In 1977 Ludwig Glaeser, curator of the Mies van der Rohe Archive at the Museum of Modern Art, New York, opinioned that "it is certainly more than a coincidence that [Mies van der Rohe's] involvement in furniture and exhibition design began in the same year as...
D4by Marcel Breuer, 1927 — from 1.082,02 €
|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
...In addition, during his time in Berlin Stam became friends with the Russian avant-garde painter and architect El Lissitzky, who at that time was serving as a form of cultural attaché for Russia in the Weimar Republic, and who would become an important influence on Stam's understandings; and also joined the so-called Novembergruppe, a collection of Expressionist/Futurist/Modernist/Functionalist/Dadaist/et al artists and architects, and a connection which saw Stam invited to participate in the International Architecture Exhibition staged as part of the 1923 Bauhaus Ausstellung in Weimar and which saw two projects by the then 24 year old Stam displayed alongside works by German contemporaries such as Erich Mendelsohn, Mies van der Rohe, Adolf Meyer, as well as numerous Dutch contemporaries including Gerrit T... 1924 also seeing Mart Stam along with Hans Schmidt and Emil Roth co-found and co-publish the Neue Bauen orientated magazine ABC - Beiträge zum Bauen, the first in a long list of architecture/interiors/design magazines Stam was to be involved with in the coming decades; a publication which in the course of its four year existence published texts by, and in addition to numerous contributions from its three founders, creatives such as El Lissitzky and Hannes Meyer, the (future) 2nd Bauhaus Director; a publication which devoted itself to the presentation of and discussions on the new understandings of architecture, construction, urban planning, furnishings, society, et al that were developing and evolving at the period; and a publication which in doing so served as an important platform not only for contemporary architecture, but for the protagonists involved...
...Or indeed the only connection to Bauhaus, MDW often being quoted as an example of a continuation of Bauhaus thinking, whereby its important to understand that Rudolf Horn is very much a designer of the Hannes Meyer Bauhaus: one, for example, can't imagine Rudolf Horn in an Itten's Vorkurse, paying much attention to Moholy-Nagy, and certainly there is, we feel, little point in buying Rudolf Horn tickets for Schlemmer's Triadisches Ballett for Christmas... In addition to the Bauhaus connection, the most regular connection made in context of the MDW system is IKEA, in East Germany it is colloquially known as DDR IKEA...
...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...
...A technical draughtsman and silversmith by trade, Wilhelm Wagenfeld first made a name for himself in the metal workshop at Bauhaus Weimar, which raises the question as to how he subsequently came to be so closely associated with glass?... Bulk, "but very quickly he learned that the material had its own characteristics, so much so that there ensued a disagreement between Wagenfeld and Laszlo Moholy-Nagy, his former teacher at Bauhaus...
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...
...Following the first World War and military service Christian Dell briefly ran his own silversmith workshop in Hanau before in 1922 he enrolled in Bauhaus Weimar... Initially concerned with classic silversmith objects, from 1923 onwards Christian Dell was increasingly involved in and with Bauhaus lighting design projects, most notably helping develop the various lamp designs for the 1923 Haus Am Horn project in cooperation with Georg Muche, László Moholy-Nagy and Carl Jacob Jucker...