DOCSLIB.ORG

Mies Van Der Rohe, Architect As Educator : 6 June Through 12 July

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MIES VAN DER ROME: ARCHITECT AS EDUCATOR r'' //i'rA V'•*r,^ :.#•% >-^T ,' . V I ri3v ^•J*; ..; :<i4"4*. MIES VAN DER ROME: ARCHITECT AS EDUCATOR 1 ^^^^^ ! i 1 1 1 ' 1 1 1 c 1 1 t ^ i MIES VAN DER ROME: ARCHITECT AS EDUCATOR 6 June through 12 July 1986 Catalogue for the exhibition edited by Rolf Achilles, Kevin Harrington, and Charlotte Myhrum Mies van der Rohe Centennial Project Illinois Institute of Technology, Chicago The Mies van der Rohe Centennial Project dedicates this cataiogue to John Augur Holabird, Sr, FAIA, (May 4. 1886-May 4, 1945), respected friend of Ludwig Mies van der Rohe. His initiative and vision as Trustee of Armour Institute of Technology and as Chairman of its Search Committee which brought Mies to Chi- cago contributed significantly to changing the course of architectural education in America. Funding of the Centennial Project and exhibition has been provided by the Graham Foundation for Advanced Studies in the Fine Arts, the National Endowment for the Humanities, the Illinois Arts Council, a state agency, the New House Foundation, the S.O.M. Foundation and the following individuals: Michael E. Breen, Peter Carter, Molly Cohen, George Danforth. Joseph Fujikawa, Myron Goldsmith, Warren Haber, John Holabird, Jr., Phyllis Lambert, Dirk Lohan, John Neil, Peter Palumbo. H.P. Davis Rockwell, John B. Rodgers, Gene Summers and Steven Weiss. Cover photo: Experimental photograph. Photographer unknown. Collection of Edward A. Duckett. Catalogue number 135. Frontispiece: Mies van der Rohe with model of S. R. Crown Hall. Photograph by Arthur Slegel. Courtesy Chicago Historical Society. The catalogue is distributed by The University of Chicago Press Library of Congress Catalogue Card Number 86-71034 Clothbound: ISBN 0-226-31716-1; Paperbound: ISBN 0-226-31718-8. Copyright © 1986. Illinois Institute of Technology, Chicago. Illinois. All rights reserved. Designed by Harvey Retzloff Composition by Computype" Printed in the United States of America by Congress Printing Company CONTENTS 6 Lenders to the Exhibition 7 Acknowledgments 9 Foreword George Schipporeit 11 MIES VAN DER ROME: ARCHITECT AS EDUCATOR 13 The Master of Humane Architecture Reyner Banham 17 Machines a Mediter Richard Padovan 27 Mies as Self-Educator Fritz Neumeyer 37 Mies van der Rohe: Architect and Teacher in Germany Sandra Honey 49 Order, Space, Proportion — MIes's Curriculum at IIT Kevin /Harrington 69 CATALOGUE OF THE EXHIBITION 70 1 Writing, Lecturing and Building 1919-1929 72 2 Bauhaus and Private Teaching 1930-1937 94 3 IIT Curriculum 1938-1958 116 4 IIT as a Model of a University Campus 122 5 Graduate Studies under Mies 1938-1958 149 APPENDIX 151 IIT Courses in Architecture 1938-1958 155 IIT Architecture Faculty and Students 1938-1958 165 Solved Problems: A Demand on Our Building Methods IVIies van der Rohe 167 Explanation of Educational Program iviies van der Rohe LENDERS TO THE EXHIBITION The Art Institute of Chicago Reginald Malcolmson Bauhaus Archiv, Berlin Carter H. Manny, Jr. Berliner Bild-Bericht, Berlin Marcia Gray Martin Thomas Burleigh John Munson Canadian Centre for Architecture, Montreal Brigitte Peterhans Chicago Historical Society Richard Nickel Committee George Danforth Norman Ross Edward A. Duckett Rudolf Kicken Galerie, Cologne Mark Finfer David Sharpe Kenneth Folgers Malcolm Smith Joseph Fujikawa Edward Starostovic Feico Glastra van Loon George Storz Albert Goers David Tamminga Myron Goldsmith Michael Van Beuren Ogden Hannaford John Vinci R. Lawrence J. Harrison Yau Chun Wong Hedrich Blessing Donald Wrobleski John Burgee Architects with Philip Johnson Edmond N. Zisook Raymond Kliphardt ACKNOWLEDGMENTS Several years ago, when the centennial of Mies's birth seemed far away, Others have also helped to create this catalogue and the exhibition. In some people in Chicago and New York began to think about the event January 1983 Thomas L. Martin, Jr., President of IIT, established the and how best to honor the memory of a great architect and teacher. It Centennial Advisory Committee, co-chaired by George Danforth and was soon agreed that the two important repositories of Mies's legacy, John Holabird, Jr., architect and son of the chairman of the committee the Department of Architecture, Illinois Institute of Technology, Chi- that brought Mies to Chicago. Other Committee members were Peter cago and the Mies Archive, the Museum of Modern Art, New York, Beltemacchi, Harold Bergen, Heather Bilandic, Myron Goldsmith, Ar- should mount independent exhibitions — one concentrating on Its le- chibald McClure, Nancy Moss, George Schipporeit, David Sharpe, Ar- gacy, the other on its holdings. In this way IIT developed its exhibition thur Takeuchi, James Vice, Willard White, representing trustees, ad- and catalogue — Mies van der Rohe: Architect as Educator and MoMA ministrators and faculty. George Schipporeit, Dean of the College of organized its Mies van der Rotie Centennial Extilbition. By showing Architecture, Planning, and Design has acted as Project Director. Car- both exhibitions together in Chicago and in Berlin, the two centers of ter