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1
Table of Contents
List of Illustrations 2
Introduction 4
Chapter 1: Attitudes to Conservation in Brussels 6
1.1 - History of Conservation in Belgium 6
1.2 - Belgian Conservation Legislation 8
1.3 - ‘Brusselisation’ 9
Chapter 2: The Sociocultural Value of Art Nouveau 10
2.1 - Historical Value 10
2.2 - Cultural and Symbolic Value 12
2.3 - Aesthetic Value 14
Chapter 3: Economic Value of the Conservation of Art Nouveau 16
3.1 - The Cost of Conservation of a Horta Property 16
3.2 - Economic Value of a Restored House 19
Conclusions 20
Glossary of Terms 22
Appendix 23
Horta’s Most Influential Works 23
An Insight into Horta - Interview with Françoise Aubry 25
Bibliography 27
2
List of Illustrations
Figure 1. Hôtel Tassel - Entrance Hall
[Photograph] by: Jean and Rene Delhaye. Taken from: Horta the Ultimate Art Nouveau
Architect (Aubry, et al., 2005)
Figure 2. Hôtel Tassel – Front Façade
[Photograph] by: Arco Ardon. Taken from: Flickr.com – Arco Ardon -Brussels (2009)
Figure 3. Palais Stoclet
[Photograph] by: Jean-Pol Grandmont. Taken from: Hoffmann, Brussels (2005)
Figure 4. Brussels Skyline – Haphazard Placement of High Rise Buildings
[Photograph] by: Erasmushogeschool. Taken from: Flickr.com – Skyline Brussels (2009)
Figure 5a. Maison de Peuple
[Photograph] by: Moicani. Taken from: moicani.over-blog.com (2013)
Figure 5b. The Sablon Tower
[Photograph] by: Knight Frank. Taken from: Knightfrank.co.uk (Unknown)
Figure 6. Hôtel Tassel - Capital of an iron 'tree' column
[Photograph] by: Jean and Rene Delhaye. Taken from: Horta the Ultimate Art Nouveau
Architect (Aubry, et al., 2005)
Figure 7. Barcelona Pavilion Structure
[Photograph] by: Claudio Divizia. Taken from: Greatbuildings.com (2013)
Figure 8. Alphonse Mucha – Unknown Print
[Print] by: Alphonse Mucha. Photograph Taken from: Flickr.com – Damyan Artist (2008)
Figure 9. Hokusai – The Great Wave off Kanagawa (1833)
[Woodblock Print] by Katsushisa Hokusai. Photograph Taken from: The Spaulding Collection,
Museum of Fine Arts, Boston (Unknown)
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Figure 10. Hôtel Solvay –Door Handle Detail
[Photograph] by: Pierre d’Otreppe. Taken from: Living the Solvay House
(Oostens-Wittamer, 1982)
Figure 11. Hôtel Solvay – Entrance Hall
[Photograph] by: Pierre d’Otreppe. Taken from: Living the Solvay House
(Oostens-Wittamer, 1982)
Figure 12. Hôtel Solvay – Front Façade
[Photograph] by: Unknown. Taken from: Travel-pictures-gallery.com (Unknown)
Figure 13. Hôtel Solvay – Stained Glass Light Well
[Photograph] by: Choux de Bruxelles. Taken from: Choux de Bruxelles (2014)
Figure 14. Table showing an Annual Comparison of Property Prices in the Brussels Capitals Region
[Table] Produced by: Stephan Moens. Taken from: Statistics Belgium (2014)
Figure 15. Hôtel Max Hallet – Restored Interior
[Photograph] by: Bruxelles5 Photography. Taken from photos.bruxelles5.info/maxhallet/
(2011)
Figure 16. Maison et Atelier Horta (Horta Museum)- Staircase, Interior Details and Bespoke Furniture
[Photograph] by: Bruxelles5 Photography. Taken from: photos.bruxelles5.info/Horta/ (2009)
Figure 17. Magasins Waucquez – Interior View
[Photograph] by: Christine Bastin and Jacques Evrard. Taken from: patatheatre,
wordpress.com (2012)
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Introduction
Brussels, the capital of Belgium, is a melting pot of Germanic, Flemish and French cultural influences
and these-days is known primarily for its chocolate, waffles, french-fries, mussels and beer! Recently
it has become recognised as the centre of European power and a modern concrete metropolis.
However, at the turn of the 20th century this somewhat unpopular and bureaucratic perception could
not have been further from the truth. The city’s “wide boulevards, elegant shops and extensive parks”
(Sembach, 1991, p. 41) accentuated the fact that Belgium was a relatively young and fashionable
country, very keen to impress. The increasingly liberal city of Brussels became the epicentre of one of
Europe’s most extreme artistic movements: art nouveau.
Art nouveau flourished in Belgium for several reasons. Belgium became more outward looking, by
colonising the Congo and by opening its borders to foreign influences, especially to that of Japan. As
a result the wealthy wanted to be seen embracing ‘Japonism’ and artists assimilated a range of new
techniques into their arsenals. Japanese art also had a penchant for natural form, something that was
fast becoming desired in the industrialised city centres. Belgium had become only the second country,
after the United Kingdom, in which the industrial revolution took place. Whilst artists were against
mass production and machines and were turning to a more oriental, organic and bespoke art form,
industry would eventually and paradoxically become one with art nouveau because of the
opportunities new technologies and materials provided. Belgian and Parisian artists were at the
forefront of the avant-garde and looking for a way to greet the new century. Above all, art nouveau
was conceived in defiance of the stagnating historicist architecture rife throughout Europe at the time.
