Building
© ACSG/Urb.
Rue d'Irlande 52, façade and section, architect Armand Van Waesberghe (1899)
Rue d'Irlande 52, façade and section, architect Armand Van Waesberghe (1899)
© KIK-IRPA, Brussels
Rue d'Irlande 52, façade (photo ca 1990)
Rue d'Irlande 52, façade (photo ca 1990)
Ch. Bastin & J. Evrard © urban.brussels
Lower level, façade (photo c. 1990)
Lower level, façade (photo c. 1990)
Wikimedia Commons, Michel wal, CC BY-SA 3.0
Façade (photo ca 2008)
Façade (photo ca 2008)
© ARCHistory
Rue d'Irlande 52, view of semi-basement windows (2018)
Rue d'Irlande 52, view of semi-basement windows (2018)
A friend of Gustave Strauven, Paul Hamesse and Édouard Pelseneer, with whom he established the periodical La Gerbe, Armand Van Waesberghe enjoyed a dazzling four-year career before vanishing from the architectural scene.
Designed in 1899 for the young Clotilde and Irma Van Waesberghe, the architect's sisters, this house stands on a narrow plot, which Van Waesberghe capitalised on to give a slender, vertical look to its façade. The two bays of different heights are punctuated by many windows of various shapes, which make up an elevation which is – to say the least – original. The architect clearly had fun blending the Gothic lines of the pointed arches, cut into the stone in a series of recesses, with the geometric curves of the Art Nouveau ironwork. The attractively coloured façade was once adorned with sgraffito panels between the upper-floor windows and a stained-glass window above the door.
The traditional-style interior is spread across four floors. On the upper floors, there is an incredible number of bedrooms: seven in all. Yet the drawing room is just 2.8 metres wide, which would make hosting large parties something of a challenge!
Nearby
Designed in 1899 for the young Clotilde and Irma Van Waesberghe, the architect's sisters, this house stands on a narrow plot, which Van Waesberghe capitalised on to give a slender, vertical look to its façade. The two bays of different heights are punctuated by many windows of various shapes, which make up an elevation which is – to say the least – original. The architect clearly had fun blending the Gothic lines of the pointed arches, cut into the stone in a series of recesses, with the geometric curves of the Art Nouveau ironwork. The attractively coloured façade was once adorned with sgraffito panels between the upper-floor windows and a stained-glass window above the door.
The traditional-style interior is spread across four floors. On the upper floors, there is an incredible number of bedrooms: seven in all. Yet the drawing room is just 2.8 metres wide, which would make hosting large parties something of a challenge!
