To reject the direct look of the eyes can be a symptom of shame or coyness, this way it is in the habit of being interpreted when someone us lowers the look. But in some cultures like the Japanese it is a symptom of respect. For the architect this gesture can be of submission.
Mies lowers the look to get into the space and this way to adapt to the scale of the model. On having lowered his eyes, it gets down the point of view and with him, the horizon being equal to that of the place constructed with carton, wood and metal of the three-dimensional model who occupies his table.
The architect transforms this way in user, in visitor who crosses the projected building and who with his trained look tries to confirm the sensations that in his drawings and previous sketches he had felt.
The model is not a dead object, is not a representation that seeks to increase the advertising figure of the architect when he places the first stone. It is on the contrary a tool, a material in which to construct the project, to prove the ideas, to test the forms, to verify the volumes and to correct the mistakes.
It is therefore a sketch, in the same way that it is a chunk of paper with a note, but three-dimensional and therefore capable of being crossed by the look by his entrails, so that the future spaces are anticipated and that they could be reordered by those that the esculpen.
Frank Gehry does it with microchambers as those of the endoscopias that cross our organism during a surgical operation, but Mies was not having this technology and it does it lowering the sight, climbing his look.
He does not feel shame, but respect for the space that the architecture is going to construct in a future.
Íñigo García Odiaga. Architect
San Sebastián. April 2016