Sandra Honey, "Mies in Germany," Architectural Monographs (1986), n. 11, p. 19.
Wolf Tegethoff, "From Obscurity to Maturity: Mies van der Rohe's Breakthrough to Modernism," Mies van der Rohe: Critical Essays ed. Franz Schulze, (New York: Museum of Modern Art; Cambridge: M.I.T. Press, 1989), p. 57.
Karin Kirsch, The Weissenhofsiedlung (New York: Rizzoli, 1989), p. 33.
"Having received the commision [for the Barcelona Pavilion] some time around the first of July 1928, Mies responded with atypical speed and decisiveness. Even under the most concentrated of normal conditions he was wont to fuss endlessly over a project, forever revising, leaving a trail of hundreds of sketches." Franz Schulze Mies van der Rohe: A Critical Biography (Chicago: University of Chicago Press, 1985), p. 152.
Elaine Hochman, Architects of Fortune: Mies van der Rohe and the Third Reich (New York: Weidenfeld and Nicholson, 1989), p. 291.
David Spaeth, "Ludwig Mies van der Rohe: A Biographical Essay," Mies Reconsidered: His Career, Legacy and Disciples ed. John Zukowsky, (New York: Rizzoli; Chicago: The Art Institute of Chicago, 1986), p. 34.
"The materials themselves [in the Silk and Velvet Café] were no less important to the effect of the ensemble ... reflected Reich's exceptional way with textiles as well as her vivid, opulent sense of colour." Schulze, Mies van der Rohe: A Critical Biography p. 144.
Christine Battersby, "The Architect as Genius: Feminism and the Aesthetics of Exclusion," albA (1991), v. 1, n. 3, pp. 9 17.
Mies van der Rohe, "No Dogma," Interbuild (1959), v. 6, n. 6, p. 10.
Mies cited, Schulze, Mies van der Rohe: A Critical Biography p. 338.
Battersby, "The Architect as Genius," p. 16.
Sherry Ortner, "Is Female to Male as Nature is to Culture," Woman Culture and Society eds. Rosaldo and Lamphere, (Stanford: Stanford University Press, 1974), p. 80.
Whitney Chadwick, Women Art and Society (London: Thames & Hudson, 1990), p. 26.
"Soon after her arrival in Berlin she took over the organization and management of Mies' architectural practice, attending to all the things he hated to do and leaving him free to get on with the design work (in which she too was active)." Honey, "Mies in Germany," p. 19.
Kirsch, The Weissenhofsiedlung p. 62.
"Some of the explanation for this alacrity rest with Lilly Reich, whose responsibility for the exhibition halls relieved Mies of much of the burdens ... Thus he could devote his energies mostly to the pavilion." Schulze, Mies van der Rohe: A Critical Biography p. 153.
Vitruvius, The Ten Books on Architecture trans. Morris Morgan, (Cambridge: Harvard University Press, 1914), p. 73.
"in the smaller pool stood the figure of a woman by Kolbe, balancing on a rock and gesturing with her outstretched arms. Toward this image the observer was led, seeing it first through the glass 'darkly' and then coming out to it where its act was exposed to the sky and framed by the constructivist planes. Now, however, its sudden precarious gesture seemed to be creating the constructivist environment around itself and, once seen, controlled the building completely. All the planes seemed to be derived from it, positioned by it, even as its lifted arm could be faintly perceived from the far end of the platform." Vincent Scully, Modern Architecture: The Architecture of Democracy (New York: George Braziller, 1974), p. 28.
Wolf Tegethoff, Mies van der Rohe: the Villas and Country Houses (New York: Museum of Modern Art; Cambridge: M.I.T. Press, 1985), p. 74.
Schulze, Mies van der Rohe: A Critical Biography p. 159.
K. Michael Hays, "Critical Architecture," Perspecta (1984), n. 21, pp. 14 29.
Kenneth Frampton, Modern Architecture - A Critical History (London: Thames & Hudson, 1985).
Oxford Companion to Twentieth Century Art ed. Harold Osborne, (Oxford: Oxford University Press, 1981).
Tegethoff, Mies van der Rohe: the Villas and Country Houses.
Caroline Constant, "The Barcelona Pavilion as Landscape Garden: Modernity and the Picturesque," AA Files (1990), v. 20, pp. 46 54.
Josep Quetglas, "Relato en Tres Actos," On (1986), n. 73, pp. 12 22.
José Quetglas, "Fear of Glass: the Barcelona Pavilion," Architectureproduction Revisions ed. Beatriz Colomina, (New York: Princeton Architectural Press, 1988), pp. 122-151.
