境的视觉铰链：沿着躯干的轴线所暗示的方向走向餐厅，人们可以进入行程的最后部分，到达书房，这是最后一个展厅。经过这样的分析，人们可以理解密斯的方法是多么的创新；他展示了如何展示一件雕塑作品而不一定要遵循以下两种方式
莱姆布鲁克的躯干被密斯放置在一个高高的基座上，位于一个不透明的玻璃屏幕后面，头部指向前庭
参观者进入陈列室后，要在右边找到雕像，向左转开始参观，然后在前庭的尽头向右转，进入客厅；他们将沿着温室走，再次改变方向，进入餐厅。在这个房间里，游客们肯定会惊讶地再次面对莱姆布鲁克的雕像，通过玻璃平面可以看到（图16）
阿道夫-冯-希尔德布兰（Adolf von Hildebrand）的原则，传统的repoussoir（巴洛克式的技术，用位于前景的元素来框定一个视图）或Point de vue公式。事实上，密斯已经能够在视觉上和概念上组织一个复杂的空间，使用一个封闭在玻璃橱窗里的雕塑，相对于游客的路线，稍微偏离中心。就像在巴塞罗那，诺尔贝克的雕塑位于反射池的远端一样，在斯图加特也是如此。密斯将一个独立的雕塑放置在一个不完全可见的地方，除了从特定的视觉轴线，游客被邀请沿着看不见的线条进入一个明显的空旷空间。Glasaaum引入了密斯在他的建筑生涯中所关注的主要理念。 看到屏幕后面的雕像，但看不到另一边的房间。这个状态是餐厅和前厅的一个视觉中心点，它们之间没有直接的联系。此外，由于其偏离中心的位置，该雕像旨在激活观众对他刚刚完成的行程的心理回忆，并鼓励对不同空间之间的空间关系进行重建。事实上，莱姆布鲁克的雕塑不仅是精神上的中心，也是整个环境的视觉铰链：沿着躯干的轴线所暗示的方向走向餐厅，人们可以进入行程的最后部分，到达书房，这是最后一个展厅。经过这样的分析，人们可以理解密斯的方法是多么的创新；他展示了如何展示一件雕塑作品而不一定要遵循以下两种方式
阿道夫-冯-希尔德布兰（Adolf von Hildebrand）的原则，传统的repoussoir（巴洛克式的技术，用位于前景的元素来框定一个视图）或Point de vue公式。事实上，密斯已经能够在视觉上和概念上组织一个复杂的空间，使用一个封闭在玻璃橱窗里的雕塑，相对于游客的路线来说，稍微偏离中心。就像在巴塞罗那，诺尔贝克的雕塑位于反射池的远端一样，在斯图加特也是如此。密斯将一个独立的雕塑放置在一个不完全可见的地方，除了从特定的视觉轴线，游客被邀请沿着看不见的线条进入一个明显的空旷空间。Glasaaum引入了密斯在其建筑生涯中专注的主要理念。
The year 1927 marked an important shift in Mies's oeuvre, intimately related to events that unfolded during the Werkbund exhibition: one being the rediscovery of sculpture, the other the encounter with one of the noblest of architectural ornaments: the free-standing column. It is no coincidence that in German literature of the Isth century the words statues and volume (Bildsäule and säule ) were synonyms, thus underlining the pre-existing affinities between architecture and sculpture ( Bildzerei ) . both centred on the creation of forms in space. In the Wolf House at Guben ( 1925 ), Mies had also organized the plan with diaphragms following a meandering path, but the architecture was still characterized by a constructive conception of long orthogonal masonry walls, an idea that Mies developed starting with the design of the retaining walls in the garden of HausRiehl ( 1907 ) until his first mature expression in the Pro -jeet for the Brick Country House ( 1924 ) . The Barcelona Pavilion ( 1929 ) was the first project where Miessuperimposed this kind of architecture of walls within the careful geometry of a grid of structural columns; from that moment on the frame construction system( i.e. the grid of structural columns ) and the wall system were combined until the Farnsworth House project( 1945-51 ) where the structural system was formed only by a frame. I Between the Guben and Bareelonaprojects came the Glasramm exhibition in Stuttgart- a space with no real structural system because it was contained within an exhibition hall - and the Weissenhofrow-houses where Mies used a metal frame but not yet a free-standing column system ( ill . 17 ). Even so, in the Stuttgart Siedlung, he saw different examples of free-standing columns: notably in the buildings by HansScharoun and Mart Stam.
