Berlaymont Building - Architecture

Architecture

The building, under the provisional name "Centre Administratif Europe", was designed by Lucien de Vestel, in association with Jean Gilson (Groupe Alpha), André & Jean Polak and with the recommendations of the engineer Joris Schmidt. It was directly inspired by the 1958 secretariat building of UNESCO in Paris (which was designed by Marcel Breuer, Pier Luigi Nervi and Bernard Zehrfuss). The technical design was ground breaking at the time and generated an enthusiastic response from one particular Brussels journal: "This design concept reflects both the 20th century innovative spirit and sheer audacity and brings to mind the astonishing civil engineering arrow at the 1958 exhibition." – Présences magazine.

The building has a cruciform design with four wings of unequal size spanning from a central core. It was built on piles located beneath each wing, supporting a 40 metre high narrow ridge of concrete which in turn supported steel beams forming the frame of the glass façade covering the prefabricated floors. The top, 13th, floor however was supported directly by the upper beams, suspended entirely by them making the lower level free standing except for the core. The design is intended to convey a feeling of light and transparency. It further includes decorative details such as sculptures and frescos to prevent it from becoming monotonous.

The complex was initially designed to house 3000 civil servants and 1600 cars in a four-level underground car park under the whole complex. Foundations run to 20 metres deep, the number of lower levels (which link to the road tunnels and metro) was due to the 55 metre height restriction around the Cinquantenaire (so as not to spoil the view) It also included seventeen flexible conference rooms which could be used by the European Parliament and Council of Ministers. There were a further nine Commission meeting rooms on the upper floors. Free space outside was converted into public gardens and terraces.

Post-renovation, the structure has not changed except for a press extension, but there have been a number of internal and landscape changes. Traffic flow has been improved, but underground parking has been reduced by 25% and surface parking has been almost entirely converted into a pedestrian mall which flows into the surrounding urban landscape. Security has also been improved, and a lighting well provides natural light to the restaurant and multimedia centres. The helipad was replaced by a cupola which houses the commission's meeting room, looking out over Schuman roundabout. The building also meets the strictest environmental standards reusing light, power and heat throughout the building.

The façade was replaced with a curtain wall with mobile glass screens that adapt to weather conditions and reduce glare while still allowing light in. They also act as a sound barrier, reducing noise from the rue de la Loi. The windows cut off the air conditioning when opened to prevent energy being wasted. Offices, which are now larger, can have their heating adjusted automatically or individually and it is automatically turned off when the room is unoccupied.

The building now has 240,000 m² of floor space on 18 levels, connected by 42 lifts and 12 escalators. Offices for 3,000 officials and meeting rooms are in the tower. Restaurant and services, a 900 seat cafeteria, TV studio, conference rooms, storage rooms, Nordic sauna, car parking for over 1,100 vehicles and various services occupy the basement. Architects Pierre Lallemand, Steven Beckers and Wilfried Van Campenhout carried out the 1991–2004 renovation.

Read more about this topic:  Berlaymont Building

Famous quotes containing the word architecture:

    And when his hours are numbered, and the world
    Is all his own, retiring, as he were not,
    Leaves, when the sun appears, astonished Art
    To mimic in slow structures, stone by stone,
    Built in an age, the mad wind’s night-work,
    The frolic architecture of the snow.
    Ralph Waldo Emerson (1803–1882)

    Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.
    Ralph Waldo Emerson (1803–1882)

    Art is a jealous mistress, and if a man have a genius for painting, poetry, music, architecture or philosophy, he makes a bad husband and an ill provider, and should be wise in season and not fetter himself with duties which will embitter his days and spoil him for his proper work.
    Ralph Waldo Emerson (1803–1882)