Franz Schulze, Mies van der Rohe: Interior Spaces (Chicago: The Arts Club of Chicago, 1982).
Arthur Drexler, The Mies van der Rohe Archive (New York and London: Garland Publishing, 1986), v. 2.
Warren A. James, "Barcelona," Progressive Architecture (1986), n. 8, pp. 61-67.
James' article actually titles the statue The Dancer in a photo caption but uses Evening in the text. The caption is corrected in an erratum in a following issue of the magazine.
Euripides cited, Vincent Scully, The Earth, the Temple and the Gods: Greek Sacred Architecture (New Haven: Yale University Press, 1979), p. 80.
"In this trinity 'three' were 'even' (the same), in that one goddess appeared in three manifestations corresponding to the three tiers that composed the world. First she was a bright young maiden huntress of the air ... Then she was the mature woman goddess at the centre, dispensing fertility, ruling land and sea, an erotic divinity ... And finally she was an old woman who lives in the underworld, the goddess of death who at the same time effects rebirth." Christa Wolf, "A Letter," Feminist Aesthetics ed. Gisela Ecker, (London: The Women's Press, 1985), p. 98.
T. S. Eliot, "Burnt Norton," Four Quartets (London: Faber & Faber, 1959), ln. 62-63.
G. Rachel Levy, The Gate of Horn (London: Faber & Faber, 1948), p. 116.
Robert Graves, The White Goddess (London: Faber & Faber, 1961), p. 70.
Arthur Drexler, Ludwig Mies van der Rohe (New York: George Braziller, 1960), p. 32.
Tegethoff, Mies van der Rohe: the Villas and Country Houses p. 80.
"The way Mies accommodated the public and ceremonial functions suggests analogies with a Romanesque church plan: the open part of the pavilion representing the atrium, the roofed part the Basilica replete with nave and aisles, and the end walls the apse formed by the walls around the small pool. It even had a monumental altar piece in the gold onyx wall, which, although shifted perpendicularly out of axis, clearly marked the Pavilion's ritual centre." Glaeser cited, Tegethoff, Mies van der Rohe: the Villas and Country Houses p. 81.
Scully, The Earth, the Temples and the Gods p. 79.
Levy, The Gate of Horn p. 62.
Adrian Fisher and Georg Gerster, The Art of the Maze (London: Weidenfeld & Nicholson, 1990), p. 19.
Enrico Guidoni, Primitive Architecture trans. Robert Wolf, (New York: Harry N Abrams, 1978), p. 49.
Amos Rapoport, House Form and Culture (Englewood Cliffs, New Jersey: Prentice Hall, 1969), p. 65.
Susan Walker, "Women and Housing in Classical Greece: the Archaelogical Evidence," Images of Women in Antiquity eds. Averil Cameron and Amelie Kuhrt, (London: Croom Helm, 1983), p. 82.
Euripides cited, Ruth Padel, "Women: Model for Possession by Greek Daemons," Images of Women in Antiquity eds. Averil Cameron and Amelie Kuhrt, (London: Croom Helm, 1983), p. 4.
Walker, "Women and Housing in Classical Greece," p. 82.
Padel, "Women," p. 10.
Padel, "Women."
Mark Wigley, "Untitled: the Housing of Gender," Sexuality and Space ed. Beatriz Colomina, (New York: Princeton Architectural Press, 1992), pp. 327 389.
Elizabeth Grosz, Sexual Subversions (St Leonards, New South Wales: Allen & Unwin, 1989), p. 173.
Rousseau cited, Chadwick, Women Art and Society p. 137.
Barnet cited, Lynne Walker, "Concrete Proof: Women, Architecture and Modernism," FAN (1990), v. 3, n. 4, p. 7.
Dolores Hayden, "What Would a Non Sexist City Be Like? Speculations on Housing, Urban Design and Human Work," Women and the American City eds. Stimpson, Dixler, Nelson and Yatrakis, (Chicago: University of Chicago Press, 1981), p. 169.
Anthony Vidler, "The Building in Pain," AA Files n. 19, p. 10.
Loos cited, Joseph Rykwert, On Adam's House in Paradise (Cambridge and London: M.I.T. Press, 1981), p. 27.
Margaret Whitford, Luce Irigaray: Philosophy in the Feminine (London and New York: Routledge, 1991), p. 70.
Juan Pablo Bonta, An Anatomy of Architectural Interpretation (Barcelona: G Gili, 1975), p. 62.