Brussels may rightly pride itself on having a large number of Art Nouveau buildings, a veritable pole of attraction for anyone visiting the city. Indeed, the Belgian capital was one of the focal points where this art movement emerged in the late-19th- and early-20th century. Art Nouveau ended up permeating all artistic disciplines, from architecture to sculpture, painting, furniture design, jewellery and graphic design, among others.

Modernism, which came to be known as Art Nouveau in France and Belgium, took its first few steps in Brussels in 1893 with the construction of the Tassel House, located at 6 Rue Paul-Emile Janson, designed by the architect Victor Horta. The idea was to then create a new style which involved breaking with the past by leaving behind the historicism which prevailed in architecture at the time and usher in another style which more accurately reflected the modern era. This break led to the rise of two trends in the city – the floral style, with forms inspired by nature, of which Victor Horta was the most prominent exponent, and the geometric, as championed mainly by the architect and designer, Paul Hankar.

The advent of this movement coincided with a time of growth in the city, when such districts as Schaerbeek, Etterbeek, Ixelles and Saint-Gilles were in the throes of urban renewal, so that many of the houses that went up in those areas were imbued with the new style. Some 500 buildings from that period have survived to the present.

The Major Landmarks

Among the must-see gems of Art Nouveau in Brussels are, in the first instance, the four buildings known collectively as the“Major Town Houses of Victor Horta in Brussels”,all of which were designated World Heritage Sites by UNESCO. They are as follows:

Tassel House. As mentioned above, it is regarded as the first manifestation of Art Nouveau in Brussels, as well as one of the first in the world to open up a new direction in contemporary architecture.

Hôtel Solvay. Located at 224 Avenue Louise, it is possibly one of the standout buildings of Belgian architecture. Its facade reveals the presence of glass, iron and natural stone, Victor Horta’s favourite materials.

Hôtel van Eetvelde. Edmond van Eetvelde, administrator of the Congo Free State, commissioned Victor Horta to design this town house with a view to providing a modern space for entertaining his visitors. Located at 4 Avenue Palmerston, it is striking for the innovative distribution of its interior spaces and for the stained-glass and mosaic ornamentation.

Maison & Atelier Horta. Converted into what is now the Horta Museum, this was the home of Victor Horta, built from 1898 to 1901. It comprises two independent buildings in that each has its own style, but they were conceptualised as a unified whole and are interconnected.

Another building that should feature on your itinerary through the Art Nouveau landmarks of Brussels is the Comics Art Museum. Built in 1906, apart from from being a compulsory place of pilgrimage for devotees of the ninth art, it is a magnificent example of Art Nouveau, the work of the iconic architect of the time in this city, Victor Horta.

Also make a point of visiting the Musical Instruments Museum, designed by the architect Paul Saintenoy and originally built as the Old England department store. And, wander down Rue Saint-Boniface, where you will come across five buildings designed by the architect Ernest Blérot at number 15, 17, 19, 20 and 22. And, lastly, we recommend you head for 71 Rue Defacqz, where you can admire the Paul Hankar House.

Now that you have some of the keys to discovering Art Nouveau in Brussels, book your Vueling here and get ready to enjoy it all.

Text by Los Viajes de ISABELYLUIS

Images by mertxe iturrioz, Arco Ardon , William Murphy , Steve Cadman, J. Miers

A few days ago, after Banksy had updated his website, we noticed that his work is now displayed at various points in “The Jungle” refugee camp in Calais, one of the largest camps in western Europe. Despite his identity still being cloaked in anonymity, Banksy is currently one of the most highly valued artists around. His sharp, critical wit is undoubtedly the hallmark of his work.

Noteworthy among the four new artworks he posted is the one showing Steve Jobs carrying an early-eighties Macintosh, with a sack slung over his shoulder, reminiscent of the bags the forced migrants often take with them on their harsh journey. This is clearly a reference to the whole migratory movement being enacted from Syria to Europe. Jobs was, of course, the son of a Muslim Syrian immigrant and was adopted by a middle-class family of Armenian origin. That is the conceptual link Banksy draws between Steve Jobs and the Syrian diaspora.

Another Banksy offering in the same area makes reference to a famous work by Théodore Géricault, The Raft of the Medusa, painted between 1818 and 1819, depicting a group of castaways in danger, packed onto a drifting raft. This alludes to the dangerous voyage embarked on by many of these refugees who risk their lives crossing the Mediterranean on flimsy rafts. In this version, the castaways are crying out for help to a modern cruise ship speeding past near the horizon. The artist had previously drawn attention to the issues surrounding the refugee crisis in a work entitled, Dismaland.

