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Nosferatu: A Symphony
of Horror. Dir. F.W.Murnau,
1922. Stills.
;zI
_~~~~~~~~~~~~~~~~~
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Malicious
Houses:
nimation,
Animosity
Architecture
From Mies
Animism,
inGerman
and Film
to Murnau
SPYROS PAPAPETROS
ParallelGestures
FrameOne: Themedium close-up ofa curtainedwindow: Through the
open framewe
close-up
of thewindow.
window frameunobstructed.
(rYeV Roo}
umr2(S
pp
c3
2.00
O0CAb rt<wROom, wng an
5ascus:
grnst5ute Of Technolooy
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the vampire
behaves
like a
Nosferatu's
panic-strickenanimal tryingtoblend intoitssurroundings.
final gesture rehearses his disappearance.
The vampire
is framed by an
20
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8
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them through a
thestory.
A similarscene from
Murnau's Faust portrayinga highlyprophetic
hand signal helps decipher the crypticmeaning ofNosferatu's final
gesture.4I referto themomentwhenMephistopheles performsa bene
dictionover thehead of theagingFaust,after
which thehero regainsthe
powers of his youth. This biblical
laying on of hands
master,
vanishes, thehouses pledge toavenge theabruptdemise of their
yet theirown futureremainsequally fragile.
PapaperOS
g Mtlt00uC;$uSe
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argued
originate
in
human gesture.5
Nosferatu's inhumangesturenot onlyorganizes filmic
space, as Rohmer argued,but also delineates an entireperspective that
transcendsthefilmicscreen. "Each gesture . . .each step,eachmove
ment isdetermined
with scientificrigoraccordingtotheeffectitwill have
on thespectator,"
observeda journalistpresenton thesetofNosferatu.6
Gestures andmovements extendbeyond thecinematic frameto forma
largerarchitecturalconstruction. Iwould thereforelike to consider
Nosferatu's farewelladdress as a crucial gesture forthe impedingfor
The vampire's
mation (theoriginalGestaltung)ofmodern architecture.
in frontof thecurtainedwindow is only the
theatricaltransfiguration
preview of futurespectaculararchitecturalevents.Perhaps thearchi
tecturalsequel toNosferatuoccurrednot in thestagesetsof theendless
remakes featuring
Count Dracula and other "living dead" but in the
domain ofmodern architecture,
which during the timeofNosferatu's
original
release
in 1922 was
staging
battles with
numerousbuildingrepresentatives
within theregionof the"livingdead."
ParallelHouses
The fourbuildings servingas Nosferatu's residence inWisborg were
in factsaltwarehouses inLiibeck, built around thebeginning of the
One can see them,alongwith othergabled houses
eighteenthcentury.
fromthesame region,in severalearly-twentieth-century
photographic
While livinginLiibeck in
surveysofNorthernEuropean architecture.7
1903,EdvardMunch produced an inkdrawingof thewarehouses that
the ex-arthistory studentMurnau might have seen.8However, the
Liibeck buildings are not theonlymodels forNosferatu's residence.
A numberof similararchitectural
models serveasmediators between
thenineteenth-century
Murnau's Nosferatuportraysand the
past that
modernist
present
witness:
temporary
that it allegorizes.
Listen
earsmight register,
maybe,butwhose originremainedbeyond our
power
to try.Often
inmy dreams
10
2" .g.4t
5Gr
pZ0
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only toreclaim
atwill, lendingitduringtheday to itsinhabitants,
night
came
round
again.9
interest,
when
itplus exorbitant
The speaker is thenarratorofGustavMeyrink'snovel The Golem-a
myth,which
contemporary
psychologicalversionof themedieval Jewish
referstoa livingstatue inPrague. InMeyrink's novel, theGolem isnot
a clay statue,but a filmiccreature(whose elongatedbald head bears a
Max
reasonablephysiognomicresemblanceto theequallyphantom-like
Schreck inMurnau's Nosferatu).Themalicious houses causing thenar
ratorthe inexplicablehallucinations he reportsare theancient struc
Meyrinknotes thatsomething"hostileand
turesofPrague'sJewishghetto.
malicious" in thesebuildings "permeatedtheverybricksofwhich they
Between 1907 and 1913,whenMeyrinkwas writing
were composed."10
his novel,most of thesebuildingsbuilt in thebaroqueperiodhad already
been demolished.The "sanitationprocess" forthecenterofPraguehad
startedin1895,and by 1904 only a fewof theold structuresremained.1"
Why thendo thesecrumblingbuildings,which are alreadydead or at
leasthalfdead, become so powerfulinMeyrink'snovel?Why areharm
but active fulcrumsof
less old houses not objects of loveand affection
Why are theysomalicious?
hostilityand aggression?
