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Our countryside (in Belgium as well as in a many other western countries) is monopolized by one specific type of houses called ‘clé sur porte’ (turnkey) (def: Urban prefab cluster of similar forms implanted in the landscape without any effort of integration).

The cycle ‘Habitat’ throws a look at this type of ‘architecture’. The concept of protection and stereotyped block is pushed to its extremes (similar to our withdrawal into on ourselves and our formated lifes).

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Everything is made to entertain him and to make him forget himself and his loss of references. These two projecting features of modernity seem to lead us to our loss. The modern man seems to define himself by the urban (recently the number of people living in urban areas has exceeded the number of people living in rural areas) and the festive model. 

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MUR, 2005

Archiving of walls marking out the surroundings of the Brussels region.

The wall directs and confines our visual and spatial experience. It marks and determnates individual and public properties.

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Have our shoppingmalls become our new temples? Has the religious cult been replaced by the cult of consumption? Do these new places of communion and their catchy slogans supplant our ancient monuments and their divine words?


This fiction is not very remote from the frequent use of the religious symbol by the commercial. Our commercial culture sucks the lifeblood from our collective memory, emptying it of all it’s meaning, keeping only it’s shell. Does this all prove that our society has cut itself off from its history? 

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This cement industry, situated in the surroundings of Brussels, has been the triggering factor of the project Construct.

It produces the basic material that constitutes the various artifacts of our built environment. 

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