B nieuws 09 2012 2013

B NIEUWS

#09 01 MAY 2013

PERIODIEK VAN DE FACULTEIT BOUWKUNDE | TU DELFT

AND FIVE YEARS LATER...

Gerrie Hobbelman, Linda de Vos and Dennis Cruyen recall memories of the fire.

PAGE 02

5 Upcoming

8/9 Student Project

10/11 Research

The New Interior

Five Stages of Modernity

New Master course unveiled

Creating local ecologies in L.A.

A Framework for Design Making the implicit explicit

2 NIEUWS

B NIEUWS 09 1 MAY 2013

KORT NIEUWS

Climate Designers winnen B.J. Maxprijs 2013 Stanley Kurvers en Joe Leijten van de sectie Climate Design hebben de B.J. Max-prijs 2013 gewonnen. Ze ontvingen de prijs voor hun studies en publicaties over de comfortbeleving van mensen in gebouwen . De B.J. Max Prijs wordt uitgereikt aan personen die een onderzoek op toegankelijke wijze publiceren.

Apply now for ‘NetworkArchitecture-City’ From 8 until 22 July the workshop ‘NetworkArchitecture-City’, an interdisciplinary studio on everyday life in relation to the physical domain of the city, takes place in Istanbul. Want to join? 10 TU Delft Architecture students will be re-funded. Send your C.V. and motivation to Info34-AC-BK@tudelft.nl before 1 May 2013.

Debat 'De rijksbouwmeesters en het rijksmuseum' Na een ingrijpend restauratieen transformatieproces opende het Rijksmuseum in april haar deuren. Naar aanleiding van de opening wordt op 1 mei het debat 'de rijksbouwmeesters en het rijksmuseum' gehouden, over de rol van de rijksbouwmeester in dit proces. De (ex-)bouwmeesters Wytze Patijn, Frits van Dongen en Jo Coenen nemen deel aan het debat.

1 mei 2013 | 12:00 Oostserre

OUT OF THE ASHES

WALKING AROUND JULIANALAAN 134, ONE WOULD NOT BE AWARE THAT IT WAS JUST FIVE YEARS AGO WHEN A DEVASTATING FIRE DESTROYED THE FORMER HOME OF THE FACULTY OF ARCHITECTURE. WHILE MOST CURRENT INHABITANTS HAVE NOT KNOWN THE ICONIC BUILDING DESIGNED BY VAN DEN BROEK EN BAKEMA, SOME STUDENTS AND MOST OF THE STAFF DID AND THEY STILL HOLD FOND MEMORIES OF THE FORMER FACULTY. A LOT WAS LOST FROM YEARS OF RESEARCH TO PERSONAL BELONGINGS - BUT MUCH WAS GAINED AS WELL. THREE LONGTIME STAFF MEMBERS SAT DOWN WITH B NIEUWS AND SHARED THEIR MEMORIES. Gerrie Hobbelman - Mechanics professor I was in my office on the sixth floor before 9 am and the floor was covered in water.

Apparently there had been a leak near the coffee machine that was on the opposite side of my office door. I left for a meeting with dean Wytze Patijn. Half an hour within the meeting the fire alarm went off and we moved the meeting to containers that were situated outside of the building. Another thirty minutes later we were asked to also leave the containers. We stood on the parking lot and that’s when I noticed that the smoke was coming from my office. I thought “Just my luck. One room catches fires and it happens to be mine.”

At that point I assumed that the damage would be limited to my office and the rest of the building would remain intact. But smoke kept accumulating and the fire spread to the opposite side of the building. As time passed it started to dawn on me what we were about to lose. First I realized that I had left my lunch in my office. Then I couldn’t go home for lunch, since my bike was in the cellar. Many personal belongings and years of research were lost forever. To this day, every now and then, I will look for something only to remember that it has been lost in the fire. During my lectures I often use models to visualize mechanical principles and after the fire I had to improvise

them. This took quite some time and I haven’t replaced all of the models, but I don’t seem to miss them.

The first weeks after the fire, I was a bit sad. I was no longer in daily contact with so many of my colleagues, who were all spread out over the campus, that I was starting to miss them.

Running into people in the hallway or the coffee machine and joking with the secretaries was no longer a aspect of my daily life. I recently saw a picture of the hallway where my office used to be and it didn’t match my memory of it. To me it was a cozy and social place, but in reality it was just a cold, sterile hallway that could belong to a hospital. In that sense the new building is a marked improvement. Now that I’m retiring, it is also clear that in the end its the people I will miss and not the so much the space.

In the past five years the memory of the fire has started to wane. Most current students were not here when it happened. But when you speak to people who live in Delft, they will be able to tell you where they were and what they were doing when the news of the fire broke. Its a testament to its impact on not just the university but to its surroundings.

NIEUWS 3

Linda de Vos - The Why Factory It was a tuesday, the first day after the Pentecostal holiday. It was a very warm day and the building was quite empty. The first news of the day was that there had been a leak on the sixth floor, soon after I was alerted on my pager that there was a fire on the same floor. I was part of the in-house emergency response team. It was my duty to help assist in cases of emergency. We went to the sixth floor to assess the situation. Just as we arrived we ran into two students who had attempted to stop the fire, but they hadn’t succeeded. That’s

when I pulled the alarm in order to notify everyone in the building, but especially the rest of the response team so that they could help evacuate the building. While I awaited the fire department on the sixth floor, I saw the hallway become engulfed in smoke and fire. It was a noticeably aggressive fire.By the time the fire department had arrived, the power had gone down and it became clear that I had to leave the building. All of this occurred over a period spanning thirty minutes and it

seemed like scene in a bad film.

The faculty and the university responded so quickly and efficiently.

I had expected that we wouldn’t be able to work for quite some time. Within two days tents were set up and by september we had a wonderful new building.

BK City is an open and inviting building that makes it possible to meet others and exchange ideas.

The building is very much of our time.

The tents were a temporary refuge for students and staff during the aftermath of the fire.

Dennis Cruyen - FMVG Being an early bird, I was the first person to enter the building that morning. While in the elevator I heard running water and realized that something was wrong. After Patrick van Dijk, the building management coordinator, fixed the leak, it was my turn to notify dean Wytze Patijn about the water damage. After we assessed the situation and came to various decisions, I went back to my office. But not long after my pager went off: there was a fire.

The fire originated on the sixth floor, the one we had just renovated. The building was a beautiful building, but its interior had been neglected. We had big plans to modernize the building.

It was quite disappointing not to

have been able to fully realize the renovations.

But I'm very proud at how quickly the entire Faculty managed to get back up on its feet. Getting the tents up was the easiest part.

Most impressive was how quickly the ICT and Marketing and Communication departments managed to set up facilities in order for students and staff to continue working.

Ten days after the fire it was announced that Architecture would have a new home. It was beautifully put, because the moment I walked into Julianlaan 134 for the first time it felt good to be there. You could see its potential. Six architects worked around the clock and managed to

give the building a dynamic atmosphere Though much was lost in the fire, we also gained a lot in the new building. In the previous building one couldn't easily tell that they were in an Architecture Faculty.

But here everything we're proud of - our research, student projects and chair collection - is on display.

There is a transparency, you can see the process. BK City now refelcts the creative nature of our Faculty. (DB)

Exhibition BK City will commemorate the five year anniversary of the fire through a week long exhibition in the South Glass House starting on the 13th of May.

