THE PEETERS HOUSE IN DEURNE (1932-34) BY GASTON EYSSELINCK: A FLEMISH MACHINE A HABITER

Ann Verdonck, Marc Dubois, Vlaamse Overheid (Editor)

Research output: Contribution to journalArticle

Abstract

In 1932 Gaston Eysselinck (1907-1953) built the Peeters-Ceurvels house in the Antwerp region. Thé Peeters house shows quite a few resemblances with Le Corbusiers Maison Citrohan for the 1927 Weissenhofsiedlung in Stuttgart, as for the design as well as for the construction of the façade.
For the first time technical research was done on site in the Peeters house as to the use of colour and materials. This has shed a new light on the buildings polychromy. This research, a.o. historical research, field work, lab research up till the eventual sample restorations, enabled justified decisions as to the restoration itself.
The façade had aiways been known as painted white, behind it though a peculiar original colour concept was revealed. The vertical parts of the façade along the De Neuf street and the Ter Rivieren avenue were originally carried out in beige. The rear aspect was painted black with bitumen paint. All horizontal parts, being the carport's ceiling and the sun terrace, were a bright yellow. The volumes underneath the carport and on the terraces were originally painted black and rusty brown.
The façades in ochre were originally combined with framework in brown umber, while the black rear elevation orig-inally had red (iron oxide red) framework. Eysselinck developed an unusual colour pattern here, and this deserves our attention. This remarkable concept has nevertheless been painted over, forgotten and building technical problems and many transformations have severely damaged the monuments vulnerable aspect. The essence of the discussion was on the one hand the concept designed by Eysselinck, and on the other hand the build-ing technical matters and the owner's demand for a lasting result. The choice between maximal preservation of the historical material and durable technology was made. This fairly recent monument should be restored in its original colour scheme, but will also be technically improved.
The results of this study could contribute to the commu-nication and appreciation of colour in modernism. The planned restoration of this significant house by Gaston Eysselinck in Deurne will make the original colour scheme relive, survive and will deal for once and for all with all white misunderstandings in modernism.
Original languageDutch
JournalMonumenten en Landschappen
Volume26
Publication statusPublished - 1 Sep 2007

Bibliographical note

Vlaamse Overheid

Keywords

  • colour
  • modern era
  • restoration strategy
  • Gaston Eysselinck

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