Architectures Maison de Verre

00:24:44
https://www.youtube.com/watch?v=NhNuKbNXNPY

Résumé

TLDRLa Maison de Verre, réalisée par Pierre Chareau entre 1928 et 1932, est un exemple emblématique de l'architecture moderne. Unissant esthétique et fonctionnalité, elle se distingue par l'utilisation innovante du verre et du métal tout en intégrant des espaces de vie et de travail pour une famille de docteurs. Chareau, membre du mouvement avangardiste, a su créer des intérieurs fluide et lumineux, tout en respectant des exigences pratiques spécifiques, tout en tenant compte de l'intimité et de la vie sociale des occupants. Les espaces sont conçus pour interagir mais aussi pour se séparer selon les besoins, témoignant d'une ingéniosité qui caractérise l'œuvre de Chareau.

A retenir

  • 🏡 La Maison de Verre a été construite entre 1928 et 1932.
  • 💡 Elle utilise des matériaux modernes comme le verre et le métal.
  • 🌟 Pierre Chareau allie esthétique et fonctionnalité.
  • 🛋️ La maison intègre des espaces de vie et des bureaux médicaux.
  • 🌿 Les façades sont en briques de verre translucides.
  • 🚪 Les portes coulissantes maximisent l'espace.
  • 🌈 La lumière naturelle est une caractéristique clé.
  • 🏙️ La maison répond à un besoin d'intimité et de socialisation.
  • 📐 Chaque problème architectural a sa solution originale.
  • ✨ L'œuvre de Chareau reflète une ingéniosité exceptionnelle.

Chronologie

  • 00:00:00 - 00:05:00

    La Maison de verre, réalisée à Paris entre 1928 et 1932 par Pierre Sho, illustre un style moderne dans l'architecture et le mobilier. Pi Sharu, un designer multifacette, a su allier bois et métal pour créer des meubles qui font écho au luxe et à l'originalité, tout en intégrant des éléments innovants et articulés, destinés à une clientèle aisée. Son œuvre se démarque par une approche avant-gardiste qui rompt avec les conventions esthétiques traditionnelles.

  • 00:05:00 - 00:10:00

    Le défi architectural de Sho se manifeste dans la transformation d'une maison ordinaire en un espace novateur. Face au souhait des propriétaires de démolir une maison existante tout en conservant un étage occupé par un locataire, Sho a conçu un bâtiment à plusieurs niveaux, avec une façade en verre architectural novateur. L'intérieur, réparti sur un agencement complexe de niveaux et de matériaux, mêle intimité et modernité, révélant des concepts spaciaux inédits.

  • 00:10:00 - 00:15:00

    Les complexités fonctionnelles de la maison comprennent la coexistence d'un espace de vie et des bureaux médicaux, nécessitant une circulation fluide sans compromettre l'intimité. Sho a brillamment intégré des espaces de vie ouverts tout en maintenant des zones plus privées, optimisant la lumière naturelle grâce à un ingénieux usage du verre. La conception dévoile un attention particulière aux détails, combinant confort et influence esthétique dans un cadre parfois surprenant.

  • 00:15:00 - 00:24:44

    Sho a su marier inventivité et fonctionnalité, utilisant des matériaux industriels dans une approche artisanale pour concevoir une maison qui, bien que moderne, accueille une certaine nostalgie pour le luxe. Le design intérieur présente un équilibre délicat entre l'espace public et privé, encourageant les résidents à vivre une expérience de vie à la fois esthétique et pratique, tout en restant distincts des normes contemporaines. Cette maison est ainsi à la fois un refuge pour ses habitants et une œuvre d'art architecturale.

Afficher plus

Carte mentale

Vidéo Q&R

  • Qui a conçu la Maison de Verre ?

    La Maison de Verre a été conçue par l'architecte Pierre Chareau.

  • Quand la Maison de Verre a-t-elle été construite ?

    Elle a été construite entre 1928 et 1932.

  • Quel style architectural la Maison de Verre représente-t-elle ?

    Elle représente un style moderne et avangardiste.

  • Quels matériaux principaux ont été utilisés dans la construction ?

    Les matériaux principaux sont le verre et le métal.

  • Pour qui la Maison de Verre a-t-elle été conçue ?

    Elle a été conçue pour la famille du Dr. Darras, un obstétricien.

  • Quelle est la particularité des façades de la Maison de Verre ?

    Les façades sont composées de briques de verre translucides, créant un effet de lumière unique.