Art nouveau spanned the entire artistic spectrum, but was
particularly prevalent in architecture, graphics, decorative arts,
furniture design, fashion and textiles. It has several immediately
identifiable characteristics, most of all the ‘whiplash’ curve; a
meandering, even serpentine response to natural vegetative and
feminine geometry. The overall aesthetic has subtle arabesque
and oriental hints (Fig.1). In architecture, its biggest development
was the artistic expression of necessary structure and the use of
new materials. Art nouveau made a disproportionately large
impact in a very short time and the advances achieved through it
paved the way for other far more recognised movements, in
particular art deco and modernism. Figure 1. Hôtel Tassel - Entrance Hall
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Although the origin of art nouveau is disputed, Hôtel Tassel
(Fig.1&2) in Brussels, designed by Victor Horta and completed
1893, is credited as the point at which “art nouveau first assumed
a clearly defined form and … developed three-dimensionally”
(Schmutzler, 1964, p. 125). As a result, Horta’s name has become
synonymous with art nouveau and his style has become regarded
as the quintessential version of the movement. Horta’s works are
all examples of Gesamtkunstwerke (see glossary) and his
meticulous attention to detail can be seen throughout his designs
in bespoke furniture or even in the detail on, for example,
radiators or door handles. His designs pushed industrial materials
so that they were utilised in an artistic way, in primarily residential
functions. Now that the value of art nouveau has been realised,
his designs are becoming increasingly sought after. Whilst this
dissertation focuses on the conservation of Horta’s work, it is not
an exhaustive analysis of art nouveau architecture, in which
several other artist, such as Alphonse Mucha, Henry van de Velde
and Antoni Gaudí feature prominently.
The other end of the art nouveau window in Brussels was marked
by Josef Hoffman’s Palais Stoclet (completed in 1911), a building
that straddled art nouveau and art deco (Fig.3). There, as in the
rest of Europe, Adolf Loos’s ‘Ornament and Crime’ which
advocated “removal of ornament from objects of daily use” (Loos, 1908) and the breakout of the First
World War in 1914, heralded the end of the art nouveau period.
Art nouveau has become an integral part of Belgium’s national identity, and growing international
admiration for it as a collectable, visually pleasing and luxury artefact, has caused its burgeoning
antique value. As a result, examples of art nouveau are sold for considerable sums of money. Because
of the necessarily public nature of art nouveau architecture, in Brussels, Horta’s buildings have both
financial value and considerable non-financial value. This essay aims to judge whether or not Horta’s
work in Brussels is worth conserving; how architectural value is defined; and also the importance of
quantifying Horta’s work, both in financial terms and in breadth of societal impact in Brussels, where,
ironically, his work has not always been held in such high esteem as it is now.
Figure 2. Hôtel Tassel - Front Facade
Figure 3. Palais Stoclet
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Chapter 1: Attitudes to Conservation in Brussels
1.1 - History of Conservation in Belgium
Architectural conservation has long been linked with national pride and history. However, in Belgium
“debates about the relative merits of restoration and conservation have continued … for over 150
years” (Stubbs & Makas, 2011, p. 113). Belgium endured occupation in both world wars. As a result,
its patrimoine (heritage) suffered both extensive allied bombing and the familiar looting when German
soldiers fled during the liberation. However, it was these series of unfortunate events that provided a
need for, and a rekindled interest in, conservation and preservation of heritage and the nation’s past.
Modern Belgian attitudes on conservation were perhaps defined and inspired by the work of three
theoreticians in the mid-19th Century: Eugène Viollet-le-Duc, John Ruskin and Charles Buls.
Viollet-le-Duc was a French architect and architectural philosopher who championed ‘stylistic
restoration’ a “romantic appreciation of historic monuments” (Jokilehto, 1999, p. 137). However, he
was also a scholar and took a very academic approach, requiring the study of historical aspects of
buildings, analysing and documenting them. Yet when it came to the physical process of restoration,
buildings were often torn down and rebuilt in an exaggerated manner. His views were
predominantly adopted in the mid 1800’s, in a time of national self-confidence and pride.
Incidentally, Viollet-le-Duc inspired Horta greatly, and it is noteworthy that “Viollet-le-Duc also railed
against tyranny of symmetry” (Aubry, et al., 2005, p. 142), believing that that it hindered creative
freedom. Whilst he was a visionary and advocated for technology and the qualities of the scholar
and artist to combine, it was Horta who actually achieved this, and marked the birth of art nouveau
with the design and completion of the Hôtel Tassel.
John Ruskin was an English art critic and theorist most famous for being a part of the Pre-Raphaelite
Brotherhood. Having lead the gothic revival and through his criticisms of art that was not classical, he
promoted the association between nature and art, an important precedent for art nouveau. In terms
of conservation, Ruskin’s approach was very different to Viollet-le-Duc’s. Ruskin held a “passion for
preservation and careful maintenance of historic buildings” (Stubbs, 2009, p. 115) where preceding
ideas required dismantling or destroying buildings and rebuilding them unsympathetically, with little
of the original building’s fabric.
Charles Buls was perhaps the most influential in shaping Belgian attitudes to conservation and he was
very well placed and qualified to do so as the Mayor of Brussels, scholar of the arts and as a restoration
expert. His vision was to unify Viollet-le-Duc’s and Ruskin’s principles, encouraging “scholastic
examination of historic structures … and minimal physical intervention” (Stubbs, 2009, p. 115). Into
this, Buls tried to weave in a fellow Belgian contemporary’s work. Louis Cloquet devised a classification
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system to help identify what procedure a building should undergo, by determining if a building is
‘living’ or ‘dead’. ‘Living’ buildings, he said, have a current use and should therefore be restored, while
‘dead’ buildings have historic value and should be preserved.
These attitudes together form a coherent response to the issue of conservation. However, it proved
difficult to apply the theory to real world situations. “The outer splendour could not hide the inner
division of the country” (Sembach, 1991, p. 41), leading to excessive bureaucracy and indecision,
which, some would say, persist to this day. Even the subsequent introduction of heritage and
conservation legislation has still not addressed these issues.
