FELT extends traditional flemish home with wedge-shaped, metal-clad library in belgium

Brussels studio Madam Architectuur has completed a renovation and extension project for a 1990s bungalow named Charlotte, located near Aalst, Belgium, on the outskirts of a nature reserve. The primary goal of the project was to enhance the dwelling's connection to its natural surroundings and improve its internal layout, which was previously deemed inefficient. The existing concrete structure was reconfigured, and an extension was added to achieve these objectives. A significant aspect of the renovation involved recladding the exterior with timber painted in a Falu red shade, a color originating from Sweden historically used to emulate red-brick buildings. This choice imbues the house with a distinctive appearance that is described as both striking and modest, contrasting effectively with the green landscape. Originally, the bungalow's bedrooms occupied the areas offering the best views of the landscape. Madam Architectuur strategically relocated these bedrooms into a new, simple extension that maintains the existing facade's outline. This allowed for the transformation of the prime view-facing areas into an expansive open-plan living, dining, and kitchen space. This new arrangement provides dual-aspect views, overlooking both the exterior landscape and a central internal patio, thereby fulfilling the design intent of integrating nature into the living experience. The main living spaces were designed to maximize natural light and views, creating a more engaging and open environment. The three new bedrooms were kept compact, consistent with the typical scale found in modernist bungalows. They are linked to the original part of the house by a wide corridor, which features a window at each end, allowing for light penetration and visual continuity. The interior design adopts a pared-back aesthetic, featuring white walls and pale wood fittings. These elements are deliberately contrasted with industrial touches such as blue-steel beams and exposed concrete ceilings. The decision to keep these structural elements visible was a conscious one, intended to add character to the house, especially after the removal of a suspended ceiling during demolition. Complementing the exterior's red cladding, the window and door frames throughout the interior are also painted in a bright red. This creates a cohesive color scheme that unifies the interior and exterior design and further enhances the visual connection between the home and its red timber facade. Door Smits, co-founder of Madam Architectuur, emphasized that the deep red color harmonizes beautifully with the surrounding greenery, making the house stand out while still being integrated into its environment. Madam Architectuur, founded by Door Smits and Marit Meganck, has undertaken other notable residential projects in Belgium, including an extension to a 1930s home featuring green ceramic tiles and pigmented concrete. The Charlotte renovation project exemplifies the studio's approach to updating existing structures, prioritizing improved spatial organization, enhanced connection with the environment, and a thoughtful balance between striking aesthetics and functional modesty. #ResidentialArchitecture #BungalowRenovation #TimberCladding #MadamArchitectuur #BelgianHouses #RedBuildings #ArchitecturalDesign #HomeExtension

Notan Office, a local Brussels studio, completed a 140-square-meter rooftop extension named Lincoln for a penthouse apartment in a residential area. The extension, largely invisible from street level due to its setback design, adds two new living areas with floor-to-ceiling windows and terraces on both the front and rear facades, while the existing top floor was converted into a private bedroom. The design ingeniously integrates existing structural elements—a circulation core and two ventilation shafts—into the new layout, transforming them from potential obstacles into primary functional 'cores' that dictate the apartment's spatial organization. A key feature of the extension is a distinctive fireplace, constructed from concrete and ceramic blocks, which wraps around one corner of the central stairwell block. This fireplace is inspired by the chimneys designed by Finnish modernist architect Alvar Aalto. The design incorporates raw, honest materials like construction blocks and concrete to create an industrial, urban aesthetic, balanced by a color palette of warm orange and cool greys. The architect, Frédéric Karam, intended to evoke an organic and rough sensation, emphasizing an artisanal quality that embraces textures, imperfections, and an element of uncontrolled final result. The layout promotes fluid movement through the apartment. A corridor encircles the central block, connecting four corner rooms. The kitchen and dining areas are positioned towards the street-facing facade, while a secondary living space and loggia are located at the rear. Bathrooms and utility spaces are discreetly placed to the sides. Karam highlights the project's fluid addition of spaces, each with unique characteristics and unexpected interrelationships, fostering a continuous sense of discovery and varying spatial relations. A section of the roof over the circulation area is tilted upwards to incorporate a window, drawing morning light into the front facade. Full-height glazing across the facades provides expansive views of the city and allows ample natural light to penetrate the interiors. Sliding doors in the front offer direct access from the kitchen to a terrace that spans the length of the apartment. A second outdoor area is a covered balcony within the loggia at the rear, creating unobstructed sightlines through the entire building. The main living areas are painted white, with distinct textures defining each zone. Plywood is extensively used in the kitchen for a floor-to-ceiling unit with a built-in bar and a floating work surface. The outdoor spaces, including the loggia and front terrace, are unified by matching wooden planks and steel fiber-cement cladding. Karam expresses his current preference for the kitchen space, noting its contradictory role as both a core and a transitional element that effectively connects the dining and living areas. The design also integrates various space-saving storage solutions, such as shelves built into the circulation core and above the loggia entrance. The kitchen's two core units are highly functional, concealing appliances like the fridge, oven, and dishwasher, along with extensive storage, and a floating countertop houses a stove and drawers. Notan Office, led by Frédéric Karam, operates through temporary partnerships and is active across Switzerland, Belgium, France, and Lebanon. #ResidentialExtensions #NotanOffice #ResidentialArchitecture #Plywood #Concrete #Brussels #Extensions #Belgium #AlvarAalto