  • Quels espaces sont intégrés dans la Maison de Verre ?

    La maison intègre des espaces de vie, des bureaux médicaux, et des zones de réception.

  • Comment la maison gère-t-elle la lumière ?

    La maison utilise des murs en verre pour maximiser l'entrée de lumière tout en préservant l'intimité.

  • Quelle est la fonction des portes coulissantes ?

    Les portes coulissantes maximisent l'espace et facilitent la circulation entre les différentes zones.

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    [Music]
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    L on the the House of Glass built in
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    Paris between 1928 and 1932 by Pierre
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    SHO
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    [Music]
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    it is impossible to classify Pi
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    sharu is he an ornamentalist a Furniture
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    designer an interior decorator or simply
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    an
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    architect he started work at the
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    beginning of the 20th century but only
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    set up on his own account in 1919 he was
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    part of what was to be known as the
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    avangard
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    movement his furniture was an
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    incarnation of the modern style
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    and could be found in the apartments of
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    the Rich and cultivated middle class and
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    in Marcel L's
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    films this is furniture designed by an
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    inventor simple in appearance but with
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    surprising mobile and articulated
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    elements wood and metal the modern
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    material par excellance are united here
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    Shar was one of the first to use it for
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    luxury
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    furniture sherro designed the most
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    original of his furniture like this fan
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    leaf table for his oldest customer Annie
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    berim the wife of Dr
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    daras it was for them at the age of 47
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    that Sho became an
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    architect in the s De District in Paris
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    the couple owned a parcel of land on
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    which stood a small and unpretentious
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    private house between a courtyard and a
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    garden they wanted to pull it down and
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    replace it with a new house but the top
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    floor was let and the Tenant refused to
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    leave Sho took up the challenge to build
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    a positive tour to
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    force the first two stories were
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    hollowed out only on one side he kept an
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    entrance and a staircase that served the
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    tenants apartment that was left just as
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    it
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    was the new building was inserted into
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    the empty
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    space a steel framework that supported
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    both the former second floor and the
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    Upper
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    Floor glass facades enclose the volume
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    at the back and front and a side Wing
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    that completes the hole
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    [Music]
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    the new building lacked the normal
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    attributes of a
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    house it had no roof and was set between
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    two party walls the facade giving onto
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    the court yard and hardly standing out
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    from the original building is totally
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    without relief or detail it is a flat
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    opaque and completely neutral set of
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    glass bricks translucent but not
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    transparent
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    industrially produced glass bricks that
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    are normally used in basement ceilings
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    or to provide a bit of light in passages
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    and public
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    lavatories is the unique material
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    employed in the main facade of a
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    prestigious
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    building there are no openings in the
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    glass wall on the courtyard side
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    behind the house which overlooks a large
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    private Garden the treatment is very
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    different the basic material is still a
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    glass brick but the house is opened up
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    by windows and projections two bay
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    windows and a large Terrace
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    this difference in the treatments of the
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    courtyard and garden sides is a great
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    help against losing one's way in the
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    interior Labyrinth if nothing can be
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    seen other than translucent glass bricks
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    then that is a courtyard side if
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    transparent glass is visible then that
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    is the Garden Wall unless you find
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    yourself somewhere between the two
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    caught up in a set of superimpositions
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    and
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    Reflections the cour faade gives an
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    image of Simplicity and sobriety but the
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    Bell push post at the entrance gives an
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    idea of the complexity of the program
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    the delas couple obliged the architect
