The Netherlands-based De Stijl movement embraced an abstract, pared-down aesthetic centered on basic visual elements such as geometric forms and primary colors.

1. History of
architecture III
1JA20AT038 – SANOBAR SEHER
1JA20AT044 – SNEHA K

2. DE STIJL
MOVEMENT
This Photo by Unknown author is licensed under CC BY.

3. INTRODUCTION

4. • Dutch for “the style,” De Stijl
is an art movementfounded in
the city of Leiden in the
Netherlands. From 1917 to
1931, De Stijl, also known as
neoplasticism, was a famous
modern art form that valued
abstraction and simplicity

5. In Dutch, “DE STIJL” means “The Style”, also
known as neoplasticism.
It is a school of art founded in Holland in
1917 (to 1931) typically using rectangular
forms and the primary colors plus black and
white and asymmetric balance.
The harmony and order was established
through a reduction off elements to pure
geometric forms and primary colors.
Red and Blue Chair designed
by Gerrit Rietveld in 1917

6. HISTORY
• From the flurry of new art movements that followedthe Impressionistrevolutionarynew
perception of painting, Cubism arose in the early 20th century as an important and
influential new direction. In the Netherlands,too, there was interest in this "new art".
• However, because the Netherlandsremained neutral in World War I, Dutch artists were not
able to leave the country after 1914 and were thus effectively isolated from the
international art world—and in particular, from Paris, which was its center then.
• During that period, painter Theo van Doesburg started looking for other artists to set up a
journal and start an art movement. Van Doesburg was also a writer, poet, and critic, who had
been more successful writing aboutart than working as an independent artist. Quite adept at
making new contacts due to his flamboyantpersonality and outgoing nature, he had many
useful connections in the art world.

7. objective
• To rebuild society
after WW1-
essential ordering
of structure.
• Construct an
ideal ‘model’ for a
new world.
• Achieving a
utopian perception
of spiritual
harmony.
• Would function
as a sign for ethical
view of society.
• To show that art
and design have
the power to
change the future.

8. STARTING OF DE STIJL
• In 1915 Van Doesburg started meeting the artists Met Piet Mondrianat Stedelijk Museum
Amsterdam
• While his stay at Laren, Piet M. met Bart van der Leck Van Doesburg also knew J. J. P. Oud
& Vilmos Huszár
• In 1917, cooperationof these artists, resulted in foundationof De Stijl
• In 1918, Gerrit Rietveld joined the group but Van der Leck left due to artistic differences of
opinion.
• NieuweBeelding (neoplasticism)was a term first coined in 1917 by Mondrian

9. ARTISTS AND
ARCHITECTS
Theo Van Doesburg
Piet Mondrian
Gerrit Rietveld
Bart van der Leck
Vilmos Huszár
J. J. P. Oud

10. THE O VAN DOESBURG
• A Dutch artist, who practiced painting, writing, poetry and
architecture.
• Founder and leader of De Stijl Movement.
• Complete abstraction of reality in his paintings.
• Promoted De Stijl across Europe.
COMPOSITION VII (THE
THREE GRACES)
EN.WIKIPEDIA.ORG
SIMULTANEOUS COUNTER-
COMPOSITION 1929
SLIDESHARE.NET

11. “CINÉBAL” AT THE AUBETTE IN STRASBOURG
• Together with Georges
Vantongerloo and Sophi e
Taeuber-Arp he designed the
decoration for the Café
Aubette in Strasbourg.
• Split up with his colleague,
Piet Mondrian in 1918 due to
disagreements.

12. CHARACTERISTICS
• Precise geometric forms of flat squares and rectangles.
• Play on positive and negative emphasis.
• Asymmetry.
• Colors: primary, black, white and gray.
• Horizontal and vertical lines.
• Paintings were never framed as they were believed to be intimate part of
the world
COMPOSITION WITH BLUE
AND YELLOW, PIET M. 1932
COMPOSITION NO. 10,
PIET M. 1942

13. ARCHITECTURAL CHARACTERISTICS
• Flat roof, asymmetry, geometric forms, white or gray
walls with details highlighted by primary colors.
• Compositions generally emphasize the separation of
planes, the application of primary colors, and the
spatial relationship of solids to voids.
• Rectangular shapes define the geometric repetition of
windows, doors, and blocks of color.
• Window sizes vary on an individual building from
large to small. They may be arranged in patterns or
one unit on a large wall.
• Flat roofs are typical, and distinctly different from
other structures.
SCHRODER HOUSE

14. FURNITURE
Furnitureand decorativearts areconceived as one with
the architectureand interior design.
Designers similarly emphasizestructure, construction,
proportion, and the balance between solid and void
relationships.
They carefully place individual parts to develop visual
balance and harmony so that all parts areappreciated
alone as well as in context with the whole furniturepiece.
Chairs and tables are the mostimportantconveyors of
concepts.
Furniturecomplements the architectonic character of an
interior through its emphasis on straightlines, rectangular
planes, and geometric forms.

