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Academic literature on the topic 'MIES'

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Published: 4 June 2021
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Journal articles on the topic "MIES"

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Hartoonian, Gevork. "Mies." Fabrications 18, no. 2 (December 2008): 26–49. http://dx.doi.org/10.1080/10331867.2008.10539633.

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Darnell, Helena, and Joni Skiftesvik. "Kotikoivuinen mies." World Literature Today 74, no. 3 (2000): 610. http://dx.doi.org/10.2307/40155910.

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Preciado, Beatriz. "Mies-conception." Multitudes 20, no. 1 (2005): 47. http://dx.doi.org/10.3917/mult.020.0047.

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Shanks, David R. "Who, Mies?" Journal of Architectural Education 73, no. 1 (January 2, 2019): 20–31. http://dx.doi.org/10.1080/10464883.2019.1560795.

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Lizárraga Sánchez, Salvador. "Mies en Tultitlán." Bitácora arquitectura, no. 26 (September 21, 2016): 83. http://dx.doi.org/10.22201/fa.14058901p.2014.26.57142.

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Mies van der Rohe proyectó un conjunto para Bacardí y Cía. México del cual sólo se construyó el edificio para las oficinas centrales de la multinacional en este país. La historia de la única intervención del arquitecto alemán en América Latina coincidió con uno de los momentos más complejos de la Guerra Fría: la Revolución cubana y la crisis de los misiles. A pesar de la enorme influencia que Mies ejerció en la arquitectura mexicana del siglo xx, la historia y la crítica de este país han guardado un silencio casi absoluto al respecto de su proyecto en Tultitlán.
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González Presencio, Mariano. "Mies the Dandy." Ra. Revista de Arquitectura 17 (December 22, 2015): 19–26. http://dx.doi.org/10.15581/014.17.19-26.

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Rehm, Robin. "Japan – Wright – Mies." Figurationen 5, no. 2 (December 2004): 67–82. http://dx.doi.org/10.7788/figurationen.2004.5.2.67.

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O'Rourke, Kathryn E. "Mies and Bacardi." Journal of Architectural Education 66, no. 1 (September 28, 2012): 57–71. http://dx.doi.org/10.1080/10464883.2012.715573.

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Paddon, Seija, and Juha Seppälä. "jumala oli mies." World Literature Today 71, no. 3 (1997): 621. http://dx.doi.org/10.2307/40152956.

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Ruotsala, Helena. "Kolmen kotimaan mies." Sananjalka 61, no. 61 (November 26, 2019): 272–80. http://dx.doi.org/10.30673/sja.84303.

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Dissertations / Theses on the topic "MIES"

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Mantovani, Genari Eduardo. "Mies' two-way span." Doctoral thesis, Universitat Politècnica de Catalunya, 2015. http://hdl.handle.net/10803/402785.

