This Pair of Mies van der Rohe Brno Chairs by Knoll, circa 1960s is no longer available.
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Designed by Mies van der Rohe in 1930 for his renowned Tugendhat House in Brno, Czech Republic, the Brno Chair reflects the groundbreaking simplicity of its original environment. The chair, an icon of 20th-century design, is celebrated for its lean profile, clean lines and meticulous attention to detail.
The Tugendhat House, often considered to be Mies van der Rohe’s defining residential work, is the summation of his ideas incorporated at every level of the design. Architectural historian Peter Blake explains in his book Master Builders: “As in every one of his designs, from skyscrapers to dining chairs, Mies reduces each object to its essential elements, and then refined each detail to a point of almost breathtaking beauty and eloquence. There was nothing in this house that did not reflect this process of distillation to the point of utter perfection; not a window mullion, not a heating pipe, not a lighting fixture, not an ashtray.”
While there were 24 Tubular Brno Chairs in the Tugendhat House, there was only one Flat Bar Brno chair in a master bedroom (Grete Tugendhat). Unlike the tubular version, the design was not subsequently put into production. In 1958, Phillip Johnson requested that Knoll produce the flat bar Brno Chair for use in his design of the Four Seasons restaurant. After making a few slight adjustments, including added cushioning (all with the approval of Mies); Knoll reintroduced the chair in 1958. The company continues to produce each chair to Mies’ exacting standards, thanks to a collaboration with the Mies van der Rohe Archives at The Museum of Modern Art, New York.
Literature: Above information taken directly from the Knoll and The Tugendhat House websites.
In the Style Of
Place of Origin
Date of Manufacturecirca 1960s
WearWear consistent with age and use
Seat Height17.5 in. (44 cm)
Seller LocationNew York, NY
Number of Items2
About Ludwig Mies van der Rohe (Designer)
Architect, furniture designer and educator, Ludwig Mies van der Rohe was a central figure in the advancement and promotion of Modernist design and architectural theory and practice. Like Frank Lloyd Wright and Le Corbusier, he was a hugely influential presence in the field, who shaped the course of 20th-century architecture both through his buildings and his teaching of rationalist design principles.
Born in the medieval German city of Aachen, Mies found an interest in architecture as a boy while working for his father, a master stonemason. He had no formal education as an architect, but learned his skills as an apprentice to the designer Bruno Paul, and as a staffer in the office the proto-modernist architect and designer Peter Behrens. Following World War I, Mies rose to prominence in his field amid the liberal atmosphere of the Weimar Republic. His reputation was secured by his design for the German Pavilion at the 1929 International Exposition in Barcelona (commonly referred to as his Barcelona Pavilion), a radically simple, poetic, open-plan building pared down to its architectural essentials. Mies would go on to direct the Bauhaus from 1930 until 1933, when Nazi-government interference forced the closure of the progressive art and design school. Later that decade, he made his way to Chicago, where he remained for the rest of his career as a practicing architect and a dean of the Illinois Institute of Technology.
Mies’s famed dictum “less is more” grew from his belief that architecture both guides and expresses the spirit of the times, and he envisioned the 20th century as open-minded, logical, transparent and liberated by technology. His best-known buildings — residences such as the Villa Tugendhat in Czechoslovakia and the Farnsworth House in rural Illinois; skyscrapers like the 860–880 Lake Shore Drive apartment towers in Chicago and the Seagram Building in New York — reflect that philosophy. As do his most famous furniture designs. Mies pieces such as the Barcelona chair, chaise and stools, or the cantilevered Brno chairs, deliver a maximum of comfort and support from a minimum of materials: their “lavishness” derives from the precision with which they are engineered and constructed. For the collector, the allure of Mies’s furniture is at once practical and idealistic. Useful and functional, his works embody the highest aspirations of modernism.
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