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Vitra Miniature MR 90 Barcellona, Mies Van der Rohe: Mies van der Rohe took as his starting point the ancient, scissors-shaped collapsible folding chair, already a symbol of power among Egyptian rulers. In keeping with the occasion, he adopted the representative qualities of the scissors chair, although he does without the folding function and interprets it afresh.
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Vitra Miniature MR 90 Barcellona, Mies Van der Rohe: Mies van der Rohe designed the German pavilion and corresponding furniture for the 1929 world’s fair in Barcelona. Among other things, his pavilion served as the setting for the inaugural ceremony led by the Spanish royal couple, Alfonso XIII and Victoria Eugenia. While Mies van der Rohe implemented his ideas of avant garde steel and glass architecture for the building design, he drew his inspiration for the furniture from historic models. Mies van der Rohe took as his starting point the ancient, scissors-shaped collapsible folding chair, already a symbol of power among Egyptian rulers. In keeping with the occasion, he adopted the representative qualities of the scissors chair, although he does without the folding function and interprets it afresh. In order to match the overall impression of luxury in the pavilion, Mies van der Rohe chose not to use wood like the historic models, but instead employed chrome-plated steel strip and leather upholstery with button stitching. The pavilion was torn down after the fair. However, along with the furniture, it was retrospectively acknowledged as a showcase for the »International Style« that had taken hold throughout the world. The Barcelona pavilion was reconstructed and rebuilt in1986. Steel strip, leather belts, leather cushions.
The collection of the Vitra Design Museum en miniature: The Miniatures Collection of the Vitra Design Museum covers the most important pieces from the international history of design from 1850 up to the present. The construction, materials and colours of the miniatures correspond precisely to the historical original. Extensive development work was carried out to adapt the manufacturing techniques to the requirements of miniaturization. Because they are so true to the originals, the miniatures are not only collector’s objects for furniture enthusiasts, but also serve as ideal illustrative material for universities and design schools. At present, the collection encompasses 80 models on a 1:6 scale with further pieces being continually added. The models come in their own wooden box and are accompanied by a descriptive brochure with details on the design. Net proceeds from the sale of the miniatures go towards the exhibitions and workshops of Vitra Design Museum.
Miniaturization means concentration: Vitra Design Museum faithfully replicates furniture design classics in miniaturized three-dimensional form. Many of these designs, like the chaise longue by Le Corbusier or the red-blue chair by Gerrit Rietveld, are as widely known today as the most celebrated works of art and are coveted by museums and collectors the world over. These miniatures illustrate at a glance what design means and what role it plays in the industrial production process. The clear and concentrated world of the miniatures yields a fascinating reflection of the stylistic diversity of contemporary design and provides a unique way of accessing the history of furniture design.
The manufacture of the miniatures: Vitra Design Museum has one of the most renowned collections of industrial furniture design – from the infancy of industrial mass production in the mid-19th century through the designs of functionalistic Modernism up to the postmodern furniture objects of the present day. With its many exhibits, the collection provides us with an ideal base for developing new furniture miniatures. Model builders measure the historical original in the museum collection, scale this down to one sixth of the original size and compile technical documentation. Subsequently, materials and manufacturing techniques are tested over a period of several months: the shapes are formed, materials and processes are selected, art historical research on the objects is conducted and then the production sequences are defined.