08 B_NIEUWS
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monthly periodical | may 6, 2009
archit€ctur€ and the ¢redit ¢ri$i$
Faculty of Architecture
B_Nieuws 06 | january 07, 2008 | report
Delft21 University of Technology
content
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Complexity, cha
complexity, chaos and the city
Interview Juval Portugali Marcello Soeleman Dino Arcilla
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architecture and the credit crisis
The designer and the crisis
6-7 architects without architecture Franziska Bollerey 8-9 ‘it’s not all black and white’ Interview Winy Maas
Peter Smisek
10 10 ways... ...to beat the credit crunch Daan de Leeuw 11 intro graduation project ‘Sendero de Chile: 8000 km of
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architecture’ Jaap Dawson Arjan van Timmeren
12-13 graduation project ‘Sendero de Chile’ Carlos Castillo Cortes 14-15 BK City Culture festivities at BK City M&C 16-17 beauty and temporality BlackBox pavilion
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Philip Mannaerts Martijn de Geus
18 de rees van team TUna Race of the Classics 2009 Marcello Soeleman
Team TUna
19 forum 21 ‘PhD’s zijn de kroonjuwelen van de universiteit’ PhD-dag van 20 april Joost Panhuysen 22 news 23 behind glass Tineke Kuiper
Juval Portugali
From September 24 to 27 2009, a big conference will attend at the faculty, named ‘Complexity Theory of Cities have Come of Age’. It will reflect on the achievements of the theory thus far and will focus on its potentials for the future; specifically on its application to planning and urban design. At least seventeen contributors to the theory will make their appearance, amongst which are the likes of Herman Haken, Peter Allen, and Mike Batty. Prof. Juval Portugali, professor at the faculty of Humanities of the University of Tel Aviv, Israel, has joined the ranks of our faculty for one academic year to organise this event, and he will also feature as one of the key notes.
colofon B_Nieuws is a monthly periodical of the Faculty of Architecture Faculty of Architecture - BK City Delft University of Technology Julianalaan 134 2628 BL Delft room BG.Oost.050 T 06 34744325 E b_nieuws@bk.tudelft.nl W b-nieuws.bk.tudelft.nl W bnieuws.wordpress.com Editorial Board Dino Arcilla Anne de Haij Daan de Leeuw Ania Molenda Peter Smisek Marcello Soeleman Editorial Advice Marten Dashorst Jeroen Borst Mick de Witte Machiel van Dorst Robert Nottrot Print Druk. Tan Heck, Delft Cover Illustration Ania Molenda
Q: Complexity Theory is one of those topics everyone has heard about, but nobody really knows what it means. So what is complexity theory all about? A: “Complexity theory is a theory which started to be developed in the middle of the sixties. At the beginning it was developed by scientists, physicians, chemists: people like Ilya Prigogine and Herman Haken, who is one of the founding fathers of the theory and also a key note speaker at the conference. What is interesting about the theory is that it shows that order can be created spontaneously.
Contributors M&C, Taeke de Jong, John Heintz Cristina Ampatzidou, Franziska Bollerey, Jaap Dawson, Louche, Arjan van Timmeren, Robert Nottrot, Carlos Castillo Cortes, Philip Mannaerts, Martijn de Geus, Team TUna, Joost Panhuijsen Next deadline Wednesday May 20, 12.00 PM B_Nieuws 09, 2009 Illustrations only in: *.tif- or *.eps format, min. 300 dpi Unsolicited articles can have a maximum of 1000 words; announcements 100 words. The editorial board has the right to shorten articles, or to refuse articles that have an insinuating, accusing or vindicatory character or contain unnecessary coarse language. The editorial board informs the author(s) concerning the reason for its decision, directly after it has been made.
I will give you an example. In most cities you have different neighbourhoods where most of the peo-
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ou don’t need an architect to
ple living there, belong to a certain ethnic group. Chinatown and little Italy in New York are such examples. Now, there is no planner who actually said, “This is going to be Chinatown”. Still we see that this is a very well organised order in this part of New York City. It was created spontaneously, and this is called ‘self-organisation’. Another very famous example is again to be found in New York. In New York, there is this fashion to live in lofts. Now, several years ago, lofts were basically industrial structures. The planners of New York didn’t allow such structures to be used for residential purposes. Yet, the people kept on making these lofts. It took the official planners of New York some 25 years to accept that this development is irreversible. So now they say: “this area is going to be dominated by residential lofts”, after it already had happened! Bottom-up planning is in many cases much more influential, much stronger, than top-down planning. The lofts were designed by ordinary people and only at a later stage architects came and said, “Wow, this is a great idea! Let’s make a house which looks like a loft.” What can be concluded from these examples is this: we have the tendency to assume that if something, like a building, is very well organised, a professional person planned and designed it. Say, an architect. What the theory of self-organisation shows, is that order can emerge spontaneously, in a process that might be called ‘bottom-up planning’. You don’t need a planner or an architect to create order. Order can be created by itself, out of the interaction between many many small parts.
B_Nieuws 08 | may 06, 2009 | interview
This theory of self-organisation originates from physics, where the small parts are atoms or molecules. In cities, the small parts are we, humans. In other words, complexity theory enables us to develop a new view on cities, which tells us that out of the interaction between ordinary people a structured order can emerge. An example of such order is language. Language contains highly structured systems, rules for organization, and yet nobody has planned languages. This order emerged out of the interaction between human beings. The interaction between the smallest parts gives rise to global structures like a language, or a city.” Q: But if order can emerge out of itself, then what is the need for planners? A: “Ah, this is the interesting stuff. The theory implies not that there is no need for planners, but it does imply that planning is a much wider phenomenon than we usually think. You see, usually, we regard city planners, architects and other professionals as the planners, and then there is the rest of society: the inhabitants of the city. From complexity theory follows that every person in a city is a planner at a certain scale. This is because planning is a very basic cognitive capability. The difference between humans and non-humans is the capability to plan, to design, to create. There is a great potential in applying complexity to planning. The question is to see how this could be achieved. This is also one of the subjects of the seminar.” Q: What are the main goals of the seminar? A: “On the first day we will question what has been achieved in the past 25 years and what the
editorial
aos and the City
Crisis?
A bridge between hard science and the humanities – an interview with Juval Portugali
Zou de varkensgriep al hebben toegeslagen? De dag dat ik dit schrijf, de dag voor de dag dat heel Nederland in de naam van Hare Majesteit in dubieuze toestand door de straten van het land zwalkt, is Bouwkunde verlaten. Dat terwijl de redactie van B_Nieuws met man en macht bezig is om het blad dat voor uw ligt op tijd bij de drukker te krijgen. Crisis? Nee, uiteindelijk komt het wel goed.
BY MARCELLO SOELEMAN AND DINO ARCILLA How to study complexity?
An example of a model that is used by complexity theorists is the so called ‘city game’. In this city game, participants are given 1:100 mock-ups of buildings. On a big sheet, minimally structured, they are to place the buildings on the sheet, creating part of a city. Each placement influences the other participants, thereby simulating a complex situation. In this game, the dynamics of self-organisation, the interaction between individuals, thus a dual selforganising system may be studied. In the example given, the city game was played for the ‘Sportpark de Wierden’ extension in Almere Haven. for more information: www.theresponsivecity.org
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Afgelopen weekend was ik in het Ruhrgebied. Een gebied dat in de jaren zestig zijn eigen crisis doormaakte. De vraag naar steenkool nam af en een groot deel van de fabrieken moesten hun deuren sluiten. De industrie is in de loop der jaren vervangen door cultuur en natuur. Deze combineren op unieke wijze met de industriele ruines. Uiteindelijk komt het wel goed. Het was al een tijdje crisis in de wereld. Nu is het nog iets meer crisis door het uitbreken van de varkensgriep. De nieuwspagina’s staan vol met beelden die wij alleen kennen uit horrorfilms. De mondkapjes zijn niet aan te slepen. Het alarmniveau is zojuist verhoogd van fase drie naar fase vier, wat dat ook mag betekenen. Op het moment van schrijven zijn er ongeveer 2000 mensen besmet met het virus. De vraag is of het wel goed komt.
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Ik schrijf dit op de kleurrijke stoelen voor de ingang van de faculteit. In de verte klinkt een brandalarm. Een brandweerauto komt aangesneld. Een brand of een brandoefening? De mensen die vandaag wel
create order.’ potentials are for the future. There is now a wellestablished body of knowledge about complexity of cities, several books have been written about it. So after 2,5 decades of research, it is a good time to stop for a while, and look back on the achievements of the theory. Several leading scientist, like Herman Haken, Michael Batty, Peter Allen and many others, will contribute in this discussion. On the other two days, we want to research the potential of the theory that we (as researchers of the theory) want to see realised. Complexity has a great potential when applied to city planning. We want to expose this potential, because until now, most research went to show how complexity is relevant to the analysis of the dynamics of cities instead of the planning of the city. Now it’s time to start integrating complexity into planning. For this purpose we have invited experts in urban planning and designers like Nikos Salingaros, Stephen Marshall, Gert de Roo and Dirk Sijmons.” Q: Can you give an example of the application of the theory to planning? A: “Take, for example, ‘advocacy planning’ which is popular nowadays as it was some 40 years ago when it was first suggested. The intention behind it is great, but the way it is implemented is, in my personal view, very paternalistic. Planners make a plan, then they present it so that the ‘ordinary’ people can have their say, and in the end they still do whatever they want. The real, bottom-up ideas are not integrated into the planning process. In our application of complexity theory we try to let bottom-up ideas flow more naturally into the
planning process. In Israel we already have tried to introduce such a system, though the planners are very reluctant to accept it, and we also want to implement this principal to Almere. There, they are actually quite enthusiastic about it.” Q: The conference is in the midst of the economic crisis. Do you think that complexity theory can… A: “Save us from the crisis?” Q: Well not save us, but it might provide us with some reflection on how the crisis came about. A: “Absolutely. From the point of complexity and self-organisation, you can say that the crisis almost goes according to the book. The basic idea of complexity is that systems are never in equilibrium. They are far from a state of equilibrium, all the time on the move. Even when you have a period of relative stability, it is not an equilibrium. Instead, it is what is called a ‘dynamic equilibrium’. There is movement, but the movement is stable. If you look at the long-term history of such systems, you will see that there is a pattern. You have relatively long periods of what is called ’steady state’, and then suddenly you have short periods of strong fluctuations, of what is called ‘chaos’. In complexity, chaos means a situation where you know all of the conditions, everything that’s needed to be known, and yet the future is not predictable. If you know all the conditions in a steady state, you’ll be able to predict the future, but in chaos you can still be surprised. We call this ‘deterministic chaos’. This period is in turn followed by another period of
B_Nieuws 08 | may 06, 2009 | interview
aanwezig zijn verzamelen zich buiten het gebouw. Zou het echt zijn? Ik zie Linda de Vos naar binnen snellen. Het zal toch niet? Nee, dat kan niet. Niet weer! Drie brandweermannen verlaten lachend het gebouw. Niets aan de hand. Ik steek de brand in mijn sigaret. Uiteindelijk komt het goed.
steady state, and so on and so forth. Most theories of complexity are trying to theorise about the latter part: the emergence of order out of chaos. The crisis, from the point of view of complexity, is the period of strong fluctuation. In this chaotic period there is a lot of instability, a lot of tension between individuals, but eventually, a stable system will emerge.
In dit nummer van B_Nieuws gaan wij in op de kredietcrisis en het effect op de architectuurwereld.
The current crisis entails an interesting question: ‘how does a stable system suddenly runs into instability?’ I must admit that there are not enough studies on this, most studies concentrate on the other end - how order emerges out of instability. I believe that by studying this crisis we will gather more knowledge of the first part: the emergence of chaos out of order.”
Veel plezier! Daan
Q: In this period of ‘deterministic chaos’, as you name it, there is much debate about the implications of neoliberal ideology, which supposedly caused this crisis, and the very non-neoliberal measures which have been taken. A: “Neoliberalism is based on the assumption that when you let everything go by itself, you will get the best outcome. The crisis shows that this is not always the case. This is the difference between the free market idea and complexity. Neoliberalism suggests that if you let the world just be one big market and if you do not intervene, then the outcome would be ideal. Complexity tells you to be careful. It will be ideal in certain periods, but then it will also lead to strong fluctuations and chaos, which is what we see today. b>
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Neoliberalism has nothing to say about this. Complexity theory acknowledges the possibility that the free market has the potential to lead to chaos. Now, we have to analyse the dynamics of this and think about what to do with it.” Q: In your research, you state that the neoliberal idea, and also many other idea’s, are based on a nationalist level of ideology. A: “If you want to relate this to nationalism: if we look at the political structures of the 20th century, we can roughly describe them in terms of three levels: global, national, and urban. I my book Implicate Relations I suggested that the national level, or nationalism, was the ‘order parameter’ of the 20th century in the sense that most of the political ideaologies, (left, right, middle), and countries (the USA, the USSR for example), accepted the principles of nationalism. One example: how do we call the largest global organisation? United NATIONS. We don’t say ‘world society’ or ‘global society’. Also, when people study urban systems, they usually study systems of cities of national states such as China, England and so on.” Q: Since for the first time in history, more than half of the global population lives in cities, you state that nationalism is being replaced by the uprising of urbanisation.1 How would you relate that to the crisis? A: “The nation state, or the nationalist welfare state, which was the dominant political structure in the 20th century, isn’t as strong as it was in the past. This is very noticeable in Europe, more than in any part of the world. You have the European Union, the introduction of the Euro, the boundaries between countries have changed drastically. In the past to cross a border, you had to wait for two hours. Today you don’t even notice. Another example is the rise of global cities.” Q: Huge cities like Singapore, Sao Paulo, Hong Kong? A: “Not only huge in size, but more importantly, huge in their connections. Some of these cities are economically stronger than the nations within which they are located. We start to get entities, global cities, which are interconnected, that somehow are beyond the nationalist welfare state.
have emerged people start to think: Do they have boundaries? How can we describe their dynamics?” Q: So nationalism-based theories are losing their validity? A: “You have to be careful with this. Generally this is what I imply, but it doesn’t mean that nationalism disappears. It means that it’s becoming less dominant than it was in the past, but there’s still much of it left. I come from Israel, and there it is… too strong. There it’s one of the sources of the conflict.” Q: Does your work still apply in a country like Israel, with its unique urban and political situation? A: “I actually started to study complexity theory and self-organisation when I was working on the Israeli-Palestinian conflict in the mid 80s. I wrote a book called ‘Implicate relations’, which suggests that Israelis and Palestinians form a single system. In the evolution of this system you see also much self-organisation and bottom-up processes, which are being inhibited by the state. Somehow to solve the problem there, you have to find a way to overcome the imperatives of nationalism. So my first encounter with complexity and self-organisation was in relation to this conflict. Only at a later stage I applied this to cities.” Q: So the timing of the conference is almost perfect then? A: “Yes it is, but the conference is not about the economic crisis or nationalism. The focus of the conference is on cities.” Q: Could you tell us more about your work? A: “I specialize specifically in complexity theory of cities. This is one of the domains I’m working in. Another one, which is related, is about spatial cognition, environmental cognition. How do people perceive cities? When you first come to a city, what do you see and what do you remember out of it?
So there you have it. On the one hand we have these big global organisations going beyond the nation, and on the other hand we have these global cities. If you have the three levels (global, national and urban) which I described, and the national level becomes weaker, the other two levels become stronger.” Q: Which is also due to this bottom up planning, self-organisation. A: “Exactly. No one has planned these global cities, but now, they emerge. And only after they
agent interactions during the ‘responsive city game’
Complexity Theories of Cities have come of Age
The conference will be held in the Berlageroom at BK City from September 24 to 27. Three decades of research have established the field of complexity theories of cities as a dominant approach to cities. Now that the field has come of age, it is time to stop for a moment, look back at what has been achieved, with appreciation, but also with sober criticism and then look forward at potentials that have yet to be realized. As for potentials yet to be realized this conference will explore the implications of complexity theories of cities to planning and urban design. The conference is free of charge and open to anyone who is interested. For more information: www.complexitytheoriesofcities.com
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This is called cognitive mapping. Cognitive mapping and complexity theory are very much related, for a very simple reason: when you walk in a city, you do this on a basis of a map of the city which formed in your mind: a cognitive map. Cognitive mapping is a basic ability of all humans, but also of all animals. It is very important for survival. When you live in the forest and you can’t come back to your home, or to your herd, pack or whatever it is called, you’re in big trouble.
