DOCSLIB.ORG

Belgium & Luxembourg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Belgium & Luxembourg ©Lonely Planet Publications Pty Ltd Belgium & Luxembourg Includes ¨ Why Go? Brussels .............73 Stereotypes of comic books, chips and sublime chocolates are Flanders .............84 just the start in eccentric little Belgium, its self- deprecating Antwerp .............85 people have quietly spent centuries producing some of Europe’s finest art and architecture. Bilingual Brussels is the Ghent ...............89 dynamic yet personable EU capital, but also sports what’s Bruges ..............92 arguably the world’s most beautiful city square. Flat, Flem- Ypres ................96 ish Flanders has many other alluring medieval cities, all Mons ................98 easily linked by regular train hops. In hilly, French-speaking Luxembourg City .....99 Wallonia, the attractions are contrastingly rural – castle villag- es, outdoor activities and extensive cave systems. Independ- Moselle Valley .......103 ent Luxembourg, the EU’s richest country, is compact and hilly with its own wealth of castle villages. The grand duchy’s capital city is famed for banking but also sports a fairy-tale Best Places Unesco-listed historic Old Town. And from the brilliant beers to Eat of Belgium to the sparkling wines of Luxembourg’s Moselle ¨ L’Ogenblik (p81) Valley, there’s plenty to lubricate some of Europe’s best dining. ¨ La Cristallerie (p102) ¨ Den Gouden Harynck (p95) When to Go ¨ De Stove (p95) Brussels ¨ De Ruyffelaer (p98) °C/°F Te mp Rainfall inches/mm 40/104 6/150 30/86 4/100 Best Places 20/68 to Stay 10/50 ¨ Chambres d’Hôtes du 2/50 0/32 Vaudeville (p77) -10/14 0 ¨ Main Street Hotel (p97) J FDM A M J J A S O N ¨ Guesthouse Nuit Blanche (p93) Pre-Easter week- Feb–Mar Both Jul–Aug Countless ends Belgium countries sym- festivals, hotels ¨ Auberge Aal Veinen hosts many of bolically burn the packed at the (p103) Europe’s weirdest spirit of winter on coast but cheaper ¨ Bed, Bad & Brood (p87) carnivals, not just the first weekend in Brussels and at Mardi Gras. after Carnival. Luxembourg City. 73 BRUSSELS seum €13; h10am-5pm Tue-Fri, 11am-6pm Sat & Sun; mGare Centrale, Parc) POP 1.2 MILLION This prestigious Belgium’s fascinating capital, and the ad- museum incorporates the Musée d’Art An- ministrative capital of the EU, Brussels is cien (ancient art); the Musée d’Art Moderne historic yet hip, bureaucratic yet bizarre, (modern art), with works by surrealist Paul self- confident yet unshowy, and multi- Delvaux and Fauvist Rik Wouters; and the cultural to its roots. All this plays out in purpose-built Musée Magritte (p73). The a cityscape that swings from majestic to 15th-century Flemish Primitives are won- quirky to rundown and back again. Organic derfully represented in the Musée d’Art An- art nouveau facades face off against 1960s cien: there’s Rogier Van der Weyden’s Pietà concrete developments, and regal 19th- with its hallucinatory sky, Hans Memling’s refined portraits, and the richly textured century mansions contrast with the brutal & BELGIUM glass of the EU’s Gotham City. This whole Madonna With Saints by the Master of the maelstrom swirls out from Brussels’ medi- Legend of St Lucy. eval core, where the Grand Place is surely Musée Magritte MUSEUM one of the world’s most beautiful squares. (%02-508 32 11; www.musee-magritte-museum One constant is the enviable quality of .be; Rue de la Régence 3; adult/under 26yr/ L UXEM everyday life, with a café–bar scene that BrusselsCard €8/2/free; h10am-5pm Tue-Fri, never gets old. 11am-6pm Sat & Sun; mGare Centrale, Parc) The beautifully presented Magritte Museum B OURG OURG 1 Sights holds the world’s largest collection of the surrealist pioneer’s paintings and draw- 1 ings. Watch his style develop from colour- BRUSS Central Brussels ful Braque-style cubism in 1920 through a Grand Place SQUARE Dali-esque phase and a late-1940s period of m ( Gare Centrale) Brussels’ magnificent Grand Kandinsky-like brushwork to his trademark el Place is one of the world’s most unforget- bowler hats of the 1960s. Regular screen- S table urban ensembles. Oddly