Studio booklet advvt by Anne van Hout

ARCHITECTURE AT TU DELFT

NR.2

Interview with Jan de Vylder Inge Vinck Jo Taillieu

Works by Tomas Dirrix Henk de Haan Anne van Hout Michela Mattioni Bart van der Zalm

STUDIO: NEW SCHOOLS OF ARCHITECTURE Conceptversie

CHAIR OF INTERIORS, BUILDINGS, CITIES

Studio: name

LOOKING AT THE BLANK PAPER This Studio booklet is the second in a series of compact publications that present the teaching and research of the Department of Architecture at TU Delft in the Netherlands. The STUDIO series begins with a number of issues on teaching positions and investigates the connection between positions and didactics of the Chairs. Concept & Editing: Eireen Schreurs

MSC2 INTERIORS, BUILDINGS, CITIES INTRODUCTION

POSITIONS

CATALOGUE

EPILOGUE

05 Introduction â&#x20AC;&#x201C;

10 Interview Jan de Vylder & Jo Taillieu

70 Reflection by students

24 The Brief

48 52 56 60 64

26 Movements 32 The Sites 38 Practices 40 Literature

Tomas Dirrix Henk de Haan Anne van Hout Michela Mattioni Bart van der Zalm

74 Reflection by a friend of the chair

Introduction by ... Vero moditatest quid qui tem il et remquid elestecae dolut aut re con con comnis doles et estions equunt, utatquo eatios etum as molupta dolorum am evelias solorep tatecerita nam que con pa volore comnihit magnamenem quam quamene perspit andit ut ex eatio evellam faceri arit volupta doluptio consequo optatur si dolo bla doluptiur, sinus erumquam apitibus ea ipsam ea et volo blaudit ommodi quam essum velligent volectur, si blant optat pra volo modit lique denditi dis ducius aut la dit que volupta volut magnis sum ut rehenis ea qui temposs equunturis in coriossequis amentiatum, ium incilla borrore iurera quid magnam lacerspedias eum que volupit, voluptatem si sincipic to bla as consed et aut delignimus molorem porroressi dis sundi qui accatur abo. Nequi ut est, vendanti dolorib ustrum ditis num lit. Te mi, quaectur rehendam, tem. Ut aut quam facilli quodigendis ea sequi santo dolendae veliquodiat adio. Ut aspe nonsed quas dolupidus sit oditemped essincias que ra dolorrovit facest dicimus moluptaes dit, simus doluptia si simi, natia dendit perum, aute nos aut et aboremp ossitiat accusci pictiis tinullaborem qui sus eicit inullamus min preped quameniatem quisiminciet haruptas moditi omniet etures endis etusa voluptat maximolorum re inctasp elitem veria eium incia doluptu stioria quas quas quis ventur, cumquae earuptaectem estrupid ulparum eos adis etur sam re sequame nihicidiam etur sinctus ut undellupta deles autem dolupti oribus aci omnihillent quata pratur? To ende eum dolor ad mi, ut eostio inctur si reperfe ribus, toreper natioria quiate peruptatis dolor molupiet, quam est, con consequi tem saepudis es asperio nsedion secupta quatia quunt, totam harum ipsam, simolor seque cone ent omnis dolupiscid uta voluptatur atempos dolorporum ipsae endem. Incto ea nectum essinus volorem et perum amus qui ommolore re, ipsandit hic toremqu iderum re, isti conse rectia il ius, in perio berfers perspero berature offic te a porem volupturem si od quam, to blaut hil maio. Obitem recti conet re percit repernam endel inimodi dionem eosape voluptat. To ende eum dolor ad mi, ut eostio inctur si reperfe ribus, toreper natioria quiate peruptatis dolor molupiet, quam est, con consequi tem saepudis es asperio nsedion secupta quatia quunt, totam harum ipsam, simolor seque cone ent omnis dolupiscid uta voluptatur atempos dolorporum ipsae endem. Incto ea nectum essinus volorem et perum amus qui ommolore re, ipsandit hic toremqu iderum re, isti conse rectia il ius, in perio berfers perspero berature offic te a porem volupturem si od quam, to blaut hil maio. Obitem recti conet re percit repernam endel inimodi dionem eosape voluptat. (417 words)

Tony Fretton

Studio: Library

Catalogue

At work

Auteur

Studio: Library

Catalogue

POSITIONS

INTERVIEW JAN DE VYLDER & JO TAILLIEU This interview is a compilation of two discussions with Jan de Vylder, Inge Vinck and Jo Taillieu in July 2012 and June 2013 by Eireen Schreurs and Mark Pimlott from the Chair of Interiors, and Anne van Hout, student assistant and participant of the studio.

Studio: Library

Positions

TEACHING AND PRACTICE EIREEN: You have been involved in our chair as guest teachers for several years, and you continue to be involved, even though your practice is very busy. What is your drive to teach? Jo: What makes it interesting for any teacher is that you have to constantly explain to students why you do certain things. But even more importantly, students teach you to shuffle. They take you to corners of the room where you would otherwise never have come. This is what we try to do in our office, but in teaching it happens automatically. Teaching forces you to open your world again and again. Jan: It is something we enjoy doing. But we also feel it as a social responsibility; we cannot reserve architecture only for our clients. We are part of a larger debate. The university has a huge task to prepare good architects for the market. For a long time the discussion has largely taken place on a theoretical level, now finally the making of architecture is coming back, and a lot of Belgian practices are currently teaching exactly this. Eireen: Is there any difference for you between teaching and working in the office? Jan: There is no difference! For us, working with students is the same as working on a project. With one huge difference of course: in the office collaboration ultimately means: you do what I want, and in teaching quite the reverse is true. In our office and in our conversations with the students we have the same attitude. We are very open and critical, we welcome all kinds of idea shifts and we like to share those ideas. I hope that our students have experienced this idea of sharing, rather than counting upon one idea.

Author

Mark: There is something crucial about what you are all saying there. I certainly recognize this flexibility of mind and constantly allow things to expand. But how exactly does this relate to your own work? Jan: Sometimes we get the comment that all our projects look different. Then it is this and then it is that. I would think this is the case in every practice, but they say that ours is extreme. People ask us: what is your style? When we work, we start differently every time, itâ&#x20AC;&#x2122;s like having a blank paper on the table, although the back of your head starts to fill up with unconscious knowledge. This is what we do every day: Looking at the blank paper. So itâ&#x20AC;&#x2122;s all about the blank paper and about thinking in an open way.

Anne Geenen - movement 1 - room

Jan: It always interests me to see young architects having fantastic ideas and then their struggle to confront that idea with something that might be called architecture. This is a daily battle here for us too, even at my age. When we talk with the students we struggle together with them. We still canâ&#x20AC;&#x2122;t give them a straight answer. I think it might be different if you teach without running a practice. We have to deal with a certain amount of doubt, for in the process towards architecture this is very important. I hope that it was helpful for the students to see us also shifting from one side to the other and not immediately saying this is right or not.

Anne Geenen - final impresssion The final impression has the same spatial qualities as her initial model for the room in the first movement.

Studio: Library

Anne: One of the students, Anne Geenen, made a very good start on the first assignment, the setup of the classroom. Then Jan and Jo really pushed her to investigate and develop it further and in the end she came back to her starting point. Jo: Yes, haha, we had to fill 8 weeks. The concept had to quit and the architecture had to start.

Positions

THE NOISE CLASS Eireen: Was this a special studio? Jo: Yes! In this Delft studio everyone was really driven and keen to get on with things. Take Michaela’s project: that was a very nice debate on how columns give direction. Columns are not for engineers, they are our weapons to organize space. For the Delft students it felt liberating to talk about things like the meaning of the position of the column in space. Jan: Or Henk. After he had filled a booklet with structures, we asked him to look around. Then he came up with this 19th-century thing and we went along with him. He looked at all the buildings that were bordering the site and he started to do all these things, Asplund, Diener and Diener, and Henk said I don’t understand. And then he started to make his own analysis, and that was a complete breakthrough. He started to see things in the site. We liked this very much. He started to do things that he had never done before, that moment with students, that they don’t completely understand. What’s going on? You see them think: let’s do it because I trust those teachers. Henk said: But what should I do with it? Maybe in the end he was not very happy with it, but it was something completely new for him. Jan: Anne, you were one of our students. Are our studios very different to a normal Delft studio? Anne: Yes, your studios give more of a sense of freedom, and you encourage us to explore that freedom. Normally, if you come to your first supervision and you only show a column, the lecturer doesn’t say, oh that’s interesting, why not take it further. He says: ‘Shouldn’t you be drawing up a floor plan?’Maybe this is partly because this is a Master 2 project, an elective. With you we got the feeling you

Henk de Haan - second movement

Henk de Haan - final movement - facade

Anne van Hout - studying the position of the garden walls

14 studio 200

res tau rant

studio 200

ground

studio 200

practices

model

shop +overnight

coffeebar + media

restaurant

studio 200

practices

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cafe over night shop cafe over night

media

Studio: Library

shop

res tau rant media

first

Positions

had confidence in us to carry on with things ourselves. It seemed like you already knew where it would end up, so we dared to go further, even though we didn’t know what the end result would be. Mark: I really like the idea of running an atelier whose result is that people find their own way. It comes from a very specific teaching method and discussion and guidance and criticism, but at the same time people become the architects they could be. Even if it’s for just that project. Jan: Students tell us that, that we start from their ideas, not the perspective of an architect’s office. Of course you have those kinds of studio too and they also provide good training, but that’s not how we do things here. That has to do with our own practice: in our office we are always looking for autonomy, we make a special effort not to act immediately but to wait and see what happens around the table. Eireen: How do you get the students to the point where they can make this crucial leap? Jo: The strict way in which the tasks are divided up really encourages this. At a certain point you’re in the exercise about the room, and themes start to bubble up. Then you’re talking about spaces, and in the second exercise you’ve moved on to urban planning. So you present all kinds of aspects, searching for the thing that fascinates the student. And which the student can then work with. For example, the way in which you took Anne’s plan going from room to room, and what happens in between. How you position the garden walls, and in this way all manner of aspects come together or you touch on a great many different things which slowly begin to cohere. Jo: Juliaan Lampens also taught some great lessons. I read one of his texts. He was very emphatic that it’s not about developing a thou-

