Gerrit Rietveld

Introduction World War I (1914-1918), as one of the most destructive global conflicts that ever happened in human history, has not only left 17 million hot-blooded idealistic young men returning home in urns of cold cremation ashes, buried in tears of their heartbroken parents, but also has left the post-World War I society haunted by people’s profound doubt towards the past as a source of barbarous and inhuman atrocities. Therefore, instead of looking back to the past that was significantly wounded

The Buhrich House II was designed and built between 1968-1972 by Hugh Buhrich and served as the families home until his death in 2004. Situated in Castlecrag in the North Shore of Sydney it is considered one of the finest example of modern houses in Australia with historic, aesthetic, cultural and social value. The house embodies through design a particular evolution of international influences of Modernism in the 20th century and is a “intensely personal” project having a direct link to the architects

In this essay I am going to talk about one theme of Modernist, looking at the different views of designers in two different books which are ‘Form Follows Function’ by Susan Lambert from 1993 and the second book is Modernism by Wilk Christopher. The Modernist theme I had choose is ‘Form Follows Function’. Form follows purpose, use is a sense of right connected with modernist buildings and structure design and to do with industry design in the 20th hundred. The general rule is that the form of a

building in Biltstraat. Truus in 1924, commissioned the Rietveld Schröder House. The architect that would work for the building of this house was Gerrit Rietveld who she had previously worked with in the design of a room in her home. While Truus had no experience or training as an architect or designer she had a clear vision in the way that she wanted to live her life and her surroundings which translated to Truus along with Gerrit Rietveld designing much of the equipment and built in furniture for

of the De Stijl Architecture. They were designed entirely by Gerrit Rietveld between 1919-1924. He was the main exponent of the movement. This paper will present an analysis on how Rietveld was able to create a new

art that didn’t reflect the dark moments of the war. The Schroder House and its furniture are one of the best and true example of the De Stijl Architecture. They were designed entirely by Gerrit Rietveld between 1919-1924. He was the main exponent of the movement. This paper will present an analysis on how Rietveld was able to create a new idea for furniture pieces using the principles of the De Stijl movement by comparing the Red and Blue Chair, the Schroeder Table and the interior of the Schroeder

structure of the chair was designed to have the function and cinfitavke of the chair using only simple geometric shapes. The method of Louis and Gerrit are quite similar as they both were the structure of their design as a decorations too. They both not just wanted to have good functional designs but also make the design interesting in some way. Gerrit Rietveld’s chair, also have the organic shape as Louis Sullivan was talking about in his essay about form follows function. Louis Sullivan, "shape

was designed by the architect Gerrit Thomas Rietveld. It was commissioned by Ms Truus Schröder-Schräder, and built in 1924 in Utrecht. The Designer Gerrit Thomas Rietveld lived in Utrecht, the Netherlands and was qualified as a cabinet maker. In 1917 Rietveld set up his own furniture store, this gave him the opportunity to create furniture to his very own design. He was part of an early 1920’s movement called De Stijl (Dutch for Style.) From 1930 Rietveld worked on his own as an independent

their artwork would open up space, instead of enclosing space. Gerrit Rietveld showed these same defining characteristics of the De Stijl art in his famous chair. His chair completely went against the traditional, or the expected, elements of a normal chair. “Both the arms and the base of the chair are insistently locked in a vertical and horizontal grid.” The seat and the back of the chair were used to help create a more open space. Rietveld also only used

together, of course” are the words of Truus Schroder that live on today through the house that she designed alongside Gerrit Rietveld, the renowned Dutch furniture designer and architect. As a widow, Truus had ideas of family life, specifically that of her children’s upbringing, with which her late husband didn’t necessarily agree. Soon after his death she designed her own home with Rietveld that would embody her ideals fully. She designed her home in a way that contained both unique special arrangement