Although it is popularly recognized as a Mies Van der Rohe design, really, the Barcelona chair was designed by Lilly Reich, with the collaboration of its partner and partner Mies Van del Rohe. The design was made in view of the German pavilion at the Barcelona International Exhibition of the year 1929, for which the designers who dealt with the German pavilion had the responsibility of showing the resurgence of German culture, all framed in a time of reconstruction After World War I.
It is, without a doubt, one of the most recognized designs of the last century, in addition to the icon par excellence of the modern movement. It is a simple but elegant design, in tune with the main theory of its creator: "Less is more." Perfects the modernity of design with higher quality crafts, taking advantage of new technologies and materials. It was made to take the avant -garde to the interior of the home.
Its shape is based on the Curulis Sella, a type of curved leg chair and padded seat used by the Roman magistrates. It is upholstered with 40 individual panels that are cut, welded by hand and inserted with leather buttons. The cushions are of high quality polyurethane foam and elasticity, with fiber of dacron polyester in the form of a down. The upholstery belts are leather. 17 straps are used for cushion support. The frame is chrome and polished by hand for a mirror finish.
In its beginnings, it began being polished stainless steel (the structure) and pork leather (the seat and backrest). However, as of 1950, they began to be modified to adapt to large -scale production. She was redesigned through the use of welding without welding, which further stylized her silhouette. Currently, its manufacturer is Knoll, under the license bought from Mies van der Rohe in 1953.
The couple we present is from the 70s, with the chromed steel structure and the two broken white leather cushions. Perhaps the highlight of the design is the shape of the legs, the product of the experimentation that takes place in the Bauhaus (Mies van der Rohe was director of it from 1929 to 1933), in a search to minimize the typical wooden structure of wood of four paws. It ends up in the appearance of chairs without hind legs, three -legged chairs or chairs such as Barcelona where the chromed steel structure is linear, forming the backing and legs of the same equis -shaped structure. In fact, Mies Van Der Rohe came to recognize that the chair design was more work than the design of the pavilion itself.
The harmony of its proportions and the elegance of the whole make the chair a practically sculptural object, worthy of exposure. So much so, that they were used as the thrones of the kings of Spain when they visited the international exhibition.
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