Scharoun positioned a free-standing column in the liv .ing room of his own family house; it was a steel pipe with white and ochre vertical stripes ( ill.18 ). This element was the centre of a ceiling composition made of quadrants painted the same colour as the column but alternatively placed to create a dynamic effect. The ceiling thus resembled a rotating disk able to engage with the whole room . Studying contemporary photographs, one sees that Scharoun had probably took account of the circular light reflections on the floor and the ceiling that added to the overall spatial dynamics of the room.
1927年标志着密斯作品中的一个重要转变，与Werkbund展览期间发生的事件密切相关：一个是重新发现了雕塑，另一个是遇到了最崇高的建筑装饰物之一：独立柱。在一世纪的德国文学中，雕像和体积（Bildsäule和säule）是同义词，这并不是巧合，从而强调了建筑和雕塑（Bildzerei）之间预先存在的亲缘关系，两者都集中在空间形式的创造上。在古本的Wolf House（1925年）中，密斯也用连续墙沿着蜿蜒的路径来组织规划，但建筑的特点仍然是长长的正交砖石墙的建设性概念，密斯从HausRiehl花园的挡土墙设计（1907年）开始发展这一想法，直到他在《砖砌乡村别墅》（1924年）中的首次成熟表达。巴塞罗那馆（1929年）是第一个项目，在这个项目中，密斯将这种墙体结构叠加在结构柱的网格中；从那时起，框架结构系统（即结构柱的网格）和墙体系统被结合在一起，直到范斯沃斯住宅项目（1945-51年），结构系统只由框架构成。在Guben和Bareelon项目之间出现了斯图加特的Glasramm展览--一个没有真正结构体系的空间，因为它被包含在一个展览厅里--以及Weissenhofrow住宅，在那里密斯使用了一个金属框架，但还没有一个独立的柱子系统（图17）。即便如此，在斯图加特展览馆，他看到了不同的独立柱子的例子：特别是在HansScharoun和Mart Stam的建筑中。
Mies van der Rohe, Siedlung, Weissenhof, Stuttgart, 1927.
Scharoun在他自己家的客厅里放置了一个独立的柱子；它是一根带有白色和赭色垂直条纹的钢管（图18）。这个元素是天花板构图的中心，天花板由与柱子同色的四边形组成，但交替放置以创造动态效果。天花板就像一个旋转的圆盘，能够与整个房间接触。通过研究当代照片，我们可以看到，沙隆可能考虑到了地板和天花板上的圆形光反射，从而增加了房间的整体空间动态。
Hans Scharoun, living room, one family house 33, Weissenhof, Stuttgart, 1927
Instead Mart Stam used an I-beam painted vivid blue as an isolated column in the living rooms of the row-houses he designed ( ill .19 ). This element, with its brutal straightforwardness, corresponded to Stam‘s cantilevered chair made of gas pipes. The technical shape of the - I - beam was completely exposed in the space without any cladding, except for the paint, that critics of the time considered insufficient to transform the room, which they referred to as a garage, into a domestic living space. Between Seam's technical choice and Scharounaesthetic one, there was a world of possible experimentation that Mies perceived and investigated; he must have been sure of the spatial potentials of the free column ( Saule ) used as a kind of statue ( Bildsaule) . If, in the Glasmaum: exhibition, he employed Lchmbruck's torso to create a certain spatial experience for the public, at this point even the free column could have been used too to support and intensify the effect.