In addition to these artworks, members of Banksy’s team set up 12 permanent installations in Calais, and a makeshift children’s playground in the camp precinct. The materials used were either sourced locally or were remnants of the Dismaland project brought here for the purpose. This new project is known as Dismal Aid.

A Much Frequented But Little Visited City

Calais is primarily a city of passage. Some 15 million people are estimated to pass through it each year as it is a compulsory way station for access between France and England. In contrast, comparatively few people actually spend some time visiting the city. However, we can wholeheartedly recommend this city in the north of France, with little over 75,000 inhabitants and just 34 km from Dover, as a tourist destination. Its charm lies not in its architecture or monuments but in its privileged siting on the seaboard and the majestic Côte d’Opale.

The city is not celebrated for its grand monuments or buildings, but it does have such landmarks as the Musée Mémoire 1939-1945, dedicated to the Second World War and housed in a bunker, a sculptural group by Rodin known as The Burghers of Calais, located opposite the City Hall, and the Cité Internationale de la Dentelle et de la Mode, the city’s Lace Museum. On display is a century-old mechanical loom with 3,500 vertical threads and 11,000 horizontal ones. Calais’ genuine heritage lies in its natural surroundings and local scenery is stunning. Come armed with your camera as the views are breathtaking. The attractive seafront is dotted with striped changing booths which take you back to the early 20th century. The sands stretch westwards for 8 km along the dune-filled Blériot beach, so named as it was here that the pioneer aviatorLouis Blériottook off on the first ever solo flight over the English Channel in 1909.

By the way, when you feel like having lunch or dinner, be sure to head for the Histoire Ancienne, a bistro specialising in regional and French dishes, some cooked on an open wood fire. This very pleasant, Parisian-style restaurant was opened in the 1930s. Prices are affordable, with dinner ranging from 19 to 28 euros.

Don’t miss your getaway to Calais – check out our flights to Lille here.

Text by ISABELYLUIS Comunicación

Images by Rob Sinclair, Carawah, Olivier Duquesne

When you first stand before the huge structures rising from this unique “Eden”, you would be forgiven for thinking you’ve stepped into a sci-fi movie from the 50s, 60s or 70s. Here, by the judicious use of special effects, the complex conveys the vision of an unusual future, charged with scientific advances. Nowadays those films may raise more than one smile, peopled as they were by the odd alien, or depicting some disaster that had obliterated mankind from the face of the earth. Lee Tamahori, who directed the James Bond movie, Die Another Day,in 2002, must have had a similar impression when he chose to shoot some of the action-packed scenes from this 007 classic on this site. But, what exactly is the Eden Project and what makes it imperative for you to head to Cornwall to see it?

The Eden Project – Nature and Sustainable Development

Located in Cornwall, two kilometres from St Blazey and five kilometres from St Austell, the Eden Project was the brainchild of Tim Smit. It was designed by the architect, Nicholas Grimshaw, and the engineering firm, Anthony Hunt and Associates, inspired by nature and sustainable development. Unveiled in March 2001, this unique, spectacular garden has two leading lights – its Biomes with their futuristic appearance. A biome is defined as the ecological unit into which the biosphere is divided in terms of a number of climatic and geological factors that determine the types of prevailing fauna and flora. Within each Biome is a specific bioclimatic landscape and its corresponding ecosystem.

One area at the site features a Rainforest Biome, with a hot, humid atmosphere, divided into four rainforest environments – Tropical Islands, Southeast Asia, West Africa and Tropical South America. Another area is dedicated to the Mediterranean Biome with its warm, temperate climate and drier atmosphere, showcasing the typical landscapes of the Mediterranean, South Africa and California. There are also gardens outside the Biomes which reflect the temperate regions of planet Earth.

The goal of this grand project is none other than to educate – the site has an educational centre known as The Core– and to make us aware of the biodiversity that characterises our planet. Children visiting this magnificent site will be enthralled, as will most adults who come here, too. You will be stunned by the sheer size of the vegetation and are sure to discover various aspects of nature you never knew about.

Before visiting the Eden Project, we recommend you first check out What’s On, as another added value of this site – where you get the growing impression of being in an amusement park – is the huge number of activities hosted there, directed at audiences of all ages. One of the events, for instance, which has been held annually since 2002, are the Eden Sessions, a series of concerts at which star performances have been given by the likes of Amy Winehouse, Muse, Lily Allen, Oasis, Pulp, Elton John and a long etcetera of great bands and musicians.

Book your flight to Cardiff and venture into this special garden of Eden in southwest England.

Text by Los Viajes de ISABELYLUIS

Images by Eden Project

Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36