Ludwig Mies Van Der Rohe Quotes

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The architect must get to know the people who will live in the planned house. From their needs, the rest inevitably follows.

The building art is, in reality, always the spatial execution of spiritual decisions. It is bound to its times and manifests itself only in addressing vital tasks with the means of its times. A knowledge of the times, its tasks, and its means is the necessary precondition of work in the building art.

I don't want to be interesting. I want to be good.

God is in the details.

Less is more.

Architecture starts when you carefully put two bricks together. There it begins.

Architecture is the will of an epoch translated into space.

Simply by not owning three medium-sized castles in Tuscany I have saved enough money in the last forty years on insurance premiums alone to buy a medium-sized castle in Tuscany.

A chair is a very difficult object. A skyscraper is almost easier. That is why Chippendale is famous.

Means must be subsidiary to ends and to our desire for dignity and value.

True education is concerned not only with practical goals but also with values. Our aims assure us of our material life, our values make possible our spiritual life.

I do not think it is an advantage to build planned packaged houses. If you prefabricate a house completely, it becomes an unnecessary restriction.

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.

You can use up all the slums for new development. In all the cities of the world, there are large areas of these. Also, you can avoid the spread of these silly suburban houses. Chicago has thousands of them all over the place.

Generally, I think my work has so much influence because of its reasonableness.

Most of our designs are developed long before there is a practical possibility of carrying them out. I do that on purpose and have done it all my life. I do it when I am interested in something.

Never talk to a client about architecture. Talk to him about his children. That is simply good politics. he will not understand what you have to say about architecture most of the time.

It is much better to have just one idea, and if the idea is clear, then you can fight for it. That is how you can get things done.

It took me a long time to understand the relationship between ideas and between objective facts. But after I clearly understood this relationship, I didn't fool around with other wild ideas. That is one of the main reasons why I just make my scheme as simple as possible.

It is no use working with other architects. What can they do? Who does what?

We have to know that life cannot be changed by us. It will be changed. But not by us. We can only guide the things that can cause physical change.

I especially remember that on All Souls Day, when so many people wanted new monuments for the graves, our whole family pitched in. I did the lettering on the stones, my brother did the carving, and my sisters put the finishing touches on them, the gold leaf and all that.

Cheese was the staple. Bread you brought from home. The Schnaps came later. At the end of the week when people got paid, that's when you got your Schnaps, lots of it, five Pfennige a shot.

We made drawings the size of a whole quarter of a room ceiling, which we would then send on to the model makers. I did this every day for two years. Even now I can draw cartouches with my eyes closed.

What would life be like if everybody insisted you must have actually built such-and-such a thing by yourself? I'd be an old man and have nothing to show for the aging.

You can teach students how to work; you can teach them technique - how to use reason; you can even give them a sense of proportions - of order. You can teach them general principles.

The problem of architecture has always been the same throughout time. Its authentic quality is reached through its proportions, and the proportions cost nothing. In fact, most of them are proportions among things, not the things themselves. Art is almost always a question of proportions.

Behrens had a great sense of the great form. that was his main interest; and that I certainly understood and learned from him.

In addition to the wishes of the client, the position, orientation, and size of the plot also play an important role in determining the final plan of the house. The 'where' and 'how' of the exterior then follows naturally from all of that.

After my time in Holland, an inner battle ensued in which I tried to free myself from the influence of Schinkelesque classicism.

We should attempt to bring nature, houses, and human beings together in a higher unity.

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.

If there really is no new way to be found, we are not afraid to stick with the old one that we found previously. So, I do not make every building different.

When it becomes economically possible, building will become montage.

Nothing can express the aim and meaning of our work better than the profound words of St. Augustine - 'Beauty is the splendor of Truth.'

We refuse to recognize problems of form, but only problems of building. Form is not the aim of our work, but only the result. Form, by itself, does not exist. Form as an aim is formalism; and that we reject.

I discovered by working with actual glass models that the important thing is the play of reflections and not the effect of light and shadow, as in ordinary buildings.

It is not possible to go forward while looking back.

I thought a lot and I controlled my thoughts in my work - and I controlled my work through my thoughts.

You cannot save wonderful towns. You can only save wonderful towns by building new ones.

The building art is man's spatial dialogue with his environment and demonstrates how he asserts himself therein and how he masters it.

What finally is beauty? Certainly nothing that can be calculated or measured. It is always something imponderable, something that lies between things.

Where can we find greater structural clarity than in the wooden buildings of old? Where else can we find such unity of material, construction and form? here, the wisdom of whole generations is stored.

Each material has its specific characteristics which we must understand if we want to use it. This is no less true of steel and concrete.

1926 was the most significant year. Looking back, it seems that it was not just a year in the sense of time. It was a year of great realisation or awareness. It seems to me that at certain times of the history of man, the understanding of certain situations ripens.

It must be possible to solve the task of controlling nature and yet simultaneously create a new freedom.

When one looks at Nature through the glass walls of the Farnsworth House, it takes on a deeper significance than when one stands outside. More of Nature is thus expressed - it becomes part of a greater whole.

Nature, too, shall live its own life. We must beware not to disrupt it with the color of our houses and interior fittings. yet we should not attempt to bring nature, houses, and human beings together into a higher unity.

The idea of service leads to community.

Architecture depends on facts, but its real field of activity lies in the realm of the significance.

Architecture begins when you place two bricks carefully together.

I really don't know the Chicago School. You see, I never walk. I always take taxis back and forth to work. I rarely see the city.

In 1912, when I was working in The Hague, I first saw a drawing by Louis Sullivan of one of his buildings. It interested me.

Technology is rooted in the past. It dominates the present and tends into the future. It is a real historical movement - one of the great movements which shape and represent their epoch.

Technology is far more than a method, it is a world in itself. As a method, it is superior in almost every respect. But only where it is left to itself, as in gigantic structures of engineering, there technology reveals its true nature.

Wherever technology reaches its real fulfillment, it transcends into architecture.

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