the Tugendhat House

Glass Skycraper, Berlin

Barcelona Chair

(1886-1958)

Theories and approach

Ludwig Mies van der Rohe was fascinated by the way architects can reflect natural forms in man-made buildings, and by the simplicity of natural forms. This influenced his design approach. He believed space was the most important element in any design and was less interested in the lavish ornament popular in architecture during his time.

The basic principles which influenced his work were: the search for spiritual values, reduction of complex ideas to simple forms, the possibilities opened up by modern construction and technology, and ideas taken from history.

Mies van der Rohe experimented with glass models to explore the effects of light and the play of reflections. His prototype for the pure glass tower became the adopted formula for big business.

Theory and approach in example one

In the late 1920s the Tugendhat family invited Mies van der Rohe and Lilly Reich (a textile and interior designer) to design a new family home, the Tugendhat House. They encouraged them to explore the aesthetic possibilities of mixing quality materials.

The designers rewrote the rule book by redefining the whole idea and function of the wall. At the Tugendhat House walls became units of design rather than forms of enclosure. They are free-standing and break traditional box-shaped rooms into open areas of space. Sometimes they extend from the building beneath the roof, extending into the landscape.

Consideration of possibilities

The architect and designer explored both academic theory and practical solutions to problems. The house has a steel frame construction. Thin shaped columns are positioned in from exterior walls. Glazed walls allow open views. The floor is white linoleum, its polished smoothness contrasting with the white wool rug. The curtains are black natural silk and white velvet. Behind the dining room, a double glass partition serves as a light source for the interior space.

In the living and dining area the entire wall is made of glass. Two panes slide down into a space in the floor, rather like a car window. Screens of onyx and ebony define the shape of the room, creating the feeling of endless flowing space. This is enhanced by glass exterior walls. These are doubled at one end to provide a narrow conservatory. A terrace and flight of steps connect the house to the garden below.

Final outcome

The Tugendhat House is constructed in rich materials with great elegance. Glass walls have the effect of merging indoor and outdoor spaces. The house is open-plan allowing users to walk around without becoming trapped in traditional cubical areas. The house reflects Mies van der Rohe’s response to the experiments and innovations in Europe from 1910-1930. He was more concerned with ‘how’ rather than ‘why’ in his designs.

Theory and approach in other designs
Glass skyscraper, Berlin (1922)

Mies van der Rohe developed a bold structural pattern which became the glass skyscraper. His design was an attempt to strip a tall, framed building down to its essential structure then wrap it in glass. He was fascinated with the dramatic possibilities of the technological revolution and made many studies of glass towers, single storey houses and cantilevered office buildings.

Weissenhof apartments (1927)

These steel frame apartments were an attempt to explore technical developments in construction. The steel frames allowed Mies van der Rohe to carve the shape of internal rooms and limit the number of solid walls. He introduced moveable partitions and opened up facades of the building with glass.

Furniture design
Barcelona chair (1936)

In many of Mies van der Rohe’s chair designs, features were kept to a minimum and construction methods were not concealed.

The Barcelona chair was upholstered in white glazed leather cushions, its frame slightly angled towards the rear. It was made from nine parts in flat and tubular steel. They were chrome-plated – a completely new process in furniture manufacture at the time. Although the chairs had four legs, the architect experimented with a cantilever principle to achieve the free-floating seat.