"Horta successfully combines novelty
with tried-and-tested methods to realize
a work potent with fresh beauty and
infused with reason and harmony."
VICTOR HORTA'S V I S I O N
Art Nouveau, Fusion of Function and Form
KATE SWOFFORD
C
WORKING AT T H E TURN O F T H E CENTURY, T H E BELGIAN VICTOR HORTA WAS O N E O F ART N O U VEAU'S PREMIERE ARCHITECTS AND D E S I G N E R S . T H E GOALS O F HIS WORK ARE REALIZED MOST
S U C C E S S F U L L Y IN T H E T O W N H O U S E S HE CREATED. PRACTICALITY AND T H E A E S T H E T I C S B L E N D
SEAMLESSLY T O G E T H E R , RESULTING IN B U I L D I N G S SIMULTANEOUSLY REVOLUTIONARY IN T H E I R
INNOVATION AND CLASSICAL IN T H E I R EMPHASIS ON HARMONY AND ORDER. AS CHARACTERISTIC
O F ART NOUVEAU, T H E
FIRST S E L F - C O N S C I O U S L Y MODERN
STYLE O F A R C H I T E C T U R E ,
HORTA
STRESSED O R G A N I C FORMS IN D E S I G N AS WELL AS STRUCTURE. HE C O U N T E R B A L A N C E D T H E INHERENTLY STATIC AND R I G I D NATURE O F T H E E D I F I C E WITH NATURAL, CURVING SHAPES TO RENDER T H E H O M E MORE APPEALING TO ITS R E S I D E N T S .
F U R T H E R M O R E , HORTA AND HIS CLIENTS
SAW THEIR ASSOCIATION WITH ART NOUVEAU AS A R E F L E C T I O N O F T H E I R ULTRA-LIBERAL, PROGRESSIVE POLITICAL VIEWS. IN MANY WAYS, VICTOR HORTA'S WORK REPRESENTS T H E PINNACLE O F
ART NOUVEAU, NOT SIMPLY IN ITS REJECTION O F ARCHITECTURAL C O N V E N T I O N S AND ITS EMPHASIS ON I N T E G R A T I O N , BUT ALSO IN ITS RESPECT FOR T H E MERIT O F CLASSICAL WORKS. T H I S C O N C U R R E N C E IS AT T H E HEART O F VICTOR HORTA'S S U C C E S S .
Towards t h e e n d o f the n i n e t e e n t h century, the architec-
O n e can d i s c e r n t h e i n f l u e n c e o f I m m a n u e l Kant's con-
t u r e o f V i c t o r H o r t a r e v o l u t i o n i z e d the established styles o f
cept o f "free beauty" i n the n a t u r e o f art n o u v e a u :
B e l g i u m , spreading the style o f art n o u v e a u t h r o u g h o u t
t h e w h o l e o f Europe. H i s p u l s i n g , organic designs heavily
The poetic, religious, didactic, or patriotic ideas that are con-
contrasted w i t h t h e r i g i d i t y o f the o t h e r b u i l d i n g s , yet, be-
nected with the representation
cause h e was s u c h a s k i l l f u l architect a n d c r a f t s m a n , H o r -
attention
ta's b u i l d i n g s were s o u n d , logical, a n d s u p r e m e l y
appearance
func-
t i o n a l . Perhaps the finest examples o f t h i s
sought-after
c o m b i n a t i o n are h i s Brussels t o w n h o u s e s .
Horta's
sional
of the observer from
of human figures diverted
the
what was truly artistic:
the
of shapes and colors on a plane or
three-dimen-
space.
2
tri-
u m p h o f f u s i n g a r c h i t e c t u r a l s t r u c t u r e w i t h the superficial
style o f art n o u v e a u extends to the i n d i v i d u a l psychological
r e a l m , i n w h i c h the client's p a r t i c u l a r personal needs c o m b i n e seamlessly w i t h a n i n n o v a t i v e a n d u n i q u e aesthetic
element.
A r t n o u v e a u extended t h i s superficial a n d aesthetic beaut y — a r t for art's sake. T h e style is m a r k e d for its organic
inspiration, curvilinear forms, and rejection o f rigidity,
partially facilitated b y the n e w i r o n t e c h n i q u e s at the t i m e ,
especially t h a t w h i c h allows for easy a m a l g a m a t i o n w i t h
glass. T h i s m e t h o d is evident i n t h e Royal Greenhouses
A s a style, art n o u v e a u o r i g i n a t e d i n Paris t h r o u g h craft
work.
I t was n o t wide-spread or p o p u l a r b u t s i m p l y a n
Laeken
of
i n Brussels (1875) t h a t A l p h o n s e Balat b u i l t w i t h
H o r t a as h i s u n d e r s t u d y .
3
I n t h i s w o r k , one can detect t h e
a n t i c i p a t i o n o f the c o n t i n e n t a l craze t h a t was s o o n to fol-
i n f l u e n c e o n H o r t a ' s later w o r k s i n its r h y t h m a n d har-
low. I t was n o t u n t i l H o r t a t h a t w h o l l y art n o u v e a u archi-
mony.
tecture was c o n s t r u c t e d . T h e d o m i n a n t a r c h i t e c t u r a l style
B e l g i u m , g a i n i n g valuable i n s i g h t i n t o t h e practices o f a
Balat was t h e royal architect to K i n g Leopold I I o f
o f the t i m e i n B e l g i u m was Eclecticism. D i f f i c u l t to define
highly skilled draftsman.
b y a n inveterate distinctiveness, Eclecticism's u n i f y i n g fea-
t o m e s h m a t e r i a l s effectively, b e c o m i n g a n exceptionally
t u r e was t h a t i t c o m b i n e d characteristics f r o m other styles
adroit engineer.
(i.e., classical, Baroque, Gothic) to realize a n a r c h i t e c t u r a l
o f s k i l l a n d i n n o v a t i o n to spearhead a n a r c h i t e c t u r a l move-
p o t p o u r r i c o n t a i n e d i n one b u i l d i n g .
ment.
