DE-STIJL

GROUP MEMBERS:
DHRUV YADAV
NOOPUR PANERI
RADHIKA DANGAYACH

DE-STIJL
Dutch for The Style ( also

known as neoplasticism )
A Dutch artistic movement
founded in 1917 in Netherlands.
Theo Van Doesburg, who was
a painter, writer and a poet
started this art movement.
He started a journal named
De-stijl which was looked
after by a group of artists and
architects.
Theirs was a utopian
philosophical approach to
aesthetics, centered in
publication which presented
their ideas and designs.

Piet Mondrian, Composition With

Yellow, Blue and Red, 1939-42.

PRINCIPLES

De-stijl sought to express a new

utopian ideal of spiritual harmony
and order.
They advocated pure abstraction
& universality by a reduction to
the essentials of form & colour.
They simplified visual
compositions to the vertical and
horizontal directions.
Used only primary colours: red,
yellow and blue along with three
primary values: black, white and
grey.
Piet Mondrian, Broadway
Boogie Woogie, 1943.
Goal: to create a precise, mechanical order
lacking in the natural world.

Used only rectangular forms.

The works avoided symmetry
and attained aesthetic balance by
the use of opposition.

INFLUENCES
De-stijl was influenced by cubist painting
as well as by the myticism.
It was also influenced about the ideas of
ideal geometric form.
The works of De-stijl influenced Bauhaus
and International style of architecture.
It also influenced clothing and interior
design.
It however, did not follow the general
guidelines of an ism (cubism, futurism,
surrealism)

Matt Curless,
Mondrian Chair, 2005.
NEO-DE STIJL

IMPORTANT FEATURE
In many of the groups three-dimensional
works, vertical and horizontal lines are
positioned in layers or planes that do not
intersect, thereby allowing each element to
exist independently and unobsructed by
other elements.
This feature can be found in Rietveld
Schroder House and The Red & Blue
Chair.

Gerrit Rietveld
De Stijl Chair, 1917.

Schroder House

CONTRIBUTERS OF NEOPLASTICISTS
Theo Van Doesburg (Painter, Designer and Writer)
Piet Mondrian (Painter)
Vilmos Huszar (Painter)
Bart Van Der Leck (Painter)
Gerrit Rietveld (Architect and Designer)
Robert Vant Hoff (Architect)
J.J.P. Oud (Architect)
Cornelis Van Eateren (Architect)
Jan Wils (Architect)
Anthony Kok (Poet)

PAINTINGS
De-stijl art movement had just one goal: to make
an art that was as simple and as basic as
possible.
They wanted to distill art to a level of almost
scientific precision and perfection.

PAINTING BY THEO VAN

DOESBURG

Composition and balance played a huge part in

their work
De-stijl art movement fairly influenced for the
next few decades of modern design and modern
architecture.
De-stijl paintings are easily recognizable by their
squares, rectangles and limited colours- primary
colours.
Piet mondrian didnt use diagonal lines and green
colour and he came up with the official name of
this new art called Neo-plasticism

PAINTING BY PIET
MONDRIAN

PAINTINGS BY THEO VAN DOESBERG

Mondrian, Evening, 1908.

Mondrian, Horizontal Tree, 1911.

Mondrian, Flowering Tree, 1912.

Mondrian, Composition in Blue, Gray and Black, 1913.

DE-STJL ARCHITECTURE
Beyond the paintings of Piet Mondrian, De-stijl is also known for its
distinctive architecture.
In fact it was through architecture that De-stijl finally became known in
Europe.
De-stijl architects managed to build a few private homes.
The absolutism inherent in De-stijl could be linked practical in
architecture, that is mass-produced elements allowed architecture to
achieve a uniform, stripped-down reduced look.
Mondrian could envision that with Neo-plasticism the abstract
picture will soon disappear as we transfer its plastic beauty to the
space around us through the organisation of room into colour areas.
Some of the architects of De-stijl were the followers of Frank Llyod
Wright.

Gerrit Rietveld, Schroder House, 1923-24.

SCRODER HOUSE
Built in 1924 by Dutch achitect Gerrit
Rietveld.
The owner of the house Mrs. Truss
Scroder Schrader wanted the house
to be preferably designed without
walls.
She envisioned a house that was
free from association and could
create a connection between the
inside and outside.
The house is one of the best
example of De-stijl architecture and
arguably the only true De-stijl building.
The house is elementary, economic,
functional, formless, unmonumental,
asymmetry, afrontality and antidecorative.

ARCHITECTUTRE
GROUND FLOOR
The scroder house both inside
and outside consists a radical
break.
Its a two-storey building.
Inside there is no static
accumulation of rooms, but a
dynamic , changeable open
zone.
The ground floor can still be
termed traditional; ranged around
a central staircase are kitchen
and three sit/bed-rooms.

GROUND FLOOR PLAN

ARCHITECTUTRE
UPPER FLOOR
The living area upstairs , stated as being
an attic to satisfy the fire regulations, in fact
forms a large open zone except for a
separate toilet and a bathroom.
Rietveld wanted to leave the upper level
as was Mrs. Schroder , however, felt that
as living space it should be usable in either
form, open or subdivided.
This was achieved with a system of sliding
and revolving panels.
When entirely partitioned-in, the living
level comprises three bedrooms, bathroom
and living room.
In- between this and open state is a wide
variety of possible permutations, eh
providing its own spatial experience.

UPPER FLOOR PLAN

ARCHITECTUTRE
The facades are a collage of planes and lines whose components are
purposely detached from, and seem to glide past, one another.
This enabled the provision of several balconies.
Each composition has its own form, position and colour.
Colours were chosen as to strenghten the plasticity of facades.
Surfaces in white and shades of grey, black window and doorframes.
A number of linear elements in primary colour.
There is a little distinction between interior and exterior space.
The rectilinear lines and planes flow from outside to inside, with same
colour palattes and surfaces.
Even the windows are hinged so that they can only open 90 degrees to
the wall, preserving strict design standards about intersecting planes, and
furthur blurring the delineation of inside and out.

CONSTRUCTION
Initially, Reitveld wanted to construct the
house out of concrete.
It turned out that it would be too expensive
to do that on such a small building.
The foundations and balconies were the
only parts of the building that were made
out of concrete.
The walls were made of brick and plaster.
The window frames and doors were made
from wood.
Wooden flooring that was supported by
wooden beams.
To support the building, steel girders with
wire mesh were used.

INTERIORS

INTERIORS

THANK YOU