B NIEUWS
#03 17 NOVEMBER 2014
PERIODICAL OF THE FACULTY OF ARCHITECTURE AND THE BUILT ENVIRONMENT | TU DELFT
METROPOLITAN LANDSCAPE OR LANDSCAPE METROPOLIS? PAGE 10/11
4/5 BK IN DEPTH
8/9 PROJECT
12/13 BK IN DEPTH
Beroepservaring? The experience of the BEP predecessor according to Tirza van der Greft
Archiprix selections The Bouwkunde selections of 2014
Roberto Cavallo Introducing the new Director of Education
2 NEWS
B NIEUWS 03 17 NOVEMBER 2014
Hergebruik begint bij jezelf: RE-USE! Voldoende ruimte voor overgebleven materialen
Heb jij ze al gespot? De houten afvalscheidingsmeubels met daarop de tekst: “Re-Use”. Het heeft wat energie en tijd gekost, maar mede dankzij de FSR zijn deze meubels geplaatst om hergebruik en recycling van materialen onder studenten en medewerkers te stimuleren. Bnieuws sprak met FSR om meer te weten te komen over deze ‘Re-usebakken’. Wat zijn de re-usebakken en voor wie zijn ze bedoeld? De houten re-usebakken zijn multifunctionele materiaalbakken die voor zowel afvalscheiding als hergebruik kunnen worden gebruikt. Ze zijn er voor iedere student en medewerker. De meeste re-usebakken bestaan uit twee delen: het linkerdeel bestaat uit afvalbakken voor papier en restafval. Het rechterdeel bevat ruimte om je overgebleven materiaal in achter te laten. Op deze manier verdwijnt jouw vergeten foamplaat niet meer in een berg van restafval, maar krijgt deze een nieuwe eigenaar. Wordt er op de faculteit voldoende afval gescheiden en materiaal hergebruikt? Nee, het is schokkend om te zien hoeveel bruikbaar materiaal er verloren gaat. Tijdens ontwerpprojecten stapelt het materiaal zich in de stellingskasten op en na afloop worden er enorme containers vol, soms nog ongebruikt, materiaal afgevoerd. Dat is natuurlijk doodzonde! Met de re-usebakken komt hier verandering in: door je overgebleven materiaal achter te laten, kan een ander hier nog gebruik van maken. Dit vermindert de enorme hoop afval die op atelier overblijft en dit merk je ook nog in je portemonnee. Genoeg redenen dus om bewust met je afval en materialen om te gaan! (JP)
Dutch structuralism?!
Although there is not one coherent answer available, both exhibitions touch upon the subject of defining Dutch Structuralism. It is not only an architectural movement that emerged in the post-war architectural field and it does not only involve designing by patterns and ideal geometry. It is breaking loose from technocratic and functionalistic approaches in search for ways to create vibrant cities, incorporating architecture, art, and cultural influences from all over the world. It is about creating social architecture, with bottom up initiatives and space for the opinion of the
Overview exhibition
Between the lines you can also discover how the small Amsterdam movement of the Dutch Structuralism could have such an impact on the international architectonic world view. Young students from the Academy of Architecture in Amsterdam worked closely together with established architects like Aldo van Eyck and Herman Hertzberger, touching upon vital issues. The results of these cooperations received international acclaim through taking part in international events like the Architecture Biennales and publishing in renowned magazines like FORUM. A remarkable fact that becomes clear through the exhibition is the playfulness of the designs. Children and playgrounds have an important place within the oeuvre of both the architects, the artists and the photographers associated with Dutch Structuralism. The portrayed children show the very essence of both the search for the working of structures while also creating habitable places. Specifically, the designs by Herman Hertzberger feature schools with multifunctional spaces, hallways that would also be an auditorium and a space for playing. The impact becomes clear if you realize that this is still how most schools are designed nowadays. The process of how this now well established concept was developed becomes clear through his sketches. mplete city block within the urban fabric. You can see how Herman Hertzberger executes thinking by drawing, from the small detail of a stairs banister to the large scale of a complete city block within the urban fabric. Make sure to check the drawers of the red installation, because the Jaap Bakema Study Centre exhibition shows even more of these thinking processes through sketches. (LD)
Sketchbooks by Hertzberger
Upon entering, the duality immediately becomes clear. Where Herman Hertzberger has chosen for architectural black and white cabinets, the Jaap Bakema Study Centre displays the materials on a vibrant red installation. This design by Lada Hršak from Bureau LADA houses not only the exhibition, but also contains drawers with even more material, a small library, a stage and a space for seminars. Including all the movie materials and the opportunity to draw and tinker with your own ideas, you could spend an entire day at the exhibition and still have things left to discover.
inhabitants. It is about redefining the city block in a time where urbanization was rapidly emerging, trying to mix new proportions and functions within the existing urban structure. Dutch Structuralism may look like something from the past, but the issues are still present in our modern society and offer us a way to take a critical look into our own design approaches.
Hertzberger at Centraal Beheer Apeldoorn
The New Institute (or 'Het Nieuwe Instituut) in Rotterdam houses a duo-exhibition on Dutch Structuralism, with one exhibition curated by Herman Hertzberger and the other by Dirk van den Heuvel of the Jaap Bakema Study Centre. The first is a personal view on Dutch Structuralism through own work, the second is the presentation of an ongoing research. Both exhibitions display a broad collection of drawings, sketches, models and pictures. They also offer a wonderful journey through the minds of the architects and artists behind the Dutch Structuralism movement. Bnieuws visited the exhibition during the preparations for part two of the exhibition (ideals in structuralism) and talked with Dirk van den Heuvel. A short review of the exhibition and a strong recommendation to visit the exhibition yourself.
Do you want to know the whole story? The exhibition is open until January 11th, 2015. Whereas the Herman Hertzberger exhibition is a constant one, the Jaap Bakema Study Centre deals with four different themes. December has a focal point on ‘building the welfare state’, January shows ‘urban renewals’. The Jaap Bakema Study Centre also invites a guest lecturer every Thursday afternoon, to offer different perspectives on Dutch Structuralism, its development and its appreciation.
NEWS 3 Workshop ‘Living with water’ Architecture Students from TU Delft and Aalborg (DK) are working on inventive solutions to combine water safety and living quality. Since the effects of climate change - such as rising sea levels and extreme rainfall - are occurring globally, water management is no longer an exclusive Dutch topic. Worldwide, designers are searching for ways to safeguard against flooding. During a three-day workshop in Aalborg (Denmark) master students of TU Delft and Aalborg University joined forces to combine water safety and quality of living. It led to innovative, unusual designs. From the introduction of the workshop, it immediately became clear that water management should be better integrated into Danish residential design. Aalborg - a medium sized town in the north of Jutland - has a nice waterfront that is experiencing rapid development. Historically, a number of small rivers flow from the hills around Aalborg into the fjord. At periods of extreme rainfall these rivers rapidly increase in size and the water level rises meters at a time. This has led the municipality to not allow housing in areas less than 2.5 meters above sea level. As a result, Aalborg is left with a substantial amount of well-located, but unused land. One of these areas is a beautiful former industrial site just outside the old city centre. Between old factory buildings lies an open green area with two small rivers and a lake. The rivers drain rainwater from the hills towards the city centre. The students were asked to design a residential area where residents, regardless of the water level, live in a safe and enjoyable environment which also provides water storage capacity during extreme rainfall. Designing for different conditions. In the first design sketches students focused on the question of how the individual home can be protected against water and yet still benefit from water. The starting point was the constraint of a site which is flooded every two years. Among the solutions were submersible houses, waterproof houses, floating houses and houses that could be lifted. It was a challenge in itself to design a house that continues to operate under different conditions. An elevated house for instance is well protected against the water, but under normal circumstances - due to its height difference - has a bad relationship to its surroundings. How to solve this? Next, the students combined their individual unit designs into urban plans. The probabilty of flooding turned out to
be an extra design challenge, for example in the area of accessibility. Why organize enclosure from the dry land, when the water actually provides the most consistent transportation medium? Results The 10 plans that the students presented after three days varied significantly. There was a fully floating neighborhood where - depending on sun, wind and privacy - homes could rotate around their axis. Another design featured Team X-inspired neighborhood whose streets, squares and houses were built around a regular grid of poles. Depending on the water level the housing could be hydraulically lifted or lowered. At the final exhibition a jury (consisting of the four teachers involved) awarded the design 'Submerged Living' as the overall winner. The design consisted of houses that were made of tilted and partly submerged floating blocks and combined the optimal experience of living on and under the water. The more private parts of the houses were situated partly underwater, while the spaces above the watersurface provided a wide view of the surroundings. Minervahaven Back in Delft, students are applying their experience to the development of a new neighborhood in Amsterdam’s Minervahaven neighborhood. In the future - according to the Structure Plan 2040 - this area aims to provide a large part of the required 70,000 new homes in the city. However, there is a relatively high risk of flooding in this area. Additionally, the nearby industrial infrastructure creates a serious obstacle to the livability. The design challenge thus is how water safety, water storage and water experience can be integrated with building homes in this difficult context. Curious about the outcome? On Friday, January 23, 2015 starting from 14:00 a final public presentation of all studio results will be held at the orange tribune in the West Serre at TU Delft, with contributions of Dick van Gameren (head Architecture section, TU Delft) and Lasse Andersson (head of urban design section, Aalborg University). By Pepijn Bakker and Olv Klijn Tutors Msc 1 studio ‘Living with water’, Delft faculty of Architecture, chair of Dwelling.
