INTERWOVEN | Graduation Weekend 2021 by Amsterdam Academy of Architecture

Amsterdam Academy of Architecture Graduation Projects 2020 − 2021

Interwoven a new generation 2021 The title of the graduation exhibition ‘Interwoven’ refers to the process of weaving, interweaving or combining different elements. And that is exactly what can be seen on 5, 6 and 7 November at the Amsterdam Academy of Architecture. An exhibition that shows a wonderful harvest by a new generation of designers — with several graduation projects in which the interweaving of the disciplines of architecture, urban planning, and landscape architecture is embraced. This new generation of designers will have to face up to current and future challenges. The world is in transition and generates new opportunities that these alumni approach with an optimistic and integrated view. The Academy aims to train spatial designers who ‘understand the art of changing direction’ when necessary, who can initiate new perspectives and who can build a different future, even though we can hardly imagine it now. And this generation of designers has imaginative proposals. The Academy is therefore proud to present the work of 39 designers: 22 architects, 8 urban designers and 9 landscape architects. Some of these designers came from all over the world to study for a Master’s degree in Amsterdam; this generation of alumni consists of 24 Dutch designers and 15 designers from countries including Spain, Cyprus, Egypt, Latvia, China, Bosnia-Herzegovina, Germany, Canada, Nigeria and Belgium. The graduation projects were designed for locations in the Netherlands (26) as well as for locations in 3

different parts of the world (13), in some cases the designers’ home country. The graduation projects are grouped under a number of themes, both in the exhibition and in this publication; the disciplines are interwoven in the three chapters: – THINK LOCAL (PLACE SPECIFIC) – CONTEMPORARY COLLECTIVE – METAMORPHOSIS All these graduation projects are an endpoint of a period, but at the same time a starting point. Wherever the further travels of these designers might take them, we will continue to follow them with interest. The door of the Academy of Architecture is open — everyone can come and see what the future might look like! Madeleine Maaskant Director

Architecture 2021 “In the long history of humankind (and animal kind, too) those who learned to collaborate and improvise most effectively have prevailed.” —Charles Darwin Following years of economic crisis, the traditional role of the architect has changed for good. The loss of a government that plays a guiding role, essential spatial planning duties being left ‘to market forces’, allowing a unique system of social housing associations to fall into disrepair and the perception that an architect is only “one of the advisers” has left its mark on the social and architectural landscape. This is a fact for this generation of students; a fact they will not resign themselves to. In addition, the climate crisis means the role of designing a new future, and thus the role of spatial thinkers and designers, is essential. The impact of this responsibility can be seen in the graduation projects before you. For each student, this is based on personal engagement and background. Illustrating the optimism of this generation, we see an unconditional belief in what the profession is capable of. Environments are being created in which people are able to find each other once again. The overarching question that underpins all this, as worded explicitly by Joris Gesink, is: “How can architecture contribute to a more social, more diverse and more accessible living environment?”; culture as support for an inclusive society. A response has been formulated by this generation, in an architectural sense, to the consequences of disastrous events from the past. The consequences of short-sighted planning decisions which disregard the complexity of daily life, are being questioned and new sustainable building techniques researched. In this way, building blocks for a technically and socially sustainable future are being explored. The outcomes give cause for hope. 5

The generation of 2020-2021 had to do the final stage of their Master programme at the Academy of Architecture in isolation due to COVID-19, which meant a solitary process became even more isolated. It is worthy of deep respect that this generation of students were nevertheless able to reach great heights under these conditions. Jan-Richard Kikkert Head of Architecture

Urbanism 2021 Answers in the making “You take delight not in a city’s seven or seventy wonders, but in the answer it gives to a question of yours.” – Invisible Cities Looking at the projects of this year’s graduates in Urbanism, Italo Calvino came to mind. But while in his statement the protagonist, the Venetian explorer Marco Polo, tries to impress the Kublai Khan, the new generation of Urbaanists focuses less on wonders and impressing. And in doing so, this generation works on real legacies and leaves a lasting impression. All of them take on big and complex subjects: the shift in urban transport; housing as a spatial, social, and economic question; climate change and its complex consequences; the redefinition of the urban fringe; and the relationship between urban and rural environments. All of them avoid opting for the glossy, the iconic, the populistic and instead focus on neighbourhoods, districts, and cities where problems are apparent and where transformation towards a better future is imminent. Engaging in these places might not earn a lot of headlines but it is where urbanism can matter most. In combining a local problem with the global challenges, they produce solutions that achieve more than solving one problem: Dealing with the consequences of climate change is portrayed as an opportunity to also address social and cultural deficits. Redefining the role of the car in cities not only solves traffic problems but makes room for climate change mitigation. Through new spatial and economic approaches, rural regions become positive contributors to the reduction of greenhouse gases and the inner and outer edges of cities and abandoned infrastructure become new natural environments equally boosting biodiversity and liveability. Combining questions and designing ways to ans wer them shows a great deal of talent in envisioning a 7

path to solving complex problems in new and intriguing ways. But it shows us even more how we can tackle the mammoth task at large of transforming our entire habitat to meet climate change goals. Consequently, their projects not only raise a question they have been asking a particular piece of city, the answers given by the places represented in the graduation projects turn out to be highly relevant contributions to the much bigger answers in the making — how we will live together on this planet in the future. Markus Appenzeller Head of Urbanism

Landscape Architecture 2021 Leapfrog planet Landscape architects have a great advantage in addressing current urgent issues. We work in an integral context, base our designs on the natural and landscape structures and systems, and are used to work with time as a team player. If it were up to the next generation of landscape architecture students, we would be part of a leapfrog plan; one in which we skip the next decennia of continuing exploitation and contamination of the planet, and leapfrog straight into a world where people only add value to the planet. This year’s graduation projects are a showcase of that new world, showing perfectly how easy that would be — if only we would all want that. Remarkably similar conclusions were drawn during the research; that “their” landscape is in a state where the current land use is no longer tenable. The notion of “no longer tenable” is worrying, and at the same time a welcome observation, as change is then inevitable. All projects have a strong connection to water — either because water (or the absence of water) is forming an urgent problem, or the water (system) forms the basis for a landscape transformation proposal, or the presence of water acts as an essential part of a sensory experience. The projects by Monique Verstappen (Braec), Niek Smal (Water Pride), Hester Koelman (Desolate lands), Sjaak Punt (National Park Haarlemmermeer) are all excellent research examples that prove that the use of land as a purely economic exploitable area has come to an inevitable end. The water system is taken as a base for transformation towards a totally different landscape with a future-proof balance of functions and program, in which the specific identity and cultural heritage of a landscape is once again visible. These projects are impatiently waiting for implementation! 9

The projects by Marlena Rether (A Lasting Place) and Lieke Jildou de Jong (Freshwater farms on saline soils) add another layer with their projects, with the aspect of time as a transforming process (Marlena) and the soil as the main game-changer (Lieke). Hongjuan Zhang (The G682 Quarries) transforms the granite-mined, scarred landscape of her hometown in Yangzi into a beautiful and impressive landscape. Silko van der Vliet (Moose River Delta Cree) has been so bold to make a plan for James Bay in Canada to give the native people Cree a new future in their landscape. And Andrej Badin (Deaf Landscape) has designed a new sensory landscape for deaf people in the heart of Amsterdam. As always, and even more hopeful given this year’s tedious COVID-19 circumstances of their graduation project, the optimistic and enthusiastic attitude of this batch of graduates is ever so promising for our future. Hanneke Kijne Head of Landscape Architecture

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Andre Cramer

Andrej Badin

Marlena Rether

Lieke Jildou de Jong

Milo Greuter

Tobias Kumkar

Stephanie Ete

Lejla Duran

Paulien van der Valk

Carolina Chataignier

Tom Bruins Slot

Agnese Fiocchi

Think Local Genius loci is important — a sense of place and a sense of connectedness. In many projects, we see a balanced approach that appeals to the social context rather than just the spatial context. This layered approach shows that the alumni are able to understand the complex circumstances they are being challenged in facing future chal lenges. Many alumni contribute to a locally important brief and try to learn, transform, and innovate.

Andre Cramer

OPEN in Amsterdam Oost The transformation of an emotional monument

Course: Architecture Graduation date: 23 August 2021 Graduation committee: Wouter Kroeze (mentor) Elsbeth Ronner Aura Luz Melis Additional members: Elsbeth Falk Pnina Avidar

OPEN is a place for the development of knowledge and debate, but also for experi ments and play. It is situated in the former Tropenmuseum and KIT Institute in Ooster park, a city park right in the middle of the bustling district of Amsterdam Oost (East). The monument has a charged history, with its roots in the colonial past of the Netherlands. With design interventions that both preserve and renew, OPEN will make this history visible and simultaneously create space for a critical view of the past. Despite their prominent location in the park and on the Mauritskade, both the Tropenmuseum and KIT Institute are not accessible from either side. By demolishing the former trade museum — the quadrant — OPEN will be a public place. As a result, the courtyard becomes the new heart of the building and can be used for various programs. The Collection, The Square and The Residence all together form OPEN, the new cultural institute for (research into) the colonial collection. The existing building is built in layers with a variety of materials: wood, brick, concrete, steel, stone, and ceramics. I make these different material identities visible by literally exposing them. This creates a new space that does not refer to the past nor confronts it. The square created by the demo lition of the quadrant, will offer a view of the new center of the institute: The Square. By placing The Square centrally, a new routing to and from the park is created. Also, the relationship with the city in the park is more noticeable, due to the seethrough offered by the now transparent building. This makes it more than just a square for The Collection; it connects the various program parts as well as the city and the park.

The internal routing runs around the square. The visitor is led through spaces that have been alternately renewed and preserved, which creates a more conscious experience of the building and its layered history. At the debate center, the boundary between the square and the building is blurred, while the transparent plinth can be completely open, allowing the square to enter into the debate. The Square is the heart that defines the other interventions. In the Square, visitors can get acquainted with the cultural institute, but also relax on the square itself. Objects and sculptures are exhibited on the square, thus blurring the boundaries between museum and public space. This also makes the art accessible to everyone, not just visitors to The Collection. The Debate is an extension of the square, with room for knowledge sharing in a sunken pit. The Collection borders the square and is located where the museum used to be. This is the new location for the depot and its encompassing processes. In the logistic street where objects arrive or are removed, there is a new restitution counter for the return of objects as well as a workshop where research and restoration is carried out — both directly visible from the entrance hall. Making the depot visible is a response to the urge of museums to collect, but also to the architecture of the museum space. Indeed, the impressive light hall with waterfall staircase — which now only exhibits itself — is given a function: to exhibit the depot. The Residence makes use of the basilica where the KIT Institute used to be. These stately and historically charged spa ces are deliberately retained to provide room for independent organizations that can temporarily develop public projects here.

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1 Impression: view from the Mauritskade on the multimedia gate with information about current exhibitions and events. 2 The Square with adjacent facades, each of which has its own relationship with The Square.

Andre Cramer

OPEN in Amsterdam Oost

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3 1. New situation with context 2. Ground level new situation 4 Scheme routing across The Square. Internal Routing 5 Impression: on The Square, under the trees between the sculptures 6 Impression: entrance The Collection. A double- height room with a view divided into three: 1. Connection to the exhibition space and depot 2. Information desk with a view of the depot above it 3. Restitution desk with a view of the logistics street to the left 7 Impression: from the depot with a view of the entrance 8 Isometry: new situation. The Residence and The Collection meet at The Square.

Andre Cramer

OPEN in Amsterdam Oost

Andrej Badin

Deaf landscape

Course: Landscape Architecture Graduation date: 15 July 2021 Graduation committee: Dirk Sijmons (mentor) Hannah Schubert Dingeman Deijs

We live in a hearing world. Others live in a deaf world. The only deaf memorial in the Netherlands — perhaps the whole world — is in Amsterdam, behind its botanical garden, on an island of grass. Behind it stands a university that used to be a school for deaf children. During several weeks at the beginning of the Second World War, all its deaf pupils were killed. Today it is some 80 years later and a Jewish Deaf Foundation has recently placed the stone before the school in memory of the victims. Yearly, deaf (Jewish) people and relatives of the deceased commemorate the horror by taking a short walk from the school entrance to the memorial stone. Once I was able to join them and decided, that I should make a proposal of landscape architecture at the location where the memorial stands. This paper presents the proposal in drawings. I attempt to describe it also in words. It is a moving image. It moves, because around the memorial, it would be good to nurture and trim all monumental trees. The trees already form a coherent spatial structure, a park. Park = keep. Inside the park, there is a road. This road must be moved, because it stands in the way of the commemorations, between the memorial and the school. Sign language = visual language. For a sign user, deaf, openness = safety. Light = understanding, resp. more light = more understanding (better visual reading). Deaf communication = people grouped in the form of a circle. The circle becomes the main organizational form of my whole proposal. I draw an ellipse on the ground. It begins by the schools’ entrance, ends by its corner. It bends around the memorial, tying the memorial and the school toge ther. It encloses them, unites them. It will

be a raised gravel garden through which the cars cannot go. A place of quiet, that houses the memorial with dignity. It will be possible to commemorate by the light of a single lightbulb placed above the school entrance — by an existing memorial plaquette — in a dim setting. Not everything that will be signed will be understood during the night, something may remain un— Yet, the historic wound is touched. Does it pain you? Good. Most memorial experiences would end here. By the touching of it, or by exposing it. The problem is that a space rarely allows others to experience the memory of an individual — and in order for a trauma to heal, the pain should be washed away, or shared. In the end, it is water, that has the ability to purify itself by itself. A good extension to the memorial would be another semi-circular space by the bend in the Nieuwe Herengracht, some 15 meters away from the memorial. A semi-circular platform of wood and steel should be made, that will transmit tactile vibrations of movement of others, so that movement as a form of expression — sign — will be shared between all who stand upon it, hearing or deaf alike. Leaning against a brick embankment and seeing the water surface only 40 centimetres below, we will be in the presence of water itself.

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1 Project impression, view towards the Hortusplantsoen from the bridge over the Nieuwe Herengracht at the Weesperstraat 2 Names of the people who were dragged from the former deaf school (left, now AHK) that the Deaf Jewish Memorial (right) commemorates

Andrej Badin

Deaf landscape

3 Project plan, scale 1 to 1000 4 Impression of the theatre for sign language, carved into the embankment of the Nieuwe Herengracht 5 Impression of the garden of the memorial of the Deaf Jewish victims of the Holocaust 6 Proposal vs existing situation, plan, scale 1 to 500

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Andrej Badin

Deaf landscape

Marlena Rether

A lasting place How a small village could endure shrinkage and activate landscape development

Course: Landscape Architecture Graduation date: 15 June 2021 Graduation committee: Mirjam Koevoet (mentor) Ira Koers Berrie van Elderen Additional members: Saline Verhoeven Marc van Nolden

Many villages are shrinking and worry about their future, while many people in cities would also like to live in the countryside — if they could make a living. At the same time, the current way of farming in northern Germany needs to change to have a future at all and to protect the local species. “A lasting place” is a research project by design about the future of such a village and its relation with the surrounding landscape. How could a village endure until people move back into the countryside and how could it even contribute to a more sustainable countryside? The little street village in Northern Germany is a case study and exemplary for the relation between inhabitants, farming and wildlife. In its origin a farmer’s village, it changed to a place for living, that provides a lot of private space and materials for the inhabitants, but lacks communal activities and connection to the farmland. In addition to that, plots at the edge of the village are unused or are already used as farmland. Interpreting the development and needs of the inhabitants from a personal point of view, the design connects the farming, the wildlife, and the community in a communal zone around the villages. This communal zone protects the village from disappearing and strengthens the ecological network and the social community. By exchanging unused land with the farmer, the project introduces a switch from intensive monocultural agriculture to a layered, nature inclusive system with the help of the village community. The design of the zone is a process, that develops during a long period of time. Starting with just a simple intervention, different timeframes show the elaboration of a communal material li-

brary, an ecological corridor, and water buffers around the village. Over time, material can be collected and shared in this library. This material is organic or inorganic and will not only be used by the village inhabitants but also by a lot of species as hiding, breed and living space. More and less use of this material reflects also in the space that is there for nature development. In this way, after a period of shrinkage and an abandoned village new inhabi tants can rediscover and reuse this library at any time.