The sinisterside of thesebuildingswas made even darker inHugo
and theaerial
forthenovel.Houses, artifacts,
Steiner-Prag'sillustrations
spirit of the Golem all seem to be made of the same material, which
calls "a stone like a lump of fat."The material melts, ismold
Meyrink
Top row:Gustav Meyrink.
The Golem, 1915. Prospectus
and illustrations by Hugo
Steiner-Prag, 1915.
Bottom row:Alfred Kubin.
The Other Side, 1909.
Illustrations by the author.
the anti
0ugft lItpr(nt_
Der dSo(em
XNfndt120000_
Papapetros
jMalicious
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Houses
running,as iftryingtoescape.
As human beings flee thesebuildings, othercreaturessettle in. In
Meyrink it is thespiritsand souls, theanimas; inKubin, animals take
over thecity:deer,ostriches,snakes,and all sortsof insectsandmarine
organisms.Murnau's Nosferatu suffersa similaranimal invasion:not
only ratsbut cats, spiders,horses, and hyenas-animals with which
Nosferatu secretlycommunicates.Animism becomes animalism, ani
mation leads toanimalization.The sense ofanimal devolutionextends
to thearchitecture.
Meyrink describes thesquattinghouses of theghetto
as "a herd of derelict
animals"
and
then as "weeds
is temporal;
it refers
Like Nosferatu,
animation
Below: Nosferatu:
A Symphony of Horror.
Dir. F.W.Murnau, 1922. Stills.
Opposite: The Golem.
Dir. Paul Wegener, 1920.
Sets by Hans Poeizig. Stills.
Animated
normal life,and so theylive inperpetualafterlife.
objects are essentially vampires-a cluster of solidified
desires thatneither properly live nor die. They prolong
inwhatAbyWarburgdescribedas a
themselvesindefinitely
perpetually "renewed antiquity"-an archaic world that
stays repressed and periodically reemergesin a series of
spectacularrevivals.
12
Grey Room 20
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Nosferatuwhere Doctor
Recall the two interconnectedscenes from
an insectivorousplant,
Bulwer demonstratestoa groupof studentsfirst
thewell-knownVenus flytrap
devouringan insect-"the vampireof the
amoeba
vegetablekingdom!"-and, second,a polyp,a small transparent
seen throughamicroscope capturinga small fishwith itspseudopo
without substance, almost a
dia-"another vampire ... transparent,
phantom!"Both vampiresofnaturearemetaphors forthetransgressive
natureofNosferatudrivenonlyby thenutritivepartofhis soul.
In his popular Bios: The Principles of theWorld, the influential
biotheoristand naturalphilosopherRaoul France (alsowell-known in
Bauhaus circles) elaborated a new "universal" theoryofmimicry.16
decomposing leavesand crayfishemulating
From tinyinsectsimitating
seaweeds to theItaliansoldiers in theAustro-Italianwar enveloped in
frog-likesuits-all natural bodies sought to imitatesomethingother
thanwhat theyalreadywere. Inordertocontinue living,organismshad
topose as inanimateand pretend theywere dead. France argued that
this typeofmimicrymanifested theprinciple of universal "conver
gence": amaterial osmosis attemptingtobring all natural organisms
intoa common (low) degreeof life.
France's theoryofmimicryextended fromliving
organismstoso-called inanimatenature,such as rock
formations, mountains,
a weight,"
says
by Hanz
Poelzig
and
Marianne
constructedbyhis future
wife, thesculptor
Papapetros
jMalicious
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Houses
13
strives
to imitate. Yet
the most
effective
the Golem
pursues
the Christian
is an abstract mass
of clay
14
Grey Room
20
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his volley
of abuse."
