benthem crouwel architects: stedelijk museum

'stedelijk museum' by benthem crouwel architects, amsterdam, the netherlands
image © john lewis marshall and jannes linders
all images courtesy of benthem crouwel architects


dutch firm benthem crouwel architects are responsible for the recent renovation to the stedelijk museum located in amsterdam.
originally designed by a.w. weissman, the building is known for its palatial rooms, natural lighting and, in particular, the impressive
staircase adorning the core of the space. these native elements have been preserved, as well as the characteristic white coloring introduced
by former director willem sandberg. the current structure is not only left almost completely unsullied, but more proudly flaunted by lifting
part of the new volume higher and submerging the remainder underground.

the entry to the museum has been relocated to the open area of museumplein filling a spacious translucent extension.
the fluid white structure above the entrance is affectionately termed ‘the bathtub’ featuring a sleek organic aesthetic composed of
reinforced fiber, complemented by a canopy audaciously extending out into the cityscape.

with the original edifice as a backdrop, the new seamless construction becomes the commanding symbol representing the stedelijk museum.
next to the entrance, a museum shop and the restaurant are located in the transparent volume on ground level.
these are accompanied by a knowledge centre, a library and a large exhibition hall of 1100 m2. two exhibition spaces are linked by two escalators
in an enclosed tube-like skin, through this, a visitor is able to cross the entrance area without leaving the exhibition passage and also without
disturbing public functions - allowing guests to remain within the distinctive atmosphere of the museum.

the interior of the old and new spaces are indistinguishable, making the otherwise powerful contrast between the two barely noticeable
when moving through the museum. the weissman building is brought to life under a single roof with the new striking addition.

read designboom's earlier coverage on the stedelijk museum  here.



the new structure is affectionately know as 'the bathtub'
image © john lewis marshall and jannes linders



the seamless architectural sculpture soars across the city scape
image © john lewis marshall and jannes linders



two exhibition spaces are linked by two escalators
image © john lewis marshall and jannes linders



the escalators are encased by a tube-like skin
image © john lewis marshall and jannes linders



old and new elements alongside each other
image © john lewis marshall and jannes linders



the interior features the original white coloring
image © john lewis marshall and jannes linders



the structure by night
image © john lewis marshall and jannes linders



image © ernst van deursen



image © john lewis marshall and jannes linders



image © john lewis marshall and jannes linders



image © john lewis marshall and jannes linders



section perspective



site plan



floor plan / level 0
1. entrance
2. tickets
3. coat rack
4. bookshop
5. information center
6. restaurant
7. exhibition old museum



floor plan / level 1
1. auditorium
2. hall
3. toilets



floor plan / level 2
1. exhibition space new museum
2. exhibition space old museum
3. toilets
4. cafe



floor plan / level -1
1. study center
2. educational center



floor plan / level -2
1. exhibition space new museum
2. hall
3. toilets



section



section





elevation



elevation



elevation



elevation

mathilde roussel: hanging living grass sculptures

'lives of grass' by mathilde roussel
all images © matthieu raffard



paris-based designer mathilde roussel has conceived an installation consisting of living grass sculptures that show the effects of transformation 

of material as a metaphor of the growing changes of the body. made of recycled metal and fabric structures filled with soil and wheat seeds, 

time sculpts the forms, changing its shape through decay. the project references egyptian mythology, where osiris, the god of renewal, 

eternally comes back to life. he is the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. 

in the natural world, ingested food becomes a component of human being. these anthropomorphic and organic bodies made of earth strive 

to show that food, and its nutrients have an impact on us beyond our direct perception. the power inside it affects every organ of our body.
observing nature and being aware of what and how we eat might make us more sensitive to food cycles in the world — of abundance,
of famine - and allows us to be physically, intellectually and spiritually connected to a global reality. 

lives of grass, soil, wheat seeds, structure from recycled metal, fabric



lives of grass, soil, wheat seeds, structure from recycled metal, fabric



lives of grass, soil, wheat seeds, structure from recycled metal, fabric,



lives of grass, soil, wheat seeds, structure from recycled metal, fabric



lives of grass, soil, wheat seeds, structure from recycled metal, fabric

portraits created from shadow by kumi yamashita

'shadow portrait' of german chancellor angela merkel by kumi yamashita
image via spiegel


since early 2000 new york-based japanese artist kumi yamashita is able to manipulate paper and other flat surfaces to cast shadow
profiles of various people, with her most recent iteration showing the silhouette of german chancellor angela merkel.
yamashita claims she is able to represent the portrait of almost anyone, though beards are more difficult,
by carefully forming and shaping the chosen material to eventually depict a face - usually taking around half an hour to complete.

yamashita says of her artwork and process:

'every different face is made from the same perfect square color paper, so the origami paper is the essence, the origin of shape.
that's fascinating. I use very subtle force, very slowly. you have to be careful not to bend it too much. it's very fragile work; if anyone touches it,
that's it.

I wouldn't deny my work is japanese. the longer I am away, the more I notice a japanese tendency in my work - simplicity,
the tendency to reduce things.

I am drawn to temporary things. the appreciation for my own country grows. I love natural light, the shadow of trees on the ground.
I love looking at the orange glow from a farmhouse in the countryside. I love the light on the hills right before the sun sets at the end of summer.
I don't usually start with ideas. I love visually beautiful things, things that are nice to look at. and, afterwards, I think about the meaning.'



yamashita claims she is able to represent the portrait of almost anyone
'fragments' 2009
h: 270, w: 400, d: 2cm
cast resin, single light source, shadow
permanent collection of new mexico history museum, santa fe



the pieces usually taking around half an hour to complete
'fragments' 2009
h: 270, w: 400, d: 2cm
cast resin, single light source, shadow
permanent collection of new mexico history museum, santa fe



some pieces are made from paper, aluminum or ceramic
'fragments' 2009
h: 270, w: 400, d: 2cm
cast resin, single light source, shadow
permanent collection of new mexico history museum, santa fe



'origami', 2011
h: 366, w: 366, d: 1cm
creased japanese paper, single light source, shadow
commissioned by american express, new york city



'fragments' 2009
h: 270, w: 400, d: 2cm
cast resin, single light source, shadow
permanent collection of new mexico history museum, santa fe