Hoogewys-Wibaut

Transcription

Hoogewys-Wibaut

André JACQMAIN FINAL REPORT
Megan DE PRINS, Julie HOOGEWYS, Romain WIBAUT
ANDRÉ JACQMAIN
FROM “IMAGINAIRE” TO “MATERIALITY”
1
Table of contents
PREFACE ........................................................................................................................................... 3
Introduction .................................................................................................................................. 3
Brussels Architectural Context ...................................................................................................... 3
PART I – THE POETICAL VISION OF JACQMAIN ................................................................................ 5
PART II – MATERIALITY ..................................................................................................................... 8
Urvater Museum-House (1960) .................................................................................................... 8
Foncolin (1957) vs. the Sart-Tilman (1967-1968) ......................................................................... 9
Glaverbel Building (1967)............................................................................................................ 10
CONCLUSION .................................................................................................................................. 12
BIBLIOGRAPHY ................................................................................................................................ 13
2
PREFACE
Introduction
André Jacqmain is considered as one of the most influent architects of post-war Belgium
architecture. After a 40 years career, his production includes a wide range of styles and has
definitely evolved throughout the various collaborations he has been involved with. His fame is
also the result of a very diverse work spanning from the private houses to city planning projects
through experimental exhibition pavilions. This text will focus on what appears to be constancy
in his oeuvre: the translation of what he referred to as the “imaginaire” of a project to its specific,
as-built materialization.
The first part of this work consists in a review of Jacqmain’s biography and the investigation of
the monographic texts that has allowed to formulate this specific research question.
Consequently, the argumentation is based on a thematic study. The second part of the text
provides a possible answer to this question through the analysis of 4 built works under the scope
of the use of materials; namely the Urvater, the Foncolin, the Sart-Tilman and finally the Glaverbel
building.
Brussels Architectural Context
Jacqmain’s work comes obviously into the scope of the two main architectural movements of the
post-war period. First, the functionalist movement dominates Belgian architecture from the 50s
to the end of 70s. Secondly, postmodern architecture emerges in the early 80s and is still influent1.
At the end of the ‘50, Jacqmain participates to the large-scale urban planning operations in
Brussels resulting in the rise of new urban typologies of "low-rise buildings" in the capital city.
Simultaneously, the European Institutions are installing in the Quartier Leopold. André Jacqmain
is already a precursor of this trimness “low-rise building” architecture. He pursues this early work
with the circular building of Glaverbel seat (realized in collaboration with Braem, Guillissen and
Mulpas). Most of his architectural projects typically become the fruits of the collaborative labor
between architecture and engineering agencies.
Post-modernism will brutally react trying to bring « beauty back in the city »2. When creating the
Atelier de Genval, Jacqmain directly denies his first ideals. The master plan project of the
Stephanie area is built in a trendy ornamented style that guides the design of the new major
buildings of capital and that turns completely the back on the functionalist movement.
1 Van Loo A., 2003, Dictionnaire de l'architecture en Belgique de 1830 à nos jours, Brussels, Fonds Mercator, p.24
2 Dictionnaire de l'architecture en Belgique de 1830 à nos jours, p.112
3
In last years, architectural trends are concentrated on the refitting of the high-rise buildings3
while most of the low-rise buildings are preserved.
Besides, the participation to a series of exhibitions through the world (Toronto 1957, Brussels
Expo ‘58, New York 1970, Osaka ‘70, Tsukuba ’85) provides to Jacqmain the opportunity to
experiment forms and test structures.
3
Tour du Midi, Tour des Finances transformed by Michel Jaspers, Tour Madou renovated by the architect office
ASSAR, the blue glasses buildings « North Gate I, II et II » and the Botanic building of the capital
4
PART I – THE POETICAL VISION OF JACQMAIN
This first part is the necessary background to study and to understand Jacqmain’s work.
André Jacqmain (Figure 1) is born in 1921 in Anderlecht. As a child, because of his frail, he was
placed in several health centers where he learnt to construct his own world with some wood
blocks as unique toys4. This imaginary universe was pursued in his youth for a major interest in
painting. This passion became determinant in his life when he entered at the Academy of Brussels
in 1939. There he met Henry Lacoste5, the master who transmitted him his so-called “poetical
vision of architecture”6. This vision remained influencing Jacqmain along his whole career.
