Oscar Niemeyer / Arhitektura tipografije - rani radovi

Engineer & artist 

Inženjer & umetnik

Arhitekturu kao "de facto" deo inženjerskog procesa, često prati i  laički opis da je arhitektura = umetnost.Činjenica jeste da  fizička struktura ne može nastati bez arhitekte kao rukovodioca procesa projektovanja i izgradnje objekta, baš kao što je i činjenica da arhitektura ne predstavlja umetničko delo, sem ako se vrednovanjem niza njenih umetnički primenjenih poteza i karakteristika,  kao takva i prepozna .  

Arhitektura na žalost ,ne podrazumeva uvek i proizvod koji predstavlja LEPO, ili strukturu koja ostavlja utisak o lepom.To pre svega zavisi od toga da li je arhitekta neko ko osećaj za lepo neguje i gradi i koji je arhitekturi posvećen jer je prosvećen, ili je neko ko je na fakultet zalutao, jer mu je neko rekao "da je biti arhitekta dobro, jer je i zarada laka "...

Arhitektonski fakulteti od svojih studenata najčešće proizvode INŽENJERA kojeg upoznaju sa različitim umetničkim aspektima arhitekture.Okolnosti u kojima se budući arhitekta nalazi pre, kao i okolnosti u kojima se nalazi posle školovanja, mogu ga uputiti  u procese nadgradnje sopstvenog talenta , ali uprkos mnogima koji su fakultet i završili i koji se usudjuju da se predstavljaju kao arhitekti , samo oni koji su "svakoga dana u svakom, pogledu sve više napredovali" dobili su zasluženo mesto na arhitektonskoj svetskoj pozornici.

Architecture as a "de facto" part of the engineering process, often accompanied by a layperson description of the architecture = art .The fact is that the physical structure can be inferred without architects as head of the design and construction of the facility, as well as the fact that architecture is art offense, unless the evaluation of a number of her artistic applied moves and features, and as such recognized.

Architecture unfortunately, does not always provide or a structure that gives the impression with a product that is beautiful,That depends primarily on whether the architect personal sense about the architecture itself someone as someone who is committed to architecture because he or she is enlightened to do that kind of job , or someone who is taotaly lost in this profession because someone give him a bad advice like " be an architect, because the earnings is easy " ...

Architectural colleges of their students often produce ENGINEERS who are familiar with various aspects of arhitekture as an art . Circumstances in which the architects goes throw life before, and after graduation, can point you him or her in  the process of upgrading their own talent, but despite the many of them , who are dare to present themselves as architects, only those who are " every day in every way architects, have a chance to advance " and  to be in position to received the deserved place in the architectural world stage.


od tipografskog šegrta do Le Corbusier-ovog tehničara

from typographic apprentice to Le Corbusier's technicians

Tipografija - posao kojim se bavio njegov otac bila je svakako interesantan posao za mladog arhitektu koji pri obavljanju tog posla u funkciji šegrta dobija  prve spoznaje o  obrazcu reda ,simetrije i odnosa prema lepom.Ispostaviće se da je tokom perioda stvaranja njegovog najznačajnijeg arhitektonskog opusa upravo to bilo iskustvo na kojem je bazirao svoje postupanje u procesima projektovanja objekata .Veliko naglašeno slovo...pa red malih i tako nadalje .Ritam u slaganju slova ,posebnost u naglašavanju značajnih delova bio je ritam koji je mladi Oscar primio, prihvatio i ugradio u RITAM svoje arhitekture, na kako će ceo svet kasnije i saznati,  jedan sasvim osoben Oscar-ovski način .

Typography - a job which involved his father, was certainly an interesting job for a young architect who receives initial knowledge of the same patterns of order, symmetry and relationship that he latter integrate in his architecture . It will turn that, during that period  of his career , of his most important architectural oeuvre, he got important experience on which he latter has based its actions in the process of designing buildings,  such as big accent on the first letter ... and small red at the and of the word... and so on. Rhythm in agreement letters, emphasizing the uniqueness of the important parts was the rhythm that young Oscar received, accepted and incorporated into the rhythm of his architecture, the whole world would later learn, a quite distinctive Oscar-wannabe way.

Prvi objekat od javnog značaja u čijem projektovanju  je učestvovao  kao arhitekta član tima bio je objekat Ministarstva zdravlja i obrazovanja izgrađen u Rio de Žaneiru 1936.godine.

