Artigos de revistas: "MIES"

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

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

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3

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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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

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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6

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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7

Hietala, Veijo. "Mies ja masokismi." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 6, no. 2 (September 1, 1993): 6–16. http://dx.doi.org/10.23994/lk.116690.

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8

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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9

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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10

Woolner-Pratt. "Mies à jour." Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 18, no. 1 (2021): 74. http://dx.doi.org/10.2307/48770645.

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11

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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12

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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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

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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21

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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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

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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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.

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24

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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25

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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26

Laborda Yneva, José. "Las fuentes de Mies: reseña." Astrágalo. Cultura de la arquitectura y la ciudad 10 (1998): 75–76. http://dx.doi.org/10.12795/astragalo.1998.i10.10.

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27

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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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. 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. 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.

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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

Pan, Ying, Mengfan Wu, Mingjiao Shi, Peizheng Shi, Ningbin Zhao, Yangguang Zhu, Hassan Karimi-Maleh, Chen Ye, Cheng-Te Lin, and Li Fu. "An Overview to Molecularly Imprinted Electrochemical Sensors for the Detection of Bisphenol A." Sensors 23, no. 20 (October 23, 2023): 8656. http://dx.doi.org/10.3390/s23208656.

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Bisphenol A (BPA) is an industrial chemical used extensively in plastics and resins. However, its endocrine-disrupting properties pose risks to human health and the environment. Thus, accurate and rapid detection of BPA is crucial for exposure monitoring and risk mitigation. Molecularly imprinted electrochemical sensors (MIES) have emerged as a promising tool for BPA detection due to their high selectivity, sensitivity, affordability, and portability. This review provides a comprehensive overview of recent advances in MIES for BPA detection. We discuss the operating principles, fabrication strategies, materials, and methods used in MIES. Key findings show that MIES demonstrate detection limits comparable or superior to conventional methods like HPLC and GC-MS. Selectivity studies reveal excellent discrimination between BPA and structural analogs. Recent innovations in nanomaterials, novel monomers, and fabrication techniques have enhanced sensitivity, selectivity, and stability. However, limitations exist in reproducibility, selectivity, and stability. While challenges remain, MIES provide a low-cost portable detection method suitable for on-site BPA monitoring in diverse sectors. Further optimization of sensor fabrication and characterization will enable the immense potential of MIES for field-based BPA detection.

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30

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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31

Wu, Huaren. "Coordinated Control of an Islanded Microintegrated Energy System with an Electrolyzer and Micro-Gas Turbine." International Journal of Photoenergy 2022 (October 26, 2022): 1–10. http://dx.doi.org/10.1155/2022/6195807.

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Microintegrated energy systems (MIESs) can be disconnected from power distribution systems during power system faults. This paper develops a control scheme for an islanded MIES. The VSC inverter controls the AC bus voltage and frequency using a modified AC voltage regulator and a modified frequency regulator. The control structures of the power-to-gas and PMSG-based microturbine generator (MTG) systems are improved. Renewable generation always runs at the maximum power point. The surplus renewable energy in the MIES can be converted into natural gas using power-to-gas, and the MIES can make full use of renewable energy. The proposed coordinated control scheme of the electrolyzer and the supercapacitor can achieve a power balance of the islanded MIES and reduce the DC-link voltage fluctuation. A micro-gas turbine can provide electric energy to the load and enhance distribution system resilience. A coordinated control scheme of the MTG and the supercapacitor is developed to improve MIES operation. A feature of this paper is the research on fault ride-through of the islanded MIES. A fault ride-through strategy is proposed, where the AC voltage of the VSC inverter is reduced to limit the short-circuit current during AC system faults. Islanded MIES simulations are conducted in a MATLAB/Simulink environment to test the control scheme. The simulation results verify the effectiveness of the control scheme during normal operation and failure.

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32

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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33

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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34

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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35

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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36

Guyer, Paul, and Laure Van Heijenoort. "Growing Up with Mies and Saarinen." Aesthetic Investigations 6, no. 1 (August 30, 2023): 69–79. http://dx.doi.org/10.58519/aesthinv.v6i1.13758.

