A debate with famous architects – moderated by architect and urbanist Marc Martens – giving their story about dealing with heritage. The panel will include noA architects, Dertien 12, Urbain Architectencollectief & Adrian D’Halluin (Baumschlager-Eberle)
This week a fine article was published by Domus, written by Matthias Van Rossen about the impotence to unite contemporary architecture and Bruges.
Under pressure from the Bruges public opinion, and after patiently political lobbying, the pavilion of Toyo Ito was downgraded, against the advice of the Heritage administration.
The impressive house (1968) by architect Axel Ghyssaert acted in early 2002 as a unique backdrop for the youth film ‘Science Fiction’ by director Dany Deprez who got of attention with his magical-realist film debut “The ball”.
The tour takes you to a number of contemporary interventions on or near the city fortifications and then goes in search of notable buildings and homes in the suburbs with a contemporary and/or modernist perspective.
Archipel recommends the preservation and thorough renovation of this fragile but grandiose architecture. There should be a durable new bridge that can defy time so the pavilion can give back its original impetus. We will therefore seek national and international support for conservation.
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.
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.
It seemed too good not go into it because both projects show evidence of high architectural quality and engaging dialogues with the Bruges context.