Maisons D'architecte Bbma 2018

Total Page:16

File Type:pdf, Size:1020Kb

Maisons D'architecte Bbma 2018 Woning / Maison / House Appartement / Flat Film Villa Zonnewende - 1962 Caulier - 1966 Oscar Niemeyer. BBMA 2018 - ARCHITECTENWONINGEN TICKETVERKOOP arch. Roger De Winter arch. Paul Caulier 3RD Un architecte engagé dans le siècle Marc-Henri Wajnberg De derde editie van de Brussels Biennale of u persoonlijk zullen ontvangen: Lucien-Jacques Hoe inschrijven? NL NL Dit zuiver modernistich concept is nog quasi Sixties duplex-penthouse met originele Modern Architecture, georganiseerd door Korei, Baucher, Jan Fellemans en Lucien en Simone Vanaf 1 september 2018 via www.bbma.be. FR volledig intact. Strak maar toch nostalgisch, leefruimte en keuken. De slaap- en badkamers Un film sur l’architecte le plus prolifique du Arkadia, Docomomo en het æ-lab van de Vrije Kroll. Tot slot wordt in de woningen Lenglet, van met veel zin voor verfijnde detaillering en met zijn door B-bis Architecten gerenoveerd met e Interieurrondleidingen XX siècle. L’un des créateurs de Brasília. C’est Universiteit Brussel, focust op de eigen woning de Velde en Strebelle ook aandacht besteed aan Elke zaterdag van oktober worden 4 à 5 woningen origineel meubilair van De Winter heeft deze vintage-accenten. Een bijzonder voorbeeld van le témoignage d’un artiste qui, jusqu'à sa mort, van de architect in het Brussels Gewest uit de de architectuur van de tuin. opengesteld met rondleidingen in het Nederlands, Frans en Engels. Een bezoek duurt ongeveer 75 minuten FR woning een grote sixties cool. NL brutalistische residentiële architectuur. a cru en l’idéal socialiste. C’est l’histoire d’un periode 1918-1972. 10.00 10.00 (45 minuten in de woningen Scoriels en Besançon). EN EN homme qui aime les femmes. C'est l’aventure De Brussels Biennale of Modern Architecture 11.30 FR 11.30 FR FR/PT Tarief per bezoek: 18 euro / 15 euro (-26 jaar) EN Ce pur concept moderniste est encore EN Penthouse en duplex datant des sixties, où 19.30 d’une personnalité exigeante, exilée en France okt. 14.00 okt. 14.00 okt. In dit programma vindt u unieke getuigenissen omvat echter meer dan rondleidingen in Elke bezoeker ontvangt eveneens een exemplaar ArchitectenWoning oct. presque intégralement intact. Épurée et en ArchitectenWoning oct. le séjour et la cuisine sont encore d'époque. Wajnbrosse Productions and Rogier Van Eck oct. sous la dictature militaire brésilienne qui toute 27 15.30 NL 27 15.30 FR 9 van het woonidealisme van het modernisme, het woningen. De start van deze Biënnale kondigt van de publicatie van de Biënnale. même temps nostalgique, avec ses détails Les chambres à coucher et salles de bain ont sa vie s’est battue pour son pays. brutalisme en de Internationale Stijl. De BBMA zich aan met de lezing The architect’s house: De woningen zijn enkel toegankelijk na inschrijving en de raffinés et son mobilier original de De Winter, été rénovées par B-bis Architecten avec des En l'an 2000, à 92 ans, Oscar Niemeyer parle du wil hiermee de voortrekkersrol benadrukken die more than a home door Linsy Raaffels, bezoeken starten stipt. Foto’s nemen in de woningen is cette maison vous emmène dans les sixties. touches vintage. Un exemple remarquable niet toegestaan. LECTURE Brésil, mais aussi de la France, de Kubitschek, bepaalde architecten hebben gespeeld op gebied gevolgd door filmvoorstellingen, unieke d'architecture résidentielle brutaliste. de Le Corbusier, de Fidel Castro, de Malraux, van technieken, woonvormen en materialen in archief- en tentoonstellingsbezoeken in EN The purely modernist concept here is almost Rondleidingen in Kanal en CIVA FILMS etc. Il raconte sa vie dédiée à l’architecture dans het architectuurlandschap van Brussel en België. CIVA en de mogelijkheid om het iconische Op zondag worden bezoeken georganiseerd in Kanal of entirely intact. This house, austere yet still EN A sixties duplex penthouse with original un siècle