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The historic 1929 house in red Kirkness brick. -
A small, contrasting addition to the main building. -
Chairs by Tonic Design. -
A sleek covered colonnade on the back stoep. -
Moonlounger chairs by Gerd Couckhuyt (left) face off against Marlon lounge chairs by Vincent Van Duysen. -
The original tiles were restored and retained. -
Outdoor dining tables were designed and manufactured by Earthworld in collaboration with Eduard Claassen. -
Bespoke lighting by Earthworld and Eduard Claassen. -
The boardroom table was created by Earthworld and Funkt Woodwork. -
Chairs by Muller Van Severen are off set by Nortstudio tables. -
Arcos armchairs by Lievore Altherr for Arper sit on a rug designed by Earthworld Architects and Inside Interiors, and manufactured by Husky Design. -
A boardroom can be seen through a porthole window. -
The front façade. -
A standing lamp by Dokter and Misses illuminates the Arcos sofa by Lievore Altherr for Arper (supplied by PH Designs). -
Smurfs are a Belgian comic franchise. -
The reception area. -
Marmoleum sheet fl ooring with coloured inlays at the consulate visa section. -
The custom ceiling was inspired by the building’s architectural arches. -
The corridor between the old building and the 1980s addition features a bespoke light by Eduard Claassen.
WORDS Graham Wood IMAGES Dook
The revamped Belgian Embassy – housed in a former ambassador’s home – is a masterclass in subtly repurposing heritage buildings.
The recent renovation of the Belgian embassy in Pretoria, by Earthworld Architects and Inside Interiors, is a beautiful fusion of cultures, de ly combining historical and contemporary design while converting a heritage house into a modern office.
Having been used as the residence of the Belgian ambassador for more than half a century (with offices added at the back in the 1980s), the building was redesigned so that the Belgian embassy and the consulate could be housed in the same space.
Earthworld’s director Braam de Villiers says the original house – designed by Vivian Sydney Rees-Poole, who worked in Sir Herbert Baker’s office for a time, and went on to design Church Square and other local landmarks – dates back to 1929, and was steeped in local heritage. So Braam found himself taking an architecturally cautious and respectful approach, with an emphasis as much on preservation as on modernisation. The house was built by John Johnston Kirkness – a local luminary of sorts, who served as mayor of the city for a time – for his son, next to his own home, the landmark Kirkness House.
Quite significantly for the chosen architectural approach, Kirkness owned Groenkloof Brick Works, which produced the distinctive red bricks that were used extensively in and around Pretoria and further afield (including Cape Town’s Groote Schuur Hospital), and were simply referred to as Kirkness bricks. In fact, Baker used Kirkness pavers and planters at South Africa House in London.
As is often the case with heritage buildings, Braam says a large part of his task was first to strip away the accumulated add-ons that typically cluster onto them, and pare things back to their original shape. From there, he could rationalise and repurpose. In consultation with Belgian state architect Nicolas Houyoux, Braam devised a subtle intervention for Erik Pronk of CPM Projects to carry out, retaining historical details and finishes where possible, updating sustainability and tech requirements and, together with Earthworld colleague Laurika Brümmer, reinventing the interior spaces.
The timber window frames were removed, and replaced with double-glazed aluminium windows. These are sleek and minimalist, almost disappearing in the openings. “We chose not to use any mullions so we could accentuate the brickwork,” Braam explains. “Kirkness was a brickmaker, so we paid homage to the red brick.”
The original Oregon pine floors and clay pavers were all restored and kept in place. Where internal walls were removed, Earthworld commissioned handmade clay tiles from Southern Art Ceramics – one-third glazed and two-thirds rough, and precisely sized and inlaid, “so you have a bit of the old story of where the walls were,” says Braam.
The back of the house was opened up to let in natural light – “the building was very dark inside,” he says – and a “horrible courtyard” at the rear was formalised, covered and converted into a charming, light-filled, usable space. Braam points out that apart from these interventions (and carefully hiding the modern technology), the bulk of the renovation had to do with the interior design.
Laurika, too, was meticulous about preserving historical detailing. She discovered fi replaces, brass ironmongery and stained-glass windows, all of which were retained. Offices, meeting areas and conference rooms were separated with frameless glass, making for a sense of openness and light, and leaving lines of sight uninterrupted. She chose plain white for the walls to create a neutral canvas for what she calls an “eclectic mix” of Belgian and
South African design. After she had thoroughly researched contemporary Belgian design, pieces by the likes of Muller Van Severen, Vincent Van Duysen and Nortstudio were imported. These were combined with pieces by local stars such as Dokter and Misses, and Tonic Design. Other items, such as tables and carpets, were custom-designed for the spaces, and feature motifs picking up on the architectural arches that recur throughout the house. The bespoke lights were designed in collaboration with Eduard Claassen. Laurika says she introduced a bit of local flavour in the colours too, using dusty yellow, pink and blue-green to brighten up the interiors. A combination of Belgian and South African artworks continues the cultural dialogue. The final result is a rich, soulful space that is beautifully suited to its new purpose.
Looking for more on local architecture? Take a look at the Inoar Lifestyle Centre in Pretoria.