After his academy years, he got involved into a series of artistic communities. He joined the Atelier
de Groenhove in Torhout (1948) and the Ateliers du Marais in Brussels (1948-1951) where he met
famous personalities such as Alechinski and Dotremont. Finally, he encountered Jules Wabbes7
at the Ateliers “Rue de la Pépinière” (1950). The collaborative work between the furniture
designer and the architect would continue for ten years. The most famous achievement would be
the Foncolin (1957), an office building combining innovative techniques of prefabricated concrete
elements with a refined Italian aesthetic.
In 1950, he built his first house (Figure 2) for his friends Carlo and Denise de Brouckère procuring
an “unforgettable happiness”8. Interior spaces were suggested by a play of multiple arches and
vaults he had experimented in his drawings.
It was succeeded by a series of individual houses, a field where Jacqmain reached his highest level
of self-fulfillment. It was also the beginning of a striking brutalism period in Belgium. A gesture he
translated through the majestic Urvater House (1960) and the Sart-Tilman (1967-1968). Heavy
and straight black lines characterized the sketches of both projects. The next years, he built the
emblematic Glaverbel building (1969), which made him famous for the first time at national level.
Since he was directly in publics’ eyes, an increasing number of journalistic interviews9 where he
confessed about his interpretation of his architecture10 have been published. The creation of the
Atelier of Genval in 1967 concretized the dream of his academic life.11 The aim of the Atelier was
4
Couvreur D., 2004, André Jacqmain dessine son royaume imaginaire, Le Soir Mag, December 1, 2004, p.2-3
5 Hennaut E., 2008, Henri Lacoste : architecte 1885-1968, Archives d’Architecture Moderne, Brussels
6 Jacqmain A., 2005, L’imaginaire émergeant, Brussels, Archives d'Architecture Moderne AAM, p. 8
7 Ferran-Wabbes M., 2012, Jules Wabbes : furniture designer, BOZAR Books, Brussels
8 « Construire ma première maison, celle de Carlo et Denise de Brouckère à Torhout, fut un bonheur » « La première:
TORHOUT 1950, inoubliable émotion.» L’imaginaire émergeant, p. 60
9
Press archives. Bibliography [12], [13], [14], [15], [16], [17]
10
The interesting fact is that these interviews are given by own words and from his point - often between quotes- so
that his words are not altered.
11
« Capital d’imaginaire, l’Atelier de Genval a pris la vie et le talent de beaucoup. Passage de l’individualité à la
pluralité, cet atelier, plus que n’importe quel autre bâtiment, est mon œuvre. J’ai essayé d’y implanter la personnalité
plutôt que le savoir-faire.» L’imaginaire émergeant, p. 101
« Le travail solitaire m’inquiète […] ; dès l’académie, lorsque l’entourage se penche sur mon dessin, le regarde, réagit
et discute je ressens l’amplification de l’imagination.» L’imaginaire émergeant, p. 101
5
to bring an architects’ collective together to share contrasting visions in order to generate a
stratified, imaginative and productive architecture. He believed that interacting criticism
liberated from introversion. The production of the Atelier was oriented to the embellishment of
Brussels city, as a kaleidoscope of styles12. The early straight lines of his drawings became refined
and curved. The « Stephany Area », followed by important orders in the same idea of postmodern style: the building complex for the Flemish Community (1988), the seat of Euroclear
(1992) and the European Parliament (1997) were given to birth. During this last period, the
conceptual inventiveness was attenuated for a more ornamented and international style.
Later in life, the new generation of architects at the office was taking over Jacqmain’s work while
he still kept concerned eyes on the Atelier. Besides, he was still in relation with many of youthful
friendships. They were those that remembered Jacqmain’s first steps in the world of architecture.
They would persuade the old man to bring together the traces of its life in order to immortalize
his sinuous route in the literature. It was the reason why the writing exercise was extented in
autobiographical books. Pierre Loze13 would first help Jacqmain to relate the life of the Atelier,
the tensions, the emotions and the never-ending questioning of a common work14. Still with the
support and the critical eye of Loze, and two other friends, Fabien de Cugnac and Nicole
Beeckmans, Jacqmain was convinced to undertake the writing of the book of his own life:
“L’imaginaire émergeant” (Figure 3). It is a composition of sentimental images thoughtfully
selected by André Jacqmain to give birth to the album that depicts the way of his life. In this
autobiographic book, he accords a fundamental and central place to demonstrate how the
poetical concept and the instinct of its imaginary were at the base of a creative gesture. The
amalgam of thematic photographs, drawings and written extracts are the images that build up
the close environment and the choices he made along his lifetime. They are the samples of an
intimate world where “habits are perfumed by strangeness”15.
