AR30341: Classicism and the Foundation of Modern Design History

Rietveld Schröder House – Gerrit Thomas Rietveld

Jason Chan
University of Bath
 Completed in 1925, the Rietveld
Schröder House was the first and
only building that was seemingly
designed in full accordance with the
De Stijl theory and style. The small
family house commissioned by Mrs
Truus Schröder-Schräder, is a unique

Figure 1. Rietveld Schröder House – Front Elevation. creation and is regarded as one of
(Rietveld Schröder House) the icons of the modern architectural
movement. Its purity of ideas and concepts, all driven from the De Stijl movement, and
its flexibility in its spatial arrangements has influenced many architects, even until
present day.1 Thus, it is important to analyse how this significant piece of modern
architecture has been informed by the ideals of the architect, client, theories, and
precedents, in order to learn how and why it influences current and future
developments. Therefore, in this essay, I will firstly explore the personal motives of the
client and the architect, Gerrit Rietveld, then analyse how these aspirations formed
coherent design decisions. Secondly, I will divide the De Stijl theory into three key
concepts, and critically evaluate them in reference to how they are implemented into
architectural aspects of the house or subverted. Following this, I will explore the lineage
of the De Stijl movement and the Rietveld Schröder House in context to previous and
future styles and how this developed modern architecture. Lastly, I will explore how
aspects of the building influenced future developments, to therefore evaluate the
importance of the Rietveld Schröder House in the modern architectural movement.

It can be said that the widowed client, Mrs Truus Schröder-Schräder had a fundamental
influence on the house, as she had a clear vision of what a modern, independent
woman wanted the spaces to be.2 After the death of Schröder’s husband, who had
conflicting views to her, especially with regards to raising the children, she saw this as
an opportunity to express the way she wanted to live. Schröder had a desire for an open

1 Megan Sveiven, ‘AD Classics: Rietveld Schroder House / Gerrit Rietveld’, Archdaily, 2010, accessed 29
December 2019, https://www.archdaily.com/99698/ad-classics-rietveld-schroder-house-gerrit-rietveld.
2 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 61.
and spacious plan that allowed for parent and child interaction, whilst also
accommodating for private and focused tasks of daily life.3 Another requirement was
that each room needed a connection to the outdoors, to enhance the open atmosphere
and bring natural light into the spaces.4 These clear, reasoned and personal
perceptions of modern living, aided Rietveld in materialising them into a reality.5 When
commissioned for designing the house, Dutch furniture designer and architect, Gerrit
Rietveld was a principle member and advocate of the De Stijl modernist movement,
which consequently informed the design.6 Aside from the De Stijl theories, Rietveld’s
personal motives of expressing a unique environment, detached from traditional
principles of social and architectural nature, drove the design of the house, to create a
sense of freedom and choice.7

Rietveld introduced his previous concepts from furniture design into architecture,
involving the interaction between cantilevered, overlapping frames and planes to create
a new, distinctive environment of isolated elements through form and colour.8 The aim
of connecting each major room to the outdoors is implemented by the use of large
openings, in the form of openable windows and balconies, providing a direct relationship
between the interior spaces and nature. This contradiction with traditional architecture
with small openings, such as the neighbouring Dutch terraces, further emphasises the

break with traditional rules. 9 However, it was primarily the flexibility of spatial
arrangement that made the house unique for the current time. Rietveld originally drew
the upper floor with fixed partitions, separating the space into smaller, confined rooms.
Schröder, with the ideas of how she wanted to live, requested Rietveld to remove the

3 Alice T. Friedman, Women and the Making of the Modern House: A Social and Architectural History
(New Haven: Yale University Press, 2006), 74.
4 Megan Sveiven, ‘AD Classics: Rietveld Schroder House / Gerrit Rietveld’, Archdaily, 2010, accessed 29

December 2019, https://www.archdaily.com/99698/ad-classics-rietveld-schroder-house-gerrit-rietveld.

5 Friedman, 2006, 74.
6 UNESCO World Heritage Centre, ‘Rietveld Schröderhuis (Rietveld Schröder House)’, UNESCO, 2005,

accessed 30 December 2019, https://whc.unesco.org/en/list/965/.

