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A band of precast concrete, which holds a custom bench, wraps around the downstairs living area. The striped cushion fabric was purchased in Antwerp. A wood-framed AP71 lounge chair by Hans Wegner and a seat by Wim Rietveld, the son of famed Dutch designer Gerrit Rietveld, outfit the space. Underfloor heating installed throughout the house allows for a flexible layout: “There aren’t any radiators cluttering up the rooms,” Jeffries explains.
A band of precast concrete, which holds a custom bench, wraps around the downstairs living area. The striped cushion fabric was purchased in Antwerp. A wood-framed AP71 lounge chair by Hans Wegner and a seat by Wim Rietveld, the son of famed Dutch designer Gerrit Rietveld, outfit the space. Underfloor heating installed throughout the house allows for a flexible layout: “There aren’t any radiators cluttering up the rooms,” Jeffries explains.
Here, Rietveld plays around with a model of experimental housing designs. Look closely and you can see tiny versions of his Zig Zag chair at the dining room table. He was the first to apply the concepts of De Stijl to architecture, designing the Rietveld Schröder House in 1924.
Here, Rietveld plays around with a model of experimental housing designs. Look closely and you can see tiny versions of his Zig Zag chair at the dining room table. He was the first to apply the concepts of De Stijl to architecture, designing the Rietveld Schröder House in 1924.
Rietveld Schröder House, Gerrit Rietveld, 1924, Utrecht, The Netherlands. An incongruous end to a block of traditional brick row houses on the edge of Utrecht, the Rietveld Schröder House of 1924 is recognized as a UNESCO World Heritage site for its radical innovation in domestic architecture. Developed by renowned Dutch architect and furniture designer Gerrit Rietveld for his client Truus Schröder-Schräder, the residence is the first large-scale declaration of De Stijl design ideals. The house is now maintained by the Centraal Museum Foundation, but Rietveld’s experimental use of materials, combined with the wear-and-tear from thousands of visitors each year, creates a demanding maintenance schedule. A Getty grant will support the development of a conservation management plan that balances sensitivity to the architect’s design intent with the building’s complex conservation needs. The project includes an oral history that will capture the knowledge of one of Rietveld’s assistants, who played a pivotal role in past interventions to the home, as well as the broad dissemination of the project research through a free online publication. Grant support: $140,000
Rietveld Schröder House, Gerrit Rietveld, 1924, Utrecht, The Netherlands. An incongruous end to a block of traditional brick row houses on the edge of Utrecht, the Rietveld Schröder House of 1924 is recognized as a UNESCO World Heritage site for its radical innovation in domestic architecture. Developed by renowned Dutch architect and furniture designer Gerrit Rietveld for his client Truus Schröder-Schräder, the residence is the first large-scale declaration of De Stijl design ideals. The house is now maintained by the Centraal Museum Foundation, but Rietveld’s experimental use of materials, combined with the wear-and-tear from thousands of visitors each year, creates a demanding maintenance schedule. A Getty grant will support the development of a conservation management plan that balances sensitivity to the architect’s design intent with the building’s complex conservation needs. The project includes an oral history that will capture the knowledge of one of Rietveld’s assistants, who played a pivotal role in past interventions to the home, as well as the broad dissemination of the project research through a free online publication. Grant support: $140,000
Without traditional legs, the chair is made with four rectangular pieces of wood that are held together in a Z shape with dovetail joints. It is now produced by Cassina.
Without traditional legs, the chair is made with four rectangular pieces of wood that are held together in a Z shape with dovetail joints. It is now produced by Cassina.
Zig-zag Chair (1934), designed by Gerrit Thomas Rietveld. From the SFMoMA Collection; gift of Michael and Gabrielle Boyd. On display as part of the SFMoMA's 75 Years of Looking Forward: The Anniversary Show exhibit, on view through January 16, 2011.
Zig-zag Chair (1934), designed by Gerrit Thomas Rietveld. From the SFMoMA Collection; gift of Michael and Gabrielle Boyd. On display as part of the SFMoMA's 75 Years of Looking Forward: The Anniversary Show exhibit, on view through January 16, 2011.
RIEDEL SOMMELIERS TASTERS SET $695.60 For the sommelier wanna-be in all of us, the Riedel Sommeliers Tasters Set ensures that you always have the right glass at hand whether it's a rich Bordeaux or a fresh Chenin Blanc.
RIEDEL SOMMELIERS TASTERS SET $695.60 For the sommelier wanna-be in all of us, the Riedel Sommeliers Tasters Set ensures that you always have the right glass at hand whether it's a rich Bordeaux or a fresh Chenin Blanc.
