The architectural modernity that prevailed in Germany during the first half of the twentieth century cannot be understood without an appreciation of the work of Lilly Reich, a brilliant designer of interiors, furniture, and ephemeral architecture who exerted significant influence from her active position as a member of the Deutscher Werkbund. Despite the critical recognition she acquired in the media of the time during her solo career, her association with the architect Mies van der Rohe, far from positioning her in the field of contributions, relegated her to the role of a mere collaborator. For this reason, this article aims to shed light on the extensive legacy of Lilly Reich, a woman whose figure is being acknowledged as a result of recent research but who was nevertheless omitted from the leading books on the history of architecture. The methodology employed in the research analyses comparatively “what she did” and “what was said about her”, highlighting the convergences and divergences between “work” and “criticism”. The study and its results yield interesting conclusions regarding both the recognition that Lilly Reich received during her lifetime and the criticism she received after her death and up to the present day.

如果不欣赏莉莉·赖希 (Lilly Reich) 的作品，就无法理解二十世纪上半叶德国盛行的建筑现代性。德国制造联盟. 尽管她在个人职业生涯中获得了当时媒体的批判性认可，但她与建筑师密斯凡德罗的合作远非将她定位于贡献领域，而是将她降级为仅仅是合作者的角色。出于这个原因，本文旨在阐明 Lilly Reich 的广泛遗产，这位女性的形象由于最近的研究而得到认可，但在建筑史的主要书籍中却被遗漏了。研究采用的方法论比较分析了“她做了什么”和“对她说了什么”，突出了“工作”和“批评”之间的趋同和分歧。