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Journal articles on the topic 'MIES'

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Published: 4 June 2021
Last updated: 9 February 2022

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1

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

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2

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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3

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

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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Schwartz, Frederic J. "Review: Mies in Berlin." Journal of the Society of Architectural Historians 61, no. 2 (June 1, 2002): 217–19. http://dx.doi.org/10.2307/991843.

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12

Prado, Serafín. "¡Ya Blanquea la Mies!" Mayéutica 14, no. 37 (1988): 267–68. http://dx.doi.org/10.5840/mayeutica19881437-3833.

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13

Alanen, Aulis. "Järjestyksen mies – ennakkoluuloton uudistaja." Aikuiskasvatus 15, no. 4 (April 1, 1995): 326–29. http://dx.doi.org/10.33336/aik.92363.

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14

Kiviranta, Kai. "Mies – aikuisopiskelun menetetty sukupuoli?" Aikuiskasvatus 26, no. 1 (February 15, 2006): 69–71. http://dx.doi.org/10.33336/aik.93672.

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Median hellimä klisee yhdestä ja yhtäläisestä ’suomalaisesta miehestä’ on ikävä yleistys, jolla on valitettavan negatiivinen kaiku. Suomalainen mies käsitetään liian usein olutta kittaavaksi ja makkaraa syöväksi sohvaperunaksi. Muuttuva yhteiskunta tuottaa onneksi erilaisia miehenä olemisen malleja. Pyrin tarkastelemaan tässä suomalaista miestä aikuisopiskelun näkökulmasta. Juttu perustuu lisensiaatintutkimukseeni ja työn alla olevan väitöskirjani alustaviin tuloksiin.
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15

Välimäki, Jukka. "VYÖTÄ KUPEESI KUIN MIES." Scandinavian Psychoanalytic Review 22, no. 2 (January 1999): 287–90. http://dx.doi.org/10.1080/01062301.1999.10592712.

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16

Saia, Luís. "Mies van der Rohe." Risco: Revista de Pesquisa em Arquitetura e Urbanismo (Online), no. 18-19 (December 30, 2014): 187. http://dx.doi.org/10.11606/issn.1984-4506.v0i18-19p187-188.

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17

Hekanaho, Pia Livia. "Mies joka eksyy aina." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 4 (December 1, 2010): 24–44. http://dx.doi.org/10.30665/av.74818.

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18

Hanenberg, Norbert, Daniel Lohmann, and Christian Raabe. "The Heritage of Mies." Heritage of Mies, no. 56 (2017): 4–5. http://dx.doi.org/10.52200/56.a.kb7t9i2r.

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Mies van der Rohe’s built work covers a timeframe of over 60 years, including two world wars and several revolutionary events in the history of architecture. The extraordinary architect has influenced 20th century architecture worldwide like few others have. In the context of several restoration projects, the time has come to review the condition of his buildings: Is their materiality as timeless as their appearance? Did his constructions, which are of sometimes an experimental nature, prove to be sustainable, or did they fall into disrepair? How can Mies van der Rohe buildings be documented, repaired, restored, reconstructed, without losing the characteristic details of his work, and in order to preserve the architectural integrity and relevance of the Mies van der Rohe's oeuvre?
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19

Gastón Girao, Cristina. "MIES: CONCURSOS EN LA FRIEDRICHSTRASSE." Proyecto, Progreso, Arquitectura, no. 7 (2012): 54–67. http://dx.doi.org/10.12795/ppa.2012.i7.04.

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20

Robbers, Lutz. "Mies: A Fighter for Film." Bitácora Arquitectura, no. 40 (May 8, 2019): 48. http://dx.doi.org/10.22201/fa.14058901p.2019.40.69445.