Eireen Schreurs

sand variations on a theme. You believe in a certain idea as a starting point, and then you take that idea further. That is bound to lead to an interesting result. And then you don’t let go until you can really feel that it’s going to work. Jan: I saw a documentary once about Misha Mengelberg, a Dutch jazz musician, he teaches at the conservatoire in Amsterdam. Late in the afternoon on Wednesdays was the regular time for the Noise Class where the students would come along with ideas or pieces they wanted to play, and then he would improvise on these. That class was different to all the others; the students just brought something along, maybe only an idea, they started to play something and it was worked out further in the rest of the class. I still think this is a fascinating role reversal in teaching: the student puts an idea on the table and you as the teacher have to try and do something with it. Because students are just like the ones in the noise class, they have something that they have no idea how to take further, or that they’ve always wanted to do something with, or whatever. That is what motivates us every week to get in the car and drive to Delft. All day long you’re being challenged to step into that other world, and not so much to put forward your own world. Unless of course you want to say that that is the essence of our world: always wanting to explore those other worlds. Eireen: Students do need confidence. Jo: Yes, but I think, if a student comes up with something, it’s obviously something that’s occupying his mind. That is always fascinating. As a teacher you sometimes need to explain the repercussions. That he doesn’t always see these for himself can be because this requires skills that a student has yet to develop. Anne: I think that everyone felt that in the studio. That they achieved a final result that no-one had expected beforehand.

Jan: Speaking for ourselves, we are only really happy when we create something that is different to the expected result.

Michela Mattioni - positioning the

volumes.

Jan: But to return to your question, how does a student arrive at that crucial moment? Michela’s project had a breaking point, during the discussion about the positioning of her three blocks. Four buildings were made instead of three, because this existing building was standing there totally expressionless in that setting. That was the intelligent thing about that project: all of a sudden, there was the spatial organization and positioning of the blocks on the one hand, but particularly the position in relation to the other block, so that the fourth building ultimately became part of the whole. Jo: The lecture about the site plan brought us to building number four. That was one of those ultimate moments, we didn’t steer things in that direction, but allowed the students to see it for themselves. So how did it happen? We believe in serendipity, that you sometimes need a bit of luck. And when you see it, you know that that’s it, that it works. Totally. And she’d built a good scale model. We walked around that model, and we said to her, do you see what we’re doing. This is how we often work, we’re sitting round the table, thinking, and then all of a sudden it comes to you. And that feeling that you’ve got it, you can almost always confirm it right away. You mustn’t get nervous, but have the confidence that it will turn out alright. Jo: You do have to go looking for chance a bit. By digging deeper in your project it will come, sometimes sooner and sometimes later. You have to try and familiarize yourself with all the preconditions. If you can’t read the context properly, you won’t feel that connection. You need to optimize the conditions to give things a chance to happen.

Studio: Library

Catalogue

ES: How do you help students to get from idea to building?

Ketelvaart

Ketelvest

library

cooking

coﬀee and both atelier practices

model ateliers

atelier

Savaanstraat

Ketelvaart

Ketelvest

library

cooking

coﬀee and both atelier practices architecture brussels workroom

Eireen: the assignment was to make a new type of architecture school, which the students had to combine with two practices. Is this your ideal type of school? Jan: This studio is meant as a reaction against the current situation in Belgium. The programme is a critique, because we think that all the schools should be organized around architecture practices. It is also a small dream. We saw it at the London Metropolitan Architecture Research unit, run by Florian Beigl. Florian’s office is the school. In Japan there are quite a lot of these kinds of schools, where students work on the project of the teacher. Being around and in a practice, is very important.

Auteur

St-Barbarastraat

ON THE ASSIGNMENT

atelier

barak

atelier

Jan: we have to get rid of the academic idea that architecture comes from the concept. Concept and critical are two very important words, but they are rather like the bicycle that you are riding, they are very useful, but they don’t make the architecture. It is the same as when you are scared to start on that paper, it is an ambiguous freedom, because you don’t know what you are going to do. Anything could be wrong or right.

St-Barbarastraat

Jan: We like really to find out who the student is. Sometimes they don’t believe they can do it or they don’t yet know how. Take Henk for example. We really forced him and at the end he said: Wow look what I made! It’s a pity he didn’t understand it completely. For me Henk was the most successful student. The same thing happens sometimes in a project, with no money and a bad client.

architecture brussels workroom

atelier

section

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atelier barak

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rotate 6.95 degr

Rik Lambers - BIJSCHRIFT

atelier

Bart van der Zalm

Hinke Majoor - Drawing Studio 2013

Bart van der Zalm - Autocad and drawing techniques combined

Hinke Majoor - Drawing Studio 2013

Studio: Library

Catalogue

Eireen: How do you go about it, setting the assignment? Jan: You have to develop a programme like this, purely related to our own thinking and making. In this studio we insisted on students keeping very close to the office that they had as a reference. We should have continued along that line. Teaching is very personal. You have to teach the way you are, show your own work and drawings, and insist that students also make their own. Eireen: Do you specify the resources you want your students to work with? Jo: We start out with the resources the student already has, and optimize them. Bart for example started with this drawing and model of the classroom. His question was: how can you make a space defined by the column? He came to a module and then brought it to the scale of the school. The next issue is, how do you intend dealing with different levels, how you bring the programme into it? He produced some very interesting drawings. Jan: And then he said, I will go to AutoCAD, and it was really bad, so we asked him to go back, keep to the original, and when he continued, the column was the project. Jan: This year we were advising Hinke to stick to drawing to work out his ideas. We simply banned him from using AutoCAD. That is a handicap because drawing everything by hand is a lot slower, but I think it’s really very important. I think that what gives us the most pleasure is that afterwards several students came up and said: now I remember why I decided to study architecture, I’ve rediscovered what fascinates me and what I want to do. The fact that that might be all that architecture is about. That’s the great thing.

Auteur

Jan: It’s fascinating to see how in the very first exercise, just like during the design charrettes for interiors, buildings and cities, the students panic at the thought of making a simple room. But what is it all about? It’s just sitting in your chair and looking out of the window and thinking how your world should look. That can be what architecture is about. Eireen: Maybe the students panic because they have to relinquish control. Jo: But they can relinquish control! It’s only a study! But it is difficult, to start on something for which you have no context. The room is in a building that you haven’t designed yet. Certain uncertainties are just what make it productive and exciting for the students. Jan: The pleasure in the exercise like those from the architecture school comes from continuously adding new elements, the movements. First the various rooms, then the location, and then bringing the reference into it, something you have to develop feeling for. This already excludes a lot of directions, but these very limitations provide many new openings. Students need to think carefully about what they have already done. They need to learn to trust their own personal approach, while at the same time gaining a realization that they can get far more out of the context and references than if they were to think it all up for themselves. This cross between personal fascination, reference and context also plays a role in how we work in our office. Eireen: Last year you announced that you were working on a design exercise in which the teacher presents a project which he has spent two weeks working on himself, and which the students then develop further. Jan: A semester at St-Lucas usually lasts fourteen weeks, and in that time you have two short exercises one after the other, each

lasting seven weeks. We do things differently, and give students two totally different exercises, but running simultaneously. Last year we had an exercise at an abstract location, one following the student’s own model and one following a model from the teacher. From around week 8,9,10 the students began to see correlations. After the initial panic we saw cross-fertilization and students learned to think from a different perspective besides their own. If time allows we sometimes do this in a studio as an interim exercise. Then the students spend a whole day working on their neighbour’s project. Jan: Next year’s exercise will be a house, but at seven different locations. A fairly small house with a simple programme that they can easily master, and that times seven. Then we will give them some context to get the ball rolling. It’s not a game, but the set-up gives it a sporting element, a little like playing simultaneous chess. And this is what it is like in real life. How many times a day do we not flit from one thing to the other, and then return to an earlier project and then think, oh yes, wait. Jo: Yes, it’s the number of layers and not the complexity of a project that determines how exciting it can be. That means you don’t keep getting bogged down in three weeks of hard toil to reach the ultimate draft, because that means you’re sitting down and looking at things without knowing where you want to go. Because we keep coming up with new exercises, the fascinating aspects float to the surface automatically. Starting with that classroom is not easy for the students, but on the other hand it’s also a luxury, because the student knows that it doesn’t end there.

Dirk Huibers - final model

Jan: Anne, from your point of view as a student, what aspect of the studio made the biggest impression on you? Anne: In the book that you handed out beforehand, everything seemed all thought through,

Studio: Library

Catalogue

with all the steps you need to take and all the products you need to make. And at the end you do have all those products, but you really don’t feel that you’re working towards that as a goal, that you’re ticking off a list. It all happened naturally. Jan: We are very strict with that book because it can be a useful guide if you lose your way, which fortunately didn’t happen to anyone in your studio. It’s just like in our office: we work out a lot of the details, with the idea that once we know everything, we will be able to change things if necessary. It’s a kind of ambiguous attitude, working out a project into the smallest details, and then saying, no that’s not how we’re going to do it. It gives us the chance to make changes in the context of time, place or work. That doesn’t mean we turn everything on its head, but even our best detail drawings are made with the idea that we can change them. That’s how we work in our office. Eireen: Do you always make such an explicit list of products that students have to make? Jan: Always, the text is quite prescriptive, like a competition, it always says what you have to do. I think it is revealing for students to see that it works well. Although they have very diverse results, they all stay within the same limits of production. I think that you always have to make drawings, a model, picture and plans; otherwise you don’t have a project.

