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Four perspectives on the daily practice of coffee at home

As much as we enjoy the experience of our favourite cafés, there is a particular intimacy to the coffee we prepare and enjoy at home.

Within the home, coffee becomes part of the rhythm of the day. A dedicated corner, a favourite cup, a preferred method or a simple morning cadence can transform an everyday act into something more meaningful.

For this Spatial Record, we invited four guests to share their relationship with coffee at home: the spaces where it begins and the moments that surround it.

Across different homes, cultures and creative disciplines, each offers a personal interpretation of this familiar part of daily life and the quiet place it holds within it.

$\"Christophe$

Meet our guests

\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n

\n $\"\"$	\n Christophe Kuemmecke \n \nInstagram / @ckuemmecke \n \n \nLocation / Berlin (Germany) \n \n \nOccupation / Co-Founder & Creative Director of @haltungagency \n \n \nCoffee method / Espresso\n \n
$\"Yunji$	\n Yunji Yi\n \nInstagram / @yunji_yi \n \n \nLocation / Namyangju (South Korea) \n \n \nOccupation / Content Creator & Co-Founder of Parcels Studio and No Surprises \n \n \nCoffee Method / Espresso \n\n
\n $\"Wouter$ \n	\n Wouter Kaan \n \nInstagram / @wouterkaan Location / Rotterdam (The Netherlands) \n \n \nOccupation / Graphic Designer & Creator \n \n \nCoffee method / V60 & Varia Flo Drip Coffee \n
$\"Rania$	\n Rania Abboud \n \nInstagram / @raniaauxpaysdesmerveilles \n \n \nLocation / Bois de Boulogne (Lebanon) and London (UK) \n \nOccupation / Lighting Consultant @PSLab \n \n \nCoffee method / V60 Drip Coffee \n

\n01 / How would you describe your coffee corner? What does it consist of, where does it sit within your home and what does it mean to you?\n

Christophe

The coffee corner really emerged through a shared practice with my partner and, more broadly, as part of the renovation of our kitchen.

We renovated the kitchen selectively and designed a USM module specifically for a dedicated coffee corner. There, we created a setup tailored to our preferences, featuring our favourite espresso machine and grinder by Zuriga, a Swiss brand that designs and manufactures its machines in Switzerland.

The setup encompasses everything we need for preparing coffee and has become an integral part of our daily practice.

$\"Christophe$

Yunji

Our coffee corner is naturally nestled at one side of the kitchen, looking directly out towards the backyard.

At the centre sits a soft blue La Marzocco Linea Micra paired with a Pico grinder, accompanied by our favourite ceramic cups, a vase that always holds fresh stems, and the coffee beans we are currently enjoying.

Because we spend a significant amount of our time at home, this dedicated space serves as the anchor for our daily rhythm. It is a grounding spot where our mornings begin, as well as a quiet pause for rest throughout the afternoon.

$\"Yunji$

Wouter

Our coffee corner is an important space in our home. It sits right next to the kitchen and is the first place I go every morning.

It is a Tylko system that fits perfectly, with a TipToe shelf added for a little colour and a place to keep all our beans on display.

$\"Wouter$

Rania

This is my summer coffee corner, although it is really a well-organised drawer.

It holds a Hario drip kettle, a few moka pots with a Bialetti induction plate, a French press, a handmade ceramic V60 dripper with matching plate and ceramic cups, filters, a grinder, and a small collection of beans for everyone, including Arabic coffee.

$\"Rania$

02 / What has influenced its design and arrangement? What is your favourite part and how has the setup evolved over time?

Christophe

The USM module, configured as a coffee station, creates a deliberate contrast to our oak kitchen through its minimalism and understated, almost architectural character.

At the same time, its robust construction, clean lines, proportions and carefully considered combination of drawers and compartments allow it to integrate seamlessly into this particular corner of the kitchen.

We also have a matching USM trolley, which provides additional space for ceramics and other kitchen accessories.

At the centre of the kitchen, by contrast, is an Alvar Aalto setup that serves as the main gathering point and, in many ways, the heart of the space. This is where we have breakfast, enjoy our coffee, read magazines and newspapers, but above all, where many of our conversations take place.

$\"Christophe$

Yunji

Our kitchen was designed around soft ivory and warm yellow tones, with a blue light fixture serving as a subtle accent.

When I first came across the light blue La Marzocco machine, I knew instinctively that it would harmonise seamlessly with the space.

