The Sint Lucas School of the Arts by Atelier Kempe Thill

Building design

The Sint Lucas School of Arts by Atelier Kempe Thill. © Ulrich Schwarz

The Sint Lucas School of the Art was built right next to the monumental Sint-Laurentius Church in Antwerp. This art school, designed by Atelier Kempe Thill, is reminiscent of a museum. At the same time, the architects had the idea of building a new, contemporary school that could withstand various challenges.

In the 19th century, art schools often took the form of classical palaces to celebrate the public nature of the arts. Since the 20th century, the architecture of these schools has become less monumental, as the schools are less elitist and therefore less prestigious. Instead, lower budgets and growing interest demanded more functional buildings. In the case of the St. Lucas School of Art in Antwerp, the budget was also low, but the client wanted a complex spatial program. In order to do justice to this, the architects from Atelier Kempe Thill rethought and reorganized the concept of the art school. The result is a modern building that is very well prepared for the challenges of the 21st century.

The Sint Lucas School of the Arts in Antwerp not only had a low construction budget, but also had to be partially integrated into an existing building. The architects opted for minimalism and a reduction of requirements in order to arrive at a design. In collaboration with the various users of the institute, they developed a building that offers contemporary conditions for artistic training.

The aim was to use the building to reorganize both the training process and the institute itself in order to prepare it for the challenges of the 21st century. The following two questions were central to this: How can the design stimulate interdisciplinary work and inspire the creation of art? And how can the design strengthen the public character of the institute and open up the school to the city?

After winning the invited competition in 2016 with its design, Rotterdam-based studio Kempe Thill worked with users and the client to realize the project within just 36 months. The starting point for the project design was the redesign of an existing nursing school from the 1950s. This building was still in good condition, but only offered small and inflexible rooms. The studio therefore opted for a combined strategy of partial conversion, partial redesign and partial demolition to create space for an extensive new extension to the institute.

The former main building along the street and the side wings still exist. Two smaller lecture halls on the garden side had to be demolished. The main focus of the redesign was on the first floor of the former nursing school. Almost all non-load-bearing and partially load-bearing walls were removed to create more spacious, flexible rooms. This also gave the school a public character. A new façade facing the street was also added, creating a strong visual interaction between the street and the school.

Functions such as the public art library and an exhibition hall were placed along the street façade to maximize interaction with the public and the city. A student restaurant has been created in the central side wing, serving as a community center and creating a visual connection with the green courtyard and entrance hall. In addition, a large photography studio has been created on the roof of the existing school. For this studio, it was necessary to partially remove the existing roof in order to create higher and more flexible spaces.

A new studio building was added on the garden side of the existing school. It offers flexible and inspiring spaces. As a relatively large volume, it had to be carefully integrated into the urban structure of the block from the early 20th century. To achieve this, the building volume is partially recessed into the ground so that it is not too high. The open glass façades have a light effect and, together with the metal façade, seek a dialog with the neighbouring Sint-Laurentius church and the brick buildings in the surrounding area.

The project was intended to optimize the conditions for art education. To this end, Atelier Kempe Thill convinced the users to rethink the specified room program. Ultimately, this led to a fundamental change in the training concept and the design specifications, especially for the studio building: instead of the originally required partitioned rooms, it now offers open, wall-less plateaus of up to 930 square meters, which allow maximum flexibility and unexpected uses. Movable partition walls measuring 2.2 m x 2.2 m x 0.5 m allow different room configurations and can be transported across the floors by elevator.

The windows of the Sint Lucas School of the Arts are designed to let in maximum daylight. This fills the large rooms with natural light. In addition, the windows offer views of the sky and the treetops, which prevents a hermetic character. Most of the windows are positioned horizontally at the top of the wall. But on the first floor there is also a 14-meter-wide, floor-to-ceiling window that opens up views of the green inner courtyard.

In order to respect the budget, Atelier Kempe Thill sought an economical system for the construction of the studio building. The starting point was the unusual idea of building the house like a parking garage: Floors made of solid, polished concrete and a structural system with a minimum of columns, load-bearing facades and cantilevered walls in the corners make it possible to reduce the structure to a minimum and avoid corner columns.

The architects also designed the art school’s studio building from the inside out in order to transfer the internal logic to the external façade. The glass base and glass roof edges give it a special, transparent character. The fixed glazing, which is up to 5.3 meters long and up to 2.3 meters high, forms horizontal roof bands.

