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in the kitchen. Dark-coloured rectangles were painted around the handles<br />
of the white cupboard doors to prevent dirty finger-marks being visible.<br />
In the same room, the edges of the dark-coloured wooden shutters, stored<br />
by day on the top of the wall-mounted cupboards but placed on the<br />
windows at night, were painted white so that they wouldn’t stand out<br />
when stored. <strong>The</strong> good-sized window sills in all the rooms were painted<br />
different colours and, upstairs, a red area on the linoleum floor demarcated<br />
the boundaries of the boys’ bedroom when the screens closed it<br />
off at night. Rietveld’s second aim was the efficiency and flexibility of<br />
the house’s limited interior space. To that end he borrowed a number<br />
of strategies from the traditional Japanese interior, including the use of<br />
movable, sliding screens (shojis) and the storage of items when not in use<br />
(like futons in the Japanese interior). In the guest room, used by the<br />
children as a private space, bedding could be stored in a cupboard hidden<br />
above the window beneath the upstairs balcony. Two small tables, one<br />
yellow and the other blue, folded out from the wall when needed. Indeed<br />
folding wooden items could be found all over the house. In several of the<br />
rooms folding flaps of wood covered slits in the window frames included<br />
for ventilation purposes, while in the girls’ bedroom the folding flaps at<br />
the ends of the beds transformed them into sofas for daytime use. In the<br />
entrance to Mrs Schroeder’s own bedroom a small, blue, fold-down desk<br />
could be created, topped by a small red shelf. A small washbasin was<br />
concealed inside the room. 11<br />
In line with the ambitions of the De Stijl movement, Rietveld’s<br />
ultimate aim, however, was the creation of an immaterial environment<br />
determined by a sophisticated handling of colour, light and space, and<br />
the inter-relationships between them. <strong>The</strong> children’s sparse toys were<br />
kept in grey boxes, while a yellow wooden cover concealed the gramophone.<br />
<strong>The</strong> interior of the house was a completely controlled environment<br />
with a high level of aesthetic harmony. Given the client’s high level<br />
of commitment to the project, it was one that worked. <strong>The</strong> radicalism of<br />
the Schroeder house marked it out as a beacon in the history of the<br />
abstract interior and it proved hugely influential on the <strong>Modern</strong>ists’ subsequent<br />
formulation of the interior. It embodied De Stijl’s ideas about art<br />
and architecture but went beyond them as well, suggesting that an inter ior<br />
space could facilitate a completely new way of living. Idealism continued<br />
to underpin the development of the <strong>Modern</strong>ist interior through the 1920s,<br />
combining ideas about function and rationality with that of spatial<br />
abstraction. 177