相反，马特-斯塔姆在他设计的排屋的起居室里用一根涂成鲜艳蓝色的工字钢作为孤立的柱子（图19）。这个元素，以其粗暴的直线性，对应于斯塔姆用煤气管制成的悬臂椅。I型梁的技术形状完全暴露在空间中，没有任何覆盖物，除了油漆，当时的评论家认为这不足以将他们称为车库的房间转变为一个家庭生活空间。在Seam的技术选择和Scharouna的审美选择之间，有一个可能的实验世界，密斯察觉到并进行了调查；他一定确信自由柱（Saule）作为一种雕像（Bildsaule）的空间潜力。如果在Glasmaum：展览中，他利用Lchmbruck的躯干来为公众创造某种空间体验，那么在这一点上，甚至自由柱也可以被用来支持和加强这种效果。
马特-斯塔姆在他设计的排屋的起居室里用一根涂成鲜艳蓝色的工字钢作为孤立的柱子（图19）
Analyzing a series of Mies's sketches for Resor House one is surprised to discover that Mies's design always begins with a spatial intuition shaped by a certain arrangement of structural walls and partitions. Only after the spatial arrangement of the walls is stabilized does Mies start to position the columns in the space. Mies arranges the columns not according to a structural system but rather in relation to their space-making potential ( ills, 2021-21). Obviously, the columns bear the roof-load too but this aspect is secondary and it does not need to be acknowledged by visitors. In Mies's drawings, the columns are represented as isolated from the structural system and do not offer any hint about the building system they belong. Since Mies never presents the column as part of a two-element structural system ( the post-and-lintel system ), the floors of his buildings have no exposed beams on the ceiling: neither do the columns have capitals or bases, which were elements that Karl Bottichercalled -junkturen- ( junctures ) in his book Die Tekronikder Hellenen ( 1844-52 ) because they joined the columns to floor and ceiling, Mies renounces willingly all- junctures, a fact that syntactically allows him to insert a column within an architectural context as a single clement or as an element in a screen of columns. In the Tugendhat House, one finds both types of columns: next to the entry door there is an isolated column and in the lower level living room there is a row of columns in front of the glass wall ( ills. 22-24) .In Mies's architecture of the same years, columns were not arranged as a spatial unit or box formed by four columns, one at every corner-a unit that was also a module of a building grid, a spatial figure, and a clear structural system because we immediately identify the four columns as bearing the roof load. Groups of four columns recall Laugier's original primitive hut in nuce.
分析密斯为Resor House绘制的一系列草图，人们惊讶地发现，密斯的设计总是从一个空间直觉开始，由一定的结构墙和隔断的安排塑造。只有在墙体的空间安排稳定下来之后，密斯才开始在空间中定位柱子。密斯不是根据结构体系来安排柱子，而是根据它们创造空间的潜力来安排（ills, 2021-21）。显然，柱子也承担着屋顶的负荷，但这一方面是次要的，它不需要被参观者所承认。在密斯的图纸中，柱子被表现为与结构系统相分离，没有提供任何关于它们所属的建筑系统的提示。由于密斯从未将柱子作为双元素结构系统（柱子和门楣系统）的一部分，所以他的建筑楼层的天花板上没有暴露的横梁。柱子也没有柱头或柱础，卡尔-波提切克在他的《Die Tekronikder Hellen》（1844-52）一书中称之为"连接点"（junkturen），因为它们将柱子与地板和天花板连接起来，密斯自愿放弃了所有的连接点，这一事实在语法上允许他将柱子作为一个单独的裂缝或作为柱屏的一个元素插入建筑环境中。在图根哈特住宅中，人们发现了这两种类型的柱子：在入口处的门旁边有一个孤立的柱子，在下层的起居室中，在玻璃墙前有一排柱子（图22-24）。在密斯同年的建筑中，柱子不是作为一个空间单元或盒子排列的，而是由四根柱子组成的，每个角落有一根，这个单元也是建筑网格的一个模块，一个空间图形，以及一个清晰的结构系统，因为我们马上就能确定这四个柱子是承担屋顶负荷。四根柱子组成的小组让人想起劳吉尔的原始nuce小屋。
Laugier's original primitive hut in nuce.
