With Lenneke Büller, Frank den Oudsten, and Bertus Mulder The Rietveld Schröder House incorporates a variety of perspectives to unite the client, architect, and structure in a rare complete document of a living landmark. Newly restored and open to the public, the small semi-detached house on the outskirts of Utrecht was the prototype of a style that was one of the most reproduced and influential of any domestic building of the early modern period. It was constructed in 1925, the first complete building designed by Gerrit Rietveld, a Dutch designer who began his career as a craftsman and who later became identified with the De Stijl group. Two remarkable series of photographs by Frank den Oudsten record the house as it was shortly before Mrs. Schröder's death and as it is today after restoration. These form a clear comparative record of the way in which the house was changed to fulfill the client's different needs. Den Oudsten's color photographs, supplemented with many black and white archival photographs dating from the early years of the house, show Rietveld's mastery of a fresh design syntax an open plan, interlocking planes and colors, built in furniture, sculpture like storage units that was thoroughly modern then and remains crisp and vital today. Paul Overy analyzes the project in light of today's shifting attitudes toward modernism and in relation to the De Stijl group of artists and architects. Among the book's revelations is an interview with Mrs. Schröder who commissioned the house and continued to live in it until her death in 1985 at the age of 95. In this personal account she reveals that as a recent widow and mother of three children she wanted a house that would demonstrate how to live a new kind of life in the 20th century. Her house was a declaration that an independent modern woman intended to live informally and without ostentation, among objects that were at once functional and aesthetically significant. The recent, careful restoration described here was carried out by Bertus Mulder, a friend of Mrs. Schröder and former employer of Rietveld. Paul Overy is a well known architectural critic and the author of De Stijl. He is Lecturer in History of Art and Design at the London Institute.

The Rietveld Schroder House

Arts & Photography

OVERY, PAUL

Architecture

Mit Pr

De Stijl ("The Style") was the name given to the work of the architects, designers and artists associated with the magazine of the same title edited by Theo van Doesburg and founded in Holland in 1917. De Stijl was international in its outlook: in contact with the Bauhaus and the Russian Constructivists, it helped create the ideology and formal language of modernism. This survey illuminates the works of Mondrian and the architecture and designs of Oud, Wils, Huszar and Rietveld, all of whom aimed to create an objective art concerned with universal values, expressed in primary geometric forms and pure colors. 157 illus., 17 in color.

"Stijl, De" (Picturebacks)

Studio Vista / Dutton Pictureback

With Lenneke Büller, Frank den Oudsten, and Bertus Mulder  The Rietveld Schröder House incorporates a variety of perspectives to unite the client, architect, and structure in a rare complete document of a living landmark.  Newly restored and open to the public, the small semi-detached house on the outskirts of Utrecht was the prototype of a style that was one of the most reproduced and influential of any domestic building of the early modern period. It was constructed in 1925, the first complete building designed by Gerrit Rietveld, a Dutch designer who began his career as a craftsman and who later became identified with the De Stijl group.  Two remarkable series of photographs by Frank den Oudsten record the house as it was shortly before Mrs. Schröder's death and as it is today after restoration. These form a clear comparative record of the way in which the house was changed to fulfill the client's different needs. Den Oudsten's color photographs, supplemented with many black and white archival photographs dating from the early years of the house, show Rietveld's mastery of a fresh design syntax an open plan, interlocking planes and colors, built in furniture, sculpture like storage units that was thoroughly modern then and remains crisp and vital today.  Paul Overy analyzes the project in light of today's shifting attitudes toward modernism and in relation to the De Stijl group of artists and architects. Among the book's revelations is an interview with Mrs. Schröder who commissioned the house and continued to live in it until her death in 1985 at the age of 95. In this personal account she reveals that as a recent widow and mother of three children she wanted a house that would demonstrate how to live a new kind of life in the 20th century. Her house was a declaration that an independent modern woman intended to live informally and without ostentation, among objects that were at once functional and aesthetically significant.  The recent, careful restoration described here was carried out by Bertus Mulder, a friend of Mrs. Schröder and former employer of Rietveld. Paul Overy is a well known architectural critic and the author of De Stijl. He is Lecturer in History of Art and Design at the London Institute.

et.al.

Butterworth-Heinemann Ltd.

De Stijl ("The Style") was the name given to the work of the architects, designers and artists associated with the magazine of the same title edited by Theo van Doesburg and founded in Holland in 1917. De Stijl was international in its outlook: in contact with the Bauhaus and the Russian Constructivists, it helped create the ideology and formal language of modernism. This survey illuminates the works of Mondrian and the architecture and designs of Oud, Wils, Huszar and Rietveld, all of whom aimed to create an objective art concerned with universal values, expressed in primary geometric forms and pure colors. 157 illus., 17 in color.

De Stijl (World of Art)

Thames&Hudson

The origins of the spectacular geometric forms and sparkling surfaces of modern architecture from 1918 to 1939. In the first half of the twentieth century, a new kind of architecture appeared across Europe and North America, characterized by plain, often pure white walls; wide windows; flat roofs; and prominent balconies, terraces, and roof gardens. From houses to hospitals, the new architecture featured large expanses of glass and was constructed from steel and reinforced concrete—or designed to look that way—and inspired by a desire to be functional, hygienic, universal, democratic, and economical. Paul Overy explores the contemporary preoccupations with fresh air and sunshine, space, health, and hygiene, and how these concerns became fundamental to the development of new architectural and design practices. Individual buildings—including both little-known and more familiar examples in Europe and the United States by architects such as Adolf Loos, Walter Gropius, and Le Corbusier—are examined within the context of class and social control, luxury and austerity, race and colonialism. Many of them are considered classics, legally protected from demolition or alteration and, in recent years, restored and reconstructed. Illustrated with many unusual photographs that capture the buildings in their early pristine state, Light, Air and Openness is an innovative reinterpretation of the modern movement in architecture and design. 66 illustrations.

Light, Air and Openness: Modern Architecture Between the Wars

Reference

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Books by OVERY, PAUL

See the best price to sell, buy, or rent books by OVERY, PAUL. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Rietveld Schroder House

"Stijl, De" (Picturebacks)

The Rietveld Schroder House

De Stijl (World of Art)

Light, Air and Openness: Modern Architecture Between the Wars