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| Ludwig Mies van der Rohe fot. © Estate of Yousuf Karsh |
(notatki i tłumaczenia tekstów z j.angielskiego)
Mies van der Rohe found the same answer
for every question.
O budynkach
średniowiecznych w Akwizgranie (Aachen)
All
the great styles passed, but they were still there. They didn’t loose anything
and they were still as good as on the day they were built. They were medieval
buildings, not with any special character, but they were really built.
O uprzemysłowieniu
budownictwa, o nowej technologii, materiałach, o przyszłości
The
problem before us is not the realization of the present methods, but rather a
revolution in the whole nature of the building industry. The nature of the
building process will not change as long as we employ essentially the same
building materials, for they require hand labour. Industrialization of the
process of construction is a question of materials. Our first consideration,
therefore must be to find a new building material. Our technologists must and
will succeed in inventing a material which can be industrially manufactured and
processed and which will be weatherproof, soundproof and insulating. It must be
a light material, which not only permits but requires industrial production.
All the parts will be made in a factory and the work on the site will consist
only of assemblage, requiring extremely few men-hours. This will greatly reduce
building costs. Then the new architecture will come into its own.
I am
convinced that traditional methods of construction will disappear. In case
anyone regrets that the house of the future can no longer be made by hand
workers, it should be borne in mind that the automobile is no longer
manufactured by carriage makers.
Space,
amplitude and a comfortable relationship among the parts – unity, order, form –
were his basic requirements. A lack of order in any part hurt him.
Museum for a Small City
/ Muzeum dla Małego Miasta
In this project one is hardly aware of
architecture. Where the presentation of art was concerned he felt that they
should have complete priority. Architectural details, fantasies in installation
or lighting that might even slightly distract the observer’s attention from the
works of art were inadmissible. The only features he permitted were open space
and a sensibility in its division. The relative ‘absence of architecture’, as
he put it, intensifies the individuality of each work of art and at the same
time incorporates it into the entire design.
O budynkach drewnianych
Where
can we find greater structural clarity than in the wooden buildings of the old?
Where
can we find such unity of material, construction and form? What feeling for
material and what power of expression there is in these buildings. What warmth
and beauty they have.
O cegle / About a brick
Now a
brick – that is really something. How sensible is this small, handy shape, so
useful for every purpose! What logic in its bonding, pattern and texture! What
richness in the simplest wall surface! But what discipline this material
imposes!
O dyscyplinie i formie:
DISCIPLINE, ORDER, FORM = truth in
architecture.
Form
is not an aim for architect – it’s result of his work.
SPIRITUAL DISCIPLINE
To attack everything with reason.
About a house:
I
would not like to live in a cubical house with a lot of small rooms. I would
rather live on a bench in Hyde Park.
I
would build a simple but very large house, so that I can do inside what I like. (as the Japanese do in their houses – changing things around
occasionally)
O edukacji architektonicznej:
Mies van der Rohe
postrzegał nauczanie jako stymulant – dzięki niemu był zmuszony wyklarować
swoje idee, by móc ich nauczać. Uczenie pozwalało mu pracować nad ogólnymi
problemami architektonicznymi. Wiedział z doświadczenia, że rozmyślanie nad
architekturą podczas pracy nad aktualnym budynkiem nie zdaje egzaminu. To myślenie musi odbyć się wcześniej.
The
function of education is to lead us from irresponsible opinion to truly
responsible judgement and since s building is a work and not a notion, a method
of work, a way of doing should be the essence of architectural education.
He was convinced that a student should not
be expected to design a building before he had assimilated the basic tools of
his work.
Everything
should be guided by reason in order that one is kept on the right track. Some
people do not think of reason in connection with architecture – they forget
that a brick wall is a very reasonable affair.
Zrozumienie nauki, technologii
i innych znaczących sił, które mają wpływ na naszą epokę, kształtują ją.
Brak kierunku szkół
architektonicznych, chaos. Nie brak entuzjazmu i talentu.
I
believe that in architecture you must deal with construction. When the
structure is refined and when it becomes an expression of the essence of our
time, it will then and only then become architecture. Every building has its
position in a strata – every building is not a cathedral. Those are facts which
should be understood and taught. It takes discipline to restrain oneself. I
have many times thought this or that would be a wonderful idea, only to
overrule this impulse by a method of working and thinking.
If
our schools could get to the root of the problem and develop within the student
a clear method of working we should have then given him a worthwhile five
years. But five years is a very short time when you remember that in most cases
these are the most formative years to architect.
At least two things should be accomplished;
mastery of the tools of his profession and the development of a clear
direction. Now it is quite impossible to accomplish the latter when the school
itself is not clear.
O indywidualności w architekturze:
To try to express individuality in architecture is a complete misunderstanding, and today most of our schools either intentionally or unintentionally let their students leave with the idea that to do a good building means to do a different building, and they are not different, they are just bad.
To try to express individuality in architecture is a complete misunderstanding, and today most of our schools either intentionally or unintentionally let their students leave with the idea that to do a good building means to do a different building, and they are not different, they are just bad.
O biurowcach:
The office building is a house of work, of organization, of clarity, of economy;
Broad, light workspace, unbroken, but
articulated according to the organization of the work; Maximum effect with
minimum means.The office building is a house of work, of organization, of clarity, of economy;
O nowych formach:
Instead of trying to solve the New problems
with old forms, we should develop the New forms from the very nature of the new
problems.
Zamiast próbować
rozwiązać nowe problemy za pomocą starych form, powinniśmy opracować nowe formy
– wynikające z natury nowych problemów.
O projekcie szklanego wieżowca dla Berlina:
At first glance the shape may look arbitrary;
At first glance the shape may look arbitrary;
Factors:
-sufficient illumination of the interior;
-the massing of the building viewed from
the street;
-play of reflections;
Por.
Tugendhat House, Brno – lowerable glass wall;
OMA: Casa Bordeaux – movable floor;
Lilly Reich + Mies van der Rohe
Malarz (Mondrian) wyposażył
go w ogólny przestrzenny ideał.
(…) było i jest wielu
innych architektów – zwłaszcza wśród młodszej generacji – którzy do dziś nie są
w stanie wyzwolić się spod potężnego oddziaływania tej kunsztownej struktury.
Większość domów zbudowanych przez Paula Rudolpha na Florydzie w latach
czterdziestych i wczesnych pięćdziesiątych była wariacją na temat Barcelony;
biuro zaprojektowane przez Ieoh Ming Pei dla Williama Zeckendorfa na dachu domu
przy Madison Avenue jest w części niemal repliką pawilonu z roku 1929, podobnie
jak detale placu u stóp Mile High Centre w Denver, Colorado, też według
projektu Pei. W Los Angeles ciesząca się powodzeniem firma architektoniczna
zrobiła niemal dokładną kopię pawilonu z Barcelony, wykończoną tynkiem i blachą
aluminiową, i umieściła tam swoje biura. Barceloński pawilon kopiowano jako
całość lub częściami stale i wszędzie, od Tokio do Sztokholmu, w tanich i
drogich materiałach.
Firma Skidmore Owings and
Merrill budowała domy bardziej ‘miesowskie’, niż robił to sam Mies.
opracował:
Tomasz Sachanowicz
www.slabpracownia.pl
bibliografia:
Peter Carter, 'Mies Van Der Rohe At Work', Phaidon Press, 1999
Peter Blake, ‘Mies van der Rohe – architektura i struktura’, WAiF, Warszawa 1991
