Belgian archi-tect. His work defies description, as it was not dependent on any recognized style or move-ment, and remained untouched by Inter-national Modernism. The Queen Elisabeth Medical Institute, Jean-Jacques Crocqlaan, Jette, Brussels (1927), possessed certain ele-ments of Art Deco, but the Pion House, a chunky structure of rubble and brick in the Rue de l'Enclos Saint-Martin, Doornik (1935), not only drew on traditional materials, but on over-emphasis of parts as well, perhaps influenced by aspects of building in the Belgian Congo. This influence was also present in the portal of the Church at Beringen (1938–48), where strong patterns and vivid modelling are reminiscent of the powerful work of the equally idiosyncratic Bellot.
Loo (ed.) (2003)