Auteur

THE PROCESS Mark: I get the impression that the awareness of the process is very important in your office. The artefacts that you produce, they remain with the project. That is unusual. Jan: We like this process thing very much. For us it is very important to find the place and time for this process with our client. The more difficult it becomes, the better the results are. If you could talk about a strategy, you could say that it is about looking as intensely as possible at the context. Not only the place but also the time, the budget and the client. It always involves a lot of questioning. We put it down, we look again, and all of a sudden there is something different, and you still haven’t made any conceptual gesture. Just by laying it out, tearing things away, it orders itself in another way. This is very important for students to learn. They have to be conscious of all the things they can learn about the project. They don’t have to wait for a gesture. All of a sudden there are not that many possibilities anymore. And that is the real key moment in a project. If you do this, you will get a certain focus and then, when you look back in your process, you will rediscover a lot of things.

THE BRIEF

Jan: The studio was organized in various tasks, the so-called movements, each of which had its own context. The context of the existing schools, for example, was very important. In both cases the design location was situated facing the old school, which forced you to take up a position in relation to it. Moreover, in the urban planning phase, various architectural offices had to be integrated. In the exercises we deliberately multiplied all kinds of contexts. You can see this in the first exercise, the room, as well as the second one, the city. You start by splitting everything up, and at the end it all comes together again. In Dirkâ&#x20AC;&#x2122;s project, for example, that led to an unlikely result. In his urban plan, he positioned Xaveer de Geyter and Office against each other in an almost ironic setting. The tower and the beam. That was fantastic.

Studio: Library

Positions

delft - schaarbeek – ghent new schools of architecture 2019

Practices

In 2019 a new school of architecture will be established at the old sites of the schools of architecture at Delft - the Netherlands -; Schaarbeek – Belgium –; Ixelles –Belgium – and Ghent – Belgium -. Many others will follow.

But; and, that makes it very special; also: - An architectural practice will be included in the school; - Rather 2 than 1; - A small architectural practice for about 10 people - A large architectural practice for about 20 people It is clear what it is about: it is about the belief that schools of architecture are about architecture. Architecture thought by architects. Architects formed by building. The making of things. Makes the poetry of things. That poetry makes architecture different from building. This new type of smaller architectural schools have finally been established when it became clear that the tendency until then to incorporate schools of architecture into to academic faculties of many large scaled universities had led to nothing. By giving students the occasion to spread out their experience of learning through Europe but also in the proximity of real-time specifics practices of architecture. In this studio students will meet this program in another city than where the studio is thought. Students are even free to present another location In Europe. Students will work out the project from room to building; from detail to city.

Author

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4 m² / person

6 m² / person

Since schools of architects are no longer large institutes but have become a network of spread-out studio buildings - all over Europe - in which students and teachers meet; this new vision on education has become a starting point of a large building campaign of new studio buildings all around. Those studio buildings have a typical program developed around the following ideas: - about 5 to 10 studio’s on each location; - students and teachers are working together in a period of 3 to 9 months in a concentrated mood on a project in one studio; - each studio has about 15 to 20 students, 2 to 3 teachers and 2 assistants; - an accommodation of restaurant and kitchen is available, not only as a service but also organized so that students can cook and eat as a team; - the studios are open around the clock; - that’s why a small shop is available around the clock; this shop will serve also at local level; - Similarly a small coffee bar is set up; once again also to be visit at local level; - a certain accommodation to stay overnight is present as well; - a media library is accommodated as well; - a single studio has a work floor of about 200m2; next to the studio’s a model studio accommodation is to be set up; - this model studio accommodates as well handmade as computer aided modelling; - Of course: all other equipment and auxiliary space as to be expected;

Small practice collaborators

Small practice drawing Small practice library

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Hinke Majoor

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THE SITES

Eireen: Would you like to have your own architecture school? Jan: Yes. It’s no coincidence that we have chosen the site at St Lucas in Brussels. I know it is going to happen. I think that it will become reality in 2020. The current school of St Lucas has a beautiful building, but would cost EUR 1.5 to renovate. I am teaching there and I said I don’t mind that it is warm in the summer and cold in the winter. If it is a problem we can move to the floor above. We can make the classes a little bit smaller, with curtains. And then I would have EUR 1.5 m to spend on teaching, for it is such a small school and it costs a lot of money to keep it open. We are part of the University of Louvain, managers would be crazy if they kept Brussels open. So I proposed a plan to open a new school, but we don’t have many people supporting us. We are conducting this debate in a very practical order: we talk about money. We don’t talk about the idea.

Studio: Library

Positions

The venues. Belgium. Ghent en Brussels. Sint-Lucas FAK Faculteit Architectuur en Kunsten / Faculty of Architecture and Arts; Ghent en Brussels. In Ghent the venue is situated in the centre of the city; exactly at the venue where today the Department of Arts of the Sint-Lucas FAK school is present. This site has something special: a street Zwarte zusterstraat - is crossing the school. Always this was felt as a strange but even though inspiring situation. It has made that the school was present in the city as no other could be present.

Ghent venue

In Brussels – or more precisely: Schaarbeek - the venue is situated near the site of the Department of Architecture at the Liedtsplein / Place Liedts. This square is situated around 200 meters from the school but clearly in proximity of each other. One can say that the Liedtsplein is hardly a ‘plein’ – read: place -. It is rather an oversized but dangerDepartment of Arts of the Sint-Lucas FAK Zwarte Zusterstraat ous crossing of cars, trams and busses. Ghent This brings the 2 venues together: not only being the former venue of a tradition of schools of art and architecture; but the fact that those schools of architecture are not only present in the city but also really ‘in’ the city. There is something special about the Ghent Venue. Beginning 2000; xdga – Xavier deGeyter – won a competition for the extension of the SintLucas. As yet been delivered new studio for artists; a project for a new library causes more debate and is till on hold. The debate is not only about the concept of the library it selve; but also because SintLucas took by that concept of Xaveer a challenge to go on debate with the city to launch a new city-place by interchanging private property with public space; to obtain a new city area with a new library in the middle. As by still ing a venue

2017 all architectural schools and universities will be closed; this venue and even more where this specific challenge of creatnew city area is thereby the most inspiring ; this is the ideal to start the first exercise on those new schools.

The challenge as those new schools is thereby not only their new programme that envision the new vision on the architectural debate; but also that those new school will definitely change the city as a whole; by changing the venue as a the instrument to that. Let’s be this even so good the start point for Schaarbeek. Where the actual school has took place in a former but extremely nice modernistic old furniture company; the challenge to go and stand right in the middle of the crossing at Liedtsplein is the only way to step really in the city.

New schools of architecture. New architecture of cities.

Author

Brussels venue

Department of Architecture Liedtsplein Schaarbeek (Brussels)

GHENT

26 Department of Arts of the Sint-Lucas FAK

Studio: Library

Positions

BRUSSELS

Author

Department of Architecture

Anne Geenen

Sanne Verhoeve

Name

Dirk Huibers

Tomas Dirrix

Studio: Library

Positions

Pim Schachtschnabel

Bart van der Zalm

Name

Tomas Dirrix

Name

Dirk Somers

MOVEMENTS

First movement Jan: The room. Many of the students’ projects focused on the elements used in construction. That wasn’t really what we had in mind, but it shows the students how you can create space using very simple means. That theme fascinates us in our own practice too. The way the beam joined the column in Bart’s project is also a very significant detail. And Anne’s project used walls to divide the space. By leaving a piece of wall out you create space and everything is organized. It helped that in both the Ghent and the Brussels schools, architectonic elements like beams and columns were recognizable. In Ghent in the ornaments and the façade and in Brussels in the column structure.

Studio: Library

Second movement Jo: The second exercise was an urban planning study. It connected the first, small-scale exercise to the large scale. Everyone was required to make scale models for five urban planning proposals, and photographs were made of each model, each from the same viewpoint. This was an ideal exercise for getting insight into the conditions of the location. You begin to get a feeling for what the location can support and what it can’t support, for what works there and what doesn’t. And also of the reverse, how the building affects the location. In Dirk’s project you see that the location starts to play a role, so that he positions two buildings facing each other.

Positions

Introduction. 1 session.

The introduction wild be held at deSingel International Art Campus Antwerp. 09.00 arrival. Introduction will be given in the ‘muziekzaal” 09.30 introduction on the exercise. 10.30 introduction on the studio architecten de vylder vinck taillieu 12.00 visit to the exhibition architecten de vylder vinck taillieu – student initiative 14.00 visit to the exhibition INUTILITIES / Valerie Traan – student initiative 15.00 train to Brussel; North station – student initiative 16.00 visit Liedts- & Sint-Lucas* venue Schaarbeek / Brussels – student initiative 18.00 train to Ghent; Ghent Sint-Pieter – student initiative 19.00 visit Zwartezuster- & Sint-Lucas venue Ghent** 23.00 late evening walk trough the city of Ghent with architecten de vylder vinck taillieu * Sint-Lucas Brussels is situated Paleizenstraat/Rue de Palais 65 Schaarbeek / Brussel. In that street there is also an other Sint-Lukas situated; almost in front of each other. A good reader might have distinguished the difference: Sint-LuCas vs Sint LuKas. C vs K. We are Sint-LuCas. C. (it is an old story; we explain you once)(Doesn’t this inspires you?) ** Why not visiting this on Saturday. The exercise will be explained by this text. The student is responsible himself to collect all information that is needed for this exercise. However some information will be available. The program will be explained by this text. The student will by next session work out the program by content and by scheme – this will be called the key-program of each individual student. This key-program will be definitively distinctive with the choice of the 2 practices. It is true that whatever practices, a student must have a general program layout; but even though specifics will be found for each practice. Program not only as a matter of quantities but also qualities. The studio – or what can be expected by or from – architecten de vylder vinck taillieu will be explained in the lecture and the exhibitions. The venues will be visited by the student on their own initiative. The student is responsible to collect all information on those venues. However some information will be available. The student will by next session work out a set of documents that will be key-documents of each student. It is to be recommended that students will work together for the same venues; nevertheless personal interpretations will be appreciated. The specific of the architectural practices is something special in this exercise. It gives the student opportunity to learn to know several practices – it is to be advised that as much as possible diverse choices will be made by the students to have as much as possible broad insight -. The student will work out by next session a set of documents that testifies his insight view in those practices and so that it is valid for this exercise: the school and the practice. All documents as demanded will be presented on A3 portrait – the exact layout is communicated later -. Nevertheless the student will back-up all necessary documents in the necessary format to make his project possible.