15. RIETVELD
SCHRODER HOUSE

16. • Designed in 1924.
• A private residence until 1985.
• Architectural highlight of De
Stijl and iconic
• landmark in Utrecht.
• Still as visionary and eccentric
as it was when it was built in
the 1920s
• Designed by Gerrit Rietveld
• Continues to impress
architects and interior
designers with its innovative
solutions to prominent design
questions of its time.

17. • The flexibility of the interior
spaces and the obviously planar
quality of the house makes it
distinguishable and unique on
every level.
• The Schroder House is the only
building that was designed in
complete accordance with the
De Stijl style
• Which was marked by primary
colors and pure ideas.

18. • The Netherlands-basedDe Stijl
movement embraced an
abstract, pared-down aesthetic
centered in basic visual
elements such as geometric
forms and primary colors.
• Partly a reaction againstthe
decorative excesses of Art Deco,
the reduced quality of De Stijl
art was envisioned by its
creators as a universal visual
languageappropriateto the
modernera, a time of a new,
spiritualized world order.
• Led by the paintersTheo van
Doesburg and Piet Mondrian -
its central and celebrated
figures - De Stijl artists applied
their style to a host of media in
the fine and applied arts and
beyond.

19. • Rietveld was one of the movement's
leading exponents.
• The Rietveld Schröder Houseis an
embodimentof De Stijl.
• Characteristic features include
• The fluid transitions between
interior and exterior,
• The clean horizontal and vertical
lines and
• The use of all primary colors,
alongsidewhite, grey and black.

20. • Upon the death of Mr. SchroderSchrader, his
wife felt the need to move into a smallerhouse
with their three kids, where she would live
until her death in 1985.
• In 1924, Truus Schröder asked well-known
Utrecht furniture designerGerrit Rietveld to
designa new housefor her.
• A recently widowed mother of three, she
wanted a dwelling completely attuned to her –
• her unconventional ideas about what a home
should be. Having worked with Rietveld in the
past, she knew his disdain for tradition.
• Schröder played an important role in the
designprocess.
• She knew exactly what she wanted Simplicity
and A space that freed rather than constrained
her.

21. • Until then, Rietveld had created
mainly furniture and scale models.
• • His renowned Red and Blue
Chair, for example, was designed
around 1919.
• • Never before had he been
asked to design an entire house.
• • For Rietveld, Schröder's
project was a dream come true.
• • He pulled out all the stops,
trying out new ideas in keeping
with De Stijl.

22. Rietveld's ideal house was spacious, simple and
functional.
• He came up with all kinds of clever solutions to
achieve this.
• One such idea involved sliding walls on the
first floor.
• By day, this was an open space, but in the
evening, the Schröder family could split it up
into three separate rooms.
• There was one room for the daughters,
another for the son, and a living room with a
table and stove, giving everyone some privacy

23. • The two-story house
contains a transformable
kitchen/dining/living
area, studio space and
reading room on the
bottom
• And the second floor
contained bedrooms and
storage space, only
separated by portable
partitions.

24. • The flexibility of
space meant that
there was no
hierarchical
arrangement of
rooms in the floor
plan.

25. The collapsible walls upstairs positioned around a central staircase
were designed to provide the children with an option of pushing the
partitions in during the day for an open play space and closing them at
night for private bedrooms.

26. The three criteria given by
Mrs. Schroder about the
rooms for her kids stated that
A bed should be able to fit in
two different positions,
Each room should have
access to the water supply
and Drainage, and all should
have a door to access the
outdoors directly.

27. • The details were well planned by Rietveld
• And was prominent in other areas of the design, like specific paint colors
to distinguish different spaces or functions.
• It is obvious that the architect had previous experience making
furniture, especially when noticing the detail and functionality of the
window screen, portable partitions, and table made for the children.

28. An interesting example of this is the front door, where black paint is
used because Rietveld anticipated it would be accessed the most and
would therefore be easily soiled.

29. Another of Rietveld's clever ideas was the iconic corner window on the
top floor.
Both the large window and the small one perpendicular to it swing
open, dissolving the corner to make it feel like one is outdoors.

30. The staircase is concealed behind a sliding door.
• This created a quiet spot for the telephone in the hallway and also served to shut out the
cold.
• Rietveld also came up with the idea to use wooden panels as shutters for the windows.
• This creates a sense of peaceful security in the house.