Sa svojih 30 godina, ulogu člana tima koji razrađuje projekat Ministarstva zdravlja i obrazovanja  u svojstvu tehničara, Oscar je prihvatio bez doze arogancije i nadmenosti i sa duhom iskusnog šegrt,a koji zna kako se kupljeno znanje kasnije može i iskoristiti.U tom smislu znao je da će mu u tom konkretnom poslu, tajne zanata biti na dohvat ruke.

The first object of public interest in the design of which he participated as a member of the team, was as the member of the architect team for the building of the Ministry of Health and Education was built in Rio de Janeiro in 1936.

With its 30 years, his role in the team that develops the project of the Ministry of Health and Education was mainly in technician way.But Oscar was accepted that role  without a dose of arrogance and haughtiness of spirit becouse  he knew that an experienced of apprentice, could later be bought and used in his future project .In this sense he knew that the trade secrets in that particular project, will be in his  fingertips,  just if he could manage to be patient co - worker.And he was.

Rukovodilac izrade projekta bio je niko drugi, do majstor arhitekture Le Corbusier lično i personalno. Za razliku od Niemeyer-a koji je itekako bio svestan značaja poštovanja odnosa na relaciji majstor - šegrt, sa voljom i željom da uspe, i ciljem da stvori svoju bazu praktičnog znanja posle faze sticanja fakultetske diplome, danas su na svetskoj arhitektonskoj pozornici retki oni arhitekti koji na početku svoje karijere, poseduju izgrađene odnose poštovanja i skromnost i pre svege iskrene želje za prihvatanjem saveta od iskusnih i starijih kolega , priznatih po broju i realizaciji njihovih projektovanih ili izvedenih objekata kojji su svoje postojanje opravdali, u prostori i vremenu u kojem obitavaju i služe za odvijanje različitih društvenih aktivnosti i funkcija .
Kupiti ulaznicu za društvo Lucia Coste i Le Corbusier-a, čak i u funkciji njihovog šegrta, bila je  čast ali i mogućnost da mladi Oscar stekne značajnu referencu za sva njegova dalja angažovanja.Krive koje kasnije postaju njegov lični pečat, bile su prepoznatljive u delovima realizovanog projekta.Za ulogu tehničara u tako značajnom timu bilo je sasvim dovoljno.

 Head of project was none other than the master of architecture personally Le Corbusier himself . Unlike Niemeyer's who was well aware of the importance of respect for the relationship between a master - apprentice, with the will and desire to succeed, and in order to create their practical knowledge base after the phase of acquiring college degrees are now on the world stage of architectural those rare architects that at the beginning of their careers, they have built relationships of respect and humility, and above all sincere desire to take advice from experienced and senior colleagues, recognized by and implementing their designed or constructed buildings wich justify their existence in space and time that belongs to and used to conduct various social activities and functions.

Buy a ticket for such a team consist from a Lucio Costa and Le Corbusier, even in the function of their apprentices, it was an honor and opportunity for a young Oscar for  acquire important reference for his further career .Curve who later became his personal seal, were recognized in parts of this and his many  implemented future project.

Mladi Oscar na samom početku svoje karijere principe koji se zasnivaju na ekološkom odnosu prema sredini u kojoj objekat nastaje vidi i na delu kao učesnik u stvaranju objekata koji zahvaljujući Le Corbusier-au imaju takav karakter.

Slobodne površine za komunikaciju u prizemlju objekata kombinovane sa zelenim parternim uređenim zonama u kombinaciji sa ravnim krovovima na objektu Ministarstva zdravlja i obrazovanja, su kao koncept prvi put bili primenjini u jednoj urbanoj sredini Južne Amerike.

Zelenilo i vodene površine bile  su tako kod koji nedostaje  za tada mladog arhitektu Oscara  baš u pravom trenutku, pred njegovim značajnim angažovanjima u važnim graditeljskim poduhvatima koji su ga očekivali u dekadama koje dolaze.Projektovanja strogo geometrijski određene arhitekture nije bila njegova misija.Njegova saradnja sa  Le Corbusier-om bila je od velikog značaja za izučavanje tajni zanata, ali je Oscar ipak želeo da realizuje i materijalizuje ono što mnogi u svojim karijerama nisu uspeli.
Svet koji se vekovima zasnivao na pravim linijama i uglovima od 90 stepeni Oscar je uz pomoć lenjira i šestara crtao iz njemu tako osobenih uglova, sa linijama koje ga podsećaju na reke Brazila i obalu njemu omiljenog zaliva i grada Ria.

