Building
Ch. Bastin & J. Evrard © urban.brussels
Stained glass, door, ground floor (photo ca 1990)
Stained glass, door, ground floor (photo ca 1990)
Ch. Bastin & J. Evrard © urban.brussels
Rear façade (photo ca 1990)
Rear façade (photo ca 1990)
Ch. Bastin & J. Evrard © urban.brussels
Foot of the staircase, entrance hall (photo ca 1990)
Foot of the staircase, entrance hall (photo ca 1990)
© urban.brussels
Façade (photo 2018)
Façade (photo 2018)
This house, a villa with three façades, is typical of the style of Paul Vizzavona, who combined French Classical architecture with Art Nouveau. The layout is composed of two staggered, elongated rectangles that energise the street-facing façade.
The façade, which is composed of beige bricks, is fairly simply decorated. The low-arched windows, although simple, tend towards the Art Nouveau style, and the whole façade is topped with a mansard roof. Vizzavona simulated a central tower by raising the front section by one floor. The Art Nouveau style is particularly evident in the ironwork on the railings and the consoles, as well as in the entrance doorway.
In the 1950s, the architect André Honincks had extensions built on both sides: first of all a glazed veranda at the rear and then a winter garden, also glazed, on the street-facing side. The style is simpler but fits in well with the original structure.
There is also an Art Nouveau presence inside the house, and in the woodwork in the door surrounds, with lintels that evoke stylised flowers. The geometric lower section of the staircase bannister is remarkable. The floor mosaics also repeat a floral theme. However, the most spectacular feature in the house remains the stained glass, including that of the fanlight, which depicts two superb white and yellow peacocks, and that of the light well positioned over the staircase and decorated with geometric lilies.
Nearby
By the same architect
The façade, which is composed of beige bricks, is fairly simply decorated. The low-arched windows, although simple, tend towards the Art Nouveau style, and the whole façade is topped with a mansard roof. Vizzavona simulated a central tower by raising the front section by one floor. The Art Nouveau style is particularly evident in the ironwork on the railings and the consoles, as well as in the entrance doorway.
In the 1950s, the architect André Honincks had extensions built on both sides: first of all a glazed veranda at the rear and then a winter garden, also glazed, on the street-facing side. The style is simpler but fits in well with the original structure.
There is also an Art Nouveau presence inside the house, and in the woodwork in the door surrounds, with lintels that evoke stylised flowers. The geometric lower section of the staircase bannister is remarkable. The floor mosaics also repeat a floral theme. However, the most spectacular feature in the house remains the stained glass, including that of the fanlight, which depicts two superb white and yellow peacocks, and that of the light well positioned over the staircase and decorated with geometric lilies.
In the 1950s, the architect André Honincks had extensions built on both sides: first of all a glazed veranda at the rear and then a winter garden, also glazed, on the street-facing side. The style is simpler but fits in well with the original structure.
There is also an Art Nouveau presence inside the house, and in the woodwork in the door surrounds, with lintels that evoke stylised flowers. The geometric lower section of the staircase bannister is remarkable. The floor mosaics also repeat a floral theme. However, the most spectacular feature in the house remains the stained glass, including that of the fanlight, which depicts two superb white and yellow peacocks, and that of the light well positioned over the staircase and decorated with geometric lilies.
