Between furniture & architecture by Mike Ramwell

MARS Studio

between furniture & architecture

hallett

hathaway

stanforth

between furniture & architecture

MARS Studio

between furniture & architecture

hallett 8

hathaway 9

stanforth

between furniture & architecture

6 3 Introduction 5

Pierre Chareau: a portrait

a Maison De Verre a Stool. 1927

introduction

Chairs and Rooms – Between Furniture and Architecture. A study which will research a chair, the room and an architect more specificially, Stool 1927, the Maison De Verre and Pierre Chareau. This study will analyse the connection between both furniture and architecture and how Pierre Chareau’s ideas, principles and the period influenced the designing of both the furniture and architecture. Eliel Saarinen whilst teaching at Cranbrook recommended to his students “if you want to design a chair consider the room, if you want to design a room consider the house, if you want to design a house think about the city.” This research will take from academic readings, personal observations, and a field trip to the Maison De Verre.

Pierre Chareau a portrait

Pierre Paul Constant Chareau, ensemblier, interior decorator, furniture designer and/or architect is difficult to classify, during his lifetime he leant his hand to many of the design fields often blurring the boundaries between furniture and architecture. Chareau was born in Bordeaux on August 3, 1883 into a family of shipbuilders and thus from an early age was surrounded by construction. Chareau studied architecture at Paris École des Beaux-Arts, a great creative talent Chareau divided his time across the arts whilst at university and appeared to be like ‘...[a]lot of certain gifted people that never find their real profession...[Chareau] seem[ed] haunted by the thought of other careers that [he] could have chosen.’1 On completion of his degree, Chareau started an apprenticeship at the British firm of Waring and Gillow Furnishings in Paris between 1908-1913. This is where he developed his interior decoration skills. This was a long and thorough apprenticeship that lasted from 1908 until the First World War when Chareau was mobilized in the artillery regiment. Figure ... Pierre Chareau, 1928 Pierre Chareau: modernity builder, [Online], Available: http://grand-hotel-tours. c om/ p ierre- c hareau- un- b at is s eur- d e- lamodernite/?lang=en [16 Nov 2012].

Figure ... Waring & Gillow Paris Advertisement, 1912 [Online], Available: http://www.amazon. co.uk/Waring-Gillow-Advertisement-BruxellesMadrid/dp/B004ER74I6.

However, Chareau’s proximity to mainstream design can be determined by the fact that he was invited only three times during ten years to exhibit at the Société des Artistes-Décorateurs. This lack of acknowledgement can be seen that Chareau’s beliefs and ideas differed from the mainstream at this point. This difference in ideals created friction and the split to form the French Union of Modern Arts (UAM) along with around twenty dissidents from the Société des Artistes-Décorateur.

Pierre Chareau when compared to his contemporaries did not produce architecture of the same scale, the Maison De Verre does not nearly match the work of Le Corbusier or his close friend Robert Mallet Stevens, however Chareau did share the same ideas and interests that included him in the same artistic circles during this Modern Movement. Chareau investigated aspects such as light, structure, a new healthy living and a specific concern for the needs of the inhabitants. It can be argued that he paid more attention to these aspects than his contemporaries and therefore did not produce as high a volume of work. Chareau’s first success and acknowledgement as a ‘decorative artist’ came through furniture design; he received immediate recognition through his designs, which were exhibited at the Salon d’Automne in 1919. This initial recognition was sufficient to entitle him to membership for the Société des Artistes-Décorateurs, which he was a member of.

Robert Mallet-Stevens led the UAM, which included Contemporaries such as Le Corbusier, Jean Charles Moreux, and Eileen Gray. The UAM offered a strong alternative to the traditional Société des ArtistesDécorateur, it strove for progression and forward thinking breaking from the past and what had been before.

Figure ... Figure ... U.A.M banquet at the Clair Obscur, Impasse (fourteenth arrondissement), on February 4, 1932. Left to right: (back row) M. Bastard, Mme René Herbst, M. J. Van Melle, Mme Goska, M Salomon, Mme Martel, M. Pierre Chareau, Mme Mallet-Stevens, M Raymond Templier, Mme Salomon, M René Herbst; (near side) Mme Bastard, M Martel, Mme Pierre Chareau (back turned), Mme Hélène Henry, M Mallet-Stevens, Mme J. Martel. Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson. 16

U.A.M. Union des Artistes Modernes. Paris: Éditions Charles Moreau, juillet 1929. In-4 (320 x 245 mm). Broché. 24 héliogravures imprimées en bistre représentant des oeuvres de Burkhalter, Chareau, Delaunay, Fouquet, René Herbst, Legrain, Mallet-Stevens, Miklos, Prouvé, dont certains figureront dans la première exposition de l’U.A.M. en 1930. Broché, couverture d’après la maquette de Pierre Legrain. [Online], Available: http://www.christies.com/ lotfinder/books-manuscripts/uam-union-desartistes-modernes-paris-editions-5404348details.aspx [17 Nov 2012]. 17

EileenGray

Robert Mallet-Stevens

Figure ...

Eileen Gray

Robert Mallet-Stevens

Hart, S. (2010) Friends of E1027: A Brief Biography [Online], Available: http://www. e1027.org/index.php?/about/eileen-gray/ [18 Nov 2012].

Grayson. (2009) Friends of E1027: A Brief Biography [Online], Available: http:// wannabelucasjackson.blogspot.co.uk/2009/11/ robert-mallet-stevens.html [18 Nov 2012].

Figure ... Le Corbusier Pree. (2012) Le Corbusier: An Urbanist Dream [Online], Available: http://preebruleeblog.com/ inspirations/le-corbusier-an-urbanist-dream/ [18 Nov 2012].

LeCorbusier Contemporaries and influences 18

Bernard Bijvoet a collaborator

Figure ... Cubhouse at Beauvallon Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

It was the collaboration between Chareau and Bernard Bijvoet, which produced the best architectural work of Chareau’s career. Bijvoet made his breakthrough as an architect together with his friend Johannes Duiker. During this period Bijveot collaborated with Chareau in France. Their fist collaboration together was on the Beauvallon Club House, 1929, for the Bernheim family (Fig …). Contrary to his success Bijveot kept a modest profile, ‘more than anything Bijvoet the architect remained a builder, a ‘complete architect’, who let his creations speak for themselves.’ In the mid 1920’s Bijveot had made a significant impression in Paris while operating in the same circles as Chareau, Le Corbusier, MalletStevens and Eileen Grey. While working with Chareau he experienced great freedom, Bijveot ‘preferred most to work within the work itself, which was possible in France.’ Following the success of Beauvallon Club House, Chareau and Bijveot started work on 31 Rue Saint-Guillaume project which sparked the Maison de Verre. Bijvoet’s greatest architectural achievement in the Netherlands was the Grand Hotel Gooiland (1936), collaboration with Johannes Duiker. For this project Bijvoet joined the project part way through the design, he designed a grand theatre at the rear of the hotel. This design sparked recognition in the field of acoustics and he became member of the Netherlands Advisory Board on Theatre Construction for the rest of his career. Finally his long illustrious career was capped with receiving a Dutch royal decoration and was an Officer in the Order of Orange Nassau.

