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LC4 Chaise Longue
S 64 / S 64 N
Offer
Adjustable Table E 1027
LC2 Armchair
S 43 Classic
Laccio Table
Kaiser Idell 6631-T Luxus
LC3 Sofa
LC2 Sofa
Wassily Chair
LC2 Armchair Gunmetal
Special Edition
S 33 / S 34
Kaiser Idell 6631-P
Flat Bat Brno Chair
Kaiser Idell 6718-W Scissor Lamp
Wassily Chair Bauhaus Edition
Special Edition
Barcelona Stool
Nesting Tables
D4
S 533
Adjustable Table E 1027 Replacement Glass
S 43 F Classic
Bauhaus Pendant Lamp DMB26
S 40 Outdoor
Replacement Shade for GL/WA Lamps
B3 Wassily Miniature
S 1521
Spring Balanced Floor Lamp
Kaiser Idell 6556-F
Kaiser Idell 6722-P
Kaiser Idell 6631-T Brass
S 32 N / S 64 N Pure Materials
Offer
M4R
L25
Special Edition
B 9
Offer
K831 Pendant Lamp
Nesting Table B 97 Classics in Colour
Offer
Kaiser Idell 6556-T
Spring Balanced Table Lamp
LUM Pendant Lamp
New
Barcelona Chair
S 32 / S 32 N
Offer
S 285/1 - S 285/2
Offer
LC3 Armchair
S 285
Offer
Tube Light
WG 24
LC7 Swivel Chair
B 97
Offer
S 32 PV / S 64 PV Pure Materials
Petite Coiffeuse
Barcelona Day Bed
S 285/0
Offer
LC1
B 117
S 35 N All Seasons
B 9 Pure Materials
Offer
Set B 97
Offer
LC6 Table
Set B 9
Offer
S 33 N All Seasons
WG 25 GL
B 9 Glass
Offer
S 34 N All Seasons
WA 24
S 1520
S 35 L
Offer
B10/1
B 10
Set B 9 a + b
Offer
B 108
LC8 Swivel Stool
F51 Gropius Armchair
LC10-P Table
MR Chaise longue Bauhaus Edition
MR 515/516/517
Offer
S 533 N All Seasons
B 22
S 35 NH All Seasons
MR Chair
K40
Modular Floor Lamp
Set B 97 Glass
Offer
S 35 LH
Offer
B 9d/1
WA 23 SW
Occasional Table
B 97 Glass
Offer
Roquebrune
Bauhaus Cradle
Modular Table Lamp
Set B 9 Glass
Offer
Bibendum
MR Coffee Table
Stuhl W1 Miniature
Barcelona Relax Day Bed
Offer
MR20 Miniature
MR Lounge Chair Bauhaus Edition

Bauhaus - Then and Now

The legendary Bauhaus lamp WG 24 from Wilhelm Wagenfeld


Bauhaus in Weimar and Dessau

From 1919 to 1925 Bauhaus was based in Weimar where it emerged from the merger of the Großherzoglich-Sächsische Kunsthochschule and the Kunstgewerbeschule. Walter Gropius, the initiator and director, established Bauhaus with the intention of creating an institution which would marry art with industry, trade and crafts. In context of the practical training the Bauhaus workshops played a central role and existed as an equal party to the theoretical studies. Despite Gropius's aims Bauhaus didn't start cooperating with industry until 1922, and in 1923 an exhibition under title "Art and technology - A new unit" was staged, in which the Bauhaus furniture, lamps and accessories interspersed easily and openly into the rooms. The resonance of the exhibition was such that it established the international reputation of Bauhaus furniture, buildings and art: a reputation which remains undiminished to this day. In 1925 the right-wing conservative regional government forced the closure of Bauhaus Weimar, leading to the subsequent move to Dessau. In the course of the following seven years the most famous Bauhaus furniture was developed in cooperation with local industrial companies such as Junkers aircraft factory, Waggonfabrik AG and Berlin-Anhaltische Maschinenbau AG. In 1932 more political interference saw Bauhaus relocated to Berlin, before in 1933 it closed its doors for ever.


Modernism

The credo "beauty should be combined with usefulness" became popular during the Enlightenment in the eighteenth century, and a century later the idea that art, crafts and industry should be united was firmly established. One of the leading protagonists being the German architect Gottfried Semper who after visiting the London World Exposition in 1851 wrote that the connection between art and industry can best be established through teaching: a position most popularly realised through the Bauhaus. In terms of objects one of the most important of the period was Chair No. 14 by Michael Thonet, released in 1859 the chair with its reduction, functionality and innovative use of material made it very popular with the coming generation of architects and designers and in many respects served as a model for Bauhaus furniture. The start of the 20th century saw the crystallisation of many of these ideas in the formation of the Deutsche Werkbund - German Federation of Architects and Designers - an organisation to which Bauhaus founder Walter Gropius also belonged.

