行见东西作为印际全新推出的

YINTOUR——游学

衍生专栏，聚焦于设计视角下的跨文化交流与在地观察。我们以设计为语言，跨越地理边界，探索中国与国际设计美学之间的共生、碰撞与对话。每一期，我们将邀请参与印际游学的成员，以亲历者的视角，从照片到文字，分享旅程中的观察、思考与收获。

EAST WEST is a newly launched sub-column under Yintour — the study tour program by YINJI. It focuses on cross-cultural exchange and situated observation through the lens of design.Using design as a language, we aim to transcend geographic boundaries and explore the intersections, dialogues, and symbiosis between Chinese and international design aesthetics.In each edition, we invite participants of the Yintour program to share their reflections and insights—from images to words—from the perspective of firsthand experience.

通过走进不同文化的现实场域，结合在地体验、空间感知与思辨实践，我们试图解构“美学在地性”的深层逻辑：地点不只是地理坐标，更是文化表达与理解的媒介。当中国设计的经验、价值与思维方式，与国际前沿的方法论在此相遇，所产生的不再是单向的模仿或借鉴，而是一场双向启发的设计对话。它既推动全球经验的本土化落地，也激活本土智慧通向更广阔的可能性。

By entering diverse cultural contexts and engaging with local spaces through observation, experience, and critical practice, we seek to unpack the deeper logic behind the notion of aesthetic locality:A place is not merely a coordinate on a map, but a medium for cultural expression and mutual understanding.When the values, perspectives, and experiences of Chinese design encounter leading international methodologies, what emerges is not a one-way process of imitation or reference—but a reciprocal, generative dialogue. One that grounds global experience in local realities, while enabling local wisdom to reach broader horizons.

此次游记撰稿人：张超（ HT STUDIO 主理人 ）

他以自身专业背景与兴趣点出发，

呈现

中的

真实感受

回应

在这个不断加速的世界里，我们习惯用数字衡量价值，用功能定义空间，却渐渐忽略了那些无形却根植人心的东西：气息、节奏、人与空间的情感关系。而我始终在寻找的，是一种能够与内心对话的设计语言。不是喧哗的“新”，而是静水流深的“恒”。

直到某天，我无意间翻开了自己的设计收藏夹，赫然发现：打动我的作品几乎都来自同一个地方——比利时。从Axel Vervoordt的Wabi-Sabi哲学，到Vincent Van Duysen那如诗般的空间秩序，这些作品安静却坚定，克制却充满力量，它们不需要被解释，甚至不需要被强调，它们只是“存在”，就已经构成了最动人的表达。

In this ever-accelerating world, we have grown accustomed to measuring value with numbers and defining space by function, gradually neglecting the intangible yet deeply rooted elements: atmosphere, rhythm, and the emotional relationship between people and space. What I’ve been seeking is a design language that speaks to the soul—not the loud novelty of the “new,” but the quiet, enduring strength of the “eternal.”

Then one day, I casually opened my design archive and was struck by a realization: nearly all the works that moved me came from the same place—Belgium. From Axel Vervoordt’s Wabi-Sabi philosophy to Vincent Van Duysen’s poetic spatial order, these works are quiet yet resolute, restrained yet powerful. They do not need to be explained or emphasized—their mere existence is already the most touching form of expression.

特(Ghent)

更像

一座

正在

呼吸

城市,当我们抵达漫步在街区之间能感受到

古老

现代

并存，

文化

日常

交织

于是这一次，我决定出发，去亲自感受这片土地如何将历史、自然与当代融为一体，如何在看似无

为的表达中，让空间回归

的本质。虽然此前多次前往欧洲，亦有设计学习经历，但比利时，是第一次踏足。带着明确的目标与极大的好奇，我们开启了为期

天的深度游学之旅。这趟旅程虽短暂，但结构紧凑，涵盖了从文化溯源到当代表达的完整线索。

And so, I decided to embark on a journey—to personally experience how this land fuses history, nature, and the contemporary, and how seemingly effortless expression can return space to its human essence. Though I had visited Europe many times and studied design there, this was my first time setting foot in Belgium. With clear purpose and immense curiosity, we embarked on a 7-day intensive study tour. Though brief, the journey was densely structured, covering a full spectrum from cultural roots to contemporary expression.