A: “There is something, which is called the ‘boundary of self-organisation’. In rigid planned cities like Barcelona and New York, the grid implies a rigid structure. But after the grid has been realised, the planning cannot control how we humans will behave in such cities. For example, some streets in New York have a very specific theme, a certain atmosphere, which was not planned, but self-organised. The 5th avenue wasn’t planned to be the shopping street of New York. As for Barcelona: the two dimensions of the city are very uniform. But the third dimension gives it its specific character.
‘No one plans global cities. They emerge.’ Cognitive maps are constructed in our brain. When you come to a new city, you start walking around. Doing so, whether you are aware of it or not, slowly, you gain a representation of the city in your brain. This is called a cognitive map. We behave in a city according to this cognitive map, and not to a real map of paper. Since the whole idea of urban complexity is very much related to the way humans behave in cities, the question of how we create cognitive maps and how cognitive maps affect our behaviour in cities is very much related to complexity. Cities are complex because we are complex.” Q: Is that why you call the city a ‘dual selforganising system’1? A: “Yes, in this concept I emphasize that human society is different from material ‘societies’ and animals. As I said before, a complex system is made of many many small parts. In the case of the city, the small parts are humans, individuals. But, each individual is itself a complex system. You can say the same about an animal, but animals are far less complex than humans, so you can ignore it. But when you work in a situation in which there is an interaction between individuals, human beings, you cannot ignore it. For example, let’s take the structured order of a city. Our behaviour is influenced by this urban order; we are very sensitive for information that comes from the environment. Using this information, we learn. Learning means that we can change our basic behaviour because we get all kinds of information and stimuli from the environment. This is something which is very specific for humans. We learn much more than any other animal. Other animals can learn too, but not to such an extent. Our whole lives we keep on learning. That is why cities are dual self-organising systems.” Q: How do you study this complex system consisting of complex parts? A: “There are several methodologies on how to do this. The most dominant methodology is to use computerized simulation tools, or models. We use so called ‘Agent Based models’ and ‘Cellular Automata’. They simulate a complex situation, which then illustrates the relations between complexity, cognition and evolution of cites. It sounds very complex, but to translate it into ordinary language: a simulation model is a game. Games are excellent means to study all kind of ideas, which is why kids play a lot of games. They learn a lot by playing games. We adults pretend that we are using simulation models, but we’re really playing games - Ekim Tan (PhD student of dept. Urbanism, TU Delft) is using such a simulation game (the responsive city game) for her PhD.” Q: How does complexity theory relate to cities like Barcelona or New York, which are very strictly planned in a grid?
B_Nieuws 07 | may 06, 2009 | interview
A: Self-organisation will always occur. Cities like New York or Barcelona have only set a boundary, from which self-organisation begins. If you look at other cities like Rio de Janeiro, Caracas, Mumbai or even Dutch new towns like Almere, you see that the boundaries are very different: here also the physical structure was self-organised.” Q: You are working on a book ‘Complexity, cognition and the city’, which will attend to the problem of cognitive maps. A: “It emphasises the cognitive approach to the dynamic behaviour of complex humans in the complex city, which is, in my opinion, lacking in the whole domain of complexity theory. Because as we’ve seen, one of the things that makes cities complex, is we humans. Complexity of cities is very much related to humans. In my opinion, the people who are working on complexity theory of cities didn’t pay enough attention to the details of how humans behave. The book will suggest taking the knowledge in cognitive science and applying it in the domain of cities and complexity.” Q: A bridge between hard science and humanities. A: “This is exactly the right way to say it.” <b
for more information: www.complexitytheoriesofcities.com www.theresponsivecity.org Endnote: (1)The Scope of Artificial Environment, Juval Portugali
archit€ctur€ and the ¢redit ¢ri$i$
The real estate market has been hit hard by the credit crisis. In these difficult times, what is the role of the designer (architect / theorist / urbanist) in the current economic crisis and how should the future role change after the crisis? We asked prof. J. Heintz and prof. Taeke M. de Jong.
column Louche
Prof. John Heintz In a certain sense, the roles of architects and urbanists are the same now as they have been – the production of designs for buildings and urban areas. The building industry is extremely sensitive to economic fluctuations, and any architect or urbanist must expect to live through several phases of boom and bust during their career. The recently ended long boom has been an historical aberration despite the fact that many young professionals have known nothing else. However, many things will change, at least for a time due to the credit crisis. Many projects will stop. Others will be severely reduced in scope and expense. Already real estate developers have let many employees go. Architectural firms will also have to let many people go. Already firms active in international markets such as OMA and EAA have suffered the consequences of the credit crunch – either being forced to reduce their staff or being forced into bankruptcy. Yet times like these offer our professions an important moment to take stock of our work. Boom periods often produce inflated, superficial and unsatisfying architectural and urban design. The emphasis is on bigger, flashier, and faster. Bust periods give us time to consider what the point of architectural and urban design is. What sorts of environments should we be creating for ourselves and for our fellow citizens? Often, architects return to themes such as design and construction quality, and the value they can offer clients through close attention to programmatic fitness. At this moment, such a pause is urgently needed as we muster-evaluate our professions in light of the much more serious environmental crisis looming in the near future. The most important factor governing how we will live for the coming century is not the economy, it is climate change. As architects and urbanists we need to take the pause offered by the current bust to determine how we as professionals will respond to climate change. We need to acquire new skills and new moral attitudes. We need to be able to lead our clients and the general public in developing a new understanding of how we will live together, and how we will organize and accommodate this new life. To do this we will require not only a greatly increased understanding of the ways in which our constructions interact with the natural environment, but also an increased management acumen that will assist us in finding feasible solutions and obtaining the consensus required to see these solutions through to implementation.
criticise what I write below. The question is urgent for many students in funding their study and expecting a rewarding future as a designer. What will be their role? I will restrict myself to the relation between trust and imagination as different views on the future. The economic crisis, as far as I can understand, is a crisis of trust. Banks, expecting a continuing economic growth, have overestimated the creditworthiness of real estate owners. That resulted in a shortage of money to pay back their savers as soon as these wanted their money back. So, savers and other banks losing their trust cancelled their loans resulting in bankruptcy of great banks supposed to be reliable until then. That caused a chain reaction and decreasing prices (deflation) to sell what can be sold as soon as possible to pay debts. However, decreasing prices stimulate potential buyers to postpone their expenditures untill goods and services will be even cheaper. So, governments started to borrow from future generations to buy banks and to create employment initiating public works, or they started to print more money, decreasing the value of that very money. Now, potential buyers will hurry up their expenditures before the value of their money will decrease. They lose their trust in the value of money as sellers do, increasing their prices in turn. That balance of trust can easily increase inflation as we faced in the thirties. Big spenders get rid of the value of their debts, and hard workers lose the value of their savings accusing (or robbing) minorities because of that injustice. Governments try to dim that dissatisfaction showing their (future) gains of public facilities, and that is where imagination comes in. However, Gregory Bracken, achieving his PhD at Thursday the 4th of June this year (9:30 in the Aula), reminds us in his eloquent thesis (preliminary pages 166 and 230): “Jean-Francois Lyotard argued in his ‘La condition postmoderne’ (published in French in 1979, and translated into English in 1984) that the legitimising ‘master narratives’ were in crisis and decline. The two main narratives that Lyotard was attacking were the Marxist notion of utopia, and the triumph of science, which he considered to have lost their credibility since World War II. … Manuel Castells has warned that ‘all Utopias lead to Terror if there is a serious attempt at implementing them.’ “
Toch wel apart. Zoveel mensen en zoveel verschillen. Sommige mensen luisteren muziek, of kijken dagen achter elkaar naar een computerscherm. En ik? Ik kijk graag om me heen. En zie daarmee elke spreekwoordelijke vlieg vliegen. Mijn blikveld is maar heel erg klein, ik kan maar een paar letters tegelijk zien. Daaromheen wordt alles al snel wazig. Toch heb ik al een heleboel gezien en gelezen, allemaal door dat kleine focuspunt, en de periferale waas. Ik ab sorbeer mijn wereld door een paar vier kante millimeters achter op mijn oog bol. Honderduizen den vierkante meters oppervlak is aan mijn lens voorbijgeraasd. Het is ook heel goed mogelijk dat ik je al eens heb gezien, hier op bouwkunde. Het spijt me dat ik je niet heb onthouden. En ik wilde je ook aanspreken, met je praten over dingen die je bezig hielden. Maar we hadden het waarschijnlijk allebei nogal druk, en het zou ook een beetje raar zijn. In een poging om toch eventjes contact met je te maken, hang ik posters op met teksten. Witte posters met grote letters en het liefst geen woord teveel. Dan kun je zelf bepalen of je me leest. (en wanneer het jou uitkomt) Ik ben een a4tje met 4 of 5 woorden. Een gedachte van schrijver naar passant. Een moment van interactie. Woorden met lading of juist geen. Waar heden of bikkelharde leugens. Leuk en grappig of stom en vervelend. Mijn woorden zijn vooral maar woorden. Betekenisloos voor de een, grappig voor een ander, en soms de pijnlijke waarheid voor een individu. Maar mijn recht om te spreken, verplicht jou niet om mij serieus te nemen.
I would like to mention also the ‘utopian’ master narrative of the nazis as an example how an architect (Albert Speer) imagined an ‘utopia’ resulting into dystopia and terror. That utopia was a result of economic crisis and decline combined with a loss of identity by World War I. And, I would like to mention the current crisis in science with its increasing amount of specialisms immune for mutual criticism as they are locked up in small groups (global villages) of specialised professionals and their journals. So, designers, as masters of imagination (masters of hope) have to realise there is no general (utopian) ‘resolution’ to a ‘problem’ to be designed. Anybody has an imagination of her or his probable and desirable future as a basis of motivation, but that imagination should be diversified instead of unified. Unification destroys identity, difference from the rest and continuity in itself. And that is where the task of Art and Design comes in. If there is no identity at the scale of the individual otherwise than the identity of an occasional majority, a homogeneous ‘Brave New World’ will result, a world of boredom and terror, with a great risk to be outdated before realisation. Spatial design diversifies according to managerial, cultural, economic, technical, ecological and spatial local context. And, diversity is the very source of innovation as ecology and the history of natural evolution can teach us. A diversity of designs and locations produces a possibility of choice for future generations. Natural selection will filter out the smaller, lower risk mistakes. However, the difference between Art and Design is the possibility of realisation. Designs should be possible, otherwise they create false hope, promises that can not be fulfilled, destroying the image of designers, reducing them into mere artists. And, to explore the boundaries of possibility is the task of a Technical University. So, the sciences split up in specialisms come back as guards of possibility to be integrated by design. But, their many and often contrary advises should be integrated in design with a critical scientific ability. Banks will ask more elaborated proposals for locally diversifying innovations reducing their risk of finance. That is the challenge of our education. <b
Ik Ik Ik Ik
ben ben ben ben
bouwkunde. een dromer. een beetje anders dan normaal. Louche.
For comments or remarks, please send to b_nieuws@bk.tudelft.nl Voor reacties of suggesties mail naar: louche@mail.org
I believe that busts and booms are an inevitable part of life. I believe that busts offer us important opportunities for reflection. I believe that climate change is a far greater crisis than a temporary credit problem.
Prof. Taeke M. de Jong Design and economic crisis What is the role of the designer (architect / theorist / urbanist) in the current economic crisis and how should/will the future role change after the crisis? That was the interesting question B_Nieuws asked me, and I hope they will also ask others, more qualified in economic affairs than I am, to answer that question in the next issues and to
B_Nieuws 07 | may 06, 2009 | discussion
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Franziska Bollerey writes from a historical perspective about two architects who struggled with an impact of difficult economical conditions on architecture.
rchitects without architecture by Franziska Bollerey
ill.2 Title ‘Earth - a good habitat’ - ‘Die Erde eine gute Wohnung’ by Bruno Taut 1920
This title is the reversal of Bernhard Rudowsky´s pioneering book and exhibition project ‘Architecture without Architects’.More precisely, I should head my text with the caption ‘Architects without commission – sans obligation – senza lavoro – ohne Aufträge’. I will deal here with two architects from completely different periods in time, in which respectively they had no chance to realise their projects.
which we find the famous ‘Hufeisensiedlung’‘Horseshoe-Estate’ (ill.1). Taut can be counted amongst the most extraordinary architectural personalities of the Weimar Republic. On the other hand I have chosen Claude-Nicolas Ledoux (1736-1806), next to Étienne-Louis Boullée and Jean-Jaques Lequeu the most prominent of the so-called ‘Revolutionary Architects’.
My examples for architects in this kind of dilemma are on the one hand Bruno Taut (18881936) who erected quite a number of housing estates in Berlin during the 1920’s, amongst
The first was prevented to do his work because of the inflation following the First World War in Germany, the latter could not do work because he was prosecuted and later under Danton incarcerated during parts of the French Revolution. Both of them however in spite of the economic and psy-
ill.1 Layout plan ‘Hufeisensiedlung’ in Berlin by Bruno Taut 1925/1926
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ill.3, 4, 5 Various titles of Bruno Taut’s editorial activities in between 1919 and 1922
chical duress of their situation in life made use of their respective periods of enforced joblessness by critically reflecting on the nature of their discipline. Freed from daily toil and its restrictions, both of them developed and designed alternative architecture. Based on a critical attitude towards the status quo - the driving force behind every utopian concept they developed their visions. Ledoux undergoes a kind of purifying process after the maxim ‘Liberté, Égalité, Fraternité’. Taut designs his ideal visions, influenced by plebiscitarian ideals and based on a criticism of the city as agglomeration of tenement blocks.
