...There are a great many and varied mediums via which to track the (hi)story of a region, the 2021 Bauhaus Lab chose plants; or more accurately, the 2021 Bauhaus Lab chose the (hi)stories of the flora in the region around Dessau as a medium for explorations of the human, social, industrial, political, economic, ecological, et al (hi)stories of the region... A telling of a local (hi)stories which enables access to both global considerations on, and questions concerning, our relationships with the planet we require for our existence, and also to differentiated considerations on, and questions concerning, Bauhaus and International Modernism...
D4by Marcel Breuer, 1927 — from 1.260,00 €
|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
...The HfG Ulm: Idea - Icon - Idol - Bauhaus Arising from the Ulmer Volkshochschule, a post-War institution initiated by Inge Scholl and Otl Aicher concerned with re-establishing democratic education in Germany following the years of Nazi dictatorship, doctrine and dogma, the Hochschule für Gestaltung, HfG, Ulm formally commenced teaching in August 1953 with the Bauhäusler Max Bill as inaugural rector, and Bauhäusler such as, and diverse as, Helene Nonné-Schmidt, Walter Peterhans or Josef Albers amongst its earliest teaching staff... Yet for all that the HfG Ulm can be, and regularly is, considered the official unofficial Bauhaus successor institute, and while, and as previously discussed, it without question carried aspects of the inter-War positions and understandings as expressed and embodied by Bauhaus forward into post-War West Germany, it also rejected much of that on which Bauhaus was founded, or as Tomás Maldonado noted in 1957, "trying to literally continue the Bauhaus would be tantamount to a merely restorative endeavour ...
..." A not irrelevant influence in the career of designer whose work can be understood as a development and extension of the positions of the inter-War Functionalist Modernists, for, as previously discussed, Bach was an important influence on those Expressionist artists who were so central to the development of Bauhaus Weimar, who in essence were Bauhaus Weimar, the likes of, for example, a Johannes Itten, a Lyonel Feininger or a Paul Klee, the latter once employing two bars of a Bach Adagio as the basis for developing a visual form... Yet while Bach's fugues may have been the soundtrack to both Bauhaus Weimar and das offene Prinzip, the visual, formal, impulse for das offene Prinzip, as so neatly expressed in the Simson Mokick, came not from Weimar but from from inter-War protagonists of a different hue: "the alignment of bodies, the free order of shapes in space " ...
...In the DDR it was much more that Bauhaus once again played a role from the 1970s through the official recognition of Bauhaus and the reconstruction of the building in Dessau...
...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...
...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...
...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...