Every building phase, a new issue of the book series by photographer Dominique Panhuysen dedicated to the New Amsterdam Courthouse construction site and building process. This second issue shows the start of the foundation works.
The demolition works and construction of the New Amsterdam Courthouse started in January 2017. Photographer Dominique Panhuysen is reporting from the site to realise a dedicated book series.
From behind the construction fences and up in the tower cranes, she captures the work of demolishers and builders on the building site from a very personal perspective. Every building phase will result in a photo section. When the New Amsterdam Courthouse opens its doors, the series will be complete.
The Provinciehuis of North-Brabant was originally designed in 1971 by Dutch architect Hugh Maaskant. The challenge of the renovation project by KAAN Architecten, completed in 2015, stands in the right reading of the original spatial quality and in updating the building to contemporary needs.
KAAN Architecten’s intervention achieves an extensive openness of the three levels of the horizontal plinth; in the office tower rooms are replaced by a flexible working space and clustered in three floors each.
The dualism of then and now, the contemporary renewal by KAAN Architecten in the Maaskant spirit, have been captured in both photographs by Sebastian van Damme, and words by Ruud Brouwers. Sebastian van Damme is permanently searching for the essence of the built environment. Ruud Brouwers is an architecture critic and a consultant on urban development and architecture policy.
Their complementary works are now combined in the book, published by KAAN Architecten.
The new book “BEELDEN. Stadsverfraaiing in Rotterdam sinds 1940”, written by Siebe Thissen (head of Beeldende Kunst & Openbare Ruimte) is about the reconstruction in Rotterdam and the role that art played in it.
On the occasion of the book launch, Dikkie Scipio has signed an essay about the relation between sculptures and public spaces in the city of Rotterdam.
You can read the full essay “Sculptures in Public Spaces” in the Academic section of the website.
“While public space used to be defined as space that wasn’t privately owned and was delineated by building facades and entrances, and where on occasion the space might have been entrusted to artists when conceded by the generosity of a builder/owner, today the line between public and private is slowly blurring. A new generation has emerged that no longer aims for possession, not on account of political ideals but because they do not see the point of ownership.”
Photographer Dominique Panhuysen has recently released the book “De Hoge Raad der Nederlanden – under construction”, a collection of photographs taken during 25 construction months of the Supreme Court of the Netherlands.
In early 2014, KAAN Architecten asked Dominique Panhuysen to follow the construction of the Supreme Court of the Netherlands in The Hague, confident that her peculiar view would have offered an insightful documentation of the building process. Focusing her attention on people, traces of life and gesture, this voluminous compound is able to depict, at the same time, the beauty and the roughness of this high court complex.
Dominique Panhuysen is a photographer and visual artist. She has a keen eye for the extraordinary of the ordinary. A prominent feature of her oeuvre is to capture and document everyday situations. The materials and subjects generally appearing in her work are found casually, during daily explorations. Her photography projects often consider series, spanning over several years.
The book is available as a paperback 38x30cm/320 pages, with ISBN 978-90-324843-1-1, published by KAAN Architecten.
For more info please contact firstname.lastname@example.org.
On December 1st 2014 has started phase 2 of the Royal Museum of Fine Arts renovation. Three years of demolition are followed by three and a half years of building process.
The museum official magazine Zaal Z has interviewed KAAN Architecten partner, Dikkie Scipio together with Jan Severyns and Nathalie Vandebrouck, team and project leaders of the Government of Flanders Facility Management department.
Dikkie Scipio says: “We want to preserve the 19th century museum, so to experience it as it was. The new museum is organized in a very different way and it should lead to a different perception of space”.
You can find the full article from page 18 of the PDF.
The September 2014 issue of the Italian magazine dedicates four pages to KAAN Architecten’s project and exhibition of PLANTA at the Venice Biennale. Down here the full text.
Times puts everything in place – Kees Kaan
The field covered by architecture seems to be without boundaries. Architecture is present everywhere, and as a result the subject of public debate. The profession has a long tradition. Depending on the stance taken by the observer, either this tradition or the latest fashion in building dominates. Most commissions emerge from the societal desire to build, but within a framework of economical and political culture.