Furthermore, new
F r o m Balat, H o r t a l e a r n e d h o w
H e possessed the necessary c o m b i n a t i o n
m a t e r i a l s a n d t e c h n i q u e s dissolved t h e separation b e t w e e n
i n t e r i o r a n d exterior, a n d t h u s t h e coherence o f t h e classi-
B o r n to elderly parents i n 1861, H o r t a ' s heritage seems to
cal style.
A r t n o u v e a u can be considered a r e a c t i o n to
have i n f l u e n c e d h i s artistic greatness, for he " c o m b i n e d
Eclecticism, w h i c h is often referred t o as a " d e g r a d a t i o n o f
the F l e m i s h i m a g i n a t i o n i n his m o t h e r ' s t r a d i t i o n w i t h t h e
styles."
L a t i n h a r m o n y o f h i s father's Spanish r o o t s . "
1
A r t n o u v e a u offered a c o m p r e h e n s i v e style, n e w
4
He lived i n
a n d different, w i t h o u t f a s h i o n i n g the m i s c e l l a n y for w h i c h
Paris, b u t resided f o r m o s t o f his life i n Brussels. H e al-
Eclecticism was c r i t i c i z e d . However, i t is d i f f i c u l t to i m a g -
ways c l a i m e d h i s m o s t p o w e r f u l i n f l u e n c e was
i n e art nouveau's p o p u l a r i t y w i t h o u t t h e f o r e r u n n e r o f
w a l k i n g a r o u n d t h e streets o f Paris a n d s o a k i n g u p t h e ar-
simply
Eclecticism, since t h i s style generated a n a t m o s p h e r e o f
creativity a n d inventiveness i n w h i c h art n o u v e a u c o u l d
thrive.
Because art n o u v e a u is one o f t h e styles m o s t closely associated w i t h the idea o f a " G e s a m t k u n s t w e r k "
(a total
w o r k o f art), i t was expected t h a t the artist seize considerable c o n t r o l over the art piece.
Even the f u n c t i o n a l ele-
m e n t s o f a w o r k s h o u l d be aesthetically pleasing a n d decorated. T h i s decadence p r o v i d e d s i g n i f i c a n t artistic license,
w h i l e n e w m a t e r i a l s a l l o w e d for m o r e creative c o n t r o l .
H o r t a was o f t h e m i n d t h a t art s h o u l d permeate all aspects
o f life, a n d t h e style h e f o u n d i n art n o u v e a u m e s h e d beaut i f u l l y w i t h t h i s a t t i t u d e . However, critics h e l d t h a t art n o u veau confused practical value a n d aesthetic value, t h u s corrupting both.
BALAT'S M I X I N G O F M A T E R I A L S , S U C H AS I R O N A N D C L A S S ,
W O U L D LATER I N F L U E N C E HORTA'S STYLE.
ELEMENTS
FALL
2010
T h i s e m p h a s i s o n personal experi-
I t was i m p o r t a n t t o H o r t a for h i s b u i l d i n g s to have a con-
ence as opposed t o established m e t h o d s is p a r t i a l l y respon-
t i n u o u s flow o f space w i n d i n g t h r o u g h a discreet b u t ex-
sible for the organic a n d o r i g i n a l n a t u r e o f Horta's style.
posed f r a m e w o r k , w h i c h was nevertheless decorated.
c h i t e c t u r a l diversity.
The
f u n c t i o n o f a piece d i d n o t i m p e d e o n its beauty, a n d vice
Public c o m m i s s i o n s l i k e m u s e u m s a n d d e p a r t m e n t stores
versa. A sense o f u n i f i c a t i o n w i t h i n a s t r u c t u r e was i m -
were close to Horta's heart, as they b r o u g h t beauty to t h e
perative for H o r t a , for a h o u s e was supposed to facilitate
masses. T h e best example o f t h i s is the Maison du
l i v i n g ; i t c o u l d n o t be a c l u n k y a n d a w k w a r d a r r a n g e m e n t
Peuple,
a b u i l d i n g for m e e t i n g s a n d offices o f the Socialist Party
o f separate spaces.
"Horta was renowned for his ability to solve any
architectural quandary, whether it pertained to the
melding of materials, measurement, or weight ratio."
However, Horta's f u n c t i o n a l
I n s p i r e d by v a r y i n g sources a n d styles, Horta's designs do
c o m b i n e d w i t h h i s u n i q u e decorative ele-
n o t translate t o be i m i t a t i v e l i k e Eclecticism, b u t rather a
a n d the general labor force.
achievements
m e n t are m o s t evident i n t h e residences he designed, par-
delicate b l e n d o f t h e established a n d t h e avant-garde.
t i c u l a r l y his t o w n h o u s e s .
can detect Horta's classical t r a i n i n g at the academy as w e l l
U n f o r t u n a t e l y , w h a t rises fast is
soon to fall, a n d w h e n art n o u v e a u fell o u t o f favor after t h e
as h i s study u n d e r Balat.
t u r n o f t h e century, m a n y o f H o r t a ' s b u i l d i n g s i n Brussels
respect for balance,
were t o r n d o w n .
m a r k e d by h i s r a t i o n a l l y shaped superstructures.
One
I t shines t h r o u g h i n h i s stanch
s y m m e t r y , a n d h a r m o n y , a n d i t is
I n addi-
t i o n , the G o t h i c style h a d a n i n d u b i t a b l e i n f l u e n c e o n H o r T h e d e s t r u c t i o n o f H o r t a ' s w o r k s is a loss n o t o n l y to Euro-
ta's w o r k . H e was i n s p i r e d by t h e e x h i l a r a t i n g f e e l i n g o f
pean c u l t u r e , b u t especially to the w o r l d o f s t r u c t u r a l de-
u p w a r d p u l l characteristic o f G o t h i c structures a n d t h e
s i g n . H o r t a was r e n o w n e d for his a b i l i t y to solve any archi-
style's d y n a m i s m . T h e m o s t obvious a n d u n i q u e character-
t e c t u r a l quandary, w h e t h e r i t p e r t a i n e d to t h e m e l d i n g o f
istic o f Horta's w o r k is the prevalence o f organic shapes—
m a t e r i a l s , m e a s u r e m e n t , or w e i g h t r a t i o . Resourceful a n d
curvilinear and sinusoidal.
s k i l l e d , H o r t a u s e d these abilities to a c c o m p l i s h b e a u t i f u l -
Horta's (and the art n o u v e a u m o v e m e n t ' s ) organic shapes
ly designed features d o u b l i n g as f u n c t i o n a l pieces.
