The modern project from Piranesi to postmodernism.
The restoration of the historic Pope’s College in 1968, the Faculty Library of Theology in 1971 and the new building for the Aula Pieter De Somer in 1985. Three examples of an intelligent approach to architecture in a historic fabric with a level of quality that we meet enough in Flanders.
The decortower with rehearsal rooms for the choir, the office for dramaturgy and the new foyer above the auditorium designed by the group A2 RG:. P. Neirinck and others. For the entrance hall and the royal box Charles Vandenhoven was chosen. In the entrance hall, he placed columns on a gray-white marble floor of Soll Lewitt under ceiling paintings by Sam Franciss.
In 1982 Jo Crepain launched a cry for attention for architectural competitions: “In Belgium, we are nowhere. In the country where the profession and the title of architect are best protected, least is done for architecture.”
Opening of the exhibition, which is opened by Rossi himself in the framework of the “Avantguardia Italiana” in Antwerp (architecture – theatre – film)
Hollein first makes a thorough study of the area where he has implanted something, he also takes into account the context and involves this even in his own design. He introduces some decorative elements that are quotations in his designs, sometimes even quotes from his own earlier work.
A varied program with the recent architectural landscape of Hollein, the valiant expressionism of Bohm in the 60s, the Japanese purism of Mayekawa and the postmodern collages by Guchez and Numez.
After beginning his carreer in a kind of neo-Corbusian rhetoric and with Rietveld explosions, he started from 1976 to develop a completely revolutionary new design language. A post-modern classicism.
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.