Architect Gustavo Costa calls the home library the “project’s heart.” This central space houses the owner’s expansive collection of about 5,000 books, and acts as a meeting place for friends and colleagues. A Gerrit Thomas Rietveld Red and Blue chair completes the space.
Architect Gustavo Costa calls the home library the “project’s heart.” This central space houses the owner’s expansive collection of about 5,000 books, and acts as a meeting place for friends and colleagues. A Gerrit Thomas Rietveld Red and Blue chair completes the space.
Cylinda Ice Bucket by Arne Jacobsen for Stelton, Cocktail Shaker by Nick Munro, Cocktail Collection by Royal Doulton, O Martini Glass by Riedel, Aspen Whisky Tumbler by Nachtmann
Cylinda Ice Bucket by Arne Jacobsen for Stelton, Cocktail Shaker by Nick Munro, Cocktail Collection by Royal Doulton, O Martini Glass by Riedel, Aspen Whisky Tumbler by Nachtmann
Georg Riedel and a Riedel glass. I asked him if he travels with one of his wine glasses and he said that he does bring along a small one, "an SOS version" of the Riedel stuff.
Georg Riedel and a Riedel glass. I asked him if he travels with one of his wine glasses and he said that he does bring along a small one, "an SOS version" of the Riedel stuff.
50 years Gerrit Rietveld’s Steltman chair has recently been reissued by Rietveld Originals to mark its fiftieth anniversary. The chair, originally designed to seat engaged couples as they choose rings at the Steltman jewelry house in The Hague, was reproduced based on Rietveld’s drawings and one of the two original chairs, currently housed in Amsterdam’s Rijksmuseum. Photo courtesy of Rietveld Originals.
50 years Gerrit Rietveld’s Steltman chair has recently been reissued by Rietveld Originals to mark its fiftieth anniversary. The chair, originally designed to seat engaged couples as they choose rings at the Steltman jewelry house in The Hague, was reproduced based on Rietveld’s drawings and one of the two original chairs, currently housed in Amsterdam’s Rijksmuseum. Photo courtesy of Rietveld Originals.
Architect William Massie built a hybrid prefab home for vintage retailer Greg Wooten, who handled the interiors. In the living room is a 1950s Franco Albini rattan chair, a Crate chair designed by Gerrit Rietveld in 1934, and a 1970s sofa by Edward Axel Roffman. The tall ceramic piece is by Bruno Gambone.
Architect William Massie built a hybrid prefab home for vintage retailer Greg Wooten, who handled the interiors. In the living room is a 1950s Franco Albini rattan chair, a Crate chair designed by Gerrit Rietveld in 1934, and a 1970s sofa by Edward Axel Roffman. The tall ceramic piece is by Bruno Gambone.
Gerrit Rietveld
Gerrit Rietveld
Gerrit Rietveld
Gerrit Rietveld
Rietveld’s Red and Blue chair, designed in 1917, is a dramatic composition of planes and lines. The colors were inspired by Mondrian, a fellow member of the influential De Stijl movement.
Rietveld’s Red and Blue chair, designed in 1917, is a dramatic composition of planes and lines. The colors were inspired by Mondrian, a fellow member of the influential De Stijl movement.
Color featured prominently in the Rietveld Schröder House, although Rietveld later banished it from his work. Mulder’s restoration reinstated the yellow stacking cabinet on the left.
Color featured prominently in the Rietveld Schröder House, although Rietveld later banished it from his work. Mulder’s restoration reinstated the yellow stacking cabinet on the left.
Designed by Gerrit Rietveld
Designed by Gerrit Rietveld
Utrecht armchair by Gerrit Rietveld
Utrecht armchair by Gerrit Rietveld
Rietveld designed the Aula in the 1960s.
Rietveld designed the Aula in the 1960s.
The Rietveld Schröder house, built in 1926, is often described as the first truly modern building.
The Rietveld Schröder house, built in 1926, is often described as the first truly modern building.
Gerrit Rietveld's 1935 Utrecht chair, covered in Boxblocks by Bertjan Pot for Cassina.
Gerrit Rietveld's 1935 Utrecht chair, covered in Boxblocks by Bertjan Pot for Cassina.
Rietveld continued to play with the Zig Zag design, as pictured in this 1952 sketch that includes an armchair version.
Rietveld continued to play with the Zig Zag design, as pictured in this 1952 sketch that includes an armchair version.
Cortney: How to Construct Rietveld Furniture I've recently entered a DIY-inspired phase right now. I see something cool and I begin analyzing exactly how I could make one for myself. So it doesn't surprise me that the book How to Construct Rietveld Furniture promptly made it onto my svpply wishlist.
Cortney: How to Construct Rietveld Furniture I've recently entered a DIY-inspired phase right now. I see something cool and I begin analyzing exactly how I could make one for myself. So it doesn't surprise me that the book How to Construct Rietveld Furniture promptly made it onto my svpply wishlist.