hidden, the ings of a 50- minute documentary provide enclosed cobblestone square is only re- insights into the artist’s unconventionally vealed as you enter on foot from one of six conventional life. narrow side alleys: Rue des Harengs is the best first approach. The focal point is the MIM MUSEUM spired 15th-century city hall, but each of the (Musée des Instruments de Musique; %02-545 antique guildhalls (mostly 1697–1705) has a 01 30; www.mim.be; Rue Montagne de la Cour 2; charm of its own. Most are unashamed ex- adult/concession €8/6; h9.30am-5pm Tue-Fri, hibitionists, with fine baroque gables, gilded 10am-5pm Sat & Sun; mGare Centrale, Parc) Strap statues and elaborate guild symbols. on a pair of headphones, then step on the automated floor panels in front of the pre- Manneken Pis MONUMENT cious instruments (including world instru- (cnr Rue de l’Étuve & Rue du Chêne; mGare Cen- ments and Adolphe Sax’s inventions) to hear trale) Rue Charles Buls – Brussels’ most un- them being played. As much of a highlight ashamedly touristy shopping street, lined as the museum itself are the premises – the with chocolate and trinket shops – leads the art-nouveau Old England Building. This for- hordes three blocks from the Grand Place to mer department store was built in 1899 by the Manneken Pis. This fountain-statue of a Paul Saintenoy and has a panoramic rooftop little boy taking a leak is comically tiny and café and outdoor terrace. a perversely perfect national symbol for sur- real Belgium. Most of the time the statue’s oMusée du Costume nakedness is hidden beneath a costume rele- et de la Dentelle MUSEUM vant to an anniversary, national day or local (Costume & Lace Museum; %02-213 44 50; www. event: his ever-growing wardrobe is partly costumeandlacemuseum.brussels; Rue de la Violette displayed at the Maison du Roi (Musée de la 12; adult/child/BrusselsCard €8/free/free; h10am- Ville de Bruxelles; Grand Place; mGare Centrale). 5pm Tue-Sun; mGare Centrale) Lace making has been one of Flanders’ finest crafts since the Musées Royaux des Beaux-Arts GALLERY 16th century. While kloskant (bobbin lace) (Royal Museums of Fine Arts; %02-508 32 11; www. originated in Bruges, naaldkant (needle- fine-arts-museum.be; Rue de la Régence 3; adult/6- point lace) was developed in Italy but was 25yr/BrusselsCard €8/2/free, with Magritte Mu- predominantly made in Brussels. This .
Load more

Recommended publications
  • Conserving Victor Horta's Work in Brussel
    Table of Contents List of Illustrations 2 Introduction 4 Chapter 1: Attitudes to Conservation in Brussels 6 1.1 - History of Conservation in Belgium 6 1.2 - Belgian Conservation Legislation 8 1.3 - ‘Brusselisation’ 9 Chapter 2: The Sociocultural Value of Art Nouveau 10 2.1 - Historical Value 10 2.2 - Cultural and Symbolic Value 12 2.3 - Aesthetic Value 14 Chapter 3: Economic Value of the Conservation of Art Nouveau 16 3.1 - The Cost of Conservation of a Horta Property 16 3.2 - Economic Value of a Restored House 19 Conclusions 20 Glossary of Terms 22 Appendix 23 Horta’s Most Influential Works 23 An Insight into Horta - Interview with Françoise Aubry 25 Bibliography 27 1 List of Illustrations Figure 1. Hôtel Tassel - Entrance Hall [Photograph] by: Jean and Rene Delhaye. Taken from: Horta the Ultimate Art Nouveau Architect (Aubry, et al., 2005) Figure 2. Hôtel Tassel – Front Façade [Photograph] by: Arco Ardon. Taken from: Flickr.com – Arco Ardon -Brussels (2009) Figure 3. Palais Stoclet [Photograph] by: Jean-Pol Grandmont. Taken from: Hoffmann, Brussels (2005) Figure 4. Brussels Skyline – Haphazard Placement of High Rise Buildings [Photograph] by: Erasmushogeschool. Taken from: Flickr.com – Skyline Brussels (2009) Figure 5a. Maison de Peuple [Photograph] by: Moicani. Taken from: moicani.over-blog.com (2013) Figure 5b. The Sablon Tower [Photograph] by: Knight Frank. Taken from: Knightfrank.co.uk (Unknown) Figure 6. Hôtel Tassel - Capital of an iron 'tree' column [Photograph] by: Jean and Rene Delhaye. Taken from: Horta the Ultimate Art Nouveau Architect (Aubry, et al., 2005) Figure 7. Barcelona Pavilion Structure [Photograph] by: Claudio Divizia.
