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ch-48-PPTaccessible.pptxArchitecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 48
De Stijl
1917 -- 1931
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
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De Stijl
Art & design movement founded by painters & architects in Holland, c. 1917
Strive to express universal concepts by removing, reducing, abstracting, simplifying
Dynamic asymmetrical balance of rectangles, planes, verticals, horizontals, verticals, primary colors, & black, white, gray
Called Neo-Plasticism
Principles characterize a spiritual order & harmony intended to transform society
Spreads ideas through De Stijl, its journal
Few works created but strong influence on Modern Movement
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Concepts
Seeks to reduce, simplify, abstract concepts of beauty & universal, not individual, responses
Reject visual reality, ornament, & style in favor of purity of form
Dynamism through balance of unequal opposites
Movement (the plastic) achieved through interactions of form & color instead of line
Advocate clean, pure, simple design language & lifestyle to bring order out of world’s disorder & universal harmony
Influences—M. H. J. Schoenmaeker; painter Piet Mondrian; avant-garde & modern art and architecture, such as Frank Lloyd Wright
Design building & contents for total unity
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48.1
“Composition in Red, Blue and Yellow,” 1930; Netherlands; Piet Mondrian. De Stijl.
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Characteristics and Motifs
No references to past or connection to visual reality
Abstract, man-made, no emotion, embraces simplicity & regularity, geometric unity, no dominate parts
Beauty: straight vertical & horizontal lines; right angles; red, blue, yellow, black, white, & gray
Machine vocabulary, flat shapes, unadorned surfaces, asymmetry
Two dimensional flatness achieves pure spatial relationships; translated in three dimensions by volumetric spaces & furnishing emphasizing solid-void relationships
Interpenetration of exterior/interior space
No decorative motifs
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Architecture
New language & vocabulary by taking apart traditional house; analyze it like object; abstract to eliminate traditional references; reassemble in new way
Cubical form but not solid—opens from inside to outside with solid/void relationships established by flat plans
Color articulates solid planes in opposition to voids or empty space
Most architecture is conceptual because clients will not accept it
Flat roofs, asymmetry, geometric forms, white or gray walls, details in primary colors, no ornament
Some model Wright’s Prairie houses
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48.2a
Schröder House, 1924; Utrecht, Netherlands; Gerrit Thomas Rietveld in association with owner Truus Schröder-Schräder. De Stijl.
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Long Description:
A house behind the Schroder house is house stands out in the neighborhood. The Schroder house has flat roof projects asymmetrically. The building has an asymmetrical arrangement of building forms. The black window trim separates solid and void areas. The white rectangular plane contrasts with the flat gray wall. The primary colors are used as architectural accents. The solid and void relationships appear throughout the building design.
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48.2b
Schröder House detail, 1924; Utrecht, Netherlands; Gerrit Thomas Rietveld in association with owner Truus Schröder-Schräder. De Stijl.
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Long Description:
The ground and first story have glass walls on the concrete pedestals. The glass walls are supported by iron frames. The iron frames have three different shades. The glasses are stained.
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48.2c
Schröder House, 1924; Utrecht, Netherlands; Gerrit Thomas Rietveld in association with owner Truus Schröder-Schräder. De Stijl.
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Long Description 1:
The first floor from left to right has a bedroom and a bedroom or workroom. Next to the bedroom, there is a bath and followed by a kitchen. Next to the bedroom or workroom, there is a living or dining room.
Long Description 2:
The ground floor from left to right has an entrance and Thall next to the entrance. A studio and reading room is left in the hall. A work, bedroom, and a sitting or bedroom are on the right to the hall.
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48.2d
Schröder House interior, 1924; Utrecht, Netherlands; Gerrit Thomas Rietveld in association with owner Truus Schröder-Schräder. De Stijl.
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Long Description:
The hall has a rectangular shaped flat white ceiling. It has a flat blue wall that is a vertical plane of color and a rectangular shape. The black trim delineates divisions and planes of color. It has a white sliding partition that separates spaces. The built in furniture merges with wall composition. The stairwell is partitioned on two sides. The red and blue chair continues the room design. The floor is divided into geometric planes of color that help define spaces.
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48.3
Café De Unie, 1924-1925; Rotterdam, Netherlands; J. J. P. Oud. De Stijl.
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Interiors
Emulate exterior—interpenetration & repetition of design elements
Houses—compact cubes in which interlocked volumes merge into complex organization
Floors, walls, ceilings highlighted by color, which merges structure, ornament & furnishings
Structural elements unified by repeating lines & forms
Form & color carefully considered in relation to each other
Architects & painters collaborate on color for interiors
Creates conflicts when colors overlap & deconstruct composition
Furnishings line walls so become extension of architecture
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48.4
Cinema Dance Hall, Café Aubette, 1928-1929; Strasbourg, France; Theo van Doesburg, Jean Arp, and Sophie Taeuber-Arp. De Stijl.
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Long Description:
The ceiling and walls are decorated with random geometrical patterns including triangles, squares, and rectangles. It has a balcony on the right wall. Two long horizontal iron frames hung from the ceiling via vertical rods. The horizontal frames have numerous lamps. The tables and chairs are arranged all over the hall. The doorways are rectangular. The sideboards are attached to the walls.
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48.5
“Example of a Coloristic Composition in an Interior,” 1919; published in De Stijl magazine, 1920; Theo van Doesburg. De Stijl.
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Long Description:
An interior view of a room has a ceiling with a checkerboard pattern. The walls and doors are rectangles. The tables and chairs with long seats are arranged in the hall.
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48.6
Lighting: Table lamp and hanging lamp, 1920s; Gerrit Thomas Rietveld. De Stijl.
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Furnishings & Decorative Arts
Conceived as one with architecture & interior
Structure, construction, balance of solid/void
Individual parts carefully placed for visual balance & harmony
All parts appreciated alone & in context within the piece
Sizes & construction of parts carefully considered
Primary color accents
Function less important than conveying De Stijl principles
Look machine made but little actually produced
Chairs, tables most important conveyors of ideas
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48.8a
Red and Blue Chair, 1918; Netherlands; Gerrit Thomas Rietveld. De Stijl.
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48.8b
Zig Zag Chair, 1934; Netherlands; Gerrit Thomas Rietveld. De Stijl.
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48.8c
Berlin End Table, 1923; Netherlands; Gerrit Thomas Rietveld. De Stijl.
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Long Description:
The Berlin end table has a circular bottom. Two rectangular boards are attached perpendicularly through the lap joint and mounted on the circular bottom. A rectangle horizontal top is mounted on the vertical joint boards. The circular bottom and the rectangular boards are shaded in two different colors.
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48.8d
Sideboard in beechwood and painted white aline, 1919; Netherlands; Gerrit Thomas Rietveld. De Stijl.
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Copyright
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