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    <title>Tag: de-stijl | ArchDaily</title>
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        <![CDATA[5 Art Movements that Influenced Architecture ]]>
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      <link>https://www.archdaily.com/972816/5-art-movements-that-influenced-architecture</link>
      <pubDate>Sat, 17 Feb 2024 07:30:00 +0000</pubDate>
      <dc:creator>Dima Stouhi</dc:creator>
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        <![CDATA[<p dir="ltr">As far as history goes back, art and architecture <a href="https://www.archdaily.com/962541/the-close-relationship-between-art-and-architecture-in-modernism" target="_blank" rel="noopener">have always been interrelated</a> disciplines. From the elaboration of the Baroque movement to the geometric framework of modernism, architects found inspiration from stylistic approaches, techniques, and concepts of historic art movements, and translated them into large-scale habitable structures. In this article, we explore 5 of many art movements that paved the way for modern-day architecture, looking into how architects borrowed from their characteristics and approaches to design to create their very own architectural compositions. </p>]]>
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        <![CDATA[The Myth of Pure White Architecture: How Architects of Modernity Used Color]]>
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      <link>https://www.archdaily.com/1004970/the-myth-of-pure-white-architecture-how-architects-of-modernity-used-color</link>
      <pubDate>Thu, 03 Aug 2023 07:30:00 +0000</pubDate>
      <dc:creator>Maria-Cristina Florian</dc:creator>
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        <![CDATA[<p>Given that the architects of modernity were in search of purity of form, it stands to reason that the image of this modern architecture is almost inevitably rendered in <a href="https://www.archdaily.com/tag/white">white</a> in the collective imagination. Relieved of superfluous decorations, modern architecture became associated with the predominant use of white surfaces to highlight the volumetric composition. Combined with the concept of “material truth” first articulated by Victorian critic John Ruskin, white-colored architecture is often understood as straightforward, clear, and sincere.</p>]]>
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        <![CDATA[A Rebellion Against Realism and Art: How Cubism Influenced Modern Architecture ]]>
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      <link>https://www.archdaily.com/985450/a-rebellion-against-realism-and-art-how-cubism-influenced-modern-architecture</link>
      <pubDate>Fri, 15 Jul 2022 07:30:00 +0000</pubDate>
      <dc:creator>Dima Stouhi</dc:creator>
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        <![CDATA[<p>Historic art movements and their visual characteristics have considerably <a href="https://www.archdaily.com/972816/5-art-movements-that-influenced-architecture" target="_blank" rel="noopener">paved the way for modern day architecture</a>. For years, architects have been borrowing techniques and stylistic approaches to create their own architectural compositions, merging both disciplines together. Cubism, one of the most influential styles of the twentieth century, and heavily criticized for its experimentation with its non-representational art approach, is perhaps the most significant architecture inspiration. Just as the radical art movement rejected the then-rooted concept that art should mimic nature, architects found themselves following suit and designing structures that borrow Cubism’s avant-gardist features, creating buildings that, to this day, stand as iconic landmarks of the practice. </p>]]>
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        <![CDATA[12 Important Modernist Styles Explained]]>
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      <link>https://www.archdaily.com/931129/12-important-modernist-styles-explained</link>
      <pubDate>Wed, 18 Mar 2020 04:00:00 +0000</pubDate>
      <dc:creator>Niall Patrick Walsh</dc:creator>
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        <![CDATA[<p>Modernism could be described as one of the most optimistic styles in architectural history, drawing from notions of utopia, innovation, and the reimagination of how humans would live, work, and interact. As we reflected in our <a href="https://www.archdaily.com/769340/ad-essentials-modernism" target="_blank">AD Essentials Guide to Modernism</a>, the philosophy of Modernism still dominates much of architectural discourse today, even if the world that gave rise to Modernism has changed utterly.</p>]]>
