Freytag, A. Le jardin du Palais Stoclet à Bruxelles, le « chef d’œuvre inconnu » de Josef Hoffmann, Demeures Historiques & Stoclet House (Belgium) jardins, 2008, #1, p. 2–22. Technical Evaluation Mission: 23–24 September 2008. No 1298 Additional information requested and received by the State Party: Two letters were sent to the State Party on 9 December 2008 and 30 January 2009 about the following points: Official name as proposed by the State Party: Stoclet House 1. Confirmation of the creation of a wider and continuous buffer zone along the Avenue Tervueren, including the Location: Brussels-Capital Region neighbouring buildings, particularly to the west of the Belgium property. 2. Confirmation that the legal and regulatory provisions in Brief description: force ensure the prevention of any project for the construction of a high-rise building inside the buffer zone. The Stoclet House was commissioned by the banker and art collector Adolphe Stoclet from one of the leading lights 3. Providing details about public interventions in the event of the Vienna Secession artistic movement, the architect of an accident. Josef Hoffmann. Built between 1905 and 1911, the austere 4. Providing details about the arrangements for the public geometric forms of its architecture and interior decoration surveillance of the property. signify a radical change of direction in Art Nouveau in one of its most emblematic centres. Both in its forms and 5. Providing details of the application conditions of the volumes and in its concepts, this is a seminal monument order of 9 November 2006 about the scheduling of the which foreshadows Art Deco and the Modern Movement furniture of the property under Belgian law. in architecture. From the outset it had a resounding international influence. 6. Providing details about possibilities for visiting the property. Category of property: 7. Providing details about the cooperation of the owners for In terms of categories of cultural properties, as defined in the nomination. Article 1 of the 1972 World Heritage Convention, this is a monument. The State Party sent a reply (6 pages), complete with its arguments, dated 26 February 2009, including in an annex a map of the new proposed buffer zone. An analysis of this documentation is included in this evaluation. 1. BASIC DATA Date of ICOMOS approval of this report: 10 March 2009 Included in the Tentative List: 31 December 1998 International Assistance from the World Heritage Fund for preparing the nomination: No 2. THE PROPERTY Date received by Description the World Heritage Centre: 28 January 2008 The property consists of the Stoclet House building and the Background: This is a new nomination. garden that is closely associated with it. The two together form a private property, the clearly defined physical Consultations: ICOMOS has consulted its International boundaries of which have not changed. Its highly visible Scientific Committee on 20th century heritage. location on Avenue Tervueren, at the time one of the most Literature consulted (selection): prestigious streets in Brussels, meant that immediately after it was built it assumed the status of a manifesto, in the Sekler, E.-F., “The Stoclet House by Josef Hoffmann”, in midst of a set of recent villas belonging to the grande Wittkower, R. (ed.), Essays in the History of Architecture, London, 1967. bourgeoisie of Belgium. Baroni, D. & d’Auria, A., Josef Hoffmann e la Wiener Werkstätte, Josef Hoffmann, who designed the House and its garden in Milan, 1981. the spirit of the Vienna Secession (Wiener Werkstätte), was one of the most eminent figures in this group (see History). Sekler, E.-F., Josef Hoffmann, l’œuvre architecturale, Brussels- Liege, 1986. Deliberate stylisation, as part of a critical re-examination Archives d’architecture moderne, Vienne-Bruxelles ou la fortune of Art Nouveau, led him to use rectangular and square du Palais Stoclet, Brussels, 1987. surfaces, symbolising balance, with clearly marked edges. His quest for purity led him to use a polychromy based on Kurrent, Fr. & Stroebel, A., Das Palais Stoclet in Brüssel von bright or dark contrasting tones and white and black Josef Hoffmann mit den berühmten Fries von Gustav Klimt, surfaces. Salzburg, 1991. The continuity of the architectural idiom is also to be found Leuthauser, G. & Gossel, P., Architecture in the 20th Century, Cologne, 2005. in the decoration, both interior and exterior, and in the layout of the garden. The exaltation of simple and Noever, P. (éd.), Le désir de la beauté, la Wiener Werkstätte et le primitive forms and their harmonious balance underline a Palais Stoclet, Brussels, 2006. sophisticated elegance which is reflected in the smallest 103 detail and is continued in the furniture. The furniture, Technical innovation is one of the options adopted within which is in perfect stylistic harmony with its architectural the House, but it remains discreet and harmonious