Some context: Thich Quang Duc (Vietnamese: [thic kwa:NG dik] ( listen); 1897--11 June 1963, born Lam Van Tuc), was a Vietnamese Mahayana Buddhist monk who burned himself to death at a busy Saigon road intersection on 11 June 1963. Quang Duc was protesting the persecution of Buddhists by the South Vietnamese government led by Ngo Dinh Diem. Photographs of his self-immolation were circulated widely across the world and brought attention to the policies of the Diem government. John F. Kennedy said in reference to a photograph of Duc on fire, "No news picture in history has generated so much emotion around the world as that one."
Accounts of the life of Quang Duc are derived from information disseminated by Buddhist organizations. He was born in the village of Hoi Khanh, in Van Ninh District of Khanh Hoa Province in central Vietnam as Lam Van Tuc, one of seven children of Lam Huu Ung and his wife, Nguyen Thi Nuong. At the age of seven, he left to study Buddhism under Hoa thuong Thich Hoang Tham, who was his maternal uncle and spiritual master. Thich Hoang Tham raised him as a son and Lam Van Tuc changed his name to Nguyen Van Khiet. At age 15, he took the samanera (novice) vows and was ordained as a monk at age 20 under the dharma name Thich Quang Duc. The Vietnamese name Thich (Shi ) is from "Thich Ca" or "Thich Gia" (Shi Jia ), means "of the Shakya clan." After ordination, he traveled to a mountain near Ninh Hoa, vowing to live the life of a solitary Buddhism-practicing hermit for three years. He returned in later life to open the Thien Loc pagoda at his mountain retreat.  After his self-imposed isolation ended, he began to travel around central Vietnam expounding the dharma. After two years, he went into retreat at the Sac Tu Thien An pagoda near Nha Trang. In 1932, he was appointed an inspector for the Buddhist Association in Ninh Hoa before becoming the inspector of monks in his home province of Khanh Hoa. During this period in central Vietnam, he was responsible for the construction of 14 temples. In 1934, he moved to southern Vietnam and traveled throughout the provinces spreading Buddhist teachings. During his time in southern Vietnam, he also spent two years in Cambodia studying the Theravada Buddhist tradition.  After his return from Cambodia, he oversaw the construction of a further 17 new temples during his time in the south. The last of the 31 new temples that he was responsible for constructing was the Quan The Am pagoda in the Phu Nhuan District of Gia Dinh Province on the outskirts of Saigon. The street on which the temple stands was later renamed Quang Duc Street in 1975. After the temple-building phase, Duc was appointed to serve as the Chairman of the Panel on Ceremonial Rites of the Congregation of Vietnamese Monks, and as abbot of the Phuoc Hoa pagoda, which was the initial location of the Association for Buddhist Studies of Vietnam (ABSV). When the office of the ABSV was relocated to the Xa Loi Pagoda, the main pagoda of Saigon, Duc resigned.
What did he do after his studies?
A: At age 15, he took the samanera (novice) vows and was ordained as a monk at age 20 under the dharma name Thich Quang Duc.
Some context: Ludwig Mies van der Rohe ( MEESS; German: [mi:s]; born Maria Ludwig Michael Mies; March 27, 1886 - August 17, 1969) was a German-American architect. He is commonly referred to and was addressed as Mies, his surname.
Mies designed a series of four middle-income high-rise apartment buildings for developer Herbert Greenwald: the 860-880 (which was built between 1949 and 1951) and 900-910 Lake Shore Drive towers on Chicago's Lakefront. These towers, with facades of steel and glass, were radical departures from the typical residential brick apartment buildings of the time. Mies found their unit sizes too small for him, choosing instead to continue living in a spacious traditional luxury apartment a few blocks away. The towers were simple rectangular boxes with a non-hierarchical wall enclosure, raised on stilts above a glass-enclosed lobby.  The lobby is set back from the perimeter columns, which were exposed around the perimeter of the building above, creating a modern arcade not unlike those of the Greek temples. This configuration created a feeling of light, openness, and freedom of movement at the ground level that became the prototype for countless new towers designed both by Mies's office and his followers. Some historians argue that this new approach is an expression of the American spirit and the boundless open space of the frontier, which German culture so admired.  Once Mies had established his basic design concept for the general form and details of his tower buildings, he applied those solutions (with evolving refinements) to his later high-rise building projects. The architecture of his towers appears to be similar, but each project represents new ideas about the formation of highly sophisticated urban space at ground level. He delighted in the composition of multiple towers arranged in a seemingly casual non-hierarchical relation to each other.  Just as with his interiors, he created free flowing spaces and flat surfaces that represented the idea of an oasis of uncluttered clarity and calm within the chaos of the city. He included nature by leaving openings in the pavement, through which plants seem to grow unfettered by urbanization, just as in the pre-settlement environment.
What  material were they built from?
A:
These towers, with facades of steel and glass, were radical departures from the typical residential brick apartment buildings of the time.