Home of John Soane
1792 1824






Breakfast Room © Derry Moore / Sir John Soane’s Museum
South Drawing Room © Derry Moore / Sir John Soane’s Museum
Soane's Bath Room © Gareth Gardner / Sir John Soane’s Museum
The Model Room © Gareth Gardner / Sir John Soane’s Museum
12-14 Lincoln’s Inn Fields, London, England

© Wikipedia
John Soane is the most unclassical of all the architects of Classicism, and his home itself is the strangest of all his creations. He gradually expanded the house as he bought up neighboring properties and reworked them. The result is a crowded and bewildering labyrinth of rooms of varying dimensions and shapes, oddly placed doors, shafts between floors and natural light streaming from unseen openings in every direction, including from below. Like every enlightened English gentleman of his time, Soane was a collector of antiques and paintings, and it was to house and display them that he kept adding new structures to the house. The displays so cover the walls of the tiny rooms that you can hardly pass through without bumping an ear or a nose into a Roman marble.
Dome Area © Derry Moore / Sir John Soane’s Museum

Home of Schroeder Gerrit Rietveld
1924




Kim Zwarts © 2015 Artists Rights Society (ARS), New York / Pictoright Amsterdam
The colored cracks in the ceiling serve as guides for sliding partitions. With these partitions, the whole floor can be divided into several rooms. Without them it would have been a single space.
The famous Red-Blue Rietveld chair dates back to 1917. The first instance had a natural wood color. Rietveld started painting the furniture with his primary colors in 1919, when he joined the De Stijl group and became a follower of Piet Mondrian.

© MidMod-Design
Gerrit Rietveld, the chief Dutch modernist architect, built this home for the widow Truus Schroeder-Schraeder and her three children, and lived there himself as well. It is often said that Rietveld and Truus Schroeder’s plan for the house is a three-dimensional realization of the principles of abstract painter Piet Mondrian. The house even more calls to mind the work of the Russian Suprematists—Malevich’s “arkhitektons” and Lissitzky’s “prouns.” What it certainly does not look like is the “normal” modernist house: too much color, too many details unrelated to function. Nonetheless, it is the predecessor of the modernist house. The Schroeder house is one of the daring early experiments on which the architecture of modernism was built.
50 Prins Hendriklaan, Utrecht, Holland
Kim Zwarts © 2015 Artists Rights Society (ARS), New York / Pictoright Amsterdam
Gerrit Rietveld: The Architect and Designer © Phaidon Press
Home of Konstantin Melnikov
1927 1929





Studio
Living room
Hallway © All photos by Igor Palmin
10 Krivoarbatsky Lane, Moscow, Russia

All 20th-century architects built homes for themselves, all except Soviet architects, in whose country stand-alone residences ran against the powerful Socialist tide. How Melnikov managed to evade these constraints is a mystery and our good fortune that providence happened to smile on this wildest of all the dreamers of the Soviet avant-garde. The home is made up of two cylinders with honeycombed walls and a single bedroom for the entire family. The house is an architectural masterpiece, is celebrated worldwide and is one of the top attractions for foreign tourists to Moscow. But, for Russians, it is important not so much as an architectural wonder but as a cultural anomaly: a single-family home built during the era of the accursed “apartment question” with the inscription, “Konstantin Melnikov architect”, proudly displayed over the entrance and with an enormous, bright, cathedral-like studio on the third floor, all of it bespeaking Melnikov’s pride in a profession little recognized in the USSR, whose members were treated as anonymous functionaries of design institutes and slaves of the building industry.
Living room © All photos by Igor Palmin





















