scholarly journals Mies van der Rohe: Cuba 1957 - Berlin 1968. Il compimento della “nuova” arte del costruire | Mies van der Rohe: Cuba 1957 - Berlin 1968. The fulfillment of the “new” art of building

ZARCH ◽  
2017 ◽  
pp. 314
Author(s):  
Martino Doimo
Keyword(s):  
Nineteenth Century ◽  
Space Structure ◽  
Specific Site ◽  
Long Form ◽  
Assembly Technique ◽  
Tectonic Element ◽  
Santiago De Cuba ◽  
Mies Van Der Rohe ◽  
Autonomous Elements

L’arte del costruire (Baukunst) del nostro tempo trova fondamento nella ricerca di una nuova forma di composizione dei differenti autonomi elementi costruttivo/figurativi, nei quali risulta originariamente frammentata e stratificata: l’elemento plastico murario, che si occupa della fondazione del suolo, come massa stereotomica topograficamente modellata in rapporto alla conformazione del luogo; l’elemento propriamente tettonico della struttura di sostegno del riparo, strettamente riferibile ai procedimenti di montaggio di elementi finiti; l’elemento, portatore di motivi tessili, dell’involucro che dà forma allo spazio interno: pura superficie di rivestimento (Bekleidung) tendente alla smaterializzazione. Questi elementi si sono definiti attraverso un lungo processo di formazione, a partire dalla radicale revisione teorica delle tradizionali categorie tettoniche, nel corso dell’Ottocento. Essi sembrano trovare compimento nell’ultima fase della ricerca miesiana della “nuova” arte del costruire, nel progetto della Halle monumentale per Cuba/Berlin (1957-68).KEYWORDS: Mies van der Rohe; tettonica; spazio; struttura; costruzione; Baukunst.The art of building (Baukunst) of our time is founded on the search of a new kind of composition of different autonomous elements, in which it was originally fragmented and stratified: the plastic masonry element of the earthwork, as a stereotomic, topographic mass, closely related to the specific site; the properly tectonic element of the light carpentry framework/roofwork, largely connected to the rational modularity of assembly technique; the dematerialized element of spatial enclosure, as textile cladding surface: the pure dressing (Bekleidung). These elements have been defined through a long form-giving process, started with the radical nineteenth-century theoretical review of traditional tectonic categories. The same elements seem to reach their fulfillment in the last phase of Mies’ research on the “new” art of building: the project for a monumental Halle in Santiago de Cuba, finally built in Berlin (1957-68).KEYWORDS: Mies van der Rohe; tectonics; space; structure; construction; Baukunst.

Serial Pleasures: The Influence of Television on the Victorian Novel

2014 ◽  
Author(s):  
John Plotz
Keyword(s):  
Nineteenth Century ◽  
Victorian Novel ◽  
Hollywood Film ◽  
Long Form ◽  
Structural Differences ◽  
Serial Television

The contemporary success of serial television as a dominant long-form narrative artwork presents both perils and possibilities for critics interested in analogous forms in previous eras. TV dramas that viewers can follow from season to season generate a sustained, often years-long, engagement between viewer and depicted world, a very different relationship between viewer and artwork from that which governed viewer relations to pre-TV Hollywood film—or indeed to the Victorian novel, even when serialized. Broad issues of contingency and intention, as well as more nuanced questions of ensemble participation and commercial broadcasting logic separate serial TV from the long-form narratives of the nineteenth century. In offering up parallels between how serialization worked in long-form narrative arts of previous eras and how serial television works now we risk overlooking how those structural differences shape the meaning of any particular work.

The Avant-Garde and Technology: Toward Technological Fundamentalism in Turn-of-the-Century Europe

1995 ◽  
Vol 8 (2) ◽  
pp. 397-416 ◽  
Author(s):  
Frank Trommler
Keyword(s):  
Nineteenth Century ◽  
Aesthetic Experience ◽  
Turn Of The Century ◽  
Material World ◽  
Avant Garde ◽  
Art And Technology ◽  
Hands On ◽  
Art Works ◽  
The Aesthetic ◽  
Mies Van Der Rohe

The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the century. This technological fundamentalism differed sharply from the anxious and symbolically mediated approach to the “materialism” of the machine in the nineteenth century. It was accompanied by a concept of liberation through technological purity which is reflected by the fact that Gropius, Mies van der Rohe and Corbusier did not just design functional objects but also made special efforts to accentuate their functionalism as part of the aesthetic experience of modernity. As French and Italian artists, especially the Futurists, incorporated speed, virility, and the experience of the elementary in the metaphoric construction of technology, they even expressed a kinship with those painters and sculptors who shifted their focus to the rediscovery of the “primitive” magic in the art works from Africa and Polynesia

scholarly journals Espacio, Forma y Estructura en la casa 50x50' de Mies van der Rohe

2018 ◽  
Vol 5 (2) ◽  
pp. 175
Author(s):  
Alfonso Díaz Segura ◽  
Bartolomé Serra Soriano ◽  
Ricardo Meri de la Maza
Keyword(s):  
Turning Point ◽  
Space Structure ◽  
Mies Van Der Rohe

During the American stage of Mies the beauty of the constructive precision and the essentiality of space is emphasized, which subordinates the program to formal purity. Form is not invented, nor is it the corollary of function or technology, but is the result of placing transcendent and timeless values on secondary issues. The architect must establish an order that assures the formality of the work, but in modernity the systematic classicist rules no longer run. So the goodness of the result is a consequence of the ability of the architect and the user to share visual codes. The effort of Mies in this stage will be to establish certain certainties, universal and clear, developed around the relation among space, structure and shape. The Fifty by Fifty feet house marks a turning point in these intentions and points the path of his latest works.

scholarly journals The Politics of the Plinth: Notes on a Latent Ocularcentrism in Aureli’s Theory of an Absolute Architecture

2017 ◽  
pp. 142-155
Author(s):  
Kasper Lægring
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Political Space ◽  
Ancient Greek ◽  
Architectural Form ◽  
Mies Van Der Rohe

According to Pier Vittori Aureli, architectural form becomes political by being a clearly defined limit. These defining effects of architectural form are also what allow a civic and political space to exist. In contrast to the tradition of urbanism, Aureli praises Mies van der Rohe because of the architect’s use of form as an act of demarcation, where a reinterpreted classical plinth carries a glass-and-steel pavilion structure. While Aureli regards this Modernist plinth as a guarantor of absoluteness and independence from urbanism, this article conversely argues that the Miesian plinth is just as implicated in nineteenth-century urbanism as the gridded plans of Cerdà, since this model can be traced back, not to the Ancient Greek temple, but to a novel nineteenth-century visual culture which came into being under the spell of ocularcentrism and panopticism. Aureli’s theory is thus supplemented with its necessary counterpart to management: the representational component of urbanism.

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