Bnieuws 53/02 - Fame & Vanity (2019/20) by Bnieuws

B 53/02

Le Corbusier

Walter Gropius

Jane Jacobs

Frank Gehry

Colofon

Bnieuws Volume 53 Issue 02 October 2019 Contact Room BG.Midden.140 Julianalaan 134 2628 BL Delft bnieuws-bk@tudelft.nl Editorial Team Aimee Baars Jan Pruszyński Nicole van Roij Chun Kit 'CK' Wong Contributors Maartje Damen Kees Fritschy Nathan Kramer Koen Mulder Tuomas Peippo Cover Nicole van Roij Printed by Druk. Tan Heck 1,250 copies © All rights reserved. Although all content is treated with great care, errors may occur.

WELCOME 04

#Bnieuwd

Interview: Dick van Gameren

Credit Where Credit Is Due

Complaint Cases - Where to Go?

Architectural Misconceptions

Bibliotheek

Vanity, Vanity

Some of My Problems

Bjarke Ingels Portrayed

Introspection

House of Machines - AI in Design

Flying and Falling

De Rotterdam

Editorial

FAME & VANITY Fame and Vanity; two shallow words that unexpectedly come along with deep insecurities and feelings of anxiety, frustration, envy and self-doubt. How often do we consider stardom a phenomenon distanced from our daily life, but in honesty, our design industry is full of (the ambition for) it. In last year's publication Rumours we were treated with a filmic scene of Sou Fujimoto's entrance to our humble BK City - crowds went wild. And in response to our Instagram (@Bnieuws) poll 'Do you want to become famous?' 42% answered YES. We might have to trivialize the robustness of this outcome since evidently people who want to be famous are more eager to respond than the ones who do not. Nonetheless, the ambition for stardom is there! And, according to our dean Dick van Gameren, whose interview you can read on page 6, it was no different in the 80s. Why this hunger for fame? And where does vanity come into play? Does it fuel fame? Or does it sequence it? There are many questions to be answered. According to Tuomas Peippo (p. 20), psychoanalysis doesn't provide you any answers, and neither do designers themselves. Apparently we are either blind to flaws inherent to the architectural discipline or we choose not to face them and talk our way out of them with sales patter. Fact is that somehow we, and our patter, have been able to lift the profession of designers to a level of 'stardom', and though we might pretend not to care, we ourselves are responsible for this phenomenon: we care! This tendency to showcase our pride, perhaps even our superiority, either as a community such as the design industry or as an individual, is human. It is common to sketch an ideal image of ourselves when we talk to strangers, tell narratives about how we wish it would have been, instead of how we actually are. We all want to exude the best version of ourselves, be acknowledged, seen and heard. Whereas in the past we had fewer opportunities to rise to stardom, nowadays we are given a voice which transcends physical space and time synthesis. Social media provide us tools to construct our desired identities, our image to the outside world. It might even be in the name: BIG TIME, a documentary - reviewed by Aimee Baars on page 22 - on Bjarke Ingels who is founder of internationally renowned firm BIG, gives us an insight in the life of a 'starchitect'. It leaves you feeling conflicted; are the head aches, the jet lags, the haste worth it? For some people it is, and for some people it isn't - and that is ok. There is certainly no harm in telling yourself, mirror included, you are worthy every now and then. Come on, say it now: "I am worth it!" Well done you. And perhaps, in the far future Artificial Intelligence - as Nathan Kramer suggests in his article on page 28 - has taken control and we won't even have to worry about superiority, because it is all taken care for.

#Bnieuwd

To do / TALKS ABOUT ARCHITECTURE SITE PRACTICE Initiated by Rotterdam based architectural firm De Kort Van Schaik in collaboration with AIR, TALKS is a series of lectures which offer a podium to emerging international architecture practices. The upcoming lecture is by Site Practice, based in Mumbai and Amsterdam, with projects all around the globe. By working closely together with its users and reconstructing design’s in 1:1 models, Site Practice has found its own unique way in building. 17.10.2019 @ 20.00-23.00 Garage Rotterdam, Goudsewagenstraat 27, Rotterdam Ticket: 10 euro

To do / I SEE THAT I SEE WHAT YOU DON’T SEE The exhibition was the Dutch contribution to the XXII Triennale di Milano which is now on display at the NAI. The theme reflects on the influence of light and darkness on our senses, mainly our visibility and smell. The concept of darkness is discussed from several societal points of views: economical, cultural and technological. The exhibition presents researches, films, performances and designs which explore the phenomena and meanings of (lack of) darkness in our contemporary and consistenly lit society. 5.10.2019-29.12.2019 Het Nieuwe Instituut, Museumpark 25, Rotterdam

To do / DREAMING IN CONCRETE The Central Museum in Utrecht presents two utopian Dutch concrete building complexes with a turbulent history: the notorious neighborhood Kanaleneiland and the former shopping centre adjacent to Utrecht Central train station Hoog Catherijne. Both projects were presented as solutions for traffic congestion and housing demand, but nowadays symbolize urban problems. How do we, in a time of sustainability dilemma’s, reflect on and learn from our past projects? 28.09.2019-19.01.2020 Centraal Museum, Agnietenstraat 1, Utrecht

#Bnieuwd To watch / FREUNDE VON FREUNDEN This Youtube-channel explores the worlds of creatives all around the world, from photographers to product designers and urbanists and interviews them around to provide insight in their working methods and accomplishments. A personal favorite: Juerg Judin who transformed a derelict Berlin gas station to his home. This series is part of a larger online platform Freunde von Freunden (Friends of Friends), founded in 2009. They are showcasing a diverse cast of people through long-form profiles, warm and personal conversations: definitely a source of inspiration! www.freundevonfreunden.com www. youtube.com/user/fvonf/ instagram @friendsoffriends

To read / THE FOUNTAINHEAD, The Fountainhead by Ayn Rand is a novel from the 1940s, a huge literary success at that time, and still a source of inspiration to many. Howard Roark, the leading character, is an individualistic young architect who designs modernist buildings and refuses to compromise with an architectural establishment unwilling to accept innovation. Roark’s character was based on Frank Lloyd Wright. Rand later wrote that architects provide “both art and a basic need of men’s survival”, and thus formed a solid contextual base for the individualism versus collectivism dilemma in the narrative. An interesting read! To listen / ABOUT BUILDINGS + CITIES A podcast about architecture, buildings and cities, from the distant past to the present day. Plus detours into technology, film, fiction, comics, drawings and the dimly imagined future. This podcast is hosted by Luke Jones and George Gingell who are not afraid to dive in deep. Perfectly articulated British company for a boring train ride home or Sunday morning walk.

