Amsterdam Academy of Architecture
GRADUATION ARCHITECTURE PROJECTS URBANISM LANDSCAPE ARCHITECTURE 2018—19
URBANISM
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ARCHITECTURE Alexander Beeloo Marilu de Bies Midas van Boekel Rogier van den Brink Olga Chulkova Haidar Al-Dayri Sergio Dias Ramses van der Dussen Lynn Ewalts Marco Gijsen Juliette Gilson Nyasha Harper-Michon Onno Kamer Paulina Kapczynska Laurence de Kort Paul Kuipers Alvaro Laanen Baca Hoeshmand Mahmoed David Meijer Dirk Overduin Richard Proudley Patrick Roegiers Bram Ruarus Job van der Sande Tristen Vreugdenhil
Dutch Light — Dutch Landscape 13 Children of the City 20 Semantics of the Rural Social Life 26 Workshop in the City 32 V959 Cultural Centre for Community Arts 38 The Tide 44 Traces 50 Taking a Step Back 56 LAB Rembrandtplein 62 Re:Connect 68 The Charged Void 74 #archtivism 80 Stopover 86 Grodzka Contemporary 92 The Breeding Tower 98 Het Achterhuis 104 Between City and Front Door 110 The Saloon of Hafez 116 The House of the Millennial 122 Vivir Juntos 128 An (Extra)Ordinary Row of Houses 134 A Sense of Home 140 The Sixth Ring 146 Krasnapolsky 152 Life in the Yard 160
URBANISM Andreas Mulder Ania Sosin
The Battle of Amsterdam 169 Vavaland 175
LANDSCAPE ARCHITECTURE Francesco Carrasso Jean-François Gauthier Simon Verbeeck Charlotte van der Woude
Beasts’ City 186 Trees First 192 Metropolitan Drinking Water Park 198 Nature is Under Your Feet 204
GRADUATION PROJECTS 2018—19 ARCHITECTURE URBANISM LANDSCAPE ARCHITECTURE Amsterdam Academy of Architecture
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GRADUATION SHOW   GROUND FLOOR Why does the Academy of Architecture organise a Graduation Show? Because we are proud; proud of the many talented designers that have successfully completed the meesterproef (master’s test). Designers who have come to the Waterlooplein numerous times in the past years and spent many evenings in the Hoge Zaal. Listening to and debating with architects, urbanists and landscape architects from the Netherlands and the rest of the world. Seminars and public lectures about professional knowledge and urgent social themes. Designers who have spent many hours in the classrooms on the first, third and fourth floor, with lecturers and fellow students, discussing, sketching and listening together, presenting to each other and thus learning from each other. Designers who have stood side by side in the workshop many times, building and experimenting with different materials; and who have also borrowed and read many books from the library; and who have also travelled with each other many times, in the Netherlands and over the borders.
INTRODUCTION
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It may be an almost surreal experience for them after all that time: to see ‘their’ final projects in the spotlight at this Graduation Show. The doors of the Academy of Architecture are open and anyone can come and take a look! It is the conclusion of a period in which the Bachelor’s degree has become a Master’s degree following completion of the meesterproef (master’s test). And that takes time. And time is what the Academy seeks to offer; time to discover what kind of designer lies hidden in a student. The curriculum is not the main focus, but the development or formation of the individual student. During the study programme, the following questions are regularly posed: ‘What kind of designer would you like to become?’, ‘Which position would you like to adopt in the profession or the professional discourse?’, ‘Which responsibility would you like to take as designer?’. It is a form of education that can be direct and confrontational, but the sole aim is to motivate students to adopt a position. Some students require more time for that than others: discovering where you stand is a process of trial and error. Because a designer can be viewed as an explorer, who travels around out of curiosity or who is sent on a journey by means of an assignment, and learns, researches, poses questions and makes connections; in order to return from the journey with stories, designs and drawings. They are the 4
Madeleine Maaskant
results of a sometimes chaotic, but always creative process. And what beautiful journeys the designers from the generation 2018—19 have taken; all of which can be seen in this Graduation Show, on the ground floor of the Academy of Architecture. Four projects have been selected from this wealth of graduation projects for the Archiprix: an annual prize for the best graduation work stemming from Dutch study programmes in the fields of architecture, urbanism and landscape architecture. Each of the nine study programmes in the Netherlands may submit a number of projects in proportion to the size of the school, which amounts to four nominations out of a total of 30 submissions in the case of the Academy of Architecture. It is a prize that has already existed almost 40 years and can serve as an important step for the nominees, and the winners in particular, at the beginning of their careers. The list of nominees and prize winners from the past four decades demonstrates that the Archiprix has been extremely successful at this. Many laureates have made their voices heard through leaving their mark on the city and the landscape with their unique designs or through playing an important role in the debate on architecture, urbanism and landscape architecture. This year once again, it has been a pleasant, but also difficult, task for the jury to select four plans from the 2018—19 graduates. INTRODUCTION
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The jury this year consisted of the heads of the Master’s programmes: Jan-Richard Kikkert (Architecture), Markus Appenzeller (Urbanism) and Hanneke Kijne (Landscape Architecture). This jury was supplemented by Indira van ’t Klooster, director of the Amsterdam Centre for Architecture (ARCAM), and Madeleine Maaskant, director of the Academy of Architecture and chair of the jury. Most of the graduates show a strong belief in making a contribution to a better world with their designs; either with carefully chosen building materials, socially engaged plans to bring people of all kinds together, or by connecting with the existing political, cultural, demographical or urban structures they're designing for. Many of the plans are multi-layered and very rich. They start from a personal fascination and concern about the society we live in, which is followed by a personal search and in-depth research and a sometimes seemingly never-ending design research: testing in models, many models, reading, pictures, drawings, collages, writings, and others ways to envision what's inside the mind.
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Madeleine Maaskant
All these graduation projects are the endpoint of a period, but at the same time a starting point too. Wherever future journeys may take these designers, we will continue to follow them with interest. Madeleine Maaskant Director Amsterdam Academy of Architecture
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ARCHITECTURE
WE WANT THE WORLD AND WE WANT IT NOW The final year of the Academy of Architecture is entirely dedicated to graduation. Each student may formulate an assignment him- or herself and choose the appropriate supervision for that. The realisation that the student is responsible for the end result him- or herself makes the final year at the Academy a supreme effort. It is therefore the ideal opportunity for showing what someone stands for, as well as who someone is as a designer and as a person. The daily interchange of gaining practical experience during the day in combination with the development of one’s own personality as an architectural designer means that our students are uniquely prepared for the professional practice. While many graduation projects also make an actual link with that practice, the meesterproef (master’s test) at the Academy of Architecture is also a representation of what motivates this generation in general. The various graduation projects reflect the impact of the social developments of the past years and a clear shift of attention can be detected towards the social developments of our times. In addition, there is an ever-present interest among the students in the principles of our profession, and the spatial organisation and materialisation of a programmatic question in a specific context. 10
Jan-Richard Kikkert
One theme stands out above all within the enormous variety of research directions: living in various forms of collectivity. The design of alternative types of housing for specific target groups — for elderly people, young people, or rather for the most diverse possible group of residents — is used to combat the progressive social disintegration and the ensuing problems, such as loneliness and further alienation from society. The conviction of this generation that social problems can be mitigated or even solved by means or architecture could come across as slightly naive, but it must be fostered. It is precisely because of these design studies and proposals that the old, entrenched patterns are questioned and examined in more detail once again. Moreover, important developments are often placed on the agenda with graduation projects. That certainly applies to the larger themes that are not shied away from in these projects: from dealing with the Dutch slavery heritage, a plea for transparency of our systems and the increasing pressure from tourism on the city as living environment to the design of a permanent, and therefore more sustainable, location for the Olympic Games. Each student examines the assignment based on his or her own background or experiential world. The melting pot of a diverse student population, which the Academy has become, is reflected in a positive sense in this overview of the graduation projects.
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Almost 50 years after the publication of ‘The Limits to Growth’, the report of the Club of Rome, global challenges are on the agenda more than ever before. Our students show the urgency of the change of thinking that is necessary to cope with the problems that the world is currently facing. It is up to us, the professional community that anticipates such matters, to illustrate what the opportunities are for giving architectural expression to this. It is the task of the Academy to provide a fertile breeding ground for this and offer sufficient structure, so that beautiful and relevant ideas can blossom, which contribute to a better future for everyone. Jan-Richard Kikkert Head of Architecture
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Jan-Richard Kikkert
HOLLANDS LICHT: DUTCH LIGHT — DUTCH LANDSCAPE ARTISTS’ COLONY IN THE NIEUWKOOPSE PLASSEN
Alexander Beeloo Hollands Licht (Dutch Light — Dutch Landscape) is an artists’ colony consisting of four buildings in the landscape of the Nieuwkoopse Plassen nature reserve. The architecture frames the landscape, accentuates the qualities of this landscape and steers the gaze of the artist. The architectural space serves as a link between the artist and landscape. The project is an ode to the Dutch landscape where I grew up. It is inspired by paintings of The Hague School, whose painters explored the nature of the Nieuwkoopse Plassen in an attempt to capture the light in the extraordinarily beautiful landscape. Hollands Licht is about the experience of the landscape, the characteristic Dutch landscape with the rapidly shifting cloudy skies, the endless horizon in the flat landscape, the abundant water that reflects the light and the moist atmosphere that scatters the light diffusely. The artists’ colony in the Nieuwkoopse Plassen consists of a landscape ensemble of four buildings 13
where artists can work and reside in total concentration for a season. Here they will share the impressions gained from the landscape via their work with the general public, who will be able to visit the colony at set times. The buildings merge with the changing landscape as robust volumes. Due to their design, colour and material, the buildings either blend in or contrast with the landscape. Each building has its own programme, form, scale, spatiality and relationship with the landscape. Each intervention in the designs responds to qualities of the specific spots. Carefully designed windows offer a framed view of the landscape from the spaces in the buildings. The cloudy skies, the light and the alternating seasons continuously change the view of the peat meadow landscape of the Nieuwkoopse Plassen. The four buildings occupy this landscape, always the same and always different. Graduation date: 2 December 2019 Graduation committee: Machiel Spaan (mentor), Anouk Vogel, Ard de Vries
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Alexander Beeloo
The architecture frames the landscape. The artists work under the influence of the Dutch landscape.
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The artists work and reside in their studios during their work period. Meeting others is the main focus in the communal building, the Corner.
The artist’s colony consists of four buildings: communal building de Hoek (the Corner) and the three studio buildings: de Lijn (the Line) de Toren (the Tower) and het Vierkant (the Square). They are positioned as a total composition at four specific spots in the landscape.
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Alexander Beeloo
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De Lijn (the Line) is between two ‘green walls’, the vegetated strips of ground.
De Hoek (the Corner) is in the flat reed landscape.
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Alexander Beeloo
The buildings are anchored in the landscape. De Toren (the Tower) is situated between the trees.
The buildings are anchored in the landscape. Het Vierkant (the Square) is situated by the large open body of water.
