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Gaston Eysselinck 'An Unknow Belgian modernist' | conferência de Marc Dubois

15 Novembro 2011 . 18h00 | Sala Plana

cartaz Gaston Eysselinck 'An Unknow Belgian modernist' Marc Dubois, arquiteto 15 Novembro 2011 . 18h00 | Sala Plana "In Belgium, unlike its neighbours, the Modern Movement manifested itself almost exclusively through the private house. At the legendary exhibition in the New York Museum of Modern Art in 1932, Belgium was represented by one building only: the Lenglet studio house (1926) by architect De Koninck. In that year Gaston Eysselinck (1907-1953) took up residence in his new house, one of the most exciting examples of modern architecture in Belgium. Between 1929 and 1931, when the heroic period of the avant-garde was past, a young architect succeeded in assimilating foreign influences in a highly personal way. During a cycling trip though the Netherlands in 1929, the 22-year-old Eysselinck visited J.J.P. Oud's Café de Unie in Rotterdam, and Gerrit Rietveld's Schröder House in Utrecht. The impressions were so overwhelming that they were immediately reflected in his designs upon his return to Ghent. At that time too, he became acquainted through magazines with the work of the European avant-garde. In particular, the publication in 1929 of the first volume of Le Corbusier's Oeuvre Complète was to have a tremendous influence on his work. Early in 1930 Eysselinck decided to build his own house. He purchased a plot of land on the corner in the 'Millionaire's Quarter', the popular name for an expansion area for well- to-do citizens on the site of the 1913 international exhibition. The unfavourable location, the tact that it faced north, the two blind side elevations and the absence of a garden meant that no-one was interested in the plot, and Eysselinck could acquire it very cheaply. Functionality was the most important thing for the young Eysselinck; for each function a place, and a place for each function. The outside stair was intended to emphasize the strict division between his office on the ground floor and the dwelling upstairs, a division between work and home. Various aspects of the interior demonstrate that his intention was to produce 'une machine à habiter'. In 1932 he designed all the furniture for this house. It is tubular steel furniture, of which the stacking chairs and the large recliner are the most interesting. He hoped to manufacture the furniture at a later date, with the name FRATSTA (Fabriek voor RATioneelse STAalmeubelen - Factory for Rational Steel Furniture), an enterprise which in fact proved unsuccessful. Eysselinck is the only architect in Belgium from the period between the wars to produce a 'collection' of tubular furniture. During the thirties Eysselinck's house was featured only once in an international publication, in Alberto Sartoris' book GliI Elementi dell' Architettura Funzionale (Milano, 1935). If the house is only judged from a photograph of the exterior, it is easy to understand how European architectural historians could have passed over the spatial qualities of this solution to corners within a traditional city block. During the thirties, he designed several houses and introduces a new typology for row houses. The post office in Ostend (1945-1952), which is composed of two parts (mail and telegraphy), is his first and last big assignment. It joins up with the plea of Sigfried Giedion, the secretary of the CIAM, to return to a new monumentality and a direct cooperation with expressive artists. This building is too often forgotten in the international overview of European architecture. At the end of 2012, a first monographic will be published about the oeuvre of Eysselinck." Architect Marc Dubois, October 2011
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