Student experience Workshop 'Living with water' After a 10 hour drive, we found ourselves in a wet and soaked Aalborg. We got invited to stay with fellow Danish students, which gave us the opportunity to get to know the Danish student life. Before entering the apartment of our hosts, we had to overcome the first problem, crossing the 5 centimeter flood in the hallway. This scene turned out to be quite appropriate for the theme of the workshop, designing for the potential effects of intense rainfall in Aalborg. During the intensive 3-day workshop that followed, we were expected to work under high pressure, to produce a lot of ideas in a short amount of time. It felt like a big brainstorm session, creating ideas without thorough research. Apparently for the Danes a workshop like this is a standard way of starting a project, for us this was quite an uncommon way of working. In the end the results were very decent and were put on display in the big hall of the newly built faculty building in Aalborg. After the presentation we finally managed to explore the Aalborg students’ nightlife, before preparing for another 10 hour drive back to Delft. Nander Brinker, Christiaan Dorlas en Coen van Vreden
HANS WAMELINK
Grenzeloos Vorige week sprak ik een studente die vijf jaar geleden aan onze faculteit is afgestudeerd. Zij heeft na het afstuderen een interessante baan als projectmanager in Londen gekregen en vertelde vol enthousiasme over haar internationale belevenissen. Zij is een voorbeeld van een steeds grotere groep studenten die na het behalen van hun masterdiploma in het buitenland als architect, stedenbouwkundige, projectmanager of adviseur aan de slag gaan. Voor mij opnieuw de bevestiging dat het diploma van bouwkundig ingenieur ook over de grenzen waardevol is. Deze mobiliteit is het gevolg van de veranderingen in onze omgeving. Twintig jaar geleden beperkte ‘interactie met het buitenland’ zich tot onze vakantieactiviteiten. Momenteel is de mondiale context bepalend voor student en faculteit. Invloeden zijn zowel in het onderwijs als in het onderzoek merkbaar. In het onderwijs wordt samengewerkt met een groot aantal gerenommeerde universiteiten door middel van exchange programs. Daarnaast komen jaarlijks circa 200 nieuwe studenten uit tientallen landen om een master binnen de faculteit te volgen. En zoals gezegd steeds meer studenten waaieren na hun studie uit over de gehele wereld. Ook op onderzoeksgebied vindt samenwerking met talloze instituten uit het buitenland plaats. Te denken valt aan KU Leuven, ETH Zurich, MIT, the Bartlett, TU München, Cornell, Uppsala en vele andere. Over ‘de grenzen gaan’ brengt de faculteit veel goeds. Studenten en medewerkers met een achtergrond uit andere werelddelen verrijken onze faculteit. Een ontwikkeling die we moeten blijven stimuleren. Op deze manier lijkt het misschien een vrijblijvende ontwikkeling: Studenten uit het buitenland die aan onze faculteit komen studeren, studenten die na het afstuderen naar het buitenland vertrekken en BK-medewerkers die in alle delen van de wereld gevraagd worden aan onderzoek bij te dragen of lezingen te verzorgen, tot meerdere eer en glorie van de faculteit. Maar de internationale context is alles behalve vrijblijvend. Zo zien we dat ‘Europa’ een bepalende invloed krijgt. Onderzoek wordt steeds minder gefinancierd met behulp van geld van de Nederlandse overheid en steeds meer door Europese onderzoeksprogramma’s. De faculteit moet zich mengen in de internationale concurrentie strijd voor onderzoeksfinanciering. Sterke banden met andere universiteiten zijn daarbij van groot belang. Ook op andere vlakken merken we de dwingende invloed van Europa. De Beroepservaringperiode (BEP) is bijvoorbeeld een direct gevolg van Europese wetgeving. De kunst is om zo goed mogelijk in te spelen op deze internationale invloeden. Dat geldt voor de faculteit, haar medewerkers, maar ook voor de studenten. Kortom, verleg je grenzen en toon een grenzeloos vertrouwen in onze (internationale) toekomst.
