Analysing recurring attitudes to the environment, the second half of this book, which

includes this chapter and the following three, considers the picturesque and

romantic thread that was revived in the mid-twentieth century as a means to

reassess and revise modernism. As before, creative architects looked to the past

to imagine the future, using the weather as their principal means to recognise and

represent time. This chapter is organised into three interconnecting sections, each

with a specific theme, which together consider Mies’s attitudes to the weather and

the weather’s reactions to his architecture. The first, ‘The Genius Loci in German’,

analyses Mies’s relationship to modernism and acknowledges his debt to Romano

Guardini and Karl Friedrich Schinkel. The second, ‘Reflections on Nature’, considers

the relations between architecture and weather in the Barcelona Pavilion,

1929-1930, and Farnsworth House, 1951. As a contrast to these designs, the

concluding section, ‘Owning the Weather’, analyses the technological bombast of

mid-twentieth-century America, when computation aimed to transform meteorology

into an exact science, the military funded research into climate modification and

attention was drawn to anthropogenic climate change.