...It's almost impossible to reflect on design education without reflecting on Bauhaus... And especially when a tour of design school summer exhibitions takes you to Sachsen-Anhalt and Thüringen, to those (contemporary) German States where for 100 years Bauhaus both began and found its de facto end...
D4by Marcel Breuer, 1927 — from 1.045,00 €
|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.
|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|
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|
More about 'Bauhaus', 'Marcel Breuer' in our blog
..."Das Bauhaus in Berlin-Steglitz 1932-1933" at the Siemens-Villa, MSB Medical School Berlin, Germany As this Bauhaus anniversary year approaches its end, it is only right and proper that thoughts turn to the end of Bauhaus, and those last months in Berlin: months which far from being about the reform of creative education, the connections between art, craft and industry or the direction of society as had been the case in Dessau and Weimar, were for all about survival in an increasingly hostile environment... A reminder that much as post-War East Germany did it's best to extinguish memory of the institution, in immediate post-War West Germany Bauhaus's star didn't shine quite as brightly as it does today...
...bauhaus wallpaper" at the Kulturgeschichtlichen Museum Osnabrück, Germany Although Bauhaus, certainly in its Dessau incarnation, sought a close partnership between education and industry, it didn't strike that many meaningful and/or profitable partnerships: among the few, and most profitable, was the wallpaper collections realised with and for Bramsche based Hannoverschen Tapetenfabrik Gebr... If a cooperation that did severely test 2nd Bauhaus director Hannes Meyer's "Volksbedarf statt Luxusbedarf" - Everyday Needs not Luxury - credo...
..."bauhaus ulm: From Peterhans to Maldonado" at the HfG-Archiv/Museum Ulm, Ulm, Germany While officially there wasn't a Bauhaus Ulm, with the founding in 1953 by the likes of Max Bill and Inge Aicher-Scholl of the HfG Ulm there was an unofficial, official Bauhaus successor... And thereby a Bauhaus Ulm...
...while 3 of the 5 have a direct connection to Bauhaus, 5 of the 5 are very much in the spirit of the attempts of inter-War architects and designers to reform architecture and design, to establish a new architecture and design for the new society, attempts in which Bauhaus played an important role... "Wilhelm Wagenfeld: Lamps" at the Wilhelm Wagenfeld Haus, Bremen, Germany Developed in the metal workshop at Bauhaus Weimar in 1923/4 Wilhelm Wagenfeld's reduced, geometric lamp was christened the "Bauhaus Lamp" by Wilhelm Lotz in 1928...
...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...
smow blog Design Calendar: June 1st 1932 - Mart Stam Awarded Artistic Copyright for the Cubic Cantilever Chair
...The story begins in Dessau in the mid 1920s and the development of tubular steel furniture, a process in which Marcel Breuer unquestionably played a major, if not the major, role... Aware of the commercial possibilities of the genre Marcel Breuer established in late 1926/early 1927 the company Standard-Möbel in Berlin with fellow Magyar Kálmán Lengyel, the first dedicated manufacturer of tubular steel furniture...