Maison de Verre pg.

1
 LA MAISON DE VERRE
(Myth of Transparency/ Translucency and Light)
By Sohrab Ahmed Marri
"Modernity has been haunted, as we
know very well, by a myth of transpar-
ency." (Anthony Vidler)1
"I was never really interested in just
transparency. In fact, I was always
suspicious of it. The zone I feel very
comfortable in is the distance between
the translucent and the opaque."(Ste-
ven Holl)2
"In order to raise our culture to a
higher level we are forced, whether we
like it or not, to change our architec-
ture. And this will only be possible if
we free the rooms in which we live
from their enclosed character. This,
however, we can only do by introduc-
ing a glass architecture which admits
the light of the sun, of the moon and of
the stars, not only through a few win-
dows, but through as many walls as
feasible, these to consist entirely of
glass - of coloured glass." (Paul
Scheerbart)3
1 3
Anthony Vidler, The Architectural Uncanny,1992,
p.217
2
Steven Holl, The Technical Visual and Spatial Ef-
fects of Glass, 2009, p.97
ABSTRACT
In this paper, author will focus on
these three words transparency/
translucency and light which are
most prominent features of Modern
Architecture discourse. One should
not be confused with these three
words because these are interrelated
to each other, possessing the charac-
ter of glass material in architecture.
Maison de Verre “House of glass”
built in Paris between 1928-32, one of
the earliest example of modern archi-
tecture which exhibiting application
of glass material in a unique way.
Historically transparency/translu-
cency and light of glass material in ar-
chitecture have different meanings
and myths. An examination of this
structure in terms of transparency/
translucency and light effects will be
more interesting.
Paul Scheerbart, Glasarchitur, Berlin, Verlag der
Sturm,1914, translation by CC &Gr. Collins. p.11
Maison de Verre pg. 2
GENERAL OVERVIEW

The “La Maison de Verre” House of

Glass, built in Paris between 1928-32
designed by Pierre Chareau and his
partner Bernard Bijvoet, was com-
missioned by Dr. Jean Dalsace and
his wife, Annie Dalsace. They bought
the site, which is located in 31 Rue
Saint-Guillaume, Paris, France. It is
difficult to introduce Pierre Chareau,
is he Ornament list? Interior decora-
tor? Or simply an architect but his vi-
sionary thoughts can be seen in this
house. Dr. Dalsace and his wife want
to demolish old building and con- Figure 1 Maison de Verre translucent facade glowing at night
struct a new building. There was an
elderly tenant living in top floor re-
fuse to leave this house. Thus, it was “But I can’t imagine anyone who,
decided to demolish below two floors upon entering this house for the first
leaving the top floor and construct time will not be amazed at the space
new house underneath it. It was diffi- that unfolds before him on the other
cult task for Pierre Chareau to design side of this solid glass wall. For me,
a house on one hand in closed court this house – a unique space, an artic-
yard where you have very little light ulation of places blending and over-
source on other hand leaving the top laying one level upon another, without
floor. First the Pierre Chareau with visible divisions – has represented a
the help of louis Dalbet (Craftsman whole new experience. …. The en-
metal worker) used steel as a struc-
trance, with its acoustic transparency,
tural member to support top floor and
makes any remote corner of the house
to do rest of construction underneath
it. The house then constructed as a audible, and together with the unu-
modern glass house using Nevada sual feature of light filtered by the
solid glass blocks which glows at glass blocks, diffuse and quiet like in-
night and in day time illuminate the direct light, evokes an extraordinarily
interior when natural lights passes peaceful and airy atmosphere.” (Her-
through it. The gynecology practice man, 1996).4
was designed on the ground floor for
Dr. Dalsace and the family home
above.