All these activities as well as the exchange of letters initiated by Taut: ‘Die gläserne Kette’ – ‘the Glass Chain’ 1919-1920 (correspondents besides Bruno and Max Taut are Walter Gropius and Hans Scharoun) and the periodical ‘Frühlicht’ – ‘Early Morning Light’ which he edited from 1920 to 1922, are a testimony for a creative productivity that can be developed in a situation ill.10 The ‘Temple of Memory’ d free of the obligations of Bruno Taut a day-to-day following of a profession (ill.3,4,5). It is those expectations, those concepts aimed at In 1923 inflation in Germany reaches its peak. His the sphere behind the daily doable, the socially enpersonal predicament Taut confides to his friend gaged, ethically and morally based concepts that Johannes Jacobus Pieter Oud in October of this give quality to architecture. Speaking of today, the year: “By now, my obligations have come to a recession we no doubt are in, could give everybody complete end. Everybody thinks of nothing but the opportunity for a fresh analysis of values. This his daily bread – what use is there for an architect would be well within the reach of Taut´s utopian and his town extension plans... I feel like ballast concept. In his ‘Auflösung der Städte’ a criticism of in this very leaking ship and plan to go abroad; the tenement-block-city we read: “Let it fall down, each position I would accept, even a subaltern this built nastiness…” (sheet 1) and “Different conone…please think about it, something ought to tents of life generate different ways of life” (sheet be found in the way of town extensions, the field 7) and “Is it possible to design happiness?...!...?” in which I probably have special knowledge, more We all can experience it, we all can build” (sheet than in the field of colour …If van de Velde might 30) (ill.6,7). have use for me in his office? As a substitute, as site-manager etc., like he said he had work to do for Kröller everywhere abroad…, so many Dutch Claude Nicolas Ledoux have worked for Germans, lately Mister Stam for my brother – why should it not also be the other All during the revolutionary years following the way around?” 14th of July 1789 and well into the Empire period, As early as June 1923 he had asked Oud whether Ledoux was virtually without work. His close conhe did not know of anybody who might be will- nections with the courts of Louis XV and Louis XVI ing to buy the thirty original drawings of his ‘Au- as well as with nobility and the finance bourgeoisie flösung der Städte’ – ‘Dissolution of the Cities’ (Thélusson) but above all his erection of the Paris (ill.2), museums he had in mind were the Kröller- buildings for the excise toll made him into a hated, Müller and the Boymans van Beuningen. even endangered architect who was forced into in‘Die Auflösung der Städte oder die Erde eine gute ner emigration. Wohnung’ (or: Earth – a good habitat) of 1920 During his incarceration from November 1793 to was part of a series of Taut´s publications and January 1795 he continued his work, begun in activities (Arbeitsrat für Kunst, Novembergruppe, 1789, on what he called ‘Encyclopaedia or Muse‘Alpine Architectur’ 1918, ‘Stadtkrone’ 1919 and um of Architecture’ (ill.8). Not only can his work be ‘Weltbaumeister’ 1920, that characterise Taut´s compared with the ‘Encyclopédie’ edited by Denis change from fantastic aesthetic to aesthetic social Diderot (1713-1784) and Jean le Rond d´Alembert idealist (Bollerey/Hartmann 1980). (1752-1771), but he aims, following the basic ide- ill.9 The
B_Nieuws 08 | may 06, 2009 | architects without architecture
ill.6, 7 Two sheets out of Taut’s ‘Earth - a good habitat’, opposing built nastiness with sustainable and social urbanism
dedicated to the glory of women from Ledoux’s treatise as of the Enlightenment, at the institutionalisation of the museum as a didactical device. According to this claim, for Ledoux a building is not complete before the inner volume and the outward shape are indivisibly married and give meaning to the whole that then is interpretable as symbol of this meaning. Each design is carefully directed towards its future use. This is true as well for the buildings of the urban infrastructure of his ideal city of Chaux with its market halls or the bathhouse as for the temple designs for a morally and ethically renewed society. His motives and architectural sculptures – the im-
ill.8 Title of Claude-Nicolas Ledoux’s Opus on architecture from 1804
agery of his architecture generally – never is merely decorative, but is always to point to the purpose of a building. His ‘Temple of Peace’, the ‘Pacifère’ (ill.9), shows plates at the outside that announce the principles of a new justice and the maxims of morality. Vertically fixed fasces symbolize unity. Ledoux, in his ‘L´Architecture considérée sous le rapport de l´art, des moeurs et de la legislation’, writes about this temple: “the cubic shape is the symbol for justice, one signifies it as a square base, from which unlawfulness is punished and virtue is rewarded” (p.115). Following the same principles of an ‘architecture parlante’, the ‘Maison d´Union’, a kind of highill.11 The ‘Wood Cutter’s House’ as one example of Ledoux’s ‘architecture parlante’ er educational institution and the ‘Panaréthéon’ that serves the The designs that most impressively use a pictorial tects of their ethical and moral obligations and perfection of virtue are treated. language are the ‘House of a Lockkeeper’ (plate to urge them to realise their socio-political obIn a similar language Ledoux designs the ‘Temple 110) (no doubt Frank Lloyd Wright was inspired to ligations. Both Taut and Ledoux have - as part de la Mémoire’ (ill.10) which on four columns in bas his house ‘Falling Water’) and the ‘Workshop of a of their visionary thought – as well demanded relief shows the heroism of famous and unknown Woodcutter’ (plate 111). They embody as a pictocarefulness concerning nature. In the face of women who are to pass morality on to youth. rial figure the respective profession or production rigorous capitalist exploitation and the increas(ill.11). A vulgarised variant of this ‘aring destruction of our globe we should take their chitecture parlante’ in the 20th centuadmonishment seriously. ry is analysed by Denise Scott Brown and Robert Venturi in their publication <b ‘Learning from Las Vegas’ (1972). Ledoux would have looked at this vulgarisation with amazement. The outer appearance separated from the inner substance would not have suited his claim for architecture to contribute to moral renewal. I have spoken here of expectations that surmount the possible, of an architecture that is not only subordinated to the own reputation of an architect or to financial gain. We have presented two architects, Bruno Taut and Claude-Nicolas Ledoux, who during parts of their professional lifespan were compulsorily jobless. Both used the time thus gained to remind archi-
e ‘Temple of Peace’ from Ledoux’s treatise
B_Nieuws 08 | may 06, 2009 | architects without architecture
Franziska Bollerey is a Professor of History of Townplanning and Architecture at TU Delft and a guest lecturer at the universities of Zurich, Barcelona, Braunschweig. Among her numerous writings one can find such publications as: ‘Myth Metropolis: the city as a motif for Writers, Painters and Film Directors (2006)’, ‘Architekturkonzeptionen des utopischen Sozialisten’ (1990). Her field of scientific interest focuses on History of Urbanism of the 19th and 20th century, especially of great metropolitan cities, utopian concepts, the politics and architecture of the 20ies.
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“It’s not all black Despite the Credit crunch, Professor Winy Maas is a busy man. Within the halfhour that we had, he shared visions and the realities of the Why Factory, the colour scheme of the pyramid in the East Courtyard (Oostserre), the education at Julianalaan and of the economic crisis with respect to education and his office, MVRDV. According to Maas the faculty can emerge stronger, despite the fact that we’ve affectively lost a year and visionaries are needed in increasing demand despite the current crisis. In the words of Prof. Maas: “It’s not all black and white”. Q: We will start with the Oostserre, because MVRDV was involved with some of the designs there. Did the faculty approach your office or vice versa? A: “The first idea was to install the tent camp, a
temporary village or city and then it emerged after four or five days that this building on Julianalaan was available by Fortis. It was a strange combination of things and at that moment the combination of the people who started working was given by that initiative and the past. On one hand, we had Braaksma & Roos who were already working on the building for Fortis, and they knew the building very well, so that was great. There was also Kossman who was already designing the interior of the old building, so he knew its spirit. I was already talking about topping up the tower. Some believe that professors should do something for the faculty, like in Yale, when the people who become professors “get” their own building. I think that should be done more and Wytze Patijn was also thinking about that. So we were involved to think in a conceptual way about this, and then one technician came on board, Mick Eekhout. After that things started to melt a little bit. First we made a collage where we showed how the building could be extended by different structures. Then the practical things and budgets started to appear and the demand started to appear, and someone who very much knew the brief of the faculty, Fokkema (a group of architects) started to contribute and then we started to discuss. This combination of practicality, speed and money and a certain kind of ambition led to the current composition as it is. But it could have been more spectacular…” Q: Yes, we had an article about the South Courtyard some time ago, where Mick Eekhout said that due to time and budgetary constraints, the South Courtyard has become more conventional. Did something similar happen to the East Glasshouse too? A: “We had some ideas that did not go through.
One of them was to solve the car parking-problem, which is insane. We said: “Let’s not build it on the ground, but raise it three meters”. Then we would build a glass house around the whole building, it would be a glass of sea covering this old phoenix. It would present itself to everybody, because it would have a new façade. And that was the ideal. It was too ambitious for that moment, we could not afford the parking garage, so the programme had to be put on the ground and now we have only two big volumes coming, which is fine. The structure of Mick was dictating in a sort of way, it’s his thing. It looks
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B_Nieuws 08 | may 06, 2009 | interview
like a gas station, which I normally don’t like, but it’s modest and it clearly stands for him. He did a good job and he did it very fast. At that moment, one courtyard was taken by him and in the space left, almost from the beginning it was meant to have the Why Factory there. That was the starting point. But what can you do? The budget was not so big, and when you see the collage, you can see we wanted to build an auditorium, that we put outside in front of the building, just a box that was lifted up in form of a stair. That didn’t go through because it was too expensive and the faculty did not need an auditorium. They needed studio space for all the students and teachers and research spaces and a presentation room. That’s what we had on the thirteenth floor. That programme we took, we put it in the serre. Initially it was sketched by Mick Eekhout as just a platform. We said: “Don’t do it”. The glass house in itselft is big, it’s monumental, it’s high, the height is its’ beauty. So what we did: we simply pushed it into one object in a corner. First it was only like a box, but then we said: well, if we only push one wall, 30 degrees, we can use the slope as a tribune for spectacles, for lectures and for collective gathering, basically like a theatre space. So when that was calculated, we initially wanted the tribune made out of flexible boxes, like the Blokkenhal, but that was unaffordable, so it just ended up constructed in a more traditional way. The addition of the sloped wall for the tribune was not that expensive to the original box. So now we have three buildings on top of each other connected by a stair, we’ll get a big screen and theatre lights for presentations. And this Factory can start there.” Q: And where exactly would the Factory be? In the pyramid or all around… A: “The students, the MSc’s and the postgradu-
ates are all around. The tables in the hall are flexible and light: they were designed by Richard Hutten. The tables are also used for cutting on. You can lift them easily and turn them into racks, so there can be spaces for different performances, so that’s one thing that we want to achieve. In the tribune, there will be three levels. One is a presentation room where smaller groups can have a smaller presentation and work. On the first floor there’s a collective office space with a lounge, and on the top is a small meeting room. It’s really like a factory hall. What we hope to do is that DSD and the Why Factory will grow some visible presence. That’s what I like about the building, because it’s so weird, everyone gets visibility. RMit has a giant hall somewhere else and that could be the quality.
1st steps
and white”
Step #7 Becoming Famous or Career begins at 30. Architecture was your dream, your only choice of study and you went all the way with a lot of passion, gazing infinite architecture books and magazines. Historical figures that changed the course of design, contemporary architects pushing to the limits every rule of mechanics and construction. Your fantasy was already going wild thinking of the immense change you could also bring to the architectural world. You are 25, just graduated and starting your first steps. But no one calls for an interview and there is no publishing house that would like to bring to light your research.
An interview with Winy Maas BY PETER SMISEK
We try to encourage that. That’s why we paint it orange as well. We needed an attention-colour that starts to glow a little bit. And because the whole tribune and the floor will be orange as well, the elements of Richard Hutten and Mick Eekhout will be visible as well. Everybody gets his share. Q: As you know, the Street runs just
alongside the edge of the glass house. Would this disturb the Factory, or would you consider it an added social space on the move? A: “It could be nice, I’m not sure yet. We’ll have
to see how it works. But if it doesn’t work, we’ll change it again. The whole building is a laboratory. The street was desired by one of the architects, you could doubt whether it should be so literal. The good thing about the East Courtyard is that it is openable and closeable day and night so that might allow for more possibilities. There’s maybe one more thing to add. We’ll open the East Courtyard and the Why Factory in September/ October with a big event, so that everyone knows about it. That’s what we are staging. Now all the public lecture programs are very invisible at Bouwkunde. There are tons of posters, everyone is organizing something which is great, on the other hand it’s disturbing, because sometimes only twenty or so people come. Normally what you see in other faculties, like Harvard or at the Berlage institute, is that you present that poster, very clearly once per three months and this is then distributed all around the world. I’m pleading for this agenda in order to know what the budget is and so it’s collectively shown in advance, and then we also want every hall, say the Tribune, The Berlage zaal or Zaal A getting its own character. Basically like in a cinema. One cinema is directed towards art films, the other one towards B-movies. So there would be a sort of Tribune programme, or Berlage programme. There would be curators to oversee the activities in these halls. In the Why Factory, the Tribune, I would like to have activities about future cities. So that could be a way to give profiles to these halls and to make it known to the rest of the world.” Q: You teach and run the Why Factory. Is the current economic crisis making its way into the education and does it encourage a different way of thinking, because now people take the reality of the crisis into account? A: “In the short term, the credit crunch effects
the building practice in various ways. Lots of architects are out of jobs, in the coming half-year, the estimates are tough, up to 70%, which can
already be seen in some of the bigger offices that already shrunk by 50%. Many, especially young architects will be out of work. This will mean many things. Education could provide some jobs, but as you know, there are budget cuts in Delft and even in Harvard. Education is always the escape. Twenty years ago in the US, nobody had a job, so they all went to teach. So that’s going to happen. There are other things as well: there will be new researches and new kinds of competition. Now it’s a bit “you get what you can get” and there are discussions whether big visions are needed these days. I think now is the moment to change things and there are actually many possibilities in the market. There’s a lot of demand for visions. When banks and loans are shifted and redirected, the ground positions are changing rapidly. Some plots [of land] were owned by pension funds, so now that the ownership changes there’s a tremendous quest for redesigning those plots. There is an enormous demand for new visionary directions.”
Don’t worry! Just think that Le Corbusier published the book that made him famous “Vers une Architecture” when he was 36 years old. Zaha won her first competition for the Peak leisure Club in Hong Kong, when she was 33 and Rem Koolhaas published “Delirious New York” in the age of 34. It is well known that Le Corbusier was a clock maker, Zaha Hadid was a mathematician and Rem Koolhaas a film maker but this doesn’t change a thing, does it? Aldo Rossi was 36 when he published “L’ architettura della citta” and he was purely an architect. If you are already in your late thirties, or you are afraid that you will reach your late thirties without a dramatic bust, don’t get into panic. It is statistically proven that later in your life you will have a second chance. Brunelleschi had the commission for the Florence Cathedral Dome when he was 42, after a career as a goldsmith. Even Alberti had his first commission, the transformation of the Gothic church of S. Francesco, in Rimini in the age of 48 and his famous “Ten books on Architecture” were written two years later. If this is not satisfying enough then Bramante is the example for you! He started working on the Saint Peter of Rome in 1504, when he was already 60 years old. And imagine that at that time people didn’t have to go through high school!
Q: When the old building was still standing, a year and a half ago, there was another interview with you in B_Nieuws where you envisioned that all the different floors would have their own identity, and would form a sort of a barcode. Now we’re in a different situation, a “ground-scraper” instead of a skyscraper. What metaphor would be appropriate if continuing this vision? A: “BK City is really appropriate, I think. What
I proposed with the barcode was, because the building was so strong, was especially for the masterschool, to have six or seven lunatics possible leaders and faces that could lead the research and the graduation process. They would be there for three to six years and then they would go and new ones would come. They should be strong personalities and this would enable the faculty to compete at an international level. As a student you could learn for six months from a specialist about for example future cities or reinterpretation of old buildings, with Jo Coenen.
These things didn’t happen only during the Renaissance, more recently Gaudi made the Park Guel, between 48 and 60 years old and it was one of his first major works. Mies can der Rohe was 43 when he took the commission for the Barcelona pavilion and a bit older, in his early 50’s, Louis Kahn designed and built the addition to the Yale University Art Gallery in Connecticut. Best of the best, Frank Lloyd Wright, who didn’t have a very promising beginning and after a long career he only built the famous Falling Water in 1936, in the age of 69.
Q: How does the crisis affect MVRDV? A: “For our office it also implies a shift in work.
Buildings have stopped. It depends on the situations in different parts of the world. In Switzerland, for instance the building for the state television is now on hold, they have a policy of cutting the state costs. But elsewhere, the state comes in. We have many more state commissions in France. The French want to invest with budgets up to 50 billion in Grand Paris and in the countryside there are many projects as well. The Netherlands is very slow in that, but that will come as well. You see lots of urbanistic commissions appearing all over Europe, because of the shift in ground positions and the shift in society demands. Thirdly, the new owners want to have a building permit as soon as possible, because after the crisis they can build immediately. So now, a lot of commissions that we do are done up to the building permit and that’s a lot, up to 60% of the project. We do a lot of them in different places. The last effect is that some buildings have been accelerated, because there are still some funds left: The DnB NOR Bank in Oslo – next week we have groundbreaking ceremony. The new house in Suffolk starts now. We have five ground-breaking ceremonies in a few weeks. There are different tendencies. It’s not all black and white. On the other hand, you have to be aware that we are not hiring extra people, we’re working with flexible contracts now, but not as much as in the other offices. In half a year, things can be dramatically changed, you need to be much more flexible and that certainly has an effect on our staff and policy.”
B_Nieuws 08 | may 06, 2009 | interview
Together with the post-graduates, these departments would produce books. They would make it public, and it is a pity that this public appeal is lacking a bit. Every unit would take one subject for a while, bring it to publication and this would lead to a certain depth, it should not be shallow like many researches are when the money is not concentrated. In a tower, we could do this floor by floor. We could start to discuss which research makes sense so that we could avoid doubles with Zurich or Stockholm. But you need strong people for that. And there are so many beautiful lunatics in the world who could practice this hyper-ultraprofessorship with sufficient staff, students, finance and Phd people. That was the dream. That could be done in BK City as well.”
Obviously in architecture, age is not the factor that will define your popularity. Don’t get desperate from the beginning! Architecture is about always being young and constantly starting! Cristina Ampatzidou
Cristina is a former student of Bouwkunde and former editor of B_Nieuws
Q: The night they announced the winners of the Building for Bouwkunde competition, Jorg den Hollander joked: “This is only an idea competition; the real thing will be designed by MVRDV.” Is there something we should know? A: “I didn’t know. But we should start discussing
whether we leave this place. It’s close to the city, the building is essentially non-architecture and staying could be a great way to reinterpret the current building. Give twenty architects the opportunity to add boxes, for example. There are reasons to stay before you start thinking about the other place again. That will be the discussion of the coming months when Wytze Patijn comes back.” <b
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10 WAYS to beat the credit crunch BY DAAN DE LEEUW
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Freeze leftover red wine. Put the remaining half-glass in an ice tray - the cubes can be added easily to sauces, and will save opening a bottle for cooking.
5 3
1
Use libraries. Make use of your local library and save a small fortune. Most libraries now stock a good range of magazines, CDs and DVDs as well as books.
4
6
Wear your underpants a bit longer. Two weeks or so…
Rediscover camping. Hiring a pitch on a campsite can cost as little as 7 euro’s a night - and the children will love it even if you don’t.
Throw a party. Invite all your friends and ask them to pay at the end.
Don’t spend hundreds of Euro’s on shoes or bags. Hire instead via leaseyourbag.com. An iconic Louis Vuitton bag as sported by Noami Campbell can be yours for 70 Euro’s a month; ideal if you have a special occasion to go to.
