#Баухаус
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Midgard Licht SPRING-BALANCED LAMP Adjustable metal floor lamp
Spring balanced floorlamp with movable lampshade. Manual switch on dome, Alu lampshade (Ø 20 cm): Colour powder-coated outside in black or white , white inside. Arms and base: colour powder-coated steel in black or white. Textile cable, black, standard 1,5 mtr. E27/26 socket , 110-240v ~ 50/60hz , according to light bulb (max 60W) The lamp is suitable for retrofit LED E27 Protection class: I Made in Germany The archetype among desk lamps is Midgard’s tradition-rich Spring-balanced Lamp. Th
Midgard Licht SPRING-BALANCED LAMP Adjustable metal desk lamp
The Spring-Balanced luminaire works as an individually adjustable light source thanks to the moveable two-arm solution, whose mechanism is directly derived from the human arm, and the freely positionable reflector, The luminaire directs the light exactly where it is needed - a solution deeply rooted in the midgard philosophy. Available in black or white. Two fixture choices: freestanding or clamping manual switch. On dome black version / black textile cable, white version / black textile ca
Kristina Dam Studio BAUHAUS Chair cushion
BAUHAUS is a chair cushion. Upholstered in leather or fabric suitable for outdoor environments. Available in different sizes. Further info from manufacturer on BAUHAUS Kristina Dam Studio
TECTA K40 Round glass and steel central coffee table
The K40 table is the squaring of the circle, and quite literally. The round crystal glass top rests on a curved steel tube, which in turn horizontally braces a square frame. There is no simpler way to construct a table - and it could hardly be more convincing. The rounded corners of the horizontal supports reappear as fine steel loops of the runners. Breuer designed the striking table in 1927/28 for the Berlin theatre director Erwin Piscator, specifically for his private flat. So it was no
TECTA K10 Extending wooden coffee table with storage space
Tea table K10 folding and rolling, at the Bauhaus Weimar 1924. Quite modestly Erich Brendel called this rolling and folding furniture "tea table". He designed it at the Weimar Bauhaus in 1924. A replica of the table, which was made without Brendel's knowledge, is now in the Bauhaus Archive, Berlin. The Bauhaus Archive in Berlin only approves true-to-work and licensed reeditions of the original Bauhaus models. These are marked with Oskar Schlemmer’s signet, which he designed for the Weimar
TECTA M10 Extending wooden dining table
It embodies the original idea of intelligent, space-saving furniture and is therefore as up-to-date as it once was: the M10 table. Erich Brendel designed it in 1924 in the early days of the Weimar Bauhaus. Since 1981, Tecta has been producing the M10 true to the original from 1924 under license and in series. The Bauhaus Archive in Berlin only approves true-to-work and licensed reeditions of the original Bauhaus models. These are marked with Oskar Schlemmer’s signet, which he designed for t
TECTA F51-3 3 seater sofa
Gropius’ two-seater F51-2 sofa and the F51-3 three-seater version evolved organically out of the F51 cube armchair in the director’s room of the Weimar Bauhaus. The floating cushions catch the eye alternately, as does the signature cantilever design which encompasses the upholstery – one could almost say, permeates it. The F51-2 and F51-3 sofas have close ties with Tecta. Erich Brendel corresponded with the company and was able to confirm that the F51 armchair already stood in the director’s
TECTA F51-2 2 seater sofa
Gropius’ two-seater F51-2 sofa and the F51-3 three-seater version evolved organically out of the F51 cube armchair in the director’s room of the Weimar Bauhaus. The floating cushions catch the eye alternately, as does the signature cantilever design which encompasses the upholstery – one could almost say, permeates it. The F51-2 and F51-3 sofas have close ties with Tecta. Erich Brendel corresponded with the company and was able to confirm that the F51 armchair already stood in the director’s
TECTA F51 Armchair with armrests
The F51 is not just any armchair, it is the iconic armchair for the director’s room in the Weimar Bauhaus. Walter Gropius had already injected his modernist dynamic into the building and created a small holistic work of art, encompassing interiors and furniture, tapestry and ceiling lamp. Nothing is randomly chosen and everything is connected. If you study the isometric layout of the director’s room you can see the furniture as part of a three-dimensional coordinate system. Despite its cubi
TECTA D1-3 3 seater sofa
D1-3 is an upholstered 3-seater fabric or leather sofa from the D1 series, designed by Peter Keler. The D1 chair, produced by Tecta according to Peter Keler’s original design, was one of the most radical approaches of its time. Together with Tecta, Keler later developed the two and three-seater sofa (D1-2, D1-3) based on the D1 armchair with its signature cubic shape. Both products embody the same architectural concept of cubic furniture. A concept that would later influence an entire gener
TECTA D1-2 2 seater sofa
