The Long Term Influences Of De Stijl Architecture

An architect’s intention on how his or her design is to be viewed can be misconstrued in a variety of different ways. For example, dissecting the compositional and formal design of a building, with or without knowledge of the architect’s actual intent, is completely up to the interpretation of the person or persons researching or viewing the design. In my own research about the compositional and formal design of the Margaret Esherick House, designed by Louis Kahn, I have come to realize, with the help of scholarly resources, the direct intention of Louis Kahn’s design; in which this paper will come to analyze and explain. While compiling research about the Esherick house, I came across a very informative book, The Houses of Louis Kahn, written by George H. Marcus and William Whitaker. The Houses of Louis

The eighteenth-century city was a place in which actual physical space was subjected to a complex mental layering of conceptual spaces, focusing on the design theory of architects as Boullee and Durand, with his charts. Which legacy was continued later on through the architecture of Paul Philippe Cret, Frank Lloyd Wright and Louis Kahn, some of the most outstanding modern architects of 18th-19th century. Furthermore, distinctive features of neoclassicism and outlines

In this paper, I choose to discuss three pieces of art from the 19th century Impressionist period and three from the Post-Impressionist period and how these six pieces of art compare to each style. Then I will draft a memo to the CEO of my company to describe the appearance, so that they will have an idea of what the art looks like and where it should be placed throughout the corporate offices. Next, we are going to explain the historical significance for each piece of artwork that I choose. Finally, I will descried to the CEO of my company how each piece of art matches the company’s overall image.

In mature form, its spatial structure resembled that of synthetic cubism. Generalized as a cultural aesthetic, it called for the evolution and refinement of type objects to a perfect standard.”

Piet Mondrian was born in The Netherlands on March 7, 1872 ("Piet Mondrian Biography, Art, and Analysis of Works"). Mondrian was a Dutch painter and when he first began creating works of art (mostly landscapes of his country), he did so by using geometrical order (Fiero, 18). By 1917 he had stripped his paintings of anything resembling the subject in which he was painting. This became known as De Stijl, or, The Style (Fiero, 18). Instead, he would use "rectangles laid out on a grid of horizontal and vertical lines, the three primary colors (red, yellow, and blue), and three values- white, grey, and black" (Fiero, 18). "He simplified the subjects of his paintings down to the most basic elements, in order to reveal the essence of mystical energy

As science was evolving, art and architecture were too forming new ideas and styles. Starting with Einstein, Newton, and Heisenberg- in regard to quantum physics and leaping into architectural advances, it is agreed that this was a revolutionary time for all who lived in this era. That being said, Cubism, Futurism, and Fauvism are important styles in modernistic art. Whether it is literature, poetry, song, or dance, these principles helped to shape the future and individual approach to create our own perspective. The abstract styles discussed, paved the way for Nonobjective art to make its mark on humanity and to make us feel and see uniquely. Not to mention, architecture and the International style that later developed, teaching us modern design. The international style gave us unique structures, distinctly showcasing new synthetic materials, floor plans, and roofs. As one can see, modernistic art provides just as an important part of our everyday life as

Modern art, as the intellectual reflection of social transformation, also attempted to form a new social consciousness, by introducing a new abstract language to demonstrate the understanding of the fundamental laws of the universe. Among all the avant-garde aesthetic approaches that were prevailing at the time, De Stijl, also known as neo-plasticism, a Dutch artistic movement founded in 1917 in Amsterdam, advocated the most radical rejection of the traditional artistic expression through its manifestation of mathematical geometry and ultimate

Frank Lloyd Wright and Walter Gropius are widely regarded as the prionneering masters of modern architecture.The Johnson Wax Building and Bauhaus as their symbolic and critical masterpieces shared similar style of form but different idea of interpreting design. Wright’s simplicity approach and Gropius ‘less is more’ idea are seemingly related, but varied by their self preference in most aspects.

In order to lead the reader into the topic minimalism and minimalist interior design the thesis starts with these two designs of Vincent Van Duysen.

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

Throughout the Villa Dall’ava, 1991, Rem Koolhaas ideologies have been deconstructed, reconstructed and reproduced such as it complies with Le Corbusier’s five ideas of modernism, where it employs the use of “pilotes”, roof terrace, the open floor plan, the free façade and the horizontal window to his design. These major elements are key to the modernist movement and the international style movement. Rem Koolhaas has made conflict with these key ideas such as the slanted columns as Le Corbusier’s idea was to use simple forms discussed by the early modernist. In a sense it holds these elements of deconstruction such an alien form within it design.

De Stijl, the Dutch modern art movement led by Theo van Doesburg, is not only a pioneering art movement but also a loose design team. On the one hand it gathers architecture Teachers, artists, painters, thinkers issued a journal; the other hand, there are many practical design work there. Style in 19 31 because Dossberg 's premature death and dissolution, but the style of the development of these principles in accordance with the principles of modern Western "fonts" have absolute impact, the other is more important is the Dusu Bo During his stay in Weimar from 1921 to 1923, he repeatedly communicated to the students and teachers of Bauhaus the principle of the creation of style, which indirectly influenced the modern design. The stylistic faction, the Dutch "style", also known as neoplasticism, was founded in Amsterdam in 1917 at the Dutch Art Movement. The style of the artists and architects in the narrow sense, the term style is used to refer to the work organization 1917 to 1931 restored into the essentials established in the style of the idea of the Netherlands. Proponents pure abstract and universal form and color; They simplify the visual composition in both portrait and landscape, using only black, white and primary colors (Jaffé, 1956).

The Bauhaus school was founded in 1919 in Weimar by German architect Walter Gropius (1883 - 1969). In 1923, Walter Gropius introduced the agreement between “creative artists and the industrial world”. The Bauhaus is most famous for the idea of combining forms and functions. They combined both fine arts and design elements to create a curriculum that trained artists and designers to be capable of producing both functional and aesthetic work. One of the main goals was to bring design and technology together. During the Bauhaus period, Fine art and craft were combined together and aimed toward problem solving for an innovative, modern and industrial society. Nowadays, the Bauhaus legacy continues in modern designs, such as minimalism, or design brands like IKEA. In this essay, I will analyze Bauhaus’s influence on modern design, including architecture and furniture design by exploring different examples from different periods of time.

There are many books, fine art prints, articles in journals and magazines about architectural photography by some excellent photographers, emphasising architecture’s visual strength, design and conceptual quality, without which there would be no challenges for the photographer to attempt to capture in the first instance. Architectural photography has an immense capacity to stimulate the wonder of the man-made world in a virtuoso manner. The intrinsic worth of a successful work of decorative art photography is that it can open up new perceptions. Through photography buildings exude a visual charge and imaginative possibilities beyond their everyday functions, giving the viewer an interesting and engaging ocular experience, and a visual understanding of the world.

The second chapter overlooks a series of art movements such as De Stijl, Bauhaus, Enlightenment, CIAM, and the work of famous architect Frank Lloyd Wright. This chapter attempts to find their position on senses and the cultural memory. The authors