Latest / INSTAGRAM Keep updated on our recommendations on upcoming events through our instagram account. Don’t forget that our voice is also yours, so send us or tag us with anything you’d like to share with our followers. Feel free to contact us via instagram or facebook! @bnieuws on Instagram / search Bnieuws on Facebook.

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INTERVIEW: DICK VAN GAMEREN Words Aimee Baars, Jan Pruszyński & CK

Image Faculteit Bouwkunde

After many years of leading the chair of Dwelling, Dick van Gameren has been appointed Dean of Bouwkunde Faculty in April 2019. We spoke to him about his own student life during the 80s, his observations of the present issues concerning BK-students and staff and of course his views on the future BK City.

How has student life changed compared to your own student years? I think there is an interesting balance of things that changed and things that haven’t changed at all. I have noticed that the main ambitions of students don’t change. They have the same hopes and methods. For example, all-nighters have a long history. I think it is not so much related to pressure, but also to a culture. Somehow we inflict this upon ourselves. However, the pressure becomes an issue when it is a consequence of coinciding deadlines – organisationally we should try to avoid that. What do you think of the term 'starchitect'? I think that every era has its own starchitects. Stardom has happened in the past for predecessors. I remember that Rem Koolhaas visited the faculty once, this was in the previous building that burnt down in 2008. Room A was filled with people, everyone tried to squeeze in. I don’t see the harm in starchitects as an inspiration for students. Everybody needs a hero. What do think of the endeavour to become a starchitect? I think it is a dangerous goal, isn’t it? There are very few who reach this and the ambition often goes hand in hand with frustration. In the music industry for example, which is perhaps even tougher than our the design field, ambitious students aim to become a

soloist and travel the world. However, you might end up playing in the orchestra. Ultimately, it might be more fulfilling to be part of a team, instead of being the solitary figure. What was your goal when you were a student? To be honest, I was always puzzled by students who knew what they wanted to achieve in 5 or 10 years. I never had a long distance goal. It is so difficult to look forward. What has changed since you graduated? I think there was less stress and pressure. The average study time during the 70s was 10 years. People could study forever. That changed in the 1980s when a new education system was implemented. Another difference which I have noticed over the years, is the intensity of student involvement. When I was a student in Delft, students had more influence on how the faculty was run, a democratization process which already started in the 60s. Nowadays, students are still connected, but more distanced. It probably has to do with the structure of our education system. Back then, the program was flexible and as a student you could organize your own education quite freely. Nowadays, most students follow the same path.

Was it a tough time to find a job? Inherent to the architectural discipline is the cyclical curve in employment opportunities. When I started my study program in 1981, job opportunities were scarce. During our introduction, the dean welcomed us with the following words: “It might be better to study something else, because there are no opportunities for you.” However, that changed in the 90s, which were a golden age for architects, supported by national government policies which stimulated architecture culture. Then of course, in 2008, crisis hit. The building industry, thus architecture, was damaged quite severely.

What would you like to change within the faculty? As designers we always seek opportunities for improvement. I have noticed that we often strive for a structure-oriented solution, designing new organizational systems. Within our faculty I believe the organizational structure is quite solid, but we could be more critical towards the actual content, both in education and research. Currently, there is a strong division in departments, the disciplines are set apart. I think our focus is sometimes too introverted. As a consequence many departments try to do everything themselves and achieve all the goals on their own. We thus miss opportunities to collaborate and connect. I hope we can open up more to other departments and faculties in the upcoming years, while narrowing down the production of knowledge within the departments towards a stronger focus. Designing is in fact combining knowledge from different disciplines to achieve innovation; it is all about bringing different aspects together to create a whole on whatever scale, whether it is on an organisational level or a small-scale physical level. The shared perspective at this faculty is design, and the interdisciplinary characteristic of design could be explored and stimulated more, specifically within the master programs.

Speaking of structures, why did you move the office? There was an urge to create extra space for staff, thus several departments were shifted around. Plus, I disliked the location of the student advisor rooms. During counselling hours students were obliged to wait in the corridor where people were continuously passing which to me seemed an unpleasant situation; a quiet place deemed more fitting. I must say though, it was not a sacrifice to move into this space, the older place was darker and less inviting. What is your opinion on the internationalization of the education system? I believe that this development has proved to be a great asset. During my years as a professor, teaching here, I have observed how well it works. Of course a separation of students remains; there are students who benefit from the international community and students who stick to their own groups. However, in a wider perspective, our field of work has become so international, it broadens our horizons, so this transition makes sense. How do you combine your partnership at Mecanoo and your position as dean? My main focus now is my position as dean. I am still connected to the office, but on a less intense level. This is a full time job, I am here everyday. Do you consider your position as dean comparable to running a design studio? That is an interesting thought, but as I mentioned before, as a designer you are always tempted to establish new structures. That is not necessary here. We can be very positive and proud of our achievements so far; the further I travel from Delft, the more people I meet who are eager to be connected to Delft. Willem de Kooning, a famous Dutch painter, once said: “In order to stay the same, I have to change consistently.” I don’t want to convey that we should stay the same, but we must consistently reflect on implementing improvements in order to remain a place where people want to study and work.

Have you observed any other urgent issues within the faculty that you would like to address? The work pressure of students and staff. The amount of students and specialisations have increased but the amount of staff has stayed the same. Plus, we increasingly rely on exernal research money to bring in temporary staff. It is necessary to attract those funds to renew and innovate, but it brings a lot of pressure. We must act on that and on the other hand, put attention towards high pressure areaâ&#x20AC;&#x2122;s, specifically in design education. Sometimes I think there might be too much education. What do you think? Do you want to see more or less?

acknowledged and heared. However, it also gives more stress: the teacher doesnâ&#x20AC;&#x2122;t tell you what to do, they just ask critical questions.

What do you expect of the new dean? Is there anything you would like him to do or change at the faculty? Let us know via email, Instagram or Facebook!