KARIN LAGLAS

Een Groene Waas Terwijl ik dit schrijf staan alle Nederlandse media bol van “de groene waas” van Rutte.

Commentatoren in krant, op televisie, radio en internet buitelen over elkaar heen om hem te prijzen of te verguizen. Ik snap Rutte wel. De facto zijn we ongelofelijk rijk en tegelijkertijd zijn we kampioen somberen.

Maar ja, Nederlanders zijn een kritisch volkje, en echt niet alleen op Bouwkunde. Dus die laten zich niet de put uit praten met een polderakkoord waarvan niemand begrijpt hoe het precies de economie ten goede komt en hoe het financieel uitkan.

En toch. Een paar weken geleden las ik een buitengewoon interessante column van Frank Kalshoven in de Volkskrant. Onder de titel “lente” beschreef hij hoe hij in 2020 op een terrasje zittend, witbiertje onder handbereik, met een vriend terugkeek op het economisch herstel dat in het voorjaar van 2013 begonnen was. Het begon met de woningmarkt, was zijn stelling.

Die bereikte in het voorjaar van 2013 de bodem. En ineens wilde iedereen erbij zijn. Profiteren van de huizenprijzen op hun dieptepunt. En daarna natuurlijk verbouwen. Nieuwe keuken erin, serre eraan. Investeren dus!

Positieve energie. Weer zin om te genieten. Daarmee kwam ook de belangstelling voor nieuwbouwwoningen weer op gang, trok de bouw aan – heel fijn voor ons werkveld - en was de economie weer aan de praat.

Te simpel? Misschien. Maar of de duivel ermee speelt, de afgelopen week was zelfs ons aller Peter Boelhouwer – weer mooi veel in beeld -wat positiever over de woningmarkt.

Ook in zijn beeld zou het weleens zo kunnen zijn dat de bodem in zicht is. Het aanbod is gedaald en de vraag toegenomen. Wouw!

Terwijl ik dit schrijf zit ik op mijn datcha in Friesland. Buiten schijnt de zon. De tuinbonen in de kas zijn opgekomen. De perenbomen staan op springen.

Je ziet het gras bijna groeien. En als ik heel goed kijk – verdomd – dan zie ik een groene waas.

4 UPCOMING

B NIEUWS 9 1 MAY 2013

WHY

?

HISTORY

HISTORY HAS CEASED TO BE A SELF-EVIDENT PART OF THE EDUCATION OF ARCHITECTS AND URBAN PLANNERS. TO GET A VIEW OF WHAT ROLE HISTORY PLAYS AND SHOULD PLAY IN DESIGN EDUCATION, THE HISTORY DEPARTMENT ORGANIZES THE CONFERENCE “WHY HISTORY?” ON MAY 30TH AND 31ST.

BY MANON SCHOTMAN History has always served as a guideline for architects and city planners on what to design and how to design it. Even when an architect wanted radical change, he still needed history to react upon. From the 50s onward, the modernist movement, which was particularly influential in the Netherlands, made architecture and urbanism “break free” from the chain of history. Modernists didn’t want their designs to adhere to a certain historical style, but they wanted the built environment to be a direct expression of the essence of the political and economic reality.

From that moment on, the role history played in architecture was a completely different one.

History became disconnected from the current building practice and historical buildings became something from the past that had to be conserved; the “musealisation” of history set in.

But modernism is no longer universally accepted as the angel that freed us from our dark past.

The fundaments of modernism are being reconsidered. Nowadays it is not the theorists, but the market that changes the rules.

Due to the current economic situation that led to a demanddriven market, the role of consumers becomes more important.

And consumers show a renewed

interest in historical styles.

Developers and investors also show a penchant for history and tradition. But the way history is used is not the way it used to be used: historical styles are used purely as decorum, against which a shopping experience gains meaning. “Architecture has turned into a consumer art,” says Herman van Bergeijk.

“It is possible that modernism turns out as a kind of intermezzo”, says Cor Wagenaar. “Perhaps we are returning to a phase that looks more like what happened before.” The conference “Why History?” tries to provide answers to the questions: what exactly is the current relationship between design and history, and what are the consequences of this relationship?

Different European countries relate with history differently.

That’s why academic speakers from different countries have been invited to share their thoughts on this subject. Students are invited to participate actively in the discussion. After the conference, students are welcomed to hand in an essay on the topic, and have a chance of being published in an academic journal.

The organizers find the role of students in a discussion about education very important. “After all,” says Wagenaar in a dramatic tone, “we’re doing it for you.”

Conference: Why History?

May 30th & 31st BKCity, Orange Room

Wednesday 29:

18:00 Keynote: Light and Reflection: Towards an Architecture of the Ephemeral Dietrich Neumann (Brown University)

Thursday 30:

09:30-10:00 Why History?

Herman van Bergeijk (TU Delft) 10:00-12:30 History & Architectural Theory Philip Ursprung (ETH Zurich), Axel Sowa (RWTH Aachen), Bernard Colenbrander (TU Eindhoven) Panel: Tom Avermaete (TU Delft), Everhard Korthals Altes (TU Delft) 14:00-16:30 History & Architectural Practice Paul Kahlfeldt (Architect Berlin), David Chipperfield (David Chipperfield Architects)*, Wouter Vanstiphout (TU Delft) Panel: Dick van Gameren (TU Delft)

Friday 31:

10:00-12:30 History & Architectural Education Marko Pogacnik (IUAV, Venice), Regina Stephan (FH Mainz), David Haney (University of Kent) Panel: Ed Taverne (RU Groningen), Joan Ockman (University of Pennsylvania), Ruth Baumeister (Aarhus Universitet) 14:00-16:30 History & Architectural Education Pieter Uyttenhove (Universiteit Gent), Koos Bosma (VU Amsterdam) Federico Bucci (Politecnico di Milano) Panel: Georgia Marinou (NTU Athens), Marie-Thérèse van Thoor (TU Delft), Gary Davies (University of Leicester) 16:30-17:30 Conclusive debate Moderated by Cor Wagenaar (TU Delft) * to be confirmed

UPCOMING 5

THE NEW

INTERIOR

BY WING YINJUN WENG

WHAT IS INTERIOR ARCHITECTURE? IF YOU ARE ONLY THINKING ABOUT WALLPAPER AND TABLE LAMPS, THINK AGAIN, AND THINK BIG. The Architecture of the Interior, a new Master course hosted by the Chair of Architectural Design/Interiors, thinks that the interior should be regarded much more broadly than the domestic or intimate spaces associated with the term. Urban spaces such as transport terminals and shopping malls are large-scale interiors forming the contemporary public realm in our cities. Often ambiguously defined and experienced only unconsciously, these large-scale interior spaces are an increasingly essential part of how we experience urban life. “The very large, extensive and complex interior,” as course leader Mark Pimlott defines it, will be directly addressed in both research and design in this upcoming Master course.

The Architecture of the Interior focuses specifically on interior space.

"We will not design isolated buildings or objects," says Pimlott. “Instead, we will be dealing with the complexity of the interior, and touching upon issues such as the user, the program, installations and materials.”

Another distinguishing factor is that the projects will focus on the reuse of existing interiors. “Our attention to reuse is not only the response to the current condition of large building vacancy, but also on the constant demand for the adaptation of existing structures," adds Susanne Pietsch, the course coordinator.

