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© Sebastian van Damme
With its warm yet neutral gray-beige color and clean structure, Jura limestone comes into its own on exterior façades. This European limestone was formed in Jurassic lagoons and contains fossilized sea creatures like ammonites and belemnites – a perfect choice then, for our waterside Villa MW. Seams of calcite give it a marble-like appearance, especially when crosscut.
© Sebastian van Damme
A sculptural staircase connects the two floors and is bathed in daylight thanks to the skylight above. Wood is used throughout the interior: oak for the staircase steps and handrail, with wengé and walnut wood for all the “permanent furniture” (cupboards, shelving, headboards and divides) of the living room, kitchen and bedrooms. The quietly luxurious materialization raises the whole atmosphere of the villa. The natural marble seating elements by the staircase here echo the Jura limestone used for the facade of the upper floor.
AmsterdamNoord-hollandNetherlandsPaula-pintosSebastian-van-dammeVilla-mw-powerhouse-companyPowerhouse-companyஆம்ஸ்டர்டாம்நூற்த்-ஹாலண்ட்நெதர்லாந்துபால-பிண்டோஸ்செபாஸ்டியன்-வேன்-அணைWords by Anna Winston
Rotterdam-headquarted KAAN Architecten has revealed the initial phases of an ambitious renovation and extension of the Royal Museum of Fine Arts (KSMKA) in Antwerp, 18 years after winning the contentious project.
Led by co-founder Dikkie Scipio, the firm’s team has created a ‘museum-within-a-museum’, completely restoring and refurbishing the existing 19th-century building and creating a large, new, 21st-century structure at its heart, where there was once a courtyard.
The resulting plan is complex, with a layering of different scales and uses, including walkways in the new museum that cut across the 19th-century galleries and are hidden within the walls of the old building and public facilities like a restaurant, which all connect to the museum plaza.
NetherlandsBelgiumBelgianDutchDikkie-scipioAnna-winstonPeter-paul-rubensSebastian-van-dammeStijn-bollaertJacob-winderRoyal-museum-of-fine-artsRoyal-museumCopy
Everyone who has ever built anything—a model, a birdhouse, or small pieces of furniture—has a clear sense of the amount of things that can go wrong during the construction process. A screw that is impossible to tighten fully, a warped wooden board, an inattention or a miscalculation that can frustrate plans instantly. When we transport these small inconveniences to a building scale, with countless processes and many different people involved, we know how complex a work can become and how many things can get out of control, taking more and more time and requiring more and more resources to finish. And when we talk about a building that needs to float, be completely self-sufficient, and, after fulfilling its useful life, be completely reused—could you imagine the technical challenges of building something like this?
GermanyGermanMarcel-ijzermanAlbert-takashi-richtersSebastian-van-dammeEduardo-souzaPowerhouse-companyFloating-office-rotterdamCatholic-churchGlobal-center-on-adaptationCortesia-de-powerhouse-company-saveFloating-wooden-buildingKaan Architecten has built a pavilion to commemorate Dutch victims of the second world war, with thickset walls that strategically frame views of the trees and sky.
Located in the village of Loenen, the building sits between two graveyards – the Loenen National War Cemetery and the new National Veterans Cemetery.
Loenen Pavilion is situated in between a war cemetery and a veterans cemetery
Kaan Architecten's aim was to give visitors a space for rest and contemplation, with a building that embodies both openness and enclosure.
With its stone-clad walls and heavy concrete roof, Loenen Pavilion seeks to create a close relationship between architecture and landscape, by creating framed apertures of the birch and pine trees that surround.
NetherlandsColomboWesternSri-lankaSiesegemRegion-flamandeBelgiumDutchMichael-geensenHaar-groepRaluca-firicelVincent-panhuysen