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1.2 - Belgian Conservation Legislation
Belgian attitudes were, in reality, shaped by legislation. Having gained independence only five years
earlier, King Leopold I established the ‘Royal Commission on Monuments’ in 1835. This pertained only
to antiques and art, but was expanded to include landscapes and historic sites in 1918. The Legislation
was amended again in 1931, broadening the scope of patrimoine, and allowing for protection of
monuments with the full power of the law. In the 1960’s and then in 1970, when the constitution was
adjusted, the Flemish, Walloon and German communities were given increased regional autonomy
including control over heritage legislation. This proved to be a massive issue in Brussels especially,
where Flemish and Walloon communities overlap. Due to the ambiguity of the situation, by 1972 only
2,500 sites in Belgium were protected to the full extent available under the law. Finally, following the
‘Town Planning Act’ 1991 and the ‘Heritage Conservation Act’ 1993, the Brussels region created a list
of protected buildings, albeit with limited success. By 2004, “less than 10% of the Brussels territory is
covered by an inventory, and we pay private art historians to pursue the task” (Loits, 2004). By 2011,
there were still only 700 sites listed in Brussels. There is also the added complication of the Belgian
constitution contradicting both the ‘Heritage and Conservation Act’ and the ‘Town Planning Act’. The
constitution stipulates that a landowner has control over his property, while the later legislation
contests this and gives the government additional powers. In several cases, this has led to
complicated, long and expensive legal battles surrounding restoration, renovation and even the
destruction of historic buildings.
Figure 4. Brussels Skyline – Haphazard Placement of High Rise Buildings
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1.3 - ‘Brusselisation’
In the lead up to the 1958 Brussels World Fair and the construction of the European Quarter in 1959,
and for some time afterwards, Brussels underwent a transformation, eclipsing even the post-war
reformation and planning. However, as an aging city with inadequate infrastructure and insufficient
housing, hemmed in by protected forests and land, Brussels was already exceeding its capacity to
support the growing population. Therefore, to keep pace, Brussels had to look inwards. Under the
guise of modernisation, gentrification and looking to the future, whole streets, neighbourhoods and
even communities were levelled to provide for new boulevards, underground ring roads and intrusive
office blocks. The neologism ‘Brusselisation’, sums up the brutalisation and the callous disregard in
which hundreds of buildings were bulldozed. Historic buildings were torn down as their value had not
been fully realised. After all, “No society makes an effort to conserve what it does not value” (The
Getty Conservation Institiute, 2002). The Brussels skyline is now epitomised by the haphazard
placement of concrete high rise skyscrapers (Fig. 4). This attitude is best illustrated by the destruction,
despite several petitions, of Horta’s iconic Maison de Peuple or ‘House of the People’ in 1965, a
building of great architectural merit, delivered to a tight budget on an awkward plot (Fig.5a). It was
replaced with the Sablon Tower, an ungainly substitute (Fig.5b).
With the introduction of the new and improved Heritage legislation referenced above, the persevering
public outcry, and the government close to achieving their goals, ‘Brusselisation’ halted. This is not to
say that the redevelopment of historic buildings has come to a halt, but rather that “a compromise
has been found … so far as [the developer] maintains or rebuilds the most valuable facades” (Loits,
2004). This has spawned a practice known as ‘facadism’. A prime example of this is another of Horta’s
iconic buildings, Hôtel Tassel, where only key elements have been preserved, such as the front façade,
entrance hall and staircase.
Figure 5. a) Maison de Pueple. b) The Sablon Tower
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Chapter 2: The Sociocultural Value of Art Nouveau
There are several criteria by which to judge whether or not a building is worth conserving or whether
it should be destroyed. There are obvious financial implications but the “final choice needs to be taken
on non-financial criteria” (Loits, 2004). Determining the sociocultural, or non-financial, value of a
building is one important step in ascertaining the overall societal worth of its conservation. However
the sociocultural category can be further split into several related and overlapping subcategories. It is
difficult to define these subcategories because attitudes to conservation can often be less rational
than the number and fact driven business of economics. The value attached to a building is often a
matter of the heart, or of an individual’s perception. Each of the distinct stakeholders in a conservation
project, including private landlords, the local government, the general public or even the financers,
have a different perception and set of priorities. Moreover, value can be based on the subjective or
emotional: experience; zeitgeist; artistry; aesthetics; affiliation with a significant historical episode; or
connection to cultural heritage. There is substantially more “to architectural heritage conservation
than arresting or impeding the process of physical decay through technical intervention” (Stubbs,
2009, p. 13). Conservation is warranted when past and present sociocultural factors, together with
the language of architecture, create synergy such that a completed project is greater than the sum of
its constituent parts.
2.1 - Historical Value
Historical value is intrinsic to heritage and therefore to conservation, and it can accrue in many ways.
Most are aware of the notion that age is directly proportional to value. As a building becomes older,
the rarer it becomes, and as it ages it acquires more of the patina of heritage. “Old and new structures
are not interchangeable” (Loits, 2004), and if an old building is destroyed and replaced with something
identical, its history and authenticity are lost. However, longevity is not the sole factor in determining
historical value. The age of materials used, connection with a historical event or person, uniqueness
of style, technological breakthrough or just documentary capacity, may all impact on historical value.
Informing future generations is also an important aspect of historical value. An abundance of lessons
can be learned from studying the past, from sketch ideas, from the thoughts and memoires of past
architects, or through research and academic study. The detailed study of art nouveau made it the
precursor for modernism and art deco. Art nouveau formed the “link from the classical tradition to
the modern movement in the history of architecture” (Unesco, n.d.). It was a revolutionary movement,
exploiting and expressing to the full the technological advances of the day, thus laying the foundations
essential for a transformation into a completely different stylistic approach. This is exemplified by
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Horta’s Hôtel Tassel where use of visible sculpted structural iron
‘trees’ in a residential setting was revolutionary (Fig.6). This is the
same technology that would inform the steel columns in Mies van
der Rohe’s Barcelona Pavilion, but demonstrated through a far
more unembellished and rational approach (Fig.7). Art nouveau
also pioneered the use of reinforced concrete and used it to its
maximum potential as a malleable material, not only for structural
facades but also to create the fine detail to create the impression
of rough-hewn stone. To a certain extent, it could also be counter-
argued that modernism was spawned by the historical mistake of
excessive ornament that characterised both art nouveau and art
deco.
Conservation requires the use of original materials and period
techniques. The teaching of practical skills such as restoration,
preservation and conservation techniques (and the consequent
very existence of rare skilled labour) are encouraged in the
presence of a conservation-orientated mind-set. There are very
few craftsmen who can restore an art nouveau building to its full
potential. As a result this is where some of the hidden costs lie.
