Bnieuws 53/01 - Architectural Odyssey (2019/20) by Bnieuws

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Bnieuws Volume 53 Issue 01 September 2019 Contact Room BG.Midden.140 Julianalaan 134 2628 BL Delft bnieuws-bk@tudelft.nl Editorial Team Aimee Baars Jack Oliver Petch Jan Pruszyński Elena Rossoni Chun Kit 'CK' Wong Contributors Sam Eadington Cover Aimee Baars

WELCOME 04

#Bnieuwd

Study Pressure at BK City

Interview: Maarten van Kesteren

Interview: MOR

Exploring Possibilities

Unpaid Internships

Moodboard 2019

The Paths That We Must Walk

Your Art Isn't Good, You're Just Photogenic. (a Poem.)

What's Your Problem?

Artefact: James O'Callaghan

Does Architecture Really Have a Gender?

Hello, Goodbye and Toilets, Oh My!

Naam Maken

Editorial

ARCHITECTURAL ODYSSEY The Odyssey, written by Homer, encompasses a series of 24 books describing the arduous 10-year travels by Odysseus, who fought in the Trojan War and then wished to return to his home, the paradise island of Ithaca. I am unsure which was more of a struggle; Homer's writing process or the hardship his main character was put through. The latter seldom advantageous, yet always adventurous: fighting off Cyclops and tantalizing nymphs were all worth the reunion with his beloved Penelope after twenty years. Odysseus returned as a hero; thus the term ‘epos’, and our current phrase ‘epic’. How we long to feel or be acknowledged as heroes after our final presentations. But no, most of us don’t fall in the arms of long-lost lovers and become legends. Perhaps millennia-lasting remembrance and praise are bit too far-fetched. After all, we haven’t fought an actual battle and put our lives on the line — perhaps our personal health is as far as our battle goes, our eye bags quite accurately indexing our health status. However, every now and then I find myself at crucial crossroads in design decisionmaking, a true inner battle; fighting myself to the depths of design desperation; talk about an arduous journey. (Well, OK. I agree, bit too much, I will tone down the drama). But in all honesty, the design process, and in a larger sense, the process of evolving from a student to an architect, is quite an undertaking. Could you speak of an 'Architectural Odyssey'? We explored this odyssey from different perspectives. Written by our newest editorial member, CK, this issue features a personal view on the traveling architect. Aimee visited Maarten van Kesteren, a Bouwkunde alumni, at his own studio in Amsterdam. She interviewed him about finding his own signature style and setting priorities when running your own firm. Jan took a look at a survey carried out by Stylos among our faculties student's at the end of the previous academic year and wrote a piece about the many career paths architects can take. Besides looking ahead, we also take a moment to inaugurate the new academic year: a fresh start, full of anticipation. Enjoy the read and—if you are new—have a hell of a ride at our BK faculty!

#Bnieuwd

To do / ALTERNATIVE URBAN FUTURES Pakhuis de Zwijger, located in Amsterdam, weekly hosts several talks, studios and book launches on urban themes - Wednesday the 20th of September the Centre for Urban Studies presents a double book-launch and discussion with academics, activists, planners and politicians, about ‘doing the urban differently’. A selection of speakers present their work on alternative urbanism in Amsterdam. Join them for an international dialogue on the production of alternative urban spaces. 20.09.2019 www.dezwijger.nl/programma

To do / STEDELIJK MUSEUM SCHIEDAM The art museum in Schiedam has just won the prize for Museum of the Year and currently hosts two interesting exhibitions. First of all; Rothko & me* (*alone without a mobile phone), in which you get the chance to experience one of his art works by yourself, in a room alone. The second exhibition ‘Meesterlijke Vrouwen’ [Masterly Women] features 10 avant-garde female artists such as Charley Toorop and Marlene Dumas.; a beautiful selection which touches upon contemporary themes Rothko & me: 16.3.2019-5.01.2020 Masterly Women: 15.06.2019-08.10.2019 www.stedelijkmuseum.nl

To do / LECTURE ON QUEER HOUSES AND PLACES HNI, Het Nederlands Instituut, presents an interesting night on queer architecture; can we point out certain areas or spaces that are designed by or for queers? Or is it mainly a process throughout history of appropriating of places by queers? Several researchers will talk about their findings, also gaining insight in the local gay-scene of Rotterdam, which started with the first gay organisation in 1919. 26.09.2019 @ 19.30 - 21.00 Het Nieuwe Instituut, Museumpark 25, Rotterdam www. hetnieuweinstituut.nl

#Bnieuwd To do / DO HO SUH Private contemporary art museum Voorlinden in Wassenaar near The Hague is not only worthwile visiting for the building itself, but definitely for its current exhibition on the works of South-Korean artist Do Ho Suh. Throughout the decades he has translated the experience of space and the feeling of ‘home’ to intriguing and instagrammable architectural installations. End the day with a stroll around the garden, designed by Piet Oudolf, known for his work on the High Line in New York. A must this summer! 17.05.2019-29.10.2019 www.voorlinden.nl

To do / THE RIGHT TO BUILD ARCAM, the Architecture Institute of Amsterdam is opening an exhibition on self-builders and their projects. It features self-built dwellings which have been designed and realised over the past 10 years, in Amsterdam and Almere. The exhibition focuses on the tension field between national law & regulation and civil participation. ARCAM always seeks informative and accessible ways to bring trends within Dutch design of the urban environment to a larger public; this exhibit is a good example! 28.06.2019-08.12.2019 www.arcam.nl

To do / LE CORBUSIER, LINKEROEVER If you are planning on a last minute, end of summer, trip to Antwerp - highly recommended! - you should pay a visit to MAS (Museum aan de Stroom); for the museum building itself but also for the current exhibit on Corbusier and his plans for the left riverside of Antwerp and an entire new Indian city: Chandigarh. The presented works take you on a journey through Corbusier’s thoughts on the city, and how people today inhabit this entirely contructed place. 06.04.2019-18.09.2019 www.mas.be

Keep updated on our recommendations on upcoming events through our instagram account. Send us or tag us with anything you’d like to share with our followers. Feel free to contact us via Instagram @Bnieuws, Facebook or email bnieuws-BK@tudelft.nl!