It is very tempting to label oneself as an architect with a specific trademark or speciality. The use of an extreme style makes you more easily recognisable as an expert or an extravagant designer. Personal branding has become the standard. Architects like to see themselves as boosters of innovation. This is the most inappropriate and undeserved self-image of our profession. By its very nature, architecture is a slow profession, so trendsetting or being ahead of social changes is a contradiction in terms.
Time is a constant and puts everything in its place. Jerzy Kosinski describes this beautifully in his novel Being There. The story is about Chance, a gardener, who spends his entire life in a walled garden, isolated from the surrounding world. Behind this barrier, time passes without any reference but the seasons.
“What was nice about the garden, was that at any moment, Chance could start to wander, never knowing whether he was ahead of or behind his previous steps. All that mattered was moving in his own time, like the growing plants”.
There is an unbreakable bond between the material from which a building is made and the zeitgeist enclosed within it. But in time the object can liberate itself from the idea from which it emanated. The idea was just the cause, a means to the end of having a building. When the circumstances in which the building emerged change, the spaces and bricks remain and may harbour new activities. I consider an essential aspect of architecture to be its generosity in cutting itself free from its lead position. At the end of the day, a building is nothing but a tool facilitating human activity. The quality of a building is measured by its conveniences, durability, ergonomics and functionality. Contrary to what happens in society, the physical reality and thus the fundamental requirements of human life hardly change.
Form is not the aim of Chance’s garden, but the result of a series of actions performed with care and attention. Quality and universal wisdom are the implicit consequences in this metaphor. This goes for the creation of buildings too. We produce good buildings through dedication and concentration.
When the physiognomy of a building is right, its appearance will correspond in character, function and essence. Beauty in the conventional sense is irrelevant. A building that is correct in its physiognomy might very well be unattractive but its appearance and character correspond. In order to achieve this we follow a conceptual and programmatic path. Our architectural designs are rid of all elements that do not contribute to the conceptual essence of the project. What remains is the most direct, intense representation of the fundamental idea behind the project.
They built solid and well-planned structures in the 19th century, which means the building can take quite a bit. Its Neo-Classical architecture is proud and majestic, qualities that for many years were not much appreciated. However, its central position in the Zuid district allows it to come into its own. That’s why we have chosen to limit the museum’s expansion to within the contours of its roofline.
The large new gallery will not be visible from the streets and square adjacent to the museum. The gallery space will only be seen, amidst the old roofs, from a more distanced perspective in the diagonal streets that delineate the 19th-century star-shaped urban plan, in which the museum is the central point.
From inside as well, the new gallery will not be immediately visible because the focus is primarily on re-establishing the routing of the original layout.
The new museum is anchored in the building’s four patios and has a large upper gallery above that. Perhaps it’s easiest to visualize as a big table, with four legs standing in the patios and with a hole in the middle of the tabletop that penetrates the roof of the central Rubens and Van Dyck galleries. Of course, you are likely wondering how this looks from the inside and how you can travel from one table leg to the other. The new space cannot be seen from the old museum space at any point. Yet you can go from one leg to the other. This will be made possible by doubling the wall, over the whole height, between the Rubens & Van Dyck galleries and the two small anterooms. Because the rooms of the new museum are at a different level to the old rooms, one can walk – unseen – between the two walls, above the entrance to the Rubens and Van Dyck galleries to the other side of the new museum.
In this renovation there are no changes planned to the largest room, the Rubens gallery, but the Van Dyck gallery will change since it is being shortened by 2.9 meters. This involves contracting the space by precisely one bay and merging the new wall with the existing space without disrupting its pattern. Designed by architects Winders and Van Dijk and considered significant, the proportions of light admitted into the interior at a height of 14.7 meters over 12-meter widths are being maintained.
The recesses that make the hidden passageways possible have now been made. Parts of the cornice have been carefully dismounted and are being saved to re-use in the reconstruction. In this way, the new museum infringes as little as possible upon the character of the old museum. The new museum remains invisible to the old.
Nearly all old buildings have some amount of asbestos. In the last century it was an extremely popular building material because it was cheap, easy to work, strong and served as insulation. Asbestos is fire resistant and for this reason it has been used since antiquity. Roman Vestal Virgins for example incorporated asbestos into the wicks of their eternal flames.