Surrounding the machine with objects and pieces I genuinely love is what made this my favourite corner in the house.

Even with time, it has always held the very same place, offering a quiet and familiar comfort every day.

$\"Yunji$

Wouter

I have always had a dedicated coffee station in my apartments, so most of it has found its place over time.

I used to prefer very clean, minimal and monotone spaces, but over the years I have leaned towards a few bolder accents. The chrome Panthella lamp adds some warmth, especially in the darker months.

The kettle and pour-over gear live on the left, the espresso machine and grinder on the right.

My favourite part right now is the new machine, a Fellow Espresso Series 1. I cannot wait to level up my espresso again and dive into shot profiles and everything that comes with it.

$\"Wouter$

Rania

Every summer I spend a month in Bois de Boulogne, a mountain village in Lebanon, with five close friends and our four dogs.

The closed drawer keeps everything clean, as the doors and windows are always open.

The variety of brewing methods reflects our personal tastes; the selection of beans is shaped by our recent travels.

In the drawer you will find Tanzanian beans, Armenian roasted beans, and a personal favourite: beans from Baarbara Estate in Chikmagalur, India, which I pick up from Blue Tokai when I visit.

$\"Rania$

03 / Take us through your process. How do you usually prepare coffee at home?

Christophe

We usually have a coffee together in the morning before turning to our respective professional lives.

We both work from home, so this moment has naturally become part of our daily rhythm. In the afternoon, we often have another coffee, and the weekends tend to follow a similar practice.

The afternoon coffee, in particular, gives us the opportunity to consciously indulge in our shared passion for print media.

When it comes to espresso beans, we generally source them from our local coffee dealer in Berlin. My partner is originally from Warsaw and travels to the Polish capital regularly, so from time to time he brings back different varieties of espresso beans for us to try.

We enjoy exploring them together and allowing ourselves to be inspired by new nuances and flavours.

I generally take my time when preparing coffee. I put on some of my favourite music and enjoy the entire process: the sound of the grinder, the subtle workings of the espresso machine, and above all, the wonderful aroma of freshly ground coffee.

The slowform Arita coffee cups are also an integral part of this practice. They are the perfect size for a cappuccino and fit beautifully into our collection of coffee cups, which we have gradually assembled from different places around the world.

$\"Christophe$

Yunji

The process of preparing coffee is where we truly discover and refine our personal taste.

We love exploring whole beans from various roasters, taking in the aroma first with quiet anticipation and experiencing how subtle shifts in the brew bring out different notes.

On slow mornings, we take our time preparing a clean filter coffee to pair with fresh bread.

In the afternoons, when we crave a sweet pause, we use our espresso setup to craft anything from a concentrated shot to a textured latte, tailored to whatever dessert we are enjoying.

$\"Yunji$

Wouter

In the morning I start by weighing the beans, usually something Colombian, as I have never had a bad one.

I like to keep a few bags open at once so we never run out, and it keeps things a bit more fun.

Usually it is from a local coffee roaster, as we have some really proper ones here in the Netherlands: A Matter Of Concrete, Ripsnorter and Friedhats are our favourites.

18 grams in, 300 grams out, in about three minutes.

The Hoffmann recipe works just as well on the FLO as it does on the V60, and with the FLO you can shift the flow dynamics, grind coarser and still get a proper extraction.

That is the part I really enjoy experimenting with.

$\"Wouter$

\n
\n

Rania

I am usually on coffee duty.

Five of us drink coffee, so when we all wake up together, I turn into a part-time barista, luckily not every day.

Our second morning cup is usually served with a traditional Lebanese breakfast and freshly laid eggs; later in the day, it is Arabic sweets.

$\"Rania$

04 / Where does the joy of making and drinking coffee lie for you, and how does it shape the hours around it?

Christophe

Making coffee has become a way of briefly pausing and knowing that I have this moment entirely to myself, or to share with my partner.

These moments are often shaped by conversation, but they can also be about simply turning our attention to other things: reading, looking out the window, or just being present for a while.

There is a certain sense of idleness to it, in the best possible way.

It is a small practice of doing nothing in particular, of simply pausing before letting the caffeine kick in and getting on with the day, whether in the morning or in the afternoon.

At the same time, it gives me a sense of routine and rhythm.

There is something comforting about tending to this small, everyday practice slowly and deliberately, and making a little space for it in the course of an ordinary day.

$\"Christophe$

Yunji

For us, coffee is far more than a routine drink.

