ISSUES OF ORNAMENTATION AND AESTHETICS

CUBISM,
CONSTRUCTIVISM AND
ITS INFLUENCE ON
ARCHITECTURE,
DESTIJL: IDEAS AND
WORKS

CUBISM- 1910 - 1914

Cubism was an early 20th century avantgarde art movement that revolutionized
European painting and sculpture, and
inspired related movements in Architecture,
music and literature.
It was a revolt against the excessively
decorative style. World War I affected the
development of cubist architecture, we can
still find the cubist or cubism-influenced
works in the post war years

CHARACTERISTIC FEATURES OF CUBISM

It originated from principle that the basic shape is the cube.
In cubist artworks, objects are broken up, analyzed, and reassembled in an abstracted form.
The Cubists had technology on their side. Reinforced concrete was
making its way into construction, and enabled them to design open
floor plans.
Cubism can be divided into two phases: Analytical cubism, the
earlier phase, continued until 1912, followed by synthetic cubism,
which lasted through 1915.
Analytical cubism fragments the physical world into intersecting
geometric planes and interpenetrating volumes.
Synthetic cubism, by contrast, synthesizes (combines) abstract
shapes to represent objects in a new way.

CHARACTERISTIC FEATURES OF CUBISM

Evoked feelings of dynamism, achieved by shapes derived from
pyramids, cubes and prisms, by arrangements and compositions
of oblique surfaces, mostly triangular.
Sculpted facades in protruding crystal-like units, reminiscent of
the so-called diamond cut, of late Gothic cavern vaults .
Cubism can be divided into two phases: Analytical cubism, the
earlier phase, continued until 1912, followed by synthetic cubism,
which lasted through 1915.
Analytical cubism fragments the physical world into intersecting
geometric planes and interpenetrating volumes.
Synthetic cubism, by contrast, synthesizes (combines) abstract
shapes to represent objects in a new way.

CHARACTERISTIC FEATURES OF CUBISM

New forms of windows and doors (hexagonal
windows).
Crystal like forms lead to the crystal cubism,
wherever round shapes were found, for instance
even in grilles, the term rondo-cubism was used.
Cubist villas were both costly and demanding,
given that most of them were made of brick, which
is difficult to cut into geometric shapes.
Concrete was far more ideal as a material for
Cubist construction, since it could be poured into
more dramatic geometric forms.

ARCHITECTS ASSOCIATED WITH CUBISM

Pavel Jank, Josef Gor, Josef Chochol
and Vlastislav Hofman became the
creators and propagators of cubism in
architecture.Other architects include
Kralicek,
And the period was very short as many
people were against this new style. Some
theoreticians said that it was a 'betrayal' of
modern architecture.
The buildings were expensive as well as
'bizarre' which is also why much of the
public was against it.

PAVEL JANK (1882)

Pavel Jank became one of the pioneers of
cubism in architecture.
Created something like a 'crystalline'
architecture with many motifs of prisms and
pyramids, very dynamic architecture, closer
to Expressionism.
He was the architect of Prague Castle,
proposed numerous alterations to the Old
Town Hall and summer star.

JOSEF GORS (1880- 1945)

Josef Gor was a Czech architect, one of the
founders of modern architecture in Czechoslovakia.
At the age of 23 he went to study under Jan Kotra at
the Prague School of Applied Arts. Gor joined Pavel
Jank, Josef Chochol and Odoln Grege in founding the
Prague Art Workshops in 1912.
After his involvement in cubism, Gor turned to
national Czech Rondocubism style in the early 20s.
Later on he adopted the Functionalist approach to
architecture.
Among his greatest accomplishments are the
Czechoslovak Pavilion for the Exposition internatale
des art decoratifs et industriels modernes in Paris of
1925; he was awarded the Grand Prize for that design.

IMPORTANT WORKS
Wenke Department Store, Jarom, (19091911)
House of the Black Madonna, Prague's Old
Town (1911-1912)
Bauer villa, Libodice near Koln, (1912-1913)
Saint Wenceslas church, Vrovice, Prague,
1929-1930

HOUSE OF THE BLACK MADONNA (1911-1912)

LOCATION- Prague
TIMELINE- 1911-12
CLIENT- Frantisek Josef Herbst
BUILDING TYPE- Department store
BUILDING CONST-SYSTEM reinforcedconcrete skeletons
STYLE- language of baroque
architecture in the cubist forms
modern/Neo vernacular

HOUSE OF THE BLACK MADONNA (1911-1912)

Josef Gocar built this house as the first
example of cubist architecture in Prague.
Gocars building was subject to strict
harmonization rules that demanded the
department store not conflict with its historical
setting.
It uses the language of baroque architecture in
the cubist forms which exemplifies the
contextualization of cubist architecture.

