Twist Chair by Toni Grilo
Toni Grilo designed it for David Haymann Editions
(Source: designboom)
M100 Chair by Matías Ruiz
M100 Chair by Matías Ruiz
Via brutalism3:
Costume Chair by Jongho Park
Costume Chair by Jongho Park
A winner of the Swedish Green Furniture Award 2009
via jonghopark.com)
(Source: jonghopark.com.
Be Inspireled by Manolo Bossi
Be Inspireled by Manolo Bossi
Via pimpisplayground:
designed by Manolo Bossi
(Source: besttopdesign)
Chair by Gunta Stölzl and Marcel Breuer from 1921
Chair by Gunta Stölzl and Marcel Breuer from 1921
The presence in Weimar of Theo van Doesburg, co-founder of the De Stijl movement, and the design principles that he promoted influenced the development of the Bauhaus from 1921 at the very latest. The chair made in 1921 by Marcel Breuer and Gunta Stölzl displays distinct formal evidence of the principles of the Dutch art group. Everything about this chair is rectangular: backrest, seat, the cross-section of the chair legs; even the woven tapestry strips form squares or rectangles. The colours for this piece were also selected according to the De Stijl concept with a palette limited to red, blue and yellow enhanced by black, white and grey.
Literature:
Siebenbrodt, Michael (Ed.): Bauhaus Weimar: Designs for the Future, Ostfildern-Ruit 2000.
via Gunta Stölzl – Bauhaus Master .
Once more an indication De Stijl had indeed influenced Bauhaus.
About Gunta Stölzl
Gunta Stölzl (5 March 1897 – 22 April 1983) was a German textile artist who played a fundamental role in the development of the Bauhaus school’s weaving workshop, where she created enormous change as it transitioned from individual pictorial works to modern industrial designs. She was one of a small number of female teachers on the Bauhaus’ staff and the first to hold the title of “Master”.
Her textile work is thought to typify the distinctive style of Bauhaus textiles. She joined the Bauhaus as a student in 1919, became a junior master in 1927. She was dismissed for political reasons in 1931, two years before the Bauhaus closed under pressure from the Nazis.
The textile department was a neglected part of the Bauhaus when Stölzl began her career, and its active masters were weak on the technical aspects of textile production. She soon became a mentor to other students and reopened the Bauhaus dye studios in 1921. After a brief departure, Stölzl became the school’s weaving director in 1925 when it relocated from Weimar to Dessau and expanded the department to increase its weaving and dyeing facilities. She applied ideas from modern art to weaving, experimented with synthetic materials, and improved the department’s technical instruction to include courses in mathematics. The Bauhaus weaving workshop became one of its most successful facilities under her direction.
via Wikipedia