The course will, however, share the same studio culture as other programmes offered by the Interiors chair. The upcoming conference on the 23rd of May will offer those interested an opportunity to review the work the chair has conducted in the past fourteen years, which its new course will continue to build on. The subject of the very large, complex interior will also be addressed in the conference, preceding a book presentation of Amsterdam Studies featuring student work since 1999.

Looking forward, both Pimlott and Pietsch see a need for architects who

are specialized in the design of large-scale, complex interiors. The current role of architects seems to be limited to the external structure of a building, states Pimlott, while the interior is surrendered to developers, contractors, retailers or publicity. Yet, the role of large-scale interiors in the making of the contemporary public realm has become the subject of growing interest among practicing architects. In this context, the new Master course hopes to raise the awareness of interior architecture as an indispensable and independent discourse in the discipline of architecture.

This objective has been put on the agenda of the faculty. By 2016, the faculty hopes to set up a new track of Interior Architecture, with the aim of both educating architects with a specialization in interior design and building up a body of knowledge for the discourse.

For those interested, The Architecture of the Interior is open for students starting Msc1 and Msc3 this September. Find more information at tudelft-interior-architecture.nl or register for the conference at tudelft-interior-architecture.nl/conference.

ARCHITECTURE AND THE INTERIOR - 23 MAY 09.30-10.00 - Welcome and coffee (Berlagezaal 2) 10.00-12.30 - Interiors, Buildings and Cities (Berlagezaal 1) including talks from Tony Fretton, Prof Christoph Grafe, Peter St John and Prof Tom Avermaete 12.30-14.00 - Lunch (Berlagezaal 2) 14.00-16.30 - The Architecture of the Interior (Berlagezaal 1) including talks from Mark Pimlott, Gennaro Postiglione, Jan Benthem and Kersten Geers 16.30-17.30 - Round table discussion 17.30-19.00 - Drinks and book presentation Amsterdam Places

6 BK IN DEPTH

B NIEUWS 09 1 MAY 2013

FROM PEOPLE

TO CITY

A FEW DAYS BEFORE HIS INAUGURAL SPEECH, ARJAN VAN TIMMEREN, THE NEWLY APPOINTED PROFESSOR OF THE NEW CHAIR ENVIRONMENTAL TECHNOLOGY & DESIGN (ETD) AT THE FACULTY OF ARCHITECTURE, SAT DOWN WITH B NIEUWS TO TALK ABOUT HIS VISIONS FOR THE FUTURE. WITH BOTH A CRITICAL VIEW ON DUTCH SUSTAINABLE DEVELOPMENTS AND HIGH AMBITIONS FOR HIS CHAIR, VAN TIMMEREN DRAWS OUR ATTENTION TO URBAN RESILIENCE, RAW MATERIALS, RECIPROCITIES, AND OTHER ISSUES ON HIS AGENDA FOR ACHIEVING TRUE SUSTAINABILITY.

BY WING (YINJUN WENG)

Arjan van Timmeren Arjan van Timmeren (born 1969) took up his post of Professor of Environmental Technology & Design on 1 September 2012.

A specialist in sustainable technology in buildings and area development, Van Timmeren has worked at TU Delft since 1997, in the environmental design department.

He graduated here twenty years ago as ‘Best Graduate of 1994’. Since then he has also worked in architectural firms in the Netherlands, Italy and Spain.

Sustainability has increasingly been a subject of attention at the Faculty of Architecture in Delft and is the core concern of your new chair. Many regard us as pioneers in developing sustainable strategies. What do you think?

I think we are leading as a faculty as a whole, particularly in the field of urbanism. We were the first university addressing urbanism as a separate department and have since then remained ahead in that field.

Having said that, I don’t think we are pioneering in sustainable development. Other countries are doing a lot more projects on this subject, for example the Great City in China, Masdar City in the United Arab Emirates, the Iskandar development in Malaysia, the Freiburg Green City in Germany and so on. If you look at the 27 EU countries, we are the penultimate in using renewable energies. We are not doing so well.

Many people think we are on top because we talk a lot about sustainability and we have very high ambitions. However, our problem is realizing this ambition effectively. We seem to have an abundance of rules and discussion, instead of tangible actions.

This is where we lost to countries like China or Germany, who are

more decisive in the execution and implementation of sustainable developments.

What do you think is the cause of this problem and what do you want to address in your chair?

I think the term ‘sustainability’ has lost its meaning, as everyone calls everything sustainable. If you look at any research programme or proposal, you can almost leave the word out, because every title has it.

Everybody wants a more comfortable, healthier and more sustainable world, but at the same time, we stay in the paradigm of the conventional building industry.

We often forget that in order to achieve our ambitions, we also need to change the way we live, move and build in our cities.

This is where resilience comes in, a subject of great importance for our chair. Resilience deals with both the adaptability and the transformability of cities to unforeseeable changes. It starts with social resilience, on the scale of individuals able to react and adapt to changes. We need to understand that change is not necessarily a negative thing. For a designer, every problem has its potential.

Do you have examples where urban resilience is applied in practice?

A lot of resilience-related cases are recent projects we worked on in the past few years. For instance, we just finished the Zwolle IJssel-Vechtdelta planning, where we incorporated the resilient approach of ‘multi-layer safety’. It is a strategy to ensure that systems don't fail when there is a flood and that the area can continue to function and remain inhabitable.

On a smaller scale, the Rotterdam Eco Innovation Lab is an example where we developed urban resilience proactively through community-based processes. In this case, an energy-positive district is achieved by the participation of the users in the design, the construction and even the management of the built environment.

Raw material is another key issue in your chair. Why is that?

Global growth has led to extra demands for raw material. By 2030, the world’s middle class will be made up of at least two billion people, whose consumption will put a tremendous amount of pressure on raw materials such as rare earth elements and copper.

Market prices are already increasing and countries like China are investing in Africa to fulfill their growing demand for raw materials.

I want to address the urgency of this issue in our chair and look

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We leven voortdurend in verbroken evenwichten, dat spreekt vanzelf. Dat heet dynamiek. Je moet ook geen stromend water proberen te begrijpen door het in een emmer op te vangen. Ik geloof dan ook niet in herstel van evenwicht door achteruit te gaan lopen.

Eerder in permanente onevenwichtigheid op zoek naar iets dat voor ons ligt. Naar mijn visie vraagt dit een nieuwe benadering van onze gebouwde omgeving, naar het benaderen ervan als een ‘metabolisme’, zo u wilt als een stedelijk metabolisme.”

towards finding a dynamic balance between those reciprocities. This is also where social resilience comes in again, making urban dwellers more adaptable to change.

This seems to be an overwhelmingly broad scope of work you are carrying on with your chair. What is your approach to tackle all the issues?

Peter Rice stelde het als volgt: ‘Technology is the answer… but what was the question?’ … Zelf denk ik dat stad en ommeland gezamenlijk binnen polycentrische slimme deelnetwerken verweven moeten worden, en dat we meer naar de mensen zelf, en vormen van zelf-organisatie moeten kijken.

...in dit kader proclameer ik ‘ReciproCities’ boven ‘ScarCities’: We zullen een belangrijke verschuiving moeten maken van een maatschappij gebaseerd op eigendom van producten naar eentje waar ‘diensten’ en ‘strategische toegankelijkheid’ meer centraal staan.

Onze opgave is nu om de juiste verhouding te vinden tussen het globale en lokale, stad en land, energie en water, mens en techniek... En bij duurzaam ontwerpen gaat het niet alleen om technische en natuurwetenschappelijke kennis.