Asbestos is a collective term for several naturally occurring minerals that are comprised of very fine, microscopic fibres. There are two kinds of raw asbestos: one with a spiral fibre structure (white asbestos) and the other with a straight fibre that can be blue, brown, grey or green. Actually, these colours can only be seen in the raw state. Once the asbestos has been worked, the type used can only be detected through lab research. It was thought that the biochemical composition of asbestos is what causes cancer, but now it is believed that its cancer-inducing properties lie in the length to diameter ratio of inhaled fibres. As long as the fibres stay bound, they are not dangerous.
Asbestos has an infinite number of applications, from protective clothing to building materials such as roof coverings, sewage pipes and chimneys. In times of need, even holes in cooking pans were repaired with asbestos plates and who hasn´t felt the cold of those vinyl floors laid over asbestos tiles that were very popular well into the 1980s. When office and public buildings were fitted with climate control installations, spray-applied asbestos was invented to provide an easy solution to coat pipes and wires with a fire-resistant and insulating layer. However, sprayed coatings of asbestos damage easily causing a greater dispersion of fibres. Asbestos in this form is what first led to the discovery that it is a cancer hazard. The use of spray-on asbestos has been prohibited in the Netherlands since 1978 and all other asbestos products were prohibited in 1993. A 2001 royal decree in Belgium ensured a ban on manufacturing, using and offering for sale products that contained asbestos.
Nearly all old buildings have some amount of asbestos. So, too, the museum. Much asbestos has been found around the pipes of the out-dated climate control installations. It has been removed in containment. For security’s sake we did some extra investigating. What we found was not ideal. Around the roofs and shafts more asbestos was uncovered. We cannot proceed before this is removed as well.
You can download the PDF version via the link down here and you’ll find Dikkie Scipio’s article from page 27.
The May 2014 issue of the German magazine dedicated to refurbishment projects presents a review of our Rotterdam project.
From page 440 you can find an in-depth article with details and images of the whole design.
Here a short overview.
On the April 2014 issue of The Plan an article by Michael Webb “Restraint and invention in Dutch architecture” is an overview on architecture in the Netherlands and talks about our refurbishment project.
Here you can read an extract of the article featured in the printed magazine from page 29 on.
The construction of the Royal Museum of Fine Arts is challenging, but the design teams always manage to find a solution together to enable the implementation of the design itself. Every shipyard has surprises, which at the end become genuine gifts.
The contractor has now been working on our museum for two years. Other than the large crane protruding out of the roofline, not much of this work is visible from the outside. It’s a different story inside, however. Despite the stripping and demolition work, which makes the building look and feel like a ruin, already the quality of the new space can easily be visualized. Later additions, both structural and in terms of climate control systems, have been removed, bringing the building closer to its original state. The suspended ceilings introduced in the course of time have also been removed. Many galleries have therefore regained their original dimensions, making the museum appear even larger. On the ground floor at the rear of the building, the removal of the grid ceiling has revealed an attractive arched space which, like the new art storage facility, feels like the space of catacombs. At the front, where the public will enter, the structure has been punctured at a number of locations to establish a relationship between the ground floor and the entrance on the first floor. The most prominent example of this is the removal of the floor of the old auditorium. The beautiful double-storey space thus created will be the library’s reading room and can be viewed from above through the new museum shop and bookshop. It is a simple spatial intervention with an exceptional effect.
The space immediately below the entrance has been far more challenging. Both here and at a number of other places in the building we encountered a few surprises, such as beams, walls and recesses that were different than we had anticipated and also asbestos at locations where we had not expected to find it. Although challenging, the construction and design teams have always managed to find a solution together to enable implementation of the design. Every building site has surprises. They come with the territory, certainly when restoring and refurbishing large old buildings, since it is not always clear how building work was carried out in the past and what changes were made to a given building. Surprises usually mean unpleasant setbacks, but sometimes we get lucky. In the skirting, we found a pair of old window decorations for the seawater aquarium that was displayed during the second World’s Fair. We can save at least one of these, the one best preserved, for posterity. So on occasion, surprises are genuine gifts.
You can download the PDF version via the link down here and you’ll find Dikkie Scipio’s article from page 36.
A short review of the proposals for the ZAC Bottiére Chênaie in Nantes, France on the November 25th, 2013 edition of Le Moniteur.
