The Global Centre on Adaptation (GCA) will soon have a new home in Rotterdam that reflects its dedication to managing climate change. Powerhouse Company, also based in Rotterdam, has revealed its design for Floating Office Rotterdam (FOR), a fully self-sufficient and energy-neutral timber structure that will float on the port of Rijnhaven. Powerhouse Company has integrated several advanced sustainability measures in the design of FOR. The waters of the Rijnhaven will provide an ample source for heat exchange below, and an open gable roof will be split between solar panels and greenery. Overhanging floors throughout the building will shade lower offices from the sun while still allowing for large windows and plenty of daylight. In addition to the offices, FOR will house a restaurant with a large terrace and a “floating pool” within the Maas River. The GCA was launched in the fall of 2018 by former UN Secretary General Ban Ki-moon. The commission is rooted in the development of measures to manage the inevitable effects of climate change through technology, planning, and investment. Ban's co-leaders of the GCA include Bill Gates and managingdDirector of the International Monetary Fund Kristalina Georgieva. To GCA staff, the new building is a fitting representation of their work in exploring a sustainable future: “As the world’s climate changes, extreme weather events and rising sea levels present new challenges for architects. Embedding resilient features into a design before disaster strikes not only makes economic sense but it can also help us to mitigate against climate change,” said Patrick Verkooijen, CEO of the Commission, in a press statement. Construction of the FOR will begin at an offsite location in Rotterdam in spring 2020 before the finished structure is moved to the Rijnhaven.
Posts tagged with "Rotterdam":
Brought to you with support fromThe Museum Boijmans Van Beuningen (MBVB), located in Rotterdam's 10-acre Museumpark, is receiving a striking new addition designed by MVRDV. The Depot will house up to 125,000 of the museum's artworks not currently used for exhibitions, with over 70,000 of the pieces being made accessible to the public in a semi-curated format. In response to the site and the functional requirements of the project, Depot's spherical concrete shell has been clad with over 1,500 curved mirrored glass panels. For MVRDV, the location of the seven-story archive drove the decision to use mirror glass for the facade. "The project is situated in a piece of parkland between many cultural and medical institutions, so we did not want to turn our back to any of the neighbors, we wanted to visually enlarge the park," said MVRDV associate architect Arjen Ketting. "A piece of the park has been sacrificed to make space for this building, we visually reintroduce the setting in the facade." This effect is maximized by The Depot's circular massing which allows passing pedestrian to see around the corner of the structure towards the park's greater landscape.
concrete sphere that cantilevers over 30 feet in every direction. At its thickest, the sphere is one-and-a-half-feet in section—a built-in anti-burglary measure—and is punctured by just a handful of window openings to prevent sunlight from reaching the interior. Brackets were anchored into the structure during the concrete pour, and are further supplemented by a secondary network of small black frames; Rotterdam's municipal code requires secondary safety measures for facade cladding. Installation of the mirrored panels began in April 2019 and are arranged into 26 horizontal layers consisting of 64 identical panels, with each layer conforming to the curvature of the concrete shell. Prior to fabrication, the design team digitally unfolded the sphere's surface into a two-dimensional format inlaid with the cutting pattern, which was in turn exported to the manufacturer. Each panel consists of two layers of glass separated by multiple layers of reflective foils, which were curved together during the fabrication process. A layer of insulation produced by Kingspan backs the panels and facade installer Sorba incised the membrane using a 3D model of the supporting brackets to reduce thermal bridging. Although the bulk of the mirrored panels are subject to the same treatment, there are certain segments that correspond to nearby structures. For example, a significant block of the eastern elevation is composed of a less reflective coating to guard the privacy of patients found at the adjacent Erasmus Medical Center. Additionally, mirrored glass panels abutting windows are treated to transition to those transparent moments. The project is expected to be completed in Spring 2020 and will open in 2021.Depot broke ground in 2017 and rises from an approximately 22,000-square-foot concrete foundation that supports a seven-story, poured
