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Belgian designer Christophe Gevers (1928-2007) is renowned among his peers for his intricate craftsmanship, architecture and interiors. Known for his palette of primary colors, often unexpectedly injected into products and spaces, Gevers may feel less familiar to a wider audience than other figures in 20th century and modernist architecture; but now, a book A new book dedicated to his portfolio, carefully selected and photographed by Jean-Pierre Gabriel, brings his work into the spotlight.
Spanning more than 400 pages and 500 photographs, this rich tome showcases the designer’s life’s work, some of which has remained secret to this day.
“Christophe Gervers” by Jean-Pierre Gabriel
Gevers was known as a “creator” in local 20th-century architecture and design circles. However, Gabriel believes that the word “maker” is more suitable to describe the designer, because the designer’s love of craftsmanship combines artistic approach, technical skills and attention to detail. His work stands out for its skill in blending large and small, space and product, developing projects from the inside out in his signature “interior architecture” practice.
An unlikely pioneer of today’s “accidental red theory” (an interior design approach that uses a touch of red to enhance a space, especially in areas where it doesn’t make sense), Gervers was using primary colors to Success in terms of strength. His pops of navy and gold add a modernist feel to his interiors, which often contrast with more textured materials like historic architecture and stone walls.
His spaces stand out for their liveability and comfort, but at the same time, functionality is at the heart of Gevers’ design process, whether in terms of lighting, furniture or residential interiors. Gevers invites the natural world to interact with his creative process, honing a style rich in organic materials that result in pieces that are not only tactile and layered, but also stand the test of time.
The monograph is organized around five thematic sections. Readers are first introduced to Gevers’ architectural work, such as his residential projects in Ohain and La Garde-Freinet.
The book then delves into the designer’s mentorship before introducing his interior work through case studies, including Une Maison dans les Bois, La Maison Double and En dessous des toits.
Restaurants such as Au Vieux Saint Martin are also included in this section, as is the iconic “TBA” chair introduced by Gevers in 1959 and reproduced exclusively by Hertog Jan for the LESS restaurant. The final chapter explores Gevers’ furniture assemblages, lighting and objects.
Architect Glenn Sestig wrote a poetic foreword for the book, describing Gevers as not only a designer but also an “interior sculptor.” He wrote: “He sculpted shapes, volumes and materials and then assembled them until they became furniture… Depending on the accessories and furniture, he could be placed among Charlotte Perriand, Cartesian Traditional Chinese culture by Carlo Scarpa, Luis Barragán, Josef Hoffmann or Dom Hans Van der.
Where to buy this book, see jeanpierregabriel.eu
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