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ilustraciones, planos La tesis de Julián Yepes aborda el proyecto sin construir para la Casa Hubbe en Magdeburgo, realizado por Mies van der Rohe en 1935, busca develar la manera en que la relación entre el interior y el exterior define la naturaleza de los espacios y los medios con los que esta casa puede establecerse como un hecho de doble vía entre el afuera y el adentro. Presenta los hallazgos más relevantes para permitirnos entender el modo en que, en esta casa a orillas del Elba, existe una dialéctica entre delimitar y liberar el espacio que genera un vínculo entre el interior y el exterior a tal punto que conseguirían percibirse y considerarse como uno solo, lo que nos permite poner de relieve la manera en que en este proyecto se reúnen y asocian fuerzas opuestas hasta fundar un espacio en tensión; un espacio que es, como ha señalado el maestro alemán: “ni corteza ni núcleo” (Kuh, 1965, pp. 22-23). (Texto tomado de la fuente) Julián Yepes' thesis addresses the unbuilt project for the Hubbe House in Magdeburg, carried out by Mies van der Rohe in 1935, seeks to reveal the way in which the relationship between the interior and exterior defines the nature of the spaces and the means with which this house can be established as a bidirectional event between the outside and the inside. It presents the most relevant findings to allow us to understand the way in which, in this house on the banks of the Elbe, there is a dialectic between delimiting and releasing the space that generates a link between the interior and the exterior to such an extent that they would be able to perceive and consider themselves as one, which allows us to highlight the way in which in this project opposite forces meet and associate until they found a space in tension; a space that is, as the German master has pointed out: “it´s neither core nor shell” (Kuh, 1965, pp. 22-23). Maestría Magíster en Arquitectura

El Pabellón Alemán para la Feria Universal en Barcelona, de 1929, obra de Ludwig Mies van der Rohe, marcó un acontecimiento cumbre en el devenir de los movimientos de vanguardia de la arquitectura moderna. El pabellón estuvo construido con materiales poco convencionales para la época y sus formas depuradas influyeron en gran medida en el posterior desarrollo del Estilo Internacional a nivel mundial. ¿En qué momentos de la historia se inspira este edificio revolucionario?, ¿cuáles fueron los conceptos de los que partió el arquitecto para proponer las formas del pabellón? En este artículo se intentará demostrar que la irrupción de este edificio moderno está inspirada en conceptos de la arquitectura clásica antigua, pero también en el empleo de materiales propios de la época y de mecanismos análogos en el campo de la pintura como el cubismo. El pabellón está hecho principalmente de reflejos que propician una variada percepción espacial y que, en definitiva, devuelven la mirada sobre el actor principal del arte moderno: el individuo. The German Pavilion for the Universal Fair in Barcelona, 1929, work of Ludwig Mies van der Rohe, marked a major event in the evolution of the avant-garde movements of modern architecture. The Pavilion was built with unconventional materials for the time, and its purified forms greater influenced the subsequent development of the International Style worldwide. In which moments in history was this revolutionary building inspired? Which were the concepts from which the architect started from to propose the shapes of the Pavilion? This article will try to demonstrate that the irruption of this modern building is inspired in concepts of ancient classical architecture, but also in the use of materials typical of the time and analogous mechanisms in the field of painting, such as Cubism. The Pavilion is made mainly of reflections that foster a varied spatial perception, and that, in the end, look back towards the main actor of modern art: the individual.

[Resumen] En noviembre de 1957, el Crown Hall de Mies van der Rohe en el IIT rompió convenciones cuando se convirtió en el escenario de un concierto de jazz de Duke Ellington y su orquesta. Este acontecimiento extraordinario se ha reconstruido en base a recuerdos personales, periódicos universitarios y otros materiales de archivo. En el contexto de la pedagogía de arquitectura, el Crown Hall es entendido como una expresión suprema de la filosofía arquitectónica de Mies, tanto por su apertura espacial como por su carácter espiritual. Aquí, las influencias de la evolución del propio Mies como arquitecto se cruzaron con la evolución de la música y el rendimiento del arte moderno que esta inspiró. Existen paralelismos entre el jazz de Ellington y la arquitectura de acero y vidrio de Mies, ambas expresiones típicamente americanas que caracterizan la modernidad de postguerra. El concierto de Ellington en el Crown Hall presenta la confluencia perfecta de las personas, el espacio, la luz, la música y la naturaleza, al mismo tiempo que atestigua el potencial disruptivo que existe en el jazz y la arquitectura moderna [Abstract] In November 1957 Mies van der Rohe’s Crown Hall at IIT broke with convention when it became the venue for a jazz concert by Duke Ellington and his orchestra. This extraordinary event is reconstructed based on personal recollections, campus newspapers and other archival material. In the context of architectural pedagogy Crown Hall is appreciated as a supreme expression of Mies’s architectural philosophy, both for its spatial openness and its spiritual character. Here, influences from Mies’s own evolution as an architect intersected with developments in modern music and performance art it inspired. Parallels are uncovered between Ellington’s jazz and Mies’s steel and glass architecture, both distinctly American idioms that characterise post-war modernity. The Ellington concert at Crown Hall presented the perfect synthesis of people, space, light, music and nature. At the same time it attested to the disruptive potential that exists in jazz and modern architecture alike.