Young Oscar at the very beginning of his career made his own principles of which are based on environment in which the object was created and the space around them as a participant in the creation of objects,the rules that he implemented in future thanks to Le Corbusier and  his team.

Free surface of the ground communication facilities combined with a green parterre landscaped areas in conjunction with a flat roof on the building of the Ministry of Health and Education, was a concept made up for the first time in urban city center of South America.

Vegetation and water surfaces were also missing at that location, and young architect Oscar , in front of his significant master of architecture project such an unique roof that predicted the need in the decades that comes.Planning with strictly geometrical specific architecture was not his mission .His cooperation with Le Corbusier was of great importance for the study of architectural secrets, but Oscar intentions was to materialize something new and important for the Brazil and for the whole architectural world scene.

World that for centuries was based on straight lines and angles of 90 degrees Oscar with ruler and compass draw from it so distinctive angles, the lines that remind him of the River of Brazil and the Gulf coast and his favorite city of Rio.

Palácio da Alvorada

The question for sure could be, is it the fact that mr Oscar inspiration for the design of the "Alvorada" Palace got after one of the many speeches of the then president of Brazil, who at the time of construction Brazilie made his famous statement - question which was "What is the Brazilia, if not the dawn of a new day in Brazil," or is maybe the oposit that former president of Brasil Kubitschek inspired architect to vreate the modern - designed and built facility undoubtedly sophisticated lines to integrate him into their political speech, it does not matter ... because by the time the facility Palace "Dawn" appeared on stage Brazilie marked the beginning of the era of modern Brazil struktured in the object , from which the first man Brazil - governed the state.

The presidential palace is for sure the segment of the conceptual architecture, which certainly had a special significance in the complex that has done a number of buildings in the form of birds spread krila.

Distanced from the central position of Brasilia functional spine, made from administrative object but in the same time in special relationship with them , " Dawn Palace " has his own refined look ,towards design both in terms of exterior design, and in terms of interior design.

Developed from a model of the building in a small scale ,in an era

without computer architecture, an essential activity in the process of checking the relationship of the physical structure in relation to the environment object that gradi.Oscar model is used to the extent that they definitely needed and it is meant for every object that is in Brasilia was built under his master's stick.    

Da li je Oscar insipiraciju za projektovanje objekta "Alvorada" Palace, dobio posle jednog od mnogih govora tadašnjeg predsednika Brazila koji je u vreme izgradnje Brazilie izrekao čuvenu konstataciju - pitanje koje je glasilo " Šta je Brazilia, ako nije zora novog dana u Brazilu ", ili je tog istog Kubitschek-a inspirisao moderno isprojektovan i izgrađen objekat nesumljivo sofisticiranih linija koje je on integrisao u svoj politički govor, sasvim je svejedno... jer od trenutka kada se objekat Palata "Zora" pojavio na pozornici Brazilie, označen je početak ere modernog Brazila strukturifikovanog u objektu, iz kojeg je prvi čovek Brazila - upravljao državom.

Predsednička palata predstavlja segment konceptualne arhitekture, koji je svakako imao poseban značaj u kompleksu koji je činio čitav niz objekata u formi ptice raširenih krila.Udaljen od centralnih pozicija i poseban u odnosu prema funkcionalnim karakteristikama objekta, "Palata Zora" predstavlja rafinirani odnos prema dizajnu, kako po pitanju eksterijera, tako i po pitanju enterijera.

Izrada modela-makete objekta u eri arhitekture bez računara, predstavljala je značajnu aktivnost u procesima provere odnosa fizičke strukture u odnosu na okruženje objekta koji se gradi.Oscar je makete koristio u meri koje su svakako bile potrebne a to je značilo za svaki objekat koji se u Braziliji gradio pod njegovom majstorskom palicom.

Objekat karakterišu konstruktivni elementi koji simbolizuju prirodu - kapi kiše iz brazilskih šuma koje se slivaju niz ivicu objekta.

The main charactersitic of the object is structural elements that symbolize nature - rain drops from Brazilian forests, running down the edge of the building.

