Explore the upholstery and frame options available for this piece at the bottom of this page.
Phone +1 855 439 4881
All orders over $79 have complementary delivery in the USA and Canada with express options available at checkout.
You may also select to pick-up any order at the Average Showroom — located at 1081 Queen St. W. in Toronto — during checkout at no charge.
International shipping is calculated at checkout.
Average Archive orders are only available for delivery in Toronto or pickup.
For orders placed in Canada, customers will be subject to their Provincial and Federal sales taxes at checkout. Orders are not subject to any customs as the shipment is not leaving Canada.
Orders placed in the USA are shipped with pre-payed customs. You may still be subject to local sales taxes.
Customers outside of the USA and Canada will not be charged customs or taxes by Average. All prices shown are ex-VAT. Customers are subject to all local taxes, duties and import charges per their local jurisdiction.
Standard items (not Special Order) can be returned via mail or in-store within 14 days of purchase provided the items are packaged and unused.
Special Order items, Archive items, items marked down, personal care and bath products are all final sale.
Peter Keler designed his "red cube" in 1925 as a prototype at the State Bauhaus School in Weimar. Keler’s object was intended for Farkas Molnar’s single family home "The Red Cube" and addresses the challenge of colour in interior design as perceived at that time. Upholstered in red leather, the original is held in the permanent collection at the Cantilever Chair Museum / Tecta Archive in Lauenförde.
All major designers, including Mart Stam, have walked through this central room of the Bauhaus in Weimar. Consciously or unconsciously, they were already influenced by the overarching ideas of the F51 armchair. Its protruding armrests can be seen as a precursor of Mart Stam’s chairs without back legs and anticipate Marcel Breuer’s stool on runners (1925).
Following his retirement, the designer was granted permission to leave the German Democratic Republic for a period each year and he became a long-time friend of Axel Bruchhäuser. Keler eventually gifted several Bauhaus originals to Bruchhäuser, including the first prototype of the Red Cube Armchair. Not only did he speak extensively about his friend Marcel Breuer – for whom he developed his horsehair fabric in Weimar – Keler also assisted Axel Bruchhäuser to acquire an original Breuer piece (the designer’s first folding chair) from Professor Kesting of Ahrenshoop, who had purchased the object in the late 1920s at the Neue Kunst Fides gallery in Dresden.
The Bauhaus Archive in Berlin has officially licensed the D1 from Tecta as an authentic Bauhaus production, made to the exact proportions of the original design.
- Peter Keler, Germany (1920)
- Solid beech wood and beech plywood frame, plastic castors, selected textile or leather upholstery on foam with loose cushion
- Made in Germany
- Height 67cm / 26.3"
- Depth 72cm / 28.3"
- Width 80cm / 31.5"
- Seat Height 41cm / 16"
Tecta D1 Options
Kvadrat Hallingdal 65
By Nanna Ditzel
Kvadrat’s first textile ‘Hallingdal’ has become the archetype of woollen textiles. The very durable upholstery fabric was originally designed in 1965 by Nanna Ditzel, and is now available in a version with an updated colour scale: Hallingdal 65.
Hallingdal 65 is made of wool and viscose, which complement each other well: the wool provides excellent durability and flexibility, whilst the viscose adds brilliance and depth to the colour. Both materials are dyed before they are spun, which highlights the rich texture of the fabric.
- 100% New Wool
- Made in Norway
Durability Rating 100,000 Martindale
Pilling Rating 3-7
Lightfastness Rating 7
Kvadrat Harald 3
By Raf Simons & Fanny Aronsen
A closely-woven, very short-pile velour, Harald brings the fresh, soft texture of cotton to a directionless velvety textile. The intense colour offered by this matte velour places the focus strongly onto the silhouette of the upholstered object, emphasising its shape and contours.
Originally designed by Fanny Aronsen, Harald comes in a new colour palette conceived by Raf Simons offering a particularly large selection of vivid keynote tones, including primrose yellow, burnt orange, raspberry, lavender, aubergine and dark mint green, alongside more natural tones. Harald is a durable fabric suitable for use as curtains as well as in upholstery.