7 Friedman, 2006, 66.
8 Friedman, 2006, 80.
9 John Hill, ‘Must-Know Modern Homes – The Rietveld Schröder House’, Houzz Inc, 2013, accessed 30

December 2019, https://www.houzz.com/magazine/must-know-modern-homes-the-rietveld-schroeder-

house-stsetivw-vs~6223284.
walls, to which he willingly did; resulting in a
space so open, that Schröder settled on the
idea of sliding and pivoting partitions. This
offered a large space for the family to bond,
and for the children to play, whilst having
the capability to divide the space into
smaller, private rooms for sleeping and
studying.10

The building’s ability to adapt to daily

activities and functional changes of people
with time, is what Schröder yearned for, and
it fittingly tied in with Rietveld’s idea of
freedom and choice. Through this feature
Figure 2. First floor plan showing spatial
of spatial flexibility, individuals are focused
arrangement – Top: sliding partitions closed,
on the tasks of daily life, and become Bottom- sliding partitions open.
(Plans of Architecture)
conscious of the environments and
conditions in which they require to operate. This established a modern awareness, that
the values of daily life are significantly dependent on architecture designed with a more
profound meaning in mind, responding to the needs of people with time.11 The
combination of Schröder’s requirements for modern living, and Rietveld’s artistic form
and ambition for change, worked together in harmony; to introduce captivating, mutual
ideas into modern architecture. It was this unique and innovative relationship of an
authoritative client and a respectful architect; who had his own creative vision, that led
to the publicity of the house, and helped shape the course of the modern architectural
movement.12

Renowned for possessing all the principles of the De Stijl movement, the Rietveld
Schröder House helped to advocate and express its theory and style. One year before
being commissioned for the house, Rietveld had painted his famous Red-Blue Chair
using primary colours inspired by the De Stijl movement. Thus, he saw an opportunity to

10 Friedman, 2006, 74.

11 Alice T. Friedman, Women and the Making of the Modern House: A Social and Architectural History
(New Haven: Yale University Press, 2006), 80-81.
12 Friedman, 2006, 81, 85.

Figure 3. Rietveld’s Red and Blue Chair
in the Rietveld Schröder House, showing
the De Stijl colour scheme. (Tonette
Pineda)
Figure 4. Artwork by artist and De Stijl
member, Piet Mondrian.
(Retroavangarda)
design the house using the same principles,
developing this style of work from furniture design
into architecture, with his Red-Blue chair being a
model and starting point.13, 14 The De Stijl
movement, established in 1917 as an art style,
advocated for a distinctive, geometrically abstract
form; with purity in colour and concepts, in the
hope for a new world of order.15, 16 The concepts
of De Stijl can be divided into three key
components – Form, Colour, and Universality over
Individuality.
De Stijl forms, developed from the concept of
pureness and simplicity, were associated with only
vertical and horizontal lines and planes,
considered to be the essential components of
form, therefore its representations could only be
composed of squares and rectangles. Such forms
avoided symmetry and comprised of a balanced
aesthetic of basic components, generated by
opposing directional qualities.17, 18 The massing of
the Rietveld Schröder House appears as a
configuration of perpendicular planes and
elements, which give the impression of being
independent and structurally unrelated to one
another.19 The asymmetry of rectilinear forms

13 The Museum of Modern Art, ‘Red Blue Chair’, MoMA, 2015, accessed 31 December 2019,
https://www.moma.org/collection/works/4044.
14 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 49.
15 Justin Wolf, ‘De Stijl Movement and Overview Analysis’, The Art Story Contributors, 2011, accessed 31

December 2019, https://www.theartstory.org/movement/de-stijl/history-and-

concepts/#concepts_styles_and_trends_header.
16 Bruno Zevi, The Modern Language of Architecture (Canberra: ANU Press, 1978), 31-33.
17 Justin Wolf, ‘De Stijl Movement and Overview Analysis’, The Art Story Contributors, 2011, accessed 31

