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.
In 1997 Marie-José Van Hee received, along with Paul Robbrecht and Hilde Daem, the Culture Prize for Architecture of the Flemish Community, in 1993, after an exhibition of her work in “de Singel” and a monograph was dedicated. Marie-José Van Hee keeps away from profound observations and statements to legitimize her work.
It seemed too good not go into it because both projects show evidence of high architectural quality and engaging dialogues with the Bruges context.
Transparant resourcing and controlled dealing with architectural components are giving the work of Robbrecht & Daem their strength. “Tangible and intangible architectural components discover each other in a kind of wonder”
Exactly one year ago a banal real estate project to do disappear the Ostend Kursaal behind a belt of apartments, in a combination of demolition, new construction and “restyling”. The project clashed with wide protest. The Casino Kursaal was finaly classified as heritage.
Visit to the Gallo-Roman Museum in Tongeren, the Abbey of St. Benedictusberg and the police station in Vaals, the Fashion Museum in Hasselt and others.
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