HOUSE OF THE BLACK MADONNA (1911-1912)

Main features include:

Reinforced-concrete skeleton.
Angulated bay windows,
Iconic capitals between windows,
Cubist railing of the balcony.

Reinforced-concrete skeleton
allowed for large interior spaces
without ceiling support that more
complimented cubist aesthetics.
Grand Caf Orient, which
encompassed the entire fist floor
without supporting pillars, was a
revolutionary feat of engineering.

HOUSE OF THE BLACK MADONNA

(1911-1912)
The faade breaks with the cubist and modern
traditions at the third level and incorporated
elements to reconcile the cubist building with
its surrounds- The roof is a kin to Baroque
double roofs.
The third story also features flat windows and
pilasters with Classical fluting between them.
In 1994 - Czech art and culture.
Reconstructed in 2003 - Museum of Cubism.

EMIL KRLEK (1877 - 1930)

Krlek was a Czech architect,studied at
Prague Industrial Arts School.
He began designing in Prague around 1900 in
the office of Matj Blecha, and worked in the
styles of classicism, Art Nouveau, Czech
Cubism and Czech Rondocubism successively.
Beginning as draftsman Krlek worked
himself into a position of project manager, and
developed collaborations with a number of
Czech sculptors like Celda Klouek, Antonn
Waigant and Karel Pavlk.

Notable Works:
Hotel Zlat Husa, Prague,19091910
Adam Pharmacy, 1911-1913
Kovarovic House in Prague,
1912-1913
upich Building, now the
Moravian Bank, Wenceslas
Square.

Cubist streetlamp
by Emil Kralicek

Emil Kralicek's- Kovarovic House &

Cubist streetlamp
KOVAROVIC HOUSE

Otakar Novotny and Emil Kralicek's

Kovarovic House in Prague's is a
brilliant example of radical Cubism.
Also known as Diamond Housediamond-shaped motifs used in the
windows and around the roof line.
CUBIST STREETLAMP

It was designed by Kralicek in 1912,

designed for the back lot of Adam's
Pharmacy, stands on Jungmann
Square.
There was strong criticism of the lamp
then by conservatives. Now, it is an

Constructivist architecture
Constructivist architecture was a form of modern architecture
that flourished in the Soviet Union in the 1920s and early 1930s.
Constructivist (Constructivism) is a term used to define a type of
totally abstract (non-representational) relief construction.
The principles of constructivism theory are
derived from three main movements that
evolved in the early part of the 20th century:
Suprematism in Russia, De Stijl (Neo Plasticism)
in Holland and the Bauhaus in Germany.

Constructivist architecture
After the Russian Revolution of 1917 ,two distinct threads
emerged, the first was encapsulated in Antoine Pevsner's
and Naum Gabo's Realist manifesto which was concerned
with space and rhythm,
The second represented a struggle between pure art and
the Productivists (Alexander Rodchenko, Varvara
Stepanova and Vladimir Tatlin, a more socially-oriented
group who wanted this art to be absorbed in industrial
production).
Although it was divided into several competing factions, the
movement produced many pioneering projects and finished
buildings, before falling out of favour around 1932.

CHARACTERISTIC FEATURES OF CONSTRUCTIVISM

In 1922, Naum Gabo wrote that constructivists
no longer paint pictures or carve sculptures but
make construction in space.
The distinction between painting and sculpture
ceases and becomes architecture.
Constructivists reduced all natural forms to
simple geometric forms.
Geometric form was thus the structural form
and this cubism was symbolic of
constructivism.Constructivism combined
advanced technology and engineering.
In architecture, constructivism is a broader
movement of functionalism. Thus any object
(building) efficiently made for its purpose is
ideal to be followed.

