ARCHITECTURE ANNUAL
ARCHITECTURE ANNUAL 2017 | 2018
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PROJECTS 2 017|2 018
Special thanks to
Department of Architecture
© 2017 ARGUS Architecture Master Student Association and Delft University of Technology All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Printed and bound in Amsterdam, NL by De Boekdrukker First edition of 300 copies ISBN 978-94-6186-949-4
Helena Andersson, Emma Anzolin, Devant Asawla, Mary Ann Berendson, Erik Bakker, Leander Bakker, Claire Barry, Rogier Bos, Marijn Bouwman, Nicky Brockhoff, Alexander de Caires, Serah Calitz, Nicole Chmienlinski, Matthew Cook, Susie Cox, Rosa Derakhshan, Stef Dingen, Chong Du, Livia Eggler, Bianca Eriksson, Babette van Faassen, Ana da Fonseca, Rogier Franssen, Emilia Gołębiewska, NafeesaI Hamza, Maria Heinrich, Tom Hilsee, Jarno van Iwaarden, Klaas de Jong, Arav Kumar, Jani van Kampen, Benjamin Kemper, Undine Kimmel, Sebastiaan van Kints, Mantas Kitkauskas, Catherine Koekoek, Martin Kolev, Joanna Kosowicz, Hiu Ching Debby Lam, Harrison Lang, Jonas Langbein, Szymon Lapaj, Jimmy Lei, Silvia Leone, Cherk Ga Leung, Patrick Lin, Hedwig van der Linden, Hugo Lopez, Marcel van der Maas, Michaela Mallia, Hidde Manders, Koen Martens, Prokop Matěj, Muireann McHugh, Zach Mellas, Mariapaola Michelotto, Ginevra Nazzarri, Anna van Oers, Zoe Panayi, Sara Perera-Hammond, Jack Oliver Petch, Amelie Pretsch, Kevin Santus, Lea Scholze, Sebastian Schulte, Joseph Seressia, Ruby Sleigh, Nutcha Somboonthanasarn, Robby Stubbs, Dafne Swank, Fiona Thompson, Maximiliaan Verhoeven, Feng Wang, David van Weeghel, Noortje Weenink, Lea Wetzel, Daniel van der Woude, Karianne de Wringer, Jiayun Xu, Danyu Zeng, Kedi Zhou, Chen Ziyao, Studio Interiors Birthday Playgrounds, Studio Interiors A Festive Pavilion, Studio The Why Factory MSc1, Studio The Why Factory MSc2
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ARGUS
Architecture Master Student Association ARGUS is the student association of the Architecture master track of the Faculty of Architecture and the Built Environment at Delft University of Technolog y. ARGUS aims to provide a platform where its various members, including students, alumni, practitioners, Ph.D. candidates and academics connect, exchange ideas and explore architecture and its peripheries. We do so by organizing in-depth events such as excursions, lectures, workshops and debates, and by means of publication, such as the ARGUS Architecture Annual and ARGUS monthly papers. In this way, we hope to create possibilities for new initiatives and the sharing of knowledge, and contribute to the architectural discourse.
