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Above and below right: The Rietveld-Schršder House in Utrecht. Folding sliding walls create small bedrooms or one large living spaceAbove right: Piet Hein Eek's studios in Eindhovenfamous red and blue version of the chair. In 1924 he used De Stijl principles to collaborate with local widow Truus Schröder on a house for her and her children. Its mix of practicality (black paint on areas of heavy traffi c, a dumb waiter and grocery delivery window) and innovation (sliding and folding panel walls, disguised window shutters, and a hidden movie/record player) make it a masterpiece of multifunctional design. It is now a UNESCO World Heritage Site. In photographs it seems stark, but from within it is serene and fi lled with light – no wonder Mrs Schröder lived here until her death in 1985.There are not many other examples of De Stijl architecture. Initially the designs were seen as too radical, while ironically after WW2 the increases in wages made many of the ideas too expensive, even for the middle classes. But the legacy lives on nonetheless. On one level, Mondrian’s paintings are endlessly popular, with his idea of black lines/primary panels imitated on products from New York to Beijing (dresses by both Yves Saint Laurent and contemporary Dutch designer Michael Barnaart van Bergen feature in The Vulgar: Fashion Redefi ned at the Barbican in London until February 5). On a deeper level we see the impact of De Stijl on our daily lives, where houses with fi tted kitchens, indoor bathrooms and other conveniences are the norm rather than the exception. The ideals of De Stijl can also be seen echoed in the work of Apple’s Steve Jobs, whose focus on minimal, intuitive design has transformed the way we use technology. This facet will be explored further in an exhibition in 2017 at the Van Abbe Museum in Eindhoven, a city built up in the last century by the Philips lightbulb empire.But perhaps Eindhoven itself is the best example of the legacy of De Stijl. It’s not a beautiful city, but it is beguiling thanks to its youthful energy, a place where technology and design come together with spectacular results – many showcased in its famous citywide October Design Week. The birthplace of the cassette and CD, it has a long history of socially important inventions and still fi les more patents per head of population than anywhere else in the world. Its Design Academy and hubs such as Strijp S and Kazerne encourage a new generation who are rejecting expensive, mass-produced ‘bling’ for a more honest, craft-based approach. Celebrated designer Piet Hein Eek is one example. Using recycled raw materials and low-tech manufacturing techniques he produces tactile, simple products that are carefully thought through to minimise waste and maximise their usefulness. In common with De Stijl, he believes the functionality should infl uence the form and that a holistic approach is all-important – in this case encompassing design, production, packaging, transport and sale. “I wanted to show that products that aren't perfect still can appeal to our sense of aesthetic,” he explains. “My designs are inspired by processes. But the object becomes more beautiful because the process is visible.” ■Images: Rietveld-Schröder House © Ernst Moritz; Piet Hein Eek courtesy of Visit Brabant.36 NADFAS REVIEW / WINTER 2016 www.nadfas.org.ukDE STIJL