He
T h e m o s t notable o f all o f
is t h e "coup de fouet," lash o f t h e w h i p .
I t begins i n a
typically u s e d any c o m b i n a t i o n o f i r o n , stone, a n d w o o d ,
parabolic spiral, a n d before the l o o p is c o m p l e t e d , t h e l i n e
b u t t h e f u s i o n o f i r o n a n d glass is p a r t i c u l a r l y prevalent i n
curves i n before sharply flicking o u t . T h i s i m p o r t a n t m o t i f
h i s w o r k s , as the availability o f l i g h t is r e q u i s i t e i n Horta's
" s y m b o l i z e d a n a s p i r a t i o n , t h e object o f w h i c h was unclear
buildings.
a n d the i n t e n s i t y i n c o n s i s t e n t — a
fluctuating
aspiration
c o n t a i n i n g a t o u c h o f weariness a n d p e r p l e x i t y . "
A r c h i t e c t , i n t e r i o r designer, f u r n i t u r e - d e s i g n e r — t h e s e are
o n l y a few o f the titles w h i c h H o r t a c o u l d c l a i m .
b u i l d i n g s , especially
his townhouses,
I n his
everything—door-
k n o b s , air vents, r a i l i n g s , stained glass, a n d c u p b o a r d s —
was designed by H o r t a h i m s e l f . T h i s follows the art n o u veau n o t i o n o f t h e " G e s a m t k u n s t w e r k " i n w h i c h e v e r y t h i n g
has artistic value. T a k i n g o n a project for H o r t a e n t a i l e d a n
e n o r m o u s t i m e c o m m i t m e n t , so s o m e o f H o r t a ' s clients,
l i k e t h e Solvay family, became f r u s t r a t e d w i t h the l e n g t h y
b u i l d i n g process a n d t h r e a t e n e d to d r o p the c o m m i s s i o n .
6
Regard-
less o f the i m p l i c a t i o n s , the w h i p l a s h serves to create a
sense o f m o v e m e n t a n d vivacity i n Horta's w o r k s . T h e i n t r i n s i c stiffness
o f m e t a l is softened i n t o a d e l i g h t f u l l y
complex curvilinear f o r m .
T h i s d y n a m i s m allows t h e
w o r k to appear alive. However, H o r t a never i n c o r p o r a t e d a
direct or explicit i m i t a t i o n o f flora b u t was r a t h e r i n s p i r e d
by n a t u r a l f o r m s . T h i s subtle d i s t i n c t i o n lends his w o r k s
t h e i r u l t r a m o d e r n feel relative to t h e i r t i m e .
H e was n o t
p o r t r a y i n g n a t u r e b u t f e a t u r i n g its b e a u t i f u l tendencies i n
a n edifice t h a t connotes r i g i d i t y a n d inflexibility.
O v e r c o m e by t h e i n g e n u i t y o f Horta's designs a n d h i s reasonable a n d level-headed n a t u r e , they were c o n v i n c e d t o
W h i l e Horta's w o r k s boast exquisite artistry, they were n o t
yield.
devoid o f deeper psychological a n d even p o l i t i c a l p u r p o s -
5
es. H o r t a k e p t these issues i n m i n d w h e n h e designed h i s
t o w n h o u s e s , even t h o u g h t h e n o t i o n s o f "art for art's sake"
VICTOR HORTA'S V I S I O N
a n d Kant's c o n c e p t i o n o f "free beauty" were p r o m i n e n t at
H e successfully c o m b i n e s the necessary s t r u c t u r e o f t h e
the time.
b u i l d i n g w i t h characteristic art n o u v e a u style to efficiently
Schemes, shapes, a n d colors have t h e ability to
m i r r o r o r evoke c e r t a i n behavior. T h u s , the psychology o f
u n i t e the physical r e a l m o f the house.
t h e c l i e n t was affected by Horta's architecture a n d design.
b u i l d i n g is a n effective m e t a p h o r for t h e physical e l e m e n t
T h e exterior o f the
Keenly aware o f t h i s facet o f art, H o r t a t o o k great care a n d
o f the work.
p r i d e i n d e s i g n i n g his houses to i n t i m a t e l y f i t the lifestyles
f u n c t i o n o f a d e s i g n w i t h a n aesthetic e l e m e n t — w h a t is
H o r t a also successfully fuses t h e d e e m e d
actually pleasing to the eye a n d m i n d — t o m a k e the psy-
a n d requests o f h i s c o m m i s s i o n e r s :
chological aspect o f the h o u s e h a r m o n i o u s . F u r t h e r m o r e ,
The desire to carry out [the client's] wishes is one of the keys
to the understanding
of [Horta's]
works.
He was not so
much guided by the wish to express himself for he finds such
an affirmation
of the "ego" detestable, but rather it is the case
that he is fully aware of the genius and originality
thing he creates.
of every-
Without any doubt one reason for
H o r t a n o t o n l y u n i t e s the physical a n d m e n t a l spheres o f
t h e t o w n h o u s e b u t also creates a m a s t e r f u l c o n t i n u i t y bet w e e n these t w o c o m p o n e n t s so they fit together b r i l l i a n t ly; the h o u s e as w h o l e is i n t e g r a t e d i n appearance a n d
function.
showing
such a lack of eagerness to reveal his projects to the press is
Horta's
partly the respect he showed for his clients and their
House i n 1893.
and partly the effort he made to preserve the exclusive
acter of the creation that he had offered
privacy
char-
them.
first
townhouse
c o m m i s s i o n was
the
Autrique
A f r i e n d o f H o r t a ' s , A u t r i q u e was a Free-
m a s o n a n d , l i k e m a n y o f Horta's clients, a f o r w a r d - t h i n k e r .
