3NTA_ISSUE#6_DELFT

June 2015 ISSUE # 6

Learning from students

Architecture and Design Magazine

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ISSUE # 6/ June 2015

WHY

3nta.com

1. 3NTA is an online magazine, with the aim of giving to students’ projects and ideas the dignity they deserve.

2. 3NTA does not pretend to be young, 3NTA is young.

While being young, it enjoys the privilege of being naive.

3. 3NTA doesn’t ask for your grades. It considers “interesting” as its only value. For 3NTA there is no “good” or “bad” intellectual work.

4. 3NTA is international and local at the same time. With the role of the rotating editor it proposes local points of view in an international way. The rotating editor changes every month and it is always based in different city.

5. 3NTA is neither serious nor friendly. It is seriously friendly. It believes that communication requires effort and innovation within both architecture and design.

6.3NTA is not a random name. There is a very long story behind it. Maybe one day we will tell you about it… Maybe not.

7. 3NTA doesn’t know if it is going to last forever. But a beginning is more than enough.

8. 3NTA is quoting SAN ROCCO with this manifesto. If you don’t know SAN ROCCO, it’s enough to know that it’s a very cool architecture magazine, but 3NTA is much cooler.

9. 3NTA realized too late that the points are just 9. Unfortunately 3NTA is made by people and people make mistakes all the time. Students more than professionals.

Therefore 3NTA is wrong on everything it says, and loves it!

10. this is all.

WHY

the magazine

Students all over the world share their efforts on 3NTA every day and we decided to make it tangible in a Issuu magazine.

Here we collected some of the best contents presented on the website in the last month. Articles, projects, graphics, special contents from the rotating editor; all re-edited and reorganized, in order to give you a small taste of what 3NTA is about: students.

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ISSUE # 6/ June 2015

#6

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360° students' architecture and design magazine

“from a city of porcelain to a future of innovation”

DELFT

ISSUE # 6/ June 2015

BY THE EDITORS Delft : from p orc elain to innovation

Delft and the TU Delft are two dif-

The reality of Delft, a small city in

ferent things, different but insepa-

the southern part of the country, is

rable. It is hard to imagine the

the perfect framework for such a

reality of Delft without its abun-

large institution. This small

dance of students and its enor-

context allowed for the growth of

mous campus on the South-

a composite campus within which

Eastern side of the city.

its buildings range from aerospace engineering to industrial design,

TUDelft was founded in 1842 by

from maritime engineering to

King William II and, through its

landscape architecture.

centenarian history, has become the largest technical university in

This wide range of technical fac-

the Netherlands with over 19000

ulties is contained within the sur-

students. It is a unique school,

rounds of Delft which ensured a

not only because of its ranking,

fertile ground for the development

amongst the best technical univer-

of one of the most inclusive stu-

sities in the world, but mostly be-

dent environments of the entire

cause of it’s composition.

country. What makes Delft unique

and competitive as an academic

able to offer; skillful design sen-

institution, is not only its usual mix

sibility and theoretical survey is

of history, competence and inno-

what both architecture and design

vation, but also the peculiarity of

are able to give back. The projects

its location, its tangled relationship

collected aim to give a glimpse of

with the local environment and

this spectacular reality, encom-

the great campus that, in size and

passing ideas from a drone ambu-

in activity, doubles the city itself.

lance to an ego-city.

This number of 3NTA dedicated

TU Delft is a university with a tra-

to TUDelft aims to show how

dition, aiming for change – from a

architecture and design can find

city of porcelain to a future of in-

the perfect balance within a tech-

novation.

nical university of such.

The pursuit of innovation and technological advancement is what an environment like such is

Bernardo Rossi

Giulia Carletto

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ISSUE # 6/ June 2015

INDEX [10 -13]

[28 -33] Projects/Design

ambu lance dron e

Articles

Rotating Editor

Graphics/Infographic

Deepa Parapatt, Valeria Loreti

Project/Architecture

Urban Psycholog ical Nasim Razavian

Graphics/Po

Coppi Claudia

SHORT HISTO RY O F the radio

[20 -27]

[34 -35]

Micro tissu e

futury

[18 -19]

201 5 evo lo com petition Kristian Rasmus Bjerre

Alec Momont

[14 -16]