bouleversé par les idéologies politiques voormalige Citroëngebouw, nu Kanal, met haar CIVA. Voor de tarieven verwijzen we naar onze website. nostalgic, with a strong sense of refined details, living area and kitchen. The bedrooms and et les mouvements artistiques. Tijdens de interieurrondleidingen geeft niet toekomstperspectieven te ontdekken. plus original furniture by De Winter, has great bathrooms have been renovated with vintage Films en lezing alleen de gids, maar ook de huidige eigenaar Gratis, maar inschrijven is noodzakelijk. sixties-style cool. accents by B-bis Architecten. An exceptional (al dan niet één van de kinderen van de example of brutalist residential architecture. oorspronkelijke architect) uitleg. Heel uniek Deelnemers met een beperking worden verzocht contact op Muntpunt te nemen met ons via info@bbma of 02 380 22 09. Versailleslaan 48 Avenue de Versailles Landsroemlaan 10 Avenue des Gloires Nationales Munt 6 Place de la Monnaie worden de ontmoetingen met de architecten die 1020 Laken / Laeken 1081 Koekelberg 1000 Brussel / Bruxelles ArchitectenWoning ArchitectenWoning Wajnbrosse Productions and Rogier Van Eck PUBLIC PARTNERS Twee appartementen / Deux appartements / Two flats Woning / Maison / House Lezing / Conférence / Lecture Film Résidence Europa - 1958 Besançon - 1956 The architect’s house: Huiselijk modernisme. BBMA 2018 - MAISONS D'ARCHITECTE BILLETERIE arch. Josse Franssen arch. F. Besançon more than a home 3 woningen rond Turnhout Linsy Raaffels Terenja van Dijk La troisième édition de la Brussels Biennale vous dévoileront les arcanes de ces bâtiments Comment s’inscrire ? NL NL er Waan u in een subtiele sfeer van Expo De gevel van deze woning heeft een æ-lab, Vrije Universiteit Brussel of Modern Architecture, organisée par Korei, singuliers. Vous aurez ainsi l'occasion unique de À partir du 1 septembre 2018 sur www.bbma.be. NL 58. Ontdek hoe ook bescheiden architectuur gigantische raampartij op de dubbelhoge In deze film worden drie laatmoderne Arkadia, Docomomo et le æ-lab de la Vrije rencontrer en personne les architectes Lucien- een garantie kan zijn voor ruimtelijkheid en bel-etage en een bijzondere polychromie. Het EN Visites d’intérieurs When an architect designs his own house, Turnhoutse architecten belicht: Paul Neefs, Lou Universiteit Brussel, est consacrée aux maisons Jacques Baucher, Jan Fellemans et Lucien et Chaque samedi en octobre, différentes maisons vous wooncomfort. Het solarium op het dak biedt een huidige Scandinavisch interieur is naadloos he is not solely designing a home for himself Jansen en het bureau Vanhout-Schellekens. ouvrent leurs portes pour des visites guidées en d’architecte érigées entre 1918 et 1972 dans la Simone Kroll. Enfin, les visites des maisons de ORGANISATION prachtig panorama op Brussel. verweven met de architectuur. and his family, he also sets himself one of the Ze behoren tot een vergeten generatie die, Région de Bruxelles-Capitale. Lenglet, van de Velde et Strebelle incluront la français, néerlandais et anglais. Une visite dure environ NL EN 75 min (45 min dans les maisons Scoriels et Besançon). 14.00 10.00 most challenging assignments of his career. Not zoals Geert Bekaert reeds zei een stille dood is découverte de l'architecture de leur jardin. 14.45 FR FR Plongez-vous dans le subtil parfum Expo 58 11.00 NL FR La façade de cette maison arbore une 19.30 EN bound by the wishes of clients, the architect 19.30 NL gestorven. Van elke architect portretteert de Tarif par visite : 18 euro / 15 euro (-26 ans) okt. okt. okt. okt. Dans ce programme, vous trouverez de Chaque visiteur reçoit également un exemplaire de la Architecture, issue 70, 1966, p. 345 oct. 15.30 EN de cette maison, et découvrez comment une oct. 12.00 FR large baie vitrée au niveau du bel étage en oct. stands for a virtually limitless range of creative Archives Van Rompay oct. film één bijzondere woning: woning van den 27 27 2 16 nombreux