Josef Hoffmann: Palais Stoclet, Brussels (B), 1905-

One of the most important examples of Brusselss Art Nouveau architecture,

inscribed on UNESCO World Heritage List since 2009, Palais Stoclet is Josef
Hoffmans masterpiece that still stands proud more than a hundred years after
completion. Private residence made for rich financier and art collector Adolphe
Stoclet was built with principle of total work of art, meaning that the authors
aspired to create aesthetical unity through custom design of each element, from
supporting beams to silverware. With this approach the final effect is one of
harmony and elegance that allows the occupants to truly grow together with the
house. With its complexity this building is an excellent example of building ideas
such as art, engineering, phenomenology, communication and politics, coming
together to create a truly remarkable architectural masterpiece.
Austrian architect Josef Hoffmann was one of the founders of the Wiener Werksttte,
artistic school of the Vienna Secession ad he was hired by Adolphe Stoclet to build
the house that covers both the need for permanent residence for Stoclets family
and the special space to exhibit works of art and gather the most prominent artist of
the time. Hoffmann was not given any limitation in terms of budget or aesthetics,
allowing him to achieve his goal of Gesamtkunstwerk by engaging numerous artist
including Koloman Moser, Gustav Klimt, Frantz Metzner, Richard Luksch, and
Michael Powolny. They worked together to design each segment of interior and
exterior architecture, decoration, furniture, functional objects, and the gardens and
their flower beds. The commission brought teams of cabinet-makers, goldsmiths,
silversmiths and other craftsmen to Brussels from Vienna, either to labour on site or
reassemble furniture and decorative art already designed and manufactured in
Austria. The methods used for designing this building announced the birth of
modernism and its quest for values that goes beyond classical theory, which was
already visible at the beginning of 20 th century with styles such as Art Nouveau, and
later Art Deco.
The building is situated on the Avenue de Tervueren, adjacent to the prestigious Rue
de la Loi and has nice views towards the south which is why Hoffmann formed a
block of rooms closing the house towards the street and opened the reception
rooms and halls towards the gardens. Hoffmann used squared paper for creating
modular structure of the project and for Palais Stoclet he used modules 3 by 3
meters which correspond to the structural scheme of the building but not to the
actual layout of the rooms because of many dividing walls. The ground floor is only
partly used by house owners, the rest are service rooms. The entrance is from the
front porch through a vestibule leading to double volume hall dominated by gallery
on the first floor. In this space an apsidal volume is designed to showcase a fountain
of a famous Belgian sculptor Georges Minne. To the side there is the great dining
room with frieze by Gustav Klimt, made with fragments of pottery, shell buttons and
metallic elements, of the famous cycle "The source of life. On the opposite side is
the study and next to the dining room is the breakfast room. From the hall there is
the entrance to the large music room, where many famous musicians performed.
On the other side is the salon where Mrs. Stoclet received visits. This layout creates

The dining room where

different arts come together to
create unique and visually
striking interior.

crossing axes that lead between main reception rooms and spread towards the
garden.
Particularly remarkable aspect of this project is the interior with its customized
details, astonishing artworks, sophisticated materials and fine workmanship. As
Hoffmann once wrote: "Unless we have arrived at a point where our houses, our
rooms, our cupboards, our furniture, our utensils, our jewels, our language and our
emotions reflect the spirit of our era in its simplicity and beauty, we are
considerably lagging behind our ancestors." It is truly successful in interpreting
architecture as aesthetically pleasing piece of art that aspires to transcend
mundane tasks by taking its occupants to a new dimension of beauty. Inside the
Palais Stoclet it is difficult to separate artworks from architecture as most of them
were carefully chosen and designed to enrich this particular space and transform
the atmosphere from usual to extraordinary. The art has become innate part of this
building, giving it its true character and value.
However, not every element of the architecture of Palais Stoclet comes from the
need for aesthetics. There are many constructional segments that had to be
incorporated in design and made their own requirements when it comes to the
visual effects. For example, the building was designed in 3 parts: the cladding, the
masonry shell and volumes of interior spaces. Volumes of the interior spaces do not
always corresponds to the masonry shell, for example, the rectangular entrance
would suggest that the volume inside is a box, however the ceiling inside is vaulted.
That implies that the volume cannot be read from the plan but has to be
experienced through sections and elevations. The bearing structure defines the box-
shaped compartments, but each compartment is reshaped to create new volumes.
Another aspect of engineering is the solution used for exterior cladding. Since the
house was built of brick, large marble slabs had to be hang on the walls and that
was achieved by using thin metal profiles. These gilded bronze frames have the role
of breaking the cladding in autonomous panels. It creates a striking effect where
load seems detached from the bearing structure and it represents breaking the
tradition of previous architecture and setting new standards for both construction
and aesthetics.
 From the plan we can see how
constructional raster does not
limit the architect in creating
volumes; axes intersect and
define main communication
lines.

Besides those two aspects, the building also communicates more subtle messages
and ideas to its occupants and visitors. Starting with its name Palais and
extraordinary exteriors with unique decorations, partially hidden behind hedge and
opened towards the garden, it is clear that it is not intended to be an ordinary
house. It indicates that this is not only a family house, but a residence for both
people and art. Upon entrance there is a contrast between straight geometrical
shapes and curved decoration that adds to the dramatic effect. The geometry
dominates the space almost creating the effect of a cage. The volumes of the rooms
are also designed to impress the visitor with its unexpected shapes and layout.
Even smaller elements such as windows have outstanding shapes that make them
appear as unique surfaces and create special atmosphere inside rooms. The
luxurious materials generously used for this building each have their own purpose
and contribute to the overall effect, without being exaggerated and pompous.
 From the street Palais Stoclet does not immediately look like a
private home, its characteristics such as marble faades,
portico at the entrance, landscaping, send the message that it
is not an ordinary house, but indeed a palace.
Politically, this house had a role of making a statement that the power and wealth at
the beginning of the 20th century had shifted from ruling dynasties and church to
the hands of bourgeois such as Adolphe Stoclet. At that time he was influential
enough to afford to build his own palace and to gather some of the most
prominent artists of the time to create his own art collection. However, it was also
an early sign of democracy, as he promoted art among high society, but also
provided glimpses of insight to those from lower classes, such as having a corridor
in front of the music salon from where his servants could see performances. Such
characteristics show the changes that were happening in the society of that period.
With its great design and influence, Palais Stoclet is one of the best examples of the
Art Nouveau and its aesthetic ideals of creating a harmonious and enriching spaces.
It has achieved the ideal of its author to design and engineer every part of the
building as a unique work of art that makes completely customized environment for
its inhabitants. Besides having high aesthetical values, it also represents innovative
engineering and construction work, while communicating messages about the time
it was built in, the lifestyle of the occupants, the subtle effects it has on visitors and
the ideas of its author.