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    to
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    [Music]
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    obey a restricted space had to include a
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    Doctor's practice with a waiting room
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    space for a
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    secretary an office Consulting rooms in
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    which patients could be examined by the
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    Doctor Who was a Pioneer In Obstetrics
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    and also a place for society life as it
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    was known at the time where the couple
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    could welcome their guest
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    properly the service areas kitchen
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    laundry Maids room and rooms for the
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    master and his wife and children to
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    spend their evenings
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    together this this was the style for a
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    large townhous but Complicated by the
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    lack of space the inclusion of the
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    Doctor's practice and the desire to be
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    absolutely
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    modern the part scooped out of the
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    original building was built up on two
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    levels ground and first
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    floors to enlarge the living space the
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    architect created a supplementary
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    level the house would have a ground
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    floor a first floor and a partial second
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    floor leaving a large double height
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    space in front of
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    it the floors are hung on metal
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    girders there are no loadbearing walls
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    only partitions with no structural
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    purpose that the architect placed where
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    he liked to organize the spaces he
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    wanted a glass box sliding under the
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    main facade served as the entrance for
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    both family and patients
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    the practice was on the ground
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    floor partitions divided the secretaries
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    and doctor's offices and the examination
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    rooms the waiting room set at the rear
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    has no
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    door with its Long window onto the
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    Garden it is an open space designed to
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    be peaceful and functional but
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    functionality is just an outward show
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    here next to the low ceiling waiting
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    room Shar designed a high ceilinged area
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    that has no practical
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    justification other than to let the
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    doctor's patients admire the
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    constructional principles of the
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    building the steel framework and the
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    glass
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    wall the doctor's office which is just
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    behind also has an excessively high
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    ceiling giving the feeling of a
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    cathedral which is emphasized by the
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    diffused light from the glass bricks
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    the juter position of these spectacular
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    initiatives creates surprisingly complex
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    areas Shero considered that the plastic
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    effect was more important than the
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    restraint and comprehensibility that
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    generally ruled the modern
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    movement enclosed in a stairwell made
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    from rounded metal plates and glass
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    partitions the central feature of the
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    ground floor is the grand stairway
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    leading to the first floor
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    Grand is the right word the metallic
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    staircase with rubber covered Treads is
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    suspended like a ship's ladder a
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    Monumental ladder as a Critic wrote at
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    the time because despite its functional
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    appearance it is a ceremonial
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    stairway it is also in an unusual
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    position instead of facing the entrance
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    it is in the middle of the
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    house going upstairs means following a
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    glass partition then making a half turn
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    to ascend in the opposite
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    [Music]
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    direction so the visitor goes upwards
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    facing the glass wall and gradually
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    discovering its true dimensions
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    that is a surprise of the first floor
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    the Great Wall of the courtyard facade
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    is not just for a single space one room
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    furnished as a drawing room but has the
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    dimensions and the appearance of an
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    artist studio or a factory
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    here the structure becomes a
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    Decor the steel gird is enhanced with
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    red paint and clad in slate are real
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    works of
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    art yet they have a job to stand up to
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    the glass wall confronted by 50 square
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    MERS of abstract and pure Luminosity
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    they lose all relief and are nothing but
