摘要：在比利时的亨克(Genk)，设计师Michaël Verheyden与妻子Saartje Vereecke将一幢20世纪中期住宅"Ten Berken"打造成了生活与创作的共同容器。这所房子的改造并不是"一次性"完成的，而是经过十余年的时间，像器物般被他们在日

在比利时的亨克(Genk)，设计师Michaël Verheyden与妻子Saartje Vereecke将一幢20世纪中期住宅"Ten Berken"打造成了生活与创作的共同容器。这所房子的改造并不是"一次性"完成的，而是经过十余年的时间，像器物般被他们在日常里缓缓打磨。Verheyden和我们分享到：“每天我都尝试在野心与耐心之间取得平衡——并不总是容易，但至关重要。我们相信，要为房子做出正确的决定，首先需要花时间真正住在其中。”对他们来说，家既是庇护所，也是实验场。

In Genk, Belgium, designer Michaël Verheyden and his partner Saartje Vereecke have transformed a mid-century residence, Ten Berken, into a shared vessel for life and creation.The house was never “completed” in a single gesture; instead, over more than a decade, it has been slowly refined in daily life, shaped like an object through patient care.Verheyden shared with us: “Every day I try to balance ambition and patience — not always easy, but all so important. We believe that in order to take the right decisions for the house, you first need to spend time truly living in it.”For them, home is both a refuge and a place of experimentation.

Verheyden的美学常被形容为“克制”，并不依赖传统意义上的优雅，而是通过触感、比例与空间来表达。在"Ten Berken"的更新中，这一观念被具体的呈现：Verheyden与Vereecke尽可能保留着1960年代的结构与细部，仅以最小介入来进行改造，但指向始终清楚——“少”并非匮乏，而是让重要之处更被看见。

Verheyden’s aesthetic is often described as “restrained,” relying not on conventional notions of elegance but on tactility, proportion, and space. In the renewal of Ten Berken, this idea takes concrete form: Verheyden and Vereecke preserved as much of the 1960s structure and details as possible, intervening only minimally. Yet the intention remained clear — “less” does not mean lacking, but rather allows what is essential to be seen more fully.

Michaël Verheyden，比利时设计师，创作“用于日常仪式的非常之物”以宁静的形体与自然材料融合为精炼的作品；强调从设计到实际制造的完整过程，热衷于简洁的结构，同时也注重丰富的纹理

Saartje Vereecke，Michaël Verheyden的妻子，以绘画为背景的创作者，关注动作、手的痕迹与能量感。在家中，她的作品多为可见“行动”的绘画：笔触、泼洒与重力清晰可辨在她的理解里，艺术应当映照居住者，并为空间增加恰到好处的戏剧性

遇见 Ten Berken

Encountering Ten Berken

最初，Verheyden只是偶然驾车经过这所房子。那时他们在寻找一个能同时容纳生活与工作的空间，但并没有非常明确的概念。真正的决定性瞬间发生在一次颇为特别的参观：销售人员对房子并不熟悉，但非常巧合的是原屋主的女儿也在场。Verheyden回忆说，“我们之所以被允许买下这所房子，是因为我们对建筑和原始细节表现出真诚的欣赏。很多60年代的房子都有极其美丽的细节，保留它们本身就是一种愉悦。”

At first, Verheyden only came across the house by chance while driving past. At the time, they were searching for a space large enough to accommodate both living and working, but without any clear concept in mind. The decisive moment came during a rather unusual visit: the salesperson knew little about the property, but coincidentally, the daughter of the original owner was also present. Verheyden recalls, “We were allowed to buy the house because we showed our appreciation towards the architecture and the original details. Many houses built in the 60s have such beautiful details, so it is a pleasure to keep them in their original state.”

Verheyden与Vereecke家的主入口，屋名 "Ten Berken"，意为“白桦之间”，房子位于一块转角地，邻里树影繁密，铁路另一侧便是 Bokrijk 历史博物馆

门厅内：Verheyden 的 Murano 玻璃 Ghia Busk 花器与包覆皮革的 Medi 碗，置于钢与 Crema Valencia 大理石制的 Profilo 桌；画作出自 Vereecke；复古座椅来自 Christophe Gevers 设计

像做器物一样打磨空间

Honing space as one would craft an object.

在Verheyden看来，家本身也是一种工具，既能承载日常，也能成为创作的场域。他说，“这是我们第一所真正意义上的大房子，让我们得以在更大的尺度上思考。尽管不那么容易，但房子给予了我们很多灵感——尤其值得一提的是空间四面环窗，能在各个方向看见自然。”过程里，他们像创作家具一样改造房子：在墙漆里加入细沙，用手亲手抹灰来让墙面带有可触的颗粒；以混凝土地坪与橡木构成柔和的背景。这个尺度更大的“物件”，容纳了他们对材质与比例的又一次试验。

For Verheyden, a home is also a tool — a place that not only carries daily life but also becomes a field for creation. “It was our first truly large house, which gave us the chance to think on another scale. Though not always easy, the house offered us much inspiration — especially with its many windows, opening views to nature in all directions,” he says.In the process, they renovated the house much like they design furniture: adding fine sand into the wall paint, plastering the surfaces by hand to give them a tactile grain; combining concrete flooring with oak to form a soft backdrop. This larger-scale “object” became another experiment in material and proportion.

