Month: December 2016

Mies van der Rohe

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Fotograf: Willy Römer
ab 1930-1933 Direktor des Bauhauses in Dessau
Aufnahmedatum: 1931
Aufnahmeort: Berlin
Objektmaß 13×18 cm
Inventar-Nr.: WR_ON0026

Lud­wig Mies van der Rohe hardly needs any in­tro­duc­tion to read­ers of this blog, or in­deed to any­one more than cas­u­ally fa­mil­i­ar with the his­tory of twen­ti­eth cen­tury ar­chi­tec­ture. Still, a few words might be in­cluded here for those who haven’t yet had the pleas­ure. He was the third dir­ect­or of the le­gendary Bauhaus art school, after the pi­on­eer­ing mod­ern­ist Wal­ter Gropi­us and the con­tro­ver­sial Marx­ist Hannes Mey­er. Des­cen­ded from stone­ma­sons, Mies entered the build­ing trade at a young age. Pri­or to his ten­ure at the Bauhaus, he was an ap­pren­tice along with Gropi­us in the stu­dio of Peter Behrens, who also later su­per­vised a Swiss prodigy by the name of Charles-Édouard Jean­ner­et (ali­as Le Cor­busier). Un­der the Ger­man mas­ter’s tu­tel­age, Mies gained an en­dur­ing ap­pre­ci­ation for the Prus­si­an clas­si­cist Karl Friedrich Schinkel. Be­sides Behrens, the oth­er mod­ern in­flu­ence on Mies dur­ing this early phase of his ca­reer was the Dutch­man Hendrik Pet­rus Ber­lage, through whom Europe learned of the ground­break­ing designs of Frank Lloyd Wright in Amer­ica.

Mies’ turn to full-fledged mod­ern­ism came in the 1920s, after he came in­to con­tact with Kurt Schwit­ters and oth­er mem­bers of the in­ter­na­tion­al av­ant-garde. Al­though his com­mis­sions earli­er in the dec­ade still came from cli­ents whose taste was rather more tra­di­tion­al, Mies nev­er­the­less began writ­ing bold art­icles and mani­fes­tos for the con­struct­iv­ist journ­al G. Oth­er con­trib­ut­ors to this peri­od­ic­al were artists and crit­ics such as El Lis­sitzky, Wern­er Gräff, and Wal­ter Ben­jamin. Jean-Louis Co­hen, au­thor of The Fu­ture of Ar­chi­tec­ture (2012), de­tails the vari­ous ex­per­i­ments Mies con­duc­ted around this time. In 1926, he was se­lec­ted to design the monu­ment to Rosa Lux­em­burg and Karl Lieb­knecht in Ber­lin. Fol­low­ing the suc­cess of the 1927 Wießenhof ex­hib­i­tion, spear­headed by Mies, a num­ber of more dar­ing projects now opened them­selves up to him. Villa Tu­gend­hat in Brno, Czechoslov­akia and the Wolf House in Gu­bin, Po­land were only the most fam­ous of these projects. In 1929, Mies was chosen to design the Ger­man pa­vil­ion for the world’s fair in Bar­celona, which re­ceived wide­spread ac­claim. You can read more about these works in an ex­cerpt taken from Alan Colquhoun’s his­tor­ic­al sur­vey Mod­ern Ar­chi­tec­ture (2002).

portriat-of-german-born-american-architect-ludwig-mies-van-der-rohe-1886-1969-as-he-sits-in-a-chair-in-his-home-chicago-illinois-1956 mies-van-der-rohe_casa-de-campo-de-ladrillo-1924-mies-van-der-rohe portriat-of-german-born-american-architect-ludwig-mies-van-der-rohe-1886-1969-as-he-peers-from-between-a-model-of-his-26-story-twin-apartment-buildings-located-at-860-on-the-right-and-880-lake

In any case, just as Mies was be­gin­ning to make a name for him­self, Gropi­us asked Mies to step in and re­place Mey­er over at the Bauhaus in Des­sau. At the time, Mey­er was em­broiled in a scan­dal con­cern­ing his com­mun­ist sym­path­ies. He ex­ited, along with many of his left-wing stu­dents, to plan new cit­ies in the USSR. (Eva For­gacs has writ­ten ex­cel­lently about the polit­ics that sur­roun­ded this de­cision). With the rise of Hitler in 1933, Gropi­us’ icon­ic Des­sau build­ing was com­mand­eered by the Nazis and the school moved to Ber­lin. Mies’ choice to stay in Ger­many, and in­deed col­lab­or­ate with the fas­cist au­thor­it­ies, has been chron­icled at length by Elaine Hoch­man in her 1989 study Ar­chi­tects of For­tune. Co­hen dis­misses this book as a bit of journ­al­ist­ic sen­sa­tion­al­ism, but its charges are worth tak­ing ser­i­ously. Sibyl Mo­holy-Nagy, for her part, nev­er for­gave him for this. “When [Mies] ac­cep­ted the com­mis­sion for the Reichs­bank in Ju­ly 1933, after the com­ing to power of Hitler, he was a trait­or to all of us and to everything we had fought for,” she wrote. In a 1965 let­ter, she fur­ther re­but­ted the his­tor­i­an Henry-Rus­sell Hitch­cock:

