Keywords:Modern Movement, Modern architecture, Modern housing
Mies enjoyed great prominence in Europe and America. Starting in Europe, his first incursions resulted in the German Pavilion for the Barcelona International Exhibition (1929), the Tugendhat House (1930) and the Krefeld silk factory and houses. The Illinois Institute of Technology (1943-1957), the Lake Shore Drive (1951), the Farnsworth House (1951), the Seagram building (1958) and the Toronto-Dominion Centre (1969), bear witness to his work in North America. Back in Berlin, The Neue Nationalgalerie (1968) testifies to the sublime and perfect achievement of his path towards Baukunst and Zeitwille. These ideas, which one may translate, respectively, as the art of building and the will of the time, are anchored in the Mies’s belief that architecture should be metaphysically charged with creative life force. This led him to the modern achievement of developing a new kind of freedom of movement in space, following his sense of order and his very unique conception of urban space.
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Copyright (c) 2017 Ana Tostões, Zara Ferreira
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Fritz Neumeyer, The Artless Word: Mies van der Rohe on the Building Art, Cambridge, The MIT Press, 1991, 245-247 [Berlin, Siedler, 1986].
Peter Blake, Mies Van der Rohe: Architecture and Structure, Baltimore, Penguin Books, 1964.
Phyllis Lambert, “Punching through the clouds: notes on the plate of the Toronto-Dominion Centre in the North-America oeuvre of Mies”, in Detlef Mertins (ed.), Presence of Mies, New York, Princeton Architectural Press, 1994.