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Chicago's preoccupation with its architectural heritage has created an architourism industry around extant works by famous architects like Daniel H. Burnham, Louis Sullivan, Frank Lloyd Wright, and Mies van der Rohe. The social histories of these buildings can be illuminated through archaeological research such as the 2023 summer field project at the former sites of the Armour Mission and the Armour Flats. Excavation there produced materials related to the processes of urban renewal that made manifest the Mies-designed site plan for the Illinois Institute of Technology (IIT) campus. Amid building demolition, we recovered evidence of food consumption patterns as well as several children's toys from the turn of the twentieth century. The results presented here are preliminary—full analysis will be shared with our community partners in the Black Metropolis National Heritage Area to see what responses, correctives, or new questions for future research emerge. [ABSTRACT FROM AUTHOR]

There is little empirical data in the published literature on occupant thermal comfort in buildings from the Modern Movement in architecture. We present a field survey of occupant thermal comfort and indoor environmental conditions in Mies van der Rohe's modern S. R. Crown Hall (1956) on the campus of Illinois Institute of Technology in Chicago, IL. Surveys were deployed to 557 student participants on four separate days, including two days in the cooling season and two days in the heating season, to assess their perceptions of thermal comfort throughout the space. Indoor air temperature, relative humidity and mean radiant temperature were measured concurrently in several locations throughout the space. Occupants reported high levels of dissatisfaction with comfort in the space (percent dissatisfied ranging 37%–54%), with somewhat counterintuitive results for this building type. Overcooling was apparent during warm weather and a combination of both over- and under-heating occurred during cold weather, contrary to what was expected in this building with a high thermal transmittance enclosure. There was also high spatial variability in comfort responses and measured indoor environmental conditions. Findings highlight the need to develop contextual approaches to meeting occupant comfort needs in this building while preserving architectural aesthetics/intent. [ABSTRACT FROM AUTHOR]

The American Midwest with its own architectural histories and topologies may be termed a land of few walls. Architect Kevin Erickson examines Lebbeus Woods's relation to this landscape and the genesis of his preoccupation with walls, not as protectors of boundaries, but as sites of dialogue and collaboration. Rather than mere surfaces for large paintings, walls – new or abandoned – invite reflection on the relationship between art and architecture. [ABSTRACT FROM AUTHOR]

Very Big Art uses a variety of both virtual and real media to create a nexus where architecture, the public realm, urban design, performance, ephemerality and art meet at an often colossal scale – a 21st‐century reworking of the notion of the architectural 'folly'. Architectural designer and educator Andrew Kovacs describes a brief history of some of the early exponents of arch‐art, and leads us through some recent examples, including the output of his own practice. [ABSTRACT FROM AUTHOR]

La primera monografía sobre Mies van der Rohe fue publicada en 1947 con motivo de la exposición que Philip Johnson comisarió en el MoMA de Nueva York. Aunque esta exposición ha sido considerada por la crítica como la primera que presentó en exclusividad la obra de Mies, nuevos documentos revelan que en diciembre de 1938 se inauguró en el Art Institute of Chicago (AIC) la “Exhibition of Architecture by Miës van der Rohe”, que incluyó dibujos, fotografías y maquetas de su etapa europea. Este artículo quiere dar a conocer esta exposición monográfica, analizando gráficamente el material hasta hoy inédito: siete fotografías conservadas en los archivos de la University of Michigan y una nota de prensa custodiada en el AIC Archives Research Center. El levantamiento tridimensional aportado detalla la arquitectura expuesta y la relaciona comparativamente con las exposiciones que le precedieron y procedieron (1932 y 1947), ambas organizadas por el MoMA.

