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During his quest he met the Gropius family, Marcel Breuer, Sergius Ruegenberg, Mart Stam, Jean Prouvé and published the book The Cantilever Chair, which is part of the primary literature on the subject. The more his cantilever chair collection grew, the more knowledge he acquired about the history of its invention. Axel Bruchhäuser searched for contemporary witnesses and tried to reconstruct the history of the chair. The Museum has an extraordinary name – how did this come about?Ĭhristian Drescher: The museum has a close connection with Tecta’s work. At the beginning there was some legal uncertainty about the copyrights and rights of use of the cantilever chair. In 2003 we moved to the new museum halls designed by Peter Smithson on the huge premises, the Tecta Landscape. And here the collection has a three-fold mission: to serve as a museum, company archives and showroom at the same time. But then it grew to such an extent that it was only logical to build a museum of our own. Medieval Beverungen Castle was home to the collection until 2000. This was how he laid the foundations for the collection. The Cantilever Chair Museum was founded in 1979 – why?Ĭhristian Drescher: After taking over Tecta from Hans Könecke, Axel Bruchhäuser wanted to produce Bauhaus furniture under licence. Simply put, he needed the originals in order to learn how to manufacture them faithfully and as intended by their creators in serial production. Here, the universe of the firm Tecta presents itself in a colourful and timely interplay. The collection resembles a large family get-together, where each chair has its own story and is connected to the others in a special way.” In this way, new products join the historical exhibition pieces. But when considered more closely one quickly determines that there are many similarities,” says the museum director, “and hence Peter Smithson’s thought of the ‘families of chairs’ comes to fruition.
#SPRINGY CHAIR FREE#
“This is a bit like a free flight hall for seating furniture,” explains Daniela Drescher in the first hall, “colourful and slightly chaotic at first glance.
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“Master forms of the modern era” stand beside “Anonymous Aristocrats” – almost 100 years of design history that have a connection to the firm Tecta are being told. Here lies the collection compiled by Axel Bruchhäuser all about the cantilever chair that is today carefully continued by his nephew Christian Drescher and his wife Daniela Drescher. “The Ten Chairs of Lauenförde” is the name of the installation that corresponds with a red lattice tower, the entrance to the “Tecta Landscape”.ĭaniela Drescher opens up the museums halls this morning. In front the manufactory, then the delicate Wewerka Pavilion, across three museum halls looking like glass combs: A steel work, painted white on the inside and a fiery red on the outside, with uniquely high support and chairs positioned at their tips.
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Anyone who enters the grounds of the firm which was shaped by the english architecture couple Alison and Peter Smithson will find themselves in a sculpture park.