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STUDY PRESSURE AT BK CITY Words Jan PruszyĹ&#x201E;ski

Architecture schools all around the world have an opinion of being very stressful work environments â&#x20AC;&#x201C; the 24-hour studio culture and highly competitive peers being just part of the problem. In the previous semester Stylos, Argus, BOSS, BouT and Polis conducted a short survey among BK City students, hoping to give more insights into the issue of study pressure among our students. Could it be an actual problem at BK City as well?

The survey consisted of some general questions and 9 statements with comments. General questions asked about university degree, gender and travel time. Their main goal was to observe if there is a large difference in study pressure between different academic degrees and if gender and distance to the university also have anything to do with it. The statements opted different reasons why students may experience study pressure, such as not managing work load very well or a lack of clarity as to what exactly is expected of them. Respondents were asked to grade the impact of each of those on the scale of 1 to 5 (where 1 was not feeling pressure at all and 5 being extremely stressed). We have thoroughly studied the survey results. and unfortunately they paint quite a grim picture of our faculty and our students' well-being. No difference in experiencing study pressure has been noticed between male and female students, however living further away from the university seems to have a big impact on it. Students living relatively close (less than 20 min away) graded study pressure on average at 4,27, while for students living over 40 and 60 minutes away it increased to 4,54 and 4,57.

Moreover, an average bachelor's student seems to feel more study pressure (4,38) than a master's student (4,17). What is interesting are large differences between different master tracks. Urbanism students placed as the ones feeling the most study pressure (4,45), while people studying Management in the Built Environment seem to be least stressed (3,89). Bad work management Many students think that bad work management during the course of semester is one of the reasons for feeling stressed. However, in most cases it was graded quite low, showing that the problem is small in comparison to other points. Social activities TU Delft encourages students to do things outside of studying with extensive sport and cultural program provided by the X. Moreover, there are many student associations, which students can join. There are a lot of important skills that can be gained outside of the faculty, however at this point most students do not have time to explore those, spending all their time studying, working at the studio or on one of many other assignments.

Competitive environment Architecture and Urbanism master tracks seem to be the most competitive ones. Competitiveness has a lot of positive and negative aspects â&#x20AC;&#x201C; students can learn a lot from each other, however a lot of people end up working 60-80 hours a week, simply because they want to (and do not have other commitments). High expectations This high competitiveness unfortunately results in a new standard and quality, which is expected by teachers and which students who work just 40 hours per week simply cannot deliver. For many students the only way to manage to deliver everything is pulling all-nighters, which some of the teachers even seem to encourage. How did it become a norm and, in some cases, expectation that students spend all night working before a big deadline? Considering that it has been proven to be extremely unhealthy and dangerous it should be discouraged at all times! Coinciding deadlines The single most commonly stated reason for feeling study pressure among all years, degrees and tracks are coinciding deadlines. Quite often, there are several important deadlines in the same week or even day. With a combination of short and long term deadlines it is quite often hard to manage to keep a clear overview and deliver quality products with every assignment. Sometimes two courses are too much to handle at the same time and students end up postponing them to next semester. Inefficiently divided workload Quite often in studios critical decisions are made last minute (just before the deadline), which means there is no time to implement them because students still need to work on their presentations and visualisation of the project. Often students are forced to make a choice between implementing those last-minute changes and spending time on renders etc.

Unclear grading criteria Many students stated in the survey is that quite often it is unclear what exactly is asked and expected of them in different courses. Most of the assignments seem to lack objective and transparent grading criteria, which lead to surprised response among students in regard to their grades. While teachers might have seemed content with their studentsâ&#x20AC;&#x2122; work throughout the semester, they can then, unexpectedly, become extremely critical during final presentations, pointing out negatives they had previously never mentioned during class. Moreover, due to lack of those criteria, it can be often observed that teachers grade very differently, even in the same studio. Workload A common problem is that some of the courses take much more time than what was scheduled for them. Some 3 ECTS courses take as much (if not more) time than some 6 ECTS ones. Furthermore, within courses, students state that teachers often race through knowledge material. Thus, students do not have time to digest the information given, before moving on to the next subject. Pressure to graduate Moreover, many students need to work to sustain themselves while studying, because, as we all know, architecture is not the cheapest subject to study with books, expensive modelling materials and a lot of printing. However, it can be tough to balance work and study life. Extracurriculars Many students state that they would like to expand their architectural knowledge and skills besides learning for the courses during the semester, however, in many cases there is not enough time for that. Do you agree with the survey? Do you feel there is a lot of study pressure at the BK City? Let us know! #bnieuws

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INTERVIEW: MAARTEN VAN KESTEREN Words Aimee Baars

Images Aimee Baars, Maarten van Kesteren

Maarten van Kesteren graduated from the Architecture track at TU Delft in 2014 and after working at several architecture firms, set up his own studio in Amsterdam. Since then he has taken up several projects, most with a landscape architectural tone to them. Currently he is working on the redesign of the Nimeto vocational school in Utrecht. I visited him in his studio on a Monday morning to ask him about his approach to architecture and how to set up your own studio.

Your office is based in a cooperative and communal working space in Amsterdam, so you started your studio among many creative and ambitious entrepreneurs. A few project opportunities came along which you didn't want to turn down and you set up a studio. However, it was never your intention at first, why? Looking back, I realise thatâ&#x20AC;&#x201D;besides the projects I started at that timeâ&#x20AC;&#x201D;my view on architecture didn't quite fit within the landscape of prominent architecture firms. If I compare these methodologies to my own work, they feel to hasty; as if I miss a step or overlook an important element in the thought-to-design process. You describe your approach as holistic. Can you explain your methods in working towards a design? I am consistently fascinated by how people, individuals or groups, behave, and in what way we as architects contribute to their lives. In some way I feel responsible to really dig deep into human action; what, mentally and physically, moves a human? Hence, friends and family are of great importance and inspiration to meâ&#x20AC;&#x201D;to observe how they routinise their daily lives. My working process consists of extensive research and writing. Writing for me is essential because it provides a liberal framework to capture sense, feeling and emotion. Scribbling down

my thoughts in words creates a narrative which is unbounded; you can add in any aspect, experience or detail that you strive to include in your final design. Of course, throughout designing you start prioritizing and perhaps erasing, but returning to the notes regularly keeps me on track and engaged with the narrative; a gentle reminder to pay attention to human experience and details. On the one hand, this writing process strengthens my designs. On the other hand, the writings add a layer to the visuals we make, a layer that's all about senses (not only sight) and the passing of time. You work just by yourself and collaborate with others when needed? I have the affording position to fit the team to the extent and criteria of new projects. I enjoy the changing dynamic of teams. It is a very holistic way of working where all aspects of the design process are interwoven. We develop together, instead of distributing different design steps among different people (such as 'a detail employee' and a 'model employee') which is common in architecture firms. The fact that some firms hire 10 interns to come up with 50 different form models seems inefficient to me: why not invest time and energy in teaming up a small and complementary group of people and come

up with several meaning design solutions? The tendency of specialization is a serious problem to the profession. As Siza says, an architect is a specialist in non-specialization. What do you hope to achieve with your designs?