Figure ... Clubhouse at Beauvallon. Terrace. Figure ... Bernard Bijvoet, 1970’s

Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

UNITED PHOTOS de BOER. FIr. B. Bijvoet (1889 - 1979) [Online], Available: http://www.erzed. nl/enparis.html [18 Nov 2012]. Figure ... Grand Hotel Gooiland on Emmastraat, Hilversum, Netherlands. Johannes Duiker, completed by Bernard Bijvoet, 1935-1936. Zoetbrood, R. [Online], Available: http://www. erzed.nl/enhilversum.html [18 Nov 2012].

Figure ... Clubhouse at Beauvallon. Court. Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson. 21

Louis Dalbet a collaborator

Chareau and Dalbet’s collaborations produced inventive and poetic fittings, furniture and architecture; as mentioned previously in the report, it was this collaboration that blurred the boundary between furniture and architecture. In Kennith Frampton’s Maison de Verre essay for Perspecta, Yale University he talks about the ‘poetry of fittings’ – ‘these fittings were largely the work of Lousi Dalbet…the quality of the building, its perfect state of preservation, the doors that glide as smoothly today as they ever did, are all his doing, with the quality of soldering and finishing touches.’

Throughout Chareau’s furniture design career he worked with the craftsman Louis Dalbet. ‘Without craftsmen, he would have been like a conductor without an orchestra.’ Chareau knew how to make full use of Dalbert’s knowledge and skills, ‘although he was utterly incapable of running a business or even a workshop, he was able to make his ideas and preferences known.’ Dalbert worked as a jorneyman around France prior to setting up on his own in Paris, around 1912. His familyrun business employed his two sons as well as two other journeymen who produced decoration ironwork. Before meeting Chareau, Dalbet had exhibited some of his ironwork at the Salon d’Automne. In 1924, a year after meeting Chareau, their successful collaboration was in full swing. Dalbet was Chareau’s only choice of ironworker from then on.

Figure ...

Louis Dalbet (André and Françoise Dalbet photograph)

Dalbet workshop in the Rue Capron (André and Françoise Dalbet photograph)

Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

Figure ... Small wrought-iron table, version with three surfaces 9. (in Maison de Verre) Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson. 22

31 Rue Saint-Guillaume a comission

Two years on from this Edmond Bernheim financed plans for the Rue Saint-Guillaume. Therefore Chareau’s blurred relationship between friends and clients was how he came about the large majority of his commissions and how he came to work on the Maison De Verre for the Dalsace’s. The tale of the Maison De Verre will be explained in detail and in the following pages the report will aim to analyse Chareau’s ideas, tectonic intentions, and solutions to the many obstacles that occurred during his defining project.

It was an unusually close relationship with his clients that sparked Chareau’s success in both design and architecture, specifically a French couple, the Bernheim-Dalsaces. Chareau married Louise Dyte (Dollie), originally from London, in 1904. During the First World War, Dollie taught English lessons and in 1905 she began to teach Anna Bernheim, the future Annie Dalsace. This was the start of a long friendship between the pair, and when Anna married Jean Dalsace in 1918 the two couples became inseparable. With this friendship came trust, and the Dalasce’s entrusted Chareau with the commission to redecorate their apartment in SaintGermain, Paris. The majority of Chareau’s commissions came from the Bernheim family, however they were not limited to this single connection, Chareau had his own circle of for which he designed both interiors and furniture. Chareau was commissioned by the Dalasce’s to redecorate their new apparmtent in Saint-Germain. Chareau drew up the plans and designed bespoke furniture; the Dalasce’s were extremely pleased. The circle of friends grew and with this so did Chareau’s commissions for furniture and interior design. One of these commissions included ‘design(ing) a hanging bed and a bedroom for the Noailles’ Villa at Hyeres at Mallet-Stevens request’ However, Chareau’s first architectural commission came from Emile Bernheim, the Beauvallon Culb-House.

Figure ... Annie Dalsace, née Bernheim, on a couch by Pierre Chareau, at Villeflix, Noisy-le-Grand, around 1920. A pupil of Chareau’s wife, Dollie, she was a staunch supporter of his work and was at the start of the project for the Maison de Verre. Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

Figure ... Still from Le Vertige, a film by Marcel L’Herbier, 1925. Architecture by Robert Mallet-Stevens, sets by Cavalcanti, Chareau, and Léger, carpets and picture by Lurçat Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

Pierre Chareau Time Line

1922 Exhibits in the Salon des Artistes Décorateurs for the first time. Meets members of the parisian artistic and literary avant-garde.

1904 Marries Dolly Dyte 1919 WW1

1883 Pierre Chareau was born in Bordeaux

1923 Collaborates with Fernand Léger and Robert Mallet-Stevens on the sets for Marcel L’Herbier ‘s film

TIME LINE HIGH MODERNISM EARLY MODERNISM

ART DECO

1899 At the age of 16 Chareau joins the Parisian office of Waring & Gillow. A British firm specilising in furniture and interior design

1921 Becomes a permanent member of Salon d’ Automne committie

1924 Chareau opens his own shop “La Boutique”

1920 Chareau decorates counrty house of Edmund Bernheims. His furniture and interiors for bed room and bathroom are exhibited at the Salon d’ Automne.

1925 Collaboration with Mallet-Stevens and Francis Jourdain on the interiors designs for a french Embassy for the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.

1928 First plans for a new house for the Dalsace family – what will become the maison de Verre – in rue Saint Guillaume in Paris.

1926 In the mid 1920’s Bijveot had made a significant impression in Paris while operating in the same circles as Chareau.

1925 Creates the office of the “Ambassade française” 1924 He collaborates with Louis Dalbet A. First fruits of their collaboration at the Salon d’Automne. From then on Chareau would use only Dalbet for his iron work

1928 Bijveot collaborated with Chareau in France. Their fist collaboration together was on the Beauvallon Club House, 1929, for the Bernheim family.

1927-1929 Chareau works on the Grand Hôtel de Tours. And paticipates in the Congres Internationaux.

1932 Completion of the Maison De Verre for Dr Dalsace and family. In colaboration with Dalbet and Bijveot. The Maison de Verre receives wide coverage in national and international press 1929 Breaks away from the Société des Artistes Décorateurs to become a founding member of the Union des Artistes Modernes. (UAM)

1939 In July, he leaves France for Portugal, Spain, Morocco,. He arrives in America in October.

1930 Participates in the first UAM exhibition at the Musée des Arts Décoratifs in Paris. The Maison de Verre receives wide coverage in national and international press.

1937 Exhibits demountable school furniture at the Salon d’Automne. He is present at the Exposition Universelle.

1950 Chareau Dies tragically in a hotel at the age of 67

1947 Creates the workshop of Robert Motherwell

Maison de Verre situation and context

The Dalcase family purchased 31 Rue Saint-Guillaume, an eighteenth-century hotel particulier located in Saint Germain des pres district in Paris. ‘The proximity of the faubourg Saint Germain – the hub of intellectual and society life – justified the choice of the site more than the state of the existing building.’ The hotel comprised of three wings (Fig …), on the wing in the central courtyard, the Dalsaces wanted to demolish the whole of the wing and replace it with a new individual accommodation. However, an elderly woman refused to quite her tenancy on the top floor, the Dalsaces were unable to evict this tenant which, lead to Chareau designing and inserting a steel structure that supported the second floor while the first two floors were demolished. On the right hand side of the plan an entrance and staircase were kept allowing access to the apartment above the demolished space.

