Initial Case studies

Aldo van Eyck, a Dutch architect in the era of modern architecture after the second world war in the category of structuralism, which had quite influenced the world of architecture at that time. Born in 1918 from a father who works as a philosopher and poet, he received architectural education from ETH Zurich and worked professionally since 1946. Apart from being an architect, he was also a professor who taught at Delft University of Technology [1].

Pastoor van Ars Church by Aldo van Eyck

Theory of Aldo van Eyck ldo van Eyck was dubbed the ‘Humanist Rebellion’ because the concept of thought which was contrary to the architectural concept of the era which he called a ‘mechanist’, when housing construction was carried out on a large scale to pursue the target of ‘fulfilling housing needs’ by means of repetition of design, like a printing machine [2].

Aldo van Eyck’s concept of thought in his architectural work was influenced by his travel to several countries, Indonesia, Africa, the Far East, Mediterranean, New Mexico, and Scandinavia [3]. His admiration for the architectural philosophy of Nusantara, when he visited Nias and became acquainted with the concept of traditional Nias house architecture that contained noble values and was always associated with the macrocosm and microcosm realm, about the essence and culture where humans and their natural environment become actors and formers of space and mass [4].

In philosophy, there is a value of identity and the meaning of locality where it is located. The architect became the recipient of the responsibility that received the mandate from the Ruler - ontology, in contrast to the Western concept which adheres to the notion that architecture is the work of the artist to overcome a state of his environment by using existing tools and materials [5].

This meeting with Eastern philosophy gave birth to several architectural theories, among others, the in betweening, oervorm and the Twin Phenomena which are used as the basis of Aldo van Eyck’s design in work [6].

The concept refers to Martin Buber’s philosophy of ‘Ich und Du’ and is translated in this theory as ‘space between’ namely that between two conflicting polarities in a true entity there is always space that can ‘bring together’ the same transitional space important with both polarities. Space is a transition between ‘inside and outside’ meetings, ‘out and in ‘, up and down’, as illustrated in figure 3

Oervorm – ancient form c. The Twin Phenomena

The works of Aldo van Eyck always use pure geometric shapes like circles, squares and triangles, according to tribal society, the circle shape is centered on power above (macrocosm), and the square forms represent space for humans (microcosm) [2].

Theories that discuss the interrelationships between entities will be meaningful if there are other entities, which are referred to as ambivalent relationships - in a situation there will be contradicting relationships, for example there is no big without small or nothing inside without outside. This theory discusses identity and the relationship between place and occasion. The twin phenomena gives about two types of orientation those are, people seated concentrically in a hollow, gazing inwards towards the centre, and people seated concentrically on a hill gazing outwards towards the horizon as shown in figure 4.

Identity of Location

The project in Den Haag, Netherlands, used a concrete structural system and massive facades and fewer windows has finished in natural stone. The site location is on the edge of the highway and near the canal riverside with flat contoured which used as part of the exterior landscaping scenery, figure 10.

The choice of geometric shapes with horizontal scale and proportion play to distinguish the function of the altar (sacral), worship space (transition) and exterior landscape (profane), and vertically with volume processing and height in the mass, ceiling and floor arrangement as a marker of building functions worship of the Pastoor van Ars Church.

The uniqueness of the altar which divides the two Nave rooms in anticipation of the increased in the number of congregations still can use in the provisions of the Catholic church worship procedures, with circulation patterns, lighting and ceiling height that create a certain atmosphere.

c. The use of exposed concrete material confirms geometric shapes of square and cylinder, massive and closed in response to climate and weather challenges.

Finding : Western architecture can only use symbolic archipelago architectural philosophy, but location identity becomes a marker in the form and building material where western architecture is a protection, while archipelago architecture is a reflection [8].

Embodying radical yet humane ideas about the potential of architecture to shape social and pedagogical interaction, Hans Scharoun’s 1970s primary school at Marl came close to demolition, but is now being restored to accommodate a new use as a music school, in a programme that engages and resonates with the architect’s original design intentions

Scharoun’s radical concept envisaged a school articulated as a series of diverse individually shaped elements strung together like houses in a village and linked by a street-like interior. Not only was this intended to give the rooms separate identities closely related to their functions, but also to develop in the pupils a high degree of territorial identity. There were even theories about why classrooms for differently aged pupils should have different shapes and colours. A specific site was envisaged for this prototype, but no budget was forthcoming so nothing was ever built. However, Scharoun’s design soon became the milestone for extreme specificity in architectural thinking that it has remained ever since.

