该项目的设计灵感源于斯凯尔特河的优美全景以及码头周围的蓝灰沙岩景观。空间布局以建筑轴线和壮观的景致为依据，确保每个区域都能拥有绝佳的视野。

设计试图创造一间能够兼具建筑原始特征和居住舒适性的“城市楼顶住宅”。混凝土材质的天花板和粗糙的木材呼应了建筑曾经作为仓库的历史，与附近的码头乃至城市环境保持了建筑性的联系。这一设计概念是对比利时立体派艺术家Georges Vantongerloo (1886–1965)的抽象创作手法的大规模诠释：Vantongerloo作为荷兰风格派的一员，主张通过减少形式和色彩来完善艺术作品的纯抽象性和普适性。

▼项目概览，overall view ©Mark Seelen

Inspired by the beautiful panoramic view of the River Scheldt and the bluestone along the gray quayside, the project is arranged around the axes of its volumes and breathtaking views, allowing each zone to take advantage of this spectacular location.

The concept of the project was to create an ‘urban loft’ that retains the rawness of construction, yet encompasses a complete finish and feeling of comfort. The concrete ceiling and rough timber refer to the historical warehouses, which have an architectural presence in the surrounding quay and the city. The concept was a large-scale interpretation of the abstract and sculptural approach of Belgian Cubist Georges Vantongerloo (1886–1965), a founding member of Dutch artistic group De Stijl, the movement that advocated pure abstraction and universality by reducing the essentials of form and colour.

▼墙壁和地面采用相同的材料，呈现出冷静且细腻的质感，the walls and floors are finished in the same material to a rigorous standard of detail for a sober and textural appearance ©Koen Van Damme

该项目在住宅环境中保留了很强的建筑品质。雕塑性的建筑方法与房屋主人收藏的一系列抽象表现主义艺术品形成了呼应，来自 Gavin Turk, Carl Andre, Gerhard Richter, Jef Verheyen和Wade Guyton等全球艺术家的作品点缀在住宅的各个角落。

The project has strong architectural qualities within a residential apartment context. The sculptural architectonic approach corresponds to the Abstract Expressionist art collection of the owner. Works by international artists – such as Gavin Turk, Carl Andre, Gerhard Richter, Jef Verheyen and Wade Guyton – are dotted around the penthouse.

▼雕塑性的建筑方法与房屋主人收藏的一系列抽象表现主义艺术品形成了呼应，the sculptural architectonic approach corresponds to the Abstract Expressionist art collection of the owner ©Koen Van Damme

墙壁和地面采用了相同的材料，并在细节上精益求精，最终呈现出冷静且细腻的质感。材料的选择一方面与斯凯尔特河及其周边码头的灰色调形成呼应，另一方面则参照了“贫穷艺术”运动中经常使用的浮木、金属、泥土和混凝土材料。

The walls and floors are finished in the same material to a rigorous standard of detail for a sober and textural appearance. The material selection is a manifestation of the grey tones of the River Scheldt and its quayside, as well as referring to the Arte Povera movement, in which driftwood, metal, earth and concrete were used.

▼混凝土和粗糙的木材呼应了与斯凯尔特河及其周边码头的景观，the material selection is a manifestation of the grey tones of the River Scheldt and its quayside ©Koen Van Damme

从设计之初，木板的宽度和独特的混凝土天花板便成为了整个项目的一个重点部分。用于墙壁和橱柜的木板宽度要大于混凝土天花板单元的宽度。容纳了壁炉的中央体块使得其周围的空间可以直接连成一个整体，另一方面也可以用通高的推拉门进行分隔，从而让整个住宅成为被功能体块（包括厨房储藏室、浴室、衣帽间、卫生间和壁炉等）划分的大尺寸开放空间。

From the beginning of the design process the width of the timber planks and the character of the concrete ceiling were integral to the entire project. This meant that all dimensions – of the walls, cupboards, and so on – were designed as multiples of the width of the timber planks used for the creation of the concrete ceiling. The central monolithic volume enclosing the fireplace is positioned in such a way that all surrounding spaces have a direct connection; however, they are also separable through use of full-height sliding doors, which makes the experience of the penthouse that of a single open space, divided by functional blocks (including for example kitchen storage, bathrooms, dressing room, toilets, fireplace and so on).

▼容纳了壁炉的中央体块，the central monolithic volume enclosing the fireplace ©Mark Seelen

▼厨房墙壁和橱柜覆盖以木板，the walls and cupboards in the kitchen are covered with timber planks ©Koen Van Damme

▼洗手间和浴室，basin area and bathroom ©Koen Van Damme

入口区域的地面略微抬升以适应露台的高度，在强化空间感的同时也有助于将前方的公共区域和后方的私人区域分隔开。

The floor level of the entrance is slightly raised to match the height of the facing terrace. This intensifies the spaciousness and contributes to the separation between the public zone to the front and the private area at the back.

▼抬高的入口区，the raised floor level of the entrance ©Koen Van Damme

私人房间的天花板和墙壁以再生木板铺设，以带来更加亲切和温馨的氛围。

The private rooms provide a more intimate experience through the use of reclaimed timber planks to the ceiling and walls.

▼卧室，bedroom ©Koen Van Damme

▼木制墙壁和天花板细节，the ceiling and walls covered by timber planks ©Koen Van Damme

立体主义的方法还体现在住宅中的一些半固定家居中，例如厨房岛、客厅的咖啡桌以及床后带有滑入式电视屏的木质单元等。餐厅的古铜色长桌是由Vincenzo De Cotiis改装而成的作品，为餐厅赋予了独特的格调。透过餐厅的宽阔窗户可以欣赏到远处的大教堂以及安特卫普的天际线全景。

The Cubist approach also shows through the semi-fixed elements in the penthouse: the kitchen island, central coffee table in the living room, or the wooden blocks behind the beds with the slide-in television screen, for example. The elongated bronzed brass table is a specially altered piece by Vincenzo De Cotiis that creates a pronounced presence in the dining area, which enjoys the panoramic view of the Antwerp skyline with the cathedral behind.

▼餐厅摆放着古铜色长桌，the dining area, with the elongated bronzed brass table ©Koen Van Damme

▼餐厅视野，view from the dining room ©Koen Van Damme

▼平面图，plan ©Vincent Van Duysen Architects

Photography: Koen Van Damme；Mark Seelen Integrated lighting: Viabizzuno