Maison de Verre Frampton

Yale University, School of Architecture
Maison de Verre
Author(s): Kenneth Frampton
Source: Perspecta, Vol. 12 (1969), pp. 77-109+111-128
Published by: The MIT Press on behalf of Perspecta.
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Kenneth Frampton Maison de Verre
In the
Maison de Verre one is confronted with
Kenneth Frampton received his
professional
de Verre, no structures exist in which glass
training at the AA School in London.
He defies
has any accepted form of
a work which
lenses were used as the prime protective skin.
been an associate of the firm classification.
Douglas It is not merely a question of
Auguste Perret naturally had the audacity to
Stephen & Partners, London, since
1961.
an inability
to place it from a stylistic or
use glass lenses as early as 1903; as cladding
From 1962-64 he was technical editor of the
to the stair shaft of his famous Rue Franklin
conceptual point of view. The genre of the
magazine Architectural Design. In 1965 he work itself is problematic. Are we to regard it apartments. As a general walling technique
was a Hodder Fellow at Princeton and during as a building in the accepted sense or should however, they made a relatively late entry into
1966 and 1967 he served as a visiting lecturerwe rather think of it as a grossly enlarged
the vocabulary of 20th century architecture.'
at the School of Architecture, Princeton
piece of furniture, interjected into an
This delay, despite Taut's versatile
University, where he is at present a member altogether larger realm? The site plan revealsdemonstration of 1914, was no doubt due in
of the faculty.
this realm, as an elongated building lot,
part to a certain technical insecurity. Even as
integral to the residential infra-structure of
late as 1929, St. Gobain was still unprepared
The drawings for this article were made from 18th century Paris. The Maison de Verre is an to give a weather proof guarantee to the
notes compiled by Mr. Frampton, Robert
proposed use of lenses in the Maison de
insertion into this lot both horizontally and
Vickery, and Michael Carapetian when they vertically and thus it is more probably correct Verre. It is a measure of Chareau's clients'
jointly measured and photographed the
to regard it as a large furnishing element
courage that they were willing to adopt such
Maison de Verre in July 1965. All the
rather than as simply a house in the
an unproven material for the enclosure of
photographs are by Mr. Carapetian unless
conventional sense. This precious distinction their house.2
otherwise stated. Michael Carapetian is now aacquires greater validity once one realises
practicing architect in Teheran, Iran, and
that Pierre Chareau was, by temperament andIconographically, glass lenses had long been
training, more concerned with interiors than anticipated, first by Mackintosh and then in
Robert Vickery is presently a lecturer in
the work of the Viennese school. Both
architecture at the Cheltenham College of Art,with exteriors. It is further substantiated by
Hoffmann and Loos made extensive use of
the relative banality of Chareau's free
Gloucestershire, England.
standing buildings. One cannot recognise thesquare gridded areas of glass throughout
The author is indebted to Michael Curtis,
golf club built at Beauvallon in 1927 (1) to the their work. This glazing device, derived from
Harrison Fraker, John Harrell, William
designs of Chareau and Bijvoet, as being a
Japan, was consciously employed by late Art
Johnson, Peter Mayer, Thomas Pritchard,
Nouveau architects in order to increase the
work, by the same team who produced the
Maison
de
Verre.
Salvatore Vasi, Augusto Villalon, and Jeremy
area of glazing and at the same time to
Wood for their invaluable assistance in the
emphasize the surface of transparent planes.
preparation of the drawings for publication. There is no demonstrable conscious link
Thus used to much the same end, the glass
He would like also to express his gratitude to between Paul Scheerbart's Glasarchitektur of
lenses in the Maison de Verre, largely account
Dr. and the late Madame Dalsace for their
1914 and the Maison de Verre. Nonetheless
for the oriental atmosphere which pervades
cooperation in making this documentationthe Maison de Verre curiously echoes,
the house. (3) Mackintosh's Glasgow School
and to the late Dollie Pierre Chareau for her
however unconsciously, Scheerbart's
of Art Library of 1907 and Hoffmann's Palais
photograph of Pierre Chareau and for her prophetic vision. It embodies an altogether
assistance in translation. Lastly, he would richer
like and more total realisation of this vision 'Glass lenses do not occur to any extent in Le Corbusier's
work until his first project for the Armbe du Salut of 1929.
to credit Margaret Tallett, whose plan
than either he or his professional alter-ego
Bruno Taut were ever to achieve. Between
drawings of the house, published in the
2As I have remarked elsewhere both the Maison de Verre and
Taut's glass pavilion dedicated to Scheerbart
magazine "Architecture and Building" in May
the Rietveld-Schroeder house involved the direct patronage
of highly cultivated women. See Arena, Journal of the
and built for the Deutsche Werkbund
1960, pp. 192-195, proved an invaluable basis
Architectural Association, London, April, 1966, pp. 257-262.
Ausstellung of 1914 (2) and Chareau's Maison
upon which to begin the survey.
1. Bijvoet & Chareau, golf club-house at
Beauvallon, 1927.
2. Bruno Taut, glass pavilion at Werkbund

Austellung, Cologne, 1914.
77
Stoclet, Brussels of 1905 are both prototypical

in respect to such planar emphasis, while a
typical contemporary Viennese example is
Loos' Michaelerplatz department store of
1910. (4). In the Michaelerplatz store, as in the
Glasgow School of Art, gridded glass is
projected into the frontal plane where it
occupies a position usually reserved for
massive construction. In further anticipation
of the Maison de Verre the gridded glazed
planes of this store are pierced with opening
lights of clear glass.
3I
It is obvious that the Viennese school and in
particular, Hoffmann's pupil, Gabriel

Guvrekian and to a greater extent Adolf Loos,
exercised a considerable influence on
Chareau's development. Apart from the

mutual friendship of all three men during the
period of Loos' extended sojourn in Paris,
during the 20's, the similarity of their separate
approaches to the problem of the domestic
4
interior is testimony in itself. Guvrekian's
interior for his Villa Heim of 1926 and Loos'
Moller House, Vienna of 1928 are very

parallel, at least stylistically to Chareau's
project for an embassy suite (5) displayed at

the Exposition des Arts Decoratifs in 1925.
Despite his polemical radicalism Loos

maintained an allegiance to bourgeois values
which found direct symbolic expression in his
predilection for hard wearing traditional
materials, such as teak or walnut panelling,
parquet flooring and marble. This revetment
symbolism appears to have influenced the
stylistic point of departure of the Parisian
Union des Artistes Moderne, founded in 1929,
by Rend Herbst, Pierre Chareau, Francis

Jourdain, H61ene Henry, Rob Mallet-Stevens,
Charlotte Perriand and Sonia Delaunay,
amongst many others. The UAM artists

however introduced a much lighter touch into
the Loosian vocabulary, a tendency deriving
partially out of Hoffmann and Voysey, partially
out of cubism and particularly out of a French
preoccupation with ingenuity and invention
ad-
I, MI-4 1 1 1 1 1
for its own sake. This development was

somewhat at variance with Loos' haute
couture taste. By the late 20's however, the

UAM group had freed itself from the influence
work- sleepng v thng d s p i
of measured ostentation in favour of a
St]
preference for modest interiors of plywood
furniture and off white walls. The eccentric
Orlo
Loosian juxtaposition of rustic Style Anglais

with neoclassical luxury found its aesthetic
resolution in this UAM development; in the
simple homogeneity of Jourdain's severe
interiors and, as a one off piece, in the rich
bacony
articulation of material in Chareau's Maison

de Verre.
All the same the high bourgeois style of Loos
conditioned the material aura of the Maison
de Verre, even if it in no way determined its

organisation, which arose directly out of
Chareau's inventiveness and Bijvoet's sense
of order. Chareau, in conjunction with his
artisanat Dalbet, had literally begun to invent
his poesie d'6quipage as early as 1918, when
he designed the interior of a two room St.