Overall, the Sint Lucas School of the Arts contributes to the discussion about the future of art schools. It supports collaborative working methods, offers a flexible future and encourages unexpected forms of expression. As a public building with a library and exhibition space, as well as biannual exhibitions, the school invites a large audience. With its impressive, unexpected spaces and transparencies, the school has found its own way of representing itself publicly and at the same time stimulating interaction with the city.

Incidentally , the KMSKA Museum in Antwerp also shows what an unusual extension can look like in terms of the future of art.

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Bathrooms become a harmonious work of art when even seemingly small elements fit into the design concept. This includes the taps as well as the toilet flush plate and the shower channel. Geberit therefore offers several products in new colors and materials that can be used to create a uniform and harmonious bathroom ambience. New additions to the range include the “Sigma21” and “Sigma50” toilet flush plates in concrete-look and walnut (wood) finishes. In an exciting contrast, the Sigma50 release buttons or the Sigma21 design rings can be selected not only in classic chrome, but also in the metal colors rose gold, brass or black chrome. The “Sigma20” and “Sigma30” toilet flush plates also offer more design freedom in new design variants – tone-on-tone with the respective surface. The design rings and strips are now also available completely in white or black as well as in white or black matt lacquered. Accents in the latest trend colors are also possible with the floor-level shower: the “CleanLine80” shower channel is characterized by a self-contained, solid channel profile. It is available in lengths of 90 and 130 cm, but can be shortened as required. There is a choice of three colors: black chrome, champagne and stainless steel. This means that the CleanLine80 can be used to match the look of the tiles as well as the material and color of the fittings. In addition, most of the products mentioned have an “easy-to-clean” coating that makes cleaning easier.

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Data warehouse for architects: Clever use and planning of data

Building design
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Photo of a modern gray high-rise building with an impressive façade, taken by Mathias Reding

Architecture without data is like a construction site without plans: possible, but rarely good. But while the industry is still philosophizing about BIM, the next innovation train has long since started rolling: The data warehouse for architects. If you want to plan cleverly in the future, you need more than pretty 3D models – you need data expertise and the right tools for collecting, linking and analyzing. Welcome to the age of data-driven architecture. If you don’t get on board now, you’ll be sidelined tomorrow.

  • The data warehouse is revolutionizing the way architects, planners and engineers in Germany, Austria and Switzerland work.
  • From material selection to life cycle analysis: data is becoming the basis for sustainable and economical decisions.
  • Digital tools, automation and artificial intelligence are no longer dreams of the future, but reality in planning.
  • The biggest challenges lie in interoperability, data quality, data protection and the willingness to change.
  • Innovations such as machine learning, predictive analytics and IoT interfaces are coming up against a fragmented practical landscape.
  • Those who see data only as a chore will be overtaken by international competitors – and faster than BIM was introduced.
  • Smart data management opens up new business models, but also harbors risks such as a lack of transparency and loss of control.
  • The data warehouse is not an end in itself, but the foundation for resilient, climate-friendly and liveable architecture.
  • The biggest construction site remains: Specialists must make the leap from gut feeling to data-based planning.
  • Between digitization euphoria and data protection paranoia: the discourse surrounding the data warehouse reflects the future issues of the entire industry.

Data warehouse: from data tomb to planning center

Anyone who thinks of dusty server rooms when they think of data warehouses has not taken the digital transformation into account. In the context of architecture, the data warehouse has long been more than just an archive for completed projects. It is the central hub where all project-related and external data streams converge – from CAD plans and material databases to energy consumption figures and user feedback. The idea behind it is simple but radical: no longer just building, but systematically learning. Every project leaves behind a data DNA that can be used for future planning. Anyone who still maintains Excel lists manually today is playing with blunt tools in the age of the laser scanner.

In practice, things look surprisingly different in Germany, Austria and Switzerland. While large offices and general planners already rely on highly integrated data platforms, medium-sized companies often struggle with isolated solutions, incompatible file formats and the fear of losing control. The result: data seeps away instead of inspiring. In Austria, initial pilot projects in the field of hospital and school construction show how the integration of existing data, usage analyses and simulations leads to better designs. In Switzerland, cities such as Zurich and Basel are experimenting with city-wide data platforms – and are demonstrating how architecture and urban planning can benefit from data together. In Germany, on the other hand, there is still a great deal of scepticism about centralized data structures, not least because of the notorious data protection concerns.