As
Papapetros
I Malicous
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Houses
15
a festive voice
"The death
splintersand dust.26
in little
of the object"
is in fact an excuse
of
16
character of an object
Zrey Roo~m m
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is theinstinctive
projectionofagencypreciselywhen accidentshappen
and no agency seems to be in sight.
SplitScreen
weighing
Vischer's demonologywas only part of a tiltingframework
againstobjects.After thediscoveryof theunconscious and the inven
tionofpsychoanalysisby Freud, thesame frame
would become thor
oughly inverted.In thesecond chapterof Totem and Taboo, entitled
"Taboo and theAmbivalence ofEmotions,"Freud interpretedthemali
with themost cinematographicof
cious characterof theancestraltotem
Projection is thedefen
all psychoanalyticmetaphors, "projection."28
sivemechanism bywhich thesubjectejectshis unwanted internalper
man
ceptionsand displaces themintoa building or an object.Primitive
and themodernneurotictransposetheirown aggressionagainstpaternal
authorityby housing it in thesecure residenceof the totem.In certain
cases
the object
functioning
as a scapegoat
is a piece
of architecture.
I can tell you: there is hardly one of them thatwas not sullied by
and ambivalent
emotions. My argument
are
mate secretthatthemalicious houses of theearly-twentieth-century
housing-once venerated and now hated and despised-is thesecret
animosity
hidden
it thine."
thou hast
inherited
it to make
conclusion
Pac9pettos
MakCous
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Houses
17
and Murnau.
The houses
are projected
on a "split screen." On
makes
Mourning
is a dynamic condition
leadingtonew resolutions.
The golems,phantoms,and vampiresinvented
by theearly twentieth-century
literaryand cinematicunconscious in
an attempt to house
of its benumbed
sub
Behind the
jects functionas theconcreteallegoryofnew architecture.
smoke ofMeyrink's "mysteriousexplosion of theghetto"emerge the
While stand
equally transubstantiated
objects ofmodern architecture.
18
Gre@ Ft-oom20
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TheMiesian Totem
published in the
The fourthand last issue ofBruno Taut's Fruihlicht,
summerof 1922, dedicated threepages to thedesigns of twoskyscrap
erswith glass exteriorsbyMies van derRohe.37One of theprojectswas
Mies's unsuccessfulcompetitionentrysubmittedinDecember 1921 for
The competitiondesign
block inBerlin'sFriedrichstrasse.38
an apartment
with a triangular
crystallineplan andwas
was a twenty-floor
skyscraper
presented by a series of drawings.The second glass skyscraperwas
which the
highwith an amoebic curvilinearfloorplan for
thirty-floors
architectconstructedamodel and had severalphotographsmade, two
ofwhich were displayed inFriuhlicht.In theperspectiveviews of the
drawingsmade forthe firstskyscraper,the surroundingapartment
blocks are indicatedonly by solid dark silhouettes. In themodel the
low-risebuildings surroundingthesecond glass tower,althoughmade
out ofwood and plaster,showmanymore details.According toWerner
Graef,Mies's laterassistantand coeditorofG,Mies said of thesehouses,
"Most people make drawingsand thesurroundingbuildings
pass
"I
'U
AW
Papapetros
IMalicious
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Houses
19
such as this show that both the glass tower and the sur
print reveals
that the
to be
had been
displayed
at the
time.46
Most of thephotographsare
takeninbroad daylight,apparently
Mies's intentionstostudy
following
themodel's glass surfaces in the A
Mies makes this intent
sunlight.47
20
photograph
Grey Room 20
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.~~~~
, y-'
Papapetros
IMalicious
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Houses
21
22
Grey Room 20
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Walter Gropius
inWeimar
.s
iLr- 1
Is Herzogl"
interview
Glaeser startsdiscussingtheglass sky
\ ;I 4t
Papapetros
IMalicious
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Houses
23
sure there
indeed
a sculptor
and
a member
of the
expressionistcircles,specificallytheArbeitsrat
fiir
Kunst and theNovembergruppe.His name
figuresnext toMies inMies's records of his
activities in theNovembergruppe.57Herzog
also drew several covers andwrote articles for
HerwarthWalden's Der Sturmand otherexpres
sionist journals.58However, Herzog ismainly
known forhis sculpture,small statueswith pro
grammatic titles such as Enjoyment,Escape,
Ecstasy. He received critical attentionboth in
Germany
are in a quasi-Cubist
style remi
While
IIIj
24
Grey Room 20
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bodies ituses."65
and hide
it inside
them; itwill
glass project seems to have such a hidden soul. The 1922 glass
tower is indeed animated, but not because of the amoebic shape of its
tower
floor plan or the eerie fagades of the surrounding houses. Mies's
Mies's
is animated
between
Papapetros MaliciousHouses
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25
26
Grey Room 20
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the tower
appears
the his
?.