In a wide‐ranging interview with AD Editor Neil Spiller, architectural artist Ben Johnson charts the course of his career to date – from his formative years at art school, through his epiphany moment when architecture took its key place in his practice, and beyond. He recalls the impact of painting the work of Norman Foster and Richard Rogers, particularly the reflections caused by their use of glass, and discusses the spiritual aspects that the act of painting instills in him, along with his more recent interest in depicting the geometries of Islamic religious buildings. [ABSTRACT FROM AUTHOR]

Mies van der Rohe always pursued the unity between abstract spatial forms and the logic of physical construction, and carried out a lot of design practices in structural order. In this paper, firstly, the contradictions and conflicts in Mies' architecture are analyzed. Secondly, the column and rod are used as an opportunity to explain the exploration process of structural order in the three stages of bridging the contradiction, namely, discovering the contradiction between structure and form, making a tectonic attempt to separate the enclosure from the support, and completing the comprehensive expression of tectonics through the order of structure. Finally, the development process and significance of his architectural concept of "clear construction" are discussed. [ABSTRACT FROM AUTHOR]

The Cranbrook campus is designed with a concerted effort to integrate art, craft and architecture. Cranbrook Center for Collections and Research curator Kevin Adkisson shares some of its stories and explores a variety of its external and internal spaces and the conceptual rigour that went into them. Collectively, the campus provides an inspiring backdrop to individual students' creative journeys. [ABSTRACT FROM AUTHOR]

Paul Guyer interviews his cousin Laure van Heijenoort, who as a teenager lived for several years with her parents in one of Mies van der Rohe's Lafayette Park townhouses in Detroit and attended school at Eliel Saarinen's Cranbrook campus. She reports on her experiences of living and study in both, experiences still vivid to her and now to a broader audience.

Colour has again exploded on the architectural scene, nowhere more markedly than in California. Jasmine Benyamin, a lecturer at the University of Southern California School of Architecture, examines the chromatically ambitious designs of Atelier Manferdini, whose visually saturated projects enliven building interiors and urban streetscapes alike. Not since the halcyon days of postmodernism have we witnessed such exuberant panoramas. [ABSTRACT FROM AUTHOR]

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of En Blanco: Revista de Arquitectura is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Rara vez le llega a la arquitectura su obsolescencia funcional. Lo habitual es el desencanto: una obsoles- cencia del entusiasmo que desvela el agotamiento emocional de sus habitantes, de un grupo cultural o de toda una sociedad. Frente a las narraciones que describen la obsolescencia como un estado previo a la refundacion, cabe pensar en esta como un estado de multiplicidad que resulta de la coexistencia de vidas proyectadas en torno a un mismo objeto construido. Revertir una de esas obsolescencias puede suponer acabar con la existencia del otro. Desde esta perspectiva es posible idear una estrategia proyectual no binaria que plantee una coexistencia mas compleja y asimetrica. En el caso que aqui nos trae, los ans vivi- deros de la casa Farnsworth, esa posibilidad surge de la concepcion de una arquitectura blanda, subversiva y critica, capaz de aceptar la complejidad de su permanente agotamiento y su constante reinvencion.

Rarely does architecture reach its functional obsolescence. The usual is disenchantment: an obsolescence of enthusiasm that reveals the emotional exhaustion of its inhabitants, of a cultural group, or a whole society. Given the narratives that describe obsolescence as a stage prior to that of re-founding, one might think about it as a state of multiplicity that results from the coexistence of lives projected around the same built object. To revert one of these obsolescences may suppose ending the existence of the other. From this perspective it is possible to devise a non- binary project strategy to pose a more complex and asymmetric coexistence. In the case that we are presenting here, the living years of the Farnsworth House, this possibility emerges from the conception of a soft architecture, subversive and critical, capable of embracing the complexity of its own exhaustion and constant reinvention.

Puede que si no hubiese estudiado arquitectura nunca hubiera dibujado. Entiéndaseme. No es que no supiese dibujar. Creo que era lo único que sabía hacer antes de iniciar la carrera. Y si no me decanté por Bellas Artes fue por el prejuicio de no ver mucho futuro y prosperidad económica en esta última. Si bien es cierto que comprendí pronto que tarde, que el saber dibujar no llevaba aparejado el saber proyectar. Y viceversa. Comencé a dibujar historietas o tebeos de forma amateur años después de iniciar la carrera de Arquitectura, por un trabajo sobre el Noveno Arte para la asignatura de Estética. Dicho estudio despertó en mí un repentino interés por los cómics y, colateralmente, provocó una suerte de desafío. Quería probar si era sencillo crear una historia, empezando por algo pequeño.

