Artist Alexander Gregorowitsch clad his own home in Drenthe entirely with Platowood Fraké, and during construction, he encountered Folly Art Norg. Read on to discover how our wood made its way from private residence to public art.
Barn-Style Home Clad in Platowood Fraké
After years working as a concept developer in the western part of the Netherlands — where he gave old office buildings new life — Alexander set out to build his own home in Drenthe.
“Away from all the stone and noise, to a place with more soil — literally.” The result: a wooden barn-style house clad in Platowood Fraké, located on the grounds of an old farm where nature has free reign.
(Photo: Artist Alexander Gregorowitsch at his barn home with Platowood Fraké)
With the care and craftsmanship of a furniture maker, he personally applied the Platowood Fraké cladding. “It’s a fantastic and sustainable material to work with. Not too heavy, not too light. It weathers into a beautiful, even grey and has a wonderful scent. ”The natural wood blends perfectly with the surrounding wildflowers. “We live right next to a cycling route, and so many people stop to admire the wood. I always enjoy telling them about it.”
Absurd Buildings as an Art Form
While building his home, Alexander discovered Folly Art Norg — an initiative that merges architecture, design, and land art.
Visitors follow a walking route through the Drenthe landscape and encounter follies — whimsical, rule-defying structures that seem functionless at first, but offer deeper meaning. These unconventional buildings challenge our desire for logic and purpose, inviting reflection in a world that often demands constant usefulness.
(Photo: Construction Huis vol Herrie)
Huis vol Herrie
Among these unique installations stands Huis vol Herrie (“House Full of Noise”) by Alexander Gregorowitsch — naturally clad in Platowood Fraké.
To Alexander, the world is full of dualities: beautiful, but also unjust. That dualism takes shape in Huis vol Herrie. One side features the refined, organic look of Platowood Fraké, while the other contrasts with rusted metal and charred wood. A crank attached to the side of the building invites interaction. Turning it sets a flywheel in motion, triggering a rhythmic cascade of clattering old objects. “It’s the action humanity needs,” says Alexander.