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The 50' x50' House Project (1951-1952) introduces the construction of a new formal system in the work of Mies van der Rohe (1886-1969): the two-way span buildings. In 1951, at age 65 and after more than a decade in the US, Mies potentiates the formal construction of its architecture incorporating American technique to his intellectual formation -forged in the centre of modern European avant-garde. In an environment of economic and cultural prosperity, he experiences a period of intense architectural production and completes the Farnsworth House (1945-1951 )-one-way span-, and the 860-880 Lake Shore Drive (1948-1951 ) -skeleton frame. The proposal of the House 50' x 50' implies an abstract exercise in composition: a horizontal plane of square geometry superimposed on a horizontal reference plane of previously undefined limits -roof plan and ground plan; figure and ground. After solving the intrinsic conditions for architecture -technique, use and site- and its precise relationship to the geometric limit, Mies defines the minimums for a two-way span structure and the formal principles governing the construction of other projects in the system. In the 1950s and 1960s, Mies uses the same approach -with different scales, techniques, uses and sites- in five projects: 50' x50' House (1951 -1952); Convention Hall, Chicago, USA(1953-1954) (720 'x720'); Offices Ron Bacardi, Santiago, Cuba (1957-1960) (180 'x180'); Museum George Schaefer, Schweinfurt, Germany (1960-1963) (190 'x 190'); and National Gallery, Berlín, Germany (1962-1968) (212 'x 212')-the only project built from the system and conclusion of his research. The thesis focuses on the building process of Mies' two-way span, from the approach used with 50' x 50' House - 1951- until the construction of the Berlín Gallery-1968. lt aims understanding and visual confirmation of the internal order of each project and the system as a whole. Driven by precise criteria of the formal relationship, the definition of a city environ from a horizontal plane of square geometry, summarizes Mies' architectural principles, and materializes - in its maximum expression- the most consistent principles of modern art.
El proyecto de la Casa 50' x 50' (1951-1952) introduce la construcción de un nuevo sistema formal en la obra de Mies van der Rohe (1886-1969): los edificios diáfanos de estructura bidireccional, o two-way span. En 1951 , con 65 años y tras más de una década en Estados Unidos, Mies potencializa la construcción formal de su arquitectura incorporando la técnica americana a su formación intelectual - forjada en el centro de las vanguardias artísticas modernas europeas. En un entorno de prosperidad económica y cultural, vive un periodo de intensa producción arquitectónica y acaba de construir la Casa Farnsworth (1945-1 951) -one-way span- y las torres 860-880 del Lake Shore Drive (1948-1951) -skeleton trame. En la propuesta de la Casa 50' x 50' está implícito un ejercicio abstracto de composición: un plano horizontal de geometría cuadrada superpuesto a un plano horizontal de referencia de limites previamente indefinidos - plano de cubierta y plano de suelo; figura y fondo. Tras la solución de las condiciones intrínsecas a la arquitectura - técnica, programa y sitio-, y su precisa relación con el límite geométrico, Mies define la mínima estructura diáfana bidireccional y los principios formales que rigen la construcción de los demás proyectos del sistema. En las décadas de 1950 y1960, Mies utiliza el mismo planteamiento - con diferentes escalas, técnicas, programas y sitios en cinco proyectos: Casa 50' x 50' (1951-1952); Convention Hall, Chicago, Estados Unidos (1953-1954) (720' x 720'); Oficinas Ron Bacardí, Santiago, Cuba (1957-1960) (180' x 180'); Museo Georg Schaefer, Schweinfurt, Alemania (1960-1962) (190' x 190'); y Galería Nacional, Berlín, Alemania (1962-1968) (212' x212') - único proyecto construido del sistema y punto final de su investigación. La tesis se centra en el proceso de construcción de la forma de los edificios diáfanos de estructura bidireccional de Mies ,desde el planteamiento de la Casa 50' x 50' - 1951- hasta la construcción de la Galería de Berlín - 1968. Visa la comprensión y comprobación visual del orden interno de cada proyecto y del sistema como un todo. Conducido por precisos criterios de relación formal, la definición de un ámbito de ciudad a partir de un plano horizontal de geometría cuadrada, condensa los principios de la arquitectura de Mies, y materializa -en su máxima expresión- los principios más consistentes del arte moderno.
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Llobet, Ribeiro Xavier. "Mies y Hilberseimer: la metrópolis como ciudad jardín." Doctoral thesis, Universitat Politècnica de Catalunya, 2005. http://hdl.handle.net/10803/127155.

