Wim Rietveld

Wim Rietveld the Dutch industrial designer who advocated functional furniture for a simple interior.

By Fran Barrett on Monday 9th January, 2012

Wim Rietveld preferred to think of himself as an industrial designer rather than simply a designer. Born in 1924, he was the youngest son of renowned minimalist architect and designer Gerrit Rietveld, who was famed for pioneering the Dutch artistic movement, De Stijl.

Initially starting out as a tool-maker, Wim Rietveld took an evening class in industrial design at the Academy in The Hague, which he supplemented by working in his father’s workshop. It was his final-exam work which got him noticed and subsequently hired by W.H. Gispen, founder of the Dutch furniture powerhouse, Gispen. Rietveld would later design for De Cirkel, another prolific design manufacturer during the mid-century era.

The backdrop against which Rietveld emerged reveals a great deal about his artistic ideals. Following the Second World War, there was a need for inexpensive and non-fussy furniture due to the lack of materials and machinery. Hence, his core objective was to produce practical and affordable pieces without having to compromise on their aesthetic quality. He has since been credited as an instrumental player in the post-war restoration of the Netherlands' economic and industrial infrastructure.

His personal design philosophy, ‘furniture for a simple interior’, was part of the broader ‘good living’ period. A modernist influence is clearly evident in his work, which largely consists of clean lines and angular, modular pieces. Arguably his most well-known piece is the 1407 chair which he co-designed with Andre Cordemeijer. Known as the ‘chair without armrests’, it was awarded the gold medal at the 10th Milan Biennale in 1954.

Rietveld subscribed to the functionalist school of thought popularised by Frank Lloyd Wright, which is governed by the premise that “form ever follows function” (Louis Sullivan, Chicago architect). His predilection for dealing primarily with simple materials such as solid metals and wood is indicative of his adherence to the principle that design ought to be based on purpose.

He employed a formulaic approach to design in that he worked out the production facilities available to him and balanced them with the costs of manufacture before finally tweaking the piece so it is as aesthetically pleasing as possible. In particular he has been applauded for his pioneering upholstery techniques; the way in which he connected fabric to steel without any visible attachments.

He predominantly designed furniture and lighting, although he also designed industrial machinery, household appliances and even contributed to the creation of the Amsterdam subway.

Rietveld’s work has enjoyed a revival in recent years and is highly sought after due to its versatility and ability to be combined with other styles of furniture.

He was appointed extraordinary professor of the Faculty of Industrial Design at the Delft University of Technology in 1973; Finally having gained the recognition he deserves, and ensuring that Wim’s design legacy rivals that of his more lauded father.