I BELIEVE IN AN ARCHITECTURAL SOUL, MEANING AN EMOTIONAL POWER WITHIN ARCHITECTURE WHICH CAN COMMUNICATE WITH PEOPLE IF DESIGNED WITH CAUTION, EMPATHY AND UNDERSTANDING. I WANT ARCHITECTURE TO MOVE PEOPLE.

Thus, almost like a gardener we carefully look a things in the projects that work and cultivate them, or take out what does not work. Actually, the projects themselves are more and more about the relation between nature or landscape and

construction or buildings. This translates to many aspects of my designs, such as materiality and interaction between people and space. I strive for honest [integer in Dutch - which translates difficultly] designs, buildings in which experience is focus. For me form comes second. Anything else you would like to add for our readers? As architects we take part in shaping peopleâ&#x20AC;&#x2122;s lives. Some fellow architects work 80 or 90 hours a week. Personally, I think balance in your personal life, investing time in your family, friends and own health, ultimately flows into a more positive and productive work ethic. I have experienced that staying sane and healthy provides a much better base for good design than overworking yourself. How can you design for people's lives if you don't have a life yourself?

Maarten van Kesteren graduated from Bouwkunde in TU Delft in 2014. His studio is located in Amsterdam. To check his work and projects go to: www.maartenvankesteren.com

Below, left: Maarten van Kasteren in his Amsterdam office Below, right: Maarten van Kasteren's graduation project Hollandsche Schouwburg, which won the TU Delft Archiprix

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INTERVIEW: MOR Words & Images Aimee Baars & Nienke Scheenart

MOR (Modular Office Renovation) is a Green Team formed by TU Delft students from different faculties. Two years ago, in September 2017, MOR signed up for the international Solar Decathlon 2019 competition themed Renovation, which was held this summer in Hungary. The assignment was to build an innovative house in 15 days. I spoke to Nienke Scheenart, Committee Coordinator of the project, about the experience of being part of MOR.

As an introduction to our readers, could you describe the project? To sign up and partake in this competition, we had to conceptualize real challenges within the Dutch building environment that we as a team were willing to tackle and find solutions for. We chose to combine two large challenges that the current Dutch market is facing: by 2030 the Netherlands are in need of a million new homes and many offices are currently inefficiently used, in terms of both energy and space. We thus came up with two key concepts: modularity and adaptability. The first one is modularity: by creating four different prefabricated units, several housing typologies could be assembled. The second concept is adaptability meaning long term flexibility: If the function of a building would change, the building itself should be able to foster that change. How did you bring these concepts into practice? We translated these two objectives to five energineering systems; biomass, air, material, water and energy. We took the Marconi Tower in Rotterdam, which is entirely built up out of concrete and minimal isolation, as our case study because it is known to be an unsustainable building. Primarily, for example through materiality, we aimed to apply passive energy systems where possible, and added active methods if necessary. The 5 energy systems

together work as a positive network, producing more energy than we use. Can you talk us through the first phase of such a large project; how and where do you start? The initiator, Andy van der Dobbelsteen, saw the Solar Decathlon 2019 announcement. He then put up posters around the faculty, after which a small group of people gathered for brain storm sessions. The first team consisted of 15 people, all with different backgrounds. During the first phase we only had a couple of weeks to come up with our main concept and apply for the competition; we had to file a report in which we clearly stated our challenges, our goals and how we would achieve them, a budget scheme included. Both the report and the competition consisted of 10 diverse criteria, which we would be graded and ranked on, such as architecture, communication and energy efficiency. Thus we divided ourselves in sub-teams to each work on these criteria, to make sure we equally covered them all. Can you give an example of an obstacle that you personally or you as a team experienced during the realisation process? Personally, and I think many others in the team, struggled with translating the project from a

conceptual format to a feasible object. At TU Delft we are mainly taught how to think conceptually, which over the course of our education programs we strongly improve in. However, I think there could be a larger focus on working from concept towards realisation and feasibility. We definitely had to overcome this lack of more practical knowledge together, as a team. We all had never built anything in our lives – we know how to draw a detail, but it is not our specialization. Especially Van Eesteren company has been a huge helping hand in reaching that point of realistic building. It feels amazing to walk around the construction place and be able to fully understand the engineering steps of your own plans and details; you see your drawing come to life! I know it is hardly possible to implement such a project in our education programs, there is simply too little time. Therefore, I truly recommend fellow students to take part in a project like MOR if you get the chance; working collaboratively and learning by doing has been an educational and personal enrichment. How would you describe working with so many disciplines and nationalities on one project? The team changed a lot over the past two years – we started out with 15 students, and at the peak of our production, we worked on the project with 54 students, some part time, some full time. Currently the team consists of 40 people. Within this group, there are 20 nationalities and 8 different study backgrounds. Most of us have followed an education program in the field of built environment, but since we have followed our courses all around the world, our knowledge and working methods differ a lot. This too has been surprisingly enriching for me, working together complementarily to reach a higher level.

in 15 days starting June 26th. Before our arrival, the concrete construction, which was a direct copy of our case study the Marconi Tower, was already present; therefore we economically used less trucks to transport all the construction elements. The opening of the public exhibition was July 12th, and the results were announced July 28th. We finished 2nd which was a huge honour and achievement. Furthermore, we set an international Solar Decathlon record for the amount of places on the podium. During the public exhibition, a jury visited our prototype every two days to check the criteria, our energy levels, such as temperature, was monitored on a daily basis. We received a lot of positive response from the public – most people felt comfortable and ‘at home’. For example, we built a swing in the court yard, which people would sit on for relaxation. It made us proud to see use and move around our project in real life. So what's next? Our prototype is currently still in Hungary on public display. Around October the whole construction will be transported back to Delft for people to see. Furthermore, several people from the team are aiming to set up a start-up, based on our project, in collaboration with some companies involved. However, this is still in an early phase, thus uncertain.