- Van Timmeren's inaugural speech on April 17

Vauban neighborhood in Freiburg

into issues such as urban mining. We need to reclaim not only energy, but also water, raw materials, food and nutrients.

These are what I call ‘essential flows’ that keep our cities functioning.

You are going to talk about reciprocity in your inaugura-

tion speech. What do you mean by reciprocity?

Reciprocity refers to the corresponding concepts such as technology and people, but also for example energy and water, waste and material, or a city and its hinterland.

Currently we are focusing a lot on urbanization, but we forget that urbanization is only possible with the hinterland, which supplies us with food and nutrients. Cities are becoming very dependent, and their inhabitants pampered. They are no longer resilient to changes.

So, system designs have to be geared towards change and

Jaap Bakema said: “van stoel tot stad (from chair to city)”. This is also my approach: from people to city.

One example is the Concept House Prototype I worked on.

Currently, most designs of energy-positive buildings are freestanding houses with a lot of surface on the roof to absorb solar energy. Most people in the world, however, live in apartment blocks or towers. What I wanted to show with the Concept House Prototype is the possibility to achieve low carbon footprint, material use and positive energy balance in a common medium-rise. In this project, people are again essential. We measured how the residents used the building, their energy consumption, how they walk and move in the building, etc. So you need to always start small, and you need to start with people before tackling big problems of cities.

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B NIEUWS 09 1 MAY 2013

A YOUNG CITY, LOS ANGELES HAS ALREADY UNDERGONE A PLETHORA OF TRANSFORMATIONS AS A RESULT OF CHANGING MODES OF TRANSPORTATIONS. JORICK BEIJER, WHO GRADUATED WITH DISTINCTION IN URBANISM (COMPLEX CITIES) LAST JANUARY, STUDIED THESE TRANSFORMATIONS AND FOUND THAT THE LOCAL "ECOLOGIES" THAT HAVE CREATED PLACES OF MEANING NEVER REALLY DISAPPEARED.

FIVE STAGES OF MODERNITY

BY IVAN THUNG Diffuse Field In Los Angeles, thinking in terms of centre and periphery is not relevant. Although LA is known as a sprawling city, its density stays high from the middle to the edges.

And at the edge of the city, where it borders the desert, the city just stops. As a consequence one should think the city as a diffuse field in which centres emerge as clusters of amenities. The whole discussion of centre and periphery and urban and suburban can in this case be put aside.

Consequentially LA can be experienced "a la carte." One can drive around and assemble it from your preferred selection of neighbourhoods. But what happens with the

spaces in between? Couldn’t they be considered periphery after all?

“These places actually are ‘nothing’,” says Beijer, “but the thing is that nobody really cares. Living in such a place is not like living in the outskirts, because one can reach all the important places in thirty minutes.”

Beijer conceived Los Angeles as a collection of ecologies, a term borrowed from Reyner Banham, an architecture critic who has written on LA. The word ecology is used as a catch-all to describe symbiotically the urban environment One of the ecologies Banham discerns is “autopia” which he describes as follows: the freeway as a coherent state of mind, a way of living. The highway has, more than one would experience in for example

The Netherlands, a profound influence on the city. Beijer: “When you arrive from the airport, you are taken by elevated highway that just glides through the city above an enormous patch of buildings and the only thing you see is city and palm trees. It’s as if you are driving from Amsterdam to Rotterdam but without any interruption by the countryside.”

(1888), mass public transit (1929), to the realised dream of complete automobility (1970) has had a profound influence on the structure of the city. Beijer: “It is remarkable how around the former tram-stops lively neighbourhoods developed and that contemporary centralities are located where important connection ways in and out of the city used to be”.

Transportation This prompted Beijer to investigate how transportation could be applied as interpretative tool for order in LA. With help of maps drawn up by Sanborn, an insurance company, he analysed the cities development through the years 1888, 1929, 1970 and 2011.

He found that the change of mode of transportation from walking

LA’s current condition (2011), several years after the complete domestication of the car, Beijer diagnoses as "a supermodernity of residual ecologies." The highway, which used to guide the in -and outflux of all the cities traffic, has now permeated the whole urban fabric and created a homogenous network that connects everything with everything. As a result, the

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1888: "the ecology of walking, tasting modernity"

1929: "collective modernity; the ecology of the street car"

1970: "autopia; persuasive modernity"

2011: "Supermodernity of residual ecologies"

2029: "Intopia"

2011: "Supermodernity of residual ecologies"

2029: "Intopia"

ecologies based on former modes of transportation have become fragmented, residues of what has been built in the preceding years.

Shadow Ecology But these residues are still of value since they can serve as loci to regain authentic public space which has been fragmented by the highway. In this context, Beijer’s hypothesis –borrowed from Varnellis, a network theorist – is the following: places of meaning never really disappear. While it may seem that an ecological structure, for example a centre once related to walking, has disappeared, it subsist as a "shadow ecology".

This means that such ecology can be reactivated in a later time. Beijer: “The place where formerly grapes used to grow, that later

was the main station of a tramway still is a meaningful place and is likely to remain so in the future.”

How to design public space in this context? Meaningful places, Beijer argues, cannot be constructed out of thin air but reappear from former ecologies. Beijers design imagines therefore a way to further this reappearance by the introduction of a fifth ecology: "intopia".

The proposition, which should be seen as an explorative utopia, comprises a monorail and a walkway in the sky, which connects disconnected centrums. As such, it may create a continuous public space again from the residues of former ecologies.

Education The strong theoretical character

Beijers graduation has was a deliberate choice, positioning it different than the ‘average’ thesis. Beijer was taught at Sci-Arc, an avant-gardist architecture school in LA, where he studied for six months. This experience has made him sceptic whether the current programme of Urbanism in Delft will prepare urbanists for the uncertain future of the profession.

Beijer: “In other countries there is a clear division between an architect and an urban planner. Because of the lack of this distinction in Delft, students are always in a split. Studios here always have to end with the obligatory square, which I believe is not the specific competence of an urbanist. Real urban design, like designing how the edge of the building touches the street, is most of the time

much better done by architects.

Public space most often is better done by landscape architects. If the profession is to survive, I think Delft should make urbanism into urban studies, with an emphasis on really understanding the cities through mapping and theory.

More like a critical academic rather than practical design education.”

Tuesday, May 14 Beijer will hold a lunch lecture 1250-1330 in the Oostserre. moderated by Henco Bekkering, with reactions of Marc Schoonderbeek and Stephen Read.

10 RESEARCH

B NIEUWS 09 1 MAY 2013

The generic elements as illustrated by Siriluck Songsri.

Clockwise from top left: Exploring, Library, Design Language, Domains and Guiding Theme.

11

A FRAMEWORK FOR DESIGN ELISE VAN DOOREN, LIKE MOST TEACHERS IN THE ARCHITECTURE FACULTY, HADN’T PLANNED ON BUILDING A CAREER OUT OF TEACHING. AFTER GRADUATION, VAN DOOREN WAS ASKED IF SHE WAS INTERESTED IN A TEACHING POSITION WITH THE FACULTY. SHE QUICKLY REALIZED HOW MUCH SHE ENJOYED WORKING WITH STUDENTS AND HAS CONTINUED TO DO SO. BUT EVEN AFTER GAINING EXPERIENCE IN THE MENTORING OF STUDENTS, HER INTEREST IN UNDERSTANDING HOW TO EFFECTIVELY PASS ON DESIGN SKILLS GREW. THAT IS WHY SHE EMBARKED ON HER OWN RESEARCH THREE YEARS AGO.

