continued

"The only way to keep the old and give way for the new is by doing something completely different," maintains van Veen. "We introduced the architectural tension of its original period, not too literally by reproducing the modernist style, but by using the theme of the architecture of light and air." This approach fit seamlessly with the clients' desire for a Japanese pavilion in their own backyard.

Point/Counterpoint

Philosophical bases addressed, the focus of the project turned to the physical. As van Veen explains, "we want to make architecture that relates and communicates with its surroundings, surroundings being both living and other artifacts."

Accessed from a bridge crossing the adjacent dike and edged by vegetation aplenty, the original house sits flat at bridge level while the site drops four meters (14 feet) along the embankment. Expanding the width of the existing floorplate into the landscape, the new living area segues into a studio nook with 270-degree views stepping down the side slope toward the verdure.

Given that one of van Veen's main influences was Arie Graafland, a professor of architectural theory in Delft who relates architecture to cinematographic sequences, it is no wonder that the spatial flow seems choreographed based on vistas and glimpses of vistas. "Walking from the old to the new part of the house gives a strong sensation of leaving the nest and walking into the view," describes van Veen.

A half-meter (1.6-foot) separation between new and existing, connected only by what GPA refers to as "glass bridges," was conceived to create this sensation, which is then reinforced by a vertical expanse of thermal-coated glass thinly framed by the structure of tropical iroko hardwood beyond. The glazing was meant to be carried up to roof level and back to the existing house, but budget constraints unfortunately lessened the intensity of the glass-bridge experience by eliminating this roofing gesture and muddling the clarity of the parti.

At least in the horizontal plane, however, the delicate separation between interior temple and exterior balcony succeeds in simultaneously drawing one into the view and drawing the view into the house. Flooring materials vary from stone interior (partially to accommodate a radiant heating system) to wood exterior, but the view still dominates as a connector, while the double-sided fireplace reinforces the idea that interior and exterior are merely two sides of the same coin.

The height of the wood-frame addition mimics the fenestration of the original house, creating a tenuous interaction between the new and existing structures. The natural finish of all materials involved also adds to the effect. From the property's front, the 44-square-meter (470-square-foot) addition appears merely as a diminutive exterior pavilion. From the back, the house gains an entirely new facade that stands apart from its more typical brick neighbors, seemingly surrounded by nothing but greenery.

Juggling various materials and architectural philosophies, GPA's proclaimed focus on the client may seem surprising, but not when explained from a phenomenological viewpoint by van Veen: "The most satisfying aspect of a project is the moment that clients start to see the potential of what they can do. Not only solve a functional problem of space, but be able through the design to enhance and enrich their lives. Being happy to sit in a special place; sit here and look outside; to stop at this or that spot to see a glimpse of ..."

Indeed, seen from this perspective, the connection from new to old is an experiential one that has almost nothing to do with Dutch minimal modernism. When one is in the space, the academic correlations that form the basis of the project's logic end up taking a back seat to the fact that there is plenty of room for the St. Bernards to play, and sunsets are now visible from deep within the house.

"Every single day we are happy with the outcome of the whole project," gushes Paula Punt. "It really affects our daily life and fulfills all our needs and wishes."

Van Veen notes that "Geen Punt," the Dutch firm name, "actually means 'No Problem,' in the way that we will work with whatever you want and go in the direction needed to realize a project that, when constructed, is to the contentedness of all parties involved."

The Punts couldn't agree more. Developing both the choreography and the philosophical basis to get there, GPA took them where they wanted to go — no problem!   >>>

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Leigh Christy is an architect and writer living in Los Angeles.

SUBSCRIPTION SAMPLE Minimalist detailing blurs the line between indoor and outdoor spaces in the Punt House addition. Photo: VizueleZaken / Geen Punt Architecten BNA Extra Large Image The Punt House addition combines a light wood frame and extensive glazing to create a new living space with views of the rear garden. Photo: VizueleZaken / Geen Punt Architecten BNA Extra Large Image Punt House ground-floor plan drawing. Image: Geen Punt Architecten BNA Extra Large Image Punt House east elevation drawing. Image: Geen Punt Architecten BNA Extra Large Image Punt House section drawing, looking south. Image: Geen Punt Architecten BNA Extra Large Image Punt House section drawing, looking east. Image: Geen Punt Architecten BNA Extra Large Image The free-standing addition to the Punt House connects to the original through two glazed walkways that bridge the half-meter (1.6-foot) gap. Photo: VizueleZaken / Geen Punt Architecten BNA Extra Large Image The glass addition to the Punt House extends beyond the original home and helps to enclose the end of the brick-paved driveway. Photo: VizueleZaken / Geen Punt Architecten BNA   Click on thumbnail images to view full-size pictures.