yinjispace

INTERIOR
Æ Studio
PHOTOGRAPHY
SPACESENSE | KennLeung
WORDS
Menglin
EDITOR
Gina
Collection

Early July, the outskirts of Antwerp lush with green. We joined Æ Studio co-founder Arno Broeckhoven and architect Florianne Alderweireldt to visit the home they renovated for their client, Koen.

Koen is a seasoned collector who also runs Marso Rare Objects, specialising in the sourcing and selection of vintage furniture. His home displays an extensive collection of artworks and vintage furniture. Yet, the house itself originally lacked character; built in the 1960s and modified by successive owners, its architectural integrity had been eroded, leaving behind little more than a stark, monochromatic shell. The renovation began by replacing the original slate roof with thatch and painting the exterior walls black. The warm, tactile quality of the thatch and the quiet composure of the black finish imbued the structure with a sense of artisanal warmth, creating a unified character that harmonizes with the surrounding greenery.

Upon entering, the space does not rush to reveal itself. Arno’s design draws inspiration from the monasteries of Belgian architect Dom Hans van der Laan—aiming to capture that unique atmosphere which balances monumental gravitas with domestic intimacy and serenity. He reconfigured the originally enclosed floor plan—which lacked a connection between the interior and exterior—to establish new visual links between spaces, creating a framework for both the display of the collection and the flow of daily life.

In the living area, a vintage coffee table by Ado Chale sits alongside a Japanese papier-mâché stool, their soft warmth and cool restraint forming a quiet material dialogue. On the hallway wall, Cubosfera glass sconces by Alessandro Mendini cast a soft light, while walnut shelving opens up views between spaces. On the wall outside the shelving hangs a ceramic wall sculpture by artist Karen Verlinden—a substantial block of reddish-brown; its raw, rugged texture catches the light to reveal soft, rich gradations of shadow and highlight. It forms a quiet material dialogue with the micro-cement wall and walnut shelves.

The choice of materials is equally restrained. Floors and walls are finished with micro-cement containing crushed stone aggregate, yielding a matte surface with a natural, layered texture. Florianne notes that they embrace the material's tendency to develop fine cracks, viewing such imperfections as a form of natural beauty. This ground quietly defers to the art.

At the heart of the open kitchen, a custom natural stone island rests with a clean, substantial cubic form—its expansive countertop supported by a base of equal heft, the stone interwoven with ochre, tan, and warm grey tones, rich yet harmonious. Overhead, the ceiling is clad in oak, with a Stilnovo Monumental pendant light casting a soft, warm glow across the space. A dining nook beside the fireplace is anchored by a Spectrum Middle table and chairs by Martin Vissers. Constructed from natural stone, the fireplace is sculpted seamlessly into the wall—serving as both a source of warmth and a silent work of art.

The original garage has been transformed into a study and wine-tasting room; the deep green walls create a sense of intimacy and enclosure that sets the space apart from the rest of the home. A 1970s Formanova corner desk by Gianni Moscatelli sits at the center, paired with an Eames Executive Chair. In the corner, Gaetano Pesce's Alda table lamp casts a soft red glow beside the Maniera rosewood and rope lounge chair designed by Bijoy Jain of Studio Mumbai. A wine cooler is discreetly housed within the cabinetry—art, design, and the aroma of wine coexisting in harmony.

Ascending the staircase, one is guided by a thick white wall serving as a handrail; its top is polished into a smooth, gentle curve—a subtle prelude to the intimate, domestic scale of the upper level. The silhouette of the pitched roof encloses the bedrooms, creating a space that feels increasingly private and cosy. Beneath Ettore Sottsass's Lampros 3 pendant light sit the Diagamma chair and ottoman—designed by Ignazio Gardella in the 1960s—where the texture of time seems to settle quietly. Along the hallway wall, Claudio Salocchi's Lumenform Onda wall lamps—featuring moulded glass cubes—create a rhythmic, undulating pattern, casting light and shadow that dance softly across the surface.

Stepping outside, we look back at the house wrapped in thatch and black. It is unassuming, yet it quietly conveys a clear stance: design need not assert itself; it can simply step back and become a backdrop for art, a vessel for life. As Arno puts it, they wanted art to take centre stage, with everything else blending in harmony. Here, each collected piece has its own place, each beam of light its own destination, and the architecture itself—a quiet, tender accompaniment.

MORE PHOTOS