Farnsworth House by Mies van der Rohe: A bond between the House and Nature
Ludwig Mies van der Rohe is one of architecture’s residential projects. Whether it is his iconic statements “Less is more” and “God is in the details” or the famous Barcelona Pavilion and equally renowned Barcelona Chair , his presence borders on the mythic. The Farnsworth House in Illinois, US is a classic example of the International Style of architecture designed by architect Ludwig Mies van der Rohe for Dr. Edith Farnsworth from 1949 to 1951.
Regarded as one of the pinnacle works of Mies van der Rohe ‘s style and philosophy, it is one of the world’s most widely recognized and studied structures constructed in the 20th century.
Built as a weekend retreat, the Farnsworth House is a platonic perfection of proportions and its simplicity gently placed in spontaneous nature in Plano, Illinois . On the outskirts of Chicago, in a 10-acre secluded wooded site with the Fox River to the south, the glass pavilion takes full advantage of relating to its natural surroundings, achieving Mies’ concept of a symbiotic relationship between the house and nature.
While Mies used the same vocabulary—steel, large expanses of plate glass, and stone at Farnsworth as he did for his other projects of the time, the house conveys a distinct feeling from his other work. Wrapped in white instead of an industrial black, small and intimate, set alone away from the city grid and gently lifted above a riverbank, Farnsworth House uniquely illustrates the softer side of Mies’ architecture.
Between two levitating horizontal slabs, the boundary between inside and out is blurred, opened up by expansive glass walls, and a near absence of visible structural supports. The beauty of the house is exaggerated with Mies’ idea of tying the residence with its tranquil surroundings. His idea for shading and privacy was through the landscaping that was located on the private site. The clear glass walls create a sequence of lively reflections, including those of the surrounding trees, and people walking inside or outside of the house, layering them on top of one another, creating ever-changing visuals with each step taken around it. A solid inner core contains bathrooms and unsightly mechanicals. But the spaces for living flow freely into each other, and into the meadows and river beyond.
Mies wanted the house to appear as light as possible on the land, and so he raised the house 5 feet 3 inches off the ground, allowing only the steel columns to meet the ground seamlessly. The house’s main structural support comprises eight white vertical I-beams, which connect the rectangular roof and floor slabs with floor-to-ceiling plate glass. The structure is suspended on those beams some 5 feet above the ground and more than 8 feet above the Fox River. A third of the slab is an open-air porch, and the only operable windows are two small hopper units at the eastern end in the bedroom area. The mullions act as structural support.
The ground floor of the house is elevated, and wide steps slowly transcend effortlessly off the ground, as if they were floating up to the main entrance. Aside from walls in the center of the house enclosing bathrooms, the floor plan is open exploiting true minimalism. A central core contains all services, two bathrooms , a kitchen with a continuous stainless-steel countertop, a primavera wood living space, and a fireplace on the south side. Smoothness and continuity are also maintained in the details of the other surfaces of the house, from the floors to the wood panels. All evidence of seams and fastenings have been removed.
A perfectionist mirage, Farnsworth House floats like a pavilion in a park, but its history has been beset by plagues, floods, and feuds. With the house constructed about 100 feet from the Fox River, Mies recognized the dangers of future flooding. He designed the house at an elevation that he believed would protect it from the highest predicted floods, which are anticipated every hundred years. In 1954 the river rose six feet above the one-hundred-year-mark and flooded the house. However, Mies could not predict the increase in water runoff caused by the development in the Chicago area which led to more floods. Current research states that the interior of the house has received floodwaters on 6 occasions, beginning in 1954 to just recently in 2008.
Intended as a vacation home for the Chicago doctor, the house however lacked storage space, closets, and other necessities of full-time living, which the architect ignored in favor of an aesthetic perfectionism. Nonetheless, there are still many features that contribute to the beauty of the house.
The man-made geometric form creates a relationship with the extraneous landscape surrounding it to exemplify “ Dwelling ” in its minimalistic state. The simplicity of the design, precision in detailing, and careful choice of materials made Mies’s building stand out from the mass of mid-century Modernism.
Trishla Chadha is driven by a persistent desire to learn and to inform. Besides working as a Junior Architect, she is also associated with an International social organization with the aim of empowering women in our society. She is particularly intrigued by the sensitivity of architecture towards nature and people, as well as discovering new aspects that enrich the spatial experience.
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AD Classics: The Farnsworth House / Mies van der Rohe
- Written by Adelyn Perez
- Architects: Mies van der Rohe
Text description provided by the architects. The Farnsworth House, built between 1945 and 1951 for Dr. Edith Farnsworth as a weekend retreat, is a platonic perfection of order gently placed in spontaneous nature in Plano , Illinois. Just right outside of Chicago in a 10-acre secluded wooded site with the Fox River to the south, the glass pavilion takes full advantage of relating to its natural surroundings, achieving Mies' concept of a strong relationship between the house and nature.