As he put it at the opening: ‘Since children are so impressionable in their early years, a rich childhood can be the foundation for a whole life. Education is not just the development of intellectual capabilities, not just the achievement of particular knowledge and abilities: it is a process which allows the bringing together and developing of all faculties. Therefore learning must be in harmony with the child’s growth and development, and the school, like the home, must stand as evidence that the earth is a good place to dwell.’1

The idea of the Klassenwohnung (classroomflat) as the second home for the child which had been developed for Lünen was repeated, again with clerestory-lit main teaching space, annexe, external teaching space and cloakrooms, the Klassenwohnungen strung together along a generous Gruppenraum which could be used for activities shared between them.

As with the first school project for Darmstadt, the classrooms were differentiated in relation to the ages of children between Unterstufe, Mittelstufe and Oberstufe, each given its own group territory, though the eldest had the least identifiable territory, being intended to possess the whole. The classes in their different wings fed into an irregular street-like foyer surrounding the central assembly hall and theatre which gave the school its heart. Here not only assemblies and teaching events were to be held, but also films, plays and concerts, making it a cultural centre for the whole area in the evenings.

Changes in site level were exploited in directional steps offering the kind of spatial punctuation found in all Scharoun’s later work, and guiding the visitor through. Most of the school remained single-storey, daylight being admitted throughout, and also through tiny planted courtyards. Even the auditorium offered daylit conditions with a big window

In 2007 Paris saw the completion of the Quartier Masséna, a district consisting of 17 urban blocks, a park (Jardins Grands Moulins Abbé Pierre) and a number of transformed existing buildings (Bibliothèque des Grands Moulins, Université Paris Diderot and artists’ breeding ground Les Frigos) on its left bank.

Quartier Masséna Paris by Christian de Portzamparc

In his master plan Christian de Portzamparc used the principle of the îlot ouvert (Open Block) to organize dwellings and work spaces and to provide residents with a rich, collective outdoor space. The îlot ouvert is best described as a frag- mented closed building block. Rather than forming a single urban volume, the building mass of an îlot ouvert is distributed over a number of buildings that in turn comprise different volumes of varying height and form. The collective outdoor space is accessed via patios in – and openings between – the buildings, which are closed off from the public street by fencing that follows the building line of the urban block.

The îlot ouvert directly to the north of the university buildings demonstrates what block fragmentation can do for the dwelling and work space ratio. Here, four architects have designed four buildings, one on each corner of the urban block. The architects used the design freedom provided them to design totally different buildings. They each chose their own access and building typology, determined the assembly of the volumes and the material palette, and established how functions are organized at the building level. The way the volumes relate to their surroundings at ground level is also different.

This elaboration of this urban block shows that the typology of the îlot ouvert allows a separation of dwelling and work spaces and a more intense use of the shared inner courtyard. Residents can enter the inner courtyard from all directions and, by this vestibule extérieur, find their way to their homes and to the back entrances of the work spaces and businesses. From the street, the shops and offices are just as easily accessible to non-residents as those in a closed block. Thus, the îlot ouvert successfully mediates between the different users of the city.

Allmannajuvet Zinc Mine Museum / Peter Zumthor

The Allmannajuvet zinc mines are a disused mining works in Sauda. The mines were in operation from 1881 to 1899. During these years a total of 12,000 tonnes of zinc ore were extracted. Today, the mining area is a museum. The plain buildings in the gorge are designed in an industrial construction style to embody the story of the mines. Some of the mining galleries will be made accessible for guided tours.

The exterior support system consists of creosote impregnated laminated wood. The exterior walls of the building consist of 18 mm plywood sheets and jute burlap, coated with a German acrylic material (PMMA).