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        <![CDATA[Diagrams of the Rietveld Schroder House Reveal its Graphic and Geometric Brilliance]]>
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      <link>https://www.archdaily.com/875223/diagrams-of-the-rietveld-schroder-house-reveal-its-graphic-and-geometric-brilliance</link>
      <pubDate>Sun, 09 Jul 2017 12:00:00 +0000</pubDate>
      <dc:creator>Annalise Zorn</dc:creator>
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        <![CDATA[<p dir="ltr">As one of the most prominent examples of the <a href="http://www.archdaily.com/tag/de-stijl">De Stijl</a> movement, the 1925 <a href="http://www.archdaily.com/99698/ad-classics-rietveld-schroder-house-gerrit-rietveld">Rietveld Schroder House</a> represents a radical moment in <a href="http://www.archdaily.com/tag/modern-architecture">modern architecture</a>. Categorized by refining components to their geometric forms and primary paint hues, characteristics of the movement are evident in the architect <a href="http://www.archdaily.com/tag/gerrit-rietveld">Gerrit Rietveld's</a> approach to residential design. Located in <a href="http://www.archdaily.com/tag/utrecht">Utrecht</a>, the house experiments with <a href="http://www.archdaily.com/tag/modular">modular</a> elements such as collapsible walls that provide a transformable way of living that still influences design to this day.</p>]]>
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        <![CDATA[Maison d'Artiste: An Unfinished Icon by De Stijl]]>
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      <link>https://www.archdaily.com/869589/maison-dartiste-unfinished-icon-de-stijl</link>
      <pubDate>Thu, 20 Apr 2017 01:00:00 +0000</pubDate>
      <dc:creator>Rene Submissions</dc:creator>
      <category>
        <![CDATA[Individual Architects & Firms]]>
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        <![CDATA[<p>Though it was never built, the design for the legendary artist&rsquo;s house Maison d&rsquo;Artiste is one of the key works of the Dutch avant-garde movement De Stijl. Created in 1923 by painter Theo van Doesburg and architect Cornelis van Eesteren for De Stijl&rsquo;s first group exhibition, the Maison d&rsquo;Artiste was intended to encapsulate what De Stijl aspired to: a new everyday environment achieved through the harmonious fusion of painting and architecture.</p>]]>
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      <title>
        <![CDATA[See Richard Meier's City Hall in The Hague Repainted as the "World's Largest Mondrian"]]>
      </title>
      <link>https://www.archdaily.com/805376/see-richard-meiers-the-hague-city-hall-repainted-as-the-worlds-largest-mondrian</link>
      <pubDate>Tue, 14 Feb 2017 16:20:00 +0000</pubDate>
      <dc:creator>Patrick Lynch</dc:creator>
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        <![CDATA[<p dir="ltr"><a href="http://www.archdaily.com/tag/richard-meier" target="_blank">Richard Meier</a> is well-known for his love of the color white, describing it as “the most wonderful color, because within it you can see all the colors of the rainbow” in his Pritzker Prize acceptance speech. As such, many of his buildings, including the City Hall of <a href="https://www.archdaily.com/tag/the-hague">The Hague</a> in <a href="https://www.archdaily.com/tag/netherlands">Netherlands</a> (completed in 1995), are painted head-to-toe in the snowy pigment. But now, all that white has given the building a new unintentional function: as a perfect canvas for the world’s largest Mondrian painting.</p>]]>
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      <title>
        <![CDATA[AD Classics: Café l'Aubette / Theo van Doesburg]]>
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      <link>https://www.archdaily.com/791507/ad-classics-cafe-laubette-strasbourg-theo-van-doesburg</link>
      <pubDate>Wed, 20 Jul 2016 04:00:00 +0000</pubDate>
      <dc:creator>Luke Fiederer</dc:creator>
      <category>
        <![CDATA[Interior Design]]>
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        <![CDATA[<p>Concealed behind an 18th century Baroque façade in <a href="https://www.archdaily.com/tag/strasbourg">Strasbourg</a>’s Place Kléber, the Café L’Aubette is a dazzlingly incongruous expression of the 1920s <a href="https://www.archdaily.com/tag/de-stijl">De Stijl</a> movement. Designed by <a href="https://www.archdaily.com/tag/theo-van-doesburg">Theo van Doesburg</a>, one of the movement’s founders and leading lights, the Aubette’s minimalist, geometric aesthetic was heavily influenced by the work of contemporary artists such as Piet Mondrian. In designing the café’s interiors, Van Doesburg sought to do more than simply place viewers before a painting; he wanted to envelop them in it.</p>]]>
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