Galeries Modernes is located in the very centre of Rotterdam, where an interesting mix of contemporary architecture and post-war buildings meet. The demolition work is almost completed: the interiors and facades have been removed, so the original concrete structure designed by Van den Broek en Bakema in 1957 is now clearly visible.
Our design proposal introduces an all-sided facade design in which there is no front nor back. The facade located on Grotekerkplein has always served as an expedition area for the old department store; soon the hotel’s entrance will be located here. Three retail spaces will open up on the ground floor towards Hoogstraat, framed by a 4.2 meters high glass facade.
The basement will be made accessible again. The largest surface will be rented out as retail space, while a smaller area will be dedicated to the hotel’s bicycle parking facilities. The old department store stairs and elevators’ hatches are currently being closed.
The 180 rooms of the hotel are equally distributed on the upper floors, positioned along the outer walls and the inner patio, a new feature for the renovated building. Large sections of building floors, from the first floor up to the roof terrace, are being demolished to make room for this wide patio that will bring light, air, and greenery into the building. The historical Laurenskerk will be clearly visible from the multiple lookouts offered by Galeries Modernes, creating spectacular views.
On Tuesday, 28 September 2021 at 20.00, Pakhuis de Zwijger will host a MINUTES event titled ‘Building Stories – Architecture on Film’. See you there!
During the event at Pakhuis de Zwijger, a curated selection of 2 films and a performance from the MINUTESseries will be screened. The event will be a hybrid between a screening and a talk followed by live and online audiences.
This period of intense uncertainty inevitably led us to reflect on our lives and the physical (or symbolic) space we occupy in our environment and society. The three selected projects reflect on the ‘meaning of being’, metaphorically touching the topics of birth, death and immortality.
It emerges through the forces of creation (Craftedby Benitha Vlok), the acceptance of mortality (Staticby Spirit of Space) or possible immortality (Notes on an Immortal Being by Jaime Levinas). Building stories will explore this conceptual fil-rouge crossing over the 3 projects while discussing the potential of intertwining cinema, architecture and other creative practices.
The talk-screening Building Stories will be moderated by Dana Linssen, a film critic and writer. During the evening, 3 works from the MINUTES series will be presented by Benitha Vlok(via Zoom), Spirit of Space and Jaime Levinas, introducing his upcoming expanded cinema project ‘Notes on an Immortal Being’ with a performance. Besides them, KAAN Architecten founder and associated partner Dikkie Scipio and Martina Margini, MINUTES film series curator, will also participate in the discussion.
To explore the MINUTESproject, visit the project website.
The Royal Museum of Fine Arts in Antwerp has been closed for renovation and extension for ten years and will finally open its doors to the public. Scroll down to find out when!
The fully renovated and extended museum will open its doors to the public in just under a year, on 25 September 2022! The long-awaited opening of Antwerp’s landmark museum was announced with a festive moment this weekend in the presence of Jan Jambon, Minister-President of the Flemish Government and Flemish Minister of Foreign Affairs, Culture, Digitization and Facility Management and Luk Lemmens, chairman of KMSKA board of directors.
Photograph by Stijn Bollaert
The museum will welcome the visitors by exhibiting the highlights of its collection as well as new modern pieces in the additional 40% more exhibition space due to the extension by KAAN Architecten. Explore the full project on our website. For more updates, stay in touch with KMSKA here!
In ‘Making of KAAN’, we uncover the stories behind some of our most known projects as told by the designers who worked on them. Through personal anecdotes and lessons learned, meet the team that makes KAAN Architecten. For the first edition, we spoke to Walter Hoogerwerf, the project leader on the renovation and extension of the Royal Museum of Fine Arts in Antwerp. Find out how this process shaped him as an architect and his favourite memory of the project!
The process of renovating and extending KMSKA has been at the same time delicate and respectful to the old building but in other parts quite radical when it came to building up the extension. How did you navigate between the two approaches?
