©2018 Xavier Delory / Visual arts - 53 Nothomb street 1040 Brussels, Belgium - info@xavierdelory.be



Shroeder House, 2017

This fiction depicts a dialogue between the elementary, dynamic and asymmetrical architecture of Gerry Rietveld and the oblique surfaces of Theo Van Doesburg's simultaneous counter-composition painting (1929).

Built in Utrecht in 1924, Gerry Rietveld’s Schröder house was commissioned by Mrs. Truus Schröder-Schräder. The house has been recognised as one of the first symbols of the modern movement in architecture. This work by the Dutch architect is considered as a brilliant spatial translation of the Principles of neo-plastic art elaborated by the founders of the De Stijl group.

In 1917, Theo Van Doesburg, Piet Mondrian and a few others created the magazine called De Stijl and founded the group of the same name. De Stijl invented a set of formal rules that would lead to a so-called universal representation, reducing painting to its elements: horizontal and vertical straight lines, plane surfaces, rectangles, and the primary colours (red, yellow, and blue) combined with the neutrals (black, gray, and white).

Between 1917 and 1924, Van Doesburg (painter, poet, typographer, architect, writer ...) continues to respect these initial directives and confines himself to the exclusive use of the verticals and horizontals, then from 1924, he allows the inclusion of diagonals in his compositions, and repeatedly liberates himself from the rule of primary colours. This gave rise to a new pictorial tendency which the artist baptised "elementarism". Legend has it that Mondrian then moves away from the De Stijl movement, as the basic catechism has been transgressed.

The De Stijl movement does not only apply to the flat surface of the painting: it pervades facades and stained glass, crockery, furniture, interior design and architecture

itself ...


Eglise Saint-Pierre, 2016

The church is part of a commission of several buildings made to Le Corbusier, by Eugène Claudius-Petit, mayor of the town of Firminy. The project, baptised 'Firminy-Vert', forms the largest architectural complex built by Le Corbusier in Europe. This site includes: a cultural centre, a stadium, a swimming pool, a housing unit and the Church of Saint-Pierre.

Construction of the church began in 1970, five years after the death of the architect. Due to budgetary and political problems, the project experienced many disruptions. By 1978, only the substructure was built and for 30 years this base, nicknamed the 'blockhouse', remained cut off from the rest of the building.

In 1993, the town finally become aware of the cultural and tourist interest in the building as well as in the architectural complex of the Firminy-Vert site. Work resumed in 2004 under the control of the Le Corbusier Foundation and under the direction of José Oubrerie, a former colleague, who had assisted Le Corbusier in the project design and watched over the first phase of the church construction.

The church finally opened its doors on November 29th, 2006. The building, not officially a church, serves primarily as a witness to the architectural work of Le Corbusier.

Weight Lifting with Iron

10:00 am

January 14, 2017

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