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CHILDREN OF THE CITY A PLACE TO LIVE FOR FAMILIES IN THE TOURISTIC CITY CENTRE OF AMSTERDAM
Marilu de Bies In recent years, the city centre of Amsterdam has been unilaterally aimed at tourists; working and especially living have taken second place. In the meantime, there is a shortage of homes in the city, especially for families, which is currently being solved by creating beautiful and peaceful living environments on the outskirts of Amsterdam. The approach of this plan was that it must be possible to provide families, who want to live in the city centre, with a liveable place, as a liveable city allows for a balanced mix of living, working and tourism Following the relocation of the University library, this location on the Singel is converted into a housing block for a hundred families. The building is given a natural spot in the city centre by preserving the monumental Stadsmagazyn that extends over the entire plot, and connects the Singel with the Handboogstraat. In this way, the historic Stadsmagazyn will serve as city street and meeting place. As the raised ‘streets’ of the residential building cut through the Stadsmagazyn, a vibrant 20
space is created at the interface of the residential building and the bustling city centre. Comfort and a feeling of space remains an important residential aspect for urban families. In addition, they wish to have a residential environment where children can play safely and where it’s easy to make contact with neighbours. The city is reduced to a conveniently-arranged living environment within the housing block. You imagine yourself to be in a village as the raised residential streets offer large play areas that also serve as an entrance to the homes. These open areas provide the building with light, air and space. The vistas and the horizontal and vertical connections ensure a dynamic residential world where families, but especially children, can play, explore and live at the heart of the city centre. This is the only way that the city centre can become liveable once again and regain its natural balance. Graduation date: 14 June 2019 Graduation committee: Marcel van der Lubbe (mentor), Jolijn Valk, Marinus Oostenbrink
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Growing up in the housing block: from toddler to teenager; the radius of action of the playing child
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Marilu de Bies
The city street in the Stadsmagazyn, a place for families to meet each other
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Ground floor. The housing block is nestled between the Singel and the Handboogstraat
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Marilu de Bies
Longitudinal section Stadsmagazyn; longitudinal section living environment
Facade on the Singel
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SEMANTICS OF THE RURAL SOCIAL LIFE TYPES OF HOUSING FOR THE RURAL SENIOR CITIZEN
Midas van Boekel As the Dutch population is ageing, a growing share of senior citizens will eventually end up living alone. The existing housing stock in the Netherlands will need to undergo a transformation. Attention is often paid to the urban districts, while the more significant housing needs in places without population growth or even declining population numbers — the Dutch countryside — is overlooked. Suitable senior citizens’ accommodation often results in the lifeless typology of the large-scale, barrier-free apartment complexes, where senior citizens are stacked, while being detached from their immediate surroundings. This design-based research offers an alternative and advocates small-scale housing for our senior citizens at the heart of our and their familiar living environment. At the same time, the interventions that are made with the proposal serve as the starting shot for the revitalisation of the early postwar residential districts, which are so typical of many municipalities. The district Bakelgeert-Noord in rural Boxmeer forms the case for this research. As I grew up in this village, I was able to incorporate 26
the nuances and the semantics of communal life into the design from within. It soon became clear that the delicately balanced village life clashed with the monofunctional straitjacket of the early post-war residential district. Three interventions in the design proposal change this. They not only lead to more variety in general, but more specifically to the realisation of different residential environments. The fact is that the senior citizen actually does not exist. Each of us wants to grow old in our own way in our own home, and must have the freedom to be able to arrange that ourselves. There will be the home for the loner in the collective, the residential community for the solo bon vivant and the hamlet for the sovereign senior citizen. Senior citizens’ accommodation in Boxmeer thus becomes more varied. This proposal is a call to all rural municipalities to revise similar residential districts and the existing typology for senior citizens’ accommodation. It is vital to design inspiring housing and residential districts for the future of the social life in the countryside. The importance of rural thinking in the urbanising Netherlands should not be underestimated. Graduation date: 28 February 2019 Graduation committee: Jeroen Atteveld (mentor), Peter Defesche, Elsbeth Ronner
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A car park transformed into an implanted courtyard of houses with accessory apartments. From non-place to safe residential environment, firmly connected with the surrounding family homes.
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Midas van Boekel
A row of family homes transformed into a ‘open-plan cathedral’ where a group of senior citizens cohabit around communal activities, firmly anchored in the neighbourhood.
Three locations in the early post-war residential district Bakelgeert-Noord with characteristic problems and potential serve as the starting point for the new types of housing.
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Housing for the loner in the collective: the single senior citizen leads a reclusive existence, but contact with the neighbourhood is never far away.
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Midas van Boekel
Hamlet for the sovereign senior citizen who wants to live with the family of a relative, or may want to join that of another person. Residential community for the solo bon vivant: collective cohabitation based on communal activities that give meaning to life, not reasoned on the basis of limitations.
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WORKSHOP IN THE CITY
Rogier van den Brink How do you design a building that is based on craft; a building that provides space for the artisanal production of everyday furniture? A painting by Pieter de Hooch, building a chair, a long series of studies and a night in a monastery helped me to find an answer to this. The result is an urban workshop in Amsterdam where a group of apprentices live and work internally. It is loosely modelled on the 17th century guild life. The expression ‘Craft is continuity’ has an impact on all layers of my graduation project: in building on the existing urban fabric, in the expression of the architecture, in the design of the individual rituals of its users and in dealing with materials. The result is a plea for craft and re-using. Craft appears to be in contrast to constant innovation, but that is not totally true. Craft has a self-regulating ability and does allow substantial innovations therein. However, it always builds on that which has come before. The craftsman stands, as it were, on the shoulders of his or her predecessor. This implies a bond with previous generations and points to an important function of education in the process of learning to master the craft.
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The building of Workshop in the City has been refurbished and modified numerous times through the years. These layers are still more or less visible. I am grafting my addition onto the remains. I am not going back to a specific time, but I am looking for references from all time layers and translating that into a contemporary interpretation. My interventions always remain recognisable in that capacity. Through this approach, a multilayeredness arises, in which the existing and the new enter into a dialogue with each other. During a weekend visit to the St. Benedictusberg monastery in Lemiers close to Vaals, I extensively examined the way in which the monks move through the building and how the architect has used the daily structure of their rituals as point of departure for the design of the spaces. In Workshop in the City, all spaces are designed based on the group size of the users. The ritual of the daily routine forms the basis hereof. Graduation date: 7 February 2019 Graduation committee: Machiel Spaan (mentor), Gus Tielens, Floris Cornelisse
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The profile of the facade reveals the function: a workshop in the city.
The different years of construction projected over each other. Each time says something about the preceding one.
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Rogier van den Brink
Volume studies of the extension.
Model of the layers through time with the most recent extension at the front ends.
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View of the old building from the dining hall, perpendicular to this the axis that directly connects the living quarters with the entrance.
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Rogier van den Brink
Room of an apprentice in the living quarters of the workshop.
The modifications over time. The design is grafted onto the remains of what was. Existing and new enter into a dialogue with each other.
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V959 CULTURAL CENTRE FOR COMMUNITY ARTS TRANSFORMATION OF THE VIADUCT AND THE ADJOINING AREA BY REUSING THE LOCAL URBAN, ARCHITECTURAL AND CULTURAL QUALITIES
Olga Chulkova What do we do with the post-war urban and architectural developments? Nowadays, the buildings and urban fabric of the period between the 1960s and 1980s are approached negatively. We judge the apparent lack of identity and we prefer to destroy them and build something new. When we do so, we miss the hidden meaning of the objects in the urban fabric that have been shaping the very local identity in these 'generic' neighbourhoods. To reinforce the local identity, we should think about restructuring these areas by adding new elements to the existing structures. My graduation project focuses on creating a new urban and cultural identity in the western part of Buikslotermeerplein at the site of the Waddenweg viaduct (recorded as bridge number 959). It is situated just a couple of minutes’ walk from Metro Station Noord. The viaduct itself has shaped the space on the square; it has provided it with rhythm in 38
the 50 years since it was developed. For this reason, the viaduct has become an important urban object for the place, yet the area lacks cultural activities, in spite of a highly diverse and fast growing community, eager to express their creativity. V959 Cultural Centre for Community Arts is designed to facilitate activities for community arts. The centre is constructed from the elements of the existing viaduct at its original site. In this way, the local identity is being rethought, and it stresses the importance of sustainable and circular economy principles in new developments. Apart from the original supporting structure that is used as a surface for street art, all elements of the viaducts, including beams, stairs, bus stops and street lights, are reintegrated into the new design, both inside and outside. In this way, a new unexpected architecture and landscape is created from the familiar, generic infrastructural object. Flexibility of spaces and transformable structures give possibilities for multiple ways of using the building. Outside, public spaces follow the structure of the building and create a continuous cultural landscape. All in all, V959 Cultural Centre creates a place to stay, to explore, to express, to surprise and to be surprised. Graduation date: 13 June 2019 Graduation committee: Machiel Spaan (mentor), Judith Korpershoek, Furkan Kรถse
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Collage, illustrating the main idea of the project: transformation of an existing infrastructural object into a cultural building for community arts.
V959 functions as one continuous cultural landscape. Tracery facades open up the activities inside towards adjoining public spaces, inviting new visitors.
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Olga Chulkova
South and north facades reveal the load-bearing structure of the former viaduct, giving the building a solid appearance in contrast to the more transparent east and west sides of the building.
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Urban transformation from infrastructure to active cultural space, using the existing viaduct structure as a basis for both new buildings and public spaces.
Fragments, showing how elements of the former viaduct are placed in the new building. Structural walls in the interior are used for graphic community arts.
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Olga Chulkova
The core of the library block has an atrium of double height. The openings in the bookshelves on the library’s galleries allow visual interaction between the spaces.
Theatre with a two-side oriented stage. Transformable seats on one side make multiple forms of use possible: from classic theatre plays to outdoor festivals.
A double height exhibition space gives plenty of space for different kinds of exhibitions and events.
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HET GETIJ (THE TIDE) MEETING PLACE FOR THE CITY OF AMSTERDAM
Haidar Al-Dayri Amsterdam is growing at a rapid pace. As a result of the arrival of many new residents, contact between neighbours is no longer a matter of course. Social and shared amenities are needed to connect neighbourhoods and neighbourhood residents with each other again. The public bathhouse used to be a meeting place in the city. This function has slowly disappeared from the streetscape. With Het Getij (The Tide), I am bringing the bathhouse back to the city and it serves as a connecting element in the neighbourhood. The name of my design refers to the tide: the periodic changing of the water level, or ebb and flow. This can be recognised in the design. Water is the basic element in my design and has three functions: water as therapy and relaxation, the water square as receptacle for rainwater and cooling for the city, and water as natural partition. Het Getij consists of five pavilions that are connected with each other through a central square where visitors come together. The various water 44
surfaces in the complex serve as natural partition between the public space of the city and the semipublic space of the complex. The accessibility of the central square is determined by the water level. During the day, the square is solely intended for visitors to the bathhouse; in the evening, the water level drops, whereby a footpath appears and the central square becomes accessible to the neighbourhood. Neighbourhood residents can enter this space and come together on the central square. In this way, Het Getij is returned to the neighbourhood after closing time. Graduation date: 10 July 2019 Graduation committee: SaĹĄa Ra enovi (mentor), Ira Koers, Pieter Jannink
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Section that shows the functioning of water squares and nature roofs.
Section showing that water is the basic element in the design.
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Haidar Al-Dayri
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Ground floor
First floor
Roof view
Only visitors can enter the bathhouse during the day; in the evening, the water level drops and the central square becomes accessible to the neighbourhood.
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Haidar Al-Dayri
Roof
First floor
Ground floor
Water structure
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TRACES AN INSTITUTE FOR SLAVERY
Sergio Dias Amsterdam deserves an Institute for Slavery. There is no place where the rich history of Amsterdam — which cannot be viewed separately from the involvement in slavery and the trade in human beings and colonial goods — is commemorated, studied, considered and brought to people’s attention. The traces of the colonial past are still tangibly present at many places in the city. The Institute for Slavery will literally connect the slavery heritage with the present and the future by activating the historic Warehouse of the West Indies as entrance of the new building. The institute joins under the Prins Hendrikkade and houses permanent and temporary exhibition spaces, an auditorium, a large archive, a library and a caférestaurant. It is accommodating the organisations that conduct research into, or organise programmes relating to the slavery past. The work of these organisations will be given more exposure and being in the same building has many advantages. The building refers to the slavery heritage, to the underground, to forts, bastions and the ship’s holds 50
and in this way it plays with the theme visibility and invisibility. It also ties in with the social discussion about the slavery heritage, which is sometimes conducted explicitly and visibly, but which is mostly somewhat awkward and invisible. The building is therefore almost invisible aboveground, while a world with dramatic contrasts of light and dark, high and low is revealed underground. The programme of the institute is situated around three closed atria with water that reflects the light and the movements in the building. They anchor the building at the location and lead to a specific experience of the place. The atria are visually connected with the ground level above and the water of the Oosterdok. They connect to the two main axes of the building, which transport the visitors from dark to light, or vice versa. The Institute for Slavery is a gesture from and for the city, it is a platform where the colonial past, present and future merge together and contribute to the collective memory of the inhabitants. The traces from the slavery heritage exist in the present and the future, and this building reveals them. Graduation date: 9 May 2019 Graduation committee: Dingeman Deijs (mentor), Vibeke Gieskes, Micha de Haas
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The building joins under the Prins Hendrikkade and connects the Warehouse of the West Indies, situated at the corner of the Prins Hendrikkade and the Rapenburg, with the water of the Oosterdok.
The projection of the now obstructed slavery monument on Dam Square. The heated social discussion and the lack of understanding between different parties was the motivation for the project.