Figure ...

The garden front of 31 rue Saint-Guillaume, 1928

The courtyard front of 31 rue Saint-Guillaume, 1928

Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson. 33

Figure ... Wider context showing the relationship of the Maison de Verre to other sites, to ground the reader to site. A > Maison de Verre B > Palais du Louvre C > Musee dâ&#x20AC;&#x2122;Orsay D > Ecole Nationale Suprirure des Beaux-arts E > Cathedral Notre Dame F > Centre National dâ&#x20AC;&#x2122;Art et de Culture George Pompidou

Hallet, Hathaway & Stanforth

This hollowed out space gave birth to a workshop, the workshop facilitated Dalbert, Chareau and Bijovet’s inventiveness and together they created and engineered bespoke furniture and architecture that was specific to the project, site and client.

‘In order to spare an old lady who didn’t want to leave her dingy second floor apartment, Pierre Chareau has performed the extraordinary feat of building three floors full of light, in the ground and first floor of a small hotel particulier … the problem this raised was enormously difficult to resolve. Interconnecting rooms, certain of which occupy two floors, make the problem of soundproofing very difficult … The first floor, the professional section of the building, facilitates work, with their initial uneasiness overcome, calms the patients down considerably. The whole house has been created under the influence of friendship, in complete affectionate understanding.’

The insertion of the steel structure supported the original third floor and allowed Chareau to insert a new three level volume in place of the former two storeys. This additional floor spaces ensured Chareau could meet Dr Dalcase’s needs of including his gynaecology practice on the ground floor while still having enough living space on the first and second floors. Figure ... 1:2000 Site plan showing the Maison de Verre and surrounding context Hallett, Hathaway & Stanforth 36

The Dalsaces were forward thinking people with Mme Dalsace being at the front of design and art movements and Dr. Dalcase carrying out pioneering research medical fields. The wish to include his gynaecology practices within the Maison de Verre was one that related to the time and peoples thinking. In the 1930â&#x20AC;&#x2122;s it was believed that if a female had fertility problems then there was no solution, Dr Dalsace felt it important to set up a practice in the area that people with similar progressive thinking lived and would seek his aid. The reason for combining his home and practice was to create an environment that the women coming to seek his medical advice would feel comfortable and would be a private setting so the patients could keep their anonymity if needed. A programmatic hierarchy was planned throughout the Maison de Verre ranging from; public areas of the ground floor, a semi public double height Grand Salon and a third floor catered for private life, located on a mezzanine level overhanging the semi-public Grand Salon. The two main constraints for Chareau was the conservation of the original third floor and the question of lighting hollowed out space, as it was a relatively deep space and was flanked on either side by other properties it therefore had two facades that could allow light into the narrow plan. Chareaus solution was to use a system that was foreign at that time in the field of living, steel and glass. This gave birth to the name Maison de Verre, House of Glass.

Figure ... Sketches showing the construction process of the Maison de Verre Hallett, Hathaway & Stanforth

Maison de Verre construction

The Maison de Verre was constructed by demolishing the first two floors of the original wing. A steel structure was inserted to stabilise the apartment above. This steel structure allowed the addition of an extra floor increasing the internal floor space and enabling the dual programme of live/work to be housed in what used to be a two-storey house. The original structural walls of 31 Rue Saint-Guillaume were left standing while the floor slabs were removed. A new, modern, structural language was inserted into the void and supported the apartment above. The decision to use a steal frame was a simple one; it allowed for flexible intervention, it removed the need for structural walls creating a free interior or open plan it also unlike traditional construction methods piercings made in the skin did not degrade the structural integrity.

Figure ... Rue Franklin Apartments, Auguste Perre Hallett, Hathaway & Stanforth, 2012

Mies Van de Rohe stated at the time ‘metal frame construction is best adapted to our needs. It enables the rationalizing of the building process and complete freedom in the dividing up of the interior space’ It was very unusual at the time for steel to be used in residential buildings; the perception was that this was an industrial material used for shipbuilding or in factories. To solve the problem of lack of light entering the plan, Chareau’s solution was to create a wall of glass. This concept had not been achieved before. The principle had been investigated and the glass lenses had been used by August Perret on Rue Franklin Apartments, 1902 (Fig …) but nothing had been achieved on this structural scale.

Figure ... The future Maison de Verre, seen form the courtyard, around April-May 1928 Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

Figure ... The future Maison de Verre, seen form the garden, around April-May 1928 Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson. 42

Figure ... Courtyard of Rue Saint-Guillaume 24 July, 1928 Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson.

Figure ... View from the Garden of Rue Saint-Guillaume 24 July, 1928 Vellay, M. and Frampton, K. (1985) Pierre Chareau: Architect and Craftsman, London: Thames and Hudson. 44

The use of the glass façade was to allow enough light into the narrow plan, Chareau explains his process, ‘I had to build between two party wall, and the plans called for a division of space according to the needs and tastes of modern living habits. There was only one-way to get the maximum of light: build entirely translucent facades.’

Structural glass had been used since the nineteenth century but in horizontal structure as we commonly see today in pavements and basement ceilings allowing light into otherwise dark space. The structural glass block was developed in Germany and in 1928 a French manufacturing firm ‘proposed a square glass lenses of 20cm x 20cm x 4cm known as the Nevada-type glass lens…’ These lenses were combined in the four by six grid and joined originally with concrete (fig … ).

Figure ... Original Nevada-type Glass Lens, south façade, Maison de Verre Hallett, Hathaway & Stanforth

Figure .. Distribution of types of Panels Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors.

The front a rear glass façades standardise the structural layout, the internal layout and the furnishing language of the house. The unity of the external and internal language was created by not using the glass block as a single structural element but Chareau combine this single industrial product into a ‘standard construction element’ six by four grid fused together originally by concrete created theoretical lines that all elements corresponded to. All panels used fitted within this grid width of four glass blocks. This meant that from the outset the house had been standardised – all elements would adhere to this 4 block width which equates to 910mm, this meant that no matter how much each door panel or window panel different from each other in terms of detailing and prototyping its existing condition was determined by the standardised grid and thus a large amount of industrial production can be predicted by this rationalisation.

Figure ... Original Nevada-type Glass Lens, south faรงade, Maison de Verre Hallett, Hathaway & Stanforth 48

entrance lobby

central corridor

garden corridor

waiting area

receptionists office

Dr. Dalsaceâ&#x20AC;&#x2122;s office

examination room

attendance room

changing space

Dr. Dalsaceâ&#x20AC;&#x2122;s staircase

direct to his study

grand staircase

service foyer

servants entrance

stairs to basement stairs to kitchen

11 15

8 12

15 lift 17

14 dumbwaiter 16

Figure ...

