Furniture and Philosophies of Wright and Rohe

Student Name: Van Vite Student Number: 216062183

Lecturer: Dr. Silvia Bodei Due: Mon. 27th July 2020, 23:00 Assignment 2: Individual Essay ARCH305 History of Architecture 3A

Bachelor of Architectural Studies

University of KwaZulu-Natal

Images on cover page: (Left) Robie House Location: Chicago, United States Year of Completion: 1910 Architect: Frank Lloyd Wright Client: Frederick C. Robie

(Right) Villa Tugendhat Location: Brno, Czech Republic Year of Completion: 1930 Architect: Mies van der Rohe Client: Greta and Fritz Tugendhat

Photo © Davide Adamo

Photo © Alexandra Timpau

When one is asked to visualise a ‘modern’ home, it is not out of the ordinary to imagine an open plan with windows spanning great lengths and heights. However, this was not always the case. During the early 20th Century, these ideas were revolutionary. Frank Lloyd Wright and Mies van der Rohe may have had a different motivation for experimenting with design but they are similar in the sense that they both underwent a sort of journey of enlightenment, explored the boundaries of design technology, and identified the importance of applying their philosophy to furniture.

For Wright, it was Robie House for Frederick C. Robie and his family that created the platform to further develop his design principles. The request for a “sturdy, functional and strikingly modern” residence resulted in an ‘organic architecture’ that is considered to be Wright’s best Prairie House work.

Mies, on the other hand, was approached by Greta and Fritz Tugendhat who were impressed by his previous projects and sought a ‘spacious home’ with ‘simple forms’.

Embodying the principles of “less is more”, Villa Tugendhat is now regarded as one of the most notable manifestations of villa architecture in the world.

As Wright and Mies each progressed as architects, so did their design beliefs, and naturally, their newfound ideas manifested in the spaces they would create. Both took inspiration from their respective mentors and developed the architectural principles to be their own. Interestingly, although they stemmed from different contexts, both designs strived for a connection between building and nature whilst maintaining the residents’ privacy. This was achieved by the realisation of an immersive journey from public to private spaces.

Fig. 1 Front Entrance Robie House

Fig. 2 First Floor (living spaces) Robie House

Wright, having worked for Louis Sullivan, explored the concept of Organic Architecture1 which led to the establishment of the Prairie House Type.2 This was his journey from being surrounded by European influences to redefining residential design catering for the American lifestyle. From a bird’s eye view, Robie House could be regarded as two overlapping rectangular ‘vessels’; but from the street level, the volumes appear as one continuous structure. This horizontality expresses the expansive natural landscape and it became a motif around the home. The front door is unassuming and strategically placed under a deep overhang, invisible from passers-by. However, when the threshold is crossed, one is met with a magnificent light-filled space like a breath of fresh air. The ground floor consists of service rooms and entertainment spaces while the first floor

contains the living areas in an open plan centred around the hearth, encouraging the intimacy of a family gathered around a fireplace. The second floor is composed of private bedrooms radiating from the staircase, completing the flow away from the public realm.

Each level experiences great views of the outdoors with ribbon windows and broad balconies, thus, grounding the building in its natural setting.

Fig. 3 Front Entrance Villa Tugendhat

Fig. 4 First Floor (living spaces) Villa Tugendhat

Mies, under the guidance of Peter Behrens, further developed the expression “less is more” 3 and reduced architectural design to its fundamental elements, recognising the beauty in tectonic details void of supplementary ornamentation. Villa Tugendhat consists of two levels, taking advantage of the steep slope, with the entrance being on the upper level to meet the street. The rest of the building is oriented towards the garden, with the lower level being able to be transformed into a terrace when two large sections of the windows spanning the length of the façade can be lowered into the basement, opening the space. The upper volumes appear elevated from the ground, indicating the journey from functional thinking into the spiritual state of mind. The front door was planned to be private – hidden between a semi-circular glass enclosure

and a plain wall – and the interior is a series of transitional zones; open plan yet offering no view of the entire structure. The upper floor contains the private bedrooms and is expressed as three rectangular enclosures that overlap, while the lower floor is a single open volume4 containing the dining and living spaces defined by freestanding walls. The combination of light reflecting on various surfaces, with the similar colours of the floor and ceiling, evokes the feeling of an ethereal environment. This gives the house a quietly opulent character.

1 Working in the office of Adler & Sullivan, Wright was inspired by their idea of organic architecture. Eventually, his use of this concept was applied to skyscrapers.

2 Inspired by Japanese architecture, Wright sought the synthesis between mechanization and tradition, and in trying to represent the values of Chicago, he would apply the same principles of horizontality to different projects in the area. This would come to be known as the Prairie House Type.

3 Contrary to popular belief, Mies was not the first person to design with “less is more”. This was a concept which he learned from Peter Behrens who had hired him to design the glazing for the west façade of the AEG turbine factory.

4 Mies explored the idea of an open plan in his previous work with the Barcelona Pavilion. He adapted this for the residential setting and applied it only to the lower floor of Villa Tugendhat.

A concept, no matter how great, is only effective when it can be implemented in the physical world. Fortunately, Wright and Mies were able to witness the success of their designs with the technology of their time. The available materials and skills were an integral part of the process for their daring ideas to be realised.

