You have no items in your shopping cart.
Save 25%
Availability: In stock
Regular Price: £995.60
Special Price £746.70
Description
100% Made in Italy. Mirror polished and chromed flat steel bars. Internal structure in wood filled with polyurethane foam. Leather or fabric upholstery. Armrests with leather cover.
The flexibility of steel, its tensile properties, and its solidity, made possible the reinterpretation of the chair with the elimination of the back legs. In the 1920s, this idea was retrieved many times. Mies van der Rohe presented the first “cantilever” in 1927 at the exhibition of the Deutsche Werkbund, which he organized in the Weissenhof quarter of Stuttgart. There is an ulterior adaptation, carried out between 1928 and 1930 for Villa Tugendhat in Brno (Czech Republic). It seems that in the villa’s breakfast room there were two dozen of them. Even in the “Brno”, it’s easy to recognize one of the central themes in Mies van der Rohe’s ideas on architecture and furniture design (two closely interwoven concepts): the search for fundamental and primary elements, and that process of eliminating the superfluous, of purification, which was summarized with the famous “less is more”. Polished chrome steel frame. Internal wood structure, padded with polyurethane foam. Leather or fabric upholstery.
Additional Info
| Dimensions | W58 D57 H78 HS44 cm |
|---|---|
| Inspired by | Mies van der Rohe |
| Line | Armchairs |
| Model | Armchair |
| Structure |  |
L. Mies Van Der Rohe
(1886-1969)
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.
Related
