Archiprint December 2015 \\ Volume 04 \ Issue 02
AnArchi is proud to present to you the eighth issue of its architecture journal Archiprint;
The Ideal Profession As Study Association of the master Architecture at the Eindhoven University of Technology we strive to explore the current architectural polemic and contribute to it by means of the written word.
Editorial Whether you are an architecture student or
as possessing special knowledge and skills in a
the existence of all these different ethical
an accomplished practitioner, chances are
widely recognised body of learning derived from
standards.
that over the years you have been battered
research, education and training at a high level,
with the same strong conviction that
and who are prepared to apply this knowledge
So how plausible is the conviction that
troubles the entire world of architecture:
and exercise these skills in the interest of others.’
the architectural profession is changing?
1
‘The architectural profession is changing . . .’
This eighth issue of Archiprint is entitled Beaton’s
definition
distinguishes
three
‘The Ideal Profession’. It does not aim to
It’s a rather dubious conviction. Of course
ingredients;
it is not hard to see that the challenges
execution of a profession. In the context
by calling it ideal, but rather questions the
that architecture faces today are vastly
of the architectural profession the first
balance between the way our profession
different from the ones it had to deal with
two are relatively obvious. First of all the
changes due to our ideals, and the way
a century ago. We have explored, invented
conditional
architectural
our ideals change due to the profession. Its
and innovated, which has resulted in new
profession relies on knowledge and skills
theoretical framework explicitly explores
challenges that allowed us to explore, invent
acquired through research, education and
each of Beaton’s professional ingredients,
and innovate some more. It’s a cycle, and it
training. Secondly, Beaton’s suggestion of
varying between accessing, maintaining and
is as deeply embedded in the very nature of
applying and exercising these skills as a way
executing the architectural profession.
architecture as it is in any other professional
of maintaining the profession implies that
discipline. So does this prove that our
the earlier explained cycle of exploration,
discipline is actually changing, or just that
invention and innovation is indeed inherent
the architectural profession is a phenomenon
to the architectural discipline.
of dynamic character - rather than static?
access-,
access
maintenance-,
to
the
and
romanticize
the
architectural
discipline
Teije Hartman
The third ingredient is, however, doubtful Having
being
in the context of the architectural profession.
professional in something. It suggests
a
As a way of executing a profession, Beaton
a
societally
profession
means
difference
implies the need for a set of ethical standards.
between amateurism and professionalism.
acknowledged
Of course, no architect should make a
In his essay ‘Why Professionalism is Still
building that could suddenly collapse,
Relevant’, Melbourne University professor
but there is more to architecture than just
Dr. G. Beaton denotes the exact ingredients
making buildings that last. It’s about the
for this difference to exist:
spatial organization of a society and as many architects think about this organization
‘A profession is a disciplined group of individuals
differently, they practice different sets of
who adhere to ethical standards and who hold
ethical standards. In architecture it could
themselves out as, and are accepted by the public
very well be that innovation relies on
1] Beaton, G. (2010). Why Professionalism is Still Relevant. Retrieved November 2015, from Beaton Global: http://www.beatonglobal.com/pdfs/GeorgeBeaton_Why_ professionalism_is_still_relevant.pdf
Contents
8
From Tree Huggers to Money Makers An Interview with Werkstatt Margit van Schaik
12
Battling for Beauty
17
Ideals in a Changing World
21
Critical Considerations
26
Between Commerce and Creativity
30
Shifting Dynamics in Professional Reproduction
35
The Obedient Architect
Michiel Riedijk and Juliette Bekkering Discuss the Profession Luuk van den Elzen, Daan Jenniskens
A Conversation with Marc Koehler Daan Jenniskens, Justin de Witte
A Discourse on the Future with Ben van Berkel Nima Morkoรง, Max van der Westerlaken
On the Initiative of Broeinest Margit van Schaik, Max van der Westerlaken
An Interview with Will Hunter Teije Hartman
On the Value of Academic Education in the Architectural Discipline Jesper Baltussen, Margit van Schaik
1
From Tree Huggers to Money Makers An Interview with Werkstatt Raoul Vleugels (1985) and Niels Groeneveld (1985) graduated as architects in 2009 and 2010 respectively. After that, Raoul worked with Laugs Bouw, a renovation firm that explored the possibilities of working with natural materials. Niels worked at architecture firm Paul de Ruiter, where sustainable building is one of the points of attention. In 2013, they decided to use their shared vision on sustainable building and work together in their own firm Werkstatt.
Written by: Margit van Schaik
help
you could have an enormous impact. For
Niels: It is a logical combination, simply
architecture firms to find commissions? And
some firms, building sustainably leads to a
because humans themselves are natural,
does competition, especially in the period
strategy based on high-tech installations that
their interaction with natural materials
after the economic recession, jeopardize
keep the energy usage as low as possible.
therefore works well. Artificial materials
the
Does
holding
certain
ideals
carrying
In my previous work I noticed this did
like PUR or plates with formaldehyde are
them out? Archiprint elaborates on these
not work well. I realized we should take
toxic for both the environment and human
questions in an interview with Werkstatt,
a few steps back, looking carefully at the
beings. However, these substances have
an Eindhoven based architecture firm led
materials we use, and therewith improve
become part of almost all interior climates
by the young architects Niels Groeneveld
the sustainability of architecture. That’s
nowadays. Wood-wool, flax-wool or hemp,
(1985) and Raoul Vleugels (1985). By means
why I started to investigate the techniques
on the contrary, are natural materials that
of ecological materials, they work on
of ecological materials and found out that
you can touch without your skin getting
environmental-friendly building projects
a breathing envelope makes it possible
irritated or any other negative reaction of
and generate an alternative route to
to
your body.
sustainable architecture.
environment; one in which it is possible to
architect’s
capability
of
create
a
much
more
comfortable
simply open a window and in which fresh
What does the ideal of Werkstatt encompass
air and the interior climate are not regulated
exactly and how did it arise?
by a machine.
Raoul: I think ideal is not the right word, I
So you claim to design better living
would rather call it a vision. Our vision is
environments by using ecological materials,
the result of our wish to build in a way that
how does that work?
Ecological materials together with craftsmanship help us to create good living environments.
pays special attention to three things we feel strong about: craftsmanship,
comfortable
Raoul: We do not use the word ecological
dwelling and awareness of the environment.
so much, though. We rather call it ‘natural
How does this vision help you to get new
These three pillars have led us to building
design’, because the ecology is only one
commissions?
with ecological vapor open materials, using
aspect of our vision. We try to keep the
a breathing envelope to create a comfortable
user in a central position during the
Niels: I think we achieved about half of the
living environment.
design.
together
commissions because of our clear vision.
Ecological
materials
with craftsmanship then help us to create
Some people decide to build in an ecological
Niels: As an architect, you are at the
good living environments. We feel there
way and then decide they come to us.
beginning of a long chain of processes
is less and less attention being paid to
Nevertheless, you still need to network in
responsible for more than half of the CO2
these fundamental qualities in architecture
order to make people know about you. In
emission and energy usage in the world.
nowadays.
this sense our vision helps us too, because
If you use this role to change some things,
it tells people who we are and makes them
9
10
remember us. We notice that people actually
in terms of space. This showed how we just
vision not only influences what you see,
like a very clear point of view that does not
could not compete with contractors.
but more importantly what you feel inside
allow for discussion. Our way of working is
Another difficulty is our lack of reference
the house, and even the way it smells. That
a precondition; we do not change it in order
projects. Most architects show reference
is a difficult thing to communicate, and
to keep our clients.
projects of themselves at the first meeting,
therefore we often send them to our former
but at this moment this is not yet possible
employee in Limburg to experience vapor
for us.
open architecture. That is also why we are
A precondition could also work against you in the sense that it deters clients who want something else. Did this every happen to you? And if so, how do you act upon that? Raoul: Yes, at one point we met with a potential client who asked us to think about a farmhouse. But their ideas were so far away from ours and before we had discussed
now working on a project for Raoul’s house
Our way of working is a precondition; we do not change it in order to keep our clients.
in Leenderheide, in which we would like to create a bed & breakfast so that people can stay there for a night to know how different it feels.
Your vision thus plays an important role in the acquirement of your commissions. Are you in that sense an exception, compared to
it between the two of us we could say that
other offices?
we would not do it. There was a small budget and we noticed they were looking
Niels: Indeed, sometimes we notice we have
for someone to tell them exactly how much
to show a lot of reference projects that are
Raoul: Obviously there are a lot of firms
it would cost, and get the maximum out of it
not actually ours. The problem is that our
with a strong story, like Paul de Ruiter,
[1]
Peter Zumthor or OMA. They have a strong
And besides, it also gets more important to
vision and because of that they have work.
show you have a clear vision, so that people
But other than that, there is the grey mass
know they can trust you. People take more
Raoul: Of course you never know what
of architecture firms without such a strong
time to think about the decisions concerning
the future will bring. Maybe in ten years
story, who could accept any commission. In
what they want, for it is not guaranteed
we will look back and see that what we do
a certain way we need our vision to contrast
nowadays that a house will increase in value
today were only the first steps in our way
ourselves with these firms, because often
over the years. Clients build these houses for
of building. Maybe we have changed our
they have more experience and are more
themselves, not to sell them in a few years as
complete way of thinking, although I do not
professional than we are. We need something
was done before the recession.
consider that very likely to happen. At least for now it is our vision that makes people
else to stand out. That is something that goes for most young offices I think, we need
Is your way of working based on these recent
to choose something and make clear to
developments in the discipline?
choose for us. Niels: I think that is an important part of
ourselves who we are.
In a certain way we need our vision to contrast ourselves with these firms, because often they have more experience and are more professional than we are.
buildings!
