Relevant bibliographies by topics / Barcelona Pavilion

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Barcelona Pavilion'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Barcelona Pavilion"

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McCarthy, Christine. "A Barcelona Pavilion." Space and Culture 2, no. 4-5 (August 1999): 87–88. http://dx.doi.org/10.1177/120633120000100406.

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Hill, Jonathan. "Weathering the Barcelona Pavilion." Journal of Architecture 7, no. 4 (January 2002): 319–27. http://dx.doi.org/10.1080/1360236032000040820.

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Guereñu, Laura Martinez De. "The Sequence of Mies van der Rohe in Barcelona: the German Pavilion as Part of a much Larger Industrial Presence." Heritage of Mies, no. 56 (2017): 56–63. http://dx.doi.org/10.52200/56.a.uy5o2bw6.

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The German Pavilion for the 1929 Barcelona International Exhibition was part of a much larger exhibiting sequence, which Mies van der Rohe and Lilly Reich constructed following their main undertaking in the Barcelona industrial exhibits: to design the entire German section. By the time Mies van der Rohe started the project of the German Pavilion, he had already been working for more than 4 months on the construction of the identity and representation of the strength of the German industrial fabric, which he would architecturally express in the interior design of 8 neoclassical palaces. Hence, the two most innovative architectural elements of the German Pavilion – the milky color double-glazed wall and the chrome-plated cross-shaped posts – can be traced back to the interiors of these palaces. The 16,000 m2 of industrial exhibits, not reconstructed in 1986, form today the immaterial heritage that underpins the historical relevance of the Barcelona Pavilion. 3 documents, including a sequence from the official exhibition film, preserve the order linking the range of Mies van der Rohe’s work in Barcelona and broaden the historical meaning of one of the most important works of architectural modernism.
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Dodds, George. "Body in Pieces: Desiring the Barcelona Pavilion." Res: Anthropology and aesthetics 39 (March 2001): 168–91. http://dx.doi.org/10.1086/resv39n1ms20167528.

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Sevilla, Laura Lizondo. "Mies's Opaque Cube: The Electric Utilities Pavilion at the 1929 Barcelona International Exposition." Journal of the Society of Architectural Historians 76, no. 2 (June 1, 2017): 197–217. http://dx.doi.org/10.1525/jsah.2017.76.2.197.

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Mies's Opaque Cube: The Electric Utilities Pavilion at the 1929 Barcelona International Exposition focuses on the dramatic, opaque, white cube-shaped building designed by Ludwig Mies van der Rohe for the German electricity industry's display at the exposition. Like many emblematic projects of modern architecture, the pavilion was created for a temporary exhibition and is known only through the photographic and graphic documentation of the era. Mies used the Electricity Supply Company Pavilion to experiment with a variety of ideas, including the use of photo murals and a new expression of structure and space, that featured in his later buildings. Through archival research, Laura Lizondo Sevilla has reconstructed this pavilion, the original plans for which no longer exist, and her article reinterprets the building's contribution to Mies's subsequent architecture.
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von Fischer, Sabine, and Richard Hill. "Sabinevon Fischer on the Barcelona pavilion plus two other reviews." Architectural Research Quarterly 6, no. 3 (September 2002): 277–83. http://dx.doi.org/10.1017/s1359135503001775.

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The building that for many incorporates the essence of twentieth-century Modern architecture existed for only six months. Critics have called the Barcelona Pavilion a myth, an icon, an image. In this book, Josep Quetglas claims that it is a stage where the performance can only be described by ‘emptiness and the future’. And although what is true for theatre might not apply to architecture, the dramatic dynamics inherent in modern theatre's concern that the stage set should never repeat the text of the play do help explain the varied and contradictory interpretations of the Barcelona Pavilion.
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Newton, Clare. "The Phoenix Pavilion: interpreting the black and white memory of the Barcelona Pavilion." Fabrications 15, no. 2 (December 2005): 63–76. http://dx.doi.org/10.1080/10331867.2005.10525211.

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TAKASAGO, Masahiro, and Masanori TSUJI. "GRID SYSTEM IN THE FLOOR PLAN OF BARCELONA PAVILION." Journal of Architecture and Planning (Transactions of AIJ) 70, no. 592 (2005): 255–62. http://dx.doi.org/10.3130/aija.70.255.