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2040

204 Section 2

Section 1

Plan 2040: The intervantion is placed | 1:200 | Detail

Section 1 | 1:200 |

1 + 2 Anno 2040: Detail and visual of the early edge and library with an inhabited village and pioneer vegetation

Marlena Rether

A lasting place

Todayssystem: system:conventional conventional Todays agriculture agriculture

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Detail

Interventions Interventions Plan 2100: the village is empty | 1:2000 |

ld”

1. The village becomes involved in the transformation of the agricultural system

1. The new activities activate the village community

The village becomes a lasting place.

Section 1

2100

terventions Thecompost compostheap heap- -intervention: intervention: The Alreadynow nowoften oftenlocated locatedatatthe theouter outeredge edgeofofa agarden garden Already thecompost compostheap heapconsists consistsofofgardengarden-and andkitchen kitchenwaste. waste. the needstotobebebuilt builtup upininlayer layersosoon ona aloosen loosenup upsoil soiland and ItItneeds thewaste wasteshould shouldbeberegularly regularlycovered coveredwith witha athin thinsoil soillayer. layer. the Therefore,double doubleororsingle singlepole polerows rowscan canbebeused. used. Therefore,

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4 Plan 2100: the village is empty | 1:200 | Detail

drywall - intervention: The steep bank – intervention: The steep bank as a drywall - intervention: ome a grid to store abiotical material. A steep bank is just a wall of soil on the edge of the water Along the steep bank a drywall from larger material can be l can create a drywall. By an edge with retention areas. It can be transformed into a drywall. built up. Therefore, even larger pieces need to be rammed l, the smaller gravel can be stored in the into the bank, which carry the smaller material. Thedrywall drywall––ecological ecologicaluse: use: The Thecompost compostheap heap––ecological ecologicaluse: use: Thedeadwood deadwoodhedge hedge––ecological ecologicaluse: use: The The Becausea adrywall drywallbecomes becomesquite quitewarm warmininsummer, summer,ititisis Because Theprocessing processingofofdead, dead,organic organicmaterial materialinto intofertile fertilesoil, soil, Thedeadwood deadwoodisisvery veryinteresting interestingfor forinsects, insects,spiders, spiders,small small The The oftenused usedasashabitat habitatfor foramphibia, amphibia,like likelizards lizardsand andspiders, spiders, activatesthe thesoil soilecosystem. ecosystem.The Theprocessed processednew newmaterial materialcan can mammals,like likehedge hedgehocks, hocks,and andamphibia, amphibia,like likeblindworms blindworms often activates mammals, likethe thewolf wolfspider. spider.ItItoffers offersalso alsoa agreat greatgrowing growingplace placefor for like reusedininthe thegarden. garden. andlizards. lizards.Insects Insectsuse usedeadwood deadwoodand andstems stemsasasa abuilding building bebereused and perennialslike likestonecrop. stonecrop. perennials material. material.

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Section 2 | 1:200 |

A lasting place | Marlena Rether | Tentamen 4 | Academie van Bouwkunst Amsterdam | Juni 2021

2100

logical use: becomes quite warm in summer, it is tat for amphibia, like lizards and spiders, er. It offers also a great growing place for necrop.

The steep bank - ecological use: The steep bank offers a special habitat for special birds, like the sand martin. In combination with the shallow 1:10 bank on the other side of the indentation offers space for reed species and hiding places for birds and mammals.

The steep bank as a drywall – ecological use: Like the freestanding drywall the wall offers especially habitats for amphibia and spiders, as well as rock-loving perennials.

ntamen 4 | Academie van Bouwkunst Amsterdam | Juni 2021

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Section 1

Section 2

2120

Plan 2100: the village is empty | 1:200 | Detail

Concept sketch: from an edge, that marks a space to an integrated landscape element: this could be the future of a shrinking village 4 + 5 Anno 2100: Detail and visual of the edge and the community building of the now empty village with a filled library and adult vegetation 6 + 7 Anno 2120: Detail and visual of the edge and a new building: the village becomes inhabited again

Marlena Rether

Section 1 | 1:200 |

7 Section 2 | 1:200 |

A lasting place

Lieke Jildou de Jong

Freshwater farms on saline soils

Course: Landscape Architecture Graduation date: 18 November 2020 Graduation committee: Marieke Timmermans (mentor) Floris Alkemade Mirte van Laarhoven Additional members: Yttje Feddes Peter Lubbers

‘Freshwater farms on saline soils’ shows that farmers’ heritage can be used to adapt to the contemporary challenges of the production landscape. North Groningen. What once was the sea is now a beautiful vast landscape, accompanied by the rhythms of endless crops. Large-scale arable farming dominates the area. The conflict with the sea is still clearly visible in the landscape, due to the lack of urban development. Current climate developments like sea-level rise, seepage, and depletion of the soils, again require a position to the invading sea. This time coming from the underground. The systematic land reclamation has shaped the landscape and soil into an architectural pattern. Parallel to the sea, the loam and clay soils are neatly stacked on top of each other and alternated by polder dikes. The extensive fields are sporadically interrupted by farmyards surrounded by rich plantations. They are scattered like islands in the landscape and enhance the endlessness of space without feeling lost. Due to the increase in production, hinds and small farmers have been replaced by large, heavy machines. As a result, many farms have lost their function and subsequently disappeared. The newest coastal polders have never been inhabited. The use of this agricultural land is entirely based on productivity. But the system doesn’t hold. It causes problems such as salinization, desiccation, and compaction. With the disappearance of the farmyards and trees in the coastal polders, the housing of the biodiversity also disappeared. The network of micro biodiversity like insects is much needed for the resilience of the landscape. By restoring the ecosystem, the production landscape can

be recovered and maintained. Avoiding pesticides and growing soil-specific crops will be the start of activating soil life. The interplay of these microfauna makes the soil porous and permeable to rainwater. Above ground, the crops are managed by natural crop protectors. In essence, they are the new workers of arable farming. Freshwater Farms are the sources of natural crop protectors. The farms are the nesting locations and the fields are the foraging area. This way these insects can live permanently in the landscape. From the outside, the farm can hardly be distinguished from a regular yard. The polder design looks like a continuation of the historical agricultural landscape. Only on the inside, the yard planting is not concentrated around a house but around a well that collects and infiltrates the excess rainwater. This rainwater buffer spreads the freshwater through the soil and establishes a connection with other freshwater farms. This forms a regional freshwater network that counteracts the ingress of saline water from the former seabed. On paths of locally extracted and baked clay, visitors gain insight into the nuances of the soil in the freshwater farm. The visitor is the guest and shares the path with water flows that are led to the infiltration wells via pumps. Only a few of the farms are accessible from humans. Birds and insects are the main inhabitants. The new farms are only minor interventions in the fields, but together they form the engine for the restoration of the landscape.

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1 Water from the polder is led to the Freshwater Farms via ditches. 2 Plan of former farmyard where the barn has been replaced by a lower infiltration area for rainwater. 3 Cross section of farmyard: The infiltrated water spreads underground over the surrounding area. This fresh water filter gives counter pressure to the salty soil layers.

Lieke Jildou de Jong

Freshwater farms on saline soils

4 Water and ecosystem from above and below ground. 5 Freshwater courtyard type “Put”. Place for water, biodiversity, recreation with a view to the landscape. 6 Transformation of clay from the area into literal building blocks for the design of the freshwater courtyards. 7 New farmyards break through the emptiness and lost biodiversity in the landscape. The courtyards are a continuation of the historical cultural landscape with a new inhabitant: the natural pest controllers; caretakers of the arable land.

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Lieke Jildou de Jong

Freshwater farms on saline soils

Milo Greuter

The Race of Nature

Course: Architecture Graduation date: 26 August 2021 Graduation committee: Marty Roy (mentor) Ira Koers Thijs de Zeeuw Additional members: Bart Bulter Dingeman Deijs

“Most of the land these days is divided into tiny bits and pieces between many land owners. With vegetation, if you start plant ing the same kinds of grasses or trees as the ones that can be found in local, wild nature, eventually the area you plant will exhibit the same colors and shapes as oth er parts of the region and will visually merge with the local environment. And following the flora merge, creatures like birds and butterflies will also cross the boundary be tween the wild and the private property, and an exciting tale will be born.” – Michio Tase Always moving and changing: the wind, sea, sun; everything we see, is temporary. Every element of nature has its cycle and speed. An endless loop, like the circuit of Zandvoort. A place known for its history of racing and the return of Formula 1. Not everybody is positive about it as it is affecting the breeding and habitat of various species and emissions are dramati cally high. In order to improve and regenerate the local ecologies the circuit is repurposed into a research centre in the field of biodiversity, creating a place of encounters; between nature and architecture; animals and humans. Where boundaries are blurred and where landscape and building are intertwined. A building that represents a monument of change: the end of fossil fuel emissions. A sustainable research environment that investigates two worlds: the abiotic and the biotic world; which creates spaces for an open dialogue with nature. Embedding nature into the design of the research centre is a key component of the project. The interiors and exteriors are intertwined with the rich ecosystems, which include the North Sea, beach, dunes, and

freshwater lakes. Seamlessly integrated into the landscape, ‘Zandvoort Ecological institute’ embodies the future of research – one based on nature connectedness and deeply tied to environmental concerns. Bringing knowledge of nature through a focus on nature connection in order to encourage pro-nature behaviours. The existing infrastructure – the track of the circuit – traverses through the site and connects the multiple buildings that dot its landscape. This extensive pro ject integrates the entire site as part of the education process. It places the environment at the root of all research. A visually modular structure that mimics the dune landscape in form and produces a variety of spaces without losing a valuable and accessible landscape. The form and the bio-based materials make this building blend into the landscape.

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1 The observatory tower that once was used for the radio station of races is being reused and transformed into a bird observatory tower for aerial ecology research hub and In the landscape around the building, you can discover equipment that is used for fieldwork 2 The research centre is part of a network of spaces that are connected by the canopy, which is another dune that is added to the landscape 3 Asphalt that’s taken away from the inner area, is reused as a construction material in the façade. Varying sizes of asphalt aggregate create habitat for smaller organism to nest in

Milo Greuter

The Race of Nature

4 Living, working and leisure all combined in this fascinating landscape. This site plan gives an overview of how the different functions are dotting the landscape 5 A grid system is cut out from the tarmac, allowing for various patches of test fields in the research gardens that are used by terrestrial ecology research hub. The research gardens are located in the inner area and connected by a series of meandering routes that are carved from the existing asphalt 6 A visually modular structure that mimics the dune landscape in form and produces a variety of spaces without losing a valuable and accessible landscape. The form and bio-based materials make this building blend into the landscape 7 The freshwater ecology research hub is located adjacent to the freshwater lakes to the South of this area and allows a new fresh water lake to come inside of the patio of this building. From this patio both visitors and researchers can ascend a ramp that brings them to the roof of this zone, giving an overview of Zandvoort Ecological institute 8 A birds perspective of a potential future scenario of Zandvoort Ecological institute

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Milo Greuter

The Race of Nature

Tobias Kumkar

Story of a land About a landscape, identity and us

Course: Architecture Graduation date: 08 December 2020 Graduation committee: Uri Gilad (mentor) Ira Koers Łukasz Bąkowski Additional members: Jo Barnett Dingeman Deijs

“There should be friendship. Not only friendship towards a friend or a defined group but general friendship to the other, any other. To our surrounding, to the past and to the future.” (Excerpt of ‘About a land - A Manifest’) About 30 years ago, a church ruin became the starting point of an ongoing journey that brought together strangers: strangers of different nationalities, different religions, different languages, and different cultures. Strangers that once faced each other as enemies. But strangers with one common ground. For every one of them, the land the church and the town stand upon is part of their identity, their home. My grandfather was one of the initiators of this project in his hometown in the former eastern areas of Germany that became part of Poland at the end of WWII. Two generations later, with the disappearance of witnesses of the destruction of the church, this project is a journey through the land and its stories. A journey inspired by the reconstruction project and the friendship that this created, and by the people’s commitment, attachment, and passion about their lost or inherited home. Three places in the landscape of Chojna are the beginning of this journey. A journey to meet, to tell, to rediscover, to imagine and to dream our own new perspective of ourselves and the world we are part of. Three places in a landscape that is the silent witness of the past, bears its marks, that simply accepts. A landscape of innocence, but also of guilt, that serves as a collection of all our traces. But also a landscape that is free, free of all prejudice, nationality, race, and preoccupations. A landscape that treats everyone that stands within it the same. That does not adjust or

adapt to the individual, that stays itself. A landscape that bears the roots of our future. This journey highlights, reveals, and encourages the discovery of our connection to our land. Each location, in its own way, creates an experience that invites people to (re)discover and embrace the characteristics and qualities of that specific place. Based on the historic, cultural, natural, and personal layers of the land they represent new perspectives and approaches to inspire a discourse on people’s connection to their land and to each other. Together they represent the diversity of the land and its inhabitants and create a base for a new approach towards the renegotiation and rediscovery of its and our identity. At the end of this journey, we will all go our way again. But with one impression richer. One impression that remains, that connects us to a place and to each other.

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2 1 A new square invites people into the church. Along the edges benches are integrated into the square creating the possibility to sit, rest and meet 2 In the central space of the tower two meandering stairs are leading the visitor up. Ever new perspectives appear and no view is ever the same 3 At the highest point of the staircase, glass windows are sticking out of the tower allowing to really take a step outside into the landscape. The town is experienced as an integrated element in the landscape

Tobias Kumkar

Story of a land

4 On the inside of the ruin a new orchard is being planted. Over time it grows into a beautiful place for a picnic or just a relaxed afternoon. Typical fruit trees and shrubs are carefully positioned according to the original layout of the functions of the mansion. In the centre of the ruin the structure of the cut creates the opportunity to also explore the ruin vertically, creating a remaining element of the new park while the ruin continues to slowly disappear. 5 From the elevated platforms within the cut a great view presents itself over the adjacent park and lake. With the thicket cleared out along the axis around the mansion the old and majestic trees of the former park structure are visible again, such as the purple beach, proud of every estate owner of that time. 6 View from the street coming from the Polish- German border approaching the highest point at the edge of the valley. Just before the street turns and the tower of the St. Mary’s church becomes visible for the first time the new chapel on top of the hill marks the approaching view and return to the homeland. 7 Approaching the chapel with the view over the valley down the hill appearing. The chapel is oriented towards the bell-tower of the St. Mary’s church which can be seen at the horizon. Stepping through the gate one enters into the landscape. 8 After stepping through the gate one arrives in the landscape. Seating steps and a fireplace invite to stay and reflect on the landscape and its people and enjoy the beautiful view. The fireplace creates a feeling of home during the long summer nights.

