Schrantz 1

Emma Schrantz
Section 2
Patrick Snadon
October 22, 2012
Farnsworth House Analysis
The building in question is the Farnsworth House, designed by Ludwig Mies
van der Rohe in 1945. It was designed as Dr. Edith Farnsworths weekend home. It
is located in Plano, Illinois, on the banks of the Fox River, and was built in 1950.

Main entryway of the Farnsworth House, in autumn

The Farnsworth House is one of the most well-known buildings designed by

German architect Mies van der Rohe. It is recognized as a National Landmark, and
has even inspired a LEGO Architecture building toy. According to Alice Friedman, the
house is the perfect embodiment of Miess dictum less is more. (Friedman 127)
This idea is definitely true, as the Farnsworth house is an elegant and simple
construction of white columns and planes. The main structure of the building is
constructed with eight columns, with the roof and floor planes seemingly hung in
the space between. A smaller portico is located off-axis from the main structure in a
similar fashion. As a result, the geometry of the space is very strict and formal. The
glass walls simply enclose the living space, and are not structural in any way.
Curtains are provided for privacy and the bathrooms are completely enclosed, so
there are some small fragments of seclusion within the house. Travertine square
tiles line the exterior floor of the main massing and front portico, and travertine
panels create the steps between the ground and the planes. These steps act as an
axis between the two masses.

Schrantz 2
The Farnsworth House, plan view

The house does not secure us a distant horizon or a gardens preserve but
challenges us with immersion. (Cadwell 129) The Farnsworth House allows a
person inside the house to be completely connected to the exterior at every
moment in the building, as the main core does not fully extend to the ceiling. It is
nestled into a site that slopes up in the rear, preventing a release or horizon view,
and is flanked by the Fox River on the opposite side. These two aspects of nature
blend on both sides, pocketing the building as an integral part of the surrounding
site.
The Farnsworth House is tucked away in a large plot of land, and was
originally very secluded (before construction of a road was completed through the
site). It takes a decent hike into a forest, along the Fox River, to arrive at the
Farnsworth House. For someone used to the hectic and noisy urban lifestyle, a
secluded weekend house such as the Farnsworth House would appear to be the
perfect weekend retreat away from the crowded, noisy streets of Chicago. There is
no question that the site is beautiful and serene. It is surrounded by foliage and the
river, and the changing colors of leaves during autumn provide a striking contrast to
the white planes of the house. It is clear that the axes are shifted, and the stairs act
as a balancing moment between the portico and the house. Once you climb the
travertine stairs to the portico, one dimension has been removed. Continuing up the
stairs pulls one under the roof plane, and another dimension is removed. The space
is now framed by the planes, and the constructed view becomes what Mies wants
people to see: the beauty, and the feeling of immersion in nature.
This space includes the main building area, although there is still a separation
from the enclosed living space. The porch area is much larger than it needs to be,
but provides a place to sit outside and relax during the day. It allows the inside of
the structure to connect to the outside. The porch would also be possible as an
entertaining space for the inhabitants, when the enclosed space is not enough. Fullheight glass doors blend in with the rest of the glass enclosure, which makes the
house appear to be inside a void. Upon entering, one is struck by the beauty and
simplicity in the space. The travertine floor paneling continues into the house, and
defines some of the interior wall space. The only interior walls are composed as a
solid, asymmetrical core that does not entirely connect to the ceiling. This core
houses two bathrooms, which feel bigger than they are, due to Mies use of
travertine flooring to bend and form the space. In the picture below, this bent
travertine forms the overhang for a small fire pit, which was used for heating in the
cold winters of northern Illinois.

Schrantz 3

The overhang, created with two pieces of travertine stone.

