Whether used as a simple stool, distinctive side table, bedside table, shelving unit or a mobile carrying unit for books and magazines, the Ulm Stool by Max Bill is a welcome design icon. It is now also available in color or in elegant walnut.
The Ulm stool was designed in 1954 by Max Bill, the first director of the Ulm School of Design HfG, in collaboration with Hans Gugelot for the students of the HfG . Because money was tight, the seating was to be created by the students themselves. The stool had the advantage of being extremely stable and easy to transport, allowing the students to use it as a carrying unit for their books and papers.
The design was focused exclusively on functionality: The round cross bar (originally from a broom handle) gives the stool stability and also serves as a carrying handle. Therefore, the stool is very versatile and can be used as seating in two different heights, side table or as a shelving unit, but also as a carrying unit, serving tray or as a table attachment. The Ulm Stool epitomizes the phrase ‘necessity is the mother of invention’.
Today the Ulm Stool is an absolute design classic! Its popularity has increased steadily in recent years, not only because of its versatility, but also because of its formal reserve. It can be found in public spaces such as museums, galleries, showrooms, offices, hotels, schools and the private sector.
In collaboration with Jakob Bill, the only child of Max Bill, a color palette has been compiled for the newly launched Ulm Stool, which was taken from the constructivist and concrete art paintings of Max Bill.
Seat: natural spruce wood
Side: natural spruce wood
Height: 44 cm
Width: 39.5 cm
Depth: 29.5 cm
Weight: 2.1 kg
- Natural Spruce (Original), round cross bar and foot base made of beechwood (according to original design)
- Stained, Birchwood, round cross bar and foot base made of beechwood
- Walnut lacquered, made entirely of Walnut.
- Dimensions in cm: 44 / 39.5 / 29.5 (H / W / D)
- Weight 2.1 kg (natural Spruce)
The Max Bill Collection is characterised by clarity, simplicity and mathematical precision.
Max Bill’s wooden furniture is the physical expression of his belief that functionality, as well as the economy of materials and design, should be combined with meeting form-related and aesthetic demands. Bill’s designs and products are based on qualities such as functionality, longevity and an economic use of materials.
For Max Bill, industrial design was of particular importance in the economic upturn during the post-war years and because of the widespread destruction left by the war: he saw industrial design as an opportunity to improve the environment with versatile products. Following the US example, the aesthetics of things were becoming important during this period. For the first time, exemplary products – most of which were ‘anonymous’ factory designs – were given a prominent place in the magazines. Authorities like Max Bill and Siegfried Giedion had a clear attitude: they despised any design that would only serve commercial interests and that, in so doing, would follow fashionable trends, thus fostering a throwaway mentality.