ARGUS Annual and Expo 2017|2018 Polly Bruchlos Onusa Charuwana Maria Heinrich Hsuan-Ya Kao Jonas Langbein Silvia Leone Haozhuo Li Amelie Pretsch Elena Rossoni Lea Scholze www.argus.cc 9
PROJECTS | CONTENTS
PREFACE ARCHITECTURE ANNUAL
SELECTED PROJECTS
Architectural Engineering xx Architecture & Public Building xx Architecture Theory xx Complex Projects xx Design as Politics xx Dwelling xx Explore Lab xx Form & Modelling Studies xx Heritage & Architecture xx History of Architecture & Urban Planning xx Hyperbody xx Interiors Buildings Cities xx Methods & Analysis xx Multidisciplinary Studios xx The Why Factory xx INDEX xx
BOLD INITIATIVES
ARCHITECTURE ANNUAL For the third edition of the ARGUS Architecture Annual we strived to continue the great work done until now in the first two volumes of the yearbook. We collect and showcase the immense variety and richness of projects, theses and ideas developed 2017/2018 in the Master Track of Architecture at TU Delft. Many of these things happen unseen or are presented only in the small scale of the respective course. This book shall thus give more value to these projects by making them available to a wider public. It is a guide book for anyone wanting to explore the width of the academic education at BK. Prospective students looking for a future place to study, we deciding on what studio to continue with in the next semester and a memory piece for students leaving the Faculty of Architecture in Delft; but also to externals it shows the different ways of thinking and producing at the different chairs of our faculty. This year ARGUS intends to explore the theme BOLD Initiatives. So instead of choosing the best of the best, nominated by each chair, we try to discover bold and daring approaches in dealing with a given task. We tried to include those projects that ask questions on what it actually means to produce architecture in our increasingly digital and ephemeral, and highly visual world; projects that try to go beyond the handed down definitions of architecture and the role of the architect (-ure student). We are aware we cannot give the one answer to this, but want to open up a discussion on what we are doing in our education and not taking the existing situations, be it in our faculty or in the outside world of the architecture profession, for granted. As these questions cannot be discussed just in images we had two open call for papers in the spring semester and received contributions from actual students and even prospective students. These are included in the BOLD Initiatives part on the flip side. We hope both these parts can inspire you to dive into the ideas created in our faculty, sparking new ideas, provoking different thoughts in your mind and eventually opening up fruitful discussions what contributions studying this creating profession can make, Annual & EXPO Committee 2017/18 ARGUS
MSc 1 & 3/4: Spaces of Accumulation - Genoa
PUBLIC BUILDING
In the course of the past one hundred years, ranging from industrialization to digital culture today, the cycles of construction, destruction and reconstruction of not only buildings and cities, but also memories attached to them have accelerated. In the process, various fragments of culture fall through the cracks and re-emerge in new shape more frequently and in larger scope. We are also faced with the increasing number of disused, forgotten, abandoned and destroyed buildings in large swaths of industrialized nations and their urban landscapes. We inherited the decomposing memories from the erosion of the recent past.
new(er) ‘Silk Roads’ will undoubtedly result in an array of spatial transformations where different regimes of spatial planning, (inter-)continental infrastructural projects, political (dis-)agreements, border tensions, global capitalism, extra-state utopias, will be reformatting the urban landscapes.
Architecture may be considered as a dis/ordered accumulation of materials, programs and intensities. In this regard, PB’s studio ‘Spac¬es of Accumulation’ investigates the paradigms of accumulation and its spatial configurations beyond the implications of capitalism in urban discourse. Focusing on the formal consequences, the studio inquires the city as a catalogue of conflicting spatial programs. It departs from the site as a construct, as we see architectural design as a synthetic act, a projection or speculation rather than a response to a problem to be internalized. Through the lens of accumulation, the students scan the urban complex as cultural and material outlines of future scenarios. Genoa, in this respect, provides a plethora of thresholds, boundaries, and agglomerations. In 2017 Fall the program-site for for the MSc1-studio had the thematic focus ‘memory p(a)laces’. MSc3 students expanded field of research to the city in order to detect, reveal, regenerate, transform, and/or project intensities of various forms of accumulation.
MSc 2: Body, Skin & Image - Milan The studio deals with the concepts, techniques and craft of fashion design and sartorial construction that inform architectonic com¬position both architecture and fashion share. Clothing goes beyond the functional: we try to express our personality and who we may be through clothing. Similarily to architecture. The studio work consists of studying the indexicality of human body and form; the skin as a vital organ that helps protect and regulate the body; and the role of clothing that covers, protects, and embellishes the body. The studio consisted of three phases: (1) preliminary exercises that focus on the use of flat materials for three-dimensional geometries; (2) construction of ‘index models’; (3) schematic design and design development of a city pavilion that can accommodate public events and the Milan Fashion Week, and become a part of a year round accessible park. The pavilion is located in the park adjacent to Via Gaetano de Catillia, next to Bosco Verticale residential towers, and Piazza Gae Aulenti.
