Bnieuws 52/01 - Explorations + Contexts (2018/19) by Bnieuws

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Bnieuws Volume 52 Issue 01 08 October 2018 Contact Room BG.Midden.140 Julianalaan 134 2628 BL Delft bnieuws-bk@tudelft.nl Editorial Team Ada Jaśkowiec Lydia Giokari Kseniya Otmakhova Nadine van den Berg Elena Rossoni Jan Pruszynski Jack Oliver Petch Sam Eadington

BNIEUWS 04

#Bnieuwd

Cover - Why Yellow?

Beginnings: Welcome to the Netherlands

Obsessions / Inspirations

Jargon

Isle of Dogs

Abandoned

Contributors Thomas Dillon Peynado @ nlkrts

Costa del Sprawl Pavilion - Estudio ESSE

Cover Hand-drawn by the editors.

Interdisciplinary projects

Artefact

Dilemmas of an architecture Graduate

Venice: What to see

Venice: Greek Pavilion

Reflecting on the Past: Goodbye

New Team • New Bnieuws: Hello

Looking Forward

Editorial

EXPLORATIONS • CONTEXTS

Context is a word familiar to us all. Through our projects we document, analyse, reflect upon and respond to contexts of all kinds. Rarely do we stop to do the same with ourselves. Summer can be a timely reminder that life exists outside the faculty. After months of being an architect, urbanist or building scientist it is important to be reminded of our other roles in this world: as brothers and sisters; as sons and daughters; as best friends; as loyal supporters of our nation’s football team; as travellers; as someone’s summer sweetheart; as kind strangers, and as people. We are many things beyond these faculty walls. Isolation -- whether it be architects from the general public, students from industry, or Bnieuws editors from faculty - can provide necessary space for comfort, experimentation and focus. We create bubbles for ourselves which serve as safe spaces to explore new and different ways of thinking, working and being. This allows us to fail and learn without the whole world having to face the consequences. But, sometimes, we cannot sit apart from the world entirely and by our very existence we acknowledge that we must be part of the ongoing conversation. This first Bnieuws of the academic year is all about looking at contexts and experiences of students as they move along through education, and beyond. For those of you new to Delft, we offer some information and tips to help you find your feet amid your new surroundings. We look at life both inside and after education, where we hear about some of many possibilities available. We speak with architects from this year’s Venice Biennale to find out how their participation sits in relation to their development and future ambitions. Lastly, we cast our gaze beyond the limits of architecture in our new segment on inspirations and obsessions. Sam looks at what we can learn from journalist Jonathan Meades’ television essay on jargon, Lydia reveals the inspiration to be found in the work of Wes Anderson, and Jack writes about why he gets stuck watching YouTube videos about abandoned theme parks. While we question our position as students and designers in the wider world, it is also a good moment for us here at Bnieuws to reflect on our role within the faculty. We say goodbye to our editors Nadine, Lydia, Ada and Kseniya, look back on their time as editors and hand over the Bnieuws baton to a new team comprised of Elena, Jack, Jan and Sam, who look forward to guiding the editorial in the future.

#Bnieuwd

Exhibition / STYLOS JAPAN 2018 Find out what STYLOS members got up to on this year’s study trip to Japan. BKCity / Medaillon / 1.10.2018 - 14.10.2018

ARGUS Annual Launch

Landscape and Urbanism Week / FLOWORLD A series of curated lectures, seminars, workshops and debates in an attempt to understand routes, practices and issues of contemporary urbanism. This year’s theme explores how human, material and information flows are redefining landscapes, cities, and territories increasingly faster, raising levels of instability and uncertainty at different scales. BKCity / 15.10.2018 - 17.10.2018

BOLD initiatives

WE ARE LOOKING FOR CONTRIBUTORS WE WANT YOUR VOICE HEARD! BNIEUWS FEATURES MORE THAN JUST ARTICLES, ANECDOTES AND ALUMNI STORIES, COMICS, COLLABORATIONS AND COLLAGES, SATIRE, SARCASM AND SYMBOLISM, IT FEATURES PEOPLE LIKE YOU.

The time has come and we will finally hold the ARGUS Annual in our hands. It compiles the remarkable, inspiring and ambitious projects from the year 2017-2018. Come join us for an evening full of inspiration and creativity. Listen to our fellow students presenting some of the boldest and most extraordinary projects of last year and have a last view onto the exhibition before you can enjoy all the amazing and inspiring work in the new Annual. No matter whether you need some inspiration for your design, or you have to face the difficult decision which studio to chose - the ARGUS Annual is always a good help!

October 9th - 18:00 - Orange Hall

Bnieuws is looking for people interested in working with our editorial team to provide an accurate reﬂection of the day-to-day experience inside of BKCity. Text goes here l Previously, the publication has included Pr thoughts on artifacts, some text goes into this slot as well just so it’s covered up, musings on travels, hand-drawn comics and digital illustrations, interviews between students on anecdotes, but the list is endless. The only thing we don’t want, is for the same people to write every month. also theres text Our goal is to give more voice to you: the students.

If you have something you’d like to share, a column you’d love to write, or perhaps want to see what ideas are being thrown around, this could be for you. How do we work? If you’re interested, let us know. Some text goes in this space here e. This is a non-committal list of voices. Each issue will provide prompts of inspiration. Teaxt also goes here to tﬁll s. You can decide if you’d like to contribute to our collective publication. ____________________________________ more information always available, feel free to send an email to the address below.

SEND AN EMAIL, MESSAGE ON FACEBOOK OR SLIDE INTO OUR DMS WITH YOUR MOTIVATION TO: BNIEUWS-BK@TUDELFT.NL DEADLINE: 2nd of Septmeber 2018

Exhibition / ARGUS ANNUAL The ARGUS Annual gathers the most extraordinary and exciting student projects of the last academic year. This year’s theme is BOLD initiatives. At the event, some of the projects and essays will be presented by our fellow students. Join for an evening full of sparking ideas, discussion and of course also food and drinks!

CALL FOR CONTRIBUTORS This term, Bnieuws has opened a facultywide call for editors to submit towards future publications. Anyone interested can be placed on a mailing list for submitting ideas for upcoming themes.

BKCity / Orange Hall / 09.10.18 / 18:00

See Posters or send us a message for info.

