The aim was to create a permanent spatial installation in the form of an artistic reworking of the foyer and its main entrances. What was new about this process was the precondition of forming an interdisciplinary team from art and architecture. The boundary between the two disciplines is therefore fluid.

As a result, a project was developed that extends from the foyer from the inside to the outside and from the bottom to the top. Instead of developing an urban planning idea or an overall concept for the monument, as is generally the case, the spatial concept gradually determined the adjacent spatial layers starting from the central interior. The result was a composition of stairs and steps made of in-situ concrete, which was laid across or parallel to the building - similar to a baroque stage set - in the existing structure. This arrangement formed the basis for all further interventions.

What remains, however, are the traces of the walls in the exhibition rooms with a pale blue-white tone, the dominant wood paneling and a radiant light that brightens everything up. What remains in the foyer are the carefully scratched and bush-hammered natural stone floors in dialog with layers of in-situ concrete, also bush-hammered. What cannot be experienced at first glance, but is essential, are the adapted, raised door lintels, which support the moment of openness. Additional directions of movement, in which the foyer now stretches in all four directions simultaneously, make the space appear light and less hierarchical.

While the lines of the steel shelves hovering above the floor point into the distance, the almost magnificent light objects by Koenraad Dedobbeleer provide a deliberate counterpoint to the otherwise straightforward horizontality of the room.