The reintroduction of katoenveem complex as an open infrastructure for contemporary culture

Abstract

In 1920 the architect J. J. Kanters designed the warehouse ‘the Katoenveem’. The building is situated in the Merwe-Vierhavens of the port delta of Rotterdam. It was constructed as a part of the infrastructure that relied on the import and export of Cotton. The position of the Katoenveem in this transit system divines the character of the building. The way the building used to function determines its architecture with innovative installations. The Katoenveem is an architectural object that contributes to the memory of the historical relationship with the harbor. In the development of the cultural program, they attempted to match the preservation of architectural values and the type of use. In order to preserve its industrial scale, interior expression of the concrete structure, the character of the infill needed to be as temporary as possible. This resulted in a contemporary art space where exhibitions change with a wide range of arts. Approaching the former warehouse spaces as one type of use large open spaces arise to match curatorial ambitions and diverse programs of contemporary culture. The exhibition spaces themselves are unprecedented in the Netherlands in terms of scale and character. This museum concept is a result of an alignment between the ambition of future use and the conclusions of the cultural value assessment. The design proposal can be divided into three main types of architectural methods: preservation, intervention, and addition. Each strategy safeguards different elements of Katoenveem’s cultural significance. The restorative approach to the existing fabric consists of restoration, reconstruction, and preservation of its exterior expression. The interventions provide accessibility to the walkways on the 1st floor while extending its durability and safety with a minimal visual impact. The addition is a continuation of the Katoenveem as an ensemble providing all the spaces a museum function needs without compromising on the industrial scale of the interior. The architecture’s concept of this temporary character is embedded in its adaptability and flexibility considering the new and the old. Minimal interventions in the existing fabric allow improvements to its internal climate and functionality. The new building is conceived as an engine for an unique art space facilitating close collaboration between exhibition, curation, and production. For the exhibition spaces in the Katoenveem, an operational framework limits the options of display. Supportive, electrical boundaries determine the place of display and lighting. The new ensemble can accommodate the whole process of art, generating an infrastructure rather than a museum. Therefore the architecture needs to provide the ability to adapt quickly, resulting in an open architecture.