Nienke Scheenart is a Committee Coordinator of the current MOR Green Team, where she is responsible for PR and communication. She is doing a Master's degree in Architecture at BK. Find out more at www.mor.tudelft.nl Currently, a new team which will partake in the next

Can you tell me a little about the competition itself and how the audience and jury received your project? Like the competition stated, we built up our module

Solar Decathlon is in formation. They are looking for people to join. If you are interested in joining MOR on their next Solar Decathlon adventure, you can contact the team via mor@tudelft.nl!

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EXPLORING POSSIBILITIES Words Jan PruszyĹ&#x201E;ski

While meeting with my friends several weeks ago and recollecting our bachelor's degree days, I realised that not that many of them even work in the field of architecture anymore. Some stayed in somewhat similar fields, such as interior design and construction; others became graphic designers, artists, photographers, or even programmers. At first I thought that it was due to lack of jobs and/or terrible work culture in many offices (e.g. constant and unpaid overhours). However, what if that is not the case?

Until a certain point architecture for me was just that â&#x20AC;&#x201C; architecture. Working at an office, perhaps starting my own practice at some point. For a long time, I did not really consider doing anything else while a lot of my friends explored different 'satellite' fields alongside their studies, or even taking gap years, hoping to find a niche that they enjoyed the most. However, while talking with them I realised that what architectural education prepares all of us for, is to be "Jacks of all trades, masters of none." Architects dabble in many different engineering fields, as that insider knowledge allows us to design in a smarter way. We learn about construction, sanitary and electrical installations, different sustainable solutions as well as many different programs, from CAD and BIM software, through different 3D modelling and rendering ones, to Photoshop and InDesign. And those are just the first things that came to my mind. That broad expertise is part of what makes architecture so interesting but also so easy to branch out at any point. In the end there are many different career paths that a person with an architecture degree can follow, as well as many that architecture school indirectly prepares us for.

We are always told to try to turn our passion into profession. There are many people who are actually extremely passionate about architecture, but there are also many (myself included), who do enjoy it, but cannot see themselves in an office environment. Luckily, I tested that quite early on; After finishing my bachelor's degree, I decided to take a gap year and work at an architectural office to see if I am even going to enjoy it. Three years and two very different offices later I understood that even though I do enjoy big parts of the profession, there are also many other elements that I would not mind escaping from. The main lesson I got from this experience was realisation what exact elements of our profession I actually enjoyed and this in turn allowed me to create a 'road map' as to what kind of path I want to follow as an architect, or someone who just 'dabbled in architecture' for a 'short' while. When I started doing my master's degree, I decided that I wanted to try as many other things as possible during those two years: I have always enjoyed writing, but did not do much of it after highschool â&#x20AC;&#x201C; I joined Bnieuws to practice and see if I still enjoy it (I do!)

I dabbled in VR for a bit before coming to Delft and wanted to learn more – I joined Beyond 3D, an elective, in which we did a VR scene completely based on our imagination. I wanted to become better at presenting and public speaking – I joined TU Delft Debating Club in order to quickly realise that it is not my cup of tea. But I would not have known that if I have not tried in the first place. I have always wanted to try theatre or something similar – I joined Delft Improv Group (DIG), an improvisational theatre student association, and completely fell in love with it. I even ended up becoming on of the board members. While a board member of DIG, I realised also that I just enjoy organising things – I have joined Stukafest Delft 2020 as a Secretary and PR Manager. Those are just some of the things I have tried in the past two years. All of these different things that I have tried and loved, liked, enjoyed, not enjoyed, disliked and hated brought me closer to understanding what kind of person I am and what kind of thing I would like to do in the future. You do not have to turn any new thing you try out into a profession, but every new skill you acquire can help you in ways you cannot even imagine. Therefore, if there is anything you are passionate about or you do not feel you have a passion – try things out! The possibilities are endless!

What is the last new thing you have tried out? Are you going to become an architect/urbanist... or do you already have something else in mind? Let us know! #bnieuws

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UNPAID INTERNSHIPS Words & Images Elena Rossoni

The subject of unpaid work by students or young professionals has recently been headlining in the architectural world. Certain internationally acclaimed offices and mostly millennials seem to be divided on what is and isn’t ethical. What are the aspects of this issue and what efforts are being made to address this situation?

These days, famous architects can easily be compared with celebrities. World-renowned architectural figures are instantly recognised by the architectural community and beyond, having millions of followers on social media and appearing in popular culture (yes, I am talking about Bjarke Ingels’ surprise cameo on Game of Thrones' second to last episode). Closer to home, BK students were stunned by massive crowds and screams when Sou Fujimoto appeared in the faculty for the 2017 INDESEM event; fans waiting for his appearance could have surely paralleled a famous rock star’s before a concert. And well, it is undeniable how one’s fame in architecture can be a catalyst to getting commissions. Frank Gehry, for example, after landing the massive project of the Guggenheim Museum in Bilbao (1996), gained international recognition which led to several iconic commissions, like Gehry Tower in Hanover (2001) and Walt Disney Concert Hall in Los Angeles (2003); even today the city of Abu Dhabi doesn’t want to be left out either, currently building their very own Guggenheim Museum by Gehry, inspired by the pioneer's.

Of course, it is not a crime for one to use their recognition to get new projects, especially architects like Gehry known for their good work ethos. There is, however, a darker side to the story: the hot topic of unpaid internships. Recently, there has been a major outcry in the architectural community, debating whether internships are an opportunity or just exploitation. It seems that ‘big name’ firms take advantage of their popularity, leaving interns fighting for positions those firms don’t even pay for. Sadly, the issue becomes even worse. ‘Big name’ studios exploit interns to the point of physical exhaustion, asking for irrational work conditions along with zero payment in the applications. What if interns object? The response can be: ‘Well if you don’t want to comply and have our beautiful name in your CV, the exit is right there. Do hurry up though, we have a list of hundreds of potential interns willing to take your position.’ More often than not, interns under such work conditions are unlikely to speak about this unfairness, being afraid that they might lose their position or be excluded from the close-knit architectural world, becoming the ‘whistle blowers’ of the situation.

