BINDING TOGETHER - Graduation Weekend 2021-2022

GRADUATION PROJECTS

2021 2022

AMSTERDAM ACADEMY OF ARCHITECTURE

MODERN NARRATIVES

ESTHER BENTVELSEN A NEW HORIZON OF AMSTERDAM 24

ANNE-ROOS DEMILT A VAN DE BUURT 28

ELENA DOBRETSOVA L THE PALIMPSEST OF PEATLANDS 32

SOPHIE VAN EEDEN L LANDSCAPE PARK CHORNOBYL 36

ART KALLEN A A CERTAIN ANOMALY 40

SYBREN LEMPSINK L PARK BUNDESSTRASSE 44

ROXANA VAKIL MOZAFARI A BIANCO 48

KINKE NIJLAND U THE ACT OF LIVING 52

TESSA SCHOUTEN L THE ISLAND OF SILENCE 56

ANNA TORRES  A XXX 60

MAX TUINMAN U EXIT URBANISM 64

PIERO VIDONI A METAHOUSE 68

ANNE WIES A MELTING POT 72

ALEKSEI KANIN A LIMINAL ARCHITECTURE. THE PROJECT 76

GRADUATION PROJECTS 2021 – 2022

SOCIAL

ERGIN

PHILIP

STEVEN VAN RAAN A

JESSE

INTRODUCTION

Until now, it has been customary for the three heads of the Master ’s programmes at the Academy of Architecture to each write an introduction about the graduation projects in their own discipline in the graduation catalogue, and for the director to write a foreword. But times are changing, and changes in climate, technology and society seem to be accelerating in recent years. These changes necessitate adjustments in the way we do things, and this graduation catalogue reflects that in miniature. The increasing importance of interdisciplinarity is not only reflected in the projects the reader will find in this catalogue, but is also the reason for writing a joint introduction.

The aforementioned changes mean that the classic, clearly distinct roles of the architect, urban designer and landscape architect must be redefined. The challenges of our time require designers who can look beyond the boundaries of their field. Not only do they need knowledge of the other design disciplines, but also of energy supply, water management and ecology, for example. In addition, the fundamental changes facing humanity require expertise from the behavioural sciences. Economics, law, psychology and political science can help to think structurally about the choices to be made. To name a few : what are the alternatives to the neoliberal pursuit of quantitative

growth and exploitation of natural resources ? What role do laws and treaties play in spatial design ? How do decision models and group dynamics affect political decision-making processes in sustainability ?

At an even more fundamental level, the humanities are important, especially philosophy ( and ethics in particular ). What are the values underlying the choices to be made ? How do you balance conflicting sustainability priorities ? Does the notion of sustainability provide the right conceptual framework to begin with, or should we rather think in terms of regeneration ? To answer these questions, spatial designers do not need to have all the knowledge themselves, but they do need to be able to relate to their colleagues in these fields –and know who to turn to in order to ensure that their design decisions are based on the right assumptions.

All this is a prerequisite for good design, but not yet sufficient. In imagining possible futures, spatial designers must go beyond exclusively technical solutions, working toward a more holistic approach that combines the pragmatic with the poetic, the constructive with the seductive. This is where the autonomous arts come in, and where the position of the Academy of Architecture as part of the Amsterdam University of the Arts can come into its own. The poetic power of some graduation designs is perhaps partly the result of the embedding of the academy in the university of the arts, and this embedding should be further explored.

The autonomous arts can also help take steps into uncharted territory. Current spatial development models and planning practices do not solve the problems

we have because they have traditionally been founded on one and the same premise, which is that humans are at the centre of the world. What decisions do you make when you are convinced that the human carries as much weight as the other-than-human ? Such a conviction means that uncomfortable questions must be asked and deeply held opinions must sometimes be revised. The disruptive nature of activist art and artistic research can play a role in the creation of new insights. Many of the students at the Academy of Architecture have long known this. They demonstrate a highly innovative attitude in both their design and research projects. Sometimes searching, sometimes convincing, but almost always curious and in search of untrodden paths. Many graduation projects are an invitation to the discussion to be had. In doing so, the graduates use spatial design as a means to raise social, environmental or economic questions. Above all, they show that there is no need to become cynical. The problems we face can be addressed. This requires a way of working that does not reach for simplistic solutions, but that takes the complexity of the problems and the corresponding answers as its starting point and communicates the outcomes in a way that everyone understands. Judging by the designs in this graduation catalogue, many students are on the right track.

Madeleine Maaskant, Director

Janna

Joost

Bystrykh, Head of Architecture

Emmerik, Head of Landscape Architecture

Markus

Appenzeller, Head of Urbanism

MODERN NARRATIVES

This category includes two opposite types of graduate projects : those that take the existing as the starting point for a new design, and those that, on the contrary, are entirely speculative.

Most projects belong to the first kind. Four graduates in this category chose Amsterdam as their field of work, seeking to improve on the shortcomings of the existing city, or, on the contrary, to better highlight its strengths. Esther Bentvelsen designed a raised street level for the city centre, in the form of a graceful structure on slender legs. Anna Torres addressed the plight of sex workers in the red light district with a design for the inner-city Blauwlakenblok. The suburbs also received attention. Anne-Roos Demilt focused on AmsterdamNoord, asking how this district can be further developed without driving the original residents out of gentrified neighbourhoods. Max Tuinman examined the urban planning possibilities and impossibilities for the Baaibuurt-West on Zeeburgereiland.

Two architecture students in the Modern Narratives category chose industrial heritage as their starting point. Art Kallen produced a design for the redevelopment of the Landbouwbelang silos and terminal in Maastricht, and Anne Wies for the Neischmelz

industrial area in the Luxembourg town of Dudelange, near the French border. Two landscape architecture students focused on Russia and Germany. In her plan, Elena Dobretsova transformed the inaccessible peat bogs near St. Petersburg into a nature reserve, and Sybren Lempsink created a plan for car-free Parkallees in Berlin to create a green network in the city. Urban planner Kinke Nijland took Venice as a starting point. She explored the possibilities of shifting urban activity from tourism to cultural production by regulating crowds, introducing new destinations for sustainable tourism and creating liveable neighbourhoods for the inhabitants.