H. Manny, Jr. served as chairman of the Committee of Friends. Mies's life, his impact on the 20th Century could be thoroughly Arthur Takeuchi organized the series of eight lectures sponsored by IIT explored. Both exhibits, each in its own way, emphasize a unique aspect with assistance from The Art Institute of Chicago and the Goethe Insti- of the man, Ludwig Mies van der Rohe, educator and architect. tute Chicago. The executive body for the Mies Centennial Project, the Many people have worked to create the IIT exhibit and catalogue. None Planning Committee, originally consisted of George Danforth, Myron has contributed more than George Danforth, Mies's student, colleague, Goldsmith, George Schipporeit, David Sharpe, Arthur Takeuchi. and T. and successor as Director of the School of Architecture. George's Paul Young. Initially the Project Curator, T. Paul Young with the assist- seemingly personal acquaintance with every student who attended IIT ance of Billie McGrew, Project Assistant, prepared a broad range of from 1938 to 1958 and his continued interest in their careers is the planning documents, reports, and the N.E.H. grant application on foundation upon which this exhibit and its catalogue Is built. George's which the Project is based. The foundation they laid enabled the Project selfless interest in creating the finest possible tribute to Mies as to achieve its purpose. educator has been an inspiration to those fortunate enough to be his In the fall of 1 984 and again in the spring of 1 985, John Sugden, David colleagues. Without his memory, initiative, attention to detail, humor, Haidand Arthur Takeuchi organized two weekend long colloquia at the typing skills, sure eye, bullying at just the right moment those that need Graham Foundation for students, former colleagues and friends of catalysts for the It, and ever-present good humor, much of what follows in this publica- Mies. These two events proved to be very important helped all tion would not be. Project. They gave it direction and meaning, and further ACKNOWLEDGMENTS those who attended to better understand the state of knowledge and National Endowment for the Humanities, provided guidance and en- interest in the work and life of Mies. couragement when the fate of the Project looked most bleak. Special thanks to Phyllis Lambert for her keen interest in the ex- In Chicago we especially thank John Zukowsky, Curator of the De- hibition's direction and guidance in selecting essayists for the cata- partment of Architecture at The Art Institute of Chicago, Neil McClure, logue: and Dirk Lohan for his suggestions and support. Director of the Chicago Architecture Foundation and its Education The day-to-day direction of the Project has been accomplished by Rolf Director, Paul Glassman for coordinating tours; Wim de Wit, Curator of Achilles, with the assistance of George Danforth and Charlotte the Architectural Collection at the Chicago Historical Society; Dr. Wal- Myhrum. John Vinci curated and designed the exhibition with the ter Breuer, Director, and Angela Greiner, Program Assistant at the assistance of George Danforth and Charlotte Myhrum. Goethe Institute Chicago; Carter H. Manny, Jr., Director of the Graham A number of students contributed to the Project. Outstanding among Foundation for Advanced Studies in the Fine Arts; the staff of Inland these is Donna J. Junkroski who through dozens of hours of reviewing Architect; Franz Schuize; I. Michael Danoff, Director of the Museum of microfilm and old class records created a complete list of students, Contemporary Art and its Director of Public Relations, Lisa Skolnik; faculty and their classes during Mies's tenure as Director. Other stu- and Christian K. Laine of neocon. dents who assisted the Project were George Sorich, model builder, In creating the catalogue, Harvey Retzloff has proved a most under- Laurie Grimmer and Michael Patton. standing designer and Carl Reisig of Congress Printing, a superb In the College of Architecture, Planning, and Design, help was forth- printer. Thanks especially to the loan of a number of computers and the coming from San Utsunomiya and Bernie Ivers, Assistant Deans, programming skills of Billie McGrew, whose continuous Interest in the Catherine Howard and Sylvia Smith in the College Office and the Dean Project saw it through difficult times and paved the way for a smooth of the College, George Schipporeit. and speedy production of this catalogue. Photography and printing was In the professional community many colleagues have been very provided by Ross-Ehlert, Inc., Hedrich Blessing, Cheri Eisenberg, cooperative. We are especially indebted to the Bauhaus Archiv, Berlin Michael Tropea and Rolf Achilles. and its Director Dr. Peter Hahn for his very generous assistance to the Many individuals and firms have helped by lending material to the point of co-sponsorship of this exhibit in Berlin. We are also deeply in exhibition and lending counsel. Among these is Thomas Burleigh, who, debt for his subvention of photographic expenses and the German through a cache of pictures provided a thorough insight into life at IIT; language edition of this catalogue.
Recommended publications
  • Phyllis Lambert and the Love of Architecture

