“After the building work, Rotondes will keep evolving”

Hi Steph! Rotondes has gone through a lot of changes over the years, with several renovations before becoming the cultural centre it is today. And now, we stand on the precipice of the final phase of construction. How are you feeling about this major transformation?

I’m filled with anticipation, but with a twinge of apprehension! For nearly eight years, ever since our relocation to the Rotondes site, we’ve been envisioning this endeavour in abstract terms. But now we’re finally at the point where things are really happening. Although the cacophony of construction equipment isn’t particularly melodious to my ears, I’ll welcome the sight of excavators and concrete mixers with open arms because they mark the beginning of a new era! Sure, it’s going to take a while longer, but we’re finally getting to the point where we can start making real progress. Like any construction project, there’s bound to be some disruption, but I’m mostly feeling excited and relieved to be getting down to business. The road ahead may appear arduous, but the destination promises to be well worth the effort.

Could you tell us a bit more about the main goals of this project?

The construction work isn’t just about making changes for the sake of it, but rather a means of optimising, expanding, and transforming the entire site. Striking a balance between the ergonomic, aesthetic, and historical aspects of the location can be tricky at times, but thanks to this project, we now have the opportunity to better define these elements and shape the overall space. This work isn’t being done purely to make it look pretty. It’s about having a tool that will help us achieve a specific goal: to provide a programme that aligns with our cultural missions and the expectations of our audience.

The construction work gives us a chance to completely rethink our programming and explore new creative directions. This will obviously involve considering the evolving needs and interests of our audience in terms of culture, but also how our programming fits into the broader cultural landscape that is also constantly changing. 

We’ll be conducting this reflection internally with the entire team, developing an action plan that will evolve alongside the construction and support it until completion. 

As it is now, we find ourselves often adjusting to the possibilities – and limitations – of the existing site. The construction will create new opportunities. Since returning to the Rotondes site in 2015, we’ve been able to observe daily what works, what doesn’t, and what can be improved. These observations are now the foundation for our future planning and development.

The redevelopment of Rotonde 2 will open a whole new world of possibilities that we’re only just beginning to imagine. We’ll have two roundhouses designed to complement each other, along with a central building and a courtyard that will offer even more options, although the weather will still always be a factor to consider. But hey, we’re in Luxembourg – both our audience and ourselves are used to dealing with that!

In any case, our programming will always be the top priority, ideally guiding the construction, not the other way around.

Since Rotondes is inherently multidisciplinary, we’re keen to have flexible spaces that can be used for a variety of purposes, such as conferences, workshops, and exhibitions.

We’ve banged on about this point so much, it’s become a bit of a running joke between us and the public buildings department – every room would be a ​“Multifunktionsraum” (multifunctional room)!

Of course, that won’t be the case. We’ll ensure clear identification of the different spaces, their volumes, and their intended uses. The goal is to maintain a clear structure, avoid spaces that ​‘step on each other’s toes’, and ensure a logical system for signage and reception for the different audiences we cater to.

How do these renovations fit into Rotondes’ long-term vision?

While the renovations are taking place, some might wonder ​“Are we just going to replicate the same programming, but with fewer events?” Personally, I don’t think that’s the best approach. We’ll definitely need to adapt and try new things, considering this new layout that will bring limitations, but it will also come with some exciting new possibilities.

Once the work’s done, the question will inevitably come up again: ​“Will we just do the same thing, but with double the events?” Again, I don’t believe that’s the right answer.

We’ll have more flexibility, especially in terms of space. This will allow us to stage multiple events simultaneously, taking advantage of the complementary nature of Rotonde 1 and Rotonde 2. Currently, with Rotonde 1’s open plan layout, scheduling simultaneous events is quite tricky. In Rotonde 2, however, the verticality of the space will allow for several events to happen at the same time. This is a game-changer – we won’t be constantly in a quandary about whether event Y can fit in space B because of event X in space A anymore. This juggling act with spaces has caused a lot of frustration for the team over the past eight years.

We’ve always been drawn to the experimental side of things here, especially because of our commitment to young audiences. So, even though we have a fairly well-defined framework, we’re always keen to try new things, and we have a wide-open spectrum to do so.

Ultimately, we don’t have a rigid checklist of what Rotondes should be or should offer. We don’t ask ourselves, ​“Does this tick all the boxes? Yes? Great, let’s crack on!” One of our core values is our alternative approach, an element of our identity we’ve always cherished and will continue to preserve. After the building work, Rotondes will keep evolving, especially in terms of programming. In a way, we’ll remain a work in progress, a place that’s constantly developing and changing.

Could you share some details about the major new features that are in the works?

Rotonde 2 is getting a complete overhaul, transforming it into a fully explorable space from top to bottom, corner to corner. Think of it as an extension of the Courtyard (Parvis), seamlessly blending the two areas.

With its two floors, it will also become a hub for more specialised activities like workshops and community projects. It will be a space dedicated to those who stay on site for longer periods.

We’re also planning a brand new catering space to complement our events and create a lively space with a welcoming atmosphere throughout the day. This space will be accessible from the Courtyard (Parvis) and will even boast a terrace on the second floor for soaking up the sunshine.