Verheyden的作品放置于墙面，在意大利品牌 Baxter 的 Tactile 沙发（Vincenzo De Cotiis 设计）上方；一旁的酒柜为实心橡木并配定制青铜锁，柜上陈列 Lasa 大理石 Vasque 花器与玻璃艺术品

客厅放置着粗花呢羊毛沙发、铝制咖啡桌与另一版本的 Ciub 椅；前景为錾刻郁金香木Holt Tre 椅

几乎每个房间都陈设着Verheyden设计的家具。在快节奏的时代里，Verheyden有着极强的耐心，“为了为房子做出正确的决定，你必须先真正住在里面。先清空，再修复，然后再添加新的元素，使其与已有的东西协调。所以我们的多数设计，契合我们面前的空间，也源自于我们真实的需求。”

Almost every room is furnished with pieces designed by Verheyden. In an age of speed, he embraces patience: “In order to take the right decisions for the house, you first need to truly live in it. First clean everything out, then repair what needs to be fixed, and then add new elements that harmonize with what is already there. That is why most of our designs align with the space in front of us and arise from our genuine needs.”

图书室里放置着铝与马鞍皮制成的Edo椅；Panser台灯置于树脂涂层的Volta桌

家庭办公室中央的书桌与椅子为实心橡木并嵌皮革；羊皮地毯出自Carine Boxy；墙上艺术品为Vereecke作品

日常

Daily Rhythm

在“Ten Berken”的一天里，Verheyden说：“我最喜欢的是开胃酒时间。我们大约五点收工，回家Saartje开始做饭，我们会先小酌一杯，再处理一些工作资料。我可能会再画一会儿图，和猫玩，再静静享受一天里最后的阳光时刻。”这些可被重复的细小片刻，为生活增添了可预见的确幸。

In a day at Ten Berken, Verheyden says: “My favorite time of day is aperitivo. We stop working around five, then head home. Saartje starts cooking, we have a drink, and do some paperwork. I might sketch a little, play with our cat, and quietly enjoy the last moments of sunlight.” These repeatable, delicate fragments add a sense of predictable joy to everyday life.

餐厅的原始护墙板与一张以山羊毛簇绒的老件地毯，为克制的空间增添肌理，桌上放置着Komm黑古董大理石碗

房子里随处可见Vereecke的绘画作品，从早期习作到大幅抽象画作。她曾在花园里用地板刮刀挥洒出黑与粉的巨大作品——Verheyde 认为那是她最好的作品之一。Verheyden说：“艺术可以为空间增添戏剧性，艺术也应该反映居住者。”Vereecke偏爱的“行动绘画”让这种能量具象可见：笔触、泼洒与重力的轨迹清晰停驻于画面。在这里，艺术并非点缀，而是房子的“第二层呼吸”。

The house is filled with Vereecke’s paintings, ranging from early studies to large-scale abstract works. In the garden, she once created a monumental piece in black and pink using a floor squeegee — Verheyden considers it one of her best works.“Artwork can add drama to a space, and it should also reflect the owner,” Verheyden says. Vereecke’s preference for action painting makes this energy tangible: the brushstrokes, splashes, and traces of gravity remain vividly present on the canvas.Here, art is not an ornament, but the home’s “second breath.”

包覆皮革的镜面上方，是定制 Perlato Royal 石材洗手台的原型；前景为紫罗兰卡拉卡塔（Calacatta Viola）大理石 Tabou 凳。Verheyden对浴室里的大理石洗手台非常满意，”它既实用，又具有纪念性，而且触感舒适。每天刷牙时，我都很享受“

向外生长

Further

随着创作的扩展，Verheyden与Vereecke又在距家几百米外找到了另一幢房子，将其改造成工作坊与展厅，但依旧保持“像住宅一样”的分房动线，为的是让来访者的体验仍像走进了一个"家"。与此同时，他们在比利时海滨小城Knokke也完成了一处兼作展陈的房子。从家到街口、再到海边，Verheyden与Vereecke的态度始终一致：对最普通的事也要“极其认真”，不求一次性完美，只在过程中慢慢完整。

As their practice expanded, Verheyden and Vereecke found another house just a few hundred meters from their home and transformed it into a workshop and showroom, while deliberately keeping the room divisions “like a residence,” so that visitors would still feel as if they were entering a home. At the same time, they completed another house in the Belgian coastal town of Knokke, which also serves as an exhibition space. From their home to the nearby street, and then to the seaside, Verheyden and Vereecke have remained consistent in their attitude: to take the most ordinary things “extremely seriously,” not seeking instant perfection, but allowing completeness to emerge slowly in the process.

客房墙上悬挂着Vereecke的大尺幅抽象油画

来源：星期八室内设计