The interior walls have been painted in a dark colour to resemble a gallery. The foundation work of the museum building and the café building, with its high demands for precision, is some of the most demanding work carried out in Norway.

n the summer of 2011, Steilneset Memorial in Vardø was opened. The attraction was a collaboration between Zumthor, artist Louise Bourgeois and historian Liv Helene Willumsen. While Steilneset was raised in memory of the people in Finnmark who fell victim to the government’s witchcraft persecutions in the 1600s, Allmannajuvet emerges as a monument of the mining operation and the miners’ life of hardship in the late 1800s.

Kindergarten Enneberg / Architekt Andreas Gruber

The focus was on a long-term concept, from the point of view of the future user. The purpose was to create child-friendly spaces, light-flooded, which allows kids to learn with playful games. The flexibility and livability of the classrooms, the scale, and proportions, as well as the accessibility, have a basic role in the project. The focus was also to create more sheltered and reserved places so-called “retreat places”.

Thermal bricks, plaster, and natural wood surfaces were the main materials used. The pattern of the facade reflects the playful nature of the children. Moreover, the colorful concept gives the building a playful character. The different heights and distances of the windows focus on the surrounding alpine landscape.

The wide frames of the windows are thought of as part of the architectural concept. They characterize the rooms and they can be used as sitting places or play areas. In order to encourage the children’s creativity, bespoke furniture was designed in collaboration with interior designers from > MarchGut <. These are special educational modules that can be moved freely around the rooms and satisfy the children’s primary needs.

The educational modules are made of solid wood and the interior surfaces are covered with user-friendly surfaces, in their children can freely develop their senses and abilities.

Taika Kindergarten / OOPEAA

Despite the relatively large number of children served, Taika manages to offer a home-like scale. Taika provides daycare for 225 children between ages of one and seven as well as a place of work for 50 staff members. Taika also serves families with parents with shift work schedules offering overnight care for a rotating group of 200 children with a maximum of 60 children spending the night in the kindergarten at a time. This means that all overnight childcare offered by the City of Seinäjoki to its residents is now gathered under one roof. Also the offices of the regional directors of early education services are now all in one place in the Taika building supporting their work as a team of coordinators of regional services.

Taking its cue from the Ostrobotnian traditional barn in the open field, Taika is shaped like a large barn. Yet, it is colorful and full of light, and its star-shaped plan serves to provide rhythm and to create a sense of a home like scale. With its flexibly adapting naptime spaces, its highly practical foyer areas equipped to deal with the challenges brought along by the Nordic weather and the high demands it poses on handling children’s outdoor clothing, as well as the pockets of loosely separated outdoor areas each with its own porch to provide shelter from rain and to serve children of different age groups, the Taika Kindergarten is a great example of the contemporary Nordic approach to the design of kindergarten buildings.

The star-shaped plan offers an efficient and flexible organization of space. The spaces in the building are divided into six independent home base areas that each house two groups of children. There are altogether 12 groups of 1820 children of different ages. Each home base area has its own entrance providing direct access from the yard. The home base areas have large windows facing the yard and giving the building lots of light and air. The space is organized in a playful rhythm of alternating sheltered nooks and open areas and the interior spaces and their furnishings are color-coded so that each age group has its own identifiable color and its own section of the building helping the children orient themselves when moving around in the building.

Vilhelmsro Skole / BIG

The following case studies seek to find potential and alternative methods for designing kindergarten spaces. Though the projects vary in scope, they all provide insight into the land-use problem through the organizing functions, thinking materials, special experiences, and so on. The observations can be used as potentials and inspirations during the design phase.

an academic facility which focuses their curriculum on nature and sustainability in asminderoed, denmark. taking the undulating hillside of the site as a point of departure, the design features a series of bands which pleat and crisscross to merge with the surrounding topography.

the oscillating roofline is experienced from both the inside and the outside. outdoor green terraces and courtyard spaces are generated in between buildings. though all one-storey, the alternating peaks and ceiling heights allow natural daylight to stream into every class room. the sod makeup facilitates passive energy measures such as mitigating heat island effect, acting as thermal mass and evaporative cooling qualities. rain water runoff is reduced, collected and stored for non-potable usage. cross-ventilation is also encouraged through operable windows and overlapping openings.