Germain apartment (6) for a young doctor and
his wife, Doctor and Madame Dalsace, who
3. Pierre Chareau, dressing room design,
around 1925. A combined reference to well
established oriental and nautical traditions.
were later to become the clients of the Maison
de Verre.3 Chareau's penchant for invention 4. Adolf Loos, Goldman & Salatasch store,
Michaelerplatz, Vienna, 1910.
house, as were the peculiar circumstances
under which it was eventually to be achieved.
5. Pierre Chareau, embassy suite, Exposition
des Arts Decoratifs, Paris, 1925.
was fundamental to the final form of the
3See Decorative Art 1933, Yearbook of "The Studio," London,
p. 113. This commission involved Chareau in the design and
construction of two pieces of furniture, a bed and a desk,

which were subsequently exhibited in the Salon d'Automne of
1919, an event which established Chareau's reputation as a
designer. Pierre Chareau first met Dalbet through working on
purpose-made pieces of this kind, Dalbet was a type of artisan

very comparable to Gerrit Rietveld.
6. Pierre Chareau, Parisian interior.
7. Gerrit Rietveld, Rietveld-Schroeder House,
Utrecht, 1924. Two versions of the main floor

plan, showing the full potential of its
flexibility.
78
running from the kitchen to the dining area,

invariable experience of this house as a
(forever to remain incomplete) and the other,
"world within a world," enclosing its own
the mobile access ladder to the double
hierarchy of public and private spaces. The
height book wall. Herein a metaphorical
light diffusing through the salon walls
mobility becomes ironically balanced, the
simulates a quality of illumination comparable
to that experienced in the open air and thistwo units dispensing physical and spiritual
condition is maintained at night, when the food respectively.
interior of the house is again illuminated by
The invention of the Maison de Verre may be
light, diffusing through the glass lenses of its
pan verre, from floodlights mounted off thecharacterised under three separate but
forecourt and garden facades. One cannot interrelated aspects, articulation, transformabut recall Scheerbart's words of 1914. "In
tion and transparency.
architect to devise a new solution. This
order to raise our culture to a higher level, we
Through the articulation and standardisation
impasse led to the perhaps inevitable but are forced, whether we like it or not, to change
our architecture. And this will be possible of its components the house acquires
nonetheless daring decision to permanently
underpin the existing second floor with steel.
only if we free the rooms in which we live ofimplications that extend outside the confines
their enclosed characters. This, however, weof its domestic scale. Limited in its actual
The subsequent demolition of the unoccupied
prefabrication, it nonetheless postulates,
floors, spared only the staircase access to can
theonly do by introducing a glass
through its modular order, a world of high
existing second floor. This residual feature,architecture which admits the light of the sun,
quality mass production. Doors, balustrades,
assymetrically located, afforded the only of the moon, and of the stars, not only
distortion in a volume which was otherwise a
book racks, storage units and fenestration
through a few windows, but through as many
walls as feasible, these to consist entirely ofare all treated as modular components of a
clear rectilinear roofed over space extending
glass - of coloured glass."6 And later of the grid, running through the house from front to
from forecourt to garden. This volume
artificial illumination of such a house, from back and in limited sections from side to side.
possessed sufficient elevation to comfortably
accommodate three new floors of normal
within its double walls of glass he wrote:
"This kind of lighting would make the entireThe apparent "elementarism" of this
height. Consequently three new levels were
glass house into a huge lantern which can articulation is due in part no doubt to the
provided, each one being devoted to a
influence of Frank Lloyd Wright, whose
different activity. The ground floor was
glow on quiet summer nights like glow worms
presence is clearly in evidence in the early
allocated to medical practice, the first floorand
to fireflies."7 Today the light radiating from
work of Bijvoet and Duiker. Bijvoet for his
the Maison de Verre at night, concretises this
"public" and "semi-public" space and the
part has recently denied that he was ever
pioneer vision.
second floor to private sleeping space,
under the influence of Rietveld, although he
bedrooms, bathrooms, etc. A three story
was certainly aware of his work. This being so
service wing, comprising kitchen and maids
Early interior perspectives of this house
any Neoplastic influence must be largely
quarters was built out from the main volume
(21, 22, 23) indicate that details of its subdiscounted. There remains of course Kiesler's
to one side of the forecourt. Once this shell
division were finalised during the course of
was complete, it only remained to organiseits construction. These naive drawings are the
Cit6 dans L'Espace which, built for the 1925
Exposition des Arts Decoratifs, would have
these levels in detail and "to envelope the only evidence we have as to the nature of its
presented to an aware Parisian audience, an
necessities of the house."4 For this purposeinvention and fabrication. They suggest that
"elementarism" of constructivist origin.'0 One
glass lenses were selected for their
once the main concept was established the
final implication of the articulated order of the
translucent property which afforded both total work evolved like a montage, stage by
Maison de Verve is that its component units
privacy and light. Of this mutual decision ofstage and element by element.8 A maquette
are not only modular but in essence
client and architect to totally glaze the house
of the house (20), exhibited as late as 1931
Dr. Dalsace has written as follows:
interchangeable; yielding a "mobility"
shows a definite stage in this development.
dependent upon a potential for modification
From the outset the commission was exploited
and replacement rather than movement
"Thanks to an old lady who did not wish toas an opportunity for evolving a technically
per se.
leave her sordid apartment on the second determined environment rather than as an
floor, Pierre Chareau realised a structural
occasion for simply another piece of domestic
tour de force of three luminous floors, within
design. Both the materials and techniques The Maison de Verre is the transformable
plan par excellence; "transformable" to such
the ground floor and first floor of this small
adopted were redolent with industrial
town house. These two floors had been so
potential, even although the methods of
a degree that the raison d'etre of its
actual realisation were far from industrial.'
transformation ranges from necessity, to
dark that the employees of the old lady, who
It is clear for instance, that the demonstrativeconvenience, to subtle poetic variation. The
would live to be a hundred, were obliged to
pivotal radial door to the landing of the main
work throughout the day by artificial light. use of bent duralumin somewhere in the
was envisaged from the outset. In an stair is necessary for the separation of the
Light permeates freely, around this block, house
of
private accommodation from the medical
which the ground floor is given over to
early project sketch (21) the balustrade to the
medicine, the first floor to social life and the
suite, while the sliding wall to the salon
main stair is shown as being fabricated out of
this material. It was finally realised in tubular
conveniently isolates the doctor's study from
second to nocturnal habitation. The problem
the main living space. Many other examples
steel - bent duralumin re-emerging as a
thus posed was enormously difficult to
of necessary transformation clearly abound;
resolve. The interpenetration of rooms, some
material-form in the master bathroom storagespace dividers and in the cylindrical broom however, poetic variations in small scale
which ran through two floors (i.e. consultation
components, occur throughout the house and
cupboard. Thus a "poetry of technique" room and hall) made the problem of sound
pervades the whole house and must prevail these are largely provided in order to achieve
insulation very difficult. . . . The ground floor,
subtle changes in light and transparency.
over any simple functional interpretation
the professional section of the house,
The components of the house are thus often
of its conception and realisation. In this
facilitates work and affords to the patients,
respect, the projected mobile book cabinets articulated into "primary", "secondary" and
once their first anxiety is over, great
calmness. The whole house was created
in the main salon perspective, were in their "tertiary" elements and it is the latter that
usually provides this final degree of lyrical
context, more of a poetic idea, than they were
under the sign of amity, in perfect affective
a reasonable solution to the problem of bookvariation. It is the perforated metal "butterfly"
accord."''
screens for instance which transform the
storage. Here we have a pure example of
These words of Dr. Dalsace are very revealing
image preceding idea in the design process,main stair enclosure from a condition of
transparency, to one of translucence. A very
a procedure which is now an anathema
for they indicate with great economy, the
nature of the close collaboration that
similar but functionally even less justifiable
to today's methodical designers. In this
variation to the degree of enclosure is built
occurred between these exceptionally
instance, the initial "image-idea" became
cultured clients and their architect. In
into the screening of the garden entrance
transformed into two separate mobile pieces
referring to the first floor as being designated
of equipment situated at either end of the door.
to la vie de societe, Dr. Dalsace makes it clear
salon: the one, the suspended dumb waiter,
In contrast to the Rietveld-Schroeder House
that this level was from the outset thought of,
'PaulaScheerbart, Glasarchitektur, Berlin, Verlag der Sturm,
of 1924, (7) the one classic transformable
as being unusually public. It was not simply
1914, p. 11 (Translation by C. C. & G. R. Collins).
plan to which it may be readily compared, the
salle de sejour. It is this initial central concept
of a large public salon flooded with light, 'Op. cit., p. 48.
mobile space dividers of the Maison de Verre
In 1928 Madame Dalsace's father bought an

18th century town house in 31 Rue St.
Guillaume. The property was flanked on both
sides by party walls of varying height and
comprised in addition to an existing three
story house, a small forecourt and a garden
in the rear. Initially the clients had every
intention of demolishing the existing house
and building anew but the presence of an
uncooperative old lady in residence on the
second floor, secure as a protected tenant
under law, compelled both client and
which no doubt now accounts for one's
4Viollet-le-Duc, Entretiens sur I'Architecture.
5Rene Herbst, Pierre Chareau, Editions du Salon des Arts

Mdnagers, Union des Artistes Modernes, Paris 1954, pp. 7-8.
8Bernard Bijvoet has recently confirmed in an interview with

Robert Vickery that no proper working drawings were ever
prepared for the house.
'Nevertheless, according to Julien Lepage (see footnote 16)

Chareau consciously regarded the house, "as a model
realised by artisans with a view to industrial standardisation."
'0See Henry van der Velde, "Die Pariser

Kunstgewerbeaustellung." Republished in Werk, No. 2,
February 1965, pp. 59 & 60. Apart from Kiesler's work and Le
Corbusier's Pavilion L'Esprit Nouveau, the Peter Behren's
greenhouse for this exhibition is also to be regarded as
having been influential.
79
serves to remind us of a similar contrast of
frequently only modify the basic character of

the available space, rather than effect a total
transformation. In this respect, the folding
expression to be found in the Villa Garches.

