Your email address will not be published. The Maison de Verre (House of Glass) is a collaboration of the interior and furniture designer Pierre Chareau, the Dutch architect Bernard Bijvoet and The French metal craftsman Louis Dalbet. Moreover, the new exposed metallic beams and columns offer a structural and material honesty to the project. Cultural context did not bias his design decisions or modified the attempt of creating new spaces and atmospheres. Constructed in the early modern style of architecture, the house’s design emphasized three primary traits: honesty of materials, variable transparency of forms, and juxtaposition of “industrial” materials and fixtures with a more traditional style of home décor. Parade Staffing | Recruitment For Architecture + Interior Design - New York City, A Dozen Lesser Known Houses You Should Know About | BUILD Blog, Maison de Verre – Matilda Kate Woods Master of Design, https://www.yellowtrace.com.au/maison-de-verre-paris-pierre-chareau-bernard-bijvoet/, 02_Making Space and Place – Interior Design Theory & Criticism su19. Indeed, it is this dramatic and glowing wall of glass that has made the Maison de Verre one  of the canonical houses of the twentieth century. As the structure was already dictated by the remaining floor above, the forest of columns created opportunities to integrate mechanised walls, panels and systems that made multiples spaces transformable. Work & Co’s Copenhagen HQ by Aspekt Office. Some architects and critics called for a return to the forms of traditional house, such as steeply-pinched roofs and massive stone walls, to enforce a recovery of conservative social and political values. In the mid-1930s, the “salle de séjour”, (living room), of the Glass House was transformed into a hall regularly frequented by marxist intellectuals such as Walter Benjamin, as well as by surrealist poets and artists such as Louis Aragon , Paul Éluard, Pablo Picasso, Max Ernst, Jacques Lipchitz, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. A steel grid supports the glass blocks mainly from the base, creating panels of 4 or 6 elements and using them according to the construction needs, and giving solidity to the areas where doors or windows were placed on the two facades. While the rooms are isolated by wooden or metal closet doors, which slide or turn, the structure of steel beams, pipes and ducts remain visible and participate in the architecture, transforming the utilitarian elements of the house into decorative elements. The treatment and arrangement of the supports and structural axes suggest that this was an initial intention of the project. Izin Dom Beauty Salon in Kazan, Russia by Artists Collaboration Studio. Due to a predictably stubborn elderly upstairs neighbor, the new owners had to maintain the upper floor and the structural skeleton that remained. In 2006, Robert Rubin, an American collector, bought the house from the Dalsace family and carefully restored it. A través de su […] El hotel se encontraba en el interior de la manzana entre dos patios que definían su volumetría. Ventilation through the glass block wall is provided by a series of movable traps. Other mechanical components include an overhead trolley from the kitchen to dining room, a retracting stair from the private sitting room to Mme Dalsace's bedroom and complex bathroom cupboards and fittings. The transforming abilities of this house, through use of materiality, light and transparency are what help define its identity. The access, both to the bedrooms and to the services was made through a gallery turned over the double height of the main hall whose railings were designed to perform the functions of a library. She thinks big and laterally, and open to musings from all directions. In its two main facades, the north and the south, its walls are built with translucent glass blocks, with transparent windows in certain places. Maison de Verre, also known as House of Glass was built in the era of Modern Movement and of course, it somehow has a strong relation with the early modernist issues materially, structurally and spatially. This structural framework was made with vertical uprights formed by two 30×15 mm U profiles welded to a 100×9 mm flat steel sheet designed to stiffen the facade. En la planta baja se encuentra la consulta del Dr. Dalsace, que se orienta al jardín trasero. House in Toowoomba by Jesse Bennett Studio. Further to the progressive nature of the building itself, during the 1930’s the double-height space referred to as the ‘salle de sejour’ was used as a salon for gatherings of creative and thinkers. Spawn from the peaceful pastures of Adelaide, Bronwyn is inspired by the undiscovered. The floors of the main floor of the house are arranged in a cantilever on both the front and back façades. Además, las nuevas vigas y columnas metálica, completamente al descubierto, ofrecen una sinceridad estructural y de materiales. The house which was used as