Luckily, the voices of those individuals have been heard by important architectural organisations across the world. The Royal Institute of British Architects (RIBA) have been very clear with its zero-tolerance policy on unpaid internships, putting licences of UK-based architectural firms in jeopardy if found to employ unpaid interns. On a similar note, the American Institute of Architects (AIA) has strongly campaigned for individuals not to accept unpaid employment of any kind. In the Netherlands, however, internships can be unpaid, but only for students who have not finished their degree. Once the diploma is attained, then any sort of unpaid internship is meant to no longer be eligible. Individual efforts have made a massive impact on the subject. Initiatives such as the Instagram page #archishame have helped expose the absurd working conditions interns must face, exposing email replies by world famous firms stating their expectations of an unpaid internship, ranging from crazy work hours with no holiday to having to provide one’s own laptop and software to even be considered. It is encouraging to see how raising and discussing such an issue within the architecture (and not only) society can lead to significant changes. Back in 2013, Sou Fujimoto stated in an interview outside his London Serpentine Pavilion how unpaid internships

are a ‘nice opportunity’ for both the employer and intern (Dezeen interview, June 2013). A couple of months ago however, amid the recent ongoing row on the subject, the studio decided to end internships in their Tokyo office (stating that recent events had nothing to do with the decision). Alejandro Aravena’s Chilean architecture studio Elemental followed, cancelling their unpaid internship programme. As aspiring professionals entering the market, having the courage to ask for what we deserve and addressing such unfairness can and will bring about change. Firms should not be able to use their recognition as a tool for exploitation and free labour. So, I’m talking to you, architecture student and future professional! If there is one thing you should remember from reading this is the following: have faith in yourself and your abilities. Fight for what you deserve, not just for your own benefit but for the ones that will soon follow in your footsteps. Set the path right! Do you think of unpaid internships as opportunities or exploitation? Let us know! #bnieuws Sources: Dezeen, Architizer, Archdaily, Artsy.net, Access-nl

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THE PATHS WE MUST WALK Words CK

It is mid-February. I am about to embark on a journey, a pilgrimage so to speak, to a place that has been cast deep in my mind. As an introduction to my architecture education, Le Corbusier’s Villa Savoye was studied over and over; each plan examined inside and out, the narratives, spatial tectonics and architectural significance formed the beginnings of my understanding of architecture. Both interest and education added to my library of architectural marvels, and needless to say, by the time I had graduated from my bachelor’s degree, I realised I had to explore architectural feats all over the world. There was an innate need to travel to every corners, no matter how secluded or arduous. During the 17th–18th century Europe, Le Grand Tour was a customary trip often undertaken by young, wealthy European men and women. Its primary purpose was to expose the individual to the cultural value of classical antiquity and the renaissance, and the focus was for educational purposes. In a time where the exchange of information was much more limited, the Grand Tour was what people turned to in order to gather a clearer understanding of the outside world. Our insatiable desire to see a world so big and so vast drives us to travel. Terms like “wanderlust” arise as a response to our need for intimate experience with space which would otherwise be a two dimensional image of a place. Travelling engages our senses - not just our sight, but in the process of our feet walking on cobblestoned roads, we get a whiff of the kebab from the corner shop roasted to perfection; we hear the foreign sounds of a language not native to us. The drops of perspiration that form on our foreheads, or the feeling of the morning dew on our arms are experiences that we do not derive from looking at textbooks or images from google. In John Locke’s An Essay Concerning Human Understanding which he wrote in 1690, argued that our knowledge is derived from being in contact with the physical stimuli with which we are exposed to. It

is insufficient to know things for a fact; it is necessary for us to develop our minds by travelling. Through the course of my education, I have come to understand how travelling forms an integral part of our profession. Site visits and field studies were common even during the formative years of our education. It was an imperative complement to the drawings, photographs, literature, and the occasional ramblings of a (dorky) lecturer. Simply sitting in a lecture hall discussing the works of various architects was not sufficient in providing a complete understanding of the good works we hear of. The very act of walking and navigating through space allows us to be acquainted with the built environment, and is not only enjoyable, yet a very integral part in the appreciation of design. It is a part of our education that is irreplaceable and intrinsic in value. As designers, the act of travelling means more than just checking off our bucket list or posting one more photograph on social media. While most travellers may like a place for its atmosphere, or the fact that they get to see a bird’s eye view of the city, it is details on the Roman arches and the complexities of parametric constructions that unnerves us. Our eyes turn to look at how one building comprises of more than one material, and conclude that it could only happen because of how an accretion of materials and techniques from different eras led to this. To us, travelling not only engages our five senses. It awakens our architectural instincts and these instincts fuel our focus towards the environment around the paths we walk. Journeying to the Villa Savoye required a 2 hour train ride from where I stayed. From the experiences I gathered from visiting other tourist attractions in Paris, I had fully expected the Villa to attract large crowds of people as well. Upon reaching Garde de Poissy, the train station closest to Villa Savoye, it instantly occurred to me that my imaginations were far from the truth. Unlike other tourist spots where you could anticipate crowds armed with cameras

< Interior of the Pantheon, Rome, 1734, by painter-architect Giovanni Paolo Panini. The painting depicts scholastic pilgrims participating in Le Grand Tour.

and maps, it was evident that I was the only outsider in the area. Instead of tourists, I was surrounded by locals going about their daily activities, carrying their grocery bags, and mainly running errands. My journey closer to the Villa revealed the detachment of the Villa from its surrounding environment. I had started to wonder how differently the status of the Villa was for me, compared to the residents living in that area. Upon reaching the entrance, overgrown vegetation obscured direct view into the house, and it was only after trudging through a short opening that I was greeted with the distinct view of the Villa. While it was previously a holiday home from a wealthy family, I had noticed that the surrounding areas were now an enclave for migrants and demographically in the lower socio-economic classes. It is only through travelling to the Villa Savoye that I realise the Villaâ&#x20AC;&#x2122;s detachment from the context of its environment. Without doing so, I can only imagine it as a heritage site, standing isolate amidst some greenery. 22