Following airport expansion, Mulder built a “new” Aula in the 1990s. “It’s a better Rietveld,” he says. “The quality of the building is better.”
Following airport expansion, Mulder built a “new” Aula in the 1990s. “It’s a better Rietveld,” he says. “The quality of the building is better.”
Icon 03, a powder-coated plasticized take on Gerrit Rietveld's 1918 De Stijl classic, the Red Blue Chair. By fellow Dutch designer Jan Plechac.
Icon 03, a powder-coated plasticized take on Gerrit Rietveld's 1918 De Stijl classic, the Red Blue Chair. By fellow Dutch designer Jan Plechac.
Lisa Cheng Smith and Chris Roeveld
Lisa Cheng Smith and Chris Roeveld
In the living room, a black Carrara floor lamp by Alfredo Häberli for Luceplan echoes the shape of the column. The Jean Prouvé Trapèze desk is topped with a Kelvin LED lamp designed by Antonio Citterio with Toan Nguyen for Flos. Books rest on a wood Zig Zag chair by Gerrit Rietveld. Renting the apartment was a dream come true for Claus, who founded his firm in Amsterdam, but had always wanted to live in Paris. “Why? Anyone who’s visited the city will know the answer—it’s self-explanatory,” he says. He currently spends most weekends in his second home—“I couldn’t live here permanently; I’d find it too overpowering,” Claus says. He frequently throws parties for fellow design aficionados. “It’s fantastic for entertaining, simply because most of my friends and contacts, as architecture fans, are thrilled to have a chance to spend time here.”
In the living room, a black Carrara floor lamp by Alfredo Häberli for Luceplan echoes the shape of the column. The Jean Prouvé Trapèze desk is topped with a Kelvin LED lamp designed by Antonio Citterio with Toan Nguyen for Flos. Books rest on a wood Zig Zag chair by Gerrit Rietveld. Renting the apartment was a dream come true for Claus, who founded his firm in Amsterdam, but had always wanted to live in Paris. “Why? Anyone who’s visited the city will know the answer—it’s self-explanatory,” he says. He currently spends most weekends in his second home—“I couldn’t live here permanently; I’d find it too overpowering,” Claus says. He frequently throws parties for fellow design aficionados. “It’s fantastic for entertaining, simply because most of my friends and contacts, as architecture fans, are thrilled to have a chance to spend time here.”
As an exercise, Kristin recreated Gerrit Rietveld's Steltman chair from 1963. "It's something that I always wanted to build," she says. "I used some offcuts from a boat I worked on to build this one."
As an exercise, Kristin recreated Gerrit Rietveld's Steltman chair from 1963. "It's something that I always wanted to build," she says. "I used some offcuts from a boat I worked on to build this one."
Riedel's Burgundy Grand Cru glass is one of 16 pieces by the Austrian glass and stemware company on display in the exhibit.
Riedel's Burgundy Grand Cru glass is one of 16 pieces by the Austrian glass and stemware company on display in the exhibit.
A riff on the famous Rietveld chair, Studio Minale Maeda's Red Blue Lego Chair—which leans toward the conceptual end of the Talents spectrum—was designed in 2007 and exhibited at Ambiente the same year.
A riff on the famous Rietveld chair, Studio Minale Maeda's Red Blue Lego Chair—which leans toward the conceptual end of the Talents spectrum—was designed in 2007 and exhibited at Ambiente the same year.
In the sparse living area, two gray Gispen chairs designed by Wim Rietveld sit around a standalone wood stove. A Slow Glow Lamp designed by Aura Luz Melis for Droog Design hangs at the room's center.
In the sparse living area, two gray Gispen chairs designed by Wim Rietveld sit around a standalone wood stove. A Slow Glow Lamp designed by Aura Luz Melis for Droog Design hangs at the room's center.
The Dutch architect and cabinetmaker Gerrit Rietveld designed the precursor to his famous Red Blue Chair in 1918/1919. He submitted the unpainted model to an exhibition at the Museum for Applied Arts in Haarlem, which included a competition for the best design for a simple lounge chair that could be manufactured for less than 35 guilders—roughly $20. The resulting design is an open spatial composition, corresponding to the principles of the De Stijl movement, of which Rietveld was a member. “The construction helps to interconnect the components without mutilating them or allowing one to dominate the other, with the resulting effect that the whole stands free and clear within the space and the form is further emphasized by the material,” he says.