It is a culture and a continuous source of everyday inspiration.

Exploring different coffees feels like encountering diverse cultures, and it naturally becomes a medium for connecting with others.

We love welcoming guests into our home and sharing a carefully brewed cup, introducing our taste through that simple gesture.

It also connects us to roasters, where buying beans often turns into inspiring conversations about coffee and craft.

At the same time, coffee is remarkably sensitive. On days when we are rushed or tired, that subtle shift is directly reflected in the cup.

In that sense, making coffee is both an energising practice and a quiet mirror of our physical rhythm, grounding us and setting the right tone for the hours ahead.

$\"Yunji$

Wouter

It is quite essential to me.

It is the time my girlfriend and I get to spend together before we head off into our own days.

When I work from home, I use it to experiment a little with different methods or beans, and at the weekend we usually walk to our local bakery for something sweet to go with it.

There are not many days we skip our morning coffee.

$\"Wouter$

Rania

Making drip coffee is a form of mindful movement and meditation, especially when preparing several cups.

It is a way of slowing down: stop, resume. A good coffee takes time to make.

I take the time needed, and my friends have grown used to waiting for their first cup. Drinking our coffee together, surrounded by our dogs, is one of my favourite summer practices.

$\"Rannia$

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Founded by Katerina Dionysopoulou and Billy Mavropoulos, Bureau de Change is shaped by a shared curiosity for material, process and the unexpected. Rather than working towards a fixed visual language, their approach begins with what is already there: the history of a building, the particularities of a site, the behaviour of a material or the knowledge embedded in a process of making.

For Architectural Reveries, Katerina and Billy reflect on friendship, the influence of Athens and London, homes shaped by family, memory and an architecture experienced through touch, sequence and time.

$\"Ben$

01/ How does your day typically begin? Is there a ritual or moment that sets the tone for the day ahead?

Our day usually begins before the working day officially starts. We are close friends as well as business partners, and we make a point of meeting at the office a little earlier, before everyone arrives and the pace of the studio takes over.

It has become a small ritual for us — we have coffee, catch up on life, talk about our families, what is happening outside work, and inevitably what is on our minds about the studio and our projects. The conversation moves very naturally between the personal and the professional, which perhaps reflects the way we have always worked together.

That time has become incredibly precious to us. Once the day begins, there are meetings, decisions, conversations and all the usual demands of running a studio. Having that quiet moment together beforehand gives us space to connect as friends, not only as partners, and somehow sets the tone for everything that follows.

02/ How do you best enjoy your time at home?

We both love to entertain, so our homes are very social spaces. We enjoy cooking, having friends around and the sense of the house becoming animated when it is full of people. At the same time, home is also where we retreat to our close family units and find moments of quiet. We have tried to create environments that can accommodate both — spaces that feel generous and open when shared with others, but intimate and calm when it is just us.

Our homes are quite personal and, in a way, continually evolving. We are surrounded by objects we have collected over time — some old, some new, some designed, but many simply things we have found on our travels. What connects them is rarely their material or monetary value, but the memories they carry: a place, a person, a particular moment in our lives. Ultimately, those associations are what give an object its greatest value to us.

We think of our homes as being curated, but not in a precious or static sense. They are curated around the way we want to live — around family, food, conversation, rest and the pleasure of sharing a space with friends and guests.

\n $\"Gilbert$ \n

03/ Athens and London both form part of your personal and professional histories. What has each city given you?

Athens has given us an instinctive relationship with materiality, history and informality. It is a city where different periods sit visibly on top of one another and where buildings are constantly being adapted and appropriated. There is a looseness to the way the city is inhabited that has definitely stayed with us.

London gave us something quite different: an extraordinary concentration of ideas, cultures and disciplines, but also rigour. It was where our professional lives really developed and where we learned to operate at very different scales and levels of complexity.

Our work probably sits somewhere between those two conditions — the precision and discipline we learned in London combined with something more instinctive and sometimes unexpected that comes from Athens.

04/ You met at Foster + Partners and began talking early on about one day working together. What did you recognise in each other at that stage?

We recognised quite quickly that although we approached problems differently, we were interested in many of the same things.

There was a shared curiosity and an ambition to question the obvious solution. We were both interested in architecture beyond style — in how an idea could run through everything from the organisation of a building to the smallest detail.