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In this thesis we discover a model of city developed jointly by the architect Mies van der Rohe and the city planner Ludwig Hilberseimer, which we have called the Metropolis as a Garden City. This name comes from a sketch by Hilberseimer in 1927, where we can see how he wanted to incorporate the architectural prototype of the Weissenhof colony in his city planning schemes. The Metropolis as a Garden City is a model of an ecological, sustainable, and socially just city, which remained completely hidden because of the disciplinary division their own authors established. To reconstruct it, we have decided to establish a double look analyzing the architecture of Mies through the eyes of Hilberseimer, and the city planning of Hilberseimer through the eyes of Mies. In the first part, we analyze the historical and cultural context where the Metropolis as a Garden City is produced, that is to say, its SUPERSTRUCTURE. From the analysis of a text by Mies and another by Hilberseimer, we discover that the antecedents of the Metropolis as a Garden City are in the theory of the Linear City by Arturo Soria (1882), and in the theory of the Garden Cities by Ebenezer Howard (1898). In the second part, we analyze the city planning model of the Metropolis as a Garden City. We arrive to the conclusion that the great contribution of Hilberseimer is produced in the field of the INFRASTRUCTURES, and we create the hypothesis that the first city planning models by Hilberseimer are applications of the theory of the Linear City. The next step was to introduce the variable of the landscape through the architectural model of the Weissenhof. In the third part, we analyze the transformation of the urban space from the architecture, which Mies calls STRUCTURES. Mies propose to redefine the texture of the city from the concept of mixed height, that is to say, mixing the architecture of the city and the architecture of the suburb. We create the hypothesis that this mixture is an application of the theory of the Garden Cities. The first example is the Weissenhof colony. If we bear in mind the refusal which the city planning of Le Corbusier suffered after the Second World War; the necessity to “deconstruct” the political and philosophical systems in the 60s and 70s; and the serious social and environmental pathologies we suffer now, maybe we would appraise the possibility to put the Metropolis as a Garden City in practice, and to convert it in a framework to our own generation and to the future generations
En aquesta tesi es descobreix un model de ciutat desenvolupat conjuntament per l'arquitecte Mies van der Rohe i l'urbanista Ludwig Hilberseimer, el que hem anomenat la metròpoli com la Ciutat Jardí. Aquest nom prové d'un esbós de Hilberseimer el 1927, en el qual podem veure com es volia incorporar el prototip arquitectònic de la colònia Weissenhof en els seus esquemes de planificació de la ciutat. La Metròpoli com Ciutat Jardi és un model d'una ciutat ecològica, sostenible i socialment justa, que va quedar completament ocult a causa de la divisió disciplinària seus propis autors van establir. Per reconstruir-lo, hem decidit establir una doble mirada analitzar l'arquitectura de Mies a través dels ulls de Hilberseimer, i la planificació de la ciutat de Hilberseimer a través dels ulls de Mies . A la primera part, s'analitza el context històric i cultural en què es produeix la metròpoli com a ciutat jardí, és a dir, la seva superestructura. A partir de l'anàlisi d'un text de Mies i un altre per Hilberseimer, vam descobrir que els antecedents de la Metròpoli com Garden City estan en la teoria de la Ciutat Lineal d'Arturo Soria ( 1882 ), i en la teoria de les Ciutats Jardí d'Ebenezer Howard ( 1898 ). A la segona part , s'analitza el model de planificació de la ciutat de la metròpoli com la Ciutat Jardí. Arribem a la conclusió que la gran aportació de Hilberseimer es produeix en el camp de les infraestructures, i vam crear la hipòtesi que els primers models de planificació de la ciutat per Hilberseimer són aplicacions de la teoria de la Ciutat Lineal. El següent pas va ser la introducció de la variable del paisatge a través del model arquitectònic de la Weissenhof. A la tercera part, s'analitza la transformació de l'espai urbà de l'arquitectura, que Mies diu ESTRUCTURES. Mies proposa redefinir la textura de la ciutat des del concepte d'altura mixt, és a dir, la barreja de l'arquitectura de la ciutat i l'arquitectura del barri. Creem la hipòtesi que aquesta barreja és una aplicació de la teoria de les ciutats - jardí. El primer exemple és la colònia Weissenhof . Si tenim en compte la negativa que la planificació de la ciutat de Le Corbusier va patir després de la Segona Guerra Mundial, la necessitat de "deconstruir" els sistemes polítics i filosòfics en els anys 60 i 70 , i les greus patologies socials i ambientals que patim ara, potser podríem avaluar la possibilitat de posar la metròpoli com ciutat jardí a la pràctica, i per convertir-lo en un marc per a la nostra generació i per a les generacions futures
En esta tesis se descubre un modelo de ciudad desarrollado conjuntamente por el arquitecto Mies van der Rohe y el urbanista Ludwig Hilberseimer, lo que hemos llamado la metrópoli como la Ciudad Jardín. Este nombre proviene de un boceto de Hilberseimer en 1927, en el que podemos ver cómo quería incorporar el prototipo arquitectónico de la colonia Weissenhof en sus esquemas de planificación de la ciudad. La metrópolis como ciudad jardin es un modelo de una ciudad ecológica, sustentable y socialmente justa, que quedó completamente oculto debido a la división disciplinaria sus propios autores establecieron. Para reconstruirlo, hemos decidido establecer una doble mirada analizar la arquitectura de Mies a través de los ojos de Hilberseimer, y la planificación de la ciudad de Hilberseimer a través de los ojos de Mies . En la primera parte, se analiza el contexto histórico y cultural en el que se produce la metrópoli como ciudad jardín, es decir, su superestructura. A partir del análisis de un texto de Mies y otro por Hilberseimer, descubrimos que los antecedentes de la Metrópoli como Garden City están en la teoría de la Ciudad Lineal de Arturo Soria (1882), y en la teoría de las Ciudades Jardín de Ebenezer Howard (1898). En la segunda parte, se analiza el modelo de planificación de la ciudad de la metrópoli como la Ciudad Jardín. Llegamos a la conclusión de que el gran aporte de Hilberseimer se produce en el campo de las infraestructuras, y creamos la hipótesis de que los primeros modelos de planificación de la ciudad por Hilberseimer son aplicaciones de la teoría de la Ciudad Lineal. El siguiente paso fue la introducción de la variable del paisaje a través del modelo arquitectónico de la Weissenhof. En la tercera parte, se analiza la transformación del espacio urbano de la arquitectura, que Mies llama ESTRUCTURAS. Mies proponen redefinir la textura de la ciudad desde el concepto de altura mixto, es decir, la mezcla de la arquitectura de la ciudad y la arquitectura del barrio. Creamos la hipótesis de que esta mezcla es una aplicación de la teoría de las ciudades-jardín. El primer ejemplo es la colonia Weissenhof. Si tenemos en cuenta la negativa que la planificación de la ciudad de Le Corbusier sufrió después de la Segunda Guerra Mundial, la necesidad de "deconstruir" los sistemas políticos y filosóficos en los años 60 y 70, y las graves patologías sociales y ambientales que sufrimos ahora, tal vez podríamos evaluar la posibilidad de poner la metrópoli como ciudad jardín, en la práctica, y para convertirlo en un marco para nuestra generación y para las generaciones futuras
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Müller, Ulrich Gropius Walter. "Raum, Bewegung und Zeit im Werk von Walter Gropius und Ludwig Mies van der Rohe /." Berlin : Akad.-Verl, 2004. http://www.gbv.de/dms/bs/toc/379095920.pdf.

