MAISON & ARCHITECTURE

In this fascinating interview, we delve into the creative world of Claerhout – Van Biervliet, an architectural firm at the intersection of technological innovation and art. With their creative studio Metamorphic Art Studio, Barbara Van Biervliet and their son Adriaan Claerhout are pushing the boundaries of traditional architecture by developing revolutionary concepts such as the Periscope House.

Interview with Claerhout

Between reflection on sustainability and exploration of the artifacts of the future, they share their unique vision of an architecture in constant transformation, where light, space, and adaptation are the key words. Discover in this exchange their inspirations, the technical challenges they face, and their quest to redefine the habitat of tomorrow.

What is the relationship between your architectural firm Claerhout – Van Biervliet and Metamorphic Art Studio?

Our architectural firm, Claerhout – Van Biervliet, is dedicated to the design and realization of architectural projects that meet the specific needs and unique contexts of our clients. We are approached by clients looking for a custom-made building that aligns with their program and their particular environment. Whether it’s a house, an apartment, a refuge, or an office, we strive to create spaces with an organic and fluid functionality, where light and space occupy a central place. Our primary motivation is to shape environments that inspire interaction, happiness, and well-being.

Metamorphic Art Studio is composed of Barbara Van Biervliet, my wife and also an architect, our son Adriaan Claerhout, a visual artist, and myself. This creative studio within the architectural firm focuses on the development of innovative concepts, such as the Periscope project.

It is our long-held conviction that the artifacts of the future will have the ability to physically metamorphose, allowing them to transform and adapt.

Since our introduction of the concept of ‘Metamorphic Architecture’ in 2008, in collaboration with Adriano Berengo, and through our exhibition of the film ‘Kinetower‘ and the first metamorphic prototypes in Verona, Italy, we have pursued solutions and innovations guided by archetypes. These innovations are not only designed but are also integrated into contextual architectural designs.

Through the development of numerous transformable prototypes, including luminaires, buildings, and works of art, we have identified an archetypal relationship between open forms and the presence of light and air. This relationship is reflected in our transformable artifacts, such as the work ‘Cuts‘ and the lamp ‘New York‘, which have been part of the permanent collection of the Centre Pompidou in Paris since 2016. These creations, capable of adapting their form to the needs of the moment, are understood intuitively and universally. They allow buildings to come to life, opening to welcome light and air when needed, then closing, like living organisms.

Can you explain the basic concept of the Periscope House and what inspired you for this project?

Periscope is a static square house with a round interior garden in its center, entirely built underground on two levels. Around the house, two mobile mirror claddings have been installed. The upper structure of the mirrors can rise to the height of one floor above ground level and then disappear completely into it. The lower mirror structure is normally at level -2 but can also rise to level -1. Both mirrors are inclined at an angle of 45°, creating a periscope effect. Depending on the position of the mirrors relative to each other and the different levels, the surrounding landscape is reflected inwards. This allows for a view of the surrounding landscape from levels -2 or -1.

We live in Damme and work in Knokke, Belgium. The typical Flemish landscape where Brel walked in the 60s to draw inspiration and compose ‘Le plat pays qui est le mien’ (My Flat Country).

During numerous walks during the lockdown through the magnificent landscape of Damme, our son Adriaan inspired us with the question of designing a radical concept for living in such an environment.

The primordial idea of retreating and protecting oneself in a hole in the ground is a typically pandemic thought that stimulated our imagination. The increasing scarcity of building land often leads to the creation of enormous basements that must house essential living and working functions but generally suffer from the dreary architecture of basements, with a lack of light and views.

We are deeply fascinated by the challenge of discreetly concealing a building in a precious natural environment while reactivating a Roman or Palladian architectural scheme to make it four-dimensional and adaptable. Finally, we are captivated by the intriguing challenge of combining the age-old system of the periscope to bring light and views to underground spaces with a gravity battery.

We have attempted to bring all these elements together in a synergistic way. The short film illustrates how an underground building can come to life.

What are the main technical challenges you encountered when designing this underground house?

The challenge of the building lies in the manufacture of the mobile mirror structures. The lower mirrors move up and down using a vertical wall lifting system. The upper mirrors are more complex because, in this project, they consist of only two parts for the entire building. Each part is, in other words, L-shaped and approximately 40 by 40 meters long. These mirror boxes are filled with topsoil and plantings on top.

The challenge is twofold:

1. How to move the mirror structures synchronously and smoothly for each lifting point;

2. How to maximize the energy of descent. It was decided to use ball screws in order to minimize friction (or lost friction energy) and maximize the remaining energy so that it can be recovered.

In addition to these elements, consideration is also being given to making the movement of the mirrors slow and almost silent.

How does the mobile mirror system work in practice, and what advantages does it offer compared to traditional windows?

Linear drive systems, composed of actuators and cylinders, are used to raise or lower the mirrors.

The glazing of the facade is always present, as in an ordinary building. The mirror structure functions as a kind of multifocal glasses. The upper mirror offers a view of the surrounding landscape and also reveals the angle of the building where the access road is located. The lower mirrors determine the level from which the view is captured. If the lower mirror is placed all the way down early in the morning, the rooms on level -2 benefit from a view of the landscape. If this mirror is positioned one floor higher, the view moves to level -1. In this situation, the rooms on level -2 get a view of the water features and gardens below.

