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


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

Bauhaus Lab: Vegetation Under Power – Heat, Breath, Growth at the Bauhaus Building, Dessau

...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...

The Ulmer Hocker: Idea ─ Icon ─ Idol at the HfG-Archiv, Ulm

...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 ...

karl clauss dietel. die offene form by Walter Scheiffele and Steffen Schuhmann

..." 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 " ...

German Design 1949–1989. Two Countries, One History at the Kunsthalle im Lipsiusbau, Dresden

...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...

Bauhaus Lab 2018. The Art of Joining: Designing the Universal Connector @ Stiftung Bauhaus Dessau

...In 2018 the Bauhaus Lab reflected on that connector, Konrad Wachsmann and standardised, prefabricated construction systems... The results of those reflections were discussed in a one day symposium, and can be viewed in the exhibition The Art of Joining: Designing the Universal Connector at Stiftung Bauhaus Dessau...

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