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Sergio Dias
The greatest profits from the triangular trade between Amsterdam, Africa and South America (the Dutch West Indies at that time) resulted from the trading of humans and colonial goods.
The institute is a platform for the collective memory. It is also accommodating the organisations that conduct research into, or organise programmes relating to the slavery past, such as the National Institute for the Study of Dutch Slavery and its Legacy (NiNsee), the Black Archives/NUC, Stichting Stil Verleden and Black Heritage Tours.
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Longitudinal section. The building consists of a narrative from the past, present and future; an unbroken space that goes from dark to light and vice versa. The programme of the institute is situated around three closed atria with water that reflects the light and the movements in the building. They anchor the building at the location and lead to a specific experience of the place.
Floor plans level -2 and -1.
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Sergio Dias
Underground, the visitor is guided through the building by the incidence of natural light.
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TAKING A STEP BACK REHABILITATION CENTRE FOR THE INJURED DANCER
Ramses van der Dussen The career of a professional dancer is one of ups and downs. From great heights as a solo dancer on the stage of the Dutch National Ballet to considerable lows as an injured dancer on the treatment table of the sports doctor. The injured dancers will be able to make use of the new rehabilitation centre that has been specially designed for this group. The building lies at the edge of the Natura 2000 area between the Wethouder van Gelukpark in the Dutch town of Bloemendaal and the Kraansvlak in the Zuid-Kennemerland National Park. There was a riding school at this spot up until 2014, when a fire destroyed the place. The existing scar at this spot in the landscape is removed by the new building and the increase in the layer of shifting sand. Endangered and rare dune plants and flowers grow abundantly on the green roof of the rehabilitation centre. The wind, birds and insects spread the seeds of these plants and flowers throughout the adjoining, still run-down Wethouder van Gelukpark, so that the flora in the park can regenerate and flourish. 56
The rehabilitation centre provides dancers with a place where injuries may and can be visible and open to discussion. Square confined spaces are linked by rotations to each other, as a result of which corridor systems are not necessary. The dynamic building that is hidden in the dune landscape in a respectful manner exudes total tranquillity. The floor, the spatial experience, the views of the dunes and the fusion of inside and outside provides a spectacular nature experience. The contrasting white in the building reinforces the colour of the dune landscape, which gives the spot a fresh and pure appearance. In this earthly building, everything revolves around the notion of recovery, both for the dancer and for the natural environment. Sand plays a leading role, as a natural binding element, herein. Graduation date: 6 June 2019 Graduation committee: Bart Bulter (mentor), Anouk Vogel, Laurens Cobben
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The rehabilitation centre is largely recessed into the dunes, only the white roof edge protruding above the dune ridge.
Plan of the building with interlinked (dance) spaces, which are each supported by a core with a specific function.
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Ramses van der Dussen
Scale model of the spaces with different subsurfaces, dimensions and spatial experiences that provide the dancer with a choice that suits his or her state of mind. The interlinked (dance) spaces each have a core with a specific function.
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View from the roof terrace over the landscape and towards the low-lying dance spaces.
Waiting room where the dancer is picked up by his or her personal coach.
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Ramses van der Dussen
Dance spaces partially sunken into the dunes provide the dancers with the desired form of privacy.
Large degree of transparency and far sightlines in the space where yoga lessons are given to the dancers. The dune sand carries through into the interior. Large sliding glass fronts reinforce the fusion between inside.
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LAB REMBRANDTPLEIN A PLACE FOR THE ‘AMSTERDAMMER’
Lynn Ewalts The new LAB Rembrandtplein offers a platform to the resident of Amsterdam; a place where anything is possible and every day can be different. The Rembrandtplein (Rembrandt Square) is a place for experimentation on an artistic, social and societal level. There is space for giant installations, a miniature theatre or a festival, but also a place where the neighbourhood can spontaneously drink coffee together or where you can simply have a chat. LAB Rembrandtplein will be a place where original residents of Amsterdam live together with new residents. The new Rembrandtplein is needed, because many residents from Amsterdam state that the city centre no longer feels like part of their city. In particular, the public nuisance and pollution, the rising rents, and the changing character as a result of the many tourists and expats living there, are cited as problems. People from Amsterdam increasingly feel alienated from their city, as a result of which the residents are found less and less in the city centre, or even worse: they leave this urban district. In order to combat this feeling and 62
this exodus, there needs to be more space for organising initiatives like neighbourhood, sporting and cultural activities. With the transformation of the Rembrandtplein, the resident of Amsterdam will live in the city centre once again. At the Rembrandtplein, LAB will come into existence, an installation where many different activities can take place throughout the year; activities that represent the enormous diversity of the city. The installation functions as a Swiss army knife: a different layout can be made for each activity through movable elements. Wall and floor elements can be raised up and lowered, and curtains provide a more intimate or a more public setting as the case may be. The installation consists of a grid structure to which these elements are or can be attached; it serves as a fly tower. As a result of this, the Rembrandtplein can look different every day and it will become a place that belongs to the Amsterdam people once again; a place where they can meet each other and be together. Graduation date: 27 August 2019 Graduation committee: Rob Hootsmans (mentor), Jana Crepon, Jarrik Ouburg
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Lynn Ewalts
Isometric drawing of the square in September.
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Section of the Rembrandtplein in September.
The Rembrandtplein in April: there is a lecture in the greenery and a theatre performance at the centre of the square.
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Lynn Ewalts
The Rembrandtplein in September: an exhibition fills the centre of the square.
A new activity is constructed on the Rembrandtplein: elements can be easily moved with an overhead bridge crane.
In the summer, film evenings can be organised on the green mound.
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RE:CONNECT A REHABILITATION CLINIC FOR DIGITAL GAMING ADDICTS
Marco Gijsen The rehabilitation clinic I designed for severe gaming addicts is conceived as an architectural antidote to the digital world and is based on the principles of social reintegration and physical reconnection. The rehabilitation clinic provides a 12-week programme for 13-25-year-old gaming addicts, offering them a treatment and a social reintegration trajectory. The building is therefore not organised like a traditional closed-off clinic, but rather works like a campus that is integrated into its surroundings. It seeks to find the right balance between a comforting, safe environment and the necessary confrontation with the fear of going outside that many have. Existing natural boundaries subtly separate the grounds of the clinic from public areas. The round space within the building provides a feeling of safety. At the same time, it opens up towards the environment to train and stimulate the patients to leave the comfort of their own rooms and the inner space. The routing around the big central garden provides the main social space of 68
the building. It is used for playing outside, sharing food and sitting at the fireplace. In order to facilitate a gradual reintegration into society, some of the treatment spaces are separated from the main building and are situated in the park, making going out in public space a daily routine. The design of the clinic is an antidote to the digital world: it seeks to enhance the feeling of being in the physical world. The presence of nature, changing weather conditions and seasons are important to the design and become part of the inhabitant's daily routines. By engaging all the senses, the addicts become reconnected with their own body again. The usual indoor hallways of clinics are replaced by outdoor walkways around the green courtyard. Every space is directed towards different elements in the landscape that offer ever-changing views: bodies of water, treetops and reeds. The sense of physical reality is further enhanced by the use of natural materials with rough textures; materials that show the weathering over time and are built in such a way that the buildings express how they withstand gravity. Graduation date: 30 January 2019 Graduation committee: Jo Barnett (mentor), Gloria Font, Bart Bulter
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Model of the main building that encircles a group of trees.
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Marco Gijsen
The clinic is organised like a campus and integrated within the city park to facilitate social reintegration into society.
Floor plan of the main building
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Existing natural boundaries separate the clinic subtly from public space. It balances the need for safety and openness.
The central garden is meant for playing outside, building tree huts, meeting friends, sharing food and sitting at the fireplace.
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Marco Gijsen
The ring-shaped main building creates gardens on the site: this is the entrance garden.
The walkway around the courtyard with its rough, natural materials and lowered rain gutter gives a daily dose of natural stimuli.
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THE CHARGED VOID LIVING AND WORKING IN THE SPAARNDAMMERBUURT
Juliette Gilson ‘In calling our collected works The Charged Void: Architecture, we are thinking of architecture’s capacity to charge the space around it with an energy which can win up with other energies, influence the nature of things that might come... a capacity we can feel and act upon, but cannot necessarily describe or record.’ Peter Smithson, 1992 The Charged Void zooms in on the formal characteristics of the city, especially the relationship between the built objects and the space between these objects. Space or void are of equal importance as buildings in terms of form and presence. Located in the heart of the Spaarndammerbuurt in Amsterdam, well-known for its architecture in the style of the Amsterdam School, the project explores the relationship between the individual and the whole, and between private interiors and public open spaces. By adding a new public open space in the neighbourhood and by introducing three new gates, the project encourages the understanding of the 74
Spaarndammerbuurt as a spatial sequence of rooms. The painting of Magritte, In praise of dialectics, illustrates the spatial sequence in which the distinction between the inside and the outside becomes less explicit. An interesting ambiguity subsequently arises. The desired image is a proud and optimistic building that gains richness through the surprising assembly of its parts. The rigid building block, made of brick, is interrupted by an irrational gesture: an imposing square enclosed by solid walls. The new urban interior will contribute to the enlivening of the neighbourhood and to the collective character of its surroundings. Within the boundaries of the architectural volume, the 101 units benefit of a diversity of floor plans and difference in size: from 38 m2 to 250 m2. Living is seen as a conglomeration of social, professional and commercial activities. Graduation date: 12 September 2018 Graduation committee: Jan Peter Wingender (mentor), Jarrik Ouburg, Anne Dessing
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The entrance from the garden. The third entrance, in continuation of the existing gate, gives access to the courtyard that provides the key to the organisation of the entire building.
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Juliette Gilson
The courtyard. The courtyard is considered as an urban interior, an intimate room with strong boundaries that contributes to the collective character of its immediate environment.
Network of courtyards. By adding a new public space to the neighbourhood and introducing three gates, the project encourages the understanding of the Spaarndammerbuurt as a spatial sequence of rooms.
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The gallery. The gallery, between the public domain and the private dwellings, is shared by all users, and encourages informal meetings and collective activities.
Situation plan. The project zooms in on the formal characteristics of the city, especially the relationship between the built objects and the space between these objects. Morphology courtyard. The resulting shape of the courtyard (down right) is a constellation of three circles stimulating the spatial sequence.
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Juliette Gilson
In praise of dialectics (1937), Magritte. The painting illustrates the experience of the neighbourhood, where the relationship between interior and exterior becomes controversial. Fragment model. The main gate gives access to the building and welcomes visitors, residents and neighbours.
Process book. The book shows the trust in the design process; rigorously treating everything with attention and dedication in order to cultivate this ongoing process.
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#ARCHTIVISM THINK GLOBAL, ACT LOCAL: INTRODUCING THE PLACE RESPONSIVE DESIGN METHOD FOR RESILIENCE
Nyasha Harper-Michon #archtivism is a movement that strives for a world where the building industry positively impacts our society, economy and environment. To tackle the main challenges of today's globalisation era, homogeneity and the climate crisis in particular, #archtivism introduces the Place Responsive Design Method, a universal method for unique resilient designs. The Place Responsive Design Method, applicable to any brief or site worldwide, is based on the pillars of place and sustainability: economy, society and environment. Each pillar and its subcategories provide the framework for local research to help determine the building’s positioning, form, materiality, structure and more, while anchoring it in its context. This simple method thus empowers designers to make informed design responses by collecting, interpreting and hierarchising local data, the foundation of the design. To demonstrate the method’s ability to foster resilience, a case study of a fictitious global coliving chain, Kumba, opening three locations across 80
the globe — in Paris, France; Port of Spain, Trinidad & Tobago; and Washington D.C., U.S.A. — is elaborated. The private and collective spaces of the co-living complex allow for a business model that takes the benefits of both the local and the global. Regardless of location, the private spaces all feature the KumbaPod, which regroups all the personal functions needed to live, assuring a consistent user and brand experience. The KumbaPod couples standardised global design with the use of local materials through digitalisation, CNC machine laser cutting and dry assembly. In contrast, the collective programme — the shared kitchens, living rooms and amenities — is unique to each location, as it is inspired by the buildings’ contexts as analysed and interpreted using the Place Responsive Design Method. Each of the case studies fosters resilience through its unique and tailored approach to the incorporation of the local economy and materiality, healthy living and well-being, conservation of environmental assets, and climatic and energy performance. In essence, #archtivism addresses the need for a revolution in the tools and processes of architectural design by connecting practice and research; designer and place, for a resilient built environment. Graduation date: 27 August 2019 Graduation committee: Marta M Roy Torrecilla (mentor), Chris Noteboom, Jo Barnett
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The Place Responsive Design Method, applicable to any brief or site worldwide, is based on the pillars of place and sustainability: economy, society and environment.