BY DAPHNE BAKKER “We as teachers are enthusiastic about our job, and we have a great command on our own design abilities.” says van Dooren. “That’s why we were hired without any prior education in didactics. I still wanted to know how I as a teacher could acquire skills in order to improve students' ability to learn how to design, to make things more understandable for them.”

The Process During her research van Dooren realized the existence of a gap between teachers and students. “As teachers we always discuss the design product with our students in the same way we would when speaking to our colleagues at work, but hardly ever the design process. While we should discuss the physical products, students are there to learn how to design. For experienced designers the design process is implicit, they aren’t constantly aware of, but in order for students to learn how to design, the design process has to be made explicit,” explains van Dooren. In order to understand how to teach design, van Dooren explored the design process itself. “Designing is perceived as a complex, personal, creative and open-ended skill, which it is, but it also consists of universal characteristics which both novice and experienced designers can recognize in their own process.”

The Framework To make explicit, that which is implicit, van Dooren developed an educational framework for the design process. The framework consists of generic elements which encompass the universal characteristics of the design process, “no matter how personal, complex, open-ended and creative the process is.” The elements are also a clear and balanced overview of the design process experienced by both novice as experienced designers, making it possible for students and their teacher to discuss the design process on an equal level.

The Elements Van Dooren has recognized and defined five such elements. Within each design process a designer will explore, experiment and finally make a decision. The designer is open and alert to new alternatives and criteria found through analysis and association and through testing and evaluation. But in order to realize a coherent and consistent design, a designer needs to develop a guiding theme or specifies certain qualities her design should possess. This theme can also be described as a concept. The designer should also be aware of the various domains in which the design process takes place. Within architecture these domains are space, material, site, function and socio-cultural context.

Also, the design process is inseparably embedded in a broader context: a frame of reference. All knowledge is stored in the environment, in books and, often implicitly, in the designer’s mind. Finally the mental process of designing has its physical counterpart, which is the design process own visual language. This language consists of sketches and modelling and serves an external, extended memory and a tool for reflection.

Interwoven It is important to realize that designing is an interwoven process. This means that the generic elements are linked to each other. While one can distinguish each of these elements within the design process, they are not be seperated from each other. “They are general principles or common features, present in one form or another in any design process. The elements emerge in the design process, next to and interwoven with each other.” van Dooren continues: “There is no fixed step by step sequence. The way the elements are filled in or ‘coloured’, differs, depending upon the kind of project, the designer and the design discipline.” With this framework teachers can derive more explicit knowledge on the design process and pass it on to their students.

Teaching the teachers The faculty now provides a Basic Course in Design Didactics lead by van Dooren and Luc Willekens. The course aims to shed light on a wide variety of didactic skills and also introduces the teaching staff to van Dooren's research on design didactics. During the course, spread over six meetings, teachers receive small design assignments and build models, after which a colleague will take on the role of teacher and will then discuss the design process and product while another teacher acts as an observer. Finally the session ends with a round table discussion in which they reflect upon their experience with the assignment, but also within their own teaching careers. Olindo Caso, an experienced designer and teacher within the Complex Projects studio, considered the course a fun and enlightening experience. “It provided an opportunity to step back and evaluate and reaffirm your own teaching skills while getting to know colleagues you usually never run into,” says Caso. The knowledge gained in the course could help develop a more adequate and clear way of teaching and help develop the curriculum.

Curriculum While van Dooren's research is still ongoing, it has left some marks on the new BSc curriculum. Previously it was only during the final BSc projects that students received the opportunity to reflect on their own design process. Now it will be introduced earlier and more frequently within the new curriculum. Along with explicit awareness of the design process, in order to become a more skilled designer, it is important to have more opportunities to practice designing within.

“I’ve worked in different systems throughout the years. All of these systems have their pros and cons. For instance now we’ve gone down in the number of design projects to two a year, which I personally consider to be too few. It would be ideal if there were more, smaller design assignments, which encompass the entire design process. For example have the students do four projects in an academic year, on a smaller scale. How often students are provided with the opportunity to make their design process more explicit improves their ability to learn how to design.”

12 BK IN FOCUS

B NIEUWS 09 1 MAY 2013

HERVORMINGEN

IN DE BACHELOR

VANAF KOMENDE SEPTEMBER ZIJN ER GROTE VERANDERINGEN IN HET BACHELORONDERWIJS: ER ZIJN GEEN TENTAMENWEKEN MEER, DE KLEINE VAKKEN GAAN OP IN GROTERE MODULES EN BIJNA ALLE MODULES WORDEN NOG MAAR ÉÉN KEER PER JAAR AANGEBODEN. HET PLAN VOOR DE BACHELORVERNIEUWING WORDT STEEDS VASTOMLIJNDER. BNIEUWS PRAAT EROVER MET BACHELORCOÖRDINATOR REMON ROOIJ. DOOR MANON SCHOTMAN Wat is het idee achter de bachelorvernieuwing?

Ik heb een discussiestuk gemaakt over de onderwijsvisie achter de nieuwe bachelor, dat ik de komende tijd met veel mensen zal bespreken. Het is getiteld ‘een breed fundament’: het bachelorcurriculum is een breed fundament voor het ontwerpen. Het idee is gestoeld op het uitgangspunt van mijn voorganger Michiel Riedijk [zie afbeelding] dat ontwerpen de core business is van ons bacheloronderwijs.

Vandaar dat er bij de leerlijn ontwerpen 10 studiepunten extra bij zijn gekomen. De leerlijn ontwerpen beslaat daarmee een derde van het curriculum: 60 studiepunten (ECTS).

Daarnaast vindt het Ministerie van Onderwijs, Cultuur en Wetenschap dat wij de bachelorstudenten breed moeten scholen.

Dat hebben wij vertaald in een brede bacheloropleiding.

Wat is de aanleiding voor de veranderingen?

De TU Delft heeft van het ministerie de opdracht gekregen om het studiesucces te vergroten.

TU-studenten en ook bouwkundestudenten doen veel te lang over hun studie. Het doel is daarom om het programma beter ‘studeerbaar’ te maken. Dit doen we door meer duidelijkheid te geven over de studie-eisen, door grotere modules aan te bieden, door maximaal twee modules parallel te laten lopen en door studieonderdelen en tentamens logischer te programmeren. Bovendien

wordt het onderwijs zo ingericht dat de student ‘aan de bal’ kan blijven, door een meer activerende vorm van onderwijs. Het onderwijs moet zo zijn dat colleges niet alleen bestaan uit zendtijd van een docent, maar dat de student zelf actief met de lesstof bezig is.

Wordt het onderwijs daarmee wat meer HBO-achtig?

We willen ervoor zorgen dat mensen hun tijd en energie efficiënt inzetten. Dat is helemaal niet HBO-achtig. Allerlei onderwijskundig onderzoek vertelt ons dat het slim is om de student actief met de lesstof bezig te laten zijn, om daarmee de studeerbaarheid te verhogen.

In het oude curriculum waren er geen semestercoördinatoren, waardoor het onduidelijk was wie de verantwoordelijkheid had. Nu zijn er weer verantwoordelijke leerlijnhoogleraren en modulecoördinatoren. Was dat een bewuste keuze?