Niels: Yes, and this is quite interesting,
being a young architect: having a vision that
because ideas like ours often arise from
older architects might not. It might be na誰ve,
crises. If there is no crisis, then there is no
but at this point it seems like our role to have
incentive, no reason to come up with a
a certain do-good mentality.
new vision. However, our vision has not so much arisen from the economic recession, but
Raoul: And it is not like we think we can
from a crisis that we saw developing in the
change the world entirely, but it is important
building sector.
to try to make some mental changes.
That is rather remarkable. Times of decay
Niels: True, we are part of a transition. Start
may suggest expressing a certain ideal
with a Prius, then comes the Tesla.
becomes more challenging. Is the expression of a clear vision more
Niels: That is what everyone told us as
important and valuable now than it was
well, saying that maybe one project would
a few years ago, before the economic
succeed, but we would not be able to hold
recession?
on to it. But on the other hand it is the one thing that distinguishes us from other firms.
Niels: Absolutely, yes. Because the smaller
That does not mean we have never been
the market, the stronger the competition,
bypassed, one time we found out there had
and so the more important it is to stand out.
been put a piece of stone wool in one of our
1] Impression Bed & Breakfast, Leenderheide (2015). Image courtesy of Werkstatt.
11
2
Battling for Beauty Michiel Riedijk and Juliette Bekkering Discuss the Profession Juliette Bekkering graduated from Delft University of Technology in 1989, and went on to study at the Barcelona Polytechnic University, where she graduated in 1993. She worked for, among others, OMA and Neutelings Riedijk architecten, and started her own office in 1997. In 2005, she formed Bekkering Adams architecten with Monica Adams. Bekkering has taught at various schools of architecture, and in 2013 she was appointed professor at Eindhoven University of Technology. Michiel Riedijk graduated from Delft University of Technology in 1989. In 1992, he formed Neutelings Riedijk Architecten with Willem Jan Neutelings. Riedijk has taught at various schools of architecture, and in 2007 he was appointed professor at Delft University of Technology.
Written by: Luuk van den Elzen, Daan Jenniskens
Juliette Bekkering and Michiel Riedijk
becoming larger. The knowledge economy,
JB: The use of clear and powerful forms is
both
with
and thus the increased knowledge of
indeed a returning theme in our buildings.
a strong presence of an ideal. In a
things related to building, has led to a
We observe two trends: on the one hand
conversation with them we discuss the
growing number of laws and regulations
there is the aforementioned demand for
role, responsibilities and capacities of the
on matters like building physics, structural
flexibility and the danger of neutrality,
architect within the context of the ideal,
calculations
but on the other there is the aim for public
the aesthetics that follow from it and the
Consequently,
of
buildings to generate encounters between
resulting functionality of the completed
consultants and specialists get involved
people and to accommodate social activity.
building.
in the process. In addition to this, there
This asks for powerful spaces that are
is now often the wish to think about the
strongly recognizable and have a universal
We want to start by reflecting on what
entire lifecycle of a building, which means
validity. A good example of this is De Rozet,
has happened over the last century to the
that post-construction maintenance also
with its continual staircase that creates a
profession of architect, in relation to the
has to be considered. All this has led to
public route through the whole building.
development of the Western world. Our
a large cloud of things that an architect
This staircase, this route, has been an
society has moved towards a knowledge
has to take care of and coordinate. The
enormous impulse for the entire city.
economy and we wonder what the results
lifecycle approach to building has also led
of this have been for the discipline of
to an increased demand for flexibility and
architecture. Has the knowledge economy
adaptability: a client will request that a
changed architecture?
theatre can also be used as a police office,
represent
an
architecture
and a
energy growing
performance. number
casino or parking garage in ten years. This Michiel Riedijk: One has to distinguish three
often leads to very neutral and anonymous
different sides of the architectural discipline
buildings, devoid of any character. It is a
here: the professional, the educational and
huge challenge for the architect to still find
the theoretical side. I think that those last
the specific qualities of such buildings, and
two have been relatively stable over the last
give meaning to them.
three millennia. Architecture as a profession however, has obviously changed. Although
The built work of both Neutelings Riedijk
I am not sure whether this can be attributed
and Bekkering Adams can be described
to the knowledge economy or not.
as an expressive architecture of clear and powerful forms. Can this be seen as a result
Juliette Bekkering: One of the biggest
of the changes that you just described? Has
changes in the profession of architecture
the knowledge economy thus perhaps led to
lately, lies in the increasing complexity
buildings that have a more comprehensible
of building and the fact that buildings are
social character?
[1]
13
14
MR: Another problem that architects face,
Venturi were all influenced by Popper.3
architecture, or make them happy, but I do
which is perhaps a result of the knowledge
They don’t see the ideal as something worth
believe that architecture can make people
economy, lies in the ongoing division of
pursuing anymore: in their eyes, a city can
unhappy. This is a large responsibility.
labour and specialization. The resulting
only be built in small, pragmatic steps, in
Idealistic plans like Broadacre City by
hyper-specialization is at odds with the
line with Popper’s thoughts.
Frank Lloyd Wright or the Plan Voisin by
nature of our profession: an architect is, in
Le Corbusier, however well-intentioned,
a sense, always a generalist. In the case of
JB: Ideals enable the architect to eliminate
automatically decided how people should
public buildings, one of the things that makes
all noise and get to the core of a project.
operate within the city. It is always necessary
an architect unique is the ability to create
In order to avoid a project becoming one
to be careful with this.
something very specific and characteristic,
big inextricable mess, you have to state
something distinctive that has a strong social
two or three very clear ambitions, and put
Bekkering Adams and Neutelings Riedijk
value for the city.
in every effort to achieve those. That is an
both aim to give identity to the communities
ideal. However, you have to be aware that
that will use their public buildings. This
In the context of the continually changing
architecture can have a large influence on
is quite a substantial claim. Is it ethically
discipline of architecture, is having an ideal
the user, especially in the urban context. I
justifiable that architects have this sort of
necessary in order to survive as an architect?
don’t believe that you can heal people with
power?
MR: I think that having an ideal is crucial in the design process, because with a design you always aim to improve an existing situation. Otherwise, there is no reason to build. However, the idea of aiming for an ideal has been heavily contaminated since the Second World War. Karl Popper, who wrote the influential book The Open Society and Its Enemies in 1945, rejects idealism and utopianism altogether.2 Popper states that all ideals and utopian thoughts are essentially suppressive and repressive, and are thus at odds with the neoliberal society. And Popper has a point: if I have an ideal that is not yours, and I actively pursue this ideal, your ideal will thus automatically be under pressure. People like Colin Rowe and Robert
[4]
MR: A building should always be able to
everything is strictly determined in the brief,
about thinking very deeply about how you
cater to types of use for which it was not
the amount of square metres and the tight
can answer the question of a client with a
originally intended. De Rozet, for example,
budgets are already set, and everything has
twist or an innovation.
has a lot of surplus space. In these spaces,
a functional necessity. How difficult is it for
you can do whatever you want: you can host
an architect to realize his or her ideals in this
a public debate, have a Ping-Pong match,
context?
Architecture is about more than just filling in the programme in a set amount of square metres.
or maybe even play basketball. Another good example is the Esprit Headoffice by
JB: You have to cheat, as it were: if you know
Bekkering Adams. From a purely functional
all the regulations inside out, you can find
perspective, the stairs in this building are
the margins of what is possible.
too large. At the same time, these stairs form the backbone of the building: they can host
MR: I wouldn’t call it cheating, but rather
fashion shows or exhibitions there, and
tweaking.
the stairs connect the ground floor to the
phenomenon of ‘unnamed space’ in Dutch
So what is then the relationship between
central patio. In other words, these building
building regulations: if there is some space
a design concept, like the one you just
facilitate all kinds of use that transcend the
below a roof or behind a machine that is
mentioned, and an ideal? And can an ideal,
narrow pragmatic corset, giving a lot of
unusable, you can call it unnamed space.
or an ambition, also be a design tool?
freedom to its user. And I think that’s the
But you can also design with the unnamed
crucial difference between a good building
space, which will basically enable you
MR: I think that the design concept is
and a very good building.
to add useful space somewhere in the
the most powerful moment in the design
For
example:
there
is
the
building. You need certain discoveries that
process, in which the ideal is materialized.
JB: Another example: one of the fire
trigger a design. An architect formulates an
It is a difficult word however. In the beaux-
stations we designed has a large hall in
answer to the question of a client that will
arts tradition it was usually called the parti:
which to park vehicles. At the request of
accommodate his wishes. However, this
the crucial sequence of spaces that forms the
the volunteer firefighters, we designed this
does not per definition mean that this answer
essence of the design and makes everything
hall so it can also be used to play sports or
is also what the client expected it to be. A
around it of secondary importance.
have a party. These are the sort of things
good example of this is the Scheepvaart en
that are never specified in the brief, but
Transport College in Rotterdam. The client
JB: On the other hand: you can have a
architecture is about more than just filling
had found a location where they could build
fantastic concept, but if you don’t know how
in the programme in a set amount of square
a school of five storeys high. They expected
to materialize it, you still have nothing. A lot
metres.
that we would build a five-storey school,
of attention is always given to the concept,
but we ended up designing a 60-m tower.
as if it were a sacred principle, but merely
You describe the situation that architecture
This is what they wished, but not what they
having a good concept won’t get you very
currently finds itself in as a difficult one:
expected. Reinterpreting a commission is
far.
