El Lissitzky designed the transportable plywood model D61 in 1930 for the Hygiene Exhibition in Dresden. The exhibition was a special feature and was the brainchild of the director of the Hygiene Museum at the time. The aim was to record the contemporary problems of hygiene and to promote a health-oriented lifestyle. It was hoped that the health sector would have a positive influence on the economy, as well as a comprehensive collaboration with artists and scientists. The special involvement of the arts corresponded to the exhibition organizers' already modern image of communication and networking.

To mark the exhibition, a series of small, temporary buildings in the style of the Bauhaus were erected in Dresden alongside the well-known museum. Below them was the Soviet Pavilion by El Lissitzky, which was intended to depict the modern health policy of the USSR. El Lissitzky was not only the exhibition designer of the pavilion, his D61 was intended as transportable furniture for this pavilion. The beech plywood was cold-pressed into the unusual shape that stylizes the armchair into a throne. Originally in a natural finish, Tecta emphasized its appearance with the striking Bauhaus colors black and blue.

How to distinguish our original Bauhaus reeditions? The Bauhaus Archives in Berlin only authorise authentic reeditions of the original Bauhaus models produced under licence. They are marked by the signet designed by Oskar Schlemmer for the State Bauhaus Weimar in 1922. Our Bauhaus reeditions are still modelled exactly on the proportions of the originals.

The visionary constructor. The universal artist El Lissitzky (1890-1941) is one of the main representatives of Constructivism. The architect, photographer, designer, graphic artist and painter initially studied architecture at the Technical University of Darmstadt (1909-14) and in Moscow (1914-18) and taught - invited by Marc Chagall - at the Vitebsk Art School, where he met Kazimir Malevich. Lissitzky liked to describe himself as a designer. Inspired by the exact sciences and the technology of modern times, he went on to create geometric-abstract works (Proun = project to confirm the new) that seem to float weightlessly in space.

His "floating, horizontal skyscraper" from 1924 / 25, whose name "Wolkenbügel" possibly goes back to Hans Arp, became famous but was not built. The "Wolkenbügel" was El Lissitzky's contribution to the modernization of the city, a prototype that could be used at will and was intended to mark prominent points. The "Wolkenbügel" also became an icon of modernism and its creator was proved right: "Only inventions will influence design." The "Wolkenbügel" and its cantilever construction also shaped the development of the cantilever chair based on a new sense of time: floating and swinging.

As a designer, the constructivist El Lissitzky had a significant influence on the avant-garde of the 1920s. His tribune for Lenin is unforgettable, with the revolutionary appearing to float above the ground in an expansive steel construction and quoting Lenin's gesture during his propaganda speeches.

Tecta's collaboration with Lissitzky's widow and son Jen dates back to 1978 and was initially dedicated to a curved plywood chair, originally designed for the 1930 Hygiene Exhibition in Dresden. The beginning of a series of joint steps and discoveries.