H o r t a t o o k o n the project w i t h zeal a n d even l o w e r e d h i s
7
fees so t h a t w h i t e stone c o u l d be u s e d o n the facade—a
Such p r o f o u n d respect for h i s clients a n d his o w n w o r k
partly explains w h y H o r t a was s u c h a sensation d u r i n g his
t i m e . A c c o r d i n g to H o r t a , a h o u s e " s h o u l d n o t o n l y reflect
the life o f its owner, b u t also be its p o r t r a i t . "
8
A l t h o u g h he
s o u g h t to m e e t every feasible desire o f the client, h e m a i n t a i n e d clarity i n his w o r k s , as i n the classical t r a d i t i o n . H e
focused o n a few clear ideas a n d d i d n o t m a k e a r b i t r a r y
s t r u c t u r a l i n s e r t i o n s ; all h i s designs exude r a t i o n a l i t y a n d
purpose.
T h i s rationale extends to m u s i c .
Horta's f o r m s
have a r e p e t i t i o n a n d h a r m o n y t h a t r e m i n d one o f m u s i c ,
i n t h a t he derives s i m i l a r shapes f r o m a c o m m o n structure.
9
As n o t e d , H o r t a successfully c o m b i n e s novelty w i t h
tried-and-tested m e t h o d s to realize a w o r k p o t e n t w i t h
fresh beauty a n d i n f u s e d w i t h reason a n d h a r m o n y .
This
rationality, w h i c h was v i e w e d as s y n o n y m o u s w i t h m o d e r n i s m , appealed to t h e bourgeois w o r l d o f B r u s s e l s — t h e
class w h i c h c o u l d afford Horta's houses a n d t o o k interest
i n t h e m . O n e can n o t e h o w carefully H o r t a catered to his
clientele. F u r t h e r m o r e , the years l e a d i n g u p to the t w e n t i eth c e n t u r y were t h e h e i g h t o f s o c i a l i s m i n B e l g i u m , w h i c h
u s h e r e d i n a t i m e o f n e w p o l i t i c a l t h o u g h t about equality.
A n e n l i g h t e n e d bourgeois class s o u g h t o u t a n e w artistic
style to reflect t h e i r progressive p o l i t i c a l views a n d to separate themselves f r o m the conservative elite. As is the goal
o f t h e c l i e n t , w h e n a pedestrian w a l k s d o w n a B e l g i a n
street a n d notices one o f H o r t a ' s p r o f o u n d l y different art
n o u v e a u houses, he p r e s u m e s t h e o w n e r to be a f o r w a r d t h i n k i n g liberal.
feature w h i c h A u t r i q u e ' s b u d g e t c o u l d n o t i n i t i a l l y cover.
Funds were too l o w to p r o v i d e for l u x u r y a n d extravagance,
so H o r t a h a d to m a n a g e the project accordingly. H o r t a exh i b i t e d a n a m b i t i o u s a n d positive a t t i t u d e , since "whatever
t h e scope o f t h e b u i l d i n g , a n artistic effort b r i n g s o u t results."
10
A u t r i q u e m e r e l y needed a livable b a s e m e n t ,
a
c o n v e n i e n t s t a i r w e l l a n d hallway, a n d a n attached d i n i n g
a n d l i v i n g r o o m . Consequently, the l a y o u t o f the h o u s e is
"He successfully combines
the necessary structure
of the building with
characteristic art nouveau
style to efficiently unite
the physical realm of the
house."
q u i t e s m a l l a n d s i m p l e , yet i t revolves a r o u n d a r o o m y h a l l way g i v i n g the m o d e s t d i m e n s i o n s o f the h o u s e a n i n t e grated spaciousness.
Above all his o t h e r w o r k s , Horta's t o w n h o u s e s m o s t effec-
T h e neo-Gothic i n f l u e n c e is evident i n the facade o f the
tively convey the superlative f u s i o n o f f o r m a n d f u n c t i o n .
Autrique
House.
A l t h o u g h perhaps b u l g i n g a l i t t l e m o r e
V
ELEMENTS
: :
FALL
2010
t h a n a t r a d i t i o n a l a r c h , the entrance a r c h i n r e l i e f o f t h e
h o u s e was i n d i s p u t a b l y i n f l u e n c e d by the G o t h i c era.
The
a r c h is stouter t h a n the archetype G o t h i c a r c h , b u t i t is adj u s t e d to be m o r e subtle a n d to e q u i p the h o u s e w i t h a
h e i g h t e n e d sense o f w i d t h , a n e l e m e n t w h i c h i t is l a c k i n g .
I n a d d i t i o n , the depressed arches over t h e
second-floor
w i n d o w s c o n t r i b u t e to t h e G o t h i c feel o f the facade, as w e l l
as t h e t w o pilasters o n the r o o f w h i c h resemble m e d i e v a l
towers.
Naturally, H o r t a p u t s his o w n s p i n o n these ele-
m e n t s by a d d i n g the organic art n o u v e a u t o u c h o n t h e p i lasters, w h i c h c o r r e s p o n d to t h e decorative
component
b e t w e e n the w i n d o w s o n the t h i r d floor.
H o r t a d i r e c t l y tackles head-on the c o m m o n a r c h i t e c t u r a l
p r o b l e m w i t h t o w n h o u s e s - overhang.
