LÉON STYNEN (1899-1990)
Architectural legacy
The building complex named deSingel has also been referred to as 'the Léon Stynen legacy', and as the 'most complete summary of his oeuvre'.
In order to locate this building in the right place it first had to be put into the context of an urban development plan which Stynen drew up for the Wezenberg area, an urbanist vision which only was partially realized.
Several buildings that Stynen built in this area - the former BP building (now AXA), the former Crest Hotel (now Crowne Plaza) and compound building of deSingel - may give an idea of Stynen's vision for a new city in a green environment, at least if you subtract the major thoroughfares which now intersect the landscape.
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"[Stynen] viewed the building as a cultural centre surrounded by a ring of office blocks and segments of a green area shielded by hillocks."
(Geert Bekaert in 'Léon Stynen, een architect', deSingel, 1990). | |
Royal Flemish Conservatory of Music, Radio 2 and deSingel: 3 Phases
Léon Stynen's plan for the Conservatory and Radio 2 was implemented in three phases, between 1968 and 1987.
- Phase 1: The low-rise construction, a building shaped like an open eight, 1968
- Phase 2: The two concert halls and Radio 2, 1980
- Phase 3: An extension of the Conservatory and the main lobby area for the deSingel, 1987
deSingel International Arts Centre
In 1980, the cultural centre finally commenced its intended function. As the concert halls were now completed, they were able to significantly add to the cultural life of the city. Next to the rehearsal rooms and public classes, the auditoria also had to be made available for cultural events. This led to the establishment of deSingel, a nonprofit organisation. Since 1983, deSingel has been responsible for its own artistic programme. In the meanwhile, deSingel has become well established as an international centre for the arts.
A large cultural complex
The basic plan
In 1958, the Ministry of Public Works officially commissioned Léon Stynen to design a large-scale building complex. It was to provide for the current and future needs of the music school, the Royal Flemish Conservatory. The City of Antwerp made the site on the Wezenberg available. It was a suitable location, large enough, free of development, easily accessible and shielded by several green hillocks. The water in the old fortification channels made it into a place of peace and rest ( Image from Collectie Architectuurarchief Provincie Antwerpen ).
In his first draft plan, Stynen intended to capitalize on this exceptional location.
He grouped the classrooms around two green inner courtyard areas. The construction was set on pillars 2.50 metres above street level to allow for open access and an unobstructed view of the architecture and the landscape.
He designed two auditoria: one concert hall for an audience of a thousand and a theatre for seven hundred and fifty spectators. These auditoria and the library were the dominant components of his composition. The corridors around the concert halls had an open view of the reflecting waters of the old fortification canals. In the midst of the bustle of city life, the whole ensemble was to be surrounded by low hills, a quiet place except for the sound of birds and the rustle of the wind.
Levelling the Wezenberg |
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The construction site in Phase 1 (Collectie Architectuurarchief Provincie Antwerpen) |
Obstacles
The first basic draft plan was beleaguered from various sides. While Stynen was able to defend the project against some attacks, against others he was powerless.
One or two auditoria?
The government's Department of Arts rejected the construction of two auditoria, preferring a single multi-functional auditorium. Stynen managed to convince the officials of the impossibility of building a structure which could serve both as a good concert hall and a good theatre. deSingel is still grateful to him.
A 'standard'-school?
The Ministry of Public Works wanted Stynen to meet prevailing standards for the construction of classrooms. He protested. You could not equate a conservatory with a normal school - not then and not today. Discussion of the width of the corridors and the height of the classrooms lasted for months. Stynen wanted to meet the needs of music instruction. When changing classes, the students ought not to be hindered by their instruments. Nor should room height be based only on ventilation standards, but also on acoustic requirements.
A major intersection
The E3 motorway, originally designed to circumvent the city of Antwerp three kilometres further south, was moved to the immediate vicinity of the building. The result was the disappearance of the isolation and architectonic function of the areas of water. Stynen was able to salvage about thirty metres, but not for long. Six months later, a decision was made to squeeze a railway track between the motorway and the building. Another hill, a shield against the motorway, also vanished.
