Explore the upholstery and frame options available for this piece at the bottom of this page.
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The D1 chair, produced by Tecta according to Peter Keler’s original design, was one of the most radical approaches of its time. Together with Tecta, Keler later developed the two and three-seater sofa based on the D1 armchair with its signature cubic shape. Both products embody the same architectural concept of cubic furniture. A concept that would later influence an entire generation of designers, and inspired Le Corbusier to design his LC2 furniture.
When the Bauhaus relocated to Dessau in 1925, Keler decided against the move and opened his Weimar studio “Peter Keler Atelier, Weimar”. There he created models for the production of standardised seating furniture among other things.
At the same time, he worked on the development of a new horsehair fabric and the strap design for the wooden chair frames of his friend Marcel Breuer. He later sent Tecta the original remnants of the horsehair fabric from Weimar. They were used to cover the frame of the Breuer-Wassily armchair, a unique specimen that is now featured at the Cantilever Chair Museum in Lauenförde.
- 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 133cm / 52"
- Seat Height 41cm / 16"
Tecta D1-2 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.