December 2019, https://www.theartstory.org/movement/de-stijl/history-and-

concepts/#concepts_styles_and_trends_header
18 Susan A. Denker, ‘De Stijl: 1917-1941, Visions of Utopia’, Art Journal Vol. 42 (1982), 244.
19 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 69.
creates an unordered directional
balance to the building, which suggests
neither verticality nor horizontality in the
overall mass, thus emphasising the
aesthetical, dynamic qualities of the
individual elements. This same playful
quality is continued on the interior, with
every aspect purely consisting of
Figure 5. Rietveld Schröder House – South Corner,
rectilinear forms, suggesting a unity
showing De Stijl forms.
between the interior and exterior, with (Rietveld Schröder House)

some interior elements even continuing out of the building.20 The individual spaces are
implied through the shapes and planes themselves, utilising the distinct boundaries to
identify the negative space. This absence of mass is most noticeable in the corner
window, which if opened, seems to dissolve any structural support, therefore providing
an uninterrupted association to the landscape and nature.21

Figure 6. Rietveld Schröder House – First floor Figure 7. Rietveld Schröder House – First floor,
interior showing rectilinear forms of primary colour. showing opened corner window. (50Museums)
(Rietveld Schröder House)

From this, it is evident that the Rietveld Schröder House inherits its elevational visual
qualities from De Stijl, a balance and interaction of equal components to form an overall
composition. However, in terms of three-dimensional massing, it was Rietveld’s own
input from his furniture design; breaking up the mass using negative space formed by

20 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 68.
21 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 69.
individual components.22 With this house, Rietveld not only employed the principles of
De Stijl, but he introduced the theory into architecture through his own ideas of massing,
thus paving the way for future buildings into what was primarily a two-dimensional art
form.

Colour in De Stijl representations exists in only the primary colours and non-colours,
further enriching the purity and simplicity as a reduction to the essentials, but in the
visual sense.23 Since Rietveld’s early work, he had the idea to incorporate colour into
his designs to emphasise the structure by distinguishing them visually and masking their
material aspects.24 It was also an expression of his belief for freedom and choice, by
decorating a building in such a way that was unusual but provided a fresh and
memorable example for its time.25 However, his
decision to use primary colours was most likely
driven by De Stijl principles, similar to his Red-
Blue chair.26 Most of the exterior is painted
either grey or white, highlighting the coloured
elements, which are all slender and have a
strong directional quality, drawing attention to
the three-dimensions. The interior uses colour
to isolate the planes, and indicate a change in
environment or direction, without the use of
physical means. The coating of colour on
stuccowork over the brick, timber and iron
completely hides the core materiality, resulting
in a sense of consistency in texture and
character throughout the whole house. With all
Figure 8. Rietveld Schröder House – South- evidence of structural materiality disguised,
west elevation, showing coloured
components. (Wikimeida commons) several authors, including Walter Gropius,

22 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 70.
23 Justin Wolf, ‘De Stijl Movement and Overview Analysis’, The Art Story Contributors, 2011, accessed 31
December 2019, https://www.theartstory.org/movement/de-stijl/history-and-
concepts/#concepts_styles_and_trends_header.
24 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 61, 68.
25 Alice T. Friedman, Women and the Making of the Modern House: A Social and Architectural History

(New Haven: Yale University Press, 2006), 66.

26 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 49.
mistook the house to be of a concrete structure. This uniformity in colour and finish
directs the focus towards spatial perceptions and experience, which was a huge
deviation from the principles, ‘honesty of construction’ and ‘truth to materials’, strongly
advocated in the first two decades of the twentieth century.27 Therefore, encouraging a
change to the face of modern architecture.

The De Stijl movement had an aspiration to create a new era of harmony and
universality, as opposed to individuality, in a way to seek order in the world, after the
devastating events of World War I.28 It was believed that the association between these
pure forms and colours were the symbol of harmony and a universal language, and that
individuality of the artist should be disregarded.29, 30 It is clear that the Rietveld
Schröder House is contrastingly different, and is an embodiment of the personal values
of Schröder and her ways of life.31 Although the Rietveld Schröder House incorporates
the aesthetics of De Stijl, the special experiences were not driven by the utopian ideals,
but by the decisions of the client. It is essentially the nature of this type of commission
that led to the highly personal design, making it impossible to omit individuality.

