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Stocklet House by Josef Hoffmann | Architecture Enthusiast |

Stoclet House designed by the Viennese architect Josef Hoffmann. Located in Brussels, Belgium and built between 1905 and 1911, it is a masterpiece mix of Art Nouveau and Art Deco, a large marble mansion with a series of perfect and asymmetric cubic forms. The Stoclet’s commissioned Josef Hoffmann, a leading figure of the Vienna Secession Movement and one of the founders of the Wiener Werkstätte—a Vienna-based community of visual artists. The mansion would become one of the rare examples of 20th century modern architecture praised for its unity of style. The German term Gesamtkunstwerk roughly translates as a "total work of art" and describes a creative process where different art forms are combined to create a single cohesive whole. It is one of the defining characteristics of the Jugendstil or the “Young Style” the German equivalent to Art Nouveau. Architect Josef Hoffmann’s goal in this project was to realize “a total work of art”, which meant designing the building to include all its contents, such as the garden, furniture and decoration. In this project, the marble-clad facade is like Wagner’s façades and because of its simplicity, it predicts the development of modernist architecture in which the whole of the complex was important: interior design, treatment of walls, furniture and floors. When banker and art collector Adolphe Stoclet commissioned this house he imposed neither aesthetic nor financial restrictions on the project. The house and garden were completed in 1911 and their austere geometry marked a turning point in Art Nouveau, foreshadowing Art Deco and the Modern Movement in architecture. The rigor of its exterior appearance is softened with artistic windows, which appear through the eaves line, the rooftop greenhouse and the metal sculptures of 4 naked men mounted on the tower that rises above the stairwell by the sculptor Franz Metzner. On the balconies are aligned balustrades with modernist ornaments. Referencing English country houses and at the same time to the baroque palaces, the three-story brick building began to be built in 1905. With a rectangular floor plan of 37x13m and a height of approximately 10m, with the tower that rises above the stairwell reaching 20m in height. The exterior detailing including the four bronze figures, the copper clad window facades and the copper corner accents bounding the white marble slabs that cover the façade give a sense of unity to the building Entry to the house is made through a pergola of square columns without capitals or bases. This austerity of form continues in the interior where the procession of square columns defines the axis that organizes the attached succession of rooms. Wherever you look, every aspect of life, from how you sit to what you see, has become an example of human ability to create a complete environment. The square columns lead nowhere, except to more rooms in which even the bathroom is perfectly tidy and surrounded with luxury, with a massive block of marble hollowed out to form the bath that rests on a raised platform in the middle of the space. The walls are covered with mosaics with representations of fish. Even the garden views reveal perfectly trimmed hedges, continuation of the axis towards a limited outdoor area. Within this order, there are moments of visual sensuality, such as the large murals or the double curved ceiling in the master bedroom, covering the wooden “nest” where the Stoclet’s slept. In front of the living room there is a “corner of seats” arranged around a fountain and made of marble. In all environments where curves exist, they are made more vivid within the context of the organizing orthogonal axis. The sensuality of the textures culminates with the large mural made by Gustav Klimt to decorate the walls of the dining room, the rooms are decorated with richness and luxury. Each surface of parquet, marble, onyx, or hardwood is itself an exercise in geometry conducted in a vertiginous variety of patterns. The music room with an organ set in a small stage was decorated with yellow and black marbles. The mansion enjoyed the comforts of the most advanced technology of the time, including electrical outlets installed in the marble wall, under the frieze, the dining room and a central heating system installed under the windows. The house is decorated in its entirety in the style of the Wiener Werkstätte, highlighting the friezes made by Klimt. In his drawings for the monumental frieze of Stoclet, Klimt conceptualized three mosaics, the Tree of Life, The Expectation and The Knight, which once connected stood for a complex metaphor. Total and complete luxury is what lives in Stoclet House, and it is important to be reminded of what made it so grand and beautiful in the first place. It is art which knew no bounds that made it so valuable ============================== Stocklet House by Josef Hoffmann | Architecture Enthusiast | #StockletHouse #JosefHoffmann #Jugenstil