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Marcel Breuer was an outstanding student of the carpentary workshop in the Bauhaus
educational establishment which remains perhaps the most potent symbol in 0th Cen-
tuary design.Bauhaus objects are characterized by their simple forms,clean lines and
inexpensive materials with a common concern for truth to materials and structure.Its
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ideas,methologies and styles being virtually synonymous with Modernism,which consisted of a series of movements and individuals who
strove to break down barriers between aesthetics,techniques and society so that an appropriate design of the highest visual and practical
quality could be produced for the mass of the people.The early 0thCentuary was a period of rapid social and historical change and this
was reflected in the arts of the time.A mood of austerity and practical simplicity followed the days of WW1.People welcomed the machine
age and designers reassessed their products in the light of the post-war mood and looked upon the new materials that had become avail-
able.In turn design moved away from craft-based concepts towards more mass-produced functional design.An exploration of new,clean,
geometric and classical forms and materials was felt to be symbolic with the mass-production capacity of a progressive industrial culture.
Increasing industrialization led to social restructuring around the needs of the people and cheeper goods production.With a shortage of
housing space and a fashion for health and hygene the aim was to create light-weight,low-cost adaptable,multipurpose furniture in clean
and hard materials.(soft upholstery was thought to harbour dust and mites.)Breuer endeavoured to be independant of the past,by reject-
ing all existing preconceptions about furniture design,and to create radically new forms for furniture befitting the modern domestic life.
Technical equipment available to the metal workshop had been greatly improved which helped to concentrate upon problems of industrial
manufacturing.Breuer relized the potential of this industrial material steel,for the creation of lightweight,elegant,industrially-produced furni-
ture.This led to the creation of the Wassily Chair,one of the best known examples of modernism applied to furniture,designed in 15 by
Breuer and was later developed in 17 into the folding version named the B4 Chair.The beauty of industrial materials such as steel
were now shifted to a domestic context.
The B4 had all the comforts of traditional upholstered furniture without its high price,weight,unwieldiness and 'unsanitary' quality.All Bau-
haus furniture was a result of functional analysis as sitting had been thoroughly investigated.The requirements of their chairs was that
they needed to be comfortable but simple at the same time.An elastic seat and back rest meant no heavy or expensive dust collecting
cushioning.Angling of the seat so that the full length of the upper leg is supported and an angled position of the upper half of the body.
The spine should be left free as pressure on the spine is both uncomfortable and unhealthy.The B4 was a club armchair with all the stuff-
ing taken out,leaving an almost skeletal framework and taut lengths of fabric on which to sit and rest one's back and arms.It's bareness
was the 'uncluttered' modern look society was after,revealing it's true quality of construction,mode of function and its ability to perform.
In modernist design a lack of 'truth' is intolerable.In terms of the construction and appearance of objects,truth meant the avoidance of de-
vices which created an illusion or false impression.The designer had to avoid 'formalistic imitation' which often distorted the fundamental
truth.An objects construction had to be apparant and its attractiveness had to come directly out of those processes of construction.Truth
led to the rejection of decoration especially when seen as being added after the major construction work had taken place.Decoration
could only hide the structural and spacial honesty of the object and disguise its flaws in manufacture.(1)According to Marcel Breuer there
was no justification for ornamentthe way to make various items of furniture 'go' well together was to design each one so that it adequat-
ely furfilled its function and was economic to produce' a 'good' chair would automatically 'go' with a 'good' table.
The B4 chair could be descibed as being well made,neat,clean,pure,healthy and hygenic.The tubular steel construction demonstrates the
shift from craft to machine values in a quest for functionalism with which Bauhaus was identified with.Functionalism was the belief that
form follows function and good form can be achieved by rejecting all imposed styles,concentrating on purpose and use of the object.
The Bauhaus textile workshop developed a fabric encorporating Eisengarn,which was a canvas like product designed for use in Military
belts and bootlaces,for the upholstery of Breuer's tubular steel seating including the B4.This hard-wearing practical fabric was essential
for the B4 to furfill it's nessesary roles in everyday life.Made of tubular steel the B4 was also ergonomically designed.Its collapsable fea-
ture meant it could be folded away in storage when used in a minimal dwelling or easily moved around,as when times were hard workers
needed to be mobile.
The tubular steel furniture and furnishings which Breuer developed from 15 onwards were instrumental in shaping a new,modern con-
cept of living.Abstract forms and new materials related to the democratic ideal where people could enjoy an improved quality of life in a
hygenic,healthy and modern environment.Modernism was commited to a social and cultural agenda.Application of new technology to ob-
jects gave them an appearance which the masses could understand.Technology functioned not only in a practical way but in a symbolic
one also.Design was more than 'self display' ,it was a thesis,a declaration,a statement and a symbol of the social aims of the age.
The B4 chair can be found in reception areas all over the western world.Its interesting to think that if one owned one of these chairs now,
70 years later,is still to make a statement of one's commitment to modernity.
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