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Tecta

D4

by Marcel Breuer, 1927 — from 1.175,00 €
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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, Bauhaus Straps, black
D4, Bauhaus Straps, mud brown
D4, Cavalry cloth, red
D4, Bauhaus Straps, rose

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

Memphis: 40 Years of Kitsch and Elegance at the Vitra Design Museum Gallery, Weil am Rhein

...Much as with "Bauhaus", "Memphis" is all too often popularly reduced to a "style", something one can "recreate"... As with "Bauhaus" that it is not only disingenuous, and erroneous, but hinders development of understandings of the (hi)story of design, understandings of the path taken to our contemporary design that are important for considerations on where we are and how best to progress...

The Early Years. Mart Stam, the Institute and the Collection of Industrial Design at the Werkbundarchiv - Museum der Dinge, Berlin

...Much more, on account of institutions such as, for example, Bauhaus or Burg Giebichenstein Halle and also through the innumerable industrial enterprises based in the region who concerned themselves with contemporary materials, contemporary technology, contemporary realities, et al, early 20th century eastern Germany, was one of the principle European motors in the development of production processes, formal expressions, design positions, etc throughout the first third of the 20th century, and thereby an important centre of the early, early years of industrial design as we understand it today... For shortly after his arrival in Berlin the so-called Formalism Debate erupted, a debate which, as previously discussed in these dispatches, and as ever generalising more than is advisable, saw East Germany's ruling SED position itself in favour of what it considered the continuation of a perceived cultural heritage based on the decorative and the handcrafted rather than the reduced and the industrial, and for all saw the SED position itself firmly against "so-called avant-gardists (expressionism, constructivism, abstract art, Bauhaus style, surrealism, etc...

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...

5 (New) Architecture & Design Exhibitions for February 2021

...Marcel Breuer Digital Archive Born in Pécs, Hungary, in 1902 Marcel Breuer was not only one of the more important and more interesting Bauhäusler, nor only one of the driving forces behind the development and dissemination of both steel tube furniture and moulded plywood furniture, but was also an important voice in 20th century architecture, for all as the positions and understandings of the inter-War years matured and developed in post-War America and post-War Europe... And a task greatly eased, and positively encouraged, by the Marcel Breuer Digital Archive...

5 (New) Architecture & Design Exhibitions for January 2021

...Stiftung Bauhaus Dessau - Frauenklasse?... For all that Bauhaus is often held up as something thoroughly revolutionary, it was also very, very much of its time...

100 Years of Positionable Light @ the Museum für Kunst und Gewerbe Hamburg

...113 from 1924 and which sees the wall mounted concertina mechanism replaced with a desk mounted clamp and the adjustable lamp head attached to a long, positionable, bent tubular steel support, and an object which was key in the growth and establishment of the company; and also through discussions on parallel subjects including spring balanced lighting as perhaps most popularly exemplified by George Carwardine's Anglepoise, on Christian Dell, a not unimportant figure in the development of positionable lighting in the inter-War years, and also on Bauhaus: both Bauhaus's (hi)story with positionable lighting and Bauhaus's (hi)story with and to Midgard... The latter illustrated and discussed through, for example, photos of Midgard lamps in projects by Bauhäusler, including the ADGB Bundesschule in Bernau, one of the few external architecture projects realised at Bauhaus, or a letter from Walter Gropius to Curt Fischer in which Gropius organises promotional photos of Midgard lamps, and a discussion which for all helps contribute to the deconstruction of the primacy of Bauhaus in popular understandings of all things inter-War design, helps further underscore that Bauhaus wasn't alone in inter-War Germany, far less inter-war Thüringen...

Wilhelm Wagenfeld: Lamps @ the Wilhelm Wagenfeld Haus, Bremen

..."I assure you that you and your work are the model case for what the Bauhaus has been after" wrote Walter Gropius to Wilhelm Wagenfeld in April 1965... Just how Wilhelm Wagenfeld developed that "model case" "after" Bauhaus is explored, at least in terms of one design genre, in that genre for which Wilhelm Wagenfeld is most popularly known as a Bauhaus model, in the exhibition Wilhelm Wagenfeld: Lamps at the Wilhelm Wagenfeld Haus Bremen...

All 'Bauhaus', 'Marcel Breuer' Posts

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