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Location: Anton de Komplein, Amsterdam, Netherlands
Project Architect: Paul de Ruiter
Project Team: Willem Jan Landman, Dieter Blok
Client: City of Amsterdam, Stadsdeel Zuidoost
Construction Advisor: Arup bv
Installations Advisor: Halmos bv
Acoustic Advisor: DHV-Dorsser Blesgraaf
Theater Advisor: Theateradvies bv
Urban Design: Rein Geurtsen & Partners bv bureau voor stadsontwerp / mecanoo architecten bv
Constructed Area: 1,953 sqm
Project Year: 2005-2007
Construction year: 2007-2009
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In 2004, Paul de Ruiter was invited to
compete in the selection of the architect who would design a cultural
building in the southeast district of the city of Amsterdam. This
cultural building was to be a multifunctional building for four users;
a circus (Circus Elleboog), a theatre (Krater Theater), the Youth
Theatre School and the Theatre Workplace, all professional
organisations in the field of talent development, cultural education,
production and programming.
On the basis of a presentation of his vision, including his proposal
to work with a dynamic programme of requirements, Paul de Ruiter’s
architectural bureau was selected by the city of Amsterdam, southeast
district, to design the cultural building.
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DYNAMIC PROGRAM OF REQUIREMENTS


How can you ensure that a design process proceeds efficiently,
decisively and harmoniously when time is limited, but at the same time
you must take into account the divergent requirements and interests of
four different users? Paul de Ruiter developed a dynamic programme of
requirements - a flexible design process with a plan that was not
already drawn up in detail.
To identify the specific wishes of all the users and integrate them
into the design and to give the users a good idea of the architectural
possibilities, several workshops were held during the design stage.
During these workshops, plans were made with the users and the
customer, and these were later reviewed at regular intervals. This
finally yielded a design that satisfied the requirements of all the
parties involved.
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WORKSHOPS


The design process started with a study of the programme for the
cultural building. Paul de Ruiter’s architectural bureau built various
scale models that gave an indication of the different options for form
and layout. With these models on the table, it was possible to hold
brainstorming sessions during the workshops on what the building should
look like and what functions it needed to fulfill. In view of the
location of the cultural building in a park, a recognizable,
pavilion-like building was chosen with a layout that could be adapted
to the various requirements of the users.
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MEETING PLACE


The site of the cultural building is specified in the urban
development plan. The building is located in the heart of the Bijlmer
neighbourhood at the edge of the Bijlmer park, beside the lake. It is
public and accessible, and its position beside the water gives extra
dynamism to this image due to the reflections in the water. To make it
possible for performances to be held on the water as well, for example
on large floating platforms, steps that can be used for seating have
been placed at the water’s edge. When no performances are scheduled,
the steps function as a meeting place, where cultures, generations and
artistic disciplines meet each other.
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DYNAMICS


The cultural building consists of an ellipse shape, with the upper
two floors slightly displaced in relation to the ground floor. This
provides a covered entrance area located in a logical position in the
urban development plan’s routing.
The elliptical shape of the building did mean that it was necessary
to search for a financially viable way of reproducing this rounded
shape in the partially glass façade. The solution was found in a
combination of wooden slats and vertical aluminum strips placed against
the steel and glass sections of the facade. This means that the
intersection points of the segmented façade are not visible and the
building has a rounded, dynamic and somewhat abstract appearance that
changes continually as you walk around it.
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RECOGNIZABLE DESIGN


During the day, the striking shape of the cultural building makes it
clearly recognizable, while it is conspicuous in the evening because of
its color, which can be altered to fit the occasion. This is made
possible by the use of LED lighting. A line of light is fitted behind
the steal façade in the façade, shining downwards. Because this light
shines against the steel façade and the wooden slats, the building
acquires an appearance of transparency, as if the light is coming from
inside the building. The illumination of the building increases the
level of safety and makes the cultural building clearly visible from
the urban surroundings.
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DAYLIGHT


One requirement that was specifically identified during the
workshops was the need for daylight in the main auditorium. Lessons and
rehearsals would take place here during the day, and a good level of
daylight access is very important for the atmosphere and sense of
orientation.
In the theaters that were visited for the workshops, the users often
commented on the lack of daylight, which although understandably kept
out deliberately for performances, is still very desirable during the
day. For this reason, a glass surround was created on the first floor
all around the main auditorium. This solution not only allows a maximum
capture of light, it also makes it possible for parents and others who
may be interested to watch lessons and rehearsals unobtrusively. These
windows can be darkened to keep out the light when performances are
held.
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FLEXIBILITY


During the workshops, the most time, relatively speaking, was spent
on identifying the users’ wishes in relation to the main auditorium.
Circus Elleboog, for example, needed a space with a clear height of 7
meters for acrobatic, trapeze and juggling acts, while the preference
of the other partners was for a theater-style auditorium. A solution
was found by designing a rectangular auditorium with two ear-shaped
appendages beside the performing area - a circus/theater auditorium
with between 162 and 277 seats. These two rounded areas on the long
sides of the main auditorium make it possible to use this in a range of
circus configurations and theater configurations, by making use of
versatile wings and movable seating areas.
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MULTIFUNCTIONAL


In addition to the main auditorium, the cultural building has a
spacious foyer, rehearsal rooms, three studios, storage rooms, dressing
rooms, a sewing room, meeting facilities and offices. The building
accommodates the four user groups in the dance class of the Amsterdam
School of Arts. For all these users the three storeys are arranged. The
main auditorium extends to the height of all three storeys and one of
the studios is two storeys high.
On the top storey, the bridges for the operation of lighting and set
management are integrated into the concrete floor. This is a practical
and inexpensive solution that makes the bridges safe and easily
accessible.
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INSPIRATION


The design process for the cultural building was full of creativity.
This was not just due to the unusual approach, but was also and
primarily a result of the way the workshops were organized. Each
workshop was held in a different, unconventional theater, selected each
time by one of the users. During a guided tour preceding the workshop,
the architect, users and customers were able to analyze the advantages
and disadvantages of that particular theater, and inspiration was
gathered for the brainstorming session. This then took place on stage,
and on more than one occasion, a performance was given to test the
size, functionality and acoustics of the space. There was no question
of meeting agendas and minutes; the idea was to give creativity free
rein. At most, a list of points was put together at the end of the
workshop to act as a basis for the following session. This was an
extremely flexible, practically-oriented approach, which resulted in an
attractive and multifunctional design.
INTERACTION


As a result of the ample admission of light and the flexible layout,
the cultural building offers maximum scope for freedom and creativity.
It radiates openness. The building therefore plays an important role in
facilitating the development of talent, particularly in children and
young people. The regular tenants (Circus Elleboog, the Youth theatre
school, the theatre workplace and Krater Theatre) will work together in
this building, creating an enormous level of synergy, a melting pot of
cultures. A place for debates inspired by the diversity of the
southeast district of the city of Amsterdam. To stimulate this
interaction even further, the outer wall of the auditorium, most of
which runs through the foyer, will be painted with blackboard paint,
and chalks will be available everywhere. Visitors, particularly
children, will then be free to leave their message, comment or greeting
on the wall. The black outer wall of the auditorium also makes the
layout of the theatre clear and facilitates the feeling of orientation.
It is obvious that this is the dynamic heart of the cultural building.
The Bijlmer Parktheatre is made possible with help from the EU.