Mies van der Rohe seemed to be wholly a part of that slow death when he fi­nally ar­rived in this coun­try in 1937. His first scheme for the cam­pus of the Illinois In­sti­tute of Tech­no­logy is pain­fully re­min­is­cent of his deadly fas­cist designs for the Ger­man Reichs­bank, and the Krefeld Fact­ory of 1937 proved the old Ger­man pro­verb that he who lies down with dogs gets up with fleas. Yet he was the only one of the di­a­spora ar­chi­tects cap­able of start­ing a new life as a cre­at­ive de­sign­er fol­low­ing World War II, be­cause to him tech­no­logy was not a ro­mantic catch­word, as it had been for the Bauhaus pro­gram, but a work­able tool and an in­es­cap­able truth.

Per­son­ally, I am in­clined to agree with the judg­ment of Man­fredo Tafuri and his co-au­thor Francesco Dal Co. Mies was for the most part apolit­ic­al; i.e., “not con­nec­ted with any polit­ic­al ideo­logy.” Either way, as Mo­holy-Nagy her­self noted, he en­joyed great fame and prestige throughout the post­war peri­od, in which he con­sol­id­ated the form­al prin­ciples of the in­ter­na­tion­al style of the twen­ties and thirties, des­pite his op­pos­i­tion dur­ing those dec­ades to form­al­ism or “prob­lems of form.” However, Tafuri was right to deny this ap­par­ent vari­ance: “There is noth­ing more er­ro­neous than the in­ter­pret­a­tion of Mies van der Rohe in his late works as con­tra­dict­ing the Mies of the 1920s, or the read­ing of his late designs as re­nun­ci­at­ory in­cur­sions in­to the un­ruffled realm of the neoaca­dem­ic.” In many ways, it was only dur­ing this later phase of his ca­reer that Mies was able to real­ize the pro­gram­mat­ic vis­ion he laid out between 1921 and 1923. One need only take a look at the apart­ments he de­signed in Chica­go or Lake Point Tower, posthum­ously real­ized by his pu­pils John Hein­rich and George Schip­por­eit, to see the em­bod­i­ment of the spec­u­lat­ive of­fice build­ing and the sky­scraper he en­vi­sioned back in the 1920s. Really, it is a shame that Mies’ sig­na­ture style has lent it­self so eas­ily to im­it­a­tion, be­cause the fea­tures which seem rep­lic­able con­ceal the subtler secret of their pro­por­tions.

At any rate, you can down­load a num­ber of texts which deal with the work of Mies van der Rohe be­low. Fol­low­ing these there are a num­ber of im­ages, sketches and de­lin­eations of vari­ous proven­ance (most come from MoMA’s col­lec­tion), as well as pho­to­graphs of both Mies and build­ings which were real­ized. Texts on Mies writ­ten by Co­hen, Colquhoun, and Tafuri/Dal Co fin­ish these off.

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Taking “leave” of their senses

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What does the Brexit vote mean?

Mouvement Communiste
Kolektivně proti kapitálu
October/November 2016
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The idea of hold­ing a ref­er­en­dum on Bri­tain’s mem­ber­ship of the EU began as a prom­ise by then Prime Min­is­ter Camer­on to the “Euro­skep­tic” right wing of the Tory Party in Janu­ary 2013.1 The Tor­ies won the gen­er­al elec­tion in May 2015 with an over­all par­lia­ment­ary ma­jor­ity so they had to go through with it. On 23 June 2016, a ma­jor­ity of UK cit­izens who turned out to vote (cer­tainly not a ma­jor­ity of re­gistered voters, much less a ma­jor­ity of the adult pop­u­la­tion), 52%, voted in fa­vor of leav­ing the European Uni­on.

The most im­port­ant thing to un­der­stand is that nobody ex­pec­ted the Leave vote to win, least of all the “Brex­it­eers” them­selves! Bri­tain’s ma­jor polit­ic­al parties were not pre­pared for it, and neither were most big com­pan­ies (des­pite the mod­ern fo­cus on “busi­ness con­tinu­ity” and “dis­aster re­cov­ery”). The con­sequences of this are that the Tory Party, the La­bour Party and even UKIP (the party whose whole rais­on d’être was Brexit) were thrown in­to crisis and the eco­nomy is sink­ing as un­cer­tainty delays in­vest­ment and com­plic­ates terms of trade.