    [Show full text]
  • Victor Horta Et Les Débuts De L'art Nouveau À Bruxelles
    Victor Horta et les débuts de l’Art Nouveau à Bruxelles Françoise Aubry Le 11 mai 1881, Victor Horta1 s’installe à Bruxelles. Il boulevards à la parisienne doivent remplacer le lacis de quitte Gand, sa ville natale, pour des raisons person- ruelles anciennes) et apte à absorber la croissance de la nelles: il a séduit une jeune fille qui est enceinte de ses population. (Fig. 1) œuvres. Il se marie avec elle dans la capitale et décide de s’inscrire à l’Académie Royale des Beaux-Arts pour poursuivre des études d’architecture entamées à Gand. La Belgique, puissance coloniale Il cherche à gagner sa vie et entre dans le bureau d’Alphonse Balat, architecte favori de Léopold II pour Dès son avènement, Léopold II veut faire de la Belgique qui il a construit, notamment, les magnifiques serres de la capitale d’un empire immense. En 1891, il écrit à un Laeken2. de ses collaborateurs: « Voyez comment nous pourrions La ville de Bruxelles3 vit alors un profond boule- faire, et encore au XIXe siècle, de Bruxelles, la vraie versement: le collège des bourgmestre et échevins et le capitale de l’Afrique centrale »5. Il souhaite que la ville Roi Léopold II4 ont la volonté de moderniser la ville, de soit embellie à la hauteur de cet ambitieux projet et rêve la rendre plus salubre (notamment en voûtant la Senne, de monuments publics grandioses, de parcs, d’avenues la rivière qui traverse le cœur de la ville et qui était de- arborées, (…) Il n’hésite pas à acquérir lui-même des venue un égout à ciel ouvert), plus aérée (de grands terrains pour favoriser le développement de certains 1 Perspective d’un des nouveaux boulevards centraux (ici le boule- vard Anspach) aména- gés après le voûtement de la Senne et inaugurés le 30 novembre 1871, photo ancienne „Eine Stadt müssen wir erbauen, eine ganze Stadt!“ 235 Françoise Aubry 2 Victor Horta, Façade de l’hôtel Van Eetvelde, 4 avenue Palmerston à Bruxelles, 1895 — 97 (à gauche l’agrandissement de 1899), inscrit au Patrimoine mondial en 2000.