From an aesthetic and architectural standpoint, the challenge is creating new, modern, and ergonomic volumes that sit harmoniously alongside the existing, listed heritage. The early simulations look very promising indeed!

Practically speaking, what does this mean for our visitors?

Right now, we have a clear identity: Rotondes is primarily a place for people who know what they’re coming for. Visitors head here to see an exhibition, a performance, a concert, or to take part in a workshop or attend a conference. Sure, there’s nothing stopping them from grabbing a drink at the Buvette afterwards, but the initial draw is attending one of our events.

Once the building work is done, we’re hoping to shift gears a bit. We want to create a lively space that’s open all the time, where people can come on a spur-of-the-moment visit to have a wander around, grab a drink, or simply soak up the atmosphere, all with the knowledge that there might be an exhibition or a screening or something else happening too.

This is interesting, because we already have people now that come here for after-work drinks, unaware of what else we provide. If we can spark a conversation with them and get them hooked on exploring our cultural offers, that’s a win-win. This change in approach will also allow visitors who come for a specific event to extend their cultural experience and stay on site longer if they fancy it.

For me, the most memorable moments at Rotondes haven’t necessarily been the best shows or concerts, or the great markets and exhibitions. It’s when we manage to create connections between events happening simultaneously in different parts of the venue. That feels like we’re really hitting the mark. These moments are precious because they spark interaction between different audiences, leading them to discover artists and works they never knew existed. I really hope that once the renovations are done, we’ll have even more opportunities to create these special encounters.

What measures are in place to ensure the continuity of cultural events throughout the renovations?

We know how important it is to maintain a vibrant cultural programme during the renovation period, and it’s crucial to emphasise that Rotondes will remain open and accessible to the public throughout the project. How we keep things ticking will change a bit from season to season, depending on what stage the works are at. Something that might be feasible one season could be a bit tricky the next, and so on.

We also plan to keep some events at Rotondes, while others might need to be organised elsewhere, off-site. We are already in discussions with various partners to explore relocation options for certain parts of our programming.

However, the site itself will remain accessible throughout the entire renovation process. Luckily, we’ve got a few different entrances to Rotondes, which will facilitate public access and the continuation of cultural events.

During this transitional phase, we anticipate a similar mindset to what we experienced in 2014 and 2015 at the Carré Rotondes. Some events will need to be adapted, while others will continue to thrive. Some may even become permanent fixtures after the renovations, while others might need a rethink or even get the chop altogether – it really depends on what works best. Every decision will be made on a case-by-case basis, considering what’s possible, what limitations we have, and, most importantly, the feedback we get from our visitors.

Do you think the renovations will impact the current identity of the venue?

Here at the Rotondes, we’re all about embracing fresh opportunities, and I certainly hope each one leaves its mark on the place! A strong identity is a living thing, constantly evolving, never stuck in a rut.

Being such a multi-faceted venue, we face a rather complex situation. The people who come for gigs are often a different crowd to the exhibition-goers, and they might not always be aware of the sheer breadth of what we offer under one roof.

Communicating all that’s going on can be a bit of a head-scratcher, but that’s part and parcel of our identity as a hub for diverse experiences. The programme itself is constantly on the move, the venue is changing, so naturally, the identity is evolving too. As long as we keep that in mind, it can only be a good thing.

So far, have you faced any particular challenges that you hadn’t anticipated? If so, what are they?

I like making lists – to-do, urgent, important, things not to forget… But there’s one glaring omission – a list of all the trials and tribulations we’ve faced on Rotondes’ building site.

To name just one, I would say that one of the major challenges has been getting the new restaurant and its kitchen sorted. We need it to be a bit of a jack-of-all-trades, really. Managing catering facilities in cultural venues comes with its own set of hurdles; striking the right balance isn’t always straightforward. We have given a lot of thought to this question, especially because we want to have a restaurant that can cater to the public all day long. This has a direct impact on how we design the kitchen, which isn’t exactly our area of expertise! But that’s just one example among many.

Looking ahead, as director, how do you envision Rotondes after the renovations?

Surely with a lot more discussions, as there are still quite a few things to iron out and work on.

But on a broader note, I experience something I can’t quite put my finger on – this undeniable pull and connection everyone has with the two roundhouses. Personally, I’ve never been particularly fond of trains, and I didn’t play with them when I was a child. I do like old stone buildings, but there are other places that have more allure than Rotondes in that regard.

And yet, there’s something special about them, that’s undeniable. Is it because they’re round? I don’t really see why that would make them more interesting than square – it’s practical to have corners and much easier to have right angles. Perhaps it’s the fact that there are two of them, nestled in this unique urban pocket between Bonnevoie and the train station.

The renovations will be a chance to truly highlight all that, with new features that will have a much greater architectural impact than what we have achieved so far.

Optimising this heritage site, with its two listed buildings and its one-of-a-kind urban, alternative vibe, is a fantastic opportunity. But the real heart of it all is this: Rotondes is a tool that lets us offer what truly matters – easy access to culture, and a vibrant artistic and cultural programme – and we’ll keep that going throughout the construction and well beyond.