W i t h such a tall
a n d n a r r o w b u i l d i n g , the spectator feels the h o u s e is h a n g i n g over h i m w h e n he looks u p at i t , a n i n t i m i d a t i n g sense
that is u n d e s i r a b l e i n a h o m e . Horta's answer is a c o n t i n u ously recessed facade: the stone starts t h i c k e s t o n the bott o m row, t h e n recesses first at the entrance a r c h , recesses
a second t i m e at t h e arches o f the second floor w i n d o w s ,
a n d a t h i r d t i m e i n t o t h e veranda o n t h e t h i r d floor. As a
result, t h e spectator senses t h a t the h o u s e grows w i d e r as
i t ascends.
I n t h i s piece w e see Horta's favorite c o m b i n a t i o n s o f materials: w o o d , stone, a n d i r o n . Each one serves its p u r p o s e
to a c c o m m o d a t e the d i m e n s i o n s o f t h e facade, a n d cons t r u c t i o n o f the house:
The role of stone is to mediate between the supporting
and the placement
surface
of vertical elements, as in the relief carv-
ing under the iron pilasters of the loggia, the weight of which
it appears to carry to the wall.
The iron is used for high,
supports, as in the small columns in the mullion
thin
windows."
H o r t a u t i l i z e s m a t e r i a l s so t h a t they c o m p l e m e n t each
other, a n d h e i g h t e n the appearance o f the edifice by corr e c t i n g t h e visual flaws o f its d i m e n s i o n s . H e discards several t r a d i t i o n a l rules o f architecture a n d , to a reasonable
VICOTR
degree, lets his creativity be t h e d r i v i n g force.
B R U S S E L S I N 1894.
Despite
Horta's p e r s o n a l artistic flair, t h e house suits A u t r i q u e ' s
needs, character, a n d b u d g e t w e l l . T h i s is H o r t a ' s u l t i m a t e
goal.
C o m p l e t e d i n 1893, w h e n H o r t a ' s t a l e n t was i n f u l l b l o o m ,
t h e Tassel House was H o r t a ' s second t o w n h o u s e c o m m i s s i o n , a n d arguably h i s m o s t f a m o u s w o r k . Tassel h i m s e l f
was a professor o f descriptive g e o m e t r y at Brussels U n i -
HORTA'S
ATIVE OF T H E
versity.
ART
HOTEL
T
H
E
SOLVAY,
CONSTRUCTED
O R N A T E B A L C O N I E S ARE
IN
INDIC-
N O U V E A U STYLE.
H e needed a m p l e e n t e r t a i n i n g space as h e was a
bachelor w i t h m a n y friends a n d t h r e w f r e q u e n t parties.
As a professor, his study was m e a n t t o be t h e m a i n r o o m
o f t h e b u i l d i n g , a n d h i s passion for p h o t o g r a p h y r e q u i r e d
a d a r k r o o m i n his basement.
J
VICTOR HORTA'S V I S I O N
Despite t h e restrictiveness o f its t a l l a n d n a r r o w d i m e n -
free to adapt c e i l i n g levels t o c o r r e s p o n d to t h e p u r p o s e o f
sions, t h e t o w n h o u s e is visually g r i p p i n g c o m p a r e d to its
the r o o m .
1 2
n e i g h b o r s . T h i s can be p a r t i a l l y a t t r i b u t e d to t h e extraordin a r i l y s t r o n g h o r i z o n t a l a n d vertical e l e m e n t s . A l t e r n a t i n g
A l t h o u g h created i n a p r o f o u n d l y n e w a n d e x c i t i n g style,
t h e color o f stones i n t h e facade is a u n i f y i n g h o r i z o n t a l
H o r t a d i d n o t forsake h i s classical t r a i n i n g . H e takes rec-
e l e m e n t , b u t t h i s also serves t o e m p h a s i z e t h e curve o f t h e
ognizable, accepted f o r m s l i k e t h e console, cornice, a n d
facade itself. T h e massive r o u n d e d feature o f t h e house,
l i n t e l a n d m o d i f i e s t h e m to h i s i d e a l .
f r o m t h e c u r v e d consoles o n e i t h e r side o f t h e entrance to
i n g t h e f r o n t d o o r e x h i b i t art n o u v e a u energy a n d H o r t a ' s
13
T h e consoles flank-
t h e i r o n a n d stone engaged c o l u m n s e x t e n d i n g to t h e roof,
organic i n s p i r a t i o n . T h e classical cornice p r o t r u d e s f r o m
is t h e c e n t r a l a n d m o s t p r o m i n e n t feature o f t h e piece.
the b u i l d i n g m o r e t h a n is t y p i c a l . T h e l i n t e l is n o t a large,
T h i s d e s i g n serves to u n i f y t h e piece vertically, flood t h e
r i g i d b l o c k , b u t rather sharply curves o u t to m e e t t h e
h o u s e w i t h l i g h t , a n d set i t apart artistically f r o m other ar-
r o u n d n e s s o f t h e facade above. Once again, t h i s is evi-
chitecture.
As i n t h e Autrique
House,
H o r t a constructs a
c o n t i n u o u s a n d w i n d i n g flow o f space t h r o u g h o u t t h e
dence t h a t H o r t a s i m u l t a n e o u s l y represents upheaval a n d
order.
house w i t h a layout emphasizing the integrated, whole.
T h i s feature lends t h e i n t e r i o r o f the residence its d y n a m i c
T h e c o l u m n i n t h e f r o n t h a l l s u p p o r t i n g t h e second story
a n d energetic quality.
is especially representative o f H o r t a ' s b l e n d i n g o f the func-
For a p o p u l a r bachelor, t h i s spa-
ciousness was desirable.
W i t h o u t a n oppressive lateral
staircase, t h e r o o m s are g r a n t e d m o r e l i g h t a n d H o r t a is
t i o n a l a n d t h e aesthetic.