CHARACTERISTIC FEATURES OF CONSTRUCTIVISM

Space organized by means of an open
structure, rather than enclosed volumes.
The constructivists emphasized and took
advantage of the possibilities of new materials.
Steel frames were seen supporting the large
areas of plate glass.
The joints between various parts of a building
were exposed rather than concealed. Buildings
had balconies and sun-decks, exteriors were
painted white.
The first Constructivist architectural project was
the 1919 proposal for the headquarters of the
Communist International in St Petersburg by the
Futurist Vladimir Tatlin, often called Tatlin's
Tower.

ARCHITECTS ASSOCIATED WITH CONSTRUCTIVISM

El Lissitzky - (1890-1941)
Moisei Ginzburg, architect (18921946)
Ivan Leonidov - architect (1902-1959)
Konstantin Melnikov - architect
(1890-1974)
Vladimir Tatlin - (1885-1953)

KONSTANTIN MELNIKOV
Konstantin Melnikov was a Russian architect and
painter. Melnikov graduated in Arts (1914) and
Architecture (1917).
Despite Chaplin's calls to concentrate on
architecture, Melnikov leaned to painting at the
Moscow School of Painting, Sculpture and
Architecture .
During World War I and the first years after
Revolution of 1917, Melnikov worked within the
Neoclassical tradition.
In 1918-1920, he was employed by the New Moscow planning workshop
designed Khodynka and Butyrsky District sectors of the city. His first
success in architecture was a 1922 entry to a workers' housing contest.
Melnikov's design,The Atom employed the sawtooth arrangement of
units that became his trademark in later works.

HIS IMPORTANT PROJECTS

Rusakov Workers'
Club, Moscow
Melnikov's own
residence, Moscow
Burevestnik
Factory Club,
Moscow
Svoboda Factory
Club,Moscow

Rusakov Workers' Club, Moscow

LOCATION- Moscow,Russia
TIMELINE- 1927-28
DESIGNER- Konstantin Melnikov
BUILDING TYPE- Auditorium
CONTEXT- Urban
BUILDING CONST-SYSTEM Brick,
Concrete and Glass
STYLE- Russian Constructivist Modern

Rusakov Workers' Club, Moscow

The Rusakov Workers' Club in
Moscow is a notable example of
constructivist architecture.
The club, according to Melnikov,
is not a single fixed theater hall,
but a flexible system of different
halls that may be united into a
single, large volume.
Larger main halls can be divided
into three independent halls. In
plan, the club resembles a fan; in
elevation, it is divided into a base
and three cantilevered concrete
seating areas.

Rusakov Workers' Club, Moscow

The blocks contain three small
auditoriums for 200 people which were
used either individually or combined to
form a single large space for 1200
people.
Three prominent balcony-blocks are
cut like wedges into the symmetrical
volume of the building.
At the rear of the building are more
conventional offices with bold use of
exterior stairs.
The only visible materials used in its
construction are concrete, brick and
glass.
The function of the building is to some
extent expressed in the exterior, which
Melnikov described as a "tensed
muscle".

MELNIKOV HOUSE
LOCATION- Moscow,Russia
TIMELINE- 1927-29.
DESIGNER- Konstantin Melnikov
BUILDING TYPE- His own residence
CONTEXT- Suburban Residential
STYLE- Russian Constructivist Modern
KEY POINTS- Interlocking cylindrical
plan. Glazing in unusual arrangements

MELNIKOV HOUSE
The finest existing specimen of Melnikov's work is
his own residence in Moscow, completed in 19271929.
Melnikov preferred to work at home, and always
wanted a spacious residence that could house his
family, architectural and painting workshops
The design consists of two
intersecting cylindrical
towers decorated with a
pattern of hexagonal
windows.
Floorplan evolved - plain
square to a circle and an
egg shape, without much
attention to exterior
finishes.

EL LISSITZKY (1890 1941)

Lazar Markovich Lissitzky was a Russian
artist, designer, photographer, typographer,
and architect.
He was an important figure of the Russian
avant garde, helping develop suprematism with
his mentor, Kazimir Malevich.
His work greatly influenced the Bauhaus, and
Constructivist movements.
In 1925, Lissitzky returned to Moscow
and began teaching interior design,
metalwork, and architecture at
VKhUTEMAS (State Higher Artistic and
Technical Workshops).