The single-story house consists of eight I-shaped steel columns that support the roof and floor frameworks, and therefore are both structural and expressive. In between these columns are floor-to-ceiling windows around the entire house, opening up the rooms to the woods around it.
The windows are what provide the beauty of Mies' idea of tying the residence with its tranquil surroundings. His idea for shading and privacy was through the many trees that were located on the private site. Mies explained this concept in an interview about the glass pavilion stating, "Nature, too, shall live its own life. We must beware not to disrupt it with the color of our houses and interior fittings. Yet we should attempt to bring nature, houses, and human beings together into a higher unity."
Mies intended for the house to be as light as possible on the land, and so he raised the house 5 feet 3 inches off the ground, allowing only the steel columns to meet the ground and the landscape to extend past the residence. In order to accomplish this, the mullions of the windows also provide structural support for the floor slab.
The ground floor of the Farnsworth House is thereby elevated, and wide steps slowly transcend almost effortlessly off the ground, as if they were floating up to the entrance. Aside from walls in the center of the house enclosing bathrooms, the floor plan is completely open exploiting true minimalism.
With the Farnsworth house constructed about 100 feet from the Fox River, Mies recognized the dangers of flooding. He designed the house at an elevation that he bellieved would protect it from the highest predicted floods, which are anticipated every hundred years.
In 1954 the river rose six feet above the one-hundred-year-mark and flooded the house. However, Mies was not able to anticipate the increase in water runoff caused by the development in the Chicago area which led to more floods. Current research states that the interior of the house has received flood waters on 6 occasions, beginning in 1954 and becoming more frequent having also flooded in 1996,1997, and just recently in 2008.
Although there were some problems with the maintenance of the house due to flooding and livability of the design that involved complaints about the poor ventilation of the interior as well as cost overruns, there is no doubt that the Farnsworth House is the essence of simplicity in its purest form. The brilliance in its artistic design became the inspiration for other works, such as Philip Johnson's Glass House.
The man-made geometric form creates a relationship the extraneous landscape surrounding it to exemplify "dwelling" in its simplest state. As Mies stated on his achievement, "If you view nature through the glass walls of the Farnsworth House, it gains a more profound significance than if viewed from the outside. That way more is said about nature---it becomes part of a larger whole."
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Case Study: Farnsworth House
I studied Farnsworth House by Ludwig Mies Van der Rohe for its minimalist approach in three respects:
- Simple post-and-beam structure
- Use of neutral, subdued materials (eg. Mies's signature travertine)
- Emphasis on the surrounding landscape
These explorations were done by hand-drawn collage of orthographics and oblique views, as well as a partial replica model down to the construction of the roof and window frame system.
Status: Built Location: Plano, IL, US
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Architecture eBook Mies Van Der Rohe Farnsworth House
The history of Mies van der Rohe’s Farnsworth House (c. 1947–50) is as complex and problematic as the property’s past states of preservation. From the changing of early design details by the structure’s patron Dr. Edith Farnsworth, to complete overhauls after bouts of severe flooding, the building stands as a manifestation of the many issues inherent to architectural conservation. This text explores the theoretical underpinnings of the property’s various physical states, conservators' embrace of contradictory principles, and, perhaps above all, the ever-changing position of the Farnsworth House within historiography. By exploring the building’s ongoing biography, this text analyzes the varying legitimacies of the structure’s past functions--a resident’s functional house versus an architect’s idealistic design. The paper further considers varying perceptions of authenticity with regard to the building's past material states--a functional house that develops a patina versus a symbolic structure that is continually restored to various interpretations of its “original” form.
VLC ARQUITECTURA. Research Journal
Laura Lizondo-Sevilla , José Santatecla Fayos
The article delves into the complex world of exhibition architectures, those whose destiny is reduced to be mounted, exposed and dismantled in a short period of time. A process that allows a quick experience of architecture, bounded in time, and whose experimentation gives rise to the birth of new concepts. The text focuses on the German Pavilion designed by Mies van der Rohe for the Brussels World’s Fair of 1934, his only unbuilt ephemeral architecture due to the political uniqueness of the moment. Now, criticism and the archive allow us to reinterpret its contribution to the history of architecture.