I t is a necessary e l e m e n t to sup-
p o r t t h e b u i l d i n g , b u t i t is a piece o f art i n itself. T h e capi-
GLASS D O M E OVER T H E H O U S E VICTOR HORTA BUILT FOR H
AT 25 RUE A M E R I C A I N E , BRUSSELS, "li
ELEMENTS
'. :
FALL
2010
tal is a c o n g l o m e r a t i o n o f t w i s t i n g ,
curving
brackets
is m a d e o f the same stone as t h e c u s t o m - m a d e
sidewalk,
r e a c h i n g o u t to gracefully s u p p o r t the arch o f t h e staircase
so i t "seems l i k e a carpet u n f o l d e d before t h e e n t r a n c e . "
by tangents. O n e l i n e j u t s o u t m o r e t h a n the other to sup-
S e e m i n g to g r o w o u t o f t h e g r o u n d , t h i s feature is n o t o n l y
16
p o r t t h e b u i l d i n g at a c r u c i a l p o i n t . Yet t h i s necessary a n d
i n v i t i n g , as is desired o f a f a m i l y h o m e , b u t also allows t h e
f u n c t i o n a l design is d i s g u i s e d by the p u r e aesthetic o f t h e
b u i l d i n g to deviate f r o m t h e i n h e r e n t l y static n a t u r e o f
capital.
b u i l d i n g s i n general. A d d i t i o n a l l y , the cornice is n o n - t r a d i -
T h e v i s u a l c o n s t i t u e n t enhances t h e f u n c t i o n a l
component.
Horta's d e c o r a t i o n is n o t s u p p l e m e n t a r y to
t i o n a l , gently c u r v i n g o u t to echo t h e base o f the b u i l d i n g .
s t r u c t u r e ; i t is u n i m p o s i n g , however t r a n s f i x i n g i t m a y be.
A l l aspects o f the Tassel House are so b e a u t i f u l l y a n d caref u l l y c o m p o u n d e d t h a t the h o u s e seems to possess life:
A s i n t h e G o t h i c t r a d i t i o n , stone n o t o n l y serves a v i t a l
s t r u c t u r a l p u r p o s e , b u t is also u s e d as a decorative m a t e r i al. H o r t a u t i l i z e s the m o t i f o f a crossbow curve, b o t h i n -
The display
of skillfully
sculptured
stones with intermittent
and
iron elements,
carefully
metallic profiles of the first floor are interlinked
fully that the differentiation
bonded
riveted girders,
cade, l i k e the ebb a n d flow o f the ocean. T h e f o u r consoles
so success-
u n d e r the o r i e l (bay) w i n d o w s l i k e w i s e d e m o n s t r a t e t h i s
of material, form or color can no
longer be felt, in fact they seem to merge into tectonic
where they, as functions
ly interdependent
of support and separation,
as in a complex organic
verted a n d p r o t r u d i n g . T h i s produces a r h y t h m i n the fa-
the
concept.
These consoles a n d the i r o n brackets u n d e r t h e
values
i r o n pillars " i n d i c a t e the pressure created by the mass they
are close-
carry, w i t h o u t b r e a k i n g the d y n a m i c q u a l i t y o f t h e m a t e r i -
system. *
1
als u s e d . "
17
These organic schemes l e n d energy a n d move-
m e n t to t h e stone house.
T h e u p w a r d p u l l o f the facade
T h e concept o f H o r t a ' s t o w n h o u s e s b e i n g so i n t r i c a t e a n d
a n d the s t r o n g verticality o f the i r o n p i l l a r s over the w i n -
connected t h a t they are l i k e n e d to o r g a n i s m s r u n s a l o n g
dows e x h i b i t G o t h i c i n s p i r a t i o n as w e l l .
t h e same lines as t h e concept o f t h e " G e s a m t k u n s t w e r k . "
i r o n c o l u m n s a l l o w for m u c h w i n d o w space a n d s u p p o r t
E v e r y t h i n g i n t h e h o u s e is created t h r o u g h t h e filter o f art.
i m p o r t a n t b e a r i n g p o i n t s , a l l o w i n g l i g h t to i l l u m i n a t e t h e
t h e Tassel House, Horta's fame was sealed.
o p e n a n d r o o m y ; t h i s is very desirable w h e n l i v i n g i n a n
interior.
After
finishing
H e became the h i g h e s t p a i d architect i n Brussels at the
t i m e , so h i s clientele d r i f t e d towards the w e a l t h i e r f a m i l i e s
i n the city.
15
T h e Solvay f a m i l y s o u g h t o u t H o r t a to reno-
vate t h e i r spacious t o w n h o u s e .
A r m a n d Solvay a n d h i s
I n a d d i t i o n , the
Spaces flooded w i t h l i g h t n a t u r a l l y appear m o r e
u r b a n residence.
Horta's i n g e n u i t y a n d resourcefulness
were also developed by t h e c o n s t r u c t i o n o f t h i s house. A d h e r i n g to the idea o f the " G e s a m t k u n s t w e r k , "
H o r t a de-
signs c o l u m n a r radiators a n d hot-air vents
built
into
w i f e , h a v i n g i n h e r i t e d t h e Solvay i n d u s t r i a l c h e m i s t r y
benches, d i s g u i s i n g necessary u t i l i t i e s o f the h o u s e w i t h i n
business a n d m u c h w e a l t h , h a d a m p l e f u n d s to g r a n t H o r -
b e a u t i f u l designs.
ta a l m o s t c o m p l e t e artistic f r e e d o m .
T h e Solvay f a m i l y
was k n o w n to be l i b e r a l a n d to c o n s o r t w i t h t h e leaders o f
T h e Solvay House differs greatly f r o m t h e Tassel House, a n d
the Socialist m o v e m e n t i n B e l g i u m . A r m a n d ' s u n c l e , Er-
m a n y o t h e r o f Horta's t o w n h o u s e s , i n t h a t i t i n c l u d e s a
nest, was t h e e n t r e p r e n e u r t h a t l a u n c h e d the f a m i l y b u s i -
g r a n d d o u b l e staircase.
ness. H i s c o m p a n y i m p l e m e n t e d labor r e f o r m s l i k e h e a l t h
typical o f people w i t h the m e a n s o f t h e Solvays, t h e i m p o s -
a n d accident i n s u r a n c e , a n e i g h t - h o u r w o r k day, a n d p a i d
i n g staircase restricts the flow o f the h o u s e a n d b i n d s i t to
leave over forty years before i t was enacted by l a w i n Bel-
a strict s y m m e t r y . T h i s h o u s e does n o t flow l i k e the Tassel
gium.