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<p>At the beginning of 1931, a short article entitled “Film fighter from the outside” appeared in the industry magazine Film-Kurier. In the introductory sentence, the author, who remains anonymous, asks: “How does Mies van der Rohe come to film? - Not a difficult question to answer: As a person who takes a stand on the spiritual things of the time, he naturally also addresses questions of film.” But the article neither explains what Mies’s involvement with film was, nor how the architect and then Bauhaus director became interested in film. And even today the assumption of an affinity between Mies and film is anything but self-explanatory. Neither the research on Mies, nor the field of research of ‘architecture and film’ covered by architecture theorists and film scholars has so far dealt in detail with the question of a possible relationship between Mies and the new visual medium. This shortcoming can be explained above all by the fact that his buildings, drawings and published writings do not contain any direct references to film. Although he apparently was a regular moviegoer, Mies built neither cinema theaters nor film sets. Nor did he take part in film productions or wrote movie scripts. This is exactly what many other representatives of the avant-garde did in the 1920s: Hans Poelzig and Robert Mallet-Stevens designed film sets, Bruno Taut integrated film projectors into some of his buildings, built innovative “daylight cinemas”, patented a vertical cinema for reclining viewers, and wrote screenplays; Le Corbusier used film as a propaganda tool to spread his architectural and urban planning ideas.</p>
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21

Nestor, J. A., B. Soudan, and Z. Mayet. "MIES: a microarchitecture design tool." ACM SIGMICRO Newsletter 20, no. 3 (August 1989): 217–22. http://dx.doi.org/10.1145/75395.75422.

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22

Aitchison, Mathew. "Finding the Context in Mies." Fabrications 22, no. 2 (December 2012): 186–207. http://dx.doi.org/10.1080/10331867.2012.734434.

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23

Kähkönen, Lotta. ""Tiedän millainen värillinen mies on"." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 3 (September 1, 2006): 4–21. http://dx.doi.org/10.30665/av.74664.

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24

Debanne, Janine. "Moving into Mies: la vie dans le vide//Moving into Mies: life in open space." Annales de Géographie 110, no. 620 (2001): 425–53. http://dx.doi.org/10.3406/geo.2001.1733.

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25

Colomina, Beatriz. "La casa de Mies: exhibicionismo y coleccionismo." Bitácora arquitectura, no. 27 (June 9, 2016): 4. http://dx.doi.org/10.22201/fa.14058901p.2014.27.56065.

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<p>La arquitectura de Mies está dominada por la idea de la casa, al grado que sus edificios públicos pueden entenderse como extensiones de una continua investigación sobre ella. De hecho, Mies desarrolló un concepto de casa tan radical que desplazó los supuestos que regían todos los tipos de edificios. Mirar las casas de Mies es mirar un cambio radical en arquitectura.<br />Este poderoso desplazamiento de las tradiciones, cuyos efectos todavía pueden sentirse hoy en una serie de réplicas sísmicas continuadas, fue lanzado con los más delicados materiales e insinuaciones. Mies utilizó las publicaciones y las exposiciones efímeras para emprender una nueva manera de pensar que parece que a él mismo le sorprendió y le llevó décadas desarrollar en su totalidad.<br />El Mies que conocemos, la célebre figura del Movimiento moderno, fue incubado en el espacio inmaterial de las exposiciones temporales y de las publicaciones y, en última instancia, absorbió la lógica de la exposición en la sustancia misma de la arquitectura.</p>
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26

Thayer, Preston. "The Presence of Mies Detlef Mertins." Journal of the Society of Architectural Historians 55, no. 3 (September 1996): 338–39. http://dx.doi.org/10.2307/991157.

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27

Venkatesh., SrikanthSakleshpur. "MIES AND MINIMALISM: A PERFECT COALESCENCE." International Journal of Advanced Research 5, no. 6 (June 30, 2017): 1236–39. http://dx.doi.org/10.21474/ijar01/4529.

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28

Tostões, Ana. "Fritz Neumeyer." Heritage of Mies, no. 56 (2017): 86–87. http://dx.doi.org/10.52200/56.a.nom7mep8.