Ideas used for this collage were used from various UK newspapers, such as The Guardian, The Telegraph and The News & Star. Images mainly from google and flickr.
Streets of BK City -
Did the credit crunch affect your future plans or ways
BY PETER SMISEK
No. I haven’t noticed it at all. Neither do I have any feelings of insecurity. I don’t think about it that much. I don’t worry about it. In this school, studying here and graduating provides enough security for finding any job. Maybe other people in different disciplines experience it more, but not me, I laugh about it.
No, I will be going to Norway for a year. In Norway, unlike in the Netherlands, they do not have this problem. I’ve done enough of studying, so when I come back from Norway, I’ll try to find a job right away. But that’s a long way away. But in Norway, they’re still happy about new people, so who knows?
Because of the credit Crisis, we’ll have to build more sustainably. We should have always done that, it’s a responsibility toward ourselves, but now, we’re actually forced into being better people. I think that developers will prefer sustainability, because in the long term it’s better than building quickly and cheaply. Sustainability is a better concept. I think young people will get chances. Our generation is raised in the sustainability-spirit and we’re good in coming up with solutions.
Bart Lentze, MSc1 Interior
Lisetta van der Weede, Service Point EWI
Govert ten Katen, BSc 4
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It did affect me in a way that I always thought that when my enterprise would not grow in the way I hoped, I could always re-orient myself on the Design management. But the crisis seems to affect that sector as well, which means that my options are now more limited. So I have to think about this more and keep more options open. I think that everyone who experiences a crisis for the first time does as the others do. They say that the crisis could be over in two years, but I really do not know.
I’m not very concerned about the credit crisis. I’m having a slow, secure study. My future plans are not really influenced. I’m hoping that within time the situation will change for the better, as I have one and a half year to go. The crisis does immediately affect your thinking during designing. I think that some things might not really be useful, for example. I was at first sceptical about sustainability, but the crisis kind of helped to push me in that direction.
I’m doing Master’s in Real Estate and Housing, and you see that many developers are going bust, or not taking any new people. So it does affect me. Probably like architects, managers could also be soon out of work. I’ll graduate next year and I’ll focus less on project development and more on strategy and planning, where the crisis is felt less. But it will be more difficult everywhere.
Rocco Reukema, guest teacher Architecture
Sabina Tanovic, MSc 2 Architecture
Marit van Rheenen, MSc 3 RE&H, bestuur BOSS
B_Nieuws 08 | may 06, 2009 | streets of BK City
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Grow your own. Find a corner of a garden to sow a rich variety of salad leaves, which grow like weeds.
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Start complaining. Don’t waste your hard-earned money by not complaining. If you have purchased something that is unsatisfactory, don’t be afraid to take it back and ask for a refund.
coffee?
7 of thinking?
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Invite your closest competitor for coffee. It’s time to talk: your competitor might be your best future partner.
Stop smoking. You could save thousands a year. With most cigarette brands selling in excess of 4 euro’s for a packet of 20 that’s more than 30 euro’s a week for a 20-a-day habit.
Introduction to the graduation project BY ARJAN VAN TIMMEREN & JAAP DAWSON
PROJECT SENDERO DE CHILE Carlos Castillo Cortes Sendero de Chile: 8000 km of architecture
tutors Arjan van Timmeren Jaap Dawson Guus Westgeest Explorelab IV Go to the next page to see the project. The credit crisis did not influence my plans yet. I think the real impact of the credit crisis will be visible in the next few months. I think I could answer your question after the summer, but I’m not expecting a direct effect. At least not with me. I think there’s a definite association between the crisis and sustainability, but whether the outcome will be ideal is not certain. The topic of sustainability is quite commercial, but I could not predict anything.
A sendero is a path. The Sendero de Chile is a path which runs for thousands of kilometres, connecting the north of the country with the south. But what connects the relatively populated west with the remote, rural east on the other side of the mountains? The architect designed a meeting point to be built at various crossroads along the Sendero. The meeting point is no literal point; the meeting point is virtually a village. It is a place where people come together, where they encounter each other, where they exchange goods, share stories and meals, and literally forge paths that open up previously remote areas. The experiences which the design makes possible are the experiences which generated the design. The people who meet each other at the crossroads are the people who build the village. They use indigenous materials: adobe, cane, concrete, stones. They employ building techniques they are already familiar with. They form spaces that respond to the scale of the human body, that protect the body from searing sun, that are related to each other in clear and clearly familiar ways. The design shows us a single, prototypical crossroads village. Settlements at other points along the Sendero would be built along similar lines, but
Sien van Dam, professor Public Building
B_Nieuws 08 | may 06, 2009 | introduction to the graduation project
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they would surely not be carbon copies of each other. The key point is the source of the design, the generator of the forms and spaces, the embodiment of the encounter. The generator of the design strikes us as nothing less than a rediscovery of the elements of architecture. The architect is not concerned with perpetuating a fleeting trend. The architect does not worship the putative spirit of any particular age. The architect does not begin with a concept in the sense of a mould that will determine his design beforehand. Instead, the architect works and plays and looks and listens as a servant of all the aspects embodied in the encounter: the encounter of people with the land, of people with building materials, of people with each other, of people with the task of creating a settlement as though it were the first settlement in history. The result is not only an appealing and credible village along a path: it is a path itself. The design serves as a path for architects to rediscover the generative building blocks of their craft. The path does more than open up remote areas of Chile: the path unlocks a wealth of knowledge available to architects who want to learn how to build sustainable buildings and towns that are enduringly meaningful. <b
Foto Erik Heuver
Sendero de Chile: 8000Km of Architect Author: Carlos Castillo Cortes / studio Explorelab [IV] / Tutors: Arjan van Timmeren-Jaap Dawson-Guus Westgeest
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B_Nieuws 08 | may 06, 2009 | graduation project
Sendero de Chile
Sendero de Chile Menhir as Door
basic network
Menhir as Window
Menhir as Door
Introduction
The project called ‘Sendero de Chile’ is a multidisciplinary initiative to interconnect the country of Chile through a path of more than 8000 kilometres long. The path is accessible by foot, horse or bike and it allows the passenger to explore the Chilean territory from Visviri in the north, to Cape Horn in the deep south. The ‘Sendero de Chile’ tries to promote the appreciation of natural and cultural heritage of Chile. The initiative has several objectives: • • •
to search for both the surrounding communities as well as other stakeholders being involved in fair trade, to encourage sustainable tourism to protect nature along the ‘Sendero’.
The ‘Sendero’ depends on the people who travel along it. If no one takes it, the path will disappear into nature. The project ‘Sendero de Chile’ is not simply an attempt to reconstruct an old path lost in the Andes: it is a means to create sustainable development in the Andean mountain range.
A network of Menhirs along the ‘Sendero’, highlighting key places (Menhirs) along the trail, generates ‘Sendero de Chile’as a unity instead of merely a sum of roads. Also the Menhirs serve as places with more extensive use, where passing by is transformed into other actions: meeting points.
“The act of crossing space stems from the natural necessity to move to find the food and information required for survival. But once these basic needs have been satisfied, walking takes on a symbolic from that has enabled man to dwell in the world”(2)
Different types of Menhirs
Menhir - network
Building a Menhir is one of the first actions in which a human being transforms the landscape. A simple stone that is rotated ninety degrees creates a new presence which stops time and space. It creates a new relationship with the surrounding landscape. It is possible that these Menhirs had more than one function. They were linked to the cult of fertility and mother earth. Also the sun could point out places where a hero had died, or where a spring of water could be found, or where a border of a certain territory was. It is important not to regards the Menhir as a mere thing, but to notice the relationships it builds with the surrounding territory. It is difficult to imagine that ancient travelers crossed entire continents without the help of maps, street signs or indications. “It is very probable that the Menhirs functioned as a system of territorial orientation [network], easily deciphered by those who understood its language: a sort of guide sculpted in the landscape, leading the traveler to his destination from one signal to another along the intercontinental routes.”(2)
ture
Menhir as ‘door’
The ‘doors’ are the essential places: where people meet with other people, where people enter or leave the ‘Sendero’; where people start or end their journey. This type of Menhir is found at points where the ‘Sendero de Chile’ crosses a village, with the intention to bring (inter)national tourists and local inhabitants together in order to share their experiences of what they have learned and seen and to exchange travel recommendations.Also the place will encourage the encounter between local inhabitants, to celebrate together their festivities, to produce their crafts and products and thus to reinforce their own community.
Menhir as ‘window’
The ‘windows’ are more intimate meeting places than the doors. They promote the encounter of people with nature. People recognize these places because of their particular physical characteristics. These intimate meeting places can be found in between two ‘doors’. The number of windows varies depending of the territory the ‘Sendero’ is crossing. People can spend the night or simply recognize where they are.
Materialisation
Both types of Menhirs are materialized according to the local tradition of construction. Because Chile consists of many territories with different geographical conditions, different types of materials and techniques can be used in order to construct Menhirs. The most important thing is to recover the identity of the materials which the local people use. It is necessary to take into an account that Chile lies in an area where earthquakes occur. Every type of material must ensure the required seismic resistance.
Location: Samo Alto – Chile The final project in Explorelab consisted of developing a Menhir – ‘door’. The location is situated on the intersection of the ‘Sendero de Chile’, and a community called Samo Alto. The community is part of the Coquimbo region whose surrounding landscape is in a constant battle against the upcoming desert of Atacama. This is one of the reasons that this area has a high level of poverty and migration to cities, such as Ovalle and La Serena. Because of the migration, young people lose the connection with their former communities and therefore lose interest in developing them and maintaining the local tradition and its identity. The architectural programme consists of: • • • • •
(1)&(2) Francesco Careri;(2002,2003); Walkscapes: Walking as an aesthetic practice; Editorial Gustavo Gil, Barcelona
B_Nieuws 08 | may 06, 2009 | graduation project
a community center; several meeting rooms, studios and multifunctional spaces; a restaurant and kitchen; a shop, where they sell local products, provide excursions and tourist information; a small hotel containing 10 rooms.
In each of these enclosures, the Menhir organizes the spaces. It organizes the space horizontally when people congregate around it. It organizes the space vertically by piercing the roof and allowing light to penetrate the space where people encounter each other. The spaces which the Menhirs generate reach out beyond their boundaries to form clearly defined places along the ‘Sendero’. The region has a long tradition of building with stones and adobe. Due to recurring earthquakes, however, people began to distrust their building tradition. They started to use concrete and brick. This project presents the technique of rammed stabilized earth and the use of river stones in combination with a concrete framework.
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BK City Culture a week of exciting activities for Architecture BY M&C
From 7 to 15 May, the Faculty of Architecture will be buzzing with activity. Indesem, Capita Selecta and Stylos have been hard at work organizing a variety of lectures and workshops for that week, some of which are open to the public and some of which are invitation-only. On the 13th of May the Faculty of Architecture proudly presents: ‘BK City: the making of the future’. During this day designers, professors and developers will present the results of a remarkable and intensive year. They will show the unique process that started a year ago after the fire and resulted in a completely renovated building. The future of the Faculty will also be discussed with reference to the outcome of the Ideas competition ‘Building for Bouwkunde’ and the Think Tank.
Indesem ’09 – Point of View International Design Seminar 07 – 15 May 2009
Due to all design competitions and technological developments, architects have become more and more obsessed with the image. This undermines the way we judge architecture, as architecture becomes a part of media. Creating highly finished images seems to have become the goal rather than the means, and designing for the users seems to be pushed into the background. But should architecture not be designed, proceeding from the experience it creates for its users? With indesem ‘09 we want to bring back the user as a key figure in the design process. We will look beyond the borders of the conceptual design in our profession, and see how other disciplines - such as art, psychology and literature - deal with the human perception. By searching for new design methods with the main focus on multi-sensory perception, Indesem ‘09 will create awareness on the role of the user’s experience of architecture.
CAPITA SELECTA: ARCHITECTURE AS A CRAFT BY CRISPIJN VAN SAS
Various days from 13 May – 6 July 2009, 17:30 – 20:00 Location: Faulty of Archiecture, Room A
The symposium ‘Architecture as a Craft’ is held in order to raise a discussion about the present Architecture, the architectural discipline and architectural designing. In the 20th century the design process has become more complex than ever before: changing cultures of initiative, altering conditions and modes of production (sustainable methods, changing role of the architect in the building process e.g.), shifting situations of use and the introduction of new techniques like Computer Aided Design.
International Design Seminar, shortly indesem, is held every two years at the faculty of Architecture of the TU Delft, the Netherlands. It consists of a workshop, during a week for national and international students, combined with lectures, excursions, exhibitions, debates, documentaries and more. Since its founding in 1962, indesem has had the honor of hosting internationally acclaimed architects and theorists, such as Aldo van Eijck, Adriaan Geuze, Jean Nouvel, Rem Koolhaas, Michael Speaks and Ben van Berkel. In the past, Indesem was supervised by Wiek Röling, Herman Hertzberger and Winy Maas. In the coming edition Indesem will combine forces with Michiel Riedijk.
This symposium will investigate how these changing cultural conditions result in new roles for the architect, but also require new strategies, methods and approaches of analysis, design and collaboration. It will explore the new challenges that the architectural profession faces. Which instruments have architects developed, or can they develop, to confront these changing parameters? Which strategies can be used to guarantee architectural and spatial quality in the face of rapidly changing production methods? What is the role of the architect in new production processes in which a broad variety of experts engage in the creation of the architectural project?
Every edition students from all over the world will tackle the important current issues that have influence on our profession. The fundamental idea of the seminar is to create an environment where students and professionals can debate about the position of an architect. The outcome can contribute to the current architectural discussion. <b
Architecture, the architectural discipline and architectural designing can be understood from three different poles: the position of the architect and the composition and the materialization of the design. The architectural design is the synthesis of these three poles. The position of the architect is self-evidently the result or reflection of the specific working and production relationships within which he or she is prepared to operate. The second pole is composition, which can be done by drawing. The architect begins by making a drawing. The drawing is a composition of architectural elements. The composition is part of the expression of the architectural idea and is relatively independent of the chosen social position or the materialization of the design. The third topic is materialization. In our profession, thinking about materiality is often determined by technical issues that directly affect the nature and quality of the design. The skills the architect needs in order to organize the material in a drawing have to do with things like gravity, the thickness and weight of the material, the dimensions of the grid, patterns, texture, the length of the span or the chosen construction method. The organization of the materiality of the design calls for a systematization of designing and the design process.
More information about the seminar: www.indesem.nl
In order to relate to the different aspects of the theme and the three poles, each lecture will focus on a specific topic from a practical and theoretical point of view. The topics which will be discussed
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focussing on the different aspects within the architecture practise. Tools in architecture, the topic of the first lecture deals with the influence of technological developments that has had a major impact on the design process of architecture for the last twenty years. The architect of today has to reappraise the older techniques and find a new balance between modern and traditional design tools. Another aspect is the drawing. The drawing is the most direct way of developing an architectural idea. On the other hand the drawing can serve as a tool to precisely communicate detailed information to a contractor. Architects and theoreticians have to redefine the function of the drawing in contemporary architecture in order to know how to give expression to this constant change. A third tool which will be discussed is the use of obstructions in order to increase the creative mind. Obstructions have been recognized as a critical instrument in a wide range of artistic productions. This act of impending certain aspects in order to challenge the design process can be found on different levels in the architectural practice, but still remain unused. Can obstructions be seen as qualities, as a limit that creates a challenge? Multiple disciplines, the topic of lecture four, have become the hallmark of modern technical profession. With the emergence of new needs and possibilities, multiple disciplines create an understanding of the subject by attacking it from various angles and methods. Materialization in architecture, the final lecture, is focusing on a process of consideration. Materiality can be seen as the veneer for the borders of space, but at the same time as something related to more societal matters. How can the emphasis on certain aspects of materialization intensify the experience or conceptual ideal behind a building? Each of these lectures will first be introduced before the invited lecturers will present their position. To conclude the different statements a debate will be held between the moderator, the lecturers and the audience. The debate has a central role, because the series will result in an international publication, which will be published in February 2010. <b More information about the lecture serie: www.architecturecraft.bk.tudelft.nl
Stylos lunch lecture with Gerard Loozekoot 14 May 2009, 12:45 – 13:45 Location: Faculty of Architecture, Room A
14 May 2009, 08:45 – 18:00 Location: Faculty of Architecture, Berlagezaal
On 14 May, Stylos organizes a lunch lecture by Gerard Loozekoot. In Room A Gerard Loozekoot of UN Studio (Amsterdam) will expose the processes and projects of UN Studio. Gerard Loozekoot graduated from the TU Delft and supervised numerous projects like the theatre in Lelystad. <b
Workshop & Evening Lecture High Rise 13 May 2009, 19:00 – 21:45 Location: Faculty of Architecture, Room B
The workshop ‘High Rise’ is now in its 18th edition, having started in 1991. In this workshop and evening lecture that are being held in the context of BK City Culture on 13 May 2008, students are dealing with all aspects that need to be included in the design of a high rise building: architecture, structural design, facade design, building services and the building management. Due to this encompassing approach, the workshop is organised and executed by the Faculty of Architecture and the Faculty of Civil Engineering and Geosciences – both at the TU Delft.