a residency also comprised Dr. Dalsace’s gynecological practice which was located on the ground floor. The use of these blocks allows the entry of a sifted light regardless of the landscape on the other side, either the access patio or the back garden. We use cookies to ensure that we give you the best experience on our website. Untitled House in London by Szczepaniak Astridge. Church of Beatified Restituta in Brno-Sever, Czech Republic by Atelier Štěpán. It was built between 1928 and 1932 and is a stunning example of modern architecture in the beginning of the twentieth century. Are there still tours to the Maison de Verre in Paris in 2019? Pierre Chareau challenges these values associated to glass, by building a translucent curtain wall. En la Maison Verre los límites espaciales se difuminan por una complejidad constructiva en sus particiones. In order to move forward with the project, architects Pierre Chareau and Bernard Bijvoet resolve to shore up the second floor of the hotel through a new metal structure and demolish the lower floors. The Maison de Verre was an important model for how the architecture of private residences could be reconceptualised. Éste se convierte en el punto de partida del proyecto de la Maison Verre. Jewish Museum New York City. When the Nazi regime came to France, the Dalsaces had to flee and in 2006, the property was purchased and restored by American Collector, Robert Rubin. Through his career, at least until The Maison de Verre, the work of Chareau wavered continually between the cult for the “ready-made”, which he owed in part to the influence of Dadaism, and the standards of quality craftsmanship of the Salon des Artistes Décorateurs. The design was a collaboration between architect Pierre Chareau, furniture and interior designer, Dutch architect Bernard Bijvoet and metalworker Louis Dalbet. All color images via Catview except cover image, via AIA KnowledgeNet, Your email address will not be published. The surfaces are soft to the touch and the hard edges have been rounded. Al pasar a las fotografías de los interiores, están líneas se convierten en complejos pasamanos, escaleras de mano que se pueden mover en el espacio, biombos translucidos o estanterías en metal y madera. La Maison de Verre es tan difícil de clasificar de acuerdo a géneros aceptados e ideologías comunes como Le Grand Verre de Marcel Duchamp, su famosa construcción en vidrio creado entre 1915 y 1923. While Chareau’s design made use of modern materials, it was not as severe as some modernist houses of the 1920s. We cannot strictly situate in within the Modern Movement and its aesthetic is closer to architecture designed in the 1950s and 1960s. This complex aesthetic does not attempt to a functional target as Kenneth Frampton states at his  essay Pierre Chareau an eclectic architect, but a constructive poetry that leads technology to the fabrication limits of its time. The consequence of this situation caused that the costs were enormous and that its realization was delayed during 4 years. All Rights Reserved. Esta comparación va mucho más allá del hecho trivial de que los dos trabajos rompen todas las reglas tradicionales de cada una de sus  disciplinas. Going up the stairs you access the main space of the house where public functions are performed: a living room with double height in which the interior effect of the glass facade is fully perceived and with sufficient capacity to hold small domestic concerts. Cubitts Brighton Eyewear Store by Child Studio. Bureau de Change Designs Art Deco Interiors of The Gaslight in London. During the first half of XX Century, glass had become one of the iconic materials of the Modern Movement (for instance, Mies Van der Rohe built the Barcelona Pavilion in 1929 and the Villa Tugendhat in 1930) but associated to the concept of transparency as an element of architectural sincerity and hygiene. La Maison de verre. The ground floor was occupied by Dr Jean Dalsace as a medical clinic, and the main stair was used as a privacy divider between the two functions of commerce and residential, and at night this framing helped create a feature of this vertical element. On the ground floor and first level of the rear facade the same blocks were used as in the main facade, but on the second floor, in the area of ​​the small private room and the greenhouse another type of panel created with a glass filling was used transparent mounted dry on a steel frame that allowed to fit and fix the piece of glass. Daniel Boddam's Virtual Apartment Concept Showcases His New Furniture Collection. Frequented by Marxist intellectuals like Walker Benjamin, surrealist painters and poets, this was a space that was pushing boundaries. Looking at the interiors of the project, these lines become complex railings, ladders that move trough space, translucent screens or glass and metal shelving. ATLATL Coffee & Food Venue in Shanghai by Various Associates. Your email address will not be