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D4

by Marcel Breuer, 1927 — from 1.485,00 €
Tecta D4

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D4

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The D4 by Marcel Breuer through Tecta can, in effect, be referred to as the foldable brother of the Wassily chair. Originally named B4, this elegant folding chair presents itself as a mobile version of the steel tube lounge chair and thus a version which can be used when and where it is needed. The background behind and the materials used make the D4 an example of Bauhaus furniture par excellence.

Details

Product type Collapsible armchair.
Dimensions Width: 78 cm
Depth: 61 cm
Height: 71 cm
Seat height: 38 cm

The seat height can vary due to production conditions, the dimensional stability of the material and the hook-in height of the seat surface.
Colours Iron thread

Bauhaus Straps

Material Frame: steel tubing , chrome plated
Seat and back: Belts, available in Bauhaus fabric (100 % polyacrylic) or iron thread
Function & properties Foldable and thus space-saving storage
360 Video
Certification
The re-editions of Bauhaus models produced by Tecta are approved by the Bauhaus Archive in Berlin and bear the Bauhaus signet designed by Oskar Schlemmer.
Care To clean the frame, we recommend a soft, damp cloth
The fabric covers can be carefully vacuumed
Please treat leather surfaces regularly with a suitable leather care product
Awards & museum Since 1980 part of the Permanent Collection of Museum of Modern Art (MoMA), New York
Warranty 24 months
Product presentation

Popular versions

D4, Cavalry cloth, red
D4, Bauhaus Straps, rose
D4, Bauhaus Straps, black
D4, Bauhaus Straps, mud brown

More about 'Bauhaus', 'Marcel Breuer' in our journal

5 New Architecture & Design Exhibitions for April 2025

..."Bauhaus Ecologies" at the Bauhaus Museum, Dessau, Germany The Bauhauses are often held as impulse-giving for contemporary architecture and design, and an argument can certainly be made that in many regards they were... With Bauhaus Ecologies the Bauhaus Museum, Dessau, seek to explore the relationships between both the Bauhauses as institutions and individual Bauhäusler and the non-human environment, from a variety of varied perspectives including, and amongst others, natural philosophy, biocentrism or crystallography, across a wide range of creative genres, including the more avant-garde artistic practices of the 1920s such as photography and film in their various expressions, but also the long established practice of architecture in context of, for example, considerations on climate-responsive construction methods...

Yrjö Kukkapuro – Magic Room at Espoo Museum of Modern Art, EMMA

...Kukkapuro developing an ice hockey stick chair that is a very nice twist on the, in all probability apocryphal, story of Marcel Breuer being inspired by bicycle handle bars to employ steel tubing in furniture; an ice hockey stick chair that introduces, and very efficiently elucidates, various formal, aesthetic and constructional aspects that are of such importance in the Yrjö Kukkapuro oeuvre... Plexiglass which also features, alongside tubular steel, in a 1969 cantilever chair which takes up Marcel Breuer's vision of us one day sitting on a "resilient column of air"2, and not only allows one to approach that day via, as Breuer did, the inherent elasticity of the cantilever, but also to approach that day via the transparent seat shell, a conceit which means you are almost literally floating on air...

Chairs: Dieckmann! The Forgotten Bauhäusler Erich Dieckmann at Neuwerk 11, Halle

...In which context one of the more interesting comparisons one can frame Dieckmann in is that with Marcel Breuer: the two were fellow students in the Weimar carpentry workshop under Gropius; they shared responsibility for the majority of the furniture and interior design of the Haus am Horn show home presented at the 1923 Bauhaus exhibition; both had a hang in their furniture to a constructivist rationalisation; both passed their Gessel exam in 1924... A state of affairs which on the one hand, arguably, is related to the fact Breuer moved not only to Dessau but to America, and thus post-War when Bauhaus, largely the Dessau incarnation, was raised by the MoMA New York to its near mythical position in the pantheon of design, when all other inter-War German design schools were wiped in a single sweep from the narrative of furniture design (hi)story, when Bauhaus became the synonym for inter-War design in Germany, Marcel Breuer was very visible...

Eames Lighting Design... Or, A search for light in the Eames Universe...

...Wandering aimlessly through the digital Marcel Breuer Archive one afternoon, we stumbled across a letter dated July 25th 1950 from Peter M Fraser, one of Breuer's employees, to the Eames Office, enquiring about a lighting design by Charles and Ray that Breuer was interested in using in one of his architectural projects, and requesting... And brings us back to Marcel Breuer...

Anton Lorenz: From Avant-Garde to Industry @ Vitra Design Museum Schaudepot, Weil am Rhein

...Prior to his aforementioned acquaintance with Mies van der Rohe's cantilever chairs, Lorenz had seen works by Marcel Breuer in the office of Breuer's associate, business partner, and fellow Hungarian, Kálmán Lengyel, and subsequently not only joined the board of Breuer and Lengyel's Standard Möbel company but undertook experiments in his own workshop to further develop the technical, material, aspects of Breuer's work, experiments which, as he describes, were intended to bring the same resilience to Breuer's designs that he had felt in Mies's... Thonet, serving between 1933 and 1935 as, and somewhat logically, Head of Industrial Property Rights, before spending the second half of the 1930s in closed contact with the likes of Mies van der Rohe, Hans Luckhardt, Heinz Rasch, Lily Reich, László Moholy-Nagy and Marcel Breuer...

Carl Fieger. From Bauhaus to Bauakademie at Stiftung Bauhaus Dessau

...Following on from the Collective in 2015, Movement in 2016 and Substance in 2017, the Stiftung Bauhaus Dessau's annual theme for 2018 is the Standard; a central component of the teaching at Bauhaus Dessau yet one which is and was freely open to artistic, technological and functional interpretation... And one the Bauhäusler freely interpreted artistically, technologically and functionally The first exhibition in context of the annual theme explores the work of the German architect Carl Fieger, how he applied his understanding and interpretations of standardisation of architecture and design from his days at Bauhaus in the 1920s to his time at the East German Bauakademie in the 1950s, how he evolved and developed as an architect in that period and his contemporary relevance...

Bauhaus in East Germany: The Formalism Debate

...Bauhaus Dessau was officially opened on December 4th 1926, and by way of celebrating the institution's 90th anniversary on December 4th 2016 the foundation stone will be laid for the new Bauhaus Museum Dessau; an act which comes just one month after the foundation stone was laid for the new Bauhaus Museum Weimar... Both museums being built in preparation for the coming centenary of Bauhaus's 1919 inauguration...

All 'Bauhaus', 'Marcel Breuer' Posts

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