The De Stijl art movement originated in the Netherlands in 1917. It aimed to express universal concepts through simplification and abstraction using primary colors, black, white, and gray as well as horizontal and vertical lines. Designers formulated a new vocabulary for architecture by taking houses apart and reassembling them with an emphasis on cubes, flat planes, and the relationship between solids and voids. Furniture and interior design were conceived as one with the architecture, emphasizing straight lines, rectangles, and geometry. The Schroder House, designed by Gerrit Rietveld, exemplifies De Stijl principles with its asymmetrical design, primary colors, and separation of planes.

1. De Stijl, or The Style, is an art and design
movement founded in Holland by
painters and architects around 1917.
•The movement strives to express
universal concepts through elimination,
reduction, abstraction, simplification,
and a dynamic asymmetrical balance of
rectangles, planes, verticals,
horizontals, the primary colors, and
black, white, and gray.
•Designers formulate a new language
and vocabulary for architecture.
•To do this, they take the traditional
house apart, analyze it like an object,
abstract it to eliminate traditional
references, and then reassemble it in a
new way.
•The new form emphasizes the cube. It
is not a solid box, but instead opens up
from outside to inside with solid and
void relationships established through
flat planes. Decorative Art Painting
There are no decorative motifs
in De Stijl design. Instead,
beauty evolves from simple,
unadorned surfaces arranged
in geometric relationships and
from construction detailing.
Decorative arts are limited in
De Stijl houses. Artwork is
prohibited because the house
itself is a piece of art. Few
designers create decorative
arts.
Henny House, Robert Vant Hoff
De Stijl,

2. Schroder House
ARCHITECTURAL CHARACTERISTICS
•Flat roof, asymmetry, geometric forms, white or gray walls with details
highlighted by primary colors.
•Houses for individuals are the most important.
•Compositions generally emphasize the separation of planes, the application of
primary colors, and the spatial relationship of solids to voids.
•Rectangular shapes define the geometric repetition of windows, doors, and blocks
of color.
•Window sizes vary on an individual building from large to small. They may be
arranged in patterns or one unit on a large wall.
•Flat roofs are typical, and distinctly different from other structures.
Interior of the Schroder House
Furniture and decorative arts are conceived as one
with the architecture and interior design.
•Designers similarly emphasize structure,
construction, proportion, and the balance between
solid and void relationships.
•They carefully place individual parts to develop visual
balance and harmony so that all parts are appreciated
alone as well as in context with the whole furniture
piece.
•Chairs and tables are the most important conveyors
of concepts.
•Furniture complements the architectonic character of
an interior through its emphasis on straight lines,
rectangular planes, and geometric forms.
The Red & Blue Chair
SCHRODER HOUSE

3. GROUN AND FIRST FLOOR PLANS OF SCHRODER HOUSE

4. Italian Futurism was primarily a literary and painting movement in the early part of the twentieth
century. Architecture was added toward the end with the writing of the Manifesto of Futurist
Architecture and the visionary designs of Antonio Sant’Elia.
ITALIAN FUTURISM
•That Futurist architecture is the architecture of calculation, of
audacious temerity and of simplicity; the architecture of
reinforced concrete, of steel, glass, cardboard, textile fiber,
and of all those substitutes for wood, stone and brick that
enable us to obtain maximum elasticity and lightness;
•That decoration as an element superimposed on architecture is
absurd, and that the decorative value of Futurist architecture
depends solely on the use and original arrangement of raw
or bare or violently colored materials;
•From an architecture conceived in this way no formal or linear
habit can grow, since the fundamental characteristics of Futurist
architecture will be its impermanence and transience..
Sant’Elia’s projects, although unrealized, were influential on
later generations of architects, architecture’s primary purpose
is to provide shelter and amenities to people
strong central axes, diagonal presentation to imply
movement and speed, and monumental scale can be
seen in the works of many architects who came later, up
until today.
Sant’Elia’s drawings of building types were a part of his
vision of a Città Nuova, New City. His urbanism was
predicated upon clearing slums and building giant-scale
public buildings.
The idea of a dam both “taming nature” and generating electricity
must have been a tremendous symbol of progress
The idea of a dam both “taming nature” and generating
electricity must have been a tremendous symbol of progress

5. The name 'Art nouveau' is French for 'new art', it was an international movement that approached art
and design as a lifestyle, making art a part of everyday life by breaking down the barriers between fine
arts and applied arts like architecture and decorative arts.
The Art Nouveau Movement Influenced
• Glassware and ceramics
• Jewellery
• Product design
• Graphics
• Architecture
Characteristics and motifs
• Whiplash curve and sinuous line
• Stylised flora and fauna
• Natural, organic, fluid form
• Rich decorative pattern
• Dragonflies, peacocks, greyhounds, snakes, vines,irises, daffodils
• Beautiful women with flowing locks
ART NOUVEAU MOVEMENT
Paris Metro STATION
Hector Guimard, French architect and
furniture designer, 1868 -1949 created
many
entrances out of iron and glass for metro
stations in Paris in the Art Nouveau style
during 1900-13. He made an enduring
contribution to public lettering by
incorporating the distinctive letters
“METROPOLITAINE” in the Paris Metro
design.