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In June 2017, Ana Tostões interviewed Fritz Neumeyer, reference expert on Mies van der Rohe, in order to discuss the importance of Mies’s legacy. Neumeyer conducted a deep research on Mies's writings and intellectual activity that has resulted in the worldwide renowned publication Mies van der Rohe. Das kunstlose Wort. Gedanken zur Baukunst [The Artless Word: Mies Van der Rohe on the Building Art] (Berlin, 1986; Cambridge/London, 1991; Madrid/Paris/Milan, 1996; Seoul 2007 — see p. 93) offering a precursor critical anthology of Mies theoretical corpus.
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29

Robbers, Lutz. "Mies: A Fighter for Film [Seconda Part]." Bitácora Arquitectura, no. 41 (September 13, 2019): 114. http://dx.doi.org/10.22201/fa.14058901p.2019.41.70666.

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30

Santatecla Fayos, José, Laura Lizondo Sevilla, and Zaida García Requejo. "Relaciones entre Arquitectura y Estructura. Arquitectura estructural en Mies van der Rohe." ZARCH, no. 11 (December 4, 2018): 78–93. http://dx.doi.org/10.26754/ojs_zarch/zarch.2018113208.

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Son muchos los críticos e historiadores que han hablado sobre la estructura en la obra de Mies van der Rohe, también los que han clasificado los diversos modos de sustentar sus edificios. Sin embargo, son pocos los que han estudiado la estructura desde un punto de vista conceptual y en comparativa con las diferentes facetas desarrolladas por Mies a lo largo de su carrera profesional. Por ello, lo que este artículo quiere exponer, no tiene que ver con describir o clasificar las soluciones estructurales de su obra, sino profundizar en el pensamiento de Mies en torno al concepto de estructura y cómo se iba ajustando en su arquitectura, tanto a través de la experiencia profesional como docente. En primer lugar, el texto analiza la evolución del concepto de estructura de Mies basándose en sus escritos e introduce el término de “arquitectura estructural”, el cual sintetiza sus últimas reflexiones y es tomado por alumnos y colaboradores como principio fundamental de su arquitectura. En segundo lugar, el artículo compara dos proyectos tutorizados por Mies y desarrollados por sus alumnos; ambos de idéntica tipología, la vivienda unifamiliar, correspondientes a cada uno de los periodos docentes de Mies, Bauhaus y IIT. La investigación relaciona estos proyectos académicos con los escritos y la obra construida del maestro, a fin de comprobar si hay convergencia entre el pensamiento de Mies van der Rohe y su labor como arquitecto y como docente.
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31

Molyneux, Maxine, Deborah Lynn Steinberg, Maria Mies, and Vandana Shiva. "Mies and Shiva's "Ecofeminism": A New Testament?" Feminist Review, no. 49 (1995): 86. http://dx.doi.org/10.2307/1395330.

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32

van Waalwijk, Maarten. "Aap, noot, Mies: het leesplankje voor professionals." Supervisie en Coaching 26, no. 3 (September 2009): 145–49. http://dx.doi.org/10.1007/bf03080706.

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33

Molyneux, Maxine, and Deborah Lynn Steinberg. "Mies and Shiva's Ecofeminism: A New Testament?" Feminist Review 49, no. 1 (March 1995): 86–107. http://dx.doi.org/10.1057/fr.1995.8.

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34

Scholz, Maike, and Daniel Lohmann. "“Zur Neuen Welt” — Towards the New World. Ludwig Mies and his Architectural Youth in Aachen." Heritage of Mies, no. 56 (2017): 6–15. http://dx.doi.org/10.52200/56.a.agqzyxus.

