Mies. Skomplikowane życie architekta minimalisty

Agustín Ferrer Casas

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The comic bookMies. The Com­pli­cated Life of a Min­i­mal­ist Architect is a fic­tion­al­ized bi­og­ra­phy of both Ludwig Mies van der Rohe and the “heroic” era of modern ar­chi­tec­ture. The reading makes us realise who one of the most elegant and most im­i­tated ar­chi­tects of the 20th century really was. We see here a man who seems to fear nothing, a stone­ma­son’s son hungry for knowl­edge, a young man who com­pli­cates his life without hes­i­ta­tion, and a man who does not miss any op­por­tu­nity to have fun.

The famous ar­chi­tect Ludwig Mies van der Rohe flies to Berlin for the laying of the foun­da­tion stone of his project, the Neue Na­tion­al­ga­lerie. He is ac­com­pa­nied by his grand­son Dirk Lohan, also an ar­chi­tect. In the con­ver­sa­tion during the flight, mem­o­ries of the most im­por­tant moments in Mies’ private life - pro­jects, clients and cus­tomers, the war, enemies, friends and lovers - return.

This is a his­tor­i­cal comic book. The most im­por­tant facts are con­firmed in the sources: that Goebbels wanted an in­jec­tion of fresh blood in German art, and that Hitler tram­pled on the Re­ich­stag project sub­mit­ted by van der Rohe. That Mies signed - to the disgust of his Bauhaus col­leagues - a man­i­festo in support of the Führer, and that he fled Germany when he re­alised he would never build any­thing there again. Also real are the patient wife, the grand­son Dirk with whom Mies speaks, the loyal Lilly Reich and the beau­ti­ful Lora Marx.

But the char­ac­ter who perhaps best il­lus­trates the dif­fi­culty of rec­on­cil­ing fame, ar­chi­tec­ture and truth is the nephrol­o­gist Edith Farnsworth, whose dream of a house was mis­taken for a desire for a re­la­tion­ship, and after all that house she sold and moved to Italy. However, her name sur­vives forever in the name of the build­ing that for several years allowed her to believe in a better world.

The great­est achieve­ment of the author of the comic strip, Ferrer Casas, can be summed up by Flaubert’s apho­rism, which Mies liked to quote, cred­it­ing his au­thor­ship: God is in the details. The ar­chi­tect’s suits, his cigar, his martini glass, the winter garden of the Tu­gend­hat villa in Brno or the views from the build­ing on Lake Shore Drive in Chicago are all au­then­tic details that build the story.

The fore­word was written by world-renowned ar­chi­tect Norman Foster, winner of the 1990 Mies van der Rohe Award and the 1999 Pritzker Prize.

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Book in Polish only

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