Left: MR Table | Top Right: Wassily Chair, Laccio Table, and MR Chair | Bottom Right: Wassily Chair
site-specific chairs for the King and Queen of Spain – Barcelona Chairs – and is widely considered a defining moment of Modernism.
In the 1920s, Mies van der Rohe was a pivotal figure in a circle of avant-garde architects and artists linked to the Bauhaus. Inspired by Marcel Breuer’s pioneering work with tubular steel, Mies adopted the material to develop his MR Chairs and MR Tables – the first pieces in his celebrated MR Collection.
Mies became the third and final director of the Bauhaus, leading the school until its closure by the Nazi regime in 1933. Three years later, he accepted a position as head of the architecture department at the Illinois Institute of Technology (IIT). A young Florence Knoll, upon graduating from Cranbrook Academy of Art and the tutelage of Eliel Saarinen, chose IIT for her architecture studies. Mies would become an important and enduring mentor.
Colour and Perception Bauhaus designers viewed colour as a potent tool in shaping spatial perception, considering it an integral element rather than mere decoration. They often explored the psychological effects of colours and their interactions, with special interest in white, black, and primary values. The approach was both artistic and scientific, aiming to understand how colour could influence perception, mood, and the spatial dynamics of an environment.
The colours in the Knoll release honour the Bauhaus ideals from which the tubular steel collections
emerged. White and onyx black were integral to the Bauhaus aesthetic, prized for their distinct abilities to absorb or reflect light, enhance geometric forms, and define edges. The dark red finish was inspired by an archival example of an MR Chair uncovered by the Knoll design team. The saturated, ultra-matte palette is a contemporary reframing that echoes the Bauhaus exploration of colour, form, and materiality.
The Knoll Connection Florence Knoll, a seminal figure in American design, was responsible for weaving Bauhaus principles into the fabric of Knoll. Studying architecture under Mies at IIT and interning with Breuer and Gropius in Cambridge, Florence absorbed the Bauhaus idea of gesamkunstwerk, or ‘total work of art’ – the ethos of integrating art, architecture, and design into a cohesive whole.
The relationships between Florence Knoll and her trusted mentors continued well into her career. After Florence and husband Hans formed Knoll, Inc., the legendary designers entrusted the company with their designs, confident that they would be produced with the utmost precision and care.
A Contemporary Point of View Today, the reframing of classic Bauhaus collections in ultra-matte colour not only honours the legacy of Ludwig Mies van der Rohe and Marcel Breuer, it reinvigorates their designs for a new generation. The application of saturated colour to these timeless pieces affirms the enduring relevance of Bauhaus
principles in contemporary design. It underscores the school’s commitment to exploring the interplay between art, design, and industry – a vision that remains as compelling today as it was nearly a century ago.
By revisiting these iconic designs with a fresh palette, Knoll invites us to engage with them anew, appreciating their historical significance while recognising their capacity to adapt and inspire in modern contexts. The Wassily Chair, MR Chair, MR Tables, and Laccio Tables – for the first time, commercially available in dark red, white, and onyx – continue to embody the timeless spirit of the Bauhaus through a decidedly contemporary lens.
Experience Bauhaus classics reframed and more during Clerkenwell Design Week at Knoll’s showroom located at The Sans, 20 St John’s Square, EC1M 4AH.
www.knoll-int.com
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