4 INTERVIEW
B NIEUWS 03 17 NOVEMBER 2014
BEROEPSERVARING? Experiencing the predecessor
From the 1st of January 2015 a new law on the architect's title will come into effect in the Netherlands. In a nutshell, if you want to qualify for the architect's title in the fields of architecture, urbanism, interior or landscape architecture, it is mandatory to complete a two year structured work experience called BEP, the ‘Beroepservaringperiode’. The BEP can be accomplished in two ways: via an integrated programme or via your own independent route. For this issue Bnieuws spoke to TU Delft alumni Tirza van der Greft, who completed the predecessor of the integrated programme called PEP, the 'Professional Experience Programme', while working at Quist Wintermans Architects. PEP is the only recognized programme of which its completion meets the end terms as specified in the new law. This predecessor was called ‘Beroepservaring’ and was provided by the same non-profit foundation. Hence Tirza's participation is highly comparable to the programme which next years graduates will have to complete. What was this work experience programme like for a TU Delft graduate? BY JIP PIJS
You graduated at RMIT in 2011 and started working at Quist Wintermans Architects that same year. Was it hard to find a job at that time? On 11-11-2011 I graduated on a renovation of an old cigarette factory and estate in Zevenaar. We started as a group on a large scale and proceeded on a smaller scale individually. I renovated and redesigned the manor and the coach house next to it. Quist Wintermans Architects contacted me via LinkedIn three days before my graduation and asked if I knew any potential interns for the company. We made an appointment to talk about interns, but to my surprise it turned out to be a job interview. After a brief interview, I was offered a job to help with a large tender. From that moment on, my contract was lengthened for
Tirza van der Greft, photos by Bas Kooij
short periods several times, up till the moment I got my first one-year contract in October of the following year. How did you end up participating in the Beroepservaring; was it your own or your employers idea and what was your main motivation to participate? I did have a colleague who completed the Experiment, the test programme for the BEP organised by Atelier Rijksbouwmeester. My colleague was very enthusiastic about this period and recommended me to participate in an experience programme too if I was provided with that opportunity. I started working when the economic and architectural crisis was at its peak. When I finally got my first one-year contract at Quist Wintermans it seemed to be the perfect moment to participate in the Beroepservaring and my employer agreed. I saw it as a great opportunity to get to know other architects and also landscape architects, interior architects and urban designers. We visited a diverse range of buildings and sites throughout the Netherlands and we had lectures from lots of guest speakers talking about different and interesting subjects—not just architects, but also contractors for instance. Another motivation was that I also wanted to learn more about the business side of architecture, which was barely covered during my studies at the TU Delft. How to make a tender offer, how to communicate with different actors, what different kinds of contracts are used etc. These things you learn best while working. Of course I once read about the contract model ‘Build and Design’ during my time at the TU Delft, but it’s different to learn about agreements when you have to apply the knowledge yourself at work at the same time. How was the Beroepservaring structured? Did it also have themed modules, did you have to write a personal development plan and keep a logbook like with PEP? I think Beroepservaring was structured slightly differently from PEP, but I’m not sure about that. We had meetings scheduled in the afternoon once a month. Each meeting had a different theme. The different themes varied from acquisition to implementation and were spread over a two year period. We didn’t call them modules at that time, but I guess it’s the same principle. We also did assignments in line with the covered topics during these meeting. The meetings and assignments were common and we often worked in groups. We also had to draft our own personal development plan every six months on how to reach all the learning goals during our work at our offices. We wrote the personal development plan ourselves and we did things on our own, aligned to our activities at work. It was, for instance, not obligatory to do acquisition for a month at the same time this theme was discussed at the monthly meetings. We had to keep everything we did in a log. The log, for me, was a great way to process all the new things I learned [at this point Tirza takes her
A meeting during Beroepservaring
logbook out of her briefcase]. During the Beroepservaring I made this logbook with drawings, photos and short stories about all kinds of things. It’s a great way to reflect on all the things you do and learn. I wrote down the results and whether they matched my expectations or exceeded them. If something didn’t go as planned, I tried to figure out why. Looking back, I’m still surprised about all the things I did. For instance, on this page there’s a picture of me at a book presentation for Quist Wintermans, which I organised. But other pages contain my own drawings and sketches or photos taken during visits on building sites. The logbook is a good overview of the past two years and it’s definitely something I would bring to a job interview. It shows all the skills you acquired and the advancements you are capable of making. A lot of students we spoke to fear that the PEP will be very strict. Did you experience the Beroepservaring as a strict programme? I don’t know how it is going to be organised in the future, but in my experience the period wasn’t very strict. Some learning goals were broad and others more specific, but all could be attained creatively. In
"THE BEROEPSERVARING ISN’T ABOUT FORCING YOU TO DO IMPOSSIBLE THINGS" the beginning we got a cross list filled with learning objectives. That seemed strict, but in reality it was our own responsibility to meet these objectives. By setting these goals they ensured we would actively pursue getting valuable work experiences. The Beroepservaring isn’t about forcing you to do impossible things during working time. On the contrary, it’s about making sure you get the valuable work experiences you can benefit from in the future whilst working. It stimulates you to do more and get more experiences than you normally would. The goals make sure, especially if you work for a big office, that you are not just drawing bricks for half a year locked in a garret. Most of the goals were easy to meet. For instance: one of the goals was to present a plan to the municipality. You can easily join colleagues for a meeting with the municipality. The Beroepservaring acted as an incentive to go along with your colleagues and present a plan, where otherwise you might not have. It didn’t even have to be the municipality to meet the goal, another similar committee could also do. If your firm wasn’t presenting any plans in the near future you could also join a fellow participant and his firm for a presentation. Your mentor was always there to help you. You see [points at her checklist in her logbook] everything is marked green and I passed!
Did all mentors work at the same firm as the participants ? My mentor also worked at Quist Wintermans and we worked together intensively. He happened to sit across my desk. Not everyone had a mentor from their own firm; some participants asked an old teacher or someone else they knew. Some had very close contact with their mentor and would meet up every week. You can choose whatever mentor suits you best. It’s nice to have someone to check what you are doing once in a while. There were also participants, especially in interior and landscape architecture, who started their own firm after graduation and worked for themselves as an independent architect, but still participated in Beroepservaring. Extra meetings were organised for freelancers so they could learn more about the dos and don’ts as an entrepreneur. How to get rewarded by your client from the beginning of a project without losing your order for instance. Did you learn more than you would have without the Beroepservaring? I don’t know if I’ve learned more than I would have otherwise. I think everyone should follow their own path. I spoke to a fellow alumni recently. She started her own office without following the Beroepservaring and we had a discussion about the same question. If you start your own office, you’ll probably learn the same things, but you will learn them the hard way. If you start working within an existing firm, the Beroepservaring allows you to get involved in all the aspects of the architecture business. Because of the goals you have to meet, you actively join in all kinds of activities you normally wouldn’t. You are more closely involved within your office. All the participants were very motivated because everyone did it voluntarily and this created a great learning atmosphere. What was de most valuable thing you’ve learned during the Beroepservaring and your time working at Quist Wintermans? Did reality match the ideas you had during graduation? I think I have a great job. I do a lot of architectural work and get to design in high tempo. I do a few projects for the Kröller-Muller Museum and the Erasmus University Rotterdam as well as infrastructural projects. Sometimes I play a supportive role, while at other times a more leading one . The projects students do at the faculty, only show a part of my job. You spend only a short period of time making your design like you do at the faculty. A big part of my job - and of many other architects - is elaborating your design, ensuring it gets built the way you envisioned it and making sure no significant cuts are made. One of the things I learned most is the importance of good communication and collaboration. Designing and building a project is team based. Making a strong design and making sure you as a team keep supporting it, is the key to completing a project successfully.
6 BK IN DEPTH
B NIEUWS 03 17 NOVEMBER 2014
CASHMERE & CONCRETE In an ever complex world, we need to rely on different input from different people in order to innovate. A truth Stephanie Moehamadkasbi, architecture student in Delft, is very aware of. Together with Rachel Mailuhu, stylist and friend, she sat out to create a platform that will bring together creatives and facilitate collaboration. These young entrepreneurs sat down with Bnieuws to share their creation with the “Bouwkunde” community. BY DAPHNE BAKKER Please share with us how it all started. Why did you pick your respective careers? SM: Why architecture? That is a question I often hear, because I don’t look like a typical architecture student [Both Stephanie and Rachel are stylishly dressed, ed.] What drew me to architecture is the mix of creativity and science, the fact that you’re actually creating something that will leave a mark on the world. It is beautiful and it is the reason why I always wanted to become an architect. RM: I have always had an affinity for fashion and decided to study styling, because I wanted to create something new out of existing elements. The education was very broad - all-round styling - which meant that the focus wasn’t mainly on clothes, but also on interiors, media and the culinary arts. That was very interesting, to deal with all these other themes.
Now that your company has been launched, what are the next steps? SM: We gave a preview of the website during our launch. As I mentioned earlier, it has a community area, where you can create a profile page and upload your portfolio. We will also continue publishing articles. But the activity won’t be limited to online experiences. We will continue to host events, where creatives can exhibit their work. We want to provide a platform for people in the creative fields and our ambition is to organize these events on a larger scale. That is what we are working on at the moment. The launch also introduced our member card. Everyone who was invited to the launch received the cards and online members can purchase it. The idea behind the card is that it will provide certain benefits to members. We are now in talk with various organizations and businesses within the creative industry to increase the benefits.
How did you meet? SM: Rachel and I met six years ago when we were working in the same store in the PC Hooftstraat, Amsterdam. She had just moved to the city, while I was still living in The Hague. Everything was very new for us, new experiences awaited and we got to discover them together.
Back to your main goal of appealing to all creatives and not just architects and stylists. What compelled you to broaden your scope? SM: We noticed that within projects, you always need to collaborate with other professions. It doesn’t matter what kind of project, but take an architecture project for example. You need an interior stylist, someone who can make a 3D animation, someone in charge of the photography, someone dealing with marketing. Collaboration is key and there was no platform specifically for the creative industry.