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Tobias Kumkar

Story of a land

Stephanie Ete

The Calabar Sculpture Garden

Course: Architecture Graduation date: 10 June 2021 Graduation committee: Jo Barnett (mentor) Remco Rolvink Joseph Litchfield Conteh Additional members: Judith Korpershoek Gianni Cito

Much of Calabar’s (Nigeria) and the State of Cross River’s cultural heritage is falling into disrepair and the reasons for this are vast and nuanced. Meaning that the artefacts and objects both natural and built that exist and add to the identity of Calabar’s cultural space could disappear or become even more tenuous. Simultaneously, vast collections of Calabarian art and culture are in Western museums, furthering the disconnection between Calabarians and their art and cultural heritage in museum spaces. The museums that are maintained in Calabar are relics of a colonial influence both in function and form but more importantly, fail to capture the essence of a locally distinctive cultural space. What would it mean, therefore, to imagine the culturally rich museum space that Calabar deserves and that taps into the three branches of Calabar’s identity: ethnic traditions; history, heritage, and ecology; and flora and fauna? On the site of the historic Old Calabar Botanical Garden, in the heart of the city, The Calabar Sculpture Garden is designed as a rich, public garden and an ensemble of buildings and spaces that facilitate, overlay, and integrate the diverse cultural expression found across the city and greater region, providing a dynamic form of musea, awaiting discovery. The new design of the garden applies the hierarchical rules of the traditional Ukara cloth, whilst its buildings transform and reinterpret the region’s vernacular architecture of the Efik courtyard/compound typology. A natural home for the indigenous flora of the state, The Garden now additionally houses a collection of Cross River State’s sculptural works and artefacts, as

well as paying homage to the works of Calabarian art and heritage still in captivi ty. It will also house new offices, plant nurseries, and teaching spaces for the Cross River State Forestry Commission. And most fundamentally, The Garden now becomes a key node in the cultural activi ties and tourist sites in the city.

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1 Concept Collage 2 The Gardens, Landscape Plan and Axonometric 3 Location Bird’s Eye View

Stephanie Ete

The Calabar Sculpture Garden

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4 Site Model 1:500 5 Perspective: The Festival Pavilion 6 Perspective: Monument to Lost Monoliths 7 Section: House of the Akwanshi 8 The Garden Compound: 1:200 Model and Elevations

Stephanie Ete

The Calabar Sculpture Garden

Lejla Duran

Dom Kulture Dobrinja Redefining Houses of Culture

Course: Architecture Graduation date: 16 December 2020 Graduation committee: Wouter Kroeze (mentor) Saša Rađenović Yttje Feddes Additional members: Albert Herder Erik Wiersema

During the 1950s, the Houses of Culture played a big role in the development of the entire post-war society. The Second World War disrupted the education of many people and left broken cycles that needed to be replaced. The HoC together with the local communities and schools were the main centers for the development of social, cultural, artistic, and educational life in the city. With the collapse of the former Yugoslavia due to the war in 1991-95, most of the HoC ceased to exist. In the last couple of years, specific cultural strategies do not exist in Bosnia and Herzegovina and there are only a couple of Houses left in Sarajevo whose full function is cultural. It feels like the last 50 years of cultural enlightenment and emancipation have been erased and the country has to start all over. Pierre Bourdieu stated that one has an educational cycle of family education, institutional education, and diffuse education. If one part of the cycle is missing, the educational cycle of a person is not complete. One of the main tools to achieve emancipation is through culture. Most of the time, diffuse education is given in cultural institutes like Houses of Culture, since they should be open and accessible for everyone. With important design themes and elements from the researched Ex-Yugoslavia HoC as main inspiration but also as examples of what could be better nowadays, Dom Kulture Dobrinja is created. It is the new heart of Dobrinja, a neighbourhood in Sarajevo built in 1984 that never got the chance to culturally develop because of the 90’s war. With its position, Dom Kulture Dobrinja is the magnet of the neighbourhood where people go on the weekend or during the week.

The building consists of three levels each representing a type of public space: crossroad – the cafe, market space, healthy aging and workshop space, ‘agora’ – the main amphitheatre, and square - the open study space with a panorama view over Dobrinja. The building is puzzled in a way that the functions that have similarities in spatial qualities can be used multifunctionally at different times during the day. For example, the elderly can look out for the children in the daycare, or the workshop can be transformed into a practice room for local bands. Because of its multifunctional use, the building can be open from 8 am to 11 pm and should help the people in the neighbourhood feel safe, as well as add to the transparency of the building. The more public the functions are, the more glass they have. There is a strong connection between the visitors of the building and the surroundings. The ground floor is surrounded by a park where people can meet, have a break, or share knowledge. On the first floor, the balcony makes a connection with the existing building blocks around, as well as the 360 panorama view on the second floor. The green roof landscape provides a nice view of the building from the surrounding residential buildings. After 30 years, Dobrinja shines again with a gleaming light – Dom Kulture Dobrinja!

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1 Day-night impression of Dom Kulture Dobrinja 2 Site plan, new building in context 3 Impression of the cafe together with the entrance

Lejla Duran

Dom Kulture Dobrinja

4 Ground floor 5 First floor 6 Model fragment of the amphitheater 7 Second floor 8 Impression of the amphitheater with an event – concert

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Lejla Duran

Dom Kulture Dobrinja

Paulien van der Valk

Ground for meeting A (re)design for the Lelylaan station area

Course: Architecture Graduation date: 07 April 2021 Graduation committee: Wouter Kroeze (mentor) Paulien Bremmer Marieke Timmermans Additional members: Micha de Haas Lisette Plouvier

Lelylaan Station is located right between New West and the Western Center area. Two neighborhoods with significant differences in political preferences, cultural backgrounds, and financial situations. Because of this location and the various modes of transport that serve the station, the public transport hub is used by people from a wide variety of (sub)cultural backgrounds. This diverse range of users makes Lelylaan Station an interesting location for a public meeting place in times of increasing polarisation. A place where one can observe and/ or meet the other in an informal way and where more mutual understanding can be created between the different u sers. In addition, the present and dark station area is in need of a positive change. In a recent 2017 study on social safety in public transport, Lelylaan station dangles at the very bottom of the list. The design for the Lelylaan station area involves the transformation of a transport machine into an attractive public place to stay and meet. The design includes both the space under, next to and on the viaduct, and the public transport is integrated into the design. The addition of an extra recreational program such as a public park, the local library, and a combined gym and dance studio creates a public domain where both travelers and locals can meet. Important starting points for the design are: – Diversity of program and public spaces for the wide variety of visitors. – A familiar identity that is closely linked to the environment and the history of the place. A place that settles in the memory of the visitors and connects the different subcultures as an overarching identity.

– Social safety, such as visibility and activity throughout the day, as a condition for a pleasant and safe stay. – Freedom of use with space for different activities and temporary appropriation of places. – Activation of visitors by objects in the public space that invite them to make the space their own. The most important spatial intervention is the partial lowering of the ground below the present dark viaduct. This will provide more room for light and create an attractive public space with long sightlines and more space for all modes of transport and the additional recreational program. Simultaneously with the lowering of the soil, a landscape of hill and rock is created around the foundation of the existing columns of the viaduct, which continues in both the public exterior and interior. The public interior is a transparent pavilion and is located under the existing viaduct, without interrupting the recognizable length of the viaduct. In a few places, it peeps through the platform and creates a relationship between the world on and under the platform, and the bustle on the viaduct returns. The building consists of a spacious continuous atrium on different levels with floors floating before the eye. Closed program components such as toilets and storage space are concealed in the rocks. From all the rooms with different functions, there is a view of the activity in this public atrium and the possibility of observing each other in an informal way.

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1 Redesign of Lelylaan station area 2 Model of the new Lelylaan station area

Paulien van der Valk

Ground for meeting

3 Diagrams explaining spatial intervention 4 Section of pupblic parc 5 Section of public interior 6 Image of public interior 7 Detail of rockstructure

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Paulien van der Valk

Ground for meeting

Carolina Chataignier

MUSEU PRESENTE Restoration and transformation of the National Museum of Brazil towards an inclusive museum after the 2018 fire

Course: Architecture Graduation date: 31 August 2021 Graduation committee: Uri Gilad (mentor) Jana Crepon Jarrik Ouburg Additional members: Bastiaan Jongerius Lisette Plouvier

MUSEU PRESENTE explores how an inclusive museum can be the glue that holds a society together when it faces a crisis. Six hours. Those were the long and painful hours of a devastating fire that consumed the National Museum of Brazil, in Rio de Janeiro, on the evening of the 2nd of September 2018. The fire not only created massive damage to the building but almost completely destroyed the collection that was presented and archived in the museum. The destruction of this museum was the construction of this project. The National Museum is located inside the Quinta da Boa Vista public park in the North zone of Rio. The building and its gardens are about 200 years old, and it was originally a palace inhabited by the Portuguese in the 19th century. The building was amended many times to adapt to the different times and uses, but the museum itself still embodies power in the remnants of this colonial past. This project first started with a clear assignment: how to act in relation to the fire damage? However, after a better understanding of the social context and the interesting moment that museums are having to define how they are valued, a more essential question became the second part of my assignment: what should a national museum be in Brazil today? As an outcome of my analysis and research, I took on the task to look for an inclusive museum. The challenge was to look beyond the immediate reaction to restore the building to what it used to be, but to work on both the social and cultural aspects of an archive of a nation. What is archived and who decides what is relevant and for whom? The design approach is developed in three steps. The first is to prototype an

idea of an inclusive museum as an institution. I want to create a place where everyone is invited to present their findings, of which large amounts can be archived in a new space in the former building. The second is to translate the ‘inclusive turn’ into the details of this building. Its layers of history, namely the colonial past and the fire, can be oppressive and confronting. But it is exactly this complexity that offers a chance here. I think that, as a museum, you have to be able to talk candidly about the past. My proposal literally creates spaces for these stories to be properly explained and named. The third and final step is to connect this museum to its current context by transforming the museum into a more open, welcoming and familiar experience for all Brazilians. Elements of everyday suburban Rio were brought inside the museum. By opening new entrances, the building reorientates itself towards the local users and becomes an all-sided museum. The result is an open and active archive, and a trajectory through a historical building that criticizes, shows, explains, and ask questions. The restoration and transformation approach aims to act as a catalyst for a structural change in the National Museum of Brazil.

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1 Damage to the building after the fire in 2018. 2 Proposal for restoration and transformation of the National Museum of Brazil. 3 The ‘curatorial market’ takes place every Sunday in the heart of the museum - the courtyard. A place where everyone is invited to bring, show and discuss their findings.

Carolina Chataignier

MUSEU PRESENTE

VECTORWORKS EDUCATIONAL VERSION

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4 Section with new intervention drawn in blue: rebuilding the original fabric towards the oldest layers of the building and making space for a new archive towards favela Mangueira. 5 Framing part of the burned building as an item of the collection: ventilated glass bricks protect the building while creating a new image of it. 6 Entrance hall: here everyday elements of the suburban Rio have been used to create a more familiar and welcoming feeling. 7 Balance between interventions allowing the building to remain as it is after the fire while also creating new interventions to support the inclusive role of the museum and a ‘less formal’ use. 8 Fragment of the new archive and exhibition space: the archive is a space where visitors and scientists meet each other. Any type of object can be archived in this new structure.

Carolina Chataignier

MUSEU PRESENTE

Tom Bruins Slot

Calm Down In Amsterdam through architecture

Course: Architecture Graduation date: 31 August 2021 Graduation committee: Laura Alvarez (mentor) Marten de Jong Ira Koers Additional members: Jo Barnett Tatjana Djordjevic

This is a design for a place to become calm in the city centre of Amsterdam. A place next to the water where you can forget the busy city life. A place where you can be outside, where you can relax or focus on something calm. I grew up in a little village in the countryside. I moved to Amsterdam to study architecture. Although it’s nice to have everything close by, I find it hard to calm down in the city. There is often the urge to take a break from the city. Away from all the hustle and bustle. The available time often doesn’t match the desire for a break. A nice, calm, and quiet place in the city centre would be a good solution to find peace in a short time span. Due to urban developments, life is increasingly taking place in the city. Every body needs to have a rest now and then and therefore a place that can facilitate that rest. In a city like Amsterdam, quiet places are becoming increasingly scarce due to the demand for more houses and all the associated facilities in combination with the money that comes with it. Amsterdam is one of the most densely populated cities in the Netherlands and is still growing. To fill in the growth in a healthy way, next to the density there should be space to calm down. The exact location for this project is the back area of the Esso petrol station at the Sarphatistraat in Amsterdam. It is a place where a lot of people pass by daily, which makes it easy to have a short calm moment without it taking too much time. The back area of the petrol station is hardly in use at the moment so this is the time to do something with it. The location next to the canal Nieuwe Vaart gives this plot a lot of potential. The analysis of peaceful moments and places produced a number of spatial

experiences that give a space a calm feeling. These spatial experiences form the basis of the design. Next to the space, the activity happening in that space can also help for a calm feeling. The workshop, where you focus on a task, so everything else is forgotten. The showers, where the focus goes to the thoughts, to reflect and put in order the thoughts which are important at that moment. Or the water to swim in where the focus can go either to the sport (task) or to the thoughts. The shower building, the workshop and the landscape enabling to swim form a little oasis of calm, so the rush of the city disappears into the background. In an ideal world, there would not only be this location behind the Esso petrol station, but it would be multiple locations throughout the city. This way, everybody has a place close to their house where they can relax and calm down.

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1 The shower building and the workshops, connected through a curving wall are protecting the site from the busy street and petrol station. The design opens up to the water to create a feeling of open space and emptiness 2 The large bronze doors hide something special. The little shutters in the doors can make people curious, to the people passing by they show a fragment of the emptiness behind

Tom Bruins Slot

Calm Down

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3 The workshop square where people can work on their own projects like a bike a new table or a calm painting. The focus on the project make the worries of everyday life disappear for a while 4 The skylight in the roof gives a lot of daylight in the workshop. The plants on the roof show a special shadow play on the brick wall 5 A calm oasis in a busy environment. A place to relax by working with your hands, by swimming in the canal or to take a shower in a spacial room 6 A landscape of brickwork, hight differences and various planting make a lot of different spaces and surroundings at the waterside. Finding a nice spot will become a discovery where all the attention goes to the surroundings.