安特卫普火车站（Antwerp-Central Sta

tion）被誉为“世界最美火车站”之一，是这座城市的地标性建筑。建于1905年，由比利时建筑师Louis Delacenserie设计

材料的灵魂，从气息开始

The Soul of Materials Begins with Breath

第一站，是

Cédric Etienne

的材料研究空间。作为当代比利时设计精神的新一代代表，他以自然能量为基础，重新定义了材料与人、与空间之间的关系。在这里，材料不是为了被展示而存在，而是回归本身

——

它有自己的气味、温度和呼吸。你看不到刻意的布展与渲染，也闻不到熟悉的工业气味。取而代之的，是一种极度克制的表达方式，让触感、光线、质地成为主角。

Our first stop was the material research space of Cédric Etienne. As a representative of the new generation of Belgian design spirit, he redefines the relationship between materials, people, and space through natural energy. Here, materials do not exist for display but return to their essence—they have their own scent, temperature, and breath. You see no deliberate staging, no familiar industrial odors. Instead, a highly restrained expression lets texture, light, and materiality take center stage.

比利时设计师 Cédric Etienne，作为工作室理念的一部分，Etienne 定期举办冥想课程，并邀请瑜伽和冥想导师在事务所的专属静室中分享沉思的仪式与智慧

这样的体验让我深刻反思：为什么很多展示空间习惯用厚重装饰去拔高产品的“感官价值”？在这里，设计不是用来包装材料，而是让材料自己说话。而当它足够真实、足够自然，便拥有了令人钦佩的精神质地。这不仅是设计方法的差异，更是一种生活哲学的不同——他们相信材料有魂，空间有感，设计只是激活它们的方式。

This experience made me reflect deeply: why do so many exhibition spaces rely on heavy decoration to elevate the “sensory value” of products? Here, design does not wrap materials—it lets them speak for themselves. And when they are genuine and natural enough, they possess a spiritual texture that commands admiration. This is not just a difference in design methodology—it is a difference in life philosophy. They believe materials have souls, spaces have emotion, and design is merely a way to awaken them.

Kanaal

时间的景观，安静地说话

Kanaal: A Landscape of Time, Speaking in Silence

这种由内而外的自然生长，也在我们的下一站——Kanaal中，被进一步放大。Kanaal，是Axel Vervoordt的大本营，也可说是比利时美学精神的根源之一。这片曾计划被拆除的旧工业区域，在他的主导下被重新唤醒，变成了一个集生活、艺术与工作为一体的理想聚落。在这里，并没有哪一栋建筑特别耀眼，也没有哪个空间刻意“出圈”，但它却以一种近乎“隐形”的方式，把美学内化到了土地、光影与空气中。

This kind of organic growth from the inside out was amplified at our next stop—Kanaal. Kanaal is the base of Axel Vervoordt and can be considered one of the sources of Belgian aesthetic philosophy. This former industrial area, once slated for demolition, was revived under his guidance into an ideal settlement combining living, art, and work. No single building here stands out dramatically, nor does any space seek to “go viral,” yet through an almost invisible approach, aesthetics are embedded into the land, the light, and the air.

当你走完整个社区，穿过画廊、公寓、工作室与花园，会发现这里的每一处细节都在“安静地说话”。没有张扬，没有装饰的堆砌。那一条条用混凝土自然浇筑的小径，也不是为了“打造景观”而设计，而是任由时间、气候与植物共同塑造出的结果。这种“让设计退位，让生命前行”的态度，正如Vervoordt常说的：“空间是有生命的，它的完成只是开始，而非终点。”

As you walk through the community—through galleries, apartments, studios, and gardens—you realize that every detail is “speaking quietly.” There is no flamboyance, no ornamental excess. The concrete paths, naturally cast, were not designed to be “landscapes,” but rather shaped by time, climate, and plant life. This attitude of “design retreating, life advancing” echoes Vervoordt’s philosophy: “A space is alive; its completion is just the beginning, not the end.”

