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In this article we explore the links between the Pavilion-Sculptures (1968-97) and the Ulm School of Design (1953), both of which formed part of the work of the multitalented artist and architect Max Bill. Through a graphic analysis, we study aspects such as location, movement, or spatial composition in his work, discovering the existence of a connection in the way he planned projects in different disciplines, and the influence of architecture on his sculpture in these two cases. We detect an abstract and historicist presence in the work of this defender of "concrete art," who, a priori, avoided symbols. Historicist concepts are also found in the work of this artist, heir to the modern principles of the Bauhaus, which he updated to create the Ulm School of Design. [ABSTRACT FROM AUTHOR]

In 1953, Jorge Oteiza read Bruno Zevi's book Architecture as Space. How to look at A rchitecture, making notes and drawings in his copy, which is preserved in his personal library. This reading had an influence on the architectural projects he was developing at that time, both in interiors such as the Córdoba Chamber of Commerce, or exteriors such as the fagade of the Basilica of Aránzazu. From its analysis, this reading can be considered as a key point in the evolution of the sculptor's relationship with architecture, as it led him to consider space as a common material, allowing him to progress in both disciplines. [ABSTRACT FROM AUTHOR]