At the heart of a personal reflection, the aim was to elucidate his vocation of architect via the
attitude he has adopted since his early childhood 16 . It depicts the creation process and its
ambiguities, which came out to impressive architectural works. In this sense, each built work has
a unique vocation and has to be given an independent and adequate expression. Through the
eyes and the comments of André Jacqmain, the gamble was paid off for reinventing a language
12
Dictionnaire de l’architecture en Belgique, p.112
Amongst the writers and the journalists who have been retracing Jacqmain’s life, Pierre Loze is certainly the most
present. Art historian and archeologist, Pierre Loze was caring about transmitting art from the personal vision of the
personalities he met in the artistic world.
14
The case studies were also analysed on the main base of Jacqmain’s point of view as an involved author of these
books.
15
« Un zeste d’étrangeté qui parfume l’habitude.» L’imaginaire émergeant, p.12
16
« J'ai décidé de dessiner ma vie pour montrer comment je me suis fabriqué, tout en expliquant ce que signifie un
bâtiment, comment on y arrive.» André Jacqmain dessine son royaume imaginaire, Le Soir Mag, p. 2-3
13
6
to express the poetical emotion of his work touching the spirits17. At the moment that the first
lines are drawn, the building appears and receives a powerful sense when the materiality occurs.
17
The architect chose to speak to souls, rather than aesthetes or developers. At 83 years old, André Jacqmain passes
the crazy challenge of reinventing a language to express the poetic emotion of his work.
7
PART II – MATERIALITY
This part focuses on Jacqmain’s work under the scope of the use of materials, on what happens
when the “imaginaire” gets built. Indeed three different periods can be clearly distinguished in
this work: the “brick period”, the “concrete period” and the “stone period”. Such atypical
periodization demonstrates obviously the care that Jacqmain accords to a personal and formal
expression through a sensitive use of materials. It is his way to translate and to appropriate its
architecture.
Four built works are described in the following paragraph in order to see what the relationship
that Jacqmain entertained with those materials is. Furthermore, materials are the means to
translate his imagination into materiality through a poetical vision that has been the key of his
success. The “brick period” is first characterized by the Urvater house-museum (1960). Secondly,
the “concrete period” is illustrated by the Foncolin office building (1957) where concrete is
considerate as a “noble” material for the self- supported façade and the Sart-Tilman campus
project where the rough concrete does not have the ambition to be part of the structure but
serves to elevate the massive walls of a fortress. The aim was to create a magic and intimate
atmosphere when light rays enter through the punctual openings. Finally, natural stone
demonstrates a manifest role when declined into multiple tones in the Glaverbel building (1967).
Urvater Museum-House (1960)
(Figure 4)
In the 50’s, Europe is under an optimistic post-war reconstruction period. American influence
results in the outflow of the bourgeoisie to construct big houses outside the cities. The Urvater
family, Antwerp’s rich collector family wants a new house outside Brussels, which has to be “a
piece of art”. From the first lines to the final plans and the realization (1960) Jacqmain is
responsible for the project.
His sources of inspiration are his journey to Mexico - where pre-Columbian monuments
impressed him - and his new friendship with the Urvater, with whom he discovers a new universe
of excess and art. He permanently works with the catalogue of the family’s collection and with
partner’s recommendation18 to end in a striking brutalist work.
When entering the site the impressive brick gate is already announcing the Urvater house as a
masterwork. In a second time the visitor is entailed towards the path of the house through
successive open-air antechambers covered by dark brick floors (Figure 5). Inside the house, the
architectural promenade continues similarly. The concept of Jacqmain acquires at this moment
18
The only recommendation he received was: “do not hesitate: stronger!” De Temmerman D., Jacqmain A., Langui
E., Roberts-Jones Ph. and Alechinsky P., 2013, Urvater, Histoire d’une collection, Brussels, Stichting Kunstboek, p.42
8
all its significance: the 140 walls are instinctively designed for 140 paintings (Figure 6). Moreover
Jacqmain gives all the power to his imagination when drawing the lines of a radical geometry. The
proportions are capital. A sensitive geometry is developed from a drawing guided by emotion19.
Through this concept Jacqmain can deploy his architecture, in the isolated location20, without
constraints, in a free composition made of a series of vertical and horizontal lines (Figure 7).
