de Windwheel: New icon of the Netherlands

Building design
de Windwheel: New icon of the Netherlands

The ring-shaped building as an icon of sustainability (Visualization: DoepelStrijkers)

The “Dutch Windwheel” is to be built in the port of Rotterdam in the coming years. The futuristic project will be both in one: A wind turbine and habitable solar architecture.

The Dutch are daring to do something big again. They are building a new architectural icon in the port of Rotterdam: de Windwheel. The building builds on the tradition of Dutch windmills. At the same time, it points the way to a new building future.

The planned de Windwheel building will not only be an icon of sustainability. The approximately 175-metre high, ring-shaped structure has the potential to become a new landmark and point of attraction in Rotterdam. Its unusual shape and capabilities also promise to attract worldwide attention. On the one hand, this will help tourism in Rotterdam. On the other hand, the architects responsible are also heralding the transition to a clean tech economy with de Windwheel.

Windmills have symbolized the Netherlands for centuries. The use of wind as a driving force has long been vital for the country. Now the typology of Dutch windmills is facing a new beginning in Rotterdam. The de Windwheel project takes up their form. However, it equips them with the latest technology that uses wind and sun to generate energy. At the same time, the building uses natural elements for passive cooling and natural ventilation. De Windwheel promises to become a point of attraction in Rotterdam and a monument to the architects Duzan Doepel and Eline Strijkers.

The Dutch office DoepelStrijkers is primarily known for a project that has not yet been built. Back in 2015, de Windwheel found its way into the public eye. However, the project is not the team’s only work. Duzan Doepel and Eline Strijkers came together in Rotterdam in 2007. Together, they wanted to create interior design and architecture committed to sustainability. While Eline Strijkers had experience in interior design, Duzan Doepel had other skills. He had previously endeavored to translate architectural research into urban solutions. In the office partnership, they saw the opportunity to translate research and practice into projects with strong content. They were convinced that design could act as an agent for social renewal. Accordingly, they jointly pursued strategies and projects based on a circular and inclusive economy.

Concentrated expertise in Rotterdam

The new windmill in Rotterdam consists of two interconnected rings. In the outer ring, 36 publicly accessible cabins rotate. Similar to the London Eye, they form a tourist attraction. In the inner ring, on the other hand, there are also apartments, conservatories, a hotel, restaurants and functional open spaces. De Windwheel is therefore not only a well-rounded, sustainable and healthy building. It is also equipped with the highest possible energy generation capacity. The latest technical solutions are used. Their development and realization is the work of a consortium of innovative experts. These include Arup, Royal BAM Group, Deltares, Dura Vermeer, ECN, Eneco, Evides, Siemens, SPIE and TNO. They all strive to increase the quality and sustainability of buildings through the use of climate architecture and advanced technology.

De Windwheel in Rotterdam is already an icon of sustainability. Firstly, it is a vehicle for technical and technological innovation in a creative and figurative sense; secondly, it is a dynamic energy generator and, thirdly, a symbol of a new future. In recent decades, urban development has received many impulses from bottom-up initiatives. Each of them has had a major direct and indirect impact on the social, ecological and economic performance of our cities. The de Windwheel project in Rotterdam, on the other hand, aims in the same direction, but as a mega-project. As such, it pursues an unprecedented, radically different approach and development process. The project seeks solutions for how tourism and sustainable architecture can come together and create a positive contribution to the development of their urban environment.

Sustainable icon – icon of sustainability

The new Dutch giant windmill will therefore become an attraction and enrich the architecture scene in Rotterdam. It will probably attract visitors from all over the world. They will be able to look out over Rotterdam and the surrounding area from the rotating cabins in the building. It’s not just the architecture that can be experienced from a great height. In good weather, Delft, The Hague and Dordrecht also appear on the horizon. An innovative lighting concept and digital information in the cabins make the tour a special experience. The latter inform the passengers about what they see in the distance. But all kinds of sustainable and innovative technologies are also an attraction. Therein lies the power of the concept: on the one hand, sustainability contributes to the experience of de Windwheel. On the other hand, it illustrates and rewrites the history of the Netherlands. A sustainable icon that is also an icon of sustainability.

