For the monumental entrance hall of the Apollo House in Amsterdam, The Netherlands, Aptum designed Kaleidion: an installation of seven mirrored light objects that offer a different experience from every perspective. From above, you look through the transparent objects, while from the ground floor they unfold into a kaleidoscopic interplay of light, colour and reflection. Daylight, movement and changing light settings ensure that the image is constantly evolving.
The title Kaleidion is a neologism that refers to the act of seeing through a kaleidoscopic lens. The word is derived from the Greek kalos (beautiful), eidos (form) and skopein (to see), enriched with the suffix -ion, which denotes movement, state or effect. Together, these elements describe the work as a system of ever-changing beauty: technologically refined yet simultaneously vibrant.
The installation consists of seven mirrored light objects that articulate the space like floating prisms. Within each object, light is reflected and multiplied into symmetrical patterns of colour and form. The work is based on the principle of the kaleidoscope, an optical system in which mirrors generate repeating structures.
By positioning the mirrors at different angles, the installation creates not endless repetition, but rather a series of compact, enclosed worlds. The image is constantly changing. Incoming daylight is captured and reflected, while the movement of visitors continually generates new compositions. In addition, the colour of the light can be adjusted independently for each surface. This creates a continuously shifting landscape that is reflective and interactive, and never quite the same.
The interplay of viewpoint, reflection and colour makes every experience different. No viewer sees exactly the same image. Finding one’s own reflection within this visual complexity becomes an intriguing challenge in itself.
The installation responds not only to light, but also to the gaze of the viewer. The work appears to look back. This effect is particularly apparent from the ground floor. On the higher floors, where visitors are at the same level as the objects, the experience changes radically and one looks through the installation. The use of one-way mirror, also known as two-way mirror or spy glass, transforms the enclosed, mirrored interior world into one of transparency and lightness.
A&O Shearman: ‘In 2010, A&O Shearman gave new impetus to its art acquisitions. The extensive renovation of Apollo House had been completed, and it was a natural step to enrich the renewed office with carefully selected works of art. The principle of the “conversation piece” was chosen as a guiding concept: art that invites dialogue. Since then, a vibrant collection has emerged, brought to life both inside and outside the office through guided tours, discussions, a website and the beautifully designed collection book Come in, you’re welcome.
Yet no work has generated as much discussion as the artwork intended for the entrance hall. The initial ideas in 2010 centred on Cloud Cities by Argentine artist Tomás Saraceno, a series of transparent, cloud-like structures. The international art market, with its sometimes explosive price developments, soon overtook these plans. Nevertheless, the image of the cloud continued to resonate for years in discussions about a suitable work for the hall.
Apollo House is without doubt one of Amsterdam’s finest office buildings. In 1939, architect Dirk Roosenburg created a monument to light and air, with the entrance hall as its impressive centerpiece. For a contemporary artist, adding something to such a space without conflicting with the existing architecture is a considerable challenge. At the same time, the work must not be overwhelmed by the volume of the entrance or the weight of the travertine. Since 2010, ideas had been proposed at regular intervals, only to recede into the background again, largely out of respect for the strength and beauty of the space itself.
The 2025 restyling changed this and prompted a fresh look at the hall. From a shortlist of proposals, Aptum from Eindhoven emerged: the artist and design duo Tineke Beunders and Nathan Wierink.
Aptum was equally aware of the sensitivity of the commission. After all, the entrance hall is the daily gateway for hundreds of employees and visitors. The work needed to have a positive presence without being overwhelming, and to suit a professional environment without becoming unremarkable. At the same time, it needed to be memorable and avoid becoming a lifeless exercise in filling a space. Aptum succeeded convincingly in finding this balance. The result is a contemporary homage to the original design.
That the realization process sometimes resembled a high-wire act, with occasional setbacks in production, is inherent to the makers’ perfectionism. Kaleidion was entirely handcrafted and produced in-house. It is an autonomous work, with this particular version specifically designed and produced for the entrance hall of Apollo House.
With Kaleidion, Aptum did not so much replace the early discussions surrounding Cloud Cities as transform them. Clouds remain visible, for those who wish to see them. Perhaps parachutes, umbrellas or radio telescopes too — images that all refer to air and space.
At its core, Kaleidion is a subtly supporting work, but thanks to its variable light source it can effortlessly take centre stage. At the touch of a button, the restrained, corporate atmosphere is transformed into a celebratory spectacle of colour.
Date: July 2026
Client: A&O Shearman, www.aoshearman.com
Location: Amsterdam, The Netherlands
Text: Marc-Jan van Laake, www.artadvisors.nl
Photo’s: Jeroen van der Wielen, www.jeroenvanderwielen.nl