A swimming pool
The City of Antwerp decided to erect a swimming pool on the same site, located at the foot of the last remaining hill. The hill, reduced to about half its original height, was finally retained as a minimal screen between the two buildings.
Phase 1: The Conservatorium (1964-1968)
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Concerts in the stairwell |
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Oasis of peace |
In 1964, building commenced. The new building was to be inaugurated in 1968.
The first phase encompassed:
- Offices
- Classrooms
- Studios
Transparent eight-shape, soundproofed classrooms
The body of the structure is essentially shaped like an eight, enclosing two greens. The ground floor has been opened up as much as possible to allow for broad views to all sides.
A broad staircase with a gentle inclination leads up to the first floor at 2.5 metres. Here Stynen located the classrooms, while the adjoining concert hall and theatre would be added later. The classrooms are spread all over the first floor, flanking the broad corridors. The resulting walkway allows for views over all other parts of the Conservatory and the enclosed greens.
Most of the classrooms are separated from the corridors by a double construction of acoustic walls or built-in cupboards. The walls between the classrooms are also soundproofed.
The greater height the architect opted for means the classrooms rise higher than the corridors. This projection was used to allow in natural light. Where possible, glass walls were placed between the classrooms and the corridors. Altogether, this increased the transparent effect of the building. This becomes especially evident in the evenings, when the specially designed core lighting system enhances the effect.
Phase 2: deSingel and Radio 2 Antwerpen (1973-1980)
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Laying the foundations of Phase 2, on 16/11/1973: Visit to the construction site by Ministers Van Elslande and Chabert, Governor Kinsbergen and the Director Traey. |
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Working visit by Minister Van Elslande |
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The second phase, with the concert hall, the theatre and the library, was delayed. But in 1973, after Governor Kinsbergen had proposed establishing BRT 2 in this complex, construction started up again.
Radio 2
The following infrastructure was to be provided for Radio 2:
- Three recording and transmission studios
- Offices for administration and the editorial department
- A kitchen/canteen for the personnel
The completion of these sections closest to the railway line and motorway is an example of technical genius. The studios were erected on vibration-proof foundations to enable undisturbed recording and transmission.
deSingel
The collapse of one of the primary construction companies during the second building phase again resulted in delay. Nevertheless, deSingel was duly opened on 4th November 1980. The Royal couple was present at the inauguration of:
- The Red Hall (Rode Zaal)
- The Blue Hall (Blauwe Zaal)
- The Small Hall (Kleine Zaal)
- A foyer and exhibition space
Thus, Peter Benoit's old dream had come to fruition: a conservatory, an educational institution, now had a set of concert halls at its disposal. Here, both the students and the public in general would benefit from international music and theatre events.
Two halls had been provided for, but no space for the operational departments. In 1984, the architects integrated offices under the Southern wing of phase one. This intervention further adulterated Léon Stynen's basic concept. Again part of the open and transparent character was compromised.
Conservatory library
For the Conservatory the second phase included the library tower. This tower is situated above the concert hall and comprises:
- The actual library
- Rooms for the storage of books
- Workshops for bookbinding and printing press
Phase 3: extension of Conservatory and public foyer for deSingel (1986-1987)
Paul de Meyer, former assistant of Léon Stynen, drew up the first plans for the third construction phase in 1975. The implementation of the third phase beset the architects, the architectural firm De Meyer and the Gebouwenfonds voor de Rijksscholen, with aesthetic as well as constructional problems. The available space was not considered sufficient to add the new volume in the form of an annex. The planners opted to adapt one of the existing wings, to increase its height and to connect it to an extension towards the road (Desguinlei). Given that the foundations of the original buildings were originally not intended to carry the weight of an additional storey, the decision was made to build over the existing wing. This called for a strong construction, which in effect swallowed part of the original shape of the building. The third phase thus resulted in a massive overall impression. In spite of similar formal features in the rhythm of the façade, this phase radically departs from Stynen's original concept of openness and transparency.
