In eight cities and two regions about 68 recently built projects are open to the public with guided tours.
On February 20th, 2002 the pavilion will be officially ‘opened’ by the royal couple, the prime minister, the prime minister, the governor and the mayor, in the presence of Toyo Ito. It is the prelude to the opening of Bruges 2002 – Cultural Capital of Europe precisely starting 20h02 in the new concert hall.
“Things have no meaning: they exist.” The work of noA architecten is very diverse, both in terms of program and scale and in terms of architectural design.
Meta takes since long a quirky no-nonsense position. They question entrenched positions, they go directly from the construction process to the architecture, they look for a decoupling of architecture and form. Their mission: the introduction of the logic of the thinking that leads to architecture independent of arbitrary parameters.
The cultural year of 2002 in anticipation Bruges is in scafolding. Before this is dismantled and a week after monumentsday (to avoid public crowds) we organize a memorial walk on the scafoldings (to see the restoration work in detail). A walk on ‘high level’ so to speak.
The twentieth century has passed, and you should agree that this age of rampant and inevitable modernization has passed completely to Bruges. Things started well, with the young Huib Hoste for example, who – at the dawn of the new century – tried to tear apart the strict neo-Gothic masters such as Jean Baptiste Bethune and Louis Cloquet.
Bataille and Ibens have created a portfolio of work in which the essence and the generosity of the room is tangible. It shows in meticulous detailing, materials and proportions, stilled spaces. Their collaboration began in 1968. In the past three decades, their work remained standing for integrity, timeless dialogue with space, regardless of fickle fashions.
Coussée & Goris has grown into a broader team of young architects with projects in Belgium and France. Their work is a relief. Pure detailing, honest materials, stubborn logic, serene geometry, careful integration gives the work a succinct evidence and timeliness.
A table, a chair, a chair, a cabinet, a horizontal locker, a lamp. Ordinary things, everyday objects. But if they were designed by Maarten Van Severen, they appear redefined and driven to the essence.
The buildings of Eugeen Liebaut seem at first sight completely autonomous objects. Their abstract geometric design ties in with the avant-garde of the 20s, especially in the purism of Le Corbusier and the Suprematism of Malevich. They express themselves in a clear idiom that strongly contrasts with the farmhouses and other platitudes of the plots in which one finds them.
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