Out of an attempt to emphasise such spatial
screens which determine the limits of the
displacements, horizontally, as well as out of

patients' waiting area, provide a partial (i.e.
a need to provide appropriate functional
visual) transformation of the space. On the
surfaces, a number of contrasting floor
other hand, the frameless pivoting storyfinishes have been applied throughout the
height doors and sliding wall panels have a
capacity to radically alter the spaces in which house. Thus a studded off-white tile is used
throughout the active public spaces, a small
they are located.
black ceramic tile is used in the semi-public
this repertoire a step nearer to general

adoption by the society at large. The work of
the French "artisan-engineer" Jean Prouve
represents the most direct practical
continuation of this line. In this context
Prouve's work since 1935 and in particular

his present curtain wall designs may be
regarded as extended, independent
developments of the curtain wall railway
carriage window type first prototyped in the
Maison de Verre.
The walls of the Maison de Verre are
quiet places, a wooden strip tile surfaces the

predominantly translucent. Hence its
dining area and the gallery, while an off-white
composition is ordered primarily through a ceramic tile is applied to the kitchen and the
medical examination suite. These different

transparency which is phenomenal rather than
floor materials are combined together in a

literal. In its interior, it is inherently organised
as a series of vertical planes or layers of

manner highly reminiscent of synthetic cubist
cottage. Changes in surface finish announce
space preceeding frontally from the forecourt
towards the garden. That this was the initialeither changes in "use" or space definitive
design intention is suggested by the treatment
non-utilitarian changes in the floor level.
and arrangement of the columns and columnFinally it should be noted that an atypical
axes. The main floor slabs of the house are
crank in the slab occurs in the second floor,
cantilevered beyond the column system on which although it stresses the transverse
both the front and rear facades. In each
instance, the row of columns immediately

adjacent to the cantilever have their web axes
aligned parallel to the elevations, that is,
directly at right angles to the web axes of the
interior columns. (8) As a counterchange this
space serves primarily as a structural anchor
to the terrace which cantilevers beyond.

The mechanisation of the Maison de Verre
was extensive and (such was the calibre of
Dalbet's craftsmanship) economically

conceived and precisely executed. In many of
establishes "slots" of space immediately

behind the facades and these "slots" naturally the details the strength of the material used is
stress the transverse plane and induce a
pushed to its limits. Typical of this is the
reading of similar stratified layers throughout mobile book wall ladder, which travels on a
the remaining space.
carriage made out of a single bent metal tube.
The relation between the Maison de Verre and

the architectural tradition of which it is a part
is as complex as it is elusive. The work and
thought of Le Corbusier must have played an

important role in its conception. Bernard
Bijvoet, on his own admission, was under the
influence of Le Corbusier at this time, as was
his Dutch partner Johannes Duiker. This
partnership had displayed immediate post
war affinities with the work of Wright, but
during the late twenties appears to have

veered towards a European Neue Sachlichkeit
position. In any event Le Corbusier's Five
Points of a New Architecture first published
in 1926, (9) certainly appears to have
influenced the basic conception of the house,
three of these points finding very definite

expression in its form; - le plan libre; la
facade libre and la fen6tre en Iongeur.3 After

the completion of the house at the end of
1931, there is sufficient evidence of it having
some counter influence on the work of Le
The remote controlled steel louvres to the

Corbusier. Le Corbusier's Immeuble Clart6
In their essay" on literal and phenomenal
salon and the opening lights of the main
(10) built in Geneva in 1932 has by virtue of
transparency Colin Rowe and Robert Slutsky facades
are thus by no means the only
its glass lenses, its glass stair treads, its
/
X
submit that similar stratifications of space are
elements-mechani
indirect lighting, its fenestration, and its
to be perceived in Le Corbusier's Villa
On
the
contrary
m
transformable plans, definite affinities with
Garches of 1927, wherein planar recessions
de Verre.'4
detail
ofthe Maison
this
hous
occur not only as vertical phenomena but also
to
pivoting
closets
horizontally in plan. It may be argued that
servicing the house seems to have been
Similar characteristics are to be found in the
almost exactly parallel conditions pertain in conditioned by this concern for mobility. Thus detailing of Le Corbusiers' own apartment
the Maison de Verre where horizontal planes throughout the house all wiring, power, light, house built at Porte Molitor, Paris in 1933. (1
are deliberately displaced over each other,
telephone, etc. is conveyed vertically through One may argue of course that this "syntax"
partly to emphasise certain areas, and partly
free standing tubes, rising from floor to floor.
had already been partially anticipated by
to create a deflecting cubistic "rift" in the
These tubes mount control consoles in which
Perriand and Le Corbusier themselves in thei
spatial expression. (8) This split in level not
all outlets and switches are located; thus
joint interior exhibit for the Salon d'Automne
only subdivides the space but also affords a relieving the walls of this task. In the same
of 1929.'"
directional transition between the implied
manner as these tubes carry power and light,
shallow spaces adjacent to each of the
the floor slabs carry heat in the form of ducted In spite of its caliber the Maison de Verre did
facades and the overall depth of the total
air, emitted from raised outlets set in the floor. not exert an extensive influence on the next
volume. In the Villa Garches, the floor levels
This combined servicing system is open to
generation. At the time of its completion it
remain constant and a comparable spatial
being read as horizontal planes carrying heat was well received by the yellow press as a
modulation is achieved through the use of
in the form of conditioned air, pierced at
curiosity, and partly criticised by the
free standing elements. This geological fault intervals by vertical lines carrying power and
professional press, for being too utopian,
as it were, in the Maison de Verre, runs
light.
laterally from front to back on the ground and

first floors and is even echoed in the
The "functionalism" of the Maison de Verre is
organisation of the garden. It also finds

permeated by such metaphorical ideas at
complementary expression in the facades of every level. A great deal of its equipment and
the house. On the forecourt facade it
mechanisation is poetic and symbolic rather
manifests itself as a subtle displacement to
than strictly functional. Thus the provision of
the lowest course of glass lenses; a "break"
bidets is "symbolically" in excess of the
which is precisely reflected in the articulation
amount that could be conceivably required
of the entrance foyer roof. On the garden
by the programme, on the grounds of hygiene.
facade it appears as a much more complex
The lateral mobility of these elements serves
overlap of "transparent" planes, laterally
only to emphasise yet further their ironic
displaced - a series of projections and
profusion in the house of a gynaecologist.
counter projections which mutually occur in
Save for its highly rudimentary kitchen the
respect of the main translucent facade,
Maison de Verre was a total demonstration of
comprising the projected curtain wall of
a "complete" architectural vocabulary. To
Mme. Dalsace's day room and the
this end it became the vehicle for five

cantilevered bedroom terrace above. On each
distinctly different solutions to the problem of
facade these "overlaps" receive their most the stair. From a retractable ship's companion
articulate expression in the detailing of the ladder, to a stringless stair structurally
steel framed glazing. Thus Mme. Dalsace's integral with its balustrade, to the articulated
conservatory is consistently treated as a first
treads of the main stair bracketed off steel
floor version of the forecourt entrance foyer.
string beams, each stairway link was made
in spite of this consistency, the fundamental
the occasion for a different approach. The
contrast between the garden and forecourt result was the building out of a possible
facades, between dynamism and restraint,
technical repertoire & la Neufert. The next
generation would bring certain elements of
1Colin Rowe and Robert Slutsky, "Transparency Literal and

Phenomenal," Perspecta No. 8, Yale School of Architecture
Magazine, 1964, pp. 45-54.
12A phrase coined by Le Corbusier and Pierre Jeanneret in

their, "Cinq Points d'une Architecture Nouvelle", 1926.
intellectual, and insufficiently utilitarian.'6