Author

-----------------------------------------------------------------------------------------------------------------------

---------------------------------------------------------------------------------------------------------------------sint-lucas s FA AK departemen nt architectu uur gent / br russel 2011 2012 2 Ba3 sem 4 oef 55 stu udio G/B.55.x x eerste bewe eging artist re esidence / re efugee relief f docent: xx xxx student: xxxx / numme er 2011 10 06 bladnummer x G/B.55.01 1

Requested format of the a3 documents

First movement. The room. The double. 2 sessions. Making of the rooms. Reviewing the demanded documents: - on the program (min 1 and max 3 A3 vertical) - on the venues (min 5 and max 10 A3 vertical; general and personal) - on the practices (min 5 and max 10 for each practice) - all this information on the adequate format to make the project possible Also to be prepared for this session and following the content of the first movement: - the daily report (summary) of the advancement upon till now - counting from Monday to Friday this means 4 A3; one for each day - to be recommended: more A3 to be added; following the goals set out below. - to be recommended: first try-outs in model; at an adequate scale. !"#$%&'#&+,%-#$).!!&-#$!//'0%12')',#0!3'

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The student will develop first the idea of a room. To be said: 2 rooms. One for the school; one for the practice. To be said: 3 rooms. One for the school. Two for the two practices. To be said: a studio as a room. 3 studioâ&#x20AC;&#x2122;s.

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The student will develop or design those rooms in all aspects: plan, elevation, section and detail. When detail is mentioned. It means not only technical â&#x20AC;&#x201C; however; technically seen no problems might be caused -; but especially on the matter of aspect: the influence of the tectonic of materialization: not only the choice of material but the way it will be used. 2 sessions will be reserved for this movement. The importance of the room must not be underestimated. At the end people are although they probably experience the whole building as building and as building it is context; they spend most of the time in the same room. Let the room be your guide throughout the later concept. Develop today a room as a an exercise on the program; not yet on the venue. Letâ&#x20AC;&#x2122;s accept later on this very worked out study on the room as knowledge to incorporate without being the untouchable advantage. Be prepared to change. From the first of those two sessions and until the start of the second movement; the student will deliver: - the daily report (summary) of the advancement upon till now - counting from the first session this means 12 A3; one for each day - to be recommended: more A3 to be added; following the goals set out below. - to be recommended: first try-outs in model; at an adequate scale; but 1/20 might be recommended. - drawing (sketch; scheme; plan, elevation, section; axonometric, perspective) and model are all the instruments one will use to obtain his goal.

Dirk Huibers - movement 1

Studio: Library

Catalogue

Second movement. The city. 1 session. Being in the city. Reviewing the demanded documents: - the daily report (summary) of the advancement upon till now - counting from the first session this means 12 A3; one for each day - it is clear that the last of those series is the summary - to be recommended: more A3 to be added; following the goals set out below. - to be recommended: first try-outs in model; at an adequate scale. The moment of the venue is the truth. Is it a truth that whatever program a venue can make a building? Letâ&#x20AC;&#x2122;s experience this. As yet having in the conscious mind the feeling of program and room; without yet tending towards an all overviewing concept â&#x20AC;&#x201C; program and venue -; just trying to tackle the venue. Regarding this 1 session; preparation is the key to the success of this session. Thereby the student will be preparing this by output in following documents: - the daily report (summary) of the advancement upon till now - counting from Monday till Friday this means 6 A3; one for each day - to be recommended: more A3 to be added; following the goals set out before. - to be recommended: first try-outs in model; at an adequate scale. - drawing (sketch; scheme; plan, elevation, section; axonometric, perspective) and model are all the instruments one will use to obtain his goal. Third movement. The architect. 1 session. Making the concept. Reviewing the demanded documents: - the daily report (summary) of the advancement upon till now - counting from the second session this means 6 A3; one for each day - it is clear that the last of those series is the all over summary - to be recommended: more A3 to be added; following the goals set out below. - to be recommended: first try-outs in model; at an adequate scale. As the scale of the room and the scale the venue is preparing any consciousness as well as unconscious knowledge; we are prepared to bring this to one: to one concept set out. A concept that is not only a range of first thoughts; but merely a range of deep thoughts. Defining the concept is only a matter of freedom. Defining the concept is led by any media - drawing (sketch; scheme; plan, elevation, section; axonometric, perspective) and model are all the instruments one will use to obtain his goal. Regarding this 1 session; preparation is the key to the success of this session. Thereby the student will be preparing this by output in following documents: - the daily report (summary) of the advancement upon till now - counting from Monday till Friday this means 6 A3; one for each day - to be recommended: more A3 to be added; following the goals set out before. - to be recommended: first try-outs in model; at an adequate scale. - drawing (sketch; scheme; plan, elevation, section; axonometric, perspective) and model are all the instruments one will use to obtain his goal. - finally; one A3 will tell in schematic narrative the concept in about 5 steps or qualities - en plus; 3 A3 will tell by perspective the atmosphere of the concept; in its venue; by its room.

Auteur

Dirk Huibers - movement 2, 3

Fourth movement. Architecture. 2 sessions. Replacing the concept. Architecture. Reviewing the demanded documents: - the daily report (summary) of the advancement upon till now - counting from Monday till Friday this means 6 A3; one for each day - to be recommended: more A3 to be added; following the goals set out before. - to be recommended: first try-outs in model; at an adequate scale. - drawing (sketch; scheme; plan, elevation, section; axonometric, perspective) and model are all the instruments one will use to obtain his goal. - finally; one A3 will tell in schematic narrative the concept in about 5 steps or qualities - en plus; 3 A3 will tell by perspective the atmosphere of the concept; in its venue; by its room. - en plus; 3 A3 will tell by axonometric the atmosphere of the concept; in its venue; by its room. Here we are. Since we have the concept. We want to quit the concept. A concept is never architecture. 2 sessions will change the concept in architecture. Regarding those 2 sessions; the student will be preparing this by output in following documents: - the daily report (summary) of the advancement upon till now - counting from Monday till Friday this means 12 A3; one for each day - to be recommended: more A3 to be added; following the goals set out before. - to be recommended: first try-outs in model; at an adequate scale. - drawing (sketch; scheme; plan, elevation, section; axonometric, perspective) and model are all the instruments one will use to obtain his goal. - finally; a set of A2 plans, elevations and sections. - finally; a set of A2 will tell by perspective the atmosphere of the concept; in its venue; by its room; from scale 1/200 to 1/50 to 1/20 - finally; a set of A2 will tell by axonometric the atmosphere of the concept; in its venue; by its room. - finally; a set of models telling its presents in the venue; telling its project as a whole; telling where its space is about; from scale 1/200 to 1/50 to 1/20

Presentation. 1 session. Reviewing the demanded documents: - the daily report (summary) of the advancement upon till now - counting all A3; one for each day - to be recommended: more A3 to be added; following the goals set out before. - to be recommended: first try-outs in model; at an adequate scale. - drawing (sketch; scheme; plan, elevation, section; axonometric, perspective) and model are all the instruments one will use to obtain his goal. - finally; a storyboard of the concept - finally; a set of A2 plans, elevations and sections. - finally; a set of A2 will tell by perspective the atmosphere of the concept; in its venue; by its room; from scale 1/200 to 1/50 to 1/20 - finally; a set of A2 will tell by axonometric the atmosphere of the concept; in its venue; by its room. - finally; a set of models telling its presents in the venue; telling its project as a whole; telling where its space is about; from scale 1/200 to 1/50 to 1/20

Studio: Library

Catalogue

Overview of all the final models (Photo by Jan de Vylder?)

Auteur

THE PRACTICES

Mark: the way you make your drawings and models had quite a lot of impact, you can see that in the studio products. They have obviously looked at the drawings that your office produces.

Students get comments and give comments in another personâ&#x20AC;&#x2122;s thinking. When they focus on a practice, it opens up to them.

Jan: Yes, they all spent a lot of time looking at our website. Inge: I think that was a good starting point. This is also why they had to research the work of two different offices. They then also had to examine the way these offices develop their designs, how an office approaches things. And how they represent them. That gives inspiration. Jan: In the next exercise we will emphasize this more, we will really ask them to make products that are in the style of the office they are studying. I find this a very interesting thing. Like the exercise where students have to hand over their project for a short while to a fellow student.

Studio: Library

Positions

The practises. Belgium. To be faced as practices – make your combination or use the combination that is suggested -: Paul Robbrecht and Hilde Daem Marie-José Van Hee Paul Robbrecht, Hilde Daem and Marie-José Van Hee have recently established a new practice in the city of Ghent; to be understood: a new venue. As their collaboration – on one hand Paul and Hilde and on the other hand Marie-José – is a tradition as well they work often in separate modus; yet this configuration is interesting to take as starting point for a new school.

Office Kersten Geers David van Severen - Villa Voka

Paul makes those drawings that make you fade away in a dream that architecture could be. Marie-José invites you on a summer evening to drink a glass a wine sitting in a chair that borders nor the interior nor the exterior. It borders what architecture could be. Paul Vermeulen and Henk De Smet If the word “silent” could be used only one more time to frame the practices as present here; it is definitely Paul and Henk who deserve it. Strangely this concept of silent might be seemingly the opposite to the fact that the practice is also known as a practice that embraces the concept of the word. Paul uses the word as the sword to design architecture but also as the sword to judge architecture. Henk is the silence itselve: to hear what he just wants to say about is; silence is around.