    [Show full text]
  • Découvertes Et Contexte Scientifique L'art Nouveau
    L'art Nouveau Contexte politique et économique L'Europe impérialiste La sortie de la grande dépression : Protectionnisme et Libre-échange. La France entre dans une période de croissance soutenue dans le cadre de la deuxième révolution industrielle, sur fond d'expansion internationale galopante de la place financière de Paris. La montée en puissance de la bourgeoisie. La France connaît également une période riche de divertissement et de loisirs (Cinématographe, cabarets, jeux Olympiques IIè (R de Coubertin), ...) Omniprésence du politique (boulangisme, anarchisme, socialisme, antisémitisme, nationalisme, …) qui encourage la diversification des formes et l'engagement intellectuel. Avant-garde politique, avant-garde intellectuelle, dandysme, essor de la presse, agitation de la critique. L'art Nouveau – Découvertes et contexte scientifique Découvertes scientifiques : Électricité (Volta, Ampère, Edison) - Télégraphie et téléphone, ondes magnétiques (Bell) - Machine à vapeur, etc. Progrès de la médecine : Après 1850:naissance de la psychiatrie (Berheim, Charcot, Freud), 1865:Pasteurisation, 1898:le radium (Marie Curie), 1885:le vaccin contre la rage (Pasteur)... Ces découvertes et inventions vont transformer et améliorer les conditions de vie. L'art Nouveau - Contexte scientifique et technologique Très nombreuses découvertes techniques et industrielles : 1801:Le métier Jacquard 1825:La première ligne de chemin de fer 1839:La photographie (Niepce, Daguerre) 1878 – Amédée Bollée commercialise la première voiture fabriquée en série 1895:Le cinématographe (les frères Lumière) 1897:La TSF ou la radio (Marconi et Branly) Le développement de la sidérurgie et le début de la pétrochimie... A la fin du siècle, on parle d'une seconde révolution industrielle. C'est le début de la deuxième industrialisation L'art Nouveau - Contexte social La culture politique dominante est la République, sous la forme française de la démocratie libérale, avec un large consensus patriotique.
    [Show full text]
  • Walter Sauer 1889-1927
    Walter Sauer 1889-1927 Révêrie Fusain et pastelsur papier signé et daté 1919 en bas à droite Dimensions : 53,4 x 14,3 cm Dimensions : 20.87 x 5.51 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Walter Sauer 1889-1927 Biography Born in 1889 Saint-Gilles (Brussels), Walter Sauer was a Belgian draftsman, painter and engraver. He studied at the Academy of Fine Arts in Brussels, and in Constant Montald's class of decorative painting from 1906 to 1907, where he won a first prize for decorative composition. At this time, Sauer met Murakami, a Japanese man who owned an antique shop and introduced him to the art of Japanese prints and calligraphy. In 1911, thanks to a scholarship obtained with the Charles Buls Foundation, he traveled through France (Paris, Lyon, Marseille) and Italy. On his return to Belgium, he studied for the academic year 1911-1912 modeling courses of ancient figures and finally decided to devote himself to drawing and painting. Walter Sauer took part in the annual Salon de la Libre Esthétique in 1914, as well as at the Triennial Salon in Brussels for which he created a large decorative painting. He won the second prize in the Godecharle contest with the work "L'Atlantide". His fragile health led the artist to devote himself gradually to drawing. He thus drew many feminine nudes, the woman being at the center of his work. He exhibited at many " Salon du Nu " in Belgium and several personal exhibitions were devoted to him especially in Brussels in 1919 and in Ghent in 1920.
    [Show full text]
  • Dossier DE STRAAT ANDERS BEKEKEN
    December 2019 | Nr 032 Dossier DE STRAAT ANDERS BEKEKEN Varia ALEXIS DUMONT SAINTVERHAEGEN DE STRAAT GEZIEN DOOR KUNSTENAARS VAN HET EINDE DOSSIER VAN DE 19DE EEUW KUNST IN ALLES EN KUNST VOOR IEDEREEN CÉLINE CHÉRON KUNSTHISTORICA EN STEDENBOUWKUNDIGE De elektriciteitsmast van de Lalaing, een voorbeeld van kunst in de publieke ruimte (foto van de auteur). 078 Rond het einde van de 19de en het begin van de 20ste eeuw werd het straatbeeld in sterke mate bepaald door een grote aandacht voor de esthetisering van de stad. De aanleg van straten, hun tracé, gebouwen, aanplantingen en straatmeubilair, alles werd onderworpen aan een esthetisch onderzoek. Er werd volop geëxperimenteerd met lijnen, vormen, NOOT DE VAN REDACTIE materialen en technieken. De straat werd ook als drager beschouwd voor kunst in het publieke domein. Ze is de plaats, de ruimte waar een voor iedereen toegankelijke kunst zich kan ontplooien. Kunst in de straat was het resultaat van decennialang experimenteren op het vlak van kunst, architectuur en stedenbouw, een periode waarin men probeerde kunst en esthetische principes te integreren in alle facetten van het dagelijkse leven. Créer une émulation entre les artistes, en traçant une voie pratique où leurs travaux s’inspirent de l’intérêt général ; Revêtir d’une forme artistique tout ce qui se rattache à la vie publique contemporaine ; Transformer les rues en musées In Brussel bogen tal van politici, strijden die tussen 1872 en 1915 pittoresques constituant des éléments openbare besturen, burgers, archi- werden georganiseerd een stimu- variés d’éducation pour le peuple ; Rendre à l’art sa mission sociale tecten, kunstenaars en ambachtslui lans vormden voor de kwaliteit van d’autrefois, en l’appliquant à l’Idée zich over de kwestie van de verfraai- nieuwe wijken.
