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

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 F Limited Edition

Limited Bauhaus Edition: Thonet S 533 F


More about 'Bauhaus' in our blog

Bauhaus_Sachsen @ Grassi Museum für Angewandte Kunst, Leipzig

...When one considers the, let's say, unique, derisive, unalluring place the Sächsisch dialect enjoys endures amongst German speakers, it could be considered unwise, foolhardy, to explore all too deeply the contributions made by creatives and industry in and from the State of Sachsen to the development of Bauhaus, to explore, if you will, Bauhaus's Sächsisch accent... As with any school Bauhaus is nothing more than the sum of its staff, pupils and the works they produced, both at the school and later in their careers...

Unique Piece or Mass Product? @ Werkbundarchiv – Museum der Dinge, Berlin

...Questioning the Modernist Design Vocabulary series of exhibitions which in the course of 2019 will seek to explore the inter-relations between the Deutsche Werkbund and Bauhaus in the development and dissemination of modernist ideals, Unique Piece or Mass Product?... begins, in many regards, certainly philosophically, long before 1919 and the establishing of Bauhaus, long before 1907 and the establishing of the Werkbund, and in the discussions concerning domestic objects which developed in the course of the late 19th century, for all in a popular position amongst European reformist factions that exposure to well made, meaningful, beautiful objects would improve the social fabric, that well made, meaningful, beautiful objects would, if you will, transpose themselves onto the users and help create a well made, meaningful, beautiful society...

Shaping everyday life! Bauhaus modernism in the GDR @ the Dokumentationszentrum Alltagskultur der DDR, Eisenhüttenstadt

..."We feel ourselves beholden to the traditions of Bauhaus"1 opined Rolf Kuhn, Director of the Dessau based Zentrum für Gestaltung, in the catalogue for the institute's 1988 exhibition Experiment Bauhaus... Bauhaus modernism in the GDR the Dokumentationszentrum Alltagskultur der DDR in Eisenhüttenstadt allow for not only an exploration of the relationship(s) between the Bauhaus legacy and the East German state, but also for comparisons between inter-War and post-War design in eastern Germany...

Four "Bauhausmädels" @ the Angermuseum, Erfurt

..." So begins the German magazine Die Woche's 1930 article "Mädchen wollen etwas lernen", "Girls want to learn something", an article which opens Four "Bauhausmädels" and is subsequently extend by the Angermuseum Erfurt to explore not only what Gertrud Arndt, Margarete Heymann, Margaretha Reichardt and Marianne Brandt learned at Bauhaus, but how they subsequently applied that "something"... Or better put, the "Bauhausmädels" - Bauhaus Gals - part...

Bauhaus in East Germany: The Formalism Debate

...Bauhaus Dessau was officially opened on December 4th 1926, and by way of celebrating the institution's 90th anniversary on December 4th 2016 the foundation stone will be laid for the new Bauhaus Museum Dessau; an act which comes just one month after the foundation stone was laid for the new Bauhaus Museum Weimar... Both museums being built in preparation for the coming centenary of Bauhaus's 1919 inauguration...


All 'Bauhaus' Posts