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Tecta

D4

by Marcel Breuer, 1927 — from 1.175,00 €
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360°
1.235,00 € *
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3% advance payment discount*: 1.197,95 € (Save 37,05 €)

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

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...

smow Blog Design Calendar: August 5th 1899 – Happy Birthday Mart Stam!

...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...

smow Blog Design Calendar: June 16th 1885 – Happy Birthday Lilly Reich!

...On the one hand antagonistic: not only as two acknowledged and leading proponents and practitioners of Modernism, that most degenerate of arts, but for all in context of Bauhaus: Mies having been Director since 1930, and in 1932 appointing Reich as head of both the Weaving Workshop and the so-called Ausbauabteilung, a combined metal/wood/furniture/interiors department created by Hannes Meyer as part of his reform of the school... Or as Herbert Hirche, who had studied under Mies at Bauhaus and was employed in his Berlin studio, noted: "Mies did nothing without first speaking to Lilly Reich"...

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...