The famous preliminary course taught by Walter Gropius and Josef Albers, a basic training lasting around one year that allowed students to experiment freely with colours, shapes and materials, was an essential part of the Bauhaus apprenticeship. Josef Albers (1888-1976) already displayed an extraordinary artistic talent at a young age, so that Walter Gropius appointed him as a junior master even before his final apprenticeship exam. From surface to space – this experimental approach later became one of the key assignments in Joseph Albers’ Bauhaus preliminary course.
The concentric circles of the 1926 Saturn lamp are based on this precept. One of his best-known students was Ati Gropius, Walter Gropius’ daughter, who supported Tecta’s work constructively for decades. The Saturn desk lamp constituted a fundamental design with nothing wasted, based on the design principles of the Bauhaus master and his concept of “economy of form”. A further challenge by Josef Albers in 1926: “How can I create a beautiful three-dimensional structure out of a piece of paper with nothing wasted?”
Tecta had initially conceived “Saturn” as a pendant lamp based on a design by student Arieh Sharon from 1926. The desk lamp followed in 1998. Until this very day, the three-dimensional sculpture of the SATURN lamp is produced by laser cutting in Lauenförde out of flat two-dimensional sheet steel – still distinctively with nothing wasted. The lamp glows like a candle, creating a festive atmosphere. It uses a minimum of material and underlines the lighting philosophy with its streamlined sheet steel. Both the desk and pendant versions are licensed by the label of the Bauhaus Archives.