The Farnsworth House

The Farnsworth House is one of the most significant of Mies van der Rohe’s works, equal in importance to such canonical monuments as the Barcelona Pavilion, built for the 1929 International Exposition and the 1954-58 Seagram Building in New York. Its significance is two-fold. First, as one of a long series of house projects, the Farnsworth House embodies a certain aesthetic culmination in Mies van der Rohe’s experiment with this building type. Second, the house is perhaps the fullest expression of modernist ideals that had begun in Europe, but which were consummated in Plano, Illinois. As historian Maritz Vandenburg has written in his monograph on the Farnsworth House: “Every physical element has been distilled to its irreducible essence. The interior is unprecedentedly transparent to the surrounding site, and also unprecedentedly uncluttered in itself. All of the paraphernalia of traditional living –rooms, walls, doors, interior trim, loose furniture, pictures on walls, even personal possessions – have been virtually abolished in a puritanical vision of simplified, transcendental existence. Mies had finally achieved a goal towards which he had been feeling his way for three decades." The significance of the Farnsworth House was recognized even before it was built. In 1947 a model of the Farnsworth House was exhibited at the Museum of Modern Art in New York. Describing it, along with the unbuilt Resor House, as a “radical departure from his last European domestic projects,” Philip Johnson noted that it went further than the Resor house in its expression of the floating volume: “The Farnsworth house with its continuous glass walls is an even simpler interpretation of an idea. Here the purity of the cage is undisturbed. Neither the steel columns from which it is suspended nor the independent floating terrace break the taut skin.” In the actual construction, the aesthetic idea was progressively refined and developed through the choices of materials, colors and details. While subsequent debates and lawsuits sometimes questioned the practicality and livability of its design, the Farnsworth House would increasingly be considered, by architects and scholars alike, to constitute one of the crystallizing and pivotal moments of Mies van der Rohe’s long artistic career