Interdisciplinary artist, educator and practitioner Jeffrey Halstead's artistic and spatial explorations reside in the effects of weight, the associated collapse of material and how gravity can be used to distort and challenge the collective power structures of traditional architectural space. Here he describes his rationale and some of the projects that have inspired him to think through alternative modes in contemporary formalism. [ABSTRACT FROM AUTHOR]

Suzanne Cotter is Director of the Museum of Contemporary Art Australia. Here she explains some of the artistic installations and performances she curated while Director of the Alvaro Siza‐designed Serralves Museum of Contemporary Art in Porto, Portugal. She reflects on exhibitions she curated with three individual artists whose work engages with concepts of architecture as an aesthetic and social language of agency. [ABSTRACT FROM AUTHOR]

In the 2016 monographic number devoted by “El Croquis” to the work of Sergison Bates, Alejandro Zaera-Polo wrote an essay where he tried to systematise and explain contemporary trends by the means of a «global architecture political compass», in «an attempt to use a number of emergent practices as indexes of a new structuring of the field» (Zaera-Polo 2016, p. 255) and its forms of resistance to the implications of neoliberal political economy. In the Venn Diagram that illustrates the article, inspired by Charles Jencks infamous diagram in Architecture 2000, Zaera-Polo maps a series of practices (roughly) sharing the same generation. Among these stands the name of Brussels-based office Baukunst, which is listed amidst “revisionists”, “new historicists” and “constitutionalists”. Taking this scheme as a pretext to revisit Baukunst’s early collages (from within the office’s archive), this article aims not only to provide a larger intellectual frame to the office’s work, but mostly to consider its specificity as a counterpoint to some of its apparently closer peers in the international architectural scene. Departing from its Miesian roots, up to reading the works of Caruso St-John, Office KGDVS, DOGMA and Fala, this article ultimately intends to present an alternative and critical reading of Zaera-Polo’s compass.

This article is devoted to the analysis of contemporary Polish multi-family architecture in the context of aesthetic irregularity. The research was limited to constructions from 2011–2021 and nominated for the Mies van der Rohe award as the objects with the greatest potential impact on shaping further trends. In their research, the authors focused on searching for the features of irregularities, which, in their opinion, have become a distinguishing feature of contemporary architectural aesthetics. The analyses in this study refer to three planes of the aesthetic dimension of architecture, namely the form, facade composition and material.

Ongoing appraisals of generality in architecture have largely referenced theories in natural philosophy as well as generic and normative structures, criticised as formalistic and dull. Expounding on generality's role beyond its received ideas, this paper describes the creative methodological value of this concept. Drawing on sources in post-war modernism, analytic philosophy, and the prevailing academic quest for new research methods, the paper assesses the methodological role of generality as a creative tool in the search for innovative architectural knowledge and modes of practice. It ties conceptual design's exploration during the post-war period to cross-disciplinary academic methodological concerns about generality. Scrutinising Mies van der Rohe's mid-century statements, it illuminates a rigorous, disciplined body of work anchored in the epistemology of the era's philosophy of science. The terrain highlighted has relevance to current architectural dialectics, which rethink research methods in the quest for new design practices. [ABSTRACT FROM AUTHOR]

