De Steiji and Bauhaus Flashcards
1
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Pieter Cornelius (Piet) Mondrian (1872-1944, Dutch), Composition in Red, Yellow and Blue.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
2
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Mondrian, The Red Tree.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
3
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Mondrian, The Grey Tree.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
4
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Mondrian, Blossoming Apple Tree.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
5
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Vilmos Huszár (1884-1960, Hungarian), Front Cover for DeStijl newspaper.
c. 1918.
6
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- Photos of Gerrit Thomas Rietveld (1888-1964, Dutch), and Truus Schröder-Schräder (1889-1985, Dutch).
7
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- Rietveld, Schröder House.
- Utrecht, Netherlands. (Sometimes referred to as the Schröder-Schräder House.)
- She wanted complete reduction and abstraction
- open space seen and heard by children (exposure) - radical idea
8
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Rietveld, Schröder House.
- Utrecht, Netherlands. (Sometimes referred to as the Schröder-Schräder House.)
9
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- Rietveld, Schröder House. Interior
- Utrecht, Netherlands. (Sometimes referred to as the Schröder-Schräder House.)
- influence of Japanese screen - reconfiguring space
- bed should be able to fit into the room in at lest two different directions
- each room should have water supply and drainage
- each room should have a door to give an access to outside
10
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Rietveld, Schröder House. Dining Room
- Utrecht, Netherlands. (Sometimes referred to as the Schröder-Schräder House.)
11
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Rietveld, Schröder House. Study
- Utrecht, Netherlands.
- absolute abstraction and simplication of furniture
- space can be reconfigurable
- Bauhaus, International style
- Thomas Jefferson - Academic village, Bauhaus - guellatarinism
- efficiency
12
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Rietveld, Red and Blue Chair.
- Painted beechwood. LACMA
- abstraction
- paring down of the form of the chair
- Theory as a chair, Chair as a theory
- paring down to absolute basic, corner stones
13
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Rietveld, Zig Zag chair.
- Wood. Museum of Modern Art, New York.
14
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Rietveld, Schröder Table.
- Painted beechwood.
* inexpensive materials
15
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Rietveld, Utrecht chair.
1920s.
16
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Rietveld, sideboard.
- Stained beech wood and veneered plywood
17
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Rietveld, hanging lamp.
- Wood, glass, and tubular bulbs. Museum of Modern Art, New York.
18
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Robert van’t Hoff (1887-1979, Dutch), Henny House.
- Huis-ter-Heide, Netherlands.
19
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- Jacobus Johannes Pieter Oud (1890-1963, Dutch), Color draft for the façade of the Café De Unie (in Rotterdam).
- Nederlands Documentatiecentrum voor de Bouwkunst, Amsterdam.
- basic color
20
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Jacobus Johannes Pieter Oud (1890-1963, Dutch), Café De Unie.
- Rotterdam.
21
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- Gropius, Fagus Shoe Factory.
- Alfeld an der Leine, Germany.
- very different type of architecture of the period (ex) beaux arts)
- open space
- Bauhaus - house for building : the foundation of new style of design and architecture for the new world growing out of WWI
- consumer production - banned from making any war related production
22
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- Gropius, Fagus Shoe Factory, interior office.
- structural supports (skeleton) is inside
- Gropius is not an egalitarian
23
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Gropius, Bauhaus Building.
1925-26. Dessau, Germany.
- students meant to make prototype for mass production
- idea meant to grow economy back to activate factories - didn’t happen
- admired William Morris - production of well made object - the idea everyone should be able to enjoy the good design
24
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Gropius, Bauhaus Building. interior walkaway
1925-26. Dessau, Germany.
25
Gropius, Bauhaus Building. Masters' Houses (Duplexes)
1925-26. Dessau, Germany.
* very simple housing for masters
* simple furniture
* students became teachers also
* American called this style 'communist block architecture'
26
Gropius, Bauhaus Building. Interior of masters' houses
1925-26. Dessau, Germany.
27
Office of Walter Gropius
1923.
* simple, well made, affordable products
* steels and plastics were developed during WWI
* finding materials were difficult post war period
* meant for machine production but interested in William Morris, C.R. ashbee
* influence upto International style
* Louis sullivan - non load bearing structure
28
Joost Schmidt (1893-1948, German), Poster for 1923 Bauhaus Exhibition
29
Photo of the metal workshop at the Weimar Bauhaus.
1923.
30
* Karl J. Jucker and Wilhelm Wagenfeld,
* table lamp.
* 1923-24. Glass and metal.
* this is the modern version
31
* Otto Rittweger and Wolfgang Tümpel, tea infusers and holder.
* 1924. Nickel.
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* Marianne Brandt (1893-1983, German), “**Kandem**” flexible bedside light.
* 1928. Metal, nickel plate, and lacquer.
* Kandem factory
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* Marianne Brandt, teapot.
* 1924. Brass, ebony, silver-plated interior.
34
Brandt, ashtray.
1924. Brass and nickel-plate.
35
Marianne Brandt, tea and coffee service.
1924. Silver and ebony.
36
Marianne Brandt, “smoker’s companion.”
1920s. Metal and plexiglass.
every circumstance, simple objects
37
Photo of Marianne Brandt. wearing “Jewelry for a Metal Festival.”
38
Gunta Stölzl (1897-1923, German), hand-loomed rug.
1926-27.
abstract
39
Anni Albers (1889-1994, German), hand-loomed rug.
1926.
color palette
40
Marcel Breuer (1902-1981, Hungarian), Cesca chair.
1928. Tubular steel, bentwood, and caning.
inexpensive materials
clean objects
named his daughter
41
Marcel Breuer, Wassily chair (also known as Model B3 Club Chair).
1925. Tubular steel and fabric.
Wassily Kandinsky
Influenced on Barcelona chair
42
Erich Consemüller (1902-1957, German), photo of Bauhaus student.
Oskar Schlemmer (1888-1943, German), mask.
* mixed up industrial art
43
* Marcel Breuer, chair.
* 1935-36. Bent plywood.
* reminds Sitzmaschine, designed by Josef Hoffman (1908)
* not a recliner
* Bent wood furniture came from thonet
44
Ludwig Mies van der Rohe (1886-1969, German), Brno chair.
1930. Tubular steel and leather.
New thoughts on Education in Bauhaus
45
Marcel Breuer, nesting tables.
## Footnote
1925-26. Chrome-plated tubular steel and wood panels.
46
Alma Buscher (1899-1944, German), building blocks.
1924.
47
De Stiji
* New style for 20th century
* 1917 - 1928
* WWI (1914)
* Theo van Doesburg - Theosophy of new age, cosmos, cosmic rhythm
* Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white.
48
members of De Stiji believed
3 elements (beliefs)
* eliminate any past reference to architecture (architecture of the past is outdate)
* belief in the social role of architecture (Housing masses, environmental concerns - green design)
* A belief in the works of FLW
49
De stiji
* Embracing technology (15yrs earlier Victorian hated technology)
* Their work was intended as an expression of the future for a world experiencing enormous change and development both scientifically and politically. The advent of the De Stijl art movement has influenced many facets of the world we live in today.