témoignages des idéaux du Mais la Brussels Biennale of Modern Architecture publication de la Biennale. K architecture discrète peut néanmoins apporter double hauteur, ainsi qu'une polychromie ambitions to choose from such as working Nieuwenhuyzen te Vosselaar (1966) van het modernisme, du brutalisme et du Style vous offre plus encore que les visites guidées de Les maisons sont accessibles sur inscription et les visites spatialité et confort. Le solarium sur le toit remarquable. L'intérieur est aujourd'hui with new materials or investing in a renewed bureau Vanhout-Schellekens, woning Pleysier international en matière de logement. À travers maisons : elle débutera par la conférence The démarrent à l’heure. Il est interdit de photographier à offre un splendide panorama sur Bruxelles. aménagé dans un style scandinave qui se architectural vocabulary. The house can te Rijkevorsel (1971 en 1976) van Paul Neefs en ceux-ci, la BBMA désire souligner le rôle de architect’s house: more than a home, donnée l’intérieur. marie harmonieusement avec l'architecture. become his physical business card or just be a woning Van Rompay te Beerse (1972) van Lou pionniers qu’ont joué certains architectes sur le par Linsy Raaffels, et comprendra également EN Imagine yourself in the subtle atmosphere one-time personal indulgence. Jansen. Visites guidées à Kanal et au CIVA plan des techniques, des typologies de logement des projections de film, des visites exclusives Le dimanche, des visites sont organisées à Kanal ou au of Expo 58. See how modest architecture can EN The facade of this house has a huge window This lecture takes you through the ideas behind In de film kan u met getuigenissen en et des matériaux dans le paysage architectural d’archives et d’expositions au CIVA, et enfin CIVA. Pour les tarifs, rendez-vous sur notre site web. also guarantee space and comfort. The solarium on the double-height first floor and unusual use some of the most exemplary architects’ houses authentieke interieurs een beeld vormen van bruxellois et, plus largement, en Belgique. la possibilité de découvrir l’iconique bâtiment on the roof presents a marvellous panorama of of colours.
Recommended publications
  • Records of the CIAM Belgian Section, 1928-1958 (Bulk 1934-1958)
    http://oac.cdlib.org/findaid/ark:/13030/kt2f59p9gn No online items Finding aid for the Records of the CIAM Belgian Section, 1928-1958 (bulk 1934-1958) Finding aid prepared by Paul Arenson. Finding aid for the Records of the 850865 1 CIAM Belgian Section, 1928-1958 (bulk 1934-1958) ... Descriptive Summary Title: Records of the CIAM Belgian Section Date (inclusive): 1928-1958 (bulk 1934-1958) Number: 850865 Creator/Collector: International Congress for Modern Architecture. Belgian Section Physical Description: 6.0 linear feet(12 boxes, 1 flatfile) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: Records of the CIAM Belgian section comprise the records of Paul Fitschy, Liège-based secretary of the Belgian Section of the International Congress for Modern Architecture (Congrès internationaux d'architecture moderne), as well as some CIAM-related documents obtained in separate acquisitions. Included are correspondence and documents generated by the Belgian section itself, the central CIAM secretariat in Switzerland, and associated CIAM national sections. The records reflect CIAM's development as an international organism, devoted to discussion and promotion of modern architecture and city planning. The CIAM congresses, particularly those from 1937 to 1956, are well documented, as are the day-to-day operations of the Belgian section. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Administrative History The International Congress for Modern Architecture (Congrès internationaux d'architecture moderne, or CIAM) was an influential association of modern architects and city planners united in a search for solutions to the problems of urban areas.