Maison de Verre, Site Plan, Scale 1:500

Maison de Verre, Ground Floor Plan Scale 1:200

Hallett, Hathaway & Stanforth

Hallett, Hathaway & Stanforth 51

8 9

6 4

24 5

3 19

12 3

6 20

2 11

15 1

8 14 13

9 10

main landing

bookshelf

Grand Salon

stairs to kitchen

dining area

kitchen entrance

Mme Dalsace’s boudoir

kitchen

void over Grand Salon

11 dumbwaiter

Dr. Dalsace’s study

washing room

master bedroom

12 lift

void

18 dumbwaiter

bedroom

cupboard

void

master bathroom

cleaning cupboard

flood lights

20 lift

terrace

bookshelf

plant conservatory

cleaning cupboard

mezzanine

storage unit

retractable stairs to

storage unit

guest bathroom

wardrobe unit

master bedroom

storage wall

servant workroom

18 shower

telephone booth

service pass through

servant’s bedroom

Dr. Dalsace’s staircase

flood lights

20 toilet

stairs to second floor

Figure ... Maison de Chareau

Figure ... Verre,

Pierre

Maison de Chareau

Verre,

Pierre

First Floor Plan Scale 1:200

Second Floor Plan Scale 1:200

Redrawn: Hallett, Hathaway & Stanforth

toilet unit

0 to 4000

Figure ...

Maison de Verre, Pierre Chareau Front Elevation

Maison de Verre, Pierre Chareau Rear Elevation

Scale 1:200

Redrawn: Hallett, Hathaway & Stanforth

0 to 4000

Figure ... (right)

Tranvers section through grand staircase

Longitudinal section through two story salon.

Frampton, K. (1969) Maison de Verre, Perspecta The Yale Architectural Journal, Vol. 12. Pg 91

Frampton, K. (1969) Maison de Verre, Perspecta The Yale Architectural Journal, Vol. 12. Pg 91 57

Maison de Verre a dual programme

As touched on before Dr. Dalsace required the inclusion of his genecology practice within the new home. To incorporate this, Chareau programmatically sectioned the house into different levels of privacy. Ground Floor The public ground floor pivots around a receptionist’s office (5), which is linked to the waiting room and doctors office. The only partitions on the ground floor segregate the doctor’s office and examination room and the receptionist’s office. As this is programmed as a public floor a number of different types of users occupy this space, the external door bell at the entrance expresses the complexity of the programme and shows the different types of uses that occupy the ground floor (Fig …). This complexity in the programme is best described when by taking the different route through the plan depending on the type of user.

Figure ... Maison de Verre, view from courtyard Hallett, Hathaway & Stanforth 58

Firstly: the patient. The patient would enter the front door and immediately turn right and head down the corridor towards the receptionistâ&#x20AC;&#x2122;s office where they would check in. A metal and glass curved screen covers bottom of the grand staircase preventing access up to the first floor when patients enter the house. Once checked in the patient would return to the corridor and turn right they would be met by a column with an adjustable mirror, this would allow the patient to prepare herself prior to meeting with the doctor. This was not a vain addition but a comforting one allowing the patient who would most likely be nervous prior to the uncomfortable appointment or conversations that would be following her wait in the waiting room. The mirror is preciously the same width as the column upon which it is fixed, the mirror is adjustable, like many of the elements of the house the bespoke design allows the users to adjust the settings or configurations to suite their needs. Continuing round to the rear of the receptionistâ&#x20AC;&#x2122;s office lays the waiting area (4), which performed as a light and airy space providing a pleasant space to wait in. Once Dr. Dalsace was ready he would leave his office and enter the receptionists office to confirm the patient was ready and then exit the receptionist office through the rear swivel glass door and then would collect the patient from the waiting area and return to his office with the patient.

Figure ... Movement of patients through the ground floor of Maison de Verre, Scale 1:200 Hallett, Hathaway & Stanforth

Secondly: the Dalsaces and friends. The Dalsaces would enter through the front door and head straight towards the grand staircase and take that to the Grand Salon on the first floor. If the Dalsaces were entertaining a large group of friends the friends would enter, not through the front door, but through the service entrance. This is because the servant could then take all of the guests coats and accessories and they could be immediately stored in the cloakroom, the guests would then continue through the double doors gaining a view straight through the house and out into the garden at the rear. They would turn to their right 180 degrees and up the grand stairway up to the first floor. The metal and glass screen that prevents the patients form access this semi-public Grand Salon swings open effortlessly on a hidden pivot below the raised staircase. When the door swings open it is deafening silent producing. The metalwork expertise of Dalbet shines through elements like this in the house.

Figure ... Movement of guests through the ground floor of Maison de Verre, Scale 1:200 Hallett, Hathaway & Stanforth 62

Thirdly: the service (servants) The servants would enter through the front door and head straight to the small staircase that rises straight to the kitchen on the first floor. Access up the grand staircase was not needed and their entrance stair allowed quick access to their quarters and kitchen area.

Figure ... (above) All movement of users through the ground floor of Maison de Verre Hallett, Hathaway & Stanforth Figure ... (right) Movement of servants through the ground floor of Maison de Verre, Scale 1:200 Hallett, Hathaway & Stanforth 64

Maison de Verre a staircase exploration

The connection between the ground and first floor is via a number of staircases that vary visually, tectonically and programmatically. It appears that Chareau approached the design of vertical transition individually, approaching each situation specifically and creating prototypes for the specific task. Chareau is using the Maison de Verre as a prototype to explore what the potential of a stair is and how it might be reproducible. Each stair reflects its own individual circumstance with not a single stair alike each has different materials and creates a different narrative therefore making it impossible to imagine the individual stair reproducible.

Figure ... (right) Close up of Grand staircase, with Dr. Dalsaceâ&#x20AC;&#x2122;s staircase in the background Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors. Page 72 Figure ... (left) Retractable staircase, view from boudior Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors. Page 127 66

The Grand Staircase The grand staircase acts as a theatrical entranceway up into the Grand Salon. The wide staircase has floating treads and a floating landing, giving the impression that it is hovering between floors. As you ascend up towards the light emitted by the glass faรงade it feels like you are being lifted towards the light, which is very theatrical. The detail of the connection of the stair to the first floor is intriguing it appears to be temporarily hooked on to the first floor; this is a parallel to the stair that is brought to an airplane or ship for embarking and disembarking. This parallel emphasises the temporary allure of the staircase. The grand staircase does not have handrails or balustrades, this incentivises the user to keep the correct posture when ascending the stairs. This relates back to the importance of manners during the early twentieth century, this also sheds light on the character of Dr. Dalsace.

Figure ... Photo of Grand Staircase from ground floor Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors. Page 67 Figure ... Detail section through the grand staircase. Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors. Page 64 68

Dr. Dalsace’s Staircase The staircase running form just outside Dr. Dalsace’s office up to the his private study on the first floor was specifically designed for him. It is clear that this staircase has been designed for one person only, its narrow width would make passing on it impossible. In addition to this the steel tread can be removed so they can be cleaned, this reflects the importance of hygiene, not only because this space was operating as a gynaecology practice but also because during the nineteenth century outbreaks of tuberculosis and cholera were common and thus importance on was placed on design provision for hygiene and a healthier home. The treads of the stair have a grip strut hole, which would prevent women in heels from climbing it; it also acts as a cleaning method, cleaning the bottom of the doctor’s shoes as he climbs from his office into his private study.