Jan: In my case I would have preferred more guidance. During my studios, I could often speak to a tutor once a week. Two meetings a week would have been perfect. Aimee: I have positively experienced an increase in educational time throughout my study program, since I transferred from Utrecht University where generally the master-pupil relationship was very one-sided, scarce and anonymous. I appreciate the more informal, personal and open relationship students here have with their tutors? CK: In Singapore I was also used to teachers as media of instruction; there was hardly any dialogue or dialectic teaching. Some people think the studio system is outdated, that it should change along with societal changes, such as digitization. Many other faculties have implemented different teaching methods over time. However, we have been teaching bouwkunde like this for over a 100 years with good results, so perhaps this tradition proves to be best suited for our field of education. We are not stuck in the master-pupil hierarchy, which can be perceived as exceptional, compared to other design universities around the world. Every method has its own plussides and negatives. Most students here feel

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CREDIT WHERE CREDIT IS DUE Words Maartje Damen

Here at BK, the bachelor program is full of big names Frank Lloyd Wright, Mies van der Rohe, Richard Rogers or the Dutch pride Rem Koolhaas. And with big names come big designs. Falling Water, Farnsworth house, Centre Pompidou, The Rotterdam. Not only do we learn these big names, but we also learn a lot about sustainability, ‘Always choose reuse over recycling, and recycling over new build’. Yet, the most prominent designs made by the given role models are newly built. For these projects, non-locally sourced materials are being used, and other buildings are often demolished to make space.

Over the last years, a worldwide housing problem has been arising. People are moving from smaller towns and villages to the big cities, resulting in empty houses in the villages and overheated city centres. For the architects of the future, this demands some creative thinking: a solution has to be found for the shrinkage areas and the big cities should be remodelled in a way that more people can make use of it. For the cities, this leaves two options; demolishing an original building, replacing it with something more suitable for the current market, or, transformation in order to make use of the already existing buildings. Considering the historical value of buildings and ecological footprint of demolishing, the first solution might not be suitable. Therefore, the second approach seems to gain more importance. This is where the main question pops up. To tackle the housing problem in a sustainable way, I believe that renovation and transformation have to become the standard in architecture. However, there is a long way to go. Almost all of the changes we as a society need to conquer on this topic, lead back to

architects and their relation with fame and vanity. Firstly, our vision on what ‘good’ architecture is, has to drastically change. Of course, there is not one way to describe good architecture, but as was pointed out in the first paragraph, there are some famous architects constantly being named as ‘the big ones’. All of the famous buildings that these top architects built are most definitely no renovation projects. These architects have received their reputation in a way that is not desirable nor realistic for the renowned architects of the future. However, because of the given role models for architects in the making, it might be hard not to strive for such goals. Universities could play a big role in changing the view on architecture. If the students would follow more classes with focus on future-proof buildings, outstanding renovation projects and reuse in different ways, instead of filling the sustainabilityclasses with insulation, solar panels and so on, the students would have a much broader vision on architecture than just the current famous designs. Another issue in regard to renovation of buildings, is that an architect is continuing a project finished by someone else. The initial architect designed the

building with their own style, ideas, visions and in a certain time frame. The building is the architect’s legacy. While renovating, this original building will end up differently. What kind of statement does the renovating architect make with their changes? And is there a correct way to deal with the initial architecture? Does this depend on the quality of the original architecture? Of course, there are different ranges in ‘quality’ of an already existing building; some buildings are considered monumental, others durable, meaning to function for a long time. However, many buildings are designed for a shorter time span. When renovating, the architect has to decide on whether or not he will keep the original style, add anything or change anything. This decision will have a big impact on the original design idea. Is there a correct way to handle these situations? Should the original architect be included, or at least be informed about the redesign? Should the renovating architect commit to the original style, or make it extremely explicit that the traansformed elements are different to the original? To what extent is an architectural design ‘owned’ by the designer? There are no strict rules about this, and there will probably never be straightforward answers to all of these questions. Still, they are important to think about before commencing on any renovation project. The redesigning architect plays a central role in the legacy of not only himself, but also of the original architect. These decisions will affect whether or not the legacy of the original architect continues to exist in the renovated design. Not only the fame of current and past architects should be noted in this article. When looking into fame for the future generation we come across another problem. Because renovation projects always have an initial architect and a renovating architect(s), it ends up being extremely hard to give credit. Not only could it activate the discussion on whether or not the design has been solely made by

the renovating architect or that credits should also be given to the initial architect, it is also harder to distinguish an incredibly well-designed renovation than it is to do the same for a new-built. Because every existing building is very different, the tools an architect receives when designing are almost incomparable. Some buildings might have been built with an open space plan and in good condition, while other buildings might come with many more challenges. This shifts the focus on designing more towards handling the given. This is very much contrary to the current way of high-end design discipline, in which buildings are in no way connected to their surroundings, and where the top architects consider their designs successful if the building could be placed anywhere. If all of us would be able to shift the focus from creating something unique and outstanding more towards resolving the complex puzzle of the given, the requested and the creative, it would not matter how complex, irregular or ugly the given building is. If the architect is capable of making sense from the most complex puzzle, and manages to make something suitable out of it, wouldn’t it be fair to be praised higher than a really outstanding and one-of-a-kind renovated building with less complexities? At the end of the day, there is not one answer to any of these questions. But by asking them, we get one step closer to acknowledging the problem in our current system, and maybe this will inspire change in the way you and I think about architecture, and our views on future-proof fame.

Maartje Damen is a 3rd year bachelor student at BK City. You can find her on Instagram @maartje.damen or send her an email at maartjedamen98@gmail.com

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COMPLAINT CASES - WHERE TO GO? Words Bnieuws Team

This article both rectifies the article Letter published in Bnieuws issue 52/04 Rumours and lays out possibilities at BK City to reach out for support in case you want to file a complaint.

In summary, the article Letter brought an injustice at BK City to attention, which had been communicated to us by an reader. The injustice concerned a professor using racist and sexist comments and the exploitation of students for their own financial gain. This letter was published anonymously. As a platform for staff and students at BK City we ambition to channel thoughts and conversations into written or visual pieces to either continue the discussion or spark another. Some challenges lie in the principles and protocols of journalism: fair hearing, grounded statements and transparency. Even though our intentions to convey a certain message in this Letter remain unchanged, we were too inaccurate in our approach and communication. In the Letter article a few steps were provided to guide you the way whenever you find yourself in a situation that feels unjust. However these steps lacked context and content. Every situation requires a different approach. Thus we would like to use this rectification article as an opportunity to further explain opportunities at BK City to undertake action if you have a BK City related complaint. We hope the overview gives you a clear introduction to organizations and people within the faculty who can support you in complaint cases. Even though our role is not to provide any professional advice - other departments within the faculty are better suitable – we are always here to listen to your story! Remember, our voice is yours. Following up on this article, we have been noticing a call for more articles on pressing issues in regard to (mental) health and stress. As much as BK City is a second home to many - a place of confidence, warmth and trust – this social base also feeds in to struggles with peer pressure, competitivity and self-doubt. Our faculty is a point of high tension, both in social and communicative dynamic as in individual thought process and work load. It is human to be swept away by this, to enter this overpowering whirlpool of enthusiasm and ambition. Simultaneously, there is a chance of losing sight of our own conditions and needs along the way. We are all sensitive beings who shy away from vulnerable conversation, to prevent from being judged as weak. However, we are not robots – taking off our harnesses every once in a while and talking frank in the end benefits our mind and our physical health. Thus, we intend to address these issues more in future publications.