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

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37

Matar, Roula. "Mies van der Rohe et l’exposition." Les Cahiers du Musée national d’art moderne 169, no. 4 (January 31, 2025): 12–43. https://doi.org/10.3917/mnam.169.0012.

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38

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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39

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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40

Frenkel, Alexander, Boris Tikhomirov, and Anton Surkov. "Outcomes of Russia’s Strategic Development in January-April 2023 are Better than Pessimistic Forecasts." Economic Strategies 25, no. 4 (August 30, 2023): 86–91. http://dx.doi.org/10.33917/es-4.190.2023.86-91.

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The author dwells on the change in the market index of “Economic Strategies” (MIES) for the first four months of 2023. Contribution of supply and demand indicators to the MIES is assessed. Analysis of industrial production is carried out.

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41

Santatecla Fayos, José, Zaida García-Requejo, and Laura Lizondo Sevilla. "David Haid y el Teatro de Mannheim de Mies van der Rohe." VLC arquitectura. Research Journal 9, no. 2 (October 28, 2022): 99–121. http://dx.doi.org/10.4995/vlc.2022.15747.

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Este artículo investiga el papel que David N. Haid –estudiante de posgrado del IIT y ayudante en la oficina de Mies van der Rohe– desempeñó en el proyecto del Teatro Nacional, presentado al concurso convocado por la ciudad de Mannheim en 1952 y resuelto en la primavera de 1953. El trabajo de archivo y el método de análisis comparativo ponen de manifiesto dos aspectos importantes. En primer lugar, que el proyecto realizado por Mies van der Rohe para el concurso bajo invitación es coetáneo con el proyecto final de máster, titulado An Arts Center y defendido por Haid en junio de 1953; una tesina que fue supervisada por Mies, tal y como consta en su prefacio. En segundo lugar, que el parecido entre la propuesta de Haid para un centro de arte polivalente y el Teatro de Mannheim de Mies es muy evidente, siendo ambos proyectos idénticos en casi todos los aspectos: métrica, proporción, estructura, e incluso la construcción de sendas maquetas y puesta en escena de sus fotografías. La coincidencia temporal y arquitectónica de ambos trabajos revela el rol tan determinante que David Haid tuvo en este singular proyecto, hasta la fecha únicamente atribuido a Mies van der Rohe.

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42

Garcia-Requejo, Zaida, Pablo Rodríguez Rodríguez, and María Del Pilar Salazar Lozano. "El Convention Hall de Mies: confluencias entre docencia y arquitectura = Mies’s Convention Hall: Convergence of Teaching and Architecture." Cuadernos de Proyectos Arquitectónicos, no. 9 (December 30, 2019): 18–27. http://dx.doi.org/10.20868/cpa.2019.9.4539.

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

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43

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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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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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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Valencia Granda, Juan Fernando. "El secreto del Cantero -Hüttengeheimnis. Del orden medieval al orden moderno en Mies van der Rohe." EGA Revista de Expresión Gráfica Arquitectónica 30, no. 53 (April 16, 2025): 200–215. https://doi.org/10.4995/ega.2025.19938.

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Este artículo se adentra en la resolución de los fundamentos del orden práctico con los que Mies van der Rohe proyectó su obra. La investigación contrasta los principios derivados del estudio de su biblioteca privada, y el análisis grafico a los esquemas proyectuales y planos finales de hitos de su obra para resolver la hipótesis. La civilización medieval define un canon sobre el concepto de orden práctico para Mies, ya que amalgama a un nivel espiritual la estructura de su tiempo y la arquitectura que produce. Al igual que los maestros constructores medievales, quienes resguardaban sus conocimientos como un secreto profesional, Mies mantuvo su método proyectual como un misterio que se discierne a partir de esta investigación. El que sería el sistema geométrico perfecto que une la cuadratura, la triangulatura y un diagrama de armonía con el que se resuelven las configuraciones geometricas de la arquitectura medieval y la moderna de Mies.

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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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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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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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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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