4
Herman Herzberger, Lições de Arquitetura, 1996,
p.238

Maison de Verre pg. 3

Although Maison de Verre undiscov- Pierre Chareau thus successfully de-
ered in the history of Modern Archi- signed house for bourgeois family in
tecture for long time but after the which privacy of family life is re-
writing of Frampton in perspecta ar- spected.
ticle of 1969 its importance raised.
Its importance first realized, can be il-
lustrated in writings of;
The Maison de Verre has become a
powerful icon in the history of modem
architecture…….... The building has
been acknowledged as an icon of
modernism because of its use of pre-
fabricated glass block walling and its
open-plan interior furnished with
purpose-designed fittings and sophis-
ticated household gadgetry. While it
caused a stir at the time of its erection,
it was not until Kenneth Frampton's
"rediscovery" of Maison de Verre made
known in his perspecta article of 1969.
(Iain Borden, Jane Rendel, 2000)5
The Maison de Verre envelope was
constructed with translucent Glass
blocks in order to lighten the interior
space as well as retain the privacy of
house. As one of famous quote of Wal-
ter Benjamin:
“To live in a glass house is a revolu- Figure 2 Transparent glass at Main entrance of Maison de Verre
tionary virtue par excellence. It is also
an intoxication, a moral exhibition- In modern architecture the purpose of
ism, that we badly need. Discretion using of glass is for openness, clarity
concerning one's own existence, once and light. These things are carefully
an aristocratic virtue, has become adopted in free plan enclosed by a
more and more an affair of petit-bour- skin solid glass blocks. The envelope
geois parvenus” (Walter Benjamin)6 of Maison de Verre is almost entirely

5
Iain Borden, Jane Rendel, Intersections: Architec- transl. Edmund Jepcott (New York: Harcourt Brace
tural Histories and Critical Theories, 2000, p.91 Jovanovich, 1978), p. 180.
6
Walter Benjamin, ‘Surrealism,’ in Reflections: Es-
says, Aphorisms, Autobiographical Writings, Peter
Demetz ed.,

Maison de Verre pg. 4

composed of translucent solid blocks
but in some places transparent glass
used for different function like in
waiting area where the waiters can
see the natural beauty of back garden
and in servant quarter which enable
the servant to guard the house and
etc. In the early twentieth century,
glass function openness and clarity:
Figure 3 The Grand salon
“Expounds transparent glass as an in-
visible plane opening the interior to
light and air – revolutionary for the
domestic setting”
(Sigfried Giedion, 1928)7
Pierre Chareau himself defending his
work in these words
7 8
Sigfried Giedion, building in France, building in
Iron, Building in Ferroconcrete,1995, p.90
“I had to build between two party
walls, and the plans called for a divi-
sion 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 façades. ….. the fact that
the ventilation and heating problems
had been solved in a very special way,
the principle of doing away with win-
dows was adopted: there would be
only small openings, for security. At
this stage, giving up the idea of using
large glass blocks, we began looking
for elements which, once assembled,
could make unlimited surfaces, but
without creating the gaping holes of
large glass plates. It was out of the
question to think of new materials for
such a modest experiment. Among
those already existing, I choose Ne-
vada-type glass lenses as they seemed
to correspond best to the conditions of
the problem.” (Une Maison de Verre ,
1930) 8
Some writers argue that use of glass
and steel structure in Maison de
Verre is the linked to technological
advancement of that time as interior
decorator Pierre Chareau is full
aware of modern materials and their
applications. For Carl C. Zillich the
development of transparencies in ar-
chitecture is:
“The development of transparencies in
architecture has always been linked to
technological innovation as much as it
has been conceived with theoretical
Une Maison de Verre, Glace et Verre no 17, 1930
p. 19-20
Maison de Verre pg. 5
polarization. What binds one to the visitor, it seems, never quite enters the
other, or rather what can be a blind- house, instead being delayed on or in
spot for both, is the potential distance the glass façade. He has left his nar-
they take from what architecture can cissistic view on the transparent glass
also be about: a comprehensive stimu- downstairs and upstairs in this great
lus for our senses or enriched experi- room his body is rendered back into
ence by means of the built environ- pre-mirror stage parts scattered cor-
ment” (Carl C. Zillich, 2006)9 poreal fragments pressed into the
In interior one can see the unique di- translucency of each glass
lemma of transparency/ translucency glob.”10(Emma Cheatle,2012)
and light effects. One of important as-
pect of interior is the open steel frame
emphasized by dark orange color and
floating slabs. It is illuminated by
natural sunlight which by passing
through a narrow skin of translucent
solid glass block. A full height ceiling
in Dr Jean Dalsace office, light pene-
trating into glass blocks. It giving a
feeling of supremacy which can be feel
in the interior of cathedral and pal-
ace. In the middle of two floors one
can feel sharp light coming from be-
low and up this impact of translucent
light can be seen in large salon living
room. Taking caring of social life, this
large salon is directly connected to
main staircase enclosed by transpar-
ent glass which welcomes the guest of
Couples.
It is well illustrated in texts of Emma:
“This repetitive glass vertical surface
is soft in form yet thin and brittle. It
oscillates between part and whole,
fragmenting and blurring the visitor
into each faceted translucency. The Figure 4. Dr. Jean Dalsace's office