Other students also focused on social issues. Two of these projects evoke associations with the ‘ guilty landscape’ , a term introduced by the artist Armando in the 1970s to designate places where terrible things happened in the past. Tessa Schouten created designs for three former labour and concentration camps on the British channel island of Alderney ( the camps Helgoland, Norderney and Sylt ), creating new commemorative landscapes that engage in a dialogue with history. Sophie Van Eeden designed a park landscape for the area around the former nuclear reactor near Chornobyl, where a nuclear disaster occurred in 1986.

Slightly more light-hearted, but just as important, is the graduate work of two students who researched local building materials. Roel Van Loon proposed an experimental building project using locally sourced, sustainable building materials in Millingerwaard. Roxana Vakil Mozafari designed four architectural follies of

Carrara marble for sites near the Italian marble quarry to raise awareness of the origin of this material. Finally, the completely speculative projects : two graduate students chose a design that breaks with built reality as we know it. Aleksei Kanin designed an open-source architectural system that can be adapted to any desire. It brings to mind images of Superstudio, which was active in Florence from the late 1960s. Piero Vidoni designed a building for the Metaverse. The final design consists of a digital environment in which the end-user can fully experience the Internet, using the space to navigate, search, connect, and wonder.

ESTHER

BENTVELSEN ANNE-ROOS DEMILT

ELENA DOBRETSOVA SOPHIE VAN EEDEN

ART KALLEN

ROXANA VAKIL MOZAFARI

KINKE NIJLAND

TESSA

SCHOUTEN ANNA TORRES

MAX TUINMAN PIERO VIDONI

ANNE WIES ALEKSEI KANIN

1

NEW HORIZON OF AMSTERDAM

Jacob van Ruisdael, A View to Amsterdam, 1665–1670.

2 Maquette, A View to Amsterdam, 1 : 500.

3 Section, 1 : 200.

DISCIPLINE

Architecture

DATE OF GRADUATION 07.06.2022

GRADUATION COMMITTEE

Rob Hootsmans ( mentor )

Kamiel Klaasse

Ronald Rietveld

ADDITIONAL MEMBERS

Wouter Kroeze

Dafne Wiegers

My fascination is the Dutch sky : an ever-changing cloudscape which is highlighted by the flatness of the polders and characterises the Dutch landscape. Our famous clouds have been a great source of inspiration for Dutch painters for years. For instance, in Jacob van Ruisdael ’s paintings, the cloudy sky has the leading role : a low and distant hori zon which suggests almost unlimited space with a usually lit cloudy sky. I want to give Amsterdammers the cloudy skies the Dutch painters dreamed of.

With Amsterdam ’s city centre becoming increasingly crowded, the public space is becoming unsustainable. My aim is to enrich the city by giving a new dimension to pub lic space. The old city centre as a foundation above which a new world forms with the inhabitants of Amsterdam as us ers. It gives an extra experience to the inner city, emphasizing Amsterdam’s playful and free character. A new, improved Amsterdam level : a place of communal connection that offers the necessary visual and acoustic tranquillity. A place where you can briefly withdraw from reality that provides an enriching image of Amsterdam.

I want to do this by creating qualitative ‘ empty spaces ’ that are partly sunk into the existing roof landscape, where the historical height accents remain visible, and the cloudy sky takes the leading role. These plateaus have the necessary distance from the existing facade line, preserving the characteristic streetscape. They are also applied in places where the obstruction of daylight to the underlying buildings is minimal. Through flowing landscape movements, they bear one for mal language. The plateaus offer experiences that can only be perceived at a height of 20 metres, such as sitting in the crown of a tree or being able to almost touch thirteenth-cen tury church towers. A glass balustrade moves with the plane and bends inwards in places where there is a need for privacy or more acoustic tranquillity.

In addition to the quality of the Dutch clouds, I am also going to add value : extra surface area by making vacant attic floors accessible, increasing the value of the homes by pro viding extra outdoor space, energy yields from solar panels and nesting opportunities for the swift and the bat.

Comfort for every resident is central. Stairs with a minimum walking distance from home the plateau anchoring to the existing building and structure like long strings. Existing lift cores are used and, like the stairs, land in the middle of the plateau. With the help of a structural engineer, I developed a construction principle that makes the plateau as thin as possible and provides the necessary stability. Simplicity in elaboration and materialisation is key here ; the focus is on the cloudy sky and historical accents, with the white plateaus serving as a canvas. The multiplicity extends the field of vi sion : a new horizon of Amsterdam with the Dutch cloud sky in the leading role.

4 Wide view towards the Koepelkerk.

5 View towards the Bijenkorf and Oude Kerk.

6 View towards the Dam Square.

7

Scale model 1 : 300 showing the rise points with the columns.

8 Construction principle.

9

Scale model 1 : 50 showing the cross section of the plateau with the materials.

1 Layered Amsterdam-North translated in collage and drawing.

2 Public space on different layers of the urban plan.

3 Housing and transitional spaces visible in the façade.

VAN DE BUURT

REDEVELOPMENT OF THE ASTERDORP LOCATION

DISCIPLINE

Architecture

DATE OF GRADUATION 24.08.2022

GRADUATION COMMITTEE

Micha de Haas ( mentor )

Peter Defesche

Lorien Beijaert

ADDITIONAL MEMBERS

Gus Tielens

Arnoud Gelauff

In November 2019, I moved to Amsterdam-North. It immediately felt like a completely different neighbourhood than the rest of Amsterdam. After learning a little bit about the neighbourhood and its history, it became clear to me that it has been the place where Amsterdam put its functions it did not want in the city centre. The IJ-river has been a big barri er between Amsterdam and Amsterdam-North that divided those functions from the rest of the city. Not only is it a physical barrier, but it also is a mental one for many people.

In the past few years, the idea of Amsterdam-North has been slowly shifting. More and more people find and ex perience this green, beautiful and quiet part of Amsterdam. The municipality of Amsterdam has been redeveloping large parts of the former industrial areas into housing. Big and ex pensive apartments are built in Buiksloterham and Overhoeks. This has a major influence on the neighbouring houses. The housing prices of these places are skyrocketing, and the original residents of Amsterdam-North can ’t afford these places anymore. A lot of the social housing is renovated and rented out for more afterwards. The people from Amsterdam-North see their neighbourhood change from a quiet, friendly place to a yuppy neighbourhood.

I am one of those new residents and part of the prob lem. For this project, I wanted to see how we could redevelop areas of Amsterdam without the original residents being pushed out and the neighbourhoods being gentrified.

