His work, developed through the firm Neutelings Riedijk Architects, which he co-founded with Michiel Riedijk in 1987, is characterized by its sculptural and often anthropomorphic qualities, a playful use of form, and a clear and rational approach to programming and context.

A key aspect of Neutelings’ design philosophy is the idea of creating buildings with a strong identity and a distinct presence in the public realm. He achieves this through a concept he refers to as “maximalism,” where every part of a building is designed to have expression and meaning. This approach is evident in the firm’s focus on creating vibrant, socially engaging spaces, particularly in their work on public and cultural buildings such as theatres, museums, libraries, and city halls.

Neutelings’ work often features a clear distinction between the building’s exterior and interior. The building’s “skin” is treated as a separate element that can express the building’s function, its relationship to the community, or a metaphorical concept, rather than simply reflecting the internal organization. This allows for the creation of a unique and localized identity, often through the use of contemporary ornamentation. A notable example of this is the City Hall in Deventer, where 2,300 fingerprints from the city’s residents were incorporated into the façade in collaboration with artist Loes ten Anscher.

Neutelings is not driven by a desire for newness for its own sake, but rather by the ambition to create something better by building upon existing architectural knowledge and typologies. He views constraints, whether self-imposed or inherent to a project, as essential to the design process, believing that they lead to more innovative and high-quality solutions. This is exemplified in the design for the Institute for Sound and Vision, where placing a significant portion of the building underground not only created a public plaza but also provided a natural and energy-efficient solution for the archives’ climate control.

The design process at Neutelings Riedijk Architects is notably “old-fashioned,” with a strong emphasis on hand-drawing and the creation of physical models. Computers are used primarily as production tools rather than design tools, as Neutelings believes in the importance of the physical, hand-to-brain connection in the creative process.

Some of the most acclaimed projects by Neutelings Riedijk Architects include the Naturalis Biodiversity Centre in Leiden (2019), the Museum aan de Stroom (MAS) in Antwerp (2010), and the Netherlands Institute for Sound and Vision in Hilversum (2006). Through these and other projects, Neutelings has established a reputation for creating architecture that is not only visually striking but also deeply connected to its social and urban context.