    [Show full text]
  • 1 a Chanson Des Vieux Amants? Belgium and the World's Fairs Dr. Rika Devos Department of Architecture & Urban Planning, Gh
    A chanson des vieux amants? Belgium and the world’s fairs dr. Rika Devos Department of Architecture & Urban Planning, Ghent University St.-Lucas, Department of Architecture, Wenk World’s fair architecture: a setting for discussion World’s fairs would have lost their meaning in today’s mediatised global village: in 2010, this is old news, as world’s fairs, by their very existence, continue to deliver proof of the will to show, to (re)consider, nothing less than the world. Printed press, live satellite television, Internet, YouTube and Skype, multinational corporations, free travel, changed concepts of the nation and international relations, Europe without borders: all these eye and mind openers have not, as was suggested by many in the 1990ies, drained the sense and purpose from world’s fairs. Ever since the first post-war world’s fair – Expo 58, held in Brussels – organisers have publically questioned the use of their events, as from the 1950s onwards, evolutions in science, (tele)communications and transportation theoretically made the world accessible to all. But world’s fairs offer a specific view of the world, bound by place, time and the exhibition’s theme, which give order and sense to the gathering. Indeed, one of the criteria used by the BIE1 to grant a city the right to organise a world’s fair is the choice and elaboration of a relevant theme. Such a theme – in case of Shanghai 2010 ‘Better City, Better Life’ – has to set the goals for the fair, give sense to the efforts of the participants, provide an opportunity to differentiate from others and unite all in a conceptual way.
    [Show full text]
  • ARTS • Feature
    ARTS • feature Forced off course by world events, a showcase building by renowned Belgian modernist Henry van de Velde secured a permanent address in the United States 66 years ago. We trace its course through war and Bells peace, colonialism and the struggle for Civil Rights appealing Fair’s national pavilions were never finished at all. For the New York project, van de Velde, then 76, worked with two colleagues from La Cambre, the architects Victor Bourgeois and Léon Stynen. They adopted a blocky, horizontal format, like the one which van de Velde had created in Paris, and used similar 80-by-60-centimetre terracotta plaques to face much of the facade. Unique to the New York pavilion were two massive sandstone bas-relief friezes representing ‘Belgians at Work’ and Africans of the Belgian Congo. Sculptor Oscar Jespers, another of van de Velde’s associates from La Cambre, collabo- rated with Henri Puvrez on the workers’ scene, and Postcard view of the Belgian pavilion at the New York Arthur Dupagne, a specialist in Congolese subjects, World’s Fair in 1939 produced the one representing the Belgian Congo. Measuring nearly 4 by 12 metres each, the friezes are said to be the largest ceramic bas-reliefs known to leading pioneer of Art Nouveau and have been created since The Archers, the fabled deco- international modernism, Henry van rative panels at the Palace of Darius in Susa, which de Velde (1863-1957), the polyvalent are dated circa 500 BC. Belgian artist, designer, architect and founder of Brussels’ La Cambre art Slavery and the Occupation Aschool, was an obvious choice to design the Belgian pavilion at the 1939 New York World’s Fair.
