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De Verbeelding
De Verbeelding
25, De Verbeelding, Zeewolde, Netherlands
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Other Projects by René van Zuuk Architects bv
De Verbeelding
25, De Verbeelding, Zeewolde, Netherlands
The ‘art-track Zeewolde’ is a
seven kilometer route passing through an open-air exhibition of high-qualty
sculptural art. This sculpture park flows out into a pond that is surrounded by
green slopes. In this pond the art pavilion The
Imagination is located.
Originally the building was
allocated to a spot hidden behind a school and a sports complex. With its final
position in the water, at the end of the art-track, the building becomes the
organisational nerve centre for events, exhibitions and lectures.
The sculpture Sea Level by the American artist Richard
Serra has particularly contributed to the art-track’s reputation. The elongated
shape of the pavilion stems from Serra’s long black concrete wall.
The limited budget was the
occasion for applying a three-hinged frame to construct the span. These
originally cheap structures are often used in barns and therefore well-known in
the surrounding agricultural polder-landscape. All the trusses are identical
but they are all at a slightly different anglecompared
to the ground surface. The result
is an elegantly twisted roofscape. The same elements that are usually applied
for erecting cumbersome storehouses, now make a wavy wrapping.
This subtle rotational
algorithm also causes a kind of tectonic fault in the ridge, where the trusses
(almost) meet. The arm of one truss is connected to the tip of the other. The shifted roof
surfaces subsequently provide indirect daylight incidence. The roof is
constructed of a profiled steel roof sheet, cladded with corrugated aluminium
on the exterior. Inside the steel sheets are partly covered with gypsum
plasterboard. Both the interior materials are partially perforated to ensure
appropriate acoustics. The utilitarian spaces like offices, rest rooms, storage
and a little library are slided into the main volume as two autonomous wooden
boxes.
On the ground
floor level a glass strip is applied as a transparent plinth. This apparently
lifts the building of the ground level and contributes to its airy character.
The pavilion is located on a narrow peninsula concluded on both sides by a
steep slope. The ambient view on the water through the glass plinth evokes a
sense of floating. The ubiquitous reflections of the water on the ceilings
enhances the rolling sensation. The huge
glazed end wall provides a magnificent view over the pond towards the artists’
work.
seven kilometer route passing through an open-air exhibition of high-qualty
sculptural art. This sculpture park flows out into a pond that is surrounded by
green slopes. In this pond the art pavilion The
Imagination is located.
Originally the building was
allocated to a spot hidden behind a school and a sports complex. With its final
position in the water, at the end of the art-track, the building becomes the
organisational nerve centre for events, exhibitions and lectures.
The sculpture Sea Level by the American artist Richard
Serra has particularly contributed to the art-track’s reputation. The elongated
shape of the pavilion stems from Serra’s long black concrete wall.
The limited budget was the
occasion for applying a three-hinged frame to construct the span. These
originally cheap structures are often used in barns and therefore well-known in
the surrounding agricultural polder-landscape. All the trusses are identical
but they are all at a slightly different anglecompared
to the ground surface. The result
is an elegantly twisted roofscape. The same elements that are usually applied
for erecting cumbersome storehouses, now make a wavy wrapping.
This subtle rotational
algorithm also causes a kind of tectonic fault in the ridge, where the trusses
(almost) meet. The arm of one truss is connected to the tip of the other. The shifted roof
surfaces subsequently provide indirect daylight incidence. The roof is
constructed of a profiled steel roof sheet, cladded with corrugated aluminium
on the exterior. Inside the steel sheets are partly covered with gypsum
plasterboard. Both the interior materials are partially perforated to ensure
appropriate acoustics. The utilitarian spaces like offices, rest rooms, storage
and a little library are slided into the main volume as two autonomous wooden
boxes.
On the ground
floor level a glass strip is applied as a transparent plinth. This apparently
lifts the building of the ground level and contributes to its airy character.
The pavilion is located on a narrow peninsula concluded on both sides by a
steep slope. The ambient view on the water through the glass plinth evokes a
sense of floating. The ubiquitous reflections of the water on the ceilings
enhances the rolling sensation. The huge
glazed end wall provides a magnificent view over the pond towards the artists’
work.
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