9 10
Specific Transparencies, Carl C. Zil-lich Leibniz Recording the Absent inside the Maison de
University Hanover,3rd June 2006, Germany Verre, Emma Cheatle, University College London,
Uk, IDEA journal 2012

Maison de Verre pg. 6

As this paper has aim to uncover the
ideas and vision of Pierre Chareau in
terms of transparency/translucency
and lighting effects in Maison de
Verre. Thus taking a journey to ex-
plore the thoughts of some prominent
theorists of glass. Historically, glass
has been accompanied with different
meanings in relation to transparency,
translucency and light effects. In or-
der to understand it more precisely it
would be better to discuss them sepa-
rately:
1.TRANSPARENCY
“No term is more important to modern
architecture than ‘transparency.” (Hal
Foster,2002)11
In modern discourse transparency
have different meanings and ideas.
One of the influential theorist of glass
architecture are Rowe and Slutsky
“Transparency may be an inherent
quality of substance—as in a wire
mesh or glass curtain wall, or it may
be an inherent quality of organiza-
tion” (Rowe and Slutsky, 1963)12
Colin Rowe and Robert Slutsky in
there two articles on transparency,
discussed and distinguished the
transparency into two senses one is
literal transparency (real transpar-
ency) and another is phenomenal
11
Hal Foster, the ABCs of contemporary de-
sign,2002p.194
transparency (seeming transpar-
ency). In this article Rowe and Slut-
sky discussed the Kepes, Moholy and
cubist painting ideas about transpar-
ency. As an example they discussed
Villa Garches of Le Corbusier and
Bauhaus of Gropius, in which they ar-
gued Villa Garches as phenomenal
transparency and Bauhaus as a lit-
eral transparency. Bauhaus curtain
of glass shows material transparency
that doesn’t distract the viewer. One
can see the glass and frames and even
space behind it. The regular glass
panels with frame is simple and defi-
nite. However contrary to Villa at
Garches its facades show irregularity
with some broken grids. There is pos-
itive and negative space in facades
opaque and transparent irregular
depth volume thus it is confusing,
conceived and indefinite that what
Rowe and Slutsky trying to elaborate
it. Well, in Maison de Verre’s facade
is composed of translucent glass in
front courtyard side but in back hav-
ing some combination of transparent
and translucent glass may suggest
some phenomenal transparency
sense.
When one concentrates on the front
façade, Maison de Verre has all the
'bad' monotony and 'orthodox moder-
nity' that Rowe and Slutsky are criti-
cizing in non-phenomenal transpar-
ency. The front façade is not open to
any optical ambiguity or multiple
reading. On the other hand, when one
12
Rowe and Slutsky, Transparency: literal and Phe-
nomenal, 1963, p.161
Maison de Verre pg. 7
 concentrates on the internal volume,
one may argue that the complex play
of planes within the volume suggests
a phenomenal transparency, as in
Villa Garches. However, this play of
volumes cannot be appreciated by
looking at the object from outside
with a single viewpoint.13
Figure 5. Combination of translucent and transparent glass at back
side of house toward garden
According to Adrian forty the trans-
parency has three senses literal
transparency, phenomenal transpar-
ency and transparency of meaning.
13
Esra Akcan, Columbia University, Glass Symbol-
ism, Experiential transparency and privacy in Mai-
son de Verre, Heterotopias, p.549-550
The literal and phenomenal transpar-
ency is already discussed. Now ex-
ploring the third sense that is trans-
parency of meaning. About transpar-
ency of meaning Adrian Forty state
“it is never codified so precisely”
(Adrian Forty,2004 )14
Adrian forty tries to convey the mes-
sages of Susan Sontag, Neumeyer and
Anthony Vidler in order to get defini-
tion of “transparency of meaning”.
Sontag states, it should be clear what
it is there should have no ambiguity
between form and contents and truth
of material must exhibit its character.
Vidler says modernist pioneers didn’t
think about transparency lead to aes-
thetic results that are organic forms
and translucency as reflecting surface
having much more concern about aes-
thetic rather than its functions which
leads to complexity. 15
Well, if we see Maison de Verre
plainly tendering the vision of Pierre
Chareau as translucent surface act-
ing as a wall, transparent surface act-
ing as a windows every things playing
their role in its limits. In other word
every element is doing their role in a
complete sense and clearly distin-
guished. but at night the luminosity
