...Thus for 2022 we will, regrettably, only post from those student showcases we're fortunate enough to meet in the course of our wider travels, starting in one of the more historically interesting locations in context of European architecture and design, Weimar, and the Bauhaus University's Summaery 2022... Not just on account of the convivial atmosphere around the campus when we were there, nor only on account of the wide range of projects and positions on display across all departments, nor nor only only on account of the absence of ZDF@Bauhaus's all-dominating, arrogant, stage with its hoard of security, but primarily on account of the number of works on show in the design department we argued with...
D4by Marcel Breuer, 1927 — from 1.335,00 €
|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.
|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|
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|
More about 'Bauhaus', 'Marcel Breuer' in our blog
...Born in Bremen on April 15th 1900, Wilhelm Wagenfeld initially trained as an industrial draughtsman in Bremen and Hanau before joining Bauhaus Weimar in 1923, where in 1924 he qualified as a silversmith... In the wake of Bauhaus's move to Dessau Wagenfeld remained in Weimar, taking up a position in, and from 1928 heading, the Metal Workshop at the Staatlichen Bauhochschule Weimar, the official Bauhaus Weimar successor institute, and where Wagenfeld not only worked alongside fellow ex-Bauhaüsler such as, for example, Erich Dieckmann who headed the Bauhochschule's Carpentry Workshop or Otto Lindig who headed the Ceramic Workshop, but also, through his cooperations with the institute's platform Bau- und Wohnungskunst GmbH, realised his first commercially marketed designs...
...Works from across genres including furniture, ceramics, glass or lighting; works by protagonists associated with institutions such as Bauhaus Weimar, Bauhaus Dessau, the Deutsche Werkbund, Schönheit der Arbeit, Burg Giebchenstein Halle or the Deutsche Werkstätten Hellerau; works by protagonists as varied as, amongst many others, Eckart Muthesius, Marguerite Friedlaender, Kálmán Lengyel or Ruth Hildegard Geyer-Raack, the latter represented in The Others by a highly engaging 1935 iron wire chair intended to be used either inside or out and which, we'll argue, can be very much considered in context of, ¿as a continuation of?...
...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...
...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...
...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...
...113 from 1924 and which sees the wall mounted concertina mechanism replaced with a desk mounted clamp and the adjustable lamp head attached to a long, positionable, bent tubular steel support, and an object which was key in the growth and establishment of the company; and also through discussions on parallel subjects including spring balanced lighting as perhaps most popularly exemplified by George Carwardine's Anglepoise, on Christian Dell, a not unimportant figure in the development of positionable lighting in the inter-War years, and also on Bauhaus: both Bauhaus's (hi)story with positionable lighting and Bauhaus's (hi)story with and to Midgard... The latter illustrated and discussed through, for example, photos of Midgard lamps in projects by Bauhäusler, including the ADGB Bundesschule in Bernau, one of the few external architecture projects realised at Bauhaus, or a letter from Walter Gropius to Curt Fischer in which Gropius organises promotional photos of Midgard lamps, and a discussion which for all helps contribute to the deconstruction of the primacy of Bauhaus in popular understandings of all things inter-War design, helps further underscore that Bauhaus wasn't alone in inter-War Germany, far less inter-war Thüringen...