{"id":10739,"date":"2025-09-19T11:58:32","date_gmt":"2025-09-19T11:58:32","guid":{"rendered":"https:\/\/vanhoutschellekens.be\/turnhout-school\/introduction\/"},"modified":"2025-09-29T12:54:27","modified_gmt":"2025-09-29T12:54:27","slug":"introduction","status":"publish","type":"page","link":"https:\/\/vanhoutschellekens.be\/en\/turnhout-school\/introduction\/","title":{"rendered":"Introduction"},"content":{"rendered":"\t\t
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Turnhout School, Quad Non<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The First Architects and The Interwar Period

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The architectural history of Turnhout began with the provincial architects who played a crucial role in shaping the region. Eug\u00e8ne Gife became the first provincial architect of the Turnhout district in 1854. He complained about limited resources and the lack of architectural education in the city, which ultimately made him long for a change of scenery. Gife was succeeded by Johan Van Gastel and, later, by Pieter Jozef Taeymans, who was appointed in 1869. Taeymans settled in Turnhout and combined public commissions, such as schools, vicarages, churches and town halls, with private projects on mansions. He worked in a wide range of styles, from neo-Gothic and Flemish neo-Renaissance to neoclassicism. Besides his work as an architect, Taeymans was director of the city academy where he taught architecture. In 1901, he was succeeded by his son Jules who continued the family tradition. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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In the interwar period, architecture underwent a major change with the introduction of new materials such as concrete and steel. These materials enabled innovative and functional designs and led to the emergence of modernism. Architects such as Stan Leurs were pioneers in this movement, as evidenced by his design for the municipal boys’ school in Witgoor (1932). An example of brick modernism, this building was completely stripped of decoration and focused on pure functionality. This type of architecture became popular in Belgium, although the white fa\u00e7ades of the international style were often avoided. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Boys' School Witgoor by Stan Leurs<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The Antwerp architect Eduard Van Steenbergen brought elements of the international style to Turnhout. His Villa Bluekens in Vosselaar had a sleek design with a continuous band of windows, including the characteristic round toilet window, a typical modernist feature. Simultaneously, local interpretations of modernism emerged, such as the house that Jos Eelens designed for writer Jozef Simons in 1934. The building showed a cubist design language and was inspired by Leurs’ functional approach. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Villa Bluekens by Eduard Van Steenbergen<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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House Jozef Simons by Jos Eelens<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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One of the most notable architects of this period was Jozef Schellekens. In 1934, he designed a duplex for his family and his friend Theo Op de Beeck. The building, a manifesto of brick modernism, combined aesthetics with functionality. The internal spaces were carefully composed, with a strong contrast between large and small rooms, while the fa\u00e7ades reflected this internal composition. The interior, with built-in furniture made by Schellekens’ father, brought warmth and cosiness to the modernist design. Schellekens later became provincial architect and played a crucial role in the architectural development of the region, with designs ranging from villas to public buildings. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Duplex by Jozef Schellekens<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Another influential architect was Ernest Wauters, who developed his own style by combining elements of expressionism, modernism and art deco. His early work from the 1930s was characterised by a richness of materials and details, such as brick, bluestone, stained glass and wrought iron. From 1935 his style became more austere, but he continued to pay attention to the interior with custom-made furniture and refined details. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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House Peeters by Ernest Wauters<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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After World War II, reconstruction brought massive building activity. Although most houses were traditional and functional, some architects remained innovative. The De Taeye law, introduced in 1948, encouraged the construction of simple houses for families with modest incomes. However, Renaat Braem criticized the quality of these houses and rarely considered them architecture. Against this background, architects like Schellekens and Wauters managed to maintain their modernist ideals. For example, Schellekens designed the beach pavilion at Zilvermeer in Mol (1958), a building that combined modernist simplicity with an inviting atmosphere. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Beach Building 'Zilvermeer' by Jozef Schellekens<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The interwar period and early post-war period mark a time of transition in Turnhout architecture. Visionary architects such as Schellekens, Wauters and Van Steenbergen brought modernist ideas to the region, laying the foundation for the later emergence of the Turnhout School. Their work reflects a search for aesthetics, functionality, and innovation, with respect for human scale and local context. <\/p>

