KASTERLEE.- A quiet forest in Kasterlee, Belgium, is about to become home to a new kind of artistic life. On June 6 and 7, 2026, the MASEREEL art center will officially open a newly built artist pavilion—an architectural project that signals not just expansion, but a rethinking of how artists create, collaborate, and connect with their surroundings.

Designed by U/Define and FRANTZEN et al, the pavilion replaces a cluster of aging A-frame residences from the 1970s. But rather than simply updating the facilities, the new structure introduces a completely different philosophy—one rooted in circular design, shared living, and a deep sensitivity to the landscape.

A building designed around community

At first glance, the pavilion’s circular form stands out. But its shape is not just aesthetic—it’s functional. The design gently organizes the rhythms of daily life for artists in residence, balancing moments of solitude with opportunities for exchange.

Inside, the building accommodates nine artists, each with the option of bringing their families. At its center, a shared kitchen and living space acts as the social core—a place where conversations begin, collaborations emerge, and ideas take shape.

From there, the architecture opens outward. Shaded terraces and outdoor areas blur the line between interior and exterior, allowing the surrounding forest to become part of the creative process.

Rather than imposing itself on the environment, the pavilion seems to settle into it—almost disappearing into the landscape.

Built to evolve over time

One of the most forward-looking aspects of the project is its flexibility. The structure—made of steel rings and a central wooden core—was designed to adapt. As artistic practices evolve, so too can the building, without the need for major reconstruction.

Sustainability is also at the heart of the project. Materials from the previous residences were carefully reused, including slate and cobblestones, while new elements were chosen for their low environmental impact and ability to be dismantled and repurposed.

Even climate control follows a minimalist philosophy. Instead of relying on complex systems, the building uses passive shading through its surrounding terraces, creating a low-tech yet effective approach to comfort.

The result is an architecture that feels both modest and generous—quietly supporting creativity without ever dominating it.

Opening weekend doubles as a festival

The pavilion’s debut will take place during the second edition of OPEN MASEREEL, a weekend-long art festival that brings together exhibitions, performances, and public programming.

Visitors will encounter newly produced works by artists including Carlotta Bailly-Borg, Sammy Baloji, Julien Meert, and Shervin/e Sheikh Rezaei, all created in MASEREEL’s print studios. A new permanent sculpture by Daniel Dewar and Grégory Gicquel will also be unveiled.

The program extends beyond exhibitions, with artist talks, live performances, musical sets, and presentations by alumni artists such as Gerard Herman, Serene Hui, and Felix Kindermann. A new publication by Patrick Van Caeckenbergh will also be introduced.

A new chapter for MASEREEL

For MASEREEL, the pavilion represents more than a new building—it marks a shift in how the institution positions itself internationally.

Known for its artist-led approach and its focus on printed matter in its broadest sense, the center has long been a destination for experimentation and dialogue. With this new space, it strengthens its role as a place where artists can not only produce work, but live, reflect, and engage deeply with their practice.

In an art world that often moves fast, the new pavilion offers something different: a slower, more intentional way of working—one shaped as much by architecture and landscape as by artistic vision.

And beginning this June, that vision becomes a lived reality.