This is the eGuide number for the object. You can find it next to selected objects in the exhibition.
This is the location number for the object.
Click here to go to the main menu.
Click here to change languages.
Click here to change the font size and log in.
Click here to show the location of the object.
Zoom with two fingers and rotate images 360° with one finger. Swipe an object to the side to see the next one.
Click here for background information, biographies, legends, etc.
Click here to listen to spoken texts or audio files.
Share an object.
Download as PDF.
Add to saved objects.
Chair, (untitled), 1900
Richard Riemerschmid
Chair, (untitled),
Richard Riemerschmid,

Chair, (untitled),

Richard Riemerschmid
Museum für Gestaltung Zürich
Ausstellungsstrasse 60
8031 Zurich
Museum map
Museum für Gestaltung Zürich
Toni-Areal, Pfingstweidstrasse 94
8031 Zurich
  • (untitled) Richard Riemerschmid Chair
  • (untitled) Richard Riemerschmid Chair
  • (untitled) Richard Riemerschmid Chair
Listen to the text

The influential Art Nouveau artist Richard Riemerschmid (1868–1957) searched for beauty in ordinary things, taking exception to the overloaded ornamental designs of his day. This chair, created for a competition for inexpensive home decor, clearly betrays his turn toward a groundbreaking style, which led to machine-produced furniture and inaugurated the design ideals of the German Werkbund.

The chair, assembled out of planks and two-by-fours, was part of a living room furniture ensemble designed by Richard Riemerschmid in 1900 for a contest for affordable domestic furniture. The challenge was to create a complete set of living room furnishings fitting into sixteen square meters, which was not only of high design quality but, costing no more than 350 marks, was also affordable for people with limited financial means. Riemerschmid won first prize with his simple, easy-to-produce furniture. The armchair illustrates his attempt to harness ideas from folk art for his furniture style. The chair’s form is more rustic than filigree; a continuous plank with a sawn-out semicircle, two curves, and a grip hole form both the backrest and the closely spaced back legs. Even though the triangular footprint and the overall design principle are by no means Riemerschmid’s own invention but actually emulate a design by the English Arts and Crafts artist George Walton (1867–1933), Riemerschmid, cofounder of the German Werkbund (1907), didn’t just randomly adopt this rational construction method. Instead, the principle of consistently developing his designs based on the construction of a piece led to Riemerschmid’s actual achievements over the following years: with the program of machine-made furniture he launched in 1905, the Munich designer became one of the pioneers of the Ikea principle behind today’s production methods. (Franziska Müller-Reissmann)

Armstuhl, 1900
Entwurf: Richard Riemerschmid
Herstellung: J. Fleischauer’s Söhne, Nürnberg, DE
Material/Technik: Buche, gefasst
85 × 54 × 49.5 cm
Eigentum: Museum für Gestaltung Zürich / ZHdK

Winfried Nerdinger (Hg.), Richard Riemerschmid, Vom Jugendstil zum Werkbund, 1983.

Image creditso

Armstuhl, 1900, Entwurf: Richard Riemerschmid
Abbildung: Museum für Gestaltung Zürich / ZHdK

Stuhl, Maschinenmöbel für Wohn- und Essstube, 1905, Entwurf: Richard Riemerschmid
Abbildung: Museum für Gestaltung Zürich / ZHdK

Schale, 1904, Entwurf: Richard Riemerschmid
Abbildung: Museum für Gestaltung Zürich / ZHdK

Likörkaraffe, um 1908, Entwurf: Richard Riemerschmid
Abbildung: Museum für Gestaltung Zürich / ZHdK