Thesis--Bonn. / Vita. Includes bibliographical references (p. 432-469).

No description available.

Thesis (doctoral)--Georgia Institute of Technology, 2006. / "Authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI"--1st prelim. p. Includes bibliographical references (p. 274-281). Thesis also available for download in pdf format via the Web site of the Georgia Tech Library and Information Center (SMARTech repository).

Zugl.: Berlin, Techn. Universiẗat, Diss., 2007.

Univ., Habil.-Schr.--Jena, 2002. / Literaturverz. S. 221 - 235.

Thesis (Ph. D.)--Architecture, Georgia Institute of Technology, 2007. / Lewcock, Ronald B., Committee Chair ; Gamble, Michael E., Committee Member ; Bafna, Sonit, Committee Member ; Trubiano, Franca, Committee Member ; Mical, Thomas, Committee Member.

Made available in DSpace on 2016-03-15T19:22:45Z (GMT). No. of bitstreams: 1 Marianna dal Canton Martignago.pdf: 41549778 bytes, checksum: 7ed8685a952b1d808aa6b190fd0ab213 (MD5) Previous issue date: 2015-01-22 / Several architectural and artistic movements transformed the first half of the twentieth century. In this scenario the architect Mies van der Rohe (1886-1968) turned out to be, through his textual and architectural discourse, a spokesman for the spiritual quest in architecture. Therefore this research aimed, at first, to outline the career of the architect. Secondly,it sought - through the articulation of studies of textual speechs on spirituality of Mies van der Rohe and the architectural design analysis of the Barcelona Pavilion (1929-30), designed by the architect - to understand the dimensions of the yearning for the expression of the spiritual dimension, and which were the spiritual nature decisions that could raise the architecture to the status of art. / Diversos movimentos arquitetônicos e artísticos marcaram de modo transformador a primeira metade do século XX. Neste cenário o arquiteto Mies van der Rohe (1886 1968) acabou se tornando, por meio de seus discursos, um porta-voz da "busca espiritual" na arquitetura. Diante disso o presente trabalho buscou, em primeiro lugar, traçar uma trajetória profissional do arquiteto e, em segundo lugar, buscou por meio da articulação dos estudos do discurso textual acerca da espiritualidade de Mies van der Rohe e a análise projetual do Pavilhão de Barcelona (1929-30), projetado pelo arquiteto, compreender as dimensões do anseio pela expressão da dimensão espiritual , e em que constituíam as "decisões" de ordem espiritual que poderiam elevar a arquitetura ao status da arte.

[pt] A Casa com Três Pátios é um projeto residencial não construído do arquiteto Mies van der Rohe da década de 1930 e faz parte de um processo de investigação tipológica de casas-pátio, de duração de quase dez anos da atividade docente e profissional do arquiteto. O presente trabalho observa o desenho do muro de alvenaria da casa sob a compreensão de um protagonismoprogressivo deste elemento, desde seus primeiros estudos até sua última versão,associado ao conceito de autonomia disciplinar. A partir da comparação entre as obras da série investigativa e das executadas de Mies, é possível observar que omuro aos poucos deixa de mediar a arquitetura com o terreno e passa a disputar o protagonismo com o espaço interno da casa. / [en] The Three Courtyards House is an unbuilt residential project by architect Mies van der Rohe from the 1930s. The house is also part of a process of typological investigation of courtyard houses, lasting almost ten years of the architect s teaching and professional activity. The present work observes the design of the masonry wall of the house under the understanding of a progressive protagonism of this element, from its first studies to its last version, associated with the concept of architectural autonomy. Based on the comparison between the works of the investigative series and Mies s executed works, it is possible to notice that the masonry wall gradually ceases to mediate the architecture with the land and starts to dispute the protagonism with the house s internal space.

Building with glass, Mies van der Rohe expressed his singular vision of glass---almost nothing. Among the few things that remain in his minimalist domestic space, the body of a female sculpture holds conspicuous opacity. To seek the signification of this opacity in the transparency of Mies's architecture, this thesis analyzes his design drawings and the photographs of his buildings through a phenomenological reading. The juxtaposition and a parallel development between the presence of the opaque body and the view of glass throughout the evolution of his glass house are discovered. The discovery brings to light the finding that the opaque body is an irreducible substance in fulfilling Mies's ideal of modern house. This opacity in transparency reveals the maternal materiality that is the essence of human dwelling. Three chapters constitute this thesis, Chapter 1 introduces Mies's vision of glass and its representations; chapter 2 examines various views of the architect's glass house designs in drawings and photographs; chapter 3 explores the significance of the inherent opacity in Mies's design philosophy of modern house.

ATENCIÓ: el pes del fitxer txmm3de3.pdf és de 70 MBRESUM:El treball realitzat vol ser un anàlisi exhaustiu de l'efecte causat per l'aparició de la fotografia en la representació de l'arquitectura, la seva introducció en les presentacions dels projectes i l'ús del fotomuntatge. Amb el canvi de segle, del dinou al vint, la fotografia ja va començar a entrar en les diferents disciplines artístiques inclosa l'arquitectura, de tal manera que amb l'aparició de les avantguardes artístiques els moviments arquitectònicsmoderns també es van mostrar reaccionaris i van incloure, a part de nous conceptes arquitectònics, noves maneres de presentar-les, la qual cosa els va acostar a les propostes pictòriques i conseqüentment a la introduccióde la fotografia en el seu procés de treball i de presentació. / The study undertaken aims to present a comprehensive analysis of the impact of the emergence of photography in the representationof architecture, its introduction into project presentations and the use of photomontage. As the 19th century gave way to the 20th, photography had already begun its inroads into other artistic disciplines, includingarchitecture, hence the fact that with the emergence of the artistic avant-garde modern architectural movements also registered a reactionand included, in line with the new architectural concepts, new ways of presenting them, moving closer to pictorial approaches, and hence the introduction of photography within their working and presentational process.