31. Rietveld sought to make the most of the space in and around the house.
• He did this by incorporating three-dimensionality –
Height,
Width
Depth
– in all facets of the design. Take this lamp, for example.

32. The three-dimensionality can also be seen in his famous Red and Blue
Chair.
• This chair has become a symbol of De Stijl and
• It is the epitome of functionality, consisting of only 15 Beachwood slats
and 2 rectangular panels.

33. This three
dimensionality is equally
manifest in the lines of
the façade.

34. Rietveld Schröder House is on Prins Hendriklaan in Utrecht.
• Back in 1924, it was on the outskirts of the city.
• And opened up to only a few views worth framing.
• Quite literally so, because it looked out on nothing but a vast polder landscape on one
side.
• This beautiful view played a pivotal part in the design.

35. In fact, the view from the house was so important to Truus Schröder that, when the
land opposite was released for development in the early 1930s, she bought it right
away.
• She did not want to take any chances on what she saw from her window.
• Rietveld and Schröder designed two residential blocks to occupy what would later
become Erasmuslaan.
Click to add text

36. When a four-lane motorway and
viaduct were built across the front
lawn in the 1960s, Rietveld said
the house might just as well be
torn down
Since what linked the interior and
exterior had been destroyed.

37. Truus Schröder lived in the house from 1925 until her death in 1985.
• Initially with her three children, later with Gerrit Rietveld.
• Her favourite spot in the house was the first floor,
• Where she had the best view of the polder landscape and felt as if a weight had been
lifted from her.
• Because she spent so much time there, Rietveld installed a speaking tube that let her
talk to visitors at the door without going

38. Rietveld would remain involved with the house.
• Schröder even gave him a downstairs room to use as studio, where he worked on new designs.
• After his wife died in 1957, Rietveld moved in with Schröder.
• He lived there until his death in 1964.
• What makes the Schroder House an icon of the Modern Movement is its radical approach to
design, the use of space, and the purity of its concepts and ideas as represented in the De Stijl
movement.
• Its transformational quality of evenly matched spaces composed of independent planes
perfectly met the goals of the De Stijl movement.
• “As with his early chairs, Rietveld gave a new spatial meaning to the straight lines and
rectangular planes of the various architectural structural elements, slabs, posts and beams,
which were composed in a balanced ensemble.

39. The main structure of the house is of reinforced concrete slabs and steel profiles.
• Walls are made of brick and plaster; window frames, doors, and floors were made
from wood.
• To preserve the strict design standards about intersecting planes, the windows are
hinged so that they are only able to open 90 degrees to the wall.

40. • At her death, Truus Schröder left
the management of the house to the
Rietveld Schröder House
Foundation and the Centraal
Museum.
• To this day, visitors from every
corner of the globe can continue to
enjoy this seminal work of art.

41. CAFÉ AUBETTE

42. • L ’Aubette is an historical
building on Place Kléber in
Strasbourg, France.
• It was built by Jacques-
François Blondel in 1765–
1772.
• In 1926, three avant-garde
artists Theo van Doesburg,
Sophie Taeuber-Arp and Jean
Arp (or Hans Arp) were
commissioned by Paul
and Adré Horn to redecorate
and design the
Café Aubette in Strasbourg.

43. • Three artists were equally responsible for different sections of the
building.
• Theo van Doesburg was in charge of the two cafés and two dance
halls
• Sophie Taeuber for the entrance aisle, tearoom, and two bars, and
Jean Arp for the basement, the passage, and billiard room.
• all three artists worked together designing the stairwell.
• The work of the three artists had been called "the Sistine Chapel of
abstract art"

44. HISTORY BEFORE 1920
• L'Aubette originated from a monastic complex in the
thirteenth century.
• Most of the construction collapsed in the sixteenth century
and the remaining parts were used for a military purpose.
• In the eighteenth century, in order to underline and reflect
the contemporary French style, Blondel was commissioned to
re-build the remnants on Place Kléber, and it was then that
the new building, L’Aubette (firstly named as Obet), was
created.
• The new building continued to serve as a military garrison for
a long time thereafter.
• In the mid-nineteenth century, the main purpose of the
building changed and L’Aubette started to be used for
education and entertainment
• . However, in 1870, the building was destroyed by a fire.
• Only the complex's façade built by Blondel survived.
L’Aubette didn't receive much attention and was ignored until
the 1920s

45. Current
Aubette
• Nowadays, Aubette is an
artistic and historical
landmark with free
admissionon Place Kléber,
which is enjoyed by many
tourists.
• It has three major rooms
opened to the public.
• The facility includes the
theater, gallery, and café