Er waren wel ooit semestercoördinatoren, maar die zijn op een gegeven moment wegbezuinigd.

Ik denk dat je op een bepaald niveau behoefte hebt aan samenhang en een structuur van afstemmen. Dat wordt nu ook gemakkelijker, omdat we grotere modules hebben. Er zijn nu geen zeventig vakken meer maar 24 modules, die makkelijker op elkaar en op een gezamenlijke visie zijn af te stemmen.

Worden de studenten ook betrokken bij de onderwijsvernieuwing?

De studenten hebben een hele actieve rol in het verhaal. We hebben alle handleidingen met leden van de FSR (Facultaire studentenraad), Stylos en de OC (Opleidingscommissie) doorgenomen en ze hebben daar hun advies over gegeven.

De studenten hebben zelfs de coördinatoren gevraagd om het nieuwe onderwijs op hen uit te proberen.

Zal dat ook gebeuren?

De modulecoördinatoren mogen zelf bedenken of ze dat leuk en waardevol vinden, en of ze daar tijd voor kunnen maken. Maar de decaan en ikzelf vinden het een goed idee. We zullen zien of onze collega’s erop ingaan.

In het nieuwe bachelorprogramma zijn er geen tentamenweken meer. Hoe worden tentamens afgenomen?

In het kader van het verhogen van het studiesucces krijgen we

vanuit TU Centraal richtlijnen mee. Een richtlijn is bijvoorbeeld dat je niet meer dan één summatieve toets (voor een cijfer) aanbiedt per 2,5 studiepunten.

Dus veel vijfpuntsvakken zullen twee toetsmomenten hebben. Dat zijn bijvoorbeeld één plananalyseopdracht en een tentamen. Deze toetsmomenten worden afgestemd met de modules die tegelijkertijd plaatsvinden.

De onderwijsweken sluiten rechtstreeks op elkaar aan. Is er dan nog wel ruimte voor herkansingen?

Laat ik vooropstellen dat dit type curriculum mede bedoeld is om de herhaallast gigantisch te verminderen. Dus wie zich inschrijft en gewoon meedoet zou de vakken in één keer moeten kunnen halen.

Maar er zijn natuurlijk altijd studenten die ziek zijn of problemen hebben in de familie; hen bied je een herkansingsmogelijkheid aan. Er is per toets één herkansingsmogelijkheid. Voor de niet-ontwerpprojecten van het eerste semester zijn er herkansingsmogelijkheden direct na de kerstvakantie en in de week tussen het eerste en het tweede semester – de ‘wintersportweek’.

De herkansingen voor de vakken uit het tweede semester worden aangeboden in de laatste tentamenperiode, in de zomervakantie.

Hoe verlopen de herkansingen van ontwerpprojecten?

In het nieuwe systeem is er niet meer de mogelijkheid om een vijf voor een ontwerpproject te ‘repareren’. Voor studenten die lager dan een zes hebben gehaald, is er in de zomervakantie de mogelijkheid om één ontwerpproject te herkansen in een herkansingsatelier. In deze ateliers kunnen studenten in twee

13 weken het ontwerpproject onder begeleiding herkansen. In week 5.6, in de zesde week van de zomervakantie, moet het ontwerp dan worden ingeleverd bij de modulecoördinator. Het voorstel is dat de studenten voor de herkansing geen cijfer meer krijgen, maar slechts een V van ‘voldaan’ als de leerdoelen zijn gehaald, of een ‘ONV’ van ‘onvoldoende’. Dat geldt trouwens ook voor de herkansingen van de niet-ontwerpopdrachten, zoals een analyse of een paper: ook die worden slechts met een V of ONV beoordeeld.

Hierdoor wordt het voor docenten makkelijker om een herkansing te beoordelen en krijg je niet de discussie of iemand voor een herkansing nog wel een hoog cijfer mag halen. Bovendien mag je voor het predicaat cum laude slechts twintig procent van je vakken met een ‘V’ gehaald hebben. Als je dus een groot deel van je vakken met herkansingen haalt, kom je niet meer in aanmerking voor cum laude.

Het nieuwe programma levert op sommige plekken knelpunten op met de overgangsregeling. Zo moeten de studenten voor de module Maatschappij II het programma BIM beheersen, wat studenten in het oude programma echter nog niet hebben geleerd. Bovendien zijn vakken als Ontwerpen IV en Maatschappij II in het nieuwe programma dusdanig met elkaar verbonden, dat het

onduidelijk is hoe een student die een van beide vakken in het oude bachelorprogramma heeft gehaald in het nieuwe programma alleen het andere vak kan volgen. Hoe werkt dat?

Het is niet voor niets dat we tegen studenten zeggen: zorg dat je alles afrondt wat je kunt afronden. Maar ik voel ook aankomen dat dit niet bij iedereen zal lukken. De studenten hebben recht op onderwijs dat zelfstandig te volgen is, vanuit de informatie die ze bij de overgangsregeling hebben gekregen. Dus het kan niet zo zijn dat studenten ineens Ontwerpen IV erbij moeten volgen als ze Maatschappij II nog niet hebben afgerond. Modulecoordinatoren moeten hun vakken dus toegankelijk maken voor studenten die in deze situatie zitten. We zullen hier nog met de modulecoördinatoren naar kijken.

Hoe worden de nieuwe vakken geëvalueerd?

Het curriculum zal het eerste jaar intensief geëvalueerd worden door de afdeling Kwaliteitszorg.

Maar degene die verantwoordelijk is voor de onderwijskwaliteit is niet Kwaliteitszorg, maar de modulecoördinator. Deze zal dan ook een grote rol spelen in de evaluatie van het onderwijs. Het grote voordeel van het feit dat modulen nog maar een keer per jaar worden aangeboden, is dat een modulecoördinator veel tijd heeft om de module te evalueren en voor te bereiden voor het

Remon Rooij (door Roberto Rocco)

daaropvolgende jaar. De modulecoördinator overlegt met het docententeam en het leerlijnteam over hoe dingen zijn gelopen en misschien organiseert hij of zij feedbacksessies met studenten.

Met die informatie en de resultaten van de kwaliteitszorgenquêtes maakt de modulecoördinator een actieplan voor de volgende keer. Dat actieplan wordt vervolgens besproken met de opleidingscoördinator, de OC, de FSR en Stylos. Dit is de cultuur die

moet ontstaan, zodat er continu gewerkt blijft worden aan de kwaliteit van het onderwijs.

Bachelorvernieuwing Zie voor meer informatie over de bachelorvernieuwing en de overgangsregeling: bk.tudelft.nl/bsc2013

14 FORUM

B NIEUWS 09 1 MAY 2013

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Deep-rooted sentiments? Interesting views? Use forum as your discussion platform! Send your articles and letters to bnieuws-bk@tudelft.nl.

React on bnieuws.wordpress.com!

DE NOODZAAK VAN EEN AVANT-GARDE On being noticed (in almost everything) With the long overdue spring finally here, the blossoming cherry trees triggered a memory of an ironically overused Japanese anime meme of a slightly clueless protagonist walking to school, thinking: “New year, new chances...

Maybe senpai will finally notice me…” Yes, there will come a time when all of us need to stand out from the crowd and catch somebody’s eye. And whether it’s senpai or a potential employer, no-one will notice just another generic (insert Koolhaas pun here) face in the crowd. The key to standing out is position and promotion.