My visit to the Villa Savoye taught me an important lesson. As an architectural student, so much focus had been placed on studying details, understanding the architectâ&#x20AC;&#x2122;s intention and the needs of the context at that time. These things are important, but if we are not careful, we may end up merely replicating what is deemed as pristine, risking creating something that is irrelevant to its time and age. A building constructed in 1931 compared to a building today, will greatly differ due to technological advancements, shifts in aesthetic preferences and the endless changes in social dynamics. It is not simply about dismissing a site as irrelevant and unworthy of focus, but it is about learning to evaluate spaces with lenses from a different time, and thereafter, considering the appropriate response in our current (and future) times. We do not merely look at a place and conclude it as a marvel simply because of its historical background and significance; we learn to draw upon what our predecessors have done as a starting point for what we will create in time to

come. Through our travels, we are reminded of our mediative roles as designers, and we learn to draw appropriate relevance with our time. As designers, there are paths we must walk. It fills up the empty parts of the story that we do not know about until we walk the ground. Extensive knowledge of a place cannot complete the picture, until personally experiencing the place in its surroundings, cracks, and imperfections that are too trivial to be talked about in lectures or studies. Very often, the building industry advocates for a certain belief of idealism (aesthetics, construction), manifested in the form of precision drawings and endless iterations in design. In doing so, it portrays an almost ephemeral image of a place, easily enticing developers and clients, and we too can be drawn into the desire to create a place so perfect. But the act of travelling grounds us. As our senses are holistically engaged, it reminds us of the reality of making and building, including the imperfections of welding joints, the minuscule differences in the thickness of brick and mortar. These things are observed in the paths we walk, and it is these that make us.

Let us know what you think of CK's first article as our official editor! Give us a shout-out on Instagram @bnieuws or send an email to bnieuws-BK@tudelft.nl

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YOUR ART ISN'T GOOD, YOU'RE JUST PHOTOGENIC. (A POEM.) Words Jack Oliver Petch

Your art isn't good you just have impossibly smooth skin you smile on a whim, your eyes don't make the wrong sort of creases. I have become desensitised to seeing your chest bare but more aware of revealing my own skin without careful lighting. We both schedule updates for maximum traction, but your art has a link in your bio. Reach 10k and you can swipe up on your story fame, power and glory they only come to the worthy. Your art is not the prints you sell on your web shop and we both know that images one hundred snaps in the making have more impact on the masses and leave young boys shaking. I clutch at my lifeline starting to wonder about: what level of Photoshop it takes to reconstruct your face; what you looked like before your worth reached triple digits and those who rush to a notification to watch you paint a canvas in underwear that you were sent in a promotional offer do you know them by name or are your buyers anonymous? I wonder if it is detest or desire I feel stirring in my stomach. Your art isn't good, but perhaps it is both.

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WHAT'S YOUR PROBLEM? Words Sam Eadington

What’s your problem? I bet it’s not a lack of architecture. What a stupid thing to suggest. Of course it’s not. Yet for some reason architects seem to insist that they are problem solvers. Take this snippet from the ‘Practice’ description on the website of one such architecture office in Berlin: “All Life is problem-solving“ – Karl Popper’s famous dictum provides insight not only into our method of approaching architecture, but also into the underlying aim that drives our practice. We understand ourselves as problem solvers, unhindered by preconceived notions of form, aesthetics, or the necessities of historic contextualism.

There’s a lot to take in from a couple of sentences of architects’ blurb here. It’s interesting that a practice should choose to quote Karl Popper, the philosopher who coined the term ‘pseudo-science’ in their own foray into ‘pseudo-philosophy’. Of all the philosophies architects try to apply to their architecture, Popper’s logic of falsification is perhaps the most wasteful one they could choose. But it would be naive to think this practice – this one practice that could be any number of others masquerading as purveyors of philosophically rooted architecture – really cares about about a single one of Karl Popper’s ideas beyond an ironically generalising, out of context book title for the purpose of architectural posturing. The title of Popper’s book, first published in German in 1994 and translated into English in 1999, is not in fact suggesting that our human existence comprises nothing more than problems to be solved. A bit of falsificationism would pretty quickly disprove that. For example; being tied to a railway track as a freight train rapidly approaches could be considered to be a problem to be solved, enjoying a cold beer on a hot afternoon isn’t, yet they could both be considered part of life. Popper’s use of the term ‘life’ refers instead to the biological and Darwinian notion of life, as opposed to life in the sense of “OMG, my life’s so boring.” When seen in its true context it becomes clear that the quote “All life is problem-solving” is as relevant to architectural discourse as, say “swimming makes life easier for fish.” Sadly for this Berlin office, the latter of the quotes would do nothing to support the baffling desire to be “unhindered by preconceived notions of form, aesthetics, or the necessities of historic contextualism,” whatever that means.

Why, then, does an apparently successful architectural office feel the need to publicise a mini manifesto that under the most minor of inspections is revealed to have the intellectual substance of a Donald Trump sneeze? One theory which I implore you to prove to be false is that most architects simply don’t know what they stand for. By positing themselves as philosophical problem solvers they try to span themselves across the chasm that lies between the no nonsense pragmatism of objective problem solving, and the arty-farty world of esoteric philosophical posturing. Because they don’t know what they stand for, they don’t know what value they bring. Are they engineers? Are they artists? Are they planners? They definitely aren’t philosophers. The result of this confusion and insecurity is the all too common banal architecture of arbitrary gestures, justified by a scaffolding of equally arbitrary ‘problems solved’. Why bother grappling with the genuinely philosophical questions posed by complexity of human experience and its material manifestations when you can pretend it’s about nothing more than solving a few problems? Whether these problems actually exist or not is irrelevant, their purpose is to be quantifiable, allowing the architects to clearly and mathematically show everyone that they are really good at their jobs, even if they haven’t the slightest clue what that job actually is. The genius of this strategy is that it allows us as architects to flex our creative muscles in the invention of problems that only we are able to solve, demonstrating beyond any doubt that we are both creative and indispensable. Let’s just keep telling ourselves that. 25

Artefact

MY MOBILE PHONE Words James O'Callaghan

We all have one, we all use them increasingly more to knit our lives together, to the extent that their absence is becoming life changing. Our phones are the portals through which we focus our communication more and more each day. While there are negatives about our reliance on and our use of these devices, the positives of outweigh them given their power to inform us. I specifically refer to the iPhone in my case because not only has it revolutionised the way in which I have been able to work in my life, it was the device that fuelled the innovation in the use of glass that I have been a contributor to.