#Bnieuwd

To Do / ARGUS OPEN MEETING Open meetings are where ARGUS members discuss ideas for workshops, lectures, parties and give updates on the current projects. Ongoing projects include the excursion to Venice, the Night of Philosophy, and more. The ARGUS Open Meeting takes place every first and third Wednesday of the month and is a student forum, working session, and social event with drinks, snacks and music. All are welcome. BKCity / BG.oost.500 / next: 17.10.2018 / 17:30

Latest / INSTAGRAM In part of our NEW TEAM â&#x20AC;˘ NEW BNIEUWS campaign, Editor Jack has been taking over the social media accounts. Follow our Facebook and Instagram to see different takes on BKCity, student features of models and drawings as well as polls, travel and more. Recently we were asking your opinion about BKCity fashion, which could be an upcoming segment. Stay tuned! @bnieuws on instagram / search Bnieuws on facebook.

Captions working from top left to bottom right. Window accents at Den Haag Hollands Spor station; The beer at Bowpub; a rainjacket; some tape; a pipe; â&#x20AC;&#x2DC;Fietsers afstappenâ&#x20AC;&#x2122; [cyclists dismount] sign; a leaf; a sunflower head; baskets at supermarket jumbo.

About the cover

WHY YELLOW? Words & Images Jack Oliver Petch

Caramel Yellow. That is what I’ve been calling the colour I have been bombarded with since arriving in the Netherlands in August 2017. Maybe you haven’t realised yet, but everywhere you look, this colour is there.

This is the same as those eldritch horror reminders that you can always feel your tongue fitting in just between your two sets of bottom teeth; after this article you will never be able to un-see this colour again. Yellow is the colour of choice for pretty much anything that wants your attention - warning signs, the personalised OV-Chip cards, even the supermarket Jumbo, they all choose a lovely warm shade of yellow to get your attention - and did you even notice? I’ve been thinking about it a lot (even if you never did) and, I could be speaking in hyperbole here, but this colour managed to sum up how I’ve experienced the Netherlands so far. If you live here for a year, you figure out why everyone says that the Dutch love orange: Kings Day; sports teams; free promotional material, they choose orange to represent them. Orange is nationalistic, its the colour people use when they define themselves as Dutch - ‘the people of orange’. On the other hand, when I ask my Dutch friends what an ‘official’ colour is - they say ‘Blue’. It’s not exactly a stretch: Delft is synonymous with delfts blauw, the painted pottery; blue is the colour that the government uses for its promotion and even The Hague even has a colour named after it: haagsblauw. You can’t make this stuff up.

Now, stay with me, because now I’d like to talk about colour theory for a moment. Blue and orange are opposites on the colour wheel, and we all know what opposites look like when together. But, what colour compliments both of them? You guessed it: Caramel Yellow. Bright enough to cause attention against to the blue, and warm enough to not feel too overbearing when placed next to orange. Caramel yellow just somehow, subconsciously, became chosen for everything, everywhere, and I personally love it. Like some pictures shown here? Find these, and more, by checking out @bnieuws on instagram.

Beginnings

WELCOME TO THE NETHERLANDS Words Jan Pruszynski

You’ve just arrived in Delft, the Introduction Programme has ended, and it feels like there is actually not that much to do here apart from studying? Nothing could be further from the truth! We, the editors of Bnieuws, will prove to you that there are plenty of things you can do here in your free time (not like you are going to have much of it either way) and we will teach you some useful phrases, which will help you get around the city and make new friends, or at the very least give Dutch some good laughs.

We hope all of you managed to get a room in the end as we know that this year it was exceptionally hard (and we’ll probably write an article about it in the next issue). For those of you who have already found a new nest but are still scrolling Facebook in search of some furniture we recommend checking out the Stichting Kringloopbedrijf, a small used furniture shop, about 10 minutes south from the TU Campus (on a bike of course). They sell used furniture at very good prices, perfect for a student’s pocket.

take photos. It’s arguably the most picturesque canal in Delft, which looks incredibly good on all photos. Make sure to be there when the first snow falls! It’s a sight to remember.

You have a place to stay and can finally start living your new life! Every serious architecture student starts their day with a coffee, or five. The best, by far, place to drink one is KEK. The place is so “Gezellig” that you will not want to leave. Ever. Moreover, their coffees and cakes are A-M A-Z-I-N-G (and super Instagramamble, for those of you who take photos of their food before actually eating it).

If you’ve been lucky enough, it won’t have rained for two days straight. If not, you must have already noticed that it ‘rains bricks’ here. Rain is as much a part of life here as breathing is. Therefore, Dutch have several expressions about it. In the end, just saying that it rains a lot would get boring after a while. If you’ve ever thought that brit’s ‘It’s raining cats and dogs’ was weird, you should certainly check out our handy guide, which you’ll find on the next page! If there is anyone who knows about rain more than those Islanders it’s the Dutch. To all those rain-related expressions we added a few others, which we just found hilarious. Why? We dare you to ask a dutch person!

Even if you’re not planning on spending any money or you don’t like coffee, Voldersgracht street is the place to be. In the end you’re finally studying in Delft and certainly want to show all of your friends what a great and beautiful city it is. A week can’t go by without a new picture on Facebook or Instagram. Voldersgracht is the kind of place where you want to

However, sunny and beautiful days also happen once in a (loooong) while. If you feel too lazy to go to the sea, or just prefer warmer water, the best place to spend those is at De Grote Plas (literally “The Big Lake”)! And trust us, when it’s sunny outside you really want to go out. Next chance may not happen happen in the next 4 months.

Het regent bakstenen!

It’s raining bricks!

Het regent pijpenstelen!

It’s raining pipe stems!

Het regent scheermessen!

It’s raining razors!

Het regent kopjes en schoteltjes!

It’s raining cups and saucers!

Het regent koeiestaarten!

It’s raining cow tails!

Het regent telegraafdraden!

It’s raining telegraph wires!

Hail

Hagel

Alsof er een engeltje over je tong piest.

I love this meal!

Ben je van de trap gevallen?

Did you get a haircut?

Handschoenen

Gloves

Met zijn neus in de boter vallen.

To be at the right place at the right time.