The economic potential of the new windmill is huge. The development process and the additional visitors will bring new momentum to Rotterdam. This benefits the local economy and the labor market. De Windwheel is also a global symbol of sustainability and a showcase for the circular economy. The innovations used in the building are ready for the market. This makes the building a platform and an international showcase. Companies can also present their knowledge and innovations to the world here. The ideas for this project originate from the Windwheel Corporation, a consortium of companies from Rotterdam. They are working together with leading companies and research institutes to master the innovative Windwheel program and project. They all see a clean, digital economy as the future. Perhaps we will already see this in 2025.

The Netherlands is known for its pioneering projects in urban planning. You can find more articles on innovative impulses from the architecture scene in Rotterdam here.

POTREBBE INTERESSARTI ANCHE

Old cemetery in a new guise

Building design

The Evangelical-Lutheran parish of the Middle Franconian market town of Altdorf was confronted, as elsewhere, with the increase in urn burials. Together with the landscape architects Martin Völker and Lars Möller and the Eichstätt sculptor Günter Lang, it therefore created three urn islands within the historic grounds, which are united by a common design language. Anyone entering the cemetery through the main entrance […]

The Evangelical-Lutheran parish of the Middle Franconian market town of Altdorf was confronted, as elsewhere, with the increase in urn burials. Together with the landscape architects Martin Völker and Lars Möller and the Eichstätt sculptor Günter Lang, it therefore created three urn islands within the historic grounds, which are united by a common design language.
Anyone entering the cemetery through the main entrance will not notice these places at first glance. Visitors will find a well-kept cemetery with plenty of greenery and numerous beautiful, historic stones. The steel steles that border the new urn islands blend so harmoniously into this greenery that they only catch the eye on closer inspection.

The surrounding steel band with 75-centimetre-high rectangular tubular steles at rhythmic intervals is coated in shades of grey and various shades of green. The entrance to each area is marked with a steel band engraved with a psalm. A font designed by sculptor Günter Lang was specially digitized for this purpose. Lang is the artistic director for the design of the urn steles within the islands. Each design goes through his hands before it is approved by the cemetery administration. All the steles have a uniform base area and height. What Lang is particularly keen on, however, is the use of local STEIN. Some sample steles, made by local stonemasons, are already in place. A granite from the Bavarian Forest has traveled the longest distance, while the other grave markers are made of Franconian sandstone or Jura limestone from the Altmühltal. Günter Lang also wants stones that have something to say. Psalms, sayings and quotations can be engraved around the stele, Lang advises. He does not want to be seen as a censor, but as a mentor who helps to improve existing designs. Around 40 urns are currently available, with a further 20 planned.

Each of the islands has a central seating area within the lawn. Rock pears provide shade and are particularly striking in spring with their white flowers. The islands are not static; if necessary, the steel strip elements can be taken apart and moved or replaced with new ones. This allows the areas to grow as more space becomes available. The modern design is not to everyone’s taste, but, according to Martin Völker, it has also received approval from many sides – from all age groups. Two of the urn spaces have already been taken, and one already has a stele with the owner’s name and date of birth engraved on it. Right next to a bench is a large stele by Günter Lang, a striking yet harmonious combination of steel and stone that serves as a lasting memorial.

The interview with Mr. Thust on the subject of cemetery development and other exciting pictures can be found in STEIN 12/2014!

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The mosaic cross of St. Martin’s Church

Building design

The mosaic cross by Claus Kilian (*1928) is attached to the exterior façade of the rectory of St. Martin’s Church in Hildesheim-Himmelsthür. The high-quality mosaic was made from smalt, gold, limestone and marble tessarae and depicts a typical scene from the life of St. Martin. The mosaic, which was only created in 1995, was in a very desolate condition. The […]

The mosaic cross by Claus Kilian (*1928) is attached to the exterior façade of the rectory of St. Martin’s Church in Hildesheim-Himmelsthür. The high-quality mosaic was made from smalt, gold, limestone and marble tessarae and depicts a typical scene from the life of St. Martin.

The mosaic, which was only created in 1995, was in a very desolate condition. The mosaic, which was glued to a plastic mesh, was peeling off in numerous places. It had already been glued again in various places. The adhesive used is probably not suitable for outdoor use. As the structure of the substrate and the adhesive used were the cause of the damage, the mosaic had to be removed from the wall, applied to a new substrate and reattached in its original position.

You can find out more about the removal, the new backing material and the fixing agent in RESTAURO 03.2014.

Photos (from top to bottom): Beate Skasa-Lindermeir, Rolf Gollnick