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Nyasha Harper-Michon
Exhibition at the Academy of Architecture expressing the theme of activism and the revolution needed in the tools and processes of architectural design.
Regardless of location, the private spaces all feature the KumbaPod regrouping all the personal functions needed to live, assuring a consistent user and brand experience.
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Perspective section of Kumba Port of Spain, Trinidad (yellow), Kumba Paris, France (green), and Kumba Washington D.C., United States of America, with the local data hierarchisation diagram.
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Nyasha Harper-Michon
Visualisations of the three case studies used to demonstrate the Place Responsive Design Method’s ability to foster urban resilience.
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STOPOVER A TEMPORARY HAVEN FOR THE WANDERER
Onno Kamer Stopover is a communal residential building for people who temporarily settle in a city. The building contains various communal spaces each with its own character, where the emphasis is on daily encounters and creativity. Facilities and services make the residents’ lifes easier. In order to recharge and unwind, residents always have their own room that provides the essential housing needs. The residents of this building hardly have any possessions, which they are more likely to experience as a burden. By paying subscription costs, they may make use of all amenities and services within the network. This network is formed by numerous Stopovers spread across the world. The residents of the building consciously opt for this dynamic lifestyle, as a result of which they are literally and figuratively en route and they regularly change their place of residence. Stopover is therefore a temporary haven. The design of Stopover represents my personal quest within architecture, urbanism, literature, 86
philosophy and art. The research that is the basis of the design is a reflection of existing theories about how people live together. The themes of mobility, dynamics, individuality and spare time play an important role in the project. My research revealed that amassing capital and property, and the commuting involved in that, numbs humans. We subsequently try to desperately secure and preserve that property. We do this by creating forms of enclosure and exclusion, behind which we subsequently lock ourselves away voluntarily and in individuality. As a result of that, we waste our spare time in boredom in the car, the bourgeois house or the anonymous flat. This research led to the development of a building in which a dynamic and communal life is facilitated. People are spurred on to be able roam through life through stimulating social situations and creativity. This does not happen automatically: an intermediary space is needed for communal life; an overlapping space that connects people. Stopover makes it possible for residents to roam. Large groups of people can comfortably live together in the building, without having to surrender their privacy and individuality. Graduation date: 10 September 2018 Graduation committee: Laurens Jan ten Kate (mentor), Vibeke Gieskes, Bruno Vermeersch
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Each communal space has its own characteristic appearance, as a result of which they are recognisable within the generic building structure.
The building facilitates an optimistic new type of housing in which mutability and freedom are embraced. The spatial design is a representation of the dynamic use.
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Onno Kamer
Each resident inhabits one of the hundred private spaces. These spaces are compact and satisfy the need for privacy and comfort.
The Arcades Project of Walter Benjamin focuses on 19th century Paris. Before Haussman introduced a rigid consistency, the city was still a dense labyrinth. At that time, building owners worked together in order to transform streets into passages. That cooperation, the communality and the application of new technologies and materials, such as glass, steel and gas lighting, made the realisation of passages possible. According to Walter Benjamin, the passage is the world in miniature. It is a space to wander through. It serves as an intermediary space between separate buildings and streets, where informal encounters can take place.
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meter box plant entrance books
laptop cd-player + cd’s
sitting area
Based on the analysis of my own home, I concluded that this is chiefly an expensive storage space for unimportant belongings. This served as the motivation to think about a more sustainable manner of cohabitation.
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Onno Kamer
Writing the texts and building scale models were my most important means of research. The continuous act of building and writing led to the ultimate design.
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GRODZKA CONTEMPORARY CULTURAL BUILDING ON THE GRODZKA ISLAND IN SZCZECIN, POLAND
Paulina Kapczynska Although Grodzka Island is located in the heart of the city, many citizens of Szczecin have forgotten this piece of land. The island is surrounded by a very strong historical context of the popular cultural centre and an upcoming new hotspot in the city: the post-industrial harbour. Today, the city of Szczecin is Polish, but it has had multiple cultural personalities throughout history, such as Danish, Swedish, Prussian and German. Cultural independence, ownership of culture and active participation therein, as well as buildings especially designated for culture, have been neglected issues for many years. Grodzka Contemporary offers a design strategy for the whole island. The main goals were to introduce more permanent public access to the island from the popular left bank of the river, to encourage more permanent occupation on the island, as well as to create space for new activities along the main public path. One of the main design interventions was positioning an art gallery on the south end of the island. The building houses a broad cultural 92
programme in the plinth, as well as a collection of individual gallery rooms on the floors above. Each gallery has its specific characteristics and expression and opens up towards the city's cultural heritage; physical relics left behind by the countries that once were in possession of the city of Szczecin. As part of the concept of individual galleries, two artists in residency sheds are located within the allotment gardens, allowing the artist's creative process to be displayed to public. The sheds are located along the modulated and subtle pathway through the landscape of exciting tiny private garden sheds leading to the main gallery building. This project is my personal search for a building offering a new kind of democracy within the contemporary cultural context in Poland — an island that is not used, for various historical and political reasons. The aim is to give people the opportunity to express themselves publicly or provide alternative views on culture. It is an important issue at this moment, as the world is growing more conservative, both culturally and politically. Graduation date: 3 October 2018 Graduation committee: Jo Barnett (mentor), Maurizio Scarciglia, Hiroki Matsuura
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Axonometric projection of the gallery building. View of the south end of the island.
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Paulina Kapczynska
Historical traces. An overlap of the city borders between years 1500-1900. The Odra River and the island as constant elements in city's development.
Nolly map. The scope of the project within the city context. The island as a stepping stone between the cultural city centre and post-industrial harbour.
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Public ground floor during workshop activity. The patio as an opportunity for a free gallery display.
The harbour gallery. Horizontal window exposing the harbour landscape, the background for the displayed works of art.
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Paulina Kapczynska
An informal scene at the entrance to the Gallery. Odra river freezes each year, ice skating is therefore a popular activity. Art meets culture.
Unique collection of individual gallery rooms, each with its specific characteristics and expression.
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THE BREEDING TOWER FROM MONUMENTAL VACANCY TO CULTURAL HOTSPOT
Laurence de Kort When the demand for clean drinking water arose in the early 1930s, water company PWN held a competition to design a water tower. This tower had to be erected at the edge of the heathland in Laren. The condition was that the design had to be in keeping with the landscape and that the tower would serve as a lookout for the public. In 1933, this water tower and the adjoining buildings were erected, based on a design by Wouter Hamdorff, an architect from Laren. The A1 motorway now borders the complex. The water tower has lost its original function due to the development of modern systems and technologies. The tower is vacant. As it is a nationally listed monument, it is important to give the tower and the adjoining buildings a new function. In this way it can reinforce the original public backing once again and preservation will also remain guaranteed in the future. Laren is traditionally an artists’ village where people have come from various angles, deviating from the prevailing artistic norms, to experiment with new 98
forms of expression. The small rural centres in the attractive surroundings of the heathland and the forests formed ideal spots to be able to create in isolation. The artists sought inspiration, among other things, in the unspoilt nature. The heathland area around the water tower was one of those areas. The original community of artists has largely disappeared. It is now known as a ‘country residence for the Amsterdam elite’. In order to offer a platform to professional and amateur practitioners of the art, a ‘cultural hotspot’ is an obvious interpretation for the water tower and the adjoining buildings. The diversity of the programme — an exhibition, studios, meeting places, catering establishments and theatre — demand a multiplicity of spatial qualities. The new additions fit in with the existing qualities in an obvious way. In this way, the cultural hotspot will be a home for creative and performing artists — professional and amateur — and a welcome spot for visitors and passers-by. It also forms the stepping stone to the surrounding heathland area. Graduation date: 27 August 2019 Graduation committee: Bart Bulter (mentor), Thomas Dieben, Marieke Timmermans
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Water tower as prominent centrepiece. The water tower is the most important building in the ensemble. Additional programme is connected to this and is oriented towards the tower.
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Laurence de Kort
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Master plan. The water tower provides studio space for the artist in residence; the extension provides studio space for the local amateur artist. Visitors can come to the exhibition space and the new restaurant.
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Laurence de Kort
Existing Extension
Overview extension, programme, orientation and routing.
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HET ACHTERHUIS A PLACE TO HIDE FOR EDWARD SNOWDEN
Paul Kuipers Het Achterhuis (The Rear Annex) is a spatial manifesto to address the importance of transparency, a fundamental digit in our democratic system. Het Achterhuis is a place for Edward Snowden who revealed important information about how governments and corporations are monitoring the population and stealing their data in order to manipulate it. It forced him to run away and he ended up stateless, requesting and being granted asylum outside of his own society. Time and again, we see that people who fight for openness have to encrypt themselves; running and hiding, or even worse, losing their citizenship. Het Achterhuis is a place to hide for Edward Snowden in Amsterdam, which is, according to writer Russel Shorto, one of the most liberal cities in the world. This paradoxical theme of revealing by hiding became the foundation for starting a mass versus void study. It was an architectural tool to research the interrelationship of spaces. Het Achterhuis aims to attack a legible organisation of spaces, which would have been the most obvious 104
choice when we think about transparency. Instead, it tries to confuse by introducing a mystery in the spatial order. Het Achterhuis is a labyrinthine configuration of spaces. It refers to the strategic function of the labyrinth to confuse, as well as to its ability to entertain and reflect. Het Achterhuis reinterprets a typical Amsterdam typology of the canal house and re-enacts the internal gardens of the 17th century canal belt as a place to hide. The paradox of revealing by hiding demands an ambiguous place. It can never be a single shelter for the individual, who, in the case of Snowden, serves a public debate. Het Achterhuis therefore functions as a server in the community. It simultaneously protects the individual and makes connections within the collective. Het Achterhuis functions as a firewall for Snowden, as a server with public programmes and as a gateway for passers-by. That means that the inhabitant becomes a host for public events in the private realm. At the same time, Het Achterhuis adds a new event to the city: a cryptic pass-through in the urban fabric. Het Achterhuis hides and reveals at the same time. Graduation date: 21 February 2019 Graduation committee: Machiel Spaan (mentor), Marlies Boterman, Ronald Rietveld
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Connection. Het Achterhuis is an elongated Wall of Rooms in the middle of an Amsterdam building block. It is both a building and alleyway, both a wall and park, both a house and city.
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Paul Kuipers
Model. Het Achterhuis is a connecting building between the Herengracht and Keizersgracht. In addition to being a residence for Edward Snowden, it contains a number of collective programmes.
Interfaces (Facades). Het Achterhuis cuts through the Voorhuizen front part of the houses and announces itself in a mysterious way on the canal. The public entrance is carefully concealed around the corner on the right-hand side.
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Forum, perspective. One of the public spaces in the building is The Forum. It is the place where the public and main occupant can enter into debate with each other.
Forum, interface
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The Leak (Panorama Room). The Leak is the central space, placed on the longitudinal axis of the courtyard garden. It ‘reveals’ the courtyard garden and above all makes an encounter with the residents of the house possible.
Forum, cross-section
Paul Kuipers
Interface front part of the house. Het Achterhuis cuts through the front part of the houses and announces itself in a mysterious way on the canal. The facade of Het Achterhuis interacts with the front part of the house by turning functional elements inside out.
Cast models. The mass-void studies using cast models was chosen as a method to spatially examine the contrasting themes like physical-virtual, privatepublic, individual-collective.