Van de Buurt is inspired by the character of Amsterdam-North and its residents. The layeredness of the district is translated into an urban plan with multiple functions, squares and parks on different levels throughout the plan. In the plan, the possibility of combining different functions in the same building is researched. By doing this, different functions can strengthen each other and share spaces that are usually empty throughout the day. Because they both use these spaces, rent can go down for both functions. A family can live in a house where they have the space to move around and enjoy their daily activities without the rent being too high for them to pay. Every house has private spaces that are direct ly connected to the public space so that coming home can happen without having to deal with others. The transitional spaces are designed in a way that you can always still enjoy your privacy. The front door of the house is recognizable in the façade, just as the work- and public functions by having big openings for ultimate visibility and accessibility. By combining functions and creating a bigger neighbourhood that hous es all kinds of functions, the feeling of coming home can shift from your front door to the perimeter of the neighbourhood.

ANNE-ROOS DEMILT

4 Shopfronts and workplaces are visible in the façade.

5

Housing and workplaces can exist next to each other and benefit from each other.

6 Werkhuis.

7.1

Transitional space is used by residents.

7.2

Transitional space is used by workers.

8 Leeshuis.

9.1

Transitional spaces are used by residents.

9.2

Transitional spaces are used by library visitors.

THE PALIMPSEST OF PEATLANDS

FROM A CITY SWAMP TO A NEW TEMPLATE OF A NATURE RESERVE

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 12.07.2022

GRADUATION COMMITTEE

Maike van Stiphout ( mentor )

Eva Radionova

Arjen Spijkerman

ADDITIONAL MEMBERS

Lodewijk van Nieuwenhuize Gert-Jan Wisse

Despite once being one of the most abundant landscapes, untouched swamps are a rare find. From turf extrac tion and production forestry to peat meadows for grazing and building new housing, the original palimpsest character of swamps once portrayed in countless fairytales and paintings has disappeared. With it came the steady decline of environ mental benefits that peatlands offer : poor carbon sequestration, lack of water storage and biodiversity loss. Restoration of peatland has become a global task for countless countries around the world.

Russia has an immense area of peatland. The Soviet Union was once known for its vast industrialisation and wood production, most of which was harvested on cultivated peat land. Following World War II, a housing shortage caused the biggest cities such as St. Petersburg to expand further. Large areas of swamp were drained, pushing the border of the city outwards. Luckily some pieces are still left today, such as untouched 8000-year-old bogs within 15 km of St. Petersburg. Due to their poor connectivity to the city and lack of interest from recreants, these spots hardly get attention. It wasn ’t un til the Covid-19 pandemic forced people to explore their sur roundings that suddenly a huge surge of tourists rushed to appreciate the traditional Russian landscape.

The Palimpsest of Peatlands is a transformation of the existing template for nature reserves in Russia into a new type of natural park where both nature and humans can co-exist. This park connects the city edge with the swamps, creating a variety of encounters. The concept of Terra Forma is used as part of the experience to demonstrate the layered nature of swamps, where all life can be seen all around you all at once, like the layers of a palimpsest. In order to transform nature from centuries of exploitation, a renaturation strategy is set into place. Parts of the swamp are made inaccessible for humans through the inundation of drainage canals. The raster of ditches slowly transforms itself over the period of 80 years as the swamp nature changes with the restoration of the water table. This dynamic process creates a variety of different swamps, each with its own unique biosphere. The residents of St. Petersburg get to watch the landscape evolve over the years and pass on their appreciation of the cultural landscape through the generations.

To further involve humans in the education process, three pioneer groups are considered as part of the nature reserve template : the dachniki, wellness enthusiasts, and an artist collective. These are the first residents of the landscape who take care of the swamp and provide the public with ed ucative and innovative approaches on how to integrate this landscape into Russian society. As the nature reserve trans forms itself, the pioneers become an indispensable part of the renaturation process. By developing such templates in various nature reserves in the future, landscape architects will be able to create resilient yet flexible nature, placing themselves on the frontier of climate change.

LANDSCAPE PARK CHORNOBYL

BUILDING ONWARDS. FINDING THE INCLUSION IN THE EXCLUSION ZONE.

1 1 2 3 MODERN NARRATIVES

2

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 14.07.2022

GRADUATION COMMITTEE

Philomene van der Vliet ( mentor )

Peter Veenstra

Dingeman Deijs

ADDITIONAL MEMBERS

Ruwan Aluvihare Saline Verhoeven

In 1970, a new city was founded in Ukraine in the beautiful marshes on the Pripyat River. This city, named after that river Pripyat, was to become the new center of the Soviet Union ’s energy task thanks to a nuclear power plant. Many inspired young people flocked to the city to build a new fu ture together. The future they envisioned came to be known as the world ’s greatest nuclear disaster. An explosion in one of the reactors caused a cloud of radioactive dust particles that rendered a 30-kilometer area around the nuclear power plant uninhabitable. Hundreds of thousands of residents were evacuated, and the area was designated an “ exclusion zone. ” Chornobyl remained inaccessible to people for years while efforts were made to clean up the surface radiation.

Since 2011 tourists and researchers have been al lowed back in, and in 2020 I traveled to Chornobyl to see and experience the area for myself. The adventure included wonderful stories from workers, guides and ( former ) residents of the exclusion zone, including mythical tales of the radiation and nature that took over the exclusion zone. From these stories, the dark past of the place also turned out to offer a lot of hope. A vision for the entire exclusion zone is needed so that in the future, the polluted, frightening landscape is not writ ten off but rather given a new future. From this unique land scape speak four themes that connect past and present : the social significance, landscape regeneration, energy and economy, and the heritage of the disaster. I have connected these themes into a shared vision of the future in which developments can build on toward a landscape park of the 22nd century.

Social landscape : For social significance, the land scape park will have a new board of people who are involved. Local people who know what is happening in the area and what the area needs. They form new communities at the border of the exclusion zone.

Purifying landscape : In the purifying landscape, water systems are restored and reconnected to Europe ’s largest river landscape, raising the ecological value of this area.

Energy landscape : The unused, polluted land offers enough space to form a new energy landscape. Natural ele ments can be used : wind and sun. The landscape can become the largest energy park in Europe, with energy as the ultimate independence.

Monumental landscape : By restoring the heritage in the landscape and obtaining UNESCO World Heritage status, there is more room to preserve the cultural history of the area and the commemoration of the disaster will be part of the large landscape park.