During the workshop three special guests are invited to give their vision on the students design. During the evening lecture at 13 May these three guests explain their own projects in greater detail. The guests are Tony Kettle, architect from RMJM, who worked together with the artist Karen Forbes, the second special guest, on the Gazprom’s new headquarters in St. Petersburg and the Moscow City Palace Tower. The third guest, Dennis Snijders, works for Corsmit Raadgevend Ingenieurs and cooperated as a structural engineer in the projects De Rotterdam (OMA) and New Babylon in Den Haag (Meyer en van Schooten). <b
BK City: the making of the future 13 May 2009 8:15 – 17:00 Location: Faculty of Architecture, rooms vary It has been a turbulent year for our faculty. A year that was all about the rebuilding of the Faculty; a process that was realised with the utmost exertion from many domestic and external parties. Rebuilding meant searching for an alternative accommodation. On the 13th of May designers, professors and subcontractors will present this unique process that started a year ago and resulted in the building we currently work in.
The Future Envelope 3 Facades – The Making Of Just like a fine musical instrument is attuned with the entire orchestra, the performance of the future façade will be tuned in accordance with the entire building. Today’s facades are complex systems. A multitude of people are involved in the very early planning phase, and facades can no longer be considered truly functional without a valid climate concept. But what does that mean in practice? Can conventional methods of execution still be applied? Can the façade be compared with other disciplines, and can we learn from those? How will we design and build facades in the future? Following the successful conferences in 2007 and 2008, The Future Envelope 3 in 2009 will discuss ‘The Making Of’. Specialists from architecture, engineering, research and the industry will speak about their experiences and visions about the future façade. Subjects are: architecture, engineering, building construction and façade industry. <b
Please find the whole programme of BK City Culture on the website: www.bk.tudelft.nl/13may.
The result of the unique design and building process will be elaborated in different presentations. Different designers will present this day, like: Fokkema Architecten, Braaksma & Roos, Kossman.deJong, MVRDV, Richard Hutten studio, Octatube, ABT, Vitra, 2012 Architecten, Facility Management & Real Estate, GTI en de Vest. <b
Registration for each part of the programme is necessary, so please submit through the registration form on the website www.bk.tudelft.nl/13may.
B_Nieuws 08 | may 06, 2009 | BK City culture
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column
Beauty and temp BlackBox Pavilion
De beste docent Zondagochtend wordt alle lectuur van de afgelopen week eindelijk gelezen. Tussen de dikke stapel is ook Delta nummer 14 verdwaald. Mijn vrouw had deze in de bus van een stoel gegraaid in de veronderstelling dat het de Metro was. Op pagina 5 trof zij een artikel dat zij voor mij wilde bewaren. Ik ben docent en de kop Studenten kiezen ‘Beste docent van de TU Delft’ bracht haar op dit idee. Me bewust van mijn dagelijkse inspanning om studenten behulpzaam te zijn in hun strijd om boven de materie te geraken en met de tekst van mijn vorige column (titel: Docent) voor het B_Nieuws nog vers in het geheugen begin ik gretig te lezen: “Iedere faculteit kiest haar ideale docent. Deze acht facultaire winnaars strijden uiteindelijk voor een strenge jury om de eretitel. Rector (…) en (…) directeur onderwijs- en studentenzaken, bedachten de verkiezing om meer aandacht aan goed onderwijs te geven. (…) de twaalf studieverenigingen kiezen de beste docent. “De studenten zijn de consumenten van het onderwijs. Zij kunnen het beste bepalen wie de beste docent is”, zegt de rector. (…) “Ik let er vooral op of een docent spraakmakend, enthousiasmerend en geïnspireerd is”, zegt Fokkema. “Een docent moet studenten kunnen boeien en (…) kennis goed en efficiënt overbrengen op studenten. (…) Volgens mij zijn die criteria erg logisch, want als je die kwaliteiten niet bezit kun je geen beste docent worden.” Volgens het artikel wordt na praktijkbezoek een voorstel aan het college van bestuur (CvB) voorgelegd en krijgt de winnaar na goedkeuring van het CvB de eretitel tijdens de Dies uitgereikt. “Dat geeft aan dat we het een prestigieuze prijs vinden”, aldus de rector. De winnaar krijgt tien duizend euro: vijf duizend voor onderwijsverbeteringen; vijf duizend als een persoonlijke prijs. Vol onbegrip leg ik de Delta naast mij neer. Gaan we het onderwijs stimuleren door één beste docent te kiezen en daarmee alle andere docenten te schofferen? Studieverenigingen gaan dit oordeel vellen? Een vergelijking met de Postcodeloterij dringt zich op: de straat wint een prijs, maar jij hebt geen lot gekocht; dat is min of meer evenredig met docent zijn, maar toevallig niet van studenten uit een studievereniging die mogen nomineren. Of een vergelijking met Miss Universe verkiezingen: is de mooiste vrouw ook jouw mooiste vrouw? Tot mijn spijt is de column te kort om alle vragen die bij mij opkomen uit te schrijven. Een greep. Wat is een ideale docent? De stellige, alleswetende, confronterende docent of de socratische docent, die de student leert dat door twijfel en vragen de oplossing gezocht moet worden? Is een docent die alleen assisteert en geen colleges geeft, en dus minder studenten bereikt, een minder goede docent? Is ‘spraakmakend’ wel een criterium? Is doceren slechts het efficiënt communiceren van kennis? Als je de kwaliteiten bezit die de rector omschrijft, word je dan ‘de beste docent’? Er kan er toch maar één de beste zijn? Hoeft een student onderwijs slechts te consumeren? Brengt de beste docent de makkelijkst te consumeren kennis? En tot slot: moeten we tot de Dies in januari 2010 wachten alvorens er vijfduizend euro extra kan worden besteed aan onderwijsverbeteringen? En dat toevallig op de faculteit die de beste docent levert?
It has been almost three years ago since construction of the third Stylos pavilion started in front of our former faculty building. But the BlackBox is still awaiting its completion, although it is currently being published in several architecture magazines around the world. Despite recent efforts to bring it back to life and find new users to occupy it, the TU Delft Real Estate (FMVG) gave up on completing the building. The design was meant to be temporary, but also able to meet different adaptations during its use. As the designers we feel that, in spite of all its potential, the building never had the chance to prove them in the first place.
Preface Where the Faculty of Architecture used to stand, there is only emptiness now. Excavators have completely cleared the site and erased every physical proof of the familiar ‘van den Broek en Bakema’ Bouwkunde building. In the meantime, the completion of the Mekelpark is at hand. The part of the park that is situated in front of the former Faculty of Architecture, the ‘Bouwkunde plein’ has been completed several months ago. In the middle, a cube-shaped building stands out against the surrounding void. It gives a finished impression on one hand, but the lack of activity suggests something else. Approaching the building, other facts catch the eye. Withered plants are stuck into a layer of fabric that is attached to the façade. Trying to peep through the fouled windows, we catch glimpses of an unfinished interior, filled with building materials, patiently waiting for their definitive positioning. The building seems to be completely forgotten. Are there any intentions for using it within the near future? Is there anyone still looking after it? What was meant to be a pavilion for study association Stylos, has currently obtained an unknown future.
Years history The initiation for the construction of the third Stylos pavilion came with the process of a two-stage design competition, on which only TUD architecture students could participate. The assignment was to provide an accommodation for several activities for Stylos. The building was not only to be designed, but also to be built and managed by students. For the realisation of the project, there was no budget available. It had to be completely financed by sponsoring. Our design, ‘Black Box’ was declared the winning project, out of 65 entries, in March 2006. It was appreciated by the jury as a clear proposal, with strong conceptual foundation and practical design implementation. After the selection, we were quite surprised that our main task during the further
design elaboration towards the final design and construction was to convince the Stylos board of that time, of the quality of our BlackBox-proposal. Our impression was that not everyone liked the design. Opinions differed strongly, and it raised a lot of discussion. But with a lot of effort, we came to a final design agreement with Stylos, so that we could start building in September 2006. The building process was an interesting challenge for a team of more than 40 students, with the assistance of several teachers. The process raised a lot of questions while we were preparing every façade element horizontally on the building site which took over two months, but it called for admiration and respect when we managed to erect the building in less than one week! As time passed, the progress declined. We suffered from shortage of students/builders and of financial problems. Still we were able to finish the outside shell of the building before the end of June 2007, which was interpreted as an occasion for a pre-opening. After this successful opening event, things only became worse. A second volume inside the building could be constructed, because the timber was already present. But because only a few students were participating on the construction, there was almost no progress. In the meantime, all the money was consumed. It was decided to put a stop on the building activities and first search for new sponsors and investors. That was around the time our former faculty building burned down. The still unfinished pavilion lost it’s future function, as Stylos did no longer see the benefits in using it anymore, because of the distance between the pavilion and the new faculty residence.
Current developments Surprisingly fast, we noticed new interest coming from Osiris, a TUD student organisation with a common concern in sustainability. On a search
for a place of gathering, they saw the ‘BlackBox’ as their future home ground. The current Stylos board was eager to hand over ownership and responsibilities and cleared the way for Osiris, by handing it over to FMVG (the TU Delft Real Estate). But going through the possibilities to equip the BlackBox with Osiris for their future plans, it became clear that it would be very difficult to provide the building with a new temporal or definitive function. With electricity, water and gas cut off when the faculty burned down, it is economically unfeasible to refurnish the building for new functional use.
Change As an object set within an aging environment, the BlackBox pavilion was meant to represent the various stages of the building’s life-cycle. It had to transcend the traditional static approach; that of buildings as eternal gestures, in which recognition is only in the memory of future generations and not in the quality of contemporary experiences. On the contrary, we were inspired by dynamic eco-systems from natural environments. In areas where conditions seemed to be harsh for natural life to develop and exist, we noticed thriving habitats flourishing with life and development. In the midst of deserts, along rocky walls, within firm waterfalls and on top of other trees and branches. An architecture of hope, as pioneering instigator. In contemporary city planning, that is developing as static design of encapsulated identities*, there was (and still is!) a need for optimistic ideology, that recognizes change as a dynamic solution for future developments. ‘Only that which is alive and changing, stays fresh and contemporary’** We wanted to show the life of a building in a way that would make a building’s ordinary static appearance and fixed impression into a changing world always eager to be explored; changing from day to day and stimulating curiosity in people passing by.
Death by Architecture? The current state of the building says a lot about the intentions of the initial user on one hand and the overall quality of the building on the other. We believe it looks strangely beautiful at the moment. A completely dead facade, set within a newly remodeled park, right besides a crumbled ideology. Our building has survived. It’s a strange tragedy that the dying of the facade also means that the fragile experience of the inner side of this maiden wood interior will probably never be known to anybody in the way it should; beauty lies within. But still, our design reached the front page of major news papers in Holland, with the old concrete burning behind it.
Misschien kunnen we goed onderwijs stimuleren door docenten een beter perspectief te geven. Durf bijvoorbeeld een docent, als ervaringsdeskundige, professor te maken of onderwijsdirecteur. Of rector magnificus. Robert Nottrot Delft, 21 april 2009
Robert Nottrot is docent Architectuur en Vormstudie en curator van de Schatkamer flourishing facade of the pavillion
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B_Nieuws 08 | may 06, 2009 | blackbox
It looks dead, because responsibility had already been lost right after opening and the new Stylos
mporality
BY PHILIP MANNAERTS AND MARTIJN DE GEUS
‘Only that which is alive and changing, stays fresh and contemporary’ board was not eager on finishing it anyway. The fire at Bouwkunde proved to be an easy way out for Stylos; to detach the building; let it survive on it’s own; no strings attached. No responsibilities, no problems. It was handed over to TU Delft Real Estate. Death by architecture? Some people regard our building as a formalistic object strangely set in its environment, not negotiating any relationship and only focusing on the inner realm. But in truth, our building is nothing like that. We state it is one of the most direct translations of context into experience. The experience of the building in its context changes as the space of the building is properly appropriated. As Tschumi states: “we create space; people activate places”.*** And in our design the space that is created inside, generates possibilities for personal functional activation, but not only within the building. As the building is colonized inside and people feel at home, and thus related to the well-being of the building, this is immediately translated to the outside environment by means of a flourishing, living facade and lively interaction with the outside terrace spaces when opening the big terrace door. Beauty is in the eye of the beholder. A building ages, shows signs of use and environmental impact. Our building was meant to decay, to be transient and temporal. In his earlier works, Frank Gehry**** tried to grasp the building in a state of one of its transitions; the becoming of architecture. At the moment when plans are made into built objects he wanted to express this process by means of ‘unfinished’ walls and floors. Maybe our BlackBox***** needs to show an architecture of decay instead of conception. Is this the state we are right now? Can we not take responsibility? Beauty is only there when it is fragile, able to break, to go away. But unfortunately it was never given the chance to properly live here in the first place.
current state of the pavillion
of this association on the other. In the professional architectural press our design has been recognized and so far has been published in such magazines as the A+U, the A-10 New European Architecture, Detail magazine, de Architect and Stedenbouw en Architectuur. We still receive e-mails from both students, professionals and possible clients all over the world regarding this project, from Canada, Belgium and Switzerland for example. Was this building only to be a very temporal interpretation? Has it already served its function? Maybe that is enough. But, is enough ever really enough?
Opening The building was opened before it was completely finished. Call it a marketing event to try and draw more money for completion; call it a strategically moralistic intention, a reward in return of sponsor commitment, or the importance of ego satisfaction. It was a great success and a welcome reward for those who were already participating for over eighteen months. But also a sign of danger... Was somebody trying to close the chapter already?
Future And now; what has happened, what is the status? We see (as we saw back two years ago) a division between people who value the design and feel related to it, or inspired by it, on the one hand. And people who strongly disagree with the etiquette of ‘architecture’, finding our design not even worthy
<b
Footnotes: *
Lieven de Cauter, De Capsulaire beschaving
**
Japanese expression, from Zen Buddhism
***
Bernard Tschumi, Architecture and Disjunction
****
Frank Gehry, Buildings and projects, Rizzoli, 1985
*****
BlackBox definition
1 A device or theoretical construct with known or
specified performance characteristics but unknown or
unspecified constituents; and means of operation.
2 Something that is mysterious, especially as to function.
B_Nieuws 08 | may 06, 2009 | blackbox
lifting of a roof element
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De Rees van Team TUna
Race of the Classics 2009
DOOR MARCELLO SOELEMAN EN TEAM TUna Van 13 tot en met 19 april heeft de 21e editie van de Race of the Classics plaatsgevonden. De studentenrace met klassieke zeilboten, onder de deelnemers ‘De Rees’ genoemd, vertrekt uit Rotterdam, voerde via Oostende (België) en Ramsgate (Engeland) en finishte in Amsterdam. Ook Bouwkunde had een deelnemende boot: praktijkvereniging BOSS had zich met Team TUna ingeschreven, en heeft meegezeild met het Galjas de Bør. Op zondag 12 april legden alle 20 teams hun loopplanken uit zodat het publiek een kijkje op hun boten kon nemen.
