虚的窗,实的墙。千百年来,建筑师们就在这“虚”“实”对比中作文章,只是窗面积日渐增大着。从这个角度,柯布西埃说:“建筑的历史就是为光线而斗争的历史,就是为窗子而斗争的历史”。然而,米斯没有循着历史的脚印走,在1919-22年间,提出了将窗和墙合二而一的,全玻璃幕墙的高层建筑方案。他认为玻璃幕墙起反射作用,没有阴影,可以得出最简洁的造型;同时,它映现出周围景色,可以得到丰富多彩的艺术效果。这个玻璃幕墙的设想,成为他的名言“少即是多”的最贴切的注脚。米斯的方案,完全是从造型艺术的角度提出的,在当时是不切实际的。因为如用当时仅有的透明玻璃来做墙,其 Virtual window, solid wall. For thousands of years, architects have made articles in this “virtual” and “real” contrast, but the window area has been increasing. From this perspective, Corbusier said: “The history of architecture is the history of struggle for light, the history of struggle for the windows.” However, Rice did not follow the footsteps of history. In 1919-22, he proposed a high-rise building plan that combines the windows and walls into a single, all-glass curtain wall. He believes that the glass curtain wall acts as a reflection, with no shadows, and it can produce the most concise shape; at the same time, it reflects the surrounding scenery, and can get a variety of artistic effects. The idea of ​​this glass curtain wall became the most appropriate footnote for his famous saying “less is more.” Rice’s plan was completely put forward from the point of view of plastic art and was impractical at the time. Because if you use the only transparent glass at the time to make the wall,