For those of you who like to eat healthy, you’ve got to buy your veggies and fish at the Market. First of all they’re much better than what you get at normal stores, but also... way cheaper! The only catch is that the Market is out only on Thursdays and Saturdays. Try to go early if you want to have the biggest selection. However, if you want a bargain try to be there when the vendors start packing up. That’s also the best moment to haggle, you may even get some things for free! Started shopping at the market and finally saved some money? Go and eat out! If you’re a meat lover you have to try De Beren. Monday through Thursday every week they have a menu with unlimited ribs. You pay once and eat as much as you can! If you’re more of a sweet tooth, we have good news for you as well. There’s Het Gulden ABC where you can get unlimited pancakes! Isn’t the closest you can get to heaven (and diabetes) as a student? If you’d like to try something more Dutch, you have to check out THUIS by Ladera. It’s a small restaurant, which saves home-style Dutch food, which is actually super cheap (a great place for a date, if you’re on a tight budget...).

The sun has set and you feel like grabbing a beer or two? There is a few places we recommend, depending on your mood! There is Jazz Café Bebop if you want to have a great evening with live jazz music in the background. Or perhaps you firmly believe that peanuts go great with beer? Go to Bierfabriek! They have three beers that they make themselves (all of them really good) + you get an unlimited supply of peanuts on the table. The best part? You can throw the shells on the floor. So… liberating! And if you just want to get hammered... Ekhm... Drink a bit more, or just not spend too much try Tango. A lot of locals and students go there every night of the week. I’ve been talking an awful lot about food, which is normal for me, however, there’s more to life than that (apparently). There’s one great thing about Delft, which is its closeness to both the Hague and Rotterdam. Life here does get a bit slow sometimes, however it’s so easy to travel to any of the big cities in Delft’s vicinity that it’s virtually impossible to get bored. Have fun then, it’s part of a student’s life in the end.

INSPIRATIONS/OBSESSIONS Being an architect and especially an architectural student means to be curious about the world around you and being constantly in restless search of sources of inspiration for your work. These sources of inspiration can be multifarious and originate from all kinds of stimuli; from historical architectural references to natural patterns, travels around the world, passages from poetry and literature or even scenes taken from films and animations. In our new regular column we share with you some of the things our editors and readers have been watching, reading, listening to, visiting and looking at from outside the world of architecture that we think are interesting, provocative, inspirational, or maybe just things weâ&#x20AC;&#x2122;re a little obsessed with at the time. First up we dive into film, television and Youtube to share with you some of what weâ&#x20AC;&#x2122;ve been watching this summer.

JARGON Words & Image Sam Eadington

Jonathan Meades has opinions about many things. Whether the subject be concrete, Christianity, football or fish fingers, the former food critic isn’t shy about sharing what he thinks about the world. Meades has a particularly intense style with which he delivers his incisive observations. Trying to make sense of every quip, jab and snarl of the relentless monologue is a bit like trying to catch your breath with your head stuck out of a car window as you hurtle along a motorway at full speed. In his latest onslaught - Jonathan Meades on Jargon - he dismantles the way in which different groups in our society use language with different intentions, providing us with plenty to ponder along the way. As architects the words that accompany our projects are often an afterthought or an unwelcome inconvenience. We use them to describe what already exists, whether that be a tangible reality or a fully formed idea in need of communcation, and we think that’s all the words do; describe the project. As Jonathan Meades points out, the words we use and how we choose to order and deliver them, speak of more than simply the subject of their description. The offer an insight into the person delivering the words, how they see themselves and what their intentions are. Slang does exactly this. While Meades celebrates slang for its wit, its uncensored directness, its irony, and its contempt for the powerful, he acknowledges that it is ultimately futile as far as getting through to the aforementioned powerful are concerned; but that is not the point. The point of slang is the creativity it demands in order to communicate the essence of reality, to communicate the vital: “Slang is the expression of what we think, rather than what we are enjoined to think, what we’re bullied into not thinking, what we’re liable to censor ourselves for thinking … Slang deflates the preposterous notion of human perfection, it acknowledges what we are rather than what we should be, what we should be, that is according to our supposed betters . . . Slang is about showing off, about increasing one’s idiolect, about finding a better expression for blowjob than blowjob, it’s about flexing one’s lingo muscle, it’s an expression of verbal dexterity, imagination costs nothing, the pleasure of slang is in the making, it’s a boast” The language used by architects - and let’s face it, most of us here in BK City - is pitifully unimaginative when

held up alongside slang. Our presentations, project descriptions and even Bouwpub conversations are bursting with jargon - ‘juxtaposition’, anyone? “Jargon is everything that slang is not; decentrifugal, evasive, drably euphemistic, unthreatening, conformist . . . it is delusional, it inflates pomposity, officiousness and self importance rather than punctures them. Slang mocks . . . Jargon is the language of the trained liar, the professionally mendacious, the dishonesty trainee who learns from his masters.” Among those most affected with such “poverty of thought” in relation to language are politicians, barristers, journalists, but worst of all according to Meades are artists. Although architects aren’t mentioned by their fiercely defended legal title, they are most certainly considered part of the ‘artist’ gang. Why, though, is our use of language so riddled with vacuous pretence? Maybe we’re trying to be clever, maybe we’re just ignorantly following those ahead of ourselves, or maybe we’re just trying to fit in. These excuses may be just about passable at ‘student’ level where the ‘real world’ is spoken of with a mystical reverence - a place which requires an abandonment of all the skills, passion and ideas we’ve collected in the ‘unreal world’ - but what are our grown up peers trying to prove with their relentless butchering of language? Perhaps the inability, or at best unwillingness, of architects to describe with clarity whatever it is they are supposed to be describing touches on some truths that run far deeper than an unimaginative choice of words. Could it be that the swirl of architectural jargon that orbits the vital core of a project is never intended to describe and inform but to obscure and perplex? Are architects in fact so insecure about the validity of architecture they produce - not to mention the rhetoric that precedes and follows - that instead they rely on creating an illusion of intelligence by baffling and belittling those unschooled in the conventions of architectural bullshit to maintain any kind of authority? Jonathan Meades will, unlike our faculty, make you ask questions about our collective complicity in the fraud that is architecture speak. Whether it’s a bewildering studio description, a tutor’s cryptic critique, or a peer’s un-ironic ego trip via every multi-syllabled cliché they can wrap their tongue around, we should never be scared to ask, simply, ‘what do you mean?’.

ISLE OF INSPIRATION Words Lydia Giokari

The summer break is the ideal time to catch up with all the things you could not find time for while studying. First on my list was to watch the movie ‘Isle of Dogs’, written, produced and directed by Wes Anderson. In this short article I will explore alternative ways of seeing the media we use as architects, inspired by Anderson’s latest feature length visual feast. The movie was a blast of emotions from beginning to end, but also a true revelation once the final credits had rolled and I started to find information and backstage images regarding its making process. Most striking were the similarities between the production of the movie and the scenes we find in our Model Hall .