Interesting topic. First of all, I’ve never considered it as two different approaches. For me, it is one project where every part was worked on with the same delicacy, attention, respect and, indeed, radicality. Although the monument required more time researching on-site, working with the unknown and dealing with surprises to get, for instance, the same level of integrated details we designed on paper in the new extension.
In our vision, the new spaces are a completely different world with new experiences and possibilities, set apart from the monumental spaces. Therefore, the materiality of the two also required a big focus on contrast. In the monument, we searched for the artisan, the craftsman’s hands, the oak and the wax, the age and the wear, the scale and the weight. At a certain point, I had to explain to the plasterer not to make the walls too smooth, the parquet installers not to close the gaps, things like that. Beautiful but not perfect, matching the monument. Smooth straight surfaces were for the new museum. A similar thing about the paintworks; no perfect spray in the monument but visible brushstrokes. Even on the ceilings.
L: Karin Borghouts, R: Toon Grobet
The abstract immaterial spaces of the new museum had the same attention to materiality. Choice of paint, delicate PU floor with depth, floor boxes in marble and messing, infamous zero-point details, immaculate skylight, those kinds of things. No visible marks of the craftsmen, of the effort, of the engineering, but even more necessary so.
We were also quite radical in the monument to resuscitate it; no small changes were made. The colours, for example, are a far cry from what they were; we’ve even inverted the wall-ceiling contrasts. Most colours were not exactly what we measured but were made more saturated, some colours darker, some colours acting as an intermediate. All decided after applying test surfaces.
KAAN Architecten archive
Radical breaches in the monument were necessary to give the new museum its hidden routing possibilities. On the other hand, the new building, where the installations were built in two technical towers and main air distribution filled an entire floor, serves as an infuse for the monument delivering air, heat and cooling. The new and the old need each other; they rely on each other functionally, technically and materially. That is why it is one project and not a monument with an extension.
The project itself took around 17 years, from conception to finish. The conditions for which it has been designed and in which it will continue to live have changed during that time – how do you keep a design relevant to conditions in flux?
This is a situation that is a reality we are facing in almost every project, although in different proportions. 17 years is a lot, but it took a good 6 years of contracts, master planning and budget finding before the design work could start. We had a good concept, widely supported, strong enough, but not too determined, able to remain all those years: hidden new museum built up within the courts of a revived and freed monument. We could keep using it as a starting point with every new development, enhance it and improve it. We fitted new developments within this framework, and under our control, we kept the consistency in the project.
L: Karin Borghouts, R: Stijn Bollaert
What iterations and changes did you have to make?
One example of this is the redesign of the public facilities with a more generous restaurant, shop and receptions facilities. In the design of phase 2, the budget had to be focused on exposing and preserving the art and the monument for the community. Public facilities, or more precisely, commercial facilities, had to be modest. In 2017 KMSKA changed from a government agency to a non-profit organisation, with more autonomy on finance and development. At the same time, the expected visitor numbers had increased. These conditions made possible, and for KMSKA necessary, a redesign of the public facilities. We could stay within our defined public zone at the front of the building. In fact, extra square metres were found by moving the library office to the back of the building. This way, the entire front became public, and the library reading room became more prominent, with event possibilities.
Most importantly, we had the commissions for all the major phases and disciplines in my team; phase 1, phase 2, security, public facilities, offices and ateliers. This allowed for all these parts to be as consistent as a project can be. With other parts, the ones out of our control, the consistency is not self-evident.
I can only assume this is the longest-running project in your career, and as such, it must have shaped you as an architect – what are the lessons you learned along the way?
It definitely shaped me as an architect. I’m in my 12th year on the project now with one more to go, and I must say it is hard to imagine not working on it. I’ve got the chance to work on it from the start of the preliminary design, from the first phase all the way up to the delivery of the final phase. I was always very aware of how rare that is, but also that I wouldn’t want it any other way.