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BETWEEN CITY AND FRONT DOOR A LIVING ENVIRONMENT TO COMBAT SOCIAL ISOLATION
Alvaro Laanen Baca Like many other cities, Amsterdam has a high percentage of lonely residents. As Amsterdam's district Osdorp comes top of the list, it was chosen as the location for Between City and Front Door. The atmosphere of the neighbourhood is defined by high-rise buildings and neglected public space. The newly-added housing block combats this by entering into relationships with the neighbourhood and creating new conditions for encounters. The design consists of two layers that cannot be considered in isolation from each other: public space on the ground floor and a residential community above that. The design encompassed both layers on the three scale levels: The Public, The Collective and The Private. The Public. The inner courtyard, flanked on three sides by the new project, is inviting to the neigh bourhood due to the cycling and walking routes. This public space gives access to the public functions on the ground floor as well as to public ‘towers’ that ensure active (spatial) contact between local residents and inhabitants of the complex. 110
The Collective. 'Collective towers' give access to the street level. That is also where the entrances and various shared spaces are located, including a bicycle storage space, a guest room and a kitchen for the residents. The project consists of eight U-shaped housing blocks, each consisting of eight homes around a shared patio. A multi-level landscape within the complex offers a surprising routing and each patio has a difference in elevation in order to create a spatial distribution and sense of intimacy. The Private. Five types of apartments were designed, housing a mix of residents. Elements of the homes strengthen the relationship between the home and the neighbourhood. The front garden, for example, is a place to sit outside and a bay window on the first floor offers a view of the patio and the neighbours. The public, collective and private area were designed from an urban planning level down to the level of detail, to offer the residents a feeling at home and to offer encounters with the neighbours and local residents. Graduation date: 9 July 2019 Graduation committee: Jeroen van Mechelen (mentor), Uda Visser, Ard Hoksbergen
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This section shows that public, collective and private spaces are inextricably linked in this plan. Both large and small businesses from the neighbourhood work in the public space on the ground floor. The public programme rises through to the collective part of the residential community on the first floor at specific points. The businesses can make use of the patio there. The homes are situated on the patios. The front gardens provide a natural transition zone between the collective and the public area.
In response to the surrounding high-rise buildings, the project remains compact and low for the benefit of visual contact and encounters between residents and neighbours.
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Alvaro Laanen Baca
Each housing block consists of a small-scale community of eight homes, within which there is a place for encounters in an accessible manner.
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Via the collective towers, residents come into the intimate and communal patios, each of which is enclosed by eight homes.
On the first floor, the bay window offers a view of the patio, but this also serves as a place of reflection for the resident.
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Alvaro Laanen Baca
From the homes, carefully designed elements, such as the farm door or lowered fenestration, provide a strong relationship with the outdoor space, as a result of which it’s possible to make contact with the neighbours more easily.
The building opens onto the neighbourhood and via the public towers the public space is connected to the residential community above.
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THE SALOON OF HAFEZ A PLACE TO DELVE INTO, ACKNOWLEDGE AND PRACTISE POETRY
Hoeshmand Mahmoed Poetry can enrich, connect, delight and abhor at the same time. According to the poet Paul ValĂŠry, humanity needs poetry in order to experience its emotions afresh and in a different form. Hafez, the greatest poet and mystic in Persian history taught us to experience our emotions, which are filled with love, lots of love, again and again and in a different form each time. The problem nowadays is that this art form is becoming increasingly lost in society; the appreciation for it seems to be lacking. The Saloon of Hafez brings the power of poetry closer to the people in Amsterdam. Like a caravanserai along the Silk Road, dancing with the contours of the park, the Saloon of Hafez greets its reflection in the water.
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This is the Saloon of Hafez, where the wine of love is poured. This is a place for the community of poets, the poet is a visitor there and the visitor a poet. This is a place to delve into, acknowledge and practise the language of the gods, this is a place for poetry. A place for you and me. Low, between the birches, behind the brick walls, a labyrinth can be found with a thousand and one stories. I come closer to the poet here, I become part of a continuous sequence: of a story in a story in a story. Graduation date: 27 August 2019 Graduation committee: Laurens Jan ten Kate (mentor), Milad Pallesh, Abdessamed Azarfane
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Between the birches, low behind the brick walls, a labyrinth can be found with a thousand and one stories. I come closer to the poet here.
This is the Saloon of Hafez for the poets’ community, where the wine of love is poured. Poetry. The poet is a visitor and the visitor a poet.
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I become part of a story in a story in a story.
Hoeshmand Mahmoed
The main recital space, a space in a space, where the visitor and poet come together, where the poet is the main focus and poetry is created. This space can be entered from three sides. As audience you briefly become a poet on the stage, because there is only one option for taking your place as audience.
The workshop space = the round table, the round table = intimacy, intimacy = connection, connection = composing verses, composing verses = poetry, poetry = creating, creating = learning, learning = discovering, discovering = meeting, meeting = sitting round the table.
A courtyard garden that is directly connected with the park forms the entrance, the beginning of the story. While I stand face to face with an enfilade of stories, I choose one of the two doors in a brick surface.
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The Saloon of Hafez is a labyrinth. A place to discover, acknowledge and practise poetry. The encounter is the most important thing. It is a place to come closer to the poet, closer to each other.
The section shows the different layers. Each layer relates differently to practising and experiencing poetry.
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Hoeshmand Mahmoed
The Crown
The Human
The Earth
The building sits like a caravanserai along the Silk Road, dancing with the contours of the park, it greets its reflection in the water.
The Crown — The crown is the spiritual layer that is physically inaccessible. This is the layer that symbolises the practise of poetry. The Human — The Human is a tangible, more natural experience of the building. This layer symbolises the discovery of poetry. Narrow and elongated bricks in combination with wood line the aboveground spaces. These spaces are connected everywhere to the park and the labyrinth. The prevailing feeling is freedom. The Earth — The Earth is the most intimate layer of the building. Everything under the ground level falls under this layer. It is made of concrete; entering the earth signifies the transition from brick to concrete. The deeper you enter the earth, the more intimate the spaces. As a result of this, you become increasingly detached from the park. This is the layer that symbolises the acknowledgement of poetry. The visitor can see and feel at all times here.
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THE HOUSE OF THE MILLENNIAL A PLACE OF ONE’S OWN BETWEEN MEETING AND RETREATING
David Meijer Millennials. A collective term for anyone born between 1980 and 2000. A generation that is also referred to as Generation Y. I also belong to that group. It is a group that often still lives together with house mates, but starts looking for a place of its own between the ages of 25–35. The potential for having a place of one’s own is becoming smaller and smaller. A small studio in an anonymous residential block is the rule rather than the exception. The current, available types of housing do not fit the housing needs and the lifestyle of the millennial. Generation Y longs for an urban environment and a high level of amenities. A new type of housing is needed that forms an extra step in your housing career, in which everything revolves around experiencing, interacting, meeting and retreating. On the basis of everyday rituals, I defined four scales for the building: from urban layer to one’s own place. On the basis of the place in the city, one’s own place in the building and the definition of home, I united the transition between meeting and retreating. 122
The location on the Jan Evertsenstraat is situated at the transition between the 19th century city and the 21st century expansions of Nieuw-West. It is an urban axis that connects the Dam and the Sloterplas. The positioning of the building and the programme in the plinth ensures that the building ties in with the amenities and functions in the neighbourhood. An urban front garden forms the transition to the housing from this urban location. An informal route runs past collective squares in the building that provides space for relaxation, hobby and meeting. This route and collective functions are enclosed by the residential clusters that form the transition between the meeting and retreating. These residential clusters consist of ten to sixteen housing modules. The most intimate rituals take place here, which contribute to the homely atmosphere. The modules are divided into functional, compact spaces. The cluster street houses general amenities that are shared with your direct neighbours. The design of the housing module provides a new home for the millennial with the assortment of collective and urban spaces. Graduation date: 26 August 2019 Graduation committee: Laurens Jan ten Kate (mentor), Hans Hammink, Bruno Doedens
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The interior walkway as urban layer that connects functions in the plinth and makes visual connections with the housing in the upper world.
Urban integration with elevation accent. The collective functions are visible as double-height large windows in the mass.
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David Meijer
Cross section that shows the sequence of scales and routing through the building.
Plan third floor. The urban front garden forms the transition, the collective kitchen the heart of the building and this is bordered by the first residential clusters.
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The housing module. The kitchen forms a transition, closed off physically and/or visually, between the cluster and one’s own living space, sleeping area and sanitary facilities.
The everyday rituals of the millennial per scale level. One’s own place up to and including the urban layer in the building constitute the house of the millennial.
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The double-height cluster street with daylight, meeting space, shared amenities and the connection with the housing module.
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VIVIR JUNTOS A PERSPECTIVE ON THE ARCHITECTURE OF INTERNATIONAL RETIREMENT MIGRATION
Dirk Overduin Vivir Juntos (Living Together) reflects on the architecture and urbanism that has come to dominate the coastal areas of Spain in recent decades. The purpose-built developments, mainly urban sprawl, accommodate hundreds of thousands of International Retirement Migrants (IRM) who, seduced by sun, sea and Mediterranean life, have decided to take up permanent residence in the region. The urban sprawl typology has failed in many areas. It is characterised by high-energy consumption and a lack of amenities and public services. It has had an irreparable impact on the land and its ecology. The quality of the properties is reported to be poor and social integration has been a failure. The absence of a social network gets problematic when a person’s age and (informal) care become crucial to maintaining one’s independence. These problems result in forced relocation or remigration later in life. Social integration and the formation of social networks are crucial, therefore, when it comes to the quality of life in one’s latter years. 128
In the coming decades, the population of Europe will rapidly grow older and IRM is expected to keep growing. Vivir Juntos aims to fuel the discussion about this phenomenon with new models of coexistence, as a catalyst for the change that is needed. The project focusses on Aspe (Alicante), a typical village that is currently the subject of interest to developers. The historic urban fabric is characterised by a serious number of vacant buildings and empty plots. The redevelopment of these plots and buildings is a unique opportunity for migrant retirees to live within the local community and develop a durable social network. At the same time, it has a positive impact on the (now shared) physical environment and local economy. This social strategy requires a specific spatial approach. There is no ‘one-size-fits-all’ solution. Through three case studies, which are representative of the local conditions, Vivir Juntos aims to prove the spatial quality and economic viability of this new model of coexistence: living together. Graduation date: 7 July 2019 Graduation committee: Gianni Cito (mentor), Jarrik Ouburg, Marta M Roy Torrecilla
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The first case study focuses on two vacant buildings along the Plaza de San Juan. Following a collective housing scheme they are renovated to house four senior couples.
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The existing situation was the starting point of the renovation, working from the potential of the original layout, materials and finishes.
The main intervention at site one is the creation of a central collective court that connects all private and collective spaces, and creates a transition to the public square.
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The second case study focuses on one vacant building and a larger empty plot. Young families and senior couples live together in a multigenerational collective.
At site two, the collective is formed by the architectural coherence of the three buildings that are connected through a collective courtyard.
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The collective house combines small private spaces such as a bedroom and a bathroom, with large collective spaces to provide the same programme as a luxurious suburban villa.
Dirk Overduin
The third case study focuses on a large empty plot along the busy Calle San Jose. The assisted living apartments together create a central public square.
The broad collective gallery functions as an element of connection between the private apartment and the public square. Wall openings have integrated seats.
The bakery, cafĂŠ and post-office outlining the public square of site three connect the building and its inhabitants to the city.
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AN (EXTRA)ORDINARY ROW OF HOUSES A TRANSLATION OF THE UNCHARTED ROMANCE OF GROWING UP IN A TERRACED HOUSE
Richard Stuart Proudley I grew up in a perfectly normal row of houses in a perfectly ordinary street. A hidden romance appears to be harboured in my everyday memories of that house. Nine written memories form the basis of this plan. The design is moulded from the memories. On the banks of the street where I grew up, there is a piece of no man’s land filled with forlorn allotments. Once there was an orchard with poplars, elms and maple trees where I used to build tree huts. You could only reach the no man's land via the gates and the rear access of the street. The piece of land is still flanked by remaining poplars and an unbridgeable ditch. Nine ensembles for new row houses will be divided over the piece of no man’s land. The generation that grew up in this area and moved away will come back again, just like me. The memories of what was, translated into what is. Across the ditch, stone bridges that follow naturally from the gates give access to the forlorn no man’s land. Grey-white birches make it into an 134
orchard once again; a stone, uniform mass is scattered therein. As soon as you touch the bridge and cut through the row of poplars, you arrive home. In the orchard, collective flower gardens can be found between the ensembles, where mothers can walk with their son. The ensembles are made of stone, the material that defines the public domain. Differences in patterns and small differences in height subtly indicate the borders within these stone rooms. The birch grove continues into the ensembles where the roots will ultimately transform the patterns of stone. From the stone rooms, you enter the wooden hut. A feeling of security is prevalent there. The living rooms form the transition zone between the more public and the private spaces. From the wooden hut, you always look at a pair of large friendly birches. On the ground floor, you look past the flaking trunks. Above, you look out over the roof landscape, while the crowns of the trees provide shelter. In the wooden hut, the floor and the stairs creak, a door flies open out of nowhere in the winter. The wooden hut is a room in the attic, the most sheltered spot of the plan. You sit in the large windows and see the clouds pass by past the crowns of the birch. Graduation date: 28 February 2019 Graduation committee: Jo Barnett (mentor), Vibeke Gieskes, Jo van den Berghe, Uri Gilad
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Nine ensembles on the bank of the street.
