The revival of craftsmanship: guided tours with Archiweek
Within the theme of "the revival of craftsmanship" in Brussels, it is important to highlight the crafts involved in the famous Art Nouveau architecture. We focus on Maison Hannon, built exactly 120 years ago at the request of Édouard Hannon. It is the first Art Nouveau building designed by Belgian architect Jules Brunfaut. With the permanent scenography from 2023 by Aslı Çiçek, this is a fitting moment to spotlight the craftsmen of the past, heritage restorers, and contemporary designers and artisans.
Maison Hannon is a masterpiece of Art Nouveau architecture in Brussels, uniquely combining Belgian and French Art Nouveau styles. The house features distinctive elements such as a metal greenhouse that extends onto the street and a bas-relief by Victor Rousseau, symbolising time suspended at sunset. In 1979, the building was acquired by the Commune of Saint-Gilles and gradually restored, including the listing of its interior in 1983 and a significant renovation campaign to combat structural decay and modernise the space for the Contretype gallery, which promoted Édouard Hannon's work. After Contretype left in 2014, the house required further restoration to save its deteriorating frescoes and mosaics. In 2019, the non-profit organisation Maison Hannon was established to preserve the building as a museum, in collaboration with the Horta Museum, ensuring the continued restoration and public appreciation of this architectural gem.
Each year, Maison Hannon will organize a temporary exhibition that aligns with its DNA: art in Belgium and France, symbolism. The aim is to offer visitors interdisciplinary exhibitions on art and history, focusing on the period around 1900.
The refined interiors of this townhouse provide the backdrop for the proposed scenography, which is respectful, discreet, and designed with minimal intervention. Portable displays, flexible in their concept, are offered as a foundation for future exhibitions. Their installation will not affect the interior spaces of the Hannon Museum. The display cases belong to a small family, rigid but well-proportioned in design. The applied materiality of stainless steel is deliberately not part of the Art Nouveau style, while the proportions and typology echo the well-designed furniture of this genre. Square acrylic panels serve as pedestals for furniture pieces distributed throughout the exhibition spaces. The light gloss on the surface of the acrylic panels guarantees a subtle boundary between the visitor and the exhibits, without interrupting the visual perception of the original floors.