    [Show full text]
  • Basilica Koekelberg
    NATIONALES IRES LO G ES . D V A AV. DE L'HÔPITAL FRANCAIS N AV CHAUSSÉE DE JETTE O . D E ES H TUNNEL R20 GL R. VANDERBORGHT T OIR N ES A N AV. DU CHÂTEAU P A TI U ON D A . LE V S R. DES ARCHERS A PARVIS DE LA BASILIQUE TUNNEL LEOPOLD II AV. DE JETTE R. M. L. UYTROEVER AV. DE LA BASILIQUE AV. DU PANTHEON AV. EMILE BOSSAERT R. O. LEPREUX PARC ELISABETH R. DU PETIT-BERCHEM R. OMER LEPREUX R. DU COMPTOIR AV. DU CHÂTEAU PARC ELISABETH AV. DE LA BASILIQUE R. EMILE DEROOVER AV. SEGHERS AV. R. DE NECK DU PA NT HE ON AV. DE BERCHEM-SAINTE-AGATHE TUNNEL R20 R. DE LA CARRIÈRE AV. AV. DE LA PAIX à la carte PLACE R. DE L ARMISTICE AV. EMILE BOSSAERT EUGENE SIMONIS Koekelberg CHAUSSÉE DE JETTE AV. SEGHERS Promenades R. LEON FOUREZ R. DU PARC ELISABETH AV. DU CHÂTEAU AV. DE L'INDÉPENDANCE BELGE R. JULES BESME AV. DE LA LIBERTÉ PLACE DE BASTOGNE 1. Au cœur du BOULEVARDvieux LEOPOLD Koekelberg II SQUARE FÉLIX D DépartVANDE SANDE : rue Deschampheleer - métro Ribaucourt A Arrivée : place Victoria - bus 20 AV. DU KARREVELD R AV. DE LA LIBERTÉ . HE R. DES BRAVES RK R. JULES BESME Durée: environ 1h30OLI ERS R. DE NORMANDIE CIMETIERE DE MOLENBEEK-ST-JEAN BOULEVARD LOUIS METTEWIE R. GEORGE-DIT-MARCHALR. VAN BERGEN E R. FÉLIX VANDE SANDE N N R. DE L ARMISTICE -A E T IN R A E S K C R. ALBERT DILLIE > E E IS B L E G R.
    [Show full text]
  • The National Giro Bank Building of Victor Bourgeois
    THE NATIONAL GIRO BANK BUILDING OF VICTOR BOURGEOIS INTRODUCTION “Victor Bourgeois? You better say: Eastern bloc architecture!” titled a short article – one of the very few – published on the occasion of the reopening in July 2002 of the renovated National Giro Bank building in Brussels.1 Victor Bourgeois designed the office block in 1937 and finished it in 1949. Unoccupied since 1990, the Flemish parliament bought it and organized an international competition to transform it into an office building for its deputies. The official press release emphasizes how Bourgeois was one of the most important architects of the modern movement in Belgium. But the quoted parliamentarian bluntly expressed his doubts on, not to say his dislike of the building’s architectural quality. The small column was found on the inner pages of the paper and would have passed unnoticed together with the day’s other fait-divers, if it didn’t surpass the simple taste of a parliamentarian. As a matter of fact, though, the negative critical judgement on Bourgeois’ later buildings has been, and still is widespread and often repeated in the field of theory and history of Belgian architecture. In an international context, a comparable negative judgment was assigned to the more mature work of architects such as J.J.P. Oud or André Lurçat, to name only two avant-gardists who seem to have 1 given up modernism at a higher age. What distinguishes the Belgian architect from his colleagues however is that this critical reception is part of a larger picture, which assigns a rather ambivalent place to Victor Bourgeois in the history of modern architecture in Belgium.