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Mies, Sebastian [Verfasser], and M. [Akademischer Betreuer] Zitterbart. "Autonomous Interconnection of Heterogeneous Networks / Sebastian Mies. Betreuer: M. Zitterbart." Karlsruhe : KIT-Bibliothek, 2012. http://d-nb.info/1026283787/34.

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Moliner, Xavier. "El Fotomuntatge arquitectònic. El cas de Mies Van der Rohe." Doctoral thesis, Universitat de Girona, 2010. http://hdl.handle.net/10803/7858.

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ATENCIÓ: el pes del fitxer txmm3de3.pdf és de 70 MB
RESUM:
El treball realitzat vol ser un anàlisi exhaustiu de l'efecte causat per l'aparició de la fotografia en la representació de l'arquitectura, la seva introducció en les presentacions dels projectes i l'ús del fotomuntatge. Amb el canvi de segle, del dinou al vint, la fotografia ja va començar a entrar en les diferents disciplines artístiques inclosa l'arquitectura, de tal manera que amb l'aparició de les avantguardes artístiques els moviments arquitectònics
moderns també es van mostrar reaccionaris i van incloure, a part de nous conceptes arquitectònics, noves maneres de presentar-les, la qual cosa els va acostar a les propostes pictòriques i conseqüentment a la introducció
de la fotografia en el seu procés de treball i de presentació.
The study undertaken aims to present a comprehensive analysis of the impact of the emergence of photography in the representation
of architecture, its introduction into project presentations and the use of photomontage.
As the 19th century gave way to the 20th, photography had already begun its inroads into other artistic disciplines, including
architecture, hence the fact that with the emergence of the artistic avant-garde modern architectural movements also registered a reaction
and included, in line with the new architectural concepts, new ways of presenting them, moving closer to pictorial approaches, and hence the introduction of photography within their working and presentational process.
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Kim, Ransoo. "The "art of building" (BAUKUNST) of Mies van der Rohe." Diss., Available online, Georgia Institute of Technology, 2006, 2006. http://etd.gatech.edu/theses/available/etd-05042006-143310/.