This is how the magazine introduces KAAN Architecten project: “In a constant dialogue with the new ZAC’s landscape, the project joins together parallelepipeds shaped by inflections, holes and voids”.
Inside the October/November 2013 issue a full review of the renovation project.
Journalist Eva Vroom defines itsthe study square: “A generous and light space able to connect the various programme’s spaces in an elegant manner.”
In 2003 we agreed the Museum should be kept as a monument because a rapidly changing environment would increase its historical significance. Regeneration of the urban axis is now the foundation of the building’s restoration concept. We just have to wait a little while longer and then sand grey will be beautiful again.
Although hard to imagine now, Antwerp’s ‘Zuid’ (South) district only recently emerged from a difficult period in its history. Things slowly began to improve for the run‑down area only after the arrival of the Museum of Contemporary Art Antwerp (MUHKA) in 1987 and the Zuiderpershuis Cultural Centre in 1993. When we submitted to the selection process to design the museum’s master plan in November 2003, we were confident that the district would revitalize rapidly. Art, culture and the hospitality industry were already leading the way and architect Richard Rogers had already been commissioned to design a new court building that would be located at the former Zuiderplein on the site of Zuidstation, the railway station that was demolished in 1965. The arrival of law firms, which would undoubtedly take up residence within walking distance of the court building, would ensure that the South district would quickly regain its allure. And an urban district that gains in standing will reflect the spirit of the new era rather than be conserved. We were awarded the contract for our pitch that the Royal Museum of Fine Arts Antwerp should be conserved because a rapidly modernizing environment would increase its historical significance.
Ten years later and South is now a trendy district. It looks as though the court building has always been there and Zuidstation never was. The station, which was built in 1898 based on a design by the Ysendyck brothers, was part of the urban expansion at the end of the 19th century. The star‑shaped street pattern of the South district with its dramatic axes are characteristic of the urban planning ideas of the fin-de-siècle. The Royal Museum of Fine Arts is centrally located at Place du Peuple on the Schelde–Zuiderlei axis. It was one of the first public buildings and architects Winders and Van Dyck almost literally allowed the urban axis to run through the building as an extension of public space, reinforcing this with appropriate colours and materials now lost. For a long time, as was the case with respect to the district, the old museum building was not valued. To those in the second half of the 20th century, the 19th century was not that long ago and its architectural style was considered to be excessively monumental.
Re-establishing the experience of the urban axis in terms of colour and material now forms the foundation of the building’s restoration concept. Just wait a while and in the 21st century, sand grey will be beautiful again.
You can download the PDF version via the link down here and you’ll find Dikkie Scipio’s article from page 35.
The blueprint for the refurbishment and extension of the museum is ready: a monumental building entrusted to paper in flat and folded form. Is huge for a reason: it was designed and built to impress. Is therefore more than a museum building, it is an important part of its own collection.
The blueprint for the refurbishment and extension of the museum is ready: over 150,000 m3 of monumental building have been entrusted to paper in flat and folded form. Sixteen boxes with forty archive boxes contain 150 drawings and approximately 100 structural detailing, along with 16 lever arch files that contain specifications (documents that specify exactly what and where materials will be used). Waiting in our corridor, they will shortly be sent to Brussels, where they will be used for the European tendering procedure to select the contractor that will carry out the project’s second phase, the actual refurbishment and extension works.
The 19th-century building is large, or perhaps better said: voluminous. Yet, one does not get the full sense of its scale when viewing the drawings. The historic building’s clear floor plans are symmetrical again and easy to read, and the old walls are between 60 and 80 cm thick which optically reduces the size of the building as drawn by half. Regardless of how well you know the building, the scale is deceptive and it is always the figures that remind you of the building’s actual size. The footprint is almost 10,000 m2, museum gallery space will total 7,400 m2 following the refurbishment and over 3,300 m2 of existing roof will be renovated, for example. Other figures are even more remarkable. For example, 15,000 m2 of thermal insulation is required for the channels and the construction’s rolled box beams will account for no less than 835,000 kg of steel.