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Markopoulou, Areti, and Rodrigo Rubio. "Smart Living Architecture: Solar Prototypes. IAAC Endesa Pavilion Barcelona." Architectural Design 85, no. 2 (March 2015): 128–31. http://dx.doi.org/10.1002/ad.1887.

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TAKASAGO, Masahiro, and Masanori TSUJI. "GEOMETRIC COMPOSITION IN THE PLAN AND ELEVATION OF BARCELONA PAVILION." Journal of Architecture and Planning (Transactions of AIJ) 72, no. 615 (2007): 223–28. http://dx.doi.org/10.3130/aija.72.223_1.

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Dissertations / Theses on the topic "Barcelona Pavilion"

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Kassab, Maroun Ghassan. "Hermeneutics of architectural interpretation the work in the Barcelona Pavilion /." Cincinnati, Ohio : University of Cincinnati, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1029444277.

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Capdevila, Werning Remei. "Construing reconstruction : the Barcelona Pavilion and Nelson Goodman's aesthetic philosophy." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39307.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.
Includes bibliographical references (p. 86-93).
This thesis explores Mies van der Rohe's Barcelona Pavilion through the lens of Nelson Goodman's philosophical categories of the autographic and the allographic in order to determine what constitutes the building's identity. The Pavilion was originally designed as a temporary structure for the 1929 International Exposition in Barcelona and rebuilt in 1986 as a permanent building. The reconstruction of this iconic building provokes a complex questioning about the identity of the Barcelona Pavilion in particular and of any architectural work in general. Goodman's notions are unique criteria to deal with issues of identity and authenticity in architecture. The autographic identifies a category of works that cannot be replicated, i.e., every difference between a work and even its closest copy makes a difference to the work's identity. In contrast, the allographic identifies a category of works that can be replicated, i.e., the difference between an original and its duplication is irrelevant to the work's identity. By examining the Barcelona Pavilion through the lens of these notions, this thesis shows that Mies's building is a hybrid case in which the autographic and the allographic criteria are inextricably linked.
(cont.) To consider the 1986 Pavilion simply as a copy does not completely define its identity status; conversely, to conclude that they are two instances of the same work or that they are two different buildings is not accurate, either. This case illustrates the complexity that arises when trying to establish what constitutes the identity of an architectural work in general and, at the same time, allows us to reconsider Goodman's statements regarding architecture.
by Remei Capdevila Werning.
S.M.
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KASSAB, MAROUN GHASSAN. "HERMENEUTICS OF ARCHITECTURAL INTERPRETATION: THE WORK IN THE BARCELONA PAVILION." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1029444277.

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Elkin, Daniel K. "Seeking Silence Through GARAP: Architecture, Image, and Connotation." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306501509.

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ASCHLIMAN, SARA LYNNE. "PROCESS AND IMAGE: INTEGRATING RATIONALITY AND SENSUALITY IN THE DESIGN OF A CHOCOLATE FACTORY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053619725.

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Martignago, Marianna Dal Canton. "Mies Van Der Rohe e as decisões do espírito : leituras sobre a imaterialidade na obra do Pavilhão de Barcelona." Universidade Presbiteriana Mackenzie, 2015. http://tede.mackenzie.br/jspui/handle/tede/375.

