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<strong>The</strong>o van Doesburg and Cornelis van Eesteren, a draft in pencil, gouache and collage for<br />
Amsterdam University Hall, 1923.<br />
strong and appropriately modern frame for the students living within it, for<br />
example. <strong>The</strong> ten rooms, created by van Doesburg together with Hans Arp<br />
and Sophie Taeuber-Arp for the Café Aubette in Strasbourg, built between<br />
1926 and 1928, were among the most striking of all the De Stijl public<br />
interiors. <strong>The</strong> aim was to create ‘a harmonious whole that conveyed the<br />
dynamic quality of modern urban life’. 9 <strong>The</strong> cinema-dance hall represented<br />
the realization of all the interior strategies that the ‘coloristes’ and<br />
the architects had developed together over the previous decade. It was a<br />
highly complex, dramatic space dominated by diagonal lines used to mobilize<br />
it spatially and to demarcate blocks of colour. <strong>The</strong> hall was one of the<br />
most abstract of all the De Stijl interiors and, not surprisingly, in advance<br />
of the taste of the public for which it had been created. 10<br />
With its spatially-inspired form and human scale the cabinetmaker/architect,<br />
Gerrit Rietveld’s ‘Red/Blue’ chair looked deceptively like<br />
a ‘sitting-object’, albeit an uncomfortable one. In reality, however, it was an<br />
abstract, sculptural exercise composed of intersecting and overlapping<br />
planes cutting through space. <strong>The</strong> first version was made of plain wood<br />
but in a later version Rietveld added basic colours as a means of reinforcing<br />
the chair’s planar intersections. He abandoned the idea of working<br />
with mass in favour of articulating space, a strategy he was able to apply<br />
as equally to a house as to a chair. His design for the inside of the home of<br />
the widowed Mrs Truus-Schroeder and her three children was a prime<br />
example of an interior design that embodied the De Stijl group’s ideas 173