Luxury and Modernism by Schuldenfrei Robin

Author:Schuldenfrei, Robin
Language: eng
Format: epub, pdf
Publisher: Princeton University Press
Published: 2018-06-03T04:00:00+00:00

Figure 5.36. Bamberg Metallwerkstätten, illustrated products and price list of furniture designed by Mies and Reich, Berlin, 1931.

In the Tugendhat’s seemingly spare main space (in part owing to the lack of domestic clutter and small objects), the furniture defined the room. It reads as both discernible, individual elements, even events, in the space, but it also resonates collectively, as visual points of connection are formed between the pieces of furniture, linked materially and spatially across the open plan. The distinctive chairs of the dining area, living area, sitting area near the milk glass wall, and the library were connected in their use and materiality (shiny metal legs and rich surfaces), yet distinguished by the diverse materials, colors, and uses intended by these differing areas. Moreover, the elemental form and chrome of the chaise longue and chairs related to the shiny bases of the other pieces of furniture, the cruciform chromed columns, and also to the tubular safety railings and the rectilinear edging of the window frames. Although each piece made a strong statement on its own, the color, texture, and placement of every item of furniture also worked in tandem with the others to create a distinctive whole. Each piece can been seen as an independent object, designed for a particular purpose—yet it is the furniture that creates the room designations in the context of the open plan. For instance, two cantilevered chairs and a small table by the front entrance form a reception area upstairs, while six chairs positioned as a conversation-generating area in front of the onyx wall designate this section of the living room as one intended for more elegant and formal entertaining.

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