Shreyas Patil Architects embarked on a transformative project, converting a dilapidated century-old colonial dwelling on Havelock Road, Belgaum, into their eponymous architecture studio. The building, previously abandoned after multiple remodels, captivated founder and principal architect Shreyas Patil with its inherent character despite its disrepair. Patil envisioned the property's potential to house an offbeat office, blending vintage charm with modern architectural intervention. The exterior of the studio, primarily visible from the west, is designed to interact with the natural elements. Thin corten steel mezzanines, suspended by twisted metal cables, protect a series of west-facing windows from the elements while allowing western winds to permeate. These structures also serve as a shield against the southwest monsoons, safeguarding the original teak windows. The main entrance, relocated to the north face, features a bold blue metal door with a small pivoting window. This design subtly blurs the boundary between the street and a dense garden courtyard, which houses a temple tree, bamboo, raphis palms, lilies, bougainvilleas, and monsteras, fostering a seamless transition into the workspace. Internally, Patil reconfigured the layout by removing and repositioning existing fenestrations and internal walls to create a free-flowing, boundless interior. The original west-facing entrance was re-angled to the north, integrating it with the formerly overgrown backyard, which now functions as an informal outdoor waiting and discussion area. The material palette is thoughtfully curated, with each room featuring a distinct pigmented oxide finish on the hand-polished flooring, showcasing varied shades of greys, greens, and solid blacks. These diverse floor treatments are harmonized by a continuous teak skirting that contrasts with the white walls and rafters, maintaining a cohesive aesthetic throughout. An al fresco discussion area is a prominent feature, comprising a cast-in-situ concrete bench extending along the compound wall, mirrored by a wooden bench. The flooring here combines wood and leather-finish kadappa stone, evoking a bygone era. Pergolas running north to south cast dramatic, dynamic shadows on the white stucco-finished compound wall, offering an ever-changing visual element. This outdoor space is designed for informal discussions and tea breaks, with kadappa stone fins providing privacy and regulating light and ventilation. The studio emphasizes modularity in both its spaces and furniture, allowing for flexible configurations. The rooms are designed with fluidity, capable of functioning independently or as interconnected zones. The entrance features a five-piece, cement-finish lounger, where each modular cube can serve as either a seat or a table. These plywood units are light, movable, and can be arranged in numerous permutations, forming a sculptural and monolithic appearance when linked. Adjacent to the entrance is the main working area, characterized by teak-toned workstations arranged informally to promote circulation, light, and ventilation. A dark, smoky blue wall and old teak windows contribute to an offbeat, quirky atmosphere. This area seamlessly extends into Patil's personal cabin, separated by a fixed glass partition. Patil repurposed a window niche to create library shelves, and his desk is a simple wooden cantilevered structure supported by a truss on the blue wall. The conference room serves as a dedicated space for brainstorming and client meetings. A whimsical painted glass door separates it from the pantry, doubling as a marker board. The room's centerpiece is a table with a white duco top and a stacked frame of thick circular rods, adding a structural edge. The pantry, located behind the conference room, connects back to the courtyard and also functions as a lunchroom and model-making area, highlighting the studio's multifunctional design approach. #ArchitectsStudio #BelgaumArchitecture #BungalowTransformation #HeritageRenovation #ModernOfficeDesign #ModularFurniture #SustainableDesign #InteriorDesign #ArchitecturalRenovation

The Pitcombe’s Old School House Renovation, a project by Bindloss Dawes, involves the transformation of a Grade-II listed property located in a picturesque Somerset valley, United Kingdom. The renovation focuses on blending the building's historical character with contemporary architectural elements. The project is a collaboration with Joa Studholme, a color curator for Farrow & Ball, and her husband, Andrew Studholme, reflecting Bindloss Dawes' expertise in rigorous detailing and material compositions that balance urban and rural aesthetics. Built in 2023, the renovated house has an area of 120 square meters. Key contributors to the project include Francesca Iovene for photography, Momentum for structural engineering, and Gregory Renovations for contracting. Manufacturers involved in the project include Andrew Cooke, English Woodland Timber, Farrow and Ball, and Oakwrights Joinery. The design team from Bindloss Dawes included George Dawes and Fawn Ma. The architectural approach highlights the preservation of the existing structure while introducing modern extensions. A notable feature of the renovation is the new timber extension, which complements the original building without overshadowing its historical significance. This extension is a testament to the architects' ability to integrate new design seamlessly into an older context, creating a harmonious living space that respects its heritage. The interior design, also managed by Bindloss Dawes, reflects a careful consideration of color and texture, influenced by Joa Studholme's expertise. The project aims to create a comfortable and functional home that meets the modern needs of its occupants while maintaining a strong connection to its past. The use of high-quality materials and craftsmanship is evident throughout the property, ensuring durability and aesthetic appeal. The project showcases a balance between old and new, demonstrating how historic buildings can be adapted for contemporary living through thoughtful renovation. The successful integration of the timber extension and the meticulous attention to detail in both the interior and exterior elements contribute to the overall success of the Pitcombe’s Old School House Renovation, positioning it as a significant example of architectural preservation and modern design. #ResidentialArchitecture #HouseRenovation #HistoricPreservation #ContemporaryDesign #TimberExtension #GradeIIListedBuilding #UnitedKingdomArchitecture #BindlossDawes