    [Show full text]
  • Sales Guide 2019 English Version © M
    EN Sales Guide 2019 English version © M. Vanhulst The visit.brussels online sales guide is accessible to all, but is first and foremost aimed at professionals from the travel industry, namely tour operators, travel agents, coach companies and group organisers. It provides a complete overview of all activities and attractions in our city. These are then divided into specific themes which best represent Brussels, e.g. Art Nouveau, comics, heritage, etc. Each activity or attraction is explained in a file containing valuable information such as rates, contact details, languages in which the activity or attraction is provided, and much more. These files will allow travel professionals to take immediate action, should they wish to suggest an activity or attraction to their clients. The entire purpose of the sales guide is to advertise the tremendous potential of Brussels and boost creativity with travel professionals in order for them to perk up, enhance or change their offer whilst making them and their clients eager to discover and get a better idea of the city. Equally important, the sales guide limits research and hence lightens the workload considerably. In addition, the visit.brussels online sales guide obviously contains information on upcoming events, accommodation providers, coach parking details, visit.brussels contact information and other relevant data. We trust this unique tool will benefit all travel professionals worldwide and encourage them to choose Brussels as their preferred destination. Rest assured that we will keep on
    [Show full text]
  • Heritage Days Recycling of Styles 17 & 18 Sept
    HERITAGE DAYS RECYCLING OF STYLES 17 & 18 SEPT. 2016 Info Featured pictograms Organisation of Heritage Days in Brussels-Capital Region: Regional Public Service of Brussels/Brussels Urban Development Opening hours and dates Department of Monuments and Sites a CCN – Rue du Progrès/Vooruitgangsstraat 80 – 1035 Brussels M Metro lines and stops Telephone helpline open on 17 and 18 September from 10h00 to 17h00: 02/204.17.69 – Fax: 02/204.15.22 – www.heritagedaysbrussels.be T Trams [email protected] – #jdpomd – Bruxelles Patrimoines – Erfgoed Brussel The times given for buildings are opening and closing times. The organisers B Bus reserve the right to close doors earlier in case of large crowds in order to finish at the planned time. Specific measures may be taken by those in charge of the sites. g Walking Tour/Activity Smoking is prohibited during tours and the managers of certain sites may also prohibit the taking of photographs. To facilitate entry, you are asked to not Exhibition/Conference bring rucksacks or large bags. h “Listed” at the end of notices indicates the date on which the property described Bicycle Tour was listed or registered on the list of protected buildings. b The coordinates indicated in bold beside addresses refer to a map of the Region. Bus Tour A free copy of this map can be requested by writing to the Department of f Monuments and Sites. Guided tour only or Please note that advance bookings are essential for certain tours (reservation i bookings are essential number indicated below the notice). This measure has been implemented for the sole purpose of accommodating the public under the best possible conditions and ensuring that there are sufficient guides available.
