La influencia de la arquitectura efímera en la arquitectura construida: el caso de Mies van der Rohe

Abstract

Temporary architectures are not only relevant for configuring the scenes of major architectural experimentation from a certain period, but also for the influences they have on permanent architectures that were built at a later stage. Precisely, it was this conceptual search for the ephemeral, which enabled to a large extent, the research and development of the works of Mies van der Rohe: exhibition architectures that, despite the quantitative and qualitative importance represented in the Miesian production, are not referenced in its entirety, nor have there been an in depth study made; ephemeral architectures that offer new perspectives which are worth being investigated with rigor. And so, the aim of this article is to provide clarity to the exposed works of Mies van der Rohe, beginning with an exhaustive work in historical archives. A methodology based on and supported by photographs, catalogue and writings that immortalized the architectures that the past saw set up and dismantled. From the analysis and interpretation of said historic documents, the investigation concludes by suggesting a series of relevant discussions for theory and critique of ephemeral architecture as well as his permanent architecture. First, providing the full list of his exhibition legacy, (a list, to date unpublished and from there the originality of this study has been founded), and secondly, outlining the foundations tested in exhibition scenarios, which were later transferred to his buildings constructed in real environments.

Mies and his Teaching Venues: the Triumph of Architecture over Function

“…However, the comparison of this renovation with the works Mies carried out in his studio, such as his ephemeral architectures (Lizondo et al, 2014), his recently completed Villa Tugendhat, or his unbuilt courtyard houses, reveals a surprising spatial distribution: a fractioned layout that he even used in the factory next door bought in January 1933. Those premises consisting of a single floor with skylights were intended to house the printshop belonging to the press department run by Josef Albers -a space that was deemed essential for the teaching and artistic aims of the Bauhaus, particularly in Berlin where the Nazi regime was very unsympathetic to its interests-.…”

Perceived Sensations in Architectural Spaces through Immersive Virtual Reality

“…For the experimentation, six modules of ephemeral architecture were designed, that is, architecture for the use of a spectacle or to become a spectacle in itself (Sánchez Vidiella, 2016) and which have the quality of configuring scenarios of greater architectural experimentation (Lizondo Sevilla et al, 2014). The spaces designed by architects of the research team and showed in Fig.…”