Articles

[36 -48]

Project/Arch

th e ruin and th e ma Tadeáš Říha

[50 -54]

Articles

d esi gn & po l itics Luca Baldini

[56 -57]

tition

Graphics/Cut out

Miyazaky cut out Ylenia Falamesca

sters

[58 -62]

Project/Architecture

reflecteg o Oana Anghelache, Rob Moors, Guus Mostart, Eldin Fajkovic, Jaqueline Huang, Mick van Rooijen

hitecture

ma l l

All the contents have been chosen by our ROTATING EDITORS

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Projects/Design

A mbu l anc e D ron e

Author: Alec Momont Nationality: Duch EMAIL: alec.momont@gmail.com Function: Ambulance Drone Year: 2014 Institution: Technical University of Delft IDE

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The Ambulance Drone is the result of Alec’s Master Graduation thesis. It is a project that aims to optimize the response time of the delivery of emergency supplies.

From Alec’s research, he found that each year nearly a million people in Europe suffer from a cardiac arrest and only 8% survives.

The main reason is the slow respond times of emergency services. Speeding up emergency response can prevent deaths and accelerate recovery dramatically not just in the case of heart attack but also for heart failure, drowning, traumas and respiratory issues.

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The drone is capable of driving over 100 km/h and it includes an integrated defibrillator, medications and Cardiopulmonary Resuscitation (CPR) aids. It is also portable and foldable in order to reach the indoor spaces of the building where the patient is.

The incorporation of a two-way, video supported, communication channel in the drone between 112 operators and the first responders will improve first care thanks to the personalized instructions.

In fact brain death and permanent death start to occur in just 4 to 6 minutes, for this reason the drone aims to reach its destination in 1 minute, thanks to a network of drones that optimizes the response time. And the process is faster thanks to the personalized communication with the hospital.

Eventually the chance of survival is increased from 8% to 80%.

The project is still on going and it is being implemented by Alec, who has now reached a quite relevant popularity. He was invited to speak at TEDxDelft “Let’s Make Things Beta� where he presented his project. He also gave a speech about the ambulance drone to the royal couple in Hamburg, in March 2015.

It is good to see that talents can grow in the university and be acknowledged as innovators by the public community.

The video recreates the scenario in which the ambulance drone may work.

CHECK IT OUT: www.youtube.com/watch?v=y-rEI4bezWc

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Articles

Futury - Stud e nts for stud ents

Author: Rotating Editor Delft Nationality: Duch location: Delft, Netherlands/TU Delft, Delft

Futury is a students association that aims to help students to implement their design knowledge.

The faculty of Industrial Design Engineering at TU Delft contains three masters: Integrated Product Design (IPD), Strategic Product Design (SPD) and Design for Interaction (DfI). Study association i.d is the faculty wide association that organizes activities, workshops and events for all Industrial Design Engineering students. Because of the Dutch oriented nature of the association, three new master societies were founded to better match both national and international students.

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Futury, the society of the Integrated Product Design master, aims to help all IPD-master students by giving them opportunities to refine their skills, define their goals and design their future.

In the past year of its existence, the members organized two master identity days, which consists of workshops on laser cutting and surface

Š Arthur Vogel – Futury’s chair

modelling.

A lecture about injection moulding was organized as a guest lecture given by representatives from Tweetonig, a consultancy based in Rotterdam, an expert in the field. They brought several samples of products and explained how the injection moulding process works in the production of those objects.

The association also aims to help students succeed in their courses: for instance, a workshop about video making was held in the faculty.

Specifically, there is a mandatory course where students are required to produce a video about their own concepts.

The course does not include tutorials on how to edit a video, as a consequence, the student association provided a complete workshop on the various softwares available, including in-depth explanations of their functions and main commands.

The board is currently busy organizing new events for the semester and providing an online website with inspiration sources, a collection of the projects made in the faculty and other kinds of support material for students. New events coming up focus on enhancing the drawing skills of students using a learning by doing together approach.

On top of that, a 3D rendering short course will take place in addition to graphic layout and data representation workshops.

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These initiatives are put forth by students as well and the task of the board includes scouting for such students with relevant skills on an expertise and and inviting them to share their knowledge with their fellow peers. © Arthur Vogel – Futury’s chair

You can find Futury on Facebook at www.facebook.com/futuryio and soon their official website will be online.

