"We encounter similarities and difference, but what we encounter more than anything else is how intensely all these seemingly stable elements are evolving in time. Sometimes with acceleration, sometimes with moments of stagnation, but actually they are constantly changing. So what seemed to be a look at the repertoire is actually turning into a look at how nothing is stable." - Rem Koolhaas
Hans van Beek with Mark Bruin, Jeroen Ekama, Paul Fouchier, Emile Jansen, Menno Roefs
Hans van Beek, Wessel Reinders, Ellen Vaal, Elisabeth Tukker, Thijs Klinkhamer ism Kleurmerk (Erna Tielen)
Design Duo Competition
Hans van Beek ism Dorte Kristensen en Christina Kaiser
Hein Doeksen, Mark Homminga and Ernstjan Cornelis
Mira van Beek, Ido de Boer, Roel Buijs, Mart Buter, Antonio Cannavacciuolo, Diana van Dongen, Michel van Gageldonk, Corine Jongejan, Priet Jokhan, Christina Kaiser, Hans Kalkhoven, Arthur Loomans, Mattijs van Lopik, Marjon Main, Cock van Meurs, Katarzyna Nowak, Paul Olink, Andrew Page, Emile Quanjel, Ferry Raedts, Sandrine Rointru, Arie van der Toorn, Felix Timmermans, Tobias Thoen, Paul Verhaar, Robert Witteman, Wais Wardak.
Oosterdokseiland 143, 1011 DL Amsterdam, The Netherlands
Architect in Charge
Design team Architects (exterior)
Jo Coenen, Geert Coenen, Iwert Bernakiewicz, Max Bachinov, Gerard Extra, Hans Schoot, Will Stokkermans, Bart Erens, Frans Wesseling
Design team Architect (interior)
Jo Coenen, Margriet de Zwart, Wil Ummels, Miriam Boot, Annebregje Snijders, Michela Barone, Ingrid Annokkee, Neeltje ten Westenend, Claudy Jongstra, Martijn Sandberg, NAT-architecten, Peter van Kempen, Gerard Extra, Will Stokkermans
The Dutch architect, identified as a “compelling exponent of the Dutch welfare state,” was a leading voice within the international avant-garde movements CIAM (International Congresses of Modern Architecture) and Team 10. Inspired by the belief that “architecture should accommodate the emancipation of the masses while allowing for the self-realization of the individual citizen,” his portfolio includes some of the Netherlands’ most important postwar projects, such as the Rotterdam shopping street Lijnbaan.
The Rijksmuseum, which reopened last year after a decade of restoration and remodelling, is a museum dedicated to “the Dutchness of Dutchness.” Pierre Cuypers, the building's original architect, began designing this neogothic cathedral to Dutch art in 1876; it opened in 1885 and has stood guard over Amsterdam'sMuseumplein ever since.
Over the centuries, the building suffered a series of poorly executed 'improvements': intricately frescoed walls and ceilings were whitewashed; precious mosaics broken; decorative surfaces plastered over; and false, parasitic ceilings hung from the walls. Speaking in his office overlooking the Rijksmuseum’s monumental south west façade, Director of Collections Taco Dibbits noted how the most appalling damage was incurred during the mid-20th century: “everything had been done to hide the original building […but] Cruz y Ortiz [who won the competition to redesign the Rijks in 2003] embraced the existing architecture by going back to the original volumes of the spaces as much as possible.”
For Seville-based Cruz y Ortiz, choosing what to retain and what to restore, what to remodel and what to ignore were, at times, difficult to balance. Cruz y Ortiz found their answer in the mantra: 'Continue with Cuypers'. They threw the original elements of the building into relief but did not act as aesthetes for the 'ruin'. In contrast to David Chipperfield and Julian Harrap's restoration of Berlin'sNeues Museum, for instance, Cruz y Ortiz rigorously implemented a clean visual approach that favoured clarity over confusion. What is original, what is restored, and what is new mingle together in a melting pot of solid, understated architectural elements. Sometimes this approach contradicted Cuyper's original intentions; however, more often than not it complements them in a contemporary way.