WOLKENBGEL (CLOUD-IRON) - LISSITZKY

LOCATION- Moscow,Russia
TIMELINE- Designed in 1926
DESIGNER- EL LISSITZKY & Mart Stam
BUILDING TYPE- Skyscraper, never built
CONTEXT- Urban
BUILDING CONST-SYSTEM
STYLE- Russian Constructivist Modern

WOLKENBGEL (CLOUD-IRON) - LISSITZKY

In 1926, he and architect Mart
Stam designed the Wolkenbgel
(Cloud-iron), a unique skyscraper on
3 posts.
Although never built, the building
was a vivid contradiction to America's
vertical building style.
The building only rose upto a
relatively modest height then
expanded horizontally over an
intersection --better use of space.

WOLKENBGEL (CLOUD-IRON) - LISSITZKY

Its three posts were on
three different street corners,
canvassing the intersection.
Lissitzky wrote about the
building as being a proposal
for a new, "rational
architecture," as opposed to
the trend towards massive
skyscrapers going on at the
time, mostly in the United
States.

VLADIMIR TATLIN (1885 1953)

Vladimir Tatlin worked as a painter and
architect. He was one of the important figures
in the Russian avant-garde art movement of
the 1920s.
He became the most important artist in the
Constructivist movement. He began his art
career as an icon painter in Moscow, and
attended the Moscow School of Painting
Sculpture and Architecture.
Tatlin achieved fame as the architect who
designed the huge Monument to the Third
International, also known as Tatlin's Tower.

TATLIN'S TOWER
LOCATION- Moscow,Russia
TIMELINE- Designed in 1920.
DESIGNER- Vladimir Tatlin
BUILDING TYPE- Tall tower
CONTEXT- Urban
BUILDING CONST-SYSTEM-Iron, glass and steel.
STYLE- Russian Constructivist Modern

TATLIN'S TOWER

TATLIN'S TOWER
Tatlin designed the huge
Monument to the Third International,
also known as Tatlin's Tower in1920.
The monument was to be a tall
tower in iron, glass and steel which
would have dwarfed the Eiffel Tower
in Paris.
This Monument to the Third
International was a third taller at
1,300 feet high.

TATLIN'S TOWER
Inside the iron-and-steel structure of
twin spirals, the design envisaged three
building blocks, covered with glass
windows, which would rotate at different
speeds.
The first one, a cube, once a year; the
second one, a pyramid, once a month;
the third one, a cylinder, once a day.
High prices prevented Tatlin from
executing the plan, and no building such
as this was erected in his day.

DE STIJL
"De Stijl" is a Dutch phrase meaning "the style." The deStijl
arts movement was centerd in Amsterdam during 19171932, also called Neoplasticism.
The leaders of the movement were the artists Theo van
Doesburg and Piet Mondrian. Their austerity of
expression influenced architects, principally J.J.P.Oud and
Gerrit Rietveld.
The movement lasted until 1931; in architecture a few de
Stijl principles are still applied. The works of De Stijl
influenced the Bauhaus style and the international style of
architecture and interior design.

CHARACTERISTIC FEATURES OF DESTIJL

De Stijl proposed ultimate simplicity and abstraction,
both in architecture and painting, by using only
straight (horizontal and vertical) lines and rectangular
forms.
The movement focused on pure and simple elements of
artistic expression, including straight lines, right
angles, basic geometric shapes and primary colors like
red, yellow and blue. Black, white and grey were used
as well.
The works avoided symmetry and attained aesthetic
balance by the use of opposition.

CHARACTERISTIC FEATURES OF DESTIJL

In many of the group's three-dimensional works, vertical
and horizontal lines are positioned in layers or planes that
do not intersect, thereby allowing each element to exist
independently and unobstructed by other elements.
This feature can be found in the Rietveld Schrder House
and the Red and blue chair.
They advocated pure abstraction and universality by a
reduction to the essentials of form and colour.
This element of the movement embodies the second
meaning of stijl: a post, jamb or support; this is best
exemplified by the construction of crossing joints, most
commonly seen in carpentry.

ARCHITECTS ASSOCIATED WITH De Stijl

The leaders of the movement were the
artists Theo van Doesburg and Piet
Mondrian.
Next toVan Doesburg, the group's principal
members were:
The painters Piet Mondrian and Bart van der
Leck,
The architects Gerrit Rietveld, Robert Van
t Hoff and J.J.P. Oud.