It is nice to notice that students take care of sharing their passions in order to increase the quality of education within the faculty. © GIULIA CARLETTO

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Graphics/ Infographics

SHORT H IS TORY OF

THE R ADIO

Author: Valeria Loreti, Deepa Parapatt Nationality: Italian location: Rome/ISIA Roma Design Function: Radio infographic USED SOFTWARE: Adobe Illustrator CS6 Year: 2015

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Projects/Architecture

Urban Psycholo g ica l R estoration Pavi lion

Author: Nasim Razavian Nationality: Iranian Function: Body, Space, Observation, & Environment Site location: Istanbul, Turkey Year: 2014 Institution: TU Delft, Netherlands.

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As a result of the research on the city of Istanbul at an urban scale, the intention of my graduation project was to achieve mental and physical well-being through architecture. In order to achieve that, a process of restoration is needed and this urge arises in urban environments. Two elements were chosen for my research and consequently the design proposal: observing natural elements and Homo Ludens’ (Man the player).

MASTERPLAN

The site was chosen in a crowded urban part of Kadikoy in order to challenge the necessity of escaping from the city and gaining psychological restoration. It is situated to the east of the coast line of Bosphorus (a strait in Istanbul that divides the city into eastern and western parts) and is positioned between two harbours. At an urban scale, the building works as a filter, creating an experience of a walk along the coastline of Bosphorus.

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interior view

Building on Bosphorus, being a historically and politically important border, added another conceptual level to the design which was the dialogue with the border. The building takes its formality from the shape of the coast line. With its zigzag form, it takes advantage of and reacts to the diversity of its surrounding. The design takes the shape of the wall as perceived from afar in order to start the dialogue about the border - the border between seemingly contradictory elements such as land and water, old and new, nature and city, east and west but at the same time blurs the limit of the border due to the certain materiality of it. The material that has been chosen for the whole building is steel mesh created with welding steel ribbed rods on top of each other.

This material has been chosen because of various different reasons. The choice of the material made the possibility of creating a space that is perceived differently from different distances and different angles of view and thus it creates an interactive space. The same space transforms with a slightest change of the angle of view.

The visual effects, such as the effect of anamorphosism that the material causes create a vague, surreal space that leaves room for imagination of the mind.

The material, together with the articulation of space through layering different densities of walls results in different gradients of the mesh. It creates diverse spaces like light or dark spaces, hidden spaces and frames to show certain elements in the surroundings.

By layering the mesh, darker gradients can be achieved in order to attract attention to certain elements of the surroundings. The transparency of the material allows the possibility of seeing through, for instance, looking at water and the sea life underneath when walking or looking at different backgrounds.

By doing this, it makes surrounding part of its own.

The building is constantly changing with time. It is sensitive to different hours, seasons, and temperatures.

The wall creates a playground, an environmental exploration lab that seeks the happiness of its users. It creates an invisible border between the seemingly contradictory elements of its environment to start the dialogue about this border but at the same time challenges the existence of a defined border with its blurry appearance. By creating a playground inside this wall, it ironically suggests the fragility and narrowness of this border and through creating frames of the surrounding, it reminds us of the things that are there yet we don’t see.

ELEVATION

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AXONometric drawing

axonometric view

INTERIOR VIEW

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INTERIOR VIEW

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Articles

2 0 1 5 eVolo COMPET I T I O N

Author: Kristian Rasmus Bjerre Nationality: Norwegian location: Oslo, Norway

With 480 entrants to the 2015 eVolo competition, there is no doubt that the Skyscraper is a serious concern for increasingly dense urban environments.

Summarised, the competition was judged by 8 jury members, and the three winners were chosen for “their creativity, ingenuity, and understanding of dynamic and adaptive vertical communities.� There is no shortage in creativity in the proposals.

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Various central questions such as sustainability, re-use, and visual impact are well represented. At first glance, the theme sustainability is a central question to a typology which is generally not sustainable - building a tall building requires more work, engineering, and materials than a traditional low-/mid rise building.

