De Stijl The Dutch Phase

CHAPTER 12
DE STIJL : THE DUTCH PHASE
Hessa Alothman Aljazi Alajmi Lolwah Albosairi

What is De Stijl ?
De Stijl is a Dutch Word which means “the style”

It is an architectural movement that has a limited range of materials٫ forms

and structural methods
De Stijl founded in 1917 to 1931

How did it start ?
De Stijl was a combination of ideas from group of painters and architects that
all they had in common was the acquaintance of Van Doesburg, and, in most
cases, a profound respect and liking for the painter Piet Mondriaan. Means that
they had never been a close-knit fighting unit and they had worked in fairly
complete isolation from one another until Van Doesburg brought them
together.
Michel de Klerk
De Stijl was one of the two movements that was derived in part from the work
or ideas of berlage (a Dutch architect),but the actual work of berlage was the
Wendingen or the Amsterdam School, which was inclusive not exclusive in its
attitude to theories, unlike de Stijl
J.J.P. Oud, an architect who was born on 1890, and Michel de Klerk, born as early as
1884 ,were the dominating architectural figure of the early phase of de Stijl
J.J.P. Oud
Group members conflict
There was even a certain amount of suspicion existing between some of the
members before the actual foundation of the group in 1917.
Van der Leck ( one of the painters) had no intention of being told what
to do by architects. he contributed an article in which he sets out a
compromise position, accepting Berlagian thesis , in which painting and
Van der Leck
sculpture where to be used in architecture calling it (Gesamtkunstwerk)
Van der Leck eventually resigned after discovering that the group contained
architects that where not ready enough for any (Gesamtkunstwerk)
De Stijl design development

The architects felt that their various arts had been revealed as common to all the arts
because geometrical and rectilinear.
Van Doesburg was very passionate about the rectilinear character that he wanted to
call the magazine by some such title as (The Straight Line) before opting for the
Berlagian De Stijl.
Architects working on Berlagian and Wrightian principles had arrived to a formula

of vertical walls and flat roofs, free from decorative elements
On the other hand, Mondriaan was inspired by the rectilinear mystical cosmogony
of the theorist Schoenmackers

Eventually they arrived to an equally simple formula of rectangular patches color

framed in horizontal and vertical lines
Objective of the design
Mondriaan opened the first paragraph of the first article in de Stijl by a simple
statement that was loaded with accessory meanings that is vital to the whole
argument, and he had been developing a purely abstract style of painting

In De Stijl, there was a futurist sense of change and excitement to see a final
break through from the old, corrupt world into a new pure one, by
separating man from nature. As Van Doesburg wrote more than once
Mondriaan views the modern city as an abstract and it is nearer to him than
nature, and it is more likely to stir in him the sense of beauty to develop a
mathematical artistic temperament
Both abstract art and machinery were seen as instruments of something

else that was built into de Stijl’s programme : the depersonalisation of art
In De Stijl, they relied upon an implied analogy, which was brought to the
surface only by Gino Severini, which concludes that the effect produced on
the spectator by the machine is analogous to that produced by the work of
art
Futurism and Cubism in De Stijl
They turned Futurism into their theoretical purposes and Cubism for
their formal purposes. They did it by mixing cubist practice with
futuristic ideas.
Cubism
Mondriaan seems to have conceived of his Nieuwe
Beelding as a genuine successor-style to Cubism.
van Doesburg seems to have regarded his work more as a

continuation of the abstracting processes that Cubism had
initiated, and did not introduce a new word for his own art
until he coined (or borrowed) Elementarism in 1926.
Oud seems never to have been in doubt that the art practised
by his painter-colleagues was a form of Cubism, even if he
later came to believe it a corrupt form.
Painting and sculpture
Mondriaan and van Doesburg had developed their
rectangular Abstraction to a fairly advanced degree, they
experiment with
1- Overlapping rectangles,
2- Rectangles only partly boxed by lines
3- Pictures based on free distribution of parts
4- Composed on regular modular grids like the Quadratur en

Triangulatur
Contemporary de Stijl sculpture, assembled, usually

pyramidally, from juxtaposed or interpenetrating prisms,
offered almost as many possibilities in three dimensions.
Furniture and music
The most famous furniture designs were the work of
designer and architect Gerrit Rietveld, who was a
member of De Stijl.

The music for De stjil was the work of composer Jacob
Van Domselaer, who was a close friend of Mondriaan
and he was inspired his music from Mondriaan
paintings.
Architecture time line
Villa at Huis
ter Heide Strand-

Restaurant De
by Robert
Boulevard Dubbele Sleutel
van't Hoff by J.J.P. Oud by Jan Wils

1916 1917 1919
Hotel de vonk Factory project

by J.J.P. Oud by J.J.P. Oud
+ Van Doesburg
Villa at Huis ter Heide
By Robert van't Hoff
Designed and completed before De Stijl
Started in 1916 .
Their appearance was conspicuously Wrightian.
It was important for its structure than for its tidy .
It was a pioneer concrete post and slab villa,
designed at least as early as Le Cor busier's Dom-ino
structure.

Hotel de vonk & De Dubbele Sleutel

In Oud's hostel 'de Vonk' and Wils's restaurant 'De Dubbele
Sleutel' of 1919, with both of which van Doesburg was
involved as colour-consultant, the structure consists of plain
rectangular piers and walls of Berlagian brickwork, capped
by thickish flat overhangs (not always concealing flat
roofs)that come from Wright either direct or by way of Huis
ter Heide.
Hotel de vonk
'De Dubbele Sleutel', built on to the side of existing buildings is
mildly asymmetrical, whereas the free standing 'de Vonk'
presents a strictly formal and axial appearance.

