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The famous effects of the use of structuralsteel in architecture in the past,
Art Nouveau in Brussels andWeissenhof Siedlung in Stuttgart
case studies, for safe steel structures in changing climate conditions, with ages around 100 years old and more
photos are taken by Yesim Kamile Aktuglu, for Brussels in May 2008, for Stuttgart in September 2007,
Yesim Kamile Aktuglu,Assoc.Prof.Dr.architect,
Dokuz Eylul University,
Faculty of Architecture, Department of Architecture, Structure and Construction Branch,
Izmir/ [email protected]
13.01.2009 Hameenlinna, FINLAND,METNET International Workshop 13th and 14th January 2009
HORTA HOUSE, Maison et Atelier
Horta,rue Américane 25,
Saint-Gilles, Brussels, 1898-1901
architect: Viktor Horta
Belgian architect,
original Gent, 1861-1947
HORTA HOUSE, Maison et Atelier
Horta,rue Américane 25,
Saint-Gilles, Brussels, 1898-1901
architect: Viktor Horta
Belgian architect,
original Gent, 1861-1947
in the book of ART
NOUVEAU by GabrieleFahr-Becker, it is written
that “…Like the De StijlMovement in the
Netherlands some 20 years later, Horta
extracted apparentlyhidden elements from
traditional contexts andlent them an up-to-date
character in newsurroundings andexplicit synthesis.
He combined wood(soft), marble(hard), and
iron(brittle) to make a quasi-elastic whole. His influence
on the succeedinggeneration is unmistakable,
above all in Rudolph Schindler(1887-
1953), Le Corbusier(1887-1965)
andLouis H. de Konick(b.1896).
(2004, p.143, Konemann).
Weissenhofmuseum im Haus Le Corbusier,Rathenaustrasse 1-3, 70191 Stuttgart
LE CORBUSIER(1887-1965)/ PIERRE JEANNERET(1896-1971)
in the book of SEMI-DETACHED RESIDENCE
LE CORBUSIER/ PIERRE JEANNERET by Claduia
Mohn, it is written that
“…Among the Weissenhofarchitects, Le Corbusier and
Pierre Jeanneret were theones who had come up withthe most idosyncratic “new
lifestyle” solutions. Theframework of the two houses
was made from an ironskeleton and concrete. Le
Corbusier
Le Corbusier had beeninterested in skeleton frames
since working on his “Domino project” in 1914, an
iron-framework capable of bearing ceilings and
staircases which releasesfloors and facades from
structural responsibilitiesand free for flexible
compositions.
While Le Corbusier used an open-plan layout with a two-
storey living space and a gallery for the detached
home(basing the design on his “Citrohan” model), thesemi-detached residencerepresented an attempt to
demonstrate howinterweaving patterns of
utilisation and interlockingliving spaces can create an impression of spaciousness
even in small-size apartments.
For the semi-detachedresidence, Le Corbusier
designed built-in furniturewhich reflects a rigid
organising principle. Themassive built-in cupboards
served to accommodatebeds, duvets and householditems, dispensing with any
need for other such furniture.
At night, sliding woodenwalls were moved to sub-divide the apartment into
bedrooms of different sizeswhile the beds themselvescould be pulled out of the
cupboards. By the day, thebeds disappeared back into
the cupboards, and thesliding walls returned to theiroriginal positions, turning the
small-sized bedrooms intolarge, open-floor living
spaces.
Access to these spaces wasenabled by a narrow aisle of just under 600mm in width, exactly the same format as the aisles in the sleepers of
the “CompagnieInternationale des Wagons-Lits”. Le Corbusier said thatthe house was intended as a “kind of link between sleeper
and saloon car, made upeither for the day or the
night”…..”
(2007, p.26-27, wustenrotstiftung)
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