...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...
D4by Marcel Breuer, 1927 — from 1.175,00 €
|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
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...
...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...
...As we never tire of repeating, as the centenary of Bauhaus Weimar approaches it is increasingly important to place that one school in context of its time and place, to explain that it wasn't a "Eureka!... " moment but a consequence of specific developments, and also that the development of the institute over Weimer to Bauhaus Dessau and on to the, more or less theoretical, Bauhaus Berlin and beyond wasn't an internal Bauhaus development but a component of a wider development of understandings of architecture and design, of the relationships between art and technology...
...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...