Fig. 5 View from street Robie House To construct Robie House in accordance with the openness of the American plains, Wright utilised a series of horizontal elements. Narrow bands of red brick and ribbons of patterned windows form the facades, and the low hipped roofs are cantilevered dramatically. It is also one of the first houses known to use steel beams. This engineering breakthrough made it possible for the roofs and balconies to appear suspended mid-air. Further incorporating elements of nature into the building, the window panes comprise of iridescent, coloured, and clear glass in geometric compositions to represent floral forms; Urns and planters create to opportunity for vegetation to be an indication of the changing seasons. These also create a balance of tone and colour as the iridescent glass harmonizes with the iron-flecked brick.

Fig. 6 View from garden Villa Tugendhat

Villa Tugendhat showcases how having ‘less’ does not compromise on value but rather seeks to celebrate design simplicity as Mies has sourced lavish materials of the finest quality. There are no additional elements or attempts to conceal any structures because the materials themselves are already decorative and bring colour to the spaces. Doors and wall panels feature dark veneered palisander. Most of the floor surface area is an ivory-coloured linoleum finish, presenting a white canvas for different coloured elements to take place. The gold and white onyx wall separates the living area from the rest of the spaces, and the striped black and pale brown Macassar ebony defines the dining area. These freestanding walls were made possible by the steel frame construction, allowing both traditional and modern spatial concepts to co-exist in the same volume. The consistency of the column grid counteracts the irregularity of the partitions and furniture. Again, colour is expressed while staying true to the material as the columns are treated to appear bronze. These chrome-surfaced cruciform columns1 along with the full height steel-framed windows create a very open atmosphere and maintain visual links with the outdoor garden.

1 During this time, Mies defined new meanings for the column and wall. The wall, no longer being load-bearing, could be considered as empty, pure, or silent. The column, no longer representing the human body as it was in Classical Architecture, is now thought to be in a self-indulgent process of abstraction.

In the same way that a building can be unified with its site, an object can also be made to identify with the space that it occupies. Wright and Mies regarded this as an essential component of designing a dwelling and conceived everything as a whole.

Fig. 7 Robie House Chair Fig. 8 Robie House dining table In fact, Wright went beyond furniture design1 for Robie House as he aimed to integrate ornament and architecture. He embraced the development of electricity2 for domestic use by complementing natural daylight with incandescent lighting. The wall sconces were made of bronze, oak, and leaded glass, continuing the materials and colours from other elements of the building. Succeeding the Arts and Crafts movement, he worked closely with the builders and craftsmen involved in the project. The dining room set is perhaps the most significant objects designed for the home. Leaded glass electrical fixtures are mounted on wooden piers and fixed to the table, uniting furniture and lighting. The ‘Robie House Chairs’ consist of a high back with vertical struts, softly curved feet, and cushioned seats. The back serves to define an intimate space within the open room, and the feet and seat ease the strict geometry of the wooden form.

Fig. 9 Tugendhat Chair

Fig. 10 Barcelona Chair

Fig. 11 Barcelona Ottoman

Following the European tradition of designing furniture and equipment, Mies also considered the finer details of Villa Tugendhat. The furniture and fittings reflect his design philosophy, ensuring that it would read as a Gesamtkunstwerk.3 He used the chairs as an opportunity to add colourful characters in the vastness of the room. Echoing the steel technology5 of the time, their framework was made of balanced curved forms and appeared lightweight. The ‘Tugendhat Chairs’ are of a silver-grey upholstery and the ‘Barcelona Chairs’ feature green cushions. These line the living area with the onyx wall as a backdrop. Juxtaposing the rhythm of the grouped chairs, the ‘Chaise Longue’ serves as an accent colour with its ruby red velvet upholstery. The ‘Brno Chairs’ are upholstered in white sheepskin and, as dining chairs, contrast the polished black wood of the large table. Furthermore, he designated the spaces where each piece belongs. This reached the extent of anchoring the round dining table to the floor, forming the centrepiece in the space defined by a semi-circular wall.

Fig. 12 Chaise Longue

Fig. 13 Brno Chair

1 Wright also designed the lighting fixtures and wall hangings. To blend with the character of Robie House and to better express its users, he even sketched ideas for the clothing of Frederick’s wife, Lora.

2 Electricity was not widely used in American households at the time. Therefore, this is an additional layer of the daring design decisions made by Wright.

3 Gesamtkunstwerk is a German word to describe a ‘synthesis of the arts’. In this instance, it refers to how Mies has successfully integrated design of the site, building, and furniture.

Upon studying the pivotal projects in the architectural growth of Frank Lloyd Wright and Mies van der Rohe, one learns the importance of paying attention to design detail.

Something as modular and ordinary as furniture plays a role in the perception of spaces.

The natural site, the building structure, and the objects within are interconnected and must be treated as an integrated artwork. In the residential context, the outcome would be a comfortable home that caters for its inhabitants’ needs as well as expresses their personalities.

Sadly, the joy in these two houses were short-lived due to unprecedented circumstances.

In 1912, Frederick’s father passed away and the family had to sell Robie House as it was unmanageable without his financial support. The building was converted into a seminary and then threatened by demolition twice; Fortunately, it is now a certified US registered national historic landmark. In 1938, the Tugendhat family, being Jewish, were forced to flee Villa Tugendhat in order to escape the Nazi regime. The house was then used as a gymnasium, a children’s hospital, and a guest house – eventually being converted into a museum.

This series of events is a testament to the lasting impact of immersive architecture.

Wright, building on the idea of Organic Architecture, gradually established the style that identifies with the culture and geography of Robie House. Mies, constantly revisiting the essence of “less is more”, theoretically elevated the Villa Tugendhat with its lush yet fundamental elements, highlighting the truth in materiality and context.

The regionalism and simplicity of both designs drove them to endure many changes – even accommodating functions that they were not originally designed for. Consequently, they are now celebrated for their innovation.

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