?44?
??
ParallelAction
Yet insteadof theobjects(Gegenstande)oppos
ingtheSeagram,one has togo back to thecin
ematic lineup of houses opposing theglass
model of 1922 to fullycomprehendthespec
More thanone
trumof theMiesian projection.
commentatorhas already compared the low
"shabby"housesof the1922projecttoPoelzig's
Papapetros
IMalicious
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Houses
27
is lost in transparency
is gained
in animation.
28
Left:Nosferatu: A
Symphony of Horror.
Dir. F.W.Murnau, 1922. Still.
Right: Ludwig Mies van
der Rohe. Glass Skyscraper
project, model, 1922.
Grey Room 20
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amoeba shown
ple, thinkof thecarnivorousplant and the transparent
inNosferatu.Mies was an avid readerofnaturalphilosophy (weknow
France's works
but is still living in each and every sector. Its innovative mushroom
by Freud
Inotherwords, transparent
casses in return.74
objectsare lethalbecause
of theambivalence of theirextensibility-theirillusorypower ofpro
jection.Like the transparentaggressorsofFrance,Mies's glass tower
transgressesthemagnetic field thatisolates itand devours the insect
like houses
that surround
Papapetros
MabdCousHousus
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29
Could
houses
of Kubin
and
Meyrink, thedisintegrating
facadesofPoelzig andMurnau, andHerzog's
opposite Mies's
plaster models
adds
the
houses
then of
to the glazing
opening
30
20
Grey Room
fromNosferatu
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P papetos
jMaUdo0usHouses
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31
Notes
Versions
Princeton
of this paper
and Harvard
been
have
Universities,
at the University
presented
Centre
and the Canadian
Centre for
Institute, the Canadian
by the Getty Research
I am grateful tomy dissertation
For comments
James-Chakraborty;
Unless
noted
at Berkeley,
Research
University.
Vidler,
Anthony
of California
forArchitecture.
Kaes,
Centre
Kaja Silverman,
forArchitecture,
as well
and
the
is reproduced
with the permission
of the Mies Archive
texts are by the author.
from German
translations
otherwise,
hand
270.
1973),
2. The
widow.
its clandestine
in France,
Hour
film's various
2001),
restoration
projects,
survival
as The Twelfth
For the
108-119.
in Eisner, Murnau,
York
(London:
Nosferatu
Press
46-47.
3. Eric Rohmer,
G?n?rale
L'organisation
d'Editions,
4. The
de l'espace
le Faust
dans
de Murnau
(Paris, Union
1977).
festive midnight
affair that preceded
on 4March
1922 in Berlin started with
Nosferatu
43-44. Could
Faust." Ashbury, Nosferatu,
own Faust, released
Murnau's
three years
by way of parallel
framing devices
vidual narrative frame.
5. See Henry
the premiere
of Murnau's
screening
"a spoken prologue
inspired by Goethe's
to
is a prologue
this also mean
thatNosferatu
later? The two films seemingly communicate
that project
the message
its indi
van de Velde,
"Die Linie,"
in Essays
Insel Verlag, 1910); and
(Leipzig:
Zur Frage nach dem Malerischen,
der bilden
August Schmarsow,
Beitr?ge zur ?sthetik
den K?nste, Vol. 1 (Leipzig: S. Hirzel,
1896). For this and other bibliographic
sugges
tions and editorial comments
I am indebted to Rupinder
Singh.
6. Ashbury, Nosferatu,
42-43.
7. See,
for example,
C. Coleman,
Die
alte Profanarchitektur
L?becks,
ed. Max
Metzger
(L?beck:
1911).
