Consideration of the highly residential character of the neighbourhood and the beautiful protected trees on the site were key influences in how the client’s brief was met. The architectural concept was developed around these parameters, with traditional modernist references to Mies van der Rohe’s Krefeld Villa, or the brick residences in the same neighbourhood of local Antwerpen architect Nachman Kaplansky. The use of materials – red brick, dark-grey window frames, large glass surfaces and zinc eaves – makes reference to the cottage-villa typology; however, the consistent and rigorous application of these materials produces a new entity and atmosphere within the neighbourhood. This is a timeless design with a subdued manner that opposes the recently built neo-kitsch villas to be found nearby. The concept for the house is driven by the format of the brick, in its purest form, and its application across several stacked and offset geometries, which aims to draw the garden into the interior, giving the project a sculptural quality. The brick volumes define the functional relations of the individual spaces in the house and create a direct connection to the garden and the open, or closed, character of each zone. Above all it is a ‘garden house’ in the middle of a verdant residential plot. The position of the trees on the southwest side of the property defined the central siting of the main volume, and suited the open and interconnected lifestyle of the client and their desire for a spacious open living area with a direct connection to the surrounding greenery. The building envelope sits within the construction lines of the neighbouring buildings on either side. It maintains the shortest possible distance from the protected trees on the site in order to maintain a direct relationship with them. However, it is placed as far back as possible from the central swimming pond, which is flanked by a low brick volume. The front garden is southwest facing, while the rear garden faces north.
考虑到该地区的高居住特性和现场美丽的受保护树木，对客户的简报如何满足至关重要。建筑的概念是围绕这些参数开发的，传统的现代主义参考在当地AntwerenArchitectnachmanKaplansky所在地区的MesvanderRoe的Kreveld别墅或砖住宅。材料的使用-红砖、深灰色窗框、大玻璃表面和锌屋檐----参考小屋-别墅类型；然而，这些材料的一致和严格的应用在附近产生了一个新的实体和气氛。这是一个永恒的设计，与最近建造的Neo-Kitsch别墅在附近找到的方式相反。房子的概念是以砖的形式，以它的形式来驱动的，它的应用跨越几个堆叠和偏移的几何形状，其目的是将花园拉入内部，从而使项目具有雕塑的质量。砖体积定义了房屋中各个空间的功能关系，并创建到花园的直接连接以及每个区域的打开或关闭的特征。最重要的是，在一个青翠的住宅区的中间，它是一个“花园房子”。酒店西南侧的树木的位置确定了主卷的中心选址，适合于客户的开放和互联生活方式，以及他们对宽敞的开放生活区域的渴望，与周围的绿化有着直接的联系。建筑围护结构位于相邻建筑物两侧的施工线路内。它与站点上的受保护树之间保持最短的可能距离，以便与它们保持直接关系。然而，它尽可能远离中央游泳池，其侧翼为低砖体积。前花园面向西南，后花园朝北。

The detail of the interior is in keeping with the architectural concept. The brick finish extends inside and is complemented by afrormosia and white-painted walls with black detailing. A counter of afrormosia and terrazzo forms the heart of the kitchen, and a large blackened-steel fireplace stands as a strong cubic volume in the central living space, while custom-made black oak tables provide a rich contrast within the space. Concrete and terrazzo have been used for bathroom finishes and workspaces. The concrete floors extend beyond glazing lines and exterior brick geometries, and integrate fully into the surrounding landscape, which was designed by Martin Wirtz. The loose furniture accords with the volumetric analyses but is secondary to the architecture and fixed furniture. Its informal character emphasizes the overall consistent design language.
内部的细节与建筑理念是一致的。砖的完成延伸到内部，并辅之以紫红色和白色的墙壁与黑色细节。厨房的中心是一个由非洲和水磨石组成的柜台，中央生活空间中有一个巨大的黑钢壁炉，而定制的黑橡木桌则提供了丰富的空间对比。水泥和水磨石已被用于浴室的装饰和工作空间。混凝土地板延伸到玻璃线和外部砖块几何，并充分融入周围的景观，这是由马丁·沃茨设计的。松散家具符合体积分析，但仅次于建筑和固定家具。它的非正式性强调整体一致的设计语言。

Photography:

Helene Binet

François Halard
弗朗索瓦·哈拉德

Koen Van Damme
科恩·范达梅

Publications:PLAN Magazine, April 2017
计划杂志，2017年4月