‘I have always been fascinated by midcentury homes in California, particularly the houses found in Palm Springs and Los Angeles,’ says Belgian interior architect and furniture designer Bieke Casteleyn. When she went to create her family home in Belgium, she knew she wanted to take cues from California midcentury modernism, yet adapt it to fit the cooler climate and darker months of Belgium.
Step inside this Belgian countryside home
Located in the polders in Belgium, a flat and low-lying countryside area, the residence is a ‘winterised interpretation of California modernism’. Casteleyn drew from elements of the genre in both the architecture and interiors of the home, which is set on a single level, with warm wood and abundant natural light. Tweaks were made to fit the Belgian context, with exteriors in stone sourced by Casteleyn and her husband, chosen in a grey-green to better flow with the landscape. The flat roof is covered in grass, letting the home further blend with the green surroundings. For the interiors, the warm tones meet touches of cooler materials, such as stainless steel, in a nod to the local climate.
Casteleyn launched her first furniture collection in 2015, featuring natural curves, tactile materials, and a sense of playful boldness. Her own home carries these same sensibilities, yet is also driven by her love of midcentury modernism.
She began the project in 2018, working on the initial plans with architect Simone de Burbure, before developing it further with a site coordinator, an external architecture office, and a member of her own team. Casteleyn designed the interiors herself, creating a home that’s open, inviting, and connected to the nature around it.
The main living areas are separated from the private wing of the home by a sweeping 36m corridor, with glass walls for immersion in the surrounding landscape. Curtains were added for privacy, in addition to a wooden claustra (or architectural screen) that runs along the exterior in an elongated oval pattern. This oval shape recurs throughout the home, from the door handles to the kitchen cabinetry, acting as a ‘visual signature’ of the property.
Casteleyn deliberately balanced the home’s open-plan areas and expansive views with a sense of warmth. ‘Houses with extensive glazing and long sightlines can sometimes feel exposed or impersonal,’ she says. ‘By contrast, homes with smaller corners and enclosed spaces tend to feel naturally more inviting. I wanted to find a balance between the two: a home filled with light and long views that would still provide warmth, privacy, and a sense of shelter.’ Rich woods and natural materials, organic curves, and tactile textures are signatures of Casteleyn’s designs, and these feature heavily within the interiors.
‘Instead of having the interior and then choosing which pieces fit, I chose to do the opposite: design the house around the furniture’
Bieke Casteleyn
Over the years of designing the project, Casteleyn and her husband had collected a range of furniture and art, and they used the pieces to define the home. ‘Instead of having the interior and then choosing which pieces fit, I chose to do the opposite: design the house around the furniture,’ she explains. Collectible design pieces are interspersed with antiques from Casteleyn’s family, alongside select designs of her own.
In the living room, for example, a sofa designed by Minotti, chosen in collaboration with RR Interieur, sits alongside a coffee table prototype by Bieke Casteleyn, in high-gloss ivory lacquer and afromosia wood, and vintage Artifort armchairs. In the dining room, an inherited table, whose legs Casteleyn upholstered in burgundy, sits underneath a tiered midcentury chandelier sourced from Morentz Gallery.
Around the home, thoughtful features were added to deepen the indoor-outdoor connection. On one terrace, a circular opening in the roof makes space for a tree to grow through it. Elsewhere, stairs lead to a small deck over a pond, with seating for watching the birds and taking in the bucolic landscape.