Resumen A mediados de noviembre de 1953 el Chicago Tribune publicó un artículo que daba a conocer la propuesta de Mies para el nuevo centro de convenciones de la ciudad. Al mes siguiente, la revista Engineering News-Record ampliaba los detalles del proyecto, puntualizando además que, para su desarrollo, Mies contaba con Frank Kornacker como ingeniero estructural. Como señala su alumno Peter Carter en su libro Mies van der Rohe Trabajando, Mies trabajó en el proyecto tanto en su oficina como con un grupo de estudiantes de posgrado en sus clases de máster en el IIT, y a continuación se hace eco de palabras que aparecen en la memoria escrita de la tesina presentada por los tres alumnos. Así, el proyecto para un Convention Hall se formaliza también como tesina conjunta presentada por los alumnos Yujiro Miwa, Henry Kanazawa y Pao-Chi Chang en junio de 1954. No obstante, muchas de las biografías y publicaciones que versan sobre la obra de Mies obvian la colaboración de los estudiantes y el ingeniero estructural en su desarrollo, llegando incluso a confundirse ambas propuestas. Por ello, esta investigación tiene por objetivo principal dar a conocer el trabajo que los alumnos realizaron dentro de las aulas bajo la supervisión de Mies, realizar un análisis de las alternativas tanteadas,así como la propuesta finalmente entregada por los estudiantes, y ponerlo en relación con el proyecto original publicado por el alemán, con el objetivo de poner de manifiesto la relación existente entre la faceta docente y profesional de Mies. Abstract In mid-November 1953, the Chicago Tribune published an article on Mies van der Rohe’s proposal for the city’s new convention center. The following month, Engineering News-Record magazine gave more details on the project, pointing out that Mies had taken Frank Kornacker on board as structural engineer. As his student Peter Carter writes in his book Mies van der Rohe at Work, Mies worked on the project both in his office and with a group of graduate students in his master classes at IIT. Carter quotes lines that appear in the written report of the thesis presented by the three students. Thus, the Convention Hall project was also formalized in a thesis submitted by Yujiro Miwa, Henry Kanazawa, and Pao-Chi Chang in June 1954. However, many biographies and publications dealing with Mies’s work ignores the role played by the students and the structural engineer in its development, and their accounts are sometimes confused. The main objective of this research is to bring to light the work that the students carried out in the classrooms under Mies’s supervision, to analyze the alternatives tested as well as the thesis finally submitted by the students, and to compare it with the original project published by the German, the ultimate purpose being to highlight the relationship between Mies’s teaching activity and his professional practice.

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 posibles conexiones entre su arquitectura y sus enseñanzas. Para ello, se compara la solución estructural definitiva con uno de los proyectos supervisados por él dentro del programa de posgrado: la vivienda de Jacques Brownson. Dos estructuras de diferente escala, pero idéntica tipología, para el desarrollo de las cuales se contó con la colaboración del ingeniero estructural Frank Kornacker.

Frances Anderton, an old friend of AHMM, is a Los Angeles‐based curator, writer and broadcaster on design and architecture. Here she remembers their student bar conversations in London 30 years ago and describes two of the practice's most prestigious contemporary buildings: the Soho Place offices/theatre at Tottenham Court Road, Richmond House for the temporary relocation of the House of Commons. [ABSTRACT FROM AUTHOR]

No abstract available at this time.

During the American stage of Mies the beauty of the constructive precision and the essentiality of space is emphasized, which subordinates the program to formal purity. Form is not invented, nor is it the corollary of function or technology, but is the result of placing transcendent and timeless values on secondary issues. The architect must establish an order that assures the formality of the work, but in modernity the systematic classicist rules no longer run. So the goodness of the result is a consequence of the ability of the architect and the user to share visual codes. The effort of Mies in this stage will be to establish certain certainties, universal and clear, developed around the relation among space, structure and shape. The Fifty by Fifty feet house marks a turning point in these intentions and points the path of his latest works.