I am an engineer and as such I am a bit of a geek. I like techy things. I like to wonder at how innovation evolves in whatever field of study. Those moments where you see something that truly makes you think ‘How did they do that’? are the very best for me. It is this curiosity that has made me the engineer I am, the pursuit of function through elegant detailing. It matters a lot in building glass design as it is the details you see more than the glass itself. I see the importance of the iPhone in many different ways. It’s obvious revolutionary effect in bringing the information we now have access to right in to our hands, what it represents as good design and what it represents as continued innovations. The smart phone has changed our lives and the iPhone led that change fifteen years ago. It meant that we began to shift how we communicate; it led the change from more formal email as an extension of letter writing to notes in the form of texts and instant messaging. It brought us together, allowing us to follow our friends and relatives around the world with ease through applications such as Facebook etc. For me, the fact that it allows the freedom of movement and location while being able to manage communication has been led to more freedom, which blurs those historic boundaries of the workplace. As an object the iPhone represents the very best in design. The minimal nature of the casing that does not fuss, but manages to beautifully house the depth and breadth of technology. The attention to the detail of each sinuous Bézier curve or the junction between the ultra-thin glass screen and the surrounding case, a few of those examples of virtual design perfection through doubtless thousands of iterations. Innovation is a best served continuously, it doesn’t happen once, it is an evolution of ideas and studies. I love the fact that the object we hold in our hand does not change dramatically each time a new one is launched – it evolves representing the latest that technology can achieve in a small gadget while housing it in materials that likewise evolve or adapt to the demands of how we use the device. James O'Callaghan is a Professor at the Chair of Architectural Glass in the Department of Architectural Engineering + Technology at Bouwkunde TU Delft.

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DOES ARCHITECTURE REALLY HAVE A GENDER? Words & Images BLOB

Introduction Jack Oliver Petch

On the 10th of May 2019 a collection of students created a series of disruptive performances under the moniker ‘BLOB’. Through music, artefact and movement, they installed a “self-made outrageous piece of furniture as a critique to highlight the imbalanced power structure” at the university. The chair, shown right, was removed from the collection after fourteen days, but remains online. The Bnieuws team invited BLOB to talk about the event, their views as a collective and what they hoped would be gained by their initiative.

BLOB is an institutional criticism in the form of a piece of provocative furniture, aiming to bring attention to the unbalanced power structure of TU Delft in gender and culture. BLOB believes students are confronted with a lack of diversity of institutional role models at least 85 percent of the time during their education in the Architecture Faculty of TU Delft. This is derived from analysing the diversity of the leaders, committee members and the academic staff, as well as investigating the exhibitions, invited lecturers, and corridor displays. BLOB is a design tool to trigger conversations around the problem through the application of sexuality, provocative performances and humour. BLOB is a creation of a group of anonymous activist students, who operates through the rejection of institutional norms. We see the bureaucratic organisation method and the top-down decisionmaking of the university restricting free expression and censoring institutional criticism. This time we wanted to test a new strategy and leave a sign behind through finding a loophole in the bureaucratic system. We promote risk-taking, shameless behaviour and provocative actions.

"BLOB IS A DIAGRAM-LIKE VISUALISATION REFLECTING ON THE CURRENT UNBALANCED POWER STRUCTURE. BLOB IS A MANIFESTO OF AN ACTIVIST GROUP PROMOTING ACTION. BLOB IS A CHAIR MADE OUT OF SYNTHETIC MATERIALS. BLOB IS A PART OF A BODY. IT IS HUMAN, HANDMADE AND IMPERFECT." Having many faces, identities, genders and cultural backgrounds, we wish to develop ourselves in a rich environment surrounded by diverse role models. Gender imbalance of idols restricts the creativity of both the student body and the academic staff. The outdated value system of TU Delft's Architecture Faculty and the representation of a dominant gender in the profession needs to change. This institutional problem is beyond BLOB or even the operation of TU Delft. We do not offer solutions, however we believe in the influential capability of activist events. They can contribute to long-term change. They act as a bug in the power system, triggering conversations and fast reactions in an institutional context. BLOB functions as an uncensored platform created for

We extended the archive of TU Delftâ&#x20AC;&#x2122;s Chair Collection with a self-made outrageous piece of furniture as a critique in order to highlight the unbalanced power structure in gender and culture. BLOB was installed to the collection on the 10th of May through a series of disruptive performances in emblematic spaces of BK City. We designed our choreography, gender-blurring costumes and our mode of detailed operation. We chose to play songs from the feminist punk group Pussy Riot during the rebellion in order to place the performance in a larger context. We consider the costumes successful tools as they gave us both adrenaline and the power of being an unexpected and uncontrolled element in such a regulated and controlled environment.

discussions around gender imbalance. For more information visit the BLOB Instagram account @blob.tudelft

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HELLO, GOODBYE AND TOILETS, OH MY! Words & Images Jack Oliver Petch with Elena Rossoni

Before we bow our heads completely to the editors of Bnieuws 53, we thought we would take a moment to peek behind the curtain on a few hilarious moments while working on last year's periodical. From reviving the special, smaller format with illustrated postcards of the late Robert Venturi, we became more experimental. We even published a collection of essays that no one singular person would be able to read without the aid of Google Translate. However, we only have the space to tell one story, the story behind perhaps the most confusing thing Bnieuws has ever attempted: #toiletwatch2k19, a complete and detailed analysis of every toilet at BK City.

As most students and staff members should be aware, BK City was a rapid conversion project undertaken when the last faculty of architecture burned down. This has lead to a fantastic variety of spaces within the faculty walls and trust us - because we have now seen them all - no two toilets in the faculty are the same. The goals of the investigation, from getting some insight into the individual qualities of these often forgotten areas, was to help people find the facilities that suit their own preferences and spark a discussion about how some areas can be adapted in future faculty renovations. When I, Jack, opened the discussion to the table of editors in one of our Bnieuws meetings, things naturally got heated:

“WAIT, WHAT ARE YOU LOOKING FOR IN TOILETS? ARE YOU LOOKING FOR SPACE EFFICIENCY OR FOR SPACE DECADENCE?”