In the heart of Rotterdam’s central museum campus, a mirrored vessel designed by the hometown MVRDV is currently under construction to house the Museum Boijmans Van Beuningen’s collection of approximately 151,000 artworks. Coined the “Depot,” the building will feature over 16,000 square feet of space and serve as the world’s first art storage facility that also offers access to the museum’s entire collection without the mediation of a curator. Located on the northern edge of Rotterdam’s Museumpark (realized by OMA with Yves Brunier in 1994), the building aims to be less visible from the exterior and instead offer more public access to the interior. With the intent of increasing Museumpark’s attractiveness as an international art complex, the Depot is roughly 130 feet tall and will be completely clad in mirrored panels once complete. A public route zigzags through the building, where 99 percent of the collection will be on display, among seven different climatic zones that will facilitate ideal conditions for art storage, offices, and the public. The rooftop terrace will offer a view over the city and harbor 78 planted trees, a sculpture garden, exhibition space, and a restaurant. The museum will also offer commercial storage spaces rented to private collectors, corporate collections, and other museums. If the renters so choose, these spaces may also be publicly accessible. The Depot represents a new typology that museums can learn from. The existing Museum Boijmans Van Beuningen building has been in desperate need for renovations, related mostly to its outdated electronic and climate-control systems and asbestos remediation. The motivation for the project was to replace the museum’s current storage facilities, which are too small, unsafe, and obsolete. However, even after the renovation of the museum buildings, an external storage facility was still necessary. The total investment cost of the project is approximately $96.5 million and was funded through a public-private initiative between the City of Rotterdam (which owns the majority of the collection), Museum Boijmans Van Beuningen, and the De Verre Bergen Foundation. The museum is continuing to fundraise among sponsors and donors; one initiative includes a scheme for "adopting" one of the mirrored panels. The building should be completed at the beginning of 2020 with an official opening in 2021. Once finished, the build must sit empty in the intervening year to allow for drying time, calibration of the climate control systems, and artwork installation.
The Independent School for the City embraces activism as an ideology for sustainable urban development
In treating the city with an acupuncture-like approach, Rotterdam’s new Independent School for the City combines small-scale and temporary projects with activism to counteract the effects of tabula rasa planning. Strategies and solutions like ice cream trucks and radio stations exemplify the school’s broad perspective on architecture and urban design. The school recently closed its inaugural year with an exhibition of ideas from its eight-day spring program “Borders are for Crossing” which investigated the visible and invisible borders that create physical, social, and economic divisions. Traditionally, the Netherlands holds tremendous collective confidence in its representative democracy, but corporatism and privatization are slowly but surely finding ways to nest in the country. This phenomenon is most widespread in cities—neighborhoods fall, revitalize themselves, land values rebound, and gentrification and inequality follow. As the school sees it, the pattern leads to more conservatism and only expands the need for an activist attitude in architecture and urbanism. The school’s brand of urbanism is exemplified in its home, the Schieblock building, a modernist office building in the heart of the city, which is also home to the school’s founders, Dutch planning and design practices Crimson Architectural Historians and ZUS (Zones Urbaines Sensibles). The area around the Schieblock building had been grossly neglected, but in 2009, amid the economic crisis, ZUS initiated a renovation of the building that secured six floors of central, flexible rental spaces for creative entrepreneurs. This act—taking a stake in the city—expresses the ideology that drives the Independent School’s agenda. This attitude grows from the credo of the school: independence. Rather than be obsessed with curricula and rankings, students are meant to be free to decide what topics are relevant and important to their fields. The school wants people to oscillate between craft, skill, and fields of knowledge, and wants to reimagine how topics are or could be related. Current research topics include migration, inequality, and climate change—though the school does not assert that these topics are original, new, or surprising. ZUS is now leading a studio and seminar summer program in New York City with Syracuse University titled “Gentrification Lab NYC.” Students will investigate architecture’s role and responsibility around issues of gentrification that revolve around economic, social, and political transformations. After three weeks of field research at the Fisher Center, Syracuse’s academic home base in the city, students from that program will join the Independent School’s Climate Utopia summer program. Learning from both the U.S. and Europe will provide insight into how people have tried to adapt to their changing local conditions and how climate change, migration, and the need for housing form the critical triptych for the 21st century. The school will continue into the 2019–2020 academic year, offering 12-week and yearlong programs, workshops, and collective assignments. Additional programming includes “School’s Out,” a Friday night celebration open to the public featuring talks, films, drinks, food, and tunes. Previous visitors include Georgeen Theodore, Peter Barber, Dore van Duivenbode, Lesley Lokko, Dirk Sijmons, and Maria Lisogorskaya.