    Phyllis Lambert and the Love of Architecture

    ringen in landgebruik moet je op een continu vlak zien; wanneer we het gezicht van het landschap niet goed krijgen, als een reflectie van verschil- ‘Jeanne d’Architecture’, or: lende gebruikstypen, eindigen we als een architectonisch themapark. Dan moet iedereen een stem hebben in het ontwerpproces, dat in feite al Phyllis Lambert and the Love of begint voordat er een ontwerp is gemaakt – als een project al ooit van de grond komt. Eigenlijk lijkt ‘onderzoek’ een betere beschrijving van zelfs Architecture de toegepaste resultaten van een project, en van de manier waarop deze andere projecten van informatie voorzien. ‘Iedereen’ hier betekent boeren, 56 56 Mark Pimlott 57 landbouwconsulenten, boswachters, hoveniers, pachters, en zelfs (hoewel meestal alleen in retrospect) de ontwerper en opdrachtgever. Geschiedenis moet gezien worden als een nuttige referentie, niet als To the architect who knows of Phyllis Lambert but knows very little een model; het is lastig haar, in haar staat van zorgvuldig gepoetst opper- about her, two facts are likely to serve as outlines of a character sketch: vlak, op enige overtuigende manier aan te passen of te restaureren. Geen first, that she was instrumental in commissioning Ludwig Mies van enkel gebouw op het landgoed is teruggebracht of wordt gebruikt in de der Rohe to design the Seagram Building, the enormously influential staat, waarvoor het oorspronkelijk was bedoeld. Een eenvoudige les van de icon of modern architecture; second, that she was the driving force geschiedenis is dus dat alle oplossingen op hun best provisorisch zijn, de behind the Canadian Centre for Architecture, one of architecture’s eerste stappen in een serie aanpassingen en hergebruik.
  • DCPL-2013-RFQ-0004 Attachment A

    DCPL-2013-RFQ-0004 Attachment A

    Attachment A NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking “x” in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter “N/A” for “not applicable.” For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name Martin Luther King Memorial Library other names 2. Location street & number 9th and G Streets, NW not for publication city or town Washington, D.C. vicinity state District of Columbia code DC county code 001 zip code 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets does not meet the National Register criteria. I recommend that this property be considered significant nationally statewide locally.
  • Ludwig Mies Van Der Rohe 1 Ludwig Mies Van Der Rohe