15
16
MR: It is, however, crucial to have an
MR: I think that most clients don’t really care
not sure whether seduction leads to a good
ambition, because it will enable you to
about the ideals of an architect. This doesn’t
building. It does, however, lead to certain
pursue a certain ideal situation. For example:
mean that you should just let go of all your
kinds of innovation in the way that these
if the building costs of a project go over-
ideals though. For example: there are a lot
kinds of buildings have to be constructed.
budget, and the client asks you to solve this,
of solar panels on De Rozet, and it also has
you will have to be pragmatic. If there is one
a green roof that buffers rainwater. This
JB: There is perhaps an interesting interaction
room in the building that you want to keep
was our ambition, from the perspective of
between the knowledge economy and the
the way you designed it at all cost, you have
sustainability. But to be able to do this, we
unnameable qualities of architecture. Why
to make concessions elsewhere, without
had to convince the client that it was a cost-
are certain spaces pleasant and why does
losing the original ambition.
effective decision, and that these installations
everyone want to be there? Perhaps architects
would pay for themselves in less than seven
pursue these unnameable qualities, and then
Has architecture become too much of a
years. So on one side we had the ambition
justify them with the knowledge they have.
visual discipline? In other words: Do clients
to make a sustainable building, and on the
There are, for example, a lot of projects that
come to your firms because of the beautiful
other there was the purely economic story
make use of thermal energy storage and
images they have seen, or because of your
that we told the client.
concrete core activation. This enables the
knowledge, methods of working, or strong vision instead? MR: I think that our discipline is too strongly
architect to make beautiful high spaces,
Is this then the essence of the knowledge
without horrible things like suspended
economy? Creating a demand that leads to
ceilings. This basically means that you are
innovation, which will then make profit?
using the knowledge economy as an excuse
associated with its visual or representative
to create something beautiful, something
side. This is not a good thing: you can
MR: I believe that it is very important for
be a great architect by thinking of smart
an architect to develop knowledge and
solutions that don’t directly translate to the
strategies. In an educational or theoretical
MR: So in the end, the knowledge economy
representation of the building, or the image
context you can formulate this knowledge
is perhaps only meant for the pursuit of
of the city.
very
beauty?
precisely,
but
in
a
professional
with an unnameable quality.
situation you have to be very careful about JB: However, the trend of turning architects
expressing it. But if you actively develop
more and more into technicians is also
your knowledge, you are per definition
negative: we should not be the party that
being innovative, thus making you a part
makes sure that all elevator cores and
of the knowledge economy. The term
stairwells are aligned, and that the rentable
seduction economy is perhaps also very
area is as large as possible. The pragmatic
appropriate for our profession: an architect
side of construction shouldn’t take over the
like Zaha Hadid is successful because her
ideals of the architect.
work seduces, whether it is good or not. I am
1] De Rozet by Neutelings Riedijk Architects, Arnhem (2013). Photo by Scagliola/Brakkee. © Neutelings Riedijk Architects. 2] Sir Karl Raimund Popper (1902-1994) was an Austrian-British philosopher and professor, and is generally regarded as one of the greatest philosophers of science of the twentieth century. 3] Colin Rowe (1920-1999) was a BritishAmerican architectural historian, critic, theorist and teacher. Robert Charles Venturi, Jr. (1925-) is an American postmodern architect. 4] Esprit Headoffice by Bekkering Adams, Amstelveen (2009). Photo by DigiDaan. © Bekkering Adams Architecten.
Ideals in a Changing World A Conversation with Marc Koehler Marc Koehler was born in the Northern Dutch town of Naarden in 1977 to parents of Dutch-Portuguese heritage. He studied engineering at the Amsterdam School of Technology, urbanism at the Technical University of Lisbon and architecture at Delft University of Technology. Koehler worked as a lecturer at TU Delft between 2004 and 2011, and founded his own design practice MKA in 2005. The Superloft concept that is discussed in this article was developed by MKA over the past four years. Koehler has discussed the changing profession of the architect publicly on several occasions, including during his lecture for the CHEOPS-organized Congress ‘Shifting Perspectives’ on 12 March 2015 in Eindhoven, and during his lecture for Bureau Europa on 2 September 2015 in Maastricht.
Written by: Daan Jenniskens, Justin de Witte
3
18
Marc Koehler’s design practice illustrates
will get stuck even further. To achieve this,
city. This relationship to the city and its
how an architect can successfully anticipate
we need inspired politicians, entrepreneurs,
inhabitants defines the social responsibility
the rapidly changing construction and
engineers and designers with powerful
of architecture.’ According to Koehler,
real estate business of today. With the
ideas and smart solutions that seduce us
this challenges architects to constantly
‘Superlofts’
Koehler
to consume, produce, live and move in a
ask themselves in what kind of world
Architects aims to increase its influence on
concept,
Marc
much more sustainable way.’ But what is an
they would like to live. ‘Which values are
the design task, by consciously entering the
ideal and how does it manifest itself in the
important in this world, which values do
field of project and product development.
work of an architect? Koehler distinguishes
I want to strengthen and which ones do I
By doing this, Koehler partly takes on
three forms of ideals: social ideals, aesthetic
perhaps want to let go of. The very moment
activities that are traditionally performed
ideals and business ideals. ‘Together, these
an architect draws a first line on a piece of
by developers, real estate agents and
three types of ideals form the ethical value
paper, he should already ask himself why he
contractors. This enables MKA to involve
system of the architect, constructed upon the
is drawing it, and what he wants to change
the end user more actively in the design
core human values that everyone develops
in the status quo of the place he is designing
process. Archiprint
Marc
during their life, and which define your
for. That question can only be answered if
Koehler about his ideals and their role in
view of the world.’ Where the ‘classical’
one has ideals. It is an essential, existential
his architecture practice, about how ideals
subdivision is usually made between the
question that every designer should ask
can change the world, and about how the
social on the one hand and the aesthetic on
himself, especially the architect.’
world can also influence ideals.
the other, Koehler adds a third element with
this business ideal, questioning the role of
Aesthetical Ideals
Ideals Can Change the World
architects as entrepreneurs in the debate on
Koehler argues that these social ideals are
According to Koehler, having an ideal and
design value.
intimately connected to the individual
spoke
with
acting accordingly is crucial to architects
aesthetical ideals of the architect as an artist.
who want to be in the forefront of change,
Social Ideals
‘An architect develops a personal value
and who aim at developing authentic and
Architecture transforms reality by altering
system and performs a creative act based on
innovative design solutions to the urgent
the
aesthetic
this value system. It is simply impossible to
questions that characterize the rapidly
conditions of the world. Koehler states that
create something without having personal
changing society of today. Koehler argues:
the beauty of architectural creation lies in the
ethical beliefs and a well-developed sense of
‘Without ideals, there can be no change;
magical moment of change that the building
taste. The moment a designer draws this first
and the world urgently needs change.
process comprehends. ‘First there is nothing
line on a piece of paper, he is creating and
The current socioeconomic and political
– an empty building site or unused space
is thus asking himself the aesthetic question
models are collapsing and this has caused
awaiting intervention – and then suddenly
of what he wants to change and what it
an ecological catastrophe and huge social
it is there; the building has been created
should look like.’ According to Koehler, it is
injustice
don’t
and it has changed everything around it
important that architects are aware of their
fundamentally shift our approach now, we
and shapes the collective memory of the
responsibility to make aesthetic decisions.
and
inequality.
If
we
physical,
functional
and
It is also important to seek an aesthetic
of entrepreneur they want to be, or what
wishes and needs. This is combined with
common ground between society and the
type of organization they want to run or
a strong brand strategy and community
work of the architect. Koehler argues that it
be part of. ‘Like any properly functioning
platform. The direct participation of the
is the task of the architect to show functional
business, an architecture firm needs a vision,
end user, a central aspect of a traditional
and aesthetic possibilities and opportunities,
an ideal, about what kind of business they
CPO project, is still present, albeit to a lesser
and to seduce people to develop and
want to be. What are the corporate values
extent. To avoid problems that occur in most
progress their way of life. He also thinks it is
and what is the mission? Is the organization
‘normal’ CPO projects, the ‘democratic’
important to explain to the user why certain
an open foundation or a top-down one-man
aspect of the design is better regulated.
architectural choices are made. It is, of
show? Is profit optimization the main goal,
This is done in order to protect both the
course, still possible that the aesthetic vision
or are long-term investments prioritized?
individual and the collective interests of the
of an architect is not broadly supported. In
What is the role of research, product
end user, as well as Koehler’s own aesthetic
such a case, Koehler admits that an architect
development and branding in the firm? All
interests as an artist-architect. As mentioned
can consider moving towards the current
these things have a more direct influence on
before, the uniqueness of the concept also
aesthetical preferences of the general public.
the work of an architect than many seem to
lies in the fact that Koehler controls aspects
‘An architect with a strong aesthetical ideal
realize. A company is a social organization
of the value chain of real estate development
however, who fully believes in what he is
and has a direct influence on the society
that were traditionally the domain of other
doing, will not easily conform to the general
we live in.’ As an architect shaped by the
parties like project developers, contractors
taste. He will more likely speculate on the
professional hardship after the economic
and real estate agents. MKA is responsible
changing taste of tomorrow and stick to
crisis of 2008, Koehler seems to imply here
for the entire development from idea to
his guns.’ Koehler believes that a designer
that more architects might have survived
design, marketing, sales and construction
inherently lets his intuition perform a
this period if they had formed better ideas
management.
guiding function in the artistic process, and
on the management of their businesses.
originated by responding to the changed
that it is something he has to be able to fall
The
Superloft
concept
and worsened situation in the construction
back on at any time. ‘That is the artist that is
Superlofts
industry after the economic crisis of 2008:
present within every designer, and that has
An illustrative example of the formation
the absence of these traditional parties on
to be cherished and developed.’