- 100% Cotton
- Made in Italy
- Durability Rating 100,000 Martindale
- Pilling Rating 4-5
- Lightfastness Rating 6
Kvadrat Divina Melange 3
By Finn Skødt
Divina Melange is a textile characterised by its lack of texture and nap and consequently the fabric accentuates the dimensions of the furniture, giving prominence to the colours.
Melange means mixture. The original six grey and beige colourways are produced by mixing varying proportions of either black or brown wool with white wool. The different colours of wool are mixed before the garment is spun.
The additional colourways have come about by dipping the two base colours in bold, virtually luminous pigments creating coloured melanges.
- 100% New wool
- Made in the UK
Durability Rating 45,000 Martindale
Pilling Rating 3
Lightfastness Rating 6-7
Kvadrat Vidar 3
By Raf Simons & Fanny Aronsen
Woven from bouclé yarns with a regular loop size, Vidar has a deep, tight, large-grained texture that lends itself particularly well to the graphic use of colour in upholstery. Originally designed by Fanny Aronsen, Vidar has been re-coloured by Raf Simons, with shades ranging from fresh jade green, raspberry pink and iris blue through to brick and earth tones, and easy neutrals.
The gentle satin surface finish of the weave contrasts with the deep shadowy tones in the depths, giving a multifaceted richness to the intense colours in the range. Tightly woven, without the irregularities of the other bouclé fabrics within this collection, Vidar has an inviting texture, which variously recalls blackberries, orange peel or the comforting close-knit texture of a favourite sweater.
- 94% New wool, 6% Nylon
- Made in Norway
- Durability Rating 100,000 Martindale
- Pilling Rating 4
- Lightfastness Rating 5-6
A native of Kiel, Peter Keler gravitated to the artist’s colony of Worpswede in the 1920s. Inspired by the Arts & Crafts Movement in England, Heinrich Vogeler had transformed his house in Worpswede into a Gesamtkunstwerk – aligning the colony with the Swiss-German "Lebensreform" movement in the process.
The impact of the movement’s vision of far-reaching social and political reform is readily apparent in the sheer diversity of Keler’s output, which included painting, graphic design, architecture, photography and furniture. When his colleague Wilhelm Wagenfeld left Worpeswede for the Bauhaus in Weimar, Keler followed in his footsteps. In 1921 he attended Johannes Itten’s preliminary training course.
Later that year Keler enrolled in Oskar Schlemmer and Wassily Kandinsky’s mural painting seminar, of which he was a member until 1925. During his time at the Bauhaus in Weimar, Keler devised colour schemes for a range of structures and rooms, including the office floor of the Fagus Factory in Alfeld an der Leine, and the director’s office used by Walter Gropius in the Bauhaus Building.
The various objects of furniture created by Keler during this period include a cradle inspired by the teachings of Wassily Kandinsky, which he completed for the first Bauhaus Exhibition of 1923. In the summer of 1922, Keler became a member of KURI (an acronym for constructive, utilitarian, rational, international), a group of designers and artists with constructivist ambitions active at the Bauhaus.
Following his departure from the Bauhaus, Keler established his own studio for fine and applied painting, graphic design for advertising and interior design. Keler worked as a creative consultant for companies in the textile and machine industry in Saxony between 1928 and 1936. He was banned from showing his work in public between 1937 and 1945 by the Nazi government. Following the war, he accepted the invitation to teach at the newly founded Hochschule für Baukunst und bildende Künste in Weimar. Two years later, Keler was awarded a professorship, a position that he held at the school until 1963. Keler worked as a freelance architect in Weimar from 1968 onwards.
For over 40 years family-owned Tecta’s mission and responsibility has been to preserve and review the best ideas and designs of modernism as created by the Bauhaus movement in Weimar or Dessau while being driven by the desire to think forward, enhance and adapt them.
Tecta unites craftsmanship, values and family tradition with the Bauhaus school of thought. This is what makes the company so unique with its cycle of developing and cherishing what the Bauhaus movement once taught and merged with traditional craftsmanship. Both today and yesterday.