Tom Bruins Slot

Calm Down

Agnese Fiocchi

Marine Research Institute Rehabilitation and Conservation of the Bluefin Tuna

Course: Architecture Graduation date: 20 October 2020 Graduation committee: Jo Barnett Ira Koers Jarrik Ouburg

The MRI is located in Cádiz, a city along the Andalusian southwestern coast, between the Guadalete river mouth and the Strait of Gibraltar. The land where the city of Cádiz is located has been occupied by humans since prehistory, while the city was founded by a group of Phoenician navigators 3.000 years ago. The design evolved from my personal fascination with the concept of memory and the sea heritage embedded in this very ancient city. In particular, I was overwhelmed by the ancient fishing ritual of the bluefin tuna, called Almadraba, and the nature of this place as the color of the ocean and its tides, the harshness of the rocks and the oyster stone coloring the entire city and recalling the sound of the sea. Nowadays the situation has changed and Cádiz is facing different issues such as the underutilized natural space, and the high demand for its particu lar tuna bringing this species at risk. The high unemployment rate, aging population, and low levels of activity transform the area into a degraded city with a strong social and economic decline. For all these reasons, the Marine Research Institute has been inspired and designed following the cultural, social, and natural factors — aiming to reintroduce aged and traditional architectural typologies, symbols, details, and materials in a more contemporary manner. The MRI has the ambition to adapt the fishing tradition into a changing world, to strengthen the cultural relationship of Cádiz to the sea, and to promote the marine environment. In order to achieve this, the University of Cádiz has been used as the main engine of innovation, linking the research with the education, supported by the tourism activity and focusing on

the rehabilitation and conservation of the Bluefin tuna, raising social awareness campaigns on the state of the marine environment and its problems. The aim, as an architect, is to discern the place from the time where the city has been created and at the same time defining a historical present that is now and a future time from where it is possible to collect traces. The main goal is the future transmission, restoring its capability and not deleting the time traces with an imitation but defining its memory. Elucidating the traditional activity of fishing and the importance of the architectural heritage of the city. Exploring the citizen relationship with the space they inhabit and their history. Provoking a situation that involves a collective action with the aim of a social transformation. The final result is to encourage the development of a community that “lives with” the surroundings, self-producing research and innovation, protecting its landscape, highlighting and enhancing the relationship between city and sea.

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Agnese Fiocchi

Marine Research Institute

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Agnese Fiocchi

Marine Research Institute

Contemporary Collective

Bart van Pinxteren

Despo Panayidou

James Heus

Imane Boutanzit

Kim Krijger

Joris Gesink

Léa Soret

Laurens van Zuidam

Monique Verstappen

Oscar Sanders

Olivier Hortensius

Wouter van der Velpen

Hester Koelman

Shant Moushegh

Contemporary Collective The positive aspect of many plans is that these projects are designed with the community in mind. Social engagement seems more important than ever, especially in a time of a world in transition. Designing for an inclusive world goes beyond designing for only people, it also encompasses thinking about how to live together with others and nature.

Bart van Pinxteren

Community Duin en Bosch

Course: Architecture Graduation date: 17 May 2021 Graduation committee: Wouter Kroeze (mentor) Ard Hoksbergen Lorien Beijaert Additional members: Jochem Heijmans Gus Tielens

At the start of the 20th century, psychiatric areas were built throughout the Netherlands. These are beautiful places designed as utopian communities in the landscape. Over the years, psychiatry has changed and these areas have largely become vacant. As a result, these areas are currently being transformed into residential areas, in which only a small part of the care function is kept. I grew up next to one of these sites in Castricum and have seen this transformation up close. This transformation does not do justice to the beautiful landscape in which the building is built. In addition, there is no response to the utopian principles of the original function. As a result, the existing care program clashes with the new housing program and a hard separation is created between the two. Community Duin en Bosch is a reflection on this development and an investigation into how things can be done differently. An alternative to what is happening here. In my graduation, I create a new form of living that makes a connection between the original social structures and the surrounding nature. Within a co-living concept, a connection is made between extramural care and new communal housing. The qualities of the landscape are used to situate the different communities. These communities are located in the pla ces where nature opens up. They each react differently to the unique nature and scale of the place. This creates a network of communities. Within these communities, there is room for different groups to live side by side. The architecture contributes to a social structure that supports and promotes this. This is done by distinguishing between private and public. This provides spaces

where you can isolate yourself from the group and spaces where the connection can be made with fellow residents. This is continued in the outdoor spaces and responds to the existing nature. The atmospheres of these private and public places determine the user’s experience of the space. Thus investigate how architecture can support and strengthen life in co-living communities. If there is no response to the origi nal qualities of the social structure and nature, the problems that arise at Duin and Bosch will also arise in other areas. If this does not become a theme within the redevelopment of these kinds of sites, the intended conditions and goals of ‘integration of care’ will not be achieved. My graduation is a reflection on what is currently happening in Duin en Bosch. It responds to the existing problem and shows an alternative on how to deal with it.

Contemporary Collective

1 Model 1:50 – Community seen from the public side 2 Different layers in the landscape, monumental park, forests and dunes

Bart van Pinxteren

Community Duin en Bosch

3 Community in the landscape – Based on: Corn Hill, Edward Hopper 4 Floorplan of a community 5 Model 1:200 - Multiple communities integrated within the landscape 6 Closed private space, a mass to retreat to 7 Public indoor space, where its structure supports making connections 8 Public indoor space, a light construction with an open connection to the environment

Contemporary Collective

Bart van Pinxteren

Community Duin en Bosch

Despo Panayidou

Brave New World An alternative densification approach for Limassol

Course: Architecture Graduation date: 17 June 2021 Graduation committee: Marcel van der Lubbe (mentor) Jurrian Knijtijzer Hein Coumou

Brave New World is an alternative densification approach for the growing city of Limassol in Cyprus. Cypriot cities have a very unique and rigid urban fabric. In the 1940s, while under British rule, urbanisation started to take place. It was that time the first set of urban rules were established and since then very little has changed. It is within this rigid grid that the Cypriot housing typologies evolved from rural to urban. These typologies kept evolving during the wealthy 90s and early 00s, but since the financial crisis hit the island things took a different turn. The urban fabric and those old fashioned, capitalistic-oriented urban rules allowed for high-end developments to appear in the Cypriot architectural scene. These developments are targeted towards foreign investments, that will potentially help the economy to reco ver – exchanging real estate with European passports. These developments are most evi dent in the coastline of Limassol. Historically a workers’ city, the current economy has made it very difficult for young people to afford it. Along with the strong family- oriented society, in which one is considered successful only when s/he has managed to provide for their children, a development model began to arise. Parents who owned a plot with a house in the city would sell it to a developer. The house was then transformed into a generic apartment block, polykatoikia. The money the parents earned was given to their children who will end up renting (and sometimes buying) an apartment in those polykatoikies. Brave New World aims to infiltrate the existing development models and offer an alternative sustainable proposal.

Brave New World is a bottom-up, low-rise, high-density model that spreads from plot to plot. It focuses on the Cypriot society and culture by creating a relationship between neighbours. A value that was highly significant in the rural Cypriot life that is slowly disappearing in the generic housing blocks. Collectivity is the main component and high-density is a tool for creating new ownership models. A set of urban rules and incentives create an urban game; the more neighbours join and the more different configurations they chose, the more opportunities they create for themselves, and the development and ownership models transform. Designing and living in the Brave New World is based on three main principles: identity, diversity, and proximity. Within a uniform structure that spreads over a neighbourhood block, people can choose their own infill. Design their apartment topology according to their needs, and accordingly their façade. The block is walkable through the entire ground floor and spreads all the way up to the highest levels, by creating different gradients of sharing. A great emphasis is given to the entrance zones — a crucial moment where the collective domain meets the private domain. With this project, I present a dream that gives emphasis to our collective and sharing nature. A place where a neighbourhood becomes a relationship.

Contemporary Collective

1 The chicken with the golden egg, artwork by Marios Siarlis 2 Collage Limassol life

Despo Panayidou

Brave New World

Contemporary Collective

3 Section BNW 4 Collective space – swimming pool view 5 Collective space – street view 6 Maquette photo collective spaces

Despo Panayidou

Brave New World

James Heus

De Duivendrechtse Poort Prospects for future neighbourhoods

Course: Urbanism Graduation date: 24 September 2020 Graduation committee: Hiroki Matsuura (mentor) Thijs van Spaandonk Johan Galjaard Additional members: Ad de Bont Hein Coumou

Amsterdam: a city where house prices are rising faster than average incomes, where locations are so scarce that people are considering building above the tracks, even after artificial islands have already been constructed in the IJ and activity has been moved further and further west. Living near stations is very important for better accessibility and a reduction in car usage and ownership. However, there are several places in the city that are easi ly accessible by train and/or metro, but where the use of space is not optimal. Spatial research has highlighted five sub-areas that are potentially suitable for large-scale new construction around existing stations and stops, in the short and medium term. While many residential and work areas did not get their public transportation until years after completion, these stopping places never got their stable quarters and neighbourhoods. How come? By installing rail infrastructure afterwards, which is customary in the Netherlands, stations often arise outside the urban area. Infrastructure is given space here, resulting in monofunctional traffic areas. Development here is certainly complicated, but there will come a point when these complex locations come into the picture and urban development and rail infrastructure are overlaid again, which is already common in other metropolises. That is the assignment for this research: to take one of the five locations as an example for a study of urban development opportunities. The most extreme location has been chosen: Duivendrecht Station, a grade-separated crossing of tracks and metro lines next to a pastoral village church. Welcome to the Amsterdam Metropolitan Area! The Duivendrechtse Poort will focus on various forms of collectivity — in a

higher density than we know in the city centre: from FSI 1.9 to FSI 4.2. That means even more room for meeting. Not only on the street, but also in climate-adaptively designed courtyards, neighbourhood squares and a large green meadow that forms the heart of this new neighbourhood. It will be a paradise for pedestrians who have the freedom of choice to move through the green streets, or at an upper level with access to amazing roof gardens and terraces. All designed on a strong foundation of wet and green public space. The focus on typology is the most valid way of designing and building at a high speed. By taking the Amsterdam urban block as a starting point and combining it with the higher typologies that have already proved themselves abroad, it is finally a proper answer for the housing shortage both city and country are facing as of 2020. Imagine if only half of the 912 hectares could be redeveloped for housing or mixed-use environments, enabling us to house more than 220 000 people. That’s the same amount of people living in Almere — and all realised within the current urban fabric. With more room for the housing experiment, different kinds of densities, and new typologies. All centred around existing nodes in the city network.

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1 Experimental high rise with an amazing natural environment around the corner 2 Masterplan for De Duivendrechtse Poort

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6 3 Wherever you live in this neighbourhood, you’ll always have lovely views on the green 4 Urban blocks form the formal streets, while the collective interiors create a secondary, more informal routing through the plan 5 New Hong Kong: The most dense environment within the neighbourhood, where floors are ‘shifted’ to make amazing outdoor spaces on level possible 6 Ny Stockholm: For those who prefer something between rural and urban, containing wonderful collective gardens

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Imane Boutanzit

Can climate change help social cohesion? The Hague as a showcase

Course: Urbanism Graduation date: 30 August 2021 Graduation committee: Martin Aarts (mentor) Jaap Brouwer Tess Broekmans Additional members: Maud Aarts Hans van der Made

Climate change is becoming an important element in our lives across the globe. The global climate is changing in an extreme way and is turning against us, forcing us into an uncertain future. As professionals, we owe it to ourselves to respond to this global phenomenon. I believe that our future cities need to cope with climate changes. We already have adaptive and resilient cities, but is it enough? Are technical solutions an adequate answer? Can these solutions sustain a better environment for everyone, or only for a privileged society that can afford it? The impact of climate change used to be mainly focused on the physical impact, its major impact on nature. Over time, more attention has been raised on the societal impact. Evidence has been presented regarding the relationship between global climate change and poverty (and the quality of life). Still, the link between climate change and inequality within countries has not yet received enough attention. In his book “Down to Earth”, Bruno Latour argues the urgency of finding a new place to live in or dealing immediately and taking action in this new climate regime, the regime of growing inequalities within a climatic mutation. An urgency ignored by world leaders. Until you are affected economically and socially, you do not relate to the question of the changing climate. This graduation project is looking for links and answers for climate change and social inequalities. How can climate-resilient and adaptive goals increase social cohesion? The Hague should be and remain a healthy and appealing city for all inhabi tants. This implies, for example, that there must be sufficient affordable housing. It also means that inhabitants must live in

neighbourhoods where they may enjoy a suitable, pleasant, clean and safe living environment. No matter what ethnicity and social class they belong to. In order to do so, this graduation project shows how specific and adequate sustainability solutions do not only serve the changing climate but also enhance and create a social mix where you do not expect it to happen. Climate change can help social cohesion if a distinct effort is made to put investments from climate adaptation goals towards an integral approach to improve everyone’s quality of life.

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1 Impression 2 Biodiversity

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3 City heat 4 Waterproof 5 Loosduinseplein 6 Transvalshof groene

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Kim Krijger

City landscape of Amersfoort Urban fringes of the future

Course: Urbanism Graduation date: 28 January 2021 Graduation committee: Hans van der Made (mentor) Yttje Feddes Johan Galjaard

Amersfoort, a typical medieval Dutch city that arose along the river Eem, used to stand tall in the landscape. Nowadays Amersfoort is encapsulated (and limited) by its infrastructure. The outer districts seem to be limited by their own environment and are only loosely connected to the rest of the city and its surroundings. This results in indefinable urban fringes with facilities pushed out of the city itself. The city has lost its connection to its rural surroundings such as the Gelderse Vallei. Amersfoort, like other cities, is struggling with huge pressure on its living environment because of the growing popu lation, climate change, and the changing role of traditional farmers. Many Dutch medieval cities were built along rivers. The water system is important for both urban and rural space and connects these two. Water used to be a main form of transportation, however, due to the rise of alternatives, water structures transformed from primary to secondary networks. The Gelderse Vallei is affected by the tasks mentioned earlier. The need for the landscape to change is only a matter of time. In this upcoming change there is a high urgency to protect the quality of the open, cultivated land, whilst using its potential. This newly created city landscape centers around farmers, but also provides a flexible grid where people can work, re create and live sustainably. The existing urban and rural structures of Amersfoort show its future potential. The urban fringe is fluent, not like the current trend of inner-city densification. It is not surprising we are approaching the next transformation of our (production) landscape. The robust valley landscape forms the framework for small-scale development. Such as food- and energy pro-

duction for locals in townships, as well as recreative facilities in a climate-proof landscape. Urban and rural will be connected by the present valley landscape and its water structure. In a sustainable urban landscape wherein farmers are part of society again. The separation of urban and rural land disappears by reinventing the existing water structure. The valley landscape integrates with the city by its overflowing water networks. Public transport and suburbs entangle with the landscape through improved slow traffic networks. Citizens are guided along the creeks to a new sustainable landscape with local townships. Regional cooperation of farmers provides economic assurance and opportunity to reinvent and strengthen the typi cal valley landscape of the Gelderse Vallei. Local townships will be a partnership between farmers and residents. The urban fringe will no longer be the endzone of the city but hubs to ‘Amersfoorts Stadslandschap’. With self-sufficient townships for living, working, producing local agriculture, and sustainable generation of energy. This sustainable strategy, which I present with this project, shows collaboration in an urban and rural system for the region. Amersfoort becomes part of the Gelderse Vallei again. Small-scale townships result in a large-scale transition to a sustainable production landscape with a sustainable farmers’ future. This strategy is not a blueprint but a perspective by using landscape principles.