Thus it became at once part of an
underground tradition; its immediate
influence limited to a select few who were
sympathetic to its creation. Le Corbusier was

of course a member of this coterie, but no
other member of the main stream seems to
have been either aware of or touched by its
achievement. Bijvoet of course carried its
presence to Holland, when he returned home
after Duiker's death in 1934, to complete the
Hotel Gooiland in Hilversum. (12) The rich
materials adopted in its foyer detailing and
the transformable nature of its public space,
jointly suggest a Parisian attitude in this hotel
design that can only be attributed to Bijvoet.
Of the next generation only the young
Parisian architect Paul Nelson appears to
have been profoundly influenced by the
unique conception of the Maison de Verre.
Above all else, Nelson appears to have been
3Le Corbusier et Pierre Jeanneret, Oeuvre Complete, 19101929, 8th Edition, Les Editions d'Architecture, Girsberger,
Zurich, 1965, pp. 128 & 129.
'4See Stani von Moos, "Aspekte der Neuen Architektur in Paris,
1912-1932", Werk, No. 2, February 1965, pp. 52-56.
"sLe Corbusier et Pierre Jeanneret. Oeuvre Complete, 19291934, 6th Edition, Editions Girsberger, Zurich 1957, pp. 42-47.
80
impressed by its creation of a world within a

world, the internal realm being all but totally
isolated from the outside by a continuous
translucent membrane. This notion of
8. Combined diagrammatic plan. Lines "A"

and "B" (solid and dotted) indicate ground
and first floor "rifts" respectively. "C" and
"D" are points of elevational displacement.
Tone indicates shallow space.

isolation was first developed by Nelson in his
project for a hospital facility at Ismalia (13,
9. Le Corbusier, the 5 points of a New Architec
14) for the Suez Canal Company designed in
1936."7 Here the external isolation took theture (1926) represented in a composite drawing.
form of a continuous independent sun10. Le Corbusier & Pierre Jeanneret,
screening envelope - Nelson's envelope
parasolaire within which the hospital surgical Immeuble Clart6, Geneva, 1930-32. Entrance
facility was to have been housed. This facility hall and staircase with glass block treads.
itself also comprised in its turn a world within
a world, for Nelson incorporated within it for 11. Le Corbusier & Pierre Jeanneret,
the first time, his invention of an ovoid
Immeuble Locatif a la Porte Molitor, Paris, 1933.
operating theatre, of the type that he was
eventually to realise in his Franco-American
12. Bijvoet & Duiker, Hotel Gooiland,
Hilversum, 1934-6. Ground floor plan shows
hospital at St. Lo. In fact, there was a whole
hierarchy of such Chinese boxes in Nelson's
flow of "transformable" space from hotel
Ismalia project; - firstly, the four ovoid
foyer to dance floor, to theatre auditorium.
theatres, secondly, their surrounding service
space, thirdly, the hospital proper and finally,
the total brise-soleil envelope. Nelson
8
g9
followed this study in isolation with his
famous 1936-37 project for a Maison
Suspendue, which was to be his most direct
development of the concepts embodied in the
Maison de Verre.
La Maison Suspendue (15-19) was directly

parallel to the Maison de Verre in its program.
It too, could only have been erected in the
--\
service of an elite, even if such an elite was
envisaged as no longer being a bourgeois

elite, but rather an elite of a new collective
society. Nelson's own analysis of the spatial

order of his project, into ground floor service
level, second floor living level and first floor
non-utilitarian leisure space, directly reflects
the organisation of the Maison de Verre. In
this respect Nelson's commentary on the
Maison Suspendue could be applied just as
equally to the Maison de Verre. In 1937 he
wrote: "The principle of isolating the
10;
individual suggests at once the idea of a
closed form in contrast to the open form of
collective architecture," (and) . . . "because
the principle of its enrichment suggests an
architecture which develops itself in the
interior of this closed form" (there is a) -
11
"contrast to the traditional house wherein the
elevation plays the major role." For Nelson

this concept yields, "an architecture in which
the spiritual needs of man become
predominant in a new space which one may
term "useless", in comparison with the purely
'"See L'Architecture d'Aujourd'hui, No. 9. November/

December 1933, pp. 4-15. This was the first full length
documentation of the Maison de Verre with critical appraisals
by Pierre Vago, Paul Nelson and Julien Lepage. Some of
Lepage's comments were very perceptive and are worth
quoting. He wrote: Above all one notices the same care to
make visible and express every possible function and not

only to acknowledge the real needs of the owner, but even to
organise all his possible needs and to arouse in him and to

satisfy in advance new desires, which he has not yet thought
of." And again of the mechanical aspects of the house

12
Lepage wrote: "In this sense however there is nothing
mechanistic about this house. None of the equipment is
menacing. It is all treated with such delicacy and its function
is so well revealed that all these pieces are more like organs
than instruments." Elsewhere he wrote: "It is astonishing to
see how the architect by inserting more, or less transparent
windows in the translucent brick skin of the house is able to
evoke a character which is alternately, intimate, free and
liveable in the bedrooms, the official reception and patient's

waiting area; - precise and scientific, in the consulting room
and soft and feminine in the boudoir suspended over the
garden." This was in strict contrast to Vago's critique, for
whom the house was too mechanistic to be considered as a
general solution. Thus Vago rhetorically demands "It is
indispensable for men of the 20th century to spend their days,
their hours, of leisure and rest in a glass box, among randomly
placed columns, with their rivets exposed, in a laboratory
open on all sides.., to receive the roast on a suspended
wagon, to enter one's room via a mobile ladder..."
17Deux Etudes Hospitalieres par Paul Nelson, Editions Morance,

Paris, 1934. (See Pavilion de Chirurgie - d'un groupe
hospitalier en pays chaud, Ismalia, 1936.)
81
13. Paul Nelson, Surgical Pavilion, Ismalia, 1936.

14. Paul Nelson, Surgical Pavilion, Ismalia,
ground floor plan.
15. Paul Nelson, La Maison Suspendue

1936-8, ground floor plan.
21. Early perspective (1929) of the interior

15 of
the main first floor salon. This drawing is
revealing as to evolution of certain "initial"
concepts in the final furnishing of the house.
The main stair and its well were initially to
have been equipped with duralumin
balustrades. This was later abandoned in
16. La Maison Suspendue, balcony level plan.

17. La Maison Suspendue, upper level plan.
favor of a consistent use throughout of the

metal balustrading as shown here on the
second floor gallery. Bent duralumin was later
used for the bathroom fittings (see pages ).
18. La Maison Suspendue, transverse section.
19. La Maison Suspendue, photograph of

maquette.
20. A model of the house exhibited in 1931.
Similarly the folding screen adjacent to the

second floor gallery stair was later reserved
for ground floor use only. Of particular
interest is the indirect lighting proposed for
the second floor and the "mobile" book cases
shown in the salon, the latter being a "poetic"
mechanical invention typical of Chareau.
13
16
17
Ott, iIAl
14
18
82
OQa
_< ?-e
--?
utilitarian space of material needs - (in)

contrast to rational architecture."'8
22. Early perspective of the foyer between the

waiting room and the doctor's study on the
ground floor.
19
In this brief outline resides not only the

paradox of the Maison de Verre and the
Maison Suspendue, but also the final paradox
of the work and thought of Pierre Chareau and
in the end the curious problematic nature of
the 20th century architectural tradition as a
whole. For Chareau, as many other 20th
century designers, created his finest work, in
the service of an elite bourgeoisie. yet he
wanted, as is clear from his essay"La
23. Early perspective of the salon from the

second floor gallery.
Crbation Artistique et 'lmitation Commerciale,"

to place his services at the disposal of the
society as a whole.'"
In an age of population explosion and shelter
scarcity, the minimal dwelling of a "rational
architecture" for which Nelson implied a
certain contempt can now no doubt be the
only initial standard for domestic building in a
mass society. In spite of our much proclaimed 201
affluence, the inundations of our consumer
industry and the deprivations of our military

waste render elusive an optimum adequate
level of environment for all. As a general
system the Maison de Verre is technically
feasible but in societal-spatial terms,
economically unattainable. What, in the
thirties, could have been construed as a
belated one-off realization of technical
utopianism, now appears as a utopianism of

space. In our present circumstances, une
abondance d'espace inutile'8 can have
substance only as the motivating ideal of

some future nonrepressive society. The
general realisation of such lavish spatial
standards would involve a major reallocation
of resources and an unimaginable degree of
technicalization. All the same the conscious
attempt to elevate the scale of a home into

that of a palace, (a line evoked by Le
Corbusier), projects the program of a 21
dwelling out of the private domestic realm
into a myth of collectivity wherein the house
becomes a prototypical palais du peuple.
How a private bourgeois residence could
come to acquire even some of these public
and collective connotations remains as yet

one of the cultural paradoxes of the 20th
century. It is curious that, thirty-seven years

after its erection, a purpose-made house
should still have a capacity to exert a
powerful influence on our imagination.
Perhaps, it is because it continues to
offer through the fluidity of its plan, the
standardization of its components and the

mobility of its parts and through its clear
assembly of public and private spaces within
a single envelope, a general model from
which to evolve solutions to some of the
indeterminate problems of our epoch.

'sPaul Nelson, La Maison Suspendue, Editions Morance, Paris
1937. In this document Nelson postulates the Maison
Suspendue as being in strict opposition to the rational-
22
23
collective" architecture; the existenzminimum of the socialist

technocratic architects of the thirties.
1See L'Architecture d'Aujourd'hui, No. 9, September 1935, pp.