8. For comparisons
shots and art historical
between Murnau's
imagery, see Luciano
Los Proverbios
chinos de F.W. Murnau
(Madrid: Instituto de la Cinematograf?a
1990); and Eva M.J. Schmid,
y de las Artes Audiovisuales,
"Magie der Zeichen; Murnau
in Klaus
Die Metaphysik
und die bildende
des Dekors:
Kreimeier,
Kunst,"
Raum,
Berriat?a,
Architektur
Gesellschaft,
9. Gustav
32
und Licht
1994),
im klassischen
deutschen
Stummfilm
(Marburg:
F.W. Murnau
49-79.
Meyrink,
The
Golem,
ed. E.F.
Bleiber,
trans. Madge
Pemberton
(1928;
Grey Room 20
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was
reprint, Dover: New York, 1986), 16. The novel
Die Weissen
Bl?tter during 1913-1914
periodical
Wolff Verlag, Leipzig.
10. Meyrink,
The Golem,
originally published
serially in the
and in book form in 1915 by Kurt
15.
11. See
der Jahrhundertwende
im Spiegel
und Moderne
der Sanierung
der
der Prager
Altstadt
1994).
(N?rnberg: VDG,
12. For a reading of the illustrations
inMeyrink's
Golem by Hugo Steiner-Prag, Alfred
Kubin, and later artists inspired by the novel, see Robert Karle, "Nicht ist phantastischer
als die Wirklichkeit;
1988):
13. Alfred
M?ller,
Crown
Illustrationen
zu Gustav
Meyrink's
Der Golem,"
Die Kunst
8 (August
626-633.
Kubin,
Die
Publishers,
14. Kubin,
Roman
Seite; Ein fantastischer
(1909) (Berlin: Georg
as The Other Side, trans. Denver
(New York:
Lindley
1967).
The Other
15. Meyrink,
andere
in English
1920). Available
Side,
The Golem,
24.
15.
France,
of The Golem
have
film "could
come
"Aus Albanien,"
is a collection
in F?nfzig
of Kubin's
21. Darwin
the leaning
explained
to the principle of antithesis: While
cats and dogs turn
themselves,
according
defending
all parts of their bodies,
such as ears and tails, inward while when
they attack they
same
forward.
The
the
Charles
Darwin,
project
Expression
body parts
of the Emotions
inMan
and Animals
of Chicago Press, 1998), 122, 241-247.
(1872) (Chicago: University
22. Among
the "anomalies"
detected by Lombroso
characteristic"
"the oblique eyelids, aMongolian
were
on the heads
of "born criminals"
for example,
Jesus: Vindicated
and Idle Quibling
24. Friedrich
The
Testimony
of the Hartford
Quakers
Gina
the portrait
Lombroso,
(New York
for theMan
and
Christ
Slanders, Perversions,
Confusions,
Impertinencies
from theMalicious
an Independent-Preacher
s.n. 1676).
(London:
of William Haworth
Theodor Vischer, Auch Einer; Eine Reisebekanntschaft
(1878; reprint,
1923).
Stuttgart: Deutsche
Verlags-Anstalt,
25. The Middle
German word Tue can also mean
quick movement,
Papapetros
I Malicious
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Houses
33
malice,
son Robert
27. Vischer's
das
?ber
Vischer
used
(T?bingen:
Formgef?hl
Freud, Totem and Taboo: Some Points
optische
28. Sigmund
Lives of Savages
and Neurotics,
29. Kubin, The Other Side,
30. Freud, Totem
31. Other
in his
essay
between theMental
of Agreement
(New York: W.W Norton, 1950), 61.
ihrer traditionellen
Entwicklung,
und Handwerk
Curt Behrendt
1918), xi, 3.
F. Bruckmann,
(Munich:
and Taboo,
im letzten Jahrhundert
W?rterbuch
Etymologisches
architectural
refer to historicist
authors
as "the creations
architecture
von 1750-1850,
in Architektur
of
ed. Andr?
1903-1912).
on
32. For example,
the fourth volume of Paul Schultze-Naumburg's
Kulturarbeiten,
inMeyrink
of the same Prague structures caricatured
included photographs
city buildings,
and Kubin.
1909),
Paul
Kulturarbeiten,
Schultze-Namburg,
4 (Munich:
Vol.
G.D.W.
Callwey,
37, 122,123.