I learned how vulnerable a project is in this kind of long process. Everything could have and did, in fact, happen. Imagine changing four ministers of culture and three museum directors, new personnel in our design teams, the client’s team and the KMSKA team. Also, imagine working without a set budget and programme at the start. At a certain point, you become the guardian of the project, and I liked that. I noticed recently that it is hard to let that go.
Another thing is the importance of investments in personal contacts. Not only to make sure the mutual understanding is enduring but also to build what we’ve envisioned. I realise that what we designed is in many ways quite out of the ordinary and needs enthusiastic collaboration to get built. Together.
L: Karin Borghouts, R: Sebastian van Damme
Then there’s bound to be many interesting stories from such a long collaboration. Does any particular story or anecdote stand out?
There are so many, but one that is very dear to me is about colours. Halfway through the construction, doubts were raised about the colours of the museum spaces by someone external to the design process (see my previous point about vulnerability). There was a big debate about our design with the clear white, night blue and saturated dark reds, greens and browns instead of their suggestion to make everything light grey. Indeed, everything in light grey – walls, ceilings and wherever possible, also the floors.
Our approach to clarify this situation for everyone involved was to prepare for a meeting meticulously. We built up a clear argument and made a presentation that outlined our design’s intentions and results compared to the light grey one step by step, from the generic to the specific, with the projected artwork and big colour samples. All this without judgement, relying very much on the quality of our intent. At that time, the most precious artworks of the KMSKA collection were exhibited in an early 17th century premises in Antwerp: Rockox House. We proposed to meet there, among the art, to make the subject tangible and, most importantly, to prevent a theoretical discussion. A new context can be an eye-opener.
This meeting cleared up the subject very well for everyone, as you can see in the built result. To drive the point home, we took the colour samples to the paintings. There I was holding a large NCS 4550-Y90R sample right next to Fouquet’s Madonna surrounded by seraphim and cherubim from 1456. We showed the wall colour samples next to different paintings and got the KMSKA team of art historians assured and even more enthused. In fact, it generated the decision to have another series of rooms, the so-called “salon”, coloured in dark green because it matched better with the artworks planned for those rooms.
L: Karin Borghouts, R: Stijn Bollaert
Many museums ask for rooms as neutral boxes to be filled and coloured by the exposition works. I think that is an unnecessary pity. In KMSKA, we managed to keep the architecture’s coherence, the vision of the monument and the new museum all in harmony with the art. And colour played a more significant role in this than I could have imagined. Our goal for the KMSKA is not only a beautiful, well-built container to experience and preserve the collection, but having the building as a part of the collection, part of the experience with a presence of its own. I’m sure we have achieved this. I can’t wait for the opening.
Walter Hoogerwerf is a project leader at KAAN Architecten currently working on the last phase of the Royal Museum of Fine Arts in Antwerp, as well as the renovation and extension of Paleis Het Loo in Apeldoorn.
Interviewed by Valentina Bencic. Featured image by Stijn Bollaert.
Explore the museum under construction in the video below!
We are delighted to introduce the short film ‘Ruling’, now freely available worldwide on MINUTES web platform.
Directed by Dutch filmmaker Dorian de Rijk, Ruling portrays the imposing Supreme Court of the Netherlands in The Hague. The camera explores the space, choreographing justice procedures and reading the architectural program as if it were a case at the Court. It circulates through different chambers and domains, ending up in the main courtroom.
Ruling investigates the semiotics of power and what it means to rule today. This procedure is translated into an aesthetic gesture that enhances the timeless architecture of the Supreme Court and its design coherency that expresses the innate duality of a court of law – being open and transparent yet safe and secure.
The movie was already exclusively previewed during the 2019 ADFF Short Films Walk: New York and in a joint event with the Architecture Film Festival Rotterdam (AFFR), Galerie de Jaloezie, and Roffa Mon Amour at the 2021 Rotterdam Architecture Month.
This film marks the fifth release for the eponymous series, consisting of 12 short movies directed by international filmmakers and portraying a selection of projects by KAAN Architecten.
