Mies van der Rohe, Seagram Building발음듣기
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Mies van der Rohe, Seagram Building
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(upbeat piano music) [Mail voiceover] I'm with Matthew Postal who was an architectural historian.발음듣기
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We're on Park Avenue at 53rd Street and we're standing in front of one of the most important buildings in the history of architecture in the United States.발음듣기
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Mies has been designing buildings of this kind since the 1920s, but he never had a chance to build an office building.발음듣기
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Mies was developing his ideas first on paper in the late teens, then in the '20s as you said.발음듣기
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[Male voiceover] He moves to the United States, he designs the campus of the Armour Institute.발음듣기
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[Male voiceover] Because they're based in Canada and all of that liquor could be smuggled down to Chicago, across the Great Lakes.발음듣기
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[Male voiceover] The background of the Seagram building is, that they decided to build a headquarters in the mid '50s.발음듣기
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[Male voiceover] Charles Luckman, who had been one of the chief executive officer at Lever, had been trained as an architect and had left Lever to open his own firm.발음듣기
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[Male voiceover] She was studying at Harvard, in the graduate school of architecture and design.발음듣기
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[Male voiceover] She says, "Dad, we're going to go over to the Museum of Modern Art and you're going to speak to Arthur Drexler, the chief curator of architecture."발음듣기
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[Male voiceover] MoMA is only a few blocks down the street, on 53rd as well, so this was not a long stroll.발음듣기
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[Male voiceover] That's why I always say that this is not only one of the modern icons of architecture in New York, but it's also one of the most classical buildings in the city.발음듣기
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[Male voiceover] It's a little darker than it originally was, but imagine that each year, at least once a year, they rub it with oil, so that it does not oxidize.발음듣기
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[Male voiceover] Mies really loved Greek architecture over all other things, so he designed a building that is very symmetrical, it's a very disciplined aesthetic.발음듣기
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If you look at the various pillars that run across the front, they look vaguely like fluted columns.발음듣기
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[Male voiceover] That's really interesting, because they do have these vertical striation, so it a kind of fluting.발음듣기
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[Male voiceover] There's a sense of proportion here that feels very classical and it's incredible to be able to say that despite the buildings height, because this is a big building.발음듣기
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How do you distill the lessons of the ancients in a building that's made of metal and glass.발음듣기
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[Male voiceover] Is that even an absurd project, to try to take an industrial culture and an industrial material and wed it somehow to buildings that are 2,500 years old?발음듣기
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[Male voiceover] Because I think that the modern movement in architecture was always looking for some discipline.발음듣기
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[Male voiceover] I'm looking at those now and they're not simple mullions, they look like I-beams. They have girders.발음듣기
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[Male voiceover] Decoratively, they make the surface so that it's not flat, they give it some texture.발음듣기
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[Male voiceover] I think that when the building was constructed, they talked about industrial material and honesty and those kinds of issues, but as time has passed, they recognized that it wasn't beyond Mies to experiment with a little bit of decoration.발음듣기
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[Male voiceover] It's decorative, but it's a kind of decorative symbolism, isn't it, because the I-beam is the thing that's actually holding the building up?발음듣기
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[Male voiceover] They're reflecting what's inside the building, the actual interior structure.발음듣기
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Of course, we were talking about the classical a moment ago and the Parthenon for instance, was heavily decorated, so there's no prohibition there, but it does seem to be a little bit anathema to the way that we generally think of Mies van der Rohe or we think of the modern movement as really wanting to strip away the unnecessary and the decorative.발음듣기
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[Male voiceover] I think it's a stereotype about modernism, to think that it's without any decoration.발음듣기
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[Male voiceover] Because there is actually gorgeous use of not only the bronze exterior, but the mosaics, marble, granite and you've got these beautiful reflecting pools in front of the building.발음듣기
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[Male voiceover] Based on this kind of square-foot budget, this is one of the most expensive buildings of it's time.발음듣기
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When you look at those elevator banks, and what, there are four of them - they actually move past the glass membrane that encloses the lobby.발음듣기
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When Mies was asked why did he set the building back so far, he said that he wanted to pay respect to the Racquet and Tennis Club directly across the street, that he did not want to overwhelm that great Italian Palazzo by McKim, Mead and White.발음듣기
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I think by coming up those steps at the end of the Palazzo and looking up at the building, it provides an architectural experience that people don't often have in New York.발음듣기
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[Male voiceover] There's something else here, maybe it's a classical element as well, it feels like this is a public space, a place where people gather.발음듣기
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In fact, as we're here, there are people who walk and stop and talk, there were people sitting by the reflecting pools.발음듣기
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[Male voiceover] You know, I think if you look at it critically, he kept the seating at the edge to a minimum.발음듣기
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One of the faults that is found with modernism is it's antiseptic quality, is it's coldness, it's lack of humanity in human scale.발음듣기
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Do you think that Mies has created something that allows us to occupy it comfortably, or is this something that is alienating in some way?발음듣기
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