MSc 1 & 3/4: Ground, Things & Representation - Strasbourg The Strasbourg studio deals with the city as an intersection of geology, bureaucracy and civic sphere. The territory of the city is considered as a field of contradictory desires and the project is an opportunity to give form to these contradictions. Rather than musing on the significance of the city in general, the studio is interested in the specificity of a particular urban-territorial condition informing design. The studio privileges the section (over the plan) as a tool for both analysis and design. The section is understood as a drawn speculation, a design-tool, and a researchtool. MSc1 work presents media-related buildings on the site of the former fairgrounds in Wacken, as an anti-project to the current CBD. MSc3 work is the groundwork for a design/research project for Strasbourg.
MSc 2: Co-Existence - Gothenburg Sweden has been in the top 10 of happiest countries in the world for many years. Yet, the mega-housing districts outside the main Swedish cities are considered as ‘no-go-areas’, where there are more illegal hand grenades per km2 than in Mexico-City, the unemployment rate is up to 70% and the average level of education is low. Naturally, these socio-economic problems cannot be solved through architecture, but they were at least partly the result of town-planning and its in¬herent anonymous architecture. In this context, how can we develop spatial strategies which are, in the long run, sustainable (econom¬ically, ecologically and socially) and accessible for the wider range of the population? Ringön’s industrial zone is a future redevelopment area of Götenburg, which is planned to become an urban mixed-use district where people dwell, work, recreate, learn, etc. Together with students from Götenburg, Dresden and Krakow, Public Building students took part in a workshop, developing spatial bottom-up strategies for the area with a focus on the term CO-EXISTENCE.
MSc 1 & 3/4: Border Conditions - Yerevan The Yerevan studio has investigated the physical and symbolic transformations of Yerevan, under the influence of political decision processes projected on the city. The studio focused on the specific role architecture plays in the politically laying out, implementing, determining, and thus controlling of the city, and in the resulting processes of spatial ordering the lives of its inhabitants. This emergence of 20
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READING ROOM
RECEPTION
KITCHEN PRIVATE OFFICE
BREAKOUT SPACE
Architecture & Public Building
PRIVATE OFFICE
Roof Level - 56.60
Floor to Floor Height - 5,3
Second Floor Level - 9,03
First Floor Level - 3.73
Ground Level - 0.00
IMF HEADQUARTERS Emilia Gołębiewska Yerevan, Armenia MSc 1 | Boarder Conditions | Marc Schoonderbeek, Oscar Rommens, Sang Lee 26
The project is set in Yerevan, Armenia. Research of the International Monetary Fund has produced a negative image of the institution that has formed the basis of the design. The organisation, which is meant to loan money to countries in need and on the verge of bankrupcy, always imposes restrictions and forces the introduction of neoliberal policies as a requirement before granting a loan. The building is both a response and a critique of the institution. Playing with the ideas of circulation, oppression and surveillance, the deisgn tries to represent the organisation as it really is - unwelcoming, oppressive and alienated. The themes of oppression and alienation are further exemplified in the shape and structure of the plan - a perfect square, completely unrelated to the context. The deep well
immediately surrounding the building creates an anti-pedestal as well as another layer of separation. The circulation route for the public leads on a steep slope around and up the building, towards the upper lobby. This is the only way for the public to access the IMF archive located in the basement of the building. The inside of the building features split floors, which provide opportunity for passive surveillance between the office workers themselves. The overall intention for the building is to create an oppressive and alien presence in the landscape of Yerevan. Unapproachable and cold, the structure is meant to showcase the nature of the IMF. 27
MSc 1: Landmark Studio
COMPLEX PROJECTS
Complex Projects investigates settlements around the world that are ambiguous in their development and embedded in the process of globalisation. Students and teachers are encouraged to look critically at their surroundings; to gather, organise, and question the complex forces that ultimately manifest themselves into our built environment. In Complex Projects we are interested in the study of different urban conditions; core or peripheral, dynamic or stagnant, traditional or without history, anonymous or famous; these are the contemporary postmodern realities we must confront as a profession.
