The history of the facade on Vredenburg dates back to 1936, when Gerrit Rietveld designed a new facade for the Vredenburg Cinema: a sculptural glass facade featuring illuminated lettering. Based on available photographs, it seems likely that the window frames were constructed from uninsulated steel channel sections combined with clear window glass. Starting in 1936, Rietveld also lived with his family in the front half of the building’s third floor.

In the 1950s, the façade apparently no longer met the requirements of the time and was modified. The glass boxes with illuminated letters were replaced by solid steel boxes with neon letters. In the early 1970s, the cinema closed and the building was converted into retail space. Between the 1950s and 2002, the steel window frames and single-pane glass were also replaced with aluminum frames and double-pane glass.

In 2002, the solid steel boxes were replaced by translucent frosted glass boxes with integrated lighting. However, this installation proved prone to malfunctions. Furthermore, the slender aluminum frames and the glass no longer met contemporary building physics requirements regarding insulation, sealing, and sun protection.

In the design by HEYLIGERS architects, the glass boxes from 1936 make a comeback. The shape of these boxes draws its inspiration from the word “bioscoop vreeburg,” using the distinctive letters b-p-b-g as a starting point.

Since the building’s function has changed, the boxes have been repurposed. A grid of LED lighting makes it possible to display a variety of messages, such as:

colors, for example during King’s Day, Liberation Day, or Utrecht Pride;
patterns that refer to seasons or holidays, such as snowflakes, rain, or spring;
texts, such as “Happy New Year,” a company name, or “peace.”

The starting point for the design was a subdued, ‘low-tech’ look: a facade system that references the steel chair profiles from modernist architecture, using a combination of profiles such as Jansen Arte 2.0 and Art 15. The LED grid is designed for text and abstract patterns; photographic images are explicitly not the goal. The light intensity is also deliberately subdued.

Test setups were used to determine which type of glass—with or without a print—delivers the desired result, ensuring that messages are legible and the light is filtered appropriately.

The beam between the ground floor and the first floor distinguishes itself, just as with the original cinema facade, from the boxes on the upper floors. Above the store, space has been reserved for illuminated signage. Here, the LED grid is continued without a cover glass and equipped with independent control.