Abstract
The modern furniture has been closely linked to architecture since its inception. There is an intrinsic correlation between furniture and architecture in Schröder House, which is designed by Gerrit Rietveld who is one of the masters of De Stiji architecture. The architectural space is constructed based on the design vocabulary of ‘architectural furniture’. On the contrary, the furniture design presents the characteristics of "furniture building”. The article tries to assay the history between Schröder House and De Stiji, the characteristics of the epoch, and combined with Gerrit Rietveld’s design thought and related works, it analyzes the integration between furniture and architecture from the angles of structural system based on scaffolding, spatial ratio based on golden segmentation, colour system based on t primary colours in Schröder House.
Highlights
There is a close internal relationship between modern architecture and furniture. It stems from the overall artistic concept in the modern sense which is advocated by Joseph Hoffman and Otto Koloman Wagner: the furniture should be integrated into the context of architectural space for overall design
Schröder House is considered to be the representative work of De Stiji, which embodies the characteristics of ‘whole art’ advocated by Hoffman, and reflects the interaction between modern Western furniture and De Stiji architecture in the early 20th century
Schröder House (1925) was influenced by the design concept of the red-blue chair, and Rietveld once said: “When I got the opportunity to design a house with the aesthetic principles of the red-blue chair, I eagerly grasped it.”[2]. There is a close correlation between furniture and architecture in Schröder House, which embodies the ideological connotation of ‘holistic-design’
Summary
There is a close internal relationship between modern architecture and furniture. It stems from the overall artistic concept in the modern sense which is advocated by Joseph Hoffman and Otto Koloman Wagner: the furniture should be integrated into the context of architectural space for overall design. Schröder House is considered to be the representative work of De Stiji, which embodies the characteristics of ‘whole art’ advocated by Hoffman, and reflects the interaction between modern Western furniture and De Stiji architecture in the early 20th century. Schröder House (1925) was influenced by the design concept of the red-blue chair, and Rietveld once said: “When I got the opportunity to design a house with the aesthetic principles of the red-blue chair, I eagerly grasped it.”[2] There is a close correlation between furniture and architecture in Schröder House, which embodies the ideological connotation of ‘holistic-design’
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