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Brown's book was used to understand Rietveld's design theories, ideas, and work. It was also used as a reference for important dates, and pictures regarding Rietveld's collaborations with Truus Schroder.

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Half-landing in the hall with bench and telephone shelf, 1987. The Rietveld-Schroder House. Cambridge:

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Interior, bedroom, 1927. The Work of G. Rietveld. Utrecht: A.W. Bruna & Zoon, 1958. Photo.

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            1958. Photo.

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            Cambridge: The MIT Press, 1988.

This work by Overy et al. was used to understand why the house was built, what Truus's ideas for the building were, and what Rietveld's ideas for the building were as well. It also helped us to gain an understanding the relationships in the house, such as those between the interior and exterior. The work was also used a source for images.

Perspective sketches. Gerrit Rietveld. London New York, NY: Phaidon. Photo.

P.J.Klaarhamer chair, 1915. The Work of G. Rietveld. Utrecht: A.W. Bruna & Zoon, 1958. Photo.

P.J.Klaarhamer chair, 1915. The Work of G. Rietveld. Utrecht: A.W. Bruna & Zoon, 1958. Photo.

P.J.Klaarhamer, buffet, 1915. The Work of G. Rietveld. Utrecht: A.W. Bruna & Zoon, 1958. Photo.

Portable summer house, 1936. The Work of G. Rietveld. Utrecht: A.W. Bruna & Zoon, 1958. Photo.

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            1958. Photo.

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(December 10th, 2012).

Radio Cabinet, 1925. The Work of G. Rietveld. Utrecht: A.W. Bruna & Zoon, 1958. Photo.

Red-blue chair, detail, 1918. The Work of G. Rietveld. Utrecht: A.W. Bruna & Zoon, 1958. Photo.

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TRANSITIONS: EXTERIOR TO INTERIOR

One of Rietveld's main goals with the house was to delimit space while creating smooth transitional areas between the exterior and interior. His use of space-dividing elements as well as transitional elements (such as eaves, balconies, pillars, railings, door frames, and window frames) help communicate the architectural language of the house.

 FIRST TRANSITION AREA 

Overy et. al. p 121

The first area exists on the southwest facade facing Prins Hendriklaan. It begins at the gate which opens up from the sidewalk onto a path leading to a patio space. The small door on the patio leads into the studio on the ground floor. Directly above, the girls' room on the second floor opens up onto a balcony.








 SECOND TRANSITION AREA 

Overy et. al. p 121

The second transition area is also connected to the street by a path and gate. This path leads to a bench which sits beside the main entrance. Another bench exists inside in the front hall, directly in line with the exterior bench. A balcony extrudes into the exterior from the boy's room on the second floor, overhanging over the main entrance. 

 THIRD TRANSITION AREA 

Overy et. al. p 122

The eastern corner of the house connects to the exterior through windows on the first floor looking into the kitchen. On the second floor looking into the living/dining, the windows open at 90 degree angles (to line up with the mullions) and the eastern corner disappears completely. 
See: Disappearing corner window










 FOURTH TRANSITION AREA 

Overy et. al. p 122

The fourth transition area consists of a patio on the first floor leading into the servant bedroom. It is covered by a balcony extruding from the living/dining room and Truus Schroder's bedroom above on the second floor. 

Overy et. al. p 122

 FIFTH TRANSITION AREA 

The fifth area is a vertical shaft of light that begins at the bottom of the stairs on the ground floor. It continues up to the second floor and through the roof to a skylight which can be opened for roof access. 

UNDERSTANDING THE DOMESTICITY OF THE RIETVELD-SCHRODER HOUSE: Part 2

Northwest Windows (disappearing corner)

Many if not most of Schroder’s ideals come from past experiences. She had vivid memories of walks as a child with her father in all kinds of weather, citing this as an inspiration for a desire to be distanced from the ground and be closer to the sun, wind, rain and light. She wanted to be able to experience the changes of the nature outside from the confines of her own home. These formed the basis for the windows on the second floor, especially the window with the disappearing corner, and her desire for having absolutely no intention of living on the ground floor. Schroder also cited her aspiration for a large open second floor to a memory of taking care of a friend’s baby in a large spacious attic; the memory and idea inspired and appealed immensely to her. When she approached Rietveld on this topic, he responded enthusiastically and followed by designing the ingenious sliding partition walls on the second floor.

The transformable space further appealed to Schroder because she did not want a home that imposed a specific lifestyle on her. Instead, she wanted a space that could change with her – a space that could develop and satisfy her cravings for independence.

Partition Walls Removed

Partition Walls In Place

                 

For her ideas, Schroder was officially credited as co-designer of the house, a fact that has become forgotten.