ResumenDescomponer la casa Farnsworth en sus elementos absolutos revela la esencia de la arquitectura de Mies van der Rohe y deja en evidencia que cada dispositivo posee un universo propio, que cuando se ordena en una entidad mayor, alcanza la compacidad de una pieza de arte universal. La casa es analizada a través de uno de sus dispositivos más novedosos, que evidencia la levedad que le confiere el hecho de separarse del piso natural. Esta es una operación que acentúa la abstracción de un dispositivo bastante recurrente en su arquitectura al crear un nuevo plano de piso generado al levantar sus edificios sobre podios o plataformas. Este análisis profundiza en el estudio de los elementos que conforman este podio desmaterializado desde el Baukunst miesiano, el cual representa una mirada profunda que encontró respuestas en un panorama de fuentes primarias que develan el “construir con arte” de Mies. Palabras clave: composición, diseño arquitectónico, diseño del paisaje, Mies van der Rohe, paisajeDematerialized platform in the Farnsworth house. A modern stereotomic operationAbstractDecomposing the Farnsworth house through its absolute elements reveals the essence of the architecture of Mies van der Rohe, showing that each device has its own universe, which, when arranged in a complete entity, achieves the compactness of a piece of universal art. Here the house is analyzed through one of its most innovative devices, which evidences the lightness conferred to it by being separated from the natural floor. This is an operation that emphasizes the abstraction of a fairly recurrent device in his architecture, creating a new floor plan by erecting his buildings on podiums or platforms. This analysis deepens the study of the elements that make up this dematerialized podium based on Mies’ Baukunst, a look that has found answers in a panorama of primary sources that reveal Mies’ method of “building with art.”Keywords: Composition, architectural design, landscape design, Mies van der Rohe, landscape.Plataforma desmaterializada na casa Farnsworth. Operação moderna estereotômicaResumoDescompor a casa Farnsworth em seus elementos absolutos revela a essência da arquitetura de Mies van der Rohe e evidencia que cada dispositivo possui um universo próprio, que, quando se ordena numa entidade maior, atinge a compacidade de uma peça de arte universal. A casa é analisada através de um dos dispositivos mais novos, que mostra a leveza que lhe confere o fato de separar-se do piso natural. Esta é uma operação que acentua a abstração de um dispositivo bastante recorrente em sua arquitetura ao criar um plano de piso gerado ao levantar seus edifícios sobre pódios ou plataformas. Esta análise aprofunda no estudo dos elementos que conformam esse pódio desmaterializado a partir do Baukunst miesiano, o qual representa um olhar profundo que encontrou respostas num panorama de fontes primárias que revelam o “construir com arte” de Mies.Palavras-chave: composição, desenho arquitetônico, desenho de paisagem, Mies van der Rohe, paisagem. Recibido: septiembre 10 / 2016 Evaluado: octubre 26 / 2017 Aceptado: marzo 16 / 2018

Abstract In mid-November 1953, the Chicago Tribune published an article on Mies van der Rohe’s proposal for the city’s new convention center. The following month, Engineering News-Record magazine gave more details on the project, pointing out that Mies had taken Frank Kornacker on board as structural engineer. As his student Peter Carter writes in his book Mies van der Rohe at Work, Mies worked on the project both in his office and with a group of graduate students in his master classes at IIT. Carter quotes lines that appear in the written report of the thesis presented by the three students. Thus, the Convention Hall project was also formalized in a thesis submitted by Yujiro Miwa, Henry Kanazawa, and Pao-Chi Chang in June 1954. However, many biographies and publications dealing with Mies’s work ignores the role played by the students and the structural engineer in its development, and their accounts are sometimes confused. The main objective of this research is to bring to light the work that the students carried out in the classrooms under Mies’s supervision, to analyze the alternatives tested as well as the thesis finally submitted by the students, and to compare it with the original project published by the German, the ultimate purpose being to highlight the relationship between Mies’s teaching activity and his professional practice.

Copyright of Constelaciones (2340-177X) is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Constelaciones (2340-177X) is the property of Fundacion Universitaria San Pablo - CEU and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Architect and Professor of Architectural Practice at the Bartlett School of Architecture, University College London, Níall McLaughlin describes his research into dementia and Alzheimer's disease. He explains the thinking behind his practice's design for an Alzheimer's Respite Centre in Dublin, and his subsequent collaboration with fellow Bartlett Professor of Architecture and Experimental Practice Yeoryia Manolopoulou in the creation of an installation about these themes at the Venice Architecture Biennale. [ABSTRACT FROM AUTHOR]

Copyright of Architectus is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Guest‐Editors Ali Rahim and Hina Jamelle teach graduate Architecture at the University of Pennsylvania Weitzman School of Design and are the co‐founders of Contemporary Architectural Practice (CAP) based in New York and Shanghai. Here they lead us through a brief history of the pros and cons of the architectural digital project of the last 25 years, advocating a return to detailing and the careful juxtaposition of materials, collaboratively working with numerous manufacturers and contractors to create architectures of nested, multiscaled and multivalent seams. [ABSTRACT FROM AUTHOR]

The "less is more" motto is one of the most successful cultural memes related to Bauhaus. This famous dictum, widely attributed to Ludwig Mies van der Rohe, has first become popular within the discourse of architecture, and originally referred to a clean, functional and ornament-free approach. This study analyzes the antecedents and the afterlife of the motto, from its first written occurrence (in a line in a Robert Browning poem) until its interpretations which have come to define the 20th century (Clement Greenberg's formalism, in which "less" points toward the autonomy of art, and A. C. Danto's contextualism, where it cleans up the space of conceptual art). While the art historical consequences of the motto can hardly be overstated, the social effects of "less is more" also reveal the downsides of simplicity: "less", as understood in Bauhaus, does not mean cheaper or more accessible. Hence, the question arises whether our aestheticized world, ultimately rooted in Bauhaus, is sustainable without endangering the environment. [ABSTRACT FROM AUTHOR]