    [Show full text]
  • 'Soldiers for a Joint Cause'
    bmgn - Low Countries Historical Review | Volume 130-1 (2015) | pp. 4-24 ‘Soldiers for a Joint Cause’ A Relational Perspective on Local and International Educational 1 Leagues and Associations in the 1860s carmen van praet and christophe verbruggen Between 1819 and 1830, the Dutch moral reform society Maatschappij tot Nut van ’t Algemeen [Society for Public Welfare] failed to establish any long-lasting local branches in the Catholic southern part of the Netherlands. Thirty years later, an upsurge in the number of international social reform congresses rekindled the desire to establish southern sister organizations. In this article, Carmen Van Praet and Christophe Verbruggen argue that the congresses of the International Social Science Association (issa) from 1862 to 1865 played a vital role in bringing together intermediaries from across Europe. These international congresses offered a transnational space where attendees not only exchanged information about social reform experiments, but also contributed to the dissemination of association structures. During the Amsterdam congress of the issa in 1864, the principal Belgian advocates of secular education were strongly influenced by contacts with the advocates of Tot Nut. Shortly after this contact, the Belgian Ligue de l’Enseignement, an association aimed at improving education and establishing public libraries, was founded and was modelled on the associational structure of Tot Nut. The Ligue also maintained contacts with other single and multi-issue European organizations, resulting in an educational reform network of sibling associations. ‘Bondgenoten in de strijd’. Een relationele benadering van lokale en internationale onderwijsverenigingen in de jaren 1860 De Maatschappij tot Nut van ’t Algemeen slaagde er in de periode van het Verenigd Koninkrijk der Nederlanden (1815-1830) niet in om duurzame afdelingen te vestigen in het katholieke Zuiden.
    [Show full text]
  • Is Back in the Heart of Brussels Historic Center!
    “Brusselization” is back in the heart of Brussels historic center! Neo-classical and Art Deco buildings must be saved. A petition has been launched. A project of a new campus developed by the Hogeschool Universiteit Brussel involves the demolition of more than 6.000 square meters of neo-classical and Art deco heritage. This group of buildings is located: On a touristic and historical itinerary (in front of the Belgian Comic Strip Center); Within a protection zone of listed buildings; And in an inhabited district already affected by several construction works; The project of demolition has got Brussels Capital Region approval and the planning permission could be soon delivered. Which buildings and which famous architects are we talking about? The heritage in danger is located at the corner of the streets rue du Marais/rue des Sables. We can bring out two groups of buildings: 1. (Rue du Marais) A long neo-classical façade built in several phases from the end of the 19th century and throughout the 20th century. The different architects who took part 1 in this development have preserved a great coherence. High quality low-reliefs contribute to this homogeneity (amongst others, “putti” conceived by the famous sculptor Isidore De Rudder). The historical heart of this neo-classical frame has been conceived by Edmond De Vigne, a representative architect of the Eclecticism and the Historicism in Belgium. The building was built for the “Union Minière” which was a rich and a famous company. 2. (Rue des Sables) Art Deco buildings whose façades have been built by Paul Saintenoy, the architect of the famous “Old England” building (Art nouveau).
    [Show full text]
  • Experiences of Failure by Local Activists of the Belgian Education League (C
    Christina Reimann 5Putting the RuralWorld on the Road of Progress? Experiences of Failure by Local Activists of the Belgian Education League (c. 1865–1884) “Just as last year,our circle is sleeping”,wroteaneducation activist from the small town of Veurne in West Flanders, in aletter to the General Council of the Belgian Ligue de l’Enseignement (‘Education League’)inBrussels.¹ This was the type of messagethatCharles Buls (1837–1914), secretary general of the BelgianEducation League, read often ever since his association had begun to found branches in different localities all over the country.However,many local circles knew of ashortperiod of enthusiasm and vibrant activity that found expression in their earlymessages to the centre. So did the branch in Veurne.InFebruary 1869, shortlybefore his announcement of the “sleeping cir- cle”,the correspondent in Veurne had reported on avery successful public semi- nar in town, which had taken place on aSundayand attracted abig audience. He enthusiasticallyset about expanding the local circle’sactivities from Veurne to the countryside.² This spatial expansion was exactlywhat the founders of the Belgian Education League, Charles Buls and otherfreethinkers from Brussels, had had in mind when they setupthe association in 1865. Members living in the same localitywereencouraged to createlocal circles to “initiate discussions” about education reform and “servethe League’sinterests” in the provinces while regularlyreporting to the General Council in Brussels.³ In aletter to alocal circle in 1866,Buls claimed that his “biggest desire” was the League’sdecentralisation and its local members’ participation.⁴ By building up astructure of local associ- ations, the Belgian ligueurs followed theirmodel organisation, the Dutch Maat- M.
