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/ TURKEYyesim.aktuglu@deu.edu.tr

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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