GERRIT THOMAS RIETVELD

Gerrit Thomas Rietveld was a Dutch furniture
designer and an architect.
Rietveld was born in Utrecht in 1888, the son of
a cabinetmaker.
He attended architectural drawing classes
given by P.J.C. Klaarhamer.
In 1918, Rietveld became one of the first
members of the De Stijl movement.
His celebrated "Red and Blue" chair design
was first published in "De Stijl" magazine.
Rietveld completed his most important architectural commission for the
Schroeder House in 1924.
He started to design experimental fiberboard and plywood furniture in
1927.
He designed low-cost furniture constructed from packing-crated
components.

GERRIT THOMAS RIETVELD

Red and Blue Chair
(1917).
Schrder House (1924)
Functional ceiling lamp,
consisted of three white
soffits arranged at right
angles(1922).
"Zig-Zag" chair(1932-34).
Van Gogh Museum in
Amsterdam, completed
nine years after his death
in 1964.

The Rietveld Schrder House

The Rietveld Schrder House

LOCATION-

Utrecht,Netherlands.

TIMELINE- 1924-25
ARCHITECT- Gerrit Rietveld
BUILDING TYPE-Residence
CONTEXT- Suburban
BUILDING CONST.SYSTEM- steel
beams and columns, wood & conc.
STYLE- DE STIJL

The Rietveld Schrder House

The Schroder House was
considered to be the only
building created completely
from deStijl principles of
design.
Rietvelds concepts are
always clear and
functionally presented
through use of economical
and modest materials.
The two-story house is built
onto the end of a terrace,
but it makes no attempt to
relate to its neighbouring
buildings.

The Rietveld Schrder House

Inside there is no static
accumulation of rooms,
but a dynamic,
changeable open zone.
The ground floor can
still be termed
traditional; ranged
around a central
staircase are kitchen
and three sit/bedrooms.

The Rietveld Schrder House

The living area upstairs is a
large open zone except for
a separate toilet and a
bathroom.
With a system of sliding
and revolving panels living
space -open or subdivided.
When entirely partitioned
in, the living level
comprises three bedrooms,
bathroom and living room.

The Rietveld Schrder House

The facades are a collage of planes
and lines. External surfaces are in
white and shades of grey with black
window and doorframes, and a
number of linear elements in primary
colors.
The architecture is not an expression
of the materials used, but of the
space itself.
The interior is a reflection of the
orderliness of the modernistic town.

The Rietveld Schrder House

Pronounced lines which navigate
across color surfaces, alongside and
around pieces of furniture, which in
turn comprise permanent features on
the interior landscape.
And just as each architectural element
of a modernist town reflects a
particular function, there are separate
areas for movement, storage, sitting,
sleeping and working.
Did not imitate nature through
decoration but instead allowed nature
through windows and glass skylight.

The Rietveld
Schrder House

RED AND BLUE CHAIR

RED AND BLUE CHAIR

Architect Gerrit Thomas Rietveld
scientifically designed a chair in
1918 using formulas and calculations,
to keep one both alert yet
comfortable.
His work was part of the deStijl arts
movement which focused on the
essentials of form and design.
Rietveld's multi-colored chair was
originally created for the Schroder
house, also designed by Rietveld.
It has geometric lines and bold colors
that were born of the deStijl arts
movement.

RED AND BLUE CHAIR

The chair, with its simple
planes of primary colors
was set against a lattice
of interlocking black
bars.
Followed the Bauhaus
ideology of producing
modern furniture simply,
cheaply, and efficiently.

RED AND BLUE

CHAIR
RietveldFurnitures

JACOBUS JOHANNES PIETER OUD (1890 - 1963)

Jacobus Johannes Pieter Oud was a Dutch
architect.
His fame began as a follower of the De Stijl
movement.
As a young architect, he was influenced by
Berlage ,Frank Lloyd Wright and studied
under Theodor Fischer in Munich.
In 1917 Oud joined Theo van Doesburg and
became involved with the movement De Stijl

JACOBUS JOHANNES PIETER OUD (1890 - 1963)

Design Features :
Oud attempted to reconcile strict, rational,
'scientific' cost-effective construction technique
against the psychological needs and aesthetic
expectations of the users.
Oud's work assumed- the bleached, cubical
forms, characteristic of the new architecture of
the 1920s (design for row houses,
Scheveningen, 1917).
Oud became a leader in the European
architecture of the International Style.