51N4E Buda Arts Centre Photo by Filip Dujardin

Stéphane Beel architecten architecten de vylder vinck taillieu Us being definitely really the pupils of Stéphane; everyone appreciates the almost unrecognizable differentness of architecten de vylder vinck taillieu towards their master Stéphane Beel. Almost; who sees closer sees more and better. Sees that the outcome might be so much different; the underlaying believe in architecture is not different at all. Stéphane has taught us that blue ink can be used both to draw and to calculate the drawing. He will keep on inspiring us yet for decades.

Bovenbouw - Politiebureau Schoten

And there is more: office kersten geers david van severen xdga – xavier de geyter architecten 51N4E Frank Delmulle – Ideëel conceptenbranderij – noa architecten Benoit Van Innis T.O.P. office – Luc Deleu 1:1 architecten Els Claessens and Tanja Vandenbussche - bedieningsgebouw van het containerpark Jabbeke

BOVENBOUW BARAK architecten Els Claessens and Tanja Vandenbussche

Author

LITERATURE

Mark: The literature list is a culture of reading material. It is consistent in its variation. I really liked Constructing Architecture next to Peter Eisenmann and atelier Bow Wow.

would most like to hang on my wall. It is the kind of book you want to have on your bookshelf, to learn things. Like so many books. Like Lutyens too.

Jan: We need all these things. Students donâ&#x20AC;&#x2122;t have enough knowledge about books and that is a pity. In the office we have an enormous collection of books. Not only to read but also to look at, to refer to. For example: Constructing Architecture, it is a very simple book. Anders Abraham, we discovered last year: A New Nature, it is a useless book, but so useful. It is full of drawings and things. Students just have to buy them. Christopher Alexander, that is fantastic. I have never read it completely. Jan: Look at the drawings from Rachel Whiteread, this is just something you have to have on your desk. The book shows students what a drawing could be. You have to have these books on your desk, around you. Ante Timmermansâ&#x20AC;&#x2122; book. It is not the kind of work I

Studio: Library

Positions

A new nature Anders Abraham 9788787136884

Graphic Anatomy Atelier Bow-Wow 9784887062788

The domestic architecture of Sir Edwin Lutyens - A.S.G. Butler 9781851491001

Constructing Architecture Andrea Deplazes 9783764371890

People meet in Architecture Biennale Architettura 2010 978883170651

L’Architecture - Edition Ramee CN Ledoux 97809104130309

“Mandatory reading matter, it is to say: to buy - read: it is to say to buy 4 books!”

Reading matter to dream about, it is to say:’to hold’ at least once”

Author

Informal Cecil Balmond 9783791324005

Twenty buildings every architect should understand - Simon Unwin 9780415552523

A Pattern Language Christopher Alexander 9780195019193

Ten Canonical Buildings 1950-2000 Peter Eisenman 9780847830480

Distance and Engagement Vogt Landscape Architects 9783037781968

Gebouwen van het plastische getal Ids Haagsma 9789051050424

“Super reading matter,it is to say: everybody should have ‘hold it’ and for every cluster of titles buy at least 1 book - it is to say buy at least 6 books!”

Studio: Library

Positions

Moderne tijden Ingeleid door Geert Bekaert 9789077833063

The feeling of things Adam Caruso 9788434311862

Materials on the work of Christiaan Kerez 97837757227803

Architectural Positions Tom Avermaete (red.) 9789085065661

Housing Lieven De Boeck 9072076222

Architecture as a craft Michiel Riedijk 9789461051035

Lieven De Boeck housing *. LaB / Concept and drawings Jannah Loontjens / Short stories Ralph Bauer / Book design johnny golding / Interventions

Mark Pimlott

Rene Heyvaert 9789055446179

Ante Timmermans 9783869841458

Cuttings Simon Starling 3775716742

Whistling a happy tune MichaĂŤl Borremans 9789055447299

Here/Hier Frank Halmans 9789490322137

Drawings Rachel Whiteread 9783791350387

Studio: Library

Positions

Wijzen van wonen Gery de Smet 9789057790157

Sign Painting Project Francis Al每s 9783865212900

Thomas Demand Moma 1905190085

Werkelijkheid zonder weerga Christophe van Gerrewey

Mark Pimlott

Drawing Peter Cook 978047003481

Jo: It was really a special studio, because everyone produced very personal results, approaching the various tasks in their own particular way. Not a single project fell away in the strategy to make use of contemporary architectural resources.

Studio: Library

Catalogue

CATALOGUE

Auteur

TOMAS DIRRIX

Jan: The finality was more difficult, but you can see some really good images here. For the urban planning, Tomas placed the two volumes facing each other, an idea that another student, Dirk, actually ended up using. Vero moditatest quid qui tem il et remquid elestecae dolut aut re con con comnis doles et estions equunt, utatquo eatios etum as molupta dolorum am evelias solorep tatecerita nam que con pa volore comnihit magnamenem quam quamene perspit andit ut ex eatio evellam faceri arit volupta doluptio consequo optatur si dolo bla doluptiur, sinus erumquam apitibus ea ipsam ea et volo blaudit ommodi quam essum velligent volectur, si blant optat pra volo modit lique denditi dis ducius aut la dit que volupta volut magnis sum ut rehenis ea qui temposs equunturis in coriossequis amentiatum, ium incilla borrore iurera quid magnam lacerspedias eum que volupit, voluptatem si sincipic to bla as consed et aut delignimus molorem porroressi dis sundi qui accatur

Studio: Library

Fourth movement Jo: Mooie beelden van de gevels. Vero moditatest quid qui tem il et remquid elestecae dolut aut re con con comnis doles et es-

Auteur Dirrix Tomas

First movement Vero moditatest quid qui tem il et remquid elestecae dolut aut re con con comnis doles et estions equunt, utatquo eatios etum as molupta dolorum am evelias solorep tatecerita nam que con

Second movement Vero moditatest quid qui tem il et remquid elestecae dolut aut re con con comnis doles et estions equunt, utatquo eatios etum

Studio: Library

Catalogue

Second movement Vero moditatest quid qui tem il Bewegingen van A tot Z et remquid elestecae dolut aut re con con comnis doles et estions equunt, utatquo eatios etum as molupta dolorum am evelias solorep tatecerita nam que con

Fourth movement Vero moditatest quid qui tem il et remquid elestecae dolut aut re con con comnis doles et estions equunt, utatquo eatios etum as molupta dolorum am evelias solorep tatecerita nam que con pa volore comnihit magnamenem quam quamene perspit andit ut ex

new schools of architecture, bruxelles / ghent tudelft, faculty of architecture, departement of interiors buildings and cities docent: jan de vylder, jo taillieu student: tomas dirrix winter 2012

Auteur Dirrix Tomas

HENK DE HAAN

Jan: There was a certain doubleness in the project. He made the school twice with two practices. He took Xavier and Kerstens, and then, all of a sudden, with the same floor plan but with other dimensions, he had a tower and a slab. Trapped in the story about Xaviers tower, it all came together, a perfect concequence of his thinking. The tower and the slag: this is the way they greet and meet. Jan: Sometimes they don’t believe they can do it or they don’t yet know how. Take Henk for example. We really forced him and at the end he said: Wow look what I made! It’s a pity he didn’t understand it completely. For me Henk was the most successful student.

Studio: Library

Catalogue

Movement 1 till 4 Development of the building shape. In the third and fourth model there is an obvious attempt to implement the smaller scale of the room into the urban scale.

Jo: Henk researched a lot of things. From the interior to the urban scale, he gathered all the components to come to one project. It was not the most logical sequence, and he did a lot of strange things. He was looking for general elements; he was not coming to a focal point. But in the end his urban design made an incredible project.

Auteur Henk de Haan

Third movement Jan: The second half was a lot more interesting than the first half. The best moment was when he brought his building into a relationship with its context, with that which was already there, and the facade typology began to take over, to start a

conversation. The analysis and his own building - you should really put those side by side. He positioned his building as a mirror of the building opposite.

Studio: Library

Catalogue

Third movement Jan: The study of the facades including the different layers. One is leaning and the other straight.

Auteur Henk de Haan

ANNE VAN HOUT

Jan: What I liked about Anneâ&#x20AC;&#x2122;s project is that you could talk about the advantage of the intermediate space, having a debate on the fact that this wall is too close and we could say something like yeah, close enough, that is interestingly close, that you could talk about these kinds of elements. Anne started making sketches of all the rooms, and she got an unbelievable control over how things happen and how things feel. And after that she made the plans. Shifting techniques is an approved method that we love to do. As long as you teach as your work in your office, these are the methods.

contained different activities. I thought about courtyards in Ghent. My most important question was the wall in the middle of the site. How you can deal with that wall? How you can wander through the building? You can see that in my final presentation.

Anne: I started out using the format of papers and how you can use this system to make rooms. Looking at the different architecture firms I tried to see the certain sphere of spaces that they make. My first model was a classroom, with rooms accessible without corridors. Then I took the paper size again, how can you make connections? Different rooms

Studio: Library

Catalogue

Third movement Jo: A wall that became a beam and a beam that became a wall. In Anneâ&#x20AC;&#x2122;s project the space is divided by walls, and by leaving a piece out you create space and everything is organized. You can really see that in the scale model. And on that wonderful worksheet, which is really serves as a kind of summary of her whole project. At one point she also produced a sheet combining programm, Office and DVVT all together. And a page showing a breakdown of the programme.

Auteurvan Hout Anne

First movement Jan: This was an interesting start, applying that shift in scale. At a certain point she said, those lines, that is Office, and those open spaces, that is DVVT.

