This page contains a Flash digital edition of a book.
062 VENUE


“We knew the products, we knew the people, we knew what we wanted and it all


fitted together. So that’s why we really want to use ADB products.”


-Winand Van Lil Photo © Mike Lethby


more practical way by building the theatres. I would have to keep the whole concept in mind and give input to the consultant agency or to the architects of what we wanted. Not just in practical terms, but also to explain what we, the Cultural Centre wanted to give the audience and try to translate that into a more technical approach.” The two on-site theatres run independently of one another, and often very different events are taking place at the same time. However, there is just one entrance for both theatres, which therefore means the audience for both spaces mix and mingle prior to entering the theatres. This is an aspect Van Lil really enjoys, as it is not something you expect from a trip to the theatre. He said: “It’s a melting pot of cultures but also for people for different ideas, for different people that are coming over here. I really like that.” Although the design and planning of this project began some time ago, it was during more recent months that the preservation and construction of the theatres began. Van Lil explained how the old layout inspired the new: “You have one lower floor, and an upper floor. The lower floor was originally used for people for the interaction between what was going on underground and what was going on in the mine buildings above ground. The upper floor was used for machinery and things like that, which is exactly what we do in the theatres. We have the machines, technical bridges, pipes, lighting bars and everything on top. And on the lower floor are the two stages, which are connected with one hallway where the offices are, where the people are interacting. So that’s really the basis of how the two theatres are merged with the old building. It’s really the same kind of thinking.” The architect who worked on the theatres is a Brussels-based company named 51N4E, after its geographical coordinates. Though it is a very young company, it is not without recognition. Peter Swinnen, who heads up the company (with a partner) was elected as Flemish architect for this year (2010). Being named architect of the year, in many ways, implies the architect is at his peak of creativity, coinciding perfectly with the project’s ideology. Van Lil was pleased with Swinnen’s work, and said he really put his mark on C-Mine. Another key player was Marc Lambert, a theatre consultant from TTAS. Van Lil said of his work: “He was really a technician, he used to be on the floor working, so he knows what it takes to make a good theatre. I think it was a very good combination just to have those two people together, because the architects had a very good idea of where they wanted the building to go to, how they wanted it to look when it was complete. But then Marc knew how to fit in all technical equipment and infrastructure into that idea.”


www.mondodr.com


The smaller theatre can accommodate up to 206 people for a seated event, or up to 800 for a standing performance. When this theatre was being constructed the idea was to be able to use this space for three main purposes: one, as a theatre room for smaller events; two, as a concert hall for loud rock concerts; and three, for very small intimate concerts such as a string quartet. Therefore the technology specified for this space needed to be flexible, but due to its size, fairly simple. The lighting selection is a combination of fixtures from ADB Lighting. With an established relationship already in place; the City of Genk’s Culture Centre deemed it a natural choice, as it knew it could rely on both the products and the service. Van Lil echoed that thought: “We knew the products, we knew the people, we knew what we wanted and it all fitted together. So that’s why we really want to use ADB products. We still have some other purchases to make and they will be ADB products.” The lighting fixtures for the project include the ADB Niethammer


Photo courtesy of ADB Lighting


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140