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1 Visualisation – Along the Barneveldse Beek 2 Future vision of the outskirts of Amersfoort

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3 Gelderse Vallei as a diverse, intensive & inclusive urban landscape 4 Rules for playing neighbourhood from landscape structure 5 Sectional principle of hamlets in the Gelderse Valley 6 Detail of hamlet in the Gelderse Valley 7 Visualisation - Workplace in the hamlet

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Joris Gesink

Symbiosis

Course: Architecture Graduation date: 30 August 2021 Graduation committee: Chris Scheen (mentor) Marjan van Herpen Marcel van der Lubbe Additional members: Gianni Cito Stephan Verkuijlen

This project arose from a fascination with making the living environment more public and accessible in its varying gradations. How architecture can contribute to a more social, diverse, and accessible living environment. The outlined vision of the munici pality of Amsterdam for the Zuidas matched these interests. The focus lies on high-rise buildings, mixed-use, and a high-quality residential environment. Components that are extremely suitable for investigating a more accessible living environment. But what does this look like? In a typological study of high-rise buildings in relation to facilities in their immediate environment, we see that the dynamics of the city are lost in high-rise buildings. These residential buildings are inaccessible fortresses that close themselves off from the public environment. Access is the weak point of high-rise buildings; the elevator and central hall form a non-moment. These are often without any visual and spatial qualities, and you rarely meet anyone, increasing the distance between the home and the city. This is because buildings are set up from a one-dimensional urban plan. While the urban planning of a metropolis should be seen as a multi-dimensional structure. It is important to let the buildings be part of this network so that they contribute to urban living. In my view, this accessibility has the potential to increase the quality of high-rise buildings, being the transitional area between the individual and the collective. The goal should be a district where there are no closed enclaves in the fabric but an open structure where the city feels like a more porous and accessible environment. Multifunctional buildings should

contribute to enhancing the sense of proxi mity. The ability to be part of something — the charm of living in an urban context. So how can architecture contri bute to a more social, diverse, and acces sible living environment? As a complementary program, I chose sports. Sport and exercise have been d riven out of the urban fabric by the separation of functions in times of modernist urbanism. As a result of this separation, large sports complexes have been created at the frayed edges of the city, while this program could be contributing to the city with its potential to provide vitality, movement, and social contact. In the current way of life, these principles have shifted. Living, recreation, and work increasingly take place near the home. In addition, sports have the added advantage that they are intended for all generations and are therefore suitable for intertwining with the residential environment. Mixing the residential tower with sports creates the potential to qualitatively enhance both functions. In particular, the in-between space, the vacuum between the two programs. Here a space with different relationships arises to create a structure that generates contact and movement. This variety of starting points leads to a concept for the building: a vertical street in which a porous and accessible structure is created and the dwellings come into direct contact with life in a city. Where the focus is on a spatial and diverse journey from the city to the home.

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1 The different degrees of public accessibility are generated by the layered structure. 2 The programming of the vertical street creates a diverse intermediate zone with room for interaction.

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View towards entrance from sportpark Goed Genoeg, AFC Amsterdam.

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SYMBIOSIS section vertical street

3 The façade of Symbiosis is part of the layered structure that shows the diversity. 4 Symbiosis is connected to the urban fabric on multiple levels, this leads to a building that is interwoven with the city. 5 A vertical street that re-connects highrise dwellings with the urban fabric. 6 Combining functions creates the potential to enhance both functions, in use and spatially.

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Léa Soret

New Equilibrium A rural strategy for the “Vallées, coteaux et plateaux du Pays d'Auge”

Course: Urbanism Graduation date: 12 July 2021 Graduation committee: Eric van der Kooij (mentor) Eric Frijters Saline Verhoeven Additional members: Martin Aarts Riette Bosch

I have a special and personal connection with the French Pays d’Auge. I appreciate its beauty and qualities but I am also seeing it decaying. My personal motivation, my role and mission as an urban designer pushed me to think of a way to save – or better, upgrade – this beautiful valley. We know that crises have influenced urbanism, its tools and its practice, just as much as they have had consequences on the development of different urbanistic movements and fields. The situation we are currently living in has once again confronted us with the fragility of our built environments – and thereby inspired me for a rethinking of the goals and means of urbanism. On a daily basis, we are facing immense social and ecological challenges. Which makes it easy to observe a muchneeded change in approach. A different approach that could allocate the project site within a larger area, connected to socio-ecological systems and their metabolisms. I believe that project sites can be transformed in such a way, as to participate in larger systems or even strengthen them. Such an approach goes beyond goals of economic improvements, future, and technology in order to put the emphasis on quality of life, ecology, and social chan ces for all. In other words, a strategy that combines ecological, social, and economic issues without seeing any contradiction in between them in order to become an integrated territorial project. Does it imply a rethinking of urbanism’s goals, means, and process? Today, the decision process (authorities, forces, and stakeholders) is an integral part of a project. In the absence of the strong players of a project, its implementation is barely realistic. Those af-

fected must accept it and be part of the project. This is why I believe that communication, participation, collaboration are essential components of any contemporary urban/rural strategy — complementary, spatially, and financially. Traditionally, analysis, conception, and design used to be separated into divided stages of diagnosis and improvement. In the New Equilibrium, these form a whole, which complement and feed each other all along the process. I am aiming to raise new questions with this strategy. By working in depth on divergent scenarios, it is possible to find out which of the potential directions will be accepted and benefiting everyone involved. Pursuing these different paths offers new perspectives and enables a better understanding of what is possible, while, at the same time, providing space to define fixed keystones of a desirable development. This is what I aimed to demonstrate with The New Equilibrium. There are many ways of urbanism, and this is probably what makes the beauty of the profession. The approach I am proposing with this project requires knowing and mastering the characteristics of the project area. It requires knowing which layers are strategical, and necessary to understand in order to define the type and scale of intervention needed. In other words, unraveling the analysis and economic processes of a region in order to install a new set of rules, for new designs and futures. This is only made possible by tearing apart the existing production ecosystem, to reflect on a new one, which itself brings it a range of spatial choices, systems, and consequences. Deconstructing the different and existing models into a new merger: The New Equilibrium.

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1 An integrated and complementary system for all stakeholders 2 Territorial strategy

Lea Soret

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3 Jan, the student 4 New European strength and positioning 5 Strength and positioning within existing urban settlement. 6 Strength and positioning within the landscape

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Laurens van Zuidam

MUTATOR The Personal Liberation Of Citizens Of The Generic City

Course: Architecture Graduation date: 29 September 2021 Graduation committee: Felix Madrazo (mentor) Jeroen Zuidgeest Vibeke Gieskes Additional members: Jolijn Valk Wouter Kroeze

The Mutator is a housing project which, other than most recently developed housing projects, provides personal and affordable living space in the city centre. Its goal is to increase the living quality of humans by making it possible for everyone to feel at home and to live in the city centre. Citizens need to have the opportunity to escape the generic city by finding personal freedom. PERSONAL SPACE The Mutator is a kind building that listens, thinks, and spatially reacts to you. It is interactive. The building can configure any space you desire at any time of the day and mutates with you. You could have a penthouse-sized living room in the morning, a boardroom-sized office space in the afternoon, and a 15-person dining space in the evening. AFFORDABLE SPACE If you don’t desire any space because you left the building for work during the day, your personal space mutates to a mode zero. You pay for your desired space by the hour and if there is no desired space you don’t pay. There is no fixed rental price, but a rental system in which you pay for the space you use. Resulting in a living space that is not only personal but also affordable. The Mutator will create real-time user-based space which is personal and affordable, making the city inclusive. The human diversity of the city increases, and the city becomes exciting again!

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1 The Mutator is an interactive system which aims to create a custom-made building in the city centre taking into account spatial characteristics and time-based occupation patterns of its users. It’s a system that adapts to real time necessities of each specific user and thereby is able to create hyper-personal space. Space which is not occupied will turn into collective space and is entered, just as any space in the Mutator, by using the balcony elevators. The Mutator its appearance is a reflection of the users spatial desires in relation to time. It will change during the day creating a vibrant and exciting building inside the city. 2 The most important element of the interactive system is the beam. By moving the beams hori zontally and vertically between two structural walls, any desired space could be configured. Next to standard beams, every space is provided with facilitating beams such as the washing beam and the cooking beam. Personal belongings and data is stored in the personal beam that travels with you through the building.

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4 3 In comparison to a common development the building is able to accommodate at least double the amount of livable spaces but cost a third of the average rental price of standard living units in the city centre. Creating approximately 33 times more diversity but above all personal and affordable space. 4 The Mutator is located inside the center next to a transit hub and in between the mixedused buildings where the pressure to develop personal and affordable space is the highest and its existence is most relevant. The building changes according to its users needs and therefore could change programmatically during the day from a livable to a workable building, but stays affordable because you only pay for the amount of space you occupy. 5. The building is lifted off the ground to extend the square of the central station towards the interactive system. In this way the Mutator is looking for an easy first encounter. Making the interactive building accessible for everyone. 6. An interactive building will facilitate any beha vior-based spatial configuration and will ensure an inclusive, vibrant, exciting, affordable and personal city.

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Monique Verstappen

Braec Landscape saturated by water

Course: Landscape Architecture Graduation date: 24 August 2021 Graduation committee: Saline Verhoeven (mentor) Jandirk Hoekstra Paul de Kort Additional members: Maike van Stiphout Eric Luiten

The sound of swirling irrigation installations watering the dried-out agricultural fields used to bring me happy memories of the end of a sunny summer day in Brabant. As innocent and beautiful as I thought these machines were, my perspective on them changed when I realized they visualize a big part of the troubles the sandy soils of the Netherlands are facing today. Over the last decade, it has become clear that the years with too much water — too much usable water — and our current way of managing it have come to an end. In the last few years, the groundwater levels in Brabant have become historically low. Creeks have dried up, water life died, and biodiversity went down tremendously. Inhabitants were asked to turn off their taps and save water during dry times. This summer, basements flooded and roads became inaccessible when the landscape became unable to process the enormous amounts of water it needed to deal with all at once. Droughts and floods have been coming and going for the last couple of years. With a climate that consists of big extremes instead of the trusty regularity of spread-out rainfall that the Dutch are so used to, our big dewatering landscape machine is not working anymore. The name Brabant is derived from Braecbant, a combination of braec (broek), a wet lowland, swamp or water-saturated land, and bant, which means region. This etymological origin proves to be at odds with the contemporary image of the lower sandy soils in Brabant and the way I grew up and got to know the landscape. Today, the landscape is one big dewatering super machine built to drain it of its access water to make it perfect for living, agriculture, and other economies.

The most severe drought problems of the Netherlands in 2018 occurred in the watershed of the Dommel. The Dommel is the main creek in the watershed that origi nates 35 kilometres into Belgium and flows into the Maas in ‘s Hertogenbosch on the northern edge of Brabant. The original landscape of Brabant, which was once saturated with water and functioned as a large sponge, could no longer compete with the dewatering machine we built, which not only drains water efficiently but seems to drain it of all its water. With the promise ‘We will never be hungry again’; land reclamation, increasing production levels, upscaling of agricultural land, and densification have brought the landscape into a state of deterioration deprived of all flexibility and unable to adapt to the changing climate we are dealing with today. This project brings an answer to the current and urgent question that asks what it means for our landscape if water steers the occupation of our landscape once again. With water as the basis for a new strategy that does not put the draining of water at its core purpose but rather puts the water first and works together with the sandy underground to build a strong base, to offer flexibility in extreme weather conditions and can serve as a starting point for future opportunities in our land use. A new landscape once again satu rated by water, ensuring us of enough water for the future!

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1 Groundwater drought map June 2018, visuali sing in red the dryest parts of the Netherlands. With on top the countour of the Dommel Watershed / Sand soil areas within the Netherlands 2 Section Zoom 1 Vessem, Design, relation and transition between zones explaining how the different zones can work together and in harmony with existing and new land use 3 Zoom 1 Vessem – Visualisation of the design for the future landscape of the region around Vessem. An area mainly focused on agricultural landuse, nature reserves and cultural history

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Main Infiltration zone

Seepage zone

Creek Valley / Creek

Deceleration zone

Main Infiltration zone

Deceleration zone

Seepage zone

Creeck Valley / Creek

Seepage zone

Deceleration zone

Main infiltration zone

Deceleration zone 30M

Precipitation Evaporation

Run off

Infiltration 25M

Seepage

20M

Inundationzone

Inundationzone (+\-) 400 meters

On permeable layer

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high calcium level

Coarse sand and gravel Drift-sand (stuifzand)

Sand with high levels of clay, loam and often peat Creek depostis

Transition zone

Sand with high levels of clay, loam and often peat Creek depostis

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7 4 Visualisation in section showing the proposed new strategy for the water shed. Dividing the water shed in five different landscape zones each with its own specific qualities. Together they form a new watersystem 5 Strategy map showing the proposed new strategy for the area. Dividing the water shed in five different water zones. Each with its own specific qualities forming the base for a new way to organise the landscape 6 Section Zoom 2 Boxtel, Design, relation and transition between zones explaining how the different zones can work together and in harmony with existing and new land uses 7 Zoom 3 Eindhoven – Design for the new water strategy map, erasing the old drainage systems, giving space for extra water-buffering, slowing down the ground water and with that creating more surface water Zoom 3 Eindhoven – Visualisation of the design for the future landscape of the North-East side of the city Eindhoven. Focused on the integration of the strategy with the bigger scale urban fabric of the city; combining the design solutions with the variety and opportunities of the city, in this case the university campus

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Oscar Sanders

The Silver Child A community housing facility for people with severe multiple disabilities in an urban context

Course: Architecture Graduation date: 12 July 2021 Graduation committee: Judith Korpershoek (mentor) Anna Maria Fink Henri Snel Additional members: Elsbeth Falk Lisette Plouvier

In the architecture for a stimulating dayto-day setting, the human being is central, not the construction. People with severe multiple disabilities are a vulnerable target group in our society. They experience a wide variety of impulses and are assisted in this by intensive care on a daily basis. Their sensitivity requires a space that can adapt to a desired environment rich or poor in stimulants. The space for people with severe multiple disabilities is stimulating if there is opportunity for a varying range in experience. My uncle Freek has a severe combination of disabilities, both mentally and physically, which makes him completely dependant on someone else. Freek is in a wheelchair and is lifted in his bed or in a beanbag. He has limited ability to understand information, does not talk in full sentences, only a few words. He has a sense of humour, is sensitive to moods, and communicates through posture and gestures. Freek has lived in a variety of locations, depending on the offer within the care system. These were mainly remote locations in a forested area or homes on the outskirts of the village. Freek likes to meet people every morning, spend the day together with others in a meaningful way. Care from professionals will be reduced in the future and will be replaced by informal caregivers from the personal network and by technology. In order to stimulate self-direction and participation, the focus should not be on care but on living and the various functions in the neighbourhood. The social context of a person with severe multiple disabilities is an important safety net and lightens the intensive care provided by professionals. Currently, people with severe multiple disabilities live mainly in a rural con-

text. For these people, but also for the informal caregivers, such as family, friends and relatives, arrangements will have to be made to be able to live and work in close proximity to each other. Not only rural, but also within an urban context.

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1 Hapé smeele – Another reality 2 Hapé smeele – Another reality 3 Hapé smeele – Another reality

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4 Archive picture mill the otter 5 City as house, house as city 6 Spatial variation 7 In-between space

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Olivier Hortensius

Amstelhoven

Course: Architecture Graduation date: 31 March 2021 Graduation committee: Elsbeth Falk (mentor) Sweder Spanjer Wim de Vos Additional members: Rik van Dolderen Wouter Kroeze

I grew up in a single-parent family. My father died when I was three years old. My father worked hard and made sure that after his death, my mother was financially independent and therefore did not have to work. As a parent, she was there for me 24/7. Because of this, I look back on a very pleasant childhood. My older cousin also grew up in a single-parent family because his father also died prematurely. Financially, they did not have the freedom and his mother had to continue working in addition to parenting. Therefore, there was little time for her to lead an independent life. In the flat where I grew up, it is difficult to play outside. Not all the houses are oriented towards the same space. Between the lines of sight and physical connections, there is too much distance for social control and a feeling of connection. Children in the flat are not inclined to ring the doorbell of a friend and are only allowed to use the lift at a certain age. In this graduation project, I want to take up the challenge of creating a better living situation and environment for single-parent families in Amsterdam.

public, and public spaces. More social interaction through collective community. Freedom of movement More freedom of movement without loss of social control/connection. Family distribution More time for each other and themselves. Demographics Rising prices on the housing market and lack of space mean that single-parent families are moving out of the city.