Use your time here to find yourself. Find your strengths and weaknesses , and form your opinions on whatever is being taught here. Be the idea guy, the sustainability guy, the artsy girl, the material expert or the urbanist extraordinaire. Be the cynical writer or the poetic dreamer. Be the austere minimalist or the unapologetic hedonist. Be someone interesting, inspire passion. Position yourself.

The second thing on your to-do list is to tell everybody. While our shy anime protagonist will go out of his/her way to have their efforts recognised on their own merits, perhaps you do not want to spend the next 10 episodes being ignored, only to get your happy ending at the last moment.

Remember, in real life, happy endings are more difficult to come by (so sayeth the cynical writer), so talk about what you do well, about what you think of things that are relevant to your position and what you hope to accomplish. Talk with your professors, tutors, peers and anyone willing to listen. Don’t be subtle. Repeat yourself often.

Don’t be subtle. Repeat yourself often.

The most remarkable architects are those with a clear position and excellent self-promotion. Good architecture is often an accidental by-product. No other architects are better proof of this than the Smithsons. We rank them among the likes of Le Corbusier, Mies and the Eameses because of their clear position on the role of architecture in their time and the rigorous demonstration of their own thinking in their projects but also because of their own insistence on belonging up there with the other greats. I mean, we all know what their buildings look like…

DE CRISIS VAN DE JAREN DERTIG BEGON IN 1929 MET EEN BEURSKRACH EN DAT WAS HET BEGIN VAN EEN LANGE EN DIEPE ECONOMISCHE CRISIS. MIJN OUDERS SPRAKEN ER VAAK OVER, HET WAS EEN TRAUMATISCHE ERVARING. Tegelijk ontstond rond 1929 in de architectuur en stedenbouw een geheel nieuwe beweging, die de naam CIAM droeg en onder aanvoering stond van een inspirerende Franse architect: LeCorbusier, Het was een beweging van een generatie maatschappelijk betrokken schoffies van die tijd. Ze noemde zich de Moderne” beweging. Met name de traditionele stedenbouw met zijn gesloten bouwblokken en barokke vormen werden afgedaan als ongezond en achterhaald. De jonge avantgarde slingerde met termen als De Nieuwe Zakelijkheid en bedacht de Functionele Stad gebaseerd op het concept van mobiliteit als bindmiddel van de nieuwe stad. Ze stond een moderne architectuur voor met simpele, industriële vormen van beton, staal en glas. Deze elite beschreef de komst van een nieuwe maatschappij en vond er aansprekende beelden bij. En toen werd het crisis.

Een crisis, en dat maken we nu ook mee, verloopt in stadia. Het eerste stadium wordt bepaald door de hardnekkige ontkenning. Het duurde minstens vijf jaar, tot 1934, voor het bij bestuurders, industriëlen en burgers begon door te dringen dat het een echte recessie was. Men bouwde in Nederland gewoon door, grotendeels voor de leegstand.

Doorgaan met bouwen leek verstandiger dan inkrimpen. De recessie zou toch zo over zijn. Wijken als Blijdorp in Rotterdam en Amsterdam-Zuid stonden grotendeels leeg in de jaren dertig.

Rond 1936-37 stortte uiteindelijk het vertrouwen in dat het herstel vanzelf zou komen. Tijd voor een nieuwe aanpak. Het moest allemaal veel anders en goedkoper. Er was een nieuwe opgave en die vergde een nieuwe praktijk. Als je door de straten van Amsterdam, Rotterdam en Den Haag rijdt kan ik in elke buurt uit de jaren dertig die plotselinge overgang aanwijzen.

Juist op dat moment slaat de jonge avant-garde van de CIAM toe en ontstaan er coalities met bouwers en bestuurders die de theorieën van de jonge generatie omzetten in zeer praktische oplossingen. Na de oorlog wordt de gevestigde orde definitief bepaald door de straatschoffies van nog geen twintig jaar daarvoor. Zij boden de oplossing om veel woningen, snel te bouwen voor weinig geld, in een setting die zorgvuldig als ‘modern werd verkocht. Het is te zien in de optimistische films over de wederopbouw, met een stevige jazz-tune eronder. De logistieke uitdaging van de stad die nu omringd werd door fors groeiende industriegebieden, met omvangrijke goederenstromen, was een nieuwe, oplosbare uitdaging. De verbeeldingskracht van de avant-garde bepaalt haar succes.

Misschien waren er andere oplossingen, maar juist hun visie was effectief Nu hebben we ook een recessie en ik ben benieuwd naar de avant-garde van deze tijd. Maar die is er niet. We hebben het veel over organische steden, stedelijke ecosystemen, multifunctionele programma’s, het nieuwe werken, duurzaam en open-ended ontwerpen. De kunst is op gelijke wijze als in de jaren dertig een antwoord te vinden op de grote sociale, maatschappelijke en economisch verschuivingen die nu optreden. Een recessie is altijd een reset (shift happens), een herschikking van systemen, die het noodzakelijk maakt af te rekenen met oplossingen uit het verleden. Het antwoord van een samenleving op zo’n verandering wordt bepaald door de effectiviteit van de verbeeldingskracht. Hoe gaat

ANNA WOJCIK

PETER SMISEK

de nieuwe wereld eruit zien?

De functionele stad, de uitvinding van de CIAM en de dominante vorm van de afgelopen zestig jaar, is niet langer adequaat vanwege haar inefficiëntie en afhankelijkheid van goedkope mobiliteit. De nieuwe productieve stad moet een efficiënte oplossing bieden voor economische en sociale processen die volgens de nieuwe ordening van de informatietechnologie lopen. De dominante gebruiker van de stad is een zelfstandig opererende wereldburger die zijn eigen virtuele netwerk van afhankelijkheden en economische relaties in stand houdt. De stad kent een nieuwe sociale ordening.

De productieve stad heeft ook een uitgesproken verschijningsvorm.

In tegenstelling tot wat iedereen denkt is dat volgens mij niet zo’n plaatje met van die groene gebouwen, omhuld in klimop en met volkstuinen op het dak. Dat is CIAM, maar dan met een groene kleur in plaats van wit. De nieuwe verschijningsvorm zal gebaseerd zijn op hergebruik, onderdeel van een nieuwe cyclische economie.

Dat moet nu verbeeld worden en architecten kunnen dat goed. Durf met een b3-potlood een toekomst te schetsen, inclusief een klinkend manifest, die past bij de huidige uitdagingen en verbind ze met de grote sociale en economische verschuivingen die nu gaande zijn.

Rudy Stroink

STREETS OF BK CITY 15 IN IEDERE EDITIE WORDT STUDENTEN EN DOCENTEN VAN DE TU DELFT EEN VRAAG GESTELD WAAR ZIJ HUN MENING OVER GEVEN. DEZE KEER:

WHERE IS THE AVANT-GARDE IN ARCHITECTURE? WHAT SHOULD SUCH AVANT-GARDE FIGHT FOR?

Anouk Sweringa Msc4 Interiors In our faculty in particular no avant-garde there is no avant-garde; everyone is just following the studios like good students.

The reason is that we are caught in our technical thinking, and also because everything is arranged too well: there is not enough chaos in this faculty. A new avant-garde should fight for architecture as a Gesammtkunstwerk, which for me means that the architect should collaborate with many different disciplines such as artists and constructors as a real team – so not as a ‘bouwteam’ where everyone belongs to a separate office.

