Founder: Theo van Doesburg established the De Stijl movement in the Netherlands.
Influence in Germany: He was central to the German Constructivist movement before moving to Paris in 1923.
Exhibition: Participated in a show for De Stijl architectural projects at Leonce Rosenberg’s Paris gallery.
Featured Project: "House for an Artist"
Collaboration: Designed with Dutch architect Cor van Eesteren (1897–1988).
Design Characteristics: The model featured:
Intersecting cubic volumes.
Surfaces painted in black, white, and primary colors.
Architectural Philosophy: Van Doesburg and van Eesteren promoted the idea:
Importance of "the relationship between their qualities" over relationships between individual objects.
Criticism of Individual Creativity: They opposed the traditional celebration of individual creativity found in the exhibitions of the Society of Artist-Decorators (SAD).
State that "the new spirit…is opposed to animal spontaneity (lyricism)… and complicated hair styles and elaborate cooking."
Reception: Their 1923 exhibition received minimal attention from French critics, and when it did, it faced criticism for being too reductive.
Exclusion from Notable Events: De Stijl was not featured in the Dutch pavilion at the 1925 Exposition des Arts Décoratifs despite its earlier significance.
Pavilion was dominated by expressive architects linked to the journal Wendingen.
Le Corbusier's Adoption: Swiss architect Le Corbusier incorporated De Stijl geometry into his works and adopted van Doesburg and van Eesteren’s axonometric projections to emphasize building volume.
Van Doesburg’s Work in France
Architectural Projects: Worked as a color consultant during late 1920s in Holland and Germany.
Large French Commission: Designed the interior of the Aubette café and dance hall in Strasbourg, collaborating with Hans Arp and Sophie Tauber-Arp.
Responsibilities: Van Doesburg oversaw the design of all equipment and objects including:
Electrical fuse-boards
Ashtrays
Dishes
Signage Design: Used the rectilinear De Stijl alphabet designed in 1918–1919.
Collaboration Details:
Sophie Tauber-Arp worked on the pastry shop and tea room.
Hans Arp decorated the American bar and cellar dance hall.
Grand Salle Statement: In the main function room, Van Doesburg created a mural with:
Colored planes divided by diagonal lines, contrasting with rectangles.
Lighting Design: Implemented rows of lamps reflecting light onto the dance floor.
Reception: The architectural press ignored the Aubette, while local papers recognized it. Patrons disliked the decor, leading to alterations shortly after opening.
Longevity of Impact: By the 10th anniversary, much of the design work was altered or removed.
L’Esprit Nouveau and Purism
Apollinaire’s Lecture (November 1917): "L’Esprit Nouveau et les Poètes" promoted the new spirit relating to classicism.
Key Statements:
"France is repulsed by disorder… People welcome principles and are horrified by chaos."
Advocates for order and duty embodying French spirit.
Formation of L’Esprit Nouveau Journal: Founded in 1920 by:
Charles-Édouard Jeanneret (Le Corbusier)
Amédée Ozenfant
Paul Dermée
Stressed opposition to chaos and lauded beauty in pure forms (cubes, spheres).
Essay on Purism: Published by Le Corbusier and Ozenfant, promoting art that connects to senses and mind.
Architectural Vision: Early works represented volumes over fragmented forms.
Le Corbusier’s Housing Unit: Developed standardized housing unit, the Maison Citrohan, showcased in the 1922 Salon d’Automne alongside his urban plan, Ville Contemporaine for 3M inhabitants.
Critique of Decorative Arts: Le Corbusier’s view of traditional crafts as dead spirits contrasted with the emerging modernism.
The Pavilion de l’Esprit Nouveau:
Designed by Le Corbusier for the 1925 Exposition des Arts Décoratifs, considered a populist house but was underwhelmed by organizers.
Funded by pioneer Gabriel Voisin, dedicated to mass-produced housing.
The Project embodied standardized elements and represented modern aspirations.
Furniture and Design Philosophy:
Utilized “object-types” similar to Hermann Muthesius's Werkbund ideals, displaying Purist paintings inside.
Initial impact led to significant architectural commissions (Pessac, Villa Stein, Villa Savoye).
The Dada Movement
Transition Post-Apologias:
Following Apollinaire’s death in 1918, younger writers sought to further Dada’s legacy, including:
André Breton, Paul Éluard, Philippe Soupault, Louis Aragon.
Dada in Paris: New members embraced Dada with publications aimed at avant-garde movements.
Publications: Included Bulletin Dada and Dadaphone under Tristan Tzara’s guidance.
Creative Expression: Playful designs and humor characterized their artistic expressions, with notable covers like the pun by Picabia on Littérature magazine.
Culmination of Dada:
Problems in maintaining focus on politics led to disruptions such as Tzara’s abusive event in 1922.
Surrealism Emergence: Breton's “First Surrealist Manifesto” launched a new avant-garde movement paralleling broader psychological and political interests.
The Society of Artist-Decorators and the Union of Modern Artists
1925 Exposition Critique: The focus on luxury at the exposition garnered criticism but was defended for attracting large audiences.
Emphasis on ordinary needs remained unmet by many SAD designers, who favored luxury craftsmanship.
Architectural Ports: Robert Mallet-Stevens's modern geometry adapted classic forms with light decoration, forecasting the Art Deco style.
Collaborated on sets for Marcel L’Herbier’s film, showing integration of modernism.
Modern Furniture Design and Innovations
Jean Puiforcat: A silversmith innovated with geometric forms in domestic objects through the use of mixed materials.
Mathematical Ratios: Introduced in his designs, akin to architectural principles by Le Corbusier, emphasizing discipline in decorative arts.