
chemnitz villa, germany

stairs of the sanatorium in Trzebiechów, poland
What do we see here:
1. Henry van de Velde's architecture combines Art Nouveau elegance with functionalist principles.

Van de Velde co-founded the German Werkbund, an association to help improve and promote German design by establishing close relations between industry and designers. next follows the debate between Van de Velde and Hermann Muthesius in 1914:
1. Van de Velde called for the upholding the individuality of artists, he believed that standardization could begin an era of imitation, which in design is like destroying the embryo in the egg (he ignored that the new is fostered by in-built obsolescence).
2. Though he is a Nouvean architext, he eschews excessive ornamentation. His style emphasizes flowing lines, organic forms, and a harmony between form and function into a total work of art
3. Van de Velde goes for Gesamtkunstwerk: His buildings and their interiors, furniture, and even typography, denotes a cohesive aesthetic.
4. He uses expressive materials: wood, glass, and metal to highlight natural beauty, rather instead of excessive decoration.
For instance:

Van de Velde's wife showing a dress the architect made for her
Van de Velde co-founded the German Werkbund, an association to help improve and promote German design by establishing close relations between industry and designers. next follows the debate between Van de Velde and Hermann Muthesius in 1914:
1. Van de Velde called for the upholding the individuality of artists, he believed that standardization could begin an era of imitation, which in design is like destroying the embryo in the egg (he ignored that the new is fostered by in-built obsolescence).
2. Muthesius called for strict standardization as a key to development.
Who won? Muthesius.
Who won? Muthesius.
Why?
Muthessius was in tune with the times. Germany was ready to embrace a full cultural/industrial standardization as stimulus of export excellence.