But one thing is clear: the pace of innovation is increasing. New tools for automatic data extraction, cloud-based collaboration platforms and AI-supported evaluations are changing everyday life in offices. Laboriously maintained databases are suddenly becoming dynamic knowledge repositories that deliver real added value in the design process. The data warehouse is not an additional feature, but the backbone of a future-proof, sustainable architecture. Those who take the plunge will benefit from faster decision-making processes, well-founded forecasts and unprecedented transparency in the course of the project.

However, the path remains rocky. Technical hurdles such as heterogeneous software systems, missing interfaces or unclear data sovereignty slow down development. There are also cultural barriers: Many architects prefer to see themselves as creative lone wolves rather than data managers. But times are changing. Those who manage projects based on gut feeling today will be overshadowed by data-driven competitors tomorrow. The key question is: who controls the data warehouse – and who is controlled by it?

Internationally, developments have long since moved on. Asian metropolitan areas and US architecture firms in particular are using data warehouses as a strategic tool for everything from property analysis to facility management. Global competition never sleeps – and makes it clear how much the local industry has to catch up if it is not to be left behind. The road to the data warehouse is not a sprint, but a marathon. But those who don’t start running are guaranteed to fall by the wayside.

Innovations and trends: AI, predictive analytics and the new design culture

The real revolution of the data warehouse does not lie in the mere collection of data, but in its intelligent use. Artificial intelligence, machine learning and predictive analytics are the new magic words in the industry. They help to recognize patterns from huge amounts of data, understand correlations and create forecasts that go far beyond traditional planning tools. If you want to know how a new neighborhood will affect the microclimate, energy requirements or tenant satisfaction, you no longer need to commission complex studies – you can let the data do the talking.

The possibilities that arise from linking real-time data, simulations and historical project data are particularly exciting. The data warehouse thus becomes the control center for automated scenario analyses. A planned building demolition? The system calculates material cycles, CO₂ savings and cost optimization in minutes instead of days. A new mobility concept? The effects on traffic flows, noise emissions and quality of stay are simulated with just a few clicks – in a well-founded, reproducible and comprehensible way. For architects, this means less coffee grounds reading and more well-founded decisions.

In practice, pioneers are already experimenting with AI-supported generative design tools that independently create, optimize and evaluate design variants. The data warehouse provides the database from which the algorithms learn. Those who use these systems wisely gain valuable time – and can concentrate on what architecture is really about: quality, innovation and context. The fear that algorithms will replace architects is as exaggerated as the hope that data will solve all problems. It’s about new roles, not replacements.

Of course, there are also risks. Algorithms not only take over the calculations, but also the decisions – and this threatens new biases, new black boxes, new dependencies. Anyone who operates the data warehouse as a black box risks a lack of transparency and the erosion of planning responsibility. This is why we need clear rules for dealing with AI, open interfaces and a new culture of data criticism. Because only those who understand how decisions are made can take responsibility for them.

An international comparison shows that while Singapore and New York have long been using AI-supported city models, German-speaking countries remain cautious. The fear of losing control is too great, the courage to truly innovate too small. But the pressure is growing. Those who do not learn to think with data now will soon be overtaken by their own tools. The data warehouse is not a trend – it is the new basic architecture of the industry.

Sustainability Reloaded: data as the key to climate change in construction

Yesterday, sustainability was a seal of quality, today it is mandatory. But there is a huge gap between greenwashing and real solutions. This is where the data warehouse comes into play. If you are serious about sustainability, you have to measure, evaluate and adjust – and this is exactly what structured databases make possible. From life cycle assessment to life cycle and operational optimization, all of a building’s parameters can be analysed on the basis of data. This turns sustainability from a phrase into a planning reality.

The first data pools for building materials, energy consumption, CO₂ emissions and deconstruction potential are being created in Germany, Austria and Switzerland. Innovative projects such as the cradle-to-cradle house or the PlusEnergy district show how material passports, digital twins and data platforms can work together. The data warehouse serves as the backbone for certifications, funding applications and reporting obligations – making it the real driver of sustainability in the construction industry.

But the reality is sobering: many planning offices are already failing at data collection. Outdated systems, a lack of standards, a lack of expertise and the fear of additional work prevent widespread use. Medium-sized companies in particular are often left out because the barriers to entry seem too high. What is needed here is training, advice – and a rethink in education. Sustainability is not a marginal issue, but belongs at the heart of planning processes.