H o w e v e r ideal for a f a m i l y a n d
T h e n e w l y renovated h o u s e was designed to re-
House, even t h o u g h H o r t a i n c l u d e d a shaft o f l i g h t i n t h e
flect t h e l i b e r a l pedigree o f t h e o w n e r s a n d t h e i r progres-
m i d d l e o f the b u i l d i n g to compensate for the m o r e r i g i d
sive p o l i t i c a l l e a n i n g s , m a n i f e s t i n Horta's
layout.
1 4
avant-garde
style. T h e Solvays needed a h o m e to a c c o m m o d a t e a f a m ily, e q u i p p e d w i t h a private office a n d e n t e r t a i n m e n t amenities.
T h e residents o f t h e Tassel House a n d t h e Solvay House
are
q u i t e different: a w e l l - l i k e d bachelor a n d a w e a l t h y f a m i l y ,
respectively.
As is h i s t r a d i t i o n , H o r t a creates t h e resi-
As n o t e d , H o r t a h e l d c o n t i n u i t y i n h i g h r e g a r d a n d w e n t to
dence to m i r r o r the people w h o live i n i t . Because o f the
great l e n g t h s i n t h e Solvay H o u s e to achieve t h i s quality.
central roles o f c u r v a t u r e a n d n a t u r e , t w o elements his-
T h e b o t t o m r o w o f stone o n the facade is specially adapted
torically associated w i t h w o m e n , art n o u v e a u as a style is
to gently curve i n t o t h e sidewalk. F u r t h e r m o r e , t h e facade
c o n s i d e r e d to be f e m i n i n e . T h i s is n o t to say t h a t w i t h i n
art n o u v e a u there c a n n o t be m a l e i n t i m a t i o n s . A p p r o a c h -
VICTOR HORTA'S V I S I O N
)
i n g t h e houses f r o m t h i s perspective, i t is possible to dis-
o f separate spaces, "a d i s t r i b u t i o n o f space w h e r e b y r o o m s
c e r n a s t r o n g m a l e aspect f r o m the Tassel House a n d f e m i -
o f different shapes a n d sizes, o n different levels, f l o w i n t o
n i n i t y f r o m t h e Solvay
one a n o t h e r a n d f o r m the elements o f a single
House.
Horta's r e l a t i o n s h i p w i t h
t h e Solvay f a m i l y was s t r e n g t h e n e d by t h e pleasant a n d
conception."
19
organic
T h e analogy o f Horta's c o n s t r u c t i o n s as
i n t e l l i g e n t w i f e o f A r m a n d Solvay; she u n d e r s t o o d m o r e
c o m p l e x o r g a n i s m s is revived.
t h a n h e r h u s b a n d the i m p o r t a n c e o f architecture i n m o d -
c o n t i n u i t y o f the i n t e r i o r , he designed a system o f s l i d i n g
ernism.
doors to enlarge t h e r e c e p t i o n r o o m s .
1 8
T h i s female i n f l u e n c e , c o m p o u n d e d w i t h the
To f u r t h e r facilitate the
f a m i l y aspect generally associated w i t h w o m e n , can ac-
"As is his tradition, Horta creates the residence to mirror
the people who live in it."
c o u n t for H o r t a d e s i g n i n g the facade o f the h o u s e w i t h
H o r t a c o n t i n u e s w h a t he h a d started at the Solvay House i n
subtle f e m i n i n e curves a n d t w o p r o m i n e n t p r o t r u s i o n s
respect to t h e h e a t i n g a n d c o o l i n g o f t h e house.
f l a n k i n g the centerpiece o f the w o r k — a n a r r e s t i n g depres-
s i g n e d a c o m p l e x system o f air vents a n d benches s e r v i n g
H e de-
s i o n . These features c o n n o t e the female body. T h e Tassel
as radiators. T h e m o s t f a m o u s o f all these c o n t r a p t i o n s i n
House o n the o t h e r h a n d , b e i n g o w n e d by a bachelor, need-
t h e H o r t a h o u s e is t h e g i l d e d c o l u m n t h a t is a radiator a n d
ed to convey p o w e r a n d vigor. T h e central a n d m o s t eye-
a s u p p o r t for t h e s t a i r w e l l above.
c a t c h i n g feature o f t h i s h o u s e is clearly the c u r v e d p r o t u -
a m i d s t m a r b l e , w h i c h generally allows areas to get fairly
berance
spanning
two
stories.
This
Sensibly, i t is placed
characteristic
cold. Beauty a n d f u n c t i o n i n t e r m i n g l e again i n the ribs o f
corresponds to m a l e s y m b o l i s m . Once again, t h e a t t r i b u -
m a r b l e c o l u m n s t h a t are u s e d for s u p p o r t a n d as r o o m d i -
t i o n o f gender i n these houses correlates to the personali-
viders.
ties o f the people w h o live there. H o r t a is subtly t a i l o r i n g
h i s designs to the clients.