with the environment, was designed by Hoffmann himself and by a whole and is sometimes invisible, as in the system for the large number of Vienna Secession artists. integrated vacuum cleaning of the floors (which was highly innovative for the time). The interior and exterior elements of the House, together with its garden, form a complete work of great coherence. The ground floor entrance leads into the vestibule, with an Hoffmann's conceptual and formal approach led him to adjoining cloakroom. To the left opens out the great hall, a conceal the lines of constructive force, contrary to Art central space with columns, which is the essential hub of Nouveau practice, and to give pride of place to surfaces society life in the House. The hall is extended by a small and claddings. This gives an almost timeless and intangible drawing room and a fountain in the part that projects out character to the building. towards the street; to the south it provides access to the terrace, and to the east to the main staircase and to the The building permit was subject to somewhat strict urban music room. The staircase leads to a mezzanine gallery planning rules, such as the frontage line being 12m from above the music room; on the other side it opens out the boulevard. The siting of the house was designed to towards the hexagonal ‘barbarian’ drawing room. The hall make the best use of the space and the orientation of the also leads into the office of M. Stoclet and his smoking ground, rather than the natural slope (as dictated by the room, in one of the parts projecting out next to the terrace; dominant criteria of the time). The building has two main in the other is the main dining room. The western part is reception and living levels; a second storey is given over to extended by a small dining room, the office, and the guest bedrooms and functional rooms; a western wing is kitchens, which themselves are linked to the western wing. devoted to annexes and quarters for domestic staff. Dominating the House is a tower made up of an Upstairs are the master bedroom, the bathroom, the print accumulation of rectangular forms, vertically prolonging collection room, the boudoir and bedroom of Mme. the service stairs, at the meeting point between the main Stoclet, the children's bedrooms, and a small music room. building and the annexes. The interior is noteworthy for the quality of its decoration The street facade to the north is intended to be austere and and furniture, which are always in refined agreement and protective of private life with its small apertures and display a calculated harmony of volumes, surfaces, functional in the organisation of the apertures and the open colours, and materials. Each room has its own personality, space in front of the building. The bay windows of the rear forming a whole which is aesthetically homogeneous, with facade open up widely on the light and space of the garden, architectural choices appropriate for its function. The its pond, and the length of the central avenue. The facades decoration still appears astounding today for its modernity, are atypical, with cubic volumes that interpenetrate one the richness of its materials, and the quality of its another, and with smooth surfaces clad with white marble workmanship. and outlined with bronze framing. In the midst of a very rich ensemble, certain works and The main living building has an elongated rectangular objects are particularly noteworthy: shape, 60m long and between 13.5 m and 20 m deep. It is extended to the west by the wing of annexes, which are in – The entrance doors herald a journey through the line with the plot boundaries. A second axis, at right-angles aesthetic and cultural universes of the Secession and to the first, is that of the great hall; it is prolonged by the of Adolphe Stoclet. terrace and then the main prospect of the garden, including – The vestibule features a nude mosaic inspired by the pond and the avenue; it is underlined by the rotunda on classical antiquity, the work of Leopold Forstner, who the street side and two symmetrical projections on the also made the great mosaics of the dining room from other side, at ground floor level, making the terrace a designs drawn by Gustav Klimt and the bathroom transitional space between the exterior and the natural decorations. elements. – Two sculptures of women by Richard Luksch, in The decoration of the interior of the House is exceptionally enamelled ceramics, are today in the drawing room; rich by comparison with the exterior. Designed by they were also inspired by Klimt. Hoffmann in perfect symbiosis with the architecture, it is also closely associated with it. The walls are covered with – The marquetry desk by Koloman Moser is a gift from marble or decorated panels, the floors are of the highest the artists and craftsmen of the Secession, by one of quality, with marquetry composed of rare woods and its founder members.