De stemming zat er zondag in ieder geval goed in. De organisatie had een gezellig festivalterrein neergezet, naast de Veerhaven in Rotterdam, waar alle boten aangemeerd lagen. Een shantykoor verzorgde de muzikale aankleding, en aangevuld door haringkraampjes en natuurlijk de klassieke zeilschepen in het water ontstond een ouderwets vissershavensfeertje. “Dat we meedoen aan de Race of the Classics is een bedankje voor iedereen die zich gedurende het jaar heeft ingezet voor BOSS,” legt Matthijs Zaadnoordijk uit, als hij aankomt op de Bør. “Het streven is om elk jaar mee te doen, en iedereen die iets gedaan heeft of iets doet voor BOSS mag zich bij ons aanmelden.” De wedstrijd wordt elk jaar georganiseerd door en voor studenten, met
De showstart in Rotterdam, met de Bør op de voorgrond
als doel het bevorderen van contacten tussen studenten met verschillende studieachtergronden en het bedrijfsleven. Uit het hele land hebben universiteiten en hogescholen zich aangemeld om met hun studievereniging mee te zeilen. De TU heeft dit jaar drie teams afgevaardigd: Team Delft Masters (Werktuigbouw) op de boot de Ide Min, Team Delft (Maritieme Techniek) op de Abel Tasman, en dus BOSS met Team TUna op de Bør. Het schip wordt beheerd door kapitein Hans de Koning en stuurman eerste klasse Silke de Klerk. Normaal is het schip te huur als vakantieboot, waarmee de Noorse Fjorden en meren verkend kunnen worden, maar nu heeft BOSS het schip en bemanning dus tijdelijk ingehuurd. Niet voor de eerste keer, overigens. “Ja, ik ken dat wel onder-
tussen, die studentenraces. Varen van feest naar feest. Maar wel ontzettend gezellig hoor,” aldus De Koning. Op maandag 13 april vindt dan de start plaats, met eerst nog een showstart in de Veerhaven. Oudburgemeester Opstelten van Rotterdam geeft het startsein, waarna de boten onder indrukwekkend geblaas van de scheepshoorns vertrekken, onderweg naar Hoek van Holland, waar de officiële start plaats zal vinden. Hieronder is een verslag van het verloop van de Rees te vinden. <b Meer informatie: www.rotc.nl www.bosstudelft.nl/activiteiten/rotc/rotc.htm www.borzeilreizen.nl
Logboek
Oud-burgemeester Opstelten geeft het startsein
Zondag 12 April Matthijs Zaadnoordijk
Woensdag 15 april Chris van Bree
deze nacht was ons klaar te maken voor het sprintrak waar de Bør een grote kans heeft om te winnen!
De dag voor vertrek
Aankomst in Ramsgate, Royal Temple Yacht Club
Na maanden zwoegen is het moment daar: Team TUna vaart voor de 5de keer mee met de Race of the Classics. Deze dag wordt er nog niet gezeild, maar wordt de mogelijkheid geboden aan alle geïnteresseerden om een kijkje aan boord te nemen. Zo ook bij de Bør, een klassiek Galjas, die wij een week zullen gaan bemannen. Rond vijf uur is het team compleet en het zonnetje dat op de Veerhaven van Rotterdam schijnt, belooft veel goeds. We maken kennis met de kapitein, Hans de Koning, en de stuurman, Silke de Klerk en krijgen de eerste instructies. Zo krijgen we te horen dat het water een temperatuur van 8 graden heeft en dit een overlevingstijd van ongeveer 7 minuten tot gevolg heeft. Na een heerlijke garnalen-zalm pasta en het nu al beruchte a-relaxte telspel gaat het team een kijkje aan boord nemen bij de andere schepen. Uiteraard is iedereen weer op tijd benedendeks om uitgerust aan de start te kunnen verschijnen.
De ochtend begon vroeg, om kwart voor 4 werd onze kamer gewekt voor de wacht. In het pikkedonker kwamen we het dek op. Silke, matroos 1e klasse, had de wacht en was behoorlijk zeeziek. Daarom was het best lastig om alles goed te coördineren. Na kapitein Hans gewekt te hebben, wisten we uiteindelijk te finishen om 6 minuten over 8 voor de kust van Ramsgate. ’s Middags gingen we met de hele crew, jasje dasje, naar de ‘Royal Temple Yacht Club’. Het schijnt dat de Engelse prinsen hier ook nog wel eens een biertje gedronken hebben en iedereen moest er dus netjes uit zien. In het zonnetje werd een lekker glas rosé gedronken. Lichtelijk aangeschoten gingen we terug naar de boot voor het avondeten. Uiteindelijk gingen we na het avondeten naar de locale discotheek in dit sfeervolle dorpje, de ‘Royal’. In de club werd ook de uitslag bekend gemaakt, een 4e plek voor de Bør! Het feest ging goed los en na afloop was er dan ook nog behoefte aan een afterparty. Ondanks de geruchten was deze nergens te vinden… Na enkele topfoto’s en crackers met pindakaas in kajuit werd het bedje weer opgezocht, want morgen wordt de overtocht naar IJmuiden ingezet.
Zaterdag 18 April Caroline Beelen
Maandag 13 April Rinke Feenstra
De dag van vertrek… en terugkomst
Kapitein Hans en stuurman Silke bespreken de koers
Het schip in de woeste Noordzee...
Na een gezellige eerste avond met ietwat ruige afloop, begint de ochtend veelbelovend. Het zonnetje schijnt, de geur van warme broodjes, spitsuur bij de douche… de Bør biedt ons comfort op hoog niveau. Goed toeven! Aan de ontbijttafel spreekt de spanning op ieders gezicht boekdelen. Wedstrijdtactieken, tips, trucs… schipper Hans maakt ons bewust van het letterlijke ‘reilen en zeilen’ met de Bør. Het tochtje over de Maas richting open zee is dan ook een perfecte manier om kennis te maken met onze boot. De showstart breekt aan, de veerhaven ziet zwart van de mensen. Achteraf gezien is dit misschien wel het mooiste moment van de week. De grote belangstelling van omstanders langs de kant maakt van de showstart langs de Erasmusbrug een waar spektakel. Kippenvelmomentje?! Naarmate we de Noordzee naderen lijken de voorspellingen van slecht zicht helaas te beamen dat de tocht naar Oostende wordt afgeblazen. Het roer gaat 180 graden om, we keren terug naar de Veerhaven. Ondanks deze tegenslag heeft de organisatie voor verzachtende omstandigheden gezorgd met een knallende party in het Westelijk Handelsterrein. Dinsdag 14 april Sophie van Akkeren
De dag van het echte vertrek, de 1e zeildag (en nacht..) Om 8 uur stipt stond het ontbijtje klaar en werden de eerste echte taken verdeeld: extra inkopen bij de appie, poetsen, afval van boord. De mist was weggetrokken dus om 09.30 vertrokken we dan toch eindelijk richting de echte start! Tegen de middag, na een tijdje dobberen midden op zee gingen we dan eindelijk met zijn allen echt hard aan de slag: een snelle start, aldus schipper Hans. Omdat het een zeer lange tocht beloofde te worden (1 etmaal) werden de shifts op aanraden van schipper Hans herverdeeld: in groepen van vier man gingen we 4 uur op, 8 uur af. ‘s Nachts zeilen was niet voor iedereen een pretje, de zeeziektepillen werkten niet altijd even goed… Elk uur moest het logboek worden bijgewerkt op de kaart en op de radio hoorden we dat rond 05.30 de eerste boten over de finish waren gekomen. Om 08.30 werd ook door de Bør opeens gefinished midden op zee.
Donderdag 16 april Maurits van Schie
Vertrek Ramsgate, overtocht naar IJmuiden Zoals gezegd was het een heerlijke avond in Ramsgate. Een dergelijke avond betekent uiteraard dat de ochtend erna iedereen zich wat minder goed voelt en er zo mogelijk nog minder uitziet. Toch was Team TUna uiteraard snel weer scherp voor deze zeildag. Na enkele geruchten dat we koers zouden zetten naar Scheveningen, kregen we toch te horen dat we deze dag de overtocht zouden maken naar het o zo pittoreske IJmuiden. Vol verwachting begonnen we om een uur of 2 in de middag met uitzeilen en alles wat daarbij komt kijken. De shifts waren weer verdeeld, 4 uur op 8 uur af, een heerlijke 30 uur zeilen stond ons te wachten… Vrijdag 17 april Maurits van Schie
Overtocht naar IJmuiden, feesten in de gifgassen Een lange nacht, zonder al teveel gedoe en drukte. Alhoewel, een briljant moment deed zich voor net voor de start: het was een uur of half 8, nog een kleine mijl te gaan naar de startboei. Iedereen in paraatheid, de sterkste shift was hiervoor ingedeeld, zeilen hijsen, klaar om overstag te gaan en er vandoor te vliegen. Om deze race met ‘beide handen’ binnen te halen, hijsen we ook nog het topzeil, Hans en Maurits pakten deze klus aan. Door scherpe zeemanskunsten van Maurits ging deze nacht de boeken in als de nacht waar de Bør het topzeil in de Noordzee is verloren… Uiteindelijk heeft het weinig invloed gehad op de race, ietwat hoogte verloren, maar toch kwamen we ’s avonds steeds dichter bij de finish. Het werd een ware afvalrace want het ene na het andere schip hield het voor gezien. Maar ons kleine scheepje hield dapper stand, en de finish werd dankzij veel doorzettingsvermogen gehaald! Koers werd gezet naar het gezellige, bruisende IJmuiden. Waar de meeste teams opgegeven hadden, en alweer een tijdje lagen te drinken, namen wij de tijd om te genieten van de kookkunsten van Wiechert, en een heerlijke douche te nemen. Al wat ons nog restte
De voltallige bemanning
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B_Nieuws 08 | may 06, 2009 | race of the classics
De dag van het sprintrak voor de kust van IJmuiden Na 5 uur slaap begon de dag weer in het altijd gezellige IJmuiden! Om 10 uur opgestaan, in het ongewisse over onze vertrektijd. Na de kapiteinsmeeting en team captains meeting bleek uiteindelijk dat we rond 2 uur zouden starten met de sprintwedstrijd. Na het ontbijt onze zeiloutfit weer aangetrokken, goed voorbereid op een fanatieke dag zeilen. De snelle ploeg vertrok om 2 uur, wij met onze langzamere boot om 10 over 2. Alles verliep soepeltjes, het parkour was duidelijk maar eigenlijk te lang voor de langzame bootjes. Onze Kapitein Hans was het daarom al snel niet eens met de organisatie. Door veel verzet van onze kant werd de wedstrijd zodanig ingekort dat we niet weer pas na middernacht zouden finishen, zodat we nog in de haven zouden kunnen eten. De snelle boten zouden het langere parkour nog wel afleggen. Uiteindelijk hebben we het kortere parkour afgelegd waarna we de fantastisch mooie zonsondergang in onze laatste uurtjes zeilend op de boot aanschouwden. Rond 9 uur voeren we weer de gezellige haven van IJmuiden in. Rond half 10 stond een steengoede kaasfondue op tafel met de laatste pilsies en wijntjes en was het even rustig genieten van ons laatste avondje samen op de boot. Rond 2 uur vertrok iedereen richting bed om zondag weer vroeg de sluis door te kunnen. Zondag 19 april Johan Zonderland
Ook de ROTC 2009 is eindig.. Zondag 19 april begon net als iedere ROTC-dag lekker rustig. Alle teamleden verzamelden zich één voor één aan de ontbijttafel en de dagelijkse routine van ontbijt- afwas- en opruimshifts werd wederom ingezet. Waar het team de afgelopen week iedere keer op dit moment van de dag opgewekt vooruitkeek naar de mooie zeiletappe die gepland stond, was de stemming ditmaal enigszins bedrukt. En dit kwam niet door het zware programma van de avond ervoor, want dat was er namelijk niet. Omdat er geen feestje door de organisatie was gepland, we wederom in een buitenhaven van IJmuiden lagen en omdat de meeste teams door hun voorraden heen waren, besloot team TUna een avondje aan boord van het vlaggenschip van de ROTC-vloot, de Bør, te blijven. Gedurende de ochtend was aan alles te merken dat de ROTC 2009 er bijna op zat. In plaats van de laatste voorbereidingen voor de volgende zeiletappe hield iedereen zich bezig met de deels verwaarloosde schoonmaakshifts: de slaapcabines werden uitgemest, het dek werd geschrobd en de laatste restjes proviand werden er vakkundig doorheen gejaagd. De enige zeilgerelateerde activiteit die voor de laatste dag gepland stond was het vieren van de einduitslag. Team Tuna bleek aardig mee te kunnen doen in de bovenste regionen. Helaas moesten we toch 3 concurrenten boven ons dulden.
FORUM
O
Wordt crisisbeleid standaard beleid?
Ten gevolge van de bezuinigingen heeft de faculteit met één pennenstreek besloten de subsidie voor extra-curriculaire reizen van studenten (het Stylos fonds) met 2/3 te verminderen. Het budget dat is toegezegd is nu voldoende voor ongeveer 5 reizen waarvan het uit te keren bedrag met de helft, namelijk € 100.- subsidie per persoon, wordt teruggebracht. Dit besluit is ogenschijnlijk van de ene op de andere dag genomen, zonder de gedupeerden, namelijk de studie- en praktijkverenigingen, hiervan op de hoogte te stellen. Zij gingen ervan uit dat ze net als voorgaande jaren op deze subsidie konden rekenen. Jaarlijks worden er gemiddeld voor 10 reizen van deze regeling gebruikt gemaakt. Stylos, BOSS, BouT, Polis, Forum maar ook studenten van de Free Choice Courses zijn de klanten. De regeling van deze subsidie is al heel oud en wat dat betreft wordt er een breuk gemaakt met de geschiedenis. Het bedenken, organiseren en ondergaan van een studiereis en de meerwaarde die hierdoor wordt gecreëerd is een decennialange traditie, die al vele prachtige reizen heeft opgeleverd. Deze studiereizen geven studenten de kans om wereldwijd kennis op te doen in ons vakgebied en hebben hiermee de inhoudelijke standaard van de faculteit verhoogd.
D
library
Deep-rooted sentiments? Interesting views? Please use Forum as your discussion platform! Articles and letters should be sent with the writer’s name and e-mail adress to b_nieuws@ bk.tudelft.nl. Texts may be edited for length or clarity.
pen brief aan de decaan van de faculteit Bouwkunde, professor Peter Boelhouwer. Om voor de subsidie in aanmerking te komen moet er aan een aantal criteria worden voldaan die de kwaliteit van de studiereizen waarborgen. Daaronder de verplichting van een begeleidend docent, het maken van een excursiegids een na-publicatie of tentoonstelling. Op deze manier komt het subsidiegeld besteed aan een relatief kleine groep ook ten goede aan grotere groepen studenten. De bezuinigingen hebben een aantal belangrijke gevolgen. Er zullen minder excursies en studiereizen worden georganiseerd en voor studenten met een klein budget zal het moeilijker worden om aan deze reizen deel te nemen. Daarnaast zullen er minder docenten zijn om de studenten te begeleiden, omdat de reiskosten van de docent voornamelijk worden betaald van deze subsidie. De excursie als hoogwaardige bouwkundige studiereis dreigt hierdoor aan kwaliteit in te moeten leveren.
Are we perhaps too distracted to study effectively? Too scattered to really read, be it books, drawings or even people?
Door middel van dit statement willen wij het belang onderstrepen van deze studiereizen voor studenten, docenten en de faculteit als geheel. Tegelijkertijd spreken wij de wens uit de inhoud van de STYLOS subsidie weer op het oude niveau te brengen zodra zich beter tijden aandienen zodat crisisbeleid geen standaardbeleid wordt. Met vriendelijke groet, De voorzitters van studievereniging Stylos en de praktijkverenigingen BouT en BOSS.
Zie www.stylos.nl en ga daar naar Stylos – Stylos Stichting voor meer uitleg over de subsidie.
ecaan Peter Boelhouwer reageert op de open brief ‘Wordt crisisbeleid standaard beleid?’: De decaan erkent de ernst van de bezuiniging en de mogelijke gevolgen voor de kwaliteit van de studiereizen en excursies – zoals beschreven in de open brief – volledig. De decaan benadrukt dat hij deze vermindering van het budget voor extra-curriculaire reizen ook liever niet zou zien doorgevoerd, maar gezien de huidige financiële situatie en de op handen zijnde
B_Nieuws 08 | may 06, 2009 | forum
Though the apparent popularity of the new library would seem to contradict this notion, I’ve noticed that architecture students and practitioners, or Bouwko’s, don’t seem to really read a lot. Given, the average Bouwko has quite a few books on his or her bookshelf and can often be found with their nose in one of them. However, they (ok, ok, we) tend to skim the texts and flip through the pages of drawings and photos absorbing the most relevant aspects of the reading matter. The library staff have been aware of this for years… the bladercultuur or the culture of browsing. It’s a fast, efficient process. Get in, get the information you seek, and get out. In the one or two hours that you have planned in at the library for instance you must hope that you can find the information you seek, and if you can’t check the book out, you try to scan or copy it to examine later. The many publications in the library containing the floor plans of popular buildings are a testament to this… they are literally worn to pieces after a period of time thanks to too many visits to the copier. We don’t think about it when we are doing it. We need information now. Must hurry, the library closes in a couple of hours, the paper is due in a couple of days and I also have 2 dinner appointments, a sports match and an excursion planned in that time as well so must use my time efficiently. Oh no! The book, indeed The Book I need is checked out and/or reserved by 5 others and won’t be available until sometime in 2010. Ok, think, think. Alright, I will just write my paper using the sources that I can find and act like that was the idea all along. Problem solved, disaster averted, oh, must remember to call my mother about the new spring collection at Vanilia, those dresses are so cute…
bezuinigingen van de faculteit Bouwkunde ziet de decaan helaas geen andere uitweg. Op het gebied van onderwijs, onderzoek en organisatie moeten bezuinigingen worden doorgevoerd en helaas is de inkrimping van het budget voor STYLOS daar één van de onontkoombare gevolgen van. Tot slot erkent en deelt de decaan de wens om het budget voor het STYLOS-fonds weer op het oude niveau te brengen zodra zich betere tijden aandienen.