A new school in Rotterdam will teach students to think critically about the links between urbanism and migration. Announced last month, the Independent School for the City will offer post-graduate students the chance to "celebrate complexity and contradiction in cities, and defend it against the forces that are making everything the same," according to Michelle Provoost, co-founder of Crimson Architectural Historians which is spearheading the new educational outlet. The school is a joint-venture between Crimson Architectural Historians, Dutch-based activist-architects Zones Urbaines Sensibles (ZUS), and DeDependance, a platform for city culture and debate in Rotterdam. Its pedagogy draws from Crimson’s and ZUS’s critical, activist approach to the city that seeks to effect real change by blurring the lines between critique and practice, as well as research and policy, and by initiating incremental change rather than large-scale city planning projects. The school builds on the belief that architectural, economic, spatial, and social strategies for the city should be based on real, first-hand empirical research into the city. Research methods will include filmmaking, journalism, history, art, graphic design, gaming, fieldwork, traveling, planning, finance, and architecture. The school will be located in Rotterdam but will be connected to an international network of cities, schools, offices, and companies. Initial course offerings include a series of masterclasses with professionals from various fields such as architect and exhibition designers Herman Kossman, urban sociologist Arnold Reijndorp, as well as designers Edith Gruson, and Gerard Hadders. Students will also learn from architect-filmmaker Jord Den Hollander and leaders from DeDependance. The first year’s topic of investigation will be migration, a subject that builds on the ongoing Crimson project City of Comings and Goings. After an initial three-month period of skill-development, the students will spend a semester abroad, expanding their research and testing their strategies in Shenzhen, Ghana, or Kiev. On their return, they will present their research in designs, strategies, or stories. The school will collaborate with CANactions in Ukraine, the Strelka Institute in Moscow, as well as ZUS and Syracuse University in New York. Special lecturers include Olly Wainright, Urban Think Tank's Alfredo Brillembourg, Assemble's Maria Lisogorskaya, Peter Barber, and Ghanaian architect/novelist Lesley Lokko.
Shopping these days is often done online, making street-level urban and suburban commercial retail spaces eerily vacant, but this was not always the case. Consider Rotterdam's Lijnbaan. The Lijnbaan, a large-scale development for Rotterdam proposed by Dutch architect Jo van den Broek, was made of housing and commercial buildings. Around 100 shops were built in two phases: the north part was completed in the 1950s, which is now preserved as a rijksmonument (a national heritage site), and the southern arm was done the 1960s and was open to change. Both arms received much publicity for their pedestrian orientation. This urban complex arose on the ruins of a Rotterdam that was bombed on May 14, 1940, by Hitler’s Luftwaffe. Cornelis Van Traa designed the urban plan for the center of the city and instead of following the historic forerunners of the street system, created a new system, precisely for a changed society. The freshly conceived apartment buildings’ designs were headed by Hugh Maaskant and his associates and, germane for our subject, the handsome "new objectivity" Lijnbaan shops along a mostly “L-Shaped” street system were credited to the architectural firm Van den Broek and Bakema. The main architects were Jaap Bakema and Frans van Gool. The former is the subject of a new book, Dirk Van Den Heuvel’s Jaap Bakema and the Open Society. Bakema gained his reputation for his participation in Team 10 and his large-scale building production. Van Gool designed but also oversaw construction and made stunning perspectives of the shops. However, the authorship of the Lijnbaan quarters is somewhat blurred, since responsibilities were shared by the architects’ offices and city officials, as occurs frequently in many urban projects. Mostly all the shops, placed in double rows in the 18-meter-wide plan, were built of reinforced concrete frameworks with prefab elements and brick walls filled in. Iconic canopies were made of steel and wood; they protected and ran along most of the shop