The B 34 armchair by Marcel Breuer – an icon of modernism

The B 34 armchair, designed by Marcel Breuer around 1928, is one of the most influential pieces of modern furniture and exemplifies the design principles of the Bauhaus. Breuer, himself a student and later a teacher at the Bauhaus, had already explored innovative materials and industrial manufacturing techniques. The B 34 was created in the context of his collaboration with the Thonet company, which successfully mass-produced and marketed his designs.

Functionalism meets new materials

The B 34 is characterized by its cantilevered structure, which was the first to dispense with rear legs. The frame consists of a single, continuous piece of chrome-plated tubular steel that extends in a dynamic line from the floor over the armrests to the backrest. The seat and backrest are covered with textile fabric, creating an elegant lightness that counteracts the volume of the chair. Breuer recognized the potential of tubular steel early on – influenced by the lightness and flexibility of the bicycle frame. He saw it as a material that was not only industrially reproducible, but also hygienic, aesthetically minimalist, and contemporary.

The B 34 is thus not just a piece of furniture, but an expression of a new design approach that combined industrial design with social aspirations.

The B 34 is considered a milestone in modern furniture design today. It shaped the style of an entire generation of designers and architects, not least because it built a clear bridge between an avant-garde understanding of art and industrial mass production. In the living spaces of the New Objectivity movement, in modern offices, and even in museums around the globe – the B 34 maintains its relevance to this day. It exemplifies the Bauhaus's endeavor to bring art to life and recalls a time when design was a means of reforming society. The B 34 is thus not just a chair, but a manifesto of modernism in tubular steel.

Aesthetics of Reductionism

In keeping with the Bauhaus principle of "form follows function," the B 34 dispenses with superfluous ornamentation. The construction remains visible, and the design reveals its functionality. Yet the chair doesn't convey a sense of coldness; rather, its swaying structure also conveys a certain mobility and comfort—a subtle break with the austerity of classical modernism.

Eisengarn—An Industrial Material with Creative Radiance

Eisengarn is a high-strength, highly lustrous cotton yarn produced using a special processing technique: The cotton fibers are impregnated with starch and wax, then machine-smoothed and twisted. The result is an extremely tear-resistant, resilient, and durable yarn with a metallic sheen—hence the name "Eisengarn." The technique for producing iron thread already existed in the 19th century, but its design development only gained new significance in the 20th century, particularly through the Bauhaus.

Use in the Bauhaus Context

At the Bauhaus, especially in the weaving workshop, iron thread was deliberately developed further and used creatively. A central figure was Gunta Stölzl, who, as master of the textile workshop, made a significant contribution to the testing and use of iron thread in new weaving techniques and color schemes. The combination of technical functionality and aesthetic quality ideally corresponded to the Bauhaus ideal of combining art, craft, and industry.

Iron Thread at Marcel Breuer

In Marcel Breuer's tubular steel furniture—including the B 34—iron thread was frequently used for the seats and backrests. The thread was used as a covering material, particularly in early versions of the chair. Its advantages were obvious:

• Robustness: Resistant to abrasion and stretching, ideal for everyday use.
• Lightness: Supported the desired optical transparency and material reduction.
• Shine and color: Eisengarn could be produced in bold colors, which suited the typical colorfulness of the Bauhaus aesthetic.

Thus, Eisengarn perfectly matched the reduced formal language of the Bauhaus, both functionally and formally, and was an expression of a new, modern material culture.

Conclusion

Eisengarn is more than just a textile material—it is a symbol of modern, industrial design in the 20th century. In combination with tubular steel furniture such as Breuer's B 34, it becomes part of an aesthetic that emphasizes clarity, rationality, and innovation. It demonstrates how materials with technical origins could become the bearers of a new design philosophy through creative transformation.