SOPHIE VAN EEDEN

SOPHIE VAN EEDEN LANDSCAPE PARK CHORNOBYL

5

4

4 Past and present of the energy landscape.

5 Europe ’s largest energy landscape.

6 Transformation of the three-kilometre route from the nuclear power plant to the central square in Pripyat.

7 Transformation and renovation of main axes in Pripyat.

8 Before the interventions.

1 Model total.

2 Collage tradition vs subculture.

3 Existing and proposed.

A CERTAIN ANOMALY

GIVING THE DEVIANT ‘ INSTITUTE ’ LANDBOUWBELANG A FUTURE IN MAASTRICHT.

Collective history

After thirty years of vacancy, Landbouwbelang was squatted in 2002 and has been built up into an institute for alternative culture in Maastricht. These days, Landbouwbelang's ensem ble of buildings represents a collective history of Maastricht. The site shows how the squatters' community has granted a function to the vacant industrial monument; that the place has been used as a cargo location of the original agricultural cooperation Landbouwbelang for years; that the northern part belonged to the paper factory; and how Landbouwbelang was positioned on an island between the river Maas and the ca nal Luik-Maastricht, with the lock-keepers houses as relics of that time. Underneath all of these histories, we find intangible historical layers: the site housed the Sint-Antonietenklooster for 500 years. The squatting, the industrial activity and the monastic life which took place at the Landbouwbelang site all deviated from the surrounding life at that time. The site has always been a bastion that accommodated a tradition of subculture. It represents an alternative way of living that contrasts with the Leitkultur: `het sjiek en sjoen'. It is an anomaly in Maastricht, but not 'just' a certain anomaly.

Redevelopment

The current tender leaves no room to maintain the embodied variegation of the site in the future: the building ensemble is placed within a financial logic of larger area development. Thereby it deprives the location of its autonomy and, in turn, neglects its unique role in the city. The financial conditions dictate a redevelopment that, in practice, can only be found in a voluminous and pragmatic housing programme. Market conformity will be leading, thereby irrevocably ending this piece of collective history.

Alternative future

DISCIPLINE

Architecture

DATE OF GRADUATION 24.02.2022

GRADUATION COMMITTEE

Machiel Spaan ( mentor )

Christopher de Vries

Milad Pallesh

ADDITIONAL MEMBERS

Jarrik Ouburg

Lisette Plouvier

The imminent redevelopment motivates this design of an alternative future. In this project, I value the existing buildings and the history they entail. Next to the current use of Landbouwbelang and the rooted value this has for an alter native culture in Maastricht, the parallel with history makes apparent how the current subcultural identity is engrained in the history of the site. In the design, large parts of the existing buildings are reused to expand on the existing programme and add new functions. By making interventions to the primarily concrete casco, I intensify existing functions and add special housing conditions. These are housing conditions of a collective nature that mirror the history of both the life in the squatting community and the monastery. A future is creat ed where preservation and new construction are interwoven to show the layered history of this site, while making space for current and future users to add a new layer. The rational framework that I add as an architect gives a firm basis for further appropriation by the users. These rational additions create a new breeding ground for the squatters' agency that they took on site. With that, the additions respect the tradition of subculture as a contrasting addition to the city centre of Maastricht.

1 View from the Theodor-Heuss Hill through the parkallee.

2 The parkallee.

PARK BUNDESSTRASSE

A NEW PERSPECTIVE FOR BERLIN ’S AVENUES

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 09.03.2022

GRADUATION COMMITTEE

Bram Breedveld ( mentor )

Joyce van den Berg

David Kloet

ADDITIONAL MEMBERS

Yttje Feddes

Pierre Marchevet

Berlin ’s avenues have historically been the city ’s spatial structure bearers and have played an important role in its construction. The avenues are now dominated by car traffic. There is currently an opportunity to make the inner city carfree and, at the same time, keep it easily accessible by the re alization of mobility hubs along the S-Bahn ring and offering alternative transport by bike or public transport to the destination. This creates the possibility of transforming Berlin ’s avenues within the S-Bahn ring into “ Parkallees ” !

The Bundesstraße 2, one of these avenues, forms a unique avenue in Berlin that cuts straight through the city. The allee also has a special position in the landscape and runs from high to low Berlin. The Bundesstraße 2 is now laid out as an eight-lane freeway with traffic junctions and runs through residential areas and parks.

The “ Parkallee ” redefines the classic avenue with trees. It combines the classical elements of the avenue with an open middle, with space for more natural biotopes inspired by the landscapes around Berlin. This will create various treelined avenues in different compositions, along which people can stroll and cycle. In this way, the tranquillity of a forest will be experienced by local residents, commuters and visitors along the Parkallee.

The three former infrastructure nodes in Bundesstraße 2 are being transformed into new special places to stay in the city. Based on the landscape position in Berlin – high and dry or low and wet – each node transforms into a different habitat : the Theodor-Heuss Hill, the Ernst-Reuter Swamp and the Großer Stern Botanical Island.

They connect the underground infrastructure with the green upper world and function as nature-inclusive mobili ty hubs allowing perfect interchange. The hubs thus provide space for insects, birds and other small animals and form hotspots where people can enjoy recreation and sports.

Park Bundesstraße becomes an iconic new avenue in the city. This new allee typology can also be applied in the other avenues of Berlin. This creates a robust green network that makes the city resilient for the future !

SYBREN LEMPSINK

DISCIPLINE

Architecture

DATE OF GRADUATION 23.08.2022

GRADUATION COMMITTEE

Bart Bulter ( mentor )

Ira Koers

Herman Zonderland

ADDITIONAL MEMBERS

I was born and raised in Carrara, a little city in Tuscany, Italy, home to the most renowned marble in the world. As a significant part of the locals, my family is involved in the stone industry.

Carrara marble, commonly called Bianco or Bianco Carrara – that translates into White – is known for its use in architecture, design, and sculptures, and it has been quarried nonstop for over 2200 years. Despite being so renowned, we are not aware of the whole process behind the industry that enabled Michelangelo to sculpt the famous David 500 years ago – and that enables us to have marble coasters in our homes today.

My project aims to tell this story, exposing the con nection between the product – marble – and its resource –the quarry – through five architectural follies placed in strategic locations, symbolizing five crucial steps from mountains to shipping worldwide.

And I did it using one day ’s worth of marble. In fact, the average amount of marble extracted daily is 4000 m3 which roughly equals the total volume of five dutch row houses. I extracted this amount of marble from the quarries ( Cave ), I made four architectural follies out of this material, then I placed these follies in the other four strategic locations : Carrara, Avenza, Marina, and Mare.