Was there always an ambition to start a company together? SM: Actually, yes. When we first started to get to know each other we noticed that there was a “click” between us. From the very beginning it was clear that we would start our own project some day. RM: We were both very interested in what we were studying and talked about it for hours. Though there were contrasts, we also found a lot of similarities between the world of fashion and architecture. We knew we wanted to do something with is, but it was still a very vague idea. How did you then arrive from a vague idea to realizing Cashmere & Concrete? SM: It started as my personal blog. I wrote about architecture. Rachel started providing the fashion content and we decided to run the blog Cashmere & Concrete - together. From there on we quickly realized that we didn’t want to limit our scope to just architecture and fashion, but to broaden it. To also look at media and art. Finally, it was last summer that we decided to upgrade our blog to a website with a community area, more specifically we wanted to start an online network for creatives called Cashmere & Concrete. Here people can meet each other, share their creations and hopefully inspire collaborations between different fields. That evolution was rapid speed, from last summer till now. SM+RM: Yes. SM: Indeed. After the decision was made, everything evolved very quickly. We encountered a lot of things and had to grab the bull by the horns, seize all the opportunities. RM: There was a lot of enthusiasm from the very start, people responded very positively. When we had a clear idea of what we wanted to do, we went to the Chamber of Commerce and got to work. Why would we wait any longer? [laughs] SM: Our goals were established, we made the website and wrote and edited the content. Then there was the launch and we went all out, mainly because we received so much support, mainly from our sponsors. We don’t have an investor, so it is a lot of work that we do together. RM: And that is what Cashmere & Concrete is about, working together and helping each other. That’s why the launch was held in the store where we started out as employees and now we’re running our own company.
Will your responsibility towards Cashmere & Concrete take you away from your current career path? SM: I’m almost done with my studies and people are already approaching me to design. Ironically these requests have increased due to the growing popularity of Cashmere & Concrete. We would still like to have our own creative careers while working together on our business. Cashmere & Concrete has already proven that it can give a boost to our own careers, not just through its name - it also provides input for our field of expertise. RM: I don’t see it as an obstacle, but as an enriching addition, making it relatively easy to combine with our own careers. It will be mutually beneficial. What I experience or learn while I’m working can be shared through our platform. This will not only increase our content, but help create new knowledge through our interaction with the creatives from Cashmere & Concrete. On your website I read that the name Cashmere & Concrete is supposed to reflect contrasts. How do you contrast from each other? SM: Within the context of our fields, architecture is “concrete”, hard and technical. Fashion is more refined, soft, detail specific. But the contrasts we referred to are also about each individuals own personality. I believe that people have more sides, more shades to their personality and you should be able to reflect these elements of your persona. You don’t have to be just “concrete” or just “cashmere”. I believe in bringing together these contrasts and that is the essential beauty of creativity. RM: This idea is reflected in our logo, which incorporates two opposing shapes - a square and a circle. Created out of a thin and a thick line, which stands for the soft cashmere and hard concrete that seamlessly merge together just like ying and yang.
What are you waiting for? Get in touch with other creatives and sign up at cashmere-and-concrete.com Stay up to date on all of their events at facebook.com/CashmereConcrete
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"CASHMERE & CONCRETE HAS ALREADY PROVEN THAT IT CAN GIVE A BOOST TO OUR OWN CAREERS."
Stephanie (right) and Rachel (left) at work.
8 PROJECT
B NIEUWS 03 17 NOVEMBER 2014
THE ARCHIPRIX SELECTION
Among those who graduated from the faculty last year, nine alumni will be happy to receive some credits for what they have achieved at the TU Delft. Their projects stand out as the best graduation projects this year. Now they will represent themselves as designers and the TU Delft in the national Archiprix competition. BY DAPHNE BAKKER
On the October 30 2014, the lucky few Archiprix nominess - who were selected from the 32 submitted graduation projects - were announced. Based on their analysis, design concept, spatial quality, presentation, and the coherence between their ideas and executions, nine excellent projects were chosen. The projects will have to compete with other nominees from eight different architectural institutions in the upcoming National Archiprix competition. For more info: archiprix.nl
ATHENS - CITY OF CROSSROADS Dimitrios Sotiropoulos
AMSTERDAM ZUID STATION
The project investigates the shifting role that the Polykatoikia model (multistory apartment building) has played in the diverse socio-spatial transformations of the city of Athens. The research analyses the urban history of the Greek capital and reflects on the sociopolitical and economic factors that informed its urban growth. The design investigates an alternative urban logic based on mobility, accessibility and porosity and presents the architectural elements for the typology of the Groundscraper to evolve.
CHAIN HOUSING
Junwoo Lee
Chain Housing is the suggestion about a Housing Hybrid in the restricted space of Amsterdam. “Housing Hybrid” means that two conflicting programs such as private dwelling and public facilities should coexist in one building. To solve this dilemma, my design proposal is inspired by Dutch Structuralism, the study on harmony and balance of these two opposite natures by using Aldo van Eyck’s concept of Twin Phenomena. Dwelling and public programs are interconnected and this connection has deeply influenced the arrangement of programs, façade materialisation, and even of the load bearing system. Chain Housing is not only a solution for the present but also a preparation for the future of Amsterdam.
Matteo Meschiari
Train stations lead us from a place to another, becoming an important medium on an infrastructural level but also on a public and social level. Amsterdam Zuid station unifies the two public sides: a bridge, a crucial moment of connection and transition. Transition between the station and its surroundings, between the surroundings through the station. Therefore, the project almost anatomically orchestrates the movement that characterize a station and simultaneously defines a sequence of spaces that accompany those transitional moments typifying the locus.
RESPONSIVE SUBURBIA Maarten van Kesteren From 1941 until 1943 the Hollandsche Schouwburg was the center of the plan to annihilate the Jewish population of Amsterdam and its surroundings. Now a memorial and small museum reside within the remains of the once popular theatre on the Plantage Middenlaan in Amsterdam. The Joods Historisch Museum has plans to renew both. The proposed architecture is about the place itself and creating a dignified mood of contemplation. In order to get a measure of the horrific it reminds of the beatific moments of life.
PROJECT 9
Katerina Krommyda
ARMAMENTARIUM, DELFT
Located upon the traces of the old historical entrance of the city of Delft, Armamentarium has gradually incarnated the spirit of a crossroads, the converging place of old and new, history and innovation, setting at the same time, the terms of the dialectic relationship between the two opposing worlds. Progressively revealed to the senses of the visitor, remnants of a deeply impregnated value of intimacy and introversion still exist behind the walls of the ensemble, seeking for a crucial and decisive response. The new life incorporated in the notion of the new posits the dual objective of both erasing the borders of isolation between private and public, and at the same time perpetuating the continuity of the most durable memory of the structure.
SPACE OF AMBIGUITY: TOWARD THE EVANESCENCE
Guillaume Guerrier
The project is transgressing the code of architecture: no program, no structural hierarchy, a contextualized randomness and openness. It would act as an architectural landscape in the suburban context of Istanbul which is under threat. The blurriness of boundaries, in a broad scope (between the various space as well as the relation architecture - Landscape), make the project out of time, always in a mutable state. The architecture is reduced to the minimum, the richness lays on the emptiness and voids structure the imagination.
TEMPORARY BAMBOO STADIUM Chen Shen As an ecological and strong building material, bamboo can be the alternative constructional material to wood in long term consideration even in west Europe. In this project, bamboo plays a key role in the levels of spatial quality, use, structure and construction with the aim of building a temporary, multifunctional and disassembled stadium in Bretten zone, Amsterdam. In addition to augmenting the recreational and ecological values for local context, the natural and welcoming atmosphere of the stadium; sustainable and efficient constructional methods; disassemble and flexible bamboo joints contribute a lot to the local civilian life as well as the development of the sustainable and contemporary bamboo buildings in Netherlands.