Can you tell us about the sustainable aspects of this project, particularly in terms of energy efficiency?

It goes without saying that a building entirely buried in the ground is particularly well protected against the various weather elements. The base temperature is already much higher than when building on the surface, making it an extremely interesting geothermal element.

The building is equipped with numerous solar panels. The problem that arises is obviously the storage of this energy captured from the sun. Large, efficient, and durable chemical batteries do not yet exist today. Gravity batteries, on the other hand, are much less polluting because they are primarily mechanical and not chemical. A dynamo transforms the downward movement of the mirrors into usable electricity. An additional advantage is that the speed of descent of the mirrors can be chosen. If at any given moment more energy is required, the mirrors can descend more quickly.

How did you address the issue of ventilation and air quality in a primarily underground space?

Four specific interventions were made in the architecture to optimize the functioning of the ventilation:

1. The central patio is an age-old Roman principle used, among other things, to ventilate the house.

2. The mirror structure is located at a circulation distance from the outer glazed facade. In this area, the two staircases are integrated. In addition, some zenithal light already penetrates, creating an air circulation zone.

3. There are four deep light and ventilation shafts, arranged symmetrically along the two orthogonal axes of the building. These shafts have been transformed three times into hidden gardens and once into an extension of the swimming pool. These areas are only revealed when the lower mirrors are raised.

4. Large round openings are provided in the lower mirrors. When these mirrors are at level -1 and do not allow a view of the landscape from the rooms at level -2, these openings nevertheless bring light and air to the lower level. What is interesting about these openings is that they also allow sculptures to be placed on pedestals in the water features, on which the mirror can slide like a glass dome.

What materials did you choose for the construction, and why?

The building is constructed of reinforced concrete, glass, corten steel, perforated plaster on acoustic insulation, and wood for all interior joinery. We absolutely wanted to avoid creating an ice palace. The mirrors should function as space amplifiers and not as space disruptors. A clear and defined construction structure as well as a simple material palette contribute to this goal.

How could this concept be adapted to other types of buildings, such as offices or public spaces?

A periscope is bidirectional. From the basement, the view of the landscape is projected inwards. But what is underground can also be displayed above ground. Art or car collections can be stored underground and displayed above ground when desired. Important archaeological discoveries or geographical sections can also be displayed above ground.

The periscope concept is also applicable to museums, head offices, underground commercial spaces along main access roads, etc. The mirrors can also be tiltable, allowing the field of vision to be varied. We are currently designing a ritual building where the mirrors transition from the terrestrial to the celestial.

The mirrors can also become screens and broadcast digital content. In other words, an architecture on the border between the virtual and physical world, or, in Platonic terms, the Periscope as a cave explores the difference between reality and shadow.

What were the initial reactions of the client and regulatory authorities to this unusual concept?

The Periscope was developed at the initiative of Metamorphic Art Studio as a work of art, an innovative concept, and not at the request of a specific client. However, the intention is to realize the project as is or through one of its variations with a visionary client. This is also why the project has already been developed to such an advanced stage. The true strength and enchantment will only take shape at the time of its realization.

For those who do not bother to read the project in all its spatiality and metamorphosis, this concept may sometimes seem too complex, far-fetched, and futuristic. Others, on the other hand, are enthusiastic and understand that the Periscope primarily offers many new possibilities.

The concept also arouses the curiosity of urban planners. Planners are intrigued by the possibilities of opening up underground areas. More valuable natural areas can also be developed more easily in this way.

Urban architects also want to know more. Once the concept is understood, it becomes clear that urban legislation does not have the necessary tools to develop a clear and precise vision of permits for this concept. During the negotiations conducted so far with the urban planning services, a study had to demonstrate that the mirrors would not cause glare for vehicles traveling at high speed.

The Periscope House sinks into the earth to better see the sky. Isn’t that a metaphor for our existential quest for balance between rooting and aspiration?

Physical reality is increasingly being cannibalized by virtual reality. The latter is increasingly trying to compete with the ‘static’ physical world. The aspiration of Metamorphic Art Studio is to provide a counterweight by focusing on the virtualization of physical reality. Hence our fascination with making this physical reality four-dimensional or metamorphic through art, design, and architecture. This opens up a new, truly ‘dynamic’ world. An architecture designed and functioning like a living organism where all parts will have to interact in an extremely parsimonious and efficient manner. The tools are already available: parametric architecture to design an architecture of skin and bones and, by implementing mechatronics, metamorphic architecture to make this architecture intelligent.

It is in the terrain of the similarities between the apparent oppositions that it becomes truly exciting.

Your mobile mirrors seem to dance between two worlds. In designing this project, did you feel like you were creating an architectural choreography rather than a simple structure?

Exactly. In the world of metamorphic artifacts, the designer becomes a film director. One no longer thinks only in static images but in scenarios. That is why our Periscope manifesto became a film. The artist creator or the architect becomes a director.

If the Periscope House were a book, what would its title be? And if it were a melody, what instrument would play it?

A title: Alice’s wardrobe.

As a child, I participated in the creation of the Papageno sculpture made by my father Jef, which is located in front of the municipal theater of Bruges. Since then, The Magic Flute has remained one of my favorite operas. “Dies Bildnis ist bezaubernd schön” is an unforgettably beautiful aria that perfectly matches the Periscope: “the image” of reality that evokes feelings of passionate love.