Furthermore, conservation “allows for the practice of
‘archaeology’ and for the discovery of unfamiliar or altered
elements” (Aubry, 2014). This allows us to learn more from the
past, for both documentary architectural history and interest, and
for the expansion of conservation skills. With today’s relative
paucity of the short-lived genre’s buildings, architectural
archaeology can also reveal more of the wonder and splendour of
art nouveau.
Figure 6. Hôtel Tassel - Capital of an iron 'tree' column
Figure 7. Barcelona Pavilion Structure
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2.2 - Cultural and Symbolic Value
Attitudes in Brussels towards art nouveau have not always been favourable, as demonstrated by the
process of ‘Brusselisation’. However, modern sentiments reflect the fact that this could not now be
further from the truth. Art nouveau is deeply rooted in Belgian history and has become a mark of
significant national pride and identity. It has been realised that “buildings are products of human
activity that reflect sociological trends, national character and ‘the spirit of the time’” (Stubbs, 2009,
p. 4). Art nouveau has become a veritable symbol of Brussels and serves as a reminder of a rich history,
and the social conditions and liberal attitudes that led to its creation. As art nouveau has become
embraced locally, so it has become recognised internationally through UNESCO and other initiatives,
such as the Biennale. It is growing as an important source of cultural tourism and Horta’s work has
become one of the main highlights of Brussels, captivating people through both their interest in art
and architecture, and their passion for cultural diversity. It provides an insight into historical lifestyles
and is now a feature on a par with other tourist activities, adding value as an invisible export to other
tangible Belgian exports such as foods, chemicals, or finished diamonds. Cultural tourism and
international interest have perhaps shaped today’s more mature Belgian attitudes towards conserving
and revitalising its art nouveau heritage.
Within the scope of cultural value, there is an ingrained social value. Communities and individuals
often develop an attachment to a landmark, space or building. This “‘place attachment’ refers to the
social cohesion, community identity, or other feelings of affiliation” (The Getty Conservation Institiute,
2002, p. 12) gained from heritage. The surrounding activities are not based on the history of the sites,
but more on the quality of a social and public gathering space.
There is also political value: governments use legislation as a tool to shape opinions and enforce
culture and heritage. Fortunately for art nouveau, the current trends in Brussels are more sympathetic
to historical sites and buildings. The politics of conservation and heritage also forge a relationship
between civil and social life. The art nouveau movement initially had an ideological political agenda
that wanted to make art accessible to everyone, in tune with a new century which was to bring an
increased social equality. Industrialisation seemed to be the process by which this could be
manifested, with rapid and mass production decreasing the cost of individual components and their
affordability to the common man. Perversely, the opposite happened, as the rich embraced this new
art form, driving demand for bespoke styling thereby raising costs to a level unattainable to the
average person.
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Finally within the cultural and symbolic realm, there is spiritual
value. This includes religious meaning, but also covers secular and
sensual experiences, such as rapture, amazement and wonder. Art
nouveau has an ambivalent relationship with religion. Horta’s
architecture was extensively criticised by the Church and was
considered antireligious. This was particularly because art
nouveau was liberal and had almost provocative attitudes to sex
and feminine forms (Fig.8), but also its serpentine whiplash
curves, which were considered evocative and reminiscent of the
devil in its animal form. Interestingly the opposite is true regarding
Gaudi’s ‘modernisme’ style, a Catalan variant of art nouveau.
These more relaxed Catalan attitudes culminated in Gaudi
designing the Sagrada Família, a large Roman Catholic basilica in
Barcelona.
Figure 8. An Alphonse Mucha Print
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2.3 - Aesthetic Value
The aesthetic value of heritage is perceived primarily through the
visual impact of a building. However, it can be argued that
aesthetics covers all of the senses and considers the entire sensory
experience of a place. It is a subjective quality and consequently
each individual interprets it differently and forms a personal and
independent opinion on it. Aesthetics has several derivatives and
represents the quality of design and its evolution, materials,
relationship to surroundings, interplay between styles and
cultures, beauty, visual impact and craftsmanship.
The introduction of Japanese art (Fig.9) into Europe proved
remarkably prescient and its techniques and simulation of nature
were eagerly adopted and adapted to inform art nouveau. This, in
combination with the industrial revolution, technological
advances and novel materials, foreshadowed a new approach to
art and design that celebrated industry, nature and the feminine
and curvilinear forms that “gushed spontaneously from the tip of
[Horta’s] pencil” (Horta, 1985, p. 282). This union between two
distinct cultures provided a completely unique outlook and this
hybrid vigour added great aesthetic value.
With art nouveau as a whole, quality of design and artistry are the
overarching features and the most likely reason for its
conservation. This is heavily based on aesthetic perception and its
“novel and harmonious composition” (Masini, 1984, p. 100). Horta
created architecture with “spatial fluidity and continuity, unifying
each building’s interior and furnishings” (Pevsner, 2005, p. 96) and
with the view of being gesamtkunstwerke, or the ‘total work of
art’. Horta’s Hôtel Solvay is an example of this, where small or
insignificant elements (Fig.10) are treated with the same
importance, using the same motifs and detail, as more prominent
features like entrance halls and large murals or ‘sgraffiti’ (Fig.11).
Everything is designed to be both functional and beautiful and
each feature is considered as one coherent work of art, whether
on the façade (Fig.12), or on the interior.
Figure 9. Hokusai – The Great Wave off Kanagawa (1833)
Figure 10. Hôtel Solvay –Door Handle Detail
Figure 11. Hôtel Solvay – Entrance Hall
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Horta, through a combination of technology and modern
planning, popularised open plan living spaces, bathed in natural
light from stained glass light wells (Fig.13). He achieved a
“personal and living” (Horta, 1985, p. 34) composition, the beauty
of which “was a reflection of the society and of the arts and crafts
which had created it” (Masini, 1984, p. 17). As an aesthetic
creation, Horta’s work has a value not dissimilar to owning a piece
of art by a renowned artist. But the level of detail and
craftsmanship, the materiality and ambience, and the whole
atmosphere of the building, would be nigh-on impossible to
recreate today. This is what gives the building its inherent value.
