Maison and Atelier is a museum located in Brussels, Belgium, designed by Victor Horta, a devotee of Belgian Art Nouveau. The museum is located in the private home and studio of Victor Horta (1861-1947). The construction of the building began once authorization was obtained from the municipality of Saint-Gilles on 28 September 1898 at 23-25 ​​rue Américaine in Saint-Gilles, Brussels. By the end of 1899 the outbuildings to the balconies, marble staircase and staircase, bluestone control walkway, and dining hall (which was relocated from its original location) were completed. In 1900 the model windows, shutters and bells were installed. The building was finished in 1901 in front of the dining room doors which were then installed in January 1902. 1The building was then transformed starting with the extension of the building in the garden in 1906. Then came the extension to the basement of the laboratory. to improve ventilation and lighting in 1908. Then from 1915 to 1919 another renovation of part of the ground floor of the workshop in the garage took place. The museum was officially inaugurated in 1969 after the municipality of Saint-Gilles purchased the building again. 1The two buildings reflect the typical work of Art Nouveau at its height. The interior contains mosaics, stained glass windows and wall decorations that form a harmonious and elegant whole, down to the last detail. This particular museum is famous for containing beautiful Art Nouveau interiors and the open-plan feature created by Victor Horta. The building features one of Horta's great innovations: the rooms are built around a central hall. From the splendid glass ceiling the light falls inside the house thus creating a much more n...... middle of paper......showing a reduced structural logic for aesthetic considerations, Horta manages to develop his design choices by improving the relevance of these structural concepts. In his work, the architect learns to exploit the ambiguity between architectural, aesthetic and structural issues to design structures in which the shape of the material is governed by structural needs. We can conclude that this significant structural innovation of the iron practice clearly demonstrates the importance of the architectural heritage conceived by Victor Horta, the greatest international figure of the Art Nouveau architectural current. We can conclude that Victor Horta studies to exploit the uncertainty between architectural, aesthetic and structural issues to design structures in which the prescribed language of the material is the result of its structural needs.