There was once an empty site

2020 ◽  
Vol 24 (2) ◽  
pp. 129-140
Author(s):  
Catalina Mejía Moreno
Keyword(s):  
Empty Site ◽  
Mies Van Der Rohe

This article unveils and discusses a series of unknown photographs of the empty site in which Mies and Lilly Reich's 1929 German Pavilion in Barcelona had been built and dismantled, and shot by Ludwig Glaeser, curator of the Mies van der Rohe Archive at MoMA in 1979. It suggests that more than the manifestation of a desire to rematerialise the building through the agency of photography, Glaeser's photographs are, photographs of dust, but more importantly, a manifestation of the possibility of re-enacting the widely known 1929 Berliner Bild-Bericht photographs.

DYNAMIC SYMMETRY BEHIND THE PLAN OF FARNSWORTH HOUSE BY MIES VAN DER ROHE

2000 ◽  
Vol 65 (535) ◽  
pp. 297-302 ◽  
Author(s):  
Daisuke KAJI ◽  
Takashi OMI ◽  
Kouichi ISHIZAKA
Keyword(s):  
Dynamic Symmetry ◽  
Mies Van Der Rohe

Bauen nach dem Bauhaus

Architectura ◽  
2018 ◽  
Vol 48 (1-2) ◽  
pp. 154-183
Author(s):  
Andreas Schwarting
Keyword(s):  
Second World War ◽  
West Germany ◽  
Individual Level ◽  
Industrial Architecture ◽  
Construction Tasks ◽  
The 1950S ◽  
Post War ◽  
Mies Van Der Rohe ◽  
Contemporary Architecture ◽  
Second World

Abstract Hermann Blomeier is one of around 80 graduates from the Bau- und Ausbauabteilung, a comparatively small group among the more than 1200 students at the Bauhaus who have only recently come under the spotlight of research. The biographies of several graduates are known, such as Franz Ehrlich, Erich Consemüller, Howard Dearstyne, Selman Selmanagić, Herbert Hirche or Arieh Sharon; many more are lost, however. Although the Bauhaus was not a ›school‹ in the sense of a unified design approach and a binding canon of forms, it is instructive on an individual level to study the work of Blomeier, one of the Bauhaus graduates and students of Ludwig Mies van der Rohe who has so far received little attention. On the basis of three projects from the 1950s, the viability of the design approaches conveyed at the Bauhaus for the construction tasks of the post-war period are examined. First, the ferry ports connecting Konstanz and Meersburg will be considered as the first major project by Blomeier after the Second World War. The buildings for the Bodensee-Wasserversorgung – at times the largest construction site in West Germany of the 1950s – represent an outstanding example of industrial architecture and technical infrastructure in their fusion of art, technology and landscape. The smallest of the three projects, the building for the rowing club Neptun, located directly opposite the old town of Konstanz on the Seerhein, points with its innovative modular primary structure well beyond contemporary architecture and anticipates developments of the late 1960s, such as the Japanese Metabolists or the Plug-In-City of Archigram.

scholarly journals Extensive, Nonrandom Diversity of Excision Footprints Generated by Ds-Like Transposon Ascot-1Suggests New Parallels with V(D)J Recombination

1998 ◽  
Vol 18 (7) ◽  
pp. 4337-4346 ◽  
Author(s):  
Vincent Colot ◽  
Vicki Haedens ◽  
Jean-Luc Rossignol
Keyword(s):  
Extensive Study ◽  
Empty Site ◽  
Site Factors ◽  
Original Sequence ◽  
Ascobolus Immersus ◽  
High Degree ◽  
Hairpin Formation ◽  
Processing Steps ◽  
Color Gene

ABSTRACT Upon insertion, transposable elements can disrupt or alter gene function in various ways. Transposons moving through a cut-and-paste mechanism are in addition often mutagenic when excising because repair of the empty site seldom restores the original sequence. The characterization of numerous excision events in many eukaryotes indicates that transposon excision from a given site can generate a high degree of DNA sequence and phenotypic variation. Whether such variation is generated randomly remains largely to be determined. To this end, we have exploited a well-characterized system of genetic instability in the fungus Ascobolus immersus to perform an extensive study of excision events. We show that this system, which produces many phenotypically and genetically distinct derivatives, results from the excision of a novel Ds-like transposon,Ascot-1, from the spore color gene b2. A unique set of 48 molecularly distinct excision products were readily identified from a representative sample of excision derivatives. Products varied in their frequency of occurrence over 4 orders of magnitude, yet most showed small palindromic nucleotide additions. Based on these and other observations, compelling evidence was obtained for intermediate hairpin formation during the excision reaction and for strong biases in the subsequent processing steps at the empty site. Factors likely to be involved in these biases suggest new parallels between the excision reaction performed by transposons of thehAT family and V(D)J recombination. An evaluation of the contribution of small palindromic nucleotide additions produced by transposon excision to the spectrum of spontaneous mutations is also presented.

