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Five concrete window frames – original to this converted church – provide depth in the open-plan interior, adding a contemporary, somewhat Brutalist element. The arched windows were closed up in the 1960s. -
The entrance to the residence opens into a passage, separated from the rest of the home by a leather curtain designed by Studio Erik Gutter. -
Moving further in, the sculpture on the floor of the office is by Dutch artist Sarah van Sonsbeeck. -
An adjustable Swing pendant light by Nicola Nerboni for Fambuena creates an unexpected play of light. -
A collection wall of vintage finds includes ceramic plates and a black-and-white photograph by Julie Cockburn. -
A metal frame divides the interior space into sections. Above, you’ll find the master bedroom and walk-in closet; below, enough intimacy to display various artworks, including a painting by Sam Samiee. -
The green “box” in which the children’s bedrooms and bathroom are located seems to push itself through the floor into the kitchen. -
The living room is a “hallelujah” moment of international furniture design and artworks, with a vintage green Florence Knoll sofa, leather Sesann sofa by Gianfranco Frattini for Cassina, and vintage red velvet chair by Warren Platner for Knoll. A Tronchi chandelier by Novaresi illuminates the space and the two small artworks by Kees Visser. Solid oak wood flooring flows through into the dining area, where a Crisistafel table by Piet Hein Eek and conference chairs from Knoll speak to hours spent over meals with friends and family. -
Deep concrete frames around the windows in the living area – a part of the 1960s renovation that has been retained – provide vantage points from which to observe the surrounding forest. -
In the office, the bronze sculpture on the floor, the miniature on the vintage wooden desk and the desk itself are a work by Sarah van Sonsbeeck. -
The kitchen, designed by Piet Hein Eek, makes use of refurbished vintage cupboards and doors. The glass vent hood and glass ceiling cleverly disguise all electrical and ventilation piping. -
The Ultrafragola mirror/lamp by Ettore Sottsass Jr for Poltronova provides another burst of colour. -
The media room features the comfy Jan’s New Sofa by Paola Navone for Linteloo. -
The children’s bedrooms flank a shared bathroom. -
The walk-in closet of the master bedroom consists of vintage lockers. -
View along the bedroom level from the master bedroom. -
In the master bathroom, the cabinets with refurbished doors are the work of Piet Hein Eek, as is the Handfolded pendant light. -
The main bathroom features VOLA taps and custom tilework by D-Tile. -
In one of the children’s rooms, the desk is by Studio Erik Gutter and the Beetle barstool is by GUBI. -
The children’s bathroom is also outfitted with VOLA fixtures. -
In the master bedroom, the headboard is upholstered in a soothing shade from Kvadrat’s Sahco collection. The brass bedside lamp is by Studio Erik Gutter.
WORDS & PRODUCTION Marc Heldens PHOTOS Verne Photography
A church in the coastal Kennemerland region of Holland has been reimagined, redesigned and reborn as a breathtakingly creative family home that was both a homage to the past and functionally future-forward.
Set among Noord-Kennermerland’s dunes, wide beaches, quiet forests and colourful fields, this church has seen renovations several times in its hundred-year history. Unfortunately, the various adaptations and rebuilds masked much of the original architecture of this national monument – so its new owners looked for a team to reimagine the space. They wanted an original family home that both respected the building’s history and looked ahead to its new future.
Netherlands-based interior designers Studio Erik Gutter pulled together a specialised team of architects under the guidance of creative director Erik Gutter, whose first order of business was to do some historical research. “We wanted to map out all the architectural interventions and renovations before we started designing,” he says.
The church underwent significant changes in both the 1960s and the 1990s and, while the ’60s renovation had some worthy qualities – particularly in the specialised concrete frameworks – the ’90s layer added little value, and was demolished to allow the character of the church to become visible again in one large, open, high space. “We advised our clients to keep five big concrete window frames,” says Erik. “Because of the space, they provide a rhythm and a depth, adding a contemporary, somewhat Brutalist element to the interior.”
In 1969, the interior had been adjusted so the east facade could be used as an entrance, with the balcony above it. Today, this is the master bedroom and bathroom. A high vertical window created on the ground floor near the “altar” allows the morning sun to shine serenely through. Outside, closed masonry openings were reopened to provide a view of the enclosed garden and the forest behind it.
The team created a new entrance in the shape of a small portal – a nod to the original entrance from the early 20th century – and added an independent sturdy steel frame that supports the upper floor, dividing the living volume into upper/lower and left/right sections. On this steel frame’s solid wooden base is a freestanding green-painted wooden “box” that appears to sink through the floor – this houses the children’s bedrooms and a bathroom, as well as a media room. The left half of the space, rising to the saddle roof, is the living area, while the right side houses the kitchen, dining area and home office on the ground floor.
Erik’s clients were open to an innovative approach to the interior, especially when it came to colour and materials. “It was definitely all a bit ‘out of the box’ but I think the team really surprised the clients with what you see now,” he says. “For us, an interior always starts with visualising an atmosphere. We often think in colour, images and feelings, and only then decide which sofa, table or armchair to use. We like to look for the strength and originality of a room, and enhance this with our interior solutions, art and accessories.”
For the furniture, the team opted for traditional designs, using pieces by both international brands and local makers such as Florence Knoll, Warren Platner, Job Smeets, Patricia Urquiola, Piet Hein Eek and Gianfranco Frattini. “We are especially proud of the bright yellow wall of glazed tiles,” says Erik. “It really anchors the new interior, making reference to all the bright colours, sturdy materials and designer furniture used throughout.” The wall is also an effective counterpoint to the owners’ photographic art collection, and the painting in the master bedroom by Dutch artist Levi van Veluw.
The end result is an impressive interpretation of the clients’ brief that has turned a church interior into an extension of personal freedom and creativity – and a space that still invites reverence.
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