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Thesis (Ph. D.)--Architecture, Georgia Institute of Technology, 2007.
Lewcock, Ronald B., Committee Chair ; Gamble, Michael E., Committee Member ; Bafna, Sonit, Committee Member ; Trubiano, Franca, Committee Member ; Mical, Thomas, Committee Member.
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Moon, Junsik S. M. Massachusetts Institute of Technology. "Shape grammar for Mies van der Rohe's high-rise apartment." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39310.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.
Includes bibliographical references (leaves 49-50).
This thesis explores an application of a rule-based method to a practical architecture design. It uses shape grammar, a paradigm of generating designs in a specific style by using shape tokens (architectural elements) and rules of transforming between them. If a shape grammar can be made for mass production design that needs many repetitious units with slight differences, it would be very productive and valuable in the context of professional architectural practice. As an example, this thesis proposes a shape grammar for generating apartment plans in the style of Mies van der Rohe's high-rise projects that he made in the first half of twentieth century. Through this grammar, alternative apartment plans with different volumetric schemes can be developed rapidly for the given site, and allow an architect to quickly evaluate different possibilities of a building's mass and layout. Such a grammar also can be a good pedagogical tool, and an architectural student can use it to study and understand Mies van der Rohe's apartment designs. The thesis evaluates the advantages and the disadvantages of this shape grammar in the context of professional practice, and discusses the possibilities of similar grammars that could be developed for other architectural styles.
by Junsik Moon.
S.M.
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Sales, Emanuel Belisário da Cunha. "Estrutura e espacialidade na obra de Mies van der Rohe." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/24765.

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O presente trabalho trata da análise da estrutura e da espacialidade na obra de Mies van der Rohe. O objetivo é identificar sistemas e estratégias estruturais diversas ao longo do seu trabalho e entender sua relação com a evolução da concepção espacial de suas obras. Adotou-se como referência para esta análise dois períodos da carreira de Mies: o Período Europeu, de 1906 a 1938, e o Período Americano de 1938 a 1968, nos quais foram identificadas respectivamente quatro fases estruturais, conforme os sistemas estruturais e espaciais utilizados. A investigação centrou-se em quatro obras de referência do arquiteto: o Pavilhão de Barcelona (1928-29), o Crown Hall (1950), o Edifício Seagram (1954) e a Neuegalerie (1968). Compreendendo que o elemento poético da obra do arquiteto, aquele a partir do qual se articulam estrutura e espacialidade, é a tectônica, buscou-se analisar as convergências entre concepção espacial e estrutural e a tectônica destas obras. O resultado mostra que Mies van der Rohe, através de sessenta anos de ensaios e pesquisas estruturais e espaciais, consegue nas décadas de 1950-60 chegar à essência da sua obra: a estrutura como meio ordenador espacial do edifício.
This dissertation analyzes the structure and spatial characteristics on Mies van der Rohe´s work. The goal is to identify many structural strategies and systems throughout Rohe's work in order to understand their relationship with his spatial conception evolution. Two periods of Rohe's career were adopted as reference for this analysis: the European period, from 1906 to 1938, and the American period, from 1938 to 1968. In these periods, four structural stages were identified according to the structural and spatial systems used. The investigation focused on four of his key works: Barcelona Pavilion (1928), Crown Hall (1950), Seagram Building (1954) and Neuegalerie (1968).Understanding that the poetic element within the architect´s work - that from which structural and spatial concepts articulate - is its tectonic element, it was developed here the analysis of the convergence between the space and structural conceptions and the tectonics of the cited works. The dissertation finds that Mies van der Rohe - after 60 years of attempts, and structural spatial researches - achieved, during the 50s and 60s , the essence of his work: the structure as the spatial organizer of the building.
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Massu, Claude. "Modernité et post-modernité : architecture et urbanisme à Chicago." Paris 1, 1987. http://www.theses.fr/1987PA010553.

