De Steiji and Bauhaus Flashcards
Pieter Cornelius (Piet) Mondrian (1872-1944, Dutch), Composition in Red, Yellow and Blue.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
Mondrian, The Red Tree.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
Mondrian, The Grey Tree.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
Mondrian, Blossoming Apple Tree.
- Oil on canvas. Haags Gemeentemuseum, The Hague, Netherlands.
Vilmos Huszár (1884-1960, Hungarian), Front Cover for DeStijl newspaper.
c. 1918.
- Photos of Gerrit Thomas Rietveld (1888-1964, Dutch), and Truus Schröder-Schräder (1889-1985, Dutch).
- 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
Rietveld, Schröder House.
- Utrecht, Netherlands. (Sometimes referred to as the Schröder-Schräder House.)
- 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
Rietveld, Schröder House. Dining Room
- Utrecht, Netherlands. (Sometimes referred to as the Schröder-Schräder House.)
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
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
Rietveld, Zig Zag chair.
- Wood. Museum of Modern Art, New York.
Rietveld, Schröder Table.
- Painted beechwood.
* inexpensive materials
Rietveld, Utrecht chair.
1920s.
Rietveld, sideboard.
- Stained beech wood and veneered plywood
Rietveld, hanging lamp.
- Wood, glass, and tubular bulbs. Museum of Modern Art, New York.
Robert van’t Hoff (1887-1979, Dutch), Henny House.
- Huis-ter-Heide, Netherlands.
- 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
Jacobus Johannes Pieter Oud (1890-1963, Dutch), Café De Unie.
- Rotterdam.
- 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
- Gropius, Fagus Shoe Factory, interior office.
- structural supports (skeleton) is inside
- Gropius is not an egalitarian
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
Gropius, Bauhaus Building. interior walkaway
1925-26. Dessau, Germany.
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’
Gropius, Bauhaus Building. Interior of masters’ houses
1925-26. Dessau, Germany.
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
Joost Schmidt (1893-1948, German), Poster for 1923 Bauhaus Exhibition
Photo of the metal workshop at the Weimar Bauhaus.
1923.
- Karl J. Jucker and Wilhelm Wagenfeld,
- table lamp.
- 1923-24. Glass and metal.
- this is the modern version
- Otto Rittweger and Wolfgang Tümpel, tea infusers and holder.
- Nickel.
- Marianne Brandt (1893-1983, German), “Kandem” flexible bedside light.
- Metal, nickel plate, and lacquer.
- Kandem factory
- Marianne Brandt, teapot.
- Brass, ebony, silver-plated interior.
Brandt, ashtray.
- Brass and nickel-plate.
Marianne Brandt, tea and coffee service.
- Silver and ebony.
Marianne Brandt, “smoker’s companion.”
1920s. Metal and plexiglass.
every circumstance, simple objects
Photo of Marianne Brandt. wearing “Jewelry for a Metal Festival.”
Gunta Stölzl (1897-1923, German), hand-loomed rug.
1926-27.
abstract
Anni Albers (1889-1994, German), hand-loomed rug.
1926.
color palette
Marcel Breuer (1902-1981, Hungarian), Cesca chair.
- Tubular steel, bentwood, and caning.
inexpensive materials
clean objects
named his daughter
Marcel Breuer, Wassily chair (also known as Model B3 Club Chair).
- Tubular steel and fabric.
Wassily Kandinsky
Influenced on Barcelona chair
Erich Consemüller (1902-1957, German), photo of Bauhaus student.
Oskar Schlemmer (1888-1943, German), mask.
- mixed up industrial art
- Marcel Breuer, chair.
- 1935-36. Bent plywood.
- reminds Sitzmaschine, designed by Josef Hoffman (1908)
- not a recliner
- Bent wood furniture came from thonet
Ludwig Mies van der Rohe (1886-1969, German), Brno chair.
- Tubular steel and leather.
New thoughts on Education in Bauhaus
Marcel Breuer, nesting tables.
1925-26. Chrome-plated tubular steel and wood panels.
Alma Buscher (1899-1944, German), building blocks.
1924.
