The Hankar House, constructed in 1893 at 71, rue Defacqz in Brussels, stands alongside Victor Horta’s Hôtel Tassel as one of the two foundational buildings of the Art Nouveau movement. Paul Hankar, an architect, designer, and urban planner, pioneered this style in Belgium by integrating exposed iron and glass with traditional structures while rejecting prevailing historical ornamentation.
Professional Formation and Early Practice
Born in 1859 in Frameries, Hankar was the son of a stonemason. He received his formal training at the Royal Academy of Fine Arts of Brussels, where he encountered fellow student Victor Horta. During his formative years, Hankar served a long apprenticeship in the studio of Henri Beyaert between 1879 and 1894. Under Beyaert, a master of neoclassical and eclectic architecture, Hankar developed an interest in the theories of Eugène Viollet-le-Duc. These theories encouraged the use of modern materials like iron and glass, which Hankar later adopted as core elements of his own practice. During his time with Beyaert, he acted as chief designer for the Palacio de Chávarri in Bilbao, Spain, completed in 1889.
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Upon opening his own office in 1893, Hankar focused on the architectural façade, which he believed should express the building’s internal structure. The Hankar House featured a projecting three-story bay supported by stone corbels and mural panels by collaborator Adolphe Crespin. While Hankar and Horta shared an interest in metalwork and curved lines, their approaches diverged due to available funding; Hankar typically worked with modest budgets for friends, whereas Horta possessed wealthy clients. Hankar frequently criticized Horta’s lavish interiors, characterizing them as overly ornate.
Exhibitions and Theoretical Work
Beyond residential architecture, Hankar contributed significantly to international exhibitions and urban theory. In 1896, he proposed the Cité des Artistes, a cooperative artist housing project in Westende, which eventually influenced the Darmstadt Artists' Colony. At the 1897 Brussels World's Fair, he managed the Congo section and coordinated artisans at the Tervuren Colonial Exposition. Between 1898 and 1899, he designed a monumental stone bench for the Paris Exposition Universelle, a piece later purchased by King Leopold II. Throughout his career, he lectured on urban redevelopment for Brussels and edited the magazine L'Emulation from 1894 to 1896.
Academic Influence and Death
Hankar balanced his design practice with academic appointments, serving as a professor of engineering at the School of Applied Arts in Schaerbeek from 1891 to 1897 and as a professor of architectural history at the University of Brussels until his death. He died in 1901 at age 41. Despite his relatively short career, his design philosophy impacted younger Brussels artists, including Paul Hamesse, Léon Sneyers, Antoine Pompe, and Victor Bourgeois.
Fast facts
- Born: 1859, Frameries, Belgium
- Died: 1901, Brussels, Belgium
- Buried at: Dieweg Cemetery
- Notable work: Hankar House (1893)
- Movement: Art Nouveau
- Educated at: Royal Academy of Fine Arts of Brussels
Questions readers ask
What characterized Paul Hankar's architectural style?
He prioritized the expression of building structure on the façade and integrated modern materials like iron and glass while rejecting traditional historical styles.
Did Hankar realize his vision for urban planning?
No, his projects for a Cité des Artistes in Westende and his concepts for the urban redevelopment of Brussels were never realized.
Achievements
- Notable work: Hankar House
- Movement: Art Nouveau
- Trained at Royal Academy of Fine Arts of Brussels