At the same time, our differences were useful. We challenged each other, and that became part of the attraction of working together. Bureau de Change eventually grew out of that dialogue. It still works in much the same way today: an idea is tested from different positions until we arrive somewhere neither of us would necessarily have reached alone.

\n $\"Gilbert$ \n

05/ You have said that although your projects look different, your design methodology remains consistent. What stays constant from one project to the next?

We always begin by trying to understand what is already there.

That might mean the history of an existing building, the particularities of a site, a material, a manufacturing process or even a social condition. We are not very interested in arriving with a predetermined visual language and applying it to different situations.

Instead, we look for something specific that can become the generator of the project. Once we find it, we explore it quite obsessively — through research, drawings, models, materials and prototypes — and allow it to operate at different scales.

The outcome can therefore look completely different from one project to another, but the process is remarkably consistent: observe, identify, test, transform.

06/ Material research begins very early in your process. What are you looking for in a material?

We are interested in what a material can do rather than simply what it looks like.

Every material comes with its own behaviour, limitations, history and methods of production. Often the most interesting moment is when you begin working with those characteristics rather than trying to suppress them.

We also like materials that register time. Stone wears, timber changes colour, metals oxidise and develop a patina. Those transformations give buildings and objects another life beyond the moment when the architect finishes them.

Material research for us is therefore both technical and sensory. We want to understand how something is made, but also what happens when you touch it, when light moves across it and when it has been used for ten or twenty years.

$\"Gilbert$

07/ You describe the element of surprise as central to your design process. How do you approach it?

Surprise for us is not about spectacle. It is much more interesting when it comes from discovering something that initially feels familiar and then behaves in an unexpected way.

It might be a conventional material used differently, a shift in scale, a hidden space or a detail that only reveals itself when you get close to it.

We often work through repetition and systems, establishing a certain logic and then finding moments where that logic can be disrupted. The surprise becomes more powerful because there is something recognisable around it.

We like architecture that doesn’t reveal everything immediately. There should always be another layer to discover.

\n

\n

08/ You have spoken about the journey from first seeing a building, to holding the door handle, to moving inside. How does this journey inform the way you design?

We think about architecture as a sequence rather than an image.

There is the moment you first encounter a building from across the street, then the moment you approach it, touch it, open a door and finally occupy it. Each of those distances gives you different information.

From far away you might understand proportion and silhouette. As you move closer, material and texture become apparent. At the scale of the hand, suddenly weight, temperature and tactility matter.

We enjoy designing across those scales and creating relationships between them. A detail shouldn’t feel detached from the larger architectural idea. Ideally, the experience of holding the door handle somehow contains the same thinking as the building itself.

$\"Gilbert$

09/ Beyond architecture itself, what are the people, places or experiences that continue to inspire you?

We find inspiration in disciplines where there is a very direct relationship between making and material — art, furniture, fashion, industrial design and traditional craft.

Travel is important too, but often it is the incidental things rather than the monuments that stay with us: a particular threshold, an old shopfront, the way stone has worn on a staircase, a chair in a taverna, the colour of a wall after years in the sun.

We are also fascinated by processes of making. Visiting workshops and speaking to craftspeople or manufacturers can completely change the direction of a project. There is something very powerful about knowledge that has accumulated through making the same thing repeatedly and refining it over generations.

And then there is everyday life. Watching how people actually inhabit buildings is endlessly instructive. People inevitably adapt architecture, and those adaptations are often more interesting than what was originally intended.

10/ Looking ahead, what questions are you still trying to explore through architecture, objects and the way we live?

Increasingly, we are interested in how we can make less, but make what we do more meaningful.

Architecture has traditionally been associated with adding something new, but some of the most interesting questions now are about what already exists: what can be retained, transformed, repaired or given another life.

That applies at the scale of buildings, but also to objects. We are interested in longevity not simply as durability, but as attachment — why we choose to keep certain things, why some spaces become more valuable to us with time and how design can allow for that relationship to develop.

Ultimately, we are still exploring how architecture can be precise without becoming rigid, how materials can carry memory, and how spaces and objects can continue to reveal themselves through use rather than being fully understood at first glance.

","bureau-de-change","gid://shopify/Article/1005843120512",{"_39":65,"_48":-5,"_49":66,"_51":67,"_53":68},"2026-08-13T07:30:03Z","Bureau De Change",{"_13":14},"gid://shopify/ArticleImage/402656690560","https://cdn.shopify.com/s/files/1/0992/2655/0656/articles/BdeC_Portrait-2_1_6761a4aa-9118-4409-8979-52f59797e60d.jpg?v=1787526612",5760,3840,"Architectural Reveries 03",{"_55":82},"

Light makes space legible.