Cinema in particular, and especially stop-motion animation, has a very close relation to the practice of

architecture, in the sense that they both use the same media; models that are built with great care and detail and brought to life via video or photographic techniques to create spatial narratives. During filming, approximately 240 different sets and 44 stages were created by the designers of the film and were used in order to convey the various sceneries of the narrative. The story is set approximately 20 years in the future, located in the fictional worlds of Megasaki City and Trash Island. Both of them are placed in the Japanese archipelago and the aesthetics of the film originate from Japanese culture. The film narrates the adventures of a12-year-old boy, Atari, in his quest to find and rescue his dog Spots after all Megasaki canines are deported to Trash Island, by Atari’s corrupt uncle, Mayor Kobayashi.

< The house of the mayor of Megasaki City designed and inspired by the now-demolished Imperial Hotel in Tokyo by Frank Lloyd Wright.

The beautiful images that Anderson brought to our screens have a strong bond with architecture as they take inspiration from the work of the Japanese architect Kenzo Tange and the metabolist architecture movement, but also a project designed by Frank Lloyd Wright in Tokyo. This project is the now-demolished Imperial Hotel, which is used as the prototype for the mayor’s house in Megasaki City. However, apart from the precedents and architectural references that the set designers used in their creations, the procedure of making these models is very similar to what we see in BK City. This is especially true in some of the Chairs of the Architecture Track, for example Interiors, Buildings, Cities or Form & Modelling Studies where similar scale models are built to explore the qualities of space, its materiality and relation with light

and shadow. Simultaneously, by the means of video and photography, students visualise the essence of the spaces they design while also exploring new possibilities and details. Apart from the chairs mentioned above, there is also an independent course – MOOC by TU Delft called ‘Models in Architecture – Design through Physical & Digital Models’. So if you, dear reader, find yourself triggered by this article and interested in this kind of experimentation, it would be a great opportunity to get informed about the upcoming studios and courses of BK that can provide you with the chance to work in a similar way. You can find more about the MOOC online: onlinelearning.tudelft.nl/courses/models-in-architecturedesign-through-physical-and-digital-models/

The process of making the model of the house of the mayor of Megasaki City at Three Mills Studios in London.

ABANDONED Words Jack Oliver Petch

It’s happened again. I hope you’re all sitting comfortably. You’ve accidentally started reading my intervention because I have a problem: video essays . Videos on Youtube about abandoned concepts, discarded projects and attractions that have been replaced and discontinued in theme parks have been plaguing me all over summer. And I am even sure how it all started. I’ve seemingly had a fascination for theme parks ever since I spent an entire summer locked inside playing ‘Rollercoaster Tycoon 2’ on my parents’ PC. The best part was, of course. designing the roller-coasters but something about the ability to customise the colours of the tracks, picking what music each attraction would play, and selecting what uniforms the management staff wore helped get me completely hooked. From tweaking prices of admission from $11.20 to $11.50 as an experiment to see how much that would impact the massive amounts of debt I’d put my fictional company under, the game grabbed me and wouldn’t let go. It’s not like I can say I was good at them but, on reflection, it seems like management simulators formed a gigantic part of my childhood. These videos, however, are a more recent phenomenon. I’ve not really been the type to watch long-form documentaries, or the TED-Talk lectures that I know a lot of my fellow students enjoy, but video essays have somehow got something else entirely. Every time I see a new thumbnail pop up into my recommended videos I’m compelled to click and find out more. The content is usually a simple premise. Each one explaining the story behind a ride, attraction or element of a theme park that doesn’t exist anymore, oh, but trust me - that’s just the surface level. These videos delve into the history and origins of these ideas, explaining through whatever research the creators can find, recalling the fascinating motives and troubles the creators or organisations had to endure. Even better, they cover the background context of whatever era they are taking place in! Some videos have gone back as far as explaining the business of the first type of roller coaster design, or explaining how the market grew for indoor play areas in the 1990s. These videos aren’t just recounting facts that anyone could read on a Wikipedia page, they are complex stories condensed into 20 minutes or less.

As with all stories, these contain a meaning for the viewer. Sometimes the lesson is of a success, or sometimes a failure. Hindsight is filled with stubborness and perseverance and, more often than not, they can be cautionary meanings to be found. Such as what happens when corporate intervention tries to boost footfall and kills original, inspirational ideas. I had no idea before this craze that almost every section of Disney’s long history with amusement parks has been documented. Believe me, it’s fascinating to see this alternative and highly detailed history. One example would be Disney’s Epcot vision, shown right, started as an entire utopic future that Walt Disney wanted to create instead became a theme park based on the world of tomorrow. Even still, today it’s a lost and strange hybrid of ideas when the original sponsorships left, totally removed from what was originally pitched. If this has given you any sort of inspiration to hunt these videos out, I’d recommend ‘Defunctland’ created by Kevin Perjurer as a great starting point. Its detailed, self-referential and amusing, but mostly it covers a very unbiased look at the market and context at large. But for me? I’ve since downloaded an open-source version of Rollercoaster Tycoon 2 called ‘OpenRCT2’, which runs better on my Macbook than it ever did on my gigantic desktop, bathing in this nostalgia hit before it wears out and I’m back to listening to Pop-punk music from 2007 again. Kevin Purger’s series ‘Defunctland’ at defunctland.com

I’m gonna build a skyscraper and cover it in glass, or should I save the planet and wrap it up in grass? I’ll design extra-terrestrial sporting arenas where crowds will chant my name, shake hands with unelected leaders and say I haven’t changed. I’ll dance for my masters then work for them for free, dad can pay my rent to get their name on my CV. Or that’s the dream we’re sold, and yes, we are consumers. Education is a commodity, thank you Baby Boomers. I’ll cherry pick ideas from the history of art, and quote philosophers because it makes me look right smart. If Sartre were a structural component which one would he be? A steel tie in existension, stressed by absurdity.

