Courtesy of Samuel Ludwig

萨缪尔·路德维希

整个建筑群于1974年完工，也就是密斯死后的五年。它统一了他在整个职业生涯中重复的两个主题：两座高楼大厦，它们充实了他在纽约西格拉姆大厦中提出的想法；以及邮局大楼的大而开放的空间，类似于其他低层项目，如附近的S.R.皇冠大厅。

The complex as a whole was completed in 1974, five years after Mies's death. It unifies two themes that he repeated throughout his career: the two high-rise blocks, which flesh out ideas suggested in his Seagram Building in New York; and the large, open space of the Post Office building, which is similar to other low-rise projects such as the nearby S.R. Crown Hall.

 Courtesy of Samuel Ludwig

萨缪尔·路德维希

该项目起源于20世纪50年代美国政府在全国范围内更新联邦服务的计划。密斯于1959年接受了该委员会的任命。设计的一个条件是，旧的芝加哥联邦大厦(Chicago Federal Building)不得不继续运营，直到法院能够搬迁到街对面的新大楼。该大楼占据了克卢钦斯基联邦大楼和邮局现在所在的街区。

The project has its roots in a 1950s plan by the U.S. Government to update federal services nationwide. Mies received the commission itself in 1959. One condition of the design was that the old Chicago Federal Building - which occupied the block on which the Kluczynski Federal Building and Post Office now stand – had to remain operational until the courthouse could be relocated to the new building across the street.

 Courtesy of Samuel Ludwig

萨缪尔·路德维希

新法院的可用面积，再加上它的空间要求，有效地将Dirksen法院固定在30层，同时也严重影响了Mies在所有三座建筑中使用的28英尺的结构海湾。然而，对于建筑群的其余部分，密斯开发了一些潜在的设计方案，其中包括联邦大楼和邮局合并成一栋大楼，另一栋30层的联邦大楼与中间的邮局一起反映了法院大楼，然后最终敲定了目前的方案。

The area available for the new courthouse, combined with its space requirements, effectively fixed the Dirksen Courthouse at 30 stories, and also heavily influenced the 28-foot structural bays which Mies used throughout all three buildings. For the remainder of the complex though, Mies developed a number of potential designs - including one where the Federal Building and the Post office were combined into one building, and another where a 30-story Federal Building mirrored the courthouse, with the Post office in between - before finally settling on the current scheme.

 Courtesy of Samuel Ludwig

萨缪尔·路德维希

在“芝加哥：环环相扣，建筑与历史之旅”中，杰拉德·沃尔夫称联邦中心是“芝加哥第二建筑学派的终极表达”。米斯在担任IIT建筑学院院长的20年里，曾尝试过这种风格，该学院利用了刚性直线几何、极简化的细节和双层地面，试图减少室内和室外之间的隔阂。立式I-光束毛毯是我在西格拉姆大厦上的一项著名技术，它结合了黑色油漆和青铜幕墙玻璃作为关键的表现力元素。

In 'Chicago: In and Around the Loop, Walking Tours of Architecture and History', Gerard Wolfe calls the Federal Center “the ultimate expression of the second Chicago school of architecture”. This style was one that Mies attempted to canonize during his twenty years as head of the IIT school of architecture, which made use of rigid rectilinear geometry, minimalistic detailing and double height ground floors which try to reduce the barriers between in- and outdoors. The vertical I-beam mullions, a technique Mies famously employed on the Seagram Building, combine with black paint and bronze curtain glass as the key expressive elements.

 Courtesy of Samuel Ludwig

萨缪尔·路德维希

在“AIA芝加哥指南”(AIA Guide To Chicago)中，弗朗茨·舒尔茨(Franz Schulze)指出，芝加哥联邦中心(Chicago Federal Center)被批评为“抽象的、非典型性的建筑，而非具象的建筑”，事实上，它并没有展现出市民建筑中常见的宏伟壮丽，包括它所取代的美艺术风格的建筑。然而，舒尔兹来为它辩护，他写到“密斯对原则的不妥协的奉献，加上他对比例和细节的吹嘘的敏感性，在这种情况下，组织的规模，结合在一起，使复杂的城市具有巨大的影响力。”显然，面对米斯的杰作，这些文体批评并不站稳脚跟；在这场现代主义建筑之旅中，其他城市建筑的浮华与象征似乎是多余的，取而代之的是简单而又堪称典范的设计。

In the 'AIA Guide to Chicago', Franz Schulze notes that the Chicago Federal Center has been criticized for the way it reads as “abstract and nonallusive, rather than as representational, architecture” and indeed it does not display the grandeur that is common in civic buildings, including the beaux-arts style building it replaced. However, Schulze comes to its defense, writing “Mies's uncompromising devotion to principle, together with his vaunted sensitivity to proportion and detail, and, in this case, the organizational scale, combine to give the complex a monumental urban presence.” Clearly these stylistic criticisms do not hold firm when faced with a Mies masterwork; in this tour de force of Modernist construction, the pomp and symbolism of other civic buildings seems superfluous, replaced with simple yet exemplary design.

 Courtesy of Samuel Ludwig

萨缪尔·路德维希

这座建筑群在1974年完工后获得了繁荣，亚历山大·考尔德的“火烈鸟”雕塑在联邦广场亮相。这座53英尺长，蜿蜒的红色雕塑为密斯的静音直线建筑提供了一个美丽的对立面.现在，芝加哥联邦中心为这座城市提供了一个重要的城市空间-这只是米斯·范德罗赫留给芝加哥市的非凡建筑遗产的一个例子。

The complex gained its finishing flourish after completion in 1974, with Alexander Calder's 'Flamingo' sculpture being unveiled in the Federal Plaza. This 53-foot, sinuous, scarlet red sculpture provides a beautiful counterpoint to Mies's muted, linear buildings. Now, the Chicago Federal Center provides a crucial civic space to the city - just one example of the extraordinary architectural legacy that Mies van der Rohe left to the city of Chicago.

建筑师Mies van der Rohe位置230南迪尔伯恩街类别机构建筑师主管密斯范德洛地区2600000.0英尺2工程年1974年加雷特·洛克、塞缪尔·路德维希、朱塞佩·索尔奇、马修·莉莉

Architects Mies van der Rohe Location 230 South Dearborn Street Category Institutional Buildings Architect in Charge Mies van der Rohe Area 2600000.0 ft2 Project Year 1974 Photographs Garrett Rock, Samuel Ludwig, Giuseppe Sorci, Matthew Lilly