Concert Hall

‘Our buildings are born naked and must then be dressed,’ state Neutelings and Riedijk. Contrary to the modernist ideal, they are not concerned with lightness and transparency, but with volumes and mass. They sculpt strange, closed forms from blocks of polystyrene foam, and then work like tailor’s cutters on a bespoke suit to clothe the building. The expressiveness of the edifice is crucial in this: the patterns lend cultural significance to a building. For this concert hall they opted for a cladding of filigree concrete that resembles floral wallpaper, a reference to the Gothic architecture of Bruges.