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ThE GaLLERy
This generous space (12 m wide, 83.7 m long and 9.3 m high) is the beating heart of the building. It not only encourages the build- ing’s users to meet informally (they are obliged to pass through the gallery to get from one part of the building to another), but also offers a whole range of other potential bene ts, which have far exceeded the owner’s expectations.The multi-purpose area – the circulation zone with the central staircase – was also designed with conferences, exhibitions, events and celebrations in mind. It has strong communication possibilities and can accommodate up to 600 people. Moreover, these activities can all take place without affecting the proper functioning of the adjoining working areas.
The gallery is not only the central axis of the building in organi- zational and functional terms, but is also the nerve centre for the technical infrastructure. From under the raised oor, the different technical elements branch off to the individual wings.
The roof consists of a steel trellis made from the thinnest possible identical steel strips (rectangular boxes measuring 80 or 60 mm across; tie bars or wind bracings with a diameter of 25 mm), sup- ported on the edges of the second oor1. Because this trellis is 2 m higher than the building, natural light continues to enter the build- ing obliquely throughout the day.
The smoke vents are made of glass and allow light from the sun at its zenith to penetrate.The decision to use glass was taken dur- ing the construction phase, after the opening for the hatches in the steel deck plates had already been made.These openings instantly made clear the bene ts that the ingress of zenith light could bring to people’s experience and enjoyment of the gallery.
The white roof construction absorbs the sunlight and generates
a complex interplay of light and shadow.This prevents the gal- lery from having an ‘enclosed’ feeling: it is not just another ‘grey’ hallway.The necessary technical elements that by their very nature must remain visible (sprinklers, smoke duct handles, technical installations for projections) are coloured white, and hence hardly
1 - the structural concept as a whole (just as the concept for the facades and the staircases) is typical of the approach of engineer Philippe Samyn, as described in his theoretical works, such as étude de la morphologie des structures, à l’aide des indicateurs de volume et de déplacement (Royal academy of Belgium, Science Department, 482 p., Brussels, 2004).
noticeable.The extreme lightness of the structure is further enhanced by the use of mirrors, attached just under and along the full perimeter of the trellis construction. Mirrors not only increase the amount of light in the interior, but also allow the extremities of the trellis to seem endless, visually ‘disappearing’ into in nity, as though the structure is not supported but is actually oating on air2.
The materials are simple and reminiscent of those used in the foyer of the Aula Magna. This city lobby in Louvain-la-Neuve is also more than just the ‘reception area’ for the building in question. Balustrades in glass and panelling, staircases and oors in oak are the most important materials.The frescoes by Georges Meurant mark the main entrances to the different of ce wings.
Wood, steel and glass are all hard substances that reverberate sound. By combining these elements with buffer materials it was possible to create acceptable acoustics.The most important factor in this respect is the acoustic insulation of the perforated steel deck plates of the roof structure.This is supported by the installation of similar acoustic insulation behind the Meurant frescoes and the baf es in the rest areas adjacent to the lifts.
The lift shafts are constructed in extra-clear glass, which makes them seem almost invisible.The technical machinery of the lift cage has been discreetly covered using perforated stainless-steel plates.
The gallery – sober, rational but ‘cosy’ – is both neutral and chal- lenging: it encourages improvisation and multi-purpose use. It also generates places of rest and relaxation. Even during the construc- tion phase, its powerful perspective brought moments of peace and calm to numerous users.This is proven by the hundreds of photographs taken by many different people, unbeknown to each other, from the same spot!The most obvious resting point is the grandstand at the end of the gallery, which is both a staircase and a place to sit. With a view of the central entrance staircase, it is possible to watch people passing by, just like in a real street.
2 - the use of mirrors is a constant found in many other projects, from Philippe Samyn’s of ces at 1537 Chaussée de Waterloosesteenweg in Brussels (01/265) to the seat of the Council of the european union (01-494).
the gallery: con guration for 600 seats