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Granted, our faculty building does not really allow for moments of quiet reflection. It’s a beehive and we’re all humming collectively, productive and not sitting still for too long. The queen bee we pay tribute to: our own ambition. We’re so busy being productive that we forget about the relevance and quality of what we are producing. Essays wonderfully formatted, graphics that are to die for… but the content? Full colour posters of design projects, perfect, lasered models… and the building it’s representing? It may be time to go back to the drawing board. Literally. Away with all the technologically advanced tricks and short-cuts. All we really need is a pencil, a piece of paper and some time. Book lists are virtually non-existent at the faculty outside of the required course reading lists. A renaissance of this tradition would be most welcome. Therefore I would invite anyone interested to send me their list of best books on architecture and the building arts. A top ten perhaps? bieb.in.her.bonnet@gmail.com
Anna Ghijs is an MSc Architecture student and former student member of the Architecture Library Committee.
‘PhD’s ‘The rector loves us’. Nee, dit is niet de tekst van een recentelijk op de gangen van BK City gesignaleerd T-shirt. ‘The rector loves us’ is de meest in het oog springende conclusie die na de drukbezochte PhD-dag van 20 april op het whiteboard is gekalkt.
zijn de kroonjuwelen
Jacob Fokkema doet een halfgemeende poging de liefde wat te relativeren. Hij onthult dat zijn affiniteit met het bouwen zijn beperkingen kent. “Ik heb slaande ruzie met de man die ons huis verbouwt.” Onbegrijpelijk is het niet dat Bouwkunde in de rector een patroonheilige ziet. Fokkema is vanaf elf uur aanwezig geweest om te luisteren naar de decaan, de secretaris, de PhD-council en PhD’s die hun onderzoek uit de doeken doen en tips geven. Bovendien staat sommigen in de Berlagezaal nog goed bij hoe Fokkema in de nasleep van de brand een bijeenkomst belegde met een heldere boodschap: promovendi die door de brand vertraging hebben opgelopen of kostbare spullen zijn kwijtgeraakt, kunnen rekenen op steun van de universiteit. Dat was een grote opluchting, en bovendien wist de rector ook gevoel in die boodschap te leggen. Kwam de rector ook nu met goed nieuws? Fokkema kwam Bouwkunde aansporen om de onderzoeksstrategie op de schop te nemen, om het onderzoek en het wetenschappelijk publiceren zo naar een hoger niveau te tillen en nieuwe fondsen aan te boren. The rector comes to the rescue, part II. Maar hij hield zijn verhaal dit keer tegen een achtergrond van forse bezuinigingen. De cijfers stemmen niet uitbundig. Eind 2008 gaapte er een kloof van tien miljoen tussen het onderzoeksbudget dat de zestien onderzoeksprogramma’s van Bouwkunde hadden begroot en de zes miljoen die volgens het College van Bestuur beschikbaar is uit de eerste geldstroom. (Onderzoeksgeld dat direct afkomstig is van het Rijk). Zo’n gat kan de faculteit niet dichten met beurzen van NWO, KNAW, de bouwwereld, EU-fondsen, enzovoorts. Daarvoor is de afhankelijkheid van de eerste geldstroom te groot. Voor het College aanleiding om de faculteit te vragen de onderzoeksstrategie te herzien. Ook de door de onderzoeksprogramma’s begrote groei van 175 naar 225 FTE lost daarbij op als een fata morgana. Er dreigt zelfs een krimp van 50 FTE als Bouwkunde er niet in slaagt genoeg externe financiering aan te boren en
voldoende output te genereren. Bij tegenvallende resultaten moeten de afdelingen en programmaleiders zelf beslissen welk onderzoek zal overblijven. Een aantal getalenteerde jonge onderzoekers van wie het contract dreigde af te lopen krijgen echter een duwtje in de rug van het College van Bestuur. Zij kunnen rekenen op twee jaar extra onderzoeksfinanciering. Ondertussen werken verschillende taskforces op Bouwkunde aan de nieuwe onderzoeksstrategie. In juni zal Bouwkunde het resultaat aanbieden aan het College van Bestuur. PhD-beleid is een belangrijk onderdeel van een nieuwe onderzoeksstrategie, maar de PhD-dag is ook bedoeld als eerste stap naar een hechtere PhD-gemeenschap op Bouwkunde. Want het pad van de PhD kan eenzaam zijn. “Aan het begin is er geen waarheid, alleen de weg naar de waarheid”, stelt de rector tijdens de lunch die volgt op een uurtje speeddaten tussen de toegestroomde PhD’s. “En niemand kan van te voren zeggen waar hij zal uitkomen.” Zelf zegt Fokkema ‘veel geleerd’ te hebben toen hij zich in een bepaalde fase van zijn PhD-traject ‘tamelijk eenzaam’ voelde. “Iedereen bereikt dat punt. Je zit achter je onderzoeksmateriaal en je vraagt je af: is dit het nu – vier jaar lang dit werk doen?” Leer genieten van het onderzoek doen, houdt de rector de zaal voor. En hij beschrijft de verschillende stadia. “Na twee jaar kun je beslissen: doorgaan of niet. Als je besluit te vertrekken, is er nog geen kwaad geschied. Het valt aan een werkgever uit te leggen: mijn kracht bleek niet in onderzoek te liggen. Pas na drie jaar ophouden is schadelijker, zowel voor de universiteit als voor jou.” Voor een writer’s block heeft Fokkema een remedie. “Ik zeg altijd tegen mijn promovendi: geef me een proefschrift met enkel de illustraties. Dan sla ik dat open en zeg: ok, zeg me wat ik hier zie. Dan beginnen ze op een heel natuurlijke manier te
vertellen. Ik raad ze altijd aan om een aantal losse artikelen te schrijven en congressen te bezoeken. Uiteindelijk kost het schrijven van de dissertatie ze maar een half jaar.” Maar liefst 170 promovendi telt de faculteit. “ Dat zijn meer promovendi dan ooit tevoren”, vertelt secretaris onderzoek Frank van der Hoeven. Voorbij zijn de tijden dat op Bouwkunde zo weinig PhD’s rondliepen dat promoveren eerder een exotische hobby leek. Van der Hoeven vermeldt ook het prijskaartje dat aan een PhD-traject van vier jaar hangt: zo’n 300.000 euro. Hij schetst nog eens het probleem van de opdrogende eerste geldstroom, waar prof. Mick Eekhout vorig jaar in het juninummer van B_Nieuws al voor waarschuwde. Betere fondsenwerving, beter onderzoeksbeleid en vooral beter onderzoek – in die richting moet volgens Van der Hoeven de oplossing gezocht worden. ‘Onderzoek zonder relevantie, zonder fondsen of significante output gaat het zwaar krijgen’, zal hij later toelichten. De secretaris onderzoek wijst ook op een andere grote verandering. Een graduate school zal de beste masterstudenten klaarstomen voor een PhD. Bouwkunde wil de promovendi blijven volgen en op de hoogte houden. Van der Hoeven noemt het Promovendus Volg Systeem (PVS) dat TU-breed wordt ingevoerd, maar ook nieuwe PhD-bijeenkomsten en enquêtes. Hij gunt de zaal een blik in de tussentijdse resultaten van de eerste grote enquête onder PhD’s. Opvallend: zo’n veertig procent van de ondervraagden vindt de algemene ondersteuning voldoende. Driekwart van de PhD’s acht het eigen onderzoek relevant voor beleidsmakers, tweederde meent dat er externe fondsen voor gevonden zou kunnen worden. Over het vooruitzicht van een graduate school is een ruime meerderheid nog tamelijk lauw; felle tegenstanders zijn er weinig. Maar het idee om voor alle promovendi een ‘go / no go’-moment in te bouwen, krijgt veel
De PHD-counsel voor Bouwkunde: Barbara van
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B_Nieuws 08 | may 06, 2009 | PhD-day
van de universiteit’ DOOR JOOST PANHUYSEN steun, net als de suggestie om een kwaliteitstandaard voor PhD-begeleiders te introduceren. Nu het research-klimaat op Bouwkunde verandert (‘professionaliseert’) doen PhD’s er goed aan hun stem te laten horen. Met dat argument spoort voorzitter Barbara van Gelder de aanwezige promovendi aan om zich aan te sluiten bij de facultaire PhD-council. Wanneer zeven onderzoekers vervolgens in afzonderlijke sessies hun onderzoek presenteren, dringt de gedachte zich op dat de kracht – of de charme – van het BK-onderzoek ook gelegen is in de grote onderlinge variatie. Huizen die zo goed geïsoleerd zijn dat ze geen verwarmingssysteem nodig hebben, toepassingen van literaire technieken in architectuur, woningbouwcorporaties die hun bewoners meer keuzevrijheid en zeggenschap willen bieden – het trekt allemaal voorbij. Meta Berghauser Pont doet met Per Haupt een onderzoek naar stedelijke dichtheid en ontwikkelde methodes om die nauwkeuriger te bepalen. Ze laat zien dat stedelijke dichtheid in een drukke stad als Amsterdam nog sterk per gebied verschilt, als je het aantal huizen per hectare als uitgangspunt neemt: 185 woningen in de Pijp tegenover 65 woningen in Betondorp . Normen voor de ‘juiste’ stedelijke dichtheid kunnen bepalend zijn voor hoe groen of hoe compact een wijk uitvalt. De PhD als gezamenlijk project is Berghauser Pont goed bevallen. “Je geeft elkaar meteen feedback op wat je schrijft. Besef wel dat je jarenlang intensief met die ander moet samenwerken. In ons geval geen probleem, want ik werkte al jaren met Per samen.” Geen nadelen? “De besprekingen met de hoogleraar duren natuurlijk iets langer.”
heidsmiddel tegen sneeuw en ijzel. Voor Lubelli was onderzoek naar de grote schade die zout in combinatie met een wisselende vochtigheidsgraad kan aanrichten aan oude en nieuwe gebouwen een gelegenheid om een brug te slaan tussen theorie en praktijk. “Toen ik begon, was die schade niet bevredigend verklaard.” Ze werkte beurtelings in beschadigde historische gebouwen en in het lab “Ik kon op het microlab van Civiele Techniek gebruik maken van de Environmental Scanning Electron Microscope”. Lubelli’s mentor wist veel EUfondsen aan te boren voor het onderzoek. Haar conclusie: kristallisatieremmers en uitgekiende klimaatbeheersing kunnen schade beperken of zelfs voorkomen. Lubelli is momenteel betrokken bij een restauratie van de Leidse Pieterskerk. Nadat medewerkers van het valorarisation centre de aanwezigen wegwijs hebben gemaakt in een waar labyrinth van nationale en internationale beurzen (“laat je niet ontmoedigen door een afwijzing, gewoon meteen drie nieuwe voorstellen schrijven!”) dringt de rector nog eens aan op een groot research plan van Bouwkunde, liefst gekoppeld aan grote veranderingen in Nederland. Een plan waarmee de TU Delft voor de dag kan komen. Voor de onderzoeksplannen die in de herfst van 2008 zijn gemaakt is domweg geen geld genoeg. Ad interim decaan Peter Boelhouwer: “Eind 2008 hadden we zestien onderzoeksprogramma’s. Dat was te veel. Misschien zijn er wel al te veel scholen en richtingen op deze faculteit. We moeten nieuwe plannen maken en dit is het moment om goede ideeën naar voren te brengen.” Voormalig decaan Hans Beunderman wijst op de grote ontwikkeling die Bouwkunde op onderzoeksgebied heeft doorgemaakt. Zijn conclusie: “PhD’s zijn de kroonjuwelen van de faculteit.” <b
Barbara Lubelli, inmiddels gepromoveerd en als onderzoeker werkzaam bij Bouwkunde en TNO, tapt uit een ander vaatje: zout. Zout dat de stad bereikt via de zee, de wind, maar ook als anti-glad-
Spacemate door Meta Berghauser & Per Haupt
Spacemate door Meta Berghauser & Per Haupt
De kerk van Brouwershaven (Zeeland, NL) gedurende de overstromingen van 1953
n Gelder, Johan van der Zwart, Leentje Volker, Herdis Heinemann, Julien Merle, Marjolein van Esch en Nikki Fleurke
B_Nieuws 08 |may 06, 2009 | PhD-day
Aantasting door zeezout (de kolommen van de S.Croce kerk, Lecce, I)
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studieadviseurs announcement ‘Tips and Tricks’ van de studieadviseurs
1. Wat doe ik als ik vóór 2007 met mijn studie ben gestart en nu nog vakken van het ‘oude curriculum’ heb open staan? Indien dit het geval is, kijk dan eens op de studentenportal van de BK-website. In het vak links naast de nieuwsberichten klik je op ‘MEER’. Ga hier naar het menu ‘Onderwijsvernieuwing’ en kijk bij ‘herkansingen’ en ‘vervangende vakken’. Daar lees je precies hoe je oude vakken kunt vervangen. 2. Wat doe ik als ik propedeusevakken uit het oude en het nieuwe onderwijsprogramma heb gevolgd? Heb je Propedeusevakken uit het oude én het nieuwe onderwijsprogramma gevolgd? Vul dan het formulier ‘overgangsregeling Propedeuse’ in op de website, om problemen op je ISP te voorkomen. Ga op de BK-website naar de studentenportal van BK. Links naast de nieuwsberichten klik je op ‘Formulieren’. Hier vindt je het formulier ‘overgangsregeling Propedeuse’. 3. Waar kan ik terecht met mijn innovatieve en creatieve oplossingen voor bedrijven en overheid? Weet jij het ook wel eens beter? Heb jij ook wel eens het idee dat jij met je creatieve oplossing een bedrijf of overheid uit de brand zou kunnen helpen? Neem dan eens een kijkje op de website www.battleofconcepts.nl Hier komen bedrijven en studenten met elkaar in contact en wisselen innovatieve oplossingen met elkaar uit. Bedrijven presenteren hier ook hun probleem of vraagstelling die jij tegen betaling van een leuke beloning kunt oplossen. Tevens vindt je hier een ‘ranking’ van welke studenten en welke universiteiten de meest innovatieve oplossingen aandragen. De TU Delft is hier zeer goed vertegenwoordigd! 4. Wanneer kan ik weer intekenen voor het najaar-/wintersemester 2009? Intekenen voor het najaar-/wintersemester kan tussen 25 mei en 12 juni 2009, via bk.studenten.tudelft.nl 5. Waar kan ik met overige vragen terecht? Heb je verder nog vragen voor de studieadviseur? De Studieadviseurs hebben dagelijks tussen 10.00-11.00 uur een open spreekuur waar je met al je vragen terecht kunt. De studieadviseurs zijn te vinden bij het secretariaat BG West 520 of per mail bereikbaar op: studieadviseurs-BK@tudelft.nl
Faculteit gesloten met feestdagen Als gevolg van de feestdagen is de faculteit NIET toegankelijk voor studenten en/ of medewerkers op de volgende dagen: 21 mei en 22 mei (Hemelvaartsdag en de daaropvolgende dag) en 1 juni (Tweede Pinksterdag).
Architecture of Knowledge Het Nederlands Architectuurinstituut (NAi) en de Vereniging van Openbare Bibliotheken (VOB) maken samen met (inter)nationale studenten en geïnteresseerden een nieuw functioneel ontwerp voor ‘de bibliotheek van de toekomst’. Het project ‘The Architecture of Knowledge’ start met een inspirerende lezingenreeks in juni en wordt gevolgd door een masterclass in juli. Het biedt een unieke kans om samen te werken met prominente professionals uit het veld. Studenten die deel willen nemen aan de gratis masterclass in juli kunnen zich nog tot 15 mei aanmelden via www.thearchitectureofknowledge.nl.
