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21 cm × 1 cm × 30 cm

Weight:
450 g


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Docomomo Journal 56The Heritage of Mies (100 pages)EditorialBaukunst and Zeitwille between Europe and America By Ana Tostões and Zara Ferreira IntroductionThe Heritage of Mies By Norbert Hanenberg, Daniel Lohmann, Christian RabeEssaysAACHEN — 1904–5 “Zur Neuen Welt” — Towards the New World. Ludwig Mies and his Architectural Youth in Aachen By Maike Scholz, Daniel LohmannWEIMAR REPUBLIC — 1930SThe Verseidag Silk Factory in Krefeld. Architectural History and Restoration of a much-neglected Mies van der Rohe Project ByNorbert Hanenberg, Daniel LohmannMaster Plans and Deviations. Mies van der Rohe´s involvement in urban development at Verseidag Krefeld and IITChicago By Norbert Hanenberg, Daniel LohmannMies van der Rohe meets Robbrecht en Daem architecten. History of a 1:1 Model based on the Design of Mies van der Rohe By Christiane Lange The Re-birth of the Tugendhat House By Ana Tostões, Ivo Hammer, Zara Ferreira The Sequence of Mies van der Rohe in Barcelona: the German Pavilion as Part of a much Larger Industrial Presence By Laura Martinez GuerenuCHICAGO – 1940S Restoration of Crown Hall By Mark Sexton Restoring the “God Box”: Mies van der Rohe´s Carr Chapel at IIT By Gunny HarboeBACK TO BERLIN — 1950S The Neue Nationalgalerie: the Refurbishment of a Modern Monument By Martijn JaspersInterview Fritz Neumeyer By Ana TostõesJong Soung Kimm By Ana TostõesNewsBook ReviewsAppendixBaukunst and Zeitwille between Europe and America

As a
tribute to Mies Van der Rohe (Aachen, 1886-Chicago, 1969) around the time of
the celebration of his 130th anniversary, this issue of docomomo Journal focuses on his legacy. As Fritz
Neumeyer stated in 1986, “the effort to establish a philosophical foundation
for building in the age of technology makes Mies’s statements important
witnesses to a period of historical transition, whose importance has been
unimpaired by the passage of half a century”. 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 andhouses. 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” (Neumeyer, 1986). This led him to the modern
achievement of developing a new kind of freedom of movement in space, following
his sense of order (Blake, 1964) and his very unique conception
of urban space (Lambert, 1994, 2013).

After
more than a half a century of use, the rehabilitation of these works forms part
of architectural contemporary agenda. Not only are these buildings still a
magnificent source of inspiration, but their resilience has also underlined
their capacity for remaining up-to-date, backed by the collaborative efforts of
some of the most skilled architects and architectural offices. Many buildings could
be featured in this issue, but a selection has had to be made from Europe and
the USA, docomomo International is pleased
to present both recently completed and ongoing rehabilitation processes, from a
cycle that started with the Mark Sexton’s keynote lecture to the 13th
International docomomo Conference (2014, Seoul), on the restoration works being
undertaken on the Crown Hall. This lecture was developed in even greater depth
and became an inspirational paper for this journal. Since then, in recognising the
importance of the academic research conducted by the team of Christian Raabe, Daniel Lohmann
and Norbert Hanenberg, at the Rheinisch-Westfälische
Technische Hochschule
(RWTH) Aachen University, namely the studies
developed within the restoration of the Krefeld Verseidag silk factory, it has become clear that this is now the
time to analyse the question of the preservation of Mies architectural works. With
the aim of providing a broad overview of recent and current activities relating
to the legacy of Mies, this issue publishes new research undertaken into the early years in his
hometown Aachen, as new actions linked to the Krefeld Golf Club and into the
context surrounding the German Pavillion design. The reproduction of drawings kept
in the archive of the New York Museum of Modern Art (MoMA) was crucial in
providing refreshed insights. The participation of several members of docomomo in THICOM reveals the discussion process within
the Tugendhat House restoration. The contemporary challenges
facing architecture and construction are also analysed in the context of the restoration
of the God Box chapel and finally under the scope of the refurbishment of the Neue Nationalgalerie
by David Chipperfield Architects, conducted by Martin Reichert at his Berlin office.

We wish to thank the guest editors
for their generous work, the authors for sharing their knowledge, practice,
reflections and research, and finally the Krefeld-based Interface
Company and the Mies Society fortheir special support. A special word of thanks is also due to Fritz Neumeyer, who generously agreed
to share his thoughts on the legacy of Mies through
an enlightening interview. With permanently fresh insights, Neumeyer promotes
intellectual links to both classical and contemporary discourses, bringing to
the fore the works of Behrens, Shinkel and Gilly.

The original edition of docomomo Journal 56, “The Heritage of
Mies van der Rohe”, published in 2017, was quickly sold out. In this second
edition docomomo is proud to publish
an interview made in the meantime to Jong Soung Kimm, collaborator at the
office of Mies van der Rohe between 1961 and 1972. It gives an idea of Mies’
architectural practice and philosophy and its relevance for today’s discussion
on the challenges encountered on the restoration works conducted so far.

By embarking on this journey through
Mies’s experiences of Baukunst and Zeitwille, this journal seeks to pay
tribute to the timelessness of his legacy.


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