After the demolition of the later added extensions and unnecessary sheds, only the dug well, the firewood storage next to the entrance, and the long garden shed leaning against the back stone wall remained in the now spacious, walled garden. The building’s exterior was finished with a natural, warm grey lime-sand plaster, with white framing around the windows and doors characteristic of the region. The roof was covered with traditional clay tiles, using classic detailing. The nature-inspired base colours of the facade are complemented by the mignonette green painted wooden elements chosen by the painter-client, blending beautifully into the overall look.

Given the size and layout of the existing house, it was a significant challenge to fit all the intended functions in a way that they wouldn’t interfere with each other, and could even operate in parallel at times. The budget and the existing structure also didn’t allow us to truly step outside the existing framework.

In the cleverly designed floor plan, with minimal changes, the different functions flow smoothly into each other, with no sharp boundaries. The use pulses with the opening and closing of doors. The gallery section, occupying the three rooms of the street-facing section, also serves as the breakfast area, living room, and studio in sequence. A connecting corridor crosses it transversely, leading to the kitchen, which was created from the old veranda and has an open view. From the spacious hallway, the family’s private spaces, located in the back courtyard section, are subtly accessed. An essential feature of the gallery design is that through the six large windows facing the street – after which the gallery is named – there is an unobstructed view into the interior spaces.