I wanted to make this house much more in glass. . . .
Mies is referring to Haus Lange, the companion villa at Krefeld, but the wish applies as much to Haus Esters, as evidenced in his early drawings. A photograph shows him working on pastel sketches of the garden and street facades, making final touches, maybe. My previous post has a model of the house as built, where you’ll find photographs for comparison, and I had it in mind while constructing this version.
Both pastels intrigue me no end, and I wanted to come to terms with them in this model. But I could only make rough guesses about placement and dimensions, and completing it was a matter of making uncertain choices, following them up, and finally stopping because I had no confidence alternatives would result in anything more correct or more convincing. There may be a point in that.
The garden face. Note the layout of the garden, an integral part of the design, raised, as in the version built. Time has taken its toll, but the drawing must have been faint in conception, in its realization, the image almost ethereal, scarcely more than receding perspective lines in a natural landscape beneath a vast, open sky. For the architect who valued structure and objectivity, it comes closer to pure spirit. Essentially, it is a horizontal presence, a restating of the horizon. From this presence the rest fades. It is a gesture, a glimpse into infinity, not a detailed working out of structure.