Objekt Architecten, a Belgian studio, has renovated Lamat House, a traditional home located in rural Wichelen, transforming its interior while preserving its classic red-brick exterior. The renovation addressed previous moisture damage that had led to the concealment of the home’s distinctive stepped gable ends. The studio's primary objective was to open up the living spaces to the picturesque surrounding countryside, an amenity previously underutilized due to the house's original configuration. This design philosophy centered on maximizing views within the existing structural and budgetary constraints, ensuring that the changes were primarily internal. The most significant architectural intervention involved the living area at the rear of the house. Objekt Architecten removed the existing ceiling, creating a double-height space that now accommodates a large dining area and a blue-tiled kitchen. The distinct functions of these two areas are not only delineated by contrasting material finishes but also visually separated by a substantial tropical planter, which is also clad in pale blue tiles, echoing the kitchen's aesthetic. This strategic removal of the ceiling also allowed for the installation of a large, double-height window, dramatically enhancing natural light penetration and offering expansive views of the garden and beyond. Above the reconfigured living space, a new mezzanine lounge has been introduced. This mezzanine is supported by slender columns of red steel and rests on an exposed concrete 'disc,' providing a contemporary visual element. From this elevated vantage point, residents can overlook the main living area and enjoy direct views of the garden through the double-height window. The original wooden roof structure of Lamat House was reinforced with steel supports that match the red steelwork used for the mezzanine columns. A red balustrade on the mezzanine and red-colored window frames further integrate this color palette throughout the renovated interior, creating a cohesive and dynamic aesthetic. According to architect Steven de Bolle, the choice of materials was guided by considerations of color, practicality, quality, and budget. The intent was to achieve a "surprising interior" without compromising the usability of the spaces. The design successfully marries modern industrial elements, such as exposed concrete and red steel, with the traditional character of the home, creating a distinctive contrast. The more private sections of the house, including the bedroom, bathroom, and study areas, are located in the more compartmentalized front section, maintaining a functional separation from the open-plan living spaces. Objekt Architecten, founded in Aalst in 2014 by Niels Van der Straeten, Dries Van Nieuwenbergh, and Mahir Yavas, has contributed to a growing trend of architectural renovations in Belgium that balance historical preservation with contemporary living requirements. This project is part of a broader context of Belgian architectural firms undertaking similar sensitive updates, such as Madam Architectuur’s renovation of a 1990s bungalow with large windows and red-painted timber cladding, Studio Okami’s low-lying dwelling with patterned brick walls, and Mamout’s minimalist extension to a Brussels townhouse. The photography for the project was provided by Ypsilon Business Photography. #BelgianHouses #ResidentialArchitecture #HouseRenovation #InteriorDesign #Concrete #Steel #Mezzanine #Wichelen

Child Studio, a London-based firm, drew inspiration from modernist European villas to redesign a three-storey townhouse in Belgravia, London. The project, undertaken for an art collector, focused on creating a sophisticated yet understated living space tailored to the homeowners' specific needs and preferences, eschewing transient design trends. The renovation primarily involved the top two floors of the 280-square-metre Georgian building, where a light-filled double-height space was created and clad in a plaster finish. A key architectural intervention was the addition of a mezzanine floor, which seamlessly connects the living room to an outdoor roof terrace via a cast-iron spiral staircase. In the living area, five-meter-tall mahogany wooden shelves were installed, covering an entire wall. These shelves, designed to house the owner's extensive book collection, were inspired by the library in the Paris studio of the late fashion designer Karl Lagerfeld. The dark wood of the shelves provides an elegant contrast to the pale plaster walls, contributing to the home's refined aesthetic. Wood is a dominant material throughout the interior, emphasizing a natural and tactile feel. The bedroom features an undulating wooden headboard, creating a sculptural focal point. According to Child Studio founders Che Huang and Alexy Kos, the design revolved around a carefully selected palette of natural materials including hand-crafted wood, solid stone, and tactile fabrics, reflecting a pared-back approach intended to highlight the owners' lives rather than overpowering them with design elements. The studio incorporated both classic and custom-designed furniture pieces. The dining room is furnished with Chandigarh chairs, a mid-century classic. The guest bedroom also features a Chandigarh chair, paired with a desk and chair by architect Pierre Jeanneret and a desk lamp by modernist architect Marcel Breuer. Child Studio also designed several bespoke furniture pieces for the project, including a custom daybed and mahogany stool in the main bedroom, influenced by Art Deco designer Jules Leleu, and a low teak table in the living room, inspired by 20th-century Swedish designer Axel Einar Hjort. This collaborative process involved artisans with whom the studio had established long-standing relationships. Beyond wood, stone plays a significant role, particularly in the bathroom. Drawing inspiration from Porto's Villa Serralves, the bathroom features an interior almost entirely sculpted from green Verde Guatemala marble. The built-in elements, including a marble sink and bathtub, were carved from solid stone blocks by a specialized marble workshop in northern Italy. The soft curves of these fixtures blend seamlessly into the walls and floor, creating a luxurious and cohesive space. The townhouse's lounge also references modernist villas, specifically Villa Necchi in Milan, with its mahogany-panelled walls and an antique Iroko-wood coffee table. The designers expressed their admiration for the craftsmanship and attention to detail found in early modernist European villas, applying this ethos to the Belgravia project by working closely with artisans in England and Italy. To ensure a coherent aesthetic, Child Studio also reinstated original Georgian architectural features, such as panelled wooden shutters, herringbone parquet flooring, and semicircular plaster ceiling cornices. The ultimate goal was to create a comfortable, effortless, and evolving home that serves as a subtle yet elegant backdrop for its occupants' lives. #BelgraviaTownhouse #ChildStudio #ModernistVillas #InteriorDesign #LondonArchitecture #ResidentialRenovation #CustomFurniture #NaturalMaterials #ArtCollectorHome

