Building
© urban.brussels
Avenue Roger Vandendriessche 28A – 28, front door (2008).
Avenue Roger Vandendriessche 28A – 28, front door (2008).
© urban.brussels
Avenue Roger Vandendriessche 28A – 28, American glass in the front door (c. 2000).
Avenue Roger Vandendriessche 28A – 28, American glass in the front door (c. 2000).
Ch. Bastin & J. Evrard © urban.brussels
Entrance gate (photo c. 1990).
Entrance gate (photo c. 1990).
in DELEVOY, R., WIESER, G., CULOT, M., Bruxelles 1900 Capitale de l’Art Nouveau, catalogue d'exposition, Bruxelles, 1971.
Avenue Roger Vandendriessche 28A – 28, entrance gate (c. 1971).
Avenue Roger Vandendriessche 28A – 28, entrance gate (c. 1971).
There are some dynasties of artists and craftspeople who leave their mark on the times they live in. One of these is the Wolfers family. Established by Louis Wolfers in Brussels in 1850, the business carrying the family name had, by the next turn of the century, with his sons and nephew at the helm, become one of the leading goldsmiths and jewellers in Europe.
In 1906, Philippe Wolfers and his son Marcel wanted to establish their workshops in the new Avenue Verte neighbourhood of Woluwe-Saint-Pierre. As Paul Hankar, who had designed a set of cottages for the Wolfers in La Hulpe, had died, they turned to one of this maestro's collaborators, Émile Van Nooten. He provided them with an eclectic building with hints of Art Nouveau within a single block, including two workshops, the first for sculpture and the second for painting, with a mezzanine and a glass roof. Here, the jewellers would design some of their finest pieces. The property's wrought-iron gate is reminiscent of the outstretched wings of an elegant insect that might have been designed by the clients themselves.
To this day, the complex, which has been converted into a single-family home, is the only project that can definitely be attributed to its little-known architect.
Nearby
In 1906, Philippe Wolfers and his son Marcel wanted to establish their workshops in the new Avenue Verte neighbourhood of Woluwe-Saint-Pierre. As Paul Hankar, who had designed a set of cottages for the Wolfers in La Hulpe, had died, they turned to one of this maestro's collaborators, Émile Van Nooten. He provided them with an eclectic building with hints of Art Nouveau within a single block, including two workshops, the first for sculpture and the second for painting, with a mezzanine and a glass roof. Here, the jewellers would design some of their finest pieces. The property's wrought-iron gate is reminiscent of the outstretched wings of an elegant insect that might have been designed by the clients themselves.
To this day, the complex, which has been converted into a single-family home, is the only project that can definitely be attributed to its little-known architect.