These points are symbolic. Each of them talks about a different aspect of this story, a theme, and it is directly or metaphorically linked to the specific location. The mountain is carved out once again but for a different reason. This time the marble won ’t become – as would normally happen – a sculpture, some anonymous urban furniture, or powder for in dustrial purposes. This time the marble is telling its own story, in its own city, with its own rules.

Cave represents the environmental cost; it is made by creating a 4000 m3 hole in the mountain, that connects the untouched natural side to the man-made quarried side.

Carrara ’s theme is geological cost ; the goal is to show the different marble qualities with sight and touch by stacking the seven main marble qualities in a tower and highlighting the connection line on an eye-height platform with natural light.

Avenza represents transportation ; the goal here is to emphasize the remains of Marmifera ( the former private railway that has been used for 100 years exclusively to transport marble ). The folly is a series of thirty-three arches alongside the above-mentioned railroad tracks.

Marina ’s theme is human cost ; it aims to make you feel the discomfort of three main workers liked in the marble industry : the cavatore ( quarryman ) the tecchiaiolo ( a quarry man whose task is to climb the cliff and test the resistance of the walls ) and the portuale ( dockworker ).

Jeroen van Mechelen

Daria Naugolnova

Mare represents the farewell, a staircase that transforms into a tribune conceived to reflect on the past, looking back to the process, on the future of the industry, and on the present time of marble back in nature. 1

ROXANA VAKIL MOZAFARI

4 Avenza.

5 Carrara & Avenza model 1 : 100.

6 Marina.

7 Mare.

8 Marina & Mare model 1 : 100.

9 models 1 : 1 – 1 : 100 – 1 : 10000.

1

THE ACT OF LIVING

A DIALOGUE BETWEEN TOURISM AND LIVEABILITY : THE CASE OF VENICE

This graduation project provides a comprehensive investigation into the decline of the liveability of the UNESCO World Heritage city : Venice. It sheds light on the dichotomy between liveability and ( over )tourism and proposes a new perspective for Venice, which in the last 20 years has under gone a massive transformation from a liveable city for locals to a scenography for tourists.

The perspective has to change. Tourism as we practised it before the pandemic – and now that tourism has restarted – is no longer appropriate to our times. It is not sustainable to use tourism only as an economic resource. It comes at the cost of the liveable places on earth.

This graduation project looked in detail at the rela tionship between tourism and liveability. The overall strate gy stems from a thorough examination of the past, the present and the future. This led to the conclusion that Venice is caught between an ideal past and an objective reality. And for Venice to move away from scenography for tourists to a liveable city, a story for liveability needs to be written.

Therefore, the project aims to improve liveability. It proposes a new way of living for the city : The Act of Living.

The strategy implies a shift from the perspective of tourism toward cultural production. To achieve this shift, the centro storico is first seen as part of a larger whole : the entire municipality. Secondly, the existing elements that are already there are examined and strengthened. Thirdly, a layered proposal is made consisting of storylines through the city that are connected by acts, each with its own actor and design proposal. Nevertheless, they are connected, and together they increase the quality of life.

The Act of Living opts for reconciliation by shifting the focus from tourism to cultural production. Regulating the masses, creating new destinations for ( sustainable ) tourism and most importantly : designing a liveable neighbourhood for locals. The design proposals are based upon current / proposed policies and the genius loci of Venice.

KINKE NIJLAND

DISCIPLINE

Urbanism

DATE OF GRADUATION 22.09.2021

GRADUATION COMMITTEE

Hiroki Matsuura ( mentor )

Harry Abels

Nancy van Asseldonk

To sum up, over-tourism is the consequence of the current policy. I believe that as urban designers, politicians, and citizens, we have to take the threat of tourism to the live ability of cities seriously. That is why in The Act of Living, each actor has its own role to play and responsibility. As a tourist, a local or a new traveller : in this new story, we can show a different perspective that makes us believe in the future of Venice !

Present : the laissez-faire approach has led to an overwhelmed city and unsustainable economy.

2 There is a dichotomy between the past and present : Venice finds itself between an ideal past and objective reality.

3 Venice is a victim of its own success and transformed from liveable city for locals to scenography for tourists.

ADDITIONAL MEMBERS

Riëtte Bosch

Martin Aarts

4

The New Liveable Neighbourhood ( realized on the current parking island Tronchetto ) focuses on affordable housing, increasing employment opportunities and provision of amenities.

5

The design of the New Liveable Neighborhood is based on the genius loci and urban principles of Venice.

6

The New Destinations proposes a symbiosis between locals and travelers ; on the abandoned islands in the lagoon destinations are realized that revolve around sustainable tourism.

7

The Red Necklace is an itinerary for the mass tourists that regulates their visit and is at the same time – through spatial interventions – dedicated to reflection and resonation of the current state of the city in relation to tourism and climate.

8

The strategy consists of new storylines of Venice connected by acts, each with its own actor and design.

9

Future : The Act Of Living consists of various acts that improve the liveability of Venice.

THE ISLAND OF SILENCE

MAKING ALDERNEY ’S HISTORY SPEAK AGAIN

1 Future map of Alderney, in which the new appearance of the landscape on three of the former camps enters into a dialogue with its history.

2 Scenarios for the landscape transformation of Sylt, Helgoland and Norderney camps ( from left to right ), that were named after German islands.

3 Sylt camp : the new forest landscape around the former prison camp forms a beacon in the vast landscape of the island ’s plateau.

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 21.12.2021

GRADUATION COMMITTEE

Jana Crepon ( mentor )

Tomas Degenaar

Ricky Rijkenberg

ADDITIONAL MEMBERS

Mirjam Koevoet

Cees van der Veeken

At the start of the Second World War, it soon became clear that the Channel Island of Alderney – belonging to the British crown but located only ten miles off the French coast –would fall into German hands. This led to the evacuation of almost all its islanders. Only a few hundred ever returned. By 1941, the Germans had transformed Alderney into an impreg nable fortress. To keep construction going, foreign forced labourers from German-occupied territories were shipped to the 'Insel Adolf'. After the war, the islanders' once lovely island was changed beyond recognition. It caused trauma that is still present in part of the population today. And although there are few visual remnants of the Borkum, Helgoland, Norderney and Sylt camps (named after German islands), I believe it could be healing to make history visible again. Not through a reconstruction of the camps, but through landscape interventions, which are carried out by the islanders themselves.