of translucent light can also be say ar-
chitect choice of aesthetic as well. The
architect more concern is illuminat-
ing interior space by natural light
which he could not achieve by opaque
14
Adrian Forty, Words and Buildings: A Vocabulary
of Modern Architecture, 2004, p.288
15
Adrian Forty, Words and Buildings: A Vocabulary
of Modern Architecture, 2004, p.288
Maison de Verre pg. 8
walls. the trick played here is much
more about illumination but also pos-
sessing other character of wall that is
privacy and shelter. On other sense
using translucent glass material in
façade of building. Transparency in
meaning of physical character Direct,
clarity and purity, it may be contrary
to the idea of ‘transparency of mean-
ing’ which Neumeyer states “clarity
and purity reflects the material origi-
nal beauty” . 16
Figure 6. Translucent Glass blocks
2.TRANSLUCENCY
Translucency is derived from Greek
word trans (through) and lux(light).
Thus it become “through light”. While
in transparency the light passes as
well as one can see through it but in
16
Adrian Forty, Words and Buildings: A Vocabulary
of Modern Architecture, 2004, p.288
translucent material you cannot see
clearly as it has blurry surface. How-
ever, transparency and translucency
can be found in glass but it is not nec-
essary. The same impact can be seen
in other materials i.e. plastic, wood or
steel mesh and same like behaviors.
As far as our discussion is more fo-
cused on glass translucency subjec-
tive characters not on objective.
In translucent construction, instead
of a miraculous continuity between
exterior and interior, separation is
typically acknowledged outright. Us-
ing subtle manipulations of visual
perception, ambiguity between the
two realms is often the primary field
of inquiry. Accompanying the inter-
ruption of space flowing across the ex-
terior boundary is a disturbance to
the revelation of the building's spaces
and its physical structure at its exte-
rior face. Terence Riley characterized
this separation as a veil constituted
by an imposed delay in apprehension
between viewer and space beyond—a
"triggered subjectivity”. 17
Anthony Vidler made a crucial and
instructive distinction between two
types of translucency.' The first, he
employs deliberate manipulation of
the reflection found on glass or pol-
ished surfaces, and represents not a
paradigmatic opposite to modernist
transparency, but rather its intrinsic
other. As an unavoidable physical fea-
ture of glass, reflection interrupts the
17
Annette Fierro, The Glass State: The Technology
of the Spectacle, Paris, 1981-1998 p.99-100
Maison de Verre pg. 9
essential function of transparent con-
struction to reveal. Vidler's second
definition of translucency is situated
in a postmodern, critical mode. Here
the building is conceived as an enig-
matic volume, luminous in its use of
light played against many types of
translucent materials. The quest for
transparency is abandoned outright;
from its inception this type of work
embraces that which is entirely im-
penetrable, entirely illegible, entirely
inaccessible. Rather than the intrin-
sic companion to modernist transpar-
ency, its dark twin, this sense of
translucency is its "complex critique.
Vidler’s second sense of transparency
at least in its physical description
much closer to Maison de Verre.18
According to Frampton comments;
“Frampton’s comments on Pierre
Chareau Maison de Verre which ran
completely against the grain of mod-
ern rationalist thought it was
sheathed in layers of transparent and
translucent materials which alter-
nately obscures and revealed a se-
quence of views “(Quoted by Terence
Riley,1995)19
In Maison de Verre Pierre Chareau
well-crafted translucent façade’s cur-
tain wall was much more against the
transparency concepts of early 20th
century modernist pioneers.
18
Annette Fierro, The Glass State: The Technology
of the Spectacle, Paris, 1981-1998 p.99-100
19
Terence Riley, Light construction, 1995, p.11
“For architects it represents the road
not taken: a lyrical machine whose
theatricality is the antithesis of the
dry functionalist aesthetic that
reigned through much of the 20th
century.” (Nicolai Ousaroff,8/29/07)20
Ousaroff words are much more pow-
erful but Maison de Verre translucent
skin was completely a new vision in
complex settings.
The development of transparency to
translucency and light in present
times can be well illustrated by Joan
Ockman;
“The development of architectural
glass going back several hundred
years was directed up until about the
first quarter of [the twentieth] century
