"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

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 IN-

HERENTLY 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 REN-

DER 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, PRO-

GRESSIVE 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 EMPHA-

SIS 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 of human figures diverted the
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 of the observer from what was truly artistic: the
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 func- appearance of shapes and colors on a plane or three-dimen-
t i o n a l . Perhaps the finest examples o f t h i s sought-after sional space. 2

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 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 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
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-
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-
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
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
b y a n inveterate distinctiveness, Eclecticism's u n i f y i n g fea-
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
(i.e., classical, Baroque, Gothic) to realize a n a r c h i t e c t u r a l
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 . Furthermore, new
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-
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
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
styles." 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
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
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 -
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
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.
A r t n o u v e a u extended t h i s superficial a n d aesthetic beau-
t 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 of
Laeken 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
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-
mony. Balat was t h e royal architect to K i n g Leopold I I o f
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
highly skilled draftsman. F r o m Balat, H o r t a l e a r n e d h o w
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
adroit engineer. H e possessed the necessary c o m b i n a t i o n
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-
ment.
B o r n to elderly parents i n 1861, H o r t a ' s heritage seems 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
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
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 . " 4
He lived i n
Paris, b u t resided f o r m o s t o f his life i n Brussels. H e al-
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 simply
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-

Because art n o u v e a u is one o f t h e styles m o s t closely as-

sociated 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 consider-
able 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 deco-
rated. 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 beau-
t 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 cor-
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 ,
rupting both.
W O U L D LATER I N F L U E N C E HORTA'S STYLE.

ELEMENTS FALL 2010

c h i t e c t u r a l diversity. T h i s e m p h a s i s o n personal experi-
ence as opposed t o established m e t h o d s is p a r t i a l l y respon-
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.
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
were close to Horta's heart, as they b r o u g h t beauty to t h e
masses. T h e best example o f t h i s is the Maison du 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
"Horta was renowned for his ability to solve any
architectural quandary, whether it pertained to the
melding of materials, measurement, or weight ratio."
a n d the general labor force. However, Horta's f u n c t i o n a l
achievements c o m b i n e d w i t h h i s u n i q u e decorative ele-
m e n t are m o s t evident i n t h e residences he designed, par-
t i c u l a r l y his t o w n h o u s e s . 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
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
were t o r n d o w n .
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-
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-
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-
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
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
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 -
ly designed features d o u b l i n g as f u n c t i o n a l pieces. He
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 ,
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
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
buildings.
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 . I n his
b u i l d i n g s , especially his townhouses, 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 .
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 rea-
sonable a n d level-headed n a t u r e , they were c o n v i n c e d t o
yield. 5
VICTOR HORTA'S V I S I O N
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-
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-
posed f r a m e w o r k , w h i c h was nevertheless decorated. 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
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 -
perative for H o r t a , for a h o u s e was supposed to facilitate
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
o f separate spaces.
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
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
delicate b l e n d o f t h e established a n d t h e avant-garde. One
can detect Horta's classical t r a i n i n g at the academy as w e l l
as h i s study u n d e r Balat. I t shines t h r o u g h i n h i s stanch
respect for balance, s y m m e t r y , a n d h a r m o n y , a n d i t is
m a r k e d by h i s r a t i o n a l l y shaped superstructures. 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 -
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
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
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-
istic o f Horta's w o r k is the prevalence o f organic shapes—
curvilinear and sinusoidal. T h e m o s t notable o f all o f
Horta's (and the art n o u v e a u m o v e m e n t ' s ) organic shapes
is t h e "coup de fouet," lash o f t h e w h i p . I t begins i n a
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
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
" 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
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 . " 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.
W h i l e Horta's w o r k s boast exquisite artistry, they were n o t
devoid o f deeper psychological a n d even p o l i t i c a l p u r p o s -
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"
 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
the time. 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
t h e c l i e n t was affected by Horta's architecture a n d design.
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
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
a n d requests o f h i s c o m m i s s i o n e r s :
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 of every-
thing he creates. Without any doubt one reason for showing
such a lack of eagerness to reveal his projects to the press is
partly the respect he showed for his clients and their privacy
and partly the effort he made to preserve the exclusive char-
acter of the creation that he had offered them. 7
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 struc-
ture. 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
9
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
b u i l d i n g w i t h characteristic art n o u v e a u style to efficiently
u n i t e the physical r e a l m o f the house. T h e exterior o f the
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
o f the work. H o r t a also successfully fuses t h e d e e m e d
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
actually pleasing to the eye a n d m i n d — t o m a k e the psy-
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 ,
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 be-
t 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.
Horta's first townhouse c o m m i s s i o n was the Autrique
House i n 1893. 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
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
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 ex-
h 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 re-
sults." 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

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

of the building with

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
characteristic art nouveau
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
style to efficiently unite
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 the physical realm of the
house."
style to reflect t h e i r progressive p o l i t i c a l views a n d to sepa-
rate 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 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 -
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 - 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 -
t h i n k i n g liberal. 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 ad-
j 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 bot-
t 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 mate-

rials: 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 con-
s t r u c t i o n o f the house:

The role of stone is to mediate between the supporting surface

and the placement 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, thin
supports, as in the small columns in the mullion 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 cor-
r 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 sev-
eral t r a d i t i o n a l rules o f architecture a n d , to a reasonable VICOTR HORTA'S HOTEL SOLVAY, CONSTRUCTED IN
degree, lets his creativity be t h e d r i v i n g force. Despite B R U S S E L S I N 1894. T H E
O R N A T E B A L C O N I E S ARE INDIC-
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 ATIVE OF T H E ART N O U V E A U STYLE.
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.
versity. 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.
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 , 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
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 - 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
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 a d a r k r o o m i n his basement.
was a professor o f descriptive g e o m e t r y at Brussels U n i -

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 -
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
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 extraordi-
n 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
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
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
facade itself. T h e massive r o u n d e d feature o f t h e house,
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
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,
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.
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
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-
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
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
a n d energetic quality. 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
GLASS D O M E OVER T H E H O U S E VICTOR HORTA BUILT FOR H
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
the r o o m . 1 2
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,
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-
ognizable, accepted f o r m s l i k e t h e console, cornice, a n d
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 . 13
T h e consoles flank-
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
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
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,
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
r o u n d n e s s o f t h e facade above. Once again, t h i s is evi-
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.
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
is especially representative o f H o r t a ' s b l e n d i n g o f the func-
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-
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
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
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-
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
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
capital. 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
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 care-
f 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:
The display of skillfully sculptured and carefully bonded
stones with intermittent iron elements, riveted girders, the
metallic profiles of the first floor are interlinked so success-
fully that the differentiation of material, form or color can no
longer be felt, in fact they seem to merge into tectonic values
where they, as functions of support and separation, are close-
ly interdependent as in a complex organic system. *1
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
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
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 . "
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.
After finishing t h e Tassel House, Horta's fame was sealed.
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
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
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 -
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
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-
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 -
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
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
leave over forty years before i t was enacted by l a w i n Bel-
gium. 1 4
T h e n e w l y renovated h o u s e was designed to re-
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-
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 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 ame-
nities.
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
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.
T h e b o t t o m r o w o f stone o n the facade is specially adapted
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
VICTOR HORTA'S V I S I O N
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,
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 . " 16
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
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
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
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 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 .
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 -
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-
cade, l i k e the ebb a n d flow o f the ocean. T h e f o u r consoles
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
concept. These consoles a n d the i r o n brackets u n d e r t h e
i r o n pillars " i n d i c a t e the pressure created by the mass they
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 -
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
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 -
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 . I n a d d i t i o n , the
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
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
interior. 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
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
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
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
b e a u t i f u l designs.
T h e Solvay House differs greatly f r o m t h e Tassel House, a n d
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
g r a n d d o u b l e staircase. H o w e v e r ideal for a f a m i l y a n d
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 -
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
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
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
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
layout.
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-
dence to m i r r o r the people w h o live i n i t . Because o f the
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-
torically associated w i t h w o m e n , art n o u v e a u as a style is
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 -
)
i n g t h e houses f r o m t h i s perspective, i t is possible to dis-
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 -
n i n i t y f r o m t h e Solvay 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
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
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 -
ernism. 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
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
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
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 o n . These features c o n n o t e the female body. T h e Tassel
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-
ed to convey p o w e r a n d vigor. T h e central a n d m o s t eye-
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 -
berance spanning two stories. This characteristic
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 -
t i o n o f gender i n these houses correlates to the personali-
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 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-
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
H o r t a because one can d i s c e r n h i s o w n tendencies 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
that a h o u s e s h o u l d describe its owner. 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
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 -
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
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 espe-
cially 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.
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 House a n d the
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 -
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 . As for h i s clients, H o r t a
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-
ciousness. For example, t h e levels t h a t extend o f f the cen-
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
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
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
o f different shapes a n d sizes, o n different levels, f l o w i n t o
one a n o t h e r a n d f o r m the elements o f a single organic
conception." 19
T h e analogy o f Horta's c o n s t r u c t i o n s as
c o m p l e x o r g a n i s m s is revived. To f u r t h e r facilitate the
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
doors to enlarge t h e r e c e p t i o n r o o m s .
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
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. H e de-
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
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
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
a s u p p o r t for t h e s t a i r w e l l above. Sensibly, i t is placed
a m i d s t m a r b l e , w h i c h generally allows areas to get fairly
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
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 -
viders.
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
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
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 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
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
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
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-
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
the sense o f spaciousness even m o r e .
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 ,
b u t r a t h e r diverts a t t e n t i o n to doorways, stairwells, col-
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
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-
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
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,
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
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
spaciousness, w h i l e darker colors detract f r o m i t . F r o m
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 17. Ibid.
made Horta the most expensive architect i n Brussels. 18. Loze (64)
Horta owed his success to many factors: his innovative- 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 cre-
REFERENCES
ativity and logic, traditional and modern, that he did. I n
their attempts to outshine Horta's innovativeness and Borsi, Franco and Paolo Portoghesi. Victor Horta. New York: Riz-
bring it to a new level, their creations became garish and zoli, 1991.
gaudy. T h e classical elements of Horta's works were lost
Loze, Pierre. Belgian Art Nouveau: From Victor Horta to Antoine
upon them, and thus, the rhythm and harmony that gave
Pompe. Ghent: Eiffel, 1991.
his designs s u c h beautiful aesthetics were gone as well.
Horta's subtle and delicate organic shapes gave way to the Moravanszky, Akos. Competing Visions: Aesthetic Invention and So-
jarring, arbitrary designs of his successors.
cial 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 nou- Vinson, Robert-Jean. "The House that Horta Built." Realites,
veau was the first purposefully modern style, and the fash- 1973. 71.
ion-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 fleet-
ing 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