PERSONAL STORY AND AMBITION – To create a better living situation and environment for single-parent families in Amsterdam. – Sightlines and physical connections for direct connection with the street and other homes in the street social control and to create a sense of connection. – The physical and social connection makes it easier to have contact with others.

LOCATION Density Densification and improvement with (partial) retention of the existing structure. Amenities Some facilities already present. Accessibility Well accessible by bicycle and public transport. Shorter travel times. Construction More compact housing within a complex with integrated (social) facilities. Preferably also the possibility for densification and improvement with (partial) retention of the existing structure. A complex with village characteristics. Accessibility Easily accessible by bicycle and public transport. Shorter travel times. Architectural More compact housing within a complex with integrated (social) facilities. Preferably also the possibility for densification and improvement with (partial) retention of the existing structure. A complex with village characteristics.

TARGET GROUP Social connection Physical and social connection between parent and child. Connection private, semiContemporary Collective

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Wouter van der Velpen

Villa Fiducia Looking for inclusion in architecture

Course: Architecture Graduation date: 08 June 2021 Graduation committee: Marcel van der Lubbe (mentor) Jeroen Geurst Frank Studulski Additional members: Ard Hoksbergen Albert Herder

Inclusion is one of the basic human needs. When we talk about inequality and discrimi nation based on gender, disability, color, orientation, interests, ideas, social group, and everything that has to do with being yourself within society. That everyone has the right to be different and special. I believe that a big step is taken when a person encounters deviant people from their own social environment at a young age, learns to stand strong, learns that not everything has to be perfect, and a safe environment is offered. I believe by continuing to ask questions, to not build on certainty but on presumption, inclusion can be achieved. Doubting and being open to new thoughts is the foundation of inclusion. I’ve been looking for ways to improve accessibility, to increase inclusion. I have tried to do this by including the mental and the physical, the abstract and the tangible in every investigation. This has led to a Villa in which I have designed a fixed structure in combination with specific spaces and where the city (dynamic) and the park (calmness) merge. The senses are used to direct movements, transitions, obstacles, confidence, energy, and freedom. Using time as a design tool is one of the most important discoveries during the process. It is necessary to make discoveries, to be challenged, to understand the atmosphere of the space, and above all, to have a dialogue with the design. Time applies not only to the design process, but also to the design itself. Elements of architecture are not walls, floors or roofs. The elements are encounters, confrontations that integrate with memory and people need time to process this.

In Villa Fiducia I answered the question about the different users by looking at the sensory experience of the users and using the similarities between them as a basis. This results in a design that has a clear and recognizable structure, which provides tranquility and overview. Within this structure, I adjusted what the user needs for each part of the Villa. The starting point is that the user has a quiet base from which the Villa can be discovered at his own possibilities and at his own pace. The transitions of this discovery happen gradually and without pressure with the senses as a means of facilitating the discoveries. An important part of this is to integrate time, spontaneity, and inconsistency so that the user is challenged and discovers that not everything has to be perfect and logical. These are the fundamentals of inclusive architecture. As long as these parts form the basis of the design process, it doesn’t matter how the architecture and appearance will form. The outcome is the result of the story. As Villa Fiducia is my story about inclusion in architecture.

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1 Impression of the outdoor area on the first floor, with a view of the theatre on the right and a view through to the upper school classroom. 2 View from the neighbourhood towards the forecourt and the main entrance.

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3 The structure of the Villa with the corridor that connects all the functions and protects the education, the functions that lie along the corridor and the gardens/plazas that direct the transitions. 4 The border between the Villa and the neighbourhood and the difference in height that provides the shelter and the connection with the neighbourhood. 5 The view of the Villa seen from the park, where one can descend towards the inner garden. 6 Impression of the sheltered corridor with a view of the inner garden, with the classrooms and the veranda on the other side.

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Hester Koelman

Desolate lands A rain landscape in the Achterhoek

Course: Landscape Architecture Graduation date: 13 July 2021 Graduation committee: Roel van Gerwen (mentor) Yttje Feddes Bruno Doedens Additional members: Harma Horlings Gert-Jan Wisse

Korenburgerveen is a beautiful and very special nature reserve in the Achterhoek. It is a raised peat bog, a landscape formed by plants that live on rainwater, and a very interesting ecosystem. The Korenburger veen is one of the last parts of the Nether lands that has not been cultivated, there is still real ‘wild land’ here. It lies as an island where time has stood still in a landscape that has changed rigorously in the past 100 years: from forests with heath to large-scale agriculture with intensive livestock farming and grasslands that require a lot of fertilizer and water. This intensification has also created problems for raised peat bogs. The Achterhoek is one of the driest areas in the Netherlands because it depends on rainwater. Agriculture is not designed for this and extracts a lot of groundwater, while the raised bogs must always remain wet. In addition, the sandy soil here is naturally very nutrient-poor, which means that agriculture uses a lot of fertilizer. This way, a lot of nitrogen is released into the air that fertilizes the raised bogs. The wrong function in the wrong place. In my design, the small scale of the Achterhoek is restored by making the differences in relief and soil structure visi ble and tangible again. I intervene in the water system to transform it from draining rainwater as quickly as possible to retaining water for as long as possible. Low parts in the micro-relief are used to retain the rainwater so that more infiltrates into the soil. This makes the differences between high and low again visible. Gradients arise for ecology, creating a beautiful landscape for recreational users and residents that is slightly different in every place. In this way, the drought problem is tackled and the conditions in the landscape change.

Because this makes it wetter in some places and drier in others, agriculture must adapt. Agriculture must also change in order to tackle the nitrogen problem: reducing cows and stopping the use of fertilizer is necessary for this. I have devised an alternative land division based on the differences in height and on the soil. This has major consequences for what is possible where. I want to expand the surface of ‘wild land’ again and add more wilderness to the Netherlands. In the most crucial places in the landscape, there is no longer room for regular agriculture. I want to naturalize these areas by having them managed by special ecosystem service farmers. These will perform services for the other farmers, who are in between the highest and lowest parts of the landscape. The farmers all work together, from top to bottom. The natural buffers that are created in this way also form regional connections for ecology as well as recreational users. Different Natura 2000 areas will be linked together, making nature even more robust and making it even more interesting to visit this area.

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Hester Koelman

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Hester Koelman

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Shant Moushegh

House of Future Architects Student complex of the Amsterdam Academy of Architecture

Course: Architecture Graduation date: 16 December 2020 Graduation committee: Saša Rađenović Dingeman Deijs Michiel Hulshof Additional members: Jolijn Valk Jeroen van Mechelen

Four years ago, I started my master’s degree and ever since then, I’ve been on an emotional rollercoaster that just seemed to never stop. The Academy demands a lot of time from the students because they are expected to have a job during the day and to work at the Academy in the evenings and at weekends. Due to this almost entirely occupied agenda, there is a lot of pressure on the students, where they often do not have enough time for themselves. Therefore, I and many of my fellow students have experienced a lot of difficulties, i.e. financially, mentally, and physically. Unfortunately, for many students, these ‘outside of the Academy’ problems were the reason for dropping out of the Academy. This was the reason for me to design a place for the students of the Academy, where they can come together, live together, and work together. The program for this student complex was created by conducting an online survey and interviewing various students. The assignment was to design a building where students of the Academy can live and have enough facilities to maximize their potential during their time at the Academy. Various spaces have been made available in this student complex, such as a presentation room, model room, exhibition space, etc. In short: ‘The House of Future Architects’ will complete a master’s program at the Academy of Architecture. By offering various facilities and bringing enthusiastic students together, this building will be a ‘buzzing hotspot’ for future architectural talents!

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1 Main entrance student complex 2 Online survey: Of 130 students, 49% are interested in a student complex at the Academy of Architecture

Shant Moushegh

House of Future Architects

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3 Interior impression: Meeting of the student work spaces and the public exhibition route 4 Isometric programme: A public exhibition route guides visitors through the student complex 5 Interior concept: Gradual transition from a student room (private) to an exhibition space (public) 6 Scale model 1 on 50: Longitudinal section

Shant Moushegh

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Metamorphosis

Edgars Rožkalns

Erwin Webbink

Alexander Berkmann

Anna Zań

Niek Smal

Pedro Silva Costa

Rick Groeneveld

Ries van den Bosch

Sanne Mulder

Silko van der Vliet

Sjaak Punt

Tom Lodder

Hongjuan Zhang

Metamorphosis The world is in transition — it is time for a new revolution. This is the new generation of designers who will be responsible for facing current and future challenges. The changing world generates new opportunities that these alumni approach with an optimistic view. Furthermore, traditional functions and the use of materials are critically rethought.

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Edgars Rožkalns

MEŽS / Dance club primordial wilderness in the city

Course: Architecture Graduation date: 26 August 2021 Graduation committee: Lada Hršak (mentor) Floris Hund Christopher Gabriel

“It has gone global. From London to New York, we are hearing the same thing: where the fuck are all the nightclubs going? (..) Comparing to the past nowadays, only in very few cases, new clubs are replacing the old ones.” – Terry Matthew (2019) So many dance clubs are closing, and only a few new ones are replacing the old ones. Due to pandemics, increasing rent prices, noise restrictions, security issues, clubs are experiencing an overall lack of local support. However, a significant part of society still finds its safe haven in dance clubs. Clubs play electronic dance music such as house and techno, predominantly characterized by the rhythm called “fourto-floor”. Rhythm is primitive and originates in the cradle of civilization. There are no rules for the dance, and even the worse dancer can “jack the body” to the rhythm. Therefore, it is possible to witness therapeutic, spiritual, liberating, and unifying experiences on the dance floor. However, unified and liberated people have been often perceived as a threat to those in power. Throughout history, there have been various clashes between authority and clubgoers. The objective of the project is to create an environment that: would make the visitor curious, would give a safe-haven for those who are searching for it, would awake primal wilderness, would make aware of the authority, and provide the visi tor with the power to safeguard their rights in case of urgency. Clubs usually have been located in remote areas, basements and abandoned industrial buildings, avoiding the authority’s attention, but contrary to that, this project offers a different scenario. The chosen location of the dance club is right in the middle of Riga, the capi

tal city of Latvia, on the central axis where many “buildings of the regime” such as the ministry of Latvia, the freedom monument, and the city hall are located. The club is placed in a way to make a significant impact on the city in case of urgency. Although this proposal for the city might seem threatening, it benefits by organizing infrastructure and restoring the link between the old city and the riverbank, which is now separated by a heavy motorway. The club brings visitors three meters lower underground to the original level of Riga, where the wild forests once grew. The project brings this wilderness back into existence to awake primordial experiences. Therefore, the primary source of inspiration for the atmosphere, detailing, and materiality is found in the wilderness. “Mežs” is a word in the Latvian language meaning forest. The word derives from a Proto-Indo European word which describes “that which is in-between” = Forest.

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1 Top view at night 2 Rifleman square. Current situation 3 Thicket - the first impression approaching the building

Edgars Rožkalns

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4 Site plan 5 Creek - entrance to the club area 6 Conceptual schemes 7 Section A-A 8 Model showing the materiality

Edgars Rožkalns

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Erwin Webbink

Paris cycling city Fascination “Le Petite Ceinture”

Course: Urbanism Graduation date: 25 February 2021 Graduation committee: Tom Bergevoet (mentor) Joyce van den Berg Pieter Jannink

A city in development is a city full of dynamic and inspiring places. Since the industrial revolution, Pa ris has developed into a global conurbation in recent centuries. This has accelerated the city, with industrial developments from the last century once labeled as promising, and now appearing as abandoned cultural-historical elements. The Petite Ceinture is one such element. Originally, the Petite Ceinture had the task of transporting goods from the six largest stations in Paris. These stations were not connected to each other, so the movement of goods, people, and military personnel in the 19th century was not optimal. Since major interventions took place in the city, such as “Plan Haussmann”, the Petite Ceinture was also realized. The goods and people could easily be moved through the city via this track. Since the completion of the Le Petite Ceinture in 1852, the city has developed so rapidly that the old railway had lost its function within a few decades. In the graduation proposal “Bicycle City Paris” I am going to make the industrial heritage of the past part of Paris again. The assignment seeks to activate a 32 km long rail route that will gradually transform into a romantic stay/bicycle connection through Paris and thus regain a characteristic and climate-proof part of the city. This, in addition to introducing bicycles, also gives an impulse to water sto rage, biodiversity, recreation and creates connections between the historic city center and the periphery/surrounding parks. The plan expresses itself on different scale levels but focuses specifically on four case areas in Paris. A toolbox has been deve loped to give all morphological types a development perspective. The location of

the four case areas is based on the different morphological locations of the “Le Petite Ceinture”. In order to get the Petite Ceinture up and running again and to make it part of the city of Paris, a sensitive and cautious strategic approach has been chosen. Due to the size of the track, the Petite Ceinture is a sensitive element and you feel at a local level that it is a landmark in the area. That is why the small stations at the local level will first be transformed into new beacons in the area. From these beacons, the gates to the railways will be opened again – this time for cyclists and walkers. The existing ramps that were previously used for transporting goods will become the new bicycle connections that will connect the entire city. The old railways will be transformed into cycle paths where the existing materials will be reused. In the context of sustainable use of materials, the reuse of materials is crucial for this project and contributes to the cultural-historical re-experience of “Le Petite Ceinture”. The aim is to relive the Petite Ceinture where the Parisian will embrace cycling and look back with respect to this special part of the city. Which will contribute to a more sustainable and healthier experience of the city in a re-established way.

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1 Le Petite Ceinture, Cycling City Paris 2 City development analysis, Le Petite Ceinture

Erwin Webbink

Paris cycling city

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3 + 4 Before / After transformation, Le Petite Ceinture 5 + 6 Plan view, Avenue Jean Jaurès 7 Cross section, Porte de Clignancourt

Erwin Webbink

Paris cycling city

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Alexander Berkmann

Construct In Search for the future physical retail

Course: Architecture Graduation date: 20 April 2021 Graduation committee: Jolijn Valk Barend Koolhaas Samira Boon

The vision of footwear and our relationship to physical retail has changed dramatically. Climate change, energy consumption, digitalization, and urbanization have hugely impacted the way we strive to become cleaner, quieter, more active, and collective. Therefore, the process of updating the physical retail concept inevitably affects more than just selling new shoes. The Construct clothing store is an example of what the physical retail of the future in the footwear industry could be. It establishes a new typology, where the store and the factory merge. Here, visitors are invited to gradually discover how footwear transcends into the future. An experience is curated, that engages the customer in the production process, which enables the customer to co-create and design their personal shoe. To further integrate consumer consciousness about recycling and waste minimization, the store will house a place where shoppers can bring their plastic waste materials which will be recycled into their own personal shoes. It is logical and very necessary to curate a more personalized experience around footwear innovation to inspire the wider public to adopt healthier and shared modes of clothing.

