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House L

2004, Kortrijk (BE)

It was the objective to respect the Neo-Tudor style in its individual character. A passage in glass and a garden wall reconciles itself with the North side of the English country house. Architecture is at stand of man and art. The house gets a new approach, a new perception and the game of reflection and perspective contributes to the propitiation of old and new. In the entrance hall the glass construction ensures transparency in the house, but it is even a threshold to the private part.

The glass passage reaches new possibilities and this architecture offers them an answer on the question to privacy, art and time. The glass is not only a transparent separation, but it is constructively applied as a support of the roof. The minimum cross-section of the glass and the details result in a light architecture that is in contrast to the monolithic English style. This glass passage accompanies us to the pavilion and with a twist we are leaving the house. We reach a place, stipulated by four bluestone pillars and enclosed by glass. This space behaves itself as a peninsula within the design. On this spot interior and exterior amalgamate.

In the cottage excisions are made by slicing and cutting out. Architecture is stripped of architecture. These vacua intensify what is built and are significative. Architecture which exists in what it omits.

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Photos by Kristien Daem and Åke E:son Lindman

2004, Kortrijk (BE)

It was the objective to respect the Neo-Tudor style in its individual character. A passage in glass and a garden wall reconciles itself with the North side of the English country house. Architecture is at stand of man and art. The house gets a new approach, a new perception and the game of reflection and perspective contributes to the propitiation of old and new. In the entrance hall the glass construction ensures transparency in the house, but it is even a threshold to the private part.

The glass passage reaches new possibilities and this architecture offers them an answer on the question to privacy, art and time. The glass is not only a transparent separation, but it is constructively applied as a support of the roof. The minimum cross-section of the glass and the details result in a light architecture that is in contrast to the monolithic English style. This glass passage accompanies us to the pavilion and with a twist we are leaving the house. We reach a place, stipulated by four bluestone pillars and enclosed by glass. This space behaves itself as a peninsula within the design. On this spot interior and exterior amalgamate.

In the cottage excisions are made by slicing and cutting out. Architecture is stripped of architecture. These vacua intensify what is built and are significative. Architecture which exists in what it omits.

/ / /
Photos by Kristien Daem and Åke E:son Lindman
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