Aarschot and architecture. Architect's house by Jozef Fonteyn

(Albertlaan, 37)

In 1923, architect Fonteyn built his family home here in a style known as regionalism. It is interesting to note that it is a corner house. This means that at least the façade and one side bordering the street were elaborately designed, almost giving the impression of a detached 'villa'.

It was not by chance that the house was built here. The Albertlaan had a significant place in the reconstruction plans of architect Arthur Pladet, aiming to create a street with luxurious homes adjacent to a park by the Orlean tower. The avenue was conceived like the wide Brussels avenues with two broad lanes separated by a green verge. We are indeed at the edge of the built-up city, and at that time, the plots were adjacent to a rural agricultural area. In that sense, it was logical that a regional design was chosen rather than an urban neo-style.

It is clear that the post-war reconstruction after World War I favored historicizing neo-styles and regionalism. In the city center, the historicizing styles prevailed. This was logical because people wanted to suggest the image of a medieval city.

In more rural places, and therefore also here at the city's periphery, a regionalist style was preferred.

What stands out here?

What we no longer see is that the brick was painted white and the woodwork was painted green. The arches and spans were unpainted. The white color referred to the white lime that was used in the past. A dark plinth, on the other hand, was a reference to the black tar layer.

The presence of shutters. Although roller shutters were already available during that period, this rural form was reverted to for closing the windows.

The Dutch gable may appear somewhat strange here but is also a reference to rural habitation. The bricks form a traditional cross or Dutch bond.

The windows, especially those on the upper floors, are more or less inspired by Flemish Renaissance and medieval brick and sandstone styles, but they do not meet the criteria for cross windows.

Furthermore, there is a modern design with staircases, dormers, a covered terrace with round arches, and slanting buttresses. An octagonal balcony with a bay window testifies to the influence of art deco.

Not here, but in other regionalist houses, for example, thatched roofs are often combined with 'everything on the ground floor.' Pointed roofs and high red tiled roofs with dormers are just as many characteristics. In the interior, the fireplace is very important and the symbolic expression of 'the family.'

The railing of the balcony and the garden enclosure was probably later provided with metal wrought iron by another owner – see the monogram KH. In an old photo, the railing is less ornate and made of wood.

In the gable, there is an octagonal star as an ornament with the name 'Ons Heil' and the year 1923. The star is formed by two squares that are tilted 45° to each other.

Regionalism emerged at the end of the 19th century. It is an expression of the search for national styles, in other words, young Belgium was looking for its own identity, and architecture was an expression of that. On the one hand, we see a return to the neo-styles from a period when Flanders had a strong identity and was economically important. These include Gothic, Renaissance, and Baroque. For some reason, classicism under French influence and during the Austrian period is considered foreign to the nation. Nonetheless, classicism would remain important for a long time, especially regarding public buildings. The pure canon of these neo-styles was rarely adhered to, and in response to this, architects would mix stylistic elements, leading us to eclecticism. Eclecticism is primarily a personal expression of the builder and architect, paying little heed to a so-called 'folk character' – whatever that may be. A reaction arose to these movements to take into account (local) building traditions when there was no architect involved. Building styles that were adapted to the local climate, local rural economy, local materials available, etc. Building styles that are an expression of the 'genius loci.'

The question is of course 'what are the characteristics of such regional architecture?' We see that at the end of the 19th century a kind of inventory emerges that describes the characteristics. For Belgium, there is the impressive work Documents Classés (1880-1906) by architect Jules Jacques Van Ysendyck. The regional style has left its marks to this day: on the one hand, we know 'fermette' and on the other hand, the so-called 'vicarage houses.'

Architect Jozef Fonteyn (1889-1970)

Jozef Fonteyn was from Tremelo. In Aarschot, he was responsible for estimating the war damage during World War I. After the war, he established his office in Aarschot but kept his residence in Tremelo. Together with A. Pladet, E. Van Nieuwerburgh, V. Van Roey, and J. Evrard, he was part of the small group of architects who would define the appearance of the reconstruction in Aarschot. In the center, he mainly built in a neo-Flemish Renaissance style or in a historicizing Baroque style. In the newly developed streets, the design was more regionally or neo-traditionally inspired.

From 1923 onwards, he worked in the service of the city of Aarschot. On February 28, 1941, he was appointed as a full-time salaried city architect of Aarschot. This also meant that as of April 1, 1941, he was no longer allowed to do work for private individuals. He would hold this position as city architect until 1954.

Jan Rymenams