THE EVOLVING ROOM
Stavros Gargaretas
The Evolving Room: Inhabiting Zero Wasted Space, is a project which simulates an extreme architecture based on real-time ergonomics and space efficiency. The project combines live scale test settings with hypothetical materials in a search for space efficiency. The result is a visionary narrative, which describes requirements, possible benefits and limitations of a fullyadaptable environment.
RELOADING LANDSCAPE Francesca Rizzetto In the city of Taranto (south Italy), industrial foul-up is one of the biggest contributors of the high percentage of cancer-death. The cause of pollution is an integral cycle steel plant, where all stages for the transformation of steel happen. The Italian government aware to the economic crisis to avoid the factory closure, is guiding a project for reforming the cycle production. However, the rural cultivated area around the city will not be available anymore and moreover people are reclaiming a new place to live. The thesis project aims to transform the territory into a park made by different landscapes where mixed residential and productive areas could provide a new economy for the population.
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METROPOLITAN LANDSCAPE OR LANDSCAPE METROPOLIS? Metropolitan areas are a hot topic in our rapidly urbanizing world. They follow their own logic, have their own typologies and, more importantly, are a whole new world to discover for spatial planners and designers. The symposium ‘Landscape Metropolis / Metropolitan Landscapes’, to be held on Friday, November 28th, makes an effort to better understand metropolitan territories and to find out what possibilities they have for future spatial development. Researchers, practitioners and students are invited to discuss the subject together and to help create a platform to further develop the knowledge on metropolitan areas. The initiative comes from Alexandra Tisma (AT), René van der Velde (RV) and Saskia de Wit from the Chair of Landscape Architecture. Bnieuws spoke with two of the initiators to spark your creativity and to get the ball rolling.
Clustering of typologies based on different datasets. Image by A. Tisma, J.R.T. van der Velde, S. Nijhuis and M. Pouderooyen
BY LOTTE DIJKSTRA
EXPANDING ON NOTIONS OF LANDSCAPE THROUGH METROPOLITAN AREAS RV: You can see metropolitan areas as an new chapter in understanding the term landscape. Existing planning and design paradigms are largely based on the division between ‘city and ‘countryside’. These old paradigms wrongly define the metropolis as an interweaving of the city and the country-side or interweaving of ‘urban territory’ and ‘landscape’. However, if you denote landscape as ‘all you can perceive and experience’, you create the freedom to think about the total environment as a spatial challenge. This also means that landscape architects cover all territory with their field of work, and not just the ‘landscape’ outside the city or the parks and squares that are the ‘landscape’ within the city. AT: Fortunately, more and more institutions already acknowledge the interaction between urban and rural areas. This leaves space for us to focus on the core of our research. We are looking into some specific areas that traditionally would be considered ‘countryside’, but where we see that ‘countryside’ does not characterize that area completely. Cities themselves are often excluded in existing landscape classifications. This again indicates an absence of proper typology. People tend to forget that cities are also landscape and that landscapes are not only green spaces. These elements are all mixed in together, and that is what we are trying to understand better. RV: Especially with the majority of populations living in and around urban areas, we need to better understand how these territories can be characterized and valued. Therefore we added two topics to the symposium that are particularly relevant in Dutch metropolitan areas. The first is the future of
buffer zone recreation areas, such as Spaarnwoude or the Rotte Meren. The latter are the planned or under construction large parks, such as Park Maxima in Utrecht or Park 21 in the Haarlemmermeer. These new parks in particular are a ‘pressure cooker’ for thinking about what the metropolis is and what role landscape has to play in it. DEFINING THE METROPOLITAN SCALE AT: We see the metropolitan landscape as an ‘all together layer’. Still, you can always recognize the underlying typologies in the metropolitan layer. You can see where and how the cultural layer typology prevents certain changes. Privately owned agricultural land in the cultural layer keeps the ‘green’ character intact, especially in the Netherlands. You can see that in some other metropolitan areas, for instance in Vienna, nature plays this structural role. That is the kind of nature that will always be there, visible in all layers. RV: This kind of thinking about the metropolitan area is not new. Willem Jan Neutelings drew a fantastic drawing of the patchwork metropolis of The Hague twenty years ago. With our approach we try to create the legend for that drawing, where we will show how things evolved and how things relate to each other. AT: Crossing our new typologies with more ‘traditional’ typologies will show which parts are sustainable and visible throughout all landscape layers. RV: We also recognize hybrid typologies. The next step would be labelling each typology, finding out how they develop, what they can be used for and to look for possible configurations.
11 ORIGIN OF THE SYMPOSIUM RV: We were both independently researching metropolitan areas for a long time already. The Chair of Landscape Architecture has a long tradition within this field. One important outcome of research into metropolitan socio-spatial practice was the realization that the metropolis is a patchwork of all types of territories mixed up together. AT: At the Dutch Environmental Assessment Agency I worked with indicators, trying to find out how green spaces work within the urban and regional scale. Combining our results raised questions of how we could better understand metropolitan patchworks and monitor changes. That is when we realised that we missed a proper typology of metropolitan territories; most of existing classification and characterization tools either focus exclusively on countryside- or on urban areas. RV: We think that this doesn't accurately reflect the true complexity of the different territories. That is also why we added metropolitan planning strategies and interstitial or space design, Saskia's field of expertise, as topics for the issue of SPOOL we edited [online journal of the TU Delft, ed.]. For the symposium we want to present these two topics together with the metropolitan classifications, typologies and our findings. We would like to
generate feedback, to discover which elements require further research. AT: We hope that the symposium will be the first step into creating an international research platform. This platform should also help us find opportunities to bridge the gap between theory and practice.
20 years ago: carpet metropolis. Image by W. Neutelings.
Paley Park, NYC, USA: small scale interstice with big effect on surroundings... Image and analysis by S. de Wit
YOU SHOULD BE INTERESTED RV: You all should be interested in the metropolitan scale, because it's not only about the metropolitan area as a regional planning problem. It's also about designing territories and designing within territories. It is about the way we think, understand and design metropolitan areas. AT: It is also about zooming in on left-over spaces, which most people overlook. You can make very small physical interventions, but these interventions can have a big impact on the whole area. RV: From a design perspective there are also challenges specific for each region: large cultural clusters, huge infrastructure designs, and projects that involve new forms of socio-spatial practice. AT: You could also think about how you can really do something. One challenge would be the involvement of property owners. What does it mean for the value of property if you intervene in the metropolitan fabric?
KEEPING UP RV: In some respects we, as spatial planners and designers, cannot keep up with the fast transformations in metropolitan territories. There are not a lot of tools available to respond to the transformations. We can only deal with small physical areas within the metropolitan territory, with a small climate problem or infrastructural problem. We do not know how to deal with the nebulous of things that happen on a bigger scale. Existing policies don’t help, because they only deal with either urban or rural areas. They don't deal with the in-between areas or the whole territory as a dynamic patchwork. AT: I would say that we are keeping up, but in a different way. More traditional top-down planning is not viable in the metropolitan region, but you can keep up by following the processes as they occur and adjusting to new situations. Here I see a clear role for young professionals. The current decision makers should build on the fresh ideas from the next generation. Since top-down planning is no longer the standard solution, new opportunities are created to incorporate more diverse perspectives on how the metropolitan area should be developed, seeking new alliances between financing parties and executing parties. RV: The paradox of the theme is that large scale spatial planning is dead, but we more than ever need to understand what is going on and how the metropolitan scale works. That is the only way you can start working on the metropolitan area from a different perspective. Looking bottom-up or sideways, you can find new ways of intervening.