The Leave vote can cer­tainly be seen as a kind of “protest vote” — this was clearly demon­strated by the fact that the “Leav­ers” didn’t ex­pect to win and had no idea what to do when they did! It can be seen as part of the rise of “right-wing ni­hil­ism.” In the 1970s it was punks, hip­pies, and an­arch­ists who said “fuck the sys­tem” without caring too much about what to re­place it with — now it’s dis­af­fected na­tion­al­ists and so­cial con­ser­vat­ives. An­ti­g­lob­al­iz­a­tion is the mod­ern “so­cial­ism of fools” (as lead­ing Ger­man So­cial Demo­crat, Au­gust Bebel said of an­ti­semit­ism).2 It’s an ideo­logy which really grew to prom­in­ence among the lib­er­al left in the 1990s, but now it’s in­creas­ingly the right — Trump, Putin, UKIP, Front Na­tionale, etc. — who are its stand­ard-bear­ers.

On a glob­al level, vic­tory for the Leave cam­paign is part of a wider tend­ency to­wards eco­nom­ic pro­tec­tion­ism and isol­a­tion­ism (ac­com­pan­ied by big­ger or smal­ler doses of ra­cism and xeno­pho­bia) fa­cil­it­ated by a rise of polit­ic­al “pop­u­lists”3 — “pop­u­list” in the sense of just spout­ing a col­lec­tion of crowd-pleas­ing slo­gans with no con­crete pro­gram ad­dress­ing either the ma­ter­i­al con­cerns of their fol­low­ers or the prob­lems faced by cap­it­al ac­cu­mu­la­tion.

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Bookchin and Marx

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“The fu­ture in­stead of the past”?

Reid Kane Kotlas
Platypus Review 90
October 22, 2016
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Originally presen­ted as a talk at the 2016 An­nu­al Gath­er­ing of the In­sti­tute for So­cial Eco­logy, held at the ISE com­pound in Marsh­field, VT between Au­gust 19-21.
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Platy­pus as a project seeks to re­late to the con­tem­por­ary left by fo­cus­ing on the Left in his­tory. We do this be­cause we think one’s un­der­stand­ing of his­tory is in fact one’s the­ory of the present, of how the present came to be and what might be­come of it.1 We try to un­der­stand the left polit­ics of the present in light of what the Left has been, so as to pro­voke crit­ic­al re­flec­tion. Is the Left today liv­ing up to the leg­acy it in­her­its? Are we fall­ing short of the as­pir­a­tions of the past? Must we?

Mur­ray Bookchin of­fers a com­pel­ling case of the dif­fi­culty of reck­on­ing with his­tory. Bookchin’s polit­ic­al ca­reer was fun­da­ment­ally shaped by his edu­ca­tion in and ul­ti­mate dis­en­chant­ment with Marx­ism. He joined the “of­fi­cial” Com­mun­ist move­ment in 1930 at the age of nine. By the end of the thirties, dis­con­cer­ted by Sta­lin­ist lead­er­ship, he found refuge in the Trot­sky­ist move­ment. As the Second World War began, there was an ex­pect­a­tion that it would set the stage for a new wave of world re­volu­tion, re­quir­ing well-pre­pared re­volu­tion­ary lead­er­ship just as the Bolshev­iks had provided at the end of the First World War.

Yet Trot­sky’s judg­ment was not above re­proach among his sym­path­izers and sup­port­ers. Ques­tions lingered about his role in the de­gen­er­a­tion of the Bolshev­ik lead­er­ship that had cul­min­ated in Sta­lin­ism. These con­cerns were only com­poun­ded by his in­sist­ence that his fol­low­ers de­fend the So­viet Uni­on.

Bookchin was frus­trated in his ef­forts to win work­ers over to the cause of the Fourth In­ter­na­tion­al, find­ing them con­cerned only with their wages and work­ing con­di­tions. Trot­sky­ist op­pos­i­tion to the war proved a fur­ther obstacle due to pop­u­lar sup­port for the Al­lied cause. His frus­tra­tion with Trot­sky­ism as a prac­tic­al polit­ics would cul­min­ate in skep­ti­cism of the os­tens­ibly Marx­ist con­cep­tion of the work­ing class as es­sen­tially re­volu­tion­ary. His waver­ing was only en­cour­aged by the per­ceived dog­mat­ism of Trot­sky­ist lead­er­ship after Trot­sky’s as­sas­sin­a­tion.

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