Zomerfestival Op vrijdag 5 juni is het weer zover: dan organiseert de TU Delft het ZOMERfestival 2009! Het festival is bestemd voor (oud)studenten en medewerkers van de TU Delft, hun partners en kinderen en studenten van andere WO -en HBO instellingen. Tussen 16.00 uur en 04.00 uur is er een veelzijdig en wervelend programma. Op 5 binnenpodia en 4 buitenpodia kan je een keur aan bekende Nederlandse bands en DJ’s, werelds eten, straattheater, dans, diverse loungecorners, spectaculaire aankleding en lichteffecten, sportfinales 50 jaar Sport en een speciaal kinderprogramma verwachten. Vanaf 6 mei zijn kaarten à 7 euro te verkrijgen bij de balies van Unit Sport & Cultuur en bij de I-TU balie van de aula. Meer informatie: www.zomerfestival.tudelft.nl
International Forum on Urbanism (IFoU) organiseert internationale Conferentie aan TU Delft
Het International Forum on Urbanism (IFoU) is een netwerk van toonaangevende universiteiten, onderzoeksinstituten en kenniscentra met als doel de internationale samenwerking op het gebied van stedenbouwkunde te verbeteren. IFoU organiseert internationale conferenties, gezamenlijke ateliers en onderzoeksprojecten om zo een bijdrage te leveren aan het internationale debat over stedenbouw en uitwisseling tussen academici en professionele instellingen te bevorderen. “The New Urban Question – Urbanism beyond Neo-liberalism” is de titel van de 4de Conferentie van het International Forum on Urbanism (IFoU) dat van 26 to 28 november 2009 aan de TU Delft plaatsvindt. Abstracts van ongeveer 400 woorden, met 2-8 keywords dienen voor 1 juni 2009 zijn ingezonden naar submission@ifou.org. Alle inzendingen moeten zijn geschreven en worden gepresenteerd in het Engels. Voor de voorwaarden waaraan het abstract moet voldoen: check www.ifou.org
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Cradle to Cradle
Studiedag ‘Cradle to Cradle in de polder’ met speciale gast Michael Braungart Meerdere bedrijven hebben de Cradle to Cradle methode deels of zelfs geheel geadopteerd om hun producten en processen dienovereenkomstig in te richten. Dat wil zeggen dat zij geen relevante bijdrage meer leveren aan toxische of kankerverwekkende uitstoot in de biosfeer, dan wel dat er een systeem van terugname van producten wordt georganiseerd die de, voorheen afvalproducten, weer terugbrengen naar grondstoffen van waaruit weer nieuwe producten worden gefabriceerd. Ook zijn de producten beter ontworpen zodat ze geen gevaarlijke componenten meer afgeven die een bedreiging voor de gezondheid kunnen zijn. Deze studiedag geeft u een unieke kans inzicht te verkrijgen waar we staan met C2C, in welke richting het onderzoek aan de EUR en TUD ons zal leiden, maar ook hoe bedrijven C2C reeds implementeerden. Het programma biedt u vanzelfsprekend inleidingen van Michael Braungart, Jan Rotmans en Peter Luscuere, maar voorts ook van diverse participanten in de stichting RSI die hetwoord voeren over hoe C2C voor hun organisatie richtinggevend is. Meer informatie Locatie: Aula Congrescentrum, Mekelweg 5, Delft, 12 mei 2009 Studenten gratis met koffie en borrel, geen syllabus en lunch. Aanmelden per email met vermelding collegekaartnummer. Uitsluitend schriftelijk door inzending van het aanmeldingsformulier dat u kunt mailen naar: c.vd.broek@planet.nl Kijk voor het aanmeldingsformulier op de BKhomepage onder AGENDA – symposium Cradle to Cradle.
SASBE2009
Building smartly in a changing climate If you are interested in sustainable planning and design but prefer to stay on the positive side of life, SASBE2009 (TU Aula, 15-19 June) will be the place to be. As much as it is for Ken Yeang, Dirk Sijmons, Michael Braungart, Wubbo Ockels, Sir David King (the ‘British Al Gore’) and Ronald Waterman, who will give keynote lectures, as well as invited contributors such as Winy Maas, Jón Kristinsson, Thomas Rau, Jan Jongert and John Worthington. Crown prince Willem-Alexander intends to open SASBE2009 on Tuesday 16th of June. Central theme is ‘building smartly in a changing climate’, giving way to proactive solutions for the built environment within the context of climate change and energy depletion. Apart from the big names mentioned above, scientists will present their latest findings from cuttingedge research and there will be a workshop for PhD students. Wubbo Ockels’s Superbus will also be exhibited. SASBE2009 offers special events for students. The five finalists of the CIB student competition will present and display their ideas, whilst the winner will be announced during the closing session. In preparation of their Sustainablabla symposium, Stylos organises a special student workshop. We arranged a special fee fee for Master and Bachelor students. For more information: www.sasbe2009.com or info@sasbe2009.com
B_Nieuws 08 | may 06, 2009 | news
summer schools Randstad Challenge Searching for Urban Synergies
During this international Joint Design Studio, students from IFoU partner universities will work together to develop a vision, strategy and specific proposals for a number of cities within the Netherlands’ Randstad urban agglomeration. During this process, the two central questions will be: 1) Is the ‘networked city concept’ doomed to become nothing more than the sum of its parts? and 2) How can the Randstad conurbation successfully compete with other leading knowledge-based ‘world city networks’? International academics and professionals are invited to give evening lectures on Metropolitan Regions in the Netherlands and abroad. Henk Ovink, Dutch Ministry of Housing, Spatial planning and the Environment (VROM), prof. Hsia Chu-Joe, Taiwan University, Taipei and prof. Jürgen Rosemann, Delft University of Technology are among the invited lecturers. For TU Delft Master’s students, this two-week international Joint Design Studio forms a part of the free choice component ‘Randstad Challenge; Searching for Urban Synergies’ (6 ECTS) that starts on 10 July as well and lasts to 24 July. You can find more information about IFoU at www.ifou.org and about the Summer school at www.ifou.org/summerschool
Utrecht Summerschool
Design Studio about the Transformation of Buildings and Environments During the Design Studio about the Transformation of Buildings and Environments, participating students will focus on the old city post office on Neude Square in Utrecht. Due to post office closures by Dutch postal company TNT Post, the building may soon come to be abandoned. Students will come up with designs for transforming the context of the building, which is a striking example of the Amsterdam School originally designed by architect Joseph Crouwel, Jr. This unique Summer School programme is a joint initiative of Marie-Thérèse van Thoor and Hielkje Zijlstra of the ®MIT department. The programme is open to Dutch and international students of Architecture and related disciplines who are in the final phase of their studies. Prior to the programme in Utrecht, a related programme will be offered in Barcelona. The combined programme, entitled ‘A Tandem Design Studio: Transformation in Barcelona and Utrecht’, will last a total of four weeks and will be organised in conjunction with the LaSalle Business Engineering School in Barcelona. More information about the two-week Summer School programme in Utrecht and the joint programme in Barcelona and Utrecht can be found at www.utrechtsummerschool.nl under Courses, Culture.
Become our friend and/or fan on facebook! the B_Nieuws editorial board
Behind Glass Tineke Kuiper
I’m Tineke Kuiper, born and raised in Ridderkerk and, after some migrations around the country, since five years back in Ridderkerk. I’ve been working in the catering industry since 1975, before that I’ve worked in the hospitality buisness for seven years. I have been an educator for the catering industry, worked for almost three years in the employee cafeteria at the Holland Casino in Rotterdam and for two years at the House of Court in Rotterdam. Also I’ve worked with the Rotterdam Police for six months, and now I’m working at the BK City Restaurant for one year, with much pleasure.
what is your worst and what is your best quality?
I’m quite impatient, but never bad tempered
What is your favorite way of travelling?
what DOES YOUR HOUSE LOOK LIKE?
A simple appartment with beech wooden furniture
Your favorite website?
I don’t have one, I’m not that good with computers
WHO DO YOU ADMIRE FOR HIS OR HER STYLE? Princess Irene
To Northern Spain by airplane, and then roading in a car
If you could be the prime minister for one day, what would you change? Free public transport for all!
Biggest fear?
Getting too sick to work
What is the most beautiful building for you?
The Cathedral of Santiago de Compostela
What is your biggest irritation?
Arrogant people. Loudmouths and show-offs.
Your favorite book & movie?
Film: Message in a Bottle with Kevin Costner Book: de Theeroos by Jennifer Donnelly
WHAT WAS / IS YOUR FAVOURITE TOY? B_Nieuws 08 |may 06, 2009 | behind glass
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I had a collection of stuffed animals
may
MON 04.05
IN THE SPOTLIGHT
TUE 05.05 bevrijdingsdag
WED 06.05
THU 07.05 seminar Opening Indesem
speakers: Wytze Patijn, Herman Hertzberger, Patrick Healy
FRI 08.05 seminar Indesem
SAT 09.05 / SUN 10.05
speakers: David Windt, Jeroen Derksen 1030h / BK City: Oost serre
1730h / Room A
week 19
Lezing
MON 11.05 seminar Indesem
Capita Selecta lecture series
speaker: Paul Hekker 1245h / BK City: Room A
speaker: Enric Ruiz-Geli 1800h / BK City: Room A
speaker: Winy Maas 1900h / BK City: Room A
week 20
The symposium ‘Architecture as a Craft’ is held in order to raise a discussion about the present Architecture, the architectural discipline and architectural designing. In the 20st century the design process has become more complex than ever before: changing cultures of initiative, altering conditions and modes of production (sustainable methods, changing role of the architect in the building process e.g.), shifting situations of use and the introduction of new techniques like Computer Aided Design. The symposium ‘Architecture as a craft’ will investigate how these changing cultural conditions result in new roles for the architect, but also require new strategies, methods and approaches of analysis, design and collaboration. It will explore the new challenges that the architectural profession faces.
11
may
MON 18.05
week 21
18
MON 25.05
WED 13.05 THU 14.05 FRI 15.05 lezing seminar lectures Indesem BK City Culture: The Stylos lunchlezing ‘multi-disciplinair positions’ making of the future spreker: Gerard Loozekoot Final presentation speakers: Oliver Thill, Machiel van Dorst, Arjan Brusse & Marc Boumeester 1800h / BK City: Room A
Studium Generale
Designers, professors and developers will show the unique process that started a year ago after the fire and resulted in a completely renovated building.
1245-1345h / BK City: Zaal A
1000-1700h / BK City:Oost Serre
lecture Capita Selecta lecture series
WED 20.05 lezing Wat is tijd?
spreker: Prof. Sander. A. Bais
THU 21.05 concert “Grand opening” Jazzpodium Rotterdam
FRI 22.05 festival African Reggae festival
1900–2100h / berlage institute / rotterdam berlage-institute.nl
2000-2300h / Villa Solheim / Ruys
Rollerskate Disco
sunday / 1400h / BK City: Room A
speaker: Takaharu Tezuka sunday / 1600h / BK City: Room A
SAT 16.05 / SUN 17.05 festival Wolpop 2009
Wolpop is een festival voor muziek, film en (theater)kunst. Artiesten: Kinderen Tegen Kinderen, the Routines, Pornologic, Mama Franko, Gameboys a gogo
lezing De toekomst van de economie na de kredietcrisis spreker: Prof.dr. Arjo Klamer
2015-2200h / Het Meisjeshuis / Delft / €0 dezebra.com
WEEK 50
SAT 23.05 / SUN 24.05 music Rollerskate Disco
get down on your skates!
saturday / 1945-0200h / HAL 4 / Rotterdam / €10 entrance fee / €4 rental of skates quaksk8.nl
get down on your skates!
de Beerenbroeckstraat 47 / €0 / sign up: secr-mc@tudelft.nl
1945-0200h / HAL 4 / Rotterdam / €10 entrance fee / €4 rental of skates quaksk8.nl
WED 27.05 lecture Capita Selecta lecture series
lecture Wormholes, time travel, and how physics works
THU 28.05 lecture Capita Selecta lecture series
FRI 29.05 workshop Decor en licht
decorontwerper Michiel ‘Obstructions in the design Voet en lichtontwerper Stefan Dijkman verzorgen process’ by Enrique een workshop over decor Walker & Sou Fujimoto en licht in Theater de 1730-2000h / BK City / Room A Veste.
lecture Tectonic Form and the Space of Public Appearance
info: janneke@stylos.nl 1400-1700h / Theater de Veste / delft
speaker: Renate Loll (Professor for Theoretical speaker: Kenneth Physics at the Institute Frampton for Theoretical Physics of 1900–2100h / berlage institute / rotterdam Utrecht University) berlage-institute.nl
exhibitions exhibitions
B_Nieuws 07 | april 06, B_Nieuws 2009 | agenda 08 | may 06, 2009 | agenda
Révolt gaat verder waar BLOCKBEATZ is gestopt en zal na een aantal spannende en maagdelijke locaties in de stad met regelmaat terugkeren in WATT. Deze pinkstereditie belooft een waardige opvolger te worden. De gehele line-up kun je binnenkort vinden op blockbeatz.nl/revolt
2015-2200h / DOK bibliotheek / €0 dok.info
WEEK 51
SAT 30.05 / SUN 31.05 music REVOLT
sunday / 23.00h / €11
WEEK 52
‘NY Perspectives – New Yorkse fotografen ontdekken Amsterdam’, FOAM Amsterdam, may 14- august 23, 2009 ‘Silk Stories’, Kunsthal Rotterdam, till June 21, 2009 ‘The Islanders: An Introduction, Charles Avery’, Museum Boijmans van Beuningen, Rotterdam, until june 7, 2009 ‘Prix de Rome 2009’, Witte de With (Rotterdam) / Westergasfabriek (Amsterdam), may 9 - june 14, 2009 ‘International Sand Sculpture Festival’, Scheveningen beach, Den Haag, until june 14, 2009
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speaker: Dick van Gameren
saturday-sunday / Wolbodo / Filmhuis Lumen / Floratheater / €5 wolpop.org
artists: Jampara & the Batalion & the Burundi Drummers, Fullany, Crucual Warrior Sound, Sticky Sound ft. Robbie Roots
TUE 26.05 lezing Het nieuwe Rijksmuseum
25
seminar Indesem
1730-2000h / BK City: Zaal A
1245-1345h / BK City / Room B stylos.nl
WEEK 49
Loozekoot (UNStudio) Indesem workshop gaat in op verschillende Jury: Michiel Riedijk, projecten van zijn bureau Herman Hertzberger a.o.
Wat is de correcte manier bk.tudelft.nl/13may om jenever te drinken? ‘The Drawing I’ lecture Maak kennis met dit speakers: Wiel Arets and typisch Oudhollands Capita Selecta Mark Linder product! ‘Composition’ speakers: 1730-2000h / BK City: Zaal A 2015-2200h / Het Meisjeshuis, Michiel Riedijk and Kersten Delft / €10 / intekenen: Geerts studiumgenerale@tudelft.nl.
spreker: Igor Santhagens ‘The Drawing II’ by Iñaki Het had al in 2008 klaar Abalos & Joan Ockman moeten zijn, het gaat ech- 1730-2000h / BK City / Room A ter nog 4 jaar duren...
May 7-15 / BK City All lectures will be in English, open to all with interest and free of charge. indesem.nl
TUE 12.05 seminar Indesem
een jazzprogrammering Een lezing over onder van deze tijd; hip, meer de begrippen ruimte expressief en bol van de en tijd in de klassieke cross-overs. natuurkunde, chaostheorie lezing 2100h / club watt / rotterdam / €0 aanvang 2200h / club watt / Rotterdam / €14 De Krant; lezen met en het ontstaan van de tijd en ruimte in het zeer jazzpodiumrotterdam.nl watt-rotterdam.nl de rector vroege heelal. ga in discussie met de 2015-2200h / DOK bibliotheek / €0 music rector over actualiteiten dok.info
may
week 22
International Design Seminar, shortly indesem, is held every two years at the faculty of Architecture of the TU Delft, the Netherlands. Since its founding in 1962, indesem has had the honor of hosting internationally acclaimed architects and theorists. In this edition, the organizing students of indesem collaborate with prof. ir. Michiel Riedijk and dr. ir. Machiel van Dorst.
smartstudie.tudelft.nl
speakers: Lieven De Cauter, Rudi Laermans
architecturecraft.bk.tudelft.nl
From the 7th to the 15th of May, the whole faculty of architecture will be dominated by the event of indesem ’09 – Point of View. This year, the focus will be on the role of the architect in the experience of the user. During the indesem week, both students form the Netherlands and from abroad will participate in a workshop. This workshop is supported by excursions, as well as lectures and debates which anyone who is interested may attend.
1300-1630h / Gebouw O&S / Room AO.020 / €10 / intekenen: ja
TUE 19.05 symposium The Return to the State of Nature
13-14-27-28 May / 1700-2000h / BK City Room A
Indesem 2009 International Design Seminar
1800h / BK City: Room A spreker: Antonio Cruz, verantwoordelijk voor het ontwerp van Het Nieuwe Workshop Studie(her)keuze Rijksmuseum 2000h / NAi / €5 normaal / €3 Hoe maak je een keuze studenten voor een (andere) nai.nl opleiding?
04
may
speakers: Michiel Riedijk, Robert Winkel