Academic Counsellor & Confidential Adviser There is a distinction between an academic counsellor (academiccounsellors-bk@tudelft. nl) and a confidential advisor (vertrouwenspersoon-bk@tudelft.nl). The academic counsellor is a faculty function, the confidential advisor is a role. If you are dealing with unwanted behavior or unequal treatment within your study, you can contact the academic counsellors. For instance, situations regarding (sexual) intimidation, bullying, discrimination, stalking and violence. The academic counsellors at BK City hold open consultation sessions on Tuesdays and Thursdays from 12.30 to 13.30 in BG+ Oost 50/70/90. When you want to file an official complaint (see paragraph Complaint Coordinator) about undesirable behavior such as bullying or sexual harassment, you can request advice and help from the confidential advisor. The confidential advisor does not act on the information he or she receives: information is never passed on to anyone else without permission. As a BK student, you are also able to confide in counsellors at other faculties. TU Delft Regulations Situations involving inappropriate behaviour, such as intimidation (sexual or otherwise), bullying, aggression or conflicts (personal or work-related) are covered by the TU Delft Regulations for complaints about undesirable behaviour, which you can check online on the TU Delft website: Codes of Conduct and Regulations. Complaint Coordinator Filing a complaint via a formal trajectory can be done through the BK City Complaint Coordinator, by sending an email: klachtencoordinator-BK@tudelft.nl. However, entering this formal process must be considered as the final step. Any complaint should first be submitted to, and dealt with by, the lowest relevant operational level. For example, a complaint about timetabling should first be raised with the timetabling department. If the complainant does not agree with the reaction or the solution that is offered, he or she may take the complaint to the complaint coordinator. Stylos & FSC Student organizations Stylos (Bouwkunde Student Union) and FSC (Faculty Student Council) both take education-related complaints into account. Stylos has an online form (www.stylos.nl/nl/onderwijs/input) to message the board about an (urgent) issue or a proposal to improve BK education. The board then makes sure this message reaches the right person within the faculty. All students in the Netherlands have a say in the education system. At BK City this is carried out by the FSC, which is run by nine Bouwkunde students. The FSC has the position to influence faculty policies. In the case of proposed changes, the FSC has an advisory role. The FSC keeps track of important issues at BK City, both short term, such as complaints about a certain course, or long term in order to maintain a certain quality level in education. You can send a message via FSR-BK@tudelft.nl or pay a visit on the second floor of the orange staircase in the Oostserre (01.Oost.810).

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ARCHITECTURAL MISCONCEPTIONS Words Jan PruszyĹ&#x201E;ski

I remember reading an article several years ago about the influence of police dramas, such as CSI: Crime Scene Investigation on how police and their work are perceived by the public in the US. Even though people realise that it is fiction, most citizens do not have to interact with the police actively and these TV shows tend to become the only source of their understanding of how the police works. This led to quite a few problems, such as unrealistic expectations. I believe that the architecture has a somewhat similar problem.

Writers, directors, producers and actors play major roles in shaping how millions around the world perceive different professions. This article, however, will not focus on misrepresentation of architects in the media, as I do not think those lie at the roots of the problem. Moreover, there are not as many architects on TV, in cinema or in books, as there are police officers, doctors and lawyers. I would say that in case of architecture, the problem is not the public having a distorted idea about architects, but having no idea at all.

Different tparties are being blamed for that status quo: architecture schools, which create too many architects and are failing to provide students with skills needed to practice; the authorities, for passing legislation, which lowers the architects position in the building process; public, for lack of respect towards architects and seemingly being always surprised by the amount of money they charge; other architects, who seem to swallow their pride, take those starvation wages and further the fall of the profession.

Architects spend about 5-6 years at university and, in many countries, another 2-3 working professionally before they receive a license and become full-fledged professionals. After all this time, you imagine that they would at least get paid fairly, but that is seldom the case. Moreover, during their educational years, they are constantly fed the story of how difficult the architect's life is; how hard it is to get a job; that they will have constant (obviously unpaid) over hours; that they need to love it to do it, because they are never going to make any (decent) money. Basically, if you ever want to become successful in life, architecture is not the right path. If you are an (aspiring) architect and have not heard any of the above arguments - good for you! I certainly have.

Perhaps something should be changed in architecture education and architects should demand change in legislation. There is some truth to all of the above statements, however, I want this article to focus on what I believe forms te roots of all these issues - knowledge - or, rather, lack thereof. In 2012 InBuilding.org carried out a survey among 2,031 adults. Respondents were asked to select things that they think are part of the architecural profession from a list of tasks, all of which were routinely carried out by architects. The survey was inspired by The Apprentice star and a London-based architect Gabrielle Omar, who, in an interview for Architects' Journal, stated that the public has no idea what architects do and that the profession is in need of a

< One of countless architectural memes that can be found on the internet. Source: https://i.pinimg.com/originals/19/d3/9c/19d39c0e42e746376bcf622b137543fa.jpg

brand overhaul. The results of the survey supported that statement - three quarters of the respondents were largely ignorant of the work undertaken by architects on a daily basis. For some, architects are just people who overcharge for drawing a few lines. If the general public does not seem to understand the role of the architect, how are they supposed to see the need to hire one in the first place? What, or who, is to blame for that? I believe that architects themselves are not victims, but the sole culprit. Somewhere along the way architecture has lost touch with society - architects have created a very elitist perception of their field (even in their own eyes), without ever explaining to the public what they actually do that makes them so elite. Add to it a lot of jargon that they use on everyday basis to describe the work they do and it is not hard to imagine why they are portrayed as artistic weirdos, helplessly out of touch with reality, with an always-present scarf around their necks and using complex words for simple ideas. So far, the problem is that architects seem to discuss architecture solely among themselves. There are of course those, who underline the importance of discussing architecture with the public, but they are still in minority. Most of the public have no idea what architects do. How are they supposed to be ok with paying (often large amounts of) money, when they do not really know where it goes? What can architects do to change that? Most of all, they should be responsible for education process of the client, a prospective one as well. So far architects are seen as an â&#x20AC;&#x153;additional expenseâ&#x20AC;? rather than as an investment that will pay off down the road. Architects should do their best to educate people around them about the importance of properly designed architecture - not just structural, but spatial. Until architects can get across that, like a good doctor or a good lawyer, paying for excellent service will save the client money in the long run, they will maintain their losing societal positions.