Surfaces appear. Lines emerge. Texture is revealed.

Without light, volume is unresolved. With light, form becomes space.

$\"slowform\"$

An immaterial material

Light acts as a primary material, determining how all other elements are perceived. Timber reads differently at dawn than at noon. Plaster shifts between density and softness. Stone feels heavy in one moment, weightless in the next.

At the Pantheon, the oculus stands as the sole source of direct natural light, its moving beam marking time across the interior. At Tadao Ando’s Church of the Light, a cruciform opening allows morning light to enter as a defined figure, activating the concrete volume. At the Kimbell Art Museum, reflector systems soften daylight beneath the vaults, creating even, calm galleries.

Light works through contact, proportion and time. It animates what is present, much the way time matures wine.

$\"slowform\"$

The language of light

Louis Kahn described ancient Greek architecture through the intrinsic relationship between light and its absence:

\n
“When I think of ancient Greek architecture I think of light and shadow, but I don’t think of them as opposites. I think of them as belonging together. The column and the space between the columns are part of the same thing.” — Louis Kahn
\n

A room without shadow lacks variation; everything appears at once. Shadow gives measure. It allows perspective and pause.

As light moves through a space, it carries fragments of the outside inward: the silhouette of a tree, the sharp angle of a wall, fleeting movement beyond glass. These impressions shift and disappear.

Morning light arrives low and directional, revealing texture. Midday light flattens contrast. Evening light lengthens, warming surfaces and softening edges.

\n\n\n\n\n\n\n\n

$\"slowform\"$

Achromatic light and colour

Surfaces either compete with or receive light. Matte finishes absorb it. Smooth finishes reflect it. Dense materials hold shadow more strongly, while pale mineral surfaces shift with changing conditions.

White light appears neutral but contains all visible wavelengths. This becomes evident through refraction, reflection and atmosphere: a prism at a window, colour caught in glass, a wall shifting from cool grey to warmer tones over the hours.

Neutral surfaces do not resolve a single mood. They respond to light: sharpening, warming or receding as conditions change.

Effective whites are rarely stark. They carry enough depth to register subtle shifts. Under overcast skies they may appear grey; by evening they move toward warmer tones. Through this interplay, the passage of time becomes visible on every surface. The room keeps time through light.

\n\n\n\n\n\n\n

\n $\"slowform\"$
\n

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Four perspectives on the daily practice of coffee at home

Meet our guests

\nInstagram /@ckuemmecke\n

\nLocation / Berlin (Germany)\n

\nOccupation / Co-Founder & Creative Director of @haltungagency\n

\nCoffee method / Espresso\n

\nInstagram /@yunji_yi\n

\nLocation /Namyangju (South Korea)\n

\nOccupation /Content Creator & Co-Founder of Parcels Studio and No Surprises\n

\nCoffee Method /Espresso

\nInstagram / @wouterkaanLocation /Rotterdam (The Netherlands)\n

\nOccupation /Graphic Designer & Creator\n

\nCoffee method / V60 & Varia Flo Drip Coffee

\nInstagram /@raniaauxpaysdesmerveilles\n

\nLocation /Bois de Boulogne (Lebanon) and London (UK)

\nOccupation /Lighting Consultant @PSLab\n

\nCoffee method / V60 Drip Coffee

\n\n

An immaterial material

The language of light

Achromatic light and colour

\nInstagram /
@ckuemmecke
\n

\nLocation /
Berlin (Germany)
\n

\nOccupation /
Co-Founder & Creative Director of @haltungagency
\n

\nCoffee method /
Espresso\n

\nInstagram /
@yunji_yi
\n

\nLocation /
Namyangju (South Korea)
\n

\nOccupation /
Content Creator & Co-Founder of Parcels Studio and No Surprises
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\nCoffee Method /
Espresso

\nInstagram /
@wouterkaan

Location /
Rotterdam (The Netherlands)
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\nOccupation /
Graphic Designer & Creator
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\nCoffee method /
V60 & Varia Flo Drip Coffee

\nInstagram /
@raniaauxpaysdesmerveilles
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\nLocation /
Bois de Boulogne (Lebanon) and London (UK)

\nOccupation /
Lighting Consultant @PSLab
\n

\nCoffee method /
V60 Drip Coffee

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