In the Nolde House plan, we notice how Mies systematically prevents the observer from viewing the group of columns as a spatial and structural unity either by sinking one of the four columns to the wall or by inserting a screen between columns; in the Nolde residence, there is the conservatory, in Brno the onyx wall ( ill . 25 ). This kind of relationship between vertical support, the column, and horizontal structure, the roof slab, is well exemplified by a project of the 1950's by Mies and Myron Goldsmith: the. 50 x 50 house. The project is characterized by a square roof plane supported by four columns, one at the center of each side of the square and not at the four corners. The vertical posts were thus free-standing columns with their own autonomy, not just supporting components of a square structural system, A variant of the free column is the column in the centers ( ill.26 ). It is a shifted column, one that is visually disturbing because it stands in the center of our visual axis, forcing us to move in order to explore the space. This concept derives from an essay by Hans Sedlmayr who briefly researched it analyzing few late medieval architectures like the hall of the Salisbury cathedral or the Dominican church in Toulouse + The medieval and anti-classic matrix of the free column can be also found in many of Schinkel's projects: the octagonal column of the Gertraudenkirche's choir the column of the central fireplace of the Antonin near Ostrowo, the central pilaster of the Bauakademie facade. When Le Corbusier needed to express the architectural significance that the free column had for him, he provocatively said The plan, free of the classicist compromises (the various styles >Louis< and the high Renaissance) has found again the joyous Gothic holiness, the Gothic rationalism But with new modes. The living room of the 1931 Berlin Bauausstellung model home is the best example of what I define as. the shifted Colum ( ill 27) two columns are aligned along the diagonal of the Living room and we are almost forced to zig-zag in order to explore the expanse of the room. Furthermore, the eccentric placement of the columns makes it a challenge to relate to the structural grid which indeed is immediately evident in the plan of the house.
在诺尔德住宅的平面图中，我们注意到密斯是如何通过将四根柱子中的一根沉入墙中或在柱子之间插入屏风来系统地阻止观察者将这组柱子视为空间和结构的统一体；在诺尔德住宅中，有温室，在布尔诺有玛瑙墙（图25）。Mies和Myron Goldsmith在20世纪50年代的一个项目很好地体现了这种垂直支撑（柱子）和水平结构（屋顶板）之间的关系：50x50的房子。50 x 50的房子。这个项目的特点是一个正方形的屋顶平面由四根柱子支撑，在正方形的每一边的中心有一根，而不是在四个角。因此，垂直的柱子是独立的柱子，有自己的自主权，而不仅仅是一个方形结构系统的支撑部件。这是一个移位的柱子，一个在视觉上令人不安的柱子，因为它站在我们视觉轴的中心，迫使我们移动以探索空间。这个概念来自于汉斯-塞德迈尔的一篇文章，他简要地研究了它，分析了一些中世纪后期的建筑，如索尔兹伯里大教堂的大厅或图卢兹的多米尼加教堂+自由柱的中世纪和反古典矩阵也可以在申克尔的许多项目中找到：格特罗登基尔教堂唱诗班的八角柱，奥斯特罗沃附近的安东尼中央壁炉的圆柱，鲍克学院外墙的中央壁柱。当勒-柯布西耶需要表达自由柱对他的建筑意义时，他挑衅性地说道："这个计划，摆脱了古典主义的妥协（各种风格>路易<和高度文艺复兴），再次找到了快乐的哥特式神圣，哥特式理性主义，但有新的模式。1931年柏林Bauausstellung样板房的客厅是我所定义的移位的Colum（图27）的最好例子，两根柱子沿着客厅的对角线排列，我们几乎被迫走Z字形，以探索房间的广阔。此外，这些柱子的偏心位置使我们很难将其与结构网格联系起来，而结构网格在房子的平面图中是非常明显的。
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