Modern Architecture, capitalised thus, is now securely and uncontroversially compartmentalised into art history, its bombast muted, its hard-edge revolutions blurred by debased familiarity. You have been to Catford? You have seen a heroic vision compromised.
Modern Architecture is no more threatening than abstract art, although the Swiss-French Le Corbusier retains a heady whiff of the opprobrium which attaches to bogeymen. His rival in stature was the German-American, Ludwig Mies van der Rohe, a very different designer. With Corb we think of head-butting bravura concrete. With Mies, as he is always known, we think of magnificently refined steel and glass: the beautiful architectural full stop of Hegel’s history.
Mies was the last director of the radically horizontal, but left-leaning, Bauhaus, the design school which the Nazis closed down in 1933. He then went to the United States and reinvented himself as the architect of corporate America. To some, this was a betrayal, but Mies was not much detained by political doctrine.
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