    Ludwig Mies Van Der Rohe 1 Ludwig Mies Van Der Rohe

    Ludwig Mies van der Rohe 1 Ludwig Mies van der Rohe Ludwig Mies van der Rohe Born Ludwig MiesMarch 27, 1886Aachen, North Rhine-Westphalia, Germany Died August 17, 1969 (aged 83)Chicago, Illinois, USA Nationality German 1886-1944/American 1944-1969 Awards Order Pour le Mérite (1959) Royal Gold Medal (1959) AIA Gold Medal (1960) Presidential Medal of Freedom (1963) Work Buildings Barcelona Pavilion Tugendhat House Crown Hall Farnsworth House 860-880 Lake Shore Drive Seagram Building New National Gallery Toronto-Dominion Centre Ludwig Mies van der Rohe (March 27, 1886 – August 17, 1969) was a German architect.[1] He is commonly referred to and addressed by his surname, Mies, by his colleagues, students, writers, and others. Ludwig Mies van der Rohe, along with Walter Gropius and Le Corbusier, is widely regarded as one of the pioneering masters of Modern architecture. Mies, like many of his post World War I contemporaries, sought to establish a new architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created an influential 20th century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strived towards an architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. He called his buildings "skin and bones" architecture. He sought a rational approach that would guide the creative process of architectural design. He is often associated with the aphorisms "less is more" and "God is in the details".
  • ORAL HISTORY of GENE SUMMERS Interviewed by Pauline

    ORAL HISTORY of GENE SUMMERS Interviewed by Pauline

    ORAL HISTORY OF GENE SUMMERS Interviewed by Pauline A. Saliga Compiled under the auspices of the Chicago Architects Oral History Project Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright Ó 1993 The Art Institute of Chicago This manuscript is hereby made available for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii CONTENTS Preface iv Outline of Topics v Oral History 1 Selected References 109 Appendix: Resume 112 Index of Names and Buildings 114 iii PREFACE In the fall of 1987, I met with Gene Summers for two days in The Art Institute of Chicago to discuss his career to date. Because, early in his career, Summers was the supervising architect for some of Mies van der Rohe's most celebrated projects, including the Seagram Building (1956) and the National Gallery in Berlin (1960), his work is often closely associated with that of Mies. However, Summers's career is also distinguished by many critically-acclaimed buildings that he, himself, designed, the best known of which is the McCormick Place Convention Center (1970) on Chicago's lakefront. A charming and engaging man, Summers is notable among architects for both his considerable talent and his uncanny humility. Since the time we spoke, Summers returned from his work as a sculptor in the south of France to Chicago to head the School of Architecture at the Illinois Institute of Technology, where he received his own architectural training four decades ago.
  • Lilly Reich : Designer and Architect Matilda Mcquaid, with an Essay by Magdalena Droste

    Lilly Reich : Designer and Architect Matilda Mcquaid, with an Essay by Magdalena Droste

    Lilly Reich : designer and architect Matilda McQuaid, with an essay by Magdalena Droste Author McQuaid, Matilda Date 1996 Publisher The Museum of Modern Art: Distributed by Harry N. Abrams ISBN 0810961598, 0870701444 Exhibition URL www.moma.org/calendar/exhibitions/278 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Archive MoMA 1738 u n p. n n TS.xTn.iEN M A.LER HOL2 UNP FouRNlER? LILLY REICH DESIGNER AND ARCHITECT MATILDA McQUAID WITH AN ESSAY BY MAGDALENA DROSTE THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK /\>rch\MX MahA nn Published on the occasion of the exhibition Lilly Reich: Designer and Architect, PHOTOGRAPH CREDITS organized by Matilda McQuaid, Associate Curator, Department of Architecture Pierre Adler: 27 bottom right, 31 bottom left, 32, 34 bottom left, 34 top right, * * and Design, The Museum of Modern Art, New York, February 7- May 7, 1996. 36 bottom left, 37 right, 41 bottom left and right, 42 bottom, 54, back endpaper. Courtesy Bauhaus-Archiv, Berlin: 5, 30, 46. The exhibition is made possible by a generous grant from Marshall S. Cogan. From Die Bauwelt 9 (January 21, 1911): 11 top. Berliner Bild-Bericht, courtesy Mies van der Rohe Archive, The Museum of The accompanying publication is made possible by a grant from the Graham Modern Art, New York: 27 top, 33, 34 top left. Foundation for Advanced Studies in the Fine Arts.
  • History Ludwig Mies Van Der Rohe’S Idea of a Modern Courtyard House Is Explored Considering Its Context Stimuli, Development, and Practical Applications

