In the United States, Modernist design is often described as being of a clean, simple aesthetic—and where the line between the natural and built environment blurs. Nowhere is this more evident than at the Edith Farnsworth House, a National Trust Historic Site in Plano, Illinois.

But how did Modernist design evolve across borders? In 2026, Farnsworth Forward, a two-year initiative highlighting the relationship of the house to international modernist movements, focused on Mexican Modernism. Fertile Ground: Crossroads of Design in Mid-Century Mexico 1930s-1970s—the final installation of a three-part series and based on the curatorial vision of Ana Elena Mallet—explores how Mexican Modernism was an intentional construction where “architecture and design became central tools for imagining and organizing modern public and private life.”

Living

When Dr. Edith Farnsworth first moved into the glass house during the 1950s, she chose to decorate in her own Modernist style and not use the furniture that Mies van der Rohe had planned to be displayed in the house.

Featured in the first image is the house as it looked during the 2020-21 exhibition, Edith Farnsworth Reconsidered, which included copies of furnishings that Farnsworth originally had in her home, including a chair designed by Jens Risom. The second image shows how the house is staged for Fertile Ground, where a Butaque chair by Clara Porset has been swapped in.

For Clara Porset, the Butaque offered a way to build modern design out of Mexico's own material culture. Low and curved, with roots in both pre-Columbian and Spanish furniture, the Butaque embodied the hybrid character of Mexican material culture and had taken on many regional forms adapted to local climates and materials.

In contrast, the Jens Risom chairs were originally made with surplus parachute straps from World War II. The ones featured here are made of maple wood and woven cotton-blend straps.

Consider how the Jens Risom lounge chairs, selected by Farnsworth, work within the space as compared to Clara Porset’s Butaque chair featured in the exhibition. How do the different materials play off the other pieces in the living area?

Lighting

Unlike many homes today, the house does not have overhead lighting, making lamps an essential part of the home’s decor. In this case, Farnsworth chose a Triennale floor lamp designed by Angelo Lelli, while Fertile Ground features Feli Tissot’s Fantasy lamp.

During the mid-20th century, Taxco, Mexico, became a laboratory where craft, modern design, tourism, and international exchange met. French-born Felix Tissot found in Taxco grounds for experiment, extending its material vocabulary with ceramic lamps and objects. The Fantasy lamp is made of hand-painted ceramic.

Take a closer look at the Lelli Triennale floor lamp. How are the shape and style different from the Tissot lamp? This Three-Arm floor lamp was designed c. 1947 and was made in Italy. Over the years, these popular floor lamps were made in a wide variety of finishes and options. Edith Farnsworth’s lamp had a tripod base which made it prone to falling over, a quad base (and later a stone base) were offered to reduce tipping.

Consider how a lighting feature can change the energy in a room. How might a table lamp and a standing lamp cast shade in a different way and interact with the open feeling of the house? How do the different lamp styles speak to each other?

Dining

Michael van Beuren studied under Mies van der Rohe at the Bauhaus but chose to live and design in Mexico once the school was closed. His chair from the Danish line shows the connection to the International Style and is most like how Farnsworth had the dining table set. More industrial in style (standardized components for machine production), the chairs show two aspects of Mexican Modernity, one through local form, the other through industry and access.

Consider how these three chairs work together at the table. How are the materials different? How are they the same?

Relaxing

Relaxation is an important component to a house, and these images represent how Farnsworth and Palumbo chose to lounge in their glass house and enjoy the views of nature. Edith’s Model 36 Chaise Lounge and Vitol Easy Chair and Leg Rest were made and designed in Sweden. Originally made of laminated beech wood with woven hemp straps, they were a place to read, nap, or listen to music.

Palumbo’s MR Chaise Lounge was originally designed by Mies van der Rohe in 1927. He was inspired by the work of his fellow Bauhaus designer, Marcel Breuer, who is often credited with being the pioneer in designing chairs with curved steel frames. The MR Chaise Adjustable Lounge removes the harsh angles of many cantilevered chairs and adds curves, which also helps with not stretching out the material.

Fertile Ground includes various chairs made for relaxing, including Po Shun Leong’s Tulum chair set in the corner to include views of the Fox River and the yard behind the house. The Chinese British designer was inspired by the rural landscapes and craft traditions of Mexico. This chair, made of wood and canvas, ties body, climate, and landscape together.

Consider how the different materials promote leisure? Which of these these seats are you drawn to? What can you tell about the inspiration behind each of these chairs?

Priya Chhaya is the associate director of content at the National Trust for Historic Preservation,

Kristin Lochner is the associate manager for marketing and events at the Edith Farnsworth House.