This article details the extensive renovation of a modernist lake house in Miramar, Belgium, undertaken by interior architect Peter Ivens. Originally built decades ago by the grandparents of the current owners, the 5,400-square-foot residence had become a "time capsule" with dated elements like shiny black granite floor tiles and dark brown architectural mirrors. Ivens was tasked with providing a fresh take, opting to strip the house down to its core structure. Externally, Ivens replaced the original blue-aluminum windows with new ones framed in padauk, a rot-resistant tropical hardwood. These were left unfinished to weather into a driftwood grey. New blackened steel stacking glass doors were installed, allowing the house to open up to nature in fair weather. The existing rhythm of transparent glazing and solid brick walls on the exterior was maintained. Inside, the ground floor was transformed into a loft-like, flowing space through extensive demolition. Ivens removed the original plaster drop ceilings, which had been installed to reduce air-conditioning costs, revealing handsome structural concrete beams and the overhead slab. This raised the ceiling height to 10 feet. The electrical wiring for new recessed lighting was creatively run on top of the concrete and embedded invisibly within a new topping slab, addressing the challenge of concealing wires after ceiling removal. The floors were finished with smooth microcement in an earthy greenish-grey, providing continuity throughout the space. The formerly closed-off kitchen was opened up and now features a freestanding circular pedestal island, a design choice inspired by 1970s Italian aesthetics. Walls were stripped of their old plaster and resurfaced with a new "cement grey" stucco. The original wood staircase leading to the five upstairs bedrooms was replaced with a sculptural concrete structure. For the interiors, Ivens collaborated with his long-time associate, interiors stylist Bea Mombaers, who curated new furnishings and a selection of twentieth-century vintage accessories. Upstairs, the floors in the bedrooms were raised to accommodate the wiring for recessed fixtures that illuminate the ground floor. This comprehensive renovation successfully modernized the 1970s lake house, transforming its dated appearance into a contemporary, light-filled, and nature-connected home while preserving its modernist spirit. #ModernistLakeHouse #BelgianDesign #PeterIvens #ArchitecturalRenovation #InteriorArchitecture #SustainableMaterials #ConcreteDesign #MidCenturyModern #HomeRenovation

In 1788, the Enlightenment society Felix Meritis, Latin for 'Happy Through Merit,' constructed its namesake clubhouse on an Amsterdam canal. The building, designed by Neoclassical architect Jacob Otten Husly, served as a hub for members to study various disciplines like music, natural sciences, drawing, commerce, and literature, embodying the rational principles of Enlightenment thought through its Corinthian-style facade and geometrically shaped rooms. A century later, after the society's dissolution, the building underwent several transformations, serving as a printing factory, the Dutch Communist party headquarters, and a 1960s cabaret, yet it remarkably maintained its architectural integrity despite wear and tear. In 2014, Amerborgh, an investment firm with a focus on the arts, acquired the landmarked Felix Meritis. The company aimed to repurpose it as a cultural center, leveraging its renovated spaces as event venues to support various programs. Tasked with revitalizing the 50,000-square-foot interior, i29, led by co-founder and partner Jeroen Dellensen, sought to bring the historic building 'into the now.' Their approach involved respecting the original architecture while infusing contemporary design elements to appeal to a younger demographic. This restoration project necessitated a careful balance between preserving historical aspects and introducing innovative designs. Working alongside MATH Architecten, which managed structural renovations, i29 co-founders Jeroen Dellensen and Jaspar Jansen focused on cultivating the individual character of each space. They found inspiration in the building's original use by the Felicians, who organized it by departments, allowing each room to retain its distinct function and story. The building's layout, divided by a five-story wooden staircase, comprises 11 staggered levels. A key requirement from the city was the meticulous restoration of two historically significant areas: the oval Concertzaal, renowned as one of Europe's premier small classical-music halls, and the Zuilenzaal, a colonnaded reception room. In the Concertzaal, where Beethoven's Ninth Symphony premiered in the Netherlands, a chromatic analysis revealed the original wall color between the pilasters was a brown-tinted beige, which was reinstated to restore the room's serene ambiance. To accommodate modern musical performances, i29 incorporated discreet, pivoting wall panels that optimize acoustics and conceal electronic equipment. MATH seamlessly integrated new mechanical systems within the existing structure, rendering them invisible in the auditorium. For the majestic Zuilenzaal, i29 opted for a more minimalist approach, stripping back boiserie and stabilizing cracked wood columns, leaving the room largely in its found state. This 'un-Photoshopped' authenticity required carefully dismantling and reassembling fragile woodwork to integrate modern ventilation and sound systems, making the Zuilenzaal a highly sought-after venue. i29 introduced significant visual diversity in the remaining rooms, utilizing color and texture as primary design tools. They incorporated crisply geometric, often mirrored, built-in cabinetry and furniture to create a striking contrast with the classical surroundings, thereby giving these spaces a unique identity and importance comparable to the historic rooms. The main entry is flanked by a reception area and Felix, a 100-seat restaurant. In the reception, custom tufted-shag wall coverings reproduce an 18th-century etching of a Felician meeting, offering a historical greeting to modern visitors. The restaurant's walls are adorned with woven textiles depicting Amsterdam's skies, immersing diners in a Dutch landscape. The Shaffyzaal, a domed, oval room above the Concertzaal, was once a physics lab and later a popular nightspot. Named after performer Ramses Shaffy, its acoustical perforated-steel panels feature an ombré effect, fading from deep to pale blue, evoking its psychedelic past. Jansen emphasizes that this contrast between contemporary and historical elements invigorates both. In the attic Koepelzaal, exposed timber roof beams lend a modern angularity. Dellensen highlights the firm's narrative approach, embedding stories within the design to add depth to the interiors. In the Teekenzaal, formerly the drawing studio, translucent fabric rectangles suspended from the ceiling diffuse light and symbolize the paper used by the Felicians, bringing the spirit of the Enlightenment to life. #InteriorDesign #ArchitecturalRenovation #HistoricalPreservation #AmsterdamLandmark #CulturalCenter #NeoclassicalArchitecture #i29Design #FelixMeritis #RestorationProject