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Modern yet Cosy

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During the 1960s, modernism experienced a flourishing period in Belgium, with a particular focus on villa construction by a small, progressive group of clients. At a time when the majority of the population dreamed of traditional homes in rural style with modern comfort, these clients chose a new direction: modern homes that united domesticity and contemporary architecture. These homes varied greatly in form, from Georges Baines’ sleek, white villas to Peter Callebaut’s Scandinavian-inspired designs and the brutalism of Marc Dessauvage and Juliaan Lampens. What united them, however, was their anchoring in the local context and their emphasis on the residents’ lifestyle. This modern living departed from the functionalism and standardisation that had characterised the interwar period. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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In Turnhout, a growing interest in modern architecture developed from the 1950s. This began with Eug\u00e8ne Wauters’ own home in 1953, a pivotal moment, and accelerated in the 1960s with the establishment of three progressive architectural firms: Carli Vanhout & Paul Schellekens, Paul Neefs, and Lou Jansen & Rudi Schiltz. These firms played a crucial role in introducing and promoting modernist architecture in the region. Their designs symbolised the combination of modernity and human scale, with clients’ wishes at the centre. The architects were not just designers but visionary guides who inspired clients with their persuasiveness and creativity. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The houses they designed, such as the den Nieuwenhuyzen residence (1966), the Pleysier-Dries house (1971-1976), and the Van Rompay house (1972), demonstrate an intense interaction between architect and client. This collaboration was based on an open attitude towards modernism, great trust in the architect’s expertise, and a willingness to innovate. Architects like Paul Neefs and Lou Jansen not only convinced their clients of modern architecture’s potential but also introduced them to international modernist movements, with references to icons such as Le Corbusier, Alvar Aalto, and Mies van der Rohe. This resulted in designs that were not only functional and innovative but also emotionally connected with the residents. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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House van den Nieuwenhuysen by Atelier Carli Vanhout - Paul Schellekens & Ass.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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House Van Rompay by Lou Jansen & Rudi Schiltz<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Flemish writer Leo Pleysier recounts how Paul Neefs convinced him and his wife to build a modernist house on an unconventional plot. By showing them examples of his work, such as the Van Hout residence (1966), Neefs initiated them into the principles of modern architecture. Similarly, Lou Jansen inspired clients through his involvement in housing culture courses organized by the KAV (Catholic Working Women). These courses encouraged participants to think about modern housing and the possibilities it offered for family life, openness, and freedom. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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House Pleysier - Dries by Paul Neefs<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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House Van Hout by Paul Neefs<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The realised houses reflected the unique collaboration between architects and clients. In the van den Nieuwenhuyzen house, Paul Schellekens created a sense of security and intimacy by thoughtfully stacking volumes and integrating a central sitting area as the core of the house. For the Van Rompay house, Lou Jansen designed an elevated sitting area as the pivot of the home, inspired by the idea of a ‘nest’ where family is central. Paul Neefs shaped the Pleysier house through a clever composition of small rooms, with strategic void effects that made spaces larger and brighter. <\/p>

Although modern architecture was seen as experimental and sometimes controversial at the time, the success of these houses testifies to the courage and vision of both architects and clients. The Van Rompay house, for example, was described as a ‘church’ or ‘circus tent’ by passersby during construction but proved to be a unique design that has stood the test of time. The clients had to not only let go of old principles but also brave criticism from their environment. It was this courage, combined with the architects’ creativity, that led to the realization of these timeless designs. <\/p>

The houses themselves demonstrate that modernity and cosiness can go hand in hand, despite the historical tension between these concepts in architectural history. The architects integrated the local context into their designs by using local materials, utilising terrain height differences, and incorporating unique plot characteristics. At the same time, residents remained involved and their personal preferences played an important role. Thus, modern architecture became not just an abstract concept but a personal and functional living experience. <\/p>

This period in Campine architectural history marks a special interaction between designers and residents, where mutual trust, courage, and innovation were central. The realized houses show how architects not only designed buildings but also brought to life the lifestyle and dreams of their clients. In doing so, they contributed to a unique phase of innovation in Flemish architecture, where modernity, domesticity, and human scale were perfectly combined. <\/p>

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Eug\u00e8ne Wauters

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Eug\u00e8ne Wauters holds a special place in the development of architecture in Turnhout and its surroundings. As a pioneer of modern architecture in the region, he bridged the gap between interwar modernism and the innovative movements of the post-war years. His work and vision have had a lasting influence on architectural practice and debate in his hometown and beyond. <\/p>

