LEGO Farnsworth House, Architecture Farnsworth House Instructions Manual
Farnsworth House
™
Plano, Illinois, USA
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LudwigMiesvanderRohe
Ludwig Mies van der Rohe, born Maria Ludwig Michael
Mies (March 27, 1886 – August 17, 1969) was an architect and
designer. Mies has long been considered one of the most
important architects of the 20th century. In Europe, before World War
II, Mies emerged as one of the most innovative leaders of the Modern
Movement, producing visionary projects and executing a number of
small but critically significant buildings. After emigrating to the United States
in 1938, he transformed the architectonic expression of the steel frame in
American architecture and left a nearly unmatched legacy of teaching
and building.
Born in Aachen, Germany, Mies began his architectural career
as an apprentice at the studio of Peter Behrens from 1908 to
1912. There he was exposed to progressive German culture, working
alongside Walter Gropius and Le Corbusier. Determined
to establish a new architectural style that could represent modern
times just as Classical and Gothic had done for their own eras, Mies
began to develop projects that, though most remained unbuilt, rocketed
him to fame as a progressive architect.
His dramatic modernist debut was his stunning competition proposal
for the all-glass Friedricstrasse skyscraper in 1921. He continued with a
whole series of pioneering projects, including the temporary German
Pavilion for the Barcelona exposition (often called the Barcelona Pavilion)
in 1929. In the 1930s he joined the avant-garde Bauhaus design school as
director, but faced with growing Nazi political pressure decided
to emigrate to America in 1938.
Ludwig Mies van der Rohe
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In the U.S., he became head of the department of architecture at the newlyestablished Illinois Institute of Technology in Chicago, introducing a new
kind of education that would become known as the Second School
of Chicago, with works such as Farnsworth House™, the Seagram
Building and the Museum of Fine Arts in Houston, Mies continued to
refine his vision of a monumental “skin and bones” architecture. He sought
to create free and open spaces, enclosed within a structural order with
minimal presence.
German Pavilion in Barcelona
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FarnsworthHouse
™
4
One of Mies’ most famous aphorisms was “less is more”. For many, the
architecture of Farnsworth House represents the ultimate refinement
of his minimalist beliefs.
It was designed and constructed between 1945 and 1951 as a oneroom weekend retreat, located in a once-rural setting, 55 miles (89 km)
southwest of Chicago on a 60-acre (240,000 m2) estate adjoining the
Fox River, in the city of Plano, Illinois. The steel and glass house was
commissioned by Dr. Edith Farnsworth, a prominent Chicago
medical specialist, as a place where she could engage in her hobbies:
playing the violin, translating poetry, and enjoying nature. Farnsworth was
highly intelligent, articulate, and intent on building a very special work
of modern architecture. Her instructions for Mies were to design the
house as if it were for himself.
Mies created a 1,585-square-foot (140 m
2
) house that is now widely
recognized as an iconic masterpiece of the International Style of architecture.
The home was designated a National Historic Landmark in 2006 after
being added to the National Register of Historic Places in 2004. It is
currently owned and run as a house museum by the National Trust for
Historic Preservation.
Like many Modernists, Mies worshiped the technology-driven modern
era he lived in, but also believed that reconnecting the individual with
nature was one of the greatest challenges faced by an urbanized
society..
With this in mind, Mies conceived Farnsworth House
™
as an indoor-
outdoor architectural shelter simultaneously independent of and
intertwined with the nature around it. The simple elongated cubic form
of the house runs parallel to the flow of the river and is anchored to
the site in the cooling shadow of a large and majestic black maple
tree. To underline the strong connection with nature, the house was
deliberately built on the flood plain near the river’s edge instead of
on the flood-free upland portions of the site.
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The essential characteristics of the house are immediately apparent.
The extensive use of clear floor-to-ceiling glass opens the interior to its
natural surroundings to an extreme degree. Two distinctly expressed
horizontal slabs, which form the roof and the floor, sandwich an open
space for living. The slab edges are defined by exposed steel structural
members painted pure white. The house is elevated five feet three inches
(1.60 m) above the flood plain by eight steel columns, which are attached
to the sides of the floor and ceiling slabs. The end of the slabs extend
beyond the column supports, creating cantilevers. The house seems
to float weightlessly above the ground it occupies. A third floating
slab, an attached terrace, acts as a transition between the living area
and the ground. The house is accessed by two sets of wide steps
connecting the ground to the terrace and then to the porch. As was
often the case with Mies’ designs, the entrance is located on the sunny
side, facing the river instead of the access road.
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The interior appears to be one large room fi lled with freestanding
elements. The space is sub-divided but not partitioned, and fl ows
around two wood blocks that Mies called “cores,” one a wardrobe
cabinet and the other a kitchen, toilet, and fi replace block. The larger
fi replace-kitchen core appears almost as a separate house nestling
within the larger glass house. The materials used are quietly
luxurious – travertine fl oors, primavera paneling and silk curtains – and
the detailing minimal and meticulous.
On its completion, Farnsworth House™ received accolades in the
architectural press, which resulted in many uninvited visitors trespassing
on the property to glimpse the latest Mies work of art. Unfortunately
Mies and Edith Farnsworth had a falling out over the costs, which
had almost doubled the fi nal costs, and the bitter dispute was only
resolved after a long and very public court case.
Though she continued to use her weekend retreat for almost 20
years, Edith Farnsworth often felt intimidated by the openness of the
building. Other complaints included the costs of heating the house
and constantly rusting pillars.
For some critics, Farnsworth House™ represents the disconnect between
Modernist architecture and the reality of its users’ lives. Nevertheless, the
timeless quality of this house is still regarded with reverent fascination by
new generations of architects and designers around the world.
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ANationalTrustHistoricSite
Whenever a historic building is demolished or allowed to deteriorate,
a part of the nation’s past is also in danger of disappearing forever.
The National Trust for Historic Preservation (NTHP) is dedicated to
protecting these irreplaceable places that tell America’s story.
Founded in 1949 and headquartered in Washington, DC, the NTHP
is a private, nonprofit organization with over 270,000 members.
The National Trust provides leadership, education, advocacy and
resources to people and organizations across the country working
to preserve the nation’s heritage.
The NTHP owns and manages Farnsworth House™ as one of its
29 National Trust Historic Sites, and has been instrumental in
coordinating the careful restoration of the building after it was badly
damaged by flooding in 2008.
Learn more about the NTHP’s efforts to preserve historic buildings
at www.PreservationNation.org.
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FactsaboutFarnsworthHouse
™
Location: ....................... Plano, Kendall County, Illinois, USA
Architect: ....................... Ludwig Mies van der Rohe
Building type:............. House. One-room weekend retreat
Materials: ...................... Steel and glass
Style: ................................ Modern
Date: ................................ From 1945 to 1951
Floor area:.................... 1,585-square feet (140 m
2
)
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It has often be en remarked that Mi es
raised the hous e above the ground in a n
attempt to raise i t above the water durin g
fl o ods. But als o, the eff ect of the raised
fl oo r has another, complete ly dramatic,
eff ect of heighte ning the transpa rency
created by the fl ood of light enter ing on all
sides through th e glass walls .
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