He conceived programs of furniture types with which entire homes could be furnished, including for the Weimar company “Bau- und Wohnungskunst”. The academy’s “furniture type catalogue” of 1928 thus includes for example furnishings for a rationally designed children´s room. His at once constructive and unpretentious designs were by all means innovative, as demonstrated by an armchair with an angular oak frame from 1928 that already presages the formal vocabulary of the 1950s. Although Dieckmann frequently employed high-grade woods, his furniture was still inexpensive thanks to standardization. When the Nazi Party first gained representation in the state government of Thuringia in 1930, the new director had to let the entire faculty go. One year later, Dieckmann became master at the School of Arts & Crafts in Burg Giebichenstein near Halle, where he directed the cabinetry workshop until being relieved of his post again in 1933. This era witnessed his first wicker and tubular steel easychairs (for Cebaso). In the 1930s – he lived in Berlin from 1939 – the now- m a rginalized designer did freelance work, including as adviser to Reich offices such as the “Beauty of Labour Bureau”. Resuscitated today after long years of oblivion, Erich Dieckmann – alongside Breuer and Ferdinand Kramer– is considered one of the big names in early series furniture design, whose pieces once again compete with Breuer’s for the highest prices at auction.