toward transparency, toward the per-
fection of an ever larger plate of glass
to a point of perfect clarity, now that
transparency as a see-through charac-
teristic has been technologically mas-
tered, it's hardly surprising to find
that it is no longer the issue. The mas-
tery of the transparent glass pane
makes way for more complex and in-
teresting uses of this marvelous mate-
rial. “(Joan Ockman,1995)21
From Ockman interesting uses of this
marvelous material is definitely crys-
talline and translucent character of
20
Nicolai Ousaroff (The New York Times, “The Best
House in Paris,” 8/29/07
21
Joan Ockman,” light construction sympo-
sium”1995, p.66
Maison de Verre pg. 10
glass and lighting impacts. Maison de
Verre is earliest example of manipu-
lating glass with mastery and craft
workmanship according to desire alt-
hough which is much more concerns
about functionality but aesthetic
characters could not be ignore.
Scot Murray writes:
“From transparent surface to a
translucent material with depth and
presence. Building envelopes —or
skins—that utilize translucency may
do so for a variety of reasons, both
practical and poetic: to maximize nat-
ural lighting to the building's interior
by day, to outwardly illuminate a
building at night, to provide privacy,
to evoke a meditative or serene at-
mosphere, to infuse the with a sense
of mystery or ambiguity. “(Scot Mur-
ray,2013) 22
Murray argue that from transparency
to translucency character of material
its meaning and concepts will be
change. It introducing meditative en-
vironment when light passes through
translucent glass. Thus, it was Pierre
Chareau’s revolutionary concept to
provide both practical and poetic by
constructing translucent skin of
building.
22
Scot Murray, Translucent Building Skins: Mate-
rial Innovations in Mod-ern and Contemporary,
Preface,2013
3.Light
The relation between light and glass
are poetry of aesthetics and more
then it. It purifies the light when it
passes through it. The impact of light
also tells us different story when un-
derstanding it with translucent/
transparent features of Maison de
Verre.
“light is as material as stone and there
can be no architecture without it. Ar-
chitecture without light is like music
without air”: (Campo Baeza, 2010)23
Light has always played an essential
role in the definition of architectural
form. The silent presence of the light
materializes volumes and dematerial-
izes spaces.
One of prophet of using glass in archi-
tecture is Paul Scheerbart. In 1914,
he was impressed from the Architect
Bruno Taut’s Glass house at Werk-
bund Exhibition of 1914. He wrote a
poet on glass architecture which rev-
olutionized the use of glass in archi-
tecture. The Ideas of Paul Scheerbart
glass as a new architecture and the
play of light colors and it crystalline
property is much more mythic and po-
etic.
23
Campo Baeza Architectura sine luce nulla Archi-
tectura est. 2010
Maison de Verre pg. 11
The interpretation of Paul Scheerbart One can observe in the grand salon of
ideas can well illustrated in text of: Maison de Verre. When light pene-
“Paul Scheerbart viewed glass archi- trating to the solid glass block wall
tecture as instead offering the possi- having both functions of transpar-
bility for a new cosmopolitan spiritu- ency/ translucency creating a unique
ality and a transcendent connection to environment that is contrary to Hil-
nature. Glass, for Scheerbart, embod- berseimer’s room of shadow less light.
ied the metaphoric potentiality of The concepts of using transparency
color and light, and the crystal was and translucency senses are linked
the natural form that symbolized with the phenomenon of light. Histor-
these ideals. In Glass Architecture, he ically the luminous energy that has
dreamt of buildings that were anti influenced architecture design for
monumental, always changing, never
the same”
(Josiah McElheny, 2010)24
Paul Scheerbart ideas are more
mythic and poetic but Maison de
Verre also inherent some qualities of
glass and light that diffuse from
translucent crystalline glass and cre-
ating a dynamic spiritual environ-
ment. But some glass critics have also
criticized about using the glass mate-
rial.
According to Luwig Hilberse-
imer’s,1929: “it obliterated the old op-
position of light and shadow which
had formed the proportion of past ar-
chitecture. It made a space of evenly
distributed brightness it made room of
shadow less light”. (Quoted by Ter-
ence Riley, 1995)25 Figure 7.light piercing from main translucent façade in the interior of
Grand salon