Third movement Jan: Anne started making sketches of all the rooms, and she got an unbelievable control over how things happen and how things feel. At one point she also produced a sheet combining the Walls, Office and DVVT all together. And a page showing a breakdown of the programme.

context

Studio: Library

walls

spaces

structure (office)

Catalogue

fascination (advvt)

Fourth movement Jo: In Anneâ&#x20AC;&#x2122;s project the space is divided by walls, and by leaving a piece out you create space and everything is organized. For example, the way in which you took Anneâ&#x20AC;&#x2122;s plan going from room to room, and what happens in between. How you position the garden walls, and in this way all manner of aspects come together or you touch on a great many different things which slowly begin to cohere.

K I J H G F E D C B A

Anne van Hout Auteur

MICHELA MATTIONI

Jan: We experienced a breaking point with Michela when she was organizing the interior of her building. She didn’t have any walls, and those columns, they weren’t there yet. Then she started trying different orientations: the structure of one building in this direction and the other in a different direction, as a sort of contemporary plaything, like you often see in modern architecture. Consciously exploring a varied image. And then we had a long discussion about those columns. And in this plan here you can see that the column has become architecture. That was what surprised Michela the most in the result of her project: the simple principle that we were able to find. That was the great thing, putting the columns there, and there, that was the ultimate merit.

designed façade here, and the perspective seen from the street, but we had a very lengthy discussion about this. The discussion about the columns was also related to the fourth building. She didn’t make three buildings, but four. Because this building was just standing there expressionless in that setting. That was the intelligent thing about that project: all of a sudden, there was the spatial organization and the positioning of the blocks on the one hand, but particularly the position in relation to the other block, so that the fourth building ultimately becomes part of the whole.

The other good thing about her project was the discussion about the positioning of the blocks. In the end the composition was fairly simple, with a freely-

Jo: The lecture about the site plan brought us to building number four. That was one of those ultimate moments, we didn’t steer things in that direction, but allowed the students to see it for themselves. So how did it happen? We believe in serendipity, that you sometimes need a bit of luck. And when you see it, you know that that’s it, that it works. Totally. And she’d built a good scale

Studio: Library

model. We walked around that model, and we said to her, do you see what we’re doing. This is how we often work, we’re sitting round the table, thinking, and then all of a sudden it comes to you. And that feeling that you’ve got it, you can almost always confirm it right away.

Catalogue

Fourth movement Structural model of the building blocks in the Ghent location.

Auteur Mattioni Michela

Second movement Jo: The positioning of the building blocks. A very simple composition with actually four buildings.

Fourth movement Jan: Michela made in the first movement an uniform structure with no direction and develop this to an one direction structure and finally into an oriented structure with irregular rhythm. She discovered how the position of columns organizes without divisions.

Studio: Library

Catalogue

Michela Mattioni Auteur

BART VAN DER ZALM

Jan: Bart started off by examining the column structure and the graphics of the school in Brussels itself. He made a detailed study of how this all fit together. Then we had a discussion about the regularity of the structure and any deviations. He finished the room exercise pretty quickly. Next came the exercise aimed at creating space using a column and beam. You can see that strongly reflected here. And at a certain point he started doing this. This scale model (of the room) and these drawings, of his first room, were very good. The connection of the beam to the column in Bartâ&#x20AC;&#x2122;s project, that was one of those very significant details.

Studio: Library

Catalogue

Jan: He made a great preliminary drawing of a column. See the detail of the column. He was fascinated by this right from the start, really, seemingly unasked.

Auteur Bart van der Zalm

First movement Jo: He produced this scale model and amazingly, really, he didn’t put the column right under the beam. That thing with the column and the beam, of course it’s really good, but there’s a lot more to it than that.

third movement model

Model of St. Lucas in Brussels s made during the third movement.

Final spatial impression.

Studio: Library

Catalogue

Drawing Jan: Bart started off by examining the column structure and the graphics of the school in Brussels itself. He made a detailed study of how this all fit together. Then we had a discussion about the regularity of the structure and any deviations. He finished the room exercise pretty quickly. Next came the exercise aimed at creating space using a column and beam. You can see that strongly reflected here. And at a certain point he started doing this. This scale model (of the room) and these drawings, of his first room, were very good. Jo: He arrived at a module to bring it to the scale of the school. How are you dealing with different levels, how you bring programme into it? He produced some very interesting drawings.

Auteur Bart van der Zalm

Fourth movement A limited set of columns protrudes â&#x20AC;&#x201D; through voids.

Studio: Library

Catalogue

Bart van der Zalm Auteur

Studio: Library

Catalogue

EPILOGUE

Auteur

STUDENTS Tomas Dirrix

Henk de Haan

At the start it wasn’t at all clear if we should end up with a building or not. It was all still very free. The two locations we were given seemed impossible for the task. There was enormous friction. Slowly this began to show itself as typical for this method of working. The project was constantly seeking out the conflict and the impossibilities. It started out by thinking about a room, a compact interior. Then this had to be expanded to create a structure that could work as an outline for the organization of the building. Then we had to let go of all that and concentrate on how it fit into the location from a spatial planning point of view. And then we had to bring these two aspects face to face, which of course never fits. But this confrontation led to something new, that had elements of both the original plans, or maybe neither. I found this very inspiring. It makes you far less dogmatic in your work. Jo and Jan found everything interesting in principle, but that didn’t only apply to your design products. Because you set something down, and you wanted to tell your story, and they had already seen something interesting that hadn’t occurred to you yet, and that had to be enlarged upon. And then Jan went running off to find a foam block and set to work right away. There was an enormous energy. All the time. I can’t remember ever having a chance to completely finish telling my story, yet it was very enjoyable. But sometimes it happened that within a half hour your whole project was lying on its side and completely the reverse of what you had planned. Every time you went to a supervision you thought, this time I’ve nailed it, but then afterwards you had no idea where you were at. Then your model would be filled with scraps of paper grabbed from the floor. You’re constantly occupied with hanging on to your idea, then adjusting it again, so that the next time it will be OK. It’s hard to say exactly what I learned. I found it really interesting to work in steps and on different scales. You can’t plan a confrontation in a building, but they managed it in this studio because they allowed the separate components to clash. This means you don’t end up with a dry linearconcept story; it creates extra layers. In Delft there is always a clear plan, that is a static fact, this is how you should materialize your building and this is how you present it. With Jan and Jo you did have to make a plan, but then they said, OK, now we’re going to break it. We’re going to cut into it, break it down in various ways. That creates a sort of tension, you can feel there is a sort of plan, but it’s not clear what it is, because some of the ingredients don’t marry together. That creates an element of surprise. They also asked you to print out a visual

summary every day. Every day you had to think of what you wanted to take into the next step. Then you closed off a day and the thought at the same time. It really worked. Typical of this studio was that there wasn’t a particular project that was clearly the best in every phase. It was more a case of certain aspects being strong. It’s not so easy to bring a forced conflict to a successful end. Maybe everyone just needed more time. The most important aspect is the freedom you were given as a designer to not have to integrate everything all at once. I am fascinated by how their work comes about. Their buildings look kind of unfinished. That amazes me, but it also gives me a lot of energy. How they break every convention, not to provoke, but to keep things light, almost ironic. That makes me very happy.

Studio: Library

If I compare the studio with a ‘normal’ studio from Interiors, I noticed that my ideas were not steered as much. Jan and Jo’s references come from all over the place and they have a much freer approach. They also take a lot of influences from the surrounding area. Also, they do require you to come up with a plan, but then you have to have the courage to let go of it. In Delft you’re expected to work out a very straightforward plan based on a building’s function. I did feel the project was a little short. And the order was very strange. It took me quite a while to get the hang of it. I lost a lot of time at the beginning, and at the end I had run out of time. I found it easier to design once we started to look at the location, that’s more what I’m used to. In the task for the interior, I started out with an idea for separate blocks, but this changed when we moved on to the urban planning task. Once I had decided where I was going to put my building, I started a more surroundingsbased design. They put a lot of emphasis on using different means and methods all the time. They felt it was better to make a quick sketch or put together a quick model than to spend hours on the computer. They also encouraged you to use different research methods, and to draw by hand more often. I used this in later projects. I found it really funny that, when they were giving criticism together, they both seemed to think exactly the same about something. They make a really good team, and they’re funny too. They have a good sense of humour. Sometimes they were obviously enthusiastic about something, but then you had to work it out for yourself. I often got the idea that they saw things in your design that you didn’t see yourself. In that case they also gave you other references than the ones you had in mind yourself. For example, for the façade they strongly encouraged me to look around at the surroundings, while otherwise I might have sat down and designed a pattern. They really sent me in a direction I wouldn’t have thought of on my own. Design decisions really don’t have to have a rational origin, you can pick them up from just about anywhere. It is definitely enriching that you can take more liberty in your design to do this kind of thing.