Dax Roll and Joyce Urbanus, the founders of the Amsterdam-based interior design studio Nicemakers, have created a rural retreat named 'Forest Home' in Veluwe, a nature reserve in the Gelderland province of the Netherlands. This mid-century bungalow serves as their personal sanctuary, allowing them to disconnect and reconnect with nature. The property is described as being so remote that locating it can be a challenge, yet the effort is rewarded by its setting among fir trees and heather fields. The inspiration for the Forest Home emerged from the success of Nicemakers, which gained significant recognition after completing 'The Hoxton' project in 2014. The constant demand for their expertise led Roll and Urbanus to seek a space for relaxation and rejuvenation. They discovered a dilapidated property and, in collaboration with architect friends, transformed it within six months, opening up the structure to integrate the surrounding natural landscape into the interior views. Roll emphasizes their unique approach to hospitality design, stemming from his background in restaurant and bar work, where he learned the practical aspects of creating inviting spaces. He highlights the importance of lighting, noting that Nicemakers prioritizes illumination from the outset of a project, rather than as an afterthought. Urbanus echoes this philosophy, stating their goal is to create interiors that feel effortless and timeless. Their measure of success is when clients perceive their designs as having always been there, requiring no changes over time. This approach reflects their commitment to longevity and thoughtful design. The article also showcases three of Nicemakers' notable refurbishment projects, illustrating their versatile design capabilities across different types of establishments. De Plesman in The Hague, completed in 2025, involved transforming the 1939 Art Deco former headquarters of Dutch airline KLM into a modern meeting point. Urbanus explains that their role was to revitalize the existing narrative of the building. The Brecon, a 22-room retreat in the Swiss Alpine village of Adelboden, refurbished in 2024, features a pared-back palette, stone flooring, woolen upholstery, and leather trims. The design aims to complement the natural beauty of the Swiss Alps without detracting from the comfort of a traditional chalet. De L’Europe in Amsterdam, a seventh-century inn refreshed in 2021, involved extensive research into the building's history and the collection of unique pieces from the 1900s to achieve a curated, non-showroom feel that aligns with Dutch neoclassical style. These projects demonstrate Nicemakers' ability to blend historical context with contemporary design, creating spaces that are both functional and aesthetically enduring. #InteriorDesign #MidCenturyModern #RuralRetreat #ArchitecturalDesign #HospitalityDesign #NicemakersStudio #Veluwe #TimelessDesign #DutchDesign