    [Show full text]
  • Victor Bourgeois's Schemes in the Light of Post-War Developments In
    Urban Planning (ISSN: 2183–7635) 2019, Volume 4, Issue 3, Pages 196–211 DOI: 10.17645/up.v4i3.2115 Article From Ideal Proposals to Serial Developments: Victor Bourgeois’s Schemes in the Light of Post-War Developments in Brussels Gérald Ledent Faculté d’Architecture, d’Ingénierie Architecturale, d’Urbanisme (LOCI), UCLouvain, 1060 Brussels, Belgium; E-Mail: [email protected] Submitted: 31 March 2019 | Accepted: 24 June 2019 | Published: 30 September 2019 Abstract Three essential elements of modernism consolidated through war: a centralised welfare state, a serial industrial apparatus and, often, a territorial tabula rasa. Hence, for many modernist architects and urban planners, post-war Europe became the ideal ground to put their ideas to the test. However, there is a genuine discrepancy between the proposals of the first four Congrès Internationaux d’Architecture Moderne (CIAM) and what was massively implemented throughout Europe after 1945. To explore this divergence, Brussels proves to be an interesting case study for two main reasons. First, it hosted the third CIAM in November 1930, where Victor Bourgeois presented his views on housing and cities, in line with the ide- als of the time. Second, after the war, Belgium, like many Western countries, experienced a period of euphoria, during which the modernist ideology attained a sudden and broad consensus. In the capital over the following three decades new infrastructure was built, as well as housing developments that derived, at least formally, from the CIAM ideals. This article explores the gap between the ideals and the reality of modernism through a comparison on two scales: the city and housing.
    [Show full text]
  • Belgian Avant-Garde
    7Arts, Weekblad, Nr. 27, 24 april 1924, Tweede seizoen, Pagina 1 p. 4 — 01. 7 ARTS, A MAGAZINE OF COMBATS p. 5 — 02. EUROPE’S AVANT-GARDES p. 6 — 03. SALONS AND EXHIBITIONS: THE 7 ARTS SHOWCASES p. 7 — 04. COLOUR p. 8 — 05. RHYTHMS p. 9 — 06. MOVEMENTS p. 10 — 07. CORNER PROBLEMS p. 12 — 08. SPREADING OF THE MODERN p. 14 — 09. EVENTS p. 14 — 10. MEDIATION 2 7 ARTS, Belgian avant-garde, 1922 — 1928 In 1922, three young men founded the avant-garde magazine 7 Arts to promote the arts and in particular the synthesis of all the arts as only architecture and cinema can achieve. Pierre Bourgeois, a poet, his brother Victor, an architect, and the painter Pierre-Louis Flouquet were soon joined by the composer Georges Monier and Karel Maes, painter, engraver and furniture designer. “The five” succeeded in harnessing the vital forces of the Belgian avant-garde and in placing their magazine at the very heart of the European avant-garde. Throughout the six years of publication the pages of the magazine provided a platform for the principal protagonists of the Belgian and international artistic scene: De Stijl, the Bauhaus, the Purists, the Constructivists, the Futurists and many other champions of the geometric abstraction to which they gave the name Plastique pure or ‘Pure Plastic’. Their ambition was to have the arts penetrate every dimension of modern urban life and to transform it in the process. In 2020, the CIVA is devoting a retrospective exhibition to 7 Arts, the impressive adventure that this work presents.
    [Show full text]
  • Art Deco Photos | Sophie Voituron Introduction 7 Abbreviations 16
    WALKING IN THE CITY CENTRE CÉCILE DUBOIS BRUSSELS ART DECO PHOTOS | SOPHIE VOITURON INTRODUCTION 7 ABBREVIATIONS 16 First walk 18 THE IXELLES PONDS AND AVENUE ROOSELVELT LA LOGE TO VILLA EMPAIN SPOTLIGHT Apartment buildings – La Cambre, a school of architecture – Adrien Blomme Second walk 48 ART DECO ALONG THE CANAL SAILLANT DE L’YSER TO L’ARCHIDUC Third walk 66 THE CITY CENTRE FROM PRÉVOYANCE SOCIALE TO SAINT-PIERRE UNIVERSITY HOSPITAL AND FROM THE CENTRE FOR FINE ARTS TO THE RVS BUILDING SPOTLIGHT New hospital architecture – Victor Horta – The Nord-South connection Fourth walk 94 THE COGHEN NEIGHBOURHOOD ALTITUDE CENT TO THE HAERENS HOUSE SPOTLIGHT Reinforced concrete – Square Coghen – Louis Herman De Koninck Fifth walk 118 AROUND AVENUE MOLIÈRE VAN BUUREN MUSEUM TO LA MAISON DE VERRE SPOTLIGHT Antoine Pompe – Henry van de Velde Sixth walk 142 WEST BRUSSELS ST JOHN THE BAPTIST AT THE BÉGUINAGE TO TOUR AND TAXIS Spotlight Social housing – Victor Bourgeois – Garden cities – Tenants’ associations – Joseph Diongre AND MORE… Some reading and film titles to find out more about the architure of the interwar period 168 Places to visit – Heritage protection – Guided visits – Antiques dealers 169 Bibliography 171 Index 173 Notes 175 Photo credits 175 INTRODUCTION At the end of the nineteenth century, architects in Brussels turned to Art Nouveau as a reaction against academic art. Victor Horta, with his organic style, and Paul Hankar, with his more geometric style, created a new architectural language, which soon became internationally famous, earning Brussels the title of European Art Nouveau Capital to this day. Art Nouveau, meaning “new art”, was a fleeting moment in art history, lasting just over ten years and falling out of favour just before World War I.