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Made available in DSpace on 2016-03-15T19:22:45Z (GMT). No. of bitstreams: 1 Marianna dal Canton Martignago.pdf: 41549778 bytes, checksum: 7ed8685a952b1d808aa6b190fd0ab213 (MD5) Previous issue date: 2015-01-22
Several architectural and artistic movements transformed the first half of the twentieth century. In this scenario the architect Mies van der Rohe (1886-1968) turned out to be, through his textual and architectural discourse, a spokesman for the spiritual quest in architecture. Therefore this research aimed, at first, to outline the career of the architect. Secondly,it sought - through the articulation of studies of textual speechs on spirituality of Mies van der Rohe and the architectural design analysis of the Barcelona Pavilion (1929-30), designed by the architect - to understand the dimensions of the yearning for the expression of the spiritual dimension, and which were the spiritual nature decisions that could raise the architecture to the status of art.
Diversos movimentos arquitetônicos e artísticos marcaram de modo transformador a primeira metade do século XX. Neste cenário o arquiteto Mies van der Rohe (1886 1968) acabou se tornando, por meio de seus discursos, um porta-voz da "busca espiritual" na arquitetura. Diante disso o presente trabalho buscou, em primeiro lugar, traçar uma trajetória profissional do arquiteto e, em segundo lugar, buscou por meio da articulação dos estudos do discurso textual acerca da espiritualidade de Mies van der Rohe e a análise projetual do Pavilhão de Barcelona (1929-30), projetado pelo arquiteto, compreender as dimensões do anseio pela expressão da dimensão espiritual , e em que constituíam as "decisões" de ordem espiritual que poderiam elevar a arquitetura ao status da arte.
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Wang, Chao-Lan, and 王昭嵐. "A Conceptual Design of Pavilion Architecture - The case of 1929 German Pavilion in Barcelona." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/64026329784887345973.

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碩士
淡江大學
建築學系碩士班
100
The purpose of this research is to practice on a conceptual design based on the cognitive model of pavilion architecture. Concepts in design studies usually correspond to the presentation of forms and values. Therefore, the aim of the presented research is to identify some characteristics of concept making that make it effective in the design process and design cognition as a guide to pavilion design. Its methodological approach draws on textual and theoretical knowledge from Mies van der Rohe''s German pavilion in 1929 World Exhibition in Barcelona. The research is based upon the analysis of Josep Quetglas’s textual interpretations in German Pavilion. The significance of pavilion design in modern architecture is addressed via the exploration of three areas of research, termed as: (1) The Materiality is related to the grammar of conceptual design, it’s not evident which cognitive abilities and styles are inherent to designers. (2) The second area of exploration is the technicality; it is concerned with conceptual design typically defined as a series of spatial experimentation. (3) The third area of exploration is the product. It is linked to the materiality and Technicality by the commonly accepted ideas. The end result of this research reveals nine key elements that rules the conceptual stage of pavilion design are proposed as followed: 1. Symbol: different subject assign different meanings 2. Model: proportions and characteristic profiles and details 3. Critique: signal their opposition to idealism 4. Representation: fluid space for performances 5. Comparison: inspiration by nature 6. Typology: form or type to a historical moment 7. Historical Value: which convey the framework of architecture 8. Present Value: which convey the capability of architecture 9. Future Value: which convey the concept of architecture
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Moniz, José Maria Guedes Pereira 1992. "A composição geométrica como geradora de uma ideia arquitectónica : três casos de estudo." Master's thesis, 2017. http://hdl.handle.net/11067/2725.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2016
Exame público realizado em 26 de Janeiro de 2017
A presente dissertação surge da procura por conhecimentos que permitam uma leitura crítica sobre processos, metodologias conceptuais e sínteses geométricas provenientes de estímulos associados aos conceitos de arte e aos respectivos meios de expressão – pintura, escultura e desenho -, no modo como geram espaço e forma. Uma procura espoletada pelo interesse de compreensão de alguns dos movimentos que desenvolveram essa maneira de pensar e gerar arquitectura, e como essa complexidade conceptual, plástica e expressiva foi sendo aplicada ao longo do tempo, das repercussões que o período de ruptura, respectivo às vanguardas artísticas, teve sobre a arquitectura do seguinte século, nomeadamente no caso português de Eduardo Souto de Moura. Propõe-se com esta investigação uma abordagem em torno da validade de um pensamento abstracto, sustentado por uma gramática linear, elementar e regular, bidimensional ou tridimensional, como processo de criação arquitectónica, com o objectivo de perceber como é que esse imaginário é adaptado a diversas soluções.
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Fernandes, Filipe Amorim Costa 1983. "Facto arquitectónico : a expressão de uma síntese." Master's thesis, 2017. http://hdl.handle.net/11067/3158.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2012
Exame público realizado em 20 de Fevereiro de 2013
Um facto arquitectónico é sempre resultado de uma síntese. Partindo de três casos de estudo, dissimilares nas suas abordagens: - O Pavilhão de Barcelona, de Mies van der Rohe. - A Casa de Chá da Boa Nova, de Álvaro Siza Vieira. - A Casa de Blas, de Alberto Campo Baeza. A presente dissertação pretende abordar o processo que origina essa síntese. Como método de trabalho, a praxis projectual é examinada e dividida nos vários domínios que abrange, desde a ligação do projecto ao lugar, do conceito enquanto estratégia de projecto ou até à noção do Homem enquanto elemento de activação do facto arquitectónico. Para sustentar o estudo é usada uma base teórica composta, não apenas por textos elaborados pelos três arquitectos estudados, mas também por autores sensíveis ao ensino e reflexão sobre o acto processual, tais como Peter Zumthor ou Manuel Tainha.
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Books on the topic "Barcelona Pavilion"