Combined with the choice of materiality, the composition gives to the house a pre-Columbian
ruin like style. The conception of the house-museum is especially laid out for the paintings
collection and is organized following successive empty spaces as a maze defined by freestanding
solid walls in brickwork masonry. Every detail is taken into account in the staging of this decor.
For example, only small windows are designed in the gallery, because the external world should
not interfere with the paintings. At the center of the composition, the staircase accesses to a long
corridor serving all living spaces at the upper floors. The horizontal layout is extended in lounge
terraces and the panoramic windows stand out from the façade to give views over the valley.
By playing with colors and materials – dark bricks, white painted bricks, painted concrete,
concrete with insertion of green marble or gold meshes, polished metal - Jacqmain creates an
interacting harmony between the house façade, the northern lights and the vegetation. This
building was considered as a real artwork only after the house was furnished21, was inhabited and
was adorned by the Urvater’s collection. « Elle est terriblement architecturale » 22 comments
Jacqmain on the final result.
Foncolin (1957) vs. the Sart-Tilman (1967-1968)
(Figures 8 & 9)
The Foncolin is early mentioned in 1961 by the American traveler-historian Kidder-Smith 23 as an
office model building worth seeing. In Europe, the specialized press also praises its innovative
conception in architectonic concrete produced by the Schokbeton Company. The building hits the
headlines of the magazines Architecture and La Technique des Travaux. It becomes an
international prevailing advertisement icon that impacted in intensive research on architectonic
concrete in following years. Besides, the concept of building is also an inspiration source for other
Belgium offices’ buildings. Jacqmain plays a major role in the post-war development of
prefabricated concrete.
The Foncolin, built in 1957, directly symbolizes an “avant-garde” prototype as consequence of its
functionalist style and innovative concept. This building is ordered in 1954 by the “Fonds Colonial
des Invalidités”, an insurance company. Strongly inspired by the modern architecture from Milan,
Andre Jacqmain imagines a largely opened façade animated by metallic balconies. In order to
19 Urvater, Histoire d’une collection, p.44
20 Rhodes-Saint-Genèse, the parcel was on top of a meadow in the forest.
21
Each piece of furniture was specifically conceived for the house.
22 L’imaginaire émergeant, p.32
23 Kidder-Smith G.E, 1961, The New Architecture in Europe, Vol 10/6, a Pelican Book, Cleveland, World Pub. Co
9
realize the project, he works in close collaboration with the architect Mulpas, the furniture
designer Wabbes (Figure 10), the Company Schokbeton and the engineer Degroodt. As an answer
to the architect’s wishes, Degroodt conceives a self-supported façade in prefabricated elements
(Figure 11) predisposing to the open plan of the building (internal supports are limited). The
façade, as the essential key of the project, is composed of 2500 white reinforced concrete frames.
Moreover, those latest are elongated and slender shaped (only 12 cm thick) providing the
transparent exterior aesthetic. The Dutch company Schokbeton was in charge of patented
fabrication process of the architectonic concrete elements24. However, the aesthetic is not left
behind technical advances. The design is influenced by the Italian refinement of Gio Ponti.
Ornaments are detailed with quality consideration and sophisticated materials: oak and bronze,
the “mutéyé” carpentry, “wengé” parquet floor and bronze ironmongery.
In 2001, the building is demolished and is replaced by the Sapphire building. Some structural
elements could be conserved and are still exposed in the entrance hall.
Permanently in the research of the primacy of aesthetic, concrete is given a distinct significance
in the project of the new university campus of Liege than in the structural elements of the
Foncolin. In 1962, Claude Strebelle invites Jacqmain to participate to this huge project. Jacqmain
is impressed by the brutalist power of nature of the plateau of Sart-Tilman site (Figure 12). This
impression influences his first drawings25. Jacqmain designs the student’s homes of three massive
towers (Figure 13) organized around a social and community services center and the campus
restaurant (respectively 1981 and 1967). Once again, the role of the materials is to translate and
to express this power. Heavy concrete shells protect the intimate inside to create a magic
atmosphere of a light razing the brick walls. Into the building the walk through successive
mysterious semi-obscure spaces finally lead to the sacral belvedere offering a panoramic view on
the surrounding landscape. The passage of the self-services restaurant works as an efficient
“anticlimax”.
