"Means must be subsidiary to ends and to our desire for dignity and value"
About this Quote
In Mies van der Rohe's world, "means" are seductive: steel frames, glass skins, grids, precision joints, industrial repetition. Modernism loved those means so much it sometimes mistook them for the point. Mies is quietly warning against that fetish. Technique, economy, and even the famously austere Miesian detail are not moral achievements on their own. They only earn their keep when they serve an end: a humane life, a credible public realm, a sense that people moving through space are not being processed like materials.
The phrasing has the cool discipline of an architect laying down a program. "Subsidiary" is doing heavy lifting. It isn't anti-technology or anti-efficiency; it's a hierarchy. You can almost hear Mies pushing back on clients, engineers, and ideologues who wanted architecture to be either pure cost accounting or pure manifesto. By adding "our desire for dignity and value", he smuggles an ethical claim into a profession that often hides behind neutrality. Dignity is not a decorative add-on; it's the actual brief.
Context matters: Mies lived through the industrial acceleration of the early 20th century, the propaganda aesthetics of fascism, the trauma of war, and the corporate boom of postwar America. In that churn, "means" proliferated and "ends" got foggy. His restraint becomes legible as a refusal to let architecture become either machine worship or political theater. The subtext is stark: if your methods can't justify themselves in human terms, they're just expensive gestures in rational clothing.
The phrasing has the cool discipline of an architect laying down a program. "Subsidiary" is doing heavy lifting. It isn't anti-technology or anti-efficiency; it's a hierarchy. You can almost hear Mies pushing back on clients, engineers, and ideologues who wanted architecture to be either pure cost accounting or pure manifesto. By adding "our desire for dignity and value", he smuggles an ethical claim into a profession that often hides behind neutrality. Dignity is not a decorative add-on; it's the actual brief.
Context matters: Mies lived through the industrial acceleration of the early 20th century, the propaganda aesthetics of fascism, the trauma of war, and the corporate boom of postwar America. In that churn, "means" proliferated and "ends" got foggy. His restraint becomes legible as a refusal to let architecture become either machine worship or political theater. The subtext is stark: if your methods can't justify themselves in human terms, they're just expensive gestures in rational clothing.
Quote Details
| Topic | Ethics & Morality |
|---|---|
| Source | Help us find the source |
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