rows. Also, there were seven lines of canopies that stretched across the landscaped areas that separated the shop rows. These in-between areas were furnished with many attractions; landscaped zones with flowers and trees were accompanied by kiosks and benches. Delightful for strollers, they now suffer from wear. While the southern arm of the complex is in turmoil, the northern part is being restored by Robert Wankel of Mei Architects. Most notable is their restoration of the Lijnbaan 77 on the corner of the Aert van Nesstraat. Working under the auspices of an area regulation pact, “Lijnbaanregeerakkoord,” Mei Architects have given the frayed parts of the canopies sensitively treated materials in accord with the preexisting concrete and wood. Even more recent is the work of Kees Kaan who has designed the Schaap en Citroen jewelers and fashion retailer COS shop on the corner of Karel Doormanstraat 278. Formerly Martin’s Tearoom, its 3-story corner block is incompatible with other 2-story Lijnbaan shops. Yet, it is tame in comparison with the towering blocks proposed nearby. The southern arm of the Lijnbaan, which is not eligible for 50-year preservation status, is being threatened by moneyed interests and a high powered designer, Rem Koolhaas, and his firm, OMA. Commerce is vital, but when it drowns out human values it needs to be upended. Multi Nederland is the developer and the "star" architect is Rem Koolhaas—former supporter of the social values of shopping and the preservation of historical modern buildings. Developer and architect have bowed to the expedient forces and designed an ugly tower complex (maybe they think it's delirious). Koolhaas and Reinier de Graaf, OMA's partner in charge, ignore the unified low-rise nature of the Lijnbaan shops. It is all very cynical as Dirk van den Heuvel, says—the city needs the money and automatically forgets the prize-making history of the Lijnbaan, the jewel of postwar Rotterdam’s modernist ideals. As the great urban historian, Lewis Mumford, pointed out, the shopping experience for pedestrians is of great importance. The anti-preservation forces even include Wessel de Jonge, co-founder of the Docomomo organization which purports to preserve endangered modern architecture. Demolition work has already begun on badly maintained shops, so the tragic end may be near.
Yesterday Ahmed Aboutaleb, the Mayor of Rotterdam, opened MVRDV's The Stairs project to the public in commemoration of the 75 year anniversary of the reconstruction of Rotterdam after World War II. The Dutch firm, who are from Rotterdam themselves, placed 180 steps traveling up from just outside Rotterdam's railway station to the rooftop of the Groot Handelsgebouw—one of the city's first post-war buildings and cherished landmark. On its inauguration, the installation (free to the public) attracted some 7,850 stair-faring visitors and will stay open until June 12. Coinciding with the project, a month of activities will include film screenings, debates, and art events at the Kriterion Cinema which will reopen especially for the event. Rising some 95 feet, the structure—comprised almost entirely from scaffolding assembled by Dutch company Steigers—includes a viewing platform at the top where people can take in expansive and often unseen views of Rotterdam. Responding to the impressive angular facade of Rotterdam Central Station, the scaffolding also explicitly references the city's reconstruction through material and its attachment to a post-war icon. “The stairs are a symbolic first step towards a better use of our city’s second layer, and ideally would be replaced with a set of escalators in the next step,” said MVRDV co-founder Winy Maas in a press release. “It is, in this way, a second reconstruction, a 'Tweederopbouw,' that gives access to, activates and connects the rooftops of Rotterdam.” For climbers in need of refueling and for those who just want to watch others struggle, The Lucht Cafe will provide refreshments while also offering an exhibition showcasing the future of the city. The exhibit will look at how rooftops interact with the cityscape and how new public spaces can establish connections between them. “With this installation and in our exhibition we show what this city could look like if we do that in many places, engaging a series of our existing buildings and giving access to their roofs, to create a new, much more interactive, three dimensional and denser urban topography for the next city generation,” added Maas.