From denial to commemoration

In my graduation project, I propose several schemes in which two processes run parallel – physical and emotional. The ac ceptance of a difficult past will grow alongside changes in the landscape which make the camps more visible. A transforma tion takes place at three former camp locations, creating new commemorative landscapes that enter a dialogue with history. The camp remnants are better expressed, and camps’ stories are told through landscape interventions such as planting forests, retaining rainwater, and letting in the eroding sea.

Three new commemorative landscapes

The sea, which became the final resting place for many of the forced labourers, is a constant in all three proposals. At Sylt Camp, I propose to distinguish the camp from the sur rounding landscape by giving it a densely planted border. This woodland is a reinterpretation of the previously closely guarded camp boundaries. Inside, the camp remains are again visible, and one experiences the feeling of being confined, with the sea being the only way out. Helgoland Camp has been built over with a residential area, and only its former entrance remains. In my proposal, the camp is marked from a distance. The view of the entrance columns is formed when rainwater is collected at ground level during heavy rainfall. In this temporary wetland, a single route and line of sight is formed which connects the camp entrance to the sea. At Norderney Camp, the sea invades the land through a dune breach. This event sets in motion a slumbering transition in which the eroding sea makes the hidden camp remnants visible again. The sea takes over the landscape and makes it impossible for humans to intervene.

From silence to speaking

These three commemorative landscapes signify a transformation of the island, restoring the relationship between the past and the present. The landscape tells the story of history but is embedded in the present time. Alderney dares to let its history speak and can once again be proud of the island, its history, and its future.

TESSA SCHOUTEN

4

Sylt camp : view of the sea through an opening in the forest edge. The quote is from a former Soviet forced labourer who, like many forced labourers, saw the sea for the first time in his life on his journey to Alderney.

5 Sylt camp : Step-by-step development of the new forest landscape, with the islanders taking the first steps by clearing the overgrown foundations of barracks and later revealing the scale of the entire camp by planting a forest around it

6

Helgoland camp : Heavy rainfall creates a view on the former camp entrance, which now marks the driveway of a house.

7

Helgoland camp : Model of the ‘ false dike ’ between the camp entrance and the sea, which forms a dry route and sight line.

8

Norderney camp : Dune breakthrough of the deliberately weakened dunes during extreme high water spring tides. The quote is from one of the former forced labourers of this camp and illustrates the impact of the sea on their lives on Alderney.

9

Norderney camp : Over time, the eroding sea exposes the foundations of the camp barracks, which are now hidden under ground level on Alderney ’s campsite.

RESEXIFYING AMSTERDAM ’S RED LIGHT DISTRICT

2

1

DISCIPLINE

Architecture

DATE OF GRADUATION 30.08.2022

GRADUATION COMMITTEE

Hiroki Matsuura ( mentor )

Dafne Wiegers

Chiara Dorbolò

ADDITIONAL MEMBERS

Marcel van der Lubbe

Dingeman Deijs

XXX is an architectural invitation to rediscover sensuality and intimacy in the heart of Amsterdam ’s historic De Wallen.

Amsterdam ’s sex work industry has always been in trinsically linked to the city ’s development, dating back to its beginnings as a harbour city in the 1300s. Over the years and through changing legislation, sex workers have seen street work evolve from exposed and unsafe into a more controlled and secure widow work. This work-behind-glass typology is typical of the Dutch urban landscape.

De Wallen, a central neighbourhood in the heart of Amsterdam, is notorious for its rowdy atmosphere and its confronting windows – and even more so for the women standing behind them. The Red Light district sees over 8 mil lion visitors a year ; the size of the area combined with the lack proper infrastructure results in a saturated and over-capacitated neighbourhood. The municipality of Amsterdam sees this as an opportunity to push an intensive gentrification project meant to close down windows, remove sex work and bring in a different kind of tourism, by means of an alarmist Red Light narrative. In an attempt to relocate sex workers, the municipality has been developing an ill-conceived and insen sitive “ erotic hotel ” which would push the sex work commu nity outside the city.

Consequently, sex workers are faced with a myriad of uncertainties. With an ever-shrinking number of dedicated workspaces, room rentals become increasingly unaffordable, and many sex workers see themselves working from home in unsafe conditions or simply going out of work.

How can we create a more balanced solution which listens first to sex workers ’ needs, all the while benefiting the city and its inhabitants ? How can we learn ways to rethink a public space which has been overwhelmingly designed for the heterosexual masculine fantasy ?

Guided by an intuitive artistic approach, a sensitive collaboration with Amsterdam ’s sex work community was born. Through a series of intimate conversations with sex workers and meticulous observations of the area, precious details, stories, needs, and dreams came out as the building blocks for our project.

XXX playfully provides a fresh answer to the city ’s current controversial questioning on how to deal with its evolving Red Light district. This intervention unapologetically gives back the city to sex workers by inhabiting and densifying the inner roofscape of a typical Amsterdam city block –Blauwlakkenblok – which once hosted a myriad of sex work windows. It recognises the variety of sex workers ’ needs by providing qualitative workspaces to over 70 sex workers and communal facilities. By the nature of its design, XXX alter nates intimate courtyards of fresh vegetation, delicate lighting and layers of flowing veilings with larger, breathing and resting public spaces for the city.

ANNA TORRES

4 Section through XXX ; a roofscape addition to Blauwlakkenblok.

5 A central green space and crossing walkway offer intimate public space to the city.

6

First floor ; spaces for sex work organise around lush courtyards and shape the inner block.

7

Cosy wooden corridors provide slow-paced circulation and lively interactions.

8

Detailed typology ; a clever and sensual workspace.

9

Warm red lights, vegetation and veilings create a layered and romantic atmosphere.

haggard piece garden can converted into vegetable garden joint covered workshop 740m2 housing function unknown use REINPLUS FIWADO Bunker, part VARO largest bunkering companies Rhine and Inland shipping.Within Europe, REINPLUS FIWADO Bunker represented on most important waterways with REINPLUS FIWADO Bunker has been active bunkering industry over years. Not only major seaports such Rotterdam and Amsterdam, into the European hinterland, Rhine and inland shipping You will also very wide range competitively priced ship supplies (more than 5000 items) bunker where responsible and sustainable entrepreneurship self-evident. 10m2-30m2.There one big garage 38w and aerial photo’s structure seems inhabited. Sca olding company. PSB-Steigers dynamic company, specialized the rental assembly system

Zuider IJdijk 36f:

stone. nice work with stone the open air, with fresh and good light. People appreciate place sculpt and experience freedom that emanates from environment. unknown use Kabbou Autogarage Car mechanic shop, lots positive reviews people‘customers years already’.

