Gerrit Reitveld’s Schroder house is one of the only forms of architecture in the style of De Stijl movement. De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. To create these pieces of art they would only use the three primary colours along with black, white and grey. The precedent for the Schroder house is the Robie house by Frank Lloyd Wright.
In 1893 there was the world Columbian exhibition in Chicago where for the first time people could see the Architecture of Japan in the form of Ho-o-Den pavilion. Frank Lloyd Wright went to see this exhibition and as Fazio, Moffett and Wodehouse inform us “Lloyd Wright had been drawn to the disciplines of Japanese design when forming his own architectural language” (2007). The living space was completely open plan as Wright says “eliminating the room as a box and the house as another box”. In the building there is no cookie punched windows like there has been for decades. Instead there is a series of planes; the roof itself is one big plane and also a completely separate element. All of these elements were brought forward onto the Schroder house. “the building is formed from intersecting planar walls detailed in such a way that some of them appear to hover in space, while others extend horizontally, and still others join to define thin volumes” Fazio, Moffett and Wodehouse (2007).
Pablo Picasso and Georges Braque created the cubist movement in the early 20th century. Picasso’s Le Guitariste 1910 is a complete abstraction of the form of a guitarist playing. The abstraction is much more inspirational than the literal as it gets a more emotive reaction out of a person. The cubic painting makes ones perception to be shifted as there is no single point perspective in the painting. This was utilised in the Schroder house as there is no single point in which ones eyes are set to focus on.
The Dutch De Stijl Painter, Pier Mondrian started life as a literal, landscape painter. He then “began a gradual process of abstraction that led him to produce frameless panels laid out in grids, with squares and rectangles painted in only the three primary colours.” Fazio, Moffett and Wodehouse (2007). He was very inspired by the works of cubist artists like Picasso “with the help of cubism, he had managed to simplify the language of painting to the point where he used combinations of vertical and horizontal lines.” Fazio, Moffett and Wodehouse (2007). Mondrian believed that abstraction was the only way to see objects in their purest form. It takes only one person to push the boundary which in turn causes a catalyst for change in the way we think, design and live. The Schroder house does this to, it abstracts the form of a normal house to create the long planar elements which hold the completely open plan within, and where the internal partition walls could be rearranged to create separated enclosed spaces. Reitveld, also being a member of the De Stijl movement, used the method of trying to get the purest method of Architecture and was the first person to create it in the 3d form. He also reiterates this idea of having an abstract building by using the De Stijl’s colour scheme throughout his building which was a completely revolutionary idea because up until now the buildings around Utrecht were all made from masonry. Fazio, Moffett and Wodehouse also explain to us that “There is no single axis or simple symmetry: rather one part is held in tenuous, dynamic and asymmetrical relationship to the other, as had been suggested in Mondrian’s painting.” (2007).
The three different sources influence Reitveld’s way of designing the Schroder house and whether a person likes it or not, it effectively creates an emotive response to it. Reitveld successfully expresses the beliefs of the De Stijl movement and creates Architecture in its purest form.
In 1893 there was the world Columbian exhibition in Chicago where for the first time people could see the Architecture of Japan in the form of Ho-o-Den pavilion. Frank Lloyd Wright went to see this exhibition and as Fazio, Moffett and Wodehouse inform us “Lloyd Wright had been drawn to the disciplines of Japanese design when forming his own architectural language” (2007). The living space was completely open plan as Wright says “eliminating the room as a box and the house as another box”. In the building there is no cookie punched windows like there has been for decades. Instead there is a series of planes; the roof itself is one big plane and also a completely separate element. All of these elements were brought forward onto the Schroder house. “the building is formed from intersecting planar walls detailed in such a way that some of them appear to hover in space, while others extend horizontally, and still others join to define thin volumes” Fazio, Moffett and Wodehouse (2007).
Pablo Picasso and Georges Braque created the cubist movement in the early 20th century. Picasso’s Le Guitariste 1910 is a complete abstraction of the form of a guitarist playing. The abstraction is much more inspirational than the literal as it gets a more emotive reaction out of a person. The cubic painting makes ones perception to be shifted as there is no single point perspective in the painting. This was utilised in the Schroder house as there is no single point in which ones eyes are set to focus on.
The Dutch De Stijl Painter, Pier Mondrian started life as a literal, landscape painter. He then “began a gradual process of abstraction that led him to produce frameless panels laid out in grids, with squares and rectangles painted in only the three primary colours.” Fazio, Moffett and Wodehouse (2007). He was very inspired by the works of cubist artists like Picasso “with the help of cubism, he had managed to simplify the language of painting to the point where he used combinations of vertical and horizontal lines.” Fazio, Moffett and Wodehouse (2007). Mondrian believed that abstraction was the only way to see objects in their purest form. It takes only one person to push the boundary which in turn causes a catalyst for change in the way we think, design and live. The Schroder house does this to, it abstracts the form of a normal house to create the long planar elements which hold the completely open plan within, and where the internal partition walls could be rearranged to create separated enclosed spaces. Reitveld, also being a member of the De Stijl movement, used the method of trying to get the purest method of Architecture and was the first person to create it in the 3d form. He also reiterates this idea of having an abstract building by using the De Stijl’s colour scheme throughout his building which was a completely revolutionary idea because up until now the buildings around Utrecht were all made from masonry. Fazio, Moffett and Wodehouse also explain to us that “There is no single axis or simple symmetry: rather one part is held in tenuous, dynamic and asymmetrical relationship to the other, as had been suggested in Mondrian’s painting.” (2007).
The three different sources influence Reitveld’s way of designing the Schroder house and whether a person likes it or not, it effectively creates an emotive response to it. Reitveld successfully expresses the beliefs of the De Stijl movement and creates Architecture in its purest form.
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