published. Other mechanical components included an overhead trolley from the kitchen to dining room, a retracting stair from the private sitting room to Mme Dalsace’s bedroom and complex bathroom cupboards and fittings. Felix Meritis Building Interior Renovation in Amsterdam by i29. The result is the construction of three new floors instead of the two original ones and creating double height spaces in some areas of the house. When you look at the floor plans, you can see how the walls that  divide the different rooms are not drawn as single double lines, but as elements that can fold or rotate and do not follow the structural grid of the house. Naive or otherwise, she really does believe design can make a difference. The hotel was in the interior of a block between two courtyards that defined its geometry. Their vision was a combination of a progressive-thinking client, unusual site constraints and a want for a style that juxtaposed the expected. Through honesty in materiality, playing with light, integrating moving elements and opening up spaces and creating points of connectivity, this was architecture before its time. Even today, this beautifully modern and minimal house is a true classic, imbued with countless design lessons. See in particular Benjamin’s 1933 essay Erfahrung und Armut(“Experience and Poverty”). Sometimes, the facades are scored in contrast to the concrete, resulting from a game of geometry with Japanese influences, formal repetitions and a rhythmic frame. Photography: François Halard - Dominique Vellay - August Fischer Architecture without engineering would only be sculpture. The Maison de Verre (French for House of Glass) was built from 1928 to 1932 in Paris, France.Constructed in the early modern style of architecture, the house’s design emphasized three primary traits: honesty of materials, variable transparency of forms, and juxtaposition of “industrial” materials and fixtures with a more traditional style of home décor. Among the most celebrated spaces within the Maison de Verre was its three-story living room and library with  a soaring wall comprising a metal grid filled with glass block. According to the American art historian Maria Gough, the Maison de Verre had a powerful influence on Walter Benjamin, especially on his constructivist - rather than expressionist - reading of Paul Scheerbart‘s utopian project for a future “culture of glass”, for a “new glass environment [which] will completely transform mankind,” as the latter expressed it in his 1914 treatise Glass Architecture. In the mid-1930s, the Maison de Verre's double-height "salle de séjour" on the first floor was transformed into a salon regularly frequented by Marxist intellectuals like Walter Benjamin as well as by Surrealist poets and artists such as Louis Aragon, Paul Éluard, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. Built in 1932, it was the collective brainchild of French Interior Architect Pierre Chareau, Dutch Architect Bernard Bijvoet and French metal craftsman Louis Dalbet fusing as one. Much of the intricate moving scenery of the house was designed on site as the project developed. Inside, the house is organized by a series of vertical planes or spatial layers from the previous patio to the garden. Text: Wikipedia. The Maison de Verre is just as difficult to classify according to accepted genres or common ideologies as is Marcel Duchamp’s equally atypical work, Le Grand Verre,his famous glass construction created during the years 1915-1923, more accurately known as The Bride Stripped Bare by her Bachelors, even. The Maison de Verre’s glass façade is made up of glass blocks supported by a steel frame structure. Pierre Chareau, un arquitecto ecléctico. A Mid-Century Wonder Transformed by BarlisWedlick into a High-Performance Retreat. The whole steel structure with bare beams, the canalisation and conduits remain visible from the outside and contribute to the architecture thus transforming utilities into decorative elements. La Maison de verre est construite entre 1928 et 1931 par l’architecte et designer Pierre Chareau (1883-1950) pour le compte du docteur Dalsace.Il collabore pour ce projet avec l’architecte Bernard Bijvoet.. Invisible de la rue, la maison est le résultat de la transformation d’un ancien petit immeuble situé en fond de cour. The Maison de Verre was conceived to include the family residence as well as Dr. Dalsace’s medical office. All Yellowtrace original content and photographs are subject to copyright and must not be reproduced without our express prior written permission. The glass block wall itself, is able to stand alone without the heavy frame. Some parts of this article have been translated using Google’s translation engine. We use cookies to ensure that we give you the best experience on our website. The Maison de Verre (House of Glass) is a collaboration of the interior and furniture designer Pierre Chareau, the Dutch architect Bernard Bijvoet and The