De Dubbele Sleutel
Strand-boulevard & Factory project
The Strand-boulevard project of 1917, though it

postulates an endless series of repetitive units, has each
unit symmetrical,
The two factory projects of 1919 one is symmetrical and

the other which is for Oud a remarkably free and
diversified composition, has at least one passage of Strand-boulevard
complex asymmetrical space manipulation by means of
projecting horizontal and vertical elements.
Factory project
the nature of De Stijl
J.J.P. Oud seeks the zeitgeist of De stijl
The nature of architecture is determined not only

by factors which may be described as spiritual, but
also very much by social and technical factors.
Yet many of the themes that other modernist

architects would only come to later, standardized
mass housing, the industrialization of the building
process, and the use of modern materials to create
modern forms that Oud grasped during the years
of the First World War.
De Stijl De Unie Cafe in Rotterdam built in 1925

Architecture and art
•Oud talked about the Evolution in architecture,

he compared it as a painting, and it is moving in
the direction of the universal and monumental.
•he also pointed the idea of inner balance and

perfection, and it is much more meaningful
when applied to the art of painting, than when
applied to architecture, which is prevented from
achieving this inner balance by its dependence
on the dualism of necessity and beauty.
•This is why the question arises as to whether

architecture is a true art-form or not.
The Kiefhoek (1928-1930) was one of his housing

developments for Rotterdam, an array of two-story
apartments
•He agrees that ornaments and
decoration is inessensial, and it affords
possibilities for purity of architectural
expression.
•The style endures no decoration, and

itself a complete space creating
organism
•he implicated that space is infinite
The Kiefhoek (1928-1930) was one of his housing

developments for Rotterdam, an array of two-story
apartments
Materials
•J.J.P.Oud notes that new materials will
not have any revolution effect
•Materials like iron gave great hopes for

architecture but it fell aesthetically
because its visible to the eye
•Unlike plate-glass which is solid and

creates more space
•He focused on glass, that must be used

in a large sheets with the thinnest
glazing bars and mullions
•He talks about the possibilities in the

use of reinforced concrete because it
avoids the limitations imposed on bricks Gallery house at Weissenhof Estate
•The idea of using concrete is to create a purely
apparent unification of load and supports
•He then turns to colors, which is the last element in

his architectural philosophy, and he uses primary
colors into his projects
•Oud left De Stijl and stimulated an international and

regional trend toward functionalism and aesthetics.
•the aesthetic of modern buildings will not be based

on the buildings of the past they will be shaped by the
essential characteristics of modern society and
technology, and will therefore be completely
different from those of any previous period.
Resources :
https://pin.it/Exmpyz5
https://en.wikipedia.org/wiki/Jacobus_Oud
https://en.wikipedia.org/wiki/Michel_de_Klerk
https://www.wikiart.org/en/bart-van-der-leck
https://www.artsy.net/article/matthew-how-mondrian-went-abstract
https://stylesyllabus.wordpress.com/2011/04/30/the-de-stijl-influence/
http://architecture-history.org/architects/architects/OUD/biography.html
https://thecharnelhouse.org/2013/04/20/the-practicalities-of-oud/
https://modernistarchitecture.wordpress.com/2010/10/20/j-j-p-oud%e2%80%99s-%e2%80%9carchitecture-and-standardization-in-mass-
construction%e2%80%9d-1918/
http://www.greatbuildings.com/architects/J._J._P._Oud.html
aph text
https://thecharnelhouse.org/2013/04/20/the-practicalities-of-oud/
https://m.marefa.org/‫دي_ستيل‬

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CHAPTER 12

DE STIJL : THE DUTCH PHASE

Hessa Alothman Aljazi Alajmi Lolwah Albosairi

It is an architectural movement that has a limited range of materials٫ forms

De Stijl founded in 1917 to 1931

De Stijl design development

Architects working on Berlagian and Wrightian principles had arrived to a formula

Eventually they arrived to an equally simple formula of rectangular patches color

Both abstract art and machinery were seen as instruments of something

van Doesburg seems to have regarded his work more as a

4- Composed on regular modular grids like the Quadratur en

Contemporary de Stijl sculpture, assembled, usually

Furniture and music

The most famous furniture designs were the work of

designer and architect Gerrit Rietveld, who was a

The music for De stjil was the work of composer Jacob

Van Domselaer, who was a close friend of Mondriaan

and he was inspired his music from Mondriaan

ter Heide Strand-

1916 1917 1919

Hotel de vonk Factory project

Designed and completed before De Stijl

Their appearance was conspicuously Wrightian.

It was important for its structure than for its tidy .

It was a pioneer concrete post and slab villa,

designed at least as early as Le Cor busier's Dom-ino

Hotel de vonk & De Dubbele Sleutel

The Strand-boulevard project of 1917, though it

The two factory projects of 1919 one is symmetrical and

The nature of architecture is determined not only

Yet many of the themes that other modernist

De Stijl De Unie Cafe in Rotterdam built in 1925

•Oud talked about the Evolution in architecture,

•he also pointed the idea of inner balance and

•This is why the question arises as to whether

The Kiefhoek (1928-1930) was one of his housing

•The style endures no decoration, and

•he implicated that space is infinite

The Kiefhoek (1928-1930) was one of his housing

•Materials like iron gave great hopes for

•Unlike plate-glass which is solid and

•He focused on glass, that must be used

•He talks about the possibilities in the

•He then turns to colors, which is the last element in

•Oud left De Stijl and stimulated an international and

•the aesthetic of modern buildings will not be based

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