The Dutch architect and cabinetmaker Gerrit Rietveld designed the precursor to his famous Red Blue Chair in 1918/1919. He submitted the unpainted model to an exhibition at the Museum for Applied Arts in Haarlem, which included a competition for the best design for a simple lounge chair that could be manufactured for less than 35 guilders—roughly $20. The resulting design is an open spatial composition, corresponding to the principles of the De Stijl movement, of which Rietveld was a member. “The construction helps to interconnect the components without mutilating them or allowing one to dominate the other, with the resulting effect that the whole stands free and clear within the space and the form is further emphasized by the material,” he says.
Curated by Rietveld Landscape, 'Vacant NL—Where Architecture Meets Ideas' throws the potential of temporarily unoccupied buildings all over the Netherlands into the spotlight. Diverse building typologies, conditions of use, and their geographic locations were all catalogued and proposed for new spaces to push forward Netherlands' creative economy.
Curated by Rietveld Landscape, 'Vacant NL—Where Architecture Meets Ideas' throws the potential of temporarily unoccupied buildings all over the Netherlands into the spotlight. Diverse building typologies, conditions of use, and their geographic locations were all catalogued and proposed for new spaces to push forward Netherlands' creative economy.
This chair by Gerrit Rietveld hardly needs an introduction. Red and Blue Chair, 1917, made by: Gerard van de Groenekan after 1917, painted birch wood, 87.5 x 60 x 76 cm. Gemeentemuseum Den Haag, purchased from Truus Schröder of Utrecht, 1955
This chair by Gerrit Rietveld hardly needs an introduction. Red and Blue Chair, 1917, made by: Gerard van de Groenekan after 1917, painted birch wood, 87.5 x 60 x 76 cm. Gemeentemuseum Den Haag, purchased from Truus Schröder of Utrecht, 1955
Catherine Riedel and Michael Myer’s cozy family room complete with the Bidore 95 MKII.
Catherine Riedel and Michael Myer’s cozy family room complete with the Bidore 95 MKII.
In 2006, Claus—director of Claus en Kaan Architecten, one of the Netherlands’ top architectural practices—finally got inside Perret’s apartment. He was duly impressed. “It’s the sheer abundance with which limited materials are used here that first struck me,” he says. “The wall-to-wall French oak paneling, combined with materials that were ahead of their time—columns made not from marble but from stone-blasted concrete, the extraordinary round plaster ceiling inset, and the fiber-wood paneling—and his attention to the tiniest of details.” He tracked down the organization that owns the apartment, the Association Auguste Perret, to see if he and his wife could rent the unit as a pied-à-terre. To his surprise, they said yes. In the dining room, a marble-topped table by Eero Saarinen is ringed with Eames wire chairs. Through oak accordion doors, the atrium beckons with red Utrecht armchairs by Gerrit Rietveld and a yellow Diana table by Konstantin Grcic.
In 2006, Claus—director of Claus en Kaan Architecten, one of the Netherlands’ top architectural practices—finally got inside Perret’s apartment. He was duly impressed. “It’s the sheer abundance with which limited materials are used here that first struck me,” he says. “The wall-to-wall French oak paneling, combined with materials that were ahead of their time—columns made not from marble but from stone-blasted concrete, the extraordinary round plaster ceiling inset, and the fiber-wood paneling—and his attention to the tiniest of details.” He tracked down the organization that owns the apartment, the Association Auguste Perret, to see if he and his wife could rent the unit as a pied-à-terre. To his surprise, they said yes. In the dining room, a marble-topped table by Eero Saarinen is ringed with Eames wire chairs. Through oak accordion doors, the atrium beckons with red Utrecht armchairs by Gerrit Rietveld and a yellow Diana table by Konstantin Grcic.
Gravity Stool by Jólan van der Wiel received the BIO 23 student work award. The look of this wind-swept seating design was created by combining iron filings, resin, and the power of magnetism. A much talked about submission in the "machines and processes" category, Gravity Stool was created under the supervision of Bas van Beek at Gerrit Rietveld Academie/DesignLab, Amsterdam, The Netherlands in 2011. "The almost freakish positioning of the magnetic fields in the mold machine largely determines the final shape of the stool. It is the combination of the magnet machine with the plastic material (developed specifically for this purpose) that enabled the designer to start a small but efficient chain of production."
Gravity Stool by Jólan van der Wiel received the BIO 23 student work award. The look of this wind-swept seating design was created by combining iron filings, resin, and the power of magnetism. A much talked about submission in the "machines and processes" category, Gravity Stool was created under the supervision of Bas van Beek at Gerrit Rietveld Academie/DesignLab, Amsterdam, The Netherlands in 2011. "The almost freakish positioning of the magnetic fields in the mold machine largely determines the final shape of the stool. It is the combination of the magnet machine with the plastic material (developed specifically for this purpose) that enabled the designer to start a small but efficient chain of production."