LESS IS MORE

Minimalistic design has been highly influenced by Japanese traditional design and architecture, but when we talk about minimalism, we automatically think about the Architect Ludwig Mies van der Rohe (1886–1969) who adopted the motto "Less is more" to describe his aesthetic. His tactic was one of arranging the necessary components of a building to create an impression of extreme simplicity—he secured every element and detail to serve multiple visual and functional purposes; for instance, designing a floor to also serve as heater, or a massive fireplace to also house the bathroom. 

Mies van der Rohe is also famous for designing furniture and coming from the idea that the Bauhaus had produced, the chair was and still is the best business card for architects who have tried to design pieces of furniture.

The Barcelona chair was designed by Ludwig Mies van der Rohe for the Universal Exhibition of Barcelona in 1929, for the German pavilion (also designed by Mies).

The assignment, it is said, was conditioned by the uncertain economic situation and temporal limitations, having been entrusted with a delayed assignment.

Initially designed as a temporary exhibition pavilion, the building, as always happens, was destined to be dismantled at the end of the event. Completed in May 1929, the building was destroyed in the early 1930s. Following a careful study of the photographs, the pavilion was later rebuilt by a group of Spanish architects between 1983 and 1986, and today it is possible to visit it.

The design of the famous “Barcelona” chair, whose inspiration comes from the shape of a pair of scissors, is the result of the collaboration between the famous Bauhaus architect Ludwig Mies van der Rohe and his long-time partner and companion, the architect and designer Lilly Reich, whose contribution has only recently been recognized. Concerned with the accommodation of the royalty of the time, the architect thought of an “important, elegant and monumental” armchair, which would be present in that space and at the same time be extremely comfortable. “The chair should be opened to its occupant under the weight of his body. The back should be tilted, and the seat should sink”. Mies Van der Rohe used two white leather armchairs, in front of a honey-coloured onyx wall, thus giving the Pavilion an air of authority.

Shape and finishes

“The primary curve of the back of the chair and the front leg are formed by a circle with a radius identical to the square, whose center is the point" A ". The curve of the original circle is repeated in front of the seat support, with an identical circle, with center at point “B”. Another circle, whose radius is half of the first, defines the posterior leg, with center in “C”.

- Source: Bauhaus

For many more than a chair it is an object of worship, with attention to every construction detail. Starting with the hand-polished structure to obtain the mirror effect up to the hand- cut and sewn leather cushions. The straps used to support the cushions are covered with the same leather used for the upholstery. The Barcelona chair allows finishes in natural and ecological leather, in various colours, such as: black, white, brown, beige, grey, blue, red and others according to the manufacturer. The chair entered series production only in 1953, as it was difficult to manufacture in 1929; in 1950 to make mass production easy, Mies slightly modified the original 1929 model. The functional design and its elements have been patented by Mies Van der Rohe in Germany, Spain and the United States; in 1930 they expired. The Barcelona chair was built in the United States and Europe from 1930 to 1950. In 1953, six years after the Reich’s death, Mies Van der Rohe ceded his rights and his name on the design of this armchair to the Knoll brand. This design immediately became the signature of the Knoll brand that still produces the Barcelona Chair according to Mies’ original design.