Interestingly, the second place project

by Suraksha Bhatla and Sharan Sundar proposes a tall building that creates sustainable communities, rather than the building itself. Instead of bringing activities of a consumptive nature into the building, the activity of the everyday life is evident. Although it has the background of an interesting narrative of reclaiming and reusing materials for vertical living, the nature of the faรงade assemblage is what truly makes this project stand out, bringing the collage of the slum to a vertical tower. The notion of a vertical community is not new (Le Corbusier etc.), but instead of creating a large uniform structure, dictated by the supernatural architect, the concerns by the inhabitant informs the design - a Torre David for Nochikuppam.

Second place

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The first place proposal by Ewa Odyjas, Agnieszka Morga, Konrad Basan, and Jakub Pudo proposes a vertical landscape for New York.

Cleverly avoiding the architectural banality of stacked efficient floor plans, a world spanning Central Park is created on a whole city block, towering above the Manhattan skyline.

Reminiscent of the MVRDV pavilion for the 2000 World Expo in Hannover, the beautiful graphics and images produced gives us a seductive insight in how the spaces proposed would be experienced - ranging from jungles to glaciers.

In terms of sustainability, the material provided is understandably limited as it is a competition entry, but leaves the reader with a sense of dissatisfaction in understanding how such a building would work as a pragmatic spatial experience.

FIRST place

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Finally, the third place proposal takes a step in to limbo, with a proposal straddling both the physical and digital realm. An adaptable city created by Egor Orlov is notionally similar to the second placed proposal, but with a far more abstract approach. Intriguing graphics gives an idea of how the vertical digital city functions and by using analogue analogies for a digital proposal, it is at a pragmatic level somewhat understandable how the proposal would work. However, the written description found on the eVolo website is the weakest part of a strong proposal and jitters back and forth through the analogue and digital. Lacking a sense of clarity, it would be beneficial for the reader to make the narrative more coherent.

Third place

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As stated, the creativity and range of approaches to the competition entries makes for compelling reading on how the tall building typology is evolving.

With increasing urbanisation, there is no reason to not find this interesting for architecture students.

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HONORABLE MENTION: (Jethro Koi Lik Wai, Quah Zheng Wei) / (Qidan Chen) / (Shi Yuqing, Hu Yi-

fei,Zhang Juntong, Sheng Zifeng, He Yanan) / (Luigi Bertazzoni, Paolo Giacomo Vasino) / (Stuart Beattie) / ( Ma Yidong, Zhu Zhonghui, Qin Zhengyu, Jiang Zhe) / (Gabriel Munoz Moreno) / (Yongsu Choung, Ge Zhang, Chuanjingwei Wang) / (Blake Freitas, Grace Chen, Alexi Kararavokiris) / (Nikolay Zaytsev, Elizaveta Lopatina) / (David Sepulveda, Wagdy Moussa, Ishaan Kumar, Wesley Townsend, Colin Joyce, Arianna Armelli, Salvador Juarez) / (KHZNH Studio: Amir Izzat Adnan, Nur Farhanah Saffie / (Taehan Kim, Seoung Ji Lee, Yujin Ha)

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Graphics/ Posters

MI CRO T ISSUE

Author: Coppi Claudia Nationality: French BIRTH: Bastia, Corsica, 20.05.1994 EMAIL: claudiacoppi20@gmail.com Function: Poster TECHNIQUE: Collage Year: 2015

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Project/Architecture

T h e R uin and T h e M a ll

Author: Tadeáš Říha Nationality: Polish City and date of birth: Craiova, 16.07.1989 CONTACTS: tadeas.riha@gmail.com Site location: Walworth, Southwark, south London.

Year: 2015 Institution: Delft University of Technology

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MASTER PLAN

Heygate estate does not exist anymore. In the past months it has tuner from a ruin into a void. With my project I aim to utilize this temporarily open condition as an opportunity to ascribe a last, fictional layer to the complex story of this demolished housing scheme. A layer that resurrects the modernist dream, but hopefully does more than that.

A project that would reconcile the utopian modernist past with the pragmatic developer’s future of this place.

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There is space for both.

The revived housing utopia and the proposed shopping mall. What is necessary is a third, infrastructural element that would bring these worlds together while keeping them apart. An element that answers to the perfection of the first and disorder of the latter, one that allows them to interlock and function as a counter balance of one to another, as a remedy of one to the other. There comes a grid of walls.

The grid is at once a device of seclusion and connection.