I will admit, this was perhaps a phrase I snapped too passionately across the table when our previously held belief that the ones closest to the urbanism sign were the nicest that we knew of was opening ourselves as visitors to scrutiny. “Honestly I’m more amazed with airport or even train station toilets than the toilets in this faculty of -Architecture-” replied Jan. These were strong words, which of course needed to be backed up with experience, so, naturally, he was exiled until he had checked. When he returned he announced that he stood by his opinions: “For BK City standard? They’re the best, sure - but elsewhere? They’re still awful.” Shots had been fired. I think this is when we all started to shift our thinking towards the smaller details, “There’s also coloured lights in those toilets” Elena added to the pot. A great bemusement ensued. “No, really, let me show you” and, true to her word, Elena returned with a fresh photograph of each and every cubicle, proudly showing the different light shades do indeed have a different hue. Befuddled, I asked Elena how

have I never noticed this - “I dunno, I guess I pay attention to these sorts of things". For better location-based analysis (we needed to check how many toilets there actually are at the faculty) we printed off the map from the university website and gathered around it like a scene from an 80's adventure movie, or Netflix's Stranger Things. Pointing to a corner of the faculty Aimee hadn't visited, she asked: “do you think the staff members or researchers have special toilets or are they the same?”

This added a new layer to our methodology. Are some intentionally fancier than others? What is the location and intentional use of these spaces like? BAM. That's when it hit me: from the (admittedly few) times I had been to Bouwpub, I remembered there were rumours of one in there. Elena replied immediately: “Yeah, but I don’t think anyone uses it” To which Aimee said from across the table: “I literally didn’t know there was one, let alone a rumour”. Weighing in on the matter, Jan noted “the male one is just a urinal” and "the door is usually open". In response, Elena explained - “The female one is a room in a room, it’s a storage space where inside -that- there is a bathroom. It’s not ideal.” It was only after this exchange that I knew that Elena would be the perfect partner in-crime for the task of exploring the vast landscape of BK City’s rest spots: “I have a deeply rooted problem when I’m in the toilet and hear a tap running when no-one is there.” she confessed, “Seriously, after 5 seconds it brings this rush of a deep fear - it’s such a waste! There’s some girls that, I dunno, too much studying or not enough sleep but they get confused, and they leave it!* [writers note, this is when she stood up and started waving to the imaginary void] 'hey, hey excuse me!! hello!’ Yes I really do tell them. But I only do that with the tap, nothing else, just the taps!!”. The pact was sealed, now we just needed to find out what criteria we would be using.

To open up the discussion further, and to get some help on what the general body of the faculty looks for, I took to our trusty social media platforms (follow us on instagram @bnieuws if you haven't already) to generate a rubric. Of course, when you ask a collection of anyone studying the umbrella term of Bouwkunde we received a broad range of criteria starting from the physical - ‘location’, ‘light’ and ‘size’ - all the way towards categories of joy like ‘symmetry’, ‘alignment of tiles’ and the toilets’ ‘charm’. Overwhelmingly I received messages that leapt from the page asking for us to address questions like: "Why are the toilets gendered? Why is there such a size disparity between genders? Where are the toilets that are accessible for people with mobility problems?" We knew we couldn't do everything in both the short time-frame and publication, but hoped that - if nothing else - the sheer act of analysing the spaces with our entirely subjective commentary would begin a larger discussion. Problems like the mislabelling of accessible toilets were rectified on our printed map on the back of the printed booklet, and we called out places where the situations were less than ideal for any visitor. We took our map and ventured across BK City one cloudy morning to make our scores. Whilst factors like 'facilities' and 'sound protection' would remain constant no matter who or when the spaces are being visited, things like 'aesthetic qualities' and light would be completely subjective depending on who and when a visit was taking place, and so we knowingly leaned in with these scores. I'm not sure who came up with the idea first, but as soon as we started naming the toilets and giving personalities, we knew this would be an entertaining read for the community of BK. When it came to actually printing this highly-hyped special issue, expectations were thankfully met with students and staff giggling and pointing it to their

friends across the faculty. A seemingly funny theme was treated with the utmost seriousness, for anyone to pick up and read - a light-hearted break from work whilst also leaving something useful. Our mission had been accomplished. In conclusion, #toiletwatch2k19 was a fun deep dive into a space that is often overlooked but always appreciated by everyone. As far as telling if this study should be done again in the future, why not? If someone wants to assess our findings with their own observations â&#x20AC;&#x201C; please be our guest! After the positive response from the toilet issue, we would have probably delved into other seeminglyunapparent-but--very-essential parts of BK City life with coffee! Think about it, what's going on with those machines anyway? The various options, the different qualities they offer, or even asking if staff coffee espressos taste better than standard? Sadly, these questions will have to be left unanswered for another day.

This isn't the only thing we are leaving in our legacy as team 52: the push towards social media; the implementation of new 'obsessions and inspirations' articles to give editors more scope in projecting a personal voice; giving the issues overarching themes and even the way we included contributors as 'pen-pals' â&#x20AC;&#x201C; we hope all these changes will continue long into the reign of subsequent teams and beyond. Elena and I can't wait to see what content will be created by future Bnieuws editors and we are so humbled to be a part of a rich history stretching as far back as 1967.

UNTIL WE MEET AGAIN: GOODBYE, ANTIO AND TOT ZIENS! We have no idea what the future holds but, as always, Jack can usually be found online, in a toilet somewhere, or on his website: jackoliverpetch.co.uk

Preview

NAAM MAKEN Words & Image Aimee Baars

de muur op BK-ĂŠĂŠn als een steeg getagd vandalen met smaak een grijs gebied van claim en fame hierarchie, hierarchie aan de wand letterformaat bepaalt hier stand de groten aan kop r van rem, b van ben groot als mijn kop in de maak zo droom ik dag over het belang van mijn naam in plakletters op behang hoe maak ik waar? hoe maak ik na(am)?

BECOME A PEN PAL! We are always searching for new voices to join and contribute to Bnieuws. Whether your talents are in writing, drawing, photography, graphic design, or youâ&#x20AC;&#x2122;re filled with a range of skills, we would love to hear from you if you have any ideas for the faculty periodical. If you would like to be on our contributors list, simply send an email with your ideas to bnieuws-BK@tudelft.nl

NEXT ISSUE: 02 FAME + VANITY Credit where credit is due; celebrity and stardom; notoriety, to be renowned; the image, the persona; to be admired. FAME: the state of being known to the public; character, mark, name, reputation; anonymity, oblivion, obscureness, obscurity. VANITY: an often unjustified feeling of being pleased with oneself or with one's situation or achievements; 'amour propre', bigheaded-ness, complacence; humbleness, humility, modesty. Bnieuws 53/02 due October 2019.

Bnieuws INDEPENDENT PERIODICAL OF THE FACULTY OF ARCHITECTURE AND THE BUILT ENVIRONMENT TU DELFT VOLUME 53 ISSUE 01