15
A CRISIS OF CULTURE Boris Koselka & Dominika Kopiarova
THE SAME BOAT Fenne Jansen
PAST THE ERASMUS BRIDGE Ananda Jaganathan
KNOWLEDGE & RESPONSIBILITY Nick van Garderen & Tomasz Dudek
THRIVE WITHIN AN (IMPERFECT) SYSTEM Boris Koselka & Fenne Jansen
Archiprint December 2019 \\ Issue 15
AnArchi is proud to present to you the fifteenth issue of Archiprint:
EXPANDING PROFESSION
Archiprint is the journal of AnArchi, study association for architecture at Eindhoven University of Technology. Archiprint explores the current architectural polemic and strives to contribute to this debate.
EDITORIAL Nick van Garderen
1
Concrete
rules
on
the
standardized pay for architects. Internationally,
2
archi-
minded role of the government
tecture firms and projects played
Dutch
was mimicked by the large and in-
important roles in the twentieth
fluential housing corporations in
and twenty-first centuries. With
the country. This resulted in the
the notable influence on archi-
apex of the much-debated open
tecture and urbanism in recent
competitions, and the thriving of
history by figures such as Hen-
a new generation that brought in-
drik Petrus Berlage, Gerrit Riet-
novation and a new view on the
veld, J.J.P. Oud, Willem Dudok,
profession with it. The influence
Aldo van Eyck, Piet Blom, Herman
and progressiveness of key fig-
Hertzberger and Rem Koolhaas,
ures within the Dutch authorities,
there seems to have been some-
embodied in the functions of Ri-
thing about Dutch architecture
jksbouwmeester (Chief Govern-
culture that caused architecture
ment Architect) and Stadsbouw-
and architects to thrive in the
meesters (City Architects), cleared
low countries. Major companies
the stage for firms like Mecanoo,
that originated in the Netherlands
MVRDV and Neutelings-Riedijk.
are currently at the forefront of
It is through the possibilities that
contemporary architecture, con-
were given to these young archi-
tributing not only to the Dutch
tects that Dutch architecture be-
cityscapes, but making their mark
came internationally regarded as
all over the world. Most of these
innovative and optimistic, even
companies found the origins of
christening the Dutch building
their success in the 1980s and
process as a culturally inspiring
1990s in the Dutch field. At this
phenomenon. The opportunities
time in the Netherlands, young,
that were given to this generation
starting architects where given
by influential individuals such as
chances and commissions by the
Tjeerd Dijkstra, Kees Rijboutt and
national government for iconic,
Riek Bakker caused Dutch archi-
large-scale projects. This open-
tecture to become institutional-
ized as an export product in high
1990s. An attitude that, according
questions that arise from Kempe-
international demand. The possi-
to them, has changed for the
Thill’s 2008 publication and the
bilities and the demand for inno-
worse due to the introduction of
quest for change as advocated
vation, the characteristics of the
the regulations imposed by the
in that publication. In addition to
Dutch building culture in these
European Union. Though intended
this, the interviewed architects
decades, resulted in the creation
to bring the various European
are asked to shine their light on
of now famous architecture of-
countries together and stimulate
the nature of the profession of
fices, with OMA and UNStudio as
the cultures within the Union, the
the architect in relation to tender
perhaps the most successful and
opposite seems to have happened
culture.
financially thriving architecture
in the Netherlands.
building culture is examined in
enterprises of the past century.
issue,
Dutch
regard to that in various European
the
and non-European countries, such
as the promise of the future, that
question of whether or not the
as Belgium, Japan and Germany.
still seem to dominate the scene.
tender culture in the Netherlands
Within
There seems to be little left of
is very different under these
Archiprint 15 sets out to explore
the once so celebrated drive for
European rules when compared
the differences in tenders and
innovation and the attitude of
to other countries and whether
architecture
creating possibilities for upcoming
or not a change of culture might
through the experiences of these
architects attributed to the Dutch
be deemed necessary. Starting
practitioners in an endeavor to
system. This discrepancy between
from the wish for change as
answer the questions of what the
the attitude of the final decades
proposed by Kempe-Thill, various
current Dutch tender culture is,
of the twentieth century and
practitioners,
only
what might or might not be wrong
today in the Netherlands is a shift
in the Dutch field but also with
with it, and what the role of the
that has been noted by various
experience in other countries,
architect is within this system and
practitioners, most notably Atelier
have been asked this question.
how this might differ across the
Kempe-Thill.
With
its
almost
observations
this
of
It is these offices, once lauded
The
In
Kempe-Thill
resulted
active
in
not
this
across
examination,
the
globe
Though we are well aware that
continent, while despite the fact
manifesto-like work Naar een
the
that similar rules are applicable.
Nieuwe
Aanbestedingscultuur 1
attitude towards this culture is
(Towards a New Tender Culture)
one that has various constituents,
from 2008, the two German-born
it is the optics of the architect
architects try to indicate the
in regard to the tender culture
shift of attitude and advocate
that is dealt with in this issue.
for a change. In this document
Through interviews with AndrĂŠ
the two define the informality
Kempe
of Dutch culture as the roots for
Kira, Machteld Kors (UNStudio)
the prevailing attitude towards
and
architecture in the 1980s and
this issue tries to examine the
tender
culture
(Kempe-Thill),
Birgit
Rapp
and
the
Moriko
(Rapp+Rapp),
3
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CONTENTS
1 2 3 4
A CRISIS OF CULTURE Conversation with Andre Kempe
THE SAME BOAT Conversation with Moriko Kira
PAST THE ERASMUSBRIDGE Conversation with Machteld Kors
KNOWLEDGE & RESPONSIBILITY Conversation with Birgit Rapp
THRIVE WITHIN AN (IMPERFECT) SYSTEM
5
A CRISIS OF CULTURE Conversation with André Kempe Boris Koselka & Dominika Kopiarova
1. Design statement by Atelier Kempe Thill: www.atelierkempethill. c o m /o f f i c e / .
Atelier Kempe Thill was founded around the turn of the century by
André
Thill,
both
Kempe German
and
Olivier
architects.
After the fall of the Berlin Wall, Kempe describes the architecture discourse in the east of Germany as the ‘wild east’ causing them to look abroad and finally settle their office in the Netherlands in 2000. In their design statement they state that they intend to tackle the paradox between the neutral adaptiveness and the specificity that they observe in contemporary architecture. Their aim is to create structures
that
are
economic,
enjoyable and innovative1 .
André Kempe describes the state of the Dutch architecture discourse and the informal culture in the 1990s and the 2000s in the Netherlands as one of the reasons that he and Olivier Thill, both graduates of Dresden University of Technology, decided
‘There were demands for turn-overs and demands for reference projects, which were becoming increasingly unfeasible for architects.’
to settle their atelier in Rotterdam. The open-minded context at the time endorsed creative freedom and gave architecture firms the opportunity
In response, in 2008 Atelier Kempe
to gain a standing through major
Thill published its research in Naar
commissions.
een
nieuwe
Aanbestedingscultuur
‘A good example of this is the Erasmus
(Towards a New Tender Culture), 2
Bridge. At that time a 32-year-old
in which the architects delved into
Ben van Berkel was commissioned
the influences of these changes on
to design a multimillion-euro bridge.
Dutch
These kinds of opportunities were
observed
disappearing,
which
led
to
architecture that,
culture.
before
any
They form
the
of design is judged, architects are
question: Why are they disappearing?’
filtered on the basis of portfolios
According to Kempe, the problem
and the corresponding turn-overs.
began in the early 2000s, when new
Of course, the intention was to give
European regulations were introduced
the ‘right commissions’ to the ‘right
that were meant to stimulate a
people’.
fairer and more competitive market.
