Lou Jansen and Rudi Schiltz, both born in the 1930s, began their architectural studies in 1955 at the Sint-Lucas Institute in Schaerbeek. Their education was characterized by a pragmatic approach and a blend of traditional and modernist influences. While early exercises such as models of conventional villas were rather conventional, they received more challenging assignments in later years, including reinterpretations of modernist works, such as Marcel Breuer’s country house in Litchfield. However, the curriculum offered little room for contemporary developments in architecture, leading Jansen and Schiltz to seek inspiration beyond their studies. They were influenced by guest lectures from figures including Willy Van der Meeren, a socially engaged architect who experimented with industrialization and teamwork, and art critic K. N. Elno, who advocated for contemporary and authentic solutions in architecture and design. These external influences and their own curiosity formed a crucial foundation for their later work.
During their studies, Jansen and Schiltz began to broaden their perspective through travel and practical experience. For instance, in 1959, Jansen made an impressive journey to Belgian Congo, where he explored the possibilities of modernist architecture in a colonial context. Together with Paul Neefs, a close friend and architect, they undertook trips to architectural highlights in Europe and the United States. In 1964, they visited important works by modernist masters such as Mies van der Rohe in Chicago and Le Corbusier. These experiences deepened their knowledge and significantly influenced their own designs.
After completing their studies in 1960, Jansen and Schiltz established a joint architectural firm in Turnhout. Their collaboration was intense and harmonious: Jansen provided the rational main lines, while Schiltz focused on refinement and playfulness. Together, they developed a distinctive style based on clean lines, clear geometry, and a strong integration of functionality and aesthetics. They worked on more than 120 projects between 1962 and 1969, ranging from private villas to larger public buildings. Their clientele primarily consisted of affluent citizens who gave them the freedom to create innovative and customized designs.
One of their most prominent works is the Van Roy residence in Turnhout, published in La Maison in 1968. The design is based on a modular grid of squares and includes winter gardens and patios that provide light, air, and privacy. Jansen and Schiltz were masters at integrating indoor and outdoor spaces and using simple materials such as white-painted brick and glass. They designed not only buildings but also interior elements such as wall units, which were not only functional but also defined space and added flexibility to the homes. This level of detail and customization made their designs timeless and particularly user-friendly.
An important example of their work on a smaller scale is the Mannaerts residence in Schoten (1967), which occupies only a third of the Van Roy house’s area but is equally well-conceived. A glass hall connects two blocks: a single-story space with garage and storage, and a two-story structure with living space below and bedrooms above. Inside the living space, a cleverly placed staircase, bordered by cabinets, divides the space into four zones. This project illustrates their ability to handle space efficiently without compromising aesthetics or functionality.
Another notable project is the Mil Jansen residence in Merksplas (1966), where glass panels play a central role. The supporting structure of the garden facade consists of steel H-profiles integrated into the concrete roof slab. This allowed the glass walls to extend up to the roof edge, providing exceptional natural light. The precision and elegance of this design demonstrate how Jansen and Schiltz strived for maximum transparency and a close connection between indoor and outdoor spaces.
The Helsen residence in Rijkevorsel combines a sleek functional design with extensive wall units that are not only practical but also contribute aesthetically to the space. The large glass panels of the facades are seamlessly integrated into the structure, with slender columns strategically placed. This design illustrates their ability to find a balance between openness and privacy, which was essential in a practice home.
In the Proost residence in Schilde (1965), the architects experimented with concrete as a supporting structure. The columns, prominently present in the space, create a powerful rhythm that is both functional and aesthetic. This house shows how Jansen and Schiltz experimented with robust materials while maintaining the openness and lightness of their designs. The project also illustrates their ability to harmoniously integrate large-scale volumes into a natural environment.
A special project is the Daelman residence in Beerse, characterized by a pronounced modular design and careful interaction between indoor and outdoor spaces. This design plays with asymmetrical lines and carefully placed glass panels that strengthen the connection with the garden and surrounding landscape. The house demonstrates Jansen and Schiltz’s progressiveness in translating functionality into aesthetic architecture.
Their work was characterized by a minimalist approach derived from Mies van der Rohe’s “Less is more” credo and Adolf Loos’s rejection of ornamentation. They strived for architecture where all elements contribute to a clear and harmonious whole. This was expressed through clean lines, seamless transitions between spaces, and carefully planned symmetry.
The collaboration came to an abrupt end in 1969 with the tragic death of Rudi Schiltz in a traffic accident. For Lou Jansen, this meant a great loss, both professionally and personally. Although he continued his practice, the unique dynamics of their partnership remained irreplaceable. However, their joint legacy endures: an architecture that finds the balance between simplicity and complexity, between functionality and poetry, and that has had a profound influence on modernism in Flanders.
