The Atomium was designed for the 1958 World’s Fair in Brussels, at a time marked by optimism, belief in progress and an unshakeable faith in science and technology. The steel structure, shaped like an iron crystal with nine spheres each 18 metres in diameter, was originally conceived as a temporary building. It was constructed using materials and techniques intended to last no more than six months. In the early 2000s, Sylvie Bruyninckx, founder of VIVA Architecture, worked as partner project architect at Conix Architects on the update of the Atomium, both in terms of visitor experience and restoration—a process that celebrates its 20th anniversary in 2026.
Full textIn the first phase of the competition, launched in early 2004, the internal experience of the spheres took centre stage. After visiting the severely deteriorated Atomium, the design team approached the brief in terms of the emotional and spatial experience of the building. Concepts such as infinity, dynamism, light and the pronounced “sphere feeling” formed the starting point. The core idea was that each sphere should evoke its own atmosphere and emotion, so that a visit to the Atomium would feel like a continuous scenographic journey.
In the second phase of the competition, the focus shifted to arrival on the site and the external experience. The designers were asked to develop a proposal for the entrance and the redevelopment of the “Galette”, the disc-shaped space beneath the lowest sphere that originally served as the access and ticketing area. The Atomium was placed within a broader urban context. By connecting interior and exterior spaces, the concept emerged of a new esplanade, the opening up of the Galette and the addition of a discreet reception pavilion. Today, this new pavilion organizes ticketing and visitor flows without detracting attention from the Atomium itself.
The execution of the actual renovation (2004–2006) aimed to restore and update the Expo 58 monument, with respect for the original design by engineer André Waterkeyn. One central question guided the project: how do you renovate an icon that was never designed to last, without losing its original meaning? Sylvie Bruyninckx was closely involved in addressing this challenge. “This project shaped me both professionally and personally. What was intended for Expo ’58 as a temporary experiment has grown into an architectural icon that continues to inspire.”
The collaboration with contractors Jacques Delens–Besix was technically exceptional and was carried out using specialized rope-access technicians, without large-scale scaffolding. The load-bearing steel structure was inspected, sandblasted, locally reinforced and fully protected against corrosion. The ageing aluminium outer skin of the spheres was replaced by a new stainless-steel envelope composed of insulated sandwich panels. The result was a restored sheen and a significant increase in durability. In addition, fire safety was improved, technical installations were updated and windows, joints and waterproofing were renewed. The integrated exterior lighting was upgraded, with a contemporary lighting concept subtly referencing the original idea of electrons moving around a nucleus.
The interior was stripped back and reconfigured through minimal, yet targeted interventions. The focus lay on restoring the original atmosphere, spatial continuity and the characteristic sphere feeling. In this way, the Atomium was repositioned as an experience-driven monument for the 21st century. The interiors of the spheres deliberately refer back to the origins: red marks the escape routes, blue guides the visitor route and grey forms the base colour of the structural elements. This colour coding is consistently applied in both fixed and loose furniture.
After founding VIVA Architecture in 2012, Sylvie Bruyninckx remained involved in further interventions on the Atomium site. VIVA designed the long, curved bench around the Galette, which not only enhances the use and experience of the square but also provides an integrated solution for basement and ventilation openings. In this way, the Atomium demonstrates how young heritage can continue to evolve: through thoughtful interventions, past and future are reconciled.
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