24 25
Josiah McElheny, The Light Club: On Paul Quoted by Terence Riley, Light construc-
Scheerbart "The Light Club of Batavia”, 2010, p.07 tion,1995, p.09

Maison de Verre pg. 12

centuries. Early examples of translu-
cent building skins can also be found
as the soaring stained-glass walls of
Gothic cathedrals, like the radiant
Sainte Chappelle (1248) in Paris and
the Choir at Aachen Cathedral
(1414). This usage of translucent
glass and light impact mostly have
spiritual characters 26
Pierre Chareau may have got his in-
spiration from historical buildings.
The idea of translucent glass in terms
of lighting effects have direct connec-
tions to gothic cathedrals and some
modern needs. In the interior of Mai-
son de Verre the light penetration
looks like series of modern artificial
lights, as shown in fig.7.
There are two senses are clearly ex-
posing its characters one is a poetic
meditative characters as one can feel
in Gothic cathedral. Other is an at-
tempt to create a continuous natural
lamps to get maximum benefit from
natural light. The creation of double
height grand salon and Dr Jean
Dalsace’s office is not only to get light
from the translucent wall but also
having much more poetic characters,
as stated by Steven Holl "an attention
to phenomenal properties of the trans-
mission of light through material can
present poetic tools for making spaces
of exhilarating perceptions”(Steven
Holl) 27
26
Scot Murray, Translucent Building Skins: Mate-
rial Innovations in Modern and Contempo-
rary,2013, p.04
27
Scot Murray, Translucent Building Skins: Mate-
rial Innovations in Modern and Contempo-
rary,2013, p.05
An appreciative remark by Dr.
Dalsace "Chareau has performed the
extraordinary feat of building three
floors full of light”. 28
It lighting effects become more inter-
esting at night. At night the consist-
ently glowing surface, surface, be-
come like a lamb. One can see the sa-
lutes of human figures and furniture’s
beyond the exterior translucent
light.it is more than mysterious per-
ception. This lighting sensation
through translucent glass become in-
spiration for contemporary architects.
In present time we mostly see such
kind of impact in most of contempo-
rary architects work like Nouvel’s In-
stitut du Monde Arabe, Paris. Cha-
reau was fully aware of its im-
portance thus he put exterior flood
lights to glow wall invertedly.
The significance of Chareau’s innova-
tive facade design, lauded by Kenneth
Frampton, who writes, "The more or
less continuous translucent covering
of the Maison de Verre at one stroke
does away with the counter point be-
tween solid and void which one finds
in all architecture including the Mod-
ern Movement “.29
Further light has many interesting
ideologies regarding orientation of
sun and building. According to Al-
berto Campo, “There are many kinds
of light. Horizontal light Vertical