33. See,
34. On
ofmonuments
inMebes,
Urn 1800,182-189.
photographs
on German architectural
movement
of the Heimatschutz
design
The Heimatschutz
"Modern Movement
and Historical
Continuity:
for example,
the influence
see Christian
Otto,
in Germany,"
discourse
Art Journal
43, no.
in his
2 (Summer
1983):
148-157.
"On Transience"
these words
essay
before
Norton,
307.
1957),
36. Meyrink,
The Golem,
Taut,
28-29;
(Berlin: Bauhaus-Archiv,
Der Golem,
36-37.
organized
Der Ideenwettbewerb
Turmhaus;
and Meyrink,
ed., Fr?hlicht
(Berlin)
Hochhaus
1988).
For Mies's
am Bahnhof Friedrichstrasse
entry, see 106-111.
Berlin
the
dem
1921-1922
17 September
1972, tape recording,
by Ludwig Glaeser,
for Architecture
Research
Glaeser's
(CCA), Montreal,
Ludwig
(1968-1980)
(hereinafter referred to as "Glaeser Papers"),
Papers on Mies van der Rohe
Box 3, Item 4. The transcript of this interview is in Box 4, Item 1, 31.
39. Werner
in Canadian
Graef,
interview
Centre
41. "Gesch?ftshausGeraer
Kunstvereins
und
Fabrik-Bauten.
im St?dtischen
34
and
the Friedrichstrasse
the same
plan.
Ein Rundgang
Museum,"
durch
newspaper
inconsistencies
between
Publishers,
(New York: Garland
1986), 62. Wold
site," although
"point to an authentic
"attempts
die Ausstellung
des
in CCA, Glaeser
review,
the proposed
second
van der Rohe
ed., The Mies
that Mies's
Tegethoff opines
to locate the sight in a 1920's
Grey Room 20
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All use subject to JSTOR Terms and Conditions
so far proved
fruitless."
See Tegethoff,
"From Obscurity
of the model
article contained
photographs
three-page
Gotfrid. Carl Ernst Hinkefuss,
Carl
by
a text titled
and
ed., Qualit?t
(Internationale
See, Mies's
correspondence
pamphlets.
Glaeser Papers, Box 1, Item 4,12.
of Congress,
abstracts
in
included
CCA,
The Mies
45. Series
of photographic
16.571-16.578.
Rohe Archive,
46. As Wolf
be identified
where
Mies's
prints,
inMuseum
ofModern
interview.
(MoMA), Mies
van der
can
in the background
Tegethoff has shown, the iron cupola projected
as the top of the Marine
Panorama, which was close to the exhibition hall
in the summer of 1922 in the annual Grosse
first exhibited
model was
See
Kunstausstellung.
47. "My experiments with a
nized that by employing
glass,
achieve, but a rich interplay of
Berliner
toMaturity,"
43.
Tegethoff, "From Obscurity
me along the way and I soon recog
model
glass
helped
to
it is not an effect of light and shadow
that one wants
to illuminate
1991),
48. The
Neumann,
"Three
in Detlef Mertins,
1922 Fr?hlicht
article.
from between
1923
by Mies
and
1926.
Early Projects
of Becoming:
"Architectures
Mies
in Dietrich
It is reproduced
27
97; and
(1992):
Perspecta
2001), 119.
(New York: MoMA,
Riley and Barry Bergdoll
own later statements
49. This of course goes against Mies's
about his 1922 glass
in which
he denies
model
any "expres
negation)
(stretching the limits of Freudian
sionist intention" or any relation with either Hugo H?ring
(with whom Mies was shar
inMies
in Berlin,
ed. Terence
was
in Hans Richter's
ing an office at the time) or Hans Arp (who
areas
"I
to
of
work
with
smaller
tried
Mies):
glass and adjusted my
light and then pushed
idea of the curve, and
together with
of
strips
glass to the
me the
That
gave
plane.
now
plasticine
say that I got it from Arp, I can tell ithad nothing to
Iwanted
to show the skeleton, and I
intention,
I had no expressionist
best way would
be simply to put a glass
that
the
thought
IDevelop
Not Design Buildings,
Buildings,' Architectural
do with
451-452;
him.
circle
T Do
Speaks:
144 (December
1968):
39.
