Maison de Verre

Frampton, Kenneth

doi:10.2307/1566961

Cited by 8 publications

(13 citation statements)

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“…This expressed intention suggests that Chareau conceptualized the house as a transition from the hand crafted decorative arts tradition of previous centuries to the industrial motivations of the early twentieth century. Chareau’s design, however, transcends Le Corbusier’s mechanistic functionality with what Frampton (1969) calls a “poetry of technique” that “pervades the whole house and must prevail over any simple functional interpretation of its conception and realization” (p. 79).…”

Section: Literature Reviewmentioning

confidence: 99%

La Maison de Verre: Negotiating a Modern Domesticity

Edwards

Gjertson

2008

Journal of Interior Design

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The Maison de Verre (1928Verre ( -1932, built in Paris and designed by Pierre Chareau in collaboration with Dutch architect Bernard Bijvoët, metalworker Louis Dalbet, and the clients, Dr. and Mme Dalsace, does not fi t easily within the canon of modern architecture and interior design. Though acknowledged at the time of its construction for the groundbreaking use of modern building materials and technological innovations, it went unacknowledged throughout much of the twentieth century as a defi ning modernist building until a 1969 essay by Kenneth Frampton rescued the house from critical obscurity. In his essay, Frampton asks whether the house is to be understood as a conventional building or as a piece of furniture. The possibility that the house might be better understood as a "piece of furniture" suggests two questions: (1) Is the Maison de Verre more signifi cant for its interior design than for its architecture and (2) can its signifi cance be located in the quality of livability that resulted from the negotiation between the ideals of early modernism and the demands of habitation?Our purpose is to propose answers to these questions by analyzing the complexities of Chareau's design in relation to the rhetoric of early modern architectural theory and its challenge to the nineteenth-century concept of domesticity. We assert that Chareau's design resolution as expressed in the interior of the Maison de Verre represents a case study in livability that warrants greater attention in the context of the history and theory of interior design distinct from architectural history and theory.

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Section: Literature Reviewmentioning

confidence: 99%

La Maison de Verre: Negotiating a Modern Domesticity

Edwards

Gjertson

2008

Journal of Interior Design

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“…15 He is forced to connect the house with Chareau's other work by reclassifying it as 'a large furnishing element'. 16 Frampton explains that Chareau was, 'by temperament and training [nature and nurture? ], more concerned with interiors than with exteriors'.…”

Section: Client Relationship and Architectural Productionmentioning

confidence: 99%

“…Yet Frampton is determined to claim the building for architecture since his essay aims to construct a narrative that signi es the building's importance in the genealogy of modern architecture. He redeems the genre/gender of the designer of this 'grossly enlarged piece of furniture' 19 by stressing its associations with the mechanistic, rational, technically progressive and, using a phrase that has more masculine overtones, concerned not with the soft furnishings of the (female) interior designer but with a 'poetry of equipment'. 20 Chareau is rescued from the status of sensualist and rehabilitated as a technician, who with the help of his collaborators can redesign the bourgeois interior as a laboratory for a new industrial prototype dwelling.…”

Section: Client Relationship and Architectural Productionmentioning

confidence: 99%

“…Dr Dalsace's own words hint at the fecund conjugation between the couple and their close personal friend when he confessed, 'The whole house was created under the in uence of friendship, in complete affectionate understanding.' 34 It was on the interior that Chareau as gynaecologist/interior designer lavished most of his attention. Rather than address the interior as a comfortable domestic design such as he had produced in his previous commissions for the Dalsaces, 35 Chareau decided this was an opportunity to evolve a technically advanced environment.…”

Section: The Architect As Gynaecologistmentioning

confidence: 99%

“…While this work relies on Frampton's Perspecta essay of 1969, 3 the analysis I shall make is anticipated by more recent scholarship concerning the Maison de Verre. Amongst such work, the connection between architecture and gynaecology is suggested by Paolo Mellis in his article in Domus (1983).…”

Section: Introductionmentioning

confidence: 99%

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Maison de Verre: sections through an in-vitro conception

Wigglesworth¹

1998

The Journal of Architecture

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This paper proposes a revised interpretation of the Maison de Verre suggested by the program for the building, which incorporates both a house and a gynaecological practice. The argument makes a gendered reading of the house, building an analogy between the body of the woman who seeks to be cured by the gynaecologist and the 'organism' of the city which requires 'purging' by the actions of the architect. In the role of scientist eradicating 19th century decay, dirt and congestion from the city, the architect replaces the 'contaminated' urban tissue with clean, white, bright space. The essay takes a new look at the meaning of technology in modern architecture. It also raises questions about our assumptions concerning the authorship of buildings and how they are produced. The conclusion is not unique to this house, but sheds light on the way in which the practices of the architect in the era of early modernism were regarded as redemptive.

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Graphic Expression of the Transformability of Domestic Space. From Le Corbusier to Andrés Jaque: A Real and Symbolic Evolution

Ginés

2020

Graphical Heritage

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Coinciding with the centenary of the opening of Staatliches Bauhaus in Weimar, our aim was to succinctly analyse how the appearance of the concept of the rational home of the Modern Movement, which was derived from the Bauhaus, gave rise to the first examples of transformable domestic space. From this first stage we describe the contributions of Le Corbusier in the Weißenhofsiedlung in 1927, Gerrit Rietveld in the Rietveld Schroder House in the same year, and Pierre Chareau in the Maison du Verre in 1932. The simultaneous analysis of the interior mobility elements and their graphic expression, brings us to a second more modern stage, in which both, the elements related to the flexible configuration of domestic space, and the graphic media the architects use, are somewhat more ambitious. For this we describe the work of Rem Koolhaas and the spanish architects Iñaki Carnicero, Vicente Guallart and Andrés Jaque. We thus highlight the real and interesting evolution in the means, and symbolically in their graphic expression, of this essential value in the concept of the modern home, which is part of the contemporary pattern of family unity, and is characterized by the redefinition of the boundaries between the different ways of inhabiting private and public spaces.

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Maison de Verre

Cited by 8 publications

References 0 publications

La Maison de Verre: Negotiating a Modern Domesticity

La Maison de Verre: Negotiating a Modern Domesticity

Maison de Verre: sections through an in-vitro conception

Graphic Expression of the Transformability of Domestic Space. From Le Corbusier to Andrés Jaque: A Real and Symbolic Evolution

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