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Engaging with the spatial and institutional framework of Manifesta 12, as well as with the urban, historical, social and cultural structures of Palermo, MSC2 investigated some of the most relevant “gardens” in the city. We embarked into a journey across Palermo and its history looking for institutionalized or spontaneous, accessible or remote, public or secret, “pure or toxic” gardens in the city, seeking for possible narrations and future scenarios.
The fall semester 2017-2018 of the MSC 1 Complex Projects Landmark Studio took us on an investigation of Vienna, Austria. Though known for its Ringstrasse and it’s pastiche of monumental neo-classical architecture, we asked our students to find their own landmarks in the city. In-so-doing, attempting to define what a landmark actually is, whether a rupture in the landscape, an architecturally important building, a structure born out of conflict or a space of personal experience, it was key to discover how context and complex societal forces brought these landmarks to existence.
MSc 3/4: AMS MID City In close collaboration with AMS Institute, TU Delft Chair of Complex Projects is investigating the role and challenges Amsterdam will be facing in the coming decades. The name of the design studio is “AMS MID-City”. We are working on the development of urban scenarios towards 2050 of eight different locations in Amsterdam. The locations have been selected within the structural vision of the City of Amsterdam ‘Koers2025’: Amsterdam Centraal, Amstel, Zuidoost, Sloterdijk, Zaanstad, Oud Zuid, Schiphol and City Islands. In AMS Mid-City Studio, the pivotal questions are: the growth of inhabitants and tourists, the extra demand for new housing, infrastructure, data and energy networks, climate change management, on a time horizon up to 2025 and to 2050?’ ‘How to achieve substantial reductions in district energy use, water use, and transportation emissions?’ Most important: ‘What kind of City do we want? The MSc 3 studio focuses on testing and defining the brief of intelligent urban interventions in Amsterdam, analysing and re-designing selected areas. Research and data collection is developed together with parallel seminars including lecture series and different workshops.
MSc 2: Palermo In the 1875 painting View of Palermo, by Francesco Lojacono, nothing is indigenous. Olive trees came from Asia, aspen from the Middle East, eucalyptus from Australia, prickly pear from Mexico, loquat from Japan. Citrus trees – a symbol of Sicily – were introduced under Arab sovereignty as part of the intensive cultivation of the area around the city, the Conca d’oro. The botanical garden, one of the main venues of M12, was founded in 1779 as a laboratory to nurture, study, test, mix and export foreign species. Manifesta 12 will look at Palermo and the idea of the garden, exploring its capacity to compose life out of movement and migration. In 1999, the French gardener, botanist, entomologist and author Gilles Clement described the world as a “planetary garden”: an enclosed ecosystem on a circumscribed plot – with humanity at large charged with the responsibility of being its gardener. In the 21st century vision, this metaphor of the garden gains fresh importance, not as a space for humans to try to take control, but rather as specific sites where “gardeners” recognize the agency of non-human actors, and respond to climate, time, or an array of social factors, in a shared endeavour of caring. Today, the garden can be seen as a source for new models of tending the commons. Somewhere between grassroots and masterplans, gardens are living laboratories for syncretism where nature and culture collaborate, where different communities participate in forms of politics based on encounter, rather than exclusion and dispute. Gardens allow for crosspollination and ‘impurity’; they are arenas where humans and ecosystems have negotiated coexistence with the unfamiliar and the toxic. Where the “we” has been challenged in the encounter with the “others.” 51
Complex Projects section through the tower and hammam
THE SELF–OBSERVATORY Anna Estee van Oers Amsterdam Zuidoost, Netherlands MSc 3/4 | AMS Mid-City | Luc Willekens, Pierre Jennen 60
Citizens in 2050 will face a scala of mental health problems. Future unemployment caused by automation of jobs will evoke the lack of feeling a purpose or feeling useful for society. This will especially be the case for the lower-educated and less wealthy part of the population. Living in a city that will get denser and denser, the population needs to be presented with an environment that will stimulate them to come up with new strategies to adapt themselves to an exponentially developing society. This has tried to adress these issues by researching the possible positive effects of the environment on mental health. In my opinion, architects and urban planners need to take responsibility in designing restorative and healing environments. This is the case for houses and offices but not any less for public spaces and the overall