68-69. In this highly charged essay Chareau testifies to his
position". He writes: "Architecture is a social art. It is at one
and the same time a consummation of all the arts and an
emanation of the masses. The architect can only create if he
listens to and understands the voices of millions of men, if he

shares in their sufferings, if he struggles with them for their
freedom, if he becomes the precentor of their hopes, the

realiser of their aspirations. He uses the iron that they forge.
He gives life to the theories they conceive. He helps them to
live, to produce, to create, to consume. He guides them
toward the future because he is aware of that which belongs
to the past. Indeed he lives only for them. Architecture is
determined by the lives of these men. It can choose to either
lead, deceive or mesmerize them."
83
25!
241
Pierre Chareau was born in

owning family in 1883. He
and at 17 hesitated betwe
and architecture. He decided in favour of a
career as a decorator and entered the Paris
branch of the famous English furnishing firm

Waring & Gillow, where he remained for fou
years. With the outbreak of war in 1914 he
entered military service.
In 1918 he designed the interior of a St.

Germain apartment for the Dalsace family,
who later became his clients for the Maison
de Verre. Furniture pieces for this commission

were subsequently exhibited at the Salon
d'Automne of 1919, an event which brought
Chareau recognition.
Chareau met Dalbet at this time and the two
men became collaborators. During the

twenties Chareau produced numerous interior
pieces in collaboration with artists such as
Jean Lurgat, H616ne Henry, Jacques Lipchitz
26*
and his wife Dollie Pierre Chareau.
For the famous Exposition des Arts Decoratif

of 1925 he designed an embassy suite which
revealed his interests in indirect lighting, in
mechanism and in traditional rich materials.
On this occasion he met Bijvoet and

persuaded him to leave Holland and join him
in Paris; thus together they designed in 1926
Chareau's first and only free standing work
of any size, the golf clubhouse for Monsieur
Bernheim, the father of Mme. Dalsace.
By 1927 they were again at work on a

reception hall for a hotel at Tours and in the
following year they began their first studies
for the Maison de Verre. The Maison de Verre
was finally completed at the beginning of 1932.
In 1932 Chareau realized a suite of offices for
steel underpinning of the third floor of the
the L.T.T. Paris, a design which was gauche

compared to the Dalsace house. After this
commission came the full impact of the
depression. In the general dearth of work,
house is virtually complete, prior to the

demolition of its supporting walls.
colleagues and it was this no doubt that
24. Forecourt view of the 18th century house

at 31 Rue St. Guillaumes, mid-June, 1928. The
25. Garden view of the house under
construction, 1928.
26. Second floor interior view of the house
under construction, 1930.
Chareau suffered more than most of his
partly provoked his bitter essay, "La Creation

Artistique et I'lmitation Commerciale,"
published in September 1935.
Chareau continued to produce small pieces
for the UAM exhibitions, but even these made
little impression. In 1937 he designed a house

for Djemel Anik and in 1938 an equally
unknown work for the French Foreign Ministry.
After his emigration to America in 1939 he
designed a studio for Robert Motherwell at
East Hampton, Long Island, plus two small
houses in the vicinity, one of which he
occupied on completion. He died in 1950 in
Easthampton.
84
Maison de Verre*
Paul Nelson
partitions, by the built-in furniture and by the

The present epoch has created a life of new
Bernard Bijvoet was born in 1889 in The
staircases, etc. The columns are co-ordinates,
Hague. He was educated in The Hague and awareness and reflexes, but architecture has
which, regularly spaced, establish points
then at the Technical University of Delft not evolved sufficiently to be able to express
around which the functional layout is
it; for it cannot be expressed only by a detail
where he graduated in 1913 as a Boukundig
irregularly organized.
Ingenieur. In Delft he met Johannes Duikeror a facade, nor by iron mongery or through
and after graduation they worked togetherthe
foruse of certain materials, nor by the use of
The Chareau House is not immobile nor is it
such cliches as horizontal or vertical
Professor Evers and on competitions.
windows. It is discouraging to observe thisphotographic; it is cinematographic. One
must pass through the spaces in order to be
application of moderne, changed
In 1917 Bijvoet and Duiker were successful decorative
in
able to appreciate it; another aspect by which
a competition for old people's housing in in accordance with fashion, to dress up the
Alkmaar and on the strength of this they most pompiers of pompier buildings and to it is connected to contemporary man.
established their partnership. In 1918 theyalight upon these so-called "pure" buildings
It is built. It functions. It is not solely based
like a poster, have nothing in common
were again premiated for their design for which,
the
on the dictates of abstract ideas, for it works.
with the advertised product. There is another
Rijksacademie of Fine Arts. During the early
The walls are solid; the sliding doors slide.
twenties Duiker and Bijvoet were strongly task for contemporary architecture, possibly
less spectacular, wherein the philosophicalThere are no leaks. The air conditioning
influenced by Wright. The Dutch Neoplastic
works. It would appear that one does not
movement curiously enough was never an awareness of the architect allows for the
suffer from either the heat or the cold. It is
spiritual and physical program of this new life
influence on their work. By 1924 however with
the realization of their remarkable Aalsmeer
to be established and for its expression in realized.
house, they had acquired a totally different,plan and where the knowledge of building
This house is a point of departure. Herein
technique permits this plan to be realized so
almost Neue Sachlichkeit, orientation.
that it works. A Parisian doctor has given technical problems have been tackled and
bravely resolved up to the last detail. Pure
Chareau a chance to attempt this task.
In 1925 Bijvoet met Chareau in Paris at the
aesthetic research has not been the aim here,
exhibition, where the Duiker/Bijvoet entries
but strangely enough, solely through technical
Amplification is the essential characteristic of
for the Rijksacademie and the Chicago
research, this house has outstripped
Tribune were being exhibited. The depressing this new life. Since the invention of the
surrealist sculpture. Calder and Giacometti
Dutch economic situation encouraged Bijvoet bicycle established an epoch, man has
would be able to see its realization in these
extended the amplification of his powers
to remain in Paris and to work as an associate
terms. The pivoting door suspended in front
through mechanical means: the telephone, the
of Chareau. After the completion of the
of the main stairway is a surrealist sculpture
Maison de Verre in 1932 Bijvoet left Chareautelegraph and the automobile are all
of great beauty. The metal cupboards are
conquests in two dimensions, while the
to work with Beaudoin and later with Nelson.
similarly so. All this has been achieved
airplane, the radio and the television are
without having any desire to make art for art's
conquests in three. The house must then be
In 1934, on Duiker's death, he returned to
sake.
a machine which amplifies our sensation of
Holland to complete the work which Duiker
life. Man today has an awareness of space
had initiated on the Hotel Gooiland,
Hilversum. During the late thirties he worked and, to an even greater extent, of movement"Modern architecture" is dying. It has become
a romanticism, a sentimentalism best
with Holt in Haarlem and afterwards spent thein space. A study in plan and section no
expressed in literature and in music. Now a
longer affords the architect the means by
war years in the Dordogne. He now lives in
technological architecture emerges, a
which to fulfill and represent his
The Hague where he continues to run an
realizable architecture wholly conditioned by
requirements: the fourth dimension, time,
extensive practice.
the requirements of the new life and by a real
intervenes. One must create spaces which
have to be passed through in a relative lapse knowledge of building. Chareau knew how to
of time. One must feel the fourth dimension.
This house in Rue St. Guillaume incites this
sensation.
limit himself. It is because of this that he has
created a beautiful work, which one
recognizes as a point of departure towards a
true architecture.
One has begun at the outset by limiting space

in order to be able to create it. (The window
or the transparent wall is, in reality, a direct
connection to the outside and destroys the
impression of space. Therefore it should be
used with great discretion; only where a
definite function exists.) It is now, a question
of making the most of this space enclosed by
translucent glass blocks. The dynamism of the
fourth dimension in contrast to the static. The

static in architecture is the structure
supporting that which should be perpetually

fixed. Completely independent of this is the
dynamic expressed by the horizontal and
vertical distribution, by the fixed and moving
*From L'Architeture d'Anjourdhui, No. 9, November/
December 1933, p. 9.
85
27. View of house from courtyard entrance.
29
28. Detail of garden facade.

