Educational landscape in the village of Vendegies-sur-Ecaillon

Building design

An inconspicuous village in the north of France, not really a place of great architecture. But Vendegies-sur-Ecaillon has a new kindergarten that blends into the structure of the village center and yet stands out.

An inconspicuous little village in the north of France, not really a place of great architecture. But Vendegies-sur-Ecaillon in France has a new kindergarten, designed by Studio Rijsel, which blends into the structure of the village center and yet stands out.

The new École maternelle in the small community of Vendegies-sur-Ecaillon is located right in the heart of the small village. Nestled between the church and the converted vicarage, docked to the school and in the middle of village structures, the new building is a surprising sight. Together with the elementary school, the new kindergarten now forms a school complex that blends sensitively into the heterogeneous building structure and varied topography of the village.

The new kindergarten comprises a massive, central structure, from which a T-shaped bar projects towards the elementary school. This connects the Ecole Maternelle, the school for the little ones, with the neighboring elementary school. Together, the two educational facilities therefore complement a heterogeneous structure of buildings and open spaces, which is typical of a small-scale, evolved village structure such as Vendegies-sur-Ecaillon. Only the mighty church tower is visible from afar and towers above everything else. Otherwise, in the middle of the village center, it is hard to tell which open space belongs to whom and which building houses which function. For the village, it doesn’t matter, because the new kindergarten strengthens the center of the village and thus paves the way for the future of the small town on the northern edge of France.

The heart of the kindergarten is a two-storey, almost rectangular structure, which consequently houses the classrooms and activity rooms. This central building is covered by a traditional pitched roof, which creates a large spatial volume. The roof protrudes far into the open space in the south-east and protects and shades the large windows facing the courtyard. At the end of the pitched roof, the clear height is only 2.10 meters. This seems low, but corresponds to the height of the adjacent structures and the scale of the children.

The courtyard of the kindergarten extends as an extension of the generous roof overhang. A clinker brick wall protrudes into the site as an extension of the gable walls and encloses this outdoor area. A small, brick storage room is set into the surrounding wall. It opens up like a small house to the kindergarten courtyard. At the same time, it leans against the rectory. In this way, it creates a structural counterpoint to the volume of the kindergarten building and at the same time ensures that the existing and new buildings dovetail.

The slender block, which branches off from the main kindergarten building to the west, houses a weather-protected break room. It creates a connection to the neighboring school building and at the same time faces the surrounding green open spaces. It is at right angles to the kindergarten building with its classrooms and activity rooms. The rooms are also accessed via a large, glazed corridor with a view of the schoolyard. The sanitary facilities are also accessible from here. This access area picks up on the rhythm of the school; this is where life pulsates. A glass curtain wall provides a view of this lively zone from the outside and at the same time allows light to penetrate the interior of the building.

Both structures, the voluminous kindergarten building and the filigree break hall, are made of metal frames. This material best suited the constraints of the site and the cost-effectiveness of the project. In its appearance, however, it also refers to the agricultural sheds that are part of the image of the village and line the surrounding landscape. The façade of the kindergarten and the large overhang of the roof therefore also resemble simple agricultural buildings. Simple wooden paneling and metal surfaces and supporting elements dominate here. The third material of the building, the clinker brick of the façades and the surrounding wall, also refers to the surroundings. Many of the old buildings in the village center, including the church, are made of brick.

The architecture firm Studio Rijsel describes itself as a union of opposites. They see themselves as a place of fabrication, creation and life. The images and collages on the website also bear witness to this. Accordingly, the architects show a variety of media that come together and symbolize the work of the studio. The name of the studio “Rijsel” recalls the roots of the team, the city of Lille, Flanders and its roots in the north of France. At the same time, it stands for a geographical openness to the department, the region, to Paris and to the major Belgian cities of Antwerp, Ghent and Brussels. The founders of Studio Rijsel, Edouard Cailliau and Thomas Lecourt, have been working together in their own office since 2007, after almost ten years together in a recognized office in Lille.

With Porta 1070, their colleagues from OSK-AR Architecten have created an extraordinary school in a former church. Here we show you the project in Anderlecht.

POTREBBE INTERESSARTI ANCHE

“Tsuyoshi Tane: The Garden House” at the Vitra Design Museum

Building design
The exhibition "Tsuyoshi Tane: The Garden House" explains the construction and history of this special building on the Vitra Campus. Vitra / ATTA, Photo: Julien Lanoo

The exhibition "Tsuyoshi Tane: The Garden House" explains the construction and history of this special building on the Vitra Campus. Vitra / ATTA, Photo: Julien Lanoo

On November 18, 2023, the exhibition “Tsuyoshi Tane: The Garden House” will open in the Vitra Design Museum Gallery. It is dedicated to the recently built Tane Garden House on the Vitra Campus.

On November 18, 2023, the exhibition “Tsuyoshi Tane: The Garden House” will open in the Vitra Design Museum Gallery. It is dedicated to the recently built Tane Garden House on the Vitra Campus.

