One needs no introduction to Rietveld and his contribution to Dutch architecture and more importantly, Modern architecture as we know it today.
Contain in this book is a fairly exhaustive attempt to catalog his known works. I say "catalog" because, it's not merely a collection/selection of his best work, but it appears that the author has attempted to list every known work Rietveld has ever done.
This is particularly evident in the way where some of the works contain some highly obscure commissions, such as designs of medals, posters, typefaces, and even a tombstone memorial (e.g. Pg. 62 - Catalog #8 - Tombtone E. Nijland - Rietveld was given this commission by Carel Begeer, a good friend of E. Nijland, the headmaster of the Dutch Reformed High School)
One leaves from this book feeling awed at the prolific output and the range of Rietveld ability as an Architect.
Not only does this book list down every obscure work (totaling to 681 known works in chronological order), this book also contains Rietvelds essays and thoughts penned by Rietveld himself .
Rietveld writes knowledgeably on a range of subjects: from chair construction, to Dutch architecture, interiors and acknowledgement of problems with different types of lighting and materials.
A sample of his writing reflecting his experience and knowledge on form and construction is seen in his essay in "Chairs":
"Many difficult constructions have been solved satisfactorily and have acquired their generally accepted form; how is it then that a satisfactory solution has not been found for a simple construction such as a chair, as, for instance, has been done with the bicycle or, even more simply, spoons? Sitting is surely a simple enough activity. ...
... Every movement when one is sitting gives jolt to the construction and this means that a chair has to be capable of much more resistance than it would require for it simple support function. This is why a chair that is strong enough practically speaking, will have an appearance that, for a simple function such as sitting, is unnecessarily heavy. The best chairs turned out to be those made of somewhat flexible materials, where the resistance is reinforced in proportion to the force applied. (Curved wood: the Thonet chair, or curved steel tubing). There is still one weak point: that the connecting parts may become movable. Chairs do not have to be any representation of the idea of sitting, but they are as it were the supporting part of the people who are sitting - the extension of their spines; this is why it is not yet over and done with." ("Chairs", Rietveld, pg. 27)
Not only is this book a great reference to the complete works of Rietveld and his essays. This book, published by the Centraal Museum (where I got my copy directly from), ensures that it is a well-put together historical record and document of a great Architect, that is beautifully made (in blue linen hardcover) to last the time in the treasured vault of a collector.
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An exhaustive catalog of his works
One needs no introduction to Rietveld and his contribution to Dutch architecture and more importantly, Modern architecture as we know it today.Contain in this book is a fairly exhaustive attempt to catalog his known works. I say "catalog" because, it's not merely a collection/selection of his best work, but it appears that the author has attempted to list every known work Rietveld has ever done.This is particularly evident in the way where some of the works contain some highly obscure commissions, such as designs of medals, posters, typefaces, and even a tombstone memorial (e.g. Pg. 62 - Catalog #8 - Tombtone E. Nijland - Rietveld was given this commission by Carel Begeer, a good friend of E. Nijland, the headmaster of the Dutch Reformed High School)One leaves from this book feeling awed at the prolific output and the range of Rietveld ability as an Architect.Not only does this book list down every obscure work (totaling to 681 known works in chronological order), this book also contains Rietvelds essays and thoughts penned by Rietveld himself .Rietveld writes knowledgeably on a range of subjects: from chair construction, to Dutch architecture, interiors and acknowledgement of problems with different types of lighting and materials.A sample of his writing reflecting his experience and knowledge on form and construction is seen in his essay in "Chairs":"Many difficult constructions have been solved satisfactorily and have acquired their generally accepted form; how is it then that a satisfactory solution has not been found for a simple construction such as a chair, as, for instance, has been done with the bicycle or, even more simply, spoons? Sitting is surely a simple enough activity. ...... Every movement when one is sitting gives jolt to the construction and this means that a chair has to be capable of much more resistance than it would require for it simple support function. This is why a chair that is strong enough practically speaking, will have an appearance that, for a simple function such as sitting, is unnecessarily heavy. The best chairs turned out to be those made of somewhat flexible materials, where the resistance is reinforced in proportion to the force applied. (Curved wood: the Thonet chair, or curved steel tubing). There is still one weak point: that the connecting parts may become movable. Chairs do not have to be any representation of the idea of sitting, but they are as it were the supporting part of the people who are sitting - the extension of their spines; this is why it is not yet over and done with." ("Chairs", Rietveld, pg. 27)Not only is this book a great reference to the complete works of Rietveld and his essays. This book, published by the Centraal Museum (where I got my copy directly from), ensures that it is a well-put together historical record and document of a great Architect, that is beautifully made (in blue linen hardcover) to last the time in the treasured vault of a collector.