urban environment. Especially in an era in which people will have more free time to spend. In stead of spending the largest part of their days in an office, they will spend more time in the public realm. By setting up a basic set of rules based on literature, neuro-scientific and typological research on scale, material, colours and light, architects and urbanist could implement brain restorative environments in the people’s daily life and try to prevent serious stress-related problems. This leads to the ambition of my project: a public space and architecture that provides an optimal, stress reducing environment, to stimulate forming new strategies in able to adapt to a new society.
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Complex Projects
During my research into environmental psychology I distilled architectural elements and typologies that appear to have a restoravite effect on the stressed human brain. Architects would benefit if they would consider nature’s beneficial influence on people’s mental health while making decisions. The fact that both proximity to nature and views on nature can work healing has been proven a lot throughout the last centuries and researches have proved the calming effects of contemplative architecture on mental health. But, maybe more surprising, observing images of contemplative architecture of an aesthetic value like cathedrals and museums has proved to almost have the same effects on the brain as self-directed meditation. To implement the conclusions of my research in my architectural design I used a great deal of the location’s specific characteristics, like the green surroundings, the water and the open character of the Gaasperplas to create a beneficial environment in which a person can wander along a route, hypothetically going from reality (the Zuidoost environment), stepping into a social and extravert environment where anything can happen, to slowly proceeding through more curated and introvert experiences like the chapel, the meditation spaces and the maze. Once in the tower, the spaces flows from a mental health institute, through spaces with each a less literal program to a view point that has only the weather and a view on nature. This journey can be seen as one ascending through the mind - seen from a cultural and scientific perspective - , towards the mind, seen through a perspective focusing, on the senses, nature and isolation. images on the left: a) the chapel (pavilion 2) b) underneath the tower c) plan of the hammam on the right: d) view from the top e&f) along the axis with a view on the tower g) the maze (pavilion 4)
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INTERIORS BUILDINGS CITIES
Interiors Buildings Cities explores architecture across territories that range from the extended interior to the intimate city. Walter Benjamin de-scribed the city as ‘the interior of the collective’ establishing it as a deep and intricate space of threshold, which enfolds both the intimacies of individual experience and the mediating territories of collective public life. We understand architecture as a social, ethical and material practice, addressing both how and why buildings are made and the often complex and ambivalent situations into which they are placed. Working from critical understandings of such existing situations, between inside and outside, our aim is to materialise architecture across scales, from the room to the city. Creating places that embody the concerns of contemporary society and culture in a direct, immediate and inclusive manner and which make them both perceivable and available to the citizen.
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Nature.
We enjoy such continuities and extend them to include both the temporal and the philosophical. Our projects learn from and enjoy the creative richness of architecture’s past whilst being firmly placed within the complexities and opportunities of its present and possible future. We are sceptical of contemporary rhetoric, with its privileging of hermetic formalism and its obsession with invention and authorship. Instead we propose a robust yet responsive and generous architecture that seeks satisfaction in reflecting upon and reinforcing its site, which finds expression through spatial and tectonic means and which enjoys and is enriched by appropriation and adaption, over time. This commitment to an architecture that is both engaged and engaging is fundamental. It defines what we do and how we teach. All projects undertaken within the Chair of Interiors Buildings Cities seek to address this range of scales and issues and to consider the relationships between them.