Even so, the grand lady still stands tall beyond her stature for she was designed and built to impress. She was first showcased in 1894 during the second World’s Fair in Antwerp. Aquariums for subtropical fish were immured in the ground-floor corridors for the event. The map of the World’s Fair indicated the Musée des Beaux-Arts as attraction number 118 and the sous‑sol aquarium as attraction number 119. This was the 19th century. People were fascinated by technology, travel and discoveries. It was the century in which chemistry became a science and the principles of biology were established. It was also the century in which, for the first time, large collections of art were put on permanent display for ordinary citizens. Antwerp’s Royal Museum of Fine Arts is therefore more than a museum building. It is a building characteristic of its era and is therefore an important part of its own collection.
You can download the PDF version via the link down here and you’ll find Dikkie Scipio’s article from page 40.
The building work has been completed, demolition can begin. We are gradually revealing what has remained hidden for so long. The museum will later be completely exposed, showing us its true beauty before we dress it again for the 21st century.
The building work has been completed, demolition can begin. This statement seems to be paradoxical, so perhaps some explanation is in order. Up until now, the overriding focus has been on building the new art storage centre at the museum’s bomb-proof heart and then creating a route to transfer the works of art that were being stored in the museum to the new art depot. Although the museum’s original layout comprised of a sequence of rooms through which visitors could pass, its natural flow became blocked by the multiple uses that were added to the museum over the years. Directly above the entrance for example, one of the most beautiful and monumental wings became home to a number of very large works of art that, mysteriously had made their way into the space, but were now impossible to remove without cutting away parts of the walls. And so we sawed.
The paintings from the Rubens Gallery were able to be lifted through the hatch in the storage centre. For a few moments each painting, of tremendous value as a work of art, was no more than the sum of its weight and dimensions. Never before have so many of these works been seen from the back: a Rubens that was just a heavy colossus consisting of a number of wood panels – with a carved Hand of Antwerp – bound together by large iron bars. Its construction was like that of a building: monumental and solid. This is the ethos we will return to.
The galleries are now empty and, without the works on the walls, appear even larger than before. In the 19th century, a walk in the museum was like a walk in the park. There was no climate control, nor even electricity. The museum simply closed its doors when darkness fell. Systems were later installed for the comfort of the public and the well-being of the art, but these are now outdated. We are removing them just as we are removing everything else that has accumulated in the museum over the years. We are gradually revealing what has remained hidden for so long. Soon the museum will be completely stripped and exposed, showing us its true beauty before we dress it again for the 21st century.
You can download the PDF version via the link down here and you’ll find Dikkie Scipio’s article from page 17.
A work in progress, the storage area, a cavernous empty space at the heart of the building vaulted like a cathedral, awaits the many valuable works that will fill it. Shelves and paintings a place where the work ripens until it is ready to be shown to the public.
This month, the storage facility at the heart of the building is, at last, complete. The empty, cavernous space, vaulted like a cathedral, will soon be ready to receive its many valuable works of art. Once the space is filled, it will be the museum’s treasure trove. For now, and only briefly, it is a space of beauty, strength and security: a cathedral for art.
Strewn around the garden are 90cm-thick chunks of stone, remnants of the 125-year-old protective walls, sawed out to create access for the ventilation channels.
Storage racks will be installed and then the paintings will be ensconced, leaving little trace of all that went before to accommodate this. Only the initiated understand the long road travelled before a building is ready for use. Like the production of a painting, the public generally only sees the end result. People can sometimes catch a glimpse of the building behind the scaffolding, yet they are rarely allowed to enter a studio. This is where experimentation takes place, concepts are explored and compared, and skilled craftsmanship is exercised. In this protected environment, the artist does not have to account for his or her choices or explain his or her inspiration. This is where the work ripens until it is ready to be shown to the public.
On rare occasions, one gets the opportunity to view an unfinished work and consequently becomes more aware of the wealth and variety of layers that have gone into it. This is the case with respect to Jan van Eyck’s masterpiece ‘Saint Barbara’, which is currently on loan at Museum Boijmans van Beuningen in Rotterdam from our Royal Museum of Fine Arts in Antwerp. The story of a Syrian nobleman’s daughter who converted to Christianity is told by means of symbolism and drawing. More than that, however, the panel magnificently shows a gradation of detailing – from relatively undefined and sketchy to extremely detailed and coloured. Van Eyck placed Saint Barbara in front of a large Gothic tower that is in the process of being built, a construction site like ours. For now, ours is likewise a work in progress.
You can download the PDF version via the link down here and you’ll find Dikkie Scipio’s article from page 48.