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Ludwig Mies van der Rohe's personal and professional connections to his hometown Aachen in Germany are mostly unknown today. Through the analysis of both old and new written and graphic sources, the authors give an insight into Mies van der Rohe's lifelong bond to his hometown. In the personal friendships, his friends Ferdinand Goebbels and Franz Dominick play a key role. Furthermore, the paper presents previously unknown buildings that young Mies was working on in the office of Albert Schneiders around 1905. One of the buildings, the house “Zur Neuen Welt” for client Joseph Oeben, is still standing and represents a lively example of the stylistic search in architecture after the turn of the millennium, and an early step towards Mies van der Rohe's architectural maturity.
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35

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

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In a unique architectural style of the twentieth century, Ludwig Mies van der Rohe (1886–1969) realised a new type of modern space defined by an unobstructed clear volume enclosed by framed glass skin. This is generally referred to as Mies's universal space and this paper will attempt to interpret Miesian universal space in terms of the idea of tectonically defining space. Mies referred to the term ‘tectonic’, or ‘architectonic’, as constructive appearance exposing the skeleton structure. For Mies, the concept of tectonic was connected to a glassy materiality that permitted the unambiguously constructed appearance of a skeletal structure. He regarded the glass skin as a ‘tectonic means’ and the instrument of a new art of building.
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36

Lange, Christiane. "Mies van der Rohe meets Robbrecht en Daem architecten. History of a 1:1 Model based on the Design of Mies van der Rohe." Heritage of Mies, no. 56 (2017): 34–43. http://dx.doi.org/10.52200/56.a.bsaxiw9p.

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Mies 1:1 The Golf Club Project (Krefeld, Germany, May-October 2013) was an exhibition consisting of an architectural model on a 1:1 scale which could be viewed and accessed physically. Christiane Lange and the initiative Projekt MIK e.V. built the model together with Ghent-based architects Robbrecht en Daem according to the plans for the clubhouse at Krefeld Golf Club. These were drawn up by Mies van der Rohe in 1930, but never implemented. This article depicts the development and the course of the project as well as the conceptional involvement of the participants within the context of Mies van der Rohe’s oeuvre, the debate regarding reconstruction and the goals of the exhibition
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37

Lizondo Sevilla, Laura, José Santatecla Fayos, and Zaida García-Requejo. "El museo en la arquitectura docente de Mies van der Rohe." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 9 (November 4, 2019): 69–92. http://dx.doi.org/10.17979/bac.2019.9.0.4636.

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Mies van der Rohe exploró el proyecto de museo como arquitecto y como docente, y confirió un nuevo entendimiento acerca del significado del mismo: un espacio destinado al disfrute del arte. Si bien los museos que Mies realizó en su estudio han sido publicados y analizados por la crítica, se desconoce la investigación académica que desarrolló en torno a esta tipología. Por ello, el presente artículo tiene por objeto: dar a conocer los proyectos-museo que Mies supervisó en el programa de postgrado del IIT -en concreto las tesis fin de máster de Daniel Brenner, Jean Lippert y Peter Carter; realizar un estudio comparativo de dichas tesis, tomando como base los conceptos que el propio Mies manifestó en el texto del Museo para una Pequeña Ciudad; y exponer las invariantes que se mantienen en estos espacios destinados a la fiesta del arte, estableciendo conexiones entre la arquitectura del maestro y la de sus alumnos.
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38

Dempsey, Jessica, and Rosemary-Claire Collard. "If biodiversity offsets are a dead end for conservation, what is the live wire? A response to Apostolopoulou & Adams." Oryx 51, no. 1 (October 18, 2016): 35–39. http://dx.doi.org/10.1017/s0030605316000752.