I got a semi-on for saturation in the monochrome parade, crossed my legs to hide the truth but it didn’t go away, I was in the Zone looking for answers but nothing’s as it seems, lost track of time and it doesn’t help when the clock’s stuck on 13. I watched another sunrise and amassed a bit more debt building in the real world to feature on the internet. Told mum not to worry I’ll have a job very soon, fingers held behind my back as twisted as the truth, The world should be more grateful for a mind as great as mine, yet no one seems to give a shit about anything I design. But I’ll never betray my morals or my beloved working class, and I’ll never build a skyscraper, unless the client politely asks - Sam Eadington

INTERDISCIPLANARY PROJECTS Words & Images Thomas Dillon Peynado

The multidisciplinary project (MDP) is an integral part of the education at the faculty of Civil Engineering. During their MSc programme they can do either an internship related to their specialization, or to propose and do a multidisciplinary project. While many opt for the internship, there are also groups that choose to do a multidisciplinary project.

The concept of the MDP aims at promoting innovation and cross-field cooperation at TU Delft. It offers students an opportunity to expand beyond the confines of their own specialization to develop innovative solutions for current world problems. As our project shows, this is not just limited to students from the faculty of Civil Engineering. Although the project was conceived at Civil Engineering, it was quickly decided that our theme would benefit greatly from a cooperation with the faculty of Architecture and Built Environment. The desire to have a strong combination of strategic planning, design and technical expertise, led to the initiation of the Sponge City Project. Our team consists of six MSc students from the disciplines of Hydraulic Engineering, Water Management, Architecture and Urbanism. We worked on the implementation of the Sponge City programme, an initiative launched by the government of China to deal with urban flooding problems, due to changed land use patterns and climate change. These proposed Sponge Cities are cities with a large water-buffering capacity to collect excess rainfall and integrate flood control in urban planning. The government has set the, albeit ambitious, goal of an 80% compliance rate amongst all cities by 2030. Our target city is Wuhan, known as the “city of a hundred lakes” and located on the crossing of China’s main development axes, the Yangtze river and the North-South axis. Wuhan faces severe water challenges such as urban flooding, water logging and the urban heat island effect.

OUR GOAL WAS TO CREATE BOTH A RESILIENT AND INTEGRATED SPONGE CITY SYSTEM IN WUHAN, CHINA. One of our main challenges was making this project truly interdisciplinary, with our individual expertise being integrated in the process and the resulting design. Since designers and engineers tend to have different approaches to design, it was easier said than done. To combat this difference, we held several

workshops together to better understand each other’s approach and expertise in addition to the regular meetings. We decided on a ‘Research by Design’ approach to develop a strategy for the implementation of the Sponge City concept in Wuhan. This meant the combination of analytical thinking, focused on the translation and the interpretation of data, and design thinking, with a focus on the development of new knowledge and spatial translation. Throughout the project, we cooperated and worked with our major partners Arcadis Netherlands and Arcadis China. By doing this we were able to work on a real-world situation, in close communication with the various Chinese stakeholders. The main part of the project took place this summer 2018, when we were able to work with the team of Arcadis in Wuhan, China on the design of an integrated Sponge City System for the new Wuhan Jiang’An Riverfront Business district or ‘ErQi’. Participating in this project presented the opportunity to work on an actual assignment together with the stakeholders such as the designers and developers, while still maintaining the academic freedom to formulate our own design in a way not before considered by either Arcadis or the developer. The MDP course is a great responsibility as the students have to arrange everything themselves, from the project assignment, local partners and the supervisors, to the accommodation, funding and potential partners. However, the great opportunity to gain interdisciplinary experience in the field, while working on your own project in a location that is mostly of your own choosing, certainly offsets this. Find out more information on the facebook or linkedin pages, search ‘the sponge city project’.

Artefact

PAINTING By @nlkrts

Painting can be a form of therapy. Similar to writing, it can be a form of externalising ideas, feelings and frustrations, putting them on paper or canvas, seeing as they materialise before your eyes. It is both a representation of a particular moment in time as well as a self-investigation.

People often ask what do I paint, where do I get the inspiration for my paintings, or ask for me to paint them something. In the most cliché way possible, I do not choose what I draw, at least not in the straight foreword sense of the word. I take dozens of photographs and videos throughout my everyday life. More often than not they tend to accumulate on my phone until my memory gets full and I transfer them on my computer, burying them in my ‘PhotosfromPhonefolder’. Lately I started painting the subjects of my past relationships right after they start to disintegrate, and, these buried photos then become very handy. Yes, it is a form of selfreflection, but the more I do it, the more I realise that it is a very good way for me to distance myself from the subject I’m painting. The face, the memories, the backdrop, they all lose their mystifying qualities, and they solidify in their non-idealised state. For me, it is like making your own souvenir of a time passed; not to forget, but to recall with a different perspective and to take a step back and start moving forward. It is similar to those old souvenirs people would buy from their travels abroad: robust miniature statues of Greek and Roman gods on a shelf in the dining room, fridge magnets from the Niagara Falls in the kitchen, or beautifully drawn calligraphy scrolls from China hanging on the living room wall. Painting is similar to a souvenir, but also much more than that. It is something you make for yourself. A means for you to mould, think and rethink about a situation in your head -- a Gordian knot-like situation, where there is no right or wrong way to go about it. When you have gone through it, you are left with something beautiful to remember the good and the bad by. < @nlkrts painting set up at home. 1/3 triptych still in process.

Speak

DILEMMAS OF AN ARCHITECTURE GRADUATE (TO BE) Words Nadine van den Berg, Ada Jaśkowiec, Lydia Giokari, Kseniya Otmakhova Image Ada Jaśkowiec A while back, one of the graduating students contacted us regarding precarious work conditions in big architectural offices. Is it fair that once you’ve graduated you’re offered an intern position and are paid less than in a job which doesn’t require any academic education? Was it worth spending hundreds of euros on models, prints and fancy computers? Doesn’t architecture school education fit the requirements of the professional market? What can we as students, elements of the bigger system - do to improve our situation?

