Dutch architects and artists, united around the magazine "Style" founded in 1916, went farthest in the issue of analyzing space and form, which became their tribune. This movement and the Amsterdam school represented the two poles of Dutch Art Nouveau. The reformist aspirations of the Dutch architects were not only about appearance, they were aimed directly at the essence of architecture - the creation of space.
The Style movement was closely associated with neoplasticism in painting, a movement initiated by P. Mondrian. His flat color compositions based on cruciform intersections characteristically influenced the pictorial system of architectural and spatial compositions, for example, "contract constructions" and architectural sketches of villas by T. van Doesburgh and C. van Esteren. They also jointly formulated the foundations of painting, sculpture and architecture and theoretically defined the program of the "Style" movement in the form of a series of principles: new architecture is elementary, economical and functional; its spatial development is determined by rectangular planes, does not have a single passive element and denies the distinction between exterior and interior. The new architecture does not have load-bearing walls - they only highlight the space. The result of the implementation of these ideas was an "open" architectural volume, in which external and internal spaces and forms were intertwined.
Under the influence of the French mathematician A. Poincare, who considered the moment of movement to be the fourth dimension of space, 74 architects stopped treating space only as a static material of architecture, but defined it as a four-dimensional spatial continuum, organized by freely arranged flat elements. These principles were not implemented in kind. An exception can be considered the house of Schroeder in Utrecht “(1924, author G. T. Riet-veldt), who transferred these principles to the solution of furniture (chairs of the period 1918-1919). Very closely related to these abstract representations is the work of Me van der Rohe, which reached its peak in the period between the two world wars in the architecture of the German exhibition pavilion in Barcelona (1929), the uncovered volume and plan of which show that he understands architecture as an open continuous space.