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About this so-called Sandberg Wing, the programme is rather terse: Maintaining it would not be justified, and moreover the limitations its presence places on plans for new construction are too substantial. In architectonic terms the wing is also no high-flier, and this, added to its poor structural condition, justifies demolition. Cor Blok and Riet De Leeuw reds. De presentatie van beeldende kunst in Nederland van tot heden, Amsterdam, Meulenhoff,p.

The memory of the museum not only takes shape in the collection, but also in and through architecture. All too often ambitious plans for renovation or extension are at the expense of this architectural heritage. As Victoria Newhouse once correctly suggested, museum trustees, directors and staffs have repeatedly done things to their buildings that would be unthinkable if applied to their collections. The recent renovation of the Boijmans Van Beuningen Museum in Rotterdam Robbrecht and Daem, proves that expansion and functional demands do not necessarily result in symbolic loss.

The various wings of the Boijmans were analysed for their architectural value and spatial identities, in order to then enrol them within a programmatic and architectural master plan on the basis of this analysis.

Architecture and the Museum of Carel Blotkamp et al.

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The architecture is restrained and the detailing subtle and minimal. The architecture is in the service of the art. The visitor must be carried along the art in a natural way. Over against this reflective atmosphere stands the fact that the new building also forms the beating heart of the museum, housing the entrance hall, the knowledge centre, the auditorium and the restaurant. An active atmosphere dominates in these places. Any aspirations to engage architecture in the design of a truly innovative museum for tomorrow are absent.

The contrast with the rhetoric of foreign institutions like the MoMA or the Tate Modern is simply enormous. When the latter began their building campaigns, the architectural project was explicitly connected with institutional ambitions. None of this is found in the Stedelijk.

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Architecture is not enrolled to reinvent the museum, but simply to let it recover. The unabashed Sandberg nostalgia combined with the terms referring to regeneration and restoration in the report and programme of requirements, clearly reveal that the Stedelijk Museum is above all narcissistically ridden with its own problems and wallowing in a sense of crisis.

Benthem Crouwel trades this careful linking of introverted spaces for one freestanding sculptural volume, one spectacular Gestalt on the corner of Museumplein. Seen from a distance, their design does everything to score points. The building is a powerful and striking presence, yet neither too complex nor affected.

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The building has everything to become a landmark, and with no further ado can be used as an icon and logo on letterheads, shopping bags and other merchandising. In relation to the Museumplein, the building makes a clear and simple statement: To begin with, the architects have made little effort to put the old and new building in a productive rapport.

The tub contains a medium-sized and a small gallery with top light, flanked on the one side by a video space and on the other by an auditorium. The offices for the museum staff are arranged along the full length of the roof. There are two medium-sized galleries, a large gallery and a series of spaces in the basement for technical services. In theory, the combination of these programmes could produce a fascinating conglomerate, but in practice the parts are tidily delineated and laid out next to one another.

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Any interesting links between the distinct functions, exciting parcours or inventive spatial solutions are simply absent. The diversity of the programmes is not articulated in any meaningful manner, and one is left guessing at the respective functions and their various regimes of use.

For the rest, it is difficult to conceive that the knowledge centre and its accompanying activities of research and reflection are going to thrive in a hall simultaneously being used for shopping, dining, get-togethers and lounging.

It is highly unlikely that the planned couple of carrels will offer any solace. The location of the knowledge centre in the glazed void of the vestibule is actually the most flagrant example of undisguised Sandberg nostalgia. It is incomprehensible that the core space of a museum that according to the report should place its collection back at the heart of its being, holds the middle between an airport terminal, a shopping mall and an administrative centre Fig.

In vain one searches for a thoroughly reasoned justification for their choice of Benthem Crouwel. Especially the conclusion is surprisingly simple: That is a question of architecture. Moreover, Benthem Crouwel has succeeded in turning the face of the Stedelijk toward the Museumplein. That is a question of urban planning. The realization of the Benthem Crouwel plan is something to be eagerly awaited. Figure 8 Newspaper article on destruction of the Sandberg wing, Stenen gooien naar het Stedelijk Throwing Stones at the Stedelijkin: De Telegraaf, 10 October It was perhaps somewhat provocative, but Downloaded By: It is Sandberg the instigator that the Stedelijk pines for.

Outside the bold gesture of the hanging tub and the massive canopy, the design has little to offer. But in the end that is not surprising; the programme of requirements had demanded little from the architecture of the Stedelijk anyway, beyond delivering the requisite floor and wall space.

Fortunately architectural history has shown that use is often more decisive for a building than its architecture. While in most cases this turns out badly, for the Stedelijk that might still be reason for hope. Translation from Dutch to English by Don Mader.

Weil edA Cabinet Of Curiosities: Inquiries into Museums and their Prospects, Washington: Smithsonian Institution Press,p. The other participants in the first competition in were O. For more information about this first competition and the ultimate dismissal of Venturi insee, among others: Only to the character. It would be interesting and cool. Posted March 11th, at 9: Also, a twist I did not see coming, which is not an easy feat!

Even moreso with this geek monster they just faced. I mean completely, off-his-rocker disconnected from reality. Like, for his own mental health he should be removed from the geek culture if this happens to him.

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Looking forward to the next Chronicle Posted March 11th, at 9: I also felt that I enjoyed the characters more than the plot…if that makes any sense. It all seemed a bit larp-y. Looking forward to seeing where the comic goes from here!

But what about all the cutaways with the hunters planning stuff — how will those be explained? I just re-read the comic blurb. Or get him on some damn medication?!? But if this was the goal from the beginning? Then it raises some pretty unpleasant issues with ALL of the main cast. So the whole geek superpower thing was just a larp?

I feel kinda cheated because I thought that was a very origional idea. Having it turn out like this is… I have no words for it really. It was, however, enjoyable overall, and I look forward to continuing to read this comic.

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I really enjoyed the plot, watching the geeks slip in and out of their shadow forms, Mark having trouble with his own, the Hunters attempting to rid the world of a culture they think is harmful.