3 cm dia. tube upright

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Figure ... (right) Photo of Dr. Dalsace’s staircase Frampton, K. (1969) Maison de Verre, Perspecta The Yale Architectural Journal, Vol. 12. Pg 101

Figure ... (below) Section through Dr. Dalsace’s Staircase leading from ground to first floor and detail of tred. Frampton, K. (1969) Maison de Verre, Perspecta The Yale Architectural Journal, Vol. 12. Pg 101

Retractable Staircase Within Mme Dalsaceâ&#x20AC;&#x2122;s boudoir is a staircase that drops down from the master bedroom. This provides access for Mme Dalsace and for her alone. Designed in a completely different way to all other staircases in the house, the stair operates on a pulley system lifting the stair and closing it automatically. The stair was originally manufactured for a ship.

Figure ... Detail plan and section of Mme Dalsaceâ&#x20AC;&#x2122;s retractable staircase Frampton, K. (1969) Maison de Verre, Perspecta The Yale Architectural Journal, Vol. 12. Pg 118

First Floor - the Grand Salon Upon arrival into the Grand Salon you are immediately met with an even distribution of natural light flooding into the double height space. The large space is open and feels airy, even with the large amount of industrial materials used in its construction. The timber panelling on the mezzanine level provides a warm and cosy aesthetic making the space a more liveable or â&#x20AC;&#x2DC;homelyâ&#x20AC;&#x2122; space than some would perceive.

Figure ... Grand Salon view from book rack Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors. 74

The space feels larger than it is, Chareau designed the spaces taking from Japanese architectural philosophy, he has created vistas into rooms where you cannot see where the rooms ends create the feeling that these spaces are carrying on into infinity. When you stand in the centre of the Grand Salon you can not see the extent of the alcove behind the book case, also when you look towards the doctors office the sliding screen borrowed from Japanese architecture gives the appearance that the space can open up expanding the size, a view of the garden is given when the screen is opened increasing the space into infinity. The view to the dinning room is met with a curved wall, the end of this curved wall can not be seen again giving the impression that the spaces is continuing on further that it actually is as your mind increases the space. Finally the positioning of the timber screens on the mezzanine level prevents your eye from seeing where the ceiling ends. This creates an overall feeling of a continuous, infinite fluid space.

Figure ... Diagram expressing the tools Chareau used to create the allue of infinity in the Grand Salon Conceptual image created by Hallet, Hathaway & Stanforth Photograph taken from Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors.

The Grand Salon flows into the dinning room, which receives light and is given view to both the front and rear of the house. Dr Dalsace’s study has a large sliding partition that allows the space to completely open up or close off from the Grand Salon, the partitions are created out of sound proof material creating a private area for when he was carrying out his work. At the rear of the plan is Mme Dalsace’s boudoir, this space turns its back on the semi-public space of the Grand Salon and becomes a private space. It is the only room in the Maison de Verre that feels detached form the rest of the house, it overhangs and protrudes past the rear glass façade, giving the feeling that the room is trying to remove its self from the house. The internal floor does not touch the external walls giving the floating sensation once again and as soon as you step down into the room you feel like you have entered a cave with the curved wall encouraging the user to face the garden and turn their back on the rest of the house. The link between this space and Dr Dalsace’s study is as dramatic and theatrical as the grand staircase. The door between the dining space and Mme Dalsace’s boudoir slices through the void space ensuring Dr Dalsace knows that Mme Dalsace has entered or exited her boudoir. However, Mme Dalsace had a vantage point from her boudoir, she had views into the doctors study and into his office downstairs so she could if she wanted to watch who was going in and out of the doctors office. Both of these views could be block by screening devices if Dr. Dalsace wanted complete privacy – this was considered a normal Bousausie relationship, these vistas provided Mme Dalsace an opportunity to check whether Dr. Dalsace was busy if she ever needed him for anything prior to interrupting him. 78

Second Floor - Private Living The route taken from the first to second floor is made via a more traditional staircase this solid staircase rises up directly towards a double metal door that provides access not to the master bedroom but to the master bathroom. This room placement emphasises the importance placed on hygiene. As can be seen by looking at the plan there is lots of sanitary equipment, this is because previous to mechanisation every bedroom had its own toilet, chamber pot and clean water, and thus with mechanisation the temporary sanitary equipment was replaced like for like. It was soon realised that this amount was not necessary. The staircase raising up to the second floor turns its back on the servant quarters located at the front of the plan, the programmatic element of the servant quarters still has prominence within the general arrangement of the plan. The servants workroom has a view that allows indirect participation with the Grand Salon below, allowing the Dalsaces to call for help if and when needed. (find louis JKahn quote servant and served spaces) Returning to the mezzanine, there are no partitions separating the bedrooms from the Grand Salon, a wall of wardrobes splits the double height space. The wardrobes have doors that open out into the mezzanine as well as into the bedrooms; this allows the servants to place clean clothes into them without disturbing the privacy of the users inside. This is a prime example of Chareau blurring the lines between architecture and furniture.

Chareau was an inventor; the furniture designed by him is simple by appearance but has surprising mobile elements. The table designed for Mme Dalsace (fig …) has incredible tactile qualities the texture and temperature of the metal table when touched evokes the mind to the think about the craft and how the table was made. ‘The skin reads texture, weight, density and temperature of matter.’ The adaptable feature of the table, the expandable fins, creates a grinding metal on metal sound when moved, adding to this poetical sensory experience.

Maison de Verre - between furniture and architecture Throughout the Maison de Verre there is many examples of where architecture becomes furniture and furniture becomes architecture. Kenneth Frampton questions whether ‘the Maison de Verre be looked on as architecture or as a furnishing operation on a large scale.’ The premise that the Maison de Verre is an elaborate furnishing devise can be understood through its insertion into and underneath the existing 31 Rue Saint-Guillamoun. This piece of furniture allows living to take place within. As touched on before the wardrobes on the second floor acts as a transitional space between gallery and bedroom. They provide both a service enforce privacy, provide storage and act as an air lock and insulator. The wardrobes create a poetic dialogue the between the traditions of old and the modern use as a partition. On the other side of the mezzanine sitting in front of the perforated metal grid screening the Grand Salon are a number of bookshelves that act as a balustrade as well as screening device. Similarly these can be found on the first floor of the Grand Salon protecting the user from falling down the grand staircase. This individual architectural bookshelf unit raps around two columns supporting the ceiling above and provides a rail to support ones weight, the structure of the bookshelf rises up from below the floor and thus appears to be intertwined with the architectural and tectonic language of the building and thus the bookshelf seems to remove its self from the normal furniture typology.

Figure ... Book racks and shelving units sheltering the mezzanine from the Grand Salon

There are obvious tectonic and material similarities between Chareau’s Modern Movement furniture and the Maison de Verre, such as the table discussed above. However, a piece that has not been discussed in great detail – Chareau’s 1927 Mahogany and steel stool will form the basis of our discussion between architecture and furniture.