During the late 1970s a question was first raised by a number of architectural historians regarding a red curtain that may have hung prominently in Mies van der Rohe’s German Pavilion at the 1929 International Exposition in Barcelona. Although this discovery seemed of little consequence at the time, it can be seen today as symptomatic both of the extraordinary status this particular work has enjoyed for the past 60 years and as a commentary on the much broader problem of historically based architectural reconstructions. The discovery of the red curtain raises a number of questions. If there was indeed a large floor-to-ceiling red curtain hanging in the front glass wall of the pavilion, how is it that it appears in none of the canonical photographs of the original building? Nor do any references to the curtain appear in any of the first-hand textual accounts of visitors following the opening of the pavilion on May 26, 1929. Although a curtain like the one described by recent researchers would have dominated the otherwise muted palette of colors in the building, how is it that no one seems to have seen it? The answers to these questions, like so much of Mies’s work, seems to depend largely on how one frames both the question being asked and the Berliner Bild-Bericht photographs to which these and many other questions invariably defer.
Ricardo Meri de la Maza , Bartolomé Serra Soriano
TOSTÕES, Ana; FERREIRA, Ana (ed.), Norbert Hanenberg, Daniel Lohmann, Christian Raabe (guest-ed.), Docomomo Journal, 56 - The Heritage of Mies, Lisbon, Docomomo International
Zara Ferreira , Daniel Lohmann
Mies enjoyed great prominence in Europe and America. Starting in Europe, his first incursions resulted in the German Pavilion for the Barcelona International Exhibition (1929), the Tugendhat House (1930) and the Krefeld silk factory and houses. The Illinois Institute of Technology (1943-1957), the Lake Shore Drive (1951), the Farnsworth House (1951), the Seagram building (1958) and the Toronto-Dominion Centre (1969), bear witness to his work in North America. Back in Berlin, The Neue Nationalgalerie (1968) testifies to the sublime and perfect achievement of his path towards Baukunst and Zeitwille. These ideas, which one may translate, respectively, as the art of building and the will of the time, are anchored in the Mies’s belief that architecture should be metaphysically charged with creative life force. This led him to the modern achievement of developing a new kind of freedom of movement in space, following his sense of order and his very unique conception of urban space. See full contents at: https://www.docomomo.com/journal/dj-56 https://dx.doi.org/10.52200/56.I.Q99Z1VX6
James E Churchill
A close look at the middle period of Mies van der Rohe, his dynamism and inherent dialectical architecture that led to the eventual construction of the German Pavilion in the Barcelona world exposition of 1929.
The current age is heavily reliant upon digital technology as the means for communicating and sharing to the extent that the apparatus for constant communication is structuring our physical existence. Physical space is being affected by the virtual domain in such an immediate way that most previous notions of spatial needs – sizes, level of comfort - are being questioned and again linked to the ubiquitous presence of the digital. Within this landscape, compression works on many different levels; digitally as in the compression of electronic files to ensure optimized speed of communication and also physically as in the compression of living space in light of lessening material needs. In this light compression could be considered to be structuring a new way of living. An architect known for his silence, the compression of space and the reduction of elements became for Mies van der Rohe a tool for altering perception and for disseminating his architectural ideas on new ways of living in his time. This article will explore the notions of compression and reduction in the selected works of Mies.
Mies van der Rohe. The architecture of the city.
TOSTOES, Ana; FERREIRA, Zara (ed.), Docomomo Journal, n. 53 – LC 50 Years After, Lisbon, Docomomo International
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by Ted Caplow, Columbia University
Contents of this document:, purpose of study:, the engineering for architecture project at columbia is an ongoing, interdisciplinary effort to develop a comprehensive learning and design tool for the teaching of, and ultimately for the practice of, building design. case studies of several unique and/or well-known buildings are under development; these case studies include design descriptions, structural and stress analysis, and most recently, energy and airflow modelling. the structural modules of these case studies are well-developed (see the building technologies homepage ). thermo-fluids work has just begun, however, and as of march 1996 is limited to the model description of the farnsworth house (1st case study), which follows., overview of farnsworth house:, the farnsworth house was designed by mies van der rohe and completed in 1951. it consists of a two rectangular concrete slabs which form the floor and roof. the walls are large glass windows punctuated by steel support columns, and the total volume enclosed measures approximately 9.5 x 28 x 55 feet. heat is provided by a radiant coil system in the floor, with hot water circulated from a central boiler. the first owner of the farnsworth house quarrelled publicly with van der rohe, claiming that it was difficult to maintain a comfortable atmosphere in the house. this controversy makes the house particularly suitable for thermal analysis., objectives of the flow model:, by modeling air and heat flow through the farnsworth house with computational fluid dynamics software, i will be seeking three (3) major pieces of information: the net energy consumption of the house for a variety of external weather conditions, assuming a comfortable average temperature is maintained inside. the internal temperature distributions corresponding to the solutions in part one above. the internal air-flow velocity distribution corresponding to the solutions in part one above. thus, once the model is