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iii This dissertation investigates the relation between Mies van der Rohe and cinema. Its purpose is to elucidate, both historically and theoretically, the association between the architect Mies and the pioneers of abstract film Hans Richter and Viking Eggeling during the early 1920s. I argue that for each of these figures, as well as for many artists and intellectuals assembling around the journal G – Material zur elementaren Gestaltung, the medium of cinema epitomized the possibility for an alternative modernist project. They realized that cinema was not simply a powerful instrument for a convincing representation of reality or for entertaining the masses but a medium that fundamentally reshaped the existing regimes of vision, perception and knowledge. Both the architecture of Mies and the film experiments of Richter and Eggeling are, I argue, manifestations of this epistemic shift that promised to counteract modernism’s failed reception of technology. They render visible and thinkable images, objects and processes that were formerly excluded from the cognitive field, and thereby contribute to an alternative, intermedial history of modern architecture