The Knight of Kasteel

In the early 1970s, this 16th-century castle in the Netherlands was on the point of dereliction and in desperate need of a man in shining armour to rescue it. And lo in he strode in the unlikely guise of the late furniture and product designer Peter Ghyczy, whose antiques, ancestral portraits and space-age pieces still live in perfect harmony there, along with his wife
Peter Ghyczy home
The living room of the Ghyczy house, with sofas from Peter Ghyczy’s furniture collections, custom-made lamps and shelves, and a treasury cabinet with bulletproof glass made for the house. Above the fireplace there is a 17th-century painting that has been at the house for generations, and a modern interpretation by Peter’s son Dénesh

On an autumn evening in 1971, furniture and product designer Peter Ghyczy sat in the overgrown garden of an abandoned 16th-century castle in the Netherlands. It had belonged to his wife, Barbara Ghyczy’s family for three centuries, but it was run down, with water leaking in and sheep roaming through the garden. The family had tried to sell the castle to the municipality for the equivalent of one euro, but it wasn’t interested. Ghyczy saw its potential: ‘He thought: This is a nice place where I can build my dream. My future,’ his son, Felix Ghyczy, tells me.

Although Barbara hadn’t liked the house — ‘It was really like a ruin’ — she knew as soon as Peter saw it that they would move there. ‘I would have followed him to the North Pole,’ she says. They proceeded to renovate the property, initially with Peter travelling there each week to work on it, and then, once the family moved in, they continued their restorations over the course of 40 years, room by room.

Peter Ghyczy’s family crest hangs over the door in this corridor. Made especially for the house, the shelves are used to display hinges and clamps used in his designs, as well as art collected on trips

In the hall, a chandelier by Peter hangs low over a pair of armchairs handed down from his family. The painting above the door is by his son Dénesh Ghyczy, while the portraits alongside it are ancestral pieces

Peter, who died in 2022, had trained in architecture at the RWTH in Aachen, Germany, and on graduating he worked with Reuter, which had the patent for polyurethane. In 1967, he designed the renowned ‘Garden Egg Chair’, the first piece of polyurethane furniture — an innovation repeated by his son, Felix, in 2022, through the design of the 3D-printed ‘Algae Egg Chair’, with Eric Klarenbeek and Maartje Dros — and by 1970 he had invented a clamping technique that allows for furniture to be made with floating glass plates. Two years later, Peter founded his own company, and in 1974 the family, and the business, moved to the castle in the Netherlands.

‘When my parents moved here, it was a different time,’ Felix says. ‘There was one car in the village, and there was a man with a wagon who would go door-to-door to deliver oil for heating. In the house, there wasn’t really running water, and my parents lived in three rooms while my father rebuilt the house.’ In contrast to the architecture, and their surroundings, the family were modern in their outlook and design choices. ‘We had no pictures on the walls, and no curtains,’ Barbara says. Every weekend the house would fill with people, with friends and their families staying over, animating the space with life and laughter.

The red double doors, which were bought at an antique shop, conceal a painting of a deer and a hatch that leads to a wine cellar. Flanking them are floating glass shelves – a 1972 design and one of Peter's first. Smuggled out of Hungary by a diplomat, the large painting at left is by one of his ancestors, while the oval portraits have been in the house for generations. The ‘Garden Egg Chair’ is a limited-edition model in matte silver

Reflected in the mirror in the green room is another work by Dénesh Ghyczy and an Ikea lampshade. Upholstered in Josef Frank fabric, the chair is a prototype completed by Felix Ghyczy after the death of his father

The yellow room is used as a secondary kitchen, with appliances and large pots and pans in the cupboards lining the wall. Peter designed the coffered concrete ceiling in 1972 to replace the old structure. The painting on the wall is a flea-market find

A Russian brass clock and boxes for Ghyczy vases are displayed on shelves in the blue room

In an upstairs corridor, two 19th-century French paintings hang between bedroom doors

It was ‘a lucky accident’ that the local area was known for metal-casting workshops, a process that would become central to Peter Ghyczy’s practice, thanks in part to his ethos of utilising the skills that were ‘in the neighbourhood’. He had learnt casting while working with Reuter, and he started collaborating with local craftsmen. ‘He would try to understand their capabilities, and try to push the limits a little,’ Felix says. ‘Sand-cast metal furniture wasn’t yet on the market, and when he combined that with how he used floating glass, it was revolutionary. He followed his own rules.’

While Peter was the architect and furniture designer behind the house, the interior decoration has been Barbara’s work. She painted the rooms and corridors in bright, jewel tones of red, yellow, green and blue. ‘I always wanted to make choices that no one else would dare to do,’ she says. ‘With colours, with everything.’ The house has a distinct magic to it, through a combination of its long history and the lightness with which the Ghyczys have layered both legacy and modern design.

A cast-iron Buddha mounted on the wall joins inherited and modern furniture

An ancestral portrait sits with a trio of Ghyczy lamps in the blue room

Seen in close-up, this clamp is typical of those used in Peter’s frameless glass furniture

During the renovation, the Ghyczys were clearing the moat that surrounds the house when they found a few bicycles, World War II grenades and a bone skate. ‘There were many plants and things in the water, and it had been dug out,’ Barbara says. ‘We had no idea what it could be, so we took it to a Natural History Museum, and they showed us sketches from 200 years ago, which showed ice skates made from bones.’ The ice skate now sits among the many objects in the Ghyczys’ possession: cast pieces from Peter’s designs, objects and drawings by children and grandchildren, things found at shops and markets, heirlooms handed down through generations on both sides of the family.

Peter designed and built the glasshouse, where lunch is often eaten at a long table looking over the garden

Peter was from an aristocratic Hungarian family, born in Budapest in 1940. After his father was killed during a Red Army invasion in 1945, his mother sent him to live with his aunts in a house in the east of the country, close to the border with Ukraine. ‘They lived in an estate house, with a lot of land,’ Felix says. ‘It was a happy time in his life.’ Peter was later sent to Belgium as part of a Red Cross programme, before returning to Hungary to attend boarding school, only to have to flee with a smuggler through a forest and over the Austrian border. This upheaval, distance from his family and displacement from his history give added poignancy to his efforts rebuilding the castle and transforming it into a true home. ‘He wanted to make a house that the new generation, and their children, and the children of their children, could always come back to,’ says Felix. ‘That was his goal, what he wanted to establish.’


For more about Peter Ghyczy, visit ghyczy.com

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