Hot Potato
Hot Potato
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2 Willow Road, Hampstead (1939)
Ernö Goldfinger
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maximalismus:

Bolderwagon (1918) by Gerrit Rietveld. © Victoria and Albert Museum, London
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gehrl:

Style is a publication focused on the Deutsch De Stijl movement and Kurt Schwitters and van Doesburg’s children book The Scarecrow Fairytale. Its layout embraces the verticality and the horizontality of the page, much like De Stijl’s movement Mondrian, puts a deep weight in the typographic value and extinguishes all that is considered to be an accessory and unnecessary for the comprehension of the message in the texts and the images.
gehrl:

Style is a publication focused on the Deutsch De Stijl movement and Kurt Schwitters and van Doesburg’s children book The Scarecrow Fairytale. Its layout embraces the verticality and the horizontality of the page, much like De Stijl’s movement Mondrian, puts a deep weight in the typographic value and extinguishes all that is considered to be an accessory and unnecessary for the comprehension of the message in the texts and the images.
gehrl:

Style is a publication focused on the Deutsch De Stijl movement and Kurt Schwitters and van Doesburg’s children book The Scarecrow Fairytale. Its layout embraces the verticality and the horizontality of the page, much like De Stijl’s movement Mondrian, puts a deep weight in the typographic value and extinguishes all that is considered to be an accessory and unnecessary for the comprehension of the message in the texts and the images.
gehrl:

Style is a publication focused on the Deutsch De Stijl movement and Kurt Schwitters and van Doesburg’s children book The Scarecrow Fairytale. Its layout embraces the verticality and the horizontality of the page, much like De Stijl’s movement Mondrian, puts a deep weight in the typographic value and extinguishes all that is considered to be an accessory and unnecessary for the comprehension of the message in the texts and the images.
gehrl:

Style is a publication focused on the Deutsch De Stijl movement and Kurt Schwitters and van Doesburg’s children book The Scarecrow Fairytale. Its layout embraces the verticality and the horizontality of the page, much like De Stijl’s movement Mondrian, puts a deep weight in the typographic value and extinguishes all that is considered to be an accessory and unnecessary for the comprehension of the message in the texts and the images.
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deadsunflower:

Theo van Doesburg, Composition XIII (1918).
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nobore:

Rietveld cabinet. 1919
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rudygodinez:

Gerrit Rietveld, Van Slobbe House, (1961-1963)
This house, built for a mining director, is the largest house Rietveld ever built and shares with many houses of this period a horizontally defined composition accentuated by broad frameworks of concrete that surround the windows but also extend beyond them, The emphasis on the line as opposed to the plane visible in this house is also seen in Rietveld’s last furniture design, the Steltman Chair.
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rosswolfe:

Rare hi-res color photo of Frederick [originally Friedrich] Kiesler’s landmark De Stijl-inspired City in Space (1925).
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atnnyc:

9/20: Architecture and Design, MoMA
Gerrit Rietveld, Hanging Lamp, 1920-1924
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design-is-fine:

Gerrit Rietveld, van Dantzig House, Santpoort, Netherlands, 1962. Via domus.
design-is-fine:

Gerrit Rietveld, van Dantzig House, Santpoort, Netherlands, 1962. Via domus.
design-is-fine:

Gerrit Rietveld, van Dantzig House, Santpoort, Netherlands, 1962. Via domus.
design-is-fine:

Gerrit Rietveld, van Dantzig House, Santpoort, Netherlands, 1962. Via domus.
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rudygodinez:

Gerrit Rietveld, Villa Hildebrandt, (1933)
rudygodinez:

Gerrit Rietveld, Villa Hildebrandt, (1933)