The two-story concrete Fenixloods II, a former coffee warehouse for Rotterdam’s port, boasts a sign asking “What’s Next?” at the upper level entrance to announce the 2016 International Architecture Biennale Rotterdam (IABR) that runs April 23 to July 10. Inside, a Tyvek curtain is printed with introductory text and visitors can be immersed in a virtual reality film, an example of new technologies that are creating "mixed"—as opposed to fully virtual—reality (MR). A flat screen projects movies—created by the designers of IABR with Rnul Interactive—that show 10-year-olds who pause in their activities to say, “welcome.” Just a few steps into it, this seems to be a different kind of show. The exhibitions focus on what we can develop in the future: not just the “New Economy” but the “Next Economy,” both in terms of policies that direct design and design that directs policy in urban areas. Featuring a selection of over sixty projects on the themes of the healthy city, inclusive city, productive city, and sustainable city, the exhibition is curated by Maarten Hajer with exhibition design by Michiel van Iersel, the Belgium architecture firm 51N4E, and Dutch graphic designers 75B. It encompasses not only the call for projects (23 selected) but also country-focused guest-curated sections from China and South Africa. Those are joined by an additional group of ateliers from Holland, Belgium, and Albania that produced over the past year design solutions for sustainable and productive cities. Many projects combine DIY tactical urbanism strategies such as the Hackable Cityplot, in which designers and residents are revitalizing a former industrial area in Amsterdam with self-built housing and shared infrastructures. Others focus on issues of local value-added economies in contrast to the extractive and more abusive ones. The opening weekend included lectures and discussions with a welcome from Rotterdam’s Labour Party mayor Ahmed Aboutaleb. He spoke of the need for a “peaceful city” and articulated new ways of community-based planning in Rotterdam where the citizens are making their own neighborhood plan—something not unlike New York’s 197a plans. Curator Hajer animatedly moderated sessions on the productive city with Rotterdam and South African-based teams showing projects such as IShack, which is a solar power-based community electricity system in Stellenbosch Cape Town, and new manufacturing initiatives for Rotterdam The Hague region. The vast exhibition in the 2,600-square-meter-space is designed to mimic the public realm: there are no barriers between sections, enabling open views from one end of the warehouse to the other. This openness is punctuated by plywood constructions forming rooms for talks and hands-on work sessions. Large composite-board tables are the display surfaces for most projects' models and materials. Some tables, such as the one for the Living Necropolis, invite you to lie down to watch a video of the informal houses developed between cemeteries in Manila. Other displays include couches for watching films or settings for interaction. While many projects are regional (due to funding sources and other factors) numerous international projects are displayed. (This includes two from the U.S.) This variety of work demonstrates the potential for essential collaboration among designers, governments, and residents. While the pondering What’s Next? is intriguing, these projects now underway can serve as future models. These range from the mega-scale (regional sustainable energy infrastructures in the Netherlands, ways to house refugees in Europe) to the smallest-scaled item (Parallel Lab's canvas stool that turns into a backpack for use by merchants in the in-between spaces of Hong Kong). Therein lies the value of a show like this: ideas abound, but as a painted wall graphic of William Gibson’s prophesy attests: “The Future is Already Here.”
Boiled down to the basics, a dwelling requires facilities for cooking, washing, and sleeping. Rotterdam-based architecture firm Kraaijvanger appears to be sticking closely to that margin with this prototype. Their creation, De Hub, is a modular unit that can be added to empty apartments to provide these basic functions. Easy to assemble and dismantle, the minimalist De Hub contains a kitchen, a bathroom, and a toilet, plus a heating unit, a sound system, and an internet connection. The first Hub, installed in Rotterdam, has so far been a success. Constructed using blockboard and solid-core board, and secured with Lamello hardware, the Hub sources utilities like water and electricity through piping and wiring in the floor below. De Hub originated as the winning submission to a local Rotterdam housing association's “how will we live in the future?” competition. In one possible scheme for these units, the firm may encourage clients to rent modules instead of purchasing them outright. This essentially lets users borrow the necessities of dwelling without buying an actual home. The modules can subsequently be restored and made ready for reuse elsewhere. Supplementary hubs, such as the "Bedhub," can fill additional space. Kraaijvanger is also considering designing other Hubs, including a solar energy module and a hub for growing vegetables. This prototype in Rotterdam remains to be the only unit in use; no others have been sold and no pricing scheme is in place. Kraaijvanger aims to improve their modular product before putting it on the market in the Netherlands.
