In the gallery house in Landegem, Wim Goes imbues every delicate detail with robustness. He does this to make the construction dynamics of timber technology visible and tangible. After all, a beam has a different dynamic than a window. This constructive poetry creates a depth with which everyone can physically connect. He also draws on the concept of ‘undoing’, thinking about what each detail is not. In this way, he succeeds in intensifying and tempering the whole. Tempering. Temple. Temperature. Tempo. Tempera. Temperament.

In front of the outer doorstep, a measured island of bricks, like a doormat. All attention goes to that step across a narrow void to enter the architecture. In the entrance hall, a few small window openings just above floor level hold the focus for a moment, then lead the gaze upwards, ending diagonally opposite at a band window above the lintel of the exhibition space. Many architects direct the way people move around a building, but few take control of the movement of the eye. When masterfully executed, it invites you to slow down and at the same time evokes a sense of freedom of movement – an atmosphere that has less to do with directing people than with enticing them to stroll and marvel. Worthy of an art gallery.