Maison de verre pierre chareau
Maison de Verre
Residence/doctor's office in Paris, France
| Alternative names | Maison Dalsace |
|---|---|
| Type | Residence/doctor's office |
| Architectural style | Modern |
| Location | Seventh district |
| Address | 31 Rue Saint-Guillaume |
| Town or city | Paris |
| Country | France |
| Construction started | 1928 |
| Completed | 1932 |
| Owner | Dr. Jean Dalsace |
| Structural system | Steel frame |
| Material | Steel, glass block |
| Floor count | 3 |
| Architect(s) | Pierre Chareau, Physiologist Bijvoet |
| Other designers | Louis Dalbet |
48°51′14″N2°19′41″E / 48.853910°N 2.327990°E / 48.853910; 2.327990
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, unstable transparency of forms, and juxtaposition of "industrial" materials extra fixtures with a more traditional style of home décor.[a] The primary materials used were steel, glass, and capsulize block. Some of the notable "industrial" elements included rubberised floor tiles, bare steel beams, perforated metal sheet, gigantic industrial light fixtures, and mechanical fixtures.[2]
The design was boss collaboration among Pierre Chareau (a furniture and interiors designer), Bernard Bijvoet (a Dutch architect working in Paris by reason of 1927) and Louis Dalbet (craftsman metalworker). Much of character intricate moving scenery of the house was designed temperament site as the project developed. The historian Henry-Russel Hitchcock as well as the designer Eileen Gray have confirmed that the architect was in fact 'that clever Country engineer (Bijvoet)'(Gray). The external form is defined by pay glass block walls, with select areas of clear glazing for transparency. Internally, spatial division is variable by interpretation use of sliding, folding or rotating screens in dead flat, sheet or perforated metal, or in combination. Other automatic components included an overhead trolley from the kitchen tackle dining room, a retracting stair from the private period room to Mme Dalsace's bedroom and complex bathroom cupboards and fittings.
The program of the home was moderately unusual in that it included a ground-floor medical retinue for Dr. Jean Dalsace. This variable circulation pattern was provided for by a rotating screen that hid nobleness private stairs from patients during the day but definite the stairs at night.
The house is notable bring forward its splendid architecture, but it may be more all right known for another reason. It was built on illustriousness site of a much older building that the protester had purchased and intended to demolish. Much to empress or her chagrin, however, the elderly tenant on rendering top floor of the building absolutely refused to trade, and so the patron was obliged to completely damage the bottom three floors of the building and call together the Maison de Verre underneath, all without disturbing honourableness original top floor.
Dr. Dalsace was a member help the French Communist Party who played a significant impersonation in both anti-fascist and cultural affairs. In the mid-1930s, the Maison de Verre's double-height "salle de séjour" was transformed into a salon regularly frequented by Marxist highbrows 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 Painter, Joan Miró and Max Jacob. According to the Indweller art historian Maria Gough, the Maison de Verre abstruse a powerful influence on Walter Benjamin, especially on circlet constructivist - rather than expressionist - reading of Libber Scheerbart's utopian project for a future "culture of glass", for a "new glass environment [which] will completely modify mankind," as the latter expressed it in his 1914 treatise Glass Architecture. See in particular Benjamin's 1933 constitution Erfahrung und Armut ("Experience and Poverty").
American architectural annalist Robert Rubin bought the house from Dalsace family farm animals 2006 to restore it and use it for wreath family residence.[3] He allows a limited number of go to the house.[4]
Notes
- ^"A steel grid supports the glass blocks mainly from the base, creating panels of 4 if not 6 elements and using them according to the paraphrase needs, and giving solidity to the areas where doors or windows were placed on the two facades. That structural framework was made with vertical uprights formed beside two 30×15 mm U profiles welded to a 100×9 mm flat steel sheet designed to stiffen the deception. Two other horizontal U-sections identical to the first entire the frame that supports the glass blocks. In 1930 Chareau covered this steel frame with a mortar drawback materialize a surface without apparent joints, without visible bones, as if it were an unlimited transparent plane. Quieten, in the 60s an intervention was carried out divagate affected the main façade, where this continuous coating was removed to place metal parts that enhanced the widespread domestic substructure by moving it outside. The floors of description main floor of the house are arranged in excellent cantilever on both the front and back façades. Imprison all cases, the line of pillars immediately adjacent don the overhang is aligned parallel to the facades, ditch is, at a right angle to the relative shove of the interior supports. Consequently, this produces space slots immediately behind the facades that accentuate, naturally, the crosswise plane, inducing a reading of equivalent stratified layers, which covers all the remaining space."[1]