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La presente these se propose d'analyser et d'interpreter en termes de modernite certains aspects de l'architecture et de l'urbanisme a chicago depuis la fin de la seconde guerre mondiale jusqu'au debut des annees 1980. La pratique architecturale et urbanistique du modernisme fait l'objet de la premiere partie. L'oeuvre de mies van der rohe a chicago est analysee en fonction de problemes esthetiques, economiques et de structure constructive. Puis, les realisations de l'agence skidmore, owings et merrill, de w. Netsch et de b. Goldberg sont tour a tour envisagees comme des facettes de la modernite constructive a chicago. La deuxieme partie est centree sur les doctrines et pratiques postmodernistes depuis le milieu des annees 1970. Les exemples retenus (helmut jahn, thomas beeby et stanley tigerman) mettent en evidence une logique de l'historicisme et de la communication semiologique dans l'architecture actuelle a chicago. Dans la troisieme partie, on vise a donner une interpretation globale du corpus analyse precedemment. La these presentee est la suivante : les continuites entre le modernisme et le post-modernisme sont plus significatives que les ruptures ouvertement proclamees entre ces deux pratiques artistiques. Une meme notion de la modernite les englobe. Le reperage de ces differents niveaux de continuite permet de souligner des enjeux fondamentaux sur le statut et la fonction socio-economique de l'architecture dans la societe americaine contemporaine
This thesis is an analysis ans interpretation in terms of modernity of some aspects of architecture and urbanism in chicago from the end of world war ii to the early 1980s. The first part deals with architectural and urbanistic modernism. Mies van der rohe's work in chicago is examined from the aesthetic, economic and structural points of view. The doctrines and buildings of the firm skidmore, owings and merrill, of w. Netsch and b. Goldberg are then examined as so many aspects of modernism in the building art in chicago. The second part focuses on post-modernist doctrines and productions since the mid-1970s. Selected examples (helmut jahn, thomas beeby and stanley tigerman) underline a concern for historicism and semiological communication in chicago current architecture. In the third part is put forward a global interpretation of the set of works analysed previously. The conclusion is the following : the openly proclaimed and supposedly real break between modernism and post-modernism is far less significant than the underlying continuities between the two. They are both part of modernity. To point out different levels of continuity is a means to emphasize some fundamental questions at stake in the status and socio-economic function of architecture in current american society
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Jiménez, Gómez Eva Maria. "El pilar en Mies van der Rohe: el lèxic de l'acer." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/85418.