The great thing is, when you look at Jan

Evaluation

Anne van Hout

Michela Mattioni

and Jo’s work, you get inspired right away through the way they think, draw and design. It doesn’t have to all be so terribly difficult. The strength is often in the simplest sketches and a seemingly small idea that you can work out into something very big. All you have to have is the confidence that it might be something or has the potential to become something. In this studio Jan and Jo gave you a lot of freedom and confidence to work in this way. They are very successful in communicating their fascination and enthusiasm during the studio for the things they come across. I seems like they already know where it’s going to go before you know it yourself, and also without them trying to steer you in that direction. At and the end they still seem surprised at what you’ve done. And you surprise yourself. They do help you, by suggesting new references or getting to look just that bit better at what you’re actually doing. This teaches you to appreciate things better, because that scruffy little drawing contains a valuable thought after all. The concept was very important, but at the same time it was just a ‘vehicle’; it helped you to progress, you had to be able to let it go but without putting a sign by it later to explain it. In the end it turns out you actually worked something out very consistently, without having the feeling you were hanging on to it in a forced way all that time. The same is sure of the products and keeping a record of the process; it all happened by itself. You weren’t at all thinking about working through your list, you were just making the products you needed to effectively show your idea. There was also a huge variety in the supervision. Sometimes we had individual supervision, then we discussed each other’s variations with the whole group, and another time we spent a day working on a fellow student’s design. That was another thing that made this studio different, you were continually kept on your toes. They were also always on the ball. That kept things interesting.

modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga. Et oditaqui sa cusdae quia sumquibus sam, conet velit volorum ut pe rem fugiae doluptates voluptiae de quassit is a evel im nonet laut ad magnat. Ehende volorios soluptas eiundi ipic tem repudae natque volendandam nis volor sandissusto ium incilla ccabo. Et ullandunt, aut qui tem quunt. Iquaernatem. Ut aut aperum que plant maximolum volupta voluptaspero culluptas ex eatas eicab id mi, comniam cullace strumet eatem faces sandi nam, tem voles moluptas et quia natempo rehende moluptati omnis aut ulluptas inctae dolupta delitas plis acculla core endiossi abo. Ovidias im auta doloribus vel eicias experna turitate perunt parum nescidebitae cum remped quiandebiti comnis mi, sitatquodit, cust, odigent fugiatiur? Et adit id quiam erisqui doluptin cus. Gia serferum quodi cum iur apit restibus ratur mil millorro temodistes velest volumetur, utem quam quo to totatus sumetur?

Apelique exernat ecaboruntota cum quibus

Jan and Jo’s studios were completely dif-

Auteur

Bart van der Zalm ferent from the lessons I had had before, with their endless enthusiasm for the most stupid idea. They never prejudged anything, were always positive in the extreme. In a normal studio it doesn’t take long before you start to get criticism on all kinds of aspects, but with Jan and Jo that was the first time that that didn’t happen. Their enthusiasm gave me a lot of confidence, and it gave a huge positive vibe to the whole studio. That’s why everyone produced something good in the end. Everyone put a great deal of energy in the studio, that was the most important thing for me. The thing I learnt most is to stay in a sort of associative phase for as long as possible. In many other programmes it’s fun and creative at first, but then comes the programme, or the strict requirements, and then that playful aspect doesn’t necessarily disappear, but you do lose the associative aspect. With Jan and Jo you start with a certain sort of inspiration and you hold on to that for as long as possible, and if you just keep working on it, everything falls into place. With Jan and Jo you had the confidence that everything would work out OK. This also had a very positive influence on the projects I did after this, on the MSc1 as well as my graduation project. Instead of getting stuck into the schedule of requirements, I was able to follow my fascination and trust that the original requirements would be met in the end. I also learnt just how much poetry you can get out of the simplest architectonic elements and to thoroughly explore that. A column is not just a column. A wall is not just a line that you draw somewhere because you want to separate two spaces. Not having to think about all those other things sets you free to try and get the most out of it.

Naam Schrijver Apelique exernat ecaboruntota cum quibus modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga. Et oditaqui sa cusdae quia sumquibus sam, conet velit volorum ut pe rem fugiae doluptates voluptiae de quassit is a evel im nonet laut ad magnat. Ehende volorios soluptas eiundi ipic tem repudae natque volendandam nis volor sandissusto ium incilla ccabo. Et ullandunt, aut qui tem quunt. Iquaernatem. Ut aut aperum que plant maximolum volupta voluptaspero culluptas ex eatas eicab id mi, comniam cullace strumet eatem faces sandi nam, tem voles moluptas et quia natempo rehende moluptati omnis aut ulluptas inctae dolupta delitas plis acculla core endiossi abo. Ovidias im auta doloribus vel eicias experna turitate perunt parum nescidebitae cum remped quiandebiti comnis mi, sitatquodit, cust, odigent fugiatiur? Et adit id quiam erisqui doluptin cus. Gia serferum quodi cum iur apit restibus ratur mil millorro temodistes velest volumetur, utem quam quo to totatus sumetur? Taturiosto invenim dolupta tectus ut voluptiuntia que dolest platis seceatia int.Nem reperum harchiciusae nost volum quunt. Gia aut uteste lanis ab iminciis este et doluptatus, sus sim fugitionet, omnisti atur aliquis ma ne delendae simolorios doluptaerum quunt omnimi, volupta aut elitatum abo. Am explaturibus essum res molupici voles sequae poria sima pore quiatur aut dolenis ist, sed quiatur sus eos et et volorat esererum labo. Quiatque non pori to dolori ulparchilla ex eos qui tem volorem quiscim nonserum faccume por aligenit alitas volorpor ad ut porem quatquodio. Am volores quation rerumqui odi quid modios nus. Lorempos et libusciat. Fictiis modiore sequaepe nos erit inte suntumquia qui sunt essequia consequi bea doloreped ute nones aliquam, officia sunt porecat empedita quo eat min reperion peruptat.

Agnis niet dolorei urent, se nobitincti alitam, site cus eosantium vitis dolore vid magnis con eatia pa sin reperovit, od et volorep tatibus cimaximpos experio officti oribusti tes mo comniatur, temporeria et fugitiur solore sim deniminciat laccus, same conesequi odisquu ndamusa volupis aut audam recus parum fugiandit auda ad que con nulpa endit aliquodia qui quis am quiandipsus nat omnim et omnis dolores simodit repudi dis ma volum volupit ut et officiate lant ullacep erumet quost quati nusdae et odipsa sini a aut eserest otatem rerum inullup tatus, ellor aut asperferese essitatem dolupti orruptatem am, omniet et et doluptatet qui dolendis dem venitem et fuga. Aquunt dit quissunt, il il eaqui ad quatem nis esequatium sit, si dolupta sunt repe quaeribus pelibus nulpa dolupta temquatur, unt rehent. Bus eaquibus nonestota cusdam, offic to quis dolorec ullectem volute cusae. Nam quuntis dolesed eos debisqu aerion postibe ruptatur, comnimpore aut di ut peritis imaxim et fugiati stioruptur, nobitatur molutempora alique sinis magniet, si conse et volendaere, quid quam alibus quia susda at lab in exerferes poribus anditaecatem ulpa volorerunt explitatur? Quiam ide pra quis quos quaest, secto is sum quis dolut odici volorum que ped molupta seque qui ilignim illaciis dolorem Apelique exernat ecaboruntota cum quibus modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga. Et oditaqui sa cusdae quia sumquibus sam, conet velit volorum ut pe rem fugiae doluptates voluptiae de quassit is a evel im nonet laut ad magnat. Ehende volorios soluptas eiundi ipic tem repudae natque volendandam nis volor sandissusto ium incilla ccabo. Et ullandunt, aut qui tem quunt. Iquaernatem. Ut aut aperum que plant maximolum volupta voluptaspero culluptas ex eatas eicab id mi, comniam cullace strumet eatem faces sandi

nam, tem voles moluptas et quia natempo rehende moluptati omnis aut ulluptas inctae dolupta delitas plis acculla core endiossi abo. Ovidias im auta doloribus vel eicias experna turitate perunt parum nescidebitae cum remped quiandebiti comnis mi, sitatquodit, cust, odigent fugiatiur? Et adit id quiam erisqui doluptin cus. Gia serferum quodi cum iur apit restibus ratur mil millorro temodistes velest volumetur, utem quam quo to totatus sumetur? Taturiosto invenim dolupta tectus ut voluptiuntia que dolest platis seceatia int.Nem reperum harchiciusae nost volum quunt. Gia aut uteste lanis ab iminciis este et doluptatus, sus sim fugitionet, omnisti atur aliquis ma ne delendae simolorios doluptaerum quunt omnimi, volupta aut elitatum abo. Am explaturibus essum res molupici voles sequae poria sima pore quiatur aut dolenis ist, sed quiatur sus eos et et volorat esererum labo. Quiatque non pori to dolori ulparchilla ex eos qui tem volorem quiscim nonserum faccume por aligenit alitas volorpor ad ut porem quatquodio. Am volores quation rerumqui odi quid modios nus. Lorempos et libusciat. Fictiis modiore sequaepe nos erit inte suntumquia qui sunt essequia consequi bea doloreped ute nones aliquam, officia sunt porecat empedita quo eat min reperion peruptat. Agnis niet dolorei urent, se nobitincti alitam, site cus eosantium vitis dolore vid magnis con eatia pa sin reperovit, od et volorep tatibus cimaximpos experio officti oribusti tes mo comniatur, temporeria et fugitiur solore sim deniminciat laccus, same conesequi odisquu ndamusa volupis aut audam recus parum fugiandit auda ad que con nulpa endit aliquodia qui quis am quiandipsus nat omnim et omnis dolores simodit repudi dis ma volum volupit ut et officiate lant ullacep erumet quost quati nusdae et odipsa sini a aut eserest otatem rerum inullup tatus, ellor aut asperferese essitatem dolupti orruptatem am, omniet et et doluptatet qui dolendis dem venitem et fuga. Aquunt dit quissunt, il il eaqui ad quatem nis esequatium sit, si dolupta sunt repe quaeribus pelibus nulpa dolupta temquatur, unt rehent. Bus eaquibus nonestota cusdam, offic to quis dolorec ullectem volute cusae. Nam quuntis dolesed eos debisqu aerion postibe ruptatur, comnimpore aut di ut peritis imaxim et fugiati stioruptur, nobitatur molutempora alique sinis magniet, si conse et volendaere, quid quam alibus quia susda at lab in exerferes poribus anditaecatem ulpa volorerunt explitatur? Quiam ide pra quis quos quaest, secto is sum quis dolut odici volorum que ped molupta seque qui ilignim illaciis dolorem Apelique exernat ecaboruntota cum quibus modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as