DREAMTEAM AT: We need coalitions between investors and people with vision. Sociologists, psychologists and inhabitants would be a great addition to the team. With their help we could really come to an understanding of how and why people live in metropolitan areas and what could be improved. RV: It is important to realize that metropolitan areas often consist of villages that have grown together. The anthropology behind it makes it possible for all kinds of things to happen. Other good team members would be people with notions of complexity and artificial intelligence, thinking about how things are actually connected to each other. AT: We also know little about how people actually value metropolitan landscapes. To find out, we need data and big data analysts for the translation into clear bits of applicable information. RV: We also need to work with new stakeholders and administrators, people who are not biased by planning doctrines and ideas. Their main goal should be to make a good city, thus mayors would good additions to the team. AT: You can also use the metropolitan area as a laboratory. You have all kinds of situations with possible solutions. The area can be used to test those solutions, to find out what works and what doesn’t. For that purpose you need to be knowledgeable, you need to have vision and you need parties to support that vision. We think the symposium can be the first step into creating these collaborations. Inspired? Come share your ideas at the Symposium in the Berlage Rooms, on Friday, November 28th, 09.00 - 19.00. Get informed beforehand by reading SPOOL: spool.tudelft.nl
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ROBERTO CAVALLO Introducing the new Director of Education At the end of the previous academic year, the faculty lost both dean Karin Laglas and Director of Education Eric Luiten. Coincidence? Most likely. After all, a new bachelor and a master on the threshold of renewal require that these functions are filled. The search for the latter was quickly ended. Last summer, we were officially informed that Luiten would leave his position and that Roberto Cavallo would take up the baton as of the 15th of September. This calls for an introduction! Exactly one month after his appointment, Bnieuws sat down and talked to Cavallo. Curious about his ideas? Then read on! BY JANE STORTELDER Tell us about your own education and how you ended up in Delft. It’s been a while now since I was a student. Most of that time was spent at the University of Napels. I have good and not-so-good memories of that period. I was one of 2000 first year students in a faculty with a student body of 10.000. That was my first introduction to mass education. During that period my main objective was to carve out a little spot for myself within that huge community. The lectures were interesting and the focus was not just on architectural history, but also on science. We also had hand drawing courses, which till this day have been fruitful to me. In my fifth year, I came to Delft through the Erasmus Programme. Those seven months in the Netherlands were spent on preparing my graduation project in the Randstad Studio, led by Carel Weeber and Umberto Barbieri. You have a lot of experience as a practicing architect, while working as an academic at the Faculty in Delft. A recurring topic is the relationship between education and practice. How do you view this relationship? For future generations it will become increasingly important to be able to position yourself not just within the practice, but also within the theoretical field. This is true whether you want to be an architect, urbanist or landscape architect. I think that it is through education that
November to all students and I want to look closely at the renewal of the Master before implementing it. The past few years have seen a complete overhaul of the Bachelor. In her farewell interview with Bnieuws former dean Karin Laglas advised her successor to focus on the renewal of the Master. What is your opinion on this? Indeed, the education has been radically adapted. I see the bachelor as a basis and the master as a deepening, a delving. The bachelor is in function now, but the master needs to change in some aspects. That is why I wouldn’t want to call it a renewal, rather a fine-tuning. I haven’t received any signals that would require a complete overhaul of the master. It is very important that any change is well thought out and that students are facilitated within a functioning structure. Along with the master coordinators and through brainstorm sessions, I am looking at the possibilities and how these possible changes can be implemented. These changes will most likely be introduced in September 2016. According to the visitation report of December 2012, the master is organized in a very monodisciplinary manner. Eric Luiten wanted to pick up on this criticism and make the master more multidisciplinary. What are your thoughts on this? I am for interdisciplinarity in the master, since this reflects the practice. I would like it if the master structure would leave space for more
"For future generations it will become increasingly important to be able to position yourself not just within the practice, but also within the theoretical field. This is true whether you want to be an architect, urbanist or landscape architect. you should obtain the right basis and the right attitude. Good, inspiring educators are important, but as students you have to be able to ask the right questions. What am I doing, how am I doing it and why am I doing it? You took over from Eric Luiten as Director of Education on the 15th of September. How do you view this succession? Will you pick up where he left off or will you do things differently? Of course I have to deal with extensive issues consisting of ongoing projects and mapped out strategies. Eric has sketched out a future for the education, but his vision leaves a lot of space for interpretation. It is my goal to undertake actions that are widely supported. I want to have discussions with teachers and students in order to get feedback and input from all sides. This means that in some instances I will indeed follow Eric’s lead on some issues, but in other cases I will make my own choices. For example, I’ve been lobbying for opening the extra P4 in
interaction between the different tracks, the education and the research. This can be achieved through linking themes from the different tracks and using them to create joint projects. It is important that students confront each other. For example, it would be very interesting if architecture students and RE&H students would collaborate on common research issues and, within the objectives of their MSc tracks, would respond joining both disciplines by means of their projects. On which themes will you focus the next months? There are many running issues these days. For example, at this moment I am focusing on the effects of the Beroepservaringperiode (BEP). The education itself won’t change much – we will deliver the same quality of education and graduates. With your diploma, you can still work as a designer. The only difference is that you can’t claim the architect’s title. What the faculty has noticed is that there is a lot of uncertainty in this transition period. It is our task to inform and guide the student through this process. On top of that, I am also making an inventory of the
13 "I would like it if the master structure would leave space for more interaction between the different tracks, the education and the research. This can be achieved through linking themes from the different tracks and using them to create joint projects." possibilities that could support students and eventually offer modules. Personally, I am not against the BEP. It offers a graduate the opportunity to garner an extensive amount of experience in a two-year period. Graduates who participated in the test runs of the BEP are enthusiastic. Besides, we’re dealing with a law that was accepted in 2012. However, I do think there has been a lot of miscommunication and that students are unsure of what it all means. On the 21st of November, Stylos will hold a debate in which we hope to clarify all these matters. The call for new solicitations for the position of dean has been closed. A good collaboration between the Dean and the Director of Education is key. What kind of dean do we need? I hope the next dean will understand what the faculty stands for. For me, it’s the good (international) reputation that we should all be proud of. The level of education is high and we’re very good in linking the Dutch building tradition to contemporary international developments. The students, graduates and alumni confirm this reputation every time again. You speak five languages: Italian, English, Dutch, French and Spanish. Why is the ability to speak multiple languages so important for our field and why is it important to be active in an international scope? When I came to the Netherlands I spoke Italian, French and a little bit of English. I was very impressed by how easily Dutch students could switch from one language to another, thereby making communication easier. To design the following applies: “Learning by doing”. But it also applies to learning a language. I learned Dutch at the office of Cees Dam. There were 35 employees and I was the only one who couldn’t speak Dutch. Within a year I knew the entire Dutch technical vocabulary. The student body within this faculty is very international. I think it’s important to be able to communicate with each other and to be open to different realities. Because of our high-standing reputation, many motivated students from all over the world are drawn to our faculty. This is important for us, because it raises the quality of our education and research. What does a day in the life of a Director of Education look like? Busy. At this moment I am not just Director of Education, but also associate professor at the Department of Architecture. That means I have to combine two agendas. Perhaps it would be better if you could ask me this after three months [laughs]. I receive a lot of emails and requests to join meetings. Which makes a lot of sense, since I am responsible for ongoing issues and I need to consult with different layers of the faculty and the university. Despite this bustle, I try to be available to everyone. I want to speak to everyone and I want to know which discussions are being held within the hallways. I think it is very important for me to know all the corners of the faculty and to listen to the staff and the students. I have an office and a desk, but the challenge is to remain in contact with the people I’m here to work for.
Interested in joining the BEP-debate? Please come to the Oostserre on the 21th of November at 18:00. The debate will be in English.