Glaverbel Building (1967)
(Figure 14)
The Glaverbel building is the result of a collaborative work between four renowned architects,
engineer and furniture designer (respectively Braem and Jacqmain, Guillissen and Mulpas). At the
24
The process consists in intense and choking vibrating in a first time, and the compacting proceed in a second time
to confer high durability and rigidity properties. Besides, it proves economical advantageous since no additional
surface treatments are necessary.
25
“Seuls les dessins collectifs réalisés pour des bâtiments citadins échappent à mon penchant pour une architecture
de force, à un instinct facilement brutaliste. La force du restaurant a été portée à l’extrême, impression que j’étais
par la rudesse hivernale du plateau du Sart-Tilman, par la forte, par les lointains en direction de la Fagne.”,
L’imaginaire émergeant, p.45
10
start of a competition, the sketch (Figure 15) of the closed ring is the most striking amongst the
drawings proposed by Jacqmain. Moreover he imagines the use of the typical Hainaut blue stone.
It is this latest material, wearing the brand of Jacqmain, which allows the original project to be
distinguished and to win the competition26.
The original plans27, which are delivered in 1964, stress on flexible spaces and are based on a
functionalist organization. They are especially suited to the needs of the first owner, the Glaverbel
society. This layout provides meeting spaces and thus an effective collaboration work in the huge
building. The mobility scheme is driven by a circular circulation connecting six sectors. Working
life takes places with a peculiar dynamism turned to exterior spaces. Following Jacqmain «what
makes the true sustainability of a building is to be well built» 28. These sustainable aspects are
pursued in the architectural expression of the building.
The originality of the concept lies in the circular form that surrounds the green central garden.
The 115m external diameter is directly integrated harmoniously in the outline of the landscape
as an ecological proposal. Indeed, the hundred-year-old trees existing in the site could be
preserved. The relationship between the gardens, as well from the inside to the outside, is intense
(Figure 16), and especially due to glass curtain wall façade29. This latest reflects nature is multiple
facets. On the exterior side, Jacqmain plays with the contrast with another material, the stone. A
“stone crust” (Figure 17) catches the light rays and underlines the structure that emerges from
superimposing rings. More than the architectural expression of a crust made of stone blocks, it
was the first reusing material approach in the world of Belgium construction. The stone blocks
are indeed the unused blocks directly extracted from stone carriers.
Jacqmain chose to treat blue stone in different manners in the interior spaces. While raw blocks
of stone characterize the exterior façade, the ground floor is made of the same polished material
and streaked stone blocks underline the corridors. In the case of a precise and refined work on
the stone, luxury is provided by itself.
By imposing the style, Jacqmain could go beyond the functional aspects. In the Glaverbel building,
Jacqmain is still demonstrating a brutalist expression such as in his previous works, the Foncolin
and the Sart-Tilman restaurant. But the way to consider the stone in the Glaverbel building is
already announcing the architectural wave of post-modernism he was going to follow when
creating the Atelier de Genval.
26
Un trajet riche en surprises, Le Soir Mag, p.4
« A première vue, on pourrait croire que la forme circulaire du bâtiment Glaverbel était juste une idée fantaisiste,
une volonté de créer quelque chose d’original à tout prix. Mais il n’en est rien. En effet, à l’époque, ce choix résultait
d’une analyse minutieuse des besoins de la société.» Pok M., 2013, André Jacqmain, un trajet riche en surprises,
Essentielle Immo Novembre 2013, p.7
28
«ce qui fait la vraie durabilité d’un bâtiment, c’est d’être bien construit», André Jacqmain, un trajet riche en
surprises, Essentielle Immo Novembre 2013, p.8
29
« Le lyrisme ici c’était l’idée de partir de quelque chose de naturel — les arbres – pour tendre vers l’artificiel.»
André Jacqmain, un trajet riche en surprises, Essentielle Immo Novembre 2013, p.8
27
11
The Glaverbel is one of the most mythical buildings of Brussels and has acquired its unique value
through the pertinent form combined with the use of the stone material.
CONCLUSION
In this paper, some recurrent aspects in Jacqmain’s work can be identified.
First, the architect had to invent a concept for which he had to appeal to his imagination. Next to
the specific requirement of the order, his personal feelings often emerged from the visit of the
site of the project. The landscape is seen as its first inspiration source. Another key point is that
following Jacqmain, imagination has necessarily to be emulated by a collaborative work. Under
those circumstances, he was able to draw force lines of the project on paper: black and white
lines instinctively drawn based on feelings, emotions and lyricism.