Studio: Library

Evaluation Catalogue

enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga. Et oditaqui sa cusdae quia sumquibus sam, conet velit volorum ut pe rem fugiae doluptates voluptiae de quassit is a evel im nonet laut ad magnat. Ehende volorios soluptas eiundi ipic tem repudae natque volendandam nis volor sandissusto ium incilla ccabo. Et ullandunt, aut qui tem quunt. Iquaernatem. Ut aut aperum que plant maximolum volupta voluptaspero culluptas ex eatas eicab id mi, comniam cullace strumet eatem faces sandi nam, tem voles moluptas et quia natempo rehende moluptati omnis aut ulluptas inctae dolupta delitas plis acculla core endiossi abo. Ovidias im auta doloribus vel eicias experna turitate perunt parum nescidebitae cum remped quiandebiti comnis mi, sitatquodit, cust, odigent fugiatiur? Et adit id quiam erisqui doluptin cus. Gia serferum quodi cum iur apit restibus ratur mil millorro temodistes velest volumetur, utem quam quo to totatus sumetur? Taturiosto invenim dolupta tectus ut voluptiuntia que dolest platis seceatia int.Nem reperum harchiciusae nost volum quunt. Gia aut uteste lanis ab iminciis este et doluptatus, sus sim fugitionet, omnisti atur aliquis ma ne delendae simolorios doluptaerum quunt omnimi, volupta aut elitatum abo. Am explaturibus essum res molupici voles sequae poria sima pore quiatur aut dolenis ist, sed quiatur sus eos et et volorat esererum labo. Quiatque non pori to dolori ulparchilla ex eos qui tem volorem quiscim nonserum faccume por aligenit alitas volorpor ad ut porem quatquodio. Am volores quation rerumqui odi quid modios nus. Lorempos et libusciat. Fictiis modiore sequaepe nos erit inte suntumquia qui sunt essequia consequi bea doloreped ute nones aliquam, officia sunt porecat empedita quo eat min reperion peruptat. Agnis niet dolorei urent, se nobitincti alitam, site cus eosantium vitis dolore vid magnis con eatia pa sin reperovit, od et

volorep tatibus cimaximpos experio officti oribusti tes mo comniatur, temporeria et fugitiur solore sim deniminciat laccus, same conesequi odisquu ndamusa volupis aut audam recus parum fugiandit auda ad que con nulpa endit aliquodia qui quis am quiandipsus nat omnim et omnis dolores simodit repudi dis ma volum volupit ut et officiate lant ullacep erumet quost quati nusdae et odipsa sini a aut eserest otatem rerum inullup tatus, ellor aut asperferese essitatem dolupti orruptatem am, omniet et et doluptatet qui dolendis dem venitem et fuga. Aquunt dit quissunt, il il eaqui ad quatem nis esequatium sit, si dolupta sunt repe quaeribus pelibus nulpa dolupta temquatur, unt rehent. Bus eaquibus nonestota cusdam, offic to quis dolorec ullectem volute cusae. Nam quuntis dolesed eos debisqu aerion postibe ruptatur, comnimpore aut di ut peritis imaxim et fugiati stioruptur, nobitatur molutempora alique sinis magniet, si conse et volendaere, quid quam alibus quia susda at lab in exerferes poribus anditaecatem ulpa volorerunt explitatur? Quiam ide pra quis quos quaest, secto is sum quis dolut odici volorum que ped molupta seque qui ilignim illaciis dolorem Apelique exernat ecaboruntota cum quibus modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga. Et oditaqui sa cusdae quia sumquibus sam, conet velit volorum ut pe rem fugiae doluptates voluptiae de quassit is a evel im nonet laut ad magnat. Ehende volorios soluptas eiundi ipic tem repudae natque volendandam nis volor sandissusto ium incilla ccabo. Et ullandunt, aut qui tem quunt. Iquaernatem. Ut aut aperum que plant maximolum volupta voluptaspero culluptas ex eatas eicab id mi, comniam cullace strumet eatem faces sandi nam, tem voles moluptas et quia natempo rehende moluptati omnis aut ulluptas inctae dolupta delitas plis acculla core endiossi

Auteur

abo. Ovidias im auta doloribus vel eicias experna turitate perunt parum nescidebitae cum remped quiandebiti comnis mi, sitatquodit, cust, odigent fugiatiur? Et adit id quiam erisqui doluptin cus. Gia serferum quodi cum iur apit restibus ratur mil millorro temodistes velest volumetur, utem quam quo to totatus sumetur? Taturiosto invenim dolupta tectus ut voluptiuntia que dolest platis seceatia int.Nem reperum harchiciusae nost volum quunt. Gia aut uteste lanis ab iminciis este et doluptatus, sus sim fugitionet, omnisti atur aliquis ma ne delendae simolorios doluptaerum quunt omnimi, volupta aut elitatum abo. Am explaturibus essum res molupici voles sequae poria sima pore quiatur aut dolenis ist, sed quiatur sus eos et et volorat esererum labo. Quiatque non pori to dolori ulparchilla ex eos qui tem volorem quiscim nonserum faccume por aligenit alitas volorpor ad ut porem quatquodio. Am volores quation rerumqui odi quid modios nus. Lorempos et libusciat. Fictiis modiore sequaepe nos erit inte suntumquia qui sunt essequia consequi bea doloreped ute nones aliquam, officia sunt porecat empedita quo eat min reperion peruptat. Agnis niet dolorei urent, se nobitincti alitam, site cus eosantium vitis dolore vid magnis con eatia pa sin reperovit, od et volorep tatibus cimaximpos experio officti oribusti tes mo comniatur, temporeria et fugitiur solore sim deniminciat laccus, same conesequi odisquu ndamusa volupis aut audam recus parum fugiandit auda ad que con nulpa endit aliquodia qui quis am quiandipsus nat omnim et omnis dolores simodit repudi dis ma volum volupit ut et officiate lant ullacep erumet quost quati nusdae et odipsa sini a aut eserest otatem rerum inullup tatus, ellor aut asperferese essitatem dolupti orruptatem am, omniet et et doluptatet qui dolendis dem venitem et fuga. Aquunt dit quissunt, il il eaqui ad quatem nis esequatium sit, si dolupta sunt repe quaeribus pelibus nulpa dolupta temquatur, unt rehent. Bus eaquibus nonestota cusdam, offic to quis dolorec ullectem volute cusae. Nam quuntis dolesed eos debisqu aerion postibe ruptatur, comnimpore aut di ut peritis imaxim et fugiati stioruptur, nobitatur molutempora alique sinis magniet, si conse et volendaere, quid quam alibus quia susda at lab in exerferes poribus anditaecatem ulpa volorerunt explitatur? Quiam ide pra quis quos quaest, secto is sum quis dolut odici volorum que ped molupta seque qui ilignim illaciis dolorem

Jan de Vylder (1968, Sint Niklaas) Apelique exernat ecaboruntota cum quibus modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga.

Jo Taillieu (1971, Wevelgem) Apelique exernat ecaboruntota cum quibus modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga.

Inge Vinck (19xx) Apelique exernat ecaboruntota cum quibus modigentint inciet et voluptate volest, sus, seque qui secto cus. Bus as enient possim as posanti unditaq uaerum quuntur, nam faceptur, occulpario ime rerfernatis et adi aliatibus exerspedis del is dis seque dolorro et eat odia nestiossus que neceaquiat as moluptatquis velesciminci ius poremperio. Hiciatin none di diatis eosto exped quae mi, qui blaborpos ne voluptae omnihil ipsus et faccab ipsam nostiorior aut fugitio estia vel earumet rerion nonsect oremperitia sin excessus, aturem latus ant pa simaioris sit ma verehenim et apic teturesto et aut eosanis entium quat as ni nonsed eum inciasi am coreptur? Parum volestibus voluptamet faciam at quatur? Qui repe qui dolupic aepudam uscidit iorecupta sent faccuptatem istione cullescimil ipsa sentus velenihitio quiatum experun tibuscil et quibus, cusapitibus doloritae non corepe minciis quiscia que culparit aliquassimus earumquatur sant od ma quat quid et auta illit fuga.

Studio: Library

Catalogue

Suggestiie: selectie materiaal eigen werk?

Auteur

COLOFON This Studio booklet is the second in a series of compact publications that present the teaching and research of the Department of Architecture at TU Delft in the Netherlands. The STUDIO series begins with a number of issues on teaching positions and investigates the connection between positions and didactics of the Chairs. Student group 2011-2012: Tomas Dirrix Anne Geenen Henk de Haan Anne van Hout Dirk Huibers Mariet Kooren Jan-Maarten Mulder

Michela Mattioni Pim Schachtschabel Sarah Marijn Trap Sanne Verhoeve Bart van der Zalm Odette Zwinkels

Student group 2011-2013: Linda Brembs Adriana Carillo Hurtado Jeroen de Graaf Denis Kolesnikov Daisy Koppendraaier Rik Lambers Hinke Majoor Khalid El Meziani

Xylon Ning Roland Reemaa Bob de Rijk Niek Schoenmakers Ansis Ĺ inke Jonathan de Veen Morris Yang

Teachers: Jo Taillieu Jan de Vylder Inge Vinck Visiting critics 2011-2012 Mark Pimlott Mechtild Stuhlmacher Eireen Schreurs Jurjen Zeinstra Visiting critics 2011-2012 Tony Fretton Mark Pimlott Eireen Schreurs Jurjen Zeinstra Images: All images and photographs presented in this booklet were provided by the authors and students, unless otherwise stated. The publisher has attempted to meet the conditions imposed by law for the use of the images. If we omitted any proper acknowledgement, we encourage copyright holders to notify the publisher. Concept: Eireen Schreurs Edited by: Eireen Schreurs, Anne van Hout Translation: UVA talen Graphic Design: Hans Gremmen Summer 2013 To order a copy or pdf of this publication, please visit press.tudelft.nl

Studio: Library

Auteur