Axonometric drawing

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One year ago, before the demolition commenced, the entire site was completely isolated. One thousand housing units had been sealed off with a four meters fence, cameras and guards.

This seclusion was an ironic conclusion to the concept from which the estate had emerged back in 1960s – a quite oasis within the busy metropolis. For the past 5 years it was quiet indeed.

Plan

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The ruinous present has confirmed the utopian past.

The tops of the grid recreate this perfect ‘utopian’ world. An enclosed, different universe, cut out from the rest of the city. Here the aesthetics of the raster chords with the abstract immensity of the ‘existing’ modernist slabs. Together they create a park.

Plan

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Urban context

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Below there is a different universe. Through a series of exceptions and openings the perfect’ grid crumbles into a disordered labyrinthine environment of a shopping mall. A never-ending cross-enfilade of different rooms.

This is the world of the demolisher/ developer Lend Lease. Shopping mall is my own critical interpretation of his project. I am however doing so without changing his proposed floor areas.

While the upper level is characterized by a deliberate discontinuity from the city, in the ground floor the grid is bound to the existing street structure which is, via the grid, extended to the interior.

External view

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The plan then unfolds around two perpendicular axis. The vertical one creates the actual ‘Mall’ of the shopping mall, with the ‘existing’ low blocks now serving as shops. The horizontal axis is a public connection ascribed with neutral programs that s(t)imulate publicness. A collection of rooms typical for a shopping mall such as Lobby, Foyer or a Showroom, defined by the spaces adjacent to them.

The Grid of walls is an infrastructural element. Despite its solid appearance its structure is steel and hollow, and inside all the installations can easily be accessed via a soft aerated concrete cladding.

Plan and section

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Wall section

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This allows the actual body of the shopping mall, spaces beyond the axis, not to be designed. They are left unfinished. They stay open for appropriation and change by the tenants, who can easily attach

section

their own design, claddings finishes and even partitions to the services installations in the walls.

In contrast to these ‘open’ squares, the spaces of the axis, courtyards and few strategic points are designed in a greater detail.

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interior view

interior views

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MODEL

This project is not real nor realistic. Its site – The Old Heygate does not exist.

But nor does the developer’s project, not yet. The past, imaginary and the future occupant of the site now exist only in images drawings and texts.

This project is only full in a critical juxtaposition of all three.

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Articles

DESIGN & P O L I T I CS

Author: Luca Baldini Nationality: Italian location: Delft, Neatherland

People asking, no-one answers.

There are countries fighting for democratic governments, there are governments turning their backs off from democracy. What we saw during the Arabian spring and during last summer revolts and protests in Hong Kong, it is that people demand for more services and democratic policies.

On the other side the 2008 crisis made the way to an increased numbers of cuts to reduce the public debts.

This had several hard consequences for the majority of people. It is indeed the opposite approach to the 1929 crisis, where governments pushed for a Keynesian welfare state (Sassen, 2014; Crouch; 2003). Crouch (2003) defines post-democracy the phase where most of contemporary western society are, started 30 years ago. In his book he describes how the connection between a new elite, corporate firms and governments. The goal of profits at any costs has been installed into the way politicians tackle the public services, brought by the

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way private sector challenge services. It is has been demonstrated that doesn’t bring long term benefits to both people and public sector.

Sassen (2014) defines as expulsions the phenomena where mass of people, but also the environment, are expulsed from the society, started back in the 1980. What has been happening so far? It is hard to explain because of its high complexity.

However it is crystal-clear that people are demanding for more services, which the government is not giving anymore. As stated above, those remain unheard because of the new relations born between for-profit-only corporate and governments (Crouch, 2003). Such wicked problems, which designers can comfortably handle, saw a dramatic increase. Moreover the combination of global firms as public partnership has shown its failure (Sassen, 2014). Anyway there is still hope. Sangiorgi (2010) links the transformative role of services with the transformation design, associated with the work of socially progressive community. In this approach, towards the needs of people, the new role of designers might be the solution.

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A new Objective.

Secomandi et. al (2011) explain the marketing, engineering and economic perspective of services. Those where developed during the period that would have prepared the ground for the phenomena described above, postdemocracy and expulsions (Crouch, 2003; Sassen, 2014). No surprise those are perspective where service and human potentials are poorly considered (Secomandi et al., 2011).