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    Silhouettes against the
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    light in one of his very rare writings
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    mentioning the house Sho defends his use
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    of glass in this way he says that his
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    idea was to bring as much light as
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    possible into the house but that classic
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    Windows would only have partially
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    lighted
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    it and there is
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    light in the drawing room it is
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    impossible to escape the hypnotic effect
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    of this light diffuser that has often
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    been compared to a cinema screen but
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    this is a screen that makes it
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    impossible to see or be seen
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    contrary to the modern movement that
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    extols openness and transparency the
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    translucent glass insulates the house
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    and its inhabitants from an environment
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    that they
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    repel this is the avowal of a retreat
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    into the interior of the sole values of
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    the individual dwelling a wall without
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    Windows is what we call a blind wall
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    all the same there are Windows onto the
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    courtyard in the service side
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    Wing only the servants in bedroom
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    laundry or kitchen rooms that need good
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    ventilation can see the sky
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    [Music]
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    the ventilation system of the drawing
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    room is on the same scale and in the
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    image of the
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    site nothing to remind us of traditional
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    fenestration in this crank handle these
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    gears or these shutters that are in view
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    to show us that we are in a machine
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    house yet tucked into a corner of the
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    room so as not to spoil the permanent
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    spectacle of the glass
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    wall the drawing room has no apparent
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    lighting system the main lighting is
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    hidden
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    outside when night falls powerful
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    projectors replace the daylight playing
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    on the glass facade so that they
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    continue to perform their task of
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    diffusing
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    light an enthusiastic comment written in
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    1933 stated sho's house is
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    cinematographical but it is also a house
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    for working and living
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    in the representative areas the great
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    staircase and the drawing room are
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    placed at the
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    front the more intimate areas are at the
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    back where the house regains its two
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    floors on the first floor along with the
  • 00:13:25
    drawing room there is a second office
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    for the doctor
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    and next to it separated by one of the
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    rare fixed Dividing Walls is the dining
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    room all these areas communicate freely
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    when it was really necessary to
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    segregate them as in the case of the
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    doctor's office sharo employed a
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    metalclad sliding door that is as big as
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    a
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    wall when the doctor was not using his
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    office the movable partition could make
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    the whole extent of the first floor
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    available from the cold abstract wall of
  • 00:14:06
    glass up to this space at the back of
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    the house that seems to float halfway
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    between the inside and the
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    outside this is the last room the most
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    remote the most intimate room on the
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    first floor and also the most open Annie
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    D sas's budoir projecting into the
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    garden by the extension of the large bay
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    window which helped the architect to
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    gain a few more square meters of
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    space there is the same fluidity on the
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    courtyard side from the dining room to
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    the kitchen the space runs free hardly
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    at all encumbered by the single glass
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    door in the angle of the dining room
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    Shar set a sort of drum to indicate the
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    passage from the formal area to the
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    service
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    Corridor seen from the dining room this
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    mobile style metallic cylinder looks
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    like a
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    sculpture a review in 19 1933 had no
  • 00:15:30
    hesitation in comparing it with a work
  • 00:15:32
    by caler or
  • 00:15:41
    jati seen from the other side it is a
  • 00:15:44
    broom
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    [Applause]
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    cupbo the cupboard is in full view but
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    at the same time veiled by its own shape
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    which seems to be composed of some sort
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    of Cubist work along with the
  • 00:16:04
