Simplicity and Structure: The International Style in Architecture
The interior of the International Style building was based on the use of boxes. Simple, clean lines kept the interior of the building structured, but cozy. The upper level of the building was designed to be a “universal space” for all the occupants of the building, or it could be segmented and divided into a variety of living spaces simply by sliding panels out of a wall to create room dividers that could enclose a room. When the segmentation was no longer needed, these panels could be slid back into the wall and the universal space could be reopened for entertaining. This allowed the owner of the house to create the space that best fit their lifestyle and spatial needs.
The Schroder House best demonstrated the International Style of architecture, and this architectural style became so popular around the world, that the style became known as the International Style. The Bauhaus, created by Walter Gropius, incorporated this style into its design. It advanced the style by combining two schools of thought the arts school and the crafts school. This combination started its own revolution known as the Arts and Crafts Movement, which became a popular style in the United States. The Bauhaus was made up of three major blocks intended to house classrooms, shops, and studios. All three blocks were interconnected and allowed students to travel between the different areas freely.
Another example of the International Style was seen in the work done by Ludwig Mies Van Der Rohe. His experiences with Expressionism, De Stijl (nonrepresentational style), and Constructivism helped him in his design of the German pavilion for the experimental Weissenhof Estate exhibition in Stuttgart. The goal of this project was to create a large amount of inexpensive, but comfortable living quarters for Germany during the Weimar Republic. This creation became a showcase for “all the leading architects of the day.” This project resulted in Rohe’s transitioning to a philosophy of “rationalization and standardization” as he soon discovered that these were the most effect means for achieving his architectural goals.
References
Janson, H.W. & Janson, Anthony F. (2004). History of Art: The Western Tradition. (6th ed.). Upper Saddle River, NJ: Pearson-Prentice Hall.