Architecture of the building with such caracteristical elements of the facade undoubtedly had its multiple meanings usefulness to the exterior and the interior woodwork. Firstly as a functional need to reduce the brightness of the living by the positioning of "drops of water" - projected structural elements in the function of blinds - pillars at the edge direction of the horizontal projection of the roof plane. Secondly as a symbolic meaning of those elements is their schedule, which symbolizes the Atlantic waves lapping the shore countries Brazil, which is the president - the captain of the state ship was able to use to lead the ship toward the safe harbor and through its overall progress.

 

Arhitektura objekta sa tako karakterističnim elementima na fasadi nesumljivo je imala svoju višeznačnu svrsishodnost kako eksterijernih tako i elemenata u enterijeru. Jednu od njih svakako predstavlja funkcionalna potreba za smanjenjem dnevnog osvetljaja putem pozicioniranja "kapljica vode" - projektovanih konstruktivnih elemenata u funkciji brisoleja - stubova na ivici pravca horizontalne projekcije krovne ravni. Drugo, više simbolično značenje pomenutih elemenata je njihov raspored koji simbolizuje talase sa Atlantika koji zapljuskuju obale države Brazil, a koje je predsednik - kapetan broda bio u prilici da iskoristi kako bi brod - državu, usmerio u pravcu mirne luke i putem njenog sveopšteg napretka.

Grandiosity of the designed public spaces halls of the building,as a simbolic intension for openness of Brazil state premises and his chambers who will accommodate all those who can help him to his course on the path of progress. The ease of movement and symbolism in the choice of wood for the floor, which clearly resembles the decking, as well as openness of access deck - terrace with structural columns briss soleil through large glazed surfaces, were masterful example of the combination of modern postulates the design and construction of a public building.

Grandioznost projektovanih javnih prostora holova ovog objekta, govori o otvorenosti Brazila, da u svoje odaje primi sve one koji mu mogu pomoći da svoj kurs drži na putu napretka. Lakoća kretanja i simbolika u odabiru drveta za pod koji jasno asocira na brodski pod, kao i otvorenost pristupa palubi broda - terasi sa konstruktivnim stubovima brisolejima preko velikih zastakljenih površina, bili su majstorski primer kombinacije modernih postulata na projektovanju i izgradnji jednog javnog objekta.

The interior is a timeless study of the modern frame in the right light. Combination of carefully selected wood floors, while the present set of stylish chairs and cabinet - desk with modern tables and chairs designed by Charles and Ray Eames at the time when the building construction was in progress (1958.), suggest that the true values can never cease to be worthless , and with in more than just as the obvious facts, point in direction that this combination is transferred to modern interiors after 50 years still has a contemporary and powerfull approach to solving interior design in XXI - century.

Enterijer radne sobe predstavlja vanvremenski okvir moderne u pravom svetlu .Kombinacija pažljivo odabranog drveta za podove, sa istovremeno prisutnim setom stilskih stolica i kabineta - pisaćeg stola sa modernim stolovima i stolicama Charles and Ray Eames, dizajniranih upravo u vreme nastanka objekta(1958.), ukazuju na činjenicu da prave vrednosti nikada ne prestaju to i da budu, uz više nego očiglednu konstataciju da je ova kombinacija preneta na moderne enterijere i da i sada posle više od 50 godina predstavlja "modernu" kao savremen pristup rešavanja enterijera XXI - og veka.

In addition to the value of this object and its architecture, is the fact that this object is on top of the national list of protected objects of the Brazil.

U prilog vrednosti ovog objekta i njegove arhitekture, govori i činjenica da se on nalazi na vrhu nacionalne liste zaštićenih objekata Brazila.



Birds in the space

Constantin Brancusi (1876. -1957.)



Rumunski skulptor - pionir modernog apstraktnog pokreta u skulpturi. 

Rodjen u rumunskom selu Hobita u podnožju Karpata.

Zadivljen delima oca moderne skulpture Rodina, posle završene akademije na Bukureštanskoj školi lepih umetnosti zaputio se u Paris ,sa neskrivenom željom da se sretne sa svojim uzorom i da mu u nekoj od prilika koje će se i desiti, pokaže svoj dar.

Po dolasku u u Pariz  živi skromno, izdržava se radeći poslove koji nisu povezani sa vajanjem, ali jesu sa preživljavanjem.Uz svoj nesumljivi talenat uspeva da se upiše u Rodinovu školu, gde provodi nekoliko meseci, kada je konačno napušta uz razumevanje majstora Rodina posle jasno i javno uznešenog stava Brancusi-ija " da svoj talenat ne može pokazivati radeći u senci velikog majstora ". 