Futagawa, Y. Bauchet, B and Vellay, M. (1988) La Maison de Verre: Pierre Chareau, Japan: ADA Editors.

Chareau as a designer differs from Le Corbusier in the sense that Chareau, a bricoler, takes parts that were manufactured for ships and trains and assembles them much like a Dada collage to create a building, whereas Le Corbusier, a plastician, designs the formal expression of the Villa Savoye Le Corbusier as a ship. Dada, the European art movement of the avant-garde was a reaction to the art world, the idealism to create art that shocked by rejecting reason and logic. The architectural movement of the avant-garde could be seen to have parallels between Dadaism and it can be seen to have influenced the construction and design of the Maison de Verre. 83

Most of Chareau’s furniture focused on movement and adaption and thus seemed to have a dialogue with many of the transitional elements of Maison De Verre. The simply yet elegant mahogany stool on the other hand made of no moving parts was party to a different conversation- one of tectonics. The stool produced out of two distinct elements a concave wooden seat pan attached to a wrought iron T-shaped base, bent vertically and mirrored to create a platform restrained by two circular rods spoke more of tectonic contrasts. The comfort and richness of the mahogany was juxtaposed effortlessly with the slick cutting edge use of metal work. The sensory experience created by these opposing materiality’s very much mimics that of the desk for which the stool is paired. Another tectonic parallel can be draw here when considering the perceived contrast in age between the old and new elements of the stool and the Maison De Verre itself. The new metal work structure of Chareau’s inserted accommodation counters and supports the now annexed masonry loft apartment space above. In a sense it could be considered as richness elevated by modernity. The same duality is present with the stool where opposing materiality’s gives a heightened prominence to each other poetic qualities; the haptic intimacy of the ‘warmth’ of the mahogany being a salient one.

Figure ... Mahoganny Stool and Wrought Iron Stool Pierre Chareau, 1927 Chareau, stool, [Online], Available: http://therepublicofless.files.wordpress. com/2011/06/chareau-stool.jpg[16 Nov 2012].

The stool’s use of metal was considered contemporary not only in its aesthetic but also in it’s very existence. The huge surge in the use of metalwork seen in construction and other fields had not transferred into furniture design. Until the late 1920’s “The cold materials and aesthetics of industrial design belonged to the work place, not to the home.” (BLUE BOOK PAGE 153) It was only when the industrially produced car gained notoriety for its elegance and luxury did the perceptions of metal products begin to change. Chareau and Dalbet his metalworking collaborator jumped upon this change in society’s taste and started to experiment in this field. Their stool was in fact one of the first pieces of metal furniture. The perceived failure of wooden joinery to withstand the era of centrally heated spaces also furthered this cause. Yet the collaborators did not fully turn their back on wood rather they created ensembles, which took into account the needs of the material. The stool’s mahogany pan for example merely ‘sits’ upon its iron base allowing it to move and flex with whatever atmospheric conditions it encounters. Although the stool presence is owed a lot to the industrialisation Chareau’s design sensibility remained completely detached from such connotations. Instead along with Dalbet he remained a champion of craftsmanship and small-scale production. Chareau turned his back on the production of pristine smooth metal finishes instead favouring the scares of production highlighting the “creative partnership between the designer and the craftsman.” (BLUE BOOK PAGE 155)

Such a position was rather at odds with society, which began to embrace industrialised and the economic benefits mass-market production allowed. Subsequently Pierre Chareau should be classed as an architect of the elite producing bespoke pieces out of affluent materials and processes for a finite wealthy clientele. Interestingly Chareau’s writings were at odds with his practices “Architecture is a social art. It arises out of the mass of humanity; the architect can only operate if he listens [...]Those who have money are not the kind of people the architects can represent.” (Pierre Chareau, L’Architecture d’ Aujourd’hui, no. 9, Paris, September 1935, pp.68-69.) Such a position must be considered hypocritical when considering his bourgeois client list particularly Dr. Dalsace. Regardless of Chareau’s political position his ability to orchestrate the contrasts and harmonies between materials is undisputed. As mentioned previously many of Chareaus other pieces talk more to the fluid aspects of Maison De Verre. Where as the mahogany stool is part of a tectonic dialog talking more with the static elements of the house. Nonetheless there is an intrinsic relationship between the two.

Figure ... Mahoganny Stool and Wrought Iron Stool Pierre Chareau, 1927 Chareau, stool, [Online], Available: http://therepublicofless.files.wordpress. com/2011/06/chareau-stool.jpg[16 Nov 2012]. 86

This artistic notion is also repeated at a smaller scale with slender vertical elements of the wrought iron stool base. Across a backdrop of diffused light the stool’s form superimposes itself as an actor onto the theatrical stage that is the buildings façade. Unlike the more permanent structural elements the movability of the stool means it plays a more dynamic role across the day hence the theatrical rather than the static parallel of a painting. Figure ...

These static elements create an environment in which adaption could flourish-without the rigidity provided by the steel frame the movable partitions simply could not exist. Similarly the support provided by the metal stool allows for the flexibility and freedom of form for both the wooden seat pan and therefore the users.

Mahoganny Stool and Wrought Iron Stool Pierre Chareau, 1927 Chareau, stool, [Online], Available: http://therepublicofless.files.wordpress. com/2011/06/chareau-stool.jpg[16 Nov 2012].

At this stage the dualities in the use of light between the Maison De Verre and the Chareau’s stool cannot be understated. As with the grande salon the steel structure of the house is more than just a functional item. Though painted elaborately red it is their part in ‘painting’ the canvas of the glazed façade with their silhouettes against the light, which is most note worthy. In this instance “the structure becomes the décor.” (youtube video) Chareau’s use of matt finishes show him not to be a man of reflection but rather a man of shadow, this technique allows for a greater emphasis on his play with light. This is nowhere more evident than in the grande saloon of the Maison De Verre.

Although sometimes-considered blurred Chareau was very clear about his distinction between his movable furniture, permanent fixtures and fitting and his architecture. He believed this defined the creation of space ”With the architecture of containing space established, he divided it up, using built-in elements to create smaller areas and thoroughfares. The harmony and rhymes that thus emerged were completed by the movable furniture.” (BLUE BOOK PAGE 65) Therefore he created his architecture, set its constraints and allowed the user to manipulate their space based on these predetermined constraints. Although not typically considered adaptable furniture the fact that the mahogany stool is a stool and not a chair lends itself to a great number of uses. This by its very nature makes it an adaptable piece of furniture. Indeed the fact the stool undertakes both the role of a desk seat and piano stool in Masion De Verre give credence to this view.

