yinjispace

ARCHITECTURE
Michael Verheyden
PHOTOGRAPHY
HereSpace He Chuan
EDITOR
Peng Gui
Collection

The spring light spills over the edge of Genk ,we arrive at the studio of Michaël Verheyden and Saartje Vereecke. Walking along the gravel path, the volume of the building gradually emerges before us. The entire structure adopts a restrained brick language, with dark brick walls that are quiet and solid, and a roof covered with black tiles, forming a neatly arranged sloped surface. The chimney rises silently, serving as the vertical coordinate of the house.

Large glass windows gently bring the outside scenery indoors, with black thin frames clearly defining the boundaries on the walls. The house has no excessive decoration, choosing instead to let the materials speak for themselves. It doesn't have the blunt, rough feel of a typical workshop; rather, it feels like a place with a muted voice. Even before entering, the façade already hints at Michaël Verheyden's consistent aesthetic: simplicity, quietness, an emphasis on materials, and an appreciation for the traces time leaves behind.

Upon entering, our gaze first falls on the tools and objects that have been genuinely used. The gray flooring, white walls, dark work surfaces, and black metal racks form a neutral backdrop. The workbench is situated in the center of the space, long and wide, with a steel metal frame steadily supporting the entire structure. The spacious tabletop is large enough to accommodate multiple collaborators. On the surface, wooden disks, white woven covers, matte-painted components, and copper coils are scattered, like a scene just after a material experiment.

Michaël Verheyden has a remarkable ability to work with materials—leather, stoneware, metal, and wood—all stretch out naturally under his hands. Saartje Vereecke, on the other hand, specializes in painting and textile design. Together, their rich experience allows them to create nearly everything within the studio—from everyday baskets and bags to vases and light fixtures that decorate the space, each piece hiding thoughtful ingenuity.

However, not all objects are made from scratch by the couple. Over the years, they have collaborated with various local craftsmen, combining each artisan's expertise to create components, which are then brought back to the studio for final polishing, modification, and assembly. At the same time, they delegate part of the work to local people in need of an income, making craftsmanship a support for their livelihoods.

At this point, Michaël Verheyden asks us to observe a wicker piece that has distinct local characteristics. This piece, created by their youngest craftsman, an eighteen-year-old youth who collects materials in the garden with his mother, has been processed through several time-consuming steps, its surface carefully polished and refined. The studio maintains a gentle ecosystem where local crafts, community life, and everyday labor interact with one another.

Around the corner, sunlight filters through a small square window, flowing across a large marble block, outlining the relaxed contours of the space. Walking further, we see a horizontally opening window, with greenery swaying outside. The white, vintage radiator and pale yellow curtains lean together.

On the left side of the room, a black shelving unit holds raw materials like paper and fabric. Handcrafted containers are neatly arranged on the shelves; they vary in size, with some being heavy and worn, while others are light and pristine. Because of the rich layers of the stone, their shapes are treated simply, keeping their most authentic form to tell the story of their creation and the vitality of the materials.

Saartje Vereecke's paintings also bring warmth to the studio ecosystem:: reddish-brown, rust, gray, and hints of dark gold layer over one another, with the paint gently cascading down the canvas. Clear streaks and a heavy sense of sediment bring a loosened emotion to this rather rational space. The impression here is not just of "a place for producing works," but more of a space where materials, light, time, and craftsmanship slowly come together.

Climbing the white steps, the atmosphere of the space shifts quietly. Looking up, the roof structure is clearly visible, with wooden beams, diagonal supports, and columns outlining the loft’s skeleton. The direction, scale, and pauses are clearly displayed in the space. A skylight pours natural light from above, and the soft light seems to engage in a tacit dialogue with the space.

Directly opposite the stairs, a dark long table quietly rests beneath the sloping roof and wooden beams, becoming the steady focal point of the entire gallery. To the left, light wood open shelving, round tables, lighting, and objects are arranged in sequence. Standing here, we can appreciate the relationship between materials, proportions, and objects.

To the right, low sofas, side tables, cushions, and a coffee table enclose a private living area. The scale of the furniture naturally lowers in response to the curvature of the ceiling, merging seamlessly with the space. Several warm-toned ambient lights layer the textures of wood, stone, fabric, and metal, creating a gentle resting corner. As Michaël Verheyden said, this is a space that "almost embodies a lived-in environment."

From the practical labor of the workshop to the imaginative life of the showroom, this is a transition from "how to make" to "how to use." From the warmth of handcrafted artistry to its resonant harmony with objects, each step guides us into an ideal realm brimming with the essence of daily life.This visit feels like analyzing a geometric example, where numbers and proportions explain the perfect balance.

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