In a second time, he aimed to translate these two-dimensional drafts into three-dimensional
constructed and material buildings with the same intensity. At that moment, Jacqmain could
consciously choose for the more appropriate material to regive such forces and power. Once
more, collaborations were needed to achieve such goal with full intensity. The material was
becoming as an entire part of the concept providing atmosphere and modeling spaces with light.
Above all, he had the ambition to transform his profession into art. This way of creating and
thinking architecture pushed him forward to be in contact with contrasted architecture and
typologies. Notably, he could impose his style to the Belgium architectural context.
To travel through times human constructions need poetry. Persuaded of this idea, André
Jacqmain liberated his imagination inseparable from the architectural creation. Today his work
procures the similar emotion to the visitor fifty years after the first bricks, concrete or stone wall
was erected. Through a 60 years carrier, Jacqmain has been recognized as a major figure in Belgian
architecture because he has often preferred his own recipes in a world full of prejudges about
“beauty” architecture.
12
BIBLIOGRAPHY
Monographs
[1]
Cugnac F., 1988, Entretiens sur l’architecture, Brussels, Eiffel.
[2]
Loze P., Scullica F., 2002, Atelier d’Architecture de Genval: Designing the City. Torino, l’Arca
Edizioni spa
[3]
L’Atelier d’Architecture de Genval, 2003, Sapphire Bruxelles, Brussels, Codic & Atelier
d’Architecture de Genval
[4]
Jacqmain A., 2005, L’imaginaire émergeant, Brussels, Archives d'Architecture Moderne
(AAM)
[5]
De Temmerman D., Jacqmain A., Langui E., Roberts-Jones Ph. and Alechinsky P., 2013,
Urvater : histoire d’une collection, Brussels, Stichting Kunstboek
General bibliography
[6]
Aron J., Burniat P., Puttemans P., 1990, Guide d'Architecture Moderne, Bruxelles et
environs, 1890-1990, Brussels, Hatier
[7]
Crahai P., 1994, Bruxelles, Monuments et Sites classés, Région de Bruxelles-Capitale,
Service des Monuments et Sites, Brussels, 1994, p. 158
[8]
Dubois M., Hennaut E., Strauven F., Van Laethem, F., Englebert J., Génicot L., Langerman
N., Bekaert G., 1996, Architecture contemporaine en Belgique, Brussels: Editions Racines
[9]
Van Loo A., 2003, Dictionnaire de l'architecture en Belgique de 1830 à nos jours, Brussels,
Fonds Mercator
[10] Denoël J.-F., Espion B., Hellebois A., Provost M., Van De Voorde S., 2013, Histoires de béton
armé. Patrimoine, durabilité et innovations. Brussels, Publication FEBELCEM, collaboration FABI
Comité Patrimoine et Histoire
13
Articles
[11] 1958, Le ‘Foncolin’, Immeuble pour bureaux à Bruxelles. Architecte: A. Jacqmain. La
technique des Travaux, n° 3-4, mars-avril 1958, p. 103-110
[12] Lamensch M., 1988, André Jacqmain: l'architecture belge est comme son peuple, laide et
vieille. Insaisissable Jacqmain. Le Soir Mag, Novembre 28, 1988, p. 2
[13] Simon Ch., 1989, Bureaux de rêve (VI), le Stéphanie Square, tourne vers le futur, Le Soir
Mag, August 19, 1989, p.32
[14] Couvreur D., 2000, Quartier Léopold, le siège de l'ancien Fonds colonial des invalidités
promis à la démolition. Raser pour enflammer la création. Une œuvre d'exception, Le Soir Mag,
September 26, 2000, p.27
[15] Couvreur D., 2004, Entretien, André Jacqmain dessine son royaume imaginaire, Le Soir
Mag, December 1, 2004, p. 2-3
[16] Duplat G., 2004, L'imaginaire d'André Jacqmain, La Libre « Arts visuels – RENCONTRE »,
November 25, 2004, p.6
[17] Pok M., 2013, André Jacqmain, un trajet riche en surprises, Essentielle Immo Novembre
2013, p. 4-10
Web Sites
[18] Région de Bruxelles-Capitale, Inventaire du Patrimoine Architectural
www.irismonument.be/fr. Bruxelles_Extension_Sud.Avenue_Louise.54.htlm
Last consultation March 12, 2015
[19] Urvater, Histoire d’une Collection
http://urvater.eu/new/andre-jacqmain/
Last consultation May 10, 2015
[20] Atelier d’Architecture de Genval
http://www.genval-architecture.be
Last consultation April, 2 2015
14
André JACQMAIN - Appendices
ANDRÉ JACQMAIN
FROM “IMAGINAIRE” TO “MATERIALITY”