French metal craftsman Louis Dalbet. The house is notable for its splendid architecture, but it may be more well known for another reason. Much of the intricate mobile scene of the house was designed on site as the project developed. Commissioned by owners Dr Jean Dalsace and his wife Anne, the site was originally an 18th Century hotel, adjacent the Latin Quarter in Paris, France. Designed with Louis Dalvet, master craftsman; Bernard Bijvoet, architect. Dr. Dalsace was a member of the French Communist Party that played an important role in both anti-fascist and cultural affairs. Chareau balanced the use of industrial materials with natural ones. Mobile aluminum panels like the wings of an airplane separate Jean’s shower space from Annie’s bathroom. Client: Dr. Jean Dalsace The master bedroom and the secondary bedrooms are located on the third floor facing the rear garden whereas the service area is located in the north, within the new built volume. Through purposely stripping the structural steel to its naked self, the bones of the famed illuminated box were conceived. A weight and pulley system opens the window panels, allowing for natural ventilation. The  Maison Verre is the transformable plan par excellence, to the extent that the ultimate motive of each transformation can appear completely variable, passing from necessity in one case to convenience in the next, or let us say this “poetry of equipment” has a more overtly symbolic significance in one instance than in another. Uneven House in Porto: Project 090 by Fala Atelier. Peach Hut Community Centre in China by ATELIER XI. Dalbet made all the metal pieces by hand: the vents in the living room, the retractable stairs in Madame Dalsace’s bedroom, and the incredible elements of the bathrooms, explains Costa Meyer. The initial plans of the couple had to be reconsidered because a protected tenant on the second floor refused to leave his apartment. The design was a collaboration among Pierre Chareau (a furniture and interiors designer), Bernard Bijvoet (a Dutch architect working in Paris since 1927) and Louis Dalbet (craftsman metalworker). Location However, in the 60s an intervention was carried out that affected the main façade, where this continuous coating was removed to place metal parts that enhanced the internal substructure by moving it outside. The external shape is defined by translucent glass block walls, with selected areas of transparent glazing. .Frampton, Kenneth (1984). These pieces had leather seals together to ensure tightness and some of them were practicable. Comprising raw steel, clear and frosted glass and the (now) iconic use of industrial glass blocks, through the use of scale and repetition, there is a grandeur present. Yet the building was not the “machine for living” that Chareau’s contemporary Le Corbusier imagined the house would become. The design of the house emphasized three main features: honesty of the materials, variable transparency of the forms and juxtaposition of “industrial” materials and accessories with a more traditional style of home decoration. Pierre Chareau stayed in America and built only two more projects in his life, none of which remains today. Much to their chagrin, the elderly tenant on the top floor of the building absolutely refused to sell, and the Dalsaces were obliged to demolish the bottom three floors of the building and construct the Maison de Verre underneath, without disturbing the original top floor. Consequently, this produces space slots immediately behind the facades that accentuate, naturally, the transverse plane, inducing a reading of equivalent stratified layers, which covers all the remaining space. There is an amazing blue carpet in the so-called “blue room”. It was built between 1928 and 1932 and is a stunning example of modern architecture in the beginning of the twentieth century. Her work spans residential, hospitality, retail, health, education and industrial portfolios and has a strong passion for Humanitarian work and the real possibilities of design thinking in the developing world. The program of the home was somewhat unusual in that it included a ground-floor medical suite for Dr. Jean Dalsace. Glass slabs or bricks have also been used to separate the spaces. Other demanded that domestic architecture by profoundly reconsidered, and made to incorporate materials like metal and glass as an inexpensive way to meet the critical need for housing. Pierre Chareau, un arquitecto ecléctico. Moreover, the dramatic effects produced by light on the building emphasized the subjective element of architecture. The building is located inside a block which is accessed by a narrow passage, between two courtyards that define its volumetry, at 31 Saint-Guillaume Street, seventh district of Paris, France. [Images courtesy of Francois Halard, La Maison de Verre, catview & The Daily Scan. Elements like the mechanised trolley between the kitchen and dining room, the retracting