Tipus d'obres

Obra gràfica

Gèneres

Art > Arquitectura > Disseny d'interiors

Art > Disseny d'objecte

Moviments socio-culturals

Edat contemporània > Moviments artístics des de finals del s. XIX > Racionalisme arquitectònic / Moviment modern > Bauhaus

Edat contemporània > Moviments artístics des de finals del s. XIX > Racionalisme arquitectònic / Moviment modern

Edat contemporània > Moviments artístics des de finals del s. XIX > Art del primer terç del s. XX

Obra

The Velvet and Silk Cafe

Data de producció: 1927

Tipus d'obres

Obra gràfica

Gèneres

Art > Arquitectura > Disseny d'interiors

Art > Disseny d'objecte

Moviments socio-culturals

Edat contemporània > Moviments artístics des de finals del s. XIX > Racionalisme arquitectònic / Moviment modern > Bauhaus

Edat contemporània > Moviments artístics des de finals del s. XIX > Racionalisme arquitectònic / Moviment modern

Edat contemporània > Moviments artístics des de finals del s. XIX > Art del primer terç del s. XX

Informació de l'obra i context de creació

The "Velvet and Silk Cafe" is designed by Mies van der Rohe and Lilly Reich for the "Die Mode der Dame" (Lady's Fashion) exhibition, held in Berlin during 1927 at the Funkturmhalle (Hall of the Radio Towel), an avant-garde pavilion built in 1924 by Heinrich Straumer at the fairgrounds.

The cafe is installed at one of the ends of the pavilion. Mies van der Rohe and Lilly Reich propose a singular and experimental space based on open plan ideas in an area of around 21×31 meters (651m2), the visible area of the cafe. The space receives natural light from above from the upper side windows of the trapezoidal porch, and creates a spacious space with great ambient and light quality.

Mies and Lilly propose an open plan space, creating areas with large silk, rayon and velvet curtains, hung from tubular chromed steel structures, placed orthogonally.

The materials are exhibited in an enhancement of the material, fleeing from any type of ornamentation, in all its dimensions, mounted like canvases on apparent structures. They are dematerialized by their chromed steel mirror finish, with a tubular section, formed by some frames whose horizontal bar stretches the fabrics that support light structures anchored to the ground, with a minimum section. Silk and velvet cloth, as well as other fabrics in the industry, are arranged independently and orthogonally. The structures become independent, overflowing the virtual floor plan that supports the scene, in a kind of eccentric and rotational movement, which offers the visitor a non-directional route, but a random and free one.
Together with Lilly Reich, within the modern movement in architecture, we find pioneering architects and designers of the time: the Irish Eileen Gray, Truus Schröder (co-author, together with Gerrit Rietveld, of the famous Schröeder house), Margarete Schütte-Lihotzky (with her extensive work in social housing and her obsession with facilitating women's work inside the home so that they have more free time); the Finnish Elissa Mäkiniemi; the Danish Ragna Grubb, interested in social housing; the French Charlotte Perriand; or the Chinese American Anne Tyng, co-author with Louis Khan of the most significant buildings of the Khan office in the 50s in the USA, among others.

Indicacions

-History of art

-Architecture

-Industrial design

-Furniture design

-Technologies

Documents