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The thesis focuses on the columns in Mies, as architectural element through which we can explain all his work. The development of a chronological table that organizes the work of Mies according to the shape of the column reveals us the existence of three distinct periods, each of which corresponds to the development of a different column. FIRST PERIOD: This period corresponds to the study of the star column of small riveting profiles, where a parallelism between the work of Mies, the Alfred Grenander¿s, architect of Siemens, and Peter Behrens¿, architect of AEG, is set up. Mies builds the same construction system of small riveting profiles published in different manuals of that time, adding small construction variations to achieve his architectural concerns. For example, he proposes an alternative to the usual gusset plates to solve the joints between the column and the beam, reducing them to a point therefore getting the absolutely flat roof of the German Pavilion. SECOND PERIOD: This period corresponds to the study of the grey column, which Mies uses at the United States, where he met the architecture of great welded steel  profiles used by Albert Kahn, the Henry Ford's architect. The application of the assembly line in manufacturing automobiles requires Kahn and Ford to innovate in the structures of large size and to spread the same structural order in all the buildings of the same industrial complex. The first buildings of Mies at the IIT are almost identical to those of Albert Kahn, with small variations, starting  a process that will end with the Crown Hall. THIRD PERIOD: This period corresponds to the study of the star column built with double-T profiles and the incorporation of the waffle slab structure in the work of Mies, which he develops from its relationship with Konrad Wachsmann, professor at IIT and architect of the US Air Force. Wachsmann develops three-dimensional structures in order to build large hangars for aircrafts, which can be assembled and disassembled by unskilled people in a very short time. Moreover, they don't generate any waste material. Mies will simplify constructively this structure, finally reaching the National Gallery. CONCLUSIONS. THE EFFECTS OF SCALE IN ARCHITECTURE: An overview of the technological context allows us to explore the link between Mies and those architects who lead the construction with steel structure in different industries and who are linked to the research and technological development institutions as relevant as the Werkbund, the Bauhaus and the IIT, in which Mies has taken a leading role in places of highest responsibility. The reconstruction of this technological context throughout the three periods allows us to draw a path of the development of the steel structures, which increasingly takes on new challenges of scale. Furthermore, shows us how Mies incorporates these advances in their work, and applies them to all scales in all three pillars. ARCHITECTURAL MANIFESTO: The comparative study of transitional projects reveals how Mies proposes some collage in every one of the three periods, as an architectural manifesto, which links the concept of neo-plastic space with every new structure. This is an invariant aspect in his work from the concrete house project in 1923 and the brick house project in 1924. TOWARDS THE CLARIFICATION OF THE STRUCTURE: The comparative study of the column allows us to realize its capacity to express the structure. The step from a column to another is part of a process in the work of Mies to the clarification of the structure. Thus it is becoming cleaner and he can leave it more and more visible. It is a constructive refinement process, and it is part of the same work line initiated by Viollet-le-Duc on the constructive shape that best expresses the steel structure, the one which responds to the material logic and the constrution processes.
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Books on the topic "MIES"

1

Junkkaala, Eero. Mitä mies! Helsinki: Uusi tie, 2000.

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Sauri, Pekka. Hyvä mies. Porvoo: W. Söderström, 1998.

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Stenius, Yrsa. Elämäni mies. Helsinki: Kirjayhtymä, 1998.

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Amado, Jorge. Mies roja. Bogotá, Colombia: Editorial Oveja Negra, 1985.

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Skiftesvik, Joni. Kotikoivuinen mies. Porvoo: W. Söderström, 1999.

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Kylmälä, Timo. Kutsetin mies. Helsinki: Kirjayhtymä, 1986.

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Saari, Mauno. Haavikko-niminen mies. Helsinki: Otava, 2009.

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Köngäs, Heidi. Vieras mies: Romaani. Helsingissä: Otava, 2002.

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Mies van der Rohe, Ludwig, 1886-1969, ed. Looking for Mies. Barcelona: ACTAR, 2000.

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Lappalainen, Seppo. Akaton mies: Romaani. Porvoo: Söderström, 1985.

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Book chapters on the topic "MIES"

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Hartoonian, Gevork. "On Mies." In Time, History and Architecture, 91–114. New York : Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315270210-6.

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"Succeeding Mies / Nachfolge Mies." In Synthesis, 30–33. Birkhäuser, 2017. http://dx.doi.org/10.1515/9783035609516-008.

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"Mies." In Claudia Larcher – Rooms, 146–65. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110632781-014.

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"Conversations with Mies / Gespräche mit Mies." In Synthesis, 26–29. Birkhäuser, 2017. http://dx.doi.org/10.1515/9783035609516-007.

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"Filmkämpfer Mies." In Mies van der Rohe im Diskurs, 63–96. transcript-Verlag, 2013. http://dx.doi.org/10.14361/transcript.9783839423059.63.

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Costanzo, Jacopo. "Affondare Mies." In My Farnsworth, 57–70. Quodlibet, 2019. http://dx.doi.org/10.2307/j.ctvsf1nn6.10.

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"Duschen mit Mies." In Mies van der Rohe im Diskurs, 193–220. transcript-Verlag, 2013. http://dx.doi.org/10.14361/transcript.9783839423059.193.

