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By Moises Puente

It's been acknowledged that modernist legend Mies van der Rohe's thirty years spent operating in the US mirrored his mostconsistent and mature efforts towards reaching his target of a brand new structure for the 20th century. targeting this American interval, Conversations with Mies van der Rohe, the newest addition to our Conversations sequence, supplies clean credence to this declare by way of providing the architect's most vital layout matters in his personal phrases. during this collectionof interviews Mies talks freely approximately his dating with consumers, the typical language he aimed for in his architecturalprojects, the impacts on his paintings, and the synthesis of structure and expertise that he complex in his designs and equipped works.

Conversations with Mies van der Rohe makes a massive contribution to the corpus of Mies scholarship. It offers a brilliant photo of a grasp of modernism, bringing his creative biography to an in depth whereas finishing the scope of his type by way of recommendations, scale, use of fabrics, and typology. An essay by means of Iaki balos offers a context for those interviews and appears at Mies's legacy from a latest viewpoint.

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Sample text

But I remember very well how it came about. Everything was donated for this whole building: the site—we had 64 feet from the railroad to the sidewalk; some­body gave them a traveling crane—it was 40 feet wide, so we needed 42 feet from center of column to center of column. The rest was laboratories, you know. Everything was there—we needed steel bracing in the wall, the brick wall. It was a ques­tion of the building code. You can only make an 8-inch wall so big, otherwise you have to reinforce 44 it.

But they were there for one thousand years and still there and still impressive, and nothing could change it. And all the styles, the great styles, passed, but they were still there. They didn’t lose anything. They were ignored through certain architectural epochs, but they were still there and still as good as they were on the first day they were built. Then I worked with Peter Behrens. He had a great sense of the great form. That was his main interest; and that I certainly understood and learned from him.

I was interested in the philosophy of values and problems of the spirit. I was also very much interested in astronomy and natural sciences. I asked myself the ques­tion, “What is the truth? ” until I stopped at Thomas Aquinas. I found the answer there. So, for other things, what is order? Everybody talks about it but nobody could tell you what it is. Until I read Augustine about sociology. There was a mess as great as in architecture then. You could read a lot of sociological books and you were not wiser than before.

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