The ensemble of six homes and their connections.
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Richard Proudley
The stone ensemble of six terraced houses connected to each other.
Nine memories as the basis of this plan, from which the design is moulded.
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One of the distortion models of the terraced house where I grew up in.
The new birch orchard with the old street as canvas.
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Richard Proudley
The stone room and the entrance of the home.
The ground floor where the stone room runs into the wooden hut.
The wooden hut and the front garden.
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A SENSE OF HOME THE INTERSPACE AS OPPORTUNITY TO IMPROVE SOCIAL NETWORKS FOR THE HOMELESS
Patrick Roegiers A Sense of Home arose from the fascination about how and when someone feels at home and the question how this would work for homeless people who have no house or home. Architects should expose social issues and look for spatial solutions to them. There is a great sense of urgency in this regard among the growing group of homeless people in the Netherlands that paradoxically presents itself as a welfare state. As long as the problem is not put on the agenda at state level to a sufficient extent, bottom-up alternatives must be sought. But what do the homeless actually need? In order to investigate this, I lived on the streets in Amsterdam for a week. One of the most important insights was that homeless people view their neighbourhood as home, but rooms are missing in their ‘house’. Their ‘living room’, ‘bedroom’, ‘kitchen’ and ‘bathroom’ are spread across the city like a fragmented network. As a result of this, they move to places outside the city, which causes stress, anxiety and physical suffering. Because there are 140
enough unused spaces and residual streams in the city, we could use these to be able to better facilitate the daily needs of homeless people. I made two rooms in the neighbourhoods where the need is greatest: a kitchen at the Dappermarkt, called the Dapperkeuken (Dapper Kitchen) and a bedroom in the Jordaan, the Bedsteeg (Bed Alley). Waste served as the basic material. Waste products from the market were used to cook in the Dapperkeuken; the Bedsteeg was made from collected waste cardboard, which was pressed and treated as a new modular building material. I conducted these experiments with family and friends. The act of coming together with a shared purpose, created a sense of connection at a local level. Although the people from the neighbourhood had their doubts in the beginning, they became increasingly involved in, and part of the project during the process. The role of an architect and creating architecture is open to question nowadays. This project shows that architecture is much broader than simply building. If you listen, look and collaborate, architecture is no longer a goal in itself, but an element that fosters social connection. Graduation date: 27 February 2019 Graduation committee: Machiel Spaan (mentor), Lada HrĹĄak, Merijn de Jong
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The homeless network. All the functions that are provided for homeless in the city, showing a fragmented and missing network.
Towards virtue. Providing a place to sleep and eat for homeless in their immediate neighborhoods. Connecting social needs with spatial solutions.
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Patrick Roegiers
The Dapperkeuken. A kitchen at the Dappermarkt that uses the waste from the market to prepare meals for homeless.
Scale model 1:20. A spatial study for atmosphere in a narrow space, using height as a spatial element for quality.
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Interior. The Bedsteeg. Windows made from layered corrugated cardboard to filter and get light in, plus windows in the side walls to frame adjoining walls for atmosphere.
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Patrick Roegiers
The Bedsteeg. A bedroom in the Jordaan made from waste cardboard. Installed high up between the walls of the alley.
Exploded view. The Bedsteeg. The modular cardboard elements interlock, and the treated carboard provides shelter from wind, cold and rain.
Building process. Installing the Bedsteeg in a narrow alley with the help of a scaffolding system and friends, family and the neighbors.
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THE SIXTH RING A PERMANENT LOCATION FOR THE WINTER OLYMPICS
Bram Ruarus The Olympic Games bring a lot of publicity, awareness and investment opportunities to the organising countries and cities. Nevertheless, this Olympic medal also has a reverse. After the Games, there are often cases of bankruptcies and vacancies when it comes to the recently built sporting and accommodation complexes, resulting in abandoned areas and general disillusionment. The Sixth Ring is a design research into a permanent location for the Olympic Games, making use of new architectural design techniques. The Olympic Park in the Norwegian city of Lillehammer has a lot of potential for flourishing once again as a vibrant and permanent winter sports centre. The hybrid stadium will host sport, housing and recreation. This mix will provide a nice living environment, which can be used in the intervening period between the Games. It will serve as a catalyst for the city and its surroundings. The stadium is circular and follows the rising line of the landscape. The centrepiece is a conventionallooking stadium, which fans out upwards like two 146
hands formed into a bowl, in which the seating merges into an increasingly steep slope with apartments. Visitors approach the stadium via the wide square at the front and move from the foyer to the surrounding seating, or simply come for the atmosphere and the community, and make use of the functions on the facade and in the gallery. Residents approach the stadium by foot to the entrances at the sides. Inside, they move across closed galleries to the two inclined funiculars, which bring the residents to their own floor. Another way for gaining access to their home is the parking on their own floor, after which they can go straight across to the apartment. Each resident can enjoy their own personal skybox from the living room and from the spacious roof terraces. Extensive use was made of 3D modelling software and Virtual Reality for the final result. These tools were able to accommodate the complex programme and show the different stacked structures. Moreover, each design step could be tested from the human perspective. In this way, the graduation work is a test case and a plea for making use of new techniques that make it possible to design on the basis of human scale and experience. Graduation date: 9 May 2019 Graduation committee: Rik van Dolderen (mentor), Paul Vlok, Hiroki Matsuura
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From the higher roof terraces, the residents have an unobstructed view of the arena and they are directly connected with the immediate neighbours.
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Bram Ruarus
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Aerial view: Everything in and around the building revolves around sport, living and recreation.
Map showing that everything in and around the building revolves around sport, living and recreation: 1. Olympic Stadium 2. Olympic square 3. Promenade 4. Tennis courts 5. Athletics track 6. Football fields 7. Sloping expanse of grassland 8. Goods entrance 9. Student accommodation 10. Birkebeineren Hotel.
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Bram Ruarus
QR codes for Android that give access to the 3d model of the building and environment.
The longitudinal section provides insight into the world under the ground and shows the way in which the building blends in with the rising line of the landscape. The front and rear facades are the same as each other.
The foyer has a robust appearance as a result of the use of cast-in-situ concrete and polished floors.
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KRASNAPOLSKY THE LOST HOTEL
Job van der Sande The human city consists of stories, memories, which are borne by events; events that take place in this city, outside on the street, on the squares, in the alleyways, the doorways, the bar, the gardens, the houses and in the rooms of the houses. This project is an ode to this human city, which forms our home through intuition and instinct. The city in which people create spaces and in which people adapt to the space that they use. The city is dynamic and transforms in a constant static of adjustments. Streets are dug up, sewers are renewed, foundations are strengthened. Each adjustment offers new opportunities, as a result of which the perspective on that same city changes. Creativity is stimulated by this change and provides freedom for new developments. The case of the Krasnapolsky can be interpreted as precedent and demonstrates how we can utilise space that gradually arose in our cities evaluated by humans. The project shows how a small cafĂŠ developed into a gigantic hotel in the city centre of Amsterdam. It also demonstrated that we find 152
ourselves at a turning point: it is a company that has grown increasingly detached from the city due to takeovers and growth and is no longer borne by the residents. The process of layers being added by human hands has failed in the Krasnapolsky. Krasnapolsky — The Lost Hotel is a search for the possibilities of this centuries-old human city. It shows how it is constructed and how seriously we need to make the choices about what to preserve or discard. It is important to understand which choices were made to discard programmatic details of the city, and why? Can patterns be discovered therein? Krasnapolsky — The Lost Hotel is an ode to the human city. Through the opening of interspaces and the reinterpretation of the lost programme of the hotel on Dam Square, the project emphasises the possibilities and opportunities for the implementation of public functions in unused spaces that have arisen over the years on, under, between and in the hotel complex. Graduation date: 9 July 2019 Graduation committee: Lada Hršak (mentor), Wouter Kroeze, Uri Gilad
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X-ray axonometric projection of the lost spaces of Krasnapolsky.
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Job van der Sande
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1853–1870
1892–1903
Accumulation of historical layers.
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2017
Timeline of the creation of Grand Hotel Krasnapolsky. Map of hidden spaces.
Axonometric projection of the hotel complex with the spatial interventions of the lost hotel above, below and in-between.
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Job van der Sande
The lost gardens of Krasnapolsky.
The evolution tower.
Entrance of the interspaces.
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LIFE IN THE YARD
Tristen Vreugdenhil In the ribbon village Anna Paulowna, situated in the polder in the northern tip of the province of Noord-Holland, my grandpa cultivated the fields of his farm for decades. Just like the generations before him, he passed this on to his son. He continued to work on the farm for years. Around the turn of the century, this tradition came to an end: the farm had to make way for industry and glasshouse horticulture. Grandma died and grandpa moved to a senior citizen apartment in the village. In that same year, he saw how the place disappeared. He not only lost his native soil, but also his lifestyle, his social network and the place that provided his identity for so long. From being a fit man, he suddenly aged years and his only wish was to be reunited with grandma. A living environment for elderly people that is in keeping with their lifestyle — a culture of cooperatives, clubs and associations, and support for each other — is often still lacking in the countryside. With the increasing senior population, it will be an issue in many municipalities in the Netherlands.
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For my village of Anna Paulowna, I found a forgotten place between the village centre and polder land that is ideally suited for senior citizens’ accommodation. I used ingredients, derived from the old family farm, as the basis for creating a new form of collective senior citizens’ accommodation. The basis of the design is a patchwork of yards and barn homes, which form a relationship with the environment. The barns sometimes touch or overlap each other and shape a landscape with a rich mix of interspaces and yards, each with its own identity and collective programme that reaches out to other inhabitants of the village. The senior residents all have small comfortable homes and a few luxury collective functions, which are positioned in such a way that it invites to lead an active life and roam around the yards. It is stimulating interaction and togetherness, thus reducing the demand for care and creating a climate where elderly people from the countryside can grow old in a place where they feel at home. Graduation date: 10 January 2019 Graduation committee: Machiel Spaan (mentor), Ira Koers, Milad Pallesh
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Integration of the collective living environment in the 'ribbon village', a patchwork of yards and barn homes. The barn homes are, surrounded with collective functions and yards.
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Tristen Vreugdenhil
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The spaces per home in the residential barn: kitchen (collective), reception room (private), conservatory (private), patio (shared with the neighbour).
The ingredients for the design are derived from the former farm.
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Tristen Vreugdenhil
The barn homes define the yards.
The orchard, a place to meet each other.
The former family farm.
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The farm as production landscape, a self-sufficient whole with space for humans, plants and animals.
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URBANISM
URBANISM OR THE DISCIPLINE THAT NEEDS TO REWRITE THE OPERATION MANUAL TO SPACESHIP EARTH — IN ONE GENERATION In 1969, Richard Buckminster Fuller published his book Operation Manual to Spaceship Earth. It was at this moment that mankind landed on the moon and when it seemed like it would only be a matter of years before humans became a multi-planetary species. But it was also the moment when the fragility of spaceship earth found its visual expression in 'Earthrise', the picture taken from the moon by the crew of Apollo 8. Never before had people seen how vulnerable our existence actually is. Fuller — already back then — understood that to keep our spaceship operating, it needs to be maintained. Today, 50 years later, we have to conclude that maintenance has been insufficient, resulting in irreversible damage to our climate. To deal with that, and to avoid the situation from becoming worse, we need to take action. With an increasingly larger proportion of the global population living in cities and with building, energy production and transport being the largest source of emissions, cities are key to finding answers to that challenge and it is our task as urbanists to lead this process. 166
Markus Appenzeller
We do not have much time to do that and — to achieve this monumental task — we will need to rethink the city and how we reorganise our habitat in such a way that earth can remain our spaceship in the future. In recent years, these strategic tasks have become increasingly important. Urbanism is not only about beauty or improvements to the quality of life of individual residents; urbanism is about changing the operation manual to spaceship earth as a whole. The graduates in Urbanism at the Amsterdam Academy of Architecture take this task seriously and they show that solutions are possible. They provide answers to climate change challenges in a proactive and forward-looking way. Both graduates, Ania Sosin and Andreas Mulder, rewrite part of the manual of the respective cities they worked on: Warsaw and Amsterdam. Both tackle a particular urban system, but they do it with a totally different approach and differing results. Ania redefines the river Wisła as a natural ecosystem that can be accessed and protected right in the middle of a city in a unique way. Andreas reintroduces water transport of goods into the city of Amsterdam, building on the past, while adjusting and updating the system to suit contemporary needs and technologies at hand.