APPENDICES: FIGURES
1
Table of contents
PART I – THE POETICAL VISION OF JACQMAIN ................................................................................ 4
PART II – MATERIALITY ..................................................................................................................... 6
Brick: Urvater Museum-House (1960) .......................................................................................... 6
Concrete: Foncolin (1957) vs. Sart-Tilman (1967-1968) .............................................................. 8
Stone: Glaverbel Building (1967) ................................................................................................ 11
2
Table of figures
Figure 1: André Jacqmain, http://www.genval-architecture.be/atelier/equipe/andrejacqmain/…………………………………………………………........................…………………………………………………4
Figure 2: Habitation de MR C. de B. à Turhout, André Jacqmain, L’imaginaire émergeant, p.60…4
Figure 3: L’imaginaire émergeant, L’imaginaire émergeant, p.60…………………………….…………………5
Figure 4: The Urvater Museum-House, Atelier d’architecture de Genval, Designing the city,
p.93…………………………………………………………………………………………………………………………………………….6
Figure 5: Approach to the house with open-air anterchambers, Atelier d’architecture de Genval,
Designing the city, p.103……………………………………………………………………………………………………….……6
Figure 6: Interior of the Art Gallery, Atelier d’architecture de Genval, Designing the city, p.94…..7
Figure 7: Configuration of vertical and horizontal lines, sketch by André Jacqmain, Atelier
d’architecture de Genval…………………………………………………………………………………………………………….7
Figure 8: The Foncolin Building, Atelier d’architecture de Genval, Designing the city, p.86…………8
Figure 9: Sart-Tilman Building, L’imaginaire émergeant, p.79……………………………..……………………..8
Figure 10: Collaboration between the furniture designer Wabbes and Jacqmain, 1956,
L’imaginaire émergeant, p.66…………………………………………………………………………………………………….9
Figure 11: Drawing of the construction principle by André Jacqmain, L’imaginaire émergeant,
p.65…………………………………………………………………………………………………………………………………………….9
Figure 12: Concrete facade of the Sart-Tilman building, Atelier d’architecture de Genval,
Designing the City, p.31…………………………………………………………………………………………………………….10
Figure 13: Plan and section of the Sart-Tilman building, Atelier d’architecture de Genval,
Designing the City, p.30…………………………………………………………………………………………………………….10
Figure 14: Glaverbel, Atelier d'architecture de Genval, Designing the City, p.99……....................11
Figure 15: Sketch of the Glaverbel by André Jacqmain, Atelier d'architecture de Genval,
Designing the City, p.100………………………………………………………………………………………………………….11
Figure 16: Relationship between the garden and the building, Atelier d'architecture de Genval,
Designing the city, p.101………………………………………………………………………………………….……………….12
Figure 17: The “stone crust”, Atelier d'architecture de Genval, Designing the City, p. 99………….12
3
PART I – THE POETICAL VISION OF JACQMAIN
Figure 1: André Jacqmain
Figure 2: Habitation de Mr C. DE B. à Turhout, André Jacqmain
4
Figure 3: L'imaginaire émergeant
5
PART II – MATERIALITY
Brick: Urvater Museum-House (1960)
z
Figure 4: The Urvater Museum-House
Figure 5 : Approach to the house with
open-air antechambers
6
Figure 6 : Interior of the Art Gallery
Figure 7 : Configuration of vertical and horizontal lines, sketch by André Jacqmain
7
Concrete: Foncolin (1957) vs. Sart-Tilman (1967-1968)
Figure 8 : The Foncolin Building
Figure 9 : Sart-Tilman Building
8
Figure 10: Collaboration between the furniture
designer Wabbes and Jacqmain, 1956
Figure 11: Drawing of the construction principle
by André Jacqmain
9
Figure 12: Concrete facade of the Sart-Tilman building
Figure 10 : Plan and section of the Sart-Tilman building
10
Stone: Glaverbel Building (1967)
Figure 1411: Glaverbel
Figure 12: Sketch of the Glaverbel by André Jacqmain
11
Figure 16: Relationship between the garden and the building
Figure 17: The “stone crust”
12

Hoogewys-Wibaut

Transcription

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