6. The building was designed by Gaudí for
Josep Batlló, a wealthy aristocrat, as an
upmarket home. Señor Batlló lived in the
lower two floors with his family and the
upper floors were rented out as
apartments.
From the outside the façade of Casa
Batlló looks like it has been made from
skulls and bones.
The "Skulls" are in fact balconies and the
"bones" are supporting pillars.
Gaudí used colours and shapes found in
marine life as inspiration for his
creativity in this
building e.g. the colours chosen for the
façade are those found in natural coral
ARCHITECT-Antonio Gaudi 1852- 1926
Casa Batlló (1904-6)

7. CASA MILÀ
Technical elements and structural materials: stone, brick, iron and
ceramics.
structure: Ground floor; five floors; attic and roof.
Support: The building leans on pillars, structure that eliminates the
need for load-bearing walls and partitions allows free distribution
and the large openings of the facade. The structure is basically iron
pillars but also combining other materials such as brick and stone.
Cover: golf are covered with 270 diaphragm arches of brick, all
adopted different catenary shape (similar to the dish) that perfectly
absorbs lateral loads. Constitute a fourth insulating the attic to
other apartments, but hardly increases the weight given the
lightness of the materials used. Above the attic roof with fanciful
sculptural forms, which houses the water tanks and the stairwells
and elevators.
Decorative elements: We find throughout the building, from the
front (wave pattern and iron bars) to the inside of the housing
(roofs and stucco walls, furniture), the scale (stucco, ceramics,
paintings, iron) and above the roof. [Comment on decoration detail
later].
Interior space: Gaudí cared for until the end aesthetics and
functionality of the space. He and his aides designed the ceilings of
the rooms and much of the furniture in undulating waves.
Floor: Free. The building is organized around two large courtyards,
Gaudí became true "interior walls"; spacious were originally
decorated with frescoes. Each apartment opens onto a courtyard
and exterior, so light and proper ventilation is ensured.

8. Casa Mila, the richness in every detail, the importance given to
each block, dreamlike evocations of chimneys and constructive
boldness is one of the key fundamental of modern
architecture.
Roof: One of the most amazing spaces that can be
found in the universal architecture and is a veritable
forest of magical shapes.
Chimneys: There is one for each apartment.
Grouped screwing up spirally, so that the air tour
and facilitates the expulsion of smoke. Volumes
scales: Gaudi care how much function and
construction; useful items become beautiful through
its brilliant creativity. Some of these volumes are
covered with pieces of marble or ceramic.
Vents: Also take fantastic shapes. Only fences that
protect visitors there was added later. Despite the
undeniable evocative strength offering, the meaning
of these forms remains an enigma.

9. La Sagrada Familia Basilica
Cathedral
by Antonio Gaudi
In 1883 Gaudi began devoting himself to designing the
cathedral.
Gaudí devoted his last years completely to the project, and
at the time of his death in 1926, less than a quarter of the
project was complete.
Sagrada Família's construction progressed slowly, as it relied
on private donations and was interrupted by the Spanish
Civil War—only to resume intermittent progress in the 1950s.
Construction passed the midpoint in 2010 with some of the
project's greatest challenges remaining and an anticipated
completion date of 2026—the centennial of Gaudí's death.
Sagrada Familia column structures gain strength by
mirroring nature's architecture.
Towers of the Sagrada Familia Cathedral. In the course of
time, as Gaudi’s work developed, the influence of natural
forms became more noticeable in his larger shapes. He no
longer applied them decoratively as he did in his early
buildings.
Natural shapes created to resist wind and weather require
sound structures. Shell shapes that have these qualities may
have inspired the towers of the Sagrada

10. Hector Guimard designed the chairs for the Humbert de Romans Concert Hall in Paris in
1899 as well as the entrances to the Paris Metro’s in the late 19th Century.
Guimard designed chairs out of cast iron, leather and wood in the Art Nouveau style.

11. TASSEL HOUSE ,BRUSSELS

13. ART & CRAFTS MOVEMENT
The Arts and Crafts Movement was an international design movement that developed between 1860 and
1910. It was mostly a reaction against the perceived impoverished state of the decorative arts at the time. It
stood for traditional craftsmanship using simple forms and often applied medieval, romantic or folk styles of
decoration.
Arts and Crafts objects were simple in form. They often had patterns inspired
by British flora and fauna and used the vernacular, or domestic, traditions of
the British countryside.
For example "Artichoke" wallpaper, by John Henry Dearle. Arts and Crafts
ideals had influenced architecture, painting, sculpture, graphics, illustration,
book making and photography, domestic design and the decorative arts,
including furniture and woodwork, stained glass, leatherwork, lacemaking,
embroidery, rug making and weaving, jewellery and metalwork, enamelling
and ceramics.
The Arts and Crafts ideology was influenced by Ruskin's social criticism. Ruskin thought machinery was to
blame for many social ills and that a healthy society depended on skilled and creative workers. They claimed
to be concerned about the decrease of rural handicrafts, which accompanied the development of industry,
and they regretted the loss of traditional skills and creativity. There was some disagreement as to whether
machinery should be rejected completely and opinions changed. Morris was not entirely consistent. He
thought machinery could be improved and used to reduce the hours of labour.

14. The Red House, in Bexleyheath, London, designed for Morris in 1859 by architect Philip Webb, exemplifies
the early Arts and Crafts style, with its well-proportioned solid forms, wide porches, steep roof, pointed
window arches, brick fireplaces and wooden fittings.