Light lands first on the black-framed glazing, then on the white plastered walls around it. Behind that contrast sits a showroom in renovated home, created from an old dwelling and stable and arranged to receive visitors without losing the sense of the original buildings. The rooms are large enough for collections to be shown clearly, yet the material changes keep each part readable. Wood, glass, plaster, and slim profiles take turns in the view, so the conversion is felt in the movement from one volume to the next.

A stable converted to showroom, with the old structure still visible

The stable converted to showroom does not disappear into the new work. It remains part of the composition, linked to the house by a playful cube that reads almost like a hinge between two different eras of building. In that connector, straight aluminium frames take over for the greater part of the surface. Their geometry sharpens the join, while the older dwelling keeps its calmer rhythm of openings. The result is not a single uninterrupted shell, but a sequence of volumes that can be read from the outside and inside alike.

From the first exterior view, the contrast is clear: a white country house with wooden window frames and shutters on one side, and a more glass-heavy extension on the other. The black profiles of the new glazed volume draw a harder line, while the timber frames soften the older parts. That shift in material is not decorative here; it marks how the rooms are connected and how the showroom takes shape around daylight, circulation, and display space. It also gives the project its clear visual split.

Retro window profiles that change the room

Retro window profiles carry much of the atmosphere in the project. Their finer lines are described in the source text as giving warmth and a sense of gezelligheid, and that effect is visible in the way the wooden frames sit against light walls and pale floors. Rather than flattening the interior, the profiles keep the openings distinct. They frame views, interrupt long wall surfaces, and make the daylight in showroom spaces feel measured instead of scattered. The result is calm, but never blank.

Some openings are detailed with wood windows with muntins, which add a smaller grid within the larger rhythm of the façade and interior glazing. That detail appears especially clear in the photographs of the wooden frames, where the divided panes sharpen the reading of the window itself. Elsewhere, the aluminium windows and terrace door create a different register: thinner, straighter, and more direct. Used together, the two approaches prevent the conversion from becoming visually flat. Each opening has its own pace.

Glass, wood and plaster in one clear sequence

The material palette stays compact. White plaster, timber frames, and glass carry most of the story, with the occasional black line from the framing pulling the eye across the opening. Inside, the plastered walls are interrupted by built-in niches and storage, while exposed wooden beams bring another layer of texture overhead. That mix keeps the showroom from reading like a neutral box. The surfaces are plain enough to let the collections sit comfortably, but specific enough to hold the architecture together.

There is also a clear difference between the older volume and the modern extension with lots of glass. In the extension, large panes open the room to the outside, and the black framing makes the edges precise. Outside, a gravel path and low planting sit close to the glazed surface, so the transition from building to ground remains visible. The extension feels like a deliberate addition rather than a hidden annex; it is meant to be seen alongside the house, not behind it.

Daylight in showroom spaces and the role of large openings

Daylight in showroom areas becomes part of the layout itself. Large windows pull light deep into the rooms, where it lands on the pale floor and catches the edges of furniture and wall recesses. In one interior view, a broad wooden opening reads almost like a threshold between volumes, with the light moving across the frame before reaching the room beyond. The space is open, but the openings keep it oriented. Visitors would move through a sequence of framed views rather than a single undivided hall.

The photographs also show how the project handles contrast at the terrace edge. Black window frames and large glazing sit beside the lighter plaster walls, and the dark lines help define the opening without making it heavy. In the exterior images, the glazing reflects the planting and sky just enough to register the boundary of the new work. Nothing is overemphasized. Instead, the extension relies on proportion, repetition, and the way light lands on each surface at different times of day.

What the photographs reveal at close range

At close range, the project becomes a study in joins and edges. The wooden windows show their grain; the shutters sit flat beside the façade; the black framed openings cut through the white wall with little ornament. One interior image brings in white plaster, a recessed niche, and a visible timber beam, all in the same frame. Another shows the terrace transition, where the glazed wall meets gravel and planting. These small details matter because they explain how the conversion was composed, not just how it looks from a distance.

The showroom in renovated home also depends on those quieter moments. A stable converted to showroom could have been handled as a single display volume, but here the architecture keeps the old and new parts legible. Straight aluminium frames in the connector, retro window profiles in the older house, and larger glazed surfaces in the extension each have a separate role. The building reads as a working sequence of rooms, thresholds, and light-filled surfaces, all made to receive collections without losing the texture of the original structures.

Photography: Annick Vernimmen