scholarly journals Planning the Urban Waterfront Transformation, from Infrastructures to Public Space Design in a Sea-Level Rise Scenario: The European Union Prize for Contemporary Architecture Case

Water ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 218
Author(s):  
Francesca Dal Cin ◽  
Fransje Hooimeijer ◽  
Maria Matos Silva
Keyword(s):  
Public Space ◽  
Sea Level ◽  
Urban Areas ◽  
Morphological Characteristics ◽  
Public Spaces ◽  
The European Union ◽  
Space Design ◽  
Urban Waterfront ◽  
Mies Van Der Rohe ◽  
The Impact

Future sea-level rises on the urban waterfront of coastal and riverbanks cities will not be uniform. The impact of floods is exacerbated by population density in nearshore urban areas, and combined with land conversion and urbanization, the vulnerability of coastal towns and public spaces in particular is significantly increased. The empirical analysis of a selected number of waterfront projects, namely the winners of the Mies Van Der Rohe Prize, highlighted the different morphological characteristics of public spaces, in relation to the approximation to the water body: near the shoreline, in and on water. The critical reading of selected architectures related to water is open to multiple insights, allowing to shift the design attention from the building to the public space on the waterfronts. The survey makes it possible to delineate contemporary features and lay the framework for urban development in coastal or riverside areas.

scholarly journals Mies's Opaque Cube: The Electric Utilities Pavilion at the 1929 Barcelona International Exposition

2017 ◽  
Vol 76 (2) ◽  
pp. 197-217 ◽  
Author(s):  
Laura Lizondo Sevilla
Keyword(s):  
Electric Utilities ◽  
Modern Architecture ◽  
Electricity Supply ◽  
Archival Research ◽  
International Exposition ◽  
Mies Van Der Rohe

Mies's Opaque Cube: The Electric Utilities Pavilion at the 1929 Barcelona International Exposition focuses on the dramatic, opaque, white cube-shaped building designed by Ludwig Mies van der Rohe for the German electricity industry's display at the exposition. Like many emblematic projects of modern architecture, the pavilion was created for a temporary exhibition and is known only through the photographic and graphic documentation of the era. Mies used the Electricity Supply Company Pavilion to experiment with a variety of ideas, including the use of photo murals and a new expression of structure and space, that featured in his later buildings. Through archival research, Laura Lizondo Sevilla has reconstructed this pavilion, the original plans for which no longer exist, and her article reinterprets the building's contribution to Mies's subsequent architecture.

scholarly journals De los bocetos al collage La representación paradójica del vacío en la arquitectura de Mies van der Rohe

2020 ◽  
pp. 82
Author(s):  
Francisco Muñoz Carabias
Keyword(s):  
Mies Van Der Rohe

<p>¿Cómo representar el vacío cuando es invisible y carece de límites, y a su vez, sin embargo, constituye<br />el fundamento de toda una arquitectura? Esta paradoja fundacional de la modernidad tuvo en Mies<br />van der Rohe la expresión radical de una búsqueda intuitiva a través de unos dibujos probatorios<br />expresados en los bocetos de sus proyectos de casas patio de finales de los años veinte en Europa,<br />bocetos que culminaron en su obra más sorprendente y lograda: el Pabellón de Barcelona; y en los<br />años siguientes, en los collages de su primer proyecto en América, la casa Resor. Un recorrido por ellos<br />revelará por sí mismo la ambición visionaria desarrollada por el arquitecto y las dificultades que hubo<br />para su materialización; paradójicamente, ésta es una de las cualidades de las cuales carece dicho vacío<br />ilimitado, ingrávido e inconcluso, y el cual su arquitectura “construyó” de forma aporética haciendo de<br />él otro material más del proyecto, cuando no el más importante.</p>

scholarly journals Mundane beauty in art and architecture

2017 ◽  
Vol 11 ◽  
pp. 196-201
Author(s):  
Angela Juarranz
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Design Process ◽  
Specific Kind ◽  
Mies Van Der Rohe ◽  
Art And Architecture

In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?

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