1 (August 1928): 34. The original print used for this publi
in the archives of the Centre George Pompidou,
cation has recently resurfaced
together
d'Art edited by
from the archives
of Cahiers
with all other photographic
materials
Christian Zervos.
50. Cahiers
were reproduced
this way
in 1986 atMoMA.
centenary exhibition
52. See the correspondence
between Mies
in a 1985 reconstruction
of the model
for
Mies's
of Congress,
Mies's
and Walter
business
Gropius
between
correspondence,
from theWeimar
Papapetros
exhibition
IMailcous
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All use subject to JSTOR Terms and Conditions
4 June and
CCA,
Glaeser
is reproduced
Houses
35
in Tegethoff,
"From Obscurity
16.
15;andMertins,fig.
van der Rohe
54. Mies
toMaturity,"
toWalter
Gropius,
Glaeser
Papers,
fig.
Box
1,
Item 4.
55. Graef,
interview.
as well
Glaeser
"Abstraktion
as numerous
in der bildenden
or Herbert Read's
critic had apparently
read T.E. Hulme's
intro
Speculations
to the English
Form in Gothic, both of which
edition ofWilhelm
Worringer's
ambience
of German art. See Stanley Casson,
had references to the "inorganic"
"Oswald
German
Artists
in
XXTH
and
the
of
the
School,"
Casson,
Inorganic
Herzog
Stanley
59. The
duction
Otto
with
Bartning,
see Haus
projects,
Wylerberg:
und Kulturelles
Bartning; Architektur
other
Nijmegen
61. The
with Mies)
Oswald
(March
Museum,
1988),
his incomplete
Sternkirche
including
Ein Landhaus
des Expressionismus
Leben
exh. cat.
(1920-1926],
(1922) and
von Otto
(Nijmegen,
Holland:
84-96.
the connection
(without mentioning
Drenker-Nagels,
"Rhythmus und Dynamik;
Weltkunst
72, no. 3
Bildhauer,"
(Munich)
about Herzog
by Klara
Herzog?Ein
expressionistischer
397-399.
2002):
62. Oswald
in das Wesen
und Natur:
1921);
Ottens
Verlag
63. Herzog,
64. Herzog,
1928).
DerRythmus,
"Der abstrakte
65. Oswald
"RaumHerzog,
1, no. 4 (1922): 104-105.
66. Freud,
Plastik:
Das
Totem
67. G: Material
5.
29.
Expressionismus,"
Bruno
und K?rpererlebnis,"
and Taboo,
Taut,
ed., Fr?hlicht
(Berlin)
142.
zur elementaren
3 (June 1924).
Gestaltung
68. "It is in fact impossible
to reproduce
this building because
some
You can also say thatMies
itself....
did do this building
itwas
never produced
thirty years later when
Summers
stated his opposition
in der Neuen
mentation
36
Nationalgalerie,
Berlin,
73.
Grey Room 20
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All use subject to JSTOR Terms and Conditions
1910-38,"
numerous
"Mies
Lepik,
326.
and Photomontage,
inMies
and the Art of City Building,"
in America,
York: CCA, Whitney, H. Abrams,
2001), 598-602.
view ofMies's
1922 glass tower
the worm's-eye
Schwitters
by Kurt
to the photograph
appears parallel
73. Raoul H. France,
Plants
of a bone.
as Inventors
Kurt Schwitters,
(New York: A.
ed., Merz
4 (July 1923).
and C. Boni,
1923), 26-27,
as Die Pflanze
als Erfinder (Stuttgart: Kosmos,
1920).
originally published
74. In his essay "On Narcissism,"
Freud describes
how the ego sends out "the ema
nations of its libido" to other objects of the external world but then withdraws
them
. . much
.
the "original
libidinal
cathexis
to
it
out."
related
the pseudopodia
which
puts
Sigmund
in Standard
Introduction,"
Edition, Vol. 14, ed. Strachey,
75. Neumeyer,
The Artless World, xi, quoting Mies van
and withholds
Wende
(1928):
der Zeit:
Baukunst
als Ausdruck
geistiger
as the
is
body of an amoeba
"On Narcissism:
An
Freud,
75.
"Wir stehen
der Rohe,
Entscheidung,"
Innendekoration
in der
39
262.
116, 263.
Papapetros
Malicious
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Houses
37