Gerrit Reitveld being one of the originators of the De Stijl movement, designed according to this theory. The Schroder House is a direct result of the elements of De Stijl as well as MHJ Schoenmaekers, in The New Image of the World who saw geometry, precision, and primary colors as a way to attain to reality, or an absolute truth. These are all aspects of DeStijl however, Schoenmaekers never attained this reality, and there seems to be an extent to which Schoenmakers theories are used. Part of the design process is the abstraction in the design the artistry of the artist, where geometry becomes abolished and the hand of the creator takes over. The De Stijl movement was a response to the past, rejecting the forms of old, it provided the world with new form, new experiences. It began a wave of creativity, a rebirth of form, and opened up a realm of nuances. It preceded the modernist movement of the Bauhaus, in which craft and design furthered this rejection of history and expression of from. If Gropius and others were considered the grandfathers of modernism then Rietveld and others are the fathers.
De Stijl entailed
-The stripping down of the traditional forms of architecture, furniture, painting, or sculpture into simple "basic" geometric components or elements. The composition from these separate elements of formal configurations, which are perceived as wholes, while remaining clearly constructed from individual and independent elements. -A studied and sometimes extreme asymmetry of composition or design. -An exclusive use of orthogonal (horizontal and vertical lines or elements) and the "pigment primary" colors (pure red, yellow and blue) Plus the neutral colors and tones (white, grey, black)1 Much of Schoenmaekers theories were directly linked to the De Stijl movement, the belief in these primary colors holding "cosmic" significance, as well as "a formal polarity of horizontal and vertical axes".2 Rietveld's "The Schroder House" was a direct...
Please join StudyMode to read the full document