Building
© urban.brussels
Sgraffito decoration, façade (photo 2014)
Sgraffito decoration, façade (photo 2014)
Architecture & Décoration, 1903, pl.13
Dining room before its conversion (photo ca 1903)
Dining room before its conversion (photo ca 1903)
© KIK-IRPA, Brussels
Dresser, dining room (1927, photo 2007)
Dresser, dining room (1927, photo 2007)
© KIK-IRPA, Brussels
Wooden ceiling, dining room (1927, photo 2013)
Wooden ceiling, dining room (1927, photo 2013)
© KIK-IRPA, Brussels
Landing for the entrance hall, first floor (photo 2013)
Landing for the entrance hall, first floor (photo 2013)
Architecture & Décoration, 1903, pl.14
Dining room before its conversion (photo ca 1903)
Dining room before its conversion (photo ca 1903)
The building in front of you is one of the most remarkable constructions created by the architect Paul Hankar. It is the fruit of his collaboration with an artist of Italian origin, the Symbolist painter Albert Ciamberlani.
This imposing twelve-metre wide façade (double the size of a traditional house) does not go unnoticed. Most of it is taken up with sgraffiti designed by Ciamberlani but executed by Adolphe Crespin.
The row of medallions under the cornice may be a partial reference to the labours of Hercules. In the centre, there is a spectacular fresco displaying the elements characteristic of Symbolism; Pierre Puvis de Chavannes was one of the leading lights of this movement in France. It represents both the cycle of nature (from summer to winter) and the human life cycle. On the right, we see a family and a young child, in the centre, a tree, a beehive and a man standing erect in the prime of life and on the left, an old man at death’s door. This sgraffito had, however, almost entirely disappeared due to neglect. We owe its restoration to one of the most advanced teams of artisan-restorers.
Note also the two large circular windows. They were original at the time and are even said to be the first of their kind in Belgium.
The whole of the interior layout was conceived by Hankar: he designed an imposing staircase (unfortunately demolished), all of the house’s furniture, the marble fireplaces, the panelling and the Japanese-inspired ceilings.
While many elements have been lost, in particular during the alterations carried out by architect Adrien Blomme in 1927, the dining room on the bel étage, or the main floor, and the veranda have been wonderfully restored. There you can find a frieze by Crespin depicting pheasants, and some of the furniture.
You can see some of the furniture designed for this house by Hankar at the Design Museum Gent (Ghent) or the Musée d’Orsay in Paris.
Nearby
By the same architect
This imposing twelve-metre wide façade (double the size of a traditional house) does not go unnoticed. Most of it is taken up with sgraffiti designed by Ciamberlani but executed by Adolphe Crespin.
The row of medallions under the cornice may be a partial reference to the labours of Hercules. In the centre, there is a spectacular fresco displaying the elements characteristic of Symbolism; Pierre Puvis de Chavannes was one of the leading lights of this movement in France. It represents both the cycle of nature (from summer to winter) and the human life cycle. On the right, we see a family and a young child, in the centre, a tree, a beehive and a man standing erect in the prime of life and on the left, an old man at death’s door. This sgraffito had, however, almost entirely disappeared due to neglect. We owe its restoration to one of the most advanced teams of artisan-restorers.
Note also the two large circular windows. They were original at the time and are even said to be the first of their kind in Belgium.
The whole of the interior layout was conceived by Hankar: he designed an imposing staircase (unfortunately demolished), all of the house’s furniture, the marble fireplaces, the panelling and the Japanese-inspired ceilings.
While many elements have been lost, in particular during the alterations carried out by architect Adrien Blomme in 1927, the dining room on the bel étage, or the main floor, and the veranda have been wonderfully restored. There you can find a frieze by Crespin depicting pheasants, and some of the furniture.
You can see some of the furniture designed for this house by Hankar at the Design Museum Gent (Ghent) or the Musée d’Orsay in Paris.
The row of medallions under the cornice may be a partial reference to the labours of Hercules. In the centre, there is a spectacular fresco displaying the elements characteristic of Symbolism; Pierre Puvis de Chavannes was one of the leading lights of this movement in France. It represents both the cycle of nature (from summer to winter) and the human life cycle. On the right, we see a family and a young child, in the centre, a tree, a beehive and a man standing erect in the prime of life and on the left, an old man at death’s door. This sgraffito had, however, almost entirely disappeared due to neglect. We owe its restoration to one of the most advanced teams of artisan-restorers.
Note also the two large circular windows. They were original at the time and are even said to be the first of their kind in Belgium.
The whole of the interior layout was conceived by Hankar: he designed an imposing staircase (unfortunately demolished), all of the house’s furniture, the marble fireplaces, the panelling and the Japanese-inspired ceilings.
While many elements have been lost, in particular during the alterations carried out by architect Adrien Blomme in 1927, the dining room on the bel étage, or the main floor, and the veranda have been wonderfully restored. There you can find a frieze by Crespin depicting pheasants, and some of the furniture.
You can see some of the furniture designed for this house by Hankar at the Design Museum Gent (Ghent) or the Musée d’Orsay in Paris.