14 FORUM
ROBERT NOTTROT
Kleur Kleuren zijn onder meer het resultaat van absorptie en reflectie van licht door materiaal aan de oppervlakte van onze omgeving. De ogen, receptoren, kleur- en contrastgevoelig, in samenwerking met de hersens, maken de kleuren zichtbaar. Kleuren hebben een verbond met en ontlenen status aan de objecten die hen bezitten. Kleuren krijgen daarom associaties, worden door ons toegeëigend, voeden conformisme: kleuren worden politiek. Hierbij een spontane kleurenwaaier mijnerzijds. Wit is totale reflectie, zoals in maagdelijke sneeuw. Wit is de stilte van de sneeuw. Wit is het licht, het begin en het einde. Geel is de zon achter de gordijnen in de slaapkamer van mijn kinderjaren of Haruki Murakami lezen tussen muren van kurkuma. Blauw is gelijk hemels, overkoepelend en koninklijk. In pastel echter, is blauw de kleur voor baby’s met een piemeltje en combineert suikerzoet met roze. Dieper blauw past bij zilver, zoals rood bij goud, al voelt het anders. Groen is de wereld van de jagers en de bladeren. Al die bladeren, waarin door groene energie water en koolzuurgas worden omgezet in suikers, waterdamp en zuurstof. Groen is de kleur van behouden. Gezond om mee af te wisselen. Beige, de kleur van oude mensen (in Nederland), van hun sandalen, kousen, broeken, jassen en gordijnen.
B NIEUWS 03 17 NOVEMBER 2014
WAT’S IN A NAME De invoering van de Beroepservaringsperiode, afgekort de BEP, zet de discussie over de waarde van de architectentitel op scherp. Dat is geen nieuw onderwerp. Al lang voor de invoering van de Wet op de Architectentitel in 1989 werd deze kwalificatie niet licht opgevat. Enkele generaties geleden was het zelfs normaal dat je pas richting pensioen ‘architect’ op je naambordje plaatste. Het was een eretitel die alleen door lang en hard werken te verdienen was. Althans dat vertelde mijn eerste werkgever mij, terwijl hij zich verzuchtte dat die jonkies van veertig zich tegenwoordig maar al te snel architect noemden. Bij de architectenbureaus waar ik heb gewerkt, stroomden pas afgestudeerde TU’ers standaard in als assistent-ontwerper. Inschrijving in het Architectenregister veranderde daar niets aan. De functie architect was voorbehouden aan senioren of partners. Wat dat betreft is de invoering van de BEP niets nieuws onder de zon. Helaas geldt dat ook voor de relatieve uitbuiting van jonge ontwerpers, waar studenten nu bang voor zijn. Zelf studeerde ik af in economische hoogtijdagen. Het leek mij ook toen standaard onderdeel van je professionele vorming om jaren onderaan de ladder te ploeteren, tot de blaren op je handen staan maquettes te maken en nachten door te halen voor een salaris waarvan je bij wijze van spreken beter krantenbezorger kon worden. De BEP verandert zo beschouwd niets aan de manier waarop de praktijk al werkt. Het is een formalisatie van de status quo. Dat roept vragen op over het nut van de BEP voorbij politieke formaliteiten als Europese standaardisatie, maar dat terzijde. Een gemiste kans
Door Alijd van Doorn Universitair docent Sectie Design & Construction Management
Bericht van de redactie We hebben als redactie het afgelopen halfjaar geprobeerd om in Bnieuws onze lezers zo goed mogelijk te informeren over de Beroepservaringperiode (BEP) en de Wet op Architectentitel (WAT) die op 1 januari aanstaande in werking zal treden. We willen iedereen bedanken voor zijn of haar bijdrage en we hopen dat studenten en medewerkers door de interviews en artikelen op de hoogte zijn van de nieuwe maatregelen waar we de komende periode met z'n allen mee te maken gaan krijgen. Dit was het laatste artikel in de reeks over de BEP en de WAT. Op 21 november wordt er om 18:30 in de Oostserre een debat georganiseerd waar onder anderen Harm Tilman, Jo Coenen en Henk Döll in gesprek zullen gaan met de aanwezigen.
Paars is vooralsnog geen kleur in mijn leven en voelt als de religieuze versie van blauw, twijfelend tussen blauw en rood, tussen waarheid en theater, tussen deugd en rebellie, tussen verstand en emotie, geduld en actie. Paars is de kleur van geheimen. Oranje is de tegenhanger van paars. Is er (in Nederland) een kleur met meer connotaties? Twijfelachtig nationaal optimisme is er voor mij aan verbonden. Rood gloeit als warmte, theater, seks. Met diamanten en goud door kaarsen en een gretig haardvuur beschenen. Maar ook een boek lezen bij de kolenkachel van het ouderlijk huis. En Sinterklaas! Zwart is dodelijk elegant. Zwart dooft het licht. Ik heb ook onderzoek gedaan: er bestaan geen zwarte mensen! Zwart. En zeker niet met knalrode lippen, gouden oorringen, een 16de-eeuws pagekostuum en Piet genaamd. Door schijn laten wij ons beduvelen tot we kleurenblind zijn.
zijn de haast ouderwetse eindtermen die de BEP hanteert. Het is in deze tijd belangrijk voor jonge én oudere architecten om zichzelf scherp te positioneren door vernieuwende dienstverlening te ontwikkelen voor de opgaven van vandaag en morgen. De eindtermen van de BEP sluiten vooral aan op de rol van de traditionele bouwmeester. Dat is een keuze, maar het zou niet mijn keuze zijn geweest. Met de intrede van de BEP kunnen we in ieder geval met zekerheid zeggen dat Bouwkunde geen beroepsopleiding is. Dat betekent niet dat de BEP een vervolgopleiding is, in tegendeel. Het gaat primair om het opdoen van aanvullende praktijkervaring. Die praktijk is weerbarstig en daarom kan de BEP geen geplaveide weg zijn. Training on the job is belangrijker dan kant-en-klare studiepakketjes. Maar dan moet die baan er wel zijn. Het gebrek aan arbeidsplaatsen zie ik als de kern van het probleem en van de negatieve stemming onder studenten. Vanuit Bouwkunde kunnen wij helpen. Ons netwerk van gastdocenten tot hoogleraren die een band hebben met de praktijk is een kracht die we beter kunnen benutten. Onze belangrijkste bijdrage aan de BEP is niet het optuigen van aanvullende kennismodules, maar het bieden van eerlijke kansen aan onze afstudeerders op de markt. Dat kan via werkplekken in binnen- of buitenland, maar door andere vormen van samenwerking met de nieuwe generatie. Het bundelen van de krachten maakt iedereen sterker. En een beter bewijs van vertrouwen in de kwaliteit van ons eigen onderwijs is er niet.
Mochten er nog vragen zijn dan verwijzen we iedereen graag door naar de volgende pagina's: Facebook: BEP-Debate architectenregister.nl
CARTOON BY ANNA WOJCIK
Bereid je voor op het debat door de artikelen van het afgelopen halfjaar te lezen. Deze zijn online te vinden op: issuu.com/bnieuws
SNEAK A PEEK 15 Since September FSR and Bnieuws have a joint office on the BK-Street. For this issue our photagrapher visited us while we were working to give you a look behind the scenes Would you like to invite us into your room, workspace, office, studio or house? Please feel free to contact us: bnieuws-bk@tudelft.nl
B NIEUWS AND FSR NEW OFFICE BUDDIES
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3 Photo by PrĂŞt-Ă -Loger Photos by Benjamin Schoonenberg 1. The Bnieuws editorial board discussing the next issue. The board consists of four students and one external editor providing us with advice. We act as an independent institution within our faculty. We edit, write and create the layout for most of the articles ourselves. A lot of hard work goes into making every Bnieuws. 2. The Faculty Student Council (FSR) at work. The student representatives meet every monday to discuss current issues and ways to improve our education. All students views and ideas are welcome! 3. No more Epoint! A lot of students still visit the office in search of Epoint or someone who will fix their computer, confusing us with our neighbours @Hok...However, Epoint no longer exists and we are experts in crashing, not fixing computers. COLOFON Bnieuws is a four-weekly periodical of the Faculty of Architecture and the Built Environment, TU Delft. BK City, Delft University of Technology Julianalaan 134, 2628 BL Delft room BG.Midden.140
bnieuws-bk@tudelft.nl b-nieuws.bk.tudelft.nl issuu.com/bnieuws
Cover illustration R. Stiles et al. in: SPOOL 1(1)
Editorial Board Helen Jager Daphne Bakker Jane Stortelder Brigitte O'Regan Jip Pijs Lotte Dijkstra
Contributors Anna Wojcik Robert Nottrot Hans Wamelink Alijd van Doorn Bas de Kooij Eveline Mulckhuyse
Editorial Advice Board Marcello Soeleman Sue van de Giessen Inge Pit Robert Nottrot Linda de Vos Pierijn van der Putt Ivan Thung Print Drukkerij Tan Heck, Delft
From now on you can come and visit FSR every Tuesday till Friday during lunch from 12.45 till 13.45 to ask questions, report complaints and share your ideas. You can also send an e-mail to fsr-bk@tudelft.nl
Next deadline 28th of November 12.00 PM B Nieuws 04 December 2014 Illustrations only in *.tif, *.eps or *.jpg format, min 300 dpi
Unsolicited articles can have a maximum of 500 words, announcements 50 words.