The tectonic dualities of the stool also make it ideal to sit amongst varied contexts. The mahogany seat pan means it can sit comfortably amongst the more ‘warm’ and intimate spaces of the house. On the same hand the metallic base of the stool means it also fits seamlessly into the more functional ‘machine’ like areas of the house. This is achieved while at all times maintaining a seamless and contemporary aesthetic befitting to such a piece of craftsmanship. One way to analysis the relationship between the stool and Maison De Verre would be to consider their separation. If the stool and the other tectonic elements that were forever casting silhouettes night and day were removed then the space would be severely disadvantaged. Similarly if the stool were to be removed from Maison De Verre it would lose a great deal. In this instance the interconnectivity between Chareau’s architecture and furniture is without question. To further our understanding of this relationship between Chareau’s furniture and architecture we decided to investigate the mahogany stool further through drawings and models. As one of Chareau’s least known pieces of furniture little information was publically available on the stool. As such the first step was to try to ascertain the dimensions of the piece of furniture. This was achieved through a technique to measure photographs using a visual scale factor against a known length in the case of the stool the overall width. This allowed the all the elements of stool to be draw and then modelled.

In order to verify the measurements a perspective view of the digital model was aligning to that of the photograph allowing the form and proportions to be checked against the original design. Although a very useful tool to quickly visualise and gain a basic grasp of a design, digital 3D models are simply no substitute for the quality and richness of a physical model. Too often a pieces subtleties become diluted and the original design intent becomes lost into the pixels of a 2D screen. We therefore decided to make a prototype replica model of Chareau’s distinctive 1920’s stool. The seat pan of this 1:5 model was produced using a laser cutter to cut the profile of stool out of 3mm plywood pieces. These profiles were then glue together to create an extrusion of the profile; which formed an accurate representation of the seat pan at 1:5. The base of the stool originally made of wrought iron was produced using 2mm acrylic. To create the distinctive orthogonal geometry of Chareau’s stool the acrylic was heated and bent to right angles using a hot wire line bender.

Not only did this create an exact scaled replica of the original design but through the use of heating and bending the material to the desired form the original foraged metal working process was also scaled and replicated. Having a physical model of the stool was an effective tool for gaining an appreciation of form; however at 1:5 it was felt the scale was to small to gain that full understanding of form. Time constraints and the desire to experiment with rapid manufacturing techniques lead us to produce this larger prototype with a powder Zcrop 3D printer. This allowed us to accurately and quickly produce a replica of the stool at the 1:2.5 model scale. Using this form of production also meant that the digital 3D model produced earlier could be reused for this task. The speed an accuracy of the production of the white 3D printed stool created a great tool to study the form and play of light and shadow the piece created. Our understanding of the pieces proportions was greatly improved by this model. However, given that the printer had produced a â&#x20AC;&#x2DC;monotectonicâ&#x20AC;&#x2122; object. Much of the richness and design intelligence of the Chareauâ&#x20AC;&#x2122;s piece had been lost. The only way to gain a true exposure to radiance of the tectonic contrast between the juxtaposition of metal and mahogany was lost to experience the stool at 1:1 as it was originally designed for.

Due to the scarcity of the piece and the fact not all members of the group could gain access to Maison De Verre meant making 1:1. Model ourselves was the only option. . This would provide a perfect opportunity to gain an unrivalled understanding of the stoolâ&#x20AC;&#x2122;s true 1:1 visual and haptic qualities Creating the full sensory experience as Chareau intended. Figure ... Measuring and marking the steel sheet in preparation for cutting Hallett, Hathaway & Stanforth

This would also presented a chance to develop a number of traditional craftsmanship skills as well us to try and mimic Chareauâ&#x20AC;&#x2122;s design process through making. This in theory may give us some insight into how to approach the production of our own piece of furniture later into the project.

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CAD dimensions used for marking up the steel sheets prior to cutting, bending and welding.

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Project : Pierre Chareau Stool Scale: 1:10 @ A4

Prior to visiting the Blacksmith we used CAD to dimension the stool base allowing use to quickly marked out the steel sheet pieces once we arrived at the forge.

Figure ... Furnace with Screw Press in Forground Hallett, Hathaway & Stanforth

A piece of sheet steel 10mm thick was selected for the stool base, this was 5mm difference to the dimension we had on our drawings (Figâ&#x20AC;Ś.) this was due to the steel sizes available, we recalculated the lengths of steel needed and then marked the steel out using a tape measure, a right angle and chalk. Once the steel was marked out, the screw press was used to bend the metal to right angles (Figâ&#x20AC;Ś.). This proved difficult, as the manpower and the size of the bit did not provide the moment and the force required to bend the metal. A second bit was used which was wider, thinking this would provide a better moment to manipulate the steel into shape, it did not.

Figure ... Screw Press in the Blacksmith Workshop Hallett, Hathaway & Stanforth

Figure ... Furnace with Screw Press in Forground Hallett, Hathaway & Stanforth

As the steel had not bent, it had infact bent the screw press bit, the bit was heathed to straighten it back to its oringinal form. The Steel sheet was then heated in the furnace, bent using the screw press and then immediately cooled in water.

Figure ... Bent Steel piece being cooled in water following being heated and then bent with the Screw Press. Hallett, Hathaway & Stanforth

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Once the steel was red hot, it was taken out of the furnaces, handled with gloves and placed on the screw press. The screw press was rotated and the bit bent the steel into a ninety-degree position, this was not an accurate process, it was calibrated by eye.

Figure ... Bent Steel piece left outside cooling Hallett, Hathaway & Stanforth

Once the main structural support was bent into position it was left to continue to cool outside, while the remaining steel pieces that would be welded to this piece were measured. .......hand and the craft quote. Once the steel was approximately ninety degrees it was measured with a right angle, this process continued until the angle was nintey degrees.

Figure ... Heated steel placed on screw press bending

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Figure ... Hammering the Bent Steel piece with mallett into the correct nintey degree angle Hallett, Hathaway & Stanforth

The two horizontal pieces of the â&#x20AC;&#x2DC;t-shapedâ&#x20AC;&#x2122; profile were measured, cut and then placed next to the bent leg for marking out. These pieces were then arc welded together. While arc welding the first pieces of steel together a number of problems occurred as this was the first welding experience it was difficult to find the correct voltage allowing the flux to give off vapours to create the shielding gas providing slag necessary for protecting the welded area from atmospheric contamination.

Figure ... Heated steel placed on screw press bending

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Figure ... Marking out the â&#x20AC;&#x2DC;t-shapedâ&#x20AC;&#x2122; base in preparation for welding Hallett, Hathaway & Stanforth

Figure ... Measuring the centre point of the base to ensure correct allignment for arc welding Hallett, Hathaway & Stanforth

Figure ... Bent Steel leg and separate base clamped for arc welding Hallett, Hathaway & Stanforth

Figure ... Close up of steel leg bent to the correct nintey degree angle Hallett, Hathaway & Stanforth

Upon completion of the welding an angle grinder was used to remove the excess slag (residue from the flux) (Figâ&#x20AC;Ś). This proved to be time consuming and upon further research alternative welding techniques such as Gas Metal Arc Welding provides a quicker overall method.

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Series of images showing both the arc wleding and the angle grinder removing the excess slag

The welding process for the majority was a one man process, however it occasionally called for two people.

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Figure ... Marking out the connection holes for the stool pan to join to the supporting legs Hallett, Hathaway & Stanforth

Following the welding of all the elements including the tubular steel supports, the connection holes were marked out using our simplified prototype stool pan. Three holes were marked out, drilled ready for the pan to be attached at a later time. The completed 1:1 stool leg allowed us to understand the craftsmanship involved in the process and also directly learn how to legs are made.