Crystalline qualities of glass were very appreciated by Expressionism. Some years later, transparency became a keystone for the Modern Movement. Mies van der Rohe drew his entry for the Friedrichstrasse Competition in 1921, in a moment of transition between both architectonical movements. The aim of this article is to show how the graphic documents made by Mies exemplify this change of tendency. His representation of the glazed enclosure evolves from opaque reflection to a partial transparency that shows the inner structure. This process confirms the importance of structural conception for the architectural form. These drawings show the beginning of a new poetic of transparency, for its author as for Modernism.

La aplicación del concepto trasparencia fenomenal al collage, según la definición de C. Rowe y R. Slutzky, desde su origen en el cubismo a la obra de Mies van der Rohe, desencadena una reflexión sobre cómo concibe el espacio. Se toma como base el proyecto de la casa Resor para analizar cómo se manifiesta en los collages, por su carácter inherente a la organización de las figuras, y se deduce cómo se hubiera hecho sensible en su espacio al poner en relación los elementos que lo conforman.

Tras 50 años de su muerte, la relevancia que Mies van der Rohe mantiene para la historia de la arquitectura es definitiva. Donde otros han interpretado un Mies técnico, uno metafísico o uno posmoderno, aquí estas tres interpretaciones convergen en un Mies minimalista. A través de la arquitectura del minimalismo, concepto del cual se da una definición particular, en las próximas páginas se pretende analizar la práctica de Mies en general y del Pabellón Alemán de Barcelona en particular. Como se verá, el Pabellón representa un momento culminante en la trayectoria del minimalismo, cuyo inicio situamos en la arquitectura industrial del siglo de la Ilustración. De la mano de recursos que suelen ser pasados por alto en las revisiones de su trabajo, como la primera experiencia profesional de Mies, su formación filosófica y su pensamiento dialéctico, esta reflexión parte de la lógica contenida dentro de su célebre frase "menos es más", una lógica que mantiene fuerza vital hasta la actualidad. A través del minimalismo, en la conclusión se vislumbra el carácter prototípico de Mies.

Sobre arquitectura hablaba Mies van der Rohe cuando en 1929 proyectó para la Exposición Universal de Barcelona el pabellón alemán que representó a la nueva República de Weimar. Sin programa, sin apenas tiempo, su propósito final fue mostrarse a sí mismo como culminación de una investigación larvada en años anteriores sobre la base de una serie de stands expositivos para la industria alemana. Un museo temporal para una nueva arquitectura que pasó a la condición de mito “ausente permanente” una vez desmantelado a través de 14 imágenes consideradas ejemplos de una nueva espacialidad. Sobre arquitectura se pensaba cuando el Ayuntamiento de Barcelona decidió llevar a cabo su reconstrucción en los años ochenta y sobre arquitectura se convoca todos los años a artistas y arquitectos a reflexionar sobre esta obra a través de una serie de intervenciones temporales donde se pone de manifiesto el valor paradójico del expositor expuesto y ese espacio vacío (in)visible SOBRE la base de las cualidades que lo (in)definen.

Copyright of Bitacora: Revista de Arquitectura is the property of Universidad Nacional Autonoma de Mexico, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A generative description of Mies van der Rohe's courthouse design language is presented in the form of a three-dimensional parametric shape grammar and its significance in the discourse of courthouse building type is discussed. [ABSTRACT FROM AUTHOR]

How did Le Corbusier make the transition from mountain boy to modernist master? How did he develop his architectural persona and his design identity, and how did he communicate it to maximum effect? British journalist, author and broadcaster Jonathan Glancey leads us through some of the critical moments in Le Corbusier's rise to architectural immortality. [ABSTRACT FROM AUTHOR]

Writer and curator Vicky Richardson argues that our leading architects have stopped talking about architecture in favour of the same managerial jargon being used by civil servants, accountants and admen. [ABSTRACT FROM AUTHOR]