    [Show full text]
  • 19 & 20 Sept. 2020
    heritage days 19 & 20 SEPT. 2020 urban.brussels new administration. new horizon. architecture and culture for the city. urbanism heritage urban renovation contemporary architecture urban.brussels (Brussels Urbanism & Heritage) is an administrative body in the Brussels Capital Region. It supports territorial development by implementing regional policies relating to urban development, cultural heritage and urban revitalisation. urban.brussels organises and coordinates a large number of public awareness campaigns concerning heritage and contemporary architecture. In addition, urban.brussels awards subsidies and grants for home renovation, facade embellishment and the restoration of heritage. urban.brussels also provides legal advice related, among other things, to the Brussels Land Management Code (CoBAT) and the Regional Urban Development Regulations (RRU). To accomplish this, urban.brussels offers a broad range of expertise, particularly in the fields of architecture, history, documentation and regulations, in order to optimise its response to citizens’ and users’ expectations. The Urbanism Directorate The Cultural Heritage Directorate The Urban Renovation Directorate The Knowledge & Communication Directorate The Legal Affairs Directorate The Staff & Organisation Directorate To carry out these tasks, urban.brussels urban.brussels tasks, these out carry To counts on a General Direction and six directorates: urban.brussels also hosts the secretariats of three independent bodies: the Royal Monuments and Sites Commission, the Urbanism College and the Environment College. urban.brussels mont des arts 10-13 1000 brussels +32 (0)2 432 83 00 [email protected] www.urban.brussels Legal deposit: D/2020/6860/009 heritage days / COLOR / 1 Over the years, the Heritage Days have become a highlight of the Brussels cultural events calendar, drawing thousands of visitors from Brussels, Wallonia, Flanders and further afield each September.
    [Show full text]
  • 19 & 20 Sept. 2020
    journées du patrimoine 19 & 20 SEPT. 2020 urban.brussels new administration. new horizon. architecture and culture for the city. urbanisme patrimoine rénovation urbaine architecture contemporaine urban.brussels (Bruxelles Urbanisme & Patrimoine) est une administration de la Région de Bruxelles-Capitale qui a pour objectif de soutenir le développement territorial régional en matière d’urbanisme, de patrimoine culturel et de revita- lisation urbaine. urban.brussels organise et coordonne plusieurs initiatives permettant de sensi- biliser le public au patrimoine et à l’architecture contemporaine. En outre, urban.brussels octroie des primes et subsides à la rénovation de l’habitat, à l’embellissement des façades et à la restauration du patrimoine et assure des missions de conseil juridique liées, entre autres, au Code Bruxellois de l’Amé- nagement du Territoire (CoBAT) et au Règlement Régional d’Urbanisme (RRU). Pour ce faire, urban.brussels s’appuie sur une expertise interne importante, notam- ment dans les domaines de l’architecture, de l’histoire, de la documentation et de la réglementation, dans le but de répondre au mieux aux attentes des citoyens et des usagers. La Direction de l’Urbanisme La Direction du Patrimoine culturel La Direction de la Rénovation urbaine La Direction Connaissances & Communication : La Direction des Affaires juridiques La Direction Personnel & Organisation urban.brussels mène ces missions au au missions ces mène urban.brussels moyen de la Direction Générale et de ses six directions urban.brussels accueille également le secrétariat de trois organes indépendants : la Commission royale des Monuments et des Sites, le Collège d’urbanisme et le Collège d’environnement. urban.brussels mont des arts 10-13 1000 bruxelles +32 (0)2 432 83 00 [email protected] www.urban.brussels Dépôt légal : D/2020/6860/007 journées du patrimoine / COLOR / 1 Au fil des ans, les Journées du Patrimoine sont devenues le ren- dez-vous incontournable de la rentrée pour des milliers de visiteurs, qu’ils soient bruxellois, wallons, flamands ou étrangers.
    [Show full text]