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Relevant bibliographies by topics / Ludwig Mies Van der Rohe

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Journal articles

Academic literature on the topic 'Ludwig Mies Van der Rohe'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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Journal articles on the topic "Ludwig Mies Van der Rohe"

1

Kim, Ransoo. "The tectonically defining space of Mies van der Rohe." Architectural Research Quarterly 13, no. 3-4 (2009): 251–60. http://dx.doi.org/10.1017/s1359135510000102.

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In a unique architectural style of the twentieth century, Ludwig Mies van der Rohe (1886–1969) realised a new type of modern space defined by an unobstructed clear volume enclosed by framed glass skin. This is generally referred to as Mies's universal space and this paper will attempt to interpret Miesian universal space in terms of the idea of tectonically defining space. Mies referred to the term ‘tectonic’, or ‘architectonic’, as constructive appearance exposing the skeleton structure. For Mies, the concept of tectonic was connected to a glassy materiality that permitted the unambiguously c

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2

Boyken, Immo, and Hans J. Oestmann. "Ludwig Mies van der Rohe and Egon Eiermann: The Dictate of Order." Journal of the Society of Architectural Historians 49, no. 2 (1990): 133–53. http://dx.doi.org/10.2307/990473.

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A comparison of the works of two of Germany's most important architects, Ludwig Mies van der Rohe and Egon Eiermann, reveals two similar but subtly different approaches to theory and design in the years following World War II. While there is no evidence of a close personal relationship between the two architects, their theoretical views were largely compatible. Both believed in the "universal validity" of pre-determined architectural forms, and they adhered closely to the principle of architectural "order." Eiermann's designs, however, are never as rigid as those of Mies, and he made many more

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3

Jager, Markus. "Das Haus Warnholtz von Ludwig Mies van der Rohe (1914/15)." Zeitschrift für Kunstgeschichte 65, no. 1 (2002): 123. http://dx.doi.org/10.2307/4150701.

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Moreno, Catalina Mejía. "There was once an empty site." Architectural Research Quarterly 24, no. 2 (2020): 129–40. http://dx.doi.org/10.1017/s1359135520000214.

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This article unveils and discusses a series of unknown photographs of the empty site in which Mies and Lilly Reich's 1929 German Pavilion in Barcelona had been built and dismantled, and shot by Ludwig Glaeser, curator of the Mies van der Rohe Archive at MoMA in 1979. It suggests that more than the manifestation of a desire to rematerialise the building through the agency of photography, Glaeser's photographs are, photographs of dust, but more importantly, a manifestation of the possibility of re-enacting the widely known 1929 Berliner Bild-Bericht photographs.

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Vanlaethem, France. "A New Future for the Montréal Mies Gaz Station." Reuse, Renovation and Restoration, no. 52 (2015): 48–53. http://dx.doi.org/10.52200/52.a.j10w10tt.

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When it comes to ensuring the authenticity of an architectural conservation project, is an architect’s interpretation of the original sufficient in itself? Or should the architect’s largely intuitive understanding of a site be complemented by the knowledge of the architectural historian? The adaptive reuse of the Île des Soeurs service station, designed by Ludwig Mies van der Rohe in 1967 and renovated by architect Éric Gauthier in 2011, raises such questions. The unique value of this small facility is recognized by its designation as a historic monument. Today, it is a multigenerational activ

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6

Scott, Felicity D. "An Army of Soldiers or a Meadow." Journal of the Society of Architectural Historians 70, no. 3 (2011): 330–53. http://dx.doi.org/10.1525/jsah.2011.70.3.330.

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An Army of Soldiers or a Meadow: The Seagram Building and the "Art of Modern Architecture" focuses on the New York headquarters of Joseph E. Seagram & Sons (1954–58), designed by Ludwig Mies van der Rohe in association with Philip Johnson. Drawing upon archival documents and the history of the building's design and reception, Felicity D. Scott demonstrates the participation of the tower and its plaza in an important transformation of modern architecture—usually identified as the rise of Postmodernism. She closely analyzes the shifting assessment of a key interpreter of the building, Arthur

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7

Garcia-Requejo, Zaida. "Cuando menos fue más: la construcción del Crown Hall de Mies van der Rohe." Informes de la Construcción 73, no. 562 (2021): e395. http://dx.doi.org/10.3989/ic.78401.

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El S. R. Crown Hall constituye el primer ejemplo construido de espacio universal de gran luz en la trayectoria del arquitecto Ludwig Mies van der Rohe. Destinado a albergar la escuela de arquitectura de la que era director, el proyecto debía además resumir el primero de los principios sobre los que se asentaba su docencia en el Illinois Institute of Technology: la estructura como factor arquitectónico, sus posibilidades y limitaciones. Este artículo profundiza en el proceso de desarrollo del proyecto de Mies, poniéndolo en contexto con su experiencia como docente en el IIT, buscando establecer

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8

Tostões, Ana, Ivo Hammer, and Zara Ferreira. "The Re-birth of the Tugendhat House." Heritage of Mies, no. 56 (2017): 44–55. http://dx.doi.org/10.52200/56.a.pn6s7pfn.

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Following a thorough and pioneering conservation-science study, the Tugendhat House was restored between 2010 and 2012. The house of Greta and Fritz Tugendhat, in Brno, designed by Mies van der Rohe and Lilly Reich (1928-1929), is the single example of modern architecture in the Czech Republic inscribed in the list of UNESCO World Cultural Heritage sites. After an intense and dramatic life with different uses, the house received an outstanding restoration which brought back its original form, space and materiality, and was opened to the public as a House-Museum. This paper aims to bring light

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9

Blümm, Anke, and Patrick Rössler. "Eine »schulbildende« Wirkung des Unterrichts?" Architectura 48, no. 1-2 (2018): 56–74. http://dx.doi.org/10.1515/atc-2018-1005.

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Abstract From 1930 to 1933, the architect Ludwig Mies van der Rohe shaped the fate of the Bauhaus; in particular, he tailored the avant-garde institution to the study of architecture. While research has so far concentrated on the content of his teaching, the group of students he specifically trained remained in the dark. With the help of statistical analysis and evaluation, the present essay takes a new methodical approach to describe Mies’ 169 architecture students in more detail; the focus is particularly on the 78 diploma students. It becomes clear that the ›pure Mies influence‹ was hardly

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10

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 (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 struc

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