Architects Annelies Rygole and Peter Tompkins designed Woodridge, a five-bedroom residence in Newbury, England, as their family home. The house replaced a 1960s bungalow on a private road, situated within the grounds of an original Arts and Crafts property. The design aims to integrate with the area's heritage while establishing a distinctly modern presence. The most striking feature of Woodridge is its facade and walled garden, which are entirely clad in handmade Michelmarsh bricks laid in a traditional Flemish bond pattern. This pattern incorporates grey-brown headers alongside the reddish-hued stretchers, creating a distinctive texture and appearance. This choice of material and laying technique references the neighboring Arts and Crafts buildings, ensuring the new house harmonizes with its surroundings. The architects noted that brick was chosen for its versatility and its ability to offer a range and depth of tone without overwhelming the building. Recent projects by other architects, such as Duggan Morris's housing blocks in London and Joris Verhoeven's house in Holland, have also utilized handmade bricks to infuse character into their designs. This approach highlights a trend towards materials that offer both traditional aesthetics and contemporary relevance. For Woodridge, the coarse texture of the brickwork and its overall materiality strongly connect to the area's architectural legacy. Simultaneously, the precise application of the brick and the house's simplified volumetric form clearly mark it as a modern intervention. The design process for Woodridge was influenced by both the site's physical constraints and the family's practical needs, particularly the requirement for five bedrooms. The resulting structure features a mix of bright, open interior spaces and more private zones, optimizing it for family living. The interior layout includes five bedrooms, three bathrooms, a sitting room with a wood-burning stove, an open-plan kitchen and dining area, a utility space, a larder, and a home office. Variously sized windows punctuate the brick elevations, visually articulating the different types of rooms within the house. This interplay between solid brick and transparent glass creates an irregular yet rhythmic facade. These windows are strategically placed to maximize natural light, especially given the presence of mature trees around the property. At the rear, large sliding doors on the ground floor open directly onto a garden and an outdoor dining area, blurring the lines between indoor and outdoor living. A walled garden at the front of the house provides a sheltered outdoor space that benefits from the evening sun. This area functions as an additional living space for the family, complete with herbs for the kitchen and a fire pit for cooler evenings. The architects viewed designing their own home as a valuable learning experience, providing insight into the client's perspective and the adaptability required throughout the project. They emphasized the importance of a good client in achieving a successful building, and their aim was to create a home that was inspiring and special, yet unpretentious, allowing them to live authentically within it. #ArtsAndCraftsArchitecture #HandmadeBricks #NewburyEngland #ResidentialArchitecture #FamilyHome #ContemporaryDesign #FlemishBond #ArchitectOwnedHome #ArchitecturalHeritage

The Herfst House Renovation project by tweestroom architecten, completed in 2024 in Belgium, focuses on a design philosophy that prioritizes preservation and minimal intervention. The architects emphasize creating order by making conscious choices from a multitude of possibilities, starting with identifying elements that can be retained before considering major changes. Significant interventions are only implemented when they offer value across multiple aspects of the project. This approach is rooted in principles of balance, simplicity, and efficiency, aiming to intervene only when necessary. This strategy has the dual benefit of reducing the use of new materials and creating financial flexibility, which in turn allows for greater architectural creativity. The project encompasses a total area of 61 square meters. The design and execution were overseen by Katrien Delespaul, with Kristin Smets and Annelies Belemans responsible for the design phase, and Frédéric Gijsen managing the execution. Structural engineering was provided by Jo Deflander. Key manufacturers involved in the renovation include Sto and Koffie en Staal. Baeten-Van Es handled the external joinery, Peter De Hertog managed the insulation, Olivander supplied the kitchen components, and Deweco was responsible for the MORTEX applications. The project is situated in Belgium and is categorized under residential architecture and renovation. The philosophy of conscious design choices is central to tweestroom architecten's work. They aim to avoid unnecessary alterations, thereby honoring the existing structure while enhancing its functionality and aesthetic appeal. This method not only contributes to sustainability by minimizing waste and new resource consumption but also ensures that budgetary resources are directed towards meaningful and impactful architectural solutions. The focus on preserving existing elements aligns with a broader trend in architecture towards adaptive reuse and environmentally responsible design practices. Ultimately, the Herfst House Renovation project exemplifies a thoughtful and restrained approach to architectural renovation. It demonstrates how a design process focused on essential interventions, material efficiency, and financial prudence can lead to a balanced outcome that respects the original structure while incorporating contemporary needs and design sensibilities. The collaboration among various specialists, from structural engineers to material suppliers, highlights the integrated effort required to realize such a project effectively and according to these guiding principles. #ResidentialArchitecture #HouseRenovation #BelgiumArchitecture #SustainableDesign #ArchitecturalPreservation #MinimalIntervention #MaterialEfficiency #ContemporaryRenovation

Daniel Beauchemin, an interior designer who previously assisted Jamie Drake in decorating New York mayor Michael Bloomberg's apartment, and Marc de Laat, a graphic designer and photographer, decided to leave Manhattan's fast-paced life. They exchanged their Chelsea apartment and a house in Bucks County, Pennsylvania, for a small castle in the Netherlands, located near Eindhoven, de Laat’s hometown. The property, built in 1864 as a summer residence for a royal court member, was transformed by Beauchemin and de Laat into a cozy and inviting home. Beauchemin and de Laat met in Manhattan in 2005, and de Laat later moved to New York. Beauchemin, who continued to design interiors selectively after leaving Jamie Drake, focused on creating homes that reflected the owner's story rather than mere movie sets. This philosophy extended to their own residence, which features a harmonious blend of their individual collections. They discovered a shared aesthetic, including similar vintage Wedgwood Queen’s Ware, Haags Lofje silverware patterns (Dutch and British versions), and Persian rugs, indicating a deep compatibility in their tastes. Their search for a European property revealed a mutual appreciation for architectural styles, particularly pure Bauhaus or 19th-century designs. They found the Dutch castle online in the fall of 2007, and, drawn by its proximity to de Laat’s family, made an offer four months later, moving in the following spring. De Laat describes the castle as having “beautiful bones” despite its previous “Disney palace” décor, characterized by crystals, stained-glass windows, and pastel walls. The renovation took approximately 18 months, involving the recovery and painting of the facade and the replacement of much of the ground-level flooring with aged wood parquet. Beauchemin managed the interior color scheme and furniture arrangement, while de Laat meticulously curated objects and art, creating still life-like displays. Examples include a Dutch Louis XVI card table with a colorful glass bowl by a young Czech artist and Beauchemin’s collection of lemon squeezers alongside a vintage Christofle tea service. The grand rooms are made intimate by the extensive art collection, primarily housed in Beauchemin’s custom frames. The couple owns nearly 1,100 artworks, two-thirds of which are on display, ranging from an original Rembrandt print and an abstract Ralph Rucci painting to an iconic Mario Testano photograph of Princess Diana. Beauchemin now serves as the director of Larson-Juhl France, one of the world's largest custom-framing companies, spending several days a week across the border. Despite their active lives, they continue to garden and host friends at their Dutch castle, viewing their home as a reflection of their lives rather than a mere display. #DutchCastle #InteriorDesign #ArtCollection #HomeRenovation #LuxuryLiving #EuropeanHome #DesignPhilosophy #MarcDeLaat #DanielBeauchemin