    overhanging large black triangle that
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    conceals the stairs leading to the Upper
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    Floor the family area where the
  • 00:16:10
    architect installed their bedrooms and
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    one for the servant
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    but in his anxiety to provide his
  • 00:16:32
    customers with the greatest possible
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    freedom and comfort sha always included
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    a choice of access a second stairway in
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    fact a fold away ship's ladder allowed
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    the Mistress of the house to go directly
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    from her budoir to her
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    bedroom the rooms are Set Side by Side
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    All Along The Garden facade the private
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    quarters for the married couple
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    comprises a bedroom with an even larger
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    adjoining
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    bathroom then come the two children's
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    bedrooms each with a built-in
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    shower all the rooms give onto the large
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    [Applause]
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    Terrace the style of the house and the
  • 00:17:25
    lack of space denied the architect the
  • 00:17:27
    use of traditional window
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    Windows he replaced them with sliding
  • 00:17:31
    Windows like those used in Railway
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    carriages a sort of invitation to travel
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    into the garden from rooms treated like
  • 00:17:47
    [Applause]
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    compartments on the other side the areas
  • 00:17:53
    reserved for private life Loom over the
  • 00:17:55
    drawing room this is without doubt where
  • 00:17:57
    the contradictions between the aesthetic
  • 00:17:59
    of the house and the demands of everyday
  • 00:18:00
    life were the most difficult to
  • 00:18:03
    resolve the problem was to preserve the
  • 00:18:05
    openness and fluidity of the space while
  • 00:18:07
    still protecting the intimacy and
  • 00:18:09
    Tranquility of the
  • 00:18:15
    bedrooms between the bedrooms and the
  • 00:18:17
    drawing room Sho made a sort of Passage
  • 00:18:20
    the drawing room side is lined with a
  • 00:18:22
    screen made from wooden elements and
  • 00:18:24
    metal shelving on perforated metal
  • 00:18:26
    sheeting through which framework the
  • 00:18:28
    Cummings and goings in the drawing room
  • 00:18:29
    could be admired as if from a
  • 00:18:39
    gallery on the bedroom side he set a
  • 00:18:41
    real partition with double doors in
  • 00:18:43
    curved metal plates like all the other
  • 00:18:45
    nonsliding doors in the
  • 00:18:56
    house but there is a trick to the
  • 00:18:59
    petition wall between the bedroom doors
  • 00:19:01
    the Apparently solid wall is also made
  • 00:19:03
    of doors doors to double-sided cupboards
  • 00:19:06
    that the servant could fill from the
  • 00:19:07
    passage without disturbing the occupants
  • 00:19:09
    of the
  • 00:19:14
    bedroom the partition cupboard serves as
  • 00:19:16
    an airlock storage space and for
  • 00:19:19
    insulation blurring the usual
  • 00:19:21
    distinction between architecture and
  • 00:19:23
    decoration
  • 00:19:29
    the same idea is push to the limit in
  • 00:19:31
    the couple's bathroom the metallic
  • 00:19:33
    screens delimit the various areas and at
  • 00:19:35
    the same time serve a storage cupboards
  • 00:19:37
    that look like cabin trunks
  • 00:19:39
    [Music]
  • 00:20:01
    the term machine suggests something cold
  • 00:20:03
    and unpleasant wrote an architect of the
  • 00:20:06
    period who continued in the sense that
  • 00:20:09
    there is no mechanization in this house
  • 00:20:11
    such apparatus is treated so lightly
  • 00:20:13
    that it is organic rather than
  • 00:20:15
    instrumental
  • 00:20:38
    since the beginnings of the project in
  • 00:20:39
    1927 the house has always been known as
  • 00:20:42
    the Mond de because of its
  • 00:20:44
    facades but it is really the iron work
  • 00:20:47
    that is the most
  • 00:20:48
    remarkable with the help of Lou dalb an
  • 00:20:51
    iron Craftsman of Genius Sho fitted the
  • 00:20:53
    whole house with the metal work stairs
  • 00:20:56
    cupboards and doors that give it a Tempo
  • 00:20:58
    and its particular
  • 00:21:02
    style some items seem quite simple like
  • 00:21:05
    this curved grill for the garden
  • 00:21:09
    door or this steel filigree staircase
  • 00:21:12
    with its detachable grating Treads that
  • 00:21:14
    gave the doctor direct access to his
  • 00:21:16
    office on the first
  • 00:21:25
    floor others are obviously complex like
  • 00:21:28
    the foldaway ladder between the budoir
  • 00:21:30
    and the bedroom a sort of metal insect a
  • 00:21:34
    mechanical toy sprung from the
  • 00:21:35
    imagination of a geometrical Dreamer
  • 00:21:59
    this is not a case of decorative fantasy
  • 00:22:02
    but the Essential Elements to make the
  • 00:22:03
    house work
  • 00:22:05
    properly this pivoting screen hung at
  • 00:22:08
    the bottom of the main staircase is one
  • 00:22:09
    of the architect's solutions to the
  • 00:22:11
    problems caused by having a medical
  • 00:22:13
    practice on the ground
  • 00:22:17
    floor patients visitors and the
  • 00:22:20
    inhabitants all came down the same
  • 00:22:22
    passage but the patients were supposed
  • 00:22:24
    to continue onwards to the waiting room
  • 00:22:26
    and not take the stairs to the first
  • 00:22:28
    floor
  • 00:22:29
    door so the door is a visual sorting
  • 00:22:34
    point when patients pass by the door
  • 00:22:37
    remained closed it is made of glass
  • 00:22:40
    covered with a fine transparent mesh the
  • 00:22:43
    staircase is both visible and
  • 00:22:45
    inaccessible it is no more than an image
  • 00:22:48
    to which only the masters of the house
  • 00:22:49
    had the right to give substance
  • 00:22:59
    it is a set of subtle hints about the
  • 00:23:01
    boundaries that bears witness to a very
  • 00:23:03
    careful regard for others like this
  • 00:23:05
    mirror that patients could adjust for
  • 00:23:07
    their own height before going into the
  • 00:23:09
    waiting
  • 00:23:12
    room this house is made to measure a
  • 00:23:15
    Precision Tool where a specific and
  • 00:23:17
    original solution was found for every
  • 00:23:19
    problem
  • 00:23:20
    encountered like this Notch that enabled
  • 00:23:22
    the door to open in spite of the rail
  • 00:23:26
    [Music]
  • 00:23:37
    such a riot of invention is what makes
  • 00:23:39
    shar's work so rich but it also
  • 00:23:41
    underlines the limits of his
  • 00:23:46
    architecture it is a toy noted in
  • 00:23:48
    Architectural Review in 1933 an
  • 00:23:51
    ingenious toy thought up by a cunning
  • 00:23:54
    artist for his own delectation
  • 00:23:59
    here is the ambiguity of a project that
  • 00:24:01
    employs industrial materials in
  • 00:24:03
    craftsmanship to give a resolutely
  • 00:24:05
    modern form to a program that is less so
  • 00:24:08
    at a time when other Architects were
  • 00:24:10
    thinking in terms of standardization
  • 00:24:12
    economy and housing developments Sho was
  • 00:24:15
    the exception to the rule going for a
  • 00:24:17
    lifestyle reserved for a wealthy
  • 00:24:20
    Elite a house that sheltered the
  • 00:24:22
    privileged cut off from the herd and
  • 00:24:24
    wrapped in its own material envelope it
  • 00:24:27
    gave all except one thing this
  • 00:24:29
    confrontation with the outside world in
  • 00:24:31
    which the architecture loses in
  • 00:24:33
    Perfection What it gains in life
  • 00:24:39
    [Music]
Tags
  • Maison de Verre
  • Pierre Chareau
  • Architecture moderne
  • Verre
  • Métal
  • Avangardisme
  • Design
  • Fonctionnalité
  • Intimité
  • Fluidité