From these points discussed, it may seem appropriate to question whether the Rietveld
Schröder House is truly a complete materialisation of the De Stijl tenets. Contradictory
to Jean Badovici and Theo Van Doesburg, who believed the house is a perfect
realisation of the De Stijl ideas, Rietveld always denied this claim and accentuated the
resemblances of the house to his own furniture designs.32 However, the amount of De
Stijl, or of Rietveld’s own ideas that are influential to the design, is perhaps irrelevant. It
is more appropriate to question how these influences were pivotal for the development
of modern architecture. When the De Stijl movement was established in 1917, neo-
Gothic and Art Nouveau styles were in decline, and modern architecture was in its
earliest developmental stages of introducing functionalism and minimalism. During the

27 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 68.
28 Michael White, De Stijl and Dutch Modernism (Manchester: Manchester University Press, 2003), 13-15.
29 Justin Wolf, ‘De Stijl Movement and Overview Analysis’, The Art Story Contributors, 2011, accessed 2

January 2020, https://www.theartstory.org/movement/de-stijl/history-and-

concepts/#later_developments_header.
30 Susan A. Denker, ‘De Stijl: 1917-1941, Visions of Utopia’, Art Journal Vol. 42 (1982), 243.
31 John Hill, ‘Must-Know Modern Homes – The Rietveld Schröder House’, Houzz Inc, 2013, accessed 2

January 2020, https://www.houzz.com/magazine/must-know-modern-homes-the-rietveld-schroeder-

house-stsetivw-vs~6223284.
32 Ida van Zijl, Gerrit Rietveld (London: Phaidon Press Limited, 2010), 68.
completion of the Rietveld Schröder House in 1925, modern architecture was beginning
to expand, replacing the neo-Gothic and Art Nouveau styles of heavy decoration and
ornamentation.33 Due to De Stijl and Rietveld advocating for a completely new style of
abstraction, there were no preceding architectural theories like this, therefore it can be
said that the De Stijl movement was the precedent for a revolutionary modern
movement, the Bauhaus.

The Bauhaus, founded by Walter Gropius in 1919, visually expressed similar geometric
qualities, inspired by the concepts of uniformity and asymmetry from De Stijl.34 Most
notably, Mies van der Rohe, the last director of the Bauhaus architecture school, was
influenced by the pure planar forms and colour of De Stijl, and the flow of space
responding to the new needs of modern life from the Rietveld Schröder House.35 It is
evident that Mies’ 1923 plan for a
brick country house inherits the
vertical and horizontal elements from
De Stijl, and incorporates the open,
flowing spaces from Rietveld.36
Similarly, in Villa Tugendhat,
completed in 1930, Mies blurs the
boundaries between its individual
functional spaces by suggesting
boundaries in an open space, and
Figure 9. Plan of Mies van der Rohe’s ‘Brick Country
House’, showing relations to De Stijl forms and flowing utilises large glazing to enhance the
spaces from Rietveld. (ArchiTakes)
transparency of the form, similar to
Schröder’s house.37 Furthermore, Rietveld’s layering of subtly divided spaces among an
overall open space and the expression of individual components appealed to Mies,

33 Wikipedia, ‘Timeline of Architecture’, Wikipedia, 2019, accessed 2 January 2020,

https://en.wikipedia.org/wiki/Timeline_of_architecture.
34 Alfred H. Barr Jr, ‘De Stijl’, The Bulletin of the Museum of Modern Art Vol. 20 (1952), 10.
35 Anthony Zonaga, ‘De Stijl – Abstraction in Architecture’, Academia, 2013, accessed 2 January 2020,

https://www.academia.edu/5187702/De_Stijl_-_Abstraction_in_Architecture.
36 George Dodds, ‘Brick Country House Project: Mies van der Rohe’, Academia, 2017, accessed 2

January 2020,
https://www.academia.edu/34131771/BRICK_COUNTRY_HOUSE_PROJECT_Mies_van_der_Rohe.
37 Daniela Hammer-Tugendhat, ‘Ludwig Mies van der Rohe: Tugendhat House’, (Wien: Springer-Verlag,

