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Maison Guiette

Belgian building and structure stubsHouses in BelgiumInternational Style (architecture)Le Corbusier buildings
Antwerp Corbusier Maison Guiette 01
Antwerp Corbusier Maison Guiette 01

Maison Guiette also known as Les Peupliers, is a house in Antwerp, Belgium, designed by Le Corbusier in 1926 and built in 1927. It was the studio and living quarters of René Guiette, a painter and art critic. One of the Franco-Swiss architect's lesser-known works, it is an early example of the International Style. Rene Guiette asked Le Corbusier to design a house modelled on the 1925 Pavilion de l'Esprit Nouveau. Guiette drew lifelong inspiration from the house using gouache and experimental photography The house and the Guiette artwork was the subject of an exhibition at the 9H gallery London. In July 2016, the house and several other works by Le Corbusier were inscribed as UNESCO World Heritage Sites.

Excerpt from the Wikipedia article Maison Guiette (License: CC BY-SA 3.0, Authors, Images).

Maison Guiette
Populierenlaan, Antwerp

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Wikipedia: Maison GuietteContinue reading on Wikipedia

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N 51.183666666667 ° E 4.39325 °
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Maison Guiette (Les Peupliers)

Populierenlaan 32
2020 Antwerp (Antwerp)
Antwerp, Belgium
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Antwerp Corbusier Maison Guiette 01
Antwerp Corbusier Maison Guiette 01
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Middelheim Open Air Sculpture Museum
Middelheim Open Air Sculpture Museum

Middelheim Open Air Sculpture Museum (Dutch Beeldentuin Middelheim Museum) is a sculpture park of 30 acres in the park part of the Middelheim Nachtegalen Park at Antwerp. The Middelheim Museum collection has approximately 400 works of art on display. These include around 215 sculptures, featuring artists such as Carl Andre, Franz West, Auguste Rodin and many more. Along with the addition of new works every year, the museum invites contemporary artists to engage in an artistic conversation with works part of the permanent collection and the environment surrounding them, leading to the establishment of performances and exhibitions and by various kinds of artists. Works such as ones by Roman Signer and Ai Weiwei are also created specifically for the museum. (“Middelheim Museum”) The museum includes the Braem pavilion, designed by the Belgian architect Renaat Braem. He is seen as a significant symbol for post-war architecture in Belgium and aimed to blur the boundaries between architecture and art. Reflective of this, Braem aimed to design the pavilion to incorporate a sculptural quality to organically merge it with the park’s landscape. The design developed into a set of closed pavilions and open patios, formulated “as nature would”, with an accessible entrance and a distinct roof structure to create an ever-changing spatial experience augmented by the flow of light through the pavilion. The rudimentary base was placed in 1969, and the pavilion was then officially introduced at the eleventh Biennial in 1971. Plans for construction around the pavilion were left unfinished with a fountain by Olivier Strebelle being the only trace, which speaks to the idea of merging architecture with nature as it embraces the idea of imperfection. (“The Braem Pavilion”) Another fountain by the Belgian artist Philippe Van Snick is placed in front of the pavilion. (“Middelheim Museum”) The Braem Pavilion is exclusive to fragile works from the permanent collection, such as ones by Alberto Giacometti, Jean Arp, and Wim Delvoye, to maintain them suitably. The works exhibited at the pavilion change twice a year. (“Middelheim Museum”) A 750-meter pathway begins at the Braem Pavilion and runs past the Middelheim Castle and over Middelheimlaan to ‘Hortiflora’, a botanical flower garden part of Nachtegalenpark until it was added to the Middelheim Museum in 2012. With this inclusion, the museum covers more than thirty hectares of park and exhibition area. (“Middelheim Museum”) The merging of art and nature is a significant aspect of the museum. This is seen through the displayed works, the kinds of exhibitions curated and the pavilions and structure of the open-aired museum itself. In the works exhibited, their placement is just as important as the works themselves because the intermingling of the works with their natural surroundings transforms and augments the experience of the viewer.