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Building desire: On the Barcelona Pavilion. New York: Routledge, 2004.

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Sola-Morales, Ignasi Da. Mies van der Rohe: Barcelona Pavilion. New York: Rizzoli International Publications, 1993.

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Cristian, Cirici, and Ramos Fernando, eds. Mies van der Rohe: Barcelona Pavilion. Barcelona: G. Gili, 1993.

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Solà-Morales, Ignasi de. Mies van der Rohe: Barcelona pavilion. Barcelona: Gustavo Gilli, 1993.

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Rubió, Ignasi Solà-Morales. Mies van der Rohe: Barcelona pavilion. 5th ed. Barcelona: Editorial Gustavo Gili, 2000.

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Mikkonen, Osmo. Vuosisadan kaunein?: Barcelona-paviljonki. Helsinki: Rakennuskirja, 1990.

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Rubió, Ignasi Solà-Morales. Mies van der Rohe--el Pabellón de Barcelona. Barcelona: G. Gili, 1993.

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Dodds, George. Building Desire: On the Barcelona Pavilion. Routledge, 2005.

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Dodds, George. Building Desire: On the Barcelona Pavilion. Routledge, 2005.

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(Editor), Ursel Berger, and Thomas Pavel (Editor), eds. Barcelona Pavilion: Mies van der Rohe & Kolbe. Jovis, 2007.

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Book chapters on the topic "Barcelona Pavilion"

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Hill, Jonathan. "How Old Is the Barcelona Pavilion?" In Mountains and Megastructures, 227–41. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7110-7_13.

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"Barcelona Pavilion." In The Visual Dictionary of Architecture, 56. AVA Publishing SA Bloomsbury Publishing Plc, 2008. http://dx.doi.org/10.5040/9781350096462.0043.

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"Barcelona Pavilion." In Twenty-Five Buildings Every Architect Should Understand, 35–52. Routledge, 2014. http://dx.doi.org/10.4324/9781315732459-9.

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"1930 Anonymous (The Spectator)." In The Barcelona Pavilion by Mies van der Rohe, 111–13. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-028.

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"1958 Henry-Russell Hitchcock." In The Barcelona Pavilion by Mies van der Rohe, 153–56. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-046.

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"1929 Anonymous (Leipziger Neueste Nachrichten)." In The Barcelona Pavilion by Mies van der Rohe, 44–49. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-005.

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"1947 Philip C. Johnson." In The Barcelona Pavilion by Mies van der Rohe, 138–39. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-039.

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"CONTENTS." In The Barcelona Pavilion by Mies van der Rohe, 5–8. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-toc.

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"2008 Fumihiko Maki." In The Barcelona Pavilion by Mies van der Rohe, 320–21. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-098.

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"1931 Carlo Enrico Rava." In The Barcelona Pavilion by Mies van der Rohe, 122–23. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-032.

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Conference papers on the topic "Barcelona Pavilion"

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Santos-Assunçao, S., R. Gonzalez-Drigo, and V. Perez Gracia. "GPR Assessment of Columns in the Pavilions and the Church of the Modernista Building Sant Pau Hospital, in Barcelona." In Near Surface Geoscience 2015 - 21st European Meeting of Environmental and Engineering Geophysics. Netherlands: EAGE Publications BV, 2015. http://dx.doi.org/10.3997/2214-4609.201413674.

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