Kempe, this merely excludes smaller
However, in the Netherlands, they
firms and starting architects from
were interpreted in such a way that
getting into the market. Although it
they also presented requirements
is clear that the introduction of the
that, according to Kempe, often made
EU regulations was the catalyst for
it difficult for young offices that had
this development, in Towards a New
However,
according
to
not yet established themselves in the
Tender Culture Atelier Kempe Thill
market.
compares the Dutch tender culture
‘The intention was to minimize
to those in other parts of Europe. In
the risk for the public clients, but
doing so the differences between the
the question is what else they were
interpretations and implementations
minimizing. Especially the possibilities
of these European regulations in
for architects and for architecture.’
Europe
are
demonstrated,
with
7
the result being more severe in the
regulations were a far bigger shock to
Netherlands.
building culture in the Netherlands.
2
Kempe describes Dutch architects as
ontwerpwedstrijden.
being less able to converse with this
n l /d o t A s s e t /
addition of juridical factors.
e d 5 6 4 d e e -
Kempe gives the example of the honorarium 2
order,
which
was
discontinued with the intention to create a free and more competitive
‘In Belgium there is a lot more
df0f-4fcc-a5d3-
standardized
juridical knowledge among architects.
2b812c5e477a.pdf.
pay for architects to be revoked.
Within the systems of the Flemish
According to Kempe, Dutch architects
City Architects, juridical positions are
chose
market.
This
to
caused
trading
often occupied by architects or urban
mentality, which led to a race for
follow
their
designers. They do not need to include
the bottom. As a result, during the
lawyers in the process as much.’
economic crisis, there were instances
Kempe mentions that cultures in
of architecture firms offering their
Europe can be extremely different,
work for a quarter of the financial
despite being topographically close to
value. ‘Architects believed that they
each other. This creates a dynamic in
can set your own figure, but the result
which living standards can be identical
is not that you win, but that you are
while regulations differ drastically.
pushed even more to the ground.’
Kempe draws the comparison on
Contrary to the Dutch approach,
the basis of the historical religious
some countries in Europe did not
affiliations. While the Netherlands is
entirely
rooted in Protestantism, Belgium is a
abolish
standardized
pay.
In Austria, independent research at
more traditional Catholic country.
several universities was conducted to
‘There are a lot of cultural animosities
estimate the hours spent on a project
and differences within Europe. From
to advise the clients and architects.
Brussels to France to Italy, all these
Despite
intervention
cultures have their own specificities.
being the same for both countries, the
EU regulations, on the other hand, try
results drastically differ due to the
to implement specific rules to create
variety in its implementation.
uniformity – which succeeds in some
the
original
Looking Past the Border Before the EU regulations came into effect, Dutch building culture was defined by its ‘anarchic stance’, being
8
www.
cases, but in my perception the part that ends up uniform is maybe 20 per cent, whereas the part that is countryspecific is about 80 per cent.’ While
the
Netherlands
has
less accustomed to strict regulations.
somewhat fallen from grace in the
Because
public eye, Belgium’s architecture
of
this,
the
European
culture has been flourishing for a good
cities. Beyond that, architects should
part of the last decade. Ironically, it has
organize themselves.’
been doing this with a system that can be interpreted as inspired by the Dutch Chief Government Architect system. Kempe points to Kristiaan Borret
3
as
‘Beyond that, architects should organize themselves.’
having played a key role in Flemish 3 Kristiaan Borret has
architecture as the City Architect of
been the City Architect
Brussels. Kempe notes that there is a
of
A Cog in the Machine
Brussels-
need for strong public authority, with
Current Dutch architecture culture
Capital Region since
a high regard for quality and of course
resides in ambivalence. We have a
2015. From 2006 to
knowledge: What is good for the city?
foregone, but recent history of highly
2014, he was the City
What makes a city beautiful? And what
acclaimed architectural quality, which
Architect of Antwerp.
kind of circumstances do I need to
is being replaced by our tendency to
create as a public authority to ensure
take a purely economic stance. This
that these things take place?
capitalist mindset seems to have
the
‘Someone like Kristiaan Borret in Brussels
has
more so than in our neighbouring
He can veto a building permit, if it is
countries. The battle between cost
handed in and does not show the quality
and quality is a never-ending tug of
originally intended in the competition.
war between construction companies
These things automatically turn into
and architects. Kempe states that it
negotiations, and then the client will
is inherent to an open market that all
also become aware of the fact that he
players will tend to go for a minimum
does not have free reign and the building
standard. It is assumed that the
can simply be refused if it is not up to
cheapest option is the starting point
certain standards. That is something
by default, any deviation from the
very important. . . . One disadvantage of
cheapest solution needs to be worked
Dutch culture is that there is a strong
for, if it is possible at all. Constructing
disbelief
The
the building as quickly and cheaply
Dutch mentality is that the market as
as possible, while still being passible,
such will organize everything well, but
has become the general goal. Because
in reallity the market organizes nothing
of this mentality, DBFMO (Design,
beyond pure financial interests. Quality
Build, Finance, Maintain and Operate)
of cities and buildings was always also
and PPP (Public Private Partnership)
forced by public authorities taking
tenders are becoming more popular,
care of the
as these tend to have benefits that
public
very
created a culture of tunnel vision,
important.
in
been
authorities.
collective interests of
9
are easily quantifiable 4 ,
such as
reversed. The role of the architect is
costs and construction time. This
not to defend his or her position in
4
is something that generates a great
the process, but to guard the quality
(ed.),
amount of political favour, which
of the building.
DBFM Contracts on
tends to support this quick and cheap approach.
‘Effects
of
Execution:
is that the Belgians are by definition
Experiences from the
contracts
quite conservative and seem to find it
Field’,
at an earlier stage and with more
very important to get good quality. All
Second
responsibility, but also more power
the discussion about practical things
Conference World of
to defend their interests, while the
like window systems, sustainability
Construction
role of the architect is brought back
and insulation values is somehow
Management
to being a cog in the machine of the
related to the conservative idea that
Delft
building process.
we want to have something durable.
of
Technology,
This also causes the demands to be
the
Netherlands.
involved
in
design
‘That was literally the idea. The idea was to make the architect be part of the building industry in the same way
higher than in the Netherlands.’
the designer of a car is part of BMW,
Expanding the Profession
the firm that produces the car. We
Despite the attention the research
as architects would stop being a free
by Atelier Kempe-Thill has received
profession but become subsidiary to
from the Chief Government Architect
the whole building machinery.’
of the Netherlands, little has changed.
Not only politicians, but clients too,
There has not been any substantial
are becoming less and less convinced
conversation about a possible system
by the quality an architect brings
change, nor did architecture firms jump
to the table. Architectural quality is
at the chance to fight that system. The
difficult to quantify, but the price of
opposite is true, Kempe even recalls
a building is very unambiguous. In
an architect arguing for his own
the current climate the value of the
entrepreneurial position. Seemingly,
architect is not implicit, the starting
improving the architectural climate
point for each design is the cheapest
in the Netherlands would require a
solution
culture shift.
available
improvement
10
Project
Roohé
companies
are
Construction
‘Another thing that is important
Michiel
or
and
for
deviation
every clients
‘With this action we kind of tried to
have to be convinced. If we again
mobilize a lot of architects to support
look to our southern neighbours, we
our ideas. However, their support was
see a completely different attitude
less than we had hoped for, since it
In Belgium, the balance between the
was too closely related to the direct
client and the contractor seems to be
commercial
interest
of
architect
presented
at:
International Project 2007,
University
offices and they were clearly choosing
professions
opportunism in this case.’
order to do this, he or she will need
Changing the entire set of morals
and
professionals.
In
sufficient knowledge in all of these fields – knowledge that goes beyond
‘They chose not to bite the hand that feeds them, which we found a real pity.’
scratching the surface, or at least the capacity to comprehend these fields and argue against them. However, the overlap in knowledge, or at least willingness to learn is crucial on either
and values of a country is not
side of an argument, including within
something that can happen overnight,
the political fields that make up the
and the profession of architecture
rules. The successes caused by the
will probably never be completely
Chief Government Architect and City
without conflict, nor should it be.
Architect systems have shown how
There will always be multiple parties
the right person in the right place
involved with varying interests and
can positively influence architecture
priorities. The fact that our society is
culture. But the essence of the
becoming more and more complex is
problem seems to lie in valuing the
mirrored in our buildings. As the scale
profession of the architect.
and density of projects increase, more experts in the fields outside of the traditional understanding of the built environment are being introduced into the design process. The role of the architect is expanding into becoming a mediator for all involved parties. Large-scale
competitions
might
already require consulting multiple field experts ranging from logistics to security, from sociology to biology. In
order
for
the
relevance
of
architecture to compete with all these fields, an overlap of knowledge is required. If an architect is in a position where he or she needs to defend their vision, this will have to be against every single one of these
11
THE SAME BOAT Conversation with Moriko Kira Fenne Jansen
Japanese architect Moriko Kira, who considers herself to be more of a Dutch architect with Japanese roots, moved to the Netherlands in 1990. Architecturally educated at the Waseda University in Tokyo, she was eager to acquire more knowledge on the other side of the world where, at the time, the field of architecture was rapidly growing – and taught by none other than Rem Koolhaas himself. Surrounded by the younger – but no less inspiring – Jacob van Rijs, Winy Maas, and Floris Alkemade, Moriko now looks back on that year she spent at Delft University of Technology as being mind-changing.
Initially, Moriko’s motivation for
Not Joining the Tender Game
studying architecture was grounded
According to Moriko, she ‘started
in the nostalgic streets of downtown
to function around the year 2000’.
Tokyo. Even though the architecture
With ‘function’ she refers to designing
education in Japan did not respond
buildings, as her interests are spread
to
wasn’t
over many more disciplines, such
disappointed nor did she dislike this
her
expectations,
she
as writing, interviewing, organizing
way of getting in touch with the
symposia and creating exhibitions.
architectural field. However, once
Comparing the Dutch and Japanese
being under the teaching wings of
building cultures is certainly her
Koolhaas at the TU Delft, she started
biggest interest, or hobby, as she likes
to completely change her vision on
to call it herself.
architecture. From freely creating her
‘Between
1992
2000
that allows architecture to be a part
I
of the city. Not only this one year
interesting people to talk with them
at the TU Delft, but the full Dutch
about the reason for Dutch urbanism
architectural and urban experience
and architecture being organized the
has changed Moriko’s architectural
way it is. I talked with them about
vision completely:
Dutch
interviewed
a
exhibitions
I
was
1. Dutch architecture
organizing
and
‘own buildings’ to stepping into a role
lot
architectural
of
and
different
features
like
‘At that time, the education in
horizontality and equality. In this
part
Japan was very focused on “how
period I was also writing articles for de
of the homonymous
to make a building”, especially on
Architect1 . I like to do different things,
architecture platform.
“how to make an iconic building”, on
to reach different disciplines, but
architecture that has nothing to do
towards the year 2000, I decided that
with its surroundings. While being in
I wanted to start designing buildings.
Delft, being with Rem Koolhaas, and
I was one of the architects of the
his assistant Ben van Berkel, I started
Rijksgebouwendienst
to realize that architecture is so
Building Agency). At the time, they
much more. That it is part of society.
had a special programme for young
This
architects
trade
journal,
a
principle
significant
certainly
conveys
difference
between
Japanese and Dutch architecture.’
like
me.
(Government
This
created
an opportunity for me to work on projects like the Sieboldhouse, which was a renovation of a koetshuis (coach house). By being a rijksbouwmeester (government architect), I already got to have very interesting experiences
13
at the start of my architectural career.’
clients, and I am not good at playing
As the new tender regulations made
the game of attracting them. I think
their appearance around the same
these
period Moriko began to ‘function’, this
more and more about how to win
could have affected her career start.
them. As an architect, you have to be
We now know that this influence
very professional about this upcoming
could have been of great impact,
trend in tender culture. And some
rather
negatively
than
competitions
are
becoming
positively.
architects are. They’re making a living
Morika, however, managed to bypass
based on these tenders. I cannot join
the issue by following a different way
that game. I have another way of
of working.
working, which is very complicated, very time-consuming, but well, that’s
One of the big problems that
my life.’
Atelier Kempe Thill found with the new regulations, was that it was very difficult for young architects to start for themselves around the year 2000. What are your experiences with this,
‘I cannot join that game. I have another way of working, which is very complicated, very timeconsuming, but well, that’s my life.’
considering you started in the same time period? ‘I think I started for myself just before this period. But I have to admit
Specificity
that I never came in contact with those new tender regulations because
Not all architects have the privilege
for them you have to apply on CV,
of having projects handed to them
and as a starting architect you always
on a plate. Especially when looking
have either too little on paper to turn
from an economic point of view.
over, or too little experience overall.
How would you say you got into the
The only projects I was, and still am, doing are specific projects for which
14
position where you are approached for projects in the first place?
clients come to me specifically. And I
‘You can look at it as being a
think that in a way, for me, that works
stepping stone in your architectural
better than applying for tenders. At
career. Of course, you will not become
the time I was asked to participate in
a millionaire by taking only projects
competitions, but I have to admit that
for which you are personally asked. In
I am not good at these competitions.
that sense, my way of working doesn’t
I am not good at not knowing my
count as a very good business model.
The main reason for choosing for
and scarcity of ground, combined
this way of working is that I want to
with the high price of demolition,
explore all sorts of disciplines within
is creating many opportunities for
my architectural career. I like to work
renovation in Japan. Although the
on projects, but I also want to write,
Japanese have some catching up to do
for instance. At a certain point in
when it comes to renovation, during
my career, probably around the year
the interview Moriko emphasizes the
2000, I felt very empty. At that time I
high level of specificity in Japanese
had about ten employees at my office
building
and the way I was working felt very
architects in particular are working
far removed from intellectually using
on specific projects with specific
my brain.’
clients who trust them blindly. This
culture.
Young
Japanese
With this not particularly profitable
specificity encompasses a way of
but broadly oriented way of working
working that Moriko is definitely
or
not
enthusiastic about. When putting the
the
architect in full control of the design
Netherlands, but occasionally also in
process, figuring out the building
her native country, Japan. However,
together with the client, there is
the regulations concerning building
no need for involving either the
culture are a little bit different on the
developer or the contractor during
other side of the planet. For instance,
this stage. According to Moriko:
only
‘business responds
model’, to
Moriko
clients
in
buildings are knocked down after about 20 years, because the ground in Japan is of such great value. Whereas the thrifty Dutchman will always be thinking ahead: what if I want to sell this building in 20 years? That this question is now asked in Japan more and more often as well is caused by the huge, and rising, vacancy there.
‘In the Netherlands, specificity does not exist in the building culture. What is happening in Japan is more of a Belgian situation. The Dutch are more restrained, more rational, more reasonable.’
All of these empty buildings mostly remain unutilized until their very end, as their value is negligible compared
This can also be seen in the relation
to the plot they occupy. The fact that
with clients. In Moriko’s experience,
almost 30 per cent of the houses in
Dutch clients know very well what
Japan are empty has led to falling real
to
estate prices. The expanding vacancy
Occasionally they expect too much,
expect
from
their
architect.
15
but
their
Moriko settling doesn’t exist in Japan.
expectations are low. If the choices are
more
often
than
not
Not only do most people not know
made monetary safely and reasonable,
their
the building will ultimately turn out to
citizens
be okay. Nothing more, nothing less.
relationship with the neighbourhood
neighbours, don’t
most
have
any
Japanese kind
of
they live in. Looking back now, from
Is this principle contrary to that in
her new home base in Amsterdam,
Japan? Do people expect a lot from
this rather ‘abstract’ way of living is
the architect there? Are very high
what Moriko wanted to desperately
standards for architects being set in
escape from. Her low point was during
Japan?
her high school years, when she had
‘Not only in architecture but also in education, from childhood, from a very
during rush hour, underground.
young age, these high expectations
Having set foot on the Tokyo
are set. My Dutch partner always
(under)ground myself, I experienced
says that Japanese society is like a
that while travelling through it you are
“kidnapping society”.’
very much dependent on the subway,
By is
‘kidnapping
referring
to
society’ a
Moriko
society
with
exceptionally high standards, with tremendously high expectations of its inhabitants. The situation in Japan is quite tough, but in tough situations, one can create very strong conditions.
Abstract Living Moriko relates not only this tough situation, but also the tremendous number of people living in Japan, to the freedom and creativeness of the Japanese architect. Or more accurately, to the highly standardized quality of Japanese architecture. On the other hand, she points out that the large amount and the high inflow and outflow of people in Tokyo causes them not to settle there. According to
16
to travel every day for almost an hour,
riding on tracks that are hidden from
Dutch designing contractors cannot
everything the city has to offer. As the
be compared to the big Japanese
subway map is ultimately your (only)
contractors, who employ good, highly
point of reference, the term ‘abstract
qualified
living’ can be properly visualized using
‘high quality’ is not interchangeable
that of Tokyo. When people become
with ‘architecturally pleasing’ here.
architects.
Nevertheless,
aware of their abstract way of living,
Moriko indicates: ‘You can state that
aware of the countless kilometres
it’s a good building, of high quality,
they spend underground, they will
but it doesn’t move your heart. Over
either want to leave or try to make a
the last 20 years, building in Tokyo
change. According to Moriko:
has become very, very boring.’ This is, according to her, leading to
‘The 30 million people living in the conglomerate of Tokyo, thinking in a certain way, conditioning the buildings and space, they create the city.’
a decreasing quality of architecture and
the
demise
of
architectural
craftsmanship. In both Japan and the Netherlands the same money, the same intentions and the same turnover are involved – so both countries suffer
Rome was not built in a day, and
from this problem. In the Netherlands,
the people of Tokyo will not change
however, there is a dialogue about
their way of living in one day either.
the building being high or low, for
Such big transitions require a lot of
instance. This sense of responsibility,
time, support and effort. Over the
controlled by regulations, ensures
past few years, there have been some
a certain quality. In Japan, there is
other changes in Japanese building
no such control over what a building
culture. The same changes that have
does to the city. Both Japanese and
occurred in the Netherlands: the
Dutch architects – eventually all
contractor has become as important
architects – are looking for a new kind
as the architect – sometimes even
of field, a field in which they can mean
more trusted. This assures the client
something. They are making attempts
of, at least, a cheap and quick design,
to keep architectural craftsmanship
regardless of the quality or character
alive. According to Moriko, the ones
of the building. One big difference
that succeed in this are the architects
between the situation in Japan and
who deal with context and care in a
the situation in the Netherlands has to
new way. These are the architects
be mentioned here, according Moriko.
who know when and how to take their
The fairly low-quality level of the
responsibility.
17
Empowering the People
who has made it her hobby to compare the two, the Japanese are
Coming back to the phenomenon of
more in favour of learning from the
2.
the contextless, abstract way of living
Dutch than vice versa. Especially
finished in July 2018,
in Japan. Do you think it is up to the
when talking about the importance of
that runs from the
architects, that it is the architects’
context in building culture. However,
north, below the IJ
responsibility,
there are mutual trends, such as the
River
greying society, urbanization and the
Station, to the south
growing importance of the contractor,
of
to
change
this
contextless living culture in Japan? ‘Well, I think it is rather the inhabitants’
18
responsibility.
subway
and
line,
Central
Amsterdam.
As
they
that are causing both countries to
the building costs of
aren’t aware of this phenomenon,
end up in the same boat. These
the project went way
change will never happen. People
similarities inspire Moriko even more
over budget (initially
have to want and implement this
to organize symposiums, like the one
stated at 700 million,
change in their current way of living.
in Amsterdam about Tokyo, in which
but in fact running to
The problem is that Japanese citizens
both
Netherlands
3.1 billion) and long
only look at this issue from their own,
are being assessed thoroughly. This
delays were inevitable,
house-owner point of view. To start
symposium explained that dealing
this has had a negative
thinking about a way of living within
with these occurring trends using
effect on Amsterdam
a certain context, allowing for the
top-down
p o p u l a t i o n ’ s
streets, makes them afraid of losing
construction
control of what’s theirs. But what is
line 2 in Amsterdam, is as inevitable
government.
very interesting about urban design is
as it is unnecessary. To combat the
Bart Dirks and Marcel
that, if your dwelling is placed on a good
shrinking
van Lieshout, ‘Noord-
street, this will increase its real estate
Moriko states that there is a need for
Zuidlijn
value
Unfortunately,
very big top-down interventions as
geopend:
most of the time Japanese citizens
well as some small bottom-up ones.
heeft veel gevraagd van
doesn’t think that far. And if the
The government tends, mainly due
de
Amsterdammers”’,
people are not fully aware of this fact,
to financial reasons, to step away
de
Volkskrant
they cannot understand the problem.
from these problems, therefore it is
(2018)
In the Netherlands and Amsterdam,
now up to the citizenry, says Moriko.
www.volkskrant.nl/
most inhabitants are aware of this.
Change has to come from people’s
nieuws-achtergrond/
Everyone recognizes the importance
interventions. No more waiting for
noord-zuidlijn-
of, and talks about, living in a “good
the government. It’s a matter of the
officieel-geopend-
neighbourhood”.’
people’s responsibility.
deze-lijn-heeft-veel-
significantly.
If
A
Japan
and
the
interventions,
of
of
the
towns
like
the
North-South
and
villages,
One can state that the Japanese
According to Moriko, the role of the
and Dutch building culture differ
architect or urbanist in this story is a
significantly. According to Moriko,
very important one. An example is a
confidence
in
the See:
officieel “Deze
lijn
https://
gevraagd-van-de-
3. Ryo Yamazaki first
good friend of hers, Ryo Yamazaki 3 ,
worked
design
who has taken this role very seriously.
offices for architecture
Originally educated as a landscape
and
landscape.
For
designer, he has now taken a different
one
assignment
he
path in his career. One that comprises
was
asked
at
the
facilitating between people, entire
park management of
communities and built environment
Arima Fuji Park
by
to
professionals, including governmental
set up a system that
departments. With his office, Studio
would allow the park’s
L, he seeks to identify the potential
staff
to
of an area and its people, which
operate
results in the reorganization of entire
programmes
communities . This new genre within
members
create
and
the
themselves.
This
urbanism, as Moriko calls it, aims to
the
create consciousness among people
community
about their living conditions, more
rather than designing
importantly about the steps needed
the facilities himself
to improve them. In Moriko’s opinion
sparked
facilitators like Yamazaki are exactly
management park
of
his
interest him
what many communities currently
of the importance of
need: ‘privatized’ rijksbouwmeesters
the
empowerment
(Government Building Agencies). She
of
communities.
stated: ‘People can become aware of
and
convinced
in
their way of living, your role as an
today’s world people
architect or urbanist or landscape
easily tend to ignore
designer is to make them aware.’
the human connection.
Consequently, just a small push in
See:
’01.
the right direction by an engaged
Trigger’ (2019) http://
professional can cause people to
www.studio-l.org/
pause their busy lives for a moment
en/about/index.html.
and
Especially
since
Studio-L,
think
about
how
they
can
enhance not only their living space, but ultimately their way of living.
‘People can become aware of their way of living, your role as an architect or urbanist or landscape designer is to make them aware.’ 19
PAST THE ERASMUS BRIDGE Conversation with Machteld Kors Ananda Jaganathan
The past 50 years have shown that
reinterpretation
has
been
imperative for Dutch architecture firms, especially when thrust into precarious moments. In the midst of economic crisis, climate change and social conflict it has been apt for firms to redefine the boundaries set
by
regulations
and
design
briefs. While tender regulations have outlined the prerequisites of a project, design briefs have marked what society finds relevant at the time. These aspects have always been part of the architect’s agenda to scrutinize and unravel. In the course of projects, they are dissected into the requirements, the scope and the limitations of said projects.
In
this
Machteld
exploration, Kors,
the
we
asked
director
of
communications from UNStudio, how
developed into a knowledge-based practice that focuses on collaborative design.
31 years has transformed the way
Another shift is illustrated by the
the firm approaches procurement
reassessment of the term ‘icon’, which
processes. UNStudio, in a way, is
characterized the pre-crisis condition.
a testament to how Dutch firms
In the last decades, icons were used
have stood the test of time. From
to build city skylines. This practice
the moment of being established
quickly saturate the market with
in
Bos
prominent buildings, even before they
Architectenbureau to being renamed
1988
as
Van
Berkel
en
were built, especially with the advent
as United Network Studio and later
of digital renders.1 The needs of these
1.
Ben van Berkel
with the creation of UN network
kinds
&
Caroline
Bos,
Asia, in 2009, it has allowed itself
were immediately questioned in the
of
non-contextual
buildings
matters
to grow and, eventually, become
volatile economy. The insight that
( Amsterdam: Frame
immersed in building cultures around
Kors gives is as follows:
Publishers,
the world. We are therefore curious
Knowledge
2016).
about the invisible scaffolds that have shaped the firm over the past years. This essay explores the disciplinary transformation, the manner in which procurement procedures have been adjusted to accommodate changes in society.
Shifting practice The architecture of before and after the financial crisis is exemplary of the role the architect and the practice play in an inventive economy. It marks a shift in the field of architecture, from a call for architects to create distinct forms, to a call for responsible architects, focusing on affordability,
‘As the firm evolved, our ideas also slightly shift. It has not merely been about building an iconic building, but it is about building places that people can identify. Some projects are completely integrated into the context, while others are explicitly visible. It very much depends on the project. Sometimes a project really needs a big gesture and a noncontextual element. Although it is still contextual, it just does not appear to merge into one style.’
sustainability and attainability. With these changes and the introduction of Knowledge Platforms, UNStudio has
21
More than two decades ago, the
from the market to build quickly and
ambition for the Erasmus Bridge
economically. The larger European
2.
in Rotterdam was not just to build
firms hit by the crisis were forced to
Building the Erasmus
a bridge, but to build a legacy. In
become more resourceful.
Bridge
Process
of
(2018).
a note written in 2018, Ben van
Kors reflects on how architects have
h t t p s : // w w w .
Berkel concludes that ‘architecture
intrinsically responded to the cycles
u n s t u d i o . c o m /e n /
is not about trying to create iconic
of crisis from the 1980s to 2019. In
page/11262/the-
images, it is about how a structure
the post-crisis climate, there is a need
process-of-building-
can communicate with its users’. 2
to apply what has been learnt in the
the-erasmus-bridge.
This is what Kors reiterates as ‘places
previous downturns; there is a need
3.
people can identify’. The maturing of
to combine the resourcefulness with
&
the firm has led to the alterations of
contemporary design. Today, we see
Knowledge
these once prolific terms. In the book
a shift from a quantitative approach,
( Amsterdam: Frame
Knowledge Matters, UNStudio argues
defining
Publishers,
that though ‘the global financial crisis
typology of a building, to a qualitative
may have temporarily slowed down
approach, distinguished by the values
the hysteria towards the iconic, the
important to the client (i.e. human-
core economic model that simulated it
centric
has remained unchanged’.
criteria). Terms like ‘sustainability’,
In the dialogue with Machteld Kors,
the
function,
values
‘circularity’
used
and
form
as
and
selection
‘integration’
used
it becomes evident that the period of
in design briefs, in line with these
crisis was an important point in the
values, have allowed innovation. Kors
European tender culture. There has
argues that predefined conditions in
been a transition in the way briefs are
the architect’s brief stifle innovation,
written by clients and the way they
limiting the room for improvement,
are approached by architecture firms.
research
The pre-crisis period, characterized
The
by
procurement
a
procurement
climate
that
and
experimentation.
qualitative
approach
process
strategically
the
forced
UNStudio
several of today’s larger firms, such
towards defining pitches of more
as OMA and MVRDV, to thrive. The
human-centric design solutions Moreover,
to
in
has
stimulated young talent, has allowed
regulations, prior to the European
22
The
the
presence
shift
of
a
directives of 1993 and, subsequently,
collaborative design approach has
of 2004, gave them the opportunity to
also been imperative in meeting the
build a portfolio of innovative work.
qualitative standards. Kors beings by
However, projects realized during
describing how architecture teams
the crisis were a result of pressure
have diversified over the years. Both
Ben
van
Caroline
Berkel Bos, matters 2016).
the built environment and non-built
their
environment
played
immense experience through working
crucial roles in the guise of advisors
on impactful projects, despite being
and consultants. In projects such as
young firms. This, in combination
the headquarters for Booking.com,
with the lenient European tender
in Amsterdam, the extensive group
regulation,
of advisors has enabled a design
requirements with regards to project
that is not only woven into the urban
references, created the ideal condition
fabric but also incorporates different
for firms to experiment with designs.
systems (air circulation, water, thermal
This said, Kors takes us back to what
comfort, sound and mental wellbeing
it was like when Ben van Berkel first
to speak of a few). In projects outside
started:
experts
have
of Europe, for example, the Karle Town project in India, partnership with local firms has provided insight into the current economic, political and regulatory framework of the situation. Both instances prompt that dialogue and exchange with diverse groups give shape and direction to the design and the design process.
Expanding borders Kors asserts that the way the practice
of
architecture
has
developed over the years has both its shortcomings and strong points. The former is a consequence of the European directives being held in such high regard and having contested
life
cycles,
they
demanding
garnered
fewer
‘Ben van Berkel got the opportunity to work on the Erasmus Bridge when he was 32 years old. And that was possible simply because of Riek Bakker, who was the head of the Urban Planning Department in Rotterdam at that point. She was striving for something new and fought for a budget for innovation. She convinced the city to invest in a bridge with great design value and feasibility and to commission someone with no proven experience with building or designing bridges.’
interpretations across Europe. On the other hand, the latter, in the
After
the
uncertain
period
of
Netherlands, results from a myriad of
the crisis, what ensued was the
firms, an architectural landscape with
reinforcement
an amalgam of firms of different types
regulations that deemed a reference
and sizes. As the firms established
portfolio necessary for participation
amid the 1980s advanced through
in competitions. List of projects that
of
the
European
23
24
were similar to the new assignment
Kors’s answer can be summarized as
acted as proof for the firm’s technical
analysis, planning and diversification.
abilities. This, initially, done in the
She underlines that developing the
hope of creating an even playing
firm’s portfolio in this sector has
field, however, resulted in certain
been built up in gradual steps over
groups of firms being filtered out,
the scope of 15 to 20 years. The
namely the newer and financially
firm starts by analysing the current
vulnerable firms. In such conditions,
needs and the possible opportunities
Kors argues practices such as Gina,
in the local and global context. This
a collaborative group that combines
is followed by a prognosis of the
efforts for a project, are instrumental
company’s position and achievements
in bringing alternative opportunities
in the next 25 years. This global vision
to firms stuck in the anticipated
is then dissected into a map of all
reality. Through the alliance of firms
the smaller, more achievable tasks.
of different sizes, newer practices can
Consequently, in this global vision of
meet the requirements for a project
designing for the health-care sector,
by using references of the more
UNStudio defines the need to first gain
experienced practices. In such cases,
awareness, which is then followed by
close collaboration can help firms
participating in smaller-scale projects
develop their portfolios and also gain
to hone the prerequisite skills. In
a footing in the building market.
doing so it can be recognized for larger
Regulations like these have forced
and more exclusive commissions in
firms to pick, engage and persist in
this field. This development of the
specific niches, that over time become
health-care
hard to penetrate. Kors mentions
improves the quality and efficiency of
that UNStudio is endeavouring to
designing. Nevertheless, not all firms
Carmela
delve into the health-care sector.
can break this predetermined mould.
&
Such
claimed
It is also becoming harder to acquire
A rc h i t e c t u re
by a selected group of firms with
projects that already have a sphere of
competitions
years of experience in the design of
influence.
the
projects
are
often
portfolio
progressively Jean-Pierre Chupin, Cucuzzella
Bechara
In another instance, Kors explains
by juries to employ the same firms
that although it has been easier to
and
over and over again have resulted in
acquire international projects in the
international
European hospitals frequently looking
countries where the firm is established
(Quebec:
identical.
The
question
and
production
health-care facilities. The decisions
of
Helal.
culture,
quality
knowledge:
an
inquiry. Canada:
becomes:
(China, Hong Kong, the Netherlands
Potential Architecture
How can a firm start to design in this
and Germany), it has been challenging
Books, 2015) 77 - 78.
sector without any prior experience?
to delve into projects in a European
setting. This is especially the case
procurement processes are a fair
as the tender culture differs broadly
manner of judging, it fails to take
within European borders. Kors, using
into account the importance of this
UNStudio’s attempt to gain entrance
collaborative facet.
to the Scandinavian market as an
These
disjunctures
example, explains that sometimes
procurement
language requisites tend to be a
resulted
barrier for international firms. In the
solutions. Part of the challenge is also
twentieth century, the Nordic welfare
accounting for the cost incurred over
states used architecture competitions
the preparation of an unsuccessful
as a way to harmonize socio-political
bid. Kors expands on the possibility
ideals. The presence of welfare goals
of providing financial compensation
and
in
and
between
a
call
practice for
have
tangible
as
for the requested design. These leaps,
language requirements, which are still
though small, are still commendable
prevalent in the programme briefs,
and need to be executed in order to
have acted as restrictions. In the case
encourage participation from young
of Sweden, where everyone on the
and starting architects. It is important
team is required to speak Swedish, the
to make the seemingly perilous waters
tender is often acquired by local firms.
more approachable.
other
prerequisites,
such
companies,
In hindsight, design competitions
the language permits required to
have been viewed through rose-
participate are just too expensive.
coloured glasses, with a fair, equitable
Moreover,
for
certain
Kors brings up another challenge in
and rational winner always being
the German procurement processes,
lauded. Though this may be true at
where
tender
first glance, it becomes important to
procedure is often a requirement.
look at the more obscure factors in
She argues that omitting information
the background. Kors answers that
of a firm’s identity is not the best
in combination with having a strong
solution since it denies the personal,
and visionary client-architect team,
communicative
inter-human
the building culture occasionally also
relationship required to run a large scale
needs to be opportunistic. UNStudio
project. In the end, Kors expresses,
has been shaped by the chance given
realizing a complex development can
to Ben van Berkel two decades ago
be compared to a marriage. Reliable
with the Erasmus Bridge. However,
and fluent collaboration between a
the standardized and blind procedures
client and an architect is essential to
of today do not necessarily provide
complex projects. While anonymous
the same favourable circumstances to
anonymity
in
and
the
25
young firms. Sometimes, concurring with the obvious choice may not necessarily be the best choice.
At the Crossroads In this account by Machteld Kors, we have looked at the procurement culture through the lens of UNStudio and a few examples that illustrate the culture shifts. It becomes clear that these experiences are always at the crossroads of political regulations, social norms and economic demands. Even though we paint this fairly linear story, UNStudio has taken a slightly more tumultuous path over the past decades. However, what this series of anthologies provide, is at once an abstract yet vividly rich understanding of how the procurement process for architectural projects is approached, challenged and revitalised at a certain time and place. Though the same path cannot be taken by firms established in this day and age, it can be viewed as a learning point for architects. How do you look past the architecture, to understand the
invisible
architects
scaffolds?
apply
How
aesthetics
can and
architectural concepts in procurement processes as a tool to convince and stimulate innovation? And finally, how can architectural institutions take the initiative to change the prevailing tender culture?
26
KNOWLEDGE & RESPONSIBILITY Conversation with Birgit Rapp Tomasz Dudek & Nick van Garderen
Rapp+Rapp
architects,
situated
in Amsterdam, is comprised of husband-and-wife team Birgit and Christian Rapp and was founded in 1999. Cofounder Christian Rapp’s roots are what sent the office on an endeavour to Germany. Christian was born in Munich and not only studied in Delft, but also in Berlin, and he worked for both Otto Steidle and Hans Kollhoff. Birgit and Christian decided to open a small office in Berlin in September 2007, in search of international projects for the Rapp+Rapp office. Despite Christian’s German background, the venture in Berlin was still considered as a new and foreign office on the scene. Rapp+Rapp had to scout for projects, a quest that was not always fruitful. The office entered numerous competitions, one after the other, but encountered various troubles along the way that rendered
it unable to fully function on the Berlin
peting office realized?’ She offers Rap-
market. Though not as successful as
p+Rapp’s own experience with design-
hoped, entering competitions not only
ing or competing for school buildings as
in the Netherlands but also in Germany
an example. To date, the office has no
did bring some insights regarding the
experience in designing school buildings
nature of competitions and tenders in
in the Netherlands. Therefore, they are
both countries.
virtually prospectless when entering a tender that involves the realization of
‘Architecture is not objective, nor can it be objective. This nature of trying to measure architecture and making architecture objective is absurd. Architecture, in its very essence, is always subjective. Architecture is about emotion, it is about feeling.’
a school, due to their lack of references of previous, similar projects. Furthermore, the focus in the Netherlands on this ‘list’ of requirements that has to be met is distorted. According to Birgit, the requirements are aiming for the objectivation of the profession, a conflict at the very heart of the issue – such an approach addresses everything except the architectural value of the proposal. The problem with the Dutch approach lies in the three questions mentioned above.
The Dutch Debate One
28
of
the
biggest
Assessing entries in a competition on differences
the basis of quantitative questions that
between the two countries is the very
are, according to the philosophy of Rap-
nature of getting projects in the first
p+Rapp, not related to the architectural
place. According to Birgit Rapp, It is not
qualities, is the problem. The require-
extremely clear in the initial stage in the
ments are not about the architectural
Netherlands, and an extreme amount of
value of the entry, but about the track
requirements have to be fulfilled prior to
record of the architect and its economi-
participation in a tender or a competi-
cal attractiveness.
tion. In the initial stage there are a few
Rapp praises Germany’s longstanding
questions that are deemed of vital im-
and strong tradition of architecture as-
portance by the client: ‘The most crucial
signments. Rapp recalls the German ap-
points that are examined in Dutch
proach, with their specific programmes
tenders are: How much money can
for the participating offices to cater to. In
company/architectural office generate?
the competitions that the office entered
What is the size of the office? And how
in their German days, Rapp reminisces,
many comparable projects has the com-
the entries for these competitions were
‘The requirements in the German competition are clear and equal for all participants. The scale of drawing that is required and the amount of impressions that are wished to be seen are known beforehand which results in similar outputs that can be assessed on architectural quality. On the contrary to this Is the Dutch approach to the competition where there is no request for a design solution, for an architectural plan, but merely for a vision, regarding the design briefing. This renders the options for an entry limitless.” anonymized and assessed by an inde-
conceptual diagrams, to photorealistic
pendent jury of architects, urbanists
renders of nearly finished designs. This
and landscape architects, based on the
multitude of presentations of visions or
full scope of the submitted designs. The
designs makes it almost impossible to
clarity of the initial design briefing is in
assess and compare the results.
contrast with the vagueness that typi-
In the end, Rapp states, it is this
fies Dutch architectural briefings, result-
very nature of the Dutch requests that
ing in a very different output, according
creates a situation in which each com-
to Birgit Rapp:
petitor does way more than is expect-
‘The requirements in the German competitions
are
well-defined
ed or necessary to judge the ideas,
and
because the demands are not clear.
equal for all participants. The scale of
Those judging the multitude of ideas and
drawing is stipulated and the amount of
outputs then almost necessarily have
impressions that are required is clear in
to resort to the quantifiable questions
advance, which results in similar outputs
posed by Rapp earlier in the interview.
that can be assessed on their architec-
On top of this, the office chosen on the
tural merits. On the contrary, in the
basis of its abstract vision often comes
Dutch approach there is no request for
up with a completely new design for the
a design solution, for an architectural
execution – rendering the assessment of
plan, but merely for a vision, regarding
the submitted ideas almost impossible
the design briefing. This renders the
where architectural quality and value
options for an entry limitless.’
are concerned. Contrastingly, the clear
The limitless ways of approaching
design briefs in Germany result in similar
Dutch architectural briefings, according
presentations, similar products and thus
to Rapp, results in the submission of a
in situations in which the architectural
multitude of outputs. These can vary
value and quality of the entries can be
from texts, to sketches and drawings of
evaluated.
29
The Importance of Culture
submitted. Another difference between
Although the German endeavours of
these two countries is that in Germany
Rapp+Rapp were of a shorter duration
you are expected to participate in
than expected, and even though the
German with a German cultural and lin-
German branch of the office did land a
guistic approach.
project in Munich, the decision was made
‘Here in the Netherlands, it is quite
to close the office in Berlin and to move
common to have big competitions both
all activities, both domestic and foreign,
in English and in Dutch. I think that it
back to the main office in Amsterdam.
is much harder for a non-native office
But the experience of working both in
to explain or approach the design. In
Germany and the Netherlands, one that
the end, you do best within your own
cofounder Christian Rapp already had
culture. This does not mean, however,
prior to the German adventure, gained
that an exchange between countries is
the office al lot of experience regarding
not interesting, but the fact that it is in-
the industry in both places. This experi-
teresting does not necessarily mean that
ence reaches much further than merely
a competition should be internationally
the knowledge of the tender culture in
open for everyone to participate.
these two European countries.
‘If you participate in Germany, you’re
It is not just the architectural culture
expected to participate in German, with
of a country that sparks the creation of
a German cultural and linguistic ap-
good architecture, but the very culture
proach. Here in the Netherlands, it is
of the country itself. It is this culture that
quite common to have big competitions
sprouts legislation, eventually the organ-
both in English and in Dutch. I think that
ization and nature of the competitions
it is much harder for a non-native office
and tenders in a country. In Germany
to explain or approach the design. In
the proposals are judged by the jury
the end, you do best within your own
consisting of not only professionals
culture.’
related to the field, but also politicians. Rapp notices that in smaller, more local assignments, more politics is involved,
30
tender and the presentation of what is
Increasing Knowledge
Responsibility
&
which is not a case for the Netherlands.
A remarkable portfolio of projects
Naturally, the product is a combination
in Belgium, gives possibility to further
of the culture of the country in which
explore cultural differences in another
the tender is situated and of that of the
neighbouring country. What strikes
participant. The approach to this vision
Birgit in Belgium is that the role of the
can be seen in the organization of the
architect is fundamentally different than
in the German and Dutch settings. While
is about communication and approach.
working on a project in the Belgian
The design may be the most interesting
village of Houthulst, Rapp+Rapp discov-
part, but for a majority of the time the
ered that the cultural approach to the
architect is dealing with managing the
architect and his office as the ‘Master
project, the client and all of the other
Builder’ not only allowed the architect
external factors that exert power on the
to have more influence on the design, it
project, such as regulations and financial
also brought more responsibility. Some-
strains. Each of these factors requires a
thing that is interrelated in all European
different approach and means of com-
countries.
munication. Dealing with this variety is
‘In Germany and Belgium, in different ways, the architect has more influence
thus, essential to the profession in the eyes of Rapp. Birgit states that Belgium is one of
‘In Germany and Belgium, in different ways, the architect has more influence than in the Netherlands, but at the same time has more responsibilities. It is the amount of responsibility that makes a difference in regards of the influence and amovunt of decisionmaking of the architect.’
the few countries left in Europe that celebrates the craftsmanship of the construction sector, from bricklayer to architect. This in combination with the increased influence and responsibility that the office met in Belgium is something that Birgit Rapp advocates. At the same time she points out that, since the
than in the Netherlands, but at the same
approach to the profession is one that is
Master
time has more responsibilities. It is the
deeply rooted in the culture of a nation,
Builder an architect must
amount of responsibility that makes a
it is not easily adopted in other coun-
not only be possessed
difference in regard to the influence
tries:
of
and amount of decision making that you
“To
become
the
a
theoretical
knowledge of engineering
have as an architect.’
‘Every system has its pro’s and contra’s, however, it is a culture that cannot
of
It is this higher level of responsibility
be changed overnight. Consequences
the details of building
and influence that lies at the heart of
of such a change need to be examined
construction,
must
Rapp+Rapp, an office that prides itself
beforehand and a clear starting point for
become the devisor of
on its preference for an artisanal ap-
this change needs to be defined. In the
methods of construction.”
proach. Rapp believes that the architect
end, it is a process of changing a lot of
Annual
Convention
is not just a tool for design, but the leader
minds in a country, not to mention the
American
of the project. Managing such a project
legislative and governmental aspect of
is what differentiates a good designer
this discussion. Change won’t come fast,
from any ordinary designer. The design,
but if it were to come, it would have to
and the role of the architect in this case,
start from education, flowing into prac-
and
of
a
knowledge
the
het
31
tice.’
is one that is both personal and cultural.
pointed part-time professor at the chair
‘The building tradition is a cultural tradi-
of Architectural Design and Urban Cul-
tion. The cultural tradition of a country,
tures at Eindhoven University of Tech-
in combination with your personal tradi-
“The
nology in 2007, after having taught as
tion, is really important.’
architekton
has
been
assembled
from
two
original
word
a guest lecturer at various schools of
Knowledge of tradition and history,
architecture in both the Netherlands
both architecturally and culturally, is the
words with each their own
and Germany, so Rapp+Rapp is not un-
pillar upon which Rapp+Rapp aims to
meaning: tekton ‘builder’
familiar with this rooting of great archi-
build its designs and that is advocated
and archi ‘chief’, thusly chief
tecture in education, eventually flowing
by Birgit Rapp.
builder.”
Four
historical
into practice. It is in education, states
‘Being aware of a cultural and archi-
definitions of Architecture
Rapp, that the spark of interest in design
tectural history helps the architect. Fig-
– Stephen Parcell (Page 24)
is created. To the very essence of the
uring out why and how change within
profession – and especially in regard to
the field and subject has come about
the ‘Master Builder’ approach – it is ed-
is vital. Understanding your own back-
ucation that is of vital importance. This
ground against a more general cultural
knowledge, according to Birgit Rapp,
background helps in dealing with the
should not be limited to the knowledge
given situation in a project. It is knowl-
of designing works of architecture:
edge that makes you capable of influ-
‘Knowledge about design, about the building process and materials and the
encing the design and the process as a whole.’
use of materials are of the essence. Stu-
Regarding the Dutch tender culture,
dents need to learn about the needs of
any change towards an approach with
materials, the works of materials and
more responsibility and consequently
processes, perhaps even production
more influence for the architect is some-
– this is essential to becoming a good
thing that Rapp+Rapp wishes to happen,
practitioner.’ This knowledge stretches
but the change can only be achieved
even further than the tangible aspects
gradually through the education of
of a single project. It is the entire ap-
future generations.
proach to the building tradition and the interpretation of it that forms a key part of the knowledge that is necessary to create valuable architecture within a setting that gives architects more influence – and at the same time more responsibility, such as in the Belgian or
32
German model. This building tradition
Cofounder Christian Rapp was ap-
THRIVE WITHIN AN (IMPERFECT) SYSTEM Boris Koselka & Fenne Jansen
Since Atelier Kempe Thill’s 2008
involvement of big construction
was
publication Naar een nieuwe Aan-
companies increased, so, too, has
ironically has systems inspired
bestedingscultuur
the importance of building quickly
by those from the Netherlands.
and cheaply.
Variation in combination with
(Towards
a
New Tender Culture), there have
that
of
Belgium,
which
been no substantial changes re-
We have observed that this
garding the problems with Dutch
is not directly caused by the
from
tender regulations. Kempe Thill
EU
by
flourishing development. Taking
hoped to mobilize architects to
the
specific
interpretation
this lesson and reflecting back
fight these issues, but this did not
and
implementation
happen, as that would have been
the
in conflict with their direct commercial interests.
Dutch culture. Regulations are
the original problems noted by
implemented differently by each
Atelier Kempe Thill. In attempt
EU
country, making it too complex to
to
regulations, therefore continued,
predict all of their consequences
failure, variety was decreased and
and architects kept reinforcing
and implementations.
creativity was stifled. Without
The existing tender culture, based
on
uniformly
set
regulations,
but
more
critical reflection and learning successes
can
lead
to
within
upon the Dutch building culture,
sector,
the first issue becomes apparent.
which is ultimately related to
The lack of variation was one of
Dutch
building
reduce
the
possibility
of
them. The problem with these
The EU tender regulations are
variation, there are no successes
tenders is that they not only
meant to guarantee universally
and no failures – which in turn
require
and
safe buildings and fair practice.
stops
extended portfolios from their
broad
experience
The system of EU regulations is
furthering development.
participants, but that they also
uniform in its implementation, but
Archiprint’s exploration of the
contain prerequisites concerning
can be interpreted in various ways,
problem does not possess the
high
turnovers,
a
which can lead to both failure and
scope to improve the complex
safe
investment
to
ensure
critical
reflection
from
environment
successes. Although not everyone
system of European regulations,
for clients. This especially puts
agrees that the Dutch building
or
young,
starting
even
the
national
Dutch
architecture
culture is in disarray, there does
regulations. Our main interest was
firms in an unfavorable position,
seem to be a gap between other
the architect’s point of view, and
which will ultimately result in
cultures that are often said to be
how architects function within
a stagnation of innovation and
flourishing. One that has come
the existing system.
a curbing of creativity. As the
forward in every single interview,
Atelier Kempe Thill has directly
33
taken up the fight, trying to voice
their ability to make people more
responsibility directly with the
its opinions on the current state
aware, and facilitate between
practicing architect. Its approach
of architecture. Oliver Thill and
commons and the government.
towards the tender problem is
AndrĂŠ Kempe take a rather activist
Machteld
Kors
based
on
educating
the
new
approach, educating their fellow
seems to have the most pragmatic
generation of architects, diving
architects by communicating their
view on the current state of
deeper into practice in order to
discord with the legal system.
architecture.
make an attempt to solve the
They recognize the problem and
the perfect system does not
are actively working to change
exist, but that this does not
it. They do, however, also believe
negate the possibility for good
regulations in order to achieve
that part of the problem, or at
architecture, as creativity thrives
a perfect set is not something
least a possible solution, lies
under hardship. Kors recognizes
that is likely to happen. Different
with
the
architect.
Not
She
states
that
tender problem. Altering
these
only
the difficulties that Dutch tender
stakeholders
regulations can create for younger
interests, preferences and goals.
change, so that they stop coping
and smaller firms. She suggests
However, if we shift our focus
within a flawed market system,
that smaller offices should gather
to the architect and on how he
but architects also need to be
their powers and work together
or she could thrive within an
more educated in legal matters.
on projects in order to gain a
(imperfect) system, we can create
Architecture as a profession is
foothold. During the interview she
the opportunity to improve the
more than just architecture.
clearly illustrates how UNStudio
conditions of the practice.
the problems with and effects of Dutch tender regulations, but
manages to thrive within the system. Rapp+Rapp
has
the
tries to work around them. She has
opinion
worked herself into a position that
tender
allows her to accept and decline
recognizes
commissions of which the system
architecture may have lost some
would diminish the architectural
of its acclaimed allure, but this
quality of the building. According
does not mean that it stopped
to
functioning
Moriko,
the
dictation
of
opposite
mildest
the Dutch
problem.
The
that
well.
Birgit
office Dutch
Rapp
top-down interventions must be
puts the problem in perspective
replaced by the rising bottom-up
by putting Dutch tender culture
practice. The first step in this
in a broader context, depending
process is to create awareness
on the bigger goals for which it
among the population about its
functions. Rapp+Rapp recognizes
living situation. Architects play a
the problem, but does not directly
significant role in this step, due to
fight the system, nor does it lay
have
uniform
should the mentality of architects
Moriko Kira also recognizes
34
UNStudio’s
different
BIOGRAPHIES Tomasz
Dudek
(1997)
studies
Fenne
Jansen
(1999)
studies
Architecture at Eindhoven University
Architecture at Eindhoven University
of
small
of Technology and is the current
background in Civil Engineering , his
Technology.
With
a
Managing Editor of Archiprint. She
interest spans now art, culture and
grew up in an inspiring environment
technology.
with
her
grandfather
being
an
engineer and aunt being an interior
Nick van Garderen (1995) is a master
student
in
Architectural
Urban Design and Engineering at
architect. While following in their footsteps, she is developing her own vision on the built environment.
Eindhoven University of Technology. With interests both in Urbanism
Dominika
Kopiarova
(1997)
and Architecture, he opts for a
studies Architecture at Eindhoven
combined track of Urban Design
University of Technology. She finds
and Architectural Design within the
her inspiration in the blurry boundary
faculty.
between
architecture,
art,
and
literature.
Ananda Jaganathan (1999) studies Architecture at Eindhoven University
Boris
Koselka
(1995)
studies
of Technology. Her earliest memories
Architecture at Eindhoven University
of architecture come from Indian
of Technology. During his studies, he
temples and has grown alongside the
was part of the 10th board of AnArchi
urban-scapes of Mumbai.
as the Managing Editor of Archiprint.
35
Friends of Archiprint
Archiprint - Expanding Profession December 2019 // Issue 15 Eindhoven ISSN 2213-5588 Journal for architecture, created by students and graduates of the Department of the Built Environment, Eindhoven University of Technology and study association AnArchi. Editor-in-chief Boris Koselka Nick van Garderen
Managing editor Fenne Jansen
Editors Nick van Garderen, Ananda Jaganathan, Boris Koselka, Dominika Kopiarova, Fenne Jansen, Kendal Varolgunes, Tomasz Dudek Writers Nick van Garderen, Ananda Jaganathan, Boris Koselka, Dominika Kopiarova, Fenne Jansen, Tomasz Dudek Advisory committee Bernard Colenbrander, Jacob Voorthuis, Juliette Bekkering, Hüsnü Yegenoglu Design Dominika Kopiarova Cover design Ananda Jaganathan Copy editor D’Laine Camp Printing Meesterdrukkers, Eindhoven Publisher AnArchi Vertigo, Groene Loper 6 5612 AZ Eindhoven The Netherlands archiprint@anarchi.cc
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