1998), 18.
which aided his design for the iconic
1929 Barcelona Pavilion.38, 39 Another
important example of succeeding
modern architecture is the 1949 Eames
House, designed by Charles and Ray
Eames. The use of black, white and
primary colours on the front façade’s
grid refers to the colours and geometric
forms of De Stijl and Rietveld.40 In
addition, the use of sliding interior Figure 10. Front elevation of the Eames House,
California, showing geometric forms and primary
doors and windows generate a sense colours. (Meena Kadri)
of flexibility and flowing of space,
which could adapt to the needs of the couple as well as their guests.41 Charles Eames
mentioned that the house is ‘a background for life’, much like Schröder’s house was for
her.42 The influences of Rietveld on these pioneering buildings helped to shape and
define the perceptions of modern architecture today, and what it means to create
spaces for the current needs of people. Therefore, it is evident that the Rietveld
Schröder House has successfully conveyed its visual features of the De Stijl movement
and its modern, spatial arrangements, relevant to the architecture we produce in the
present time.

By exploring how the Rietveld Schröder House was designed in accordance to ideals of
the architect, client and theory, we can conclude which aspects were influential to future
developments, and evaluate the significance of the house in the modern architectural
movement. Schröder’s aspiration for a family home marked a change in modern
architectural perception, with the ability to manipulate and change an environment

38 Mark Favermann, ‘Mies van der Rohe’s 1929 Barcelona Pavilion’, Berkshire Fine Arts, 2010, accessed
2 January 2020, https://www.berkshirefinearts.com/01-11-2010_mies-van-der-rohe-s-1929-barcelona-
pavilion.htm.
39 Bruno Zevi, The Modern Language of Architecture (Canberra: ANU Press, 1978), 35.
40 Petra Bjelica, ‘The Eames House – A modernist beauty of residential housing’, Walls with Stories,

2017, accessed 2 January 2020, http://www.wallswithstories.com/architecture/the-eames-house-a-

modernist-beauty-of-residential-housing.html.
41 Devanshi Shah, ‘Iconic House: The Eames House, Case Study 8’, Architectural Digest, 2018, accessed

2 January 2020, https://www.architecturaldigest.in/content/iconic-house-eames-ray-charles-eames-los-

angeles/#s-cust0.
42 Edwin Heathcote, ‘Lives lived in parallel’, Financial Times, 2013, accessed 2 January 2020,

https://www.ft.com/content/f5875836-96ce-11e2-a77c-00144feabdc0.
specifically for daily tasks, raising awareness of the environments and conditions in
which they require to operate. The style of De Stijl was given a practical application into
a three-dimensional form through the house, publicising the face of the movement, thus
paving the way for future buildings in this style. Contrary to the accepted fact of
reflecting all the De Stijl principles, it is evident that the Rietveld Schröder House
contradicts the utopian ideals of the movement with individuality. However, this is
irrelevant, in the fact that the individuality symbolised the authority of the client, and that
the house was a personal reflection of its passionate creators. It was this unique
relationship and commitment between the architect and client that captivated people
from around the globe and helped to solve the modern architectural challenges of living
in the present.
Bibliography

Books and Articles:

Barr Jr, Alfred, ‘De Stijl’, The Bulletin of the Museum of Modern Art Vol. 20 (1952)

Denker, Susan, ‘De Stijl: 1917-1941, Visions of Utopia’, Art Journal Vol. 42 (1982)

Friedman, Alice, Women and the Making of the Modern House: A Social and
Architectural History (New Haven: Yale University Press, 2006)

Hammer-Tugendhat, Daniela, ‘Ludwig Mies van der Rohe: Tugendhat House’, (Wien:
Springer-Verlag, 1998)

Van Zijl, Ida, Gerrit Rietveld (London: Phaidon Press Limited, 2010)

White, Michael, De Stijl and Dutch Modernism (Manchester: Manchester University

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yLJNU7-8yTa48-vmPf-gK1SA-8yTa68-8yWfcQ-8yTac6-8yWf2S-8yTacR-8yTa74-
8yWf4C-z4kEL2-8yWf7L-3TVJk-z23k5A-y7tdpM-z23tKw-y7t2Fx-6paYty-yLQ7MR-fff73-
yLQike-nJVt95-y7sTfV-yLKnx1-z4kCJB-aL9BoF-3TVHk-3TVH3-3TVHy-3TVGH-
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