“It’s truly a privilege to work with the duality in this space”

Hello Lisi and Rolf! Can you introduce yourselves? Who are you and what does your work involve?

Lisi: I’m Lisi Teisen, an architect and urban planner by profession. Rolf and I took over my father’s architecture practice in 2000. Our first involvement with Rotondes was in 2006 during the cultural year when we worked on the initial site design. It was a fantastic first experience with the place and the team.

Rolf: And I’m Rolf Giesler. I’ve known Lisi since our university days in Vienna, and we’ve been working together since 2000. Besides that, Lisi has covered everything! (laughs)

You’re already very familiar with Rotondes, as this isn’t your first time renovating the site! What sort of work have you done so far?

Lisi: Back in 2007, when it was decided to turn Rotondes into the cultural year’s headquarters, we began considering potential architectural and landscaping interventions, and the overall direction we wanted to take the place. It’s important to remember that all our interventions were intentionally temporary, as the cultural year only lasted a year. So, we took inspiration from the ​“pop-up” model, aiming to work with modules that could be reused or relocated later. We were already thinking ahead, striving for a long-term vision with every decision we made.

Despite their temporary nature, our changes truly transformed the space and made a big impact. Already back then, people were captivated! Through its programming and design, it’s a place that’s constantly evolving, offering new uses and features. From the start, Rolf and I focused on suggesting improvements that complement the place’s unique identity.

Speaking of uniqueness, it should be noted that even at that time, there was an interesting dynamic between the renovated Rotonde 1 and the still-occupied Rotonde 2, which was used by the CFL. We felt the need to work with this duality, acknowledge it, and make use of it. That’s where the idea for our ​“Serre Bleue” (Blue Greenhouse) structure came from — a wooden frame construction that housed a restaurant in 2007 and has been home to the Plateforme since 2015. The Serre Bleue was an open structure that offered views of the rest of Rotondes, giving café and restaurant-goers a taste of the concerts, exhibitions, and everything else on offer. It was a way to bridge the programming with the already-curious public. We used plenty of wood and played with words like ​“serre” (greenhouse) and ​“cerf” (deer) (‘serre’ and ​‘cerf’ are homophones in French) to evoke nature and highlight that Luxembourg and its wider region (including the Ardennes and Lorraine) aren’t as urban as one might think, but retain their rural, forested charm.

Rolf: Between 2008 and 2013, our focus remained on developing phase 1 (the minimalist project post-2007) and carrying out various minor tasks. Initially, we dismantled the Serre Bleue and removed several temporary installations in Rotonde 1 to facilitate the installation of parquet flooring by the National Institute for Architectural Heritage (formerly the Service of Sites and National Monuments). 

Then, in 2010, the Public Buildings Administration undertook the complete decontamination of the site, removing the contaminated floor covering and pits tainted by bus fuel within Rotonde 2. Unfortunately, this decontamination effort also entailed the total demolition of the Exit café (Editor’s note: the club and bistro space during the cultural year in 2007).

Between 2013 and 2015, our efforts shifted towards creating the technical pavilion and the foyer of the current Buvette attached to Rotonde 2. The technical pavilion was built along the roadside at the property boundary, with the eventual aim of providing technical connections for the entire site. 

Within Rotonde 1, we also added sanitary facilities, installed a bar in the former space of the Serre Bleue, and created artist dressing rooms. Subsequently, in collaboration with scenic experts Charcoalblue from London, we installed a retractable circular grandstand and a comprehensive sound and lighting structure in the centre.

In the Courtyard (Parvis), we erected the solid wood structure that now houses the Black Box, designed as an intimate performance space with excellent acoustic properties and a capacity of approximately 120 people. Next to it, we created the Container City repurposing school containers from the former European School in Kirchberg to house Radio Ara and workshop spaces.

By this stage, we were already aware that the Black Box structure, with its durable solid wood character and requisite room height for performances, could be repurposed on-site and used until the finalisation of the Rotondes’ rehabilitation project.

Lisi: Let’s rewind a bit. Following the cultural year, to keep the momentum going on-site, the Rotondes team had to make a temporary move to the Carré Rotondes in Hollerich. We went for a straightforward approach, relocating as much gear as we could, like the bar and furniture from the Exit café.

In 2015, both the Rotondes team and the planners returned to the Rotondes site. In preparation for our comeback, we set up the Klub within Rotonde 2. This time, it was a permanent wooden fixture, slated to be further enhanced by future Rotonde 2 renovations. We were thinking ahead to what we hoped to achieve next. Meanwhile, Rotonde 1 was also getting a makeover, including the addition of the Galerie.

Well, that about wraps it up, but it’s far from over! (laughs)

It’s far from over, indeed, as you embark on a whole new phase of work with us this year. What have been the main challenges that emerged?

Lisi: For this next phase of our work, we aimed to explore the interplay of complementary elements, volume, and materials. In Rotonde 1, the original layout leaned towards a horizontal orientation: stepping into its midst, surrounded by darkness, one might feel somewhat ​‘engulfed’ by the structure. In contrast, for Rotonde 2, we embraced a fresh concept, occupying the space in a half-moon configuration, leaving the other section empty. Here, our focus shifted towards verticality, which presented several architectural challenges. This decision was driven by our desire for the public to experience a bird’s‑eye perspective from the structure’s summit, appreciating it in its entirety, from floor to ceiling.

We want visitors, regardless of their architectural inclinations, to perceive the harmonious interplay between different eras — not only between the old and the contemporary but also between the restoration of Rotonde 1 and the natural ageing of Rotonde 2. Throughout the process, we’ve strived to uphold a connection with CFL and the site’s railway heritage. This is partly why we’ve decided to keep the spaces with glass, which provide captivating vistas of passing trains while infusing the interiors with a mesmerising interplay of light.