    History Ludwig Mies Van Der Rohe’S Idea of a Modern Courtyard House Is Explored Considering Its Context Stimuli, Development, and Practical Applications

    arq (2015), 19.2, 123–132. © Cambridge University Press 2015 history Ludwig Mies van der Rohe’s idea of a modern courtyard house is explored considering its context stimuli, development, and practical applications. The Miesian courtyard house Luciana Fornari Colombo During the 1930s, the renowned architect Ludwig Art in New York (MoMA), the Canadian Centre for Mies van der Rohe (Aachen, 1886–Chicago, 1969) Architecture in Montreal, the Art Institute of developed a series of architectural projects on the Chicago, and the Library of Congress in Washington, courtyard house that were marked by a research DC. An example of such sources is provided in the through design approach. These projects appendix: a manuscript written by Mies in 1962 that deliberately tested modern construction has been omitted from the anthologies of his techniques and variations in brief, plan writings, despite containing a key statement on his configuration, and context in order to modernise a courtyard house idea.4 type of house that has existed since prehistory in different places around the world. This house type Context stimuli is characterised by strong introspection. As its Before focusing on the introverted courtyard house, exterior facades coincide with peripheral protective a type of house that was not traditionally built in walls that have a minimum number of openings, Germany, Mies had already been exploring the indoor spaces have to search for light, air, and theme of the modern house through the detached views into private walled gardens that are open house, such as in the Concrete Country House project only to the sky.1 (1923), and through the apartment block, such as in The Miesian version of the modern courtyard his project for the Weissenhof Exhibition (Stuttgart, house is explored in this article considering three 1926–7).
  • Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: Arthistoricum.Net 2021, P

    Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: Arthistoricum.Net 2021, P

    Opening Speech: The Bauhaus—Workshop of Modernism. A Complex of Different Teachings and Practices, and Irresolvable Areas of Tension and its New Design as a Success Story Winfried Nerdinger Nerdinger, Winfried, Opening Speech: The Bauhaus – Workshop of Modernism. A Complex of Different Teachings and Practices, and Irresolvable Areas of Tension and its New Design as a Success Story, in: Bärnreuther, Andrea (ed.), Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: arthistoricum.net 2021, p. 45-71, https:// doi.org/10.11588/arthistoricum.843.c11895 Fig. 1 Portrait of Johannes Itten in Bauhaus clothing. Photograph: Paula Stockmar, around 1921 Fig. 2 Material study from the Itten pre- liminary course by Margit Téry-Adler. Photograph: Paula Stockmar (attri- buted), 1920–1921 Fig. 3 Postcard from Theo van Doesburg to Anthony Kok with view of the Weimar Bauhaus building, based on designs by Henry van de Velde 47 Winfried Nerdinger [ A ] Can we see in the Bauhaus as a whole—despite its apparent heterogeneity—a uniform stance or even something like the epitome of a social attitude? bauhaus centenary During the countless events to mark the 100th anniversary, «the Bauhaus» was almost always used as a term referring to a re- bauhaus school education reform form-oriented school which, while diverse, nevertheless assumed [ A ] a uniform stance from 1919 to 1933. At the same time, «the Bauhaus» served as a stylistic term to label almost every form of unorna- bauhaus style mented «modern» design—from geometric teaspoons to large white-painted flat-roof housing estates. Walter Gropius would have been pleased about both those references, and would also have been glad that the Bauhaus Verbund [Association], founded on the occasion of the centenary, gave further impetus to a con- ception of the Bauhaus as an idea that remains ground-breaking today, in terms of both its programmatic approach and its aspira- tion—100 years of bauhaus «Thinking the World Anew».
  • Dissertationcarolaebert.Pdf (7.969Mb)

    Dissertationcarolaebert.Pdf (7.969Mb)