Discrepancy between business and university focus Aspiring architects get schooled thoroughly in the design process, history and technicalities of architecture. However, unlike for example future artists, architects do not get educated in the business side of architecture. Practice shows us that the most famous and successful architects are often as brilliant managers and businessmen as they are designers. Getting your design commissioned requires a lot of interpersonal skills, finding opportunities and combining contradictory viewpoints. However, let us try to look into what we have learned—we could use much of it already. According to Hans de Jonge, a TU Delft alumnus who is currently running his own company Oculus Film, the university teaches you how “to think on different levels of abstraction and scale, how to approach a problem, cut it down into manageable pieces, work on them and integrate them.” Critical thinking, analytical skills and the ability to solve problems acquired during our studies are invaluable assets, which are universally valued. Additionally, architecture encourages to develop multi-faceted interests, which broadens horizons and makes you

open for and aware of new possibilities. Ruben Bergambagt, also TU graduate, the founder of a Dutch-Chinese architectural office Superimpose, highly values that the University gave him the motivation “to push the boundaries of architecture, question conventions and find innovative solutions to existing and emerging problem statements”.Creative, innovative, how come we - architecture graduates are not the perfect employees? Ruben’s advice for future architects is to find a balance between conceptual thinking and the exploration of practical matters. There’s only one way to acquire that: take on an internship and find out how architecture practices run projects in real life. Often young people who just obtained their diploma have no understanding of how differently architectural ventures are run compared to what they have imagined based on how the university projects were structured. The problem is growing, since internships are not a part of formal education anymore. If you want to get a grasp of real life in an office, you still need to pay a tuition fee at the university while receiving almost symbolic salaries from the employer. It creates a challenging situation

in which it is problematic for young architects to fulfil the requirements set by the employers. Having not enough experience means that they have to agree to very low salaries, which subsequently encourages a significant part of them to pursue other careers where the entry threshold is not that high. Low efficiency, low salary, draining lifestyles We often ask ourselves why architects are not as well-paid as employees in other disciplines. According to some calculations, comparing the amount of working hours and the amount of work architects are commissioned, the calculated hourly

about the world of today, but the world of tomorrow, which in turn calls for knowledge of society, culture, politics, etc. In order to excel at this challenging task, both students and architects in the field of architecture endure draining lifestyles with lots of overwork However, nothing can ensure that such sacrifice will pay off. After a lot of sleepless nights, a different competitor might get the commission for the projects instead. Survival of the most adaptable Architects perceive themselves as generalists: designers, politicians, sociologists, psychologists, etc. at once, however, that is not a future-proof attitude.

65% OF PRIMARY SCHOOL CHILDREN OF TODAY WILL END UP WORKING IN COMPLETELY NEW, NOT YET EXISTENT JOB TYPES. rate evens out to the one of a supermarket cashier. It all seems a lot of hard work with little reward, so why do we, as a community, put our mental and physical health at such a disadvantage? Sportsmen keep health their priority, and in most other professions, overnight and weekend hours get rewarded double the hourly rate. After all, our profession requires comprehensive conceptual, technical, interpersonal and business skills. However, it turns out that the construction industry is being outpaced by the general development ratio of the economy and brings back not enough revenue.

“In this world there’s a tendency to specialism,” – Hans reflects – “specialising in a particular field could improve the quality of the work delivered”. The understanding of a concept of job changes there’s no certainty of having one job for a lifetime. Quite the opposite, the fast pace of development will require workers to think of themselves as specialists, not employees. In order to be ready for that change and not lose the race in the future, we must now assess our strengths and weaknesses, which will eventually make us able to define what we should specialise in and how to make ourselves fit within a very complex process of creating architecture.

One of the problems of architecture, as formulated by Rem Koolhaas, is the fact it is not fast enough to keep up with the constantly developing and fast-paced world. “Architecture is a profession that takes an enormous amount of time. The least architectural effort takes at least four or five or six years, and that speed is really too slow for the revolutions that are taking place.”1 Architecture means months of designing on such a complex level that it results in a low capacity to react to swift changes.

The Guardian called the job market “the survival of the most adaptable”2, where the idea of a job for life ceases to exist. The worker of the future freelances, takes part-time jobs, manoeuvres between different employers and modes of employment. It requires constant rethinking of your preferences and redefining your professional status. According to the “Future of Jobs” report published by World Economic Forum in 2016, 65% of primary school children of today will end up working in completely new, not yet existent job types.3 Such changes come about with the necessity of clearly defining your strengths and skills and being highly aware of what you can offer to your potential employer.

What adds up to that is the long period of construction, which requires architects to think not

Tunnel vision Although in the first year of the Bachelors, everyone gets the warning that only a few freshmen will end up working as architects after graduation, the message individual tutors deliver in design studios goes the opposite way. It is often said architecture is a calling rather than a profession. Or a passion, which doesn’t allow another one to exist. You dedicate your life and being to architecture or you fail at it. It is, after all, not a hobby. So now you’ve made your choice for architecture, there’s no way back. Sounds like a deal with the devil?

input of any kind”. Hans, despite taking on a job that departs from the traditional professional trajectory, admits that his education as an architect has taught him to “structure thought and to be able to abstract”, which is a transferable and universal skill.

Especially at the beginning of your way, ending up being an architect seems to be the obvious option. You have a curriculum that you have to follow, which is a bit double-edged. On the one hand it gives you a sense of security; after all the stress you went through before deciding on your field of study, for the next few years you can just go along with the curriculum of your track. Those years fly past you faster than you expect, and suddenly you have to think again about questions like “why am I doing this?”, “what impact do I want to make in the world?”, “what do I want to spend the rest of my life doing?”

To find more about Hans’ and Ruben’s professional

Architecture education is beautiful, but it is just the beginning. If your ambitions remain within the field of architecture, be sure to balance concept and practice. When you dread the thought of working in an architecture office, you surely have tools to come up with an alternative.

paths visit http://oculusfilm.com/ and http://www. superimpose.nl/. If you want to tell your story, write to bnieuws-bk@tudelft. nl, we will be happy to share your contribution. Psychological test: if the tower is the first thing that you notice, sit back, relax and take a break from architecture.

It might seem that those who’ve chosen Master Track in Architecture already answered these questions and decided to pursue the track. Are you among these? Or maybe you already know your path will diverge? Have you ever questioned your choices and wondered about what would really make you happy? Future paths Ruben decided to run his own office, but he definitely sees the architecture graduate as someone who can excel at diverse professions. For him studying architecture is profitable to anyone “who is curious enough to investigate, creative enough to provide new solutions, critical enough to reflect on their own work and passionate enough to appreciate

> Prijevor Plateau (1600m) in Sutjeska National Park in Bosnia and Herzegovina, a starting point for several trails leading to the Bosnia’s highest peak, Maglic (2386 m).

Biennale

WHAT’S GOING ON? VENICE Words Jack Oliver Petch & Elena Rossoni

Image Elena Rossoni

About the interviewer (Jack): I am going to be visiting Venice, with the main goal of seeing the Architecture Biennale before it closes on November 25th. Whilst I am an avid fan of traveling, I’ve never visited the city nor the exhibition before. I’m looking forward to both exploring the labyrinth of narrow canals and getting the most architourism possible out of my trip; visiting not only the pavilions in the Giardini but spotting the artillery installations throughout the city. In preparation I decided to speak to fellow Bnieuws team member Elena to ask about her experience as a visitor, tourist and architecture student.

