What Defines a Perfect Chair?

Chairs are among the most common items in daily life, almost always found nearby. They resemble miniature architectural structures. Architects often distill their design philosophies into a single chair, focusing on form, materials, functionality, and color, infusing it with ideas and concepts, thus elevating it beyond mere utility. Examining a chair designed by a renowned architect can provide insight into their design philosophy. In this article, I will delve into one of my favorite pieces of furniture design: the Barcelona chair.

PART 1: Extreme Functionalism

Barcelona Chair

In 1929, Mies van der Rohe was appointed to represent Germany at the World Exposition held in Barcelona, Spain. As a gesture of gratitude for the invitation from the Spanish king and queen, he designed a remarkable black chair. Later, it was hailed by the New York Times Magazine as one of the "most beautiful chairs of the 20th century."

A Grey Barcelona Chair Designed Around the Same Era Grauer Barcelona-Stuhl

In terms of form, Mies drew inspiration from the dignified Curule Chair of ancient Rome. He simplified its intricate cross structure into sleek X-shaped lines, giving the chair an airy feel without compromising comfort. The clean, crisp metal lines embody the essence of "less is more" design philosophy.

The Curule Chair Specialized to Ancient Rome Nobles

The X-Shaped Structure of the Barcelona Chair

In terms of comfort, the high-density leather cushion offers a luxurious, lightweight feel to the sitter. Wrapped in top-tier leather, its pristine exterior conforms seamlessly to body temperature. The stainless steel frame, encased in custom-made elastic leather, adds a meticulous touch while providing sturdy support to the chair. Each detail reflects an uncompromising attitude towards design, elevating this chair to a masterpiece of both form and function.

Handmade Customized Elastic Leather Seat

Barcelona Pavilion (1929)

PART 2: The Cradle of Modernism

Let's briefly discuss the Bauhaus school, which led the modernist movement. At the beginning of the 20th century, there were no educational institutions that combined theory and technology. The Bauhaus school was the first to propose a dual-track educational system, with "Form Meisters" and "Craftsmanship Meisters" teaching together, enabling students' work to combine aesthetics and functionality.

Germany, Meisters-founded Bauhaus Academy by Van de Velde (1919)

Mies van der Rohe, as the last director of the Bauhaus school, advocated for the use of the simplest materials and structures, abandoning overly ornate decoration, and creating works that could withstand the test of time. This laid an indelible foundation for future functionalist ideas.

Mies Van Der Rohe and the Crown Hall (IIT College of Architecture) Model

PART 3: The Female Designer Forgotten by History

Lilly Reich was a close collaborator of Ludwig Mies van der Rohe for over a decade, and her invaluable contributions to the groundbreaking 1929 Barcelona Pavilion cannot be overstated. Despite her significance as a key figure in the early modern architecture and design movements, her name is often overshadowed due to her gender. Here, we take a moment to remember this remarkable German designer.

Lily Reich In her Own Residence (1927)

Lilly Reich was born in Berlin in 1885. In 1908, she studied textile and furniture design under Joseph Hoffmann in Vienna. Upon returning to Berlin, she became a member of the German Association of Craftsmen (Deutscher Werkbund) and transitioned from textiles and women's fashion design to various other design fields.

Joseph Hoffmann (1904)

When World War I began, Lilly transformed her design studio into a tailor shop, which she maintained throughout the conflict. By 1920, Reich became the first woman elected to the board of the German Voice, a notable achievement considering the prevalent bias against women's design abilities at the time.

In 1924, Lilly met the architect who would change her life, Ludwig Mies van der Rohe. They were both professional collaborators and devoted partners. In 1929, at the groundbreaking Barcelona International Exposition, Lilly participated in the overall conceptual design of the pioneering German Pavilion. Her meticulous design skills with metal materials were evident in iconic pieces like the Barcelona Chair, showcased in buildings such as the German Pavilion and the Tugendhat Villa.

Villa Tugendhat

In 1932, Lilly followed Mies to Dessau, where she became the head of the interior design studio at the Bauhaus School. Both were aware of the deteriorating situation in Germany due to the rise of the Nazi movement. Five years later, Mies visited the United States and permanently settled in Chicago, becoming the head of the architecture department at the Illinois Institute of Technology. Meanwhile, Lilly remained in Berlin, and the two never saw each other again.

Despite the imminent threat of Allied forces, Lilly persisted in her design work. Unfortunately, her studio in Berlin was destroyed during an air raid. Lilly herself passed away in Berlin on December 11, 1947, at the age of 62, after battling a long-lasting illness.

Lilly Reich’s Mr Chaise Lounge Model 104

Lilly Reich Participating in Heimtextil (1937)

The Barcelona Chair, designed by both Lilly and Mies, was permanently added to the collection of the Museum of Modern Art (MoMA) in New York in 1977.

References

Byars, M., & Riley, T. (2004). The design encyclopedia. Laurence King Publishing. Available at https://encyclopedia.design/2023/03/31/lilly-reich-german-interior-designer-and-furniture-and-exhibition-designer/

Sherin, A.  (2006, October 20). Reich, Lilly. Grove Art Online. Retrieved 8 Feb. 2021. Available at https://encyclopedia.design/2023/03/31/lilly-reich-german-interior-designer-and-furniture-and-exhibition-designer/

Translator: J