JACOBUS JOHANNES PIETER OUD

Between 1918 and 1933, Oud became
Municipal Housing Architect for
Rotterdam.
During this period he mostly worked on
socially progressive residential projects
(mass housing).
Oud contributed a group of low-cost
row houses (1927) to the exhibition of
the Werkbund, at the Weissenhof in
Stuttgart. This exhibition marked the
maturation of the International Style.

IMPORTANT BUILDINGS
1922 Garden Village in
Rotterdam at OudMathenesse.
1925 Caf de Unie in
Rotterdam.
1926 - 1927 Worker's Houses
-Holland.
1927 Row of 5 houses,
Weissenhof Housing
Exposition, Stuttgart.
1928 - 1930 Keifhoek Housing
Development in Rotterdam.
1956, National Monument (with
sculptor John Raedecker),
Dam Square, Amsterdam

ROW OF 5 HOUSES- WEISSENHOF HOUSING

EXPOSITION, STUTTGART (1927)
The Weissenhof Estate is an
estate of working class housing
which was built in Stuttgart in
1927.
The estate was built for the
Deutscher Werkbund exhibition
of 1927, and included twentyone buildings comprising sixty
dwellings, designed by sixteen
European architects.
Out of 21 dwellings, J. Oud
designed five Gallery houses
at Weissenhof Estate.

ROW OF 5 HOUSES- WEISSENHOF HOUSING

JACOBUS
JOHANNES
PIETER
OUD
EXPOSITION, STUTTGART (1927)
The twenty-one buildings vary
only slightly in form, consisting of
terraced and detached houses
and apartment buildings, and
display a strong consistency of
design.
All the twenty-one buildings
have simplified facades, flat
roofs used as terraces, window
bands, open plan interiors, and
the high level of prefabrication
which permitted their erection in
just five months.

KEIFHOEK HOUSING DEVELOPMENT IN

ROTTERDAM (1928 - 1930)
Keifhoek housing development
comprises approximately 300
homes, shops, a church and
two children's playgrounds.
Features include :2 storeyed
terrace housing, flat roof,
horizontal articulated facades
with band of fenestration, use
of red grey and yellow colors,
white stucco, rounded corners
with shops below.

ROW OF 5 HOUSES- WEISSENHOF HOUSING

EXPOSITION, STUTTGART (1927)

PIET MONDRIAN
Mondrian was born on March 7, 1872 in
Netherlands. He studied in the
Amsterdam Academy of Fine Arts
from1892 to 1895 and then began to
paint on his own.
In 1911 Mondrian saw, for the first time,
the Cubist works of Georges Braque and
Pable Picasso in Amsterdam. He was so
deeply amazed by their works, moved
towards increased abstraction, which led
him to a style of only vertical and
horizontal brushstrokes.

PIET MONDRIAN
Mondrian was born on March 7, 1872 in
Netherlands. He studied in the
Amsterdam Academy of Fine Arts
from1892 to 1895 and then began to
paint on his own.
In 1911 Mondrian saw, for the first time,
the Cubist works of Georges Braque and
Pable Picasso in Amsterdam. He was so
deeply amazed by their works, moved
towards increased abstraction, which led
him to a style of only vertical and
horizontal brushstrokes.

PIET MONDRIAN
Piet Mondrian, Theo van Doesburg, van der Leck, and Vilmos
Huszar together founded the art magazine and movement of De
Stijl (the style) in 1917.
Through De Stijl, Mondrian developed his own theories of a new
art form called neplasticism. He believed that art should not
concern itself with reproducing images of real objects but instead
focus on their underlying nature.
He maintained the belief that a canvas should contain only basic
elements such as primary colors, straight lines, and right angles.
His Composition with Red, Yellow, and Blue was composed
solely of a few black lines and a well-balanced block of color. This
gave his painting a sense of proportionality like no other and
created a prodigious effect with its limitations.

Piet Mondrian's paintings

Composition with
Red, Yellow, Blue
and Black
Composition 2
Composition with
Red, Yellow and
Blue
Composition with
two lines
Composition with
Blue

PIET MONDRIAN-Composition with Red, Yellow and Blue

PIET MONDRIAN- Composition with Red, Blue and

White

PIET MONDRIAN- Composition II