D1-2 is an upholstered 2-seater fabric or leather sofa from the D1 series, designed by Peter Keler. The D1 chair, produced by Tecta according to Peter Keler’s original design, was one of the most radical approaches of its time. Together with Tecta, Keler later developed the two and three-seater sofa (D1-2, D1-3) based on the D1 armchair with its signature cubic shape. Both products embody the same architectural concept of cubic furniture. A concept that would later influence an entire gener
TECTA D1 Armchair with armrests
Peter Keler designed the D1 armchair, his "red cube", in 1925 as a prototype at the State Bauhaus School in Weimar. Keler’s object was intended for Farkas Molnar’s single family home "The Red Cube" and addresses the challenge of colour in interior design as perceived at that time. Upholstered in red leather, the original is held in the permanent collection at the Cantilever Chair Museum / Tecta Archive in Lauenförde. Frame: wooden frame with castors Upholstery: fabric or leather, removable
TECTA D51-3 Upholstered ash bench with back
D51-3 is a 3-seater solid ash bench upholstered in fabric from the D51 series, designed by Walter Gropius. Gropius’ D51 chair from 1922/23, with its backward-jutting armrests and straight back, looks pretty austere. “Straighten up,” it seems to whisper to the sitter. Its four wooden legs are arranged at an offset. The rear legs support the backrest, the front legs sweep freely into the room together with the protruding armrests. This is a small piece of architecture created by Walter Gropi
TECTA D51-2 Upholstered ash bench
D51-2 is a 2-seater solid ash bench upholstered in fabric from the D51 series, designed by Walter Gropius. Gropius’ D51 chair from 1922/23, with its backward-jutting armrests and straight back, looks pretty austere. “Straighten up,” it seems to whisper to the sitter. Its four wooden legs are arranged at an offset. The rear legs support the backrest, the front legs sweep freely into the room together with the protruding armrests. This is a small piece of architecture created by Walter Gropi
TECTA D51 Ash armchair with armrests
Gropius’ D51 chair from 1922/23, with its backward-jutting armrests and straight back, looks pretty austere. “Straighten up,” it seems to whisper to the sitter. Its four wooden legs are arranged at an offset. The rear legs support the backrest, the front legs sweep freely into the room together with the protruding armrests. This is a small piece of architecture created by Walter Gropius, linear and constructive. The chair and the D51-2 and D51-3 furniture series it gave rise to are a perfe
TECTA B40 Sled base chair
Iconic but yet as ethereal as if Marcel Breuer had made it by magic. Nonetheless, the B40 chair was born out of a new design idea: Breuer simply rotated his Bauhaus stool by 90 degrees to create it. The resulting B40 became the epitome of Bauhaus modernism, which revolted against heavy furniture and all that was bulky. El Lissitzky said: “Only inventions will determine form creation.” These inventions lay firstly in using the elastic properties of steel and tube bending, and later in flatte
TECTA F42E Wicker Chaise longue
In 1931, Mies van der Rohe applied for a patent for a "multifunctional resting furniture". It was to be ergonomic as well as elegant, free-swinging and suspended, usable both indoors and outdoors. To this day, the suspended lounger F42E condenses the moment of floating in a piece of furniture that looks like a flapping wing and spreads functionality, aesthetics and restraint in rooms as a silhouette, while its counterpart, the adjustable F42E1, equipped with the same reclining surface, quotes
TECTA B42 Cantilever chair
1926 saw the launch of the architectural collective “Der Ring” with members including Walter Gropius and Mies van der Rohe. That same year, Mies van der Rohe designed the most beautiful chair of the century with a single brushstroke: the Weißenhof Chair. A year later, in 1927, it was displayed at the Weißenhof exhibition in Stuttgart. In 1985 Stefan Wewerka described it as “the most beautiful ‘chair construction’ since the throne of Charlemagne.” The first sketches were influenced by the gas
TECTA D42 Cantilever chair with armrests
1926 saw the launch of the architectural collective “Der Ring” with members including Walter Gropius and Mies van der Rohe. That same year, Mies van der Rohe designed the most beautiful chair of the century with a single brushstroke: the Weißenhof Chair. A year later, in 1927, it was displayed at the Weißenhof exhibition in Stuttgart. In 1985 Stefan Wewerka described it as “the most beautiful ‘chair construction’ since the throne of Charlemagne.” The first sketches were influenced by the gas
TECTA D40 Cantilever chair with armrests
Among all of Marcel Breuer’s iconic designs, the D40 from 1928 holds a special place. You could trace its outlines with your eyes closed. An elegant S-curve describing a slight diagonal in the upper third – the backrest. A dynamic experience that exudes calm. Because every curve of the steel tube is finely balanced. Arch-curve-countercurve: a construction that harmoniously reconciles all contrasts. This was possible due to bent tubular steel – a technology that revolutionised furniture de