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Reviewed in the United States on February 9, 2011
One needs no introduction to Rietveld and his contribution to Dutch architecture and more importantly, Modern architecture as we know it today.
Contain in this book is a fairly exhaustive attempt to catalog his known works. I say "catalog" because, it's not merely a collection/selection of his best work, but it appears that the author has attempted to list every known work Rietveld has ever done.
This is particularly evident in the way where some of the works contain some highly obscure commissions, such as designs of medals, posters, typefaces, and even a tombstone memorial (e.g. Pg. 62 - Catalog #8 - Tombtone E. Nijland - Rietveld was given this commission by Carel Begeer, a good friend of E. Nijland, the headmaster of the Dutch Reformed High School)
One leaves from this book feeling awed at the prolific output and the range of Rietveld ability as an Architect.
Not only does this book list down every obscure work (totaling to 681 known works in chronological order), this book also contains Rietvelds essays and thoughts penned by Rietveld himself .
Rietveld writes knowledgeably on a range of subjects: from chair construction, to Dutch architecture, interiors and acknowledgement of problems with different types of lighting and materials.
A sample of his writing reflecting his experience and knowledge on form and construction is seen in his essay in "Chairs":
"Many difficult constructions have been solved satisfactorily and have acquired their generally accepted form; how is it then that a satisfactory solution has not been found for a simple construction such as a chair, as, for instance, has been done with the bicycle or, even more simply, spoons? Sitting is surely a simple enough activity. ...
... Every movement when one is sitting gives jolt to the construction and this means that a chair has to be capable of much more resistance than it would require for it simple support function. This is why a chair that is strong enough practically speaking, will have an appearance that, for a simple function such as sitting, is unnecessarily heavy. The best chairs turned out to be those made of somewhat flexible materials, where the resistance is reinforced in proportion to the force applied. (Curved wood: the Thonet chair, or curved steel tubing). There is still one weak point: that the connecting parts may become movable. Chairs do not have to be any representation of the idea of sitting, but they are as it were the supporting part of the people who are sitting - the extension of their spines; this is why it is not yet over and done with." ("Chairs", Rietveld, pg. 27)
Not only is this book a great reference to the complete works of Rietveld and his essays. This book, published by the Centraal Museum (where I got my copy directly from), ensures that it is a well-put together historical record and document of a great Architect, that is beautifully made (in blue linen hardcover) to last the time in the treasured vault of a collector.
Contain in this book is a fairly exhaustive attempt to catalog his known works. I say "catalog" because, it's not merely a collection/selection of his best work, but it appears that the author has attempted to list every known work Rietveld has ever done.
This is particularly evident in the way where some of the works contain some highly obscure commissions, such as designs of medals, posters, typefaces, and even a tombstone memorial (e.g. Pg. 62 - Catalog #8 - Tombtone E. Nijland - Rietveld was given this commission by Carel Begeer, a good friend of E. Nijland, the headmaster of the Dutch Reformed High School)
One leaves from this book feeling awed at the prolific output and the range of Rietveld ability as an Architect.
Not only does this book list down every obscure work (totaling to 681 known works in chronological order), this book also contains Rietvelds essays and thoughts penned by Rietveld himself .
Rietveld writes knowledgeably on a range of subjects: from chair construction, to Dutch architecture, interiors and acknowledgement of problems with different types of lighting and materials.
A sample of his writing reflecting his experience and knowledge on form and construction is seen in his essay in "Chairs":
"Many difficult constructions have been solved satisfactorily and have acquired their generally accepted form; how is it then that a satisfactory solution has not been found for a simple construction such as a chair, as, for instance, has been done with the bicycle or, even more simply, spoons? Sitting is surely a simple enough activity. ...
... Every movement when one is sitting gives jolt to the construction and this means that a chair has to be capable of much more resistance than it would require for it simple support function. This is why a chair that is strong enough practically speaking, will have an appearance that, for a simple function such as sitting, is unnecessarily heavy. The best chairs turned out to be those made of somewhat flexible materials, where the resistance is reinforced in proportion to the force applied. (Curved wood: the Thonet chair, or curved steel tubing). There is still one weak point: that the connecting parts may become movable. Chairs do not have to be any representation of the idea of sitting, but they are as it were the supporting part of the people who are sitting - the extension of their spines; this is why it is not yet over and done with." ("Chairs", Rietveld, pg. 27)
Not only is this book a great reference to the complete works of Rietveld and his essays. This book, published by the Centraal Museum (where I got my copy directly from), ensures that it is a well-put together historical record and document of a great Architect, that is beautifully made (in blue linen hardcover) to last the time in the treasured vault of a collector.
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