stair, and rotating panels of glass and metal. Posiblemente el aspecto más ambiguo de este proyecto sea su relación con el vidrio y la transparencia. Carrizal Residential Development in Mexico City by PPAA. The Maison de Verre was an important model for how the architecture of private residences could be reconceptualised. Even if, ironically, within the confines of such a refined minimalist box. That was the starting point of the Maison Verre project. Grand Hotel Terminus in Bergen, Norway by Claesson Koivisto Rune. When the Germans occupied Paris in World War II, the Dalsace and the Chareaus fled to America. Today it is still in use as a private house. Pierre Chareau and Bernard Bijvoet decides to underpin the second floor with a new metallic structure and demolishing the lower floors. Instead of using modern materials mechanistically, Chareau used them in an original way to produce what Pierre Vago  characterised as a “charming fantasy.”. Maison de Verre, translating as ‘House of Glass’ saw a pivotal shift in how architecture responded to its time. In all cases, the line of pillars immediately adjacent to the overhang is aligned parallel to the facades, that is, at a right angle to the relative position of the interior supports. En esta misma planta también se encuentra la cocina, el comedor, un solárium, y un pequeño estudio al que se accede de manera independiente desde la consulta médica del doctor Dalsace. The design of ATLATL drew inspiration from the activities that take place in this high-tech park in Shanghai, resulting in a futuristic atmosphere. Built in 1932, it was the collective brainchild of French Interior Architect Pierre Chareau, Dutch Architect Bernard Bijvoet and French metal craftsman Louis Dalbet fusing as one. Esta estética de  lo complejo no tiene una finalidad funcional, como bien explica Kenneth Frampton en su ensayo Pierre Chareau, un arquitecto ecléctico, sino en una poética constructiva que lleva la tecnología de la época a sus límites de fabricación. In Italy, going to the coffee bar is not just about the coffee. Enfrentada a la recepción de la consulta y oculta por una serie de paneles translucidos móviles, se encuentra la escalera principal que lleva a la vivienda del matrimonio Dalsace. In the mid-1930s, the Maison de Verre’s double-height “salle de séjour” was transformed into a salon regularly frequented by Marxist intellectuals like Walter Benjamin as well as by Surrealist poets and artists such as Louis Aragon, Paul Éluard, Pablo Picasso, Max Ernst, Jacques Lipchitz, Jean Cocteau, Yves Tanguy, Joan Miró and Max Jacob. I have decided to choose and examine Maison de Verre (1928-32) by architect, Pierre Chareau which is situated in Rue Saint-Guillaume, Paris. The Maison de Verre was commissioned by Dr. Jean Dalsace and his wife, Annie, who had bought the site, a 18th-century hôtel particulier next to the Latin Quarter in Paris. The two main facades of the house (north and south) are built using a translucent glass block fabric with clear glass openings in very specific moments. After the war, the Dalsaces returned and the house remained in the family until 2006, when it was sold to Robert Rubin, an American collector and architect who became an investor. ], design classicsfrancefrench designglassglass blocksheritagehistoryinterior architectureparisrepetitionresidential designstairssteelvideo. Histoire. The wall of glass block served to filter natural light into the interior during the day; at night this function continued as  the wall was flooded with artificial light from the exterior. Ya al analizar las plantas, vemos como los muros que dividen las distintas áreas no están dibujadas como simples líneas dobles si no mediante un elementos que se pliegan o rotan sobre sí mismos y que no continúan la malla estructural de la vivienda. In front of the reception of the clinic and hidden by a series of translucent movable translucent panels, there is the main stair of the house that leads into the house of Dalsace’s marriage. The Crystal House was built between 1928 – 1932 in a timeless style in the history of architecture, the result of the complexity of the finishes and the mobile elements that compose it, moving it away from the basic principles of the modern movement, although It fits into that style, and bringing it closer to an aesthetic that would not become popular until the 50s. The north face, with a constant natural light shows all the intentions of Pierre Chareau‘s design for the Maison de Verre, a structural sincerity that exposes the metal profiles and an ornamentation based on the combination of a complex system of partitions and furniture mobiles, mainly made of wood and reminiscent of the Art Nouveau style. We understand the quality of this translation is not excellent and we are working to replace these with high quality human translations. If you continue to use this site we will assume that you are happy with it. Moving in the opposite