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1 Storefront facade by night 2 Basement: Recycling department for plastic bottles 3 Storefront: Community showroom

Alexander Berkmann

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SHOE ASSEMBLY

UPPER SOCK

ELASTIC STRAPS

OUTER SOLE

INNER SOLE

EXO - SKELETON

4 1 Floor: 3D Printing department 5 Ground floor: Community space & bar 6 Rooftop: Assembly department & rooftop bar 7 Shoe assembly 8 Shoe components

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Anna Zań

Earthworks The transition of material production

Course: Architecture Graduation date: 23 August 2021 Graduation committee: Uri Gilad (mentor) Hannah Schubert Dingeman Deijs Additional members: Marlies Boterman Machiel Spaan

Each location has its own unique soil type which is reflected by the landscape topography, vegetation, climate, and in the past by local architecture. As moderns, we have replaced building with local raw resources, reuse, and bricolage with blind faith in technology. Over the years, the production of local and site-specific raw materials on a regional scale has been supplanted by the production of universal processed materials on a global scale. We mine natural resources and turn them into processed matter. What has been formed by nature over millions of years we managed to destroy and disbalance in less than 100 years. To re-establish the harmony between the built and the natural environment, we need to erase the strong distinction that we have created between those two, starting from the way we use local natural resources. Earthworks is about bringing back the culture of building naturally. In my project, I propose preservation and gradual reuse of a former cement factory (ENCI Maastricht) for raw material production based on the local raw resource of Limburg- loam. I was fascinated with the old craft of building with raw earth from that region, the craft that has almost completely disappeared, yet is an extremely sustainable mode of constructing with the potential of infinite reuse. In comparison to cement, raw earth production does not require heavy processing — only the right composition of soil grains, sometimes fibres, water, and time for drying — to obtain high-quality construction. Since it is not treated with any additives, the earthen material can be reused an infinite number of times after dismantling or it can just simply crumble

apart, at the end of the building’s lifetime, without leaving traces on the environment. Currently, the obstacles which make it difficult to reimplement this way of constructing are a lack of people who would be skilled to build in this way, lack of regulations supporting this way of constructing, missing knowledge of us architects who would design with it, but even more importantly: a lack of familiarity and trust from the public in this mode of constructing. Implementation of Earthworks — four new constructions made with raw earth on the site of ENCI Maastricht — is the first phase of the transition in material production. It focuses on developing and collecting knowledge about raw earth construction and material production and its introduction to the public. A transition in the way we build will never happen without a change in mindset. Public experience and acceptance are crucial for this transition to happen. Constructed with four different raw earth techniques, Earthworks narrates the story of the material, its strengths and vulnerabilities, and invites the visitor to truly experience the atmosphere and tactility of building with raw earth by themselves. Earthworks is also about relearning a pre-modern attitude towards the built environment; an attitude of acting with caution and care, where maintenance and reuse of materials are normal, where material erosion and decay are accepted, and where we relearn to construct simpler and humbler in order to truly sustain. Earth as a building material has no lobby. Therefore, I hope that my graduation project will help to bring more recognizability and appreciation for this modest way of constructing.

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1 Earthworks in the context of the former cement factory ensemble (ENCI Maastricht) 2 Earthworks connect for the first time in almost 100 years the industrial site with the surrounding landscape, they form a new publicly accessible path that joins the recreational routes from the area with the production terrain 3 New constructions guide a visitor through the industrial terrain

Anna Zań

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4 The Wall marks the new entrance to the production site 5 The School – a place where knowledge about building with raw earth is gathered, developed further and shared with the public. The collected experience will be a base for setting up the new material production and people trained here will be able to perform the act of building with raw earth in the future. 6 The School – main workshop space 7 The School – ground floor 8 Compressed earth block made with raw earth from the site; approx. 70% raw soil from the site (mixture of eroded limestone and loam), 10% gravel 10mm, 20% coarse sand ; scale 1:1, 29,5cm x 14cm x 9 cm 9 The Tower – 30m high construction made of compressed raw earth blocks; for visitors, accessing the top of the Tower gives a chance to observe the larger scale post-mining landscape which reaches further than the borders of ENCI

Anna Zań

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Niek Smal

Water Pride A sustainable future for fresh water-addicted North Holland

Course: Landscape Architecture Graduation date: 18 February 2021 Graduation committee: Roel van Gerwen (mentor) Jorryt Braaksma Hank van Tilborg Additional members: Yttje Feddes Marit Janse

The summer of 2018 was an exceptional one. It was the hottest in three centuries. People enjoyed this warm period, but there were also negative aspects: dried out dykes and withered wet nature, damage to agri culture, and obstruction of transport due to the low river levels. The drought has also hampered drinking water extraction from surface water in Lake IJssel. The underlying task is the current organization of the fresh surface water system. The water quality of Lake IJssel is strongly influenced by the large quantities of water extracted by the water boards of the adjacent provinces. These provinces use the water from Lake IJssel to keep dykes and wet nature wet, to maintain water levels, to irrigate, and to flush the salt in provincial surface water systems. These large extractions of fresh water by the water boards create shortages on Lake IJssel and increase the salt concentration. Today, this is already a problem, but with the prospect of major changes in the climate, a completely unsustainable situation is emerging. Action is urgently needed. This thesis zooms in on North Holland, whose main and most demanding users are the farmers. They cannot function without the supply of large quantities of fresh surface water. North Holland is addicted to fresh water! The answer to this problem is provided by the ‘Water Pride’ strategy. The current water system and the underlying landscape types provide direction for the division of the province of North Holland. As a result, specific solutions can be used per region to get North Holland off the ‘tap’. Furthermore, the strategy is used as a kick-start to tackle other tasks for North Holland such as soil subsidence, energy, protein, and agricultural transition.

The measures for the regions vary from rigorous and innovative to subtle with mini mal impact on the experience and use of the landscape. The most important intervention with the largest consequences is the division of the North Holland basin system into a fresh and a saline basin, whereby large amounts of fresh surface water is saved every year, which would otherwise be used for peat conservation by means of wet retention. Finally, the development of De Schermer polder shows how the ‘Water Pride’ strategy could land on a smaller scale and lead to spatial interventions in the landscape. The introduction of the Schermer Landscape Basin, which functions as a seasonal storage facility, makes De Scher mer self-sufficient in its freshwater needs. In addition to the provision of sufficient fresh and clean water, the implementation of this landscape basin has an absolute added value for the region in terms of recreation, nature, and housing demand. Furthermore, the basin also plays a crucial role in launching the transition from conventional agriculture to circular agriculture The ‘Water Pride’ plan demonstrates, both at a provincial and regional level, how North Holland can function without the supply of external fresh surface water and how this enhances spatial quality. This anticipates the uncertain and ominous future. In 1600, North Holland was already a progressive and innovative water province. In 2100, North Holland will be Water Proud again!

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1 Water Pride strategy, a sustainable future for fresh water-addicted North Holland 2 De Schermer Landscape Basin, a vertical seasonal storage facility as a driver for spatial development

Niek Smal

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3 Trias Agrarica, the water farmer as an indispensable link in water purification and agricultural transition 4 Mill monuments arise as beacons along the Schermer Ringdijk 5 Earth-coloured observatory as a stopping place for swamp nature lovers 6 The Food Transferium, the link between the city of Alkmaar and the productive Schermer 7 The Noorderpolderhuis serves as a mill workshop and is the tourist transfer point of the Leeghwater Experience

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Niek Smal

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Pedro Silva Costa

HamerQUEERtier A vision for an inclusive and tolerant new neighbourhood in Amsterdam

Course: Urbanism Graduation date: 5 July 2021 Graduation committee: Ad de Bont (mentor) Deborah Lambert Jan Willem Duyvendak Additional members: Maud Aarts Hans van der Made

This graduation project is about the relationship between sexual identity and feeling of safety in the public spaces — and how the expertise of an urbanist can be used as a design tool to create tolerant, respectful, and inclusive public spaces that encourage LGBTQ+ emancipation and enhance the feeling of safety in the public space for everyone. The way I do that is by designing an LGBTQ+ oriented neighbourhood at the Hamerkwartier. Major cities such as London, San Francisco, Paris have something in common when it comes to queer geography: they have an area within the fabric of their cities that caters primarily to the LGBTQ+ community — also known as a gay neighbourhood, gay enclave, gay district. From living to gay-oriented establishments such as gay bars and pubs, nightclubs, bathhouses, restaurants, boutiques, and bookstores... These areas have been the refuge for the LGBTQ+ community for decades. A place where they are free to be themselves. When it comes to Amsterdam though, the city doesn’t have an area that relates to the gay districts around the world, in terms of scale and services offered. Right now, the city has one main destination that is well known for its LGBTQ+ character, the Reguliersdwarsstraat — a single street with mainly with nightlife entertainment usage — which doesn’t fulfil the needs of an entire community, especially when there are so many problems faced by vulnerable groups within the LGBTQ+ group. Think of issues such as the elderly that face heightened risks of social isolation after decades of discrimination, the younger individuals that had to leave their home after coming out, transgenders struggling to find places to live because of discrimination, violence

towards LGBTQ+ people in bicultural/religious neighbourhoods, and more. The Netherlands is still a frontrunner in the area of equal rights for the LGBTQ+ community and shows a high level of social acceptance. And one of the conclusions from the survey I did for this project was that the majority of the respondents, regardless of sexual orientation, realizes the benefits of a space where an LGBTQ+ individual feel safe in. The HamerQUEERtier becomes a place where no LGBTQ+ is left behind. A place based on three pillars: Engage, Develop, and Celebrate. These pillars will provide ground for the LGBTQ+ emancipation through four program strategies: – Create anchors that give protagonist spaces to LGBTQ+ supporting institutions. – Capitalize on the existing program of the area. – Link to the events/ambitions of the city. – Develop special policies for the area. Spatially, five strategies are set out to transform the Hamerkwartier area into a new neighbourhood: Connect with the surrounding, Open the waterfront to the public use, Transform the Gedempt Hamerkanaal into a “gay street”, Attract the LGBTQ+ community through anchor buildings, and Create public spaces to provide different opportunities to experience the outdoors. The goal? Creating a diverse and inclusive city that underlines the importance of including gender and sexuali ty in the urban planning process.

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1 HamerQUEERtier, a new LGBTQ+ neighbourhood for Amsterdam 2 The courtyard – a meeting place that fosters diversity

Pedro Silva Costa

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3 Street as a monument to celebrate 4 New Gedempt Hamerkanaal Straat, visibility to the forefront 5 Gender inclusive urban planning and design 6 DiversCity, different living typologies to accommodate different needs

Pedro Silva Costa

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Rick Groeneveld

The Transfer Towards future-proof urban neighbourhoods

Course: Urbanism Graduation date: 12 October 2020 Graduation committee: Huub Juurlink (mentor) Rick ten Doeschate Pierre Marchevet

Cities are expanding and become busier, therefore increasing the pressure on public. As a result, a number of essential challenges such as heat stress, water collection, biodiversity – but also safe walking, cycling and recreation are under pressure within the spatial domain. Especially in high density (existing) city districts. The search for more public space brought me to the parked car. By means of a new parking concept, in which cars are stored vertically in a well-connected and centrally located tower, former parking space can be re-used without undermining the mobility of the car. I test this by taking a pre-war urban neighbourhood of Amsterdam as a case study (Staatsliedenbuurt). Here I look for the right location, embedding and design for the parking concept. I then outline a perspective for a new network of routes, connections and a redesign of public space that will meet all ambitions to make the urban neighbourhood safe, attractive and climate-proof.

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1 The transfer occurs in the public courtyard. 2 The transfer should be central, well connected and effortless.

Rick Groeneveld

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3 Instead of parked cars, the streetscape can be used for playing and green. 4 The parking machine is integrated in the urbanistic structure of the nineteenth century blocks. 5 Plan. A new network of slow traffic routes and squares arises around the new block. 6 A sequence of spaces between the new square, the courtyard and the housing block with amenities.

Rick Groeneveld

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Ries van den Bosch

De Overslag A cathedral for harbor and city

Course: Architecture Graduation date: 13 July 2021 Graduation committee: Machiel Spaan (mentor) Dingeman Deijs Hein van Lieshout

Project ‘De Overslag’ concerns the transformation of a large industrial harbor complex at the Vlothaven in Amsterdam, where the future Harbor-City will arise. The complex will be transformed into a center for urban farming. In addition to production space, there is also room for a public program. This means the building will retain its harbor function while the public role will give identity and history to the new expansion of Amsterdam Harbor-City. Spiral wooden constructions turn the twenty-four silos into vertical fields where starting urban farmers can grow different crops. The closed concrete silos keep out uncontrollable factors such as sun, rain and insects. The total capacity of the fields is equivalent to 375.000 m2 of traditional agricultural land. The wooden structures also relieve the internal funnels in the silos. This makes it possible to open up the spaces underneath the funnels. The resulting public spaces allow visitors to experience the building in a completely new way. The harvest is processed into end products in the adjacent factory silos. The products find their way to the consumers via three routes. They are sold at the covered market square, by transport via the water network to the direct surroundings and they are the main focus of the fine- dining restaurant inside ‘De Overslag’. With 375.000 m2 of vertical fields, it will be the restaurant with the largest backyard in Amsterdam. The current user only uses the complex at half capacity. This allows for half of the vertical fields to start transforming immediately. This way ‘De Overslag’ can start building her brand long before the area starts its transformation. When Harbor-City will start transforming in 2040, ‘De

Overslag’ will be a pioneer within the area due to its head-start. The first public area of the Vlothaven where super local pro ducts are produced in a building with the unique identity of Harbor and City.

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1 Model visitors centre between the silos 2 Floor plan and traffic routes 3 New addition: plantation, educational greenhouses, roof

Ries van den Bosch

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4 Exploded overview 5 Public balcony with a view over the Vlothaven and the city 6 Impression visitors centre between the silos 7 Model covered market square 8 Impression covered market square

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Ries van den Bosch

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Sanne Mulder

The counsellor A new typology in funeral homes

Course: Architecture Graduation date: 24 August 2021 Graduation committee: Pnina Avidar (mentor) Jo Barnett Jeanne Tan Additional members: Wouter Kroeze Ricky Rijkenberg

Death is unavoidable — yet it is a subject that we choose to avoid as a society. Death is not an easy topic to talk about. People would rather not get confronted with it, because they do not want to think about the end of life. This can make it difficult for the people who are grieving and need support to find that comfort from the people around them. The world gets more digital every day. Family and friends are physically more distant, which makes it more difficult to talk about feelings, express emotions, and react to grief face to face. Existing funeral homes often do not give the kind of support and comfort the bereaved seek either, as they can feel slightly industrial and impersonal rather than comforting and welcoming. This raises the questions: what emotions play a big role in healing, what do people need to grief properly and how can we give them that, considering different cultures and the journey of grief? The Netherlands is a culturally diverse country, but there is only one multicultural funeral home. This asks for a new approach towards funeral homes for all cultures — and the emotions and rituals that come with it. There two main principles for this design are: 1. The building as the counsellor, which can be seen as the qualities of the counsellor as a person translated into architectural qualities as in dimensions, materials and colour. 2. The journey, which is dived in time (time of grief, the different seasons of the year and hours of the day) and process (movement through the building, alternating in- and outside, materials from dark to light and from rough to smooth).

This results in sensory architecture with a sequence of spaces and experiences. A place where the building becomes the counsellor.

