Designed by the interior and furniture designer
Pierre Chareau with the help of the Dutch archi-
tect Bernard Bijvoet, the Maison de Verre offered
a strikingly new interpretation of the Modernist
vision of the house as a 'machine for living in'. The
client was a leading gynaecologist, Dr Dalsace, and
his brief called for a combination of private house
and medical clinic. The site was a private court in
a quiet part of Paris, and the house is wedged in
between and under surrounding apartments.
The elevations that give the house its name
are made largely of the glass bricks that were
then associated with public lavatories and pave-
ment lights. Laid in four-brick-wide panels, they
establish the 91-centimetre (36-inch) module that
controls dimensions throughout the design. The
blocks might have had utilitarian connotations, but
their use was supremely sophisticated, suggesting
a delicate veil that appears to hang in space, filter-
ing the light and screening the private interior
from the world: critics were understandably quick
to liken it to the gridded paper screens of tradi-
tional Japanese houses.
The delicate balance Chareau strikes on the
façades between utilitarian materials and exquisite-
ly refined abstraction is in marked contrast with
the main structure inside. Made of industrial steel
-sections painted with red lead, the columns are
forge-beaten, plated together and over-sized.
Technically obsolescent, they might have escaped
from a nineteenth-century factory but not quite,
as they are civilized, if not exactly domesticated,
by a revetment of thin slabs of slate fixed to their
flat faces. The thick edges of the galvanized steel
warm-air ducts laid over the floor beams are simi-
larly-visible, beneath a thin coating of studded-
rubber flooring.
The interior bristles with fascinating technical
and visual details: balustrades double as book-
cases, a frankly nautical stair is designed to lift up
and away when not needed, and electrical wires
pass through exposed metal conduits onto which
the switches are mounted. In contrast to the delib-
erately over-sized column sections, the full-height
doors were fabricated with utter
economy
of
means from a single piece of bent sheet-metal;
industrial Duralumin was used to make sleekly
efficient wardrobes and drawers; and the bath-
rooms are screened by curving panels of finely
perforated aluminium
an idea that found many
imitators when the Mason de Verre was re-evaluat-
ed in the 1980s.
Toiling away in his workshop to perfect his
endlessly innovative interior, Chareau saw the proj-
ect as 'a model executed by craftsmen with the
aim of industrial standardisation'. In fact, it was
too singular for that, and far too dependent upon
the skills and values of craftsmen devoted to
achieving the highest standards in the quality of
their work. Not trained in the complex business of
anticipating and resolving In advance the many,
potentially conflicting, problems that arise in the
course of designing and building, Chareau did not
aspire to the 'integrated whole' that IS generally
a judged a hallmark of fine architecture. Instead he
chose to work additively, addressing difficulties
piecemeal as they arose and finding often striking
solutions to them
hence the exposure of
services and the Maison de Verre's fascination for
subsequent generations of designers to whom
elaborate detailing became a means of enriching
architecture and resisting the growing divide
between thinking and making.
Weston, Richard, Key buildings of the twentieth century : plans, sections, and elevations, New York : W.W. Norton, 2004
In 1933 Paul Nelson wrote in the magazine L’Architecture d’Aujourd’hui that entering the Maison de Verre , or “House of Glass, “ in Paris was like being transported to “another planet.” For contemporary viewers , the house seemed to invert all expectations of domestic architecture , such as obvious comfort and distinct traditionalism. Instead, the Maison de Verre suggested a new path for domestic design that would incorporate modern materials in inventive ways. Yet the building was not the “machine for living” that Chareau’s contemporary Le Corbusier imagined the house would become. Instead of using modern materials mechanistically, Chareau used them in an original way to produce what Pierre Vago characterised as a “charming fantasy.”
During the late 1920s and ‘30s, domestic architecture in France was subject to a highly politicised debate. 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. 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. The Maison de Verre was an important model for how the architecture of private residences could be reconceptualised. While Chareau’s design made use of modern materials, it was not as severe as some modernist houses of the 1920s. Moreover, the dramatic effects produced by light on the building emphasized the subjective element of architecture.
The Maison de Verre was conceived to include the family residence as well as Dr. Dalsace’s medical office. As a result of its program incorporating a variety of functions, and its construction within the courtyard of and eighteenth -century private residence, the Maison de Verre constituted a complex space. 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. 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.
The fame of the Maison de Verre has developed primarily as a consequence of its glass wall that faces into the courtyard. 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. 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. It has continued to inspire architects concerned with generating new aesthetic qualities form modern materials up to the present day. |