Walkers in the woods of Waasmunster are in for a big surprise-a Vincent van Duysen house that's rural yet sophisticated, concealed yet revealing and a prime example of Flemish minimalism. By Dominique Pieters. Photographs by Frederik Vercruysse and Filip Dujardin       Belgians have no need to be modest about their creative accomplishments. The country's fashion designers are feted on the world stage. Its theatre directors and choreographers have gained international fame. And now a few young architects have started to become known beyond its borders.
 

步行在 Waasmunster 的樹林令人感到驚奇 - Vincent van Duysen 房子具有鄉村風味卻不落俗套 , 隱蔽 卻暴露的法蘭德斯極簡派藝術風格。

      比利時人並不需要對於他們所創造的成就感到謙虛 。這國家裡的時尚設計活躍於 世界舞台。劇場導演和舞蹈指導在國際享有盛譽。現在一些年輕建築師也開始朝這方向開始去了解邁進.
  Architects such as Philippe Samyn, Vincent van Duysen, Meta, B-architecten, Willem Jan Neutelings (who flits between Belgium and the Netherlands), William Lievens and Jo Crepain claim not to have a common style, shunning the idea of a Belgium mainstream. Yet it is remarkable how much extremely minimal architecture comes out of Belgium. The work of   This simplicity seems to emanate form the northern, Flemish region of the country. Van Duysen, who is still some years shy of 40,is not only seen as in the vanguard of Flemish minimalism, but architecture critics are starting to designate him the leader of this movement . The architect himself does not like the label. Minimalism has been given a negative con
 

many of the better-known names, such as Stephane Beel, Robbrecht ? Daem,Christian Kieckens and Eugeen Liebaut, have been compared to the serene clothing of Ann Demeulemsster and the classical simplicity of fashion designer Dries Van Noten. They even have resonances with the theatre and dance sets of Jan Fabre and Anne Theresa De Keersmaeker.

 

 

  

極簡派大約是在四十年代從發起。 Van Duysen 不僅僅在法蘭德斯極簡派先鋒中被注意到，且建築評論家開始選定他為這個運動的領導者。他不喜歡用這個來標簽自己。 極簡派被給多 含蓄消極的想去，就好像每個設計都能夠拿抽屜準備好的東西去做。比利時人對於在居住的類型學方面工作相當地努力。歸因於把一切都還原到本質並尋找涉及這環境條件和具體化清楚空間。他宣稱他不是極簡抽象派，但他擁有自己的風格。

  例如 建 築師 Philippe Samyn, Vincent van Duysen , Meta , B- 建 築師 , Willem Jan Neutelings ( 他曾居住在比利時和荷蘭 ) , Lievens William 和 Jo Crepain 他們提     The north-facing terrace is intimate but minimal. The extensive glazing contrasts with the austere south facade.
  出不同以往 的風格並避開比利時主流的構想 , 這是非常值得注意 的 , 因為 有許多具  

北方面的露台是最私人簡派的。一大片的 鑲嵌玻璃 對比 著較陰暗的南 方正面。
  有極端極簡抽象派藝術建築的架構是從比利時發源來的。這裡有許多為人知的名字 , 例如 Stephane Beel , Robbrecht ? Daem ,Kieckens Christian 和 Eugeen Liebaut , 。他們提出穩重的 Ann Demeulemsster 古典服飾與簡單時尚設計者 Dries Van Norten 做比較。他們甚至與 Jan Fabre 和 Anne Theresa De Keersmaeker 的劇場和跳舞的裝置產生共鳴火花。    
      In a recent monograph on van Duysen's work, Spanish critic Alessandro Rocca came up with the following list of adjectives: ”Flat, simple, clear, but also pure, elementary, essential, minimal, and silent, quiet, relaxed.” As descriptions go, it is hard to better. Van Duysen centers his architecture on the power and strength of the image.   His latest building, the De Cock House , is no exception. Despite its proximity to the main Gent to Antwerp motorway, the house enjoys the peace and quiet of the pine forest of Waasmunster. This is a town that bucks the Belgian trend, having few building prescriptions and being very tolerant of modern architecture.
  Inspired by the work of earlier modernists, his buildings give the impression of being extremely simple but turn out to be more complex.
  

他最近的建築物 ,The De Cock House也 沒例外。儘管它鄰近主要高速公路 ， 這 房子仍享受 Waasmunster 松樹林的所帶來的和平與安靜。這是一個領導比利時趨勢走向的
  在一個近代 van Duysen's work 的專題中，西班牙評論家 Alessandro Rocca 接著提出   城鎮, 極少的建築法規限制以及非常寬容接受新的時髦建築。
  了一些形容詞去 描述極簡派 ” 平坦,簡單,乾淨明亮,但也道地的,基本的,不可缺的,極簡派的及無聲的,安靜的,放鬆的,。就如同描述所說的，要使它更好。Van Duysen 將他的建築學的才華與長處集中於圖像。他的建築物給人極為簡單的印象但卻更複雜。    
  One of the client's wishes was to keep the house away form the street, not only because he wanted peace and quiet, but also because the house is situated in a district frequented by walkers at the weekend. A 3m high wall gives the house a restrained, almost introverted look. The U-shaped perimeter forms a sandstone crust – a nod to the old city       In the geometrical composition of walls and the placing of furniture, visual axes are accentuated, from south to north, east to west, and bottom to top. Enormous sliding doors on the ground floor create a flexible plan. Hardly visible doors on the first floor can surprise visitors, confounding their expectations of room sizes    
 

walls and a reference that is reinforced by setting a gate into the wall, again like the old fortifications. The suggestiveness of Van Duysen's architecture stands out here,translating