The editorial board has the right to shorten and edit articles, or to refuse articles that have an insinuating, discriminatory or vindicatory character, or contain unnecessary coarse language.
AGENDA B NIEUWS 03 17 NOVEMBER 2014
WEEK 47 ATHENS International Conference
“Bekleidung: the Experience of the Interior”
18.11.14 The central theme of this symposium is the experience of the interior and the way that Bekleidung plays a role within it. Speakers are (a.o.) Udo Garritzman, Mark Pimlott and Jurjen Zeinstra. People from various backgrounds and architectural cultures will inform each other and the audience about their specific approaches, manifest in either their research or educational programmes. Faculty of A&BE / Room P / 9:45 - 17:30 / RSVP tudelft-architecture.nl
Lecture
The Knight's Move: A Kassen 19.11.14 The Danish collective A Kassen works with performative installations and sculpture, humor and surprise, and their interventions are sometimes so discreet or absurd that they don't get noticed. They might perform the actions themselves, but mostly use extras or even monstrous machines they construct. They examine and experiment with the borders between art and non-art, as well as self-invented systems that change the functions of things within a given space. Stroom Den Haag / € 2,50 + museum ticket / 20:00 / RSVP stroom.nl
WEEK 48 Conference
Bakema and the Open Society 25.11.14 A conference organized by the Jaap Bakema Study Centre together with Het Nieuwe Instituut as a conclusion of the Dutch contribution to the 14th edition of the Venice Biennale. Faculty of A&BE / Berlage Rooms / 09:30 - 17:00 bk.tudelft.nl
Symposium
Landscape Metropolis 28.11.14 On 28 November, the ‘Landscape Metropolis’ symposium will take place. The symposium addresses three current challenges in metropolitan areas. The symposium celebrates the inauguration of the first issue of the online journal SPOOL. Six international authors of the papers will present their findings and several practitioners from the Dutch metropolitan areas will discuss their experiences of green space planning, design and management. Faculty of A&BE / 10:00 - 19:00 bk.tudelft.nl
WEEK 49 Lecture
Debat
01.12.14 Every year a designer or firm with outstanding work and viewpoints is invited to give the prestigious Designers of the Future lecture. This year Yoshiharu Tsukamoto and Momoyo Kaijima of Atelier Bow-Wow, will talk about post-disaster housing. Atelier Bow-Wow is one of the most innovative practices working today. Their view especially covers post-disaster housing, where Atelier Bow-Wow takes on a strong social approach. Faculty of A&BE / Room A bk.tudelft.nl
08.12.14 Noord is self made. Eigenhandig en letterlijk met de voeten in de klei is door de spelers in het gebied geëxperimenteerd met nieuwe vormen van stadsbouw. ijdens de avond gaan we in gesprek met de pioniers uit Noord. Het podium is voor de stadmakers van de NDSM, uit Buiksloterham, Overhoeks en De Overkant! Voor een ieder die meer wilt weten over experimentele stedelijke ontwikkeling, zelforganisatie en -programmering, en tribale gemeenschapszin anno nu. A'dam, Pakhuis de Zwijger / 20.00 / RSVP dezwijger.nl
Atelier Bow-Wow
Debate
Bike & City #2
28.11.14 On 28 November, Hedwig Heinsman will talk about 'Momentary manifesto for public architecture'. Faculty of A&BE / Room K /14:00 theberlage.nl
01.12.14 The second edition of our new and fresh talkshow about bikes, city’s and the cycling culture in Amsterdam and other big cities abroad. We will show some new bike brands and designs and will listen to inspiring stories and lectures from bike lovers and specialists from around the world. A'dam, Pakhuis de Zwijger / 20:00 / RSVP dezwijger.nl
Symposium
Lezingenreeks
Debate
Editing International Books
21.11.14 The architecture students of Delft, Eindhoven en Wageningen are organizing a debate to raise awareness and address the problems, so students and architects can solve this together. The debate will be lead by Harm Tilman, chief editor of De Architect. Faculty of A&BE / Oost Serre / 18:00 - 22:00 bepdebate@stylos.n
28.11.14 The programme consists of a short presentation for each book followed by peer discussions with Dutch referees (Ir Maarten Dansen and Dr Edwin Buitelaar), both co-editors Dr Sarah Wilkinson (University of Technology Sydney) and Dr Graham Squires (University of Birmingham) and the audience, chaired by Prof Hans de Jonge. Faculty of A&BE / Library / 16:00 - 17:30 / RSVP bk.tudelft.nl
03.12.14 Stad en natuur gaan goed samen. Dat lijkt vreemd, want waar veel mensen samenkomen moet groen soms wijken voor steen en verkeer. Dat steen biedt echter ook plaats aan allerlei planten en dieren. Daarnaast beschikken stadsecologen en groenbeheerders over allerlei instrumenten om de stadsnatuur meer kansen te geven. A'dam, Pakhuis de Zwijger / 18:00 / RSVP dezwijger.nl
BEP - UNDER CONSTRUCTION
SPOT ! T LIGH
Lecture
Hedwig Heinsman
Stadslicht #22: Natuurlijk Amsterdam
Self Made Noord
Workshop
Monoprinting, Drawing & Concept 11.12.14 During this workshop - together with artist Ailisha Read from Studio Kolectiv - we will explore the relationship between image and visual storytelling. How can you play with photography, altering composition and meaning to create new visual story's and concepts that even surprise you? We will use collage, composition, photography, drawing and mono-printing to create a fresh look at the creation of new visual stories and concepts. Sports & Culture / 19.30 / €10,sc.tudelft.nl
Lecture
Jean and Luc Larnaudie 12.12.14 On 12 december, Jean Larnaudie and Luc Larnaudie will talk about 'Oh, la belle vie'. Faculty of A&BE / Room K / 14.00 theberlage.nl
EXHIBITIONS
Dining in BKCity While everyone was preparing presentations or exams, the Zuidserre was suddenly transformed into a beautiful dining hall. White furniture with blue LED’s inside, olive trees, a flower chandelier, fresh flowers on the tables, soft lighting, silver candelabras… Both excited and curious, Bnieuws set off to find out what was happening: on the 6th
WEEK 50
of November, it was a dinner for the Universiteitsfonds Delft [University Foundation Delft, ed.], while a week later there was a dinner for the Raad van Toezicht [Supervisory Board, ed.]. Although there wasn’t much room left for model making, it is clear that our faculty building houses versatile spaces that can be transformed in no time.
Structuralism
The New Institute / Rotterdam till 11.01.15
The Future of Fashion is Now Boijmans / Rotterdam till 18.01.15
Mark Rothko
Gemeentemuseum Den Haag till 01.03.15