Divya Djindal Globalisation MSc2 Coming from a developing country I know lot of things to fight for. Avant-garde movements in India are not very strong because we have a very capitalist society in which money equals power. As a young entrepreneur you should think how to trick people to do good things for you, while making sure that somewhere money is made.

COLOFON B Nieuws is a four-weekly periodical of the Faculty of Architecture, TU Delft.

Faculty of Architecture, BK City, Delft University of Technology Julianalaan 134, 2628 BL Delft room BG.Midden.140

Eva Nicolai MSc2 UrbanismI agree that there are no avant-gardes any more, but mostly because they are different from what they used to be.

If you look for an avant-garde as they were present in history, you are not going to find one.

Magda Melon MSc4 Hyperbody avant-garde, I think it just takes another form. More the form of collaboration between different architects and people from other domains. These days a lot of exchange is not done in person, but rather in virtual space. There are a lot of platforms sharing arithmetic and parametric stuff which are really a hotbed for new developments. So I would say we do have an avant-garde although it isn’t distilled—we don’t know the faces.

0031 (0) 6 347 443 25 bnieuws-bk@tudelft.nl b-nieuws.bk.tudelft.nl issuu.com/bnieuws Editorial Board Ivan Thung Manon Schotman Daphne Bakker Yinjun Weng Edo Beerda

Contributors Roberto Rocco Peter Smisek Rudy Stroink Siriluck Songsri

Hayk Shahinyan KHT Stockholm I think you always need an avant-garde but sometimes people get carried away by fashion only. Other issues, such as sustainability, are being pressed artificially. Avant-garde thinking has been gone for a while, but I do think it will return at some point.

Wika Sokalska Wroclaw University of Technology I think that a contemporary avant-garde is hard to recognize. We have so many information streams and that makes it hard to focus on one. In fact there are so many streams you just don’t pay attention to.

Maybe that’s why we think the avant-garde is not so influential now because so many ideas are shared that not one really sticks out. If you are not very interested in these streams, they will just pass without you noticing.

Editorial Advice Board Robert Nottrot Linda de Vos, Pierijn van der Putt

Print Drukkerij Tan Heck, Delft Next deadline 03 May 2013, 12.00 PM

B Nieuws 09, May 2012 Illustrations only in *.tif, *.eps or *.jpg format, min 300 dpi

Judith Stegeman BSc2 The first thing that comes to mind is sustainability, because the building industry is a huge energy pit. In terms of design I think there are enough remarkable buildings, and an avant-garde should fight for simple buildings that are beautiful through detail and materialisation.

Karlijn Scholtens BSc4 Every style is a reaction on the preceding one. Architects in particular tend to kick against the establishment. Mostly, however, the great avant-gardes have always been reacting to an important event. Modernism, for example, was a reaction to the second world war and industrialisation. If such an event takes place again, maybe an avant-garde can develop again, but probably you won’t find this in Europe.

articles, or to refuse articles that have an insinuating, discriminatory or vindicatory character, or contain unnecessary coarse language.

Unsolicited articles can have a The editorial board informs maximum of 500 words, the author(s) concerning the announcements 50 words. reason for it’s deciscion, directly after is has been made.

The editorial board has the right to shorten and edit

AGENDA B NIEUWS 09 1 MAY 2013

WEEK 20 lecture

Learning from Los Angeles 14.05.13, 12.50 A lunch lecture by Jorick Beijer on the transformation of structure, form and culture in Los Angeles. Jorick Beijer lived in LA for six months and graduated with distinction at TU Delft.

BKCity, Oostserre tudelft.nl/actueel/agenda

WEEK 21 Thesis defence

O. Çaliskan

21.05.13_ Thesis defence titled:"Pattern Formation in Urbanism. A Critical Deflection of Urban Morphology, Planning and Design" Aula TU Delft tudelft.nl/actueel/agenda

Intreerede lezing

WEEK 18

ZUS

14.05.13, 20.15 De architect heeft zichzelf de laatste decennia gemarginaliseerd door voornamelijk gehoor te bieden aan de wensen van de markt. ZUS wil de de architect herstellen in zijn rol van drager van de publieke zaak door de maatschappelijke opgaven helder te maken met behulp van ‘ongevraagde architectuur’ en architectonisch activisme. Met ontwerpvoorstellen, tentoonstellingen en publicaties opereert ZUS niet alleen in een werkveld maar wordt het tegelijk ondervraagd en bekritiseerd. Plat (ARCAM in de) Brakke grond ww.arcam.nl

Debat

De rijksbouwmeesters en het rijksmuseum 01.05.13, 12.00 Na een ingrijpend restauratie- en transformatieproces opende het Rijksmuseum in april haar deuren. Naar aanleiding van de opening wordt op 1 mei het debat 'de rijksbouwmeesters en het rijksmuseum' gehouden, over de rol van de rijksbouwmeester in dit proces.

BKCity, Oostserre tudelft.nl/actueel/agenda

Lezing

Dominique Perrault 07.05.13 In 1989 ontwierp Dominique Perrault de Bibliothèque nationale de France. Sindsdien is hij een van de meest gelauwerde Franse architecten van zijn generatie. lat Paleis voor schone kunsten, Brussel bozar.be

SPOT !

T LIGH

WEEK 19 Thesis defence

Dirk van den Heuvel 06.05.13, 12.30 Thesis defence titled:"Alison and Peter Smithson: A Brutalist Story, Involving the House, the City and the Everyday (plus a Couple of Other Things)" Aula TU Delft tudelft.nl/actueel/agenda/

Façade Value Conference on the Building Envelope There are a number of questions we have to address regarding the facade: What is preferable - a low investment façade or an expensive high performance solution?

Will sustainable façade concepts and systems pay off? How important is a user orientation approach with high comfort and high quality? Are there business

Conference

What design can do 16.05.13, 17.05.13 What Design Can Do celebrates the power of design and its problem-solving abilities. This two-day event in Amsterdam exposes design as a catalyst of change and renewal and a way of addressing the societal questions of our time.

Stadsschouwburg, Amsterdam whatdesigncando.nl

models in other disciplines we can learn from or even adopt?

What will be the effect on architectural design?

The conference will sketch a picture of the current market situation and will explore new business models and product concepts.

For more information on the programme and registration fee check: bk.tudelft.nl/futureenvelope

Prof.dr.ir. Philomena Bluyssen 22.05.13 Prof. dr. ir. Philomena Bluyssen is hoogleraar Binnenmilieu. Zij doet onderzoek naar de kwaliteit van het binnenmilieu van gebouwen en naar de mogelijkheden dit te verbeteren door uit te gaan van de wensen en eisen van de gebruiker.

Aula TU Delft tudelft.nl/actueel/agenda

Conference

Architecture and the Interior 23.05.13 The conference Architecture and the Interior serves as a mark of the work and discourse of the Chair’s programme Interiors, Buildings and Cities for the past fourteen years as directed by Prof Tony Fretton and an introduction to the work within the Chair in the future, in its new course The Architecture of the Interior, whose object is to address, directly, the interior as an object of cultural and specifically architectural attention.

BKCity, berlagezalen tudelft-interior-architecture.nl/ conference

TENTOONSTELLINGEN Handmade: long live crafts Boijmans van Beuningen till 20.05.13

From Holland With Love Nederlands Fotomuseum / till 20.05.2013

Junya Ishigami de Singel/ till 16.06.2013

Lucy McKenzie

Stedelijk Museum Amsterdam till 22.09.2013