In shaping Rotonde 2, our objective was to craft ​“boxes within boxes” that harmonise with the existing structure, fostering a genuine and respectful dialogue with the heritage. The interiors of these spaces will exude warmth and intimacy, while the vacant half-moon area, known as the ​“Agora”, will intentionally retain its raw authenticity, providing a canvas for various outdoor activities. As visitors navigate through these layered spaces, they will be treated to vertical perspectives, seamlessly transitioning between indoor settings and the Agora, with its semi-outdoor feel and views of the station and Rotondes square.

Rolf: In addition to that, we encountered many different challenges. Securing all the necessary permits proved to be a significant hurdle, and bureaucratic procedures occasionally caused delays in the project’s timeline. It’s important to acknowledge that since 2005, there have been numerous additions to regulations and laws.

Lisi: Absolutely, and this project really means a lot to us because there are too many places like this that disappear. Our challenge was to retain part of its original essence while modernising it and honouring its history. We aimed to update it without sacrificing its unique character. Naturally, this generated issues we wouldn’t have faced if the political decisionmakers had opted to construct a new building instead of transforming the existing Rotondes, which stand as rare examples of circular industrial construction prowess. For us, it’s truly a privilege to work with the duality in this space, where both Rotonde buildings may appear almost identical from a distance but reveal striking differences upon closer inspection.

Rolf: Ultimately, the project progressed through various phases over numerous years. It’s a bit like the Sagrada Familia of Luxembourg! (laughs).

Could you provide insight into the behind-the-scenes process? What steps did you take to bring the final project to fruition?

Lisi: It’s important to understand that when the Rotondes renovation project started, various options were explored, such as converting it into a train museum or a covered market. Ultimately, the decision was made for Rotondes to become the cultural institution we know today. Achieving this architectural vision involved navigating through a complex web of preliminary approvals and negotiations with state and municipal authorities, the Ministry of Public Works’ Critical Analysis Commission, the Ministry of the Environment, and more.

Adhering to the myriad of laws and regulations was paramount throughout the construction process. For instance, during concerts, noise levels cannot exceed 105 decibels. Given the Rotondes’ structure’s sensitivity in this regard, we installed an insulating wooden shell to ensure that vibrations and bass frequencies emanating outside remained within the acoustic limits.

Rolf: We also collaborated closely with emergency services and ITM (Labour and Mines Inspectorate) to develop comprehensive plans for premises compartmentalisation, escape routes, and use of multiple floors within Rotondes. Additionally, it’s important to consider that Rotondes is located next to the CFL tunnel, which necessitated planning for partial evacuation through the site. In short, it’s been a long journey!

What were your main sources of inspiration for successfully delivering this project?

Lisi: Industrial sites have always fascinated me, and I find their transformation particularly intriguing. Often, making minimal changes to such places yields the best results. Alternatively, you can create a striking contrast between contemporary and authentic industrial elements. For Rotonde 1, our aim was to blend into the industrial landscape, whereas for Rotonde 2, we aimed to announce to the public, ​“we’re back, and we’re making our presence known!” Naturally, this translated into different approaches. 

With added years of experience, we dared to go further and propose a unique project. The needs of Rotondes and the programming also influenced our choices, as it was essential for the setting to align with the planned cultural activities. In general, industrial sites like Schifflange or the Abattoir in Hollerich (Schluechthaus) demonstrate that it’s possible to preserve industrial heritage and repurpose it effectively.

For Rotonde 2, we drew inspiration from iconic venues like the Matadero Abattoir in Madrid and the Roundhouse in London. Our goal was to strike the same balance between contemporary functionality, incorporating all the necessary technical elements (heating, electricity, etc.) and preserving historical authenticity. The Palais de Tokyo in Paris also provided insight into effectively blending old and new elements.

According to you, what will be the impact of the renovation on the overall experience of Rotondes visitors?

Lisi: The renovation will significantly transform the visitor experience in several ways. Firstly, the venue will become more accessible to everyone, with lifts planned for Rotonde 2 and the central Pavillon, ensuring access to all floors and rooms for people with reduced mobility. The new Courtyard (Parvis) Pavillon will serve as a central focal point, integrating existing elements like the Black Box while introducing new features like a reception and information point, along with a revamped Buvette that can be fully opened towards the Courtyard (Parvis) in the summer. The addition of a large outdoor terrace on two levels will further enhance connectivity between the buildings and the surrounding environment. The redesigned Buvette will serve as a dedicated space for visitors to enjoy refreshments, separating it from the Kub, which will be exclusively dedicated to concerts. Rotondes has been designed to be THE meeting place of the neighbourhood.

Rolf: With the terrace, Rotondes will be even more noticeable! We wanted to make the place recognisable from the outside so that people see it’s a vibrant social hub and to spark their curiosity. Before going to a concert or discovering a new exhibition, visitors can sit down, have a coffee, leisurely look at the programme, and decide what they’d like to do next.

And after all that, it will be finished! Assuming the completion of the very last phase of renovations, what would you like the public to take away from your project? 

Lisi: Above all, we want people to remember that it is possible to preserve industrial heritage, modernise it, create reversible and sustainable features, and ultimately reuse it. Often, people think it’s impossible and that we won’t succeed. But we will succeed, and Rotondes is proof of that!

Rolf: Additionally, we want the public to recognise the uniqueness of the venue, situated in the heart of the City, offering daily enjoyment and easy access. It truly is a fantastic space for all to experience and cherish.