Zuider IJdijk erent parts:Tracking, appeal and man-work.The Kringgroep aims achieve the highest possible result the dog and handler responsible manner.

Housing. Zuiderzeeweg 30a/h: Housing. Zuiderzeeweg 40-42

Stichting voor Interculturele

EXIT URBANISM

IT WAS HEARTBREAKING, IF NOT OBSCENE… …TO HAVE TO IMAGINE HERE, A GENERIC CITY

This project is not a design, this project is an approach, a changed way of thinking.

The Baaibuurt-west in Amsterdam is scheduled for demolition ; 900 new houses are being projected on this in habited area. This project started with a fascination for empty and unused spaces. During the process, I managed to pre dict which areas in Amsterdam were going to be demolished, thanks to multiple parameters. One of those areas intrigued me ; I can simply not believe that everything and everyone there is going to be flattened, cut down and evicted.

This project became about saving an undefined and unknown area within the city. We are eradicating entire ar eas without realizing the value of these anomalies for the city. We are sacrificing diverse, ecological, productive and creative but also vulnerable communities, only to build back so-called sustainable neighborhoods hoping they become a diverse and well-working part of the city again. How do we protect and value that which, at first sight, seems worthless by current standards ? Are we building in the name of people –or for people ? What is the greater good, and who defines it ? Is the greater good housing, or is it ecology, cultural values, social values, creativity or productivity ?

The urbanism profession and the Academy of Architecture seem to participate in the system of large-scale and efficient design. I am part of that system too. But I will not believe that designing a dense car-free urban district with green roofs solves the problems we are facing. And with this graduation project, I have the possibility to question this large-scale applied machinal way of developing en designing.

The ultimate answer is not up to me ; that is not pos sible. Any design of what the perfect neighborhood might be, misses the point by definition ; it is too one-sided. This is a quest, and my contribution is to stop and point in a different direction, advocating for a much slower lens. I am pleading for designers to get to know the area they work in – and question all reasons for intervening over and over.

Are we still doing the right thing, or should we maybe be doing more than just design ?

MAX TUINMAN

DISCIPLINE

Urbanism

DATE OF GRADUATION 13.07.2022

GRADUATION COMMITTEE

Felix Madrazo ( mentor )

