We should attempt to bring nature, houses, and human beings together in a higher unity.
Ludwig Mies Van Der RoheRead
The long path from material through function to creative work has only one goal: to create order out of the desperate confusion of our time.
Interpretation
The quote emphasizes the journey of transforming raw material into meaningful creative expression amidst chaos.
Ludwig Mies Van Der Rohe highlights the creative process as a progression from the raw material through its functionality to the final artistic work. This journey is aimed at establishing order and clarity in a world that often feels disordered and chaotic, reflecting the essential role of creativity in making sense of our surroundings.
In practice
In a speech at an art exhibition discussing the importance of creativity in addressing societal issues.
We should attempt to bring nature, houses, and human beings together in a higher unity.
Architecture depends on facts, but its real field of activity lies in the realm of the significance.
The demands of the time for objectivity and functionality must be fulfilled. If that clearly happens, then the buildings of our day will convey the greatness of which the age is capable, and only a fool will maintain that they lack it.
I think that an industrial process is not like a rubber stamp. Everything has to be put together and, as such, should have its own expression.
Reinforced concrete buildings are by nature skeletal buildings. No noodles nor armoured turrets. A construction of girders that carry the weight, and walls that carry no weight. That is to say, buildings consisting of skin and bones.
Modern buildings of our time are so huge that one must group them. Often the space between these buildings is as important as the buildings themselves.
Music is well said to be the speech of angels.
What science cannot declare, art can suggest; what art suggests silently, poetry speaks aloud; but what poetry fails to explain in words, music can express. _x000D_ Whoever knows the mystery of vibrations indeed knows all things.
I personally tend to be drawn to stories that aren't paid much attention to, or stories that aren't on people's radar.
When I'm writing a woman character, I don't think, 'What would a woman do?' I just think, 'What would this character do in this situation?'
My place in design history is to sort of interpret youth culture, and I think we've seen that done in fashion before - it's not a new concept - but it hasn't been done with the same vigour in a modern context.
How happily, said Austerlitz, have I sat over a book in the deepening twilight until I could no longer make out the words and my mind began to wander, and how secure have I felt seated at the desk in my house in the dark night, just watching the tip of my pencil in the lamplight following its shadow, as if of its own accord and with perfect fidelity, while that shadow moved regularly from left to right, line by line, over the ruled paper.
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