Glenn Sestig

松弛的秩序，克制的

自信

Glenn Sestig : Relaxed Order, Restrained Confidence

在Kanaal，我更加确认了“空间的精神性”这一核心命题。而这种“让空间活着”的能力，在另一位设计师的作品中被推至极致——Glenn Sestig。他是我最喜爱的在世设计师之一，而参观他亲自改造的住宅/事务所，成为这次游学中最特别的体验。那栋建筑原是Ivan Van Mossevelde为艺术收藏家设计的私宅，Glenn用20年的时间等待，终于以设计师的身份赢得它。

Kanaal reaffirmed for me the central theme of the “spirituality of space.” And the ability to “let a space live” reached its peak in the work of another designer—Glenn Sestig. He is one of my favorite living designers, and visiting his personally transformed home/studio became the most unique experience of this journey. Originally designed by Ivan Van Mossevelde for an art collector, Glenn waited twenty years to finally earn it—this time, as its designer.

我原以为会看到很多关于施工、技艺、比例的讨论，但进入空间后，感受到的却是极度松弛的秩序。这里没有刻意的仪式感，一切都仿佛“自然到来”。他的生活与工作空间交织，却毫无边界感的紧张。一切节奏——动线、材质、色彩——都在一种冷静克制中流淌。我看见一本Carlo Scarpa的建筑书独占客厅正中，我问他：“他是你偶像吗？”Glenn笑说：“是的，但我比他更好。”

I had expected to encounter detailed discussions about construction, technique, or proportion, but once inside, I was met with an exceptionally relaxed order. There was no forced sense of ritual—everything seemed to “arrive naturally.” His living and working spaces are interwoven without any tension of boundaries. The flow of movement, material, and color all glide with calm restraint. I saw a Carlo Scarpa architecture book placed prominently in the center of the living room. I asked, “Is he your idol?” Glenn smiled and said, “Yes, but I’m better.”

那一刻，我并不觉得他是在炫耀，而是传递一种这个时代的自信与平衡。Scarpa追求的是诗意的工艺，而Glenn则用自己的节奏回应当下。他们同样在追求“永恒感”，只是语言不同而已。

In that moment, I didn’t sense boastfulness—only a quiet confidence and balance of our era. Scarpa pursued poetic craftsmanship, while Glenn responds to the present with his own rhythm. Both seek a sense of “eternity”—they simply speak in different languages.

比利时建筑师

Glenn Sestig（左）与上海设计师张超在

Glenn家

Vincent Van Duysen

“静默星球中的灵魂建筑

Soulful Architecture on a Silent Planet

而这份

永恒

，又让我在

Vincent Van Duysen

那里得到了更加深沉的呼应。尽管他的大部分项目我早已如数家珍，但当我们抵达

Winery VV

，真正走入他构筑的场域，那种体验仍远远超出预期。当你站在建筑中心，你会感觉自己仿佛不在地球上，而是置身一颗静默的星球。没有时间，没有声音，只有空间与人的呼吸。这种设计是脱离表层刺激的，它不像是

视觉设计

，更像是一种关于存在的雕刻。

This “eternity” found deeper resonance in the work of Vincent Van Duysen. Though I was already intimately familiar with most of his projects, the experience of stepping into Winery VV far exceeded expectations. Standing in the center of the structure, it feels as though youre no longer on Earth but on a silent planet—no time, no sound, only space and the rhythm of breath. This kind of design transcends superficial stimulation; it isn’t “visual design” as much as it is a sculpture of existence.

Vincent的极简，从不意味着空洞。他善于用肌理、尺度、光线营造出一种人可以“落下来”的情绪状态。他的石材与木头从不冰冷，反而有种慢慢熟悉你的温度。他的空间不主动靠近你，却始终在那里，等你去靠近它。这种“留白”的智慧，其实是一种高度的人感与节制。他的建筑从不追赶时代，却始终处于时间的正中央。

Vincent’s minimalism never equates to emptiness. He excels at using texture, scale, and light to evoke a state where people can “settle.” His stone and wood never feel cold—instead, they gradually take on the warmth of familiarity. His spaces don’t approach you, but they’re always there, waiting for you to approach. This wisdom of “leaving space” reflects a deeply human sensibility and restraint. His architecture never chases time, yet it always stands at the center of it.