The Garden House by Japanese architect Tsuyoshi Tane is the latest building on the Vitra Campus and the first to be designed with the climate crisis in mind. The impetus for its construction came from Rolf Fehlbaum, Chairman Emeritus of Vitra, in 2020. In a letter to Tane, he explained that the Tane Garden House, together with the surrounding Oudolf Garden, should be the “first manifestation of a greater awareness of sustainability” on the Vitra Campus. It is important that the materials, working methods and usage methods used meet high ecological standards.

The Tane Garden House has a relatively small footprint of just 15 square meters and serves both as a lounge for the gardeners on the site and as a viewing platform for visitors to the campus. The platform offers an elevated view of the surrounding Oudolf Garden. The facility was developed in a trial-and-error process in which many different options were explored in search of the essence of the site.

The garden house is a typical example of Tsuyoshi Tane’s way of working. His projects are always preceded by intensive research into the local conditions. The exhibition in the Vitra Design Museum Gallery shows how the new building emerged from such research.

Like an archaeologist, Tane embarks on a kind of journey of discovery and searches for the essence of each place – he even describes this process as archaeology, the “archaeology of the future”. In doing so, he primarily explores the use of traditional materials and the regional craftsmanship in dealing with them. Tane also uses the term “above ground” to describe renewable products such as reeds or wood. This contrasts with “underground materials”, which are heavily overused raw materials. Although Tane was inspired by the historical buildings in the Swiss open-air museum Ballenberg to use the materials that make up the garden house, his own structure was built using regional production techniques and in collaboration with local craftsmen. The aim was to generate the smallest possible CO2 footprint overall.

The exhibition in the Vitra Design Museum Gallery presents, among other things, precisely these materials as components of the building: from the traditional thatched roof and the well trough made of logs to the binding and knotting techniques of ropes used for the staircase balustrade. Visitors will also find architectural models as well as models of individual building elements, drawings of the building and evidence of collaboration with local craftsmen. The entire development of the building can be traced on the basis of over a hundred models and mock-ups that have gone through several experimental stages. The exhibits show Tane’s intensive engagement with the typology of the building and his playful approach. The Tane Garden House is a building that represents an experimental study in contemporary and ecological construction. The exhibition consists exclusively of the materials used in the development process.

The exhibition is accompanied by the publication “Tane Garden House”. It conveys Tane’s unique architectural approach, his discussions and exchanges with craftsmen, builders and others involved in the process using statements and drawings, prototypes and sketches, models and materials.

The exhibition will open on November 18, 2023 and will run until April 21, 2024, inviting anyone interested to come and see for themselves.

Until recently, another interesting exhibition was on show at the Vitra Design Museum: Everything about “Garden Futures” here.

Art in shape – The stone in January 2025

Building design
Jo Kley's "Bull" is one of more than 100 sculptures that the freelance artist has created in Germany and 20 other countries around the world. Kley has been carving sculptures out of natural stone for around 25 years, using them to bring irrepressible energy into solid forms. Jo Kley regularly takes part in symposia and has created numerous works for public spaces. The artist lives and works in Kiel. © Bernd Perlbach

In the first issue of the new year, we invite you to rediscover the ancient excavation sites of Pompeii through the eyes of renowned architectural photographer HG Esch. He shows the city in unprecedented clarity. We will also be presenting impressive sculptures made of natural stone that artist Jo Kley has created in recent years and taking a closer look at the mandatory e-invoicing that will apply to companies from 2025.

Trade fair in Munich

Right at the beginning of the year, another trade fair is on the agenda: BAU 2025. It could be worth coming to Munich, because the program reads promisingly. The building of the future is right at the top of the trade fair organizers’ agenda. Companies from the natural stone, ceramics and tile sectors await you in Hall A4.

Pompeii from above

From page 6 onwards, we invite you to take a completely new look at the ancient excavation sites of Pompeii with us. Renowned architectural photographer HG Esch and his team have embarked on a literally “historic” journey, during which spectacular drone photos were taken. They show the structures of the ancient city with unprecedented clarity.

Award-winning sculptures

After breathtaking photographic art, from page 14 we show impressive sculptures made of natural stone that artist Jo Kley has created in recent years. He remains true to his original profession as a stonemason and stone sculptor. Kley has already given advice and support to the winners of the “DMH” and “Gute Form” competitions twice during a workshop. In this way, he is preparing the ground for the artists of tomorrow.

Maoi in Berlin

Our author Dr. Inge Pett found out for you how a moai from Easter Island ended up in Berlin’s Gardens of the World. The replica of such a huge sculpture made of tufa stone had literally been growing grass for 25 years. Find out what the Moai are all about from page 30 onwards.

Electronic invoices

From page 48, we turn our attention to a topic that may be on the minds of many of you: e-invoices. They will be mandatory from 2025. Our author Marian Behaneck explains what this means for companies and what details you should pay attention to when creating, receiving, processing and archiving electronic invoices.

We hope you enjoy reading STEIN!

Your STEIN editorial team Redaktion@stein-magazin.de

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In our last issue 12/24, we looked at bathroom construction. Read more about it here.