Figure ... The completed stool base Hallett, Hathaway & Stanforth

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Originally the stool’s seat pan was made out of mahogany. However, mahogany is considered an at risk species of timber. As such international trade sanction have drastically restricted its supply and availability. (Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) http://www. cites.org/eng/news/pr/2003/031111_mahogany.shtml Therefore sourcing new or reclaimed mahogany proved difficult and economically unviable. A new strategy of manufacture had to be devised to produce a replica of Chareau’s stool. Another factor we had to consider was the workshop facilities available to us; this limited our choice of production methods. Given the resources available slow grown pine was selected as the most suitable material to replicate Chareau’s stool. As mentioned originally the seat pan would have been fashioned out of one single piece of wood however due to the wide dimensions of the stool acquiring a single piece of wood to the desired dimensions was not possible. Instead lengths of slow grown pine were chosen these would be cut to size and glued together to form a single composite piece of wood. Figure ...

This fabrication approach would also make achieving the desired shape of the seat pan more feasibility given the limited workshop resources available.

Exploded axonometric of original and current fabrication methods. Hallett, Hathaway & Stanforth

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Taking the previously ascertained dimensions of the seat pan the most suitable sections of pine were acquired. These were sourced as 90mm x 70mm sections already cut to lengths of 480mm. As we needed to produce a seat pan depth of 300mm it meant there would be three deeper sections of wood and a single smaller one at the end. As we wanted the aesthetic to match the original as much as possible the decision to trim the size to each of the pieces of wood to give a standard width to each element to be bonded together. This was intended to create a regularity, which would limit the visual impact of the joints of the seat pan. The use of a table saw set at standard width of 75mm would help to ensure the visual consistency of the individual pieces. The use of repetition and minimising visual joints are both approaches Chareau advocated in his work. As such even though the method of production differs from that of the original stool its embodied values remain consistent. As the seat pan is formed from a number of elements the strength of the bond between the elements is crucial particularly when considering itâ&#x20AC;&#x2122;s primary function is to take a persons weight. A simple glued butt joint could have been used to assemble the seat pan however over time the bond may have failed against the downward force applied by its user. Therefore a dowelled butt joint was considered the most appropriate joinery method. The additional reinforcement provided by the wooden dowels pegs adds significant strength while remaining completely discrete-inkeeping with Chareauâ&#x20AC;&#x2122;s ethos. 114

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In order to reproduce the profile of the original stool a series of curves would need to be cut into the sections of pine. The stoolâ&#x20AC;&#x2122;s seat profile was therefore drawn and laser cut to create a template, which could be used to accurately mark the separate elements, which would form the seat base. A band saw was then used to cut the curved profile into the wood. The decision to regularise the widths of the pine elements was fortunate as it meant the pieces became shallow enough to fit through the band saw. Even so the depth of the wood meant the saw was operating at the limit of its tolerance. As such the process was a slow and time consuming. 116

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As bandsaws are not ideally suited to cutting curved paths the profile was oversized to mitigate the accuracy of the cutting process. The curved profiles would then be perfected post-fabrication. As the positions of the dowel pegs were considered from the outset the laser cut template was produced with the dual purpose of performing as a jig. The 6mm diameter holes allowed dowel positions to be drilled accurately and as consistently as possible. This is important as the holes must align accurately otherwise the elements may twist when assembled together. The drill bit was marked to limit the depth of the hole to half a dowel peg. The adhesive used to bond the pieces together is a polyurethane glue PU â&#x20AC;Ś. Compound glue. When applied to a wet surface it produces a expandable foam adhesive which fills gaps and forms an extremely strong bond. This was important as it meant it would fill any unwanted voids and gaps created in the stoolâ&#x20AC;&#x2122;s joinery. Its tanned colour and ability to be sanded and stained meant it was very suitable for woodwork joinery. As apposed to PVA based wood glue which waterproof nature repeals stains and finishes.

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Once all bonding surfaces were dampened adhesive was applied, dowel pegs inserted and the pine section connected together. To ensure a tight joint between each of the elements the seat pan was then placed into a clamp jig and compressed for 24 hours to allow the glue to cure.

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Having successfully bonded the seat pan together the next stage was to smooth the irregularities in the joinery between its timber elements and finalise the seatâ&#x20AC;&#x2122;s curved profile.

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Running the composite wooden piece through a planner thicknesser machine removed a small amount of uneven material and produced a level base. The curved profile on the top of the seat pan was refined using sanders. To remove large amounts of material a belt sander with a course grade of paper was used initially. As the curve neared the desired profile a finer grade of paper was applied by hand to give a smoother finish. To aid in the accuracy of the finish a number of jigs were produced on the laser cutter. These 1:1 pieces of plywood represented the negative space of the seat pan and as such could be used as a guide to match against the piece of joinery to check its form.

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The splayed side edges of the seat pan were then cut using an angled table saw. As the stool was now to the correct profile the edges needed to be sanded to a chamfer. A final course of sanding was then undertaken to prime the wood ready to have a finish applied.

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This stage of the production of the seat pan was the most enjoyable and rewarding of the production stages. There is no greater way to understand materiality than to work with a material by hand. It’s tactility, strength, & weakness become instantly apparent. What is possible out of metal is not possible out of wood. Branscusi a sculpture of Chareua’s time aptly articulated this material individuality: “You cannot make what you want to make, but what the material permits you to make […] Each material has its own life.” Quoted by Dorothy Dudley, ‘Brancusi’, Dial 82 (February 1927), p 124. Understanding this sensibility has only been possible through the production of this 1:1 prototype. The final task to complete the assemblage of the stool was to join it two distinct tectonic components. Chareau’s simple use of screws in pre-tapped holes made this detail far more humble than most found on his other more elaborate works.

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Compared to the rapid manufacture of the smaller prototype of Chareau’s stool a great deal more was gained through the production of this full-scale replica. Creatively we had to devise strategies of production in light of our available resources we also satisfied our innate haptic curiosity. Further more we activated another sense the Finish craftsman Wirkkala talks of the ‘eyes of the fingertips’ and how they “see movement and the continuous emergence of geometrical forms” Quoted by Juhani Pallasmaa, ‘The World of Tapio Wirkkala’, Tapio Wirkkala Eye Hand and Thought Taideteollisuusmuseo. Werener Soderstorom Oy (Helsinki), 2000, p 21 In making the stool by hand we were therefore experiencing the same emergence of form as Chareau did some 80 years previously. We were seeing through Chareau’s eyes-his hands. Taking the teachings of the philosopher Heidegger would go as far as to suggest we were going beyond merely the visualisation of Chareau’s sights. “Everyone motion of the hand in everyone one of its works carries itself through the element of thinking.” In this sense The teaching of the philosopher Heidegger encourages us to suggest we were going beyond merely the visualisation of Chareau’s sight. “Everyone motion of the hand in everyone one of its works carries itself through the element of thinking.” In this case it wouldn’t be unreasonable to propose that through the process and craft of making we were able to ‘see’ Chareau’s thoughts. “Eyes of the skin”

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