Dissertação de Mestrado Integrado em Arquitetura apresentada à Faculdade de Ciências e Tecnologia Esta dissertação tem como principal objectivo aprofundar os contextos autorais da arquitectura moderna na primeira metade do século XX. De acordo com investigações previamente realizadas, torna-se claro que muitos dos projectos de grandes arquitectos não partiram só de si próprios mas de várias colaborações com outras personagens menos centrais e pouco referidas no contexto da história da arquitectura. Desta forma, a presente dissertação foca-se no trabalho de Ludwig Mies van der Rohe, pela sua importância para o movimento moderno e procura perceber as relações e colaborações que este arquitecto desenvolveu ao longo da sua carreira profissional. Assim, foi importante procurar figuras que de certo modo tenham sido relevantes no seu percurso arquitectónico e nos mais diversos projectos que vão desde o mobiliário à arquitectura e, consequentemente, da arquitectura à cidade. Nesta dissertação foi de extrema importância a análise de duas épocas distintas, de forma a compreender o percurso de Mies, desde o início da sua actividade na Europa, até o período em que emigrou para a América. Na Europa, Mies atravessou duas fases arquitectónicas: uma em que aprendeu e colaborou com outos arquitectos, tais como Bruno Paul e Peter Behrens, e outra como autor principal, onde foram investigadas colaborações com Lilly Reich e Sergius Ruengenberg. No que diz respeito à sua actividade nos Estados Unidos da América, Mies desenvolveu projectos a título individual e trabalhou como professor. Nesse período, teve como colaboradores alunos tais como George Edson Danforth, Edward Austin Duckett, Joseph Fujikawa, Myron Goldsmith, Genne Summers, Peter Carter, Peter Pran e Dirk Lohan bem como com outros profissionais e arquitectos tais como Philip Johnson, Alfred Caldwell e Ludwig Hilberseimer. Deste modo, a investigação requereu uma análise detalhada dos diferentes projectos do autor, das suas especificidades, métodos e influências teóricas. This dissertation has as main objective to deepen the contexts of modern architecture in the first half of the 20th century. According to previous research, it is clear that many of the projects of great architects did not start from themselves but from various collaborations with other less central characters and little referred in the context of the history of architecture. In this way, the present dissertation focuses on the work of Ludwig Mies van der Rohe, for his importance to the modern movement and seeks to understand the relationships and collaborations that this architect developed throughout his professional career. Thus, it was important to look for figures that in a way have been relevant in their architectural route and in the most diverse projects that go from the furniture to the architecture and, consequently, from the architecture to the city.In this dissertation, it was extremely important to analyze two distinct epochs, in order to understand Mies' path from the beginning of his activity in Europe to the period in which he emigrated to America. In Europe, Mies went through two architectural phases: one in which he learned and collaborated with other architects, such as Bruno Paul and Peter Behrens, and another as lead author, where collaborations were investigated with Lilly Reich and Sergius Ruengenberg.With regard to his activity in the United States of America, Mies developed individual projects and worked as a teacher. In this period, students such as George Edson Danforth, Edward Austin Duckett, Joseph Fujikawa, Myron Goldsmith, Genne Summers, Peter Carter, Peter Pran and Dirk Lohan as well as other professionals and architects such as Philip Johnson, Alfred Caldwell and Ludwig Hilberseimer.Thus, the investigation required a detailed analysis of the author's different projects, their specificities, methods and theoretical influences.

peer-reviewed Is Mies van der Rohe’s architecture hostile to art? Set within the context of a lifelong engagement with artworks and their collectors, a closer consideration of the Lange and Tugendhat houses reveals a moment of transition. The anticipatory incompleteness of the Lange House yields to the Tugendhat House’s integrated approach in which the house itself becomes a work of art. Not at all hostile to art, Mies’ architecture is seen as accommodating, assimilating and elevating art.