Knoll - Wassily Spinneybeck calfskin leather armchair

Inspired by the frame of a bicycle and influenced by the constructivist theories of the De Stjil movement, Marcel Breuer was still an apprentice at the Bauhaus when he reduced the classic club chair to its elemental lines and planes, forever changing the course of furniture design.

In an interview with a Knoll historian, Marcel Breuer described how he came to begin experimenting with bent tubular steel while at the Bauhaus:

“At that time I was rather idealistic. 23 years old. I made friends with a young architect, and I bought my first bicycle. I learned to ride the bicycle and talked to this young fellow and told him that the bicycle seems to be a perfect production because it hasn’t changed in the last twenty, thirty years. It is still the original bicycle form. He said, “Did you ever see how they make those parts? How they bend those handlebars? You would be interested because they bend those steel tubes like macaroni.”

"This somehow remained in my mind, and I started to think about steel tubes which are bent into frames—probably that is the material you could use for an elastic and transparent chair. Typically, I was very much engaged with the transparency of the form.

"That is how the first chair was made…I realized that the bending had to go further. It should only be bent with no points of welding on it so it could also be chromed in parts and put together. That is how the first Wassily was born. I was myself somewhat afraid of criticism. I didn’t tell anyone I was doing these experiments actually. [Wassily] Kandinsky, who came by chance to my studio when the first chair was brought in, said, “What’s this?” He was very interested and then the Bauhaus got very interested in it. A year later, I had furnished the whole Bauhaus with this furniture.”

Marcel Breuer

Marcel Breuer, a champion of the modern movement and protégé of Bauhaus founder Walter Gropius, Marcel Breuer is equally celebrated for his achievements in architecture and furniture. Breuer was a student and subsequently a master carpenter at the Bauhaus in the early 1920s. His entire body of work, both architecture and furniture, embodies the driving Bauhaus objective to reconcile art and industry. Although Breuer never worked directly for Knoll, he is nevertheless an influential figure in the company's history. He was one of Florence Knoll's first mentors during his time in Walter Gropius' office in the 1930s. It was also Breuer who suggested that Hans Knoll hire Eszter Haraszty, the Knoll Textiles director responsible for many of Knoll Planning Unit's most memorable colour combinations.

Knoll

Knoll uses modern design to connect people to their work, to their lives, to their world. Since 1938, it has been internationally recognized for creating furniture for work and residential environments.

For more than 80 years Knoll has remained true to the Bauhaus design philosophy that modern furniture should complement the architectural space. At Knoll, modern design has been the guiding principle and this passion has been shared by customers and design professionals around the world. The founders, Hans and Florence Knoll, embraced the creative genius of the time.  Supported schools were Bauhaus School and Cranbrook Academy of Art to create new types of furniture and workplace environments.

Their approach, where craftsmanship joins technology through the use of design, sets the perspective and shapes the values that live today. 80 years of historical collaborations, with pioneering modernists and daring contemporary designers, define not only the past but the future through active, recent and future collaborations with Antenna Design, Don Chadwick, Formway Design, Jehs & Laub, Joseph D'Urso , David Adjaye and OMA.