29. Site plan with ground floor.
1. tunnel entrance
2. forecourt
3. 2-car garage
4. existing 18th century building
5. entrance to house
6. entrance to house above
7. service wing
8. garden access
9. consulting room terrace
10. ground ivy
11. grass and shrubs
12. gravel play court
af
30. Axonometric of interior from forecourt.
27*
oo
10
-----
28
o----- 3- -
-4...
86
30
i/Y.
i?
87
31. Ground floor plan.
1. entrance lobby
2. central corridor
3. garden corridor
4. service foyer
5. servants' entrance
6. receptionist
7. waiting room
8. consulting room
9. examination room
10. attendance room
...
oil
A. dumb waiter
B. passenger elevator
C.auxiliary stair to study
D.stair to basement
E. stair to kitchen
F. main stair to salon
---
11t,7 , ..1
[ ............. .. . .. ..
G.changing cubicle
H. refuse
i t! - ... .... ....
........................... L
I "', ," " II [ _.. -.............................. . . -_
........
........
........
ANA
...
..
..
..
88
..
..
32. First floor plan.
1. main landing
2. main salon
3. dining area
4. day room
5. study
6. void over foyer
7. void over consulting room
8. kitchen
9. kitchen entrance
10. wash up
11. storage wall
A. dumb waiter
C. auxiliary stair to study
E. stair to kitchen
H. waste disposal
J. storage unit
K. storage unit
L. book rack
M. rotary cleaning cupboard

O. pass through
P. telephone kiosk
Q. retractable stair to master bedroom

R. plant conservatory
B
9 , . ..... ...
3' -
LL
oi.
....
89
Bi
-A
--------------- ---------------------
33. Second floor plan.

1. void over salon
2. master bedroom
--vl- TJr TTT- . ..
3. bedroom
4. master bathroom
5. terrace
6. gallery access
7. guest bathroom
8. workroom
9. maid's bedroom
05
2-11
2 4-"-- 3"" 3
A. dumb waiter
I. cupboard
Ox
6B
L. book rack
N. cleaning cupboard
S. storage unit
T. wardrobe unit
V. shower
W.toilet unit
X. w.c.
L LL
A
HH
82
9
O
- -- A
iA
90
34. Transverse section through main stair.

35. Longitudinal section through two story
salon.
91
Maison de Verre
Ground Floor
Hi
..........IN.........
'iiiii!'ii!!!"!'!:.E.................. . ........ ..;..-.- ----";-" INi : "

II
......... . iii, .
........
.......
36
38
36. Detail of main entrance door furniture.
37. Detail of main entrance showing tree

standing steel mounting for call buttons.
ii
Pp
PA1RE
39
. ,... .. Z.. . ? z : . . .
37 ,
.0i.
40t
41 %
92
38. View of entrance foyer from service wing.

39. View of entrance foyer from service wing.
40. Forecourt day view of house. The

forecourt elevations were re-fitted by St.
Gobain in the mid-'60's. The metal facings to
the glass lense sub-frames being a noticeable

change from the original facade.
41. Forecourt night view of house, illuminated
both internally and externally.
II
93
421
I 44
45
43f
94
461
42 and 43. Sliding door entry from entrance

foyer to central ground floor complex. Typical
wooden slide used throughout the house.
44 and 45. Entry corridor to control ground
floor complex. The main staircase to the salon
overhead is to the left, beyond the glazed
screen. On the right is the standard tube
conduit used to distribute electrical supply to
all floors. There are no wall switches. The full
height "airplane wing" section door leading

to the receptionist's office is a typical detail
used throughout.
46 and 47. Main stair entry with pivoting glass
screens and perforated metal sub-screens.
In figure (46), the pivoting radial screen is
closed; in figure (47), it is open. The condition
of closure ranges from translucence, to
transparency, to clear opening. In figure (47),
the perforated metal sub-screens are
"elevated" to permit transparency, while in
figure (46), they are closed.
47I
95
48, 52 to 55. Various views of main stair entry
with pivoting screens and sub-screen

"opened" and "closed" as in figures 46 and
47. Figures 54 and 55 show auxiliary
doctor's stairway beyond. Figures 52 and
50I
53 are views from the main stair. The
studded rubber floor tile is used throughout

the main public areas including the stair
treads.
48 1
m51
5 11
49
96
49. Passageway from stair entry to garden

exit and patients' waiting area.
50. View of main stair from entry to patients'
waiting area. The "space" is highly
transformable at this point. Steps at extreme

left lead to receptionist's office. Folding
screens to the left and full height pivoting
doors to the right serve to either "open" or
"close" the adjacent spaces, while the
pivoting stair screen may rotate through 90

degrees to cut off the whole stair area.
51. View of patients' waiting area from the
"service" hall.
521
1 54 1
I I
S55
97
56 and 57. View of service hall and main stair
561
from patients' waiting area. The "dumb
waiter" in the service hall can be seen in
figure (84), while figure (57) shows the same

space partially "transformec" by pivoting
doors.
58. Patients' waiting area; exit to garden on

extreme left, passageway to doctor's
consulting room far right. The circular table
is a development of a Duiker design.
m
57
581
98
59. Detail of patients' waiting area. Note

electrical "stub" conduit.
60. Foyer between room and doctor's

consulting room. The receptionist's office is
to the right.
59f
60
99
61. View of patients' waiting area from foyer.
61
62. View from foyer through receptionist's

office to the main stairway beyond. Pivoting
clear glazed screens separate office from
foyer.
62
100
63. Auxiliary stair from doctor's consulting
64
study on the first floor.
FLT5/
63
65
64.
Plan
of
auxiliary
stair
study
and
ground
floor.
1.
2.
3.
4.
betw
acoustically
insulated
door
panel
switch
for
light
telephone
standard
studded
5. 3 cm dia. tube handrail
rubber
landing
trea
6. sliding panel (study/salon)

65. Section through auxiliary stair between
doctor's study and ground floor.
1.3 cm dia. tube upright
2. 4 x 0.9 cm steel strap hanger
3. steel deck insert tread/1.6 x 0.25 cm steel flat
4. frame/2.5 x 0.5 cm steel flat
5. 1.5 cm dia. welded lug brackets

6. 3.5 cm dia. x 10 cm bearing/screw fixed
7. 0.7 cm x 0.7 cm dia. peg support to insert
tread
101
7Im
66. Access corr

Consulting and
Pass through do
66
on extreme left between corridor and
operating room.
67. Detail of adjustable mirror in patients'
waiting area.
68. Details of an adjustable mirror fitting
designed by Pierre Chareau. The unit consists
of a brass mount from which is suspended a

brass plate. The mirror fitting itself slides on
this plate, thereby affording adjustment in
height. The mirror is lighted by a concealed
tube lamp in the mount.
I67
68
/o
102
69. View from doctor's consulting room to

examination room. A heavy sliding panel
divides the two spaces. Auxiliary stair to the
extreme right.
70. Operating room looking towards forecourt.
71. Toilet in gynecological suite. Note

exceptional uses of exposed radiant heating
and terrazzo finish to all surfaces.
69
71f1
701
103
72.
Garde
layered
m
extended
73.
Detai
with
gril
Dalsace's
outward
into the second floor bedroom terrace
overhead, with night floodlighting also

suspended from this level.
73
74. An axonometric of the garden entrance;

the closure comprises two unequal leaves.
The wider leaf is the door itself, which is steel
framed and glazed. It is equipped with

perforated metal "butterfly" screens, as are
the screens to the internal main stair. The
narrower leaf is a steel-faced panel, flush with

the steel lining of the opening. A pre-cast
concrete gridded decking leads to the garden,

and a gate built up out of welded steel angles
secures this entrance. The drawing also
shows typical upstand hot air outlet in the bay
of the adjacent waiting room.
104
74
105
75. General view of the salon. Armchairs are
according to designs by Pierre Chareau.
75
106
76. View of main stair well from the salon. The
76
columns run continuously through three floors

at this point.
....................I.................I.....
77. General view of salon from the main stair
landing. The large steel vents in the

background had to be introduced in order to
meet the ventilation requirements for the
salon according to the building codes.
78
79
A..
78. The doctor's st

level. The two-stor
patient's waiting fo
screened view of t
is in the rear. The
wall are controlled
the conservatory.
79. The salon from the third floor bedroom
level at night. The space is illuminated

through the forecourt glass block facade by
floodlights mounted off the courtyard ladder
frames.
107
80. Detail plan, first floor.
?-
6 ...._
0- ...
4i
15
---
1. brass st
2. retracta
3. electrics
4. steel co
5. steel do
6. wooden
7. glazed
8. glazed E
9. 15.3 cm
10. conserv
11. wired fr
12. storage
S t13. brassst
14. day rool
15. dining a
16. 25 cm x
17. phone :
18. auxilian
19. light me
20. glass le
7--8
20
:~
'OOOOOOO O
0000000 00
000000000019
000000000
00000000000 000\
__0000000 00
_ 0000000 0
__000000000
-000000000X
-0000000 000
_0000000 000
_0000000 000
0000000000
-0000000000
-0000000 000
-0000000 000
0000000
_0000000
0000000
00000000
0000000
0000000
000
000
000
000
000
-0000000 000
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000
0000000 0000
000000 0000
0000000 000
-0000000
0 0--T88,000
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0000000 000
0000000000
0000000 000
0000000 000
0000000000
0000000 000
-00000000
0000000000
-0000000000
o000000000
000000880
00000~00
000000 0000
0000000 000
0000000 000
88888b8
1. brass stair rail