The third phase encompasses:
- The Black Hall (Zwarte Zaal)
- A foyer cafeteria seating 130 people
- Large studios for percussion
- Classrooms and individual practice rooms
- Workshops for electricity and carpentry
- A foyer for seventy people, adjacent to the Red Hall
STÉPHANE BEEL (°1955)
The need for space
Since the first plan in 1958, the activities of the Conservatory and deSingel have greatly expanded. New partners have also moved into the complex.
Conservatory
Full-time instruction and more classes
The Conservatory transformed arts education from occasional part-time instruction into a fully-fledged course, which included the introduction of new departments for jazz and opera.
Individual and group instruction
The Conservatory is constantly looking for a balance in its syllabus. Theoretical courses given to larger groups require larger classrooms, individual arts instruction requires smaller rooms for lessons and practice.
Student auditoria for theatre, music and dance: Zwarte, Gele and Witte Zaal (Black, Yellow and White Halls)
The Red Hall and Blue Hall are too large for lessons. The Conservatory only uses them for large events such as project work and on open day. In general, the concert halls are mainly used by the deSingel. The Black Hall, constructed in 1987, is able to partially alleviate this problem. This space serves as instructional facility for the theatre. Public examinations for drama and vocals take place here.
A new auditorium with a large stage is necessary for the lessons in harmony and symphonic orchestra, and the classes for opera and choral work. For public examinations and for student concerts this Yellow Hall provides an ideal environment.
Dance education in the province of Antwerp - until now it has been based in the centre of Antwerp and in Lier - will reallocate to the deSingel in the near future. The transformation is not just the result of downsizing the infrastructure and reducing overheads. In artistic and educational terms, this concentration should result in valuable interaction between the students and professionals in the different disciplines. The master plan provides for dance studios, drama rehearsal studios and classrooms. Additionally, there will be a new auditorium, the White Hall, where students can perform drama and dance for a public audience.
deSingel
Rehearsal rooms
Since the establishment of deSingel, facilities have expanded to meet the needs of an international stage for the contemporary arts in Flanders. It has been not just a venue for the arts, but also a place where performers can work and rehearse. As a result of this evolution, there is a considerable need for rehearsal rooms for the orchestras and the choral work, as well as for the various ensembles for theatre and dance.
Exhibitions
The exhibitions in the corridors conflict with public circulation and service during intervals in performances. The specific character of the corridors has been a positive challenge for the architects. But this also means extra costs and problems for temporary exhibitions. A special exhibition space has been designed to solve this problem.
The large stage
The stage in the Red Hall was too small for large-scale performances. An open space of 15 x 15 metres behind the curtain is a standard requirement for the companies deSingel wanted to attract. Since the alterations in phase 4.1, deSingel has boasted a stage with a depth of more than 21 metres.
café-restaurant
A large public café-restaurant, to serve as a general hub, is currently lacking.
Restart according to a master plan
The formal characteristics of the outer façade are repeated in the new doors
In 1989, the deSingel commissioned Stéphane Beel (b. 1955) to design a new entrance area. The intention was to unify the space all the way from the portico, the foyer section with the exhibition spaces, to the auditoria.
Forum Magazine described the design thus: "The formal characteristics of the outer façade with its organic window shapes, are repeated in the new doors: the openings are full panels. The wall openings and their shapes are echoed in the same perspective. A connection has been made between both entrances. The openings in the portico seem to be projected onto the glass of the doors. An existing element has been taken and transformed into a new and independent feature". (Forum, 83 (3), 3)
Léon Stynen Exhibition
After his changes at the entrance, Stéphane Beel helped shape the exhibition on Léon Stynen. Again, he had the right touch for Stynen's work and the deSingel in particular. Beel installed the exhibition in the corridors, which in the meantime had grown into the deSingel's traditional exhibition spaces, as well as in the Conservatory classrooms. He rearranged the cloakroom to allow for special perspectives of the building and the two quadrangle greens. The tour also revealed views of two other significant buildings that Stynen built near the deSingel.
