Archipel

Experience architecture!

Architects and studios: Pieter De Bruyne 1-3 / 3

Trip Along Flemish roads # 01 /05/2017

West & Oost-Vlaanderen +West- Vlaams-Brabant,

This spring we’re off on a journey, not on an exotic destination like Chandigarh or Naoshima, but to the Flemish hinterland where the names of the hamlets vaguely sounds familiar and where cyclists tracks are guiding us.

Lecture Form and technique of the Egyptian Furniture

'Art Deco', Roeselare

The creations of De Bruyne are based on the results of his surveys he conducted in ancient Egyptian furniture. It is clear that these pieces of furniture are not meant immediately before mass-consumption.

Pieter De Bruyne

Pieter De Bruyne (°Aalst, 1931 – †Aalst, 1987) was a Flemish artist, designer and interior architect.

In 1953 he became a certified interior designer at the St. Lucas School in Ghent. He took in 1955-56 and 1957 participated in the salons of the modern social furniture in Ghent in 1958 and received the “Golden Badge”. In 1959 he obtained a mention in the international competition of furniture and Cantu was crowned in 1961, also in Cantu with a dining room design. He held exhibitions at home and abroad, and carried out the most diverse assignments.

He taught at the St. Luke Institute in Schaerbeek. In 1984 he received a State Prize in appreciation of an artistic career. The complete archive of his work is held by the Design Museum in Ghent.

Following an exhibition in St Peter’s Abbey in Ghent in 1976, writes Jan Pieter Ballegeer “But what is the message of this furniture from Pieter De Bruyne is primarily a mode of attack on the familiar things themselves? a type of destruction of the common. There is a distortion of objects such as one sees in Dadaism, surrealism, pop art. The deformation at De Bruyne but not caricatured expressionist, not primarily intended to direct to be understood, but rather refined mysterious, rather complicated aesthetic, ingenious Mannerist. The artistic self-consciousness of the designer draw his furniture or their remarkable monumentality. Their nature requires nearly that they are not up against walls or in corners, but they pretty are in the same space sculptures “.