Inspired by Mies van der Rohe

Barcelona stool


Mies van der Rohe Barcelona stool MVR211 Zoom

Inspired by Mies van der Rohe

Barcelona stool

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Regular Price: £801.81

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100% Made in Italy. Mirror polished and chromed flat steel frame. Hide thongs suspension. Cushions filled with polyurethane foam, covered with checkered leather (available also in fabric or skin upholstery).
The “Barcelona” remains the most representative classic by Mies van der Rohe, a true icon of the 1900s’ design. It was in the project of the German pavilion at the World Exhibition of Barcelona in 1929. Mies put two armchairs side by side, as thrones for the Spanish Royalty during the inaugural ceremony, while stools were provided for the followers of the sovereigns. In line with the stylistic severity of the author, the form is designed exclusively on the basis of its function. The “shell” is only made by a structure of steel bars with cowhide straps, to support the two cushions of seat and back. As simple, as extraordinary. All the solderings and finishings are handmade, because the master rejected the production in series. This is a long and complex work: after the soldering, the structure is buffed for hours to eliminate every imperfection before the chrome plating. Polished chrome flat steel frame, with a mirror finish. Cowhide support straps. Polyurethane foam cushions. Upholstery made of individually stitched and piped leather pieces, fixed by leather-covered buttons.

Additional Info

Dimensions AN61 PR59 AL37 cm
Inspired by Mies van der Rohe
Line Pouf
Model Pouf
Structure Schema MVR211
L. Mies Van Der Rohe


L. Mies Van Der Rohe


Constructive clarity expressed to perfection. That’s what I call architecture.

One of the most significant and influential architects of the 20th century, Ludwig Mies van der Rohe is considered the most rigorous of the Rationalists, with his pure, perfectly geometric spaces, organized on planes free from the restrictions of walls. Born in Aquisgrana, he studied and worked as a furniture designer in Berlin, coming into contact with Gropius and Le Corbusier. He later remained fascinated by the works of Wright. When he opened his own architecture studio, his work became closer to the De Stijl and Constructivism movements, and he began to use in his projects steel and glass, extremely innovative for the time.

Vice-president of the Werkbund, a cultural organization of primary importance in the ‘30s, he also was director of the Bauhaus. Among the main European projects there are the Weissenhof building in Stuttgart, Villa Tugendhat in Brno, and the German pavilion for the 1929 International Exposition in Barcellona. In 1937, he moved to the United States, where he was Dean of the Faculty of Architecture at the Institute of Technology of Chicago, dedicating his efforts, among many other things, to the building of skyscrapers, studing continuously new and functional designs.