Wauters graduated in 1948 from the National Higher Institute for Architecture and Urban Planning in Antwerp (NHIBS), where he was taught by a new generation of architects led by L\u00e9on Stynen. Here he learned the principles of functional floor plans, rational design, and modern building techniques. In his early work, such as the Dubois house (1949) and R\u00e9sidence Guillaume (1955), the influence of pre-war brick modernism was clearly visible. His designs were characterised by simple, functional floor plans and austere aesthetics, often using brick and steel window profiles. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In the 1950s, Wauters’ style evolved under the influence of travels to Denmark, Germany, and the Netherlands, and the study of Scandinavian architects such as Arne Jacobsen and Jorn Utzon. This architecture combined modernist principles with regional traditions, emphasizing natural materials, integration into the landscape, and human scale. Wauters adopted this approach and adapted it to the Belgian context. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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His own house in Turnhout (1953) marked a turning point in his career. This project, inspired by Scandinavian modernism, combined white-painted brick, wood, and rubble stone in a design that was both modern and harmoniously integrated into the landscape. The house became a milestone and set the tone for his later work. After this, he developed an architectural style that brought together simplicity, texture, and functionality in projects such as Zwaneven (1957) and the Van Leemput house (1958). <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Own House<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Wauters was not only active in private housing but also played a key role in social housing. He was the house architect for social housing companies such as the Turnhout Housing Company for many years. In projects such as the Jozef Simonslaan (1959) and the Parkwijk (from 1964), he combined affordability with innovative designs. He experimented with new housing types, such as patio homes and linked houses, and integrated communal green spaces and play areas to improve livability. <\/p>

His designs were characterised by meticulous attention to light, orientation and green spaces. He often collaborated with landscape architects such as Jacques Wirtz and Hendrik Carlier to create a harmonious whole. These projects, such as the Kattenberg district (Dessel, 1966), were progressive and showed his ability to make architecture accessible and livable. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Jozef Simons District <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Elderly Housing Parkwijk<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Kattenberg District<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Besides houses, Wauters also worked on commercial and public buildings, often in collaboration with other architects. One of his most striking projects was the De Warande Cultural Centre in Turnhout, which he designed together with Carli Vanhout, Frans Schoeters and, later, Paul Schellekens. This project combined brutalist architecture with complex volumetric work and shows his versatility as an architect. <\/p>

His work in commercial architecture, such as shops and offices, showed his creative use of modern style elements, including the so-called ‘expo style’. He integrated colourful materials, bold forms and decorative details to make buildings attractive and functional. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Cultural Center De Warande<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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In the 1960s Wauters \u2019 work evolved into a more sober and graphically abstract modernism. Designs such as the Jacobs house (1962) and the Weynants house (1968) emphasised pure geometric shapes, sleek compositions and the relationship between interior and landscape. He experimented with more complex floor plans and played with the transition between interior and exterior spaces, as seen in the Sterkens house (1966).
<\/p>

His designs reflected a refined balance between aesthetics and functionalism, where texture, light, and space were central. This approach resulted in houses that were not only architecturally progressive but also provided a pleasant living environment. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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House Jacobs<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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House Sterkens<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Eug\u00e8ne Wauters remains a key figure in Belgian architectural history. He introduced Scandinavian-inspired modernism to Turnhout and created a unique local variant. His work bridged international movements and local traditions, and his designs embodied a search for balance between concept and living pleasure, between modernism and domesticity. <\/p>

Wauters was not only a productive architect but also a visionary who enriched the architectural debate in his region. His legacy lives on in his buildings, which continue to inspire architects and represent a lasting contribution to Flemish architectural heritage. His quest for harmony between aesthetics, functionality and human scale makes him a timeless pioneer in modern architecture. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Turnhout School, Quad Non The First Architects and The Interwar Period The architectural history of Turnhout began with the provincial architects who played a crucial role in shaping the region. Eug\u00e8ne Gife became the first provincial architect of the Turnhout district in 1854. He complained about limited resources and the lack of architectural education in […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":10716,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-10739","page","type-page","status-publish","hentry"],"yoast_head":"\nIntroduction - Atelier Vanhout Schellekens<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/vanhoutschellekens.be\/turnhoutse-school\/inleiding\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Introduction - Atelier Vanhout Schellekens\" \/>\n<meta property=\"og:description\" content=\"Turnhout School, Quad Non The First Architects and The Interwar Period The architectural history of Turnhout began with the provincial architects who played a crucial role in shaping the region. 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