A trusting relationship for constructions large and small
Since then, deSingel has developed a trusting relationship with Stéphane Beel. He has been consulted for work both large and small. He designed the programme sales counters (1990) and renovated the Conservatory assembly hall (1993). He produced an especially original solution for the acoustic requirements when renovating one of the Conservatory classrooms (room 138) into a harpsichord room (1998), in accordance with the high standards of piano virtuoso Jos van Immerseel and the acoustic specialist Johan van Laere. He was also consulted on the renovation and improvement of the classrooms in the low-rise part of the Conservatory.
A campus for the arts
The master plan
In 1992, the three users of the building at that time - deSingel, Conservatory, Radio 2 - decided to funnel their infrastructure needs in response to the conditions, which had gradually evolved. The creation of certain spaces for one party could always interfere with the expansion of the other. This fact called for the conception of an overall infrastructure plan. The objective of the building program was to augment construction plans by taking heed of all aspects of an artist's work, with respect to education, working environment and the presentation of his art. To put it concisely: instruction, production and performance.
A feasibility study
Stéphane Beel was the architect chosen to carry out this study. In March 1995, Hugo Weckx, the Flemish Minister of Culture, officially put Stéphane Beel in charge of the feasibility study. Several issues had to be addressed: the compatibility of the extensive building programme with the terrain and the architecture of Léon Stynen, and the cost of implementation. Stéphane Beel made an in-depth study of the building, its surroundings and the new building programme as such.
The blueprint
In September 1995, Stéphane Beel presented the parties involved with his overall design. It immediately met with great enthusiasm. In the following six months, this blueprint was further refined until a master plan was approved in 1996.
This is a plan of great substance and quality. In view of the extent of the transformation (sixteen thousand square metres), the limitations of the site and the divergent infrastructural needs, Beel prescribed two building sites. Due to their chosen location, the daily work could continue with minimal disturbance.
With respect to volume, the plan called for three parts:
1. A low-rise building behind the Red and Blue Halls
2. A low-rise building on the level of the shoulder along the motorway
3. A medium high-rise building along Jan Van Rijswijcklaan
These volumes perfectly augmented the architectural environment and the general demands on urban planning as defined by Stynen.
Phase 4.1 (1999-2000)
The first phase of the master plan, specifically the low-rise structure behind the Red and Blue Halls (dimensions: 7 x 40 metres) has in the meantime been built (total cost: € 4 million).
The extension of the depth of the Red Hall stage from 14 metres to 21 metres solved an urgent problem. By building a ramp for loading and transporting material to the level of the stages of both the Red and Blue Halls and providing a bridge that crossed the inner courtyards - in effect making level 1 wholly accessible - this traffic no longer had to pass through the artists' foyer. This bar was enlarged, allowing for greater influx of natural light and access to the inner garden via a new terrace. The Conservatory was given two additional offices, the reception area was renovated, another classroom was added and a lift for moving instruments was installed.
Artists' foyer |
Walkway between deSingel and the Conservatory |
Phase 4.2: implementation
In June 2002, Bert Anciaux, the Minister of Culture, asked Stéphane Beel to carry out the second phase of the project. In October 2002, the Hogeschool Antwerpen followed suit. The total budget for the implementation of phase 4.2 will be € 25 million.
Since 1st May 2003, Beel has been working out the final details. Work is due to last from 2007 to 2010. If everything goes according to schedule, the 2010/2011 season will start in the new extensions.
This building programme encompasses, for the deSingel:
- an exhibition space
- a stand-up café (separate from the Blue Hall interval buffet and the reception rooms)
- a café-restaurant
- a multimedia bookshop
- a performing arts workshop
- rehearsal rooms for dance and ensembles
- offices for the Flanders Architecture Institute
- additional rooms (dressing rooms, storage, workshops)
For the Conservatory (D department of Hogeschool Antwerpen) the building programme encompasses:
- the Yellow Hall (for orchestral rehearsal and smaller student concerts)
- a music classroom, 3 rehearsal studios
- the White Hall (for lessons and performances of drama and dance)
- 6 rehearsal/instruction studios for drama
- 5 rehearsal studios for dance
- additional rooms (dressing rooms, storage, offices
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