Sve što je stvorio u periodu 1910-1930. bio je rezultat velikog rada, talenta i božanskog dara da život slavi i prikazuje na samo njemu tako osoben način ...

Usnula muza 1910.

Mlle Pogany 1912.

Svoj prepoznatljivi stil na svetskoj umetničkoj sceni potvrdjuje sa provokativnim ali veoma osmisljenim delom Princess X ,koje uprkos asocijacijama koje su protivnici prikazivali kao bestidno prikazivanje falusa, u stvari predstavlja trensponovano poprsje  njegove kompozicije "Žena koja gleda u ogledalo".

Njegovo najznačajnije delo Ptica u prostoru , sofisticirana zakrivljena linija  skulpture sa prefinjenom simbolikom pokreta ptice, čija se gracioznost ogleda u vitkoj i naglašenoj figuri tela ždrala u fazi parenja.Vajana rukom ispunjenom unutrasnjim emotivnim nemirom i savršenim skulpturalnim mirom, i danas ga stavljaja u red modernih umetnika nekada XX a sada XXI veka.

The birds in the space 1924.

Tokom svojeg rada imao je pomoćnike i učenike od kojih je najzačajniji bio Isomu Noguchi.

Njegova dela koja su pored Muzeja u Memphis-u izložena u Muzeju Pompidu u Parizu, predstavljena su u celosti kao kompozicija iz ateljea prema njegovoj želji i ona se danas kao takva može tamo i pogledati.

Mikelandjelo XX veka, svojim vanvremenskim pristupom skulpturi i danas privlači veliki broj ljubitelja moderne umetnosti, danas često nazivane minimalističke kompozicije u skulpturi, koja se sve češće sreće i kao inspiracija za arhitekturu.Brancusi se u tom smislu s pravom može svrstati u majstore arhikulture - pokreta u arhitekturi inspirisanog skulpturalnim izrazom.

Congresso Nacional do Brasil

Kompleks objekata Nacionalnog Kongresa Brazila

Grad Brazilija , koji je  arhitekta Lucio Costa osmislio kao simbol ptice raširenih krila, slobodne i poletne zemlje Brazil, svoje težište u tom novom gradu, ima u kompleksu objekata Nacionalnog Kongresa Brazila. Pojava minimalizma u arhitekturi, bi se pored ustanovljenih principa, istraživačkih radova i  stvaralačkih kreacija "Bauhaus" škole u Weimar-u, svakako mogla u kontekstu prikaza arhitektonskih kreacija, povezati sa objektima koje je Oscar Niemeyer projektovao u Braziliji.

The city of  Brasilia, which was designed in master plann by architect Lucio Costa,as a symbol of the bird with outstretched wings, free and uplifting country Brazil, as its center of gravity, has a buildings complex  of  the National Congress of Brazil .

The emergence of minimalism in architecture, in addition to established principles, research and creative creation "Bauhaus" school in Weimar, the course could be viewed in the context of architectural creation, linked to the objects designed by Oscar Niemeyer in Brasilia.

 

Kompleks objekata Nacionalnog Kongresa Brazila predstavlja ogledni i ugledni primerak majstorske kreacije nastale povezivanjem funkcije i fizičke strukture u jedinstvenu kompoziciju koja je kao trajno nasledje naše civilizacije stavljanjem na WHC, tako i zvanično potvrdila svoj vanvremenski okvir.

The complex of buildings of the National Congress of Brazil is a role model  of the masterpieces, created by connecting the functional and physical structure in a unique composition, that is a permanent legacy of Brasilian and world civilization placing the WHC, and with that fact officially confirmed its timeless frame.

http://whc.unesco.org/en/list/445

Voda...kao simbol prirodnosti i osećaja lakoće za složene procese donošenja  odluka koje se na vodi mogu lakše prihvatiti.

Water as a symbol of naturalness and sense of relaxation feelings, for complex decision-making processes that lead to easier to accept.

 

Minimalistički postament u funkciji unutrašnjeg javnog prostora...Kao skriven i javan u isto vreme sabirni i pozitivan prostor koji vodi ka objektima u kojima se donose značajne odluke za državu.Kula postavljena van težišta  kompozicije ...sa jasnom namerom dominacije i ukazivanja na značaj postojanja potrebnih prostora za pripremu predstavnika naroda - Donjeg doma za sednice.