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Ecofeminist Maria Mies describes capitalist social relations as an iceberg. The visible tip represents the formal economy, where capitalist value emerges from exploited waged labourers and the circulation of monetized goods and assets. Underneath the waterline lurks the rest of the iceberg, and its size dwarfs the tip. Here, Mies points to a much larger world of exploitation on which commodity production and profit-making depend: women, colonies and, at the very base, nature. The bodies, places and materials of the submerged, invisible iceberg supply unwaged labour and unpriced inputs and energies that are productive; capitalism depends on this deeply undervalued work. Let us restate: capitalism exploits, yes, but strangely, it is a mode of organizing society that also relies on this exploitation. As Mies ([1986]1998, p. 200) writes, ‘the exploitation of colonies, as well as that of women and other non-wage workers, is absolutely crucial to the capitalist accumulation process’; this exploitation ‘constitutes the eternal basis for capitalist accumulation’ (Mies, 2007, p. 269).
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39

Kimm, Jong Soung. "The Legacy of Mies van der Rohe in Modern Movement and the Modern Architecture in Korea." Reuse, Renovation and Restoration, no. 52 (2015): 4–9. http://dx.doi.org/10.52200/52.a.rwd0uw0t.

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The following article is an edited version of the keynote presented at the 13th International docomomo Conference that took place in Seoul, Korea, on September 2014. The paper discusses how “Western” architecture was first introduced to Korean soil: a French Catholic missionary-architect built the Seoul Cathedral at the end of the 19th century. American and Canadian architects built educational buildings for the Protestant missionary-founded colleges in Korea. Japanese civil servant architects built some public buildings during the colonial rule. The work of two prominent Korean architects, Kim Chung-Up and Kim Swoo-Geun are discussed. The author discusses his education at Mies van der Rohe’s Illinois Institute of Technology (IIT) in mid-1950s, his work for the Master during the 1960s, and his teaching at IIT 1966 and 1978. He describes how his dual position of teaching at IIT and working for Mies gave him the opportunity to work on three projects of importance: the Mies Retrospective in Berlin in 1968; the exhibition proposal for the extension of the Museum of Fine Arts in Houston of 1969; the Toronto-Dominion Bank executive floor and Banking Pavilion of 1966–1968. The author discusses several works of Mies van der Rohe to “demystify” the general perception that Mies was a rigid aesthetician: how Mies van der Rohe would arrive at design decisions not always sticking to the module, grid and geometry, contrary to the conventional reading of his architecture. The author then discusses five works from his three decades of practice with sac International in Seoul, highlighting where Mies’ influences might be found in these works: the Korea Military Academy Library of 1982; Seoul Hilton Hotel of 1983; the Weight-lifting Gymnasium for ‘88 Seoul Olympics of 1986; Kyongju Museum of Art of 1991; and the SK Group Office Building in Seoul of 1999. The paper also reflects on its relationship to the main theme of the recent International docomomo Conference in Seoul, Expansion and Conflict.
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40

de Ruyter, Thibaut. "Mies van der Rohe et le bâtiment-image." Ligeia N°33-36, no. 1 (2000): 178. http://dx.doi.org/10.3917/lige.033.0178.

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41

Salmi, Hannu. ""Älkää milloinkaan kostako!": 1918 - Mies ja hänen omatuntonsa." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 31, no. 1 (May 21, 2018): 29–43. http://dx.doi.org/10.23994/lk.70450.