Many things would be technically possible: automated life cycle analyses, real-time monitoring of buildings, predictive maintenance and dismantling scenarios at the touch of a button. But without centralized data storage, most of it remains piecemeal. The data warehouse is the prerequisite for ensuring that the architecture of tomorrow not only looks green, but is also measurably sustainable. Those who miss out on this will be overrun by new regulations and international standards.

The global debate on climate-friendly construction shows that data-based planning is not a luxury, but a survival strategy. The EU taxonomy, new CO₂ balances and stricter funding conditions make the data warehouse a must-have in the industry. Investing now not only secures competitive advantages, but also assumes responsibility for the future.

The path to data competence: knowledge, tools and the new role of the architect

The transition from creative lone wolf to data-savvy process architect is no small feat. Specialists must learn how to handle data, evaluate and interpret it – and know its limits. This starts with training: Data literacy belongs in the curriculum, not as a fig leaf, but as a central tool. Anyone who takes planning seriously needs to understand cycles, dependencies and interactions – not just in their head, but also digitally.

The tools for this are diverse. In addition to traditional BIM systems, specialized data warehouse solutions that link planning, construction and operation are becoming increasingly important. Interfaces to IoT platforms, material databases, certification systems and facility management software are becoming standard. But technology alone is not enough. A basic understanding of data architecture, data quality and data protection is required. If you slip up here, you risk making the wrong decisions, security gaps and losing your competitive edge.

In practice, this means that architects have to deal with APIs, data models and licensing issues. They must learn to curate and visualize data and use it as a basis for argumentation. The new role is that of translator – between creativity and logic, between design and algorithm. This is uncomfortable, but indispensable. Those who embrace change can restructure processes, minimize risks and drive real innovation.

Of course there is resistance. Many colleagues fear that data will replace intuition, that algorithms will take over design sovereignty. But the opposite is true: data frees us from gut instinct and creates space for genuine creativity. The best ideas are not created in a vacuum, but on the basis of hard facts. The data warehouse is not a control instrument, but an enabler. It forces us to become better – and that’s a good thing.

An international comparison shows that those who take data competence seriously win new markets, new customers and new perspectives. The time for excuses is over. The architect of tomorrow is a data manager, process designer and innovation driver all rolled into one. Anyone who doesn’t understand this will become an extra in their own industry.

Discourse and vision: between data paranoia and digital optimism

Hardly any other topic polarizes the industry like the data warehouse. Some see it as a great opportunity for greater efficiency, sustainability and transparency. Others fear the loss of control, misuse of data and the disempowerment of architects. The discourse oscillates between these poles – and reflects the deep uncertainties of an industry in upheaval. As is so often the case, the truth lies somewhere in between.

Data protection is not an end in itself, but a basic prerequisite for trust. Anyone who stores sensitive project data in central systems must ensure clear rules, transparent processes and unambiguous responsibilities. The GDPR is not an enemy, but a necessary framework. Anyone who turns the data warehouse into a black box risks not only fines, but also the trust of the client. Openness, traceability and participation are the order of the day.

At the same time, the industry is in danger of getting lost in the minutiae of concerns. While international competitors have long been experimenting with open data platforms, open source tools and collaborative planning processes, there are still arguments about responsibilities here in Germany. The fear of errors, liability and loss of control is slowing down development – and therefore also innovation. Those who fail to act now will not only lose time, but will also be left behind.

But there are also visions. The data warehouse can become a driver for more participation, better decision-making and new business models. It can help to democratize processes, improve dialogue with clients, users and authorities and increase the quality of the built environment. The prerequisite: courage, openness and the willingness to take responsibility. Those who take the plunge will help shape the rules of the future – instead of being overrun by them.

The international discourse shows that data-based architecture is not an end in itself, but the logical response to the challenges of a complex, dynamic world. Those who invest now can actively shape the future of the industry. Anyone who hesitates will remain an in-house spectator.

Conclusion: data competence is the new architectural language

The data warehouse is far more than just a technical tool. It is the foundation for a new, resilient and sustainable architecture. Those who learn to plan with data gain quality, speed and innovative strength – and take responsibility for the built environment. But getting there is not a sure-fire success. It requires courage, openness and a new culture of learning. The future belongs to those who do not fear data, but use it. Because one thing is certain: the architecture of tomorrow will not be built from the gut, but from data. Those who understand this will not just stay in the game – they will set new rules.