2. retractable wooden stair
3. electrical/4 cm dia. standard tube

4. steel column/slate faced
5. steel doorstop
6. wooden sliding track
7. glazed steel door
8. glazed stel fixed panels

9. 15.3 cm x 12.5 cm steel columnn/unfaced
10. conservatory/14 cm x 7 cm matte black tiles
11. wired framed door
12.
13.
14.
15.
storage wall
brass sheet-metal pass through
day room/14 cm x 7 cm matte black tiles
dining area/11.5 cm x 2.5 cm wooden tiles
16. 25 cm x 25 cm rubber studded tiles
17. phone booth/floor panel switch

18. auxiliary stair
19. light metal book rack
20. glass lens wall
L1I]
4
B4
114
12
6_
11
T15
13. brass st
14. day rooi

15. dining a
16. 25 cm x
17. phone 1
18. auxilian
19. light me
20. glass le
LL
20
768
4--
-8o888
000000000
000000000
--000000000
-0000000 0
-000000000
6
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0000000000
0000000 000
0000000 000
-0000000000
-.0000000
000
0000000000
0000000000
--0000000
000
-0000000000
0000000 000
0000000000
0000000 000
i 0000000 000
00000
--0000000
000
000000000009
--0000000 0000
-000000 0000
0000000 000
0000000000
0000000 000
000000 0000
0000000 000
0000000000
0000000 000
0000000 000
0000000 000
00000000
0000000000
000000 0000
000000 0000
000000~
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000000 0000
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0000000000
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0000000 000
0000000000
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0000000 0000
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0000
0000
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0000-2
0008000 0000
0000000 0000
0000000 0000-
0000000 0000
0000000 0000
0000000 0000
0000000 0000o
0000000 110
13. brass sheet-metal pass through

14. day room/14 cm x 7 cm matte black tiles
15. dining area/11.5 cm x 2.5 cm wooden tiles
16. 25 cm x 25 cm rubber studded tiles
17. phone booth/floor panel switch

18. auxiliary stair
19. light metal book rack
20. glass lens wall
17
81. Detail section through three floors.
20. 3 cm dia. tubular leg to cupboard
41. steel tread bracket

42. channel
22. panel/perforated metal face
43. steel staircase string

44. rotary metal framed door/glazed and
21.2 cm dia. handrail
1.
2.
3.
4.
handrail/4.75 cm x 1.2 cm flat steel

5 cm panel/perforated metal face
wood tiled upstand
dumb waiter/perforated metal face
23. wood tiled staircase

24. metal trim
screened
25. metal channel/doorstop

26. secondary guard rail
27. glass lenses
28. sliding door/perforated metal face
5. wood tiled seat
6. metal trim
7. metal rail/4.75 cm x 1.2 cm flat steel

8. metal support
9. glazed opening
10. steel column/slate faced
11. slate facing
12. steel facing
45. 1.6 cm dia. top pivot to rotary door
46. louvered hot air outlet

47. 14 cm x 7 cm matte black tile
48. switch and signal light
29. 1.5 cm steel hook
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
13. sliding semicircular casette

14. cleaning cupboard/main cylinder
15. aluminum step trim

16. 9 cm wood tiled step
17. pivoting bracket to casette
18.8 cm x 8 cm wire grid mesh
19. 1.75 cm metal frame
49. vertical conduit
7 cm steel rod support

sliding glazed panels
perforated metal screens
pivoting glazed panel
7 cm steel pivot arm to rotary door
guard rail
aluminum landing trim
steel cantilever landing support
1.5 cm x 5.5 cm metal framing
obscured glass panel
40. aluminum tread trim
0_
9
10
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_________________43
111
FT,'III1
Maison de Verre
First Floor
?I ?
.....P:.. ,. .....
.
....
: i ,:l I1.
82. Main lighting console, interior and exterior.
83
83. Main stair entry into first floor salon.
84. Detail of dumb waiter faced in perforated
metal.
85. Steel hook support and main stair hung

off first floor slab.
86. Axonometric of main stair to salon.
82
84
112
86
113
87. Ventilating louvres to main salon.

88. Detail of standard bookrack balustrading
to main stair well. Note perforated metal
screening, shelving, and glass book trays. A
similar module and method of construction is
used for wooden cabinets in the rearground

and also for the storage balustrade units to
the second floor gallery.
87
89
It.
88
114
89. Partial axonometric of mobile library step
90. View from main salon to doctor's study.

Glazed wall to garden facade is beyond with
Dalbet's brilliant and economic use of tube

steel. The main member of the ladder consists
room. The sliding panel on right is in "open"

position. The furniture in the foreground is by
ladder and bookcase, an outstanding example

of Chareau's inventive imagination and of
of a 3 cm diameter tube bent through 900 in

two different planes. The ladder itself,
fabricated out of 2 cm diameter tube strings
between which are wooden treads slotted into
curtained entrance to Madame Dalsace's day

Chareau.
91. View from main salon as in figure (90) but

with sliding panel closed.
metal angle frames, hooks over the main bent

member, with the trolley axle running through
92. View of main salon, at night, with external
it at ground level. The whole assembly is
lighting from second floor gallery. Note
welded to a flat steel plate which slides in
travelling book wall stair. The easy chair and
two slotted tubes hung off the bookcase
settee are by Chareau and finished in fabric
framing.
by Andre Lurcat.
90
91
iI
11 5"
m m m ml .... ......
L .. .. 4,. ,.- ............... ....

1
-..4-
'P. ... " AS

? al
..,
i40
93
il
NiiIIII1,ii
93. View from dining area towards the

conservatory.
94
94. Passageway between kitchen and dining

area. Access, on right, to second floor,
bedroom level, faced in wooden slip tiles to
match floor of dining area. Passenger elevator
is on the left. Overhead is the carriageway
and carriage for horizontal dumb waiter, never
finally installed. See project drawing.
95. View from the kitchen to the dining area.
The semi-circular carriage of the dumb waiter
automatically opens the two way kitchen door
and overhead flap. Stair access down to
ground floor service area is to the storage
cabinet. The storage wall beyond is faced
with perforated metal.
96. The main fuseboard in the storage wall.

97. A general view of the kitchen.
98. An early perspective project drawing

published in 1933 on completion of the house.
The horizontal dumb waiter from kitchen to
dining area is shown as originally intended.
116
96
97
".
,_1..,. . . ... . . .'.......
E01
37fl
98
117
99. A detail of the passageway to Madame

Dalsace's day room and conservatory from
the doctor's study. See foldout drawing on
page 110.The glass louvre high level vents to
the garden facade are manually controlled at
10p. Detail of retractable stair.
20. sliding frame/steel deck

21. louvered outlet/hot air
1. brass sheet lining to opehing

2. 3.5 cm dia. metal socket for support rod
22. ball lock
3. retractable stair
101. View of conservatory from Madame

Dalsace's day room.
4.16.5 cm dia. spring loaded cable drum

5. telescopic pull bars
this point.
102. General view of Madame Dalsace's
6. 2 cm dia. tube handrail
day room. See drawing for details of
7. 2 cm dia. tube protecting rail

8. 11.5 cm dia. pulley
9. 3 cm dia. pulley
10. metal bracket and guide
11. groove in stair frame
12. metal stop
13. metal cable fixing
14. ceiling panel
15. socket fitting for ball lock
16. pull chain
17. brass sheet stair plate
18. cantilevered lug
19. fixed frame/steel deck
99
retractable stair to bedroom above.
100
.....
........ ---.-
11
-----
----------
-----....- -------
11,131
X 17 18
15
16 ",, 1
/:,, 13
118
101
Itt
102
-1
Maison de Verre
Second Floor
IroI
. .........mlm m(. . . .. .......
.m. ..... . . .
)I
103. Interior detail: guest bathroom. Signal

light and tube light mounted on vertical
conduit.
104 and 105. In master bedroom: detail views
of retractable stair. In the master bedroom,

note in addition detailing of "curtain wall"
panelling to garden facade. Any condensation
accumulating in the panel may drain out via

gargoyles into an interior gutter built into the
edge of the tiled floor.
106. The master bedroom looking towards

the storage wall. See axonometric of the
whole house.
107. The master bedroom looking towards the
curtain wall with the retractable stair in the
rearground.
103
105
104
104
120
106
I
107 "
121
108 and 109. Free standing duraluminum

storage pass through entry unit to bathroom
area. Shown open and closed is the pivoting
butterfly storage unit.
110. Inner area of the master bedroom with
pivoting storage unit of bent duraluminum.