Bertin Bichet Architectes designed a 30-square-metre extension for a detached house in Nantes, France, with the aim of improving the connection between the interior living space and the garden. The clients desired a living area more attuned to their garden and expressed a fondness for Scandinavian architectural styles. The architects, Marjolaine Bichet and Anne Laure Bertin, conceived a simple structure characterized by wooden walls and large windows, strategically placed to maximize the intake of soft northern light. Named Acajou, after a type of wood that is typically a warm reddish-brown and is similar in hue to the exposed cedar window frames, the project utilizes a timber-frame construction method. The exterior of the extension is clad with cedar boards, chosen for their ability to blend with the garden's natural environment. To create a striking visual distinction against the surrounding greenery, these cedar walls were stained black. This choice results in a facade that is both integrated with and distinct from its natural backdrop, highlighting the pale window frames. The original house exemplifies the traditional "maison nantaise" style, featuring a garage at street level and living areas situated above. The upper floor, beneath a pitched roof, contains the bedrooms. The architects introduced a new passageway that effectively bisects the existing house, establishing a direct link between the new rear extension and the front door, which is accessed via a staircase from the street. This design intervention aimed to create diverse spaces with varying levels throughout the property. The new living areas within the extension benefit from ample natural light and garden views through strategically placed windows on the end wall. These openings are framed to highlight specific elements of the garden, such as a stone wall or a fruit tree. A narrow window positioned above the glazed door leading to the garden creates a full-height opening, offering an uninterrupted sightline from the entrance directly into the garden. The central corridor within the existing part of the house provides access to an existing study, bathroom, master bedroom, and kitchen. This corridor then leads into the new extension, connecting to a new dining room on the same level. From the dining room, a staircase descends into a double-height living area. This lower living space features a large picture window, offering expansive views, and an elevated window that provides a visual connection to the adjacent master bedroom. Further enhancing the bright and airy interior, skylights are incorporated above both the living room and dining space, allowing residents to view the sky. The interior design consistently employs chestnut parquet flooring, extending the natural aesthetic throughout the home. #Nantes #ResidentialExtensions #FrenchHouses #France #BlackenedWood #Extensions #Houses #Architecture #HomeDesign

Leeuw House, designed by Belgian studio NU Architectuuratelier for a young couple, is located on a vacant plot in Sint-Pieters-Leeuw, near Brussels. The design aims to blend traditional architectural forms with modern materials and energy efficiency. The house's exterior features fibre-cement tiles, chosen for their cost-effectiveness and natural, uncoated materiality, which provides a varied colour palette unlike the more uniform appearance of coated tiles. This material choice covers both the facade and the roof, creating a cohesive, latticed surface. The project prioritizes energy efficiency, adhering to Passive House standards, a collaboration with Ghent-based engineering firm Robuust. The construction employs an airtight structure, significantly reducing the need for additional heating or cooling. The architects noted that the underfloor heating system installed in the house has not yet been required, underscoring its impressive thermal performance. This focus on sustainability and low energy consumption is a core aspect of the design. Architectural orientation plays a crucial role in the house's energy strategy and internal environment. The north facade is largely solid to minimize heat loss, while the south and west facades are extensively glazed. This maximizes passive solar gain, allowing ample natural light and warmth to penetrate the interior, simultaneously directing views towards the adjacent fields and away from nearby structures. This thoughtful placement ensures privacy and enhances the connection to the natural surroundings. The house integrates multiple entry and exit points to create a dynamic relationship with its site. These include a street-level ramp leading to the side of the house, direct access to a rear terrace, and external stairs from the first floor to the surrounding landscape. Green doors and shutters are incorporated to introduce a vibrant splash of colour to the otherwise grey exterior, a choice made collaboratively with the clients to enliven the building's aesthetic. Internally, Leeuw House is structured across three storeys, including a basement garage and three bedrooms on the first floor. The main living areas, such as the dining room, kitchen, living room, and study, are arranged on half levels between the ground and first floors. This split-level design creates a continuous, spiral-like internal landscape. The layout avoids separate circulation areas, instead using metal stairs to connect open-plan spaces, fostering a sense of flow and visual connectivity. As one ascends, the spaces transition from more public to more private zones, each offering unique views and qualities. Material choices within the interior further contribute to the house's functionality and aesthetic. Concrete flooring is used throughout, chosen for its thermal mass properties, which allow it to absorb heat during the day and release it gradually as temperatures drop. Birch plywood is utilized for the kitchen and storage cabinetry, providing warmth and texture. The metal floor plate supporting the upper level is left exposed, doubling as the ceiling for the ground floor. This industrial aesthetic was a client request, ensuring that structural elements remain visible and contribute to the overall design character. Photography for the project was provided by Stijn Bollaert, capturing the essence of Leeuw House's unique design and material application. #ResidentialArchitecture #FibreCementTiles #PassiveHouse #SustainableDesign #ModernHome #BelgianArchitecture #NUArchitectuuratelier #EnergyEfficient