Do you agree with Jan's opinion? Perhaps you have a different outlook on things? Let us know!

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BIBLIOTHEEK Words Koen Mulder

Bibliotheek Binnen de TU heeft Bouwkunde als enige een eigen bibliotheek – een collectie van nationaal belang en misschien wel de meest continuerende cultuurdrager van deze faculteit. Voor onderzoekers zijn boeken per bouwkundig onderwerp chronologisch gerangschikt, voor ontwerpers staat er tenminste 180 meter architectuurmonografie en voor studenten is het een geliefde studieplek waar je omringd wordt door ontelbare potentiele toevalstreffers. Boeken die je in je handen kunt houden en die soms een wereld van ver vóór Google ontsluiten. Nieuws Afgelopen jaar was er de Minor Archineering studentencompetitie voor de zes rode tentoonstellingskasten, waarin de publicaties van de afdelingen worden tentoongesteld. Dit jaar hadden we een nieuwe aanvulling: een speciaal meubel waarop de nieuwste boeken voor het grijpen liggen. Dit was het winnende resultaat van een studentenworkshop Team Resin, samen met kunstenaar Vincent de Rijk. De ontwerper was student Fikri Yalvac – het hele team heeft samengewerkt om dit kunststuk te vervaardigen. De bibliotheek is erg blij met deze studentenbijdrage. Dank! Suggesties Onze BK bibliotheek hebben we over vele generaties samen gemaakt. En we hebben jouw inbreng daarbij nodig. Als er een typisch ‘bouwkunde boek’ is dat je mist in onze verzameling: doe dan alsjeblieft een suggestie. Alle suggesties worden zorgvuldig overwogen. Suggesties die passen in de verzameling en in het budget, worden over het algemeen ook aangeschaft. Jij kunt dan de eerste lener zijn. https://www.tudelft.nl/ library/bezoek-gebruik/lenen/aanschafsuggestie/ Vermeld alsjeblieft dat je het boek voor de BK bibliotheek bedoelt.

< Image from Fika Cafe, Toronto, Canada by Patrick Tomasso @impatrickt

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VANITY, VANITY Words & Image CK

Vanity of vanities! All is vanity. What does man gain from all his toil, The day stretches into years, The hour passes by But gain does not come easily, Even for those who are nifty. The eye is not satisfied with seeing, And they aren’t going to start paying. The lips hide their meaning, And they are always intervening. “Do it like the gods!” the client says, Otherwise Gehry is just a stone throw away! That which has been is what will be, That which is done is what will be done. And there is nothing new under the sun. But here comes one who thinks his is new! And proclaim his works on Dezeen, A+U. Spectacular, phenomenal, and praises ensue, And you wonder how much of it is really new. Vanity of vanities! All is vanity. What does man gain by all his toil, A grade, an award, an honor, a discovery A name, a celebration, fame and glory But a generation comes, and a generation goes, Whose name would last forever, I suppose?

Letters to the Editor

SOME OF MY PROBLEMS Words Tuomas Peippo

In the previous issue of Bnieuws Sam Eadington wrote on the tendency of architects to describe their work with clichés such as problem solving. Taking the self-description from the website of an anonymous Berlin office as an example, the author makes it clear how insubstantial these kind of statements usually are. Even successful offices feel the need to publish such blabber, the author argues, because most architects don’t really know what ’they stand for’, or what value they bring. Insecure architects then have to resort to pseudo-philosophy to convince their clients and audiences of their importance.

Although not explicitly saying it, the author seems most frustrated by architects engaging with philosophy not genuinely, but as a means to justify their value and necessity to clients and general public. While I share the author’s sentiment about the original blurb, it’s important to note that these texts are written for clients and people outside the field in general, not us. In other words, it’s sales patter. For it to be so easily exposed as such only makes it poorly crafted piece. Most of the mission statements of commercial practices barely have enough content to be even argued against. In this sense I think it’s actually commendable of this particular office to mention a specific philosopher such as Popper, however terribly they abuse him. What’s revealing is not how banal the text is, but how easily the audience it is meant for accepts it regardless, and why it takes another architect to point this out. Surely if this office is so clueless as to what it stands for, it should be obvious to their clients too? Rather than individual practices, it speaks of a general condition of the profession and how architects talk about their work to people outside their field.

The psychoanalyst and philosopher Jacques Lacan once admitted to an audience of laypeople that he has very little idea what psychoanalysis is and how it works. What’s more, anyone who claims to know is a phoney. Psychoanalysts, he jokes, as a group have taken up the habit of implying that they do know, without actually saying anything significant. As a result everyone thinks they know what psychoanalysis is, except for psychoanalysts themselves. It is tempting to see architecture as a similar profession. Like an analyst, the function of an architect is not self-evident and there is no self-explanatory reason for their status or place in the world. It is perpetually reinforced and invented by architects themselves, and people who have something to gain from it. The reason architects feel a pressure to put out such jabber is not because they personally or as a profession don’t know what they stand for, but because there aren’t any satisfactory answers. One can stand for the environment or for social justice or family values all they want, but this doesn’t really explain what it is that we do. Just as little what an engineer or an artist stand for say about how engineering or art works. What makes architects suspect, is that they might believe otherwise.

Up to a point, everyone agrees with what architecture is. We agree that there needs to be a school and a department to teach it, for example. The issues that really bother us and spark debate happen inside and after the school, for those ‘in the know’. "We enter this field of knowledge by way of a unique experience that consists, quite simply, in being psychoanalysed. After that, you can talk. Being able to talk does not mean that you do talk. You could. You could if you wanted to, and you would want to if you were talking to people like us, people who are in the know, but what’s the point? And so we remain silent with those who do know and with those who don’t know, because those who don’t know can’t know."1 When talking to people outside the profession, we only offer an easy way in. We say things they already recognise. Like psychoanalysis did at the time of Lacan’s lecture, architecture enjoys a strange prestige that is unusual in an age of scientific demands and belittling of anything artsy. Undergoing psychoanalysis and architecture school can be hardly compared of course, except for the amount of money and time they take to complete. But the effects of sales patter, or boniment as Lacan calls it, is the same. We begin architecture school thinking that we know what we’re getting into. Only we become ’in the know’ by practising doing things in the way they are expected. Until the very end of our education and beyond, we may hope to find some confidence as to what it is that we really do in essence, but in the meanwhile there’s not much choice but to resort to a cliché of our choice to explain. Or even better, let others tell us what to tell them.