MSc 2: Thinking Through Making The MSc 2 courses offered by the Chair counterpoint and extend the concerns of its other courses, through their focus on issues of material, making and representation. Critiquing the reductive tendencies of concept driven architecture, Studios investigate the iterative, emergent process of researching, developing and materialising an architectural project and its subsequent translation into the physicality of building. Projects develop through a focused engage-ment with drawing, modeling and making, up to 1:1 scale. These aspects of representation and communication, which often culminate in the curation of material through exhibition or publication, are considered fundamental to the successful out-come of the work, developing both the individual student’s position and that of the Chair as a whole. The 2017/2018 Studio variants were: Birthday Playgrounds, A Festive Pavilion, Festspielhaus and Displaying Architecture.
MSc 1: The House in the City The MSc 1 programme is structured as a series of parallel Studios, run by a dynamic mix of practitioners and academics and collectively concerned with interpretations of a common theme, the House in the City. Understood ambiguously, as in the German Haus, the concerns of the course are not the representative monuments of culture, nor the private houses of individuals. Instead, projects explore those buildings that stand between, housing our collective urban life and oscillating, in our consciousness, between foreground and background. Carefully wrought, spatially rich, generous and adaptable, such buildings have the capacity to evolve over time and to engage in a territory that might encompass both extended domestic and intimate public life. As discrete elements, subservient to a larger whole, they play small but significant roles in structuring urban fabric and defining urban space, simultaneously taking pleasure in the heterogeneity of the contemporary city and bringing it into order. Through individual projects, each Studio addresses how such city houses might be made, experienced and inhabited, in time and space and in response to the particularities of place. Through careful drawing and iterative making, their individual characters emerge in a welcoming interior, through a moment of figuration or in the refinement of a façade. The 2017/2018 Studio variants were: The Bathhouse, The Coffee House, The Venetian Campo, Garden Kitchen Table, Trinity Dublin and Exhibiting
MSc 3/4: The Urban Institution The MSc 3 and MSc 4 Graduation Studios are concerned with ideas of the urban institution, investigating not only particular programmatic and cultural situations, but also the broader responsibilities of the contemporary institution to the city and its citizens and its potential for engagement with them. The very term is a politically and culturally charged one. The course recognizes the ongoing importance of institutions as repositories of expertise and the holders of specific bodies of knowledge, within an era of dissipation and flattening, whilst being cognisant of their historic reputation for overbearing elitism and the part they can play in reinforcing systems of control. Projects critique both the role and purpose of institutions and the architecture that represents them, within contemporary culture and society. Beginning from analysis of historical and contemporary precedents, studios reflect upon how the contemporary institution might take its place within the city. Materialising and embodying an ethical culture of openness and permeability within its public interiors, through its representative forms and in its structuring of urban space. The 2017/2018 Studio variants were: Abbey Roosenberg, House of Music and After the Party. 155
Interiors Buildings Cities
CAMPUS ROOSENBERG Lea Wenzel Waasmunster, Belgium MSc 3/4 | Abbey Roosenberg | Mechthild Stuhlmacher, Mauro Parravicini, Philippe ViĂŠrin 174
After the leaving of last nuns, Roosenberg Abbey was bought by the KU Leuven, with the intention to create an education centre and congresses for architecture, arts and other culture related studies. This requires an addition to the existing structures, as well as possible adjustments to the work of Van der Laan. The design assignment of the graduation studio entails the realisation of a university campus that includes the existing abbey by Van der Laan as well as a new architectural addition on the site. The two parts should form a coherent architectural ensemble, respecting both the heritage and the landscape. A program fulfilling both the wishes of the KU Leuven and the specific spatial demands of the site should be developed. Dom Hans van der Laan created a unity of the site by designing the
whole of the terrain through motion. For my design, I chose to follow the paths and align my proposal to the patch of grass in the forest. I found myself in the midst of 30 meter tall Scottish pine trees. To their vertical movement my buildings add a horizontal one, to not compete but blend in and with a point foundation not harm the roots of the trees. The load-bearing walls are placed inside the building, leaving a facade of thin wooden frames and glass. With the forest as a the closing element, the building stresses the connection between inside and outside.
