In 1922, amidst the innovative atmosphere of the Bauhaus in Weimar, Peter Keler designed a cradle that would become an enduring symbol of the movement's ideals. This cradle, known as the "Bauhaus-Wiege," is celebrated for its integration of geometric forms and primary colors, reflecting the Bauhaus's commitment to uniting art, craft, and design.
Keler's cradle features a circular base, a rectangular body, and a triangular canopy, each painted in one of the primary colors: blue, red, and yellow, respectively. These choices align with Wassily Kandinsky's teachings at the Bauhaus, where he associated specific colors with geometric shapes—blue with the circle, red with the square, and yellow with the triangle. The cradle's design not only embodies these theoretical principles but also serves a functional purpose, with the circular base allowing for gentle rocking.
The cradle was first showcased in the 1923 Bauhaus exhibition, placed in the children's room of the Haus Am Horn, the Bauhaus's model home. This exhibition aimed to demonstrate how Bauhaus designs could be integrated into everyday life, and Keler's cradle exemplified this by combining aesthetic innovation with practical utility.
After the Bauhaus moved to Dessau in 1925, Keler remained in Weimar, continuing his work in design and architecture. He later collaborated with various furniture manufacturers and contributed to exhibition designs. In the post-war period, Keler returned to Weimar to teach at the newly established Hochschule für Architektur und bildende Künste, where he continued to influence design education.
The Bauhaus-Wiege has been reproduced by the German furniture company Tecta since 1975, with Keler's approval. These reproductions have allowed the cradle's design to reach a wider audience, ensuring its place in the history of modern design.