problems. Popular as ever amongst architects, Gilles Deleuze defines thought altogether as a result of an encounter with a problem. All creative processes arise from problems, but while for example engineers’ work consists of inventing solutions, architects primarily invent novel problems. Great inventions in architecture happen as a result of a reimagined problem that opens up paths to new solutions. This is also why students with the same brief design different things; the brief is always so vague that it needs to be specified and reinvented to arrive at a product at all. The final design, or solution, is only ever as interesting as the problem it describes, and ideally serves to further specify it. In this light the original snippet seems quite inoffensive. Perhaps the architects believe in it themselves, perhaps they don’t. As long as they produce interesting work it doesn’t really matter, in my opinion. As the author notes, architecture is not philosophy, so maybe writing about architecture should be left to architectural philosophers. Deleuze too wrote about art as a philosopher, not as an artist writing philosophy. On the other hand I’m sure most remarkable architects are capable of putting their achievements into words. Only it is usually done for others in the know. And of course we should avoid spreading meaningless sales patter, and expose it where we can. However the alternative way to talk about architecture in public is not to put out even denser patter, but to admit that as operators we have nothing to say when it comes to what is most essential in our operation. And that is what makes it interesting to pursue. To answer the titular question of the original piece, it turns out my problem is the lack (of architecture).

Tuomas Peippo is a master student at architecture track at BK. If you wish, you can contact him through

Popper admittedly might have been an ill choice for an architectural manifesto, but it is not difficult to defend a view of architecture as dealing with

his email: tipeippo@gmail.com

Lacan, J. (Ed). (2008). My Teaching. London: Verso, p.9

In Denmark we are not getting enough accounts, we miss Bjarke's name. That is our greatest challenge. The people think they are getting Bjarke, but you are not in Scandinavia. You don't travel much and you don't meet a lot of clients.

The silver looks grey, there is nothing metal about it. If I saw someone who had done this, I would hate them. That is not what I wanted to build at all. It looks like a dead, grey, horrible building.

There is a strong weight on my shoulders. It is difficult to make sure everything goes well without me being there.

When it comes to things I achieved as an architect, I think I am doing well. But I had expected to have a family and kids at my 40th. I though about that when I was 15 or 20. So it is weird not to have a love life at this age, it is frustrating.

And as a result you can image the skyline of Manhattan suddenly is going to get this striking new silhouet unlike anyhting Manhattan has ever seen. Eventually it becomes this beacon on the waterfront of Hudson river.

Inspire/Obsess

BJARKE INGELS PORTRAYED Words Aimee Baars

Images BIG TIME

BIG TIME is a documentary in which young Danish 'starchitect' Bjarke Ingels is followed around on his trips around the world from 2013 until 2016: we as viewers are confronted with the priviliges as well as the negative side-effects of architectural stardom.

The sensation surrounding the persona of Bjarke Ingels is an intriguing phenomenon to behold. The first shots immediately set the tone. Ingels is backstage at an American TV show as the make-up artist gushes over him: "I change your face a little and you change the face of New York." After that we see him in his office drawing up his dreams on a large piece of paper. He explains his passion: "There is nothing more amazing than building buildings, that you try to imagine what kind of city or world it is you want to live in, and then you build it brick by brick. Just because you did it, that now becomes how the world is". In these few seconds the stereotypical image of the architect is confirmed; a solitary figure, in a white office sketching schemes composed of geometrical shapes, idealising the world we are supposed to live in, as if the world is shapeable and engineerable [maakbaar] by architects alone. In many shots he is depicted as an 'einzelganger', surrounded by people, yet alone and absent, seemingly caught up in his own mind. It makes me wonder how you can keep your life simple, stay humble, in his context of living. Can someone like Ingels still consider himself just one of the 7 billion people on this planet when people consistently treat him as superior and all-knowing? You can sense the tension and awe among crowds when he enters a room, either feeding his ego or making him uncomfortable - it is hard to tell. Perhaps the image gradually becomes an inherent part of oneself. We get more insights towards the end of the

documentary, when tension slowly builds up. In the final minutes Bjarke is appointed one of the 100 most influential people in the world. Rem Koolhaas applauds Ingels with the following words: "Bjarke is the first major architect who disconnected the profession completely from angst". Simultaneously, and quite crudely, angst has by then caught up with Ingels on a personal level. As he reaches the age of 40, he starts fearing his own personal health and dreams. But all ends well: the curtain closes with a close-up shot of him smiling lovingly, tooth-achingly sweet at his new girlfriend in the back of a New York cab, while she is tying his bow: a cringy yet real shot, since this is the happiest he has looked throughout the entire 52 minutes. He is just a human being after all.

If you would like to watch the documentary yourself, you can do it online for free at via Avrotros Gemist: Close Up.

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INTROSPECTION Words CK In 1954, Graham Sutherland, a renowned English artist, was commissioned to paint a full-length portrait of Winston Churchill - a work meant to be presented to the Prime Minister as his 80th birthday gift. Churchill had probably been highly anticipatory of it, given that it was in conjunction with such a grand affair. No doubt he had expectations that it would portray him as he saw himself - a heroic, valiant man in line with the legacy he had left; he had wanted to be painted in his robes as a Knight of the Garter. Instead, the commission had specified that he should be dressed according to the typical parliamentary dress code.

At the Westminster’s Day of Majesty, attended by a large audience made up of well-known and respected crowd, the portrait was finally revealed. As the curtains were drawn, an aged, tired subject slumped wearily in his arm chair. His arms gripping the armrest, as if strengthless to support himself. His clothes crumpled, almost fading into the dreary brown background, as a heavy countenance hung on his face. Far from the image of the “heroic, warrior statesman” that Churchill had in mind, Sutherland had painted an image of Churchill as he saw his subject - worn out, the weight of his life lived evident in his demeanour. It was no surprise that the painting was ordered to be destroyed some months after his birthday celebration. In the multiple sittings Churchill had with Sutherland, he was never given any previews of the workings nor markings done by the artist so he could not possibly have given input or prepared himself for this. Only 10 days before the grand reveal did Churchill have a glimpse of the painting in the form of a photograph brought back by his wife, whereby he later described it as one that made him “look like a down-and-out drunk”. Whilst there are many speculations on whom the decision fell on to destroy the commissioned artwork, there was no < Portrait of Winston Churchill, 1954, Graham Sutherland

doubt that Churchill saw an image of himself that he could not live with. His condescending comment of the work being a “remarkable example of modern art”, uncovers his conceited self expectations. Churchill’s portrait is just one of the plethora of examples of the disparity between how we see ourselves, how we want to appear to be, and how others actually see us. At the age of 80, Churchill was largely immobil and frail in health. Having been worn out by the immense pressure of his political life, the painting by Sutherland was likely an accurate portrayal, though the integrity of this outsider’s view and depiction went under appreciated, to say the least. Possibly in the mind of Churchill, the self portrait was meant to be an extension to the things unseen, the symbolic representation to his life and his achievements. It was meant to capture not just any 80-year-old man, but the Winston Churchill - the man who had contributed significantly in the war and to the country of Britain. It was supposed to portray him in all his grandeur and glory associated with him, and not the subject blatantly sitting in front of Sutherland. Churchill wanted an interpretation; Sutherland gave an illustration.