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Toivo Särkän ohjaama 1918 – Mies ja hänen omatuntonsa (1957) oli toisen maailmansodan jälkeisen suomalaisen elokuvan painokkain kuvaus kansalaissodan tapahtumista. Jarl Hemmerin romaanin filmatisointi oli Särkän pitkäaikainen tavoite, ja se sai ensi-iltansa kansainvälisellä foorumilla, Berliinin elokuvajuhlilla kesäkuussa 1957. Artikkeli analysoi elokuvan tulkintaa vuoden 1918 tapahtumista ja myös tekijöiden suhdetta traumaattiseen historiaan: millaisia inhohimoja ja näkemyksiä vuoden 1918 elokuvalliseen käsittelyyn liittyi ja miten Särkän ohjaus tulkitsi neljän vuosikymmenen takaisia tapahtumia. Lähdeaineistona artikkeli käyttää elokuvaa ja sen pohjana ollutta romaania, mutta tukeutuu myös elokuvantekijöiden henkilöhistoriaan, siihen menneisyyteen, jota aikalaiset kantoivat mukanaan vuoden 1918 jälkeen. Vuonna 1890 syntynyt Särkkä oli itse elänyt tuon aikakauden ja palasi siihen elokuvantekijänä. Käsikirjoituksen toteutti kreditoimattomasti Ilmari Unho, jolla oli taustaa äärioikeistolaisen puolueen Isänmaallisen kansanliikkeen, IKL:n, aktiivina. Artikkelin lähtökohta on enemmän historiantutkimuksellinen kuin teoreettinen, mutta tarkastelutapa on saanut innoitusta saksalaisen egyptologin Jan Assmannin muistiteoriasta, joka tekee eron kommunikatiiviseen ja kulttuuriseen muistiin. Artikkeli jatkaa Assmannin ajatuksia kutsumalla sukupolvellista menneisyyden kokemusta muistihorisontiksi. On tärkeä kiinnittää huomiota siihen, millaisesta historiallisesta horisontista vuoden 1918 tulkitsijat nousivat. Elokuva 1918 – Mies ja hänen omatuntonsa oli muistihorisonttien leikkauspiste, valkoisen ja punaisen Suomen neuvottelun paikka, jossa henkilökohtaiset kokemukset kietoutuivat yhteen muovautuvan kulttuurisen muistin kanssa.
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42

Tigerman, Stanley. "Mies van der Rohe: A Moral Modernist Model." Perspecta 22 (1986): 112. http://dx.doi.org/10.2307/1567099.

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43

Neumann, Dietrich. "Three Early Designs by Mies van der Rohe." Perspecta 27 (1992): 76. http://dx.doi.org/10.2307/1567177.

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44

Treib, M. "Dan Kiley and Classical Modernism: Mies in Leaf." Landscape Journal 24, no. 1 (January 1, 2005): 1–12. http://dx.doi.org/10.3368/lj.24.1.1.

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45

Wagner, Monika. "Mies van der Rohe’s Tugendhat House – Weightless Living." Designing Modern Life, no. 46 (2012): 20–25. http://dx.doi.org/10.52200/46.a.f0fqwva0.

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In his review of Franz Hessel’s "Spazieren in Berlin", Walter Benjamin noted that the author celebrated the "last monuments of an old culture […] for which cosiness came first", but whose time had come. The new architecture transferred "the domicile of men […] into a transit passage of all imaginable forces and waves in light and air. The future stands under the signature of transparency". Two years earlier, Siegfried Kracauer wrote about the exhibition of the Werkbund entitled "Die neue Wohnung" (The New Home) in 1927. Here, the attempt "to undermine the former isolation of the individual by dismantling the external partition walls" became evident. But perhaps "only the anonymous existence of the mass bound to capitalistic economy is granted a voice".
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46

Altés Bustelo, José Manuel. "LA CASA CON PATIO EN MIES VAN DER ROHE." Proyecto, Progreso, Arquitectura, no. 8 (2013): 42–57. http://dx.doi.org/10.12795/ppa.2013.i8.03.

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47

Boyken, Immo, and Hans J. Oestmann. "Ludwig Mies van der Rohe and Egon Eiermann: The Dictate of Order." Journal of the Society of Architectural Historians 49, no. 2 (June 1, 1990): 133–53. http://dx.doi.org/10.2307/990473.

