DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45213#0185
185
The architects participating in the exhibition usually extended their involvement to interior and
furniture design, envisioning the needs and lifestyles of the future tenants. The creed was to use
well-designed, mass-produced furnishings 372 which were affordable and offered considerable flex-
ibility in interior arrangement. The owner could furnish the apartment to suit both his needs and his
pocket, thus giving the space an individual character. Most model interiors featured light chairs of
tubular steel or plywood that offered hygiene, affordability, and an inherent resiliency that provided
comfort without the need for excessive expenditures.
The furniture designed by Josef Vinecky373 of the Academy of Fine Arts for Rading's building
No. 7, functional but lightweight and space-saving, proved extremely well suited to the small rooms.
According to the artist "a functional object has to be well designed in practical as well as psychologi-
cal terms. Not only its designer and maker, but also its user has to be convinced, at first sight and
touch, that he has acquired a pleasant object to satisfy his everyday needs."374
"Everything floats inside the house by Heinrich Lauterbach" - wrote Edith Rischowski.375 For his
house No. 35 the architect designed several types of armchairs to suit diverse individual needs of
future users.376 Light armchairs of tubular steel were for the living room (complete with a piano) and
a glass-and-steel desk for the study, fitted with red lacquered bookshelves, shiny metal chairs and
a table with a tabletop of mat yellow glass and black legs. 377 Lauterbach favoured tubular steel fur-
niture as it was both lightweight and space-saving. He also liked the abstract quality of these "three-
dimensional linear compositions." 378 The new style permeated everything in the house, including
the furnishings: "a thin-legged table, a chair similar to a deck-chair, everything designed with the
economical use of materials in mind."379
The interiors of Effenberger's buildings (Nos. 21,22, 26-27) were furnished with simple but heavi-
er wooden furniture of delicately veined polished birch (designed by Ulrich Stein), set against the
light-coloured walls. The furniture in the detached house designed by Moritz Hadda (No. 36) was
more traditional in terms of form and material (wood, upholstery), but was distinguished by its in-
tense and saturated colours. Particularly worthy of attention was the nursery: the beds and table
could be folded during the day to provide more space for play.380
rendered smaller by cumbersome furnishings, curtains, rugs; with the ornate furniture made to order to demonstrate the owner's economic
status, gathering dust, difficult to rearrange and clean. Today-open and well-lit space, large windows ensuring contact with nature, lighweight
furniture, easy to clean and rearrange as needed at the moment, its forms extracted from function; multipurpose storage units serve as area
dividers and connect the rooms'.
372 Thanks to its lightweight structure the mass-produced and distinguished by a reduction of extraneous ornamentation Thonet furniture was
ideally suited to modern interiors. Scharoun chose Thonet furniture for his hostel and for singles and newly-wed couples (No. 31).
373 During his appointment to the Academy Josef Vinecky focused on furniture design and incorporating modern materials.
374 PiotrLUKASZEWICZ, 'Osiqgnigcia wrocfawskiej Akademii...', p.35-36.
375 Edith RISCHOWSKI, op.c/t., p.401.
376 Heinrich LAUTERBACH, op.cit, p.419. 'Depending on their height, sex and age, (...) people need different chairs. For this reason adjustable
chairs are manufactured'.
377 Edith RISCHOWSKI, op.cit., p.409.
378 Heinrich LAUTERBACH, op.cit., p.419.
379 Rudolf DELIUS, op.cit., p.273-274.
380 Adolf ROTHEN BERG, op. cit., p.343. The author of the article emphasised the need to reduce the size of beds (from 1.05 mx2.0 m to 0.9 mxl.9 m)
so they fit better in smaller-sized appartments.
The architects participating in the exhibition usually extended their involvement to interior and
furniture design, envisioning the needs and lifestyles of the future tenants. The creed was to use
well-designed, mass-produced furnishings 372 which were affordable and offered considerable flex-
ibility in interior arrangement. The owner could furnish the apartment to suit both his needs and his
pocket, thus giving the space an individual character. Most model interiors featured light chairs of
tubular steel or plywood that offered hygiene, affordability, and an inherent resiliency that provided
comfort without the need for excessive expenditures.
The furniture designed by Josef Vinecky373 of the Academy of Fine Arts for Rading's building
No. 7, functional but lightweight and space-saving, proved extremely well suited to the small rooms.
According to the artist "a functional object has to be well designed in practical as well as psychologi-
cal terms. Not only its designer and maker, but also its user has to be convinced, at first sight and
touch, that he has acquired a pleasant object to satisfy his everyday needs."374
"Everything floats inside the house by Heinrich Lauterbach" - wrote Edith Rischowski.375 For his
house No. 35 the architect designed several types of armchairs to suit diverse individual needs of
future users.376 Light armchairs of tubular steel were for the living room (complete with a piano) and
a glass-and-steel desk for the study, fitted with red lacquered bookshelves, shiny metal chairs and
a table with a tabletop of mat yellow glass and black legs. 377 Lauterbach favoured tubular steel fur-
niture as it was both lightweight and space-saving. He also liked the abstract quality of these "three-
dimensional linear compositions." 378 The new style permeated everything in the house, including
the furnishings: "a thin-legged table, a chair similar to a deck-chair, everything designed with the
economical use of materials in mind."379
The interiors of Effenberger's buildings (Nos. 21,22, 26-27) were furnished with simple but heavi-
er wooden furniture of delicately veined polished birch (designed by Ulrich Stein), set against the
light-coloured walls. The furniture in the detached house designed by Moritz Hadda (No. 36) was
more traditional in terms of form and material (wood, upholstery), but was distinguished by its in-
tense and saturated colours. Particularly worthy of attention was the nursery: the beds and table
could be folded during the day to provide more space for play.380
rendered smaller by cumbersome furnishings, curtains, rugs; with the ornate furniture made to order to demonstrate the owner's economic
status, gathering dust, difficult to rearrange and clean. Today-open and well-lit space, large windows ensuring contact with nature, lighweight
furniture, easy to clean and rearrange as needed at the moment, its forms extracted from function; multipurpose storage units serve as area
dividers and connect the rooms'.
372 Thanks to its lightweight structure the mass-produced and distinguished by a reduction of extraneous ornamentation Thonet furniture was
ideally suited to modern interiors. Scharoun chose Thonet furniture for his hostel and for singles and newly-wed couples (No. 31).
373 During his appointment to the Academy Josef Vinecky focused on furniture design and incorporating modern materials.
374 PiotrLUKASZEWICZ, 'Osiqgnigcia wrocfawskiej Akademii...', p.35-36.
375 Edith RISCHOWSKI, op.c/t., p.401.
376 Heinrich LAUTERBACH, op.cit, p.419. 'Depending on their height, sex and age, (...) people need different chairs. For this reason adjustable
chairs are manufactured'.
377 Edith RISCHOWSKI, op.cit., p.409.
378 Heinrich LAUTERBACH, op.cit., p.419.
379 Rudolf DELIUS, op.cit., p.273-274.
380 Adolf ROTHEN BERG, op. cit., p.343. The author of the article emphasised the need to reduce the size of beds (from 1.05 mx2.0 m to 0.9 mxl.9 m)
so they fit better in smaller-sized appartments.