Paradoxically, art nouveau may have been a movement mired by
its own stylistic extravagance, the feature that made it so popular
in the first place.
Figure 13. Hôtel Solvay – Stained Glass Light Well
Figure 12. Hôtel Solvay – Front Façade
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Chapter 3: Economic Value of the Conservation of Art Nouveau
The typology of heritage and conservation divides broadly into economic and sociocultural value
groups, and much like their previously noted subcategories, they overlap significantly. Economics
quantifies value in an unequivocal and understandable way to the general public, whilst sociocultural
value resides in the more conceptual and intangible skeleton of conservation. Within economic value
there are further sub divisions, namely ‘use’ and ‘nonuse’ values. The ‘use’ value is synonymous with
market value, to which a price can be attached with relative ease. This includes predominantly private
properties and the physical goods and services provided. ‘Nonuse’ values, or non-market values, on
the other hand, are far more difficult to appraise and therein lies the noticeable similarity with
sociocultural values. To quantify the financial value of conservation, the ‘use’ value has to be taken
into consideration and the relevant figures for comparison are house prices, but also the impact of
conservation on the wider income through tourism.
3.1 - The Cost of Conservation of a Horta Property
Despite growing interest in art nouveau, the property market has not yet reached the threshold of
universal public demand. There are very few art nouveau properties that come up for sale annually -
usually between three and five in the Brussels region. Buildings by revered architects like Horta are
exceptionally rare and they are few and far between.
It takes a special type of person to buy an art nouveau property. “People who buy art nouveau are
aesthetes” (Vandorpe, 2008). These are people with a particular appreciation for a certain style and
originality, or those who are undaunted by the huge challenge of restoration that faces them. There
are several deterrents from purchasing an art nouveau property. Firstly, for the most part, examples
of art nouveau architecture were commissioned by the wealthy who wanted to show off. As a result,
houses are often expansive, with several hundred square meters of floor space. Modern lifestyle and
needs have changed, and an abundance of space is no longer necessary, and may represent locked-
up value in the throes of a housing shortage. Secondly, Horta’s (and many other architects’) work was
bespoke, to suit the domestic or business needs of a particular client. This could result in the inclusion
of several specialised rooms, which may then have no modern uses. It may be impossible today to find
a new owner with similar needs and wants. Thirdly, many of the art nouveau houses survived a
tumultuous past and as a result have been left in very poor condition. This, combined with the
staggering amount of detail, requires specialised and extensive restoration, preservation and
archaeological study, which, in turn, is expensive and time consuming, requiring specialised labourers,
craftsmen, architects and historians. On top of this, there are now stringent policies and stifling
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bureaucracy concerning conservation, adding to the length of time taken and overall costs, not to
mention the lingering doubt of legal ramifications. Finally, once the building has been completely
restored or preserved, running cost and upkeep are extremely high.
On the whole, art nouveau properties in Brussels are substantially more expensive than the Brussels-
Capital region average (Fig.14). In 2008, according to Jean Corman of Victoire Properties (Vandorpe,
2008), the price for an art nouveau property was between €1 million and €2.5 million. These are a far
cry from the capital region 2013 average of €386,941 (Moens, 2014). While it is difficult to compare
house prices across the boom-to-bust years of 2008-2011, empirically this difference is clearly
significant. In recent years, house prices have again increased across the board.
BRUSSELS CAPITAL REGION 2011 2012 2013 evolution % 2012/2011
evolution % 2013/2012
Regular Houses (€) 349,063 353,840 368,941 +1.4% +4.3%
Villas, Bungalows, Country Houses (€)
1,026,249 894,600 919,398 -12.8% +2.8%
Apartments, Flats, Studios (€)
207,325 217,706 225,895 +5.0% +3.8%
Building Plots (€/m2) 437.4 410.9 585.8 6.0% +42.6% Figure 14. Table showing an Annual Comparison of Property Prices in the Brussels Capitals Region
There are only a few Horta properties that have changed hands recently. These include Hôtel
Winssinger, Hôtel Max Hallet (Fig.15) and Horta’s Kindergarten, all in Brussels, and also Villa
Carpentier in Ronse, in Western Flanders. These four buildings were all purchased by the same person,
Michel Gilbert, a Belgian real estate developer with an affection for Horta’s work. Whilst the work
being carried out on the properties is with the view to make them into business ventures, they are
being restored as sympathetically as possible back to their former grandeur. To ensure this, all work
has and is being carried out under the experienced and watchful eyes of Françoise Aubry, and
specialist art nouveau restoration architect Barbara van der Wee.
Hôtel Winssinger was bought by M. Gilbert in 2004 for an undisclosed amount. However, it is known
that prior to its purchase the government had spent around €770,000 in restoration. By 2012, when
the Hôtel Winssinger was reopened, the total cost of restoration was estimated to be in the order of
€2.5million. It is now the Paris-Beijing Gallery with around 800m2 of exhibition space. M. Gilbert went
on to purchase Horta’s Hôtel Max Hallet in 2006 for €2.8million.
This was an even larger property of roughly 1,200m2. The total
restoration cost was €400,000 and works were officially
completed in 2008. It is now M. Gilbert’s private residence, but
also houses his Events business, and is opened four times a year
to the public.
Figure 15. Hôtel Max Hallet – Restored Interior
18
Another example of the restoration of a Horta building is the Maison & Atelier Horta (Fig.16), that has
now become the Horta museum. Its restoration was staggered, as it was purchased in two parts. The
house was first bought in 1961 and the neighbouring studio added in 1973. Restoration started as
soon as the first section was bought, and a second restoration was completed in 1989 to create today’s
unified space which constitutes the museum. Financial details for the cost of purchase and restoration
are not in the public domain, and were not released by the trustees.
Nevertheless, significant financial incentives have been put in place by the local Brussels-Capital region
government. Public buildings are subsidised “to the tune of 80%” (Aubry, 2014). For private houses
the “grant’s amount is 40%” (Loits, 2004). This may offer encouragement for conservation of art
nouveau objects and Belgian heritage, but it also creates added pressures on private individuals, as
they are put in charge of large pots of public money. Regardless of generous government subsidy,
conservation of art nouveau is very difficult, risky and time consuming, especially when initial house
price and the huge discrepancies between restoration costs are added into the equation.
Figure 16. Maison et Atelier Horta (Horta Museum) – Staircase, Interior Details and Bespoke Furniture
19
3.2 - Economic Value of a Restored House
It is abundantly clear that “the restoration of a Horta building is not economically profitable” (Aubry,
2014). Nonetheless, each property has a ‘use’ or market value in a fully restored state. Whilst such a
property qualitatively has a far higher value than the average, this is quantitatively very difficult to
judge outside of an actual sale, because there are no indices to predict the impact of rarity, bespoke
nature, and artistry. The object, as with all fine art, is only as valuable as the price people are willing
to pay for it.
As previously stated, art nouveau architecture can still have a significant financial impact on the wider
economy through tourism. In 2013 there were 3,290,603 arrivals in Brussels with the average length
of stay being 1.91 days (Visit.Brussels, 2013, p. 9). The average length of stays seems very short but is
related to the popularity of Brussels as a weekend city break, attached to business and private visits
to the European Union institutions. A significant proportion of the Brussels economy is generated
through tourism (although a large portion of tourists are ‘Eurocrats’). In surveys, some of the tourism
is attributed explicitly to Belgium’s “unique architectural setting” (Jansen-Verbeke, et al., 2004, p.
114).
Of the 11 most highly recommended museums, three are housed
in art nouveau buildings. The most recommended museum was
the Horta Museum, referenced above, and of the 64,000 visitors a
year “more than 60% of this number are foreign visitors” (Aubry,
2014). The third most recommended museum is the Musical
Instrument Museum, in the Old England department store,
designed in 1899 by Paul Saintenoy. The sixth position to feature
is the National Comic Book Centre which inhabits the now restored
Magasins Waucquez, one of Horta’s department stores.
The well-respected Biennale, held in the odd years, specifically to celebrate the art nouveau and art
deco patrimoine, brings several thousands of visitors to the City. This means that even if an art
nouveau house may not have a direct economic impact as a result of it having been restored, there
may nevertheless be a knock-on economic stimulation to surrounding local business such as Hotels,
Bars, restaurants and shops. Such a multiplier effect from the injection of cash into heritage
conservation contributes to a wider improvement of facilities and attractions. As a result, ever more
people visit and further enhance economic vibrancy in the surrounding areas. If well-managed as part
of an overarching policy, more investment could be made available to stimulate other, as yet less
popular, areas.
Figure 17. Magasins Waucquez – Interior View
20
Conclusions
Art nouveau was an ephemeral movement and it seemingly disappeared as soon as it had begun to
make an impact. With the help of the conservation of Horta’s architecture, and other art nouveau
specimens throughout Brussels, the movement has been given a new lease of life. Horta’s work has
now been given another chance to live up to the seismic changes it made to architecture.
Horta’s work is undoubtedly worth conserving. In the grand scheme of the corpus of world art, his
buildings are “important markers in the history of European architecture” (Aubry, 2014) and in
Brussels their sociocultural values are of paramount importance to Belgian national identity and
heritage.
As a purely economic exercise, it might not make sense to restore art nouveau: sensitive restoration
is practically very difficult to achieve even with generous subsidies, due to the high initial property
cost, the lengthy and costly process of restoration and the high upkeep and running costs. Although
theoretically, it could be possible to turn a profit if “a use which totally respects all the original
features” (Aubry, 2014) was found and then the investment recouped through ticket sales and
corporate events, or by selling the property in favourable market conditions, such endeavours should
not be viewed as money-makers, as they would represent an unwise investment and are anyway not
the right reason to conserve.
The true value of art nouveau surely lies in non-financial measures, such as historical and educational,
cultural and symbolic, and aesthetic values. There is also the unquantifiable facet of financial value -
the impact of conservation on the wider economy, on both the micro and macro scales. Locally,
investment in conservation allows a newly restored building to act as a growth pole attracting new
visitors, and potentially allowing old and new businesses to thrive. On the macro scale, a resurgent art
nouveau scene can have an impact on the whole city of Brussels, and even country-wide. Conserved
examples of art nouveau are becoming an increasingly attractive prospect for both domestic and
international tourists, resulting in a flux of wealth locally, across the city, and across the country. At
least in the period of growing awareness, this can become a positive feedback loop, where generated
wealth can be directed and reinvested into further conservation efforts, and so restart the process.
It would be naïve to believe that the recent reinvigoration of art nouveau is now a fait accompli, and
no conclusions can yet be drawn about its long term renaissance until several further questions are
answered. For example, where does the balance lie between public and private sector investment?
The role of philanthropists and individuals acting passionately within the anodyne legal framework
created by the government will always be of paramount importance.
21
Moreover, there can only be a certain number of museums and buildings dedicated solely to art
nouveau. Will it be possible to find a contemporary use for every art nouveau building? The
reintegration of these buildings, these works-of-art, into the routine life of the community will
determine the long term viability of the genre.
Again, it must also be determined “what must absolutely be conserved, and what may be destroyed”
(Loits, 2004). A related question would be: is facadism the only way forward, or one of the ways
forward, or not a way forward at all?
Modern Belgium has demonstrated a pragmatism essential to the melding of its constituent ethnic
parts into a national whole. Such pragmatism will also be necessary to answer those remaining
questions, and to nurture and deliver Horta’s short-lived but wondrous good, through the medium of
conservation, into the global roster of artistic merit.
22
Glossary of Terms
Avant-Garde – New, innovative, experimental and often radical ideas and methods primarily in the
arts. Can also refer to political ideals.
Conservation – The object determines how it is treated, there are no stylistic choices. As with
preservation, the maximum amount of original material retained in an unaltered state if
possible. New work cannot alter or affect the original and it must be removable or
reversible.
Gesamtkunstwerk(e) – ‘The total work of art’. A work of art that encompasses many different art
forms. Used frequently in the context of art nouveau architecture, where all details, from
materials to shapes and forms, are considered.
Eurocrat – An official of the European Union. A combination of the words ‘European’ and
‘Bureaucrat’.
Preservation – The action of preventing the destruction of an object and making sure that work
carried out can be reversed. The final appearance is no longer the top priority, instead the
focus is on maintaining and reusing the maximum amount of original material. All work
should be carried out using the same techniques and methods as when first built.
Renovation – The process of making an object look new. The history, context, materials, techniques
or original object are of secondary importance to the designer’s vision.
Restoration – Bringing back an object to a past condition. The most important aspect is the finished
aesthetic.
Sgraffito – (plural: Sgraffiti) A method of wall decoration. Achieved by applying layers of tinted plaster
and scratching designs into it to reveal the coloured layers underneath.
Stylistic Restoration – Restoring an object to a new condition in the same style as it was originally,
often with exaggerated features or proportions.
Wallonia / Wallonian / Walloons – The Walloons are a French-speaking ethnic community from
Wallonia, in the Southern region of Belgium.
Zeitgeist – The ‘spirit of the time’. The mood trend, or school of thought that defines a specific
period in time, particularly relevant to culture and the arts.
23
Appendix
Horta’s Most Influential Works Date Project Name Location Style Listing Current Condition Notes
1889-1906
The Pavillion of Human Passions
Parc du Cinquantenaire, Brussels
Neo-Classical IdPA* 18/11/76
Restored 2013, reopened 9/14
In the form of a Greek temple; owned by Belgian State
1893 La Maison Autrique
Chaussée de Haecht, Schaerbeek, Brussels
Art Nouveau Elements
IdPA 30/03/76
Conserved and Restored 2000
First bourgeois house with elements in the art nouveau style
1893 Hôtel Tassel Rue Paul-Émile Janson, Brussels
Art Nouveau UNESCO world heritage; IdPA 18/11/76
Restored 2004; only key elements preserved; now used as an office
First example of art nouveau architecture
1894 Hôtel Winssinger
Rue Hôtel des Monnaies, Saint-Gilles, Brussels
Art Nouveau IdPA 07/12/84
Conserved and Restored
Now the Paris-Beijing Gallery; Owned by M. Gilbert
1894 Hôtel Frison Rue Lebeau, Brussels Art Nouveau Listed Repurposed in 1955. Now undergoing restoration
1895 Hôtel van Eetvelde
Avenue Palmerstone, Brussels
Art Nouveau UNESCO world heritage; IdPA 1971
Restored Now offices of Belgian Gas Industry Association
1895 Kindergarten Rue Saint-Ghislain, Brussels
Art Nouveau Part-restored Owned by M. Gilbert; Horta’s first public commission
1895 Hôtel Solvay Avenue Louise, Brussels
Art Nouveau UNESCO world heritage 2003; IdPA 07/04/77
Multiple restorations
Owned by the Wittamer family
1895 Maison du Peuple
Rue Joseph Stevens, Brussels
Art Nouveau Demolished in 1965 Synonymous with ‘Brusselisation’
1895 Hôtel Deprez-Van de Velde
Avenue Palmerston, Brussels
Art Nouveau IdPA 21/06/71
1895 La Maison Anna Boch
Avenue de la Tioson D’Or, Saint-Gilles, Brussels.
Neoclassical exterior, art nouveau interior.
Demolished Horta did the Interior Decoration only
1898 Maison & Atelier Horta
Rue Américaine, Saint-Gilles, Brussels
Art Nouveau UNESCO world heritage
Restored and preserved to function as the Horta museum in 1969
2 plots, side by side, unified by detail.
1899 Hôtel Aubecq
Avenue Louise, Brussels
Art Nouveau Demolished in 1950
24
1899 Villa Carpentier Ronse, Belgium Art Nouveau Restored Owned by M. Gilbert
1899 Villa Furnémont Wenduine, Belgium Art Nouveau Listed Royal Institute of Cultural Heritage
1900 Château Chambley
Chambley Bussieres, France
Art Nouveau Destroyed in 1915, rebuilt 1919
1900 L’Innovation Rue Nueve, Brussels Art Nouveau Destroyed by fire, 1967
1901 Hôtel Roger-Verstraete
Avenue Louise, Brussels
Art Nouveau IdPA Completely transformed
1901 Maison-atelier du sculpteur Fernand Dubois
Avenue Brugmann, Forest, Brussels
Art Nouveau
1901 Hôtel Braecke Rue de L’Abdication, Brussels
Exterior plain. Art Nouveau Interior
IdPA 04/12/97
Restored 1991
1902 Hôtel Max Hallet
Avenue Louise, Brussels
Art Nouveau IdPA 16/10/75
Restored and Preserved 2007
Owned by M. Gilbert
1903 La Maison Sander Pierron
Rue de L’Aqueduc, Ixelles, Brussels
Art Nouveau details.
IdPA 19/02/98
1903 Le Grand Bazar, Boulevard Anspach
Rue de L’Évêque, Brussels
Art Nouveau Demolished
1903 Kaufhaus Hansa Brönnerstrasse, Frankfurt
Art Nouveau Destroyed in WWII
1906 Les Magasins Waucquez
Rue Des Sables, Brussels
Art Nouveau Conserved and restored
Since 1986, the comic book museum
1906 La Maison Vinck Rue Washington, Ixelles, Brussels
Art Nouveau IdPA
1906 Brugmann Hospital
Jette, Brussels Art Nouveau Designed by Horta to ”soften the stay of patients”
1909 Wolfers Store Rue D’Arenberg, Brussels
Art Nouveau Listed 1981
Jewellery shop
1920 La Maison Victor Horta
Avenue Louise, Brussles
Art Nouveau
1920-1928
Palais des Beaux-Arts, Brussels
Rue Ravenstein, Brussels
Beaux-Art / Neoclassical
Cultural venue in Brussels
1928 Musée des Beaux-Arts
Tournai, Belgium Beaux-Art / Neoclassical/ Linear style
Art Museum
1912-1952
Brussels Central Station
Brussels Bordering on modernism
Severely delayed because of war; designed but not completed by Horta
* IdPA: Inventaire de Patrimoine Architectural (Architectural Heritage Inventory)
25
An Insight into Horta - Interview with Françoise Aubry Curator of the Horta Museum, Brussels. 23/12/2014
1 - In your opinion, what aspects of Horta's work are most valuable and most important to
preserve?
2 - Is historic, intellectual, educational and cultural value reason enough to restore Horta's
work? Or does it have to be economically viable?
3 - Do you think that restoring Horta's work is worth the effort and investment?
4 - In the context of Belgian law what are the difficulties of restoring a public property, such as
Musee Horta?
5 - Horta's genius is well documented, do you think that through restoration of his works, there
is more to learn?
6 - How many people visit the Musee Horta annually?
7 - How was the restoration of Musee Horta funded? Was it mainly public, private or
governmental funding?
8 - Horta is symbol of Belgian culture: as a result, is there a marked difference between numbers
of Belgian and foreign visitors to the Musee Horta?
1. Lors des premières restaurations des immeubles de Horta dans les années soixante, on pensait que
seules les pièces de prestige méritaient d'être conservées (espaces de réception et cage d'escalier
principale) et par conséquent on a démoli l'aménagement des pièces secondaires comme les
chambres à coucher ou les escaliers de service. Il y avait alors une méconnaissance de l'art de Horta
comme un art total, associant architecture et aménagement intérieur dans tous ses détails. Au
musée, lors de la restauration, nous avons pu reconstruire l'escalier de service abîmé par le
placement d'un ascenseur dans les années soixante mais n'avons rien pu faire pour la chambre à
coucher de la fille de Horta qui avait été transformée en salle d'exposition et dont les meubles ont été
enlevés et ont disparu. Mon point de vue est donc que si des aménagements originaux sont
conservés dans des bâtiments de Horta, il faut intégralement les respecter. Dans l'hôtel Tassel, il ne
restait aucune trace du mobilier et il a été possible de transformer le bâtiment en immeuble de
bureaux. Par contre, la peinture murale de la cage d'escalier qui avait été dissimulée sous des
couches de peintures a été intégralement restaurée. Le problème est évidemment de trouver un
usage à ces bâtiments, usage qui respecte au maximum tous les éléments originaux. A l'hôtel Van
Eetvelde, le salon et la salle à manger ne servent que pour des réunions: on n'a pas dû y introduire un
nouveau système d'éclairage ainsi que des câbles pour tout le matériel informatique.
1. In the 60’s, at the time of the first Horta restoration work, it was believed that only the important
and prestigious rooms were worth preserving (reception areas and main stairwells) and as a result
the fittings in minor rooms, such as bedrooms and back stairs were destroyed. At that time, there
was a failure to understand Horta’s skill being a complete art form, linking architecture and internal
fixtures in all of their detail. Here, at the museum, since the restoration work, we’ve been able to
reconstruct the back stairs, destroyed in the 60’s when a lift was installed. But we have not been
able to do anything in Horta’s daughter’s bedroom, which had been transformed into an exhibition
hall. Its furniture was removed and disappeared. In my opinion, if original fitments are retained in
Horta’s buildings, they need to be completely respected. In the Hôtel Tassel, there was no trace of
any furniture and it has been possible to transform the building into an office block. On the other
hand, the mural on the main stairwell, concealed under layers of paint, has been restored in its
entirety. The problem, of course, is to find a use for these buildings, a use which totally respects all
26
the original features. At the Hôtel Van Eetvelde, the sitting room and the dining room are only used
for meetings. It has not been possible to introduce a new lighting system or cables for IT.
2. et 3. La restauration d'un bâtiment de Horta n'est pas économiquement rentable si ce n'est qu'elle
procure du travail à des artisans spécialisés et permet de garder en vie des savoir faire. On restaure
ces bâtiments parce qu'ils sont des jalons importants dans l'histoire de l'architecture européenne et .
génèrent un tourisme culturel qui est un facteur appréciable dans l'économie de la Région de
Bruxelles-Capitale. L'image de l'Art Nouveau et de Horta renforce positivement celle de Bruxelles.
2 & 3. The Restoration of a Horta building is not economically profitable since use is made of the
skills of specialist craftsmen which permits the preservation of these skills. We restore these
buildings because they are important markers in the history of European architecture and bear
witness to the extraordinary quality of the craftsmen who worked on them. In addition, these
buildings generate cultural tourism which is an important factor in the economy of the capital city of
Brussels region. The art nouveau and Horta positively strengthen the image of Brussels.
4. Les lois de protection du patrimoine architectural permettent la restauration du patrimoine Art
Nouveau: nous avons été subsidiés jusqu'à 80% du coût des travaux mais cela par ce que nous
sommes un musée ouvert au public. La Région est obligée par la loi de subsidier la restauration des
bâtiments classés, ce qui est le cas de tous les bâtiments de Horta en Région Bruxelloise.
4. Laws protecting architectural heritage allow the restoration of art nouveau heritage. We have been
subsidised to the tune of up to 80% of the cost of the works but that is because we are a museum
open to the public. The region is required by law to subsidise the restoration of classified (listed)
buildings, which is the case with all Horta buildings in the Brussels area.
5. Horta a détruit pratiquement toutes ses archives. La restauration du bâtiment permet donc de
pratiquer de "l'archéologie" et de découvrir des éléments inconnus ou transformés. Une restauration
douce est nécessaire afin d'intégrer au fur et à mesure toutes les découvertes faites en cours de
chantier et d'adapter ainsi la restauration.
5. Horta destroyed practically all of his archives. The restoration of a building therefore allows for
the practice of ‘archaeology’ and for the discovery of unfamiliar or altered elements. Delicate
restoration is necessary in order to gradually incorporate all discoveries made during the works and
in order to adapt the restoration in this way.
6. Nous recevons actuellement 64.000 visiteurs par an et parmi eux une proportion importante de
visiteurs étrangers (plus de 60%).
6. At this moment in time, we have 64,000 visitors a year and more than 60% of this number are
foreign visitors, an important proportion.
27
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