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The results should not be seen as austerity measures in light of the extinction of the human race, but as leaps into a better future — a future that can shine as bright as it did in 1969 — but this time with change that is not confined to mere words in books, but which unfolds in our cities. Markus Appenzeller Head of Urbanism
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Markus Appenzeller
THE BATTLE OF AMSTERDAM A LIVEABLE CITY THROUGH A NEW MANNER OF URBAN DISTRIBUTION
Andreas Mulder The liveability of cities is under pressure worldwide. The shift from an industrial manufacturing economy to a service economy or a so-called knowledge economy is primarily taking place in urban regions. This is resulting in larger, busier and more popular cities. Forecasts from the United Nations predict that approximately 70% of the global population will live in cities by 2050. Without intervention, this increasing urbanisation will lead to shortages in the housing market, more C02 emissions, traffic congestion, logistical problems, mass tourism and reduced public health. The liveability that is under pressure is a generic problem in European cities. A new perspective on the city is needed. This project is based on trends that demonstrate a noticeably sustainable and future-oriented lifestyle. The city functions as the urban dweller’s living room herein: all facilities are in the vicinity, there is a growing bicycle culture, car ownership is falling, use of public transport is rising and the demand for a green and healthy living environment is increasing. In order to 169
facilitate this sustainable lifestyle, a specific solution is needed for each city. In the case of Amsterdam, the solution lies in a systemic transformation of the urban distribution. While the centre of Amsterdam was dimensioned to cater for horse and carriage, large, heavy lorries now use it. That has chiefly negative and costly consequences: high C02 emissions, noise pollution, road accidents and material damage to quays and bridges. This problem will only grow worse given that logistics is expected to grow by approximately 400% worldwide. My design for Amsterdam is based on a systemic transformation in the urban distribution from land to water, in which the flow of goods from coarse to fine (lorry — goods boat — small-scale electric transport respectively) will be directed via logistics hubs. These logistics hubs, divided into urban hubs and district hubs, exert control over the logistics flows and therefore also over the liveability of the city. This new manner of urban distribution makes it possible to develop a liveable city of the future and creates space for the sustainable lifestyle of the 21st century. Graduation date: 10 July 2019 Graduation committee: Martin Aarts (mentor), Ton Schaap, Marc Verheijen
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Andreas Mulder
New urban plan for the Coenhaven and Vlothaven ports with integrated logistics urban hub.
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The proposed system with three modalities: freight traffic (yellow), goods boats (blue) and small-scale electric traffic (orange).
The current logistics system, scaled according to intensity.
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View from the urban hub over the largest harbour basin of Haven-Stad. The park is part of a public route along the water.
Front elevation of the logistics urban hub with space above for shops, sports facilities and a public park.
View from above of the district hub in the city centre with broad bicycle streets, walkways and seating areas by the water.
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The system is also applicable to other cities. The regulation of the traffic flows, from coarse to fine, is the guiding factor in this respect.
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VAVALAND AWAKENING A SLEEPING BEAUTY
Ania Sosin Warsaw is an example of a city with an impressive rate of change that took place especially during the twentieth century. In the 1930s, the capital of Poland was seen as being of great, intercontinental importance for its strategically central location. At the intersection between Europe and Asia, Baltic Sea and Black Sea, Warsaw was imagined as a major transit hub and meeting point for political, economic and cultural purposes. One of the goals of the Germans during the Second World War was Warsaw’s total destruction and the creation of a military unit of German soldiers on the remains of the city. The plan was not implemented, even though the damage to the city was enormous. After the war was over, Poland was colonised and made into a Communist state. Urbanism and architecture became tools of propaganda and Soviet domination. The scale of buildings and the sections of streets and squares were designed to overwhelm the inhabitants, to reduce their 175
sense of importance and turn them into an instrument of a system. Parallel with the fall of Communism, a new era began, with capitalism and rampant reprivatization processes. It resulted in an ungraded property law and acupunctural urban planning without clearly defined rules. This era continues to this day, with Warsaw revealed as a patchwork city of former influences. This fragmentation has generated many problems. This thesis is an attempt to look at the fragmentation and chaos of Warsaw and the potential features already available for creating a better city. It is also a document of discovering the importance of the role of human cooperation to facilitate the realisation of a shared vision. Graduation date: 7 February 2019 Graduation committee: Hans van der Made (mentor), Mark van der Heide, David Kloet
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The proposed spatial changes of a selected fragment of the city, showing the relationship between the forgotten river and the over-occupied ridge. From top to bottom: juxtaposition of the designed layers; zones and program; urbanisation; a-biotic layer; existing situation.
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Linear vision of activities along the city spine, the ridge and the river.
Juxtaposition of spatial strategies for the city, created in order to make it more compact and integrated. The ridge and the river as a link between separated districts.
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A masterplan of the selected location (transformation of Pelcowizna district), which is proof that you can densify the city with blue, green and red structures.
The view at the new artificial islands, reconstructed on the basis of the former riverbed.
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The river floodplains as a place for leisure, recreation and resumed contact with the river, which is currently very limited by infrastructure or land ownership conflicts.
An example of an urban interior inspired by the old Varsovian typology that is the city’s identity. Today, the buildings that survived the war are threatened with demolition.
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LANDSCAPE ARCHITECTURE
DESIGN POWER Seventeen sustainable development goals were specified in the 2015 Paris Agreement, as part of the United Nations Framework Convention on Climate Change. More than half of these goals are directly linked to our profession. Landscape Architects feel the responsibility to contribute to these global ambitions more and more. We are currently moving forward at a fast pace as a discipline. Evidently, Landscape Architects think in long terms and large areas, by nature. And just that is needed. Landscape (and urban) design disciplines are used to conduct research and design on all scales; from regional to 1:1 construction scale. In the near future, we will need to scale up our research and design thinking, because of the growing complexity and areas to consider. Design power is needed on the scale of continental landscapes and even the global scale. Landscape architects are system- and structurethinkers, and we are currently broadening our perspective; not only by looking at bigger landscape systems, but also by looking into landscape systems, which are relatively new within our discipline. These include underwater and underground systems, forest ecology systems, the energy production and storage systems, and so forth. 182
Hanneke Kijne
The Landscape Architecture graduation students of 2019 show us that they are fully aware of their responsibility. Not only do they design beautiful new environments. All of them have conducted research into new landscape systems, and have used their research to come up with spatial designs based on that systems thinking, creating new public urban spaces for flora, fauna and humans. Simon Verbeeck has focused his research on the recent droughts that have affected the Flemish landscape. Simon has designed a landscape of 'drinking water batteries' in the metropolitan landscape of Antwerp that form a new green finger structure. This provides new opportunities for water retention, heat stress reduction, recreational values and a new economic model. Charlotte van der Woude has looked thoroughly into the underground landscape system and structure of London, where most of the natural landscape has vanished under the urban fabric. She has made a design for a ‘new nature’, facilitating a whole new type of underground habitat. This will hopefully inspire new ways of thinking about our landscape; perceiving its 3D complexity: under, on and above the ground. Jean-Francois Gauthier has conducted research into the system and possibilities of urban forests. He has made a design for various public spaces in LANDSCAPE ARCHITECTURE
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Brussels that will be connected to each other in the future through the underground system of tree roots. Jean-Francois shows us that urban forests are needed and can be beautiful urban spaces. Francesco Carraso is convinced that the interaction between intense urban living and wildlife could bring new qualities to urban life. He has taken his research on soil types as the basis to design new landscape typologies that welcome different species into the urban environment of Sloterdijk station in Amsterdam. That will create new and interesting encounters and interaction between species in the city. I am proud to see that these students have shown their optimistic responsibility; designing in such a way that different spatial demands are connected and combined, disciplines are integrated and value is always added. Hanneke Kijne Head of Landscape Architecture
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Hanneke Kijne
BEASTS’ CITY TRANSFORMING SLOTERDIJK TO ACHIEVE CO-LIVING WITH NATURE
Francesco Carrasso Designers of the Anthropocene era have to work with and for nature in order to reintroduce its beauty and functionality into our everyday life. As humans, we are colonising every single spot on earth. According to the United Nations, 55% of the human population is currently living in cities and by 2050 this number will rise to 70%. The migration to cities, combined with the growth of the population will result in occupying more natural surface and to the densification of our cities. This graduation project examines the quality that the interaction between intense urban living and wildlife could bring to the everyday life of the citizens of Amsterdam. The future development of Sloterdijk station served as a case study. The Sloterdijk area will be one of the main nodes where a transformation from office area to a mixed-use one will merge with a scenario where encounters with animals occur on a daily basis. Beast's City uses the opportunity provided by the existing soil types to reproduce landscape 185
typologies that will welcome different wild species that already exist in the vicinity of this area of Amsterdam. A network of paths will lead users through the surroundings of one the main stations of Amsterdam. Different types of public space will be developed in order to facilitate the encounters between human beings and wildlife: a benefit that is becoming more and more rare within the city's boundaries. The behaviour of eight species has been studied to ensure encounters. Each animal with its specific habitat will be connected visually and physically with the surroundings where humans work and live, creating an interaction that at present only exists in wild spaces. To co-live with nature, we need to change our way of looking at it, embracing it and bringing it into our daily lives. Graduation date: 28 August 2019 Graduation committee: Roel van Gerwen (mentor), Thijs de Zeeuw, Angelo Renna
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To shape the landscape in the area, the attitude and probable movements in the area of each species has been studied.
I have created remote places for both humans and animals to enjoy their habitat, as well as a place where the coliving can be enhanced.
Each of those principles is translated into a special design that ensures a livable space to create encounters between the different species.
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Recreating natural landscapes in the city will enable humans to live in co-existence with nature in everyday life. Reusing the soil to create landscapes that are in keeping with an area is a way to merge the cityscape with the landscape and to create a new entity in the city that will function as an exchange between humans and nature.
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Around the ponds there will be elevated rock benches for humans to admire the toad’s spectacular life.
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Different moments along the network of paths will enhance the coexistence of human beings and nature. In relation to the specific habitat of a species, specifically designed spaces improve the interaction between humans and animals.
Natrix natrix is a snake that lives in the swampy areas. To create a perfect space for these snakes, it is vital to ensure a consistent amount of reeds and swamps.
Dama dama is a very social animal. It is important to make sure that there is a space for the fallow deer to walk and rest.
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TREES FIRST THE PUBLIC SPACES OF THE FOREST CITY
Jean-François Gauthier Increasingly, adding trees to the city is a new goal on the urban agenda in order to fight climate change. There is an interesting contrast when looking at the average lifespan of trees in the cities: 30 years. The reason is that trees are still being seen from a utilitarian perspective and as urban furniture in European cities. As 70% of the population is expected to live in an urban setting by 2050, a radical approach towards urban nature is needed. Forest should become a precondition for a healthy living and urban development. Tomorrow, we will plant forests in our cities rather than trees. Cities will adapt to forest plant communities’ needs. Space will be made for forest succession and spontaneous growth to proceed. Cities will receive great benefits in return in terms of ecosystem services, and urban forests will contribute to public health. Let’s focus on trees in the city and their needs as a starting point for a better design of public space. Let’s look at Brussels as a potential forest territory and let’s establish new public space typologies 192
around tree communities. Forest succession will bring a new temporality in the densely populated Belgium capital. This project takes the very centre of Brussels as a case study, which is the most transformed area of the city. A hidden water system, artificial topography and remains of the initial Brussels valley define a potential forest territory. Different urban situations and very contrasted forest habitats can be found within the perimeter of our project area: the Boulevard Anspach and its surroundings. Four main forest typologies are defined: the Canyon Forest Boulevard, the Hill Forest Square, the Wetland Forest Park and the Mountain Forest Towers. A green network is built around these four forest typologies thanks to soil continuity and permeability. New urban programmes can be developed around them. A set of design rules is defined from these case studies, exploring key urban habitats, trees communities, succession strategy and urban benefits. These guidelines can become the base for a matrix for the European Forest City. Graduation date: 28 August 2019 Graduation committee: Jana Crepon (mentor), Mirjam Koevoet, Wiebke Klemm
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Where Extremes Meet. As the most transformed part of the city, very contrasted forest habitats can be found within a very small perimeter; it is a chance for a new type of nature in the very centre of the Belgium capital.