constructed, parameters will be adjusted until the condition in part one is satisfied: a comfortable, steady-state, average internal temperature has been reached. once this solution is found, parts two and three must be examined to see if thermoclines and drafts would reach uncomfortable levels., parameters & variables:, even if it were possible to allow for all of these variables in the phoenics (c.f.d.) model for the farnsworth house, the resulting computations would be cumbersome in the extreme. instead, the first model will be constructed with considerable simplifications. it is believed that the resulting flow simulation will be a more accessible learning tool while still providing reasonably realistic results. further on in the project, we will attempt to determine the real-world accuracy of any flow solutions. currently, the following simplifications are incorporated into the model: for mass flow: external wind is uniform and steady, but direction and velocity may be selected. for convective cooling of building envelope: external surfaces are assigned a fixed temperature (no convection transfer is actually modeled outside the house.) this temperature is an "apparent temperature", and is determined as a function of the wind speed (more wind > lower t), outside temperature, sky temperature, and material properties. note that this temperature may be different on different surfaces. for radiation transfer: at present, no radiation analysis is performed outside the building; rather, the external "apparent" wall temperature is set a little lower to make an apprximate allowance for radiative cooling of the building. (see above) current model is for nightime only; solar radiation is not considered. however, it may be easily introduced as a constant heat flux, since surface temperature has little effect. for conduction through building envelope: all planes are assumed to have uniform composition: glass or concrete, and a conductivity is assigned accordingly. given the "apparent temperature" of the exterior as a boundary condition, phoenics then solves for the heat transfer through the building envelope, which has finite thickness in the model and is contained withing the grid. the floor is modelled as a constant heat flux per unit area. the floor temperature is the primary independent variable; model logic works most intuitively when all other conditions are determined, and then the model is run recursively to determine the correct floor heat flux for comfortable inside temperatures under steady-state conditions., the computational grid includes the air in the house, the walls, and the roof. the floor is a heat source with constant flux, and heat passes to the walls and ceiling by buoyancy driven convection, where it is conducted to the outside, which is modelled at a constant temperature (collapsing external radiation and convection into this one figure). additionally, the doors and/or windows may be specified as open (or partially open), allowing for some exchange of air and forced convection. once established, these parameters are adjusted to find a reasonable steady-state solution, and then energy use, draftiness, and thermal comfort may be evaluated from phoenics's output graphs..
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case study analysis: farnsworth house & the glass house
- Case Study Analysis: Farnsworth House & The Glass House
Post on 30-Mar-2016
johnsons glass house
Guest house, core of theglass house, walls of glass, glass house51built, space isvery, whichhis life.
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Case Study Analysis:Farnsworth House &
The Glass House
Mies Van Der Rohe - ArchitectEdith Farnsworth - ClientPlano IllinoisElevated (avoid flooding from near by river)Architecture & NatureA place to escape to and relax
Philip Johnson - ArchitectPhilip Johnson - ClientNew Canan ConnecticutPlanted on groundBrown brick & black steel frameA place to be comfortable as oneself
"Mies talks about "free space", but his space isvery fixed". (3.13)
"Promoting the mystical idea that "less ismore"...they are promoting unlivabiltiy,stripped-down emptiness, lack of storage spaceand therefroe lack of possessions". (3.13)
"The guest house appears to be a windowlessbunker a defensible space of intimacy as well asa "closet". (3.22)
"This house with its four walls of glass, I feel like aprowling animal, always on the alert". (3.13)
"A form of exhibitionism". (3.17)"The house appeared to be a fish bowl in whichhis life was put on display for all to see". (3.22)
"I can't even put a clothes hanger in my housewithout considering how it affects everything fromthe outside". (3.13)
"The idea of a glass house, where somebody justmight be looking-naturally, you don't want themto be looking. But what about it? That little edgeof danger in being caught". (3.17)
"Farnsworth had very little of a "private life" toconceal: as a single woman, the only thing thatcould possibly be worth hiding was her nightgown, the sign for her body". (3.16)
"The cylindrical brick chimney at the core of theglass house makes an obvious & clearly ironicreference to the architecture of the traditionalAmerican family home and to the sentimentalizedview of domesticity". (3.22)
"Unlike Johnson's glass house, which featuresclusters of large and small objects throughoutthe interior and doorways on all four walls, theinterior of the Farnsworth house in unrelenting inits ordered geometry - & this was somethingFarnsworth discovered only through living in thehouse over time". (3.17)
"For Johnson, who unlike Farnsworth had asophisticated grasp of architectural language,there was no question that each element in thedesign had a carefully constructed meaning".(3.22)
"A bitterly fought struggle over who was, andwho was not, a "normal" American, a member of afamily, living life in the "right" way. Just as EdithFarnsworth confronted these issues, so did PhilipJohnson". (3.21)
"Service core becomes a diagram of the houseas a machine, the kitchen and the back-to-backbathrooms stand in a logical, utilitarianrelationship to one another". (3.24)
"Metaphoric, discursive & picturesque, thedomestic landscape encourage movementthrough the space". (3.24)
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