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1 Donatorium 2 Donatorium impression

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3 Surinam Funeral ritual 4 Chapel and water ceremony hall impression 5 Earth ceremony hall impression 6 Chapel and earth ceremony hall

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Sanne Mulder

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Silko van der Vliet

Moose River Delta Cree Rediscovering the boreal landscape and enhancing indigenous culture

Course: Landscape Architecture Graduation date: 28 October 2020 Graduation committee: Jana Crepon (mentor) Lodewijk van Nieuwenhuijze Sjef Jansen Additional members: Berdie Olthof Marieke Timmermans

The deltas of the swampy boreal forest along Canada’s James Bay are home to indigenous Cree people. This coastal landscape and its inhabitants will also be affected by climate change. Nature takes its course, but how can the residents adapt to the changes in the landscape: will they leave, or stay and adapt their habitation and lifestyle? In the past century, Canada tried to socially displace indigenous children with a residential school system. They had to assimilate into the Euro-Canadian way of life. A traumatic experience. The Canadian government apologized in 2008. In the meantime, the indigenous communities are recovering their traditions, language and knowledge. The change from nomadic life to a ‘permanent place of residence’ estranged their relationship with the natural landscape. However, climate change creates opportunities to revive this relationship and rediscover the boreal forest. The James Bay is an inland sea that experiences a full cycle of freezing and melting every year. This cycle determines the functioning of the ecosystems surrounding it. Cree communities have adapted to this, as most of the landscape is only accessible during the frozen state in winter. In the spring, meltwater and ice accumulate in the James Bay deltas. Resulting in unusually more spring tides, where up to 6 meters difference from high tide has been measured. The ice then reaches the top of the riverbank. A minimal sea level rise of 1 meter would already result in water and ice flooding the current residential and habitat area. Civil engineering solutions, such as dykes and stilt houses, are vulnerable in this context. The salty seawater will ensure that the current-

ly wooded riverbanks change into an open salt marsh area with rugged thickets. A unique opportunity to redesign the changing landscape. This graduation proposal outlines a relocation strategy for the Moosonee and Moose Factory communities in the Moose River delta. This strategy responds to the hypothetical changes in the landscape and builds upon the legacy of Cree culture. Stable riverbanks of clay and gra vel form the basis for the relocation. The proposal is based on a new location in the dynamic forest edge determined by flooding. The forest edge functions as a link between life in the boreal forest and the tidal area with flourishing flora and fauna. Two landscape types that are fundamental in Cree culture. The human scale of spaces along the Moose River tributaries provides a suitable settlement site and ensures transport across the river to the coast. A sustainable and socio-spatial design of settlement clusters with more direct access to the landscape for everyone fosters opportunities for rediscovery of the forest to be prepared for a sustainable future. Finally, the local economy can be given a boost by setting up eco-tourism and profiling the area as a fundamental research area for the landscape as a ‘carbon sink’ in the global climate crisis. Hopefully, this plan will also inspire other Cree communities to see the landscape as a means of enhancing their culture.

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1 The accelerating effects of Arctic feedbacks alter the functioning of the global climate system, but manifest first in the transitional zone of the boreal region. 2 Prognosis of isostatic rebound/sea level rise scenarios for 2100 reveal the risk of river water and ice masses within the local communities.

Silko van der Vliet

Moose River Delta Cree

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3 The current coastal boreal forest consist out of spiny trees that are characterized by reduced growth because of the swampy context. 4 Due to spring flooding with brackish-salt water the trees of the boreal forest will die off and transform the landscape into open salt marshes. 5 Landscape qualities of creeks is the starting point for a relocation strategy and settlement structure with vibrant social life to create a community integrated in its natural surroundings. 6 A collection of build elements compose new community clusters that are emerging along the banks of the Moose River’s tributaries. 7 A sustainable community that supports fundamental research on a carbon sink of global importance.

Metamorphosis

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Silko van der Vliet

Moose River Delta Cree

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Sjaak Punt

Nationaal Park Haarlemmermeer An integrated sustainable perspective for the Haarlemmermeerpolder in 2100

Course: Landscape Architecture Graduation date: 25 August 2021 Graduation committee: Harm Veenenbos (mentor) Nikol Dietz Martin Aarts Additional members: Lodewijk van Nieuwenhuijze Niké van Keulen

As the 19th-century German naturalist Alexander von Humboldt discovered, everything in the landscape is interrelated. He already saw the negative effects of sectoral land use on the climate, soil and biodiversity. These insights seem to have fallen into total oblivion in the century and a half that followed. The Haarlemmermeerpolder is a textbook example of untenable sectoral pragmatism and its associated problems such as salinisation, low biodiversity, noise and air pollution, congestion, and urban housing monocultures, which all put pressure on the quality of life in the city. To cope with this problem and to work towards a sustainable and attractive alternative for the Haarlemmermeerpolder, large-scale integral design is needed. In this proposal, this alternative is given in the form of the Haarlemmermeer National Park. An integral design of the polder in 2100, fully committed to a self-contained sustainable water system fed by rainwater. A local, regional and international mobility strategy based on public transport and train. Sustainable and high-density cities surrounded by a biodiverse landscape. The basis of the plan can be found in the water system. In the future, the Haarlemmermeer will be completely fed by rainwater. The old inundation fields of the Defense Line of Amsterdam will be used to collect and store this water. This new water storage facility will provide the area to the north of the ‘Geniedijk’ with sufficient water to enable agriculture to continue. This water storage also functions as a large bird (breeding) habitat. The combination of water storage and the subtle topography of the polder provide a rich variety of marsh islands, reed beds and open lakes.

To make room for this large water storage, the various large infrastructure bundles in the Haarlemmermeerpolder have been combined into a single bundle with a focus on public transport. This land tunnel is situ ated against Hoofddorp and Nieuw-Vennep and connects the polder with the rest of the Netherlands and with the world via Schiphol. In addition, for a considerable part of the housing assignment in the Randstad, a sustainable interpretation is found in the Haarlemmermeerpolder. Schiphol, the third core of the infrastructure bundle, became the train hub of the Netherlands in 2100. There are only intercontinental flights as the train is used for all European journeys. The Amsterdam forest has been extended to Hoofddorp on the area that has become available due to the shrinkage of Schiphol (approximately 70%). This forest is called the Schipholsebos, a robust spatial counterpart to Amsterdam and the completion of the Amsterdamse Bos Scheg. This new low-lying landscape can be discovered in the Haarlemmermeer National Park with canoes that act as the main recreational carrier of the park. Canoe rental points can be found throughout the area, linked to public transport nodes. In this way, within 5 minutes from a train station, you can find in the middle of one of the largest nature reserves in the Netherlands!

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1 Impression of water storage and bird paradise in the Haarlemmermeer 2 Spatial concept 3 Detailed implementation of new urban fringe Nieuw-Vennep

Sjaak Punt

Nationaal Park Haarlemmermeer

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Metamorphosis

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4 Detailed development Schipholsebos 5 Impression waterfront Nieuw-Vennep 6 Different canoe routes in the woods 7 Impression canoeing over the old runway 8 National Park Haarlemmermeer

Sjaak Punt

Nationaal Park Haarlemmermeer

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Tom Lodder

Lovely Liège Towards a post-car city

Course: Urbanism Graduation date: 26 August 2021 Graduation committee: Jaap Brouwer (mentor) Jerryt Krombeen John Westrik Additional members: Herman Zonderland Hein Coumou

WHY? (ADAPT) The city of Liège is suffocating because of extreme car hospitality. Public space has been stripped down to traffic space, serving the singular purpose of moving and parking the polluting, dangerous, and space-inefficient cars. Global challenges concerning pandemics, climate change and sub-urbani zation can no longer be denied their spatial claim within the city. The question becomes: how to combine these new claims within a resilient and multifunctional public space? Belgium is trying to battle urban sprawl and the ongoing consumption of its landscape. Opposing low density and fully car-dependent ribbon developments makes the transformation and adaptation of Liège into an attractive, denser and greener city a necessity, ensuring a resilient and sustainable future.

concerning both real estate and public space will be created in order to compete with Belgium’s urban sprawl.

CITY AGENDA (AMAZE) Liège will be introduced to a radical new mobility system, allowing for a solid greenblue framework, covering the whole city. Therefore, through- and non-local traffic will be diverted around the city, restoring the city’s waterfront as a public space and its relationship with the Meuse. The greenblue framework ensures that green space is within at least 3 minutes walking distance of every inhabitant. A car-free valley pushes through motorized traffic outwards from the urban core maintaining a maximum speed of 30 km/h. Pedestrians, instead of private cars, have priority within this area. A network of slow lanes is provided to facilitate cycling, light electric vehicles and even the allowance of auto nomous city pods. Collective mobility hubs are within 300 meters distance of every inhabitant. By implementing the car-free valley, comparable or even better qualities Metamorphosis

RIBBON QUALITY – URBAN TYPOLOGY (ATTRACT) The cluttered Longdoz city district will be transformed into a dense and attractive urban neighbourhood by adding a variety of much needed green public spaces. The N30 city motorway will be transformed into a green boulevard, leaving cars underground and solving the missing green link between Parc de la Boverie and Parc de la Chartreuse as a continuous gateway to the outdoors. A new Longdoz train station and a new tramline, connecting Ang leur via Longdoz with the city centre will serve as the catalyst to transform the former industrial sites along the N30 road into green and dense city districts. Two variations of a newly introduced Longdoz superblock present how suburban ribbon qualities can be stacked into urban solutions, providing intimate private gardens and spacious collective climate courtyards within the city, giving sub-urbanites a run for their money and restoring the Belgian landscape.

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1 City motorway becomes a green gateway 2 Lovely Liège – symbiosis between landscape and city 3 A pedestrian paradise

Tom Lodder

Lovely Liège

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Metamorphosis

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4 Longdoz masterplan – a pedestrian paradise 5 Current: Suffocating city motorways 6 Future: A car free Meuse valley 7 Motorway quays becomes people’s quays 8 Gare de Longdoz

Tom Lodder

Lovely Liège

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Hongjuan Zhang

The G682 Quarries Yangzi Mountain Post-Mining Landscape Transformation

Course: Landscape Architecture Graduation date: 04 September 2020 Graduation committee: Jana Crepon (mentor) Roel Wolters Pieter Jannink Additional members: Roel van Gerwen Berdie Olthof

Granite G682 is a yellow-to-pink stone from the Precambrian period, as well as the most famous yellow granite from China. I am from a G682 granite town. I used to live in a village surrounded by stones. However, I never knew the beautiful and scary story behind it until I saw hundreds of abandoned quarries in the mountains. The Chinese government plans to shut down 4000 mountain quarries in 2020. So, what is the future of those mountains and their towns? Apart from the large main quarry, there is another type of quarry which is small and cuts deep into the mountain. These are created by family ateliers or small industries. In my hometown Shijing, people have cut into the mountains and dug out stones to develop the city. This process destroyed the mountains but created an amazing landscape. This post-mining landscape is a wounded landscape with marks of sorrow and betrayal, but these landscape scars are also beautiful, associated with narratives of experiences and memories. However, the ruined post-mining landscape and the related social culture can be appreciated and acknowledged by the people, even be canonized into ‘cultural heritage’. Through my graduation, I reopen and discover the landscape and social wounds in order to redefine and reuse the ruined landscape. By healing the landscape’s scars and transforming the open pits, I provide the opportunity to mirror the town memo ry, but also develop the cultural heritage of the post-mining landscape into a new identity of the town. It is my vision to regenerate the post-mining mountain with an ecological approach, to develop culture, education and recreation functions, as well as to create a new relationship between mountain

and urban development. The productive city and landscape co-living with urban eco-rhythms will create a gradient from the mountain to the sea. In order to regene rate and purify the rainwater for urban landscape restoration and urban functions, I allow the rainwater to flow freely from the mountain through the water reservoir and the river corridor. Finally, the urban-nature dynamic and ecosystem will be recreated by building an urban landscape structure and eco-circle system.

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1 Design plan 2 Maquette of the quarry mountain 3 Section of the quarry mountain-Tourists Attraction Area

Hongjuan Zhang

The G682 Quarries

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4 Outdoor Quarry museum 5 Rocky Landscape 6 Landscape restoration 7 Local Recreation Pits

Hongjuan Zhang

The G682 Quarries

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Examiners 2020 − 2021 Ad de Bont Albert Herder Anna Maria Fink Ard Hoksbergen Aura Luz Melis Barend Koolhaas Bart Bulter Bastiaan Jongerius Berdie Olthof Berrie van Elderen Bruno Doedens Chris Scheen Christopher Gabriel Deborah Lambert Dingeman Deijs Dirk Sijmons Elsbeth Falk Eric Frijters Eric Luiten Eric van der Kooij Felix Madrazo Floris Alkemade Floris Hund Frank Studulski Gert-Jan Wisse Gianni Cito Gus Tielens Hank van Tilborg Hannah Schubert Hans van der Made Harm Veenenbos Harma Horlings Hein Coumou Hein van Lieshout Henri Snel Herman Zonderland Hiroki Matsuura Huub Juurlink Ira Koers Jaap Brouwer Jan Willem Duyvendak Jana Crepon Jandirk Hoekstra Jarrik Ouburg Jeanne Tan Jeroen Geurst Jeroen Zuidgeest Jeroen van Mechelen Jerryt Krombeen Jo Barnett Jochem Heijmans Johan Galjaard John Westrik Jolijn Valk Jorryt Braaksma Joseph Litchfield Conteh Joyce van den Berg Judith Korpershoek Jurrian Knijtijzer Lada Hršak Laura Alvarez Lisette Plouvier Lodewijk van Nieuwenhuijze

Lorien Beijaert Łukasz Bąkowski Machiel Spaan Maike van Stiphout Marc van Nolden Marcel van der Lubbe Marieke Timmermans Marit Janse Marjan van Herpen Marlies Boterman Marten de Jong Martin Aarts Marty Roy Maud Aarts Micha de Haas Michiel Hulshof Mirjam Koevoet Mirte van Laarhoven Nikol Dietz Niké van Keulen Paul de Kort Paulien Bremmer Peter Lubbers Pierre Marchevet Pieter Jannink Pnina Avidar Remco Rolvink Rick ten Doeschate Ricky Rijkenberg Riette Bosch Rik van Dolderen Roel Wolters Roel van Gerwen Saline Verhoeven Samira Boon Saša Rađenović Sjef Jansen Stephan Verkuijlen Sweder Spanjer Tatjana Djordjevic Tess Broekmans Thijs de Zeeuw Thijs van Spaandonk Tom Bergevoet Uri Gilad Vibeke Gieskes Wim de Vos Wouter Kroeze Yttje Feddes

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Colophon Advisory board Markus Appenzeller Hanneke Kijne Jan-Richard Kikkert Madeleine Maaskant Hanna Prinssen Lindsey van de Wetering Production Joseefke Brabander Communication Mildred Zomerdijk Roos Bekkenkamp Editor

Roos Bekkenkamp

Graphic design Mainstudio (Edwin van Gelder, Gianluca Flütsch) Printing

Libertas Pascal

Publisher Amsterdam Academy of Architecture Waterlooplein 213 1011 PG Amsterdam The Netherlands +31(0)20 531 8218 avb-info@ahk.nl academyofarchitecture.nl ISBN 978-90-83207-40-7 © 2021 Amsterdam Academy of Architecture 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.