Ludwig Mies van der Rohe Resor House project, Jackson Hole, Wyoming (Interior perspective of living room and south glass wall) 1939

  • Not on view

This commission for a vacation house near Jackson Hole, Wyoming, in the Grand Teton Mountains, brought Mies van der Rohe to the United States for the first time, in 1937. These photocollages are a departure from the architect’s earlier photomontages. Instead of a composite image composed by cut–and–pasting different photographs, the photographic content is presented in dialogue with an architectural sketch. Rather than an external, urban scene, the nearly dematerialized architecture of the interior stages a view onto the surrounding landscape. The design is limited to spare horizontal lines that indicate the planes of floor and ceiling and slender cruciform columns that span between them. The overscaled and vividly textured landscape imagery was taken from film posters and magazines. It acts both as a visual extension of the architecture and an illusionistic space that distorts and rearranges the linear perspective of the drawing.

Gallery label from Cut ’n’ Paste: From Architectural Assemblage to Collage City, July 10–December 1, 2013.
Additional text

In 1937, Ludwig Mies van der Rohe accepted an invitation to visit the United States for the purpose of designing a vacation home for Mr. and Mrs. Stanley Resor near Jackson Hole, Wyoming. The house was to span a stream that branched off the Snake River; the Grand Tetons loomed in the distance. By the next year Mies had emigrated to the United States to head the architecture school at the Illinois Institute of Technology, Chicago. Although the clients had lost interest in pursuing the project, Mies continued to revise the design and created a number of new drawings, including this collage. George Danforth and William Priestley, students of Mies's, produced the collage, which represents a view from the main living area to the landscape beyond.

In preparing his original design, Mies had made sketches showing freestanding elements—a bench facing the view, a long low cabinet defining the dining space, and a taller bookcase creating a reading area. The strip of wood veneer in the collage seems to be a vestige of the cabinet while the cutout of a painting (Paul Klee's Gay Repast, 1928) reflects the proportions of the bookcase. The disposition of these elements appears neither functional nor even literal, but rather suggests the flowing nature of the space Mies envisaged.

Mies had used collage as a presentation technique throughout his career, beginning with the Bismarck Monument Project of 1910. In many earlier instances he had used collage to construct more realistic views; this and other collages of the 1930s and "40s, however, are less pictorial, more evocative. Thus the photograph of the rugged mountain landscape collaged into the window frames, with cowboys on horseback, does not represent the actual view from the site but suggests what could be considered a fantasy view on the architect's part.

Publication excerpt from an essay by Terence Riley, in Matilda McQuaid, ed., Envisioning Architecture: Drawings from The Museum of Modern Art, New York: The Museum of Modern Art, 2002, p. 90.
Graphite, wood veneer, cut-and-pasted gelatin silver photographs, and cut-and-pasted photoreproduction (of Paul Klee's Colorful Meal, 1939) on illustration board
30 x 40" (76.1 x 101.5 cm)
George Danforth, William Priestley
Mies van der Rohe Archive, gift of the architect
Object number
© 2024 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Architecture and Design

Installation views

We have identified these works in the following photos from our exhibition history.

How we identified these works

In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. That project has concluded, and works are now being identified by MoMA staff.

If you notice an error, please contact us at [email protected].


If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

MoMA licenses archival audio and select out of copyright film clips from our film collection. At this time, MoMA produced video cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at [email protected]. Motion picture film stills cannot be licensed by MoMA/Scala. For access to motion picture film stills for research purposes, please contact the Film Study Center at [email protected]. For more information about film loans and our Circulating Film and Video Library, please visit

If you would like to reproduce text from a MoMA publication, please email [email protected]. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected].


This record is a work in progress. If you have additional information or spotted an error, please send feedback to [email protected].