Organised by the Fundació Mies van der Rohe with support of the Creative Europe Programme of the European Commission, the Award is dedicated to recognizing and commending excellence in European architecture. The Jury will announce the shortlisted works at the beginning of 2022, while the winners will be announced in April 2022.
Chamber of Trades and Crafts, Hauts-de-France Photograph by Sebastian van Damme
Amsterdam Courthouse Photograph by Fernando Guerra FG+SG
Last week marked the official start of construction on The Stack, a residential complex in Amsterdam’s Overhoeks district, located north of the city centre, along the river IJ.
‘Aan het IJ’ is an area development project by Amvest where KAAN Architecten is designing The Stack – a residential ensemble of two buildings connected with underground parking comprising both owner-occupied and rental apartments. Kondor Wessels Amsterdam will act as the main contractor for the project aiming to complete the construction by the end of 2023.
Besides KAAN Architecten’s The Stack, ‘Aan het IJ’ includes projects designed by Orange Architects, KCAP, De Zwarte Hond, Powerhouse and Studioninedots.
We are excited to introduce the short film ‘To Become One’, now freely available worldwide on MINUTES web platform!
Directed by French directors Romain Loiseau and Tristan Soreau, ‘To Become One’ follows the movements of a fictional protagonist equipped with a protective suit as she explores different spaces of an empty building, clinically silent. Abruptly, she senses the presence of someone else around her.
The Institut des Sciences Moléculaires in Orsay unites two architecturally expressed realms, housing theoretical and practical research, into a single entity. ISMO building is therefore distinguished by a harmonic coexistence of nature and scientific research. The split-screen of the short movie ‘To Become One’ enhances the metaphor of the feeling of duality and accompanies the viewer until the main character’s ultimate discovery.
The jury of the 3rd edition of the Simon Architecture Prize has decided to exceptionally grant a Special Mention to the film “To become one”, directed by Romain Loiseau and Tristan Soreau on the Institute for Molecular Sciences’ project in Orsay (France) by KAAN Architecten + Fres Architectes. The jury explained the reason for their decision: “In an effort to defend how much cinema can contribute to the representation and knowledge of architecture, far from being just a communication and promotion tool.”
This film marks the fourth release for the eponymous series, consisting of 12 short movies directed by international filmmakers and portraying a selection of projects by KAAN Architecten.
On a recent visit to the construction site of iCampus in Munich’s Werksviertel district, we have captured the progress on the three office buildings.
The facade works are nearly finished, with over 800 prefab concrete elements installed across the three buildings.
These modules are the largest prefab concrete elements KAAN Architecten has designed as of yet. Their size implies fewer structural joints and plays an essential role in making them not only cost-effective, but time-efficient. In this way, the crane moves faster and completes the mounting in less time.
Each building also features a central atrium as a binding element between the different floors. With a gridded glass roof acting as a lantern above the top floor, the atrium prevents heat accumulation and brings in abundant daylight.
On 28 September 2021, Pakhuis de Zwijger will host a MINUTES event titled ‘Building Stories – Architecture on Film’.
The event will delve into the social impact of architectural communication with participating filmmakers and invited guests by analyzing three completely different approaches to portraying architecture.
How can filmmaking generate new ways of communicating the built environment? Whether it is bringing the building to life with speculative scenarios, or portraying it in its perceived idleness, cinema appears to be the right contemporary medium to capture something so dynamic and ever-changing as the architecture that surrounds us.
Save the date by making a reservation at the link. More info to follow!
In the meantime, follow MINUTES on Instagramfor the latest updates and visit the websiteto watch the released movies.
The lookbook for the latest collection by the Belgian designer Walter Van Beirendonck has been photographed inside the Royal Museum of Fine Arts in Antwerp.
The Spring Summer 2022 collection, named ‘Neon Shadow’ is inspired by subcultures arising in the digital world. The designer wanted to present the different silhouettes as works of art and therefore placed the models on pedestals as sculptures. The light and space of KMSKA make for a perfect backdrop to showcase the brightness of the collection.