light, and light Diagonal. According
to its quality, solid light and diffused
28
Scot Murray, Translucent Building Skins: Mate-
rial Innovations in Modern and Contempo-
rary,2013, p.09-28
29
Scot Murray, Translucent Building Skins: Mate-
rial Innovations in Modern and Contempo-
rary,2013, p.12-28
Maison de Verre pg. 13
light. When the ancients needed to
take light of atop, what I call Vertical
light, …. Premonition of the achieve-
ment of the Vertical light. Thus,
throughout the history of architecture,
light…. horizontally - the wall - as it
was logical. As the rays of the Sun
falling on us are diagonal, much of the
history of architecture can be read as
an attempt to transform the light Hor-
izontal or Diagonal, in light that seem
to be Vertical. So did the Gothic,
which must be read not only as the de-
sire for a greater amount of light, but
primarily as the get a qualitatively
more vertical light, in this case Diag-
onal” (Alberto Campo, 2010)30
In the interior of Maison de Verre one
can find the of horizontal and diago-
nal lights but can also feel vertical
light. The Vertical lights can be ob-
serving in grand salon where sharp
light penetrating in both directions
upward and downward. These ideolo-
gies about light is much interesting
and having mostly was popular in
gothic churches. These ideas are well
translated by Chareau in Maison de
Verre.

CONCLUSION

To conclude these myths of transparency/

translucency and lights effects in interpre-
tation of Maison de Verre are discussed so
far. Whether from exterior or interior the
Maison de Verre exhibiting a mysterious
dilemma between these three words. The
transparency translucency and lights ef-
fects have great impact on the subjective
and objective definition of Maison de
Verre, when taking account, the writings
of some renown theorist of glass. There are
still a lot of things to discuss in Maison de
Verre as it is also considering as machine
for living and many other modernist ideas
embedded in it, to uncover these layers
need a much lengthier paper to discuss.

30
Alberto Campo Baeza, Piercing Translu-
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LA MAISON DE VERRE [part 1] - YouTube

FIGURE:

Title Figure http://www.catview.com.br/2013/03/31/maison-de-verre-pierre-chareau,1932

Figure 8 http://www.catview.com.br/2013/03/31/maison-de-verre-pierre-chareau,1932

Figure 2 http://www.catview.com.br/2013/03/31/maison-de-verre-pierre-chareau,1932

Figure 3 http://www.catview.com.br/2013/03/31/maison-de-verre-pierre-chareau,1932

Figure 4 http://www.ecomanta.com/2012/05/luxury-style-in-paris-french-chic.html

Figure 5 http://www.catview.com.br/2013/03/31/maison-de-verre-pierre-chareau,1932

Figure 6 LA MAISON DE VERRE [part 1] - YouTube

Figure 7 http://www.catview.com.br/2013/03/31/maison-de-verre-pierre-chareau,1932

Maison de Verre pg. 16