Mies' two-way span
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 incorp...
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| Tipo de documento: | tese |
| Data de publicação: | 2015 |
| País: | España |
| Recursos: | Universitat Politècnica de Catalunya (UPC) |
| Repositório: | UPCommons. Portal del coneixement obert de la UPC |
| Idioma: | espanhol |
| OAI Identifier: | oai:upcommons.upc.edu:2117/104391 |
| Acesso em linha: | https://hdl.handle.net/2117/104391 https://dx.doi.org/10.5821/dissertation-2117-104391 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Arquitectes -- Alemanya Geometria en l'arquitectura Àrees temàtiques de la UPC::Arquitectura |
| Resumo: | 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. |
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