Opposite to this perspective, Lin (2014) described that design imprints long term effectiveness in planning, implementation and delivery of public services. In her article she extensively describes how design professionals are user-centered focus, bringing higher values to the delivery of services.

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Human relations as a strategy for change.

Although social complexity requires partnership (Morelli, 2006), this should happen between people, governments, firms with a strong corporate responsibility (Unilever, Nike etc), and design professionals. They can play an essential role in the design of the interface, the point of encounter between heterogeneous stakeholders (Secomandi et al., 2011). Touchpoints where the service happens are highlighted and created by designers, determining the new interface. Although technology can be an option, it is not always the one. Designers should develop wiser services, and not smarter.

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Wise technology creates group affiliation, rather than isolation, often an outcome of the overuse of technology. I believe that by creating human relations (Snelders et al., 2014) and by taking the seven steps (active citizens, re-distribution of power‌) of transformative design-service as pillars (Sangiorgi, 2010), designers can be engaged in changing the course of the contemporary problems. With the responsibility and ethic that this arises. Designers should rise awareness in a more social sustainable way of living, bridging the gap between stakeholders, or making this bridge possible.

We should be aware of the new trends that requires more corporate sustainability, both in the social and environment context, that design trained people can bring as an added value. This weights down the role of designer, with new responsibilities and different perspective arising in this new public context. It is a matter of being for the change, or going along with the difficult perspectives described by Crouch and Sassen. Who is in?

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Cutout

H AYAO M IYAZAK I C UT OUT

Every month on 3NTA new cutouts (.png) ready to be used in your renderings and collage.

Author: Ylenia Falamesca Nationality: Italian location: Rome, Italy Function: Series of Miyazaky characters cut out USED SOFTWARE: Adobe Photoshop CS6 Year: 2015

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Project/Architecture

r ef l ecteg o

Author: Oana Anghelache, Rob Moors, Guus Mostart, Eldin Fajkovic, Jaqueline Huang, Mick van Rooijen Nationality: Various Function: Interactive arts installation Site location: Hyperbody Protospace Year: 2014 Institution: Hyperbody Research Lab, TUDelft

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The installation is the result of a 2014 Hyperbody Msc 2 Studio entitled Inter-Performing Environments. The goal was to create an interactive object that could communicate with the users in real time.

Reflectego aims to discuss the balance of physical and imagery components in our brain’s construction of reality.

The view and experience that we hold of space and our position in it consist of both actual objects and altered descriptions that we interpret to represent reality.

tudelft exposition

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final prototype

construction phase

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By visually distorting the spaces in our surroundings and by unexpected repositioning of the self in relation to the environment through movement, awareness of proprioceptive determination and our self-perception in the twilight of the physical and virtual world can be created.

Our design derives from a kaleidoscopic composition of faceted mirrors. In a kaleidoscope, the constructed perceived image consists of actual physical objects and a multiplicity of their reflections. Through small movements of the objects, the constructed images change dramatically due to the amplification of change by visual multiplication of the movement. In our project, the user will become the physical object inside a kaleidoscope in which he sees his image scattered and recomposed as a result of his behaviour.

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DELFT construction diagrams

The structure consists of a suspended faceted mirror-surface. It hovers and manoeuvres above as a response to user behaviour. The structure folds, flips and expands to create dynamic compositions of the real world objects by alternating angles of reflection.

The user interacts with the structure as a piece of the puzzle whilst recomposing the total image.

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STAFF

In this issue

Editor in chief Luca De Stefano

communication manager Marco Mattia Cristofori

ART DIRECTORS Giulia Fioravera AGNESE Laguzzi

co-founder Lorenzo Bottiglieri

ROTANTING EDITOR Bernardo Rossi Giulia Carletto

WRITERS LUCA Baldini Bernardo Rossi Giulia Carletto Kristian Rasmus Bjerre

DESIGNERS Oana Anghelache Rob Moors Guus Mostart, Eldin Fajkovic Jaqueline Huang Mick van Rooijen Ylenia Falamesca Tadeáš Říha Coppi Claudia Nasim Razavian VALERIA Loreti DEEPA Parapat Alec Momont

PE O PLE

In this issue

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