OMA's Timmerhuis project for Rotterdam, a gleaming stack of municipal offices, will open to the public on December 11, 2015. The mixed-use building will primarily house office space taking up 262,000 square feet with residential, parking, gallery, and retail spaces occupying the rest of the building. The design for Dutch developers Ontwikkelingsbedrijf was lead by OMA partner Reinier de Graaf and associates Alex de Jong and Katrien van Dijk and will be only a stone's throw away from the firm's other, already built project in the city—the towering De Rotterdam. A modular aesthetic is created via the stratified composition of repeated units stepped back from the street and would be reminiscent to a game of architectural Tetris if it weren't for the building's glass facade that makes use of high-tech,translucent energy-efficient insulation. Adaptability was a key component to the project's program, Rem Koolhaas said in a statement. "Units can be added or even dismounted from the structure as demands on the building change over time, and can adapt to either office space or residential parameters as desired." OMA also wanted to create the possibility of having an apartment with a garden in the city center, so green terraces are featured on higher levels while overhanging modules create open spaces at street level, adding a private/public threshold between the dwellings at the city. According to Koolhaas, the design brief required Timmerhuis to be "the most sustainable building in the Netherlands." OMA achieved this via the buildings flexible program and thanks to two large atriums which essentially act as the "building's lungs." These lungs are integrated into a climate control system that retains the summer heat, releasing it in the winter. Likewise, cold air from the winter is stored to be released in the summer. "Rather than being yet another statement in Rotterdam's crowded history of revisionist planning and cacophony of architectural styles, the ambiguous mass of the Timmerhuis tries to mediate between the existing buildings surrounding it," Koolhaas said. "The axis between the existing town hall and the post office coincides with the axis of symmetry of the Timmerhuis , and the street between these two buildings continues into a passageway to the Haagseveer," he continued. "The Timmerhuis integrates with the neighbouring Stadtimmerhuis by maintaining the same floor heights, while the plinth height of 20m conforms to the character of the surrounding Laurenskwartier."
Het Nieuwe Instituut (HNI) is an arts institute for exhibitions, lectures, and research on architecture-and-design-based disciplines in Rotterdam. The institute's Dutch compatriots MVRDV have just signed a contract which will see the practices early work be uploaded to a new digital archive. The collection will feature MVRDV's work from 1993–2008 and both parties have agreed for the online database to be updated in the future. HNI also aims to make the collection open to the public at a later, yet-to-be-decided date. To quantify the scale of the database, it will boast 400 MVRDV projects, stored in eight terabytes. The archive hopes to illustrate the firm's architectural development over time. "We have discussed various possibilities with museums around the world, and we will also give parts of the archive to other collections," Jacob van Rijs, architect and co-founder of MVRDV, said in a statement. "But because our archive is digital, there is an opportunity to show every project book we’ve ever created at HNI. That will be a treasure trove for researchers." Some of the projects featured will include: Villa VPRO, the Silodam and the Markthal Rotterdam, as well as more theoretical projects based on data analysis, an early fascination of MVRDV: Meta City Datatown, Pig City, and 3D City Cube.
This month, Adriaan Visser of Rotterdam's city council and Adriaan Geuze, principal of landscape architecture firm West 8, unveiled a new plan for the municipality's 0.6 mile long Coolsingel. The streetscape aims to restore the allure of the 19th century boulevard which once defined the area. Boasting a new green esplanade with natural stone paving, the street will have a two-way bike path that is expected to liven up the space which is currently dominated by cars. Officials reiterated that West 8 in tandem with local authorities hope to make the boulevard into a place that is comfortable for both pedestrians and cyclists. They added at one day Coolsingel could become the new heart of downtown Rotterdam. West 8 described its proposal as a place for "all seasons." Utilizing a pre-existing green space, the Rotterdam- and New York–based firm calls for an environment that will be "framed by trees, terraces and pleasant seating areas." Changes to the Coolsingel are part of a wider scheme called the Binnenstad als City Lounge program (literally, the City Center as a City Lounge) that intends to kick-start developments in the city to make it "more lively and attractive." In what is becoming quite a trend, streetscape projects that aim to prioritize pedestrians and cyclists are cropping up more and more as architects and cities notice the importance of place making. Recently, six United States–based placemaking organizations were awarded $3 million each to develop their respective cities. Other pedestrian-first projects of note include Danish firm Bjarke Ingels Group (BIG)'s Superkilen, which added a splash of color to Copenhagen's streets with its street-turned-park-turned-museum. Like Rotterdam, Mexico City is also set for a environmental injection as Fernando Romero, principal at FR-EE, just revealed plans earlier this summer for a green street in the capital city's Avenida Chapultepec.