The main core divides the Farnsworth House into four main living areas: dining, in
the front; kitchen and living on the two longer sides; and finally, the bedroom space,
in the rear. Although the space is relatively open, the asymmetrical placement of
the core provides some privacy to the bedroom and kitchen from the main entry.
There is radiant heating in the flooring, which is a pleasant surprise when entering
from cold weather. When in the house, the white roof and floor planes extend out
from the glass walls, which emphasize the idea that the Farnsworth House is a sort
of frame for nature.
It is also immediately clear from the space that it is not meant to be a
permanent living space. There is no practical storage space for clothing or food, and
the space is definitely lacking a sense of security or privacy. Tourists would always
find a way to visit, and that factor would also make it hard to spend long periods of
time at the house. Despite this, the Farnsworth House is well suited for temporary or
weekend stays. The overwhelming immersion within nature, and the site, is a
refreshing escape from the hectic atmosphere of an urban (and college)
atmosphere. The furniture appears to be comfortable and well suited for the space.
The feeling of solitude is strong one inside the house. Spending the night in such a
secluded and open space would be slightly unsettling, especially for people used to
the usual nighttime white noise of an urban setting. However, waking up while
being completely immersed in a framed natural setting would be simply
breathtaking. The house would be more comfortable in the spring or fall months,
when there is not extreme heat or cold. Since the Farnsworth house is not readily
adaptable to changes in humidity or temperature, it may be uncomfortable in the
spring or winter. The Farnsworth House is definitely a space to visit and be
immersed in an unfamiliar landscape, rather than a permanent, practical house.
The Farnsworth House is heavily reliant on simple geometry to create space.
Simon Unwin states that it is elegant, and the counterpoint of its white structure
and disciplined geometry with the irregularity of its sylvan riverside setting is
engaging and beautiful. (Unwin 64) The rigid architectural forms that Mies creates
define the space within. Planes and lines, or columns and slabs, interact to form the
space. The house is raised in order to establish the special place of the human
being, separate from and floating above the natural setting, as well as rise above
the expected flood waters of the Fox River. (64) The structure, which is supported by

Schrantz 4
eight I-beams, appears to float between the columns. Spaces are broken down in
rectangles, and are built on skewed axes. This holds true on the interior of the
house, as the wood functional core is not centered to either side of the house, which
breaks up the enclosed living space into different units. Non-structural glass offers
360 degree views of the landscape. Miess concept of geometry is that it should be
rigid, structural, and pure; as such, his idea of structure becoming the driving
geometry in design became his truth. As a result, Everything appears to be
governed by sense, alone. (69)
The area surrounding the Fox River is rich in large, lush trees, spacious
clearings, and is relatively flat. It comes as no surprise that Dr. Edith Farnsworth
purchased this land for her weekend retreat; the grounds are aesthetically pleasing,
and the site is within a reasonable distance from Chicago and the surrounding urban
areas. Mies van der Rohe took the site into careful consideration, and as such the
Farnsworth House has become an integral part of the site.

Site plan, with the Farnsworth House highlighted in red

The house succeeds in achieving unity with the site; Unwin states that the
Farnsworth House acts in the abstract and pristine purity of its geometric form, to
stand separate and aloof from the real world. But, its design is sensitive to context.
(67) Within the structure, the spaces are comfortably sized, and the asymmetry of
the space keeps the house interesting and refreshing. Overall, the Farnsworth House
acts as the ultimate example of Mies van der Rohes ideas of structural honesty, and
becomes a pure, modernist structure that is a well-suited response and thoroughly
connected to the surrounding environment.