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"Mies as Media." In Building Desire, 14–79. Routledge, 2005. http://dx.doi.org/10.4324/9780203358177-4.

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"11. Mies en Scène." In Four Walls and a Roof, 103–8. Harvard University Press, 2017. http://dx.doi.org/10.4159/9780674982758-012.

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"Mies van der Rohe." In Zufall und Vision, 42–53. Birkhäuser, 2020. http://dx.doi.org/10.1515/9783035619959-004.

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Conference papers on the topic "MIES"

1

Nestor, J. A., B. Soudan, and Z. Mayet. "MIES: a microarchitecture design tool." In the 22nd annual workshop. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/75362.75422.

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Fan, LinSheng, and JianXin Deng. "Application of lean logistics in engine plant." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779984.

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Ashangani, Kithmi, K. U. Wickramasinghe, D. W. N. De Silva, V. M. Gamwara, Anupiya Nugaliyadde, and Yashas Mallawarachchi. "Semantic video search by automatic video annotation using TensorFlow." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779985.

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Wijerathna, W. H. A. C., I. D. M. H. Jayantha, and P. Gamage. "Improve surface roughness in turning operation based on the factorial design methodology." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779986.

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Arachchi, Shanika M. A., and Narendra Pinto. "Falls at work place; Effect of hip geometry on hip fractures in Sri Lankan working community." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779987.

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Perera, H. A. D. "Productivity improvement through lean tools in a Sri Lankan small and medium enterprise: A case study." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779988.

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Kumari, D. M. S., and A. N. Wijayanayake. "An efficient inventory model to reduce the wastage of blood in the national blood transfusion service." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779989.

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Gunawardhana, H. P. B., L. G. Chamath, and Galhenage A. Sewvandi. "A methodology to control the interior temperature of vehicles parked under the sun." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779990.

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Hansani, K. G. P., B. Sumith, and H. C. P. Karunasena. "Novel use of the cell-linked list algorithm to reduce computational time in meshfree based numerical models for plant cell drying." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779991.

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Sudarshana, S. A., A. L. Kulasekera, and N. D. Jayaweera. "A novel reconfigurable supporting structure for aircraft maintenance applications." In 2016 Manufacturing & Industrial Engineering Symposium (MIES). IEEE, 2016. http://dx.doi.org/10.1109/mies.2016.7779992.

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Reports on the topic "MIES"

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Reynolds, J. K. Reassignment of experimental MIBs to standard MIBs. RFC Editor, June 1991. http://dx.doi.org/10.17487/rfc1239.

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Griffin, Sean R., Jr Grosz, and Francis B. Instrumented Mines. Fort Belvoir, VA: Defense Technical Information Center, September 2001. http://dx.doi.org/10.21236/ada625972.

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Bass, Jaye. Multiprocessor Station (MIPS). Fort Belvoir, VA: Defense Technical Information Center, October 1999. http://dx.doi.org/10.21236/ada371524.

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Nguyen, Thu Thuy. A Thousand Miles. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-1054.

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Chemerisov, S., and G. F. Vandegrift. Mini-SHINE/MIPS Experiment. Office of Scientific and Technical Information (OSTI), April 2014. http://dx.doi.org/10.2172/1132249.

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Ostazeski, Stan, and Leo F. Saubier. Corrosion of Buried Mines. Fort Belvoir, VA: Defense Technical Information Center, December 2002. http://dx.doi.org/10.21236/ada424106.

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AUGUSTONI, ARNOLD L. Laser Safety Evaluation of the MILES and Mini MILES Laser Emitting Components. Office of Scientific and Technical Information (OSTI), February 2002. http://dx.doi.org/10.2172/793320.

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Broufas, G. D., M. L. Pappas, and R. J. M. Meijer. Food sprays for predatory mites. BioGreenhouse, 2016. http://dx.doi.org/10.18174/373592.

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van Staal, C. R. Geology, Caribou Mines, New Brunswick. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/203261.

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van Staal, C. R. Geology, Brunswick Mines, New Brunswick. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/203489.

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