When did you visit the Biennale, and have you ever been here before? The Architecture Biennale has been a major source of inspiration to me since my first visit back in 2014, and every time I experience something completely unprecedented. My stay is usually three-four days, where two of them are solely dedicated to the Giardini and Arsenale (using the two-day pass where one is allowed to enter both exhibitions multiple times on consecutive days), and during the rest I just walk around and soak up the venetian atmosphere, sounds and flavours. This year my visit was around mid-July, when tourism and temperatures are admittedly sky high,

so Jack is probably doing a much better job than me organising his trip September onwards. How would you describe the atmosphere of the exhibition spaces? I would probably describe it more like a playground for architecture fans, full of drawings, models, abstract forms and installations, creating an exciting, yet sometimes a bit overwhelming, vibrant environment. All kinds of media are used, ranging from fantastic visuals and intricate models to different textures, and use of sound and smell.

The event, especially in the Arsenale exhibition spaces, resembles an academic playground for architecture and design lovers. The mesmerising Greenland pavilion, by Danish architecture firm Dorte Mandrup.

There is an abundance of things to see and experience inside and outside the exhibition grounds. What is amazing about Venice itself, is that the city changes along with the exhibition, as there are numerous palazzi with free entry in the heart of the city, featuring many more works to see. Therefore the experience is not limited to within the walls of the Giardini and Arsenale, and integrates the unique character of the city with this special biannual event. What was the biggest stand-out experience for you when visiting? Usually, I always look forward to visiting the Nordic Pavilion [Norway, Sweden, Finland] and, whilst it was very impressive again this year, I was instead absolutely captivated by Greenland’s installation. And Greenland’s installation, what about it was the most impactful for you? Given the title ‘Conditions’, the sound of a cold winter breeze, the changing colours and the stunning installation almost hypnotises the viewer. The combination of mixed media with its breathtaking but simple composition made me realise how in order to convey a message, you really do not need much in terms

of materials. Sometimes a bold concept is all you need in order to make an impact. After seeing the biennale, has your outlook towards architecture/design been influenced? I can definitely say I am much more aware about groundbreaking projects such as the Dryline in NYC by BIG, but was also exposed to a lot of current student work, like the one featured in the Spanish pavilion. I always leave the Biennale full of ideas but also hope for a better future, seeing how architecture can tackle major global problems. I believe every architecture admirer would be thrilled to experience such an exhibition. Lastly, is there anything you regretted not getting to see? Each pavilion organises its own educational or cultural events on specific dates and unfortunately my visit did not coincide with any of those. Another thing I am leaving for next time, is a speakeasy bar within the city I did not have the chance to explore, but this will remain on my checklist until 2020! Hopefully, the secret will still be kept by then... Jack and Elena both shared pictures of their Venice trips over on the @bnieuws Instagram.

Biennale

GREEK PAVILION Words Xristina Argyros & Elena Rossoni

Images Elena Rossoni

This year’s Venice Biennale was packed with unprecedented works and one-time chances to view models of milestone architectural projects. But what does it really mean for an architectural office to have its work exhibited in this prestigious biannual event? To find out, we met up with Xristina Argyros from NEIHEISER ARGYROS London-based studio and designers of the 2018 Greek Pavilion “the School of Athens”.

What does “free space” mean to you and how does it manifest itself in the pavilion? Freespace can, of course, mean many things. We’ve chosen to examine what it might mean within the context of the university, and specifically to think of it as equivalent to the concept of ‘academic commons’. Trying to define what the space of ‘academic commons’ is, and locate it within each university, has been one of the more interesting challenges of the project. For us there is no absolute definition… it’s subjective for sure, and open to debate. One characteristic is that the academic commons is the space within the university that is either unprogrammed, or capable of supporting a wide variety of different programs. It’s the space in-between the spaces that are easy to name – the space that’s not the classrooms, the offices, the cafeteria, or the lecture hall. It’s the connective tissue of the university. Often it has some overlap with the circulation spaces, but they’re not equivalent. To borrow Hannah Arendt’s term, it’s the “space of appearance” within the university, the institutional equivalent of the public space in the city, or of the living room in the house. A space that is both empowering and liberating. It is the space to see and be seen.

philosophy were either developed or deeply explored in ancient Greece)? The title of the exhibition, ‘The School of Athens’, is a direct reference to Raphael’s fresco. And while it’s a Renaissance masterpiece, both the space and ideals it represents are in turn referencing ancient Greece. The fresco represents a compelling ambition, a utopian vision of a free, open, informal, and common space for learning. It is an in-between space. Neither inside nor outside, not quite a room, but also not simply a space for circulation. It is monumental, but also generous, and almost casual. It is not a classroom, and yet we see scholars and students debating, teaching, and studying.

Our project has two parallel agendas. The first is to research and present the space of the academic commons from university institutions around the world and across time, in the form of 56 physical models. The second is to create a space that is itself a kind of academic commons, a learning freespace for informal conversation and debate. Within the existing pavilion, we have built an inhabitable terraced landscape that is amphitheatrical, but less singularly focused than the classical form, in order to support both formal events and casual gatherings. We imagine the pavilion as a space for individual study, small group conversations, large group lectures, and debates. The project adopts the architectural trope of the staircase, or stepped terrace, that is so widespread in university design today, examining and testing the value (and limitations) of this architectural form.

Representing the “School of Athens”, could you say the pavilion’s stepped landscape reflects the steep slopes of Athens’ iconic neighbourhoods, such as Plaka? This is an interesting observation, and geographically very relevant. More specifically though the stepped landscape references the amphitheatrical space found in the Dionysus theatre on the Acropolis hill, adjacent to Plaka. We could argue that this ancient Greek institution represents an archetypal typology of academic free space.

Could you say the idea of a learning space for the Greek pavilion also stems from the nation’s rich contribution to education (after all, terms such as democracy and

Although we typically think of learning taking place in the classroom, educators and architects have recognized for thousands of years that learning also takes place in the space between; in the hallways, on the stairs, at the café, in the quad. Socrates taught in the Agora. Plato founded his Academy in the olive grove outside of Athens and often taught while walking. These early spaces of teaching, outside the traditional classroom boundaries that we have today, are perhaps the best examples of learning free spaces.