The minimalist pedestal in the function of the internal public space .At the same time hidden and visible, collecting and positive space  that leads to the facilities in which to make important decisions for the Federative Republic of Brazil .Tower  placed outside the focus of composition , with the clear intention of dominance, and point out the importance of the existence of the required space for the preparation of the representatives of the House of Commons session.

Polulopta - kapa mudrosti Senata sa leve,  i tanjir- kao simbol mogućih socijalnih posledica nastalih na osnovu odluka donešenih u Parlamentu sa desne strane.

Hemisphere- the wisdom of the Senate cap on the left, and a plate - as a symbol of the potential social impact  of decisions taken in Parliament on the right.

 

 

Rampa ka gornjem platou-postamentu kompleksa, ukazuje na Oscar-ovu želju za omogućavanjem  direktne komunikacije gradjana -  sa njihovim predstavnicima koji u tim objektima zasedaju.Država Brazil sa arhitekturom  Oscar-a Niemeyer-a, na primeru projektovanja i realizacije kompleksa Congresso Nacional do Brasil, svoju poruku narodu Brazila ali i svetu, šalje na nedvosmisleno jasan i danas moderan način, primeren ambijentu, i potrebama, sa ciljem upravljanja državom iz fizičkih struktura koje obezbeđuju najviši  nivo komunikacije sa okruženjem .   

The ramp that leads to the upper plateau of the pedestal - complex, indicating Oscar's desire to enable direct communication between citizens - with their representatives who sit in those facilities.Brazil with the Niemeyer's design  of the complex Congresso Nacional do Brasil, seending a clear and unequivocal message, that purpose of the design in a modern way, was  in this case  to achive the goal of suscessfull  governance with states and district from the physical structures, that provide the highest level of communication with the people and environment.

Vintage Furniture

Oscar Niemeyer / Rio Chaise Lounge

https://www.britannica.com/biography/Oscar-Niemeyer 

As well of the great masters of modern architecture , neither Oscar Niemeyer has missed the opportunity to show his commitment to the curve lines in the furniture design area.

One of his most successful designer projects is an  rocking chaise symbolically  named  Rio. In a unique and unmistakable Niemeyer style, inspired by the feminine curves and his personal relationship with the nature represented by the environment and the city of Rio, a work of masters is created which even as just an  exhibit items keep breathlessness every passionate chair designer and especially vintage chairs collector.

Curiosity is certainly the fact that this chair was designed in 1978 together with her daughter Anna Maria Niemeyer.

https://www.1stdibs.com/furniture/seating/chaise-longues/oscar-niemeyer-modern-rio-chaise-lounge-contemporary-re-edition/id-f_11556723/ 

MIES: ARTIST AND GENTLEMAN 

http://miessociety.org/mies/projects/

Ludwig Mies van der Rohe (1886-1969), a German-born architect and designer, one of the 20th century’s greatest architects. He was a pioneer of the new generation of architect,  that wisely used industrial materials  in construction of buildings, as well as their using for a home and office interior accessories. He was a leading figure in Berlins avant-garde life, and his designers path was traced simultaneously from many generation of architects, when he reveilles his genius Barcelona Pavilion building.

Photo credit: Werner Blaser http://www.blaserarchitekten.ch/

Among many of his powerful and in the same time very minimalistic creation in architecture,  he spend a lot of time to study  and design a new models of chairs, with tubular metal chrome in combination with the leather.

Unlike other of his colleague from Bauhaus, he even dare to put the screw on the outside of the tube just like in the case of his MR 20, but that detail could not minimize sophisticated curve that he made and the double tube that gives this chair a massive but in the same time sophisticated look that was a step further in cooperation with other models that was made by Mart Stam , Marcel Breuer , Dieckmann,  Lily Reich...

Bauhaus furniture nowadays are fashionable and many designer combine that items with other style or just put them in the interior as an decoration because of their superb design, that even  after 50 years or more still stay  breathless  every  real lover of furniture  design. The tubular steel furniture of the 1920s and 1930 s in that time presents a new wave in furniture design that put in the history all the massive furniture and decorative trinkets. The structural clarity of tubular steel furniture embodies a new approach  in chairs design where's the chairs pick up the lights and the interior in his metal reflections that  gives the furniture a new 4th dimension in space.

https://www.vinterior.co/listings/cognac-leather-and-chrome-mr20-knoll-ludwig-mies-van-der-rohe-armchairs