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Interiors Buildings Cities The observed landscape is an inflection of the eye, a view selected from nature. A point of view favours one place rather than another. Architectural culture is part of this decision - for some it is an act against nature. Nature is not selective. Everything has importance. Details render forth a totality. The landscape has its own rhythm and this rhythm in uences our sense of movement. When only part of this beat is involved in a work, the building lacks precision. Its correct formulation derives from a proper regard for natural movement. This order becomes inhibited when it is restricted to architectural culture alone. My design goes into dialogue with the abbey, with the architectural culture, but with the trees of the forest as well. The abbey is an introverted building on an open field, its inner rhythm enforces this introversion; My proposal sits on a closed field and it opens up to its enclosure, the inner rhythm of my design strengthens the connection to the outside. The load-bearing walls being inside the building leaving a facade of thin wooden frames and glass, the forest is the closing element, so the interior provides for a shot at another view of the trees and with its vaulted ceiling, it puts together different atmospheres. One feels secure and at ease under the vaults that sit on reassuring brick walls. The open sides let you experience the immediacy of the forest: the window frames are slotted into the walls on the side where the working and leisure takes place and on the side of the circulation one sees the continuation of inside and outside through the formulation of porches surrounding the patch of grass that became my courtyard. In that respect, the abbey and the extension are both complexes around a court following their own logic of how to relate to the outside.
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BOLD Initatives | CONTENTS
BOLD INITIATIVES
CALL FOR PAPERS
The boldness of unfolding yourself I Setareh Noorani 6 Bold Initiatives I Stef Dingen 8 This is what happens... I Jack Oliver Petch 10 The Contemporary Gesamtkunstwerk I Jani van Kampen 12 Experimental Barra da Tijuca I Hugo Lopez 14
STCEJORP
BOLD Initatives Each year ARGUS selects a theme to engage with. This year we chose BOLD initiatives. With this we try to investigate and celebrate practices which dare to be different, dare to do different. You need braveness, creativity and imaginative thinking to look beyond what is taught to you in school and take a radically different path. Furthermore, we hope we can inspire students to be bold as well. In the current political climate, we need students who dare to push for change and embrace radical ideas and alternatives to the status quo.� This statement of the ARGUS Board gave the frame for the activities organised this year by ARGUS. They examine the fringes of what public space means, engage in the production of its materiality, discussed the focus on digital media and the role of students in our faculty. Is the path set by the educational institution the only one or are there alternatives, deviations that are equally as valid and appreciable. We thus organised two call for papers in the spring semester. We received writings from current and future students that explore the meaning of this years ARGUS theme: BOLD Initiatives. The contributors pose questions on what boldness could mean: Is it always the loudly contradicting, the radically opposing which is bold? Or is there an inherent boldness in the silent, the inconspicuous? In architecture education do we always have to contradict our tutors, or can boldness also be calm but strong persistency. Is architecture itself, as a discipline, or as objects able to be bold? Or is this only possible for the architect themself? Architecture is a discipline that shapes and influences our surrounding in an extensive way. It changes the ways we perceive, we behave, and interact. Being students of this discipline we believe that it is crucial to be bold, in our professional life, in our studies but also in our daily routines. This potentially to fully live the profession of architecture, that too often claims importance through allegedly improving the conditions in which we live. Be bold! Be brave! Whatever these words mean for our actions, we are sure that they help us to make meaning ful contribution to our surrounding. Annual & EXPO Committee 2017/18 ARGUS 4
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Call for Papers BOLD INITIATIVES
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ARCHITECTURE ANNUAL
ANNUAL ARCHITECTURE