Woodstock is a self-sufficient private residence nestled in the Belgian Ardennes, designed by BC Architects. It is an experimental dwelling that emphasizes regenerative architecture and local sourcing of materials, aiming to achieve equilibrium with its natural landscape. The project serves as a practical application of the firm's philosophy, viewing architecture as a continuous learning process towards a regenerative and post-carbon future. The construction of Woodstock involved a collaborative effort between architects, artisans, engineers, clients, family members, architecture students, and local material producers. This integrated approach allowed for design, research, and construction to unfold as a single, interconnected process. The house is constructed entirely from local stone, timber, and earth, reinterpreting traditional vernacular techniques through contemporary experimentation and shared knowledge. A central tenet of the project was the commitment to sourcing all materials, processing them, and applying them within a 19-mile radius of the site. This strategy not only minimized the environmental impact associated with transportation but also actively supported local supply chains, demonstrating that regenerative construction can evolve into a cultural practice rather than an exceptional endeavor. The residence features natural stone volumes, laid with lime mortar and insulated with hemp. These sections house the technical and more private spaces of the dwelling. The foundation rests directly on schist bedrock via compacted gravel layers, completely avoiding the use of concrete. The interiors are finished with rammed earth and clay plasters, which are tinted by the natural red earth of the Ardennes region and composed of local soil and quarry residues. These three-story-high earthen walls contribute to moderating the interior climate while enhancing the tactile and sensory experience within the home. The main living area is housed within a timber-framed structure made from untreated local Douglas fir. This upper floor features extensive glazing, providing panoramic 360-degree views of the surrounding landscape. The structure leans gently against the forested hillside, integrating seamlessly with its environment. The operable façade further exemplifies climate-adaptive architecture, allowing the living spaces to merge with nature. Both the stone and timber structures are topped with roofs clad in thin stone slates, continuing local craft traditions and providing structural integrity against strong winds. Woodstock represents a tangible manifestation of BC Architects' ongoing exploration into architecture's potential as a prototype for systemic transformation. It encapsulates a decade of research by the firm, reflecting an approach that seeks to learn, unlearn, and redefine the act of building as a collective and regenerative practice, ultimately contributing to a more sustainable built environment. #RegenerativeArchitecture #SustainableDesign #LocalSourcing #BelgianArchitecture #TimberFrame #EarthConstruction #EcoFriendlyHome #Ardennes #BCArchitects

Architect Jan Lefevere spearheaded the transformation of a 1962 dental practice in Kortrijk, Belgium, into a bright and welcoming family home. The building had been neglected and used for storage, and new adjacent structures had significantly reduced natural light. To counteract this, a detailed scale model incorporating the surrounding buildings was created to analyze light penetration. This analysis led to the strategic design of large circular openings to maximize natural light within the property. The most significant design intervention involved casting a large circular oculus into the concrete slab above the kitchen and living area. This bold move sacrificed the room directly above to create a spacious void, allowing light to flood deep into the home. This structural and aesthetic modification presented a considerable challenge, as the concrete slab is integral to the existing building's support system. During the renovation, valuable original features were carefully preserved and reintegrated. The existing staircase, lighting fixtures, and cabinet panels were salvaged during demolition and given new roles within the revamped space. The restoration of the stairwell revealed original in-situ cast concrete, which, though not initially intended for visibility, featured an appealing imprint of the wooden formwork. This aesthetic was then replicated in new concrete elements, creating a seamless blend between old and new. Further enhancing the building's historical integrity, Lumax glass blocks, designed by Le Corbusier and Charlotte Perriand, were uncovered and meticulously restored. The rear facade underwent a complete redesign, incorporating a newly inserted concrete slab with circular openings that lead to large sliding windows. This design choice blurs the lines between indoor and outdoor spaces, not only maximizing light but also establishing a direct connection to a newly designed city garden. The garden serves as a verdant urban retreat, and an innovative rainwater collection system funnels water through a steel pipe into a concrete tank, with a planted vine intended to eventually cover the entire rear facade. Color plays a pivotal role in the home's aesthetic, with a distinctive palette of blue and old rose hues used throughout. The blue, visible in the floors, curtains, and front facade windows, pays homage to the building's original facade. The old rose appears in the curtains, structural elements, and rear facade windows. The color selection for the plywood panels was inspired by the existing staircase, contributing to a cohesive and thoughtful design that honors the building's past while creating a contemporary family residence. #AdaptiveReuse #HistoricRenovation #ArchitecturalTransformation #NaturalLight #OculusDesign #BelgianArchitecture #MidCenturyModern #SustainableDesign