The Farnsworth House, reflected in the flood waters of the Fox River

Schrantz 5
In residential design, there is always a concern for the clients comfort and
security. It seems that, in Miess pursuit of his ultimate truth in his design, he had
neglected to incorporate some of the needs of his client, Dr. Edith Farnsworth. His
strict adherence to structural geometry did indeed create a beautiful home one
that framed and connected with the surrounding area, while remaining as simple
and clean as possible. There is definite value in keeping a relatively strict formal
system in a design. By doing so, the spaces created are engaging, and generally
structurally sound. In a regular but asymmetrical space such as the Farnsworth
House, a person will have enough variance in space to keep them active and
interested, but not so much that they lose any sense of control in the space. Highly
irregular spaces can cause stress, which is not a good design tool in a house meant
as an escape from the city. Giving some order to nature can also lend control to the
inhabitants of a structure. Ultimately, Unwin suggests that architecture, like some
types of philosophy, is about generating ideas and exploring propositions. (75)
However, formal systems should not become so strict that the space
becomes immovable and untouchable. Friedman says Miess rigid axial planning,
evident in the rectilinear arrangement of the freestanding core and minimalist
furniture is what gives the houses its discipline and creates the effect of a domestic
theatre in which Farnsworth became an isolated object of scrutiny, a moving figure
in a landscape of immovable forms. (147) In designing a house for short-term use,
Mies almost seemed to do his job too well. He created a completely transparent
house; a sort of display case for the people living inside. It became a cage for Dr.
Farnsworth, and that became all too apparent when tourists, architects, and
students came in droves to see Mies van der Rohes structural masterpiece. It would
not have been possible for Mies or Dr. Farnsworth to predict just how much of an
impact the house would have on modern architecture, or that so many people would
be inspired or influenced by its design. They also would not have been able to
predict that massive development around the Fox River would be the cause of
massive floods that could destroy the house, nor the busy road that would be
constructed nearby. But, there were many things that Mies overlooked in his quest
for architectural truth in the design, and it became evident that the Farnsworth
House focuses on the building, rather than human comfort. He neglected to
incorporate an understanding of climactic comfort, and also did not provide any
privacy or escape from the windows. Dr. Farnsworth made a conscious effort to live
in the house: she brought in personal belongings and family gifts, and spent nearly
20 years in the house. But, when the attention and discomfort grew too much for
her, she sold the house to a man who truly appreciated the way of living in the
Farnsworth House. Friedman states that she had been for too long the focus of
peoples attention, too long a nonconformist. Now she wanted nothing more than to
become invisible. (147) Sadly enough, when she told Mies to design for himself,
the house ended up as a poor reflection of her personality. In doing so, he created a
clean pure space, that never really was meant to be lived in, and it was Dr.
Farnsworth who paid the price, both in money and peace of mind.

Schrantz 6

The Farnsworth House at night (transparency at its most apparent)

In order to come to a happy medium between strict formality and human

comfort in the Farnsworth house, there could have been several modifications made
on both sides. Bumping up the scale in the horizontal plane would have given Mies
more room within the structure for the interior core. It may have been possible to
create a private, sleeping nook within the interior core space that could have
housed a small, built-in wardrobe for the Doctors clothes and dresses. When the
issue that there was no closet space was brought up, Mies had an associate create a
wardrobe for Dr. Farnsworth, and it was placed in the rear of the house, near the
bedroom area. However, it felt as if it were a quick fix or an extra element stuck
into a space; and it seemed to destroy the strict balance of space that Mies
employed. Integrating the sleeping area and wardrobe within the relatively unused
core may have also opened up more space for a kitchen, or a more practical
fireplace. This small nook could have been a retreat within a retreat, and would
provide the privacy that Dr. Farnsworth so desperately desired. Thicker curtains (still
white) could also have helped with the human need for security, and have made Dr.
Farnsworth more comfortable. There is also the need for understanding from the
inhabitants or clients of a space like this. The Farnsworth House is one of the few
glass box houses in the world, and it is also designed as a weekend home. There
should be a basic understanding that it was meant to be a temporary or short-term
residence at most. A policy could have been made that said visitors could see the
house (from the exterior) on the weekdays, or when Dr. Farnsworth was not at the
house. In that way, people would not come trespassing on her private property and
violating her privacy. It may have also allowed for the building to be studied and
enjoyed as the fine example of modern architecture that it is known as today.
Mutual respect and understanding from both the designer and the client may have
made the Farnsworth House a livable piece of modern architectural history. Although
the access by the public may be severely limited, the Farnsworth House would have
been able to be used as it was designed for a functional living space that offers a
full immersion into the natural world.

Schrantz 7
Bibliography

Cadwell, Michael. Strange Details; chapter 3, Flooded at the Farnsworth House, p.

92-136
Friedman, Alice. Women and the Making of the Modern House, People Who Live in
Glass Houses, p.126-159.
Unwin, Simon. Twenty Buildings Every Architect Should Understand, Farnsworth
House, 61-80.

All images gathered through these sources and the Google Images search engine.