The shower fittings are to the extreme right.
108
111. Axonometric of master bathroom. The
floor is divided by a 29 cm step up. The upper

level is rubber tiled, the lower finished in
terrazzo. The walls of bath and shower, the
main walls and freestanding columns are all
faced in white 2 cm x 2 cm square mosaic.

The drying cabinets and storage units are all
made out of bent aluminum.
1. vent holes to aluminum drying cabinet

2. rubber stop
3. hook
4. tubular steel curtain gate

5. pivoting drying racks
6. canvas screen
7. adjustable metal shelf supports
8. glass shelves
9. guide wire
10. pivoting towel rail

11. pivoting bath screen
12. brass bath shelf
13. switch pull

14. shelf
15. soap dish

16. shower wall/mosaic face
17. perforated metal shirt drawer
18. aluminum storage unit
19. rotating draw stack
20. pivoting stack container
110
21. slide
22. metal faced solid sliding screen

23. steel framed glass sliding door
1101-
24. wooden guide track

25. 25 cm x 25 cm rubber studded floor tiles
26. glass lenses
S 27. slate condensation channel
28. metal radiator grill

29. 3.6 cm wooden deck grid to gutter
30. steel flashing
- 31.4.5 cm x 1.2 cm teak trim

32. brass door handle
33. brass panelled/steel framed terrace door

34. chrome stud in window
122
1111
%%6?0.00
f
13
14
.__
!o
(2
/112
-1-
lop#
"\
,,
,o;
),,
17"
' i . - - 3"-,"
..0.0.<
'Pie
123 . .
..
112. Detail of the pivoting storage unit. See

axonometric drawing on page 123.
116. The third bedroom with a screened toilet
unit. The entrance in the storage wall gives on

to the main salon gallery beyond.
113. "Outer area" of the master bedroom with
the storage unit and wall of bent duralumin.
117. The second floor bedroom with its
114. Perforated metal storage unit and bath in

the third bedroom. Note the glass lense light
to the guest bathroom.
screened toilet unit.
115. Interior of the guest bathroom. Note the

borrowed glass lense light from the bedroom
beyond.
112
113
- .
114
... ...... -..
115
12...........
APO
116
-S
117
125
118
126
UNITED STATES PATENT OFFICE.
J.V. LAFFERTY.
JAMES V. LAFFERTY, OF PHILADELPHIA, PENNSYLVANIA.
No. 268,503. BUILDING. Patented Dec. 5, 1882.

SPECIFICATION forming part of Letters Patent
Application filed June 3, 1882. 1No model.)
To all whom it may concern:

Be it known that I, JAMES V.
LAFFERTY,
a citizen
the U
said
box resting
on theof
groun
concealing
lower end of St
th
States, residing in the city and
countysaid
of Philadelphia,
Pennsylvania, have invented

conduit,
a new and
and in
useful
the present
Improvem
ca
5 Buildings, which improvement

trough
is fully
from set
which
forth
thein
animal
the
An drawings,
upper story,
J, may be
specification and accompanying
in whichwhereto
is hadembodying
from the floor
Figure 1 is a side elevation of
the building
my
tion. Fig. 2 is a horizontal section
thereof
in in
line
x x,
Fig.
properly
located
the
walls
o
3 is a horizontal section in line

y y,
Fig.
1.
tion,
said
story
J being in the
10 Similar letters of reference
indicate
corresponding
part
ing
the semblance
of a bedeck
of the building. It will be se
several figures.
The
is supported
My invention consists of a unique.
building
in body
the form
of an an
the body of which is floored

and
divided
rooms,
and
enabled
tointo
endure
the clos
gre
and the legs contain the stairs
lead of
to the
the body
body,per
sai
Thewhich
elevation
15 being hollow, so as to be of
strength
for
prop
it increased
and removes
it from
the
dam
porting the body, and the elevation

of the body
permitting
the advantages
whereof
are evi
culation of air below the same,

entire
posed the
to light
anddevice
air on prese
all sid
unique appearance and producing
and suitable
a building
place of
which
occupanc
is w
tilated and lighted.

The building may be of the f
elephant,
as that
a fish, whi
fow
20 Referring to the drawings,
A represents
a of
building
Having
thus
described
in
the form of an animal - in the
present
case
that ofmy
an ele
desire
tohollow,
secure the
by Letters
Pa
the body B and legs C of which
are
body bein
tially supported on said legs, and,

if desired,
by means
of s
1. A building
having
the form
trusses within the same, andis

otherwise
strengthened.
constructed
with floorsThe
divi
25 properly floored, as shownwindows
by the dotted
lines a,
Fig.
1, f
and stairs,
and
suppo
access divided
to the body, substantially
as set forth. 65 or
with windows, doors, &c., and
into apartments
closets, &c., and in the legs C2.are
stairs
lead
to
th
A building
of the D,
formwhich
of an animal,
having
a body
a, so that access is had to the

is supported
bodyon
Bhollow
from
legs, one
the
or all
ground,
of which contai
th
having doors E for evident purposes,

leg, ifas desired,
c
which lead to the each
body, substantially
and for the purp
forth.
30 ing a flight of stairs, although
for ordinary purposes the
only are provided with stairs.
3. A building for human occupancy, having the form of an 70
F represents a chute, whichanimal
communicates
and having a chute which extends with
down throughthe
a memberfront
body A and extends to the

ground,
where
it ofmay
be co
of said
animal and communicates
with the interior
the body,
with a sewer or other conduit
for
conveying slops, ashes,
substantially
as set forth.
35 the sewer or conduit, said chute
being
the
4. The chute F,
in combinationof
with the
trussingform
b and the bodyof the
the elephant and containing B,
trussing
inset
dotted
substantially asb
and(shown
for the purpose
forth. 75 lin
supporting the front of the body,

trussing
conc
5. The body Bsaid
and chute
F, in combinationbeing
with the box
G,
the covering or wall of the

trunk.
lower
end of th
substantially
as and forThe
the purpose
set forth.
enters or is connected with a box, G, around which is a
Winesses: JAMES V. LAFFERTY,
JOHN A. WIEDERSHEIM,
A. P. GRANT.
frl .
No. 268,503. BUILDING. Patented Dec. 5, 1882.
J1
-7
S(No Mod--el.)
(No Model.)

Maison de Verre Frampton

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What is the article about?

What is the article about?

Who are some of the key people mentioned in the article?

Who are some of the key people mentioned in the article?

Yale University, School of Architecture

Kenneth Frampton Maison de Verre

2. Bruno Taut, glass pavilion at Werkbund

Stoclet, Brussels of 1905 are both prototypical

It is obvious that the Viennese school and in

particular, Hoffmann's pupil, Gabriel

exercised a considerable influence on

Chareau's development. Apart from the

interior for his Villa Heim of 1926 and Loos'

Moller House, Vienna of 1928 are very

project for an embassy suite (5) displayed at

Despite his polemical radicalism Loos

by Rend Herbst, Pierre Chareau, Francis

Charlotte Perriand and Sonia Delaunay,

amongst many others. The UAM artists

for its own sake. This development was

couture taste. By the late 20's however, the

work- sleepng v thng d s p i

of measured ostentation in favour of a

preference for modest interiors of plywood

furniture and off white walls. The eccentric

Loosian juxtaposition of rustic Style Anglais

articulation of material in Chareau's Maison

All the same the high bourgeois style of Loos

conditioned the material aura of the Maison

de Verre, even if it in no way determined its

his poesie d'6quipage as early as 1918, when

he designed the interior of a two room St.

3. Pierre Chareau, dressing room design,

around 1925. A combined reference to well

established oriental and nautical traditions.

were later to become the clients of the Maison

was fundamental to the final form of the

3See Decorative Art 1933, Yearbook of "The Studio," London,

p. 113. This commission involved Chareau in the design and

construction of two pieces of furniture, a bed and a desk,

purpose-made pieces of this kind, Dalbet was a type of artisan

6. Pierre Chareau, Parisian interior.

7. Gerrit Rietveld, Rietveld-Schroeder House,

Utrecht, 1924. Two versions of the main floor

running from the kitchen to the dining area,

In 1928 Madame Dalsace's father bought an

which no doubt now accounts for one's

4Viollet-le-Duc, Entretiens sur I'Architecture.

5Rene Herbst, Pierre Chareau, Editions du Salon des Arts

8Bernard Bijvoet has recently confirmed in an interview with

'Nevertheless, according to Julien Lepage (see footnote 16)

realised by artisans with a view to industrial standardisation."

'0See Henry van der Velde, "Die Pariser

serves to remind us of a similar contrast of

frequently only modify the basic character of

expression to be found in the Villa Garches.

screens which determine the limits of the

displacements, horizontally, as well as out of

this repertoire a step nearer to general