Walter Gropius' office at Bauhaus Weimar


Bauhaus Dessau

The technical context

During the Bauhaus a number of technical "miracles" appeared which radically altered the everyday social, economic and political realities: express trains, aeroplanes, affordable cars, street lighting, electrical lighting and telephones in the home and all manner of new household machines and appliances. These technical innovations allowed the establishment of an industrial culture, including the mass, series production of furniture, while the new means of communication and the new mobility promoted an unprecedented international dialogue amongst furniture designers.


The origins of Bauhaus furniture

The Dutch architect and furniture designer Mart Stam designed the first cantilevered steel tube chair in 1926, taking up from where the De Stijl movement had begun with steel tube furniture. At Bauhaus, artists, sculptors, architects, designers and craftsmen were able to work together in an unprecedented way, thus further developing the Bauhaus style in various directions. The designs of the Bauhaus design furniture were intended to meet the dual demands functionality as well as those of advanced industrial series production. The Bauhaus theory saw the arts and the architecture as inseparable, and this is reflected in the Bauhaus furniture design classics. Among the most fastidious Bauhaus protagonists was the architect and furniture designer Ludwig Mies van der Rohe. Among Mies van der Rohe's most famous furniture design classics is the Barcelona Chair and stool, which he designed for the German pavilion on the occasion of the 1929 World Exposition in Barcelona. The steel frame and the leather-covered and button-seated seat and back cushions characterize this chair as uncompromising, aristocratic and elegant.


Barcelona Day Bed from Knoll International

Adjustable Table E 1027 from Eileen Gray


Bauhaus furniture from Marcel Breuer

The furniture designer Marcel Breuer began his studies at Bauhaus in 1920 and acquired his Master title at the time of Bauhaus's move from Weimar to Dessau in 1925. From the very beginning Breuer was regarded as a pioneer in the innovative use of materials, for all wood and metal. In his text "Metal Furniture and Modern Spatiality" Breuer described the aim with his Bauhaus furniture as being to create objects which stand in space in such a way that they interfere with neither movement nor the view through the room. The famous Laccio Bauhaus tables, designed by Marcel Breuer around 1925, consist of a combination of chrome plated steel tubes and wooden surfaces, and today Knoll International still produce the Laccio Table. The Wassily steel tube armchair was also designed in 1925 and was designed for the Dessau studio apartment of his colleague Wassily Kandinsky, from whom the name for the Bauhaus classic was also derived. In 1928 Breuer added a steel tube chair following the typical Bauhaus design to his portfolio.


Bauhaus classic: Bauhaus Pendant Lamp DMB 26 from Marianne Brandt

Wassily Chair from Marcel Breuer


Style elements in Bauhaus furniture

The Bauhaus furniture designers refrained from using unnecessary decorations and colour, and instead used simple but strikingly chrome plated surfaces complemented by the regular use of black. Steel tubes offering as it does numerous benefits, such as high load bearing capacity, low raw material costs, low weight and good formability, greatly contributed to the resulting exceptional design and ease of transportability. The plywood used for Bauhaus tables and chairs consisted of several thin wood layers glued together, which ensured an ease of moulding. However, the typical curved shapes were also created because the welding work could thus be minimized. The use of glass in table tops formed a direct link to the architecture of the time, which focused on the use of glass and steel in the construction of new buildings. Reduction in Bauhaus design is particularly present in the case of the cantilever chairs, where the traditional 4 leg frame was dispensed with. The combination of tubular steel with a wicker mesh makes Thonet furniture the very epitome of Bauhaus furniture design.


Famous Bauhaus chair: S 43 Classic from Marcel Breuer


100 Years of Bauhaus

On the occasion of the 100th anniversary of the Bauhaus, numerous theme-specific exhibitions and celebrations will take place in 2019. As part of the "100 Years of Bauhaus" anniversary programme and under the motto "Thinking the World anew", Bauhaus Verbund, together with regional and international partners, is inviting visitors to discover the extensive history of the art school, which still has an impact on living and coexistence in society today.

Thonet S 533

Limited Bauhaus Edition: Thonet S 533 F


More about 'Bauhaus' in our blog

5 (New) Architecture & Design Exhibitions for January 2021

...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...

The Furniture of Lilly Reich and Ludwig Mies van der Rohe: The Early Years

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...

Peter Behrens - Art and Technology @ LVR-Industriemuseum, Oberhausen

...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...

Welt aus Glas. Transparentes Design @ Wilhelm Wagenfeld Haus Bremen

...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...

Lost Furniture Design Classics: Rondella Lamp by Christian Dell

...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...


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