-Barcelona Chair-

The Barcelona Chair is so named because it was exclusively designed for the Barcelona World Fair of 1929 as part of the German Pavilion. The design resulted from collaboration between the famous Bauhaus architect Mies van der Rohe and his long time partner and companion, the architect and designer, Lilly Reich. Only recently have the contributions for Reich been acknowledged.[citation needed] The Pavilion or Barcelona Chair is an icon of the "modern classical" style. Its design was inspired by its predecessors, the campaign and folding chairs of the Pharaohs and the Romans.

HISTORY

The years after the First World War had found Europe in a turmoil and the postwar years preceding the Barcelona Exhibition were challenging for the nations. Despite or possibly because of the widespread devastation, designers, industrialists, architects, and artists were inspired by new technology, materials and possibilities. Literary creativity and with it advertising and commercial promotion and film making commenced with feverish vigor. The German Government, more than any other, after losing the war and struggling to for political stability, eagerly agreed to participate in the Barcelona Exhibition.

LILLY REICH AND MIES VAN DER HORE

Lilly Reich began working for the Deutscher Werkbund in 1912. Their raison d'etre was to focus specifically on the German design industry, its quality, evolution and promotion, She was responsible for designing and organizing many of their international exhibitions and in 1921 became the organization's first female member.

Reich and van der Rohe met in the mid 1920s and collaborated on many of these exhibition design projects until he departed for the United States in 1938. While Reich always deferred to van der Rohe in public, the reverse was said to have been the case in private. While it is naturally difficult to apportion the contributions that each made to a particular design, it is interesting and poignant to note that van der Rohe never again produced any furniture designs after their partnership ended, nor had he designed any furniture beforehand. His first patent on a furniture design was issued in 1927 and his last in 1937.

Reich's affiliation to the Deutscher Werkbund and her architectural work with van der Rohe on their exhibition design and furniture design made them the natural choice for the Commission to design the German Pavilion in Barcelona.

Government ministers and leaders and industrialists from many European countries, flocked to the Expo and King Alfonso III and the Empress Victoria Eugenie of Battenberg, granddaughter of Britain's Queen Victoria, set the royal seal of approval on the Exhibition by gracing it with their presence. Together with her consort, Prince Albert of Germany, Queen Victoria had been inspired by the Paris Exhibition in 1844 and had designed and advocated Crystal Palace Exhibition in London's Hyde Park in 1851. World Trade Expositions were nothing new, however the timing of the Barcelona Exhibition was crucial.

THE GERMAN PAVILLION

An enormous responsibility rested on van der Rohe's shoulders to produce a very special building which would unmistakably announce to the world the resuscitation of cultured Germany's prowess, and adequately showcase their creative achievements and commercial viability. The renowned sculptor George Kolbe's work was shown to great advantage as was the Barcelona Chair.

Modern technological advances in steel and glistening sheet glass, enabled their integration with marble and travertine to facilitate a shockingly futuristic edifice of balanced modernistic linear beauty. Juxtaposed in a very different way from the claustrophobic Victorian era from which they were barely emerging, the senses of the public must have been awestruck.

A VERY SPECIAL CHAIR

Catapulting its ancient and regal design right into the present time and beyond, with great flair and brilliance, the designers enjoyed instant acclaim. the Chair was shown off perfectly in the environment of van der Rohe's Pavilion. It was immediately recognized for its great style by highly influential, educated and cultured exhibition visitors. Royal visitors, it is said, did not actually take advantage of this newly designed seating accommodation, but the chair quickly attained the reputation of being "a design worthy of kings".

MATERIAL AND MANUFACTURE

Predating the advent of stainless steel and seamless ground welding, the frame was designed to be bolted together. It was then re-designed by van der Rohe in 1950, using the newly developed stainless steel, and allowing the frame to be formed by a seamless piece of metal giving it the smooth lines we know and see today. Bovine leather has replaced the more expensive ivory colored pigskin which was used for the original pieces. Three years later, (and six years after Reich's death), the design went into commercial production and van der Rohe licensed the rights of reproduction to Knoll who are the current licensed manufacturer of the Barcelona Chair and also own the trade mark.

PHILOSOPHY AND ECONOMIC

Although many architects and furniture designers of the Bauhaus era, were intent on providing well designed homes and impeccably manufactured furnishings for the 'common man', (and van der Rohe was very much in agreement with this philosophy), it was and still is not possible to do this in the case of the Barcelona Chair as the materials and labor are too expensive. Its tufted and buttoned, supple high quality leather cushions are hand sewn and individually stitched and piped require twenty eight hours of highly skilled labor to produce.

The timeless, iconic Chair has never ceased to be in production and has always been a 'must have' for both wealthy aficionados as well as architects and designers. Ottomans, loveseats, sofas, daybeds and benches, even inspirational versions of the chair, loveseat and sofa with arms have been added to the 'range'.

Although the original rights of reproduction were purchased by Knoll, unaffiliated reproductions of the Barcelona Chair are today manufactured by a vast and diverse group of manufacturers, each varying considerably in their price, quality and even specifics of the design.

CURRENT PRODUCTION

In the US, Knoll, Inc. owns the rights to the USPTO trademark: Barcelona®. Knoll manufactures the frame in two different steel configurations and several different leathers. The lower cost version is made of carbon steel with a chrome plate finish (approx. retail US$3900). The more expensive version is made of #304 stainless steel (approx. retail US$6000). The frame is welded into a single piece frame. Thick leather straps supporting the seat pad and chair back are screwed or riveted into the frame. The padding used is PU foam. The cushions are wrapped in leather and attached by hidden double snap buttons.

Although it has a "machine made" appearance, the chair is almost completely hand laboured. Mies van der Rohe's signature is fixed or stamped into each Knoll Barcelona Chair. The frames are made of massive suspension stainless steel. It requires both high precision and fine craftsmanship to weld and finish the joints.

Reproductions are produced by many manufacturers across the world, under different marketing names. Quality of reproductions vary greatly. Knoll's Barcelona Chair is considered the gold standard and is highly prized (and highly priced).