
The Museum of Modern Art (MoMA), 1969

The Museum of Modern Art (MoMA), 1969
Mies van der Rohe: Drawings in the Collection of the Museum of Modern Art is a large-format monograph that unfolds to a total width of 120 centimeters, making it worthy of careful appreciation at one’s desk. Its content is drawn from the Ludwig Mies van der Rohe Archive, established by the Museum of Modern Art (MoMA) in New York in 1969, the same year this book was published. The archive primarily features architectural drawings and paintings of unrealized projects by the German architect Mies (1886–1969), such as his competition proposal for Berlin’s first skyscraper—the Friedrichstrasse Office Building (1921)—and the Concrete Office Building (1922). Most drawings are reproduced from the architect’s original manuscripts, categorized by technique—including pen-and-ink sketches, charcoal drawings, and collages—with some content reproduced at 1:1 scale to match the actual manuscripts.
According to MoMA’s exhibition, Cut ‘n’ Paste: From Architectural Assemblage to Collage City (2013) and this book’s introduction, Mies first visited the United States in 1937 for the commission of the Resor House (1937-1941), a vacation home spanning a stream. Even though the client later showed little interest in the proposal, Mies persisted in completing the design. Two years later, with the assistance of his students, he finished this collage. Unlike his earlier technique of piecing together photographs to depict actual scenes, this work presents a dialogue between architectural sketches and collage materials. The composition features a large section dominated by Swiss German painter Paul Klee’s (1879-1940) painting Colorful Meal and wood-grain veneer. Only the window frames, the cross-shaped columns delineating the floor,and the ceiling boundaries hint at the architectural design. The rugged mountain landscape collaged behind the window frame not only creates visual extension but also distorts and reconstructs the rules of linear perspective, hinting at the architect’s spatial imagination.
American architect and curator Philip Johnson (1906–2005) once praised Mies’s paintings as “the most beautiful renderings of the century.” This publication, brimming with imaginative visions and rare manuscripts, serves as a precious supplement for Mies enthusiasts.