“回归：设计不是造物，而是延续生命

Design Is Not Creation, but the Continuation of Life

这种从Axel Vervoordt到Glenn Sestig，再到Vincent Van Duysen的脉络，其实贯穿着比利时设计的核心精神：不制造噪音，只制造连接。旅程的尾声，来到了木作家具艺术家Daniel De Belder 的私人庄园。他的太太是艺术总监，曾在Vervoordt团队担任要职。当我们抵达时，Daniel骑着自行车前来迎接。那一刻，我以为这只是一次轻松的参观，没想到却是一次真正的人与自然合一的启蒙。

The thread running from Axel Vervoordt to Glenn Sestig and Vincent Van Duysen weaves together the core spirit of Belgian design: not to create noise, but to create connection.At the end of our journey, we visited the private estate of wooden furniture artist Daniel De Belder. His wife, an art director, once held a key position in Vervoordt’s team. When we arrived, Daniel came to greet us on a bicycle. I thought it would be a casual visit—but it turned out to be a profound revelation about the union of humans and nature.

Photo@张超

他们的家几乎没有所谓“装饰”，却饱含力量。地面是旧木头拼贴的，没有打磨，没有封油，那些木材都来自战争或灾难后自然倒下的树。他们选择保存它们最初的状态，让它们继续存在于生活中。Daniel说：“它们不是完美的，也无法被售卖，但在这里，它们重新拥有了意义。”

Their home was almost devoid of what we’d call “decoration,” yet it was full of strength. The floor was patchworked with old wood—unpolished, unoiled—sourced from trees that had fallen naturally in war or disaster. They chose to preserve the wood in its original state, allowing it to continue living within their daily lives. Daniel said, “They are not perfect, nor sellable, but here, they’ve regained their meaning.”

这才是真正的老钱哲学——低调而极致，浪漫却清醒。他们几乎不制造垃圾，一切都在循环中继续生长。与其说这是设计，不如说是一种价值观的延续。设计不是为了创造新的物，而是为了延续旧的生命，并让它们以新的方式继续对话。

This is true “old-money” philosophy—subtle yet refined, romantic yet sober. They generate almost no waste; everything continues to grow in a cycle. Rather than calling it design, it is more accurate to say it is the continuation of a set of values. Design is not about creating something new—it’s about extending the life of what already exists, allowing it to engage in new conversations.

木作家具艺术家Daniel De Belder

aniel的妻子Barbara

“三种精神，回应时代”

Three Principles That Respond to Our Time

总结这次旅程，三个关键词始终在脑海中萦绕：松弛、永恒、人感。它们不是风格，而是态度。

As I reflect on this journey, three words continue to echo in my mind: ease, eternity, and empathy. These are not styles—they are attitudes.

在当今高速发展、信息泛滥的社会中，我们太容易被“表面价值”带走，被趋势绑架，被“速成设计”诱惑。但真正打动人的空间，从不靠表面堆砌，而是来自一种深层次的感知力与对节奏的把握能力。

In today’s fast-paced, information-saturated world, we are easily swept away by superficial values, hijacked by trends, and seduced by “fast design.” But truly moving spaces are never built from superficial layers—they stem from deep perception and mastery of rhythm

感谢这次比利时之旅，带我回到了那个设计最初令人心动的地方。其实这些体验很难用语言完整描述，只有真正身处其中，才会明白什么叫让设计与生命共振。

I’m grateful for this journey to Belgium—it brought me back to the place where design first touched my heart. These experiences are difficult to articulate in full; only by being present can one understand what it means for design to resonate with life.

希望每一个热爱设计的人，都有机会亲自走一趟——你会重新理解，什么是空间真正的灵魂。

I hope every design lover has the chance to make such a journey—because only then will you truly understand what it means for a space to have a soul.

将阴影视作精神导师，在黑暗的指引下进行探索的古巴裔艺术家Ileana Moro

不断跨越国界的旅行艺术家

Marius Riti

u，

使用”铜”作为艺术媒介来理解与表达世界