The Emperor, sardonically portrayed in the children’s story “The Emperor’s New Clothes” was ignorantly made made a fool of by a young boy, simply because of his tainted view of how others perceived him. Having bought the illusion that was marketed to him, the protagonist revealed his deepest insecurities and concerns and was played into it. Mankind’s concern with how we are portrayed reflects a deep-seated obsession with ourselves. We burrow ourselves within layers of impression-making, fine tuning (deception) to curate a perfect image. In a time when technology and media so rapidly conjures and propels this, we find ourselves racing to keep up with it all. Who can say how accurate that image is? No one will know - not even ourselves, the artist of the work. In a society where “authenticity”, “genuineness” have positive connotations, and we celebrate “being true to yourself”, the way we instead endeavour to paint a picture of ourselves seem to be quite the opposite. 26

Before we judge ourselves to be perfidious people, it would perhaps do good to see that we need these illusions to keeps us alive. What good would it do to see something for what it truly is? We desire a hope and comfort knowing that there is something more wholesome than the imperfect. In the distant past, the immediate response would be look to divinities and religion to fill that gaping hole. It wasn’t until the 18th century, that enlightened thinkers like Jean-Jacques Rousseau started to consider looking at the essence of an individual as a plausible mean to finding purpose in life. The focus of our pursuit now turns to ourselves. For some fortunate few, they may “find themselves” and live with it. Yet, for most of us, in all our soul-searching and philosophical discussions, we drown further in the realisation that we are incomplete, unsatisfactory, unwholesome.

“One studied and educated oneself under an imperative to find the truth, yet to live a happy life, which necessarily meant a purposeful active life, one needs to be impelled by illusion, not truth - or certainly not ultimate, philosophical truths.” - Giocano Leopardi In an age of individualism, vanity could easily be re-branded to encompass one’s character or style. And social psychology reminds us that each of us possess a desire to be loved and celebrated for our uniqueness. If not for our outwardly appearances, then our intelligence, our humour, our skills. And the illusions that we build and believe in keeps us afloat amidst the realisations of our shortcomings (though comparing to what?). Sutherland’s tearing down of the impression Churchill so believed in showed a glimpse of the reality of who he was, yet Churchill refused to see it for it revealed the weaknesses and cracks. In the same way, it is easier for us to think of ourselves as kind, smart, beautiful, and to ignore or mask the cracks. I am afraid that dwelling in the truths of who we are would likely lead to our downfall. So say what we may about pursuing authenticity and truths, or the criticisms of vanity; what we really need is the picture we shall paint for ourselves.

IMAGE KEES

FREAKING OUT Image Kees Fritschy You can find Kees Fritschy on Instagram @kfritschy

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HOUSE OF MACHINES - AI IN DESIGN Words Nathan Kramer

Recent developments in artificial intelligence have posed a challenge to the world of architecture and design. Contrary to previous computer methods, which could only have a deductible output based on a formal input, artificial intelligence replicates the creative process. This has posed a threat to architects: what role will AI have for the architectural profession? It is necessary to find the right approach to handle AI for architects, urban planners and landscape architects, as the development of techniques for architectural, urban and landscape analysis have been rapidly developing, with a possible future out-performance of architects by these techniques.

Artificial Intelligence Say a system is desired that creates images of domes. It does not know what a dome is, so a discriminator is set up which tries to determine if the picture given to it is a dome or not using a value from 0 to 1, with 0 meaning: ‘This is not a dome’ and 1 meaning: ‘This is definitely a dome’. To do this properly, a large dataset containing images of domes is used, labelled with their according values. To create images, a generator is set up, which generates an image from a large number of parameters. The created image is sent to the discriminator, which renders the initial image of pure noise to be nothing like a dome: the discriminator gives a 0 to the image, with scores being assigned to the parameters of the generator as well. So the generator adjusts its parameters to create a more dome-like image, repeating this process over and over, until the parameters are tweaked just so that the discriminator is convinced the generator produces images of domes. This method is called a generative adversarial network (GAN) and is one of the most common methods for content generation using AI today. A variation on the GAN-method is to use the ‘style’ of pre-existing images as an input for the < St Peter's Basilica, Rome; Source: RomeWise

generator. To use the dome example: say, a baroque dome will be ‘played’ in a gothic style. The discriminator will decipher the ‘gothicness’ of gothic images provided and tweak the generated images of baroque domes so that it looks both like a baroque and a gothic dome. Design Methodology Design methodology is the study of the methods of design, with an emphasis on architecture. The term ‘design methods’ is quite a broad term: it can describe everything from the process of design in the mind, to the ways of planning, doing business and dealing with contractors. Every building or structure has been built using one or more design methods. Even animals maintain design methods: a birds nest is built on the principle of gathering materials nearby, continuously changing the design according to the needs at the moment of construction. Within the history of the design discipline, we can speak of craftmanship. A person becomes a craftsman not by reading up on how to become one, but by trial and error, learning from previous work, which itself has been the product of years, if not centuries of trial and error. If one asks a craftsman

how their craft was made, they most often cannot tell you how they made their choices of design, other than by instinct. The craftsmanship approach used to be the most common way of designing in architecture during the Classic up to the Gothic period. During Gothic ages, most buildings were built without a masterplan. The art of ad hoc stone masonry, combined with the art of geometry prevailed the design. And even though the underlying ideology for Gothic building was fairly well-documented, the evolution of the style has been completely due to craftsmen, not published literature.