I n order to m a k e t h e second floor l a n d i n g appear w i d e r ,
H o r t a adjusts the stairs so t h a t they get n a r r o w e r as they
I n 1898, H o r t a b e g a n w o r k o n his o w n h o u s e w i t h a n at-
ascend. I n the s t a i r w e l l b e t w e e n the second a n d t h i r d floor
tached s t u d i o . T h i s is o f p a r t i c u l a r interest w h e n s t u d y i n g
l a n d i n g s , H o r t a b u i l d s a stained-glass s k y l i g h t to flood t h e
H o r t a because one can d i s c e r n h i s o w n tendencies
h a l l w i t h l i g h t , so the c o n s t r i c t e d area is a l l o w e d a sense o f
and
character f r o m the residence; h e f o l l o w e d his o w n b e l i e f
spaciousness. As n o t e d , t h i s is a t e c h n i q u e H o r t a has u s e d
that a h o u s e s h o u l d describe its owner.
repeatedly, b u t he adds a n e w t w i s t i n h i s o w n house: a
Mushroom-like
arches a n d stylized b u t t e r f l y r a i l i n g s a d o r n t h e exterior o f
curvy m i r r o r is b u i l t i n t o t h e w a l l p e r p e n d i c u l a r to t h e sky-
H o r t a ' s house, perhaps Horta's clearest i m i t a t i o n o f w i l d -
l i g h t , so as to reflect the i n c o m i n g l i g h t , t h u s i n c r e a s i n g
life, i n d i c a t i n g h o w central t h e role o f n a t u r e is to h i s
the sense o f spaciousness even m o r e .
w o r k s . F u r t h e r m o r e , the i r o n w o r k o n the facade is especially delicate, c o n f i r m i n g Horta's m a s t e r
craftsmanship.
T h e i r o n c o l u m n s o n the veranda are m e t by slender a n d
gracefully t w i s t i n g i r o n brackets f r o m the c e i l i n g e x u d i n g
g e n u i n e verve.
T h e e n t i r e h o u s e is decorated to beautify, to increase t h e
f u n c t i o n a l i t y o f c e r t a i n features, a n d t o unify. T h e areas
t h a t H o r t a details m o s t m e t i c u l o u s l y are those situated at
the intersections o f r o o m s .
Rebelling against t r a d i t i o n ,
H o r t a does n o t create elaborate centerpieces o f the r o o m ,
As b e a u t i f u l as the exterior o f Horta's h o u s e is, the i n s i d e
is t r u l y b r e a t h - t a k i n g . As w i t h the Autrique
b u t r a t h e r diverts a t t e n t i o n to doorways, stairwells, col-
House a n d the
u m n s - u n i f y i n g elements. T h i s m e t h o d avoids r e n d e r i n g
Tassel House, t h e H o r t a h o u s e c a n n o t boast large d i m e n -
the h o u s e a m e r e c o m b i n a t i o n o f d i s t i n c t l y different spac-
sions.
However, u p o n e n t e r i n g the house, one is over-
c o m e by u n d e n i a b l e r o o m i n e s s .
es.
A n o t h e r u n i f y i n g e l e m e n t is the use o f color.
Horta
As for h i s clients, H o r t a
u t i l i z e s a w a r m color s c h e m e — r e d ochre, b u r n t orange,
m a n i p u l a t e d the elements o f his o w n h o u s e to play u p spa-
pale y e l l o w — t o c o m b a t t h e c o l d , h a r s h , n o r t h e r n l i g h t o f
ciousness. For example, t h e levels t h a t extend o f f the cen-
Brussels. F u r t h e r m o r e , walls o f a l i g h t e r color accentuate
t r a l staircase vary. A c c o r d i n g l y , t h e h o u s e evokes a f e e l i n g
spaciousness, w h i l e darker colors detract f r o m i t . F r o m
o f g r a d u a l i n t e g r a t i o n rather t h a n a c h o p p e d - u p assembly
s t u d y i n g Horta's house, one can detect t h a t h e designed i t
ELEMENTS
FALL
2010
as an escape from the urban life of Brussels, through its
the entablature: lintel - the key horizontal feature above a. door
suggestions of nature, the manipulation of space and light
designed for support
to battle the small dimensions of the house, and the invit-
14. Loze (28)
ing, soothing colors incorporated to comfort.
15. Borsi (61)
16. Borsi (64) .
Horta's architectural peers sought the same success that
made Horta the most expensive architect i n Brussels.
Horta owed his success to many factors: his innovative-
17. Ibid.
18. Loze (64)
19. Vinson (71)
ness, skill, diligence, his bourgeoisie clientele, and the fact
that the era was ripe for a new architectural style to become
popular. Horta's imitators did not possess the mix of creativity and logic, traditional and modern, that he did. I n
their attempts to outshine Horta's innovativeness and
bring it to a new level, their creations became garish and
gaudy. T h e classical elements of Horta's works were lost
upon them, and thus, the rhythm and harmony that gave
his designs s u c h beautiful aesthetics were gone as well.
Horta's subtle and delicate organic shapes gave way to the
jarring, arbitrary designs of his successors.
REFERENCES
Borsi, Franco and Paolo Portoghesi. Victor Horta. New York: Rizzoli, 1991.
Loze, Pierre. Belgian Art Nouveau: From Victor Horta to Antoine
Pompe. Ghent: Eiffel, 1991.
Moravanszky, Akos. Competing Visions: Aesthetic Invention and Social Imagination
in Central European Architecture.
Cambridge:
MIT, 1998.
T h e rapid decline of art nouveau was not entirely due to
the greed and over-ambition of new architects. Art nouveau was the first purposefully modern style, and the fashion-conscious nature of the style, ironically, facilitated its
own demise. A s architects after Horta frantically tried to
outdo their contemporaries with increasingly unorthodox
designs, art nouveau began to be seen as tacky. T h e style,
as well as Horta's imitators, soon faded. Despite the fleeting nature of art nouveau and Horta's popularity, modern
architecture is characterized by this initiative of forming
an intimate relationship between form and structure. I n a
time of mass production, political upheaval, and lack of a
definitive architectural style, Horta offered a style that was
fresh, complete, beautiful, and very personal.
ENDNOTES
1. Loze (11)
2. Moravanszky (106)
3. Loze (13)
4. Borsi (9)
5. Loze (64)
6. Borsi (11)
7. Loze (64-65)
8. Borsi (12)
9. Borsi (11)
10. Borsi (53)
11. Borsi (54)
12. Loze (77)
13. Console - a supportive bracket: cornice - the top component of
VICTOR HORTA'S V I S I O N
Vinson, Robert-Jean. "The House that Horta Built." Realites,
1973. 71.