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Tecta

D4

by Marcel Breuer, 1927 — from 1.485,00 €

Tecta D4

has been added to your wishlist.

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360°

Covers

Quantity

1.485,00 € *

Available within 6-8 weeks
(standard delivery time)

3 % advance payment discount*: 1.440,45 € (Save 44,55 €)

* 19 % VAT included, incl. shipping (Germany)

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

Tecta D4, Cavalry cloth, red

1.485,00 €

Available within 6-8 weeks
(standard delivery time)

Tecta D4, Bauhaus Straps, rose

1.575,00 €

Available within 6-8 weeks
(standard delivery time)

Tecta D4, Bauhaus Straps, black

1.575,00 €

Available within 6-8 weeks
(standard delivery time)

Tecta D4, Bauhaus Straps, mud brown

1.575,00 €

Available within 6-8 weeks
(standard delivery time)

More about 'Bauhaus', 'Marcel Breuer' in our journal

Play, Life, Illusion. Xanti Schawinsky at Kunsthalle Bielefeld

...Reflecting back on the summer of 1923 Xanti Schawinsky recalled, "one day, during a break, a tennis coach named Niels Peterson asked me if I knew a school in Weimar called 'Bauhaus'"... Born in Basel, Switzerland, on March 25th 1904 as the second child to Polish merchants Benjamin and Regina, Alexander 'Xanti' Schawinsky began to train as an architect in Cologne in 1921 before the aforementioned 1923 visit to the Bauhaus Woche, that first major Bauhaus exhibition, that first major public elucidation of Bauhaus, inspired him to enrol at Bauhaus Weimar...

5 New Architecture & Design Exhibitions for April 2025

..."Bauhaus Ecologies" at the Bauhaus Museum, Dessau, Germany The Bauhauses are often held as impulse-giving for contemporary architecture and design, and an argument can certainly be made that in many regards they were... With Bauhaus Ecologies the Bauhaus Museum, Dessau, seek to explore the relationships between both the Bauhauses as institutions and individual Bauhäusler and the non-human environment, from a variety of varied perspectives including, and amongst others, natural philosophy, biocentrism or crystallography, across a wide range of creative genres, including the more avant-garde artistic practices of the 1920s such as photography and film in their various expressions, but also the long established practice of architecture in context of, for example, considerations on climate-responsive construction methods...

Kang Sunkoo - Sacristy at Stiftung Bauhaus Dessau

...The cover of Walter Gropius's 1919 Bauhaus Manifesto, that rallying call for what would become the three Bauhauses, is famously graced by Lyonel Feininger's woodcutting Kathedrale, an ideogram for the "Wundertat der gotischen Kathedrale"1, the 'miracle of the Gothic cathedral', that archetype Gropius borrowed from John Ruskin to explain what good architecture is, why it is, how it arises, and thereby to visualise the path to the 'building of the future' via a 'new guild of craftsmen'2 Gropius demanded and that Bauhaus would lead... A Kathedrale that today exists as a metaphor for the religious fervour that surrounds Bauhaus, its members and their works...

Mehr als echt (More than real) by Jun Yang at Stiftung Bauhaus Dessau

...The installation Mehr als echt (More than real) by Vienna based artist Jun Yang at Stiftung Bauhaus Dessau allows one to approach such and similar questions in context of Bauhaus and in context of furniture... Over its myriad existences Bauhaus was a great many things, it was a response to prevailing realities, was a hotbed of esoteric mysticism, an innovator, a target of political extremism, an early adopter of vegetarianism, a platform for avant-garde positions, a platform for social discourses, a "burden" on Weimar, a party location, a driver of novel positions on music, a partner for industry, a brake on gender equality, and, occasionally, a school, amongst many others...

Yrjö Kukkapuro – Magic Room at Espoo Museum of Modern Art, EMMA

...Kukkapuro developing an ice hockey stick chair that is a very nice twist on the, in all probability apocryphal, story of Marcel Breuer being inspired by bicycle handle bars to employ steel tubing in furniture; an ice hockey stick chair that introduces, and very efficiently elucidates, various formal, aesthetic and constructional aspects that are of such importance in the Yrjö Kukkapuro oeuvre... Plexiglass which also features, alongside tubular steel, in a 1969 cantilever chair which takes up Marcel Breuer's vision of us one day sitting on a "resilient column of air"2, and not only allows one to approach that day via, as Breuer did, the inherent elasticity of the cantilever, but also to approach that day via the transparent seat shell, a conceit which means you are almost literally floating on air...

Chairs: Dieckmann! The Forgotten Bauhäusler Erich Dieckmann at Neuwerk 11, Halle

...In which context one of the more interesting comparisons one can frame Dieckmann in is that with Marcel Breuer: the two were fellow students in the Weimar carpentry workshop under Gropius; they shared responsibility for the majority of the furniture and interior design of the Haus am Horn show home presented at the 1923 Bauhaus exhibition; both had a hang in their furniture to a constructivist rationalisation; both passed their Gessel exam in 1924... A state of affairs which on the one hand, arguably, is related to the fact Breuer moved not only to Dessau but to America, and thus post-War when Bauhaus, largely the Dessau incarnation, was raised by the MoMA New York to its near mythical position in the pantheon of design, when all other inter-War German design schools were wiped in a single sweep from the narrative of furniture design (hi)story, when Bauhaus became the synonym for inter-War design in Germany, Marcel Breuer was very visible...

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...

All 'Bauhaus', 'Marcel Breuer' Posts