Mies' design principle of "less is more" and emphasis on functional amenities created a fine example of early functionalism architecture, a groundbreaking new vision in building design at the time.

The free-standing three-story villa is on a slope and faces the south-west. The second story (the ground floor) consists of the main living and social areas with the conservatory and the terrace, and the kitchen and servants' rooms. The third story (the first floor) has the main entrance from the street with a passage to the terrace, the entrance hall, and rooms for the parents, children and the nanny with appropriate facilities. Service areas were accessed through a different entrance.

Mies used a revolutionary iron framework, which enabled him to dispense with supporting walls and arrange the interior in order to achieve a feeling of space and light. One wall is a sliding sheet of plate glass that descends to the basement the way an automobile window does. Mies specified all the furnishings, in collaboration with interior designer Lilly Reich (two armchairs designed for the building, the Tugendhat chair and the Brno chair, are still in production).

There were no paintings or decorative items in the villa, but the interior was not austere due to the use of naturally patterned materials such as onyx wall and rare woods. The onyx wall is partially translucent and changes appearance when the evening sun is low. The architect managed to make the magnificent view from the villa an integral part of the interior.

An ultra-modern air-conditioning system was here and a glass façade that opens completely assisted by a mechanism built into the wall. The floor area was unusually large and open compared to the average family home of the period, which, in addition to the various storage rooms, made the structure unique if not confusing to visitors not used to such minimalism.