【正文】 arcel Breuer (19021981) concentrated on two goals as head of the Bauhaus carpentry workshop. One was to develop furniture from the same tubular steel as the Adler bicycle which he rode around Dessau. The other was to design a cantilever chair, or one supported by a single base. His experiments produced the angular B3 chair, which he nicknamed the ?Wassily? after his colleague tutor Wassily Kandinsky. Unfortunately for Breuer, the Dutch architect Mart Stam (18991986) pleted the first cantilever chair before him by making the 1926 Model No. S33 from gas pipes. B3 (Wassily) chair, 1925 Chromiumplated steel, leather Design: Marcel Breuer Reissue: Knoll International, US Model No. B33, 19271928 Chromeplated tubular steel, leather Design: Marcel Breuer When Marcel Breuer?s B33 chair went on sale in the late 1920s, the spectacle of such a slender chair without conventional legs or arms was so unusual that many people were frightened to sit on it. The B33 was a bittersweet project for Breuer (19021981). He started work on it knowing that he had lost the race to develop the first cantilevered chair – one with a single support – to the Dutch architect Mart Stam (18891996), who had pleted the design of his MS33 side chair in late 1926. The design of Breuer?s chair was superior in proportion, detailing and structure, not least because it was made from nonreinforced tubular steel which was more resilient and more fortable. Model No. B33, 19271928 Chromiumplated tubular steel, leather Design: Marcel Breuer Production: Gebr252。 第 MR90 號(hào)，巴塞羅那椅， 1929 鍍鉻平面鋼管，皮革 設(shè)計(jì)者：米斯在勒“我想到了狂野西部中抽著煙袋的牛仔男孩，腳在空中揮舞高于他的頭部，倚在煙囪架上：完全的放松。 第 B306 號(hào)躺椅， 1928 鍍鉻彎曲鋼管，皮革 設(shè)計(jì)者：勒貝里安（ 19031999）求職在巴黎塞夫爾大街35 號(hào)勒布勞耶 最優(yōu)雅與堅(jiān)定的懸臂椅開(kāi)創(chuàng)者在 19 世紀(jì) 20 年代末期被生產(chǎn)出來(lái)，它就是B32，設(shè)計(jì)者是米斯瑞克 縱觀 19 世紀(jì) 20 年代的德國(guó)藝術(shù)家米斯布勞耶 當(dāng)馬歇布勞耶（ 19021981）作為包豪斯木匠業(yè)工作室的領(lǐng)導(dǎo)者致力 于兩個(gè)目標(biāo)?；舴蚵徽J(rèn)為具有驚人的創(chuàng)新能力，最初的紅藍(lán)椅介紹是在 1921年被荷蘭設(shè)計(jì)師 吉瑞特 斯坦贏得，同時(shí)經(jīng)過(guò)德國(guó)的馬歇霍夫曼 在 1902 年去英國(guó)游覽進(jìn)行研究工藝美術(shù)運(yùn)動(dòng)的過(guò)程中，約瑟爾他設(shè)計(jì)了這個(gè)高背椅僵直的幾何形式，用以與英格拉姆大街的茶房中女士們午宴環(huán)境中白色的墻形成強(qiáng)烈對(duì)比。 穆塞爾 與約瑟夫 第 9 號(hào)書(shū)桌椅， 1905 生產(chǎn)者：托勒，奧地利 第 9 號(hào)書(shū)桌椅或稱維也納椅被托勒改良成為一款舒適便宜的椅子在 1902 年上市銷售。托勒為創(chuàng)造一個(gè)能夠適合大批量生產(chǎn)的第十四號(hào)椅模板努力了多年，最終在 1859 年獲得了成功。托勒，他是曲木家具的開(kāi)拓者。除了其工業(yè)化思潮，托勒從手工藝設(shè)計(jì)的靈感運(yùn)用于他的產(chǎn)品風(fēng)格中去。 19 世紀(jì)早期 十九世紀(jì)早期是一個(gè)持續(xù)性的椅子設(shè)計(jì)試驗(yàn)階段。麥金托什（ 18681928）。這個(gè)扶手椅被 19 世紀(jì)早期的奧地利人們認(rèn)為具有瘋狂的風(fēng)格，作為麥金托什的尖角家具被他的蘇格蘭同事們認(rèn)定是為霍夫曼設(shè)計(jì)建造的普克斯多夫療養(yǎng)院設(shè)計(jì)的。誠(chéng)懇的霍夫曼。 托馬斯 起初是由天然木材制成的， 1921 年的時(shí)候被里特維爾德以明亮的色彩漆繪。不幸的是，荷蘭的藝術(shù)家馬特布勞耶的椅子設(shè)計(jì)在比例、細(xì)節(jié)和結(jié)構(gòu)上是出眾的，不是最低限度的因?yàn)樗怯蔁o(wú)鋼筋結(jié)構(gòu)的管狀鋼制成，更有彈性也更加舒適。到 1927 年，他們已經(jīng)完成了紡織椅 MR10 和藤條椅 MR20。柯布西耶，皮埃爾皮埃爾的到來(lái)為他的工作室在家具上從工業(yè)材料方向向有棱角的現(xiàn)代運(yùn)動(dòng)方向發(fā)展。他要求三種類型的椅子：一個(gè)“為了交談”，一個(gè)“為了休閑”還有一個(gè)“為了休息”。柯布西耶，皮埃爾“最小的鉛筆敲打需要一個(gè)點(diǎn)，”她稍后補(bǔ)充道，“為了滿足一個(gè)需求，或者回應(yīng)一個(gè)姿態(tài)，為了達(dá)到大規(guī)模生產(chǎn)。當(dāng)?shù)聡?guó)館被當(dāng)做官方的公共儀式場(chǎng)所，米斯決定了椅子的樣式為寶座樣式的象牙椅，一種被羅馬法官所用的古老的椅子。res, Austria Reissue: Cassina, Italy Barcelona Chair, Model No. MR90, 1929 Chromed flat steel, leather Design: Mies van der Rohe, Lilly Reich Among the most elegant and imposing of the chairs designed by Mies van der Rohe (18861969) in collaboration with the interior designer Lilly Reich (18851947) is the opulent Barcelona Chair. Designed in 1929, it is one of the most recognizable early 20th century chairs and is still a familiar sight in corporate foyers. The chair was developed for the German Pavilion at the 1929 International Exhibition in Barcelona as part of Mies? mission to design the pavilion and its contents. As the German Pavilion was to be the setting for the official opening ceremony, Mies decided upon a thronelike form for the chairs and modeled them on the sella curulis, an ancient stool used by Roman magistrates. Barcelona Chair, Model No. MR90, 1929 Chromed flat steel, leather Design: Mies van der Rohe, Lilly Reich Reissue: Knoll International, US 。coratifs in Paris. Le Corbusier justified his choice by explaining: “We believe that this chair, millions of which are in use… is a noble thing.” Architects flocked to Paris for the 1925 Exposition from all over the world and Le Corbusier?s pavilion was one of the most admired installations. Chair No. 9 Bent, solid and laminated beech, woven cane Production: Tho, Austria EARLY 1900s The early 1900s was a period of continued experimentation in chair design. Innovative designers and architects, such as Charles Ren