    Carola Ebert Entspannte Moderne Der westdeutsche Bungalow 1952–1969 als Adaption eines internationalen Leitbilds und Symbol einer nivellierten Mittelschichtsgesellschaft Dissertation zur Erlangung des akademischen Grades Doktorin der Ingenieurwissenschaften (Dr.-Ing.) vorgelegt im Fachbereich Architektur Stadtplanung Landschaftsplanung der Universität Kassel Prof. Dipl.-Ing. Philipp Oswalt (1. Gutachter) Prof. Dr. Karin Wilhelm MA (2. Gutachterin) Datum der mündlichen Prüfung: 5. Juli 2016 Carola Ebert Entspannte Moderne. Der westdeutsche Bungalow als Adaption eines internationalen Leitbildes und Symbol einer nivellierten Mittelschichtsgesellschaft INHALT TEIL 1 EINFÜHRUNG 6 1 Einleitung 6 1.1 Ansatz, Fragestellung und Methodik 10 1.2 Aufbau und Inhalt der Arbeit 15 2 Internationale Referenzen. Der historische Bungalow und die amerikanische Wohnhausmoderne bis Anfang der sechziger Jahre 17 2.1 Der historische Bungalow: Indien, England und Amerika 19 2.2 Transatlantische Begriffsverschiebung: Moderne ‚Bungalow’-Bauten in den USA 29 2.3 Mittelschicht zwischen Stadt und Land: Konnotationen amerikanischer Wohnhäuser 38 2.4 Resümee: Internationale Referenzen 46 3 Deutscher Kontext. Zur Geschichte des modernen Einfamilienhauses und der Nachkriegsbundesrepublik 48 3.1 Laboratorium der Moderne: Das moderne Einfamilienhaus in Deutschland 1918–1945 49 3.2 Stunde Null und die Ideologie der Mittelschichtsgesellschaft: Westdeutschland nach 1945 65 3.3 Resümee: Deutscher Kontext 76 DER WESTDEUTSCHE BUNGALOW 1952–1969 80 4 Bautyp und Begriff. Zur Geschichte
  • Mies En Canadá: Una Revisión De Sus Proyectos Y Obras En Toronto Y Montreal Mies in Canada: an Overview of His Projects and Works in Toronto and Montreal

    Mies En Canadá: Una Revisión De Sus Proyectos Y Obras En Toronto Y Montreal Mies in Canada: an Overview of His Projects and Works in Toronto and Montreal

    29 VLC arquitectura volume 6 issue 1 Mies en Canadá: una revisión de sus proyectos y obras en Toronto y Montreal Mies in Canada: an overview of his projects and works in Toronto and Montreal Vincenzina La Spina Received 2018.10.17 Universidad Politécnica de Cartagena. [email protected] Accepted 2019.03.26 To cite this article: La Spina, Vincenzina. “Mies in Canada: an overview of his projects and works in Toronto and Montreal”. VLC arquitectura Vol. 6, Issue 1 (April 2019): 29-66. ISSN: 2341-3050. https://doi.org/10.4995/vlc.2019.10827 Resumen: El principal objetivo del artículo es dar a conocer la obra del gran maestro del Movimiento Moderno Mies van der Rohe en Canadá. En concreto, un total de 7 proyectos, 2 de ellos sin ejecutar, y una colaboración urbanística en las ciudades de Toronto y Montreal. Se trata, en su mayoría de proyectos poco conocidos, salvo el Toronto-Dominion Centre y el Westmount Square en Montreal, realizados en la década de los años 60 del siglo XX, en su última etapa creativa y con más de 70 años. No obstante, son únicos e icónicos porque el arquitecto reelabora y perfecciona soluciones e ideas ya adoptadas en propuestas anteriores, y aborda además en uno de ellos un diferente uso arquitectónico, la estación de servicio. La obra canadiense de Mies también se adecua morfológicamente a las tipologías a las que se reduce su arquitectura: el edificio de gran altura, el edificio pabellón y la combinación de ambos en una super-manzana prestando especial atención a la configuración urbana.
  • CTBUH Journal

    CTBUH Journal

    About the Council The Council on Tall Buildings and Urban Habitat, based at the Illinois Institute of CTBUH Journal Technology in Chicago, is an international International Journal on Tall Buildings and Urban Habitat not-for-profi t organization supported by architecture, engineering, planning, development, and construction professionals. Founded in 1969, the Council’s mission is to disseminate multi-disciplinary information on Tall buildings: design, construction, and operation | 2013 Issue IV tall buildings and sustainable urban environments, to maximize the international interaction of professionals involved in creating Case Study: Gate Towers, Abu Dhabi the built environment, and to make the latest knowledge available to professionals in a useful Designing Tall to Promote Physical Activity in China form. The Monadnock Building, Technically Reconsidered The CTBUH disseminates its fi ndings, and facilitates business exchange, through: the Thermal Breaks in High-Rise Balconies publication of books, monographs, proceedings, and reports; the organization of Demolition or Renovation? world congresses, international, regional, and specialty conferences and workshops; the In Numbers: Middle East maintaining of an extensive website and tall building databases of built, under construction, Talking Tall with Phyllis Lambert and proposed buildings; the distribution of a monthly international tall building e-newsletter; the maintaining of an international resource center; the bestowing of annual awards for design and construction excellence and individual lifetime achievement; the management of special task forces/ working groups; the hosting of technical forums; and the publication of the CTBUH Journal, a professional journal containing refereed papers written by researchers, scholars, and practicing professionals. The Council is the arbiter of the criteria upon which tall building height is measured, and thus the title of “The World’s Tallest Building” determined.
  • Modelwoningen Op Expo 58