A Backbone for the Resilient City. Soil continuity and permeability are the precondition for the new forest to settle as well as for the city to become resilient.
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Jean-Franรงois Gauthier
Mountain Plateau
Steep Slope Hill
Canyon
Wetland River
Mountain Plateau
Canyon
Steep Slope Hill Hill
Wetland River
Canyon Habitat | Boulevard + Metro Station Mountain Habitat | Modernist Tower Hill Habitat | Square Anneessens Wetland Habitat | Park Fontainas River Senne initial water course Canalised River Senne Open-air River Senne
What is a Forest? The adaptation of trees towards very specific habitat results in the formation of forest communities. Let’s look at the city as a potential forest territory.
Brussels as a Forest. Hidden water systems, artificial topography and remains of the initial Brussels valley define the potential territory.
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The Wetland Forest, Fontainas Park. The Wetland Forest Park lies in the lowest part of Brussels; it is a mosaic of wet habitat to be found in the plain, the valley and the wet fringe.
The Canyon Forest, Anspach Boulevard. Contrasted seasonal changes from flood to extreme drought, green walls, open perspective, clumps and open understory define the Canyon Forest Boulevard.
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Jean-Franรงois Gauthier
The Hill Forest, Anneessens Square. The Hill Forest Square can be found at the edge between the valley and higher land; a gradient of moisture defines a specific habitat where Tilia cordata is the key community species.
The Mountain Forest, Brouckère Tower. The Mountain Forest Towers is a vertical and contrasted territory where very specific tree communities can survive.
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METROPOLITAN DRINKING WATER PARK THE SANDY SOIL OF DE KEMPEN NATURE RESERVE AS SUSTAINABLE DRINKING WATER BATTERY FOR FLANDERS
Simon Verbeeck Flanders is experiencing a drought crisis that is slowly escalating into a genuine drought disaster. From 2020, the Flemish government will be forced to selectively turn off the tap with a shutdown plan. My analysis and design-based research clearly show that a spatial solution to drinking water production within the fragmented spatial structure of Flanders is needed. The sandy soils of De Kempen nature reserve turned out to be ideally suited for this. The restoration of the infiltration and buffer capacity within one of De Kempen’s sub-water basins, the basin of the Beneden Schijn river, can generate sufficient water annually in order to provide the whole of Flanders with drinking water. The basin of the Beneden Schijn was not only suitable due to the underperforming agricultural and forestry production, but the proximity of the city of Antwerp also provides opportunities for the future recreational functions. Four different landscape types transform the water basin into a drinking water battery that simultaneously holds out prospects for the local economy, recreation 198
and ecology. The infiltration and buffer capacity is preserved through the design of ecosystems, so animals manage and transform the landscape at low cost as ‘landscape engineers’. Ecosystem services pertaining to the drinking water production (quantity and quality) and the nature-supporting sustainable forms of agriculture yield more for the landowners. Architectural design elements and the activation of natural processes are combined in the transformation of the landscape. For example, paths with integrated storage dams are introduced and beavers and their dams are given a place. The new drinking water landscapes form a continuous green structure in the valleys around Antwerp. A metropolitan landscape arises that connects the Antwerp conurbation of the Beneden Schijn Basin recreationally — through the construction of bicycle highways — with the city centre. A new green structure covers the ring road. The new green spaces provide cooling and clean air to compensate for the poor air quality and increasing heat stress of the city. The drinking water extraction is visibly designed in the landscape, as a result of which the story of the drinking water production, the metropolitan drinking water park and the industrial side to this landscape are made palpable. Graduation date: 6 June 2019 Graduation committee: Lodewijk van Nieuwenhuijze (mentor), Steven Delva, Jorryt Braaksma
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Infiltration areas. Maximum infiltration is achieved by opening up the sandy soils in combination with pumping up and re-infiltrating the city’s effluent. The surfacing that covers the sand ridges also contributes to that.
Drinking water extraction. As multisectoral objective, the landscape conditions for the drinking water extraction provide new and sustainable future prospects for the Beneden Schijn Basin.
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Simon Verbeeck
Seepage zones. Addition of architectural elements in combination with natural processes in the valleys stop the draining effect and push a constant quantity of water.
Upscalability and the rewilding of Europe. Due to the exodus to the city, no less than 20 million hectares of agricultural land will be rewilded in Europe by 2040. De Kempen is the opportunity for Flanders to join in with this.
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From drainage machine to drinking water battery. Four types of land use occur alternately and are causing the drying out of the groundwater and the ecological and economic backlash is already being experienced now, which is escalating.
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Simon Verbeeck
Sustainable metropolitan drinking water park. The drinking water landscapes form a new continuous green structure in the valleys around Antwerp.
Sand bed of De Kempen as drinking water buffer. The sandy soils that have always made De Kempen a disadvantaged region can now become an important and innovative economic motor: water becomes gold.
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NATURE IS UNDER YOUR FEET DISCOVERING LONDON’S UNDERGROUND LANDSCAPE AS A POTENTIAL NEW NATURE
Charlotte van der Woude Since ancient times, people have been closely connected with their surroundings. When settling down and finding a place to live, humans would always find strategic spots in the landscape to build a home. The topography, the presence of water, trees and the type of underground landscape shaped our first settlements. Restrictions and opportunities, in terms of resources and climate, resulted in a particular use of the surrounding landscape and it resulted in knowledge of the place, but above all a sense of belonging and identity. Today, some of these settlements have changed radically and turned into ever-expanding cities. The connection with their subterranean and original landscapes has become blurred and can hardly be experienced. Layers of concrete and asphalt have covered the landscape’s rivers and soil. Not only does this affect how people experience the city, but it also reveals how our cities respond to current problems like climate change, the degradation of biodiversity and decrease in water supply. 204
As a result of this, it seems that we need to travel far to find ‘nature’, but what if we look more carefully at our nearby surroundings? Is nature still present? Isn’t it just covered beneath all these artificial city layers, beneath our feet? Is nature closer than we think? If it still is present in our underground landscape, can we try to integrating these hidden structures into the city? In order to find answers to these questions, this project investigates the city of London, where many of the former tributaries of the Thames are now buried beneath layers of concrete. Like many other cities worldwide, these tributaries were the starting point for people to settle down, but because of heavy pollution in the industrial era, they have been turned into underground sewage systems that date back to the Victorian times. This graduation project tries to discover if this hidden structure could be a chance to create ‘new nature’; one that cannot survive the harsh city life on top, but which can facilitate a whole new type of habitat: a fragile nature to be discovered under your feet. Graduation date: 8 July 2019 Graduation committee: Mirjam Koevoet (mentor), Ricky Rijkenberg, Paul Achterberg
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The twelve underground former tributaries of the Thames river marked in red.
A river landscape with side brooks
Occupation along the side brooks
Industrial use of the water: canalisation
Covered streams with the city on top
General growth of cities along rivers: tributaries turned into underground sewage systems.
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Charlotte van der Woude
A potential new nature?
The former river Fleet and today’s Fleet sewer as a case study for a potential new underground nature.
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The new bat cave and fauna wall connect the Fleet sewer and the levels of the city and the bridge on top.
Blackfriars: the Fleet sewer will be reconnected with the river Thames, letting the tidal river flow into the city.
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Charlotte van der Woude
Ray Street: the Fleet sewer jumps one meter down due to its location on the Thames river terrace.
The Fleet sewer is extended to the city level, creating an artificial cliff that can serve as a habitat for species such as ferns and moss.
Holborn Viaduct: the Fleet sewer will be linked to one of the historical bridge houses, creating connections between three city levels.
One of the three chambers that respond to the tidal river Thames.
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Architect, Urbanist, Landscape Architect: Master of Science Architects, urbanists and landscape architects learn the profession at the Amsterdam Academy of Architecture through an intensive combination of work and study. They work in small, partly interdisciplinary groups and are supervised by a select group of practising fellow professionals. There is a wide range of options within the programme so that students can put together their own trajectory and specialisation. With the inclusion of the course in Urbanism in 1957 and Landscape Architecture in 1972, the Academy is the only architecture school in the Netherlands to bring together the three spatial design disciplines under one roof. Some 350 guest tutors are involved in teaching every year. Each of them is a practising designer or a specific expert in his or her particular subject. The three heads of department also have design practices of their own in addition to their work for the Academy. This structure yields an enormous dynamism and energy and ensures that the courses remain closely linked to the current state of the discipline. The courses consist of projects, exercises and lectures. The design projects form the backbone of the syllabus. On the basis of a specific design assignment, students develop
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knowledge, insight and skills. The exercises, often linked to the design projects, are focused on training in those skills, such as analytical techniques, the use of materials, text analysis, and writing. The morphological studies concentrate on the making of spatial objects, with the emphasis on the creative process and making projects, gaining experience in converting an idea into a creation. During the periods between the terms there are workshops, study trips in the Netherlands and abroad, international exchange projects and other activities. The Academy regularly invites foreign students for the workshops and recruits well known designers from the Netherlands and further afield as tutors and lecturers. Graduates from the Academy of Architecture are entitled to the following titles: Architect, Urbanist, and Landscape Architect, with the addition Master of Science. A self-chosen graduation project and committee guides the student during the last year’s master proof: the graduation project. The final exam is being examined by their mentors and two added examiners.
Examiners 2018—19
Maud Aarts Mariëtte Adriaanssen Jeroen Atteveld René Bouman Bart Bulter Marc a Campo Rik van Dolderen Elsbeth Falk Jan van Grunsven Micha de Haas Jochem Heijmans Albert Herder Lada Hršak Floris Hund Bastiaan Jongerius Herman Kerkdijk Niké van Keulen David Kloet Ira Koers Judith Korpershoek Wouter Kroeze Miguel Loos Peter Lubbers Jeroen van Mechelen Berdie Olthof Jarrik Ouburg Marc Reniers Ricky Rijkenberg Florian Schrage Machiel Spaan Marieke Timmermans Jolijn Valk Saline Verhoeven Martine Vledder Philomene van der Vliet John Westrik Winfried van Zeeland Herman Zonderland
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Colophon
Advisory board Markus Appenzeller, Hanneke Kijne, Jan-Richard Kikkert, Madeleine Maaskant, Bruno Vermeersch, Michiel Zegers Editor Vibeke Gieskes Special thanks to Joseefke Brabander, Janna Verhoeven Translation and text correction Richard Glass Graphic Design Arthur Roeloffzen Printing Art Libro | Cassochrome Publisher Amsterdam Academy of Architecture Waterlooplein 213 1011 PG Amsterdam The Netherlands T +31(0)205318218 info@bwk.ahk.nl academyofarchitecture.nl All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy or any storage and retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure accuracy, the Amsterdam Academy of Architecture does not accept responsibility for errors or omissions. The Amsterdam Academy of Architecture has endeavoured to trace the copyright holders of all the illustrations. Anyone who claims entitlement to copyright should contact the publisher. Š 2019 Amsterdam Academy of Architecture ISBN 978-90-827761-7-1
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ARCHITECTS Alexander Beeloo Marilu de Bies Midas van Boekel Rogier van den Brink Olga Chulkova Haidar Al-Dayri Sergio Dias Ramses van der Dussen Lynn Ewalts Marco Gijsen Juliette Gilson Nyasha Harper-Michon Onno Kamer Paulina Kapczynska Laurence de Kort Paul Kuipers Alvaro Laanen Baca Hoeshmand Mahmoed David Meijer Dirk Overduin Richard Proudley Patrick Roegiers Bram Ruarus Job van der Sande Tristen Vreugdenhil
URBANISTS Andreas Mulder Ania Sosin
LANDSCAPE ARCHITECTS
978-90-827761-7-1
Francesco Carrasso Jean-Franรงois Gauthier Simon Verbeeck Charlotte van der Woude