beyond your map

In 1935, architect Camille Breeus unveiled a captivating apartment building that continues to pique interest to this day. The ground floor proudly showcases a beautiful ceramic signature on its left side, setting the tone for what lies within. The entire structure exudes an aura of impeccable order and symmetry, highlighted by a stunning entrance gate framed in a mosaic of green, black, and yellow ceramics. This vibrant green theme carries through to the window sills, woodwork, and the geometrically designed front door, creating a harmonious visual composition. The stairwell, generously bathed in natural light from top to bottom, retains its original window frames—an uncommon and cherished feature. Even the meticulously landscaped garden facing the street bears testament to the attention to detail invested in this architectural gem. Thanks to a well-executed restoration and diligent upkeep, the building stands as a testament to both its historical significance and timeless beauty.

La Nouvelle Maison, also known as La Maison Moderne, is a detached house located at Albertlaan 1 in Tervuren, Belgium. It was designed and built by architect Henry Van de Velde in 1927 as his personal residence, and he resided there until 1947. The house features a rectangular layout made of brick masonry, with concrete floor and roof structures. Its flat roof boasts a wide concrete cornice, and the first floor's floor construction extends to two concrete terraces. La Nouvelle Maison has been recognized as a protected monument by the Flemish Government through a Ministerial Decree on 09/11/1994. In 2015, the property was put up for sale and subsequently underwent restoration.

The corner house with a flat roof was created by Henry Van de Velde for Raymond Wolfers in 1929. The entrance door is concealed behind the garden wall, contributing to the facade's austere appearance. The yellow brick facades, especially the large blind wall on the rue Jules Renard side, add to the imposing nature of this substantial building. The Wolfers House stands as an exceptional example of Modernist street-side architecture from that era, showcasing Van de Velde's signature austere style and representing one of his final private housing projects. The building has been classified since October 1983.

Bourgeois's early architectural works reflected Dutch modernist influence, including houses in Rue du Cubisme, Koekelberg. However, his most significant achievement was the Cité moderne project in Sint-Agatha-Berchem, Brussels Region. Built from 1922 to 1925, this cooperative for social housing featured 275 units with private gardens, showcasing a distinct modernist style with minimalist white facades and flat roofs. The district emphasized coexistence and solidarity among residents, earning Bourgeois international recognition at the 1925 Exposition internationale des arts décoratifs et industriels modernes. Today, Cité moderne is in need of renovation.

Constructed between 1948 and 1952 at the completion of the North/South junction works, the Congress railway station, designed by architect Maxime Brunfaut, stands as a modern and functionalist structure. The station's entrance is visible from the Pacheco boulevard and features a ventilation tower with a concrete framework, hard stone walls, brick trellises, and exquisite bas-reliefs. Another entrance can be accessed via the rue du Meiboom below. Unfortunately, graffiti has marred the appearance of both entrances in recent years. The station's side walls boast stunning bas-reliefs crafted by sculptors L. Dupont, R. Delnest, and J. Cantré.

This authentic Art Nouveau monument, built in 1905 in collaboration with Edouard Frankinet and decorated by Paul Cauchie and his wife Caroline (Lina) Voet, served as their workshop and home. The facade acts as a magnificent advertising poster, celebrating their exceptional work, and the interior is adorned with remarkable sgraffito, Cauchie's specialty. In 1980, it was acquired by art nouveau enthusiasts, Guy and Léona Dessicy, who carefully restored it and converted it into a museum and art gallery. While the upper floors are still inhabited, the house has been listed as a protected monument since May 1975.

Construction on the house started in 1924 and finished in 1928. David Van Buuren, along with his nephew Johan Franco, created the plans. Architects Léon Govaerts and Alexis Van Vaerenbergh turned these plans into reality. David Van Buuren was inspired by the "total art" concept of the Amsterdam School, a style between Art Nouveau and Art Deco, known for its understated aesthetic. The house features asymmetrical façades with different levels, adorned with red hand-made bricks arranged in an intricate pattern. The cornices, window frames, gables, and roofs add to its unique character.

Originally designed in 1898 by architect Paul Saintenoy, the building underwent several transformations before being saved from destruction in 1979. It was classified in 1989 and features a pure Art Nouveau style with a metal and glass structure. Although the extravagant ironwork was removed in 1938, heavy renovations restored the building to its former glory after being abandoned in the 1970s. It was acquired by the State in 1979 to house the Museum of Instruments (MIM).

Architect Joseph Diongre designed this church in 1931 with a daring Art Deco-modernist style. It was completed in just fifteen months and stands out as one of three concrete-built churches in Brussels. The impressive facade and 56-meter high octagonal bell tower give it a unique personality. Inside, the central nave features striking parabolic arches and remarkable geometric stained glass windows by Frans David Crickx's workshop. The building was listed in February 1984.

The Withuis is a stunning example of art-deco architecture. It is as white as the "carte blanche" the architect received in 1927. Joseph Diongre, an absolute star of his time, was given free rein to let his imagination run wild, and that's precisely what he did. The result? This magnificent facade with balconies perfectly integrated into the structure's relief. Diongre was a fan of total art, so he also designed the furniture in the dining room, living room, and bedroom, along with the stained glass windows, lighting fixtures, and ceramics. The house is still inhabited by the heirs of the original client, the writer Jef Mennekens.

Built between 1969 and 1974 for CGER (Caisse Générale d´Epargne et de Retraite), this vast international-style building designed by architect Marcel Lambrichs showcases innovative prefabricated concrete facades with distinctive inverted "Y's." Despite the facades' current poor condition, the building remains a remarkable testament to the era's technological and aesthetic advancements. Part of the building is occupied by Paribas-Fortis, and Lambrichs was known for designing large and influential complexes both in Belgium and abroad.