Max Hallet House

Built between 1903 and 1905 by the architect Victor Horta for his friend, the lawyer and politician Max Hallet, this residence is undoubtedly one of the most important works by the master of Art Nouveau to come down to us. Behind an elegant façade of Euville stone, the sobriety of which breaks with the youthful works of the initiator of an architectural style that was very exuberant for its time, we find something both luminous and poetic. True to the architect’s concept of openness and harmony, a monumental entrance hall and its dramatic staircase set the stage. The spaces are all clad in precious materials that interact in the spirit of a Gesamtkunstwerk, notably through the recurring motif of roses and thorns designed by the artist-decorator Victor Van Dyck.

Built between 1903 and 1905 by the architect Victor Horta for his friend, the lawyer and politician Max Hallet, this residence is undoubtedly one of the most important works by the master of Art Nouveau to come down to us. Behind an elegant façade of Euville stone, the sobriety of which breaks with the youthful works of the initiator of an architectural style that was very exuberant for its time, we find something both luminous and poetic. True to the architect’s concept of openness and harmony, a monumental entrance hall and its dramatic staircase set the stage. The spaces are all clad in precious materials that interact in the spirit of a Gesamtkunstwerk, notably through the recurring motif of roses and thorns designed by the artist-decorator Victor Van Dyck.

Built between 1903 and 1905 by the architect Victor Horta for his friend, the lawyer and politician Max Hallet, this residence is undoubtedly one of the most important works by the master of Art Nouveau to come down to us. Behind an elegant façade of Euville stone, the sobriety of which breaks with the youthful works of the initiator of an architectural style that was very exuberant for its time, we find something both luminous and poetic. True to the architect’s concept of openness and harmony, a monumental entrance hall and its dramatic staircase set the stage. The spaces are all clad in precious materials that interact in the spirit of a Gesamtkunstwerk, notably through the recurring motif of roses and thorns designed by the artist-decorator Victor Van Dyck.

Built between 1903 and 1905 by the architect Victor Horta for his friend, the lawyer and politician Max Hallet, this residence is undoubtedly one of the most important works by the master of Art Nouveau to come down to us. Behind an elegant façade of Euville stone, the sobriety of which breaks with the youthful works of the initiator of an architectural style that was very exuberant for its time, we find something both luminous and poetic. True to the architect’s concept of openness and harmony, a monumental entrance hall and its dramatic staircase set the stage. The spaces are all clad in precious materials that interact in the spirit of a Gesamtkunstwerk, notably through the recurring motif of roses and thorns designed by the artist-decorator Victor Van Dyck.

Built between 1903 and 1905 by the architect Victor Horta for his friend, the lawyer and politician Max Hallet, this residence is undoubtedly one of the most important works by the master of Art Nouveau to come down to us. Behind an elegant façade of Euville stone, the sobriety of which breaks with the youthful works of the initiator of an architectural style that was very exuberant for its time, we find something both luminous and poetic. True to the architect’s concept of openness and harmony, a monumental entrance hall and its dramatic staircase set the stage. The spaces are all clad in precious materials that interact in the spirit of a Gesamtkunstwerk, notably through the recurring motif of roses and thorns designed by the artist-decorator Victor Van Dyck.

Built between 1903 and 1905 by the architect Victor Horta for his friend, the lawyer and politician Max Hallet, this residence is undoubtedly one of the most important works by the master of Art Nouveau to come down to us. Behind an elegant façade of Euville stone, the sobriety of which breaks with the youthful works of the initiator of an architectural style that was very exuberant for its time, we find something both luminous and poetic. True to the architect’s concept of openness and harmony, a monumental entrance hall and its dramatic staircase set the stage. The spaces are all clad in precious materials that interact in the spirit of a Gesamtkunstwerk, notably through the recurring motif of roses and thorns designed by the artist-decorator Victor Van Dyck.