Willemijn Lofvers

Juan Pablo Corvalan

Hochberger

ADDITIONAL MEMBERS

Ad de Bont

Raul Correa-Smith

Zuiderzeeweg

Zuiderzeeweg

Kamerbeekstraat EefKamerbeekstraat

derzeeweg

KeesBroekmanstraat

Alidavanden FoekjeDillemast

EefKamerbeekpad Hornstraa

GeertjeWielemapad

KeesBroekmanstraat

Kamer Geertj Wielemaplein LeoHornstraat straa

FoekjeDillemastraat obHaarmsla

AnthonievanAkenstraat

IJburglaan AtjeKeulen-Dee trastraat

Zuiderzeeweg Zuiderzeeweg Zuiderzeeweg uiderzeeweg Zuiderz weg

AtjeKeulen-Deelstrastraat

Zuiderzeeweg

IMAGINE FESTIVAL AREA self-organized festivals for the island and city PETTING FARM small animal farm for kids and elderly DIKE SHEEP maintaining the dike with grazing animals INCREASE COMMUNITY densi cation with respect EXPLORE VALUABLE FAÇADES constructive artistic artworks VEGETABLE GARDEN growing of crops and fruits LIFESTYLE living di erent than society demands ARTWORKS ornaments and objects BIG FIELD an important natural void TREES large adult trees WARNING CLOSED OFF preserve open character SWAMP reed growth TRASH accumulation of unused materials MANAGE NO MOWING TRASH COLLECTION NO PAVING MONITOR TREES health and size STRUCTURAL DECAY housing and buildings ASPHALT CONDITION use will intensify SOUND festival noise pollution LIGHTS public space time sensitive lights 1 2 3 4 1 2 3 4 5 BROEDPLAATS COMMUNITY IMAGINE SELF BUILT HOUSING only actually self-built allowed SECOND HAND CIRCLE stores as main supplier CRAFTING COMMUNITY inhabitants that help each other build EXPLORE VALUABLE SECOND HAND STORES xing and selling TREES large Italian poplars and oaks BAR DANCING social space and country bar AVAILABLE SPACE used by postal service WARNING STONE unnecessary paving CHARACTER fences OVERGROWTH plants overgrowing public spaces SWAMP reed growth MANAGE TRASH COLLECTION LESS PAVING MONITOR OCCUPATION amount of people democratically chosen RENTAL PRICES low prices need to remain low STRUCTURAL STRENGTH housing and buildings TREES health and size 1 2 3 1 2 3 4 SECOND-HAND COMMUNITY IMAGINE INCREASE COMMUNITY become a bigger community REMOVE STIGMA become more friendly place EXPLORE VALUABLE EYES ON THE STREET social surveillance ONE COMMUNITY living and working together WORKSHOPS places to repair their own appliances SAFE one visible entrance INDIVIDUAL SPACE creating own atmospheres WARNING STONE unnecessary paving FULL PUBLIC SPACE storage and parking CHARACTER fences and unfriendly looking OVERGROWTH plants overgrowing public spaces SWAMP reed growth MANAGE TRASH COLLECTION LESS PAVING PARKING ALLOWED MONITOR OCCUPATION amount of people democratically chosen RENTAL PRICES low prices need to remain low TREES health and size TRAILER COMMUNITY IMAGINE REOPENING OF THE OPEN AIR MUSEUM BUNKER TRANSFORMATION café and museum center EXPERIMENTAL LIVING STIMULATED not expelled EXPLORE VALUABLE EXTREME BIODIVERSITY trees, plants and animals NO PAVING all soil penetrable WW2 bunker transformed multiple times COMMUNAL LIVING ROOM accessible for inhabitants PIZZA OVEN space for gatherings PLAYGROUND trampoline, swimming pool ARTWORKS inside, outside, buried OFF GRID LIVING solar powered, water collection WARNING MOTIVATION LOSS less ort because of eviction OPEN CHARACTER preserve the public route SWAMP reed growth MANAGE TRASH COLLECTION MONITOR OCCUPATION amount of people democratically chosen RENTAL PRICES low prices need to remain low TREES health and size OWNERSHIP as on option to permanently stay ONE PEACEFUL WORLD IMAGINE GREENHOUSES stimulate self-dependancy OUTDOOR RECREATION stimulate self-organization COMMUNITY EXPANSION densi cation with respect BRIDGES connecting new development over water EXPLORE VALUABLE FIREPITS self-built replaces NEIGHBORHOOD HOUSE place for the neighborhood CAFÉS converted trailers BIG SPACE parkinglot as available space VEGETABLE CONTAINERS growing vegetables PINGPONG TABLE community hotspot ROOF TERRACE collective meeting spot INTEGRATION CENTER supporting diversity the city WARNING SWAMP reed growth OVERGROWTH plants exceeding collective spaces TRASH accumulation of unused materials MANAGE COMMUNITY SIZE COMMUNITY REGULATION TRASH COLLECTION SELECTIVE MOWING MONITOR TREES health and size STRUCTURAL DECAY housing and buildings LIGHTS public space time sensitive lights RENTAL PRICES low prices need to remain low STUDENT COMMUNITY IMAGINE SHARING WORKPLACES using each others machines PUBLIC WORKSHOP workspot rental and courses SHARED PUBLIC SPACE less fences and claims CLOSED MATERIAL CYCLES reuse restproduct EXPLORE VALUABLE CONTAINER ATELIERS creative workspaces WW2 BUNKER used for dogtraining CRAFTSMANSHIP working hands in the city COMBINATIONS smaller shared workshops BIG FIELD an important natural void WARNING CHARACTER fences and unfriendly walls OVERGROWTH plants overgrowing public spaces SWAMP reed growth TRASH accumulation of unused material MANAGE TRASH COLLECTION SOLID PAVING TRUCK ACCESSIBILITY MONITOR OCCUPATION no empty workshops RENTAL PRICES low prices need to remain low STRUCTURAL DECAY housing and buildings LIGHTS public space time sensitive lights TREES health and size 1 2 3 4 1 2 3 4 5 WORKING COMMUNITY BROEDPLAATS COMMUNITY STUDENT COMMUNITY WORKING COMMUNITY SECOND-HAND COMMUNITY TRAILER COMMUNITY ONE PEACEFUL WORLD ‘GOOD’ URBANISM EXIT URBANISM NOW ‘GOOD’ URBANISM EXIT URBANISM NOW ‘GOOD’ URBANISM EXIT URBANISM NOW ‘GOOD’ URBANISM EXIT URBANISM NOW ‘GOOD’ URBANISM EXIT URBANISM NOW ‘GOOD’ URBANISM EXIT URBANISM NOW (1,8 per house) 350 inhabitants (4,3 per house) 80 houses 6,3 house/ha 15.000m2 42,9 m2 work/inhabitant Carpenters (Car)mechanics Sculptors Construction companies Ateliers Storage Second-hand stores/repairshops Bar/dancing Intercultural organization for participation and integration Funfair-operators Broedplaats Clothes store Workshops Yogastudio Canine-training Dog daycares Band-practice room Self-built livingrooms Self-built caravan café Horse meadow Recycle Lounge Gallery Club 44 Boat/Bunker Supermarket Museum beeldenpark, Zeeburg 1.620 inhabitants 900 houses 71,4 house/ha max. 16.000m2 9,9 m2 work/inhabitant Restaurants Realtors Doctor Dentist Office Retail Gym (4 per house) 1.200 inhabitants 300 houses 33,3 house/ha 25.000+ m2 20,8+ m2 work/inhabitant Carpenters (Car)mechanics Sculptors Construction companies Ateliers Storage Second-hand stores/repairshops Bar/dancing Intercultural organization for participation and integration Funfair-operators Broedplaats Clothes store Workshops Yogastudio Canine-training Dog daycares Band-practice room Self-built livingrooms Self-built caravan café Horse meadow Recycle Lounge Gallery Club 44 Boat/Bunker Supermarket Museum beeldenpark, Zeeburg + much more! ‘GOOD’ URBANISM EXIT URBANISM NOW MODERN NARRATIVES MAX TUINMAN EXIT URBANISM 5 6 7 8 9 10 5 A part of the area analyzed by drawing. 6 A part of the area as imagined in a possible future. 7 A development scheme that shows the difference in fast and in slow development over 50 years. 8 A potency map where all imaginations, opportunities, valuables, threats and things to be monitored. 9 Comparing fast development to a different kind of urbanism. 10 Comparing the potential of program, do we go for eradication or for patience ?

2

1

1 Metaverse – Tabula Scripta.

2 Collages : The square of the Truth, World of Wonders.

METAHOUSE

LIVING THE FUTURE

DISCIPLINE

Architecture

DATE OF GRADUATION 22.08.2022

GRADUATION COMMITTEE

Hein van Lieshout ( mentor )

Lada Hrsak

Stijn de Weerd

ADDITIONAL MEMBERS

Jan-Richard Kikkert

Txell Blanco Diaz

With this thesis, I have tried to understand the changes that my life has undergone in the last twenty years. In par ticular, I focused on the advent of the Internet and how this powerful medium has changed our habits of life, the ways in which we interact with each other and the relationship we es tablish with physical spaces.

Being a generic Internet user myself, I centred my thesis on my own life. I experienced internet deprivation for a week in a digital detox to understand how this medium is distorting the phenomenal world. In addition, I tried for a week a reality detox in order to understand which are the elements that make the web so unique.

These experiences allowed me to highlight the es sence of this new platform, emphasizing aspects and themes that I then translated into collages and integrated into the final proposal.

The parallel research on the state and prospects of new technologies directed the thesis to the concept of the metaverse, a digital spatial dimension.

After experimenting with the existing metaverse on some platforms, I felt the need to completely rethink how a possible digital life could sit alongside our real lives. Hence, the idea of a Tabula Scripta approach ; a new way of meaning the use of digital spaces together with the cultural and symbolic value already intrinsic in our cities.

The Internet is an architecture based on the contribution of billions of users, and, replicating this method, I decided to explore what my contribution can be in this new environ ment. I took into consideration my home and began a process of overwriting, a dialogue between the existing and the digital world. I analyzed the spatial characteristics of the environ ment and tried to incorporate what the physical inputs of our bodies can add to the digital experience.

The final design consists of a digital environment in which the end-user can fully experience the Internet, using the space to navigate, search, connect, and wonder. Most spaces are based on the dimensions and characteristics of the space in which I live. This ensures a constant dialogