Carli Vanhout was born in 1931, the son of a contractor in the Campine region. His youth was dominated by the world of construction, an environment that would strongly influence his later career as an architect. From an early age he was fascinated by the combination of practical building techniques and aesthetic designs. He followed his secondary education with a clear ambition: to become an architect.
In 1956, Vanhout completed his studies at the renowned Saint Lucas Institute in Brussels, where he specialised in modernist architecture. After his mandatory military service, he started his own practice. In the early years, he visited his construction projects by bicycle, reflecting his dedication and simplicity. His first major breakthrough came with the renovation of Frans Tanghe’s house in Ravels. This project not only brought him recognition but also his first car, which became a symbol of his growing success.
In 1958, he married Mia Schellekens, the daughter of provincial architect Jozef Schellekens. This family connection laid the foundation for a fruitful professional collaboration with his brother-in-law, Paul Schellekens, who would later play a key role in his career.
Carli Vanhout developed his own style characterised by simplicity and functionality combined with a subtle eye for detail. His early designs primarily consisted of houses in a moderate modernist style, with white-painted brick walls under pitched roofs of black tiles. Vanhout experimented with façade compositions, often combining different textures, such as windows next to dark brick or natural stone. His style was clearly influenced by Scandinavian architecture and designers like Arne Jacobsen, whose work struck a balance between functionality and aesthetics.
He was an ardent admirer of minimalist and functional designs from Northern Europe and regularly made study trips to Scandinavia for inspiration. Additionally, he was passionate about music and theatre. Through his friend André Fonteyne, he developed a love for jazz, and through his friend Rik Hendrickx, he became involved in Dutch-language theatre.
In 1959, Vanhout received his first commission from the Turnhout Housing Association (TMH). This collaboration resulted in various projects, including the construction of 25 houses in Baarle-Hertog in 1960. The houses were an example of modernist simplicity, with light front façades, dark brick side walls, and panels. His work for TMH established his reputation as an architect who highly valued both social and aesthetic principles.
The collaboration between Carli Vanhout and his brother-in-law Paul Schellekens, eight years his junior, began in the 1960s. Paul Schellekens had studied at the National Higher Institute for Architecture and Urban Planning (NHIBS) in Antwerp and brought innovative ideas, including influences from brutalism and Le Corbusier’s work. Together, they developed a unique architectural language where functionality and brutalist expression went hand in hand.
Their first joint projects, such as the health centre in Hoogstraten (1963) and social housing in Oud-Turnhout (1963), showed a clear evolution in their style. The influence of Le Corbusier, combined with Scandinavian architecture, was visible in the use of raw concrete, geometric forms, and their careful attention to detail. These projects marked the beginning of their joint quest for an architectural identity.
From 1963, Vanhout began embracing elements of brutalism, a style characterised by the use of rough-formed concrete and expressive forms. Examples include the social housing in Turnhout and the aforementioned health centre in Hoogstraten. In these projects, functional designs were combined with a sense of monumentality and human scale.
1966 was a highlight of his career, a year in which plans were submitted for multiple large-scale projects: the Saint Victor primary school, the Poor Clares monastery, and the De Warande Cultural Centre in Turnhout. Each of these designs reflected a unique interpretation of modernism and brutalist architecture, emphasising sustainability and aesthetics. The Poor Clares monastery, with its combination of courtyards and dynamic façades, and De Warande, with its imposing cylindrical forms, are iconic examples of his work.
In 1970, Paul Schellekens was appointed as a lecturer at the State Higher Institute of Architecture in Antwerp, which led to a reduction in collaborations with Vanhout. However, Atelier Vanhout & Schellekens remained a well-known name in Belgian architecture. Vanhout’s son Luc later took over the leadership of the firm and built upon his father’s legacy.
Carli Vanhout remained active in architecture until the end of his life. He passed away in 2000 after a tragic accident, shortly after presenting expansion plans for the De Warande Cultural Centre.
Carli Vanhout left an indelible mark on architecture in Turnhout and its surroundings. His work is characterised by a unique combination of brutalist elements, Scandinavian influences, and a deep respect for functionality and human scale. Together with Paul Schellekens, he played a crucial role in shaping the Turnhout School, an architectural movement that has permanently influenced the region.
His buildings symbolise an era in which modernism and brutalist expression were combined with a focus on aesthetics, sustainability and social responsibility. Carli Vanhout is remembered as a pioneer who pushed the boundaries of architecture and placed human experience at the center of his designs.