Huik 하우스는 적어도 급진적인 디자인임은 명백하다. 좁은 공간에 수직으로 들어선 이 집의 구성 요소는 별도로 명시되어 있진 않지만 분리된 것은 아니다. 1층은 차고로 전체 단지를 가로 지르는 개방공간인데, 지금은 작업공간으로 적합하다. 1층 뒤편에는 테라스가 있는 객실이 2채 있다. 이 집에는 중간이 없으며 자연스럽게 움직이는 중심점이 없다. 어느 장소든 다른 장소와 맞닿는다. 외부와 내부가 대조를 이루고 있지 않다. 각 장소는 모두 내외부의 혼합체이기 때문이다.
The Huik house in Antwerp is at least as radical. De vylder vinck taillieu have built a complex house and B&B on a small, enclosed and irregular plot with an angled building line that reformulates the problem of vertical organisation in a small area into a solution. The constituent elements of the building are separately articulated, but not separated. The ground floor, with the entrance to the B&B and the house, is an open space across the whole complex, initially intended as a garage but now fitted out as a workroom. On the first floor there are two guestrooms with a terrace at the back. A volume has been built above these two storeys on the broad half of the plot, with an attic floor that projects above the brick street façade like a separate little house. Behind this street façade, on the second, narrower part of the building, there is a terrace garden with two trees whose tops extend above the street/garden façade. At the back of the house, a spiral staircase and ordinary staircase connect the various floors: dining room and kitchen on the second, bedroom and bathroom on the third, a children’s room, study and music room on the fourth, and a sitting room and living room with a terrace on the fifth. The stairwell and spiral staircase inside the house and the enclosed terrace garden, combined with the arrangement of the internal spaces, create a maximal, exceptionally complex space in a small area. In-between spaces and corners with no specific function are to be found just as much, if not more, and are as important as the table or the bed. The lines of circulation, the sightlines, a number of constructional elements and the trees simultaneously point in different and intersecting directions. This means the house has no middle, no central point where movement naturally comes to a standstill. Each place touches on other places, here and elsewhere. At no point do inside and outside form a hard contrast, since each place is a mixture of the two.
This text is based on an article by Bart Verschaffel