In fact, it’s interesting to observe that most of the academic common spaces that we researched and modeled for our show are modified, exaggerated, updated, or hybridized versions of two early typologies – the stepped landscape of the Dionysus theatre and the courtyard found in Plato’s Academy.

interview continued...

< The pavilion accommodates models of fifty-six academic common spaces throughout history and around the world.

The iconic Greek pavilion in the Biennale’s Giardini.

How does participating in the Venice Biennale fit with the trajectory of your studio? Where does it fit with your ambition as an office? As an office, we actively try to avoid being typecast. We have ongoing projects at the scale of an entire city, and at the scale of a small domestic extension. We work with private clients, developers, municipalities, and cultural institutions. While most of our current work is in London, we have completed projects in NYC and in Athens, and hope to do more international work, especially in places that we care about and have a relationship with. We’ve been teaching a design studio at the Architectural Association in London for the past two years where we look closely at the city of Athens, and the potential role that academic institutions might play in revitalising the centre. Working on a project in Italy, with a Greek Ministry as our client, in collaboration with students in both Athens and London, that is research based, and that quickly engages with a large audience. This is a kind of ideal mash up of much of what we’re interested in and excited about right now.

The pavilion was an extremely challenging project (we had under three months to design, research, fundraise, and fabricate), but also very rewarding. We probably don’t need to do another national pavilion anytime soon, but we’d love to find a way to engage in the unique conversation (and spectacle) that is the Venice Biennale again in the coming years. The project lives on in a few different ways. First, its open through November 2018 and we’re hosting another event/symposium in the space in September. Second, we have a website where you can engage with the content of the exhibition even if you don’t make it to the show. And third, we’re working on a book that compiles, extends, and synthesises the research from the show. Stay tuned for this in the coming months! You can find out more at: www.the-school-of-athens. com

Reflecting on the Past

GOODBYE Words Ada Jaśkowiec & Lydia Giokari

Reflecting on our time in Bnieuws, it seems that we took over an established, wellfunctioning format of the magazine and already during our very first brainstorm, we challenged ourselves to question the occurrent standards.

First came experiments with the format, as we modified the layout by creating things such as a fold-out, a poster and a fully foldable special issue. We felt that it was not enough. Reflecting critically on the definition of ‘a platform’, we came to a conclusion that it does not have to mean a magazine format exclusively. Bnieuws, in its very assumption, is a platform for discussion in which all BK Citizens can take part. Nowadays that the social media have taken over most of communication and newscast, also Bnieuws needs to reinterpret the way it expresses the Faculty’s voice and expand towards new possible communication channels, may it be social media, podcasts, meetings with BK Citizens or events. It should be the most dialectical medium in BK City, to which everybody could contribute by sharing their story or opinion, whether it be a compliment or complaint. Since we wanted to experiment with different communication channels, we organised a symposium on architectural writing. The event brought us much joy and satisfaction, as it confirmed there are numerous writers out there, willing to share their sorrows and joys of writing, thus inspiring us to keep on with it. We also set up an Instagram account, which Jack took over and has been developing like crazy ever since, so make sure to follow us… oops… them at @bnieuws. As we leave and the new team takes over for the next academic year, we would like to ask them to keep expanding Bnieuws to other media. And that’s a challenge. With a lot of us turning our backs at Facebook, Snapchat facing first users decline and Instagram having been orphaned by its founders, what would be the medium of the future? Video? Podcasts? VR stream? Or maybe a good old conversation? Whatever it is, we hope that Bnieuws will follow. Good night and luck!

NEW TEAM • NEW BNIEUWS

HELLO Words Elena, Jack, Jan and Sam

It’s our pleasure to introduce ourselves as the latest team of Bnieuws custodians. Carrying on from the great work of our predecessors Ada, Lydia, Kseniya and Nadine - as well as the many editors who went before - is a daunting task, but one we’re excited to take on. Bnieuws has continually adapted to fit the changing world in which it exists, and will continue to do so as long as the BK City community wants it to be part of the faculty’s life.

We join Bnieuws armed with ideas, ambition and belief in the importance of a tangible, printed periodical in the life of BK City. We see the faculty as a testing ground for the kind of world we would like to create, and a key part is the exchange of ideas. Debate and discussion are things to be encouraged, not feared as threats to the status quo.

Bnieuws is the independent, student-lead publication operating within the faculty of Architecture and the Built Environment at TU Delft. This meaning our publication it is of the people, not the organisation. Every student and member of staff experiences life inside and outside this building in a different way, has their own opinions about matters big and small, and has their own voice. We would like to see Bnieuws grow into a platform from which the wealth of critical thought that takes place across our entire community can be represented, celebrated, and even challenged. At the core of Bnieuws are the printed pages you hold in your hands. We will produce these issues monthly with the aim of providing both a snapshot of a moment in time, but also a source of inspiration to which you can return and enjoy in the future. Our former colleagues made the much needed step into other media and formats, which is something we plan to build upon. Going forward, we are continuing these efforts, consciously employing different formats to best represent everything in the vivacity of daily life in BK City and the political preoccupations that shape our world views as people. We also want to be more transparent, to get to know you all a little better and for you to know us. Keep an eye out for news about Bnieuws events coming very soon. You, the reader (and hopefully soon-to-be contributor), are at the centre of our vision for Bnieuws. We want the content we publish to come from across the entire faculty, and even further afield. If you have read this first publication and would love to be involved with a future issue, please do email us; pop a note in our office; slide into our DMs or stop us in the corridor for a chat. We always want to hear your side of the story.

CALL FOR EDITORS. We are currently searching for new Dutch speaking members to join the editorial team for this academic year. Whether your talents are in writing, drawing, photography, graphic design, organisation or youâ&#x20AC;&#x2122;re filled with a range of skills, we would love to hear from you if you would like to be a part of the future of the faculty periodical. Write to us at bnieuws-BK@tudelft.nl

NEXT ISSUE: 02 Lost in Limbo. transitional times / a moving / ongoing / a condition of prolonged uncertainty or neglect / an imaginary place for lost, forgotten, or unwanted persons or things / a prison or confinement / an unknown intermediate place or condition between two extremes / things cast aside / a land forgotten / an ideal out of date / 02 due November 2018.

Bnieuws INDEPENDENT PERIODICAL OF THE FACULTY OF ARCHITECTURE AND THE BUILT ENVIRONMENT TU DELFT VOLUME 52 ISSUE 01