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A comparison of the works of two of Germany's most important architects, Ludwig Mies van der Rohe and Egon Eiermann, reveals two similar but subtly different approaches to theory and design in the years following World War II. While there is no evidence of a close personal relationship between the two architects, their theoretical views were largely compatible. Both believed in the "universal validity" of pre-determined architectural forms, and they adhered closely to the principle of architectural "order." Eiermann's designs, however, are never as rigid as those of Mies, and he made many more allowances for technology and human need in his buildings. As a result, Eiermann's architecture is characterized today by a certain charm that sets it apart from the strict formalism of Mies van der Rohe.
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48

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

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Abstract From 1930 to 1933, the architect Ludwig Mies van der Rohe shaped the fate of the Bauhaus; in particular, he tailored the avant-garde institution to the study of architecture. While research has so far concentrated on the content of his teaching, the group of students he specifically trained remained in the dark. With the help of statistical analysis and evaluation, the present essay takes a new methodical approach to describe Mies’ 169 architecture students in more detail; the focus is particularly on the 78 diploma students. It becomes clear that the ›pure Mies influence‹ was hardly present in these 5 semesters at the Bauhaus. Instead, the very heterogeneous group was characterized until the end by political trench warfare that had already arisen under the previous director Hannes Meyer.
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49

Li, Rui, Michael T. M. Emmerich, Jeroen Eggermont, Thomas Bäck, M. Schütz, J. Dijkstra, and J. H. C. Reiber. "Mixed Integer Evolution Strategies for Parameter Optimization." Evolutionary Computation 21, no. 1 (March 2013): 29–64. http://dx.doi.org/10.1162/evco_a_00059.

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Evolution strategies (ESs) are powerful probabilistic search and optimization algorithms gleaned from biological evolution theory. They have been successfully applied to a wide range of real world applications. The modern ESs are mainly designed for solving continuous parameter optimization problems. Their ability to adapt the parameters of the multivariate normal distribution used for mutation during the optimization run makes them well suited for this domain. In this article we describe and study mixed integer evolution strategies (MIES), which are natural extensions of ES for mixed integer optimization problems. MIES can deal with parameter vectors consisting not only of continuous variables but also with nominal discrete and integer variables. Following the design principles of the canonical evolution strategies, they use specialized mutation operators tailored for the aforementioned mixed parameter classes. For each type of variable, the choice of mutation operators is governed by a natural metric for this variable type, maximal entropy, and symmetry considerations. All distributions used for mutation can be controlled in their shape by means of scaling parameters, allowing self-adaptation to be implemented. After introducing and motivating the conceptual design of the MIES, we study the optimality of the self-adaptation of step sizes and mutation rates on a generalized (weighted) sphere model. Moreover, we prove global convergence of the MIES on a very general class of problems. The remainder of the article is devoted to performance studies on artificial landscapes (barrier functions and mixed integer NK landscapes), and a case study in the optimization of medical image analysis systems. In addition, we show that with proper constraint handling techniques, MIES can also be applied to classical mixed integer nonlinear programming problems.
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50

Garcia-Requejo, Zaida. "Aprendiendo con Mies. El espacio universal de Louis Rocah." EN BLANCO. Revista de Arquitectura 10, no. 24 (April 30, 2018): 96. http://dx.doi.org/10.4995/eb.2018.9164.

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<p>La labor educativa ejercida por Mies van der Rohe como Director del Departamento de Arquitectura del Illinois Institute of Technology hizo posible que las aulas de la escuela se convirtiesen en un laboratorio de ideas en el que se experimentaron soluciones que tuvieron gran influencia en su obra construida posterior. Muchos de los alumnos que se formaron bajo su doctrina contribuyeron con sus proyectos fin de máster a un proceso continuo de búsqueda de nuevas propuestas estructurales. El artículo presenta el trabajo desarrollado por Louis Israel Rocah como proyecto de tesis fin de máster para la obtención del título de posgrado en el Illinois Institute of Technology. Su propuesta para una iglesia aconfesional, defendida en junio de 1953, se identifica como una evolución del proyecto no construido de Mies para la Casa 50x50’, en el que se plantea ya un espacio universal de planta cuadrada de mayores dimensiones que el proyecto de vivienda, resuelto con un emparrillado metálico apoyado en dos apoyos en cada uno de los lados. </p>
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