    [Show full text]
  • From Ideal Proposals to Serial Developments: Victor Bourgeois's
    www.ssoar.info From Ideal Proposals to Serial Developments: Victor Bourgeois’s Schemes in the Light of Post- War Developments in Brussels Ledent, Gérald Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Ledent, G. (2019). From Ideal Proposals to Serial Developments: Victor Bourgeois’s Schemes in the Light of Post-War Developments in Brussels. Urban Planning, 4(3), 196-211. https://doi.org/10.17645/up.v4i3.2115 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de Urban Planning (ISSN: 2183–7635) 2019, Volume 4, Issue 3, Pages 196–211 DOI: 10.17645/up.v4i3.2115 Article From Ideal Proposals to Serial Developments: Victor Bourgeois’s Schemes in the Light of Post-War Developments in Brussels Gérald Ledent Faculté d’Architecture, d’Ingénierie Architecturale, d’Urbanisme (LOCI), UCLouvain, 1060 Brussels, Belgium; E-Mail: [email protected] Submitted: 31 March 2019 | Accepted: 24 June 2019 | Published: 30 September 2019 Abstract Three essential elements of modernism consolidated through war: a centralised welfare state, a serial industrial apparatus and, often, a territorial tabula rasa. Hence, for many modernist architects and urban planners, post-war Europe became the ideal ground to put their ideas to the test. However, there is a genuine discrepancy between the proposals of the first four Congrès Internationaux d’Architecture Moderne (CIAM) and what was massively implemented throughout Europe after 1945.
    [Show full text]
  • The Representation of Modern Domesticity in the Belgian Section of The
    The Representation of Modern Domesticity in the Belgian Section of the Brussels World’s Fair of 1958 The theme of the domestic interior in post-war Belgium has so far remained virtually unexplored. A few academic studies discuss the initiatives and design achievements of the then avant-garde, which included such designers as Marcel-Louis Baugniet, Jules Wabbes, Willy Van Der Meeren, Emiel Veranneman and Pieter De Bruyne.1 But there are no studies that explicitly focus on the shape modernity took in the homes of the fifties, a period of acute housing shortage and rapid industrialisation. The limited international reputation of post-war Belgian design and the unstructured internal debate on ‘good homes’ probably did not help. Whereas in the Netherlands, for example, the post-war domestic reform movement has been examined from the point of view of women’s studies,2 design history research is being carried out into the influence of socio-cultural phenomena such as the appearance of domestic electric appliances,3 and anthropological studies of the interior of the home have been initiated,4 research in Belgium is found only in the margins of a few architectural and art history studies, mainly on the work of designers. In response to this, this paper focuses explicitly on the domestic interior in Belgium in the fifties. Its intention is to show how the representation of domesticity in the Belgian Section of the Brussels World’s Fair of 1958 was a reflection of the then national discourse on contemporary living. The research presented in this paper is part of a Ph.D.
    [Show full text]