Artificial intelligence and design methodology While the development of ‘design methods’ appears to occur independently from that of artificial intelligence, there are essential similarities between the two, which provide a deeper understanding to the application of both fields in architecture. Notice how the generative adversarial network system eerily resembles the craftsmanship approach to design. The trial and error phase is analogous to the discriminator and the act of crafting without knowing how the craft resembles the generator. A large difference between the two subjects is the matter of time: where the mastering of a craft takes centuries, this network takes weeks to do a similar job. Critique of Artificial Intelligence in Architecture Some say that artificial intelligence offers a cornucopia of creativity, rendering architects virtually useless, flooding civilization with endless ‘good’ architecture. However, this is far from reality. AI systems, certainly at this point in time, come with great limitations, not only in computing power, but in general logic as well. Suppose a fully functioning AI system is desired, that produces CAD-drawings given a list of requirements. How would this system work? First of all; using natural language processing, the list of requirements

has to be deconstructed into bite-sized, AI-friendly pieces to be interpreted properly. Now that is known what to build, how should it be built? Propose the system chooses a style at random, ignoring context. It is assumed this style is a classic style of architecture, constructed around the rules of classicism. The system has analysed the distinct placement of elements and their size, ornaments are constructed using StyleGAN, mechanical stability of the proposed structure can be easily calculated using statics software, et cetera. However, this is far from perfect: beginning with the problem of language. While natural language input processing by AI is improving over time, it remains a weak link in the chain. Exact input being statements as ‘the maximum load on this beam is 500 kN’ and fuzzy input ‘make this room look nice’. The question arises to what extent exact input in architecture occurs. Whilst mechanical requirements are generally clearly defined, statements that appear to be exact, such as ‘the maximum surface area of this room is 50m2’ are not always as exact as they seem in architectural processes. The deviation of these semi-exact statements and their consequences of error differ from client to client. And even more so in architecture than in art: not only does every culture have their own interpretation of art, combined with the different ways of building and demands, there cannot be a consensus of universally good architecture. The meaning of architecture in relation to artificial intelligence This raises the question: Is it possible to add this meaning to a system? Meaning can be highly interpretative, however, discrete meaning exists in architecture, for example: using chemical analysis, it is highly certain that the dome of St. Peter’s Basilica is made of concrete. So while an AI system might accurately know that Michelangelo painted the dome of St. Peter’s Basilica using its knowledge of all

domes, for it to know that the sixteen figures represent the sixteen first popes, a whole other system is needed. For an AI to understand the dome at the level of an expert, an incredible amount of useful data would be required. And what about the generation of such a dome? Using the GAN method, an image that appears to be such a dome at first glance is generated. The details of the dome are generated based on existing images, merging the existing details to a smudge without meaning. For the system to add meaning, it needs to know the context which is wanted from the user.

functional building design at this point in time. Because of the difficulties in the notion of meaning and quality of architecture, one can doubt the feasibility of an AI-architect becoming a reality in the near future.

Nathan Kramer is a second year bachelor Bouwkunde student. He wrote this piece originally for the course Academische Vaardigheden 1 and edited it for publication in Bnieuws. In case of any questions you can contact Nathan via his email address: M.I.N.Kramer@student.tudelft.nl

Is the process of designing a process that can be reduced to a logical system, or is it truly a black box? The two groups in this debate are that of the designer-scientists and that of the designer-artists. According to the argument of the designer-scientist, there exists a discrete, logically deductible system that can produce an architectural design from a list of requirements, with every step of the way being entirely understandable in its behaviour. The designer-artist adheres to the theory of the black box. According to this argument, while some steps of the design process can be clearly defined, creativity and design at their cores consist of expressions of the philosophical concept of the sublime: an indescribable sense of quality. While artificial intelligence could within its logic easily adhere to the designer-scientist (despite relying heavily on the black-box theorem), for it to accurately replicate the sublime, these indescribable experiences need to be described first, which is fundamentally impossible. Of course, there remains the possibility that the sublime consists of made-up constructs, envisioned by a mystique surrounding the - to a designer-scientist potentially describable - quality of the object. To conclude, artificial intelligence has potential in the analysis of architecture and to serve as a source of inspiration. But is far too limited to create a

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FLYING AND FALLING Words & Image Nicole van Roij

During our education, we sometimes feel like flying and sometimes like falling. In my studies I have experienced that being somewhere safe on the ground, in between flying and falling, is rarely a good feeling. If you are safe on the ground you cannot fall, but also certainly not fly. Perhaps we should hover above the ground, with our feet almost touching it.

However, when things suddenly move forward our vanity might increase. We become more and more confident when the stars come closer again. Therefore, the temptations to reach them increase. Instead of being in a maze of different directions the solution is right in front of us. The myth of Icarus and Daedalus warns us that being overconfident might lead to blindness of failure. Ignoring the warnings of his father, the architect and sculptor Daedalus, Icarus continues to fly higher and higher until the heat of the sun dissolves the wax that keeps his wings together. The boy falls into the sea. Icarus’ lifeless body is recognized by Hercules, who delivers it to Daedalus. In Daedalus' warning to Icarus he pointed out that he should avoid extremes: "[...] Take care to fly halfway between the sun and the sea. If you fly too high, the sun’s heat will melt the wax that binds your wings. If you fly too low, the sea’s mist will dampen the feathers that give you lift. Instead, aim for the middle course and avoid extremes [..]" - adapted from 'Metamorphoses' by Ovid The middle course, a balanced life, might come with age. As we age through the labyrinth of architecture, we get more familiar with our own fears and greed. Therefore, we might know better how to direct ourselves. We might become more careful or even sabotage our own mind with certain beliefs of greatness. During practice, architects, landscape architects and urban designers experience the balance between flying and falling through designing. In their first year, bachelor students might have already experienced these emotions through drawing the corridors of BK. They might seem easy to draw at first sight, but only by actually drawing it, we discover that the path to success is not so obvious. It teaches us, like David Hockney once said, that drawing a line takes time and that a line has time in it. Thus, it might not matter whether we feel like flying, falling or staying balanced on the ground, as long as we take the time to learn from it.

Poem

DE ROTTERDAM Words Aimee Baars

in rotterdam is niets vanzelfsprekend wetten doorbroken het zuidelijk landshoofd van zijn zwaartekracht beroofd zweven doet ze het gezicht aan de Maas opgelicht met renders als geld onze reposts geteld rotterdam verheven tot merk

^ Images taken from Instagram accounts (from top left to bottom right): @roijaards, @gestaltes, @rijkv_fotografie, @emmadevisser, @anoukvandesande, @silviabelabalu, @ste_busetto, @patrickberning

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: 03 DIALOGUE A mediator, a script, a play, a sharded meaning, a dualism, an unravelling of thoughts, a flow of meanings or a small talk at the breakfast table. It can take place between two friends, a group of strangers, a concept and a detail, an idea and a material, a student and a teacher, a student and a student, two monkeys or multiple monkeys. Consciously and unconsciously, DIALOGUE is part of day-to-day life. Bnieuws 53/03 due November 2019.

Bnieuws INDEPENDENT PERIODICAL OF THE FACULTY OF ARCHITECTURE AND THE BUILT ENVIRONMENT TU DELFT VOLUME 53 ISSUE 02