During the later design phases, we worked closely with the contractor J.P. van Eesteren on this. Our technical designers developed a smart and practical construction method to maintain the pace of construction, ensuring that the client could begin leasing on schedule while preserving Studio Gang’s architectural design.

In a building this tall, a lot of technical infrastructure converges on the lower floors—precisely where you want to maintain an open feel. That’s why we put extra effort into the technical design of the areas where the ventilation ducts and sewer lines needed to be installed. We managed to conceal them in designated zones so that the double-height commercial spaces remained visually appealing.

Due to the limited construction site space and the short construction period of just 1.5 years for a gross floor area of 12,000 m², contractor Van Wijnen sought an extremely detailed BIM model that was perfectly aligned with the work of consultants and suppliers. Prefabrication and direct assembly of components straight from the truck were necessary to shorten the construction time and minimize construction errors. The BIM model also had to be suitable for checking the production models of the co-makers.

In the BIM model, the various building components—such as natural stone, window frames, structural elements, and steel structures—were developed separately. We organized and coordinated clash detection sessions to ensure alignment with consultants and the contractor. The entire building was first constructed virtually (and completed!), taking into account the assembly sequence and construction logistics. And during the production and execution phases, Boltt checked the production models. All digitally, of course.

We advised Adyen to have the connection designed by an artist and to invite several artists to submit proposals. Amsterdam-based street artist Frankey presented the most compelling design. The environmental permit drawings were created by Boltt, and we advised Frankey on the presentations to the aesthetics committee and the materialization of the design. We handled the further technical development, including for contractor Van Wijnen.

The bridge's facade is made of Acrylic One, with the facade panels formed using composite materials in 3D-printed molds. The walkable glass floor spans from building to building. The lamppost, the balustrades, and the bolts are also 3D-printed.

Drawing on our knowledge of local construction practices and our background as designers, we assisted Studio Libeskind with the technical development and construction of this monument. The monument’s eventual completion was preceded by a complex process that spanned five years. Every change or addition—from extra names to lamps and fences—and every minor obstacle along the way was immediately incorporated into the model.

By providing 3D models and detailed drawings, we were able to illustrate the implications for all external consultants involved. Since the focus had to remain entirely on the monument, all necessary but distracting technical elements had to be subtly concealed. Throughout the process, we worked closely with Studio Libeskind to find the best solution in every instance.

We were in weekly contact with Studio Libeskind to ensure that we stayed as close as possible to the essence of the design. Boltt wanted to know exactly which design aspects were important so that proposed changes that did not meet these criteria could be rejected by the project team right away, allowing us to quickly seek a better solution. The time difference between New York and Amsterdam worked in our favor; issues raised in the afternoon often received a response the very next day—Dutch time.