      

牆上幾何形狀的構圖和家俱的放置 , 在強調視覺上南到北、東到西的軸線。一樓巨大的滑動門創造了靈活與彈性。訪問者都對一樓內幾乎不可見的門感到驚奇 , 並與他們原本以為的空間尺寸混淆。

  and reinterpreting archetypes in a contemporary way. Behind the wall, the ground-floor plan unfolds as an airy and transparent base of the house. The austere inner garden is spacious and makes the house seem bigger than its 450m2 .
  當事人的願望之一是要房子距離街道較遠 , 不僅因為他想要和平和安靜 , 而且也因為房子座落在週末行人出入頻繁的地區。 一面 3 公尺的高牆使這間房子受到了限制 , 幾乎是封閉的。 U 字型砂岩外牆以及再老舊圍牆中安置大門，就像是一個老舊的防 禦建築 。 Van Duysen's 的建築構想在這裡顯現出來 , 透過現代建築的轉化和重新詮釋。在牆後面 , 一樓設計成輕薄而透明的。這內部花園相當的廣闊的 , 使這間房子好像比它原來 450 平方公尺更大。   Pigmented plaster continues the colour of the sandstone on the interior. Despite the exceptionally smooth finish, the authenticity of the material manifests itself through subtle streaks that become visible when the light changes .Van Duysen goes back to naked walls and rectilinear interior in order to sharpen the perception of the space. Because the client wanted an extremely quiet setting, the architect didn't apply any
       
     

concentrated colour accents. Oak panels treated with lye are used for walls, floors and furniture and create a neutral yet warm atmosphere. The bespoke furniture is like miniature architecture, with a conscious reference to Donald Judd. Its economical use gives the interior an identity of its own.

      在室內的砂岩上部覆蓋無色的沙漿。儘管完成後特別地平滑 , 透過光源的變化可以清楚地看見材質本身精細微妙的條紋。 van Duysen 追朔光滑的牆面以及線性的室內佈置能更敏銳的感受到空間。因為業主需要極安靜的陳設 , 這位建築師並沒有加重或集中任何色調。把用鹼液處理的橡木面板作為牆 , 樓層和家俱之間創造了一個溫暖的氣氛。訂製的家俱像整個建築物的縮影一樣 , 令人直覺想到 Conald Judd 。它很經濟的給予了室內空間本身的特色。
 

The client also wanted the house to be sustainable in its used of energy-a worthy request in Belgium, where the small government subsidies available do little to offset the costs of installing energy-efficient systems. A heat pump and solar water heater provide warmth. Underfloor heating warms an underlying

   

The Do Cock House excels in its simplicity and its clear style. The interior is a game of paring details down to the most minimal: steps and walls are without skirting boards, the light fittings are designed to be unobtrusive, handles are barely visible on the sliding doors sun blinds are concealed.

  layer of air that rises into the rooms through vents in the floor.   The Do Cock House 的優點在於它簡單及其清新的風格。最 極簡抽象派 的室內是一
  業主同時也希望建築物能保持能源上的節約，小額政府補助金很少能抵消安裝有效節約能源系統的費用。加熱的幫浦和太陽能的   種強調將零碎的細部削減掉，樓梯和牆沒有裙板 , 設計好的燈光溫和地打下 , 滑動門的門把在陽光下似乎被隱蔽了
  加熱器提供了溫暖。在地板下加熱使其溫暖透過樓層中的縫隙，傳達到各房間內並提升其空氣品質。
 

Van Duysen puts aside the convertional Belian mentality by avoiding too many formal reference points in this house. Like the best international minimalism, he shows that house make of rich materials and intricate details are aspiring to an unachievable aesthetic autonomy. This house engages with history through abstracting familiar surfaces and forms, crating building steeped in Flemish culture, but that has international significance.

    
  van Duysen 避免正式的社交活動變成重點放在這間房子裡。像國際極簡派藝術風格一樣 , 他展示房子的建材是來自於較高級的材料和複雜地細節所製造。這是一種刻意追求非學術性的美學。這間建築物結合了歷史，與抽象的外觀及造形 , 在法蘭德斯文化中具有重要的代表性  

參考資料：
world architecture February,2002
姓名： 張國偉
學號：A9213016

Natural Science Museum,Japan