direction of expected ornate-ism and into a period of industrialisation and pragmatism was a driver for integrated elements. During the late 1920s and ‘30s, domestic architecture in France was subject to a highly politicised debate. The immense amount of history embedded within its walls has been sensitively... Aspekt Office has designed Work & Co’s new Copenhagen office as a place where employees can feel at home and where the local ambience shines through. This contradiction to the conventional material features is one of the clearest examples of Chareau’s working method. L’architecte, Pierre Chareau, a conçu l’édifice comme une série de formes imbriquées, avec le cabinet du médecin au premier étage et deux niveaux privés au-dessus. Con una luz constante debido a su orientación norte, esta habitación muestra todas las intenciones proyectuales de Pierre Chareau para la Maison Verre: una gran sencillez y sinceridad estructural mostrando los perfiles  metálicos, y una ornamentación basada en la combinación de un complejo sistema de particiones móviles con muebles, principalmente en madera, más cercanos al Estilo Art Nouveau. Maison de Verre, translating as ‘House of Glass’ saw a pivotal shift in how architecture responded to its time. Some of the notable “industrial” elements included rubberized floor tiles, bare steel beams, perforated metal sheet, heavy industrial light fixtures, and mechanical fixtures. It has continued to inspire architects concerned with generating new aesthetic qualities form modern materials up to the present day. From the interior, this glass facade works as a wall of light sifted without any reference to the exterior landscape, neither the access yard or the rear garden. The variable circulation pattern for the house and the consultation, with a shared entrance, was solved with a screen of translucent rotating panels that concealed during the day, facing the patients who accessed the reception of the clinic, the stairs that gave access to the private area, but that framed them at night. Caffettiera Caffé Bar in Montréal by Ménard Dworkind. Pierre Chareau an eclectic architect. It was built on the site of a much older building which the patron had purchased and intended to demolish. Maison de Verre, translating as ‘House of Glass’ saw a pivotal shift in how architecture responded to its time. Probably, the most ambiguous aspect of this Project is the relation with glass and transparency. Los planes iniciales del matrimonio tienen que ser reconsiderados debido a que la inquilina de la segunda planta, la cual tenía un alquiler protegido rechazó abandonar su apartamento. Nonetheless, a degree of openness was achieved by the use of moveable partitions made of metal or grass, as well as curtains to subdivide the interior. This glowing beacon of opportunity stands, literally alight, amongst its predecessors and shines as a symbol of possibility. In  1928, Madame Dalsace bought an old hotel building in the 31st Saint-Guillaume Street with the idea of demolishing the existing building and design a new house for Dr. Dalsace and herself as well as a gynecology consulting clinic. Esta contradicción frente a las características del material es uno de los ejemplos más explícitos de la forma de actuar de Chareau a la hora de abordar un proyecto, donde el contexto cultural no le influía en su toma de decisiones y en la búsqueda de nuevos espacios y ambientes. If you continue to use this site we will assume that you accept our cookie policy. A style that would better listen and respond to a changing people and its time. […] https://www.yellowtrace.com.au/maison-de-verre-paris-pierre-chareau-bernard-bijvoet/ […]. The Felix Meritis building in Amsterdam, built-in 1788, was the home of science, art, entrepreneurship, and critical thinking during The Enlightenment period. Hoff Flagship store in Madrid by Ciszak Dalmas Ferrari. Two other horizontal U-sections identical to the first complete the frame that supports the glass blocks. A la vivienda se accede a través de un estrecho pasadizo que desemboca en un patio pavimentado donde se localizan sus diferentes entradas. Maison de Verre serves as an icon of its time, and reflects the potential limitless shifts of design and space when viewed through fresh untainted eyes. The primary materials used were steel, glass, and glass block. The upholstery screens and the embroidered upholstery of Jean Lurçat, friend of Jean Dalsace’s school, provide warmth. La Maison de Verre was stripped of its furniture, which were hidden by a relative in a barn of the rural France. Facing north, the constant natural light shows all the design intentions of Pierre Chareau for the Maison Verre: a structural sincerity showing the metal profiles, and an ornamentation based in the combination of complex system of movable partitions with furniture, mainly built with wood, closer to the Art Nouveau style.

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