BM House
BM House
6. September 2013
architecten de vylder vinck taillieu have a solid body of work, which ranges from renovations of homes and single family houses to public and institutional buildings. The studio, made up by Jan De Vylder (1968), Inge Vinck (1973) and Jo Taillieu (1971), belongs to the new generation of Belgian architects who, together with OFFICE Kersten Geers David Van Severen (2G63) and 51N4E, have brought about a generational change in Belgian architecture, one of the most interesting national architectures of the current scene.
They became known internationally through different renovations made almost entirely in the Flemish city of Gant: the Verzameld Werk gallery, the Twiggy store, or the houses 43, Rot-Ellen-Ber, BM and Rampelken. Their work wisely combines a respect for what already exists with a lyrical way of understanding architecture as bricolage, as a construction within constructions like a kind of nesting matrushka dolls. In their projects, they create curious plays of transparency, reflection (through the use of reflecting materials), irony (with the use of local materials and techniques), optical illusions, duplications and copies of existing buildings... and all that combines in an extremely personal architecture.
This monograph includes a prologue by Tony Fretton and texts by the Belgian architectural critic Christoph Van Gerreway, the Swiss curator and critic Moritz Küng, and the architects Johanna Meyer-Grohbrügge and Sam Chermayeff. The final section, nexus, includes three essays written by vylder vinck taillieu themselves, in which they reflect on some of the recurring themes and concerns in their architecture.
2G 66 architecten de vylder vinck taillieu available on zinio & iBookstore (only digital).
Exterior view. The house inside the beech wood.
Belgium, and particularly Flanders, has a very curious liberalism in building. Property-own¬ing and building are a national preoccupation, with freedom from regulation as the rationale. Ribbons of construction stretch from village to village and from town to town. Ribbon devel-opment alternates with housing estates in the country areas; it is impossible to convey a gen-eral picture of the housing estates. Then there may be open fields, or a large country estate with a grand house, with lawns and parkland. And, rarely, the occasional forest.
The Flemish countryside is more generally identifiable as open plains of meadowland and streams, alternating with small-scale woodlands. The latter include natural woodland and culti-vated plantations, which are sometimes hardly distinguishable from one another. But between them there is always some more building. Much vilified in Flanders itself, and found strange outside Flanders. It has thoroughly degraded the landscape. There is no spot from where one cannot see a building or hear human activities. This is true, but at the same the question arises as to whether this too cannot be appreciated as landscape. Building as landscape. A question for which no answer is yet in prospect, but which could conceivably give a new slant to the prob¬lem situation (whether real or imaginary).
Axonometric view. Detail.
There is more to be said about the BM House besides its round or circular or annular shape. The drawing of the ring is merely the outcome of other real kinds of fascination.
The house is situated in a wooded landscape allotted to housing development. Understandably, many other houses preceded this one, in most instances by a long chalk. The BM House is one of the last to win a place in this landscape.
Beech trees—beautiful, mature, tall beeches—make the location. They can be relied on for leafy shade in the summer and colour in the autumn.
The interior space is organized with radial concrete walls.
It is a dilemma, this place. It’s a place you’d rather leave as it is, but it’s also a place you’d love to stay in. Looking at the garden. From a settee. From the bed I lie on. The table I eat at. That is the starting point. The beech trees. Al¬ways in view.
A settee, a table, a bed. Actually those are rooms, rooms with windows. A cascade of rooms. One after another. Crossing through the garden of beeches. And I look one way or anoth¬er; everyway, in that garden. I walk around, from one room to another. The house is round.
Interior corridor and patio.
But the house isn’t actually round. Not only be¬cause that wasn’t the idea, but one room after another and then finally forever. The house is po¬lygonal. Each room has its own perspective; call it a frame. The next room changes angle. But a given room has a different angle of view when it looks out onto the surrounding garden from when it looks at the three beeches enclosed by the rooms. The rooms stand between the beeches and the beeches stand between the rooms.
The house is contained between two horizontal slabs and the rooms alternate with an equal number of vertical slabs. Slabs, because they are concrete. Carefully dimensioned. Careful¬ly textured. A texture which makes concrete no stranger amid this place of beech trees. Formwork planks can be stapled together, and alternate with the grain of rough panels. But it is always a natural texture, like bark, that forms the nature of the beeches. Windows alone are the division between garden and room. Large windows; wide views.
BM House
2011
Merelbeke
Architects
Architecten de Vylder Vinck Taillieu
in collaboration with Joris Van Huychem
Structural Engineer
Studieburo mouton bvba
Ghent
Landscaping
Patrick ‘T Hooft
The Flemish Primitives
Landegem, Paul Luttik
Bijzondere Boomwerken
Surface area
304 m²
Photographs
Filip Dujardin
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