    Modelwoningen Op Expo 58

    doi: 10.2143/GBI.36.0.2131157 MODELWONINGEN OP EXPO 58 DRIE CASES: DE NEDERLANDSE, DUITSE EN FRANSE PAVILJOENEN IRIS BAUWENS EN CÉLINE GOESSAERT Modelwoningen maken al lang een wezenlijk onderdeel uit de nadruk meer op rust en ontspanning in de woning. Ook van nationale en internationale tentoonstellingen. Paul the American way of life had een belangrijke invloed op de Betts en David Crowley stellen dat het centraal plaatsen inrichting van de woning. We bekijken hoe de Neder- van huisvesting in grote nationale en internationale evene- landse, Duitse en Franse modelwoningen zich presenteren menten teruggaat op de Great Exhibition in Londen van en welke boodschap zij willen overbrengen. We situeren ze 1851 en de Exposition Universelle in Parijs van 1867. Daar ook binnen de context van hun eigen paviljoen en zien zo werden industrieel vervaardigde producten en arbeiders- hoe sommige modelwoningen naadloos aansluiten op het woningen voor het eerst tentoongesteld.1 Ook in de 20ste algemeen thema en andere minder. De manier waarop de eeuw werden modelwoningen gebruikt om de nieuwe idea- boodschap wordt overgebracht en de hiervoor gebruikte len van het wonen en het huiselijke leven ingang te doen methodes verschillen ook van land tot land en vormen op vinden, bijvoorbeeld op verschillende edities van The Ideal zich een interessant gegeven. Ten slotte belichten we de Home Exhibition (sinds 1908) in Londen, op de Weissenhof vaak politiek getinte ondersteunende nationale organisaties. Siedlung (1927) van de Deutsche Werkbund2 of op de De Nederlandse, Duitse en Franse modelwoningen op Salons des Arts Ménagers (sinds 1923) in Parijs.3 Expo 58 worden zowel in een brede algemene als in een nationale context gelezen.
  • Photographs Written Historical and Descriptive

    Photographs Written Historical and Descriptive

    MARTIN LUTHER KING JR. MEMORIAL LIBRARY HABS DC-887 (Downtown Central Library) HABS DC-887 901 G Street Northwest Washington District of Columbia PHOTOGRAPHS WRITTEN HISTORICAL AND DESCRIPTIVE DATA REDUCED COPIES OF MEASURED DRAWINGS HISTORIC AMERICAN BUILDINGS SURVEY National Park Service U.S. Department of the Interior 1849 C Street NW Washington, DC 20240-0001 HISTORIC AMERICAN BUILDINGS SURVEY MARTIN LUTHER KING, JR. MEMORIAL LIBRARY (DOWNTOWN CENTRAL LIBRARY) HABS No. DC-887 Location: 901 G Street, Northwest, Washington, D.C. The site is located on the southern half of Square 375 (bound by Ninth, Tenth, and G Streets and G Place, Northwest) on Lot 825, which is located at the northwest corner of the intersection of G and Ninth Streets, Northwest, and which encompasses approximately 76,000 square feet of land area. The Library is located at latitude: 38.898696, longitude: -77.024852. The coordinate represents a point to the center of the building and was obtained on March 28, 2017 using Google Earth (WGS84). There is no restriction on its release to the public. Present Owner/ Occupant: District of Columbia Public Library (DCPL) Present Use: Public library Significance: The Martin Luther King Jr., Memorial (MLK) Library was constructed between 1968 and 1972 to serve as the Downtown Central Library for the District of Columbia. Replacing the Neoclassical style Carnegie Library (1903) on Mount Vernon Square, the International style MLK Library was designed and developed as part of a larger urban renewal plan for downtown Washington, D.C. during the mid-twentieth century. The only dedicated library building designed by the internationally re nowned Modernist architect Ludwig Mies van der Rohe, MLK Library is one of the few great Modernist buildings to have ever been constructed in the District and is an important example of the International style in the nation’s capital.