Wetzlar, Germany, 1941 · Schwerte, Germany, 2004
Höhenberg Sportspark Spectator Tribune
This tribune reflects the architect’s passion for metallic materials and for their application to building. One of the most interesting features of this work is its attention to the alignment of shapes and structures which is reflected in recurring geometrical scheme.
Lucie Quirina Bakker
Rotterdam, Netherlands, 1915 · Lochem, Netherlands, 2003
Produced by Royal Tichelaar Ceramics Factory, Makkum, Netherlands
The Quirina Tableware is typical for the post-war transition from handcrafted pottery to serial production within the field of ceramics. Lucie Bakker turned from handicraft to serial production in the first place to earn a living.
Ursulina Witte Schüler
Berlin, Germany, 1933
Tower Restaurant Steglitz
Known locally as Bierpinsel (Beer Brush), it has three floors originally equipped with restaurants and a nightclub. It has a height of 46 m with a shape resembling that of an observation tower, but the architectural idea was that of a tree.
Sigrid Zschach Kressmann Losito
Leipzig, Germany, 1929 · Berlin, Germany, 1990
The Steglitzer Kreisel is one of the largest office buildings of Berlin and also one of its most controversial landmarks. It became a symbol of the flawed speculative housing development projects of the 1960s and 1970s in West-Berlin during a time of housing shortage.
Anneliese (Anni) Fleischmann Albers
Charlottenburg (Berlin), Germany, 1899 · Orange (Connecticut), USA, 1994
Free-Hanging Room Divider
MoMA Museum of Modern Art, New York City, USA
This object is one of Albers-Fleischmann’s most experimental artefacts. Industrial textile production and abstract art are merged to form a functional furniture where the minimalist supporting structure and raw materials of the fabric provide aesthetic qualities.
Berlin, Germany, 1885 · 1947
Thonet Small Armchair
Produced by Thonet, Germany
The Thonet small armchair represents one of the most significant work in the fruitful career of Lilly Reich. This innovative piece of furniture epitomises Reich’s idea of interior design as a creative process in which art and technique are closely combined.
Ruth Hildegard Geyer-Raack
Nordhausen, Harz, Germany 1894 · Berlin, Germany 1975
Lady’s Living Room and Bedroom
Dame, Internationale Raumaustellung
This living room and bedroom is the perfect combination of French Art Deco and German Bauhaus School. Curtains are used to define the space and divide the room if necessary in two separate places, having the living room as a social and public space, and the bedroom as a more private place.
Margarete (Grete) Heymann Marks Löbenstein
Cologne, Germany, 1899 · London, United Kingdom, 1990
Glazed stoneware, produced by Haël Werkstätten für Künstlerische Keramik, Marwitz, Germany
The tea set, emblematic of a new Modernist language in mass produced objects, is the most iconic piece designed by Margarete Heymann (former Löbenstein and Marks), a German ceramic artist who trained at the Bauhaus, and manufactured by Haël Werkstätten, the factory she founded in 1923.
Marianne Liebe Brandt
Chemnitz, Germany, 1893 · Kirchberg, Germany, 1983
Ashtray with Cigarette Holder
Produced by the Bauhaus Metal Workshop, Weimar
Bauhaus Archive – Museum of Design, Berlin
Liebe Brandt’s ashtray is one of the first objects produced at the Bauhaus’ metal workshop, where she was the only woman to have ever worked putting into practice the Bauhaus Weimar methodology of simplifying the design process for future mass-production.
Alma Buscher Siedhoff
Kreuztal, Germany, 1899 · Buchschlag, Germany, 1944
Toy Closet for the House am Horn Children’s-Room
Produced by the Bauhaus Woodcarving Workshop, Weimar
Klassik Stiftung, Bauhaus-Museum, Weimar
This toy closet is considered the first true demonstration of the Bauhaus’s modernist principles in furniture construction and epitomises Buscher’s belief in the potential of design-for-children to effect change in society at large.
Adelgunde (Gunta) Stölzl
Munich, Germany, 1897 · Küsnacht, Switzerland, 1983
Produced by the Bauhaus Weaving Workshop, Weimar
Bauhaus-Archiv Museum, Berlin
This pillowcase epitomises Stölzl’s experimentation in designing aesthetically modern and functional daily life homeware textiles, characterised by raw materials and abstract patterns of multiple colours.