and application of strong economic ideals
the housing market created a gap that MKA
can be found in the ‘Superloft’ concept that
filled with a new and innovative way of
MKA has developed and refined over the
designing, developing and building. Koehler
In addition to the two aforementioned
last decade and which can be described
explains: ‘In order to achieve our ideals
‘classical’
Koehler
as a ‘CPO 2.0’.1 A Superloft is, in short,
of a new open system of tailored housing
distinguishes a third type of ideal: the
a collective residential building with an
development, we needed to broaden our
business or professional ideal. He states that
innovative
consisting
knowledge of the technical and financial
perhaps most architects and architecture
of loft spaces of 6 m in height, which the
aspects of how architecture comes into
students don’t regularly consider what kind
inhabitants can fully customize to their own
existence: of real estate development. This
Business Ideals forms
of
ideals,
building
system,
19
20
meant collaborating with a broad network of
order to realize your ideals, it is important
be that, speaking in Darwinian terms, the
partners, taking risks and seducing everyone
to have a flexible and dynamic value system
architects who evolve the fastest are the
to experiment with a new idea of building and
that responds to reality. Otherwise you will
ones that will survive? Does this mean that
finance. This entails having a lot of courage,
only fall into utopias. I believe in what I
relatively small, young and dynamic firms
energy and enthusiasm. This is the central
call Critical Idealism.’ Especially in times of
have an advantage when a crisis erupts, and
core of the potential new role of the architect:
crisis, in which the world changes fast and
that bigger or older firms face a disadvantage
to seduce and convince the professional field
on many different levels, an architect has to
because of all the ‘extra baggage’ they carry?
to change and innovate together to make
be able to anticipate by being flexible enough
And consequently, will a firm like MKA,
new products for the lifestyle demands of
in his ways of working and his ideals. As it is
which developed strongly during the current
tomorrow.’ The investments in time and
certain that the world will keep on changing
crisis and has significantly grown as a result,
money that were needed to develop this
in the future, this is therefore something
still be able to persist during a next crisis?
concept were initially financed by the other,
every architect should be able to do. Crises,
These are difficult questions that cannot be
more ‘traditional’ activities of the firm. When
whether economic, cultural or ecological
answered with absolute certainty: the future
the concept started to take off both socially
in nature, will arise and pass again.
is, as always, hard to predict. Luckily, in
and aesthetically, but also economically, it
Socioeconomic relations will shift, the role of
order to get to know the answers to these
became one of the main focuses of the firm.
the architect will change accordingly. Every
questions, one only has to wait for the next
generation of architects will face different
big crisis to arrive.
The World Can Change Ideals
challenges and opportunities. Paradoxically
What the above example also illustrates, is
enough, the ideals of the architect can play
how ideals can be shaped by the changing
a leading role in actively changing and
world. With the Superloft concept, MKA
improving reality, but an architect should
reacted to changes in the socioeconomic
also be able to adjust and develop his
context and adjusted their ideals and
ideals in order to remain relevant and, most
methods of working accordingly. Koehler,
importantly, to be able to formulate the right
who is fascinated by – and critical of – the
solutions for the ever-changing problems of
ideal of the maakbare samenleving or socially
a changing world.
engineered society, argues that architects are allowed to have changing ideals, as long as
Big in Spite of Crisis or Because of It?
they stick to their personal, underlying core
The propositions and opinions that are put
human values. ‘When you look at the ideals
forward in this article inevitably raise the
of architects in the 1970s and 1980s, you see
following question: Are architecture firms
that today the same architects don’t have
in general, and Marc Koehler’s in particular,
those ideals anymore. I think that ideals
successful despite the raging crises that they
transform, just like reality transforms. In
face, or perhaps because of them? Could it
1] The technical execution of a Superloft project looks like that of a so-called CPO (Collectief Particulier Opdrachtgeverschap) project, but has some quite specific characteristics. The process starts with a group of potential future inhabitants, called ‘optants’, who want to develop a project with MKA on a certain plot. The moment that this plot is acquired, a ‘co-operative association’ is established. The co-op gets a purchase option of one to two years on this plot. Then, this group goes to a contractor together with the architect. In exchange for the right to build the project, the contractor takes on the risk of unsold houses. An ‘SWK’ or Woningborg insurance is then taken out, meaning that the project will be built even if an involved party is taken over or goes bankrupt. This insurance can only be taken out by contractors or project developers, and banks only give out mortgages if all these things are taken care of. When this is all arranged, a contract is signed with the contractor, the definitive design can be made, and subsequently the actual construction can commence. For more information, visit www.superlofts.co.
Critical Considerations A Discourse on the Future with Ben van Berkel Ben van Berkel (1957) set up an architecture practice in 1988 together with art historian Caroline Bos, then called Van Berkel & Bos Architectuurbureau. Ten years later, they founded UNStudio, which grew into an internationally recognized firm with offices in Amsterdam, Shanghai and Hong Kong. In 2014, Van Berkel conducted a masterclass at the Berlage Centre for Advanced Studies in Architecture and Urban Design about recent developments in our knowledge economy that challenge the profession of architecture. The masterclass – called Architecture without Architects. Architects without Architecture? – aimed to redefine assumedly distinct roles in the discipline, questioning the role of the architect in today’s changing world.
Written by: Nima Morkoç, Max van der Westerlaken
4
22
When standing on perfectly flat ground,
First, following Bernard Rudofsky’s inquiry
When asking his students at Harvard how
one can only see a distance of 5 km
of Architecture without Architects (1964), Van
they would cope with today’s challenges,
before the earth’s surface curves out of
Berkel explains turning around Rudofsky’s
Van Berkel explains that they start searching
sight. Walking further will enable one to
title into Architects without Architecture as
for knowledge in other faculties. ‘Harvard
explore new metres, but will leave the one
the shift from architecture being valued by
is not a holy place, but I think universities
perambulating incapable of seeing the
its permanence, materialization and image,
in general should be more open to an
metres left behind. This also goes for the
to a more knowledge-based and data driven
interdisciplinary experiment. It is something
profession of architecture, because while
way of doing things. Does this mean that
that is being stimulated on the Harvard
we might be well aware of our metres left
today, the process towards architecture in its
campus, but is still lacking in many other
behind, imagining our future leaves us
physical form has become more important
universities around the world. What an
with divergent speculations. What is in our
than the physical form itself? Is the age of
architect can achieve in today’s world
sight now as architects and what are the
the ‘singular hand’ now replaced by a more
depends on how you educate and develop
problems? What is ahead of the curve and
process-based, democratized architecture?
yourself within the discipline and in relation
what are we leaving behind?
to others. So perhaps, to some extent, current In Search Of . . . ?
architectural education is to blame.’
Architecture as a discipline finds itself in a
‘Everyone is searching at the moment,’
conflicting momentum. It seems difficult to
Van Berkel states, ‘knowing that we are in
Following the example of the city of
escape traditional systems, especially for
an extremely important shift.’ Amsterdam
Amsterdam, the discussion continues on
existing firms. Rem Koolhaas stated during
comes up as an example. The city has
the necessity to experiment. Van Berkel:
the 2014 Venice Architecture Biennale: ‘Our
become so dense; it now has a housing
‘Of course experiments can fail, but even
influence has been reduced to a territory
shortage and is crying for help. In the case
when they do, they can bring something
that is just two centimetres thick’, which
of Amsterdam, Van Berkel stresses the
new to the table. Failure should therefore
implies we are actually losing the conflict.
importance of openness, with which he
be promoted more, I believe.’ The chance
This moment of entrenchment, however, is
refers to sharing data about empty buildings
of making the problems more severe in that
highly interesting for a new generation of
and areas that are potentially developable.
sense is a risk that has to be taken. In this,
architects that is not yet ‘stuck’, in particular
‘Analysing all data, I realized Amsterdam
Van Berkel points out a difference between
regarding
knowledge
needs an innovative vision. They are
starting and renowned architects: ‘A new
economy. Archiprint engaged in this debate
the
rise
of
the
hoping for new forms of developing the city
generation of architects can start off with
through a discussion with Ben van Berkel,
towards a certain future, instead of waiting
a clean slate, whereas for me, it is more
founder and principal architect of UNStudio,
for someone to draw some urban master
difficult to freely experiment. I am involved
resulting in a discussion about collaboration
plan. Cities like Barcelona, Paris and London
in a big convention of systems and there is
and communication within the discipline,
are in need of a clear vision, too, and I think
a certain image I have evoked with clients.
with other disciplines, and with the public.
these cities are looking for each other at the
They come to me, asking “Ben, can you
moment.’
please make us a building like you made for
Mercedes- Benz?”, while they often do not
collaboration’ is a term that is often thrown
I believe, is the meaning of connecting
comprehend the story behind it.’ A Frank
around by critics and professionals as the
knowledge from different disciplines.’
Gehry quote comes to mind: ‘I don’t know
putative solution. This proves at least one
why people hire architects and then tell
thing: architecture as a discipline is still in
In an age in which digital methods make
them what to do . . .’
search of new ways of collaboration within
it easier to gather and amass knowledge,
its own discipline, and with others.
many fields – including architecture – have
So perhaps we should think about promoting
splintered into subfields as expertise has
the architect’s process of designing a
Business Attitudes
building, instead of the building itself. For
The
cross-disciplinary
the discipline of architecture is facing,
now, there are only very few documentaries
collaborations touches upon the way we
however, have not narrowed accordingly.
– for example The Competition (2013) –
currently organize our business models
Van Berkel does advocate for this trend
about the actual challenges we meet during
within the discipline. The consequence
within the architectural field. ‘As a young
a design process, whereas there is – for
in collaborations that involve multiple
architect, you should simply concentrate on
example – an abundance of movies about
parties in an equal manner – without a
one thing you find interesting. Something
lawyers that makes people understand their
clear hierarchy – is the fact that it might
with which you can truly achieve something
struggle. The fact that architects now mainly
result in a ‘democratized’ architecture in
in the built environment.’ As an example, van
promote their built achievements instead,
which everyone has a say, where there is no
Berkel recalls a variety of clients struggling
causes clients to judge and select a firm
‘singular hand’ that leads the process. This
with both the possibilities and impossibilities
accordingly, as if they were flipping through
reminds Van Berkel about Dior and I (2014),
of their empty, unused and decaying former
a catalogue. Other firms, such as Mecanoo,
a documentary wherein Raf Simons is
office buildings. As liberating as this need
OMA and West 8, seem to have escaped
filmed designing his first Dior haute couture
for architects may sound, it does irrevocably
this faith, as did MVRDV until recently.
collection. ‘Raf Simons, together with his
stress the necessity to rethink the traditional
When the PR of MVRDV puts words like
advisors, explores three or four themes and
– hierarchical- methods in architecture
the ‘Markthal effect’ in the mouth of the
then looks for knowledge and references
towards cross-disciplinary collaborations, a
news writers, people in Dubai already get
that suit them. He asks his designers to
change which would impose a completely
in line to get ‘something like the Markthal’
design four or five options regarding a
renewed dynamic within the architectural
(Architectenweb, 2015). Apparently, the
certain theme. Then he navigates.’ When
field. Not only would it mean that for the
problem Van Berkel mentioned earlier goes
watching the documentary one can see the
twenty-first century architect an active
for others too.
resemblance to architecture practices with
attitude is rather a necessity than an
fast-paced and tense moments. Van Berkel:
option, it would also result – as van Berkel
Successful firms have become victims of
‘So, others can design too while there is one
stresses again, in a significant difference
their success, limiting their own ability
man supervising the whole. This does not
in generations of architects;
to innovate. While struggling with this
mean that a compromised design is being
help,’ van Berkel explains, ‘is to have a clear
seemingly negative spiral, ‘cross-disciplinary
produced, but a more intelligent one. That,
vision of what challenges you focus on. If
theme
narrowed (Edmondso, 2012). The problems of
‘What could
23
24
you put more than 20 ambitions in a design,
for one year, that might be good for the
about the engineering model of the Erasmus
the design becomes blurry. Sometimes it is
experiment and structure, but is not good
Bridge have never been revealed in a good
better to only put three ambitions together,
for the project. Actually the government is
way. There are very unusual proportions to
which make the lines of thoughts and
forcing us to work as flexibly as possible,
the dimensions from the height of the pylon
communication a lot stronger. The same goes
with negative concequences for our staff and
to the length of the deck. To give another
for any form of business model. If we are
projects.’’
example: Tesla has recently announced
talking about the sharing economy and about
that it will be releasing all of its data in its
what is currently expanding and releasing
Platforms
search for a stimulation of the development
itself, then most of the time we are talking
Connecting
about start-up companies. I would have to
disciplines
is
will a firm itself in the end benefit from
start a new office to do things that are state
actively engaged in. In 2013 it launched an
these kinds of releases, or will it at all? Van
of the art. You as a younger generation still
‘open-source’ knowledge hub that is web-
Berkel: ‘I think in times like these you have
have the freedom to structure collaborations
based. These hubs, called platforms, aim at
the responsibility to do this kind of thing. If
in a new and innovative way.”
facilitating the open exchange of knowledge,
you are a bit more innovative in the field of
knowledge is
something
from
different
UNStudio
of electronic cars at a higher pace.’ But how
with the ultimate goal of introducing
socially sustainable ideas than others, then
When architects of younger generations
and encouraging the expansion from a
you have to release your knowledge about
decide to join existing (and traditional)
collaborative to a co-creative working model
it. After all, architects make buildings for
offices there are other challenges being faced.
for architecture (UNStudio, 2013). ‘Ideally,
humans and therewith have a profound
It is quite controversial how we are dealing
it results in the architect still designing his
social influence. So from one side this is
with labour conditions and laws. Would
project, while there is a layer on top of that,
purely altruistic; from the other there is
the architect benefit with more flexible
you could say, in which the discipline as a
a thought that a kind of cross-fertilizing
conditions and laws in The Netherlands, so
whole applies, adjusts, gathers and edits co-
conversation might come about wherein I
that an architect can work more easily for a
creative intelligence that creates a responsive
can grow towards some co-creation model.
short period of time, so that a firm can get
architecture, more integral and intelligent.’
Perhaps I will unexpectedly find a specialist
certain knowledge for a short period of time?
that I otherwise would never find. I just hope
Van Berkel: ‘’That is a very direct question
So, if open-source sharing leads to more
to be more communicative with this and to
to what we are dealing with currently.
profound and scientific arguments and
have more smart input from outside.’
These contracts have been changed in recent
therewith helps develop the discipline as a
years. We can now only prolong someone’s
whole, what is it exactly we should share?
One can imagine that this is not possible in
contract three times in two years. That is
Would this mean that UNStudio – for
the way we are working today, considering
a disaster for architecture firms. We have
example – could share their engineering
the competitive atmosphere in which we gain
long-term projects that range from one to
model of the Erasmus Bridge? Van Berkel
our projects. Van Berkel: ‘For an on-going
three years; knowledge has to grow within
explains: ‘Yes, that is a good example. I
research, however, it is no problem at all. We
the project’s team. If someone is only staying
would love to do that. Real arguments
have different platforms in the firm that are
connected to work fields like “mobility+” or
virtual building. Websites know everything
professions. We are behind compared to
“the new campus”, so we do not only think
about their users, collect all data possible
other disciplines that do escape traditional
about specific buildings or objects but more
and evaluate and change accordingly.
management models and we spend too
about the general questions behind them.
Likewise,
as
much energy on competing with each
We therewith carry out the projects from a
Eneco (a Dutch electricity company) know
other and not enough on fighting for the
knowledge-oriented perspective and as a
everything about their users’ behaviour and
profession as a whole. Van Berkel concludes:
result we are able to connect a lot of different
can make predictions and future strategies
‘There is simply not enough innovation
scales.’
from that. As architects we are not making
taking place in the architectural discipline.
energy
companies
such
such data evaluations at all. Should we not
This is why the transformative time we are
pro-active
look for ways of doing so and is this a reason
in now – call it a shift – is good.’ Perhaps we
response, exchanging knowledge through
we are losing a certain sense of credibility
have not evaluated (our creations) enough
these platforms is not led independently
nowadays? Van Berkel: ‘That is exactly what
as a profession or at least we never took
and does not contain complete libraries. Van
I am thinking of and of which I know for sure
the time to do so. Perhaps we have all been
Berkel points out that as something he too
that we will be engaged with much more in
inefficiently speaking different languages.
is still dealing with: ‘This cross-fertilized
the future. We have already been trying to
Perhaps it is time to stop fighting each
knowledge – which we often times do not
do so for a few years now, for example with
other and truly share our findings in more
have – is something that you have to find
DUO in Groningen.’ Would this kind of
systematic ways. Then, through a network
elsewhere. In the future, architects might for
research and evaluation also be able to tell
of architects, we would be able to see more
instance have to attain more programming
us very concrete things such as ‘the smartest
metres of the curve.
knowledge. As an office, we are now only
option for the façade’ or ‘what type of brick
getting started with it, but I am really
or wood we should apply’? Van Berkel: ‘I do
thinking about getting more programmers
think so. Lately, for example, I have found
in the firm. Of course I have them already,
out that a certain plaster technique with a
but they are still working too much within
certain amalgam of cement – which is an
our discipline.’
Iranian technique, by the way – holds the
Although
UNStudio
has
a
heat for much longer and has never been Evaluation
used in the Netherlands.’’
One of the most profound ways of obtaining knowledge is still through evaluation and
Evaluating
self-reflection. This does not necessarily
underline the conflicting momentum we
our
discussion,
all
points
have to do with architects themselves, but
find ourselves in. In terms of collaboration
with our built achievements instead. In this,
and communication, the conflict establishes
let us draw the parallel between a building
itself on two sides: internally within the
and a website or even regard the website as a
profession and externally against other
Architectenweb. 2015. Winy Maas: plan voor Markthal in Dubai. Architectenweb website. http:// www.architectenweb.nl/aweb/redactie/redactie_detail. asp?iNID=37576 Edmondso, A.C. (2012) Teaming. How organizations learn, innovate and compete in the knowledge economy. San Francisco: HB Printing Graaf de, R. 2015. ‘’Charisma allows the architect to speak with authority, even when he has no clue’’. Dezeen Magazine website. http://www.dezeen. com/2015/09/29/renier-de-graaf-amo-oma-opinionarchitects-charismaeisenman-rossi-van-eyck Knikker, J. 2015. MVRDV’s Markthal PR Campaign; Or, how we learned the price of hicken. Archdaily website. http://www.archdaily.com/774612/ mvrdvs-markthal-pr-campaign-or-how-we-learned-theprice-ofchicken UNStudio. 2013. Launch Open Source Knowledge Sharing. UNStudio website. http://www. unstudio.com/research/asp/launch-open-sourceknowledge-sharing
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5
Between Commerce and Creativity On the initiative of Broeinest Janou Bonnie (1988) has been coordinating Broeinest ever since the initiative started. She has seen all of the steps in the process and is regarded as the ‘spider in the web’: a caretaker, handling and planning all daily business at Broeinest. This article includes interviews with different users, whose names are irrelevant: Graduated as an architect, the ‘freelance designer’ we interviewed – referred to as ‘the designer’ in this article – now runs his own graphic design studio and acts as freelancer in many activities that are related to the discipline of architecture. Broeinest is his daily workplace. The ‘material designer’ attends the events organized by Broeinest on a regular basis. She visits Broeinest monthly and uses the material library for inspiration. For the ‘interior architect’, Broeinest offers the opportunity to attend workshops and events multiple times a month, and she uses the material library for her own designs. The ‘industrial designer’ is not a frequent user of Broeinest, but does visit the material library of Baars&Bloemhoff in Amsterdam to find information on the materials she uses in her designs.
Written by: Margit van Schaik, Max van der Westerlaken
In January 2015 Baars&Bloemhoff, a Dutch
constructor that buys the materials from
opinion, is proof of the necessity to continue
supplier
opened
us. Of course, the architect or designer
to provide professional advice about the
Broeinest. Located in the Glasgebouw on
influences the constructor, which is why it
collection.
Strijp S in Eindhoven, Broeinest provides
is important to communicate with them in a
over 700 m2 of freely accessible multi-user
direct way.’
of
plywood
panels,
workplaces, where the company’s own
With the increasing amount of freelance-based designers, our traditional way of reaching new and familiar clients no longer worked.
material library is open to the public and
The financial crisis affects the creative
the professional field. Soon, Broeinest
industry of interior designers to which
will be expanded with new settlements in
Baars&Bloemhoff supplies. Janou continues:
Rotterdam and Amsterdam. The initiative
‘Traditionally, we had multiple contact
comes at a time when the storm of the
persons that visited the architecture offices
financial crisis seems to slowly be dying
to discuss the advantages of certain materials
down and the trenches it has left behind
and provide the designers with advice. We
are becoming evident. After ten months of
noticed many design offices – our indirect
practice, Archiprint talked with Broeinest’s
customers – were shrinking because of the
founders and users about its power as a
effects of the financial crisis, which caused
The Broeinest initiative thus appears to
putative reaction to new trends and shifting
many former employees to start working
be the adaptation of a business model to a
perspectives, but also to critically assess the
on a freelance basis. That was a decisive
particular shift, creating an approachable
initiative.
observation. With the increasing amount of
place that attracts potential clients. Although
freelance-based designers, our traditional
this sounds like the ideal win-win situation,
Broeinest profiles itself as the ultimate flexible
way of reaching new and familiar clients
it is not a unique phenomenon. As a result
meeting place for the (interior) architect and
no longer worked. As a reaction to that, we
of the financial crisis, many companies see
creator; a place that inspires, supports its
decided to attract them to come to us by
themselves forced to play a more active role
users and helps them find information about
providing a free place to work. There, we
as operators in the market, but are afraid
their materials. To our question of whether
would then show our materials and advise
to do so. Janou: ‘We had no choice but to
this is the ideal and preferable situation – a
them. The intention was to develop an
conclude that the construction industry
true need in turbulent times – Broeinest-
innovative and creative platform that would
in the Netherlands is very conservative.
coordinator Janou Bonnie clearly states: ‘It
both be advantageous to us and to designers,
Many companies, constructors or suppliers
is not an “ideal”. Baars&Bloemhoff, which
who could learn from each other and work
seem to be afraid of social and economic
owns Broeinest, simply supplies decorative
together.’ The reason that designers like
changes, because they fear to lose their
plywood materials; the company buys,
certain materials in general, Janou argues, is
original character.’ Right at a time the
stores and then sells them again. Interior
because they know their true characteristics.
experiment resembles fearful gambling,
architects and designers therefore are not
Materials of which they have no knowledge
Janou notes that the experimental nature of
our direct customers. It is the (interior)
are not likely to be applied. This, in her
Broeinest is something that helped both the
1
27
28
company and the field of designers. ‘We’re
explained. What might be even more
‘At home, I do not have that much space
simply trying something. In the beginning,
important is the question of how such
and it saves me a lot of money now that I do
we focussed purely on attracting designers
an initiative influences the local field of
not need to rent another place. I notice the
to our flexible workplaces. It would be a
designers. The phenomenon of flexible
place is well-known within my network of
creative hub, which Broeinest (Dutch for
workplaces seems to be a well-spread
colleagues and friends.’ To the question of
“breeding place”) derives its name from.
tendency; it’s been introduced in many other
whether a flexible workplace like Broeinest
Back then we could house over 40 designers,
places. But isn’t it, after all, the discipline
will be the way we all work within a couple
which is absurd when I think of it now. I
of designing that requires that the designer
of years, the interior architect’s answer is
have to confess that, although it is slowly
has a – or rather his own – familiar place
clear: ‘No, of course not. However, Broeinest
increasing, the number of designers that
to work in, surrounded by all his personal
does respond to certain needs that are
uses these workplaces is disappointing. If
tools? Doesn’t this imply that the flexible
definitely there at the moment: quick and
I had to start the initiative again, I would
workplace does not match the ideal of
direct contact with suppliers; a place to go
definitely present it more like a sample
a designer, explaining the fact that the
for professional advice, instead of some
library in which one can work, instead of a
flexible workspaces at Broeinest have a
formal way of contact that takes a lot of
free workplace that has a sample library in
disappointing amount of users? To elaborate
time.’
it. As I said before, this is all subject to the
on these questions, we’ve included the
experimental nature, which is as uncertain
opinions and experiences of four different
as it is instructive.’
freelance users of Broeinest: a graphic designer who graduated as an architect,
If I had to start the initiative again, I would definitely present it more like a sample library in which one can work, instead of a free workplace that has a sample library in it.
an interior architect, an industrial designer working on expositions, and a photographer annex material designer. The photographer agrees with our first question,
considering
her
personal
experience: ‘I do not really use these flexible workspaces because I always visit Broeinest with a certain goal; to participate in an event or to use the sample library. A
At home, I do not have that much space and it saves me a lot of money now that I do not need to rent another place. I notice the place is well-known within my network of colleagues and friends.
workplace where I can truly flourish is a place of my own, somewhere I can go and work whenever I want.’ As a daily user of
There is a critical note to the story as well:
So, from a business perspective the idea
Broeinest, the graphic designer praises the
‘Although I very much appreciate the
behind the Broeinest initiative is easily
initiative when starting our conversation:
informality – you are not forced to work
with their materials, but help is always
a week to meet with their business relations.
Broeinest gaining new commissions and
offered when needed – it will never be a true
Besides them, there is a group of young
clients, but this can always be improved.
breeding place,’ the graphic designer argues.
designers who use Broeinest frequently
‘That is something you hope will happen, but
‘I think the term Broeinest is therefore an
as their place to work. Then, we have the
cannot force. And we see that it nevertheless
incorrect one.’ According to him, a true
designer
Bond
generates a lot of goodwill with our users,
breeding place is a ‘bottom up’ initiative.
Nederlandse
(BNI)
which I think is very positive.’
This is to say that a group of designers finds
or the Architectuurcentrum Eindhoven.
a place to work together. It makes them feel
An important group, because they choose
Although ten months of practice is definitely
full freedom, purely driven by the fact that
Broeinest as a place for their events with
too short to formulate any kind of lasting
organizations,
like
the
Interieurarchitecten
they want to be based in a certain place and want to flourish there in their work. The character of the designers themselves lies in that place, instead of a company supplying plywood and other services. He concludes: ‘I think it is at the same time Broeinest’s power and crux. The approachable and open atmosphere makes everyone feel welcome and somehow sets one into contact with the company. The anonymity, on the contrary, means that I am not surprised by the fact that hardly any designer truly prospered
conclusion, the users in our conversations
Although I very much appreciate the informality – you are not forced to work with their materials, but help is always offered when needed – it will never be a true breeding place.
here and that the effect of a true breeding
all agree on one thing: ‘Broeinest is clearly a large advertisement for Baars&Bloemhoff – an advertisement that works, though. After all, the will and guts to innovate is something to praise the company for. The most interesting is the on-going experimental attitude.’ It could be regarded as a book. The flexible workplaces are the cover. All of the ingredients for a good story are present, but Broeinest is still searching for the right plot with which to structure them. This is to say that for now, there’s no creative breeding
place is simply absent.’
place, but the initiative contains some key which they, in turn, attract our potential
aspects that are highly valuable and different
The ‘flop’ of the creative breeding place,
clients. Finally, we have the creative
from the way many other companies behave
however, caused many other activities that
networkers who only visit the events and try
themselves: it is approachable, open, willing
relate to the discipline of the interior designer
to extend their contact network. These types
to share knowledge and aiming to create a
to take the places of flexible working and the
of users and the many different activities
widespread network that includes a very
sample library as focal points of Broeinest.
we now organize ignore the original goal
diverse range of designers, developers and
Building their own network and extending
of Broeinest; we are not directly selling
companies.
that of others is what attracts other types
materials. What matters to us, however,
of users as well. Janou distinguishes
is that they do come into contact with
four: ‘We have a group of professional
Baars&Bloemhoff as a company, be it in an
designers, who use Broeinest roughly once
indirect way.’ Janou even notices users of
1] Broeinest. (n.d.). Welkom. Retrieved October 2015, from Broeinest: http://www.broeinest.nl
29
6
Shifting Dynamics in Professional Reproduction A Conversation with Will Hunter The Architectural Review of October 2012 released an article by its then executive editor Will Hunter, under the name ‘Alternative Routes for Architecture’. Hunter indicated the problematic progress of architectural studies and practice such as increasing tuition fees, the arduous position of architecture studies in the
academic world
and the marginalization of the architect within construction practice. A think-tank was launched with the sole purpose of rethinking this problematic educational environment and its failing correlation with the professional practice. Today, just three years later, this think-tank has resulted in a completely new institute for architectural education called The London School of Architecture. In October 2015 the school took on its first group of 32 students in October 2015, offering them a two-year postgraduate programme, after which they will leave the school with an LSA Diploma in Architecture.
Written by: Teije Hartman
In an utter basic perspective the relation
Hunter’s response was fast and convinced:
general. ‘The problem is that some of the
between an education and its professional
‘I completely agree. I think universities are
abstract thinking in current architectural
field is simple. People are prepared such
places to discover and generate knowledge
educations is too abstract, It doesn’t touch
that they can properly function within a
and the content of this should not just be
upon the richness of the way the world is
foreseen territory of practice. Especially for
down to the urges in the market. But I also
changing anymore. People get to focused on
architecture, however, the interpretation of
think that it is important to comprehend
a narrow idea of what architecture is . . .’
this purpose is peculiar. Not only do the
the difference between what architecture
professional and the educational field in
schools and universities try to do and I don’t
So where does Hunter position The London
architecture impact each other’s trajectory,
think that universities are the only place for
School of Architecture in relation to the
they are also subjected to changes outside
architectural education.’
academic and the professional world? ‘One
of the disciplinary enclave. This hardly
of the things we’ve tried to do is to make
predictable tangle of changes affects the
a new territory for interaction between
ideal for properly educated architecture graduates, and this has not gone unnoticed. As its name quietly unveils, the LSA is a response to the current compelling interaction
between
profession.
The
education
London
School
and of
Architecture. Not university, but school. A rather remarkable choice, as the LSA has been validated as a professional diploma by what they call their ‘Academic Partner’,
Some of the abstract thinking in current architectural educations is too abstract. It doesn’t touch upon the richness of the way the world is changing anymore.
practice and study, so I think that we are part of both. We are partner of the London Metropolitan University but we are also much more related with industry, practice and even other things in the wider world.’ The average week of a first year’s LSA student is quite a literal implementation of this targeted position of mediation. Three days a week students work on commissioned
1
projects at one of the collaborators in the
the London Metropolitan University. To
LSA’s professional network. The remaining
clear things up, we proposed the following
There are many claims that today architecture
two weekdays they work on their LSA
statement for the school’s founder to react
fails to be just another academic discipline.3
projects. A part of these projects are aimed
to: ‘Universities are institutions for higher
Architectural education is not merely a
as ‘between’ the practices; their contents are
education where research is not fully dictated
succession of knowledge production. There
decided upon by practice placements but
by the urge to solve urgent pragmatic
is the important component of creativity,
explored within the academic environment
problems, where research is not narrowed
which results in types of research that
of the school. The second and last year of
down to a number of isolated disciplines and
differ considerably from other disciplines
the programme, students go in to a full-time
where institutional autonomy prevails when
in the academic environment. This is where
studio, the content of which they determine
it concerns intellectual activities, regardless
Hunter indicates the different objectives
completely by themselves.
of time and place.’2
of architecture schools and universities in
31
32
Perhaps unfairly oversimplified, the LSA
did not exist. Its reproduction of knowledge
Hunter:
programme thus lets itself be characterized
and skills relied on mechanisms such as
spatialized. The way we live our lives today
as a reset of the dynamics between the
guilds, apprenticeships and sometimes even
is vastly different from ten years ago, let
professional
academic
completely isolated self-studies. It was in
alone a hundred years ago. But things are
environment. A warmly welcomed reset,
the process of its elevation to an academic
changing even faster now than they were,
as the launch of the LSA has globally been
discipline that these traditional mechanisms
and the rate of these changes is getting
well received by an impressive range of key
institutionalized into today’s abundance
bigger and bigger. Because we are a sort of
figures in architectural education. But the
of credited architectural educations. In the
association that brings together different
simple question arises: Why is the concept
case of the LSA, however, it is not hard to
people we are, by our very nature, much
of the LSA already such a success, even
recognize the reimplementation of the more
more adaptable to these changes.’
before proving itself as a tenable educational
traditional mechanisms. The LSA’s practice
solution?
network is somewhat of a multidisciplinary
Of course, the LSA concept of students in a
21st-century
field
and
the
ritual
medieval
network of practitioners is not without any risks for the durability of the school. First of
are not the only ones concerned with the
a modern version of apprenticeship have
all the LSA’s success completely depends on
position and progression of the architectural
been implemented to exploit the best of
its network of practitioners. The minimum
discipline
both today’s academic and professional
wages of the students are agreed upon by
environment.
the practice network and the LSA and of
its
education.
Every
the
human
guild, and the elements of self-study and
and
of
is
Hunter and his team of fresh LSA professors
second year, the European Association
version
‘Architecture
for Architectural Education launches a
the LSA’s tuition fees. It makes studying
competition that questions the discipline’s
ant the LSA cost-neutral, but it is also very
ways of reproduction in a specific context. The winning essay of 2005, by professor Frank Weiner of the Virginia Polytechnic institute, argued that ‘we lack a legitimate historiography on the education of architects, and the didactic life of great teachers’.4 But perhaps this lack of a detailed and thorough history of architectural education is exactly why such high expectations of the LSA
Because we are a sort of association that brings together different people we are, by our very nature, much more adaptable to these changes.
prevail.
sensitive to a down turn in the market. Once that happens, not only is the LSA network at risk, but also its affordability for students. The involvement of the practice network might also carry the risk that innovation just for innovation will become a goal. But Hunter rejects this: ‘While being adaptable we are not thinking about throwing away the baby with the bathwater, or throwing away things that worked well. Any institution that
Architecture
has
not
always
been
a
However, it is merely the value that these
starts, creates a cultural memory from the
professional discipline, and thus there was
re-implemented mechanisms have in the
work that it is producing. We’ll learn year by
a time that architectural education simply
endurance of the institute that interests
year, share our findings and benefit as we go
forward. We’re not looking for one way to do
want to be. There is absolutely no good in
this is flexible to change in the future – if
things. We want to be able to be self critical
us saying: this is the kind of practitioner you
necessary. But he didn’t firmly reject the
and review what we’re doing in the light of
have to be, if that doesn’t fit with someone’s
effects this large emphasis on the city of
where we want to get to. We’re also intensely
own trajectory. They need to find out what
London can have. ‘We’ve chosen to look at
interested in the history of architecture and
makes them happy and makes them flourish
the city because the challenges that we face
the city, to learn about what has worked,
as an individual. So we’re trying to make
in the future, such as climate change and
and to project new ways forward. There is
our students aware of things, teaching them
rapid urbanization, will be won or lost in
no novelty for its own sake.’
methodologies and a way to think.’
the city. If you learn to deal with London, you learn how to deal with lots of different
Any institution that starts, creates a cultural memory from the work that it is producing. We’ll learn year by year, share our findings and benefit as we go forward.
This ambition of teaching students a way
cities, because you know how to deal with
of thinking is, at the moment, very much
complexity.’ When we confronted Hunter
subjected to the context of London’s urban
with the possibility that those challenges
environment. The LSA currently ‘uses
might be completely different in 30 years’
the city as a campus, in order both to
time, he rightly responded; ‘I think for the
provide real-world learning and to reduce
next few years we are comfortable looking
overheads.’5 But they also present London as
at London, but I do like your optimism that
their testing ground, as the LSA believes that:
you think we should be projecting thirty
‘Engaging with the locality allows greater
years ahead’
opportunities for shared urban analysis, deeper engagement with the architectural
Hunter was right; we were being optimistic.
and urban issues, and the opportunity to test
But there is a question there, and it is very
design experiments against real constraints
much relevant to the fundamental idea
Another curious effect of the practice
and user groups.’ So does this make the
of The LSA. Recently, an article about the
network is the relative moment that the
LSA graduate a mere urban architect? And
LSA reported on the school’s ambition to
collective idea of the LSA stops, and the
if it does then what does that imply for the
open up a second school in New York.7
student’s individual position starts. ‘I think
future of our discipline? Will it mean that
‘We’re thinking LA might be more fun now,’
it is incredibly important that students
the architecture profession in the future is
Hunter lets out. ‘It’s in its early stages, but
understand the ethical dimension of their
bound to stay within the limits of the urban
LA is a big city with lots of spatial problems,
work,’ Hunter states, when we broach this.
environment?
loads of architects and already a culture of
6
‘It is about a broader conversation in the
doing wild and maverick things. That might
profession. But it is also very important
In his response to this concern, Hunter
be the city to go to.’ So not only is the LSA
that they, as individual designers, know
started by explaining that it was a choice
looking for an urban environment for its
what they want to give to the world. That
to have the second year theses settled
potential new school, apparently the school
they decide what kind of practitioners they
in London, with which he implies that
realizes quite well there are specific qualities
33
34
in which the concept of LSA would perform
Architecture, purely as a new institute, is
best. Though there is nothing wrong with
without doubt a more than welcome one,
thriving within certain circumstances, it
as in several global media it has encouraged
raises the question whether the concept of
the general conversation about architectural
the LSA is generated on a self-construed
education and its relation to the professional
need, or a need that came from outside. ‘I
field. And that’s an achievement the school
don’t know . . .’ Hunter replies to this. ‘But
has already met without even delivering a
I hope what we’re doing is a sort of sensible
single graduate. ‘Having Alumni going off to
response to a given set of conditions, and
do important things in the world is definitely
what we’re trying to do is to help people
what we’re aiming for. So the legacy of the
who thrive in these conditions and offer
school, and the test in ten years’ time will be:
some leadership about it.’
“Are your graduates producing critical work at the forefront of the discipline?”’, Hunter concludes.
I hope what we’re doing is a sort of sensible response to a given set of conditions, and what we’re trying to do is to help people who thrive in these conditions and offer some leadership about it.
Profession and education influence each other, but they do experience individual problems.
The
probability
that
one
institutional solution will solve all of these from the moment of its inception is likely to be zero. But the London School of
1) Collini, S. (2015). Waar is de universiteit voor nodig? Amsterdam: Amsterdam University press 2) Stevens, G. (2014). A History of Architectural Education in the West. Accessed 1 December 2015 at: http:// www.archsoc.com/kcas/Historyed.html 3) Weatherhead, A.C. (1941) History of Collegiate Education in Architecture in the United States. Colombia University 4) Weiner, F. (2005). Five Critical Horizons for Architectural Educators in an Age of Distraction. In: Writings in Architectural Education – EAAE Prize 2003-2005. Accessed 28 November 2015 at: http://www. archdesign.vt.edu/news/pdf/eaae-prize-2003-05-essays.pdf 5) The London School of Architecture. (2015) Programme. Accessed 5 December 2015 at: http://www.thelsa.org/programme 6) Mark, L. (2015) Interview: Will Hunter, Founder of the London School of Architecture. Accessed 23 November 2015 at: http://www.architectsjournal.co.uk/ students/interview-will-hunter-founder-of-the-londonschool-of-architecture/8686618.fullarticle
The Obedient Architect On the Value of Academic Education in the Architectural Discipline Jesper Baltussen (1993) and Margit van Schaik (1993) are both students of the Master’s course ‘Architecture Building and Planning’ at Eindhoven University of Technology. They have closely followed the discussion on the changes of the architectural discipline and noticed how the role of the academic is barely touched upon by the many lectures and conversations. They try to draw more attention to this topic by describing the value of critical reflection and idealism in the discipline, led by the article I will learn you architecture! in Volume.
Written by: Jesper Baltussen, Margit van Schaik
7
36
What happens to architecture graduates
It might therefore be tempting to think
To understand this inevitable idealism and
after years of dedicated study?
In his
that the university should be adapted to fit
how it is related to academic education,
article I Will Learn You Architecture! in
the requirements of the field. Although De
we will first zoom out to a discussion on
Volume, Reinier de Graaf describes the gap
Graaf continues by saying he did not want
universities in general. As it becomes more
1
between academic education and practice.
his education to be any different, he would
important for universities to show their
A ‘complete shock’ is what he calls the
have wanted it to be ‘candid about the status
economic value as well, different voices have
transition from his academic education
of what was being taught [and] that some
come up to emphasize what the university
to his first day in the office. He felt both
notion of context would have been provided.’
actually is for.5 In his book If You’re So
over- and under-qualified, as ‘technical
He continues: ‘I would have developed more
Smart, Why Aren’t You Rich?, Chris Lorenz
knowledge fell way short of what it needed
entrepreneurial and fewer artistic interests . .
observes the economization of Dutch higher
to be... and nobody was interested in the
. and I would have recognized Le Corbusier
education and research, thoroughly ruining
elevated philosophical considerations I
and Mies for what they actually are:
the autonomy of universities and their
had developed during my studies’, thereby
history.’ Dismissing these idealistic aspects
ability to select students and staff according
underlining the frequently mentioned
of architectural education, De Graaf seems to
to their own criteria.6 Market processes are
statement that there is a difference between
draw a rather plain conclusion. Remarkably
now hindering the actual goal of Dutch
what students have learned during their
enough he contradicts himself in the very
universities:
time at university, and what they need to
next paragraph, stating that ‘productive
scientific education and research.
know when working in practice.
idealism’ is something architects inevitably
2
4
need.
to
provide
autonomous
Stefan Collini, a professor at Cambridge
Confronted with a sheer lack of interest in
University who has long been studying
his ideas, De Graaf acknowledges the ‘utter
the developments of universities, also
uselessness’ of the architect and the need to
observes
obey the requirements of economic interests. This powerlessness made some of his fellow students decide to start their career by teaching at university. To De Graaf, however, this is a strange recycling of experience. He wonders ‘what somebody barely having had a taste of the real world could possibly have to teach, apart from what they themselves had been taught a few years prior’. In that 3
sense, an ‘educational bubble’ is created, avoiding the tough reality of the capitalist world after graduation.
Confronted with a sheer lack of interest in his ideas, De Graaf acknowledges the ‘utter uselessness’ of the architect and the need to obey the requirements of economic interests.
this
increasing
importance
of universities to show their economic contribution.7 According to him, one of the most important aspects of a university is that ‘it offers postsecondary education, where “education” means more than only professional training’.8 Economic value is becoming the decisive factor in what will be topics for research. For some disciplines this means academic education is becoming less autonomous and more dependent on economic interests, while others, especially humanities, are even jeopardized in their
existence. This is something to regret, as
and technical knowledge from the natural
and the attitude to critically reflect on our
some values simply cannot be expressed in
sciences. While the latter is easily seen
built environment, we might still be living
terms of money.
as useful in practice, the former is losing
in the dark, damp streets that Le Corbusier
ground. The architect as an idealist, as De
loathed so much.
The distance to economic interests, a certain
Graaf states, is mistrusted, which results
isolation from commercial practices, is
in an obedient attitude, either downscaling
The undervaluation of this part of the
essential to most academic educational
ideals and creativity or completely giving up
architect’s essence forces him to flee to other
programmes and therewith architectural
on them.
territories. An often mentioned support for
9
education. The abandonment of financial
the adaptation of architectural education to
aspects in project work is a concrete
its practice is the lack of technical knowledge,
example of how academic architectural education distances itself from the market processes working in practice. It makes the student able to form an academic, critical and unbiased attitude and stimulates his creativity. Abstract thinking, taught in for example project work and philosophy and theory courses, improves the students’ capacity to not take the obvious for granted and improve the built environment, instead of making sure the buildings sell. The aforementioned ‘educational bubble’, the conditioned environment in which students
The ‘educational bubble’, the conditioned environment in which students are educated, is not something to regret, but is in fact essential to their capacity to serve a broader public interest.
which affects the architect’s capacity to communicate with other experts. But, as De Graaf states, ‘if architecture is to reclaim lost ground, it needs to accept its true nature... Only when we stop viewing architecture as a professional expertise on par with other building disciplines can architecture be free to realize its full potential’.10 Instead of engaging in the work of other professions, the architectural discipline should profile itself with the specific features that belong to architecture, and not to any other role it could play.
are educated, is not something to regret, but is in fact essential to their capacity to serve a
But if the architect as an idealist and the
broader public interest.
one that reflects critically on the built But without a more defiant attitude of the
environment is undervalued, what prevents
This touches upon the very nature of the
architect, the discipline would lose large
him from becoming superfluous? As long as
discipline, as it can be seen as a unique
parts of its value for society. It seems right to
the broader public does not acknowledge
combination
recall Le Corbusier and Mies van der Rohe,
this part of the architect’s essence, it is
idealistic
of
concepts,
theoretical,
perhaps a
who just have been degraded to history by
bound to lose ground. But, as De Graaf puts
physical environment. Broad in its essence,
implemented
in
De Graaf, as these architects played a major
it: ‘In order to beat the system, we need to
architecture adopts characteristics of both
part in important developments of social
know how to play the system, only when
critical thinking in humanities and arts,
prosperity. Without idealism in architecture
we know how to play the system, can we
37
38
play the system against itself’.11 In other
embrace ‘the vulgarity of the real world as
words, only when students know how
the only way to ultimately overcome it’.12
practice works, are they able to successfully carry out their ideals. This more intensive
The discussion should never be about
interaction between academic education
throwing away ideals or not, it should be
and the following practice could solve the
about how to carry them out by knowing
problem. It could both prepare students
the laws of practice. We have to learn to deal
for the practice that awaits them and make
with the gap instead of trying to bridge it.
professionals understand the value of what
Let us not rob future generations of their Le
is done at university.
Corbusiers and Mieses: we have to proudly acknowledge the value of critical reflection and idealism as part of the raison d’être of the
We have to learn to deal with the gap instead of trying to bridge it.
architect. And the university happens to be the designated place to do so.
An interesting initiative to address here is the BEP. To smoothen the transition from academic education to the work field, graduates need to have two years of professional experience before being able to register as an architect. Its effect could go two ways: on the one hand it could work as a mould, transforming the critically educated graduate into an obedient architect, ready to serve the orders of practice. In that case it would not improve the situation as described by de Graaf. On the other hand, it could provide the young architects with a toolkit to help them carry out their ideal in a biased environment. Perhaps we need to
1] Graaf, R. d. (2015). I will learn you architecture! Volume #45. Hereafter abbreviated Graaf, R. d., 2015. 2] Graaf, R. d., 2015 3] Graaf, R. d., 2015 4] Graaf, R. d., 2015 5] Consider the two books by Lorenz and Collini, named in this article, but also the protests in the Maagdenhuis in Amsterdam in March 2015. 6] Lorenz, C. (2008). If you’re so smart, why aren’t you rich? Amsterdam: Boom. 7] Collini, S. (2015). Waar is de universiteit voor nodig? Amsterdam: Amsterdam University Press. 8] Collini, S. (2015). Waar is de universiteit voor nodig? Amsterdam: Amsterdam University Press. 9] Graaf, R. d., 2015 10] Graaf, R. d., 2015 11] Graaf, R. d., 2015 12] Graaf, R. d., 2015
Archiprint - The Ideal Profession December 2015 \\ Volume 04 \ Issue 02 Eindhoven Free publication ISSN 2213-5588 Journal for Architecture, created by students and graduates of the Department of the Built Environment, Eindhoven University of Technology and architecture study association AnArchi. anarchi@bwk.tue.nl www.anarchi.cc/archiprint facebook.com/pages/AnArchi issuu.com/anarchi Editor-in-chief Gregor Roovers Justin de Witte
Final editor Teije Hartman
Editors Luuk van den Elzen, Daan Jenniskens, Margit van Schaik and Max van der Westerlaken Guest Editors Jesper Baltussen and Nima Morkoç Advisory committee Bernard Colenbrander, Jacob Voorthuis, Gijs Wallis de Vries Layout design Gregor Roovers
Cover Design Margit van Schaik
Translation and language correction D’Laine Camp Printing Meesterdrukkers, Eindhoven www.meesterdrukkers.nl Publisher AnArchi Eindhoven University of Technology Faculty of Architecture, Building and Planning Vertigo Building, Groene loper 6 5612 AZ Eindhoven, The Netherlands Back issues Archiprint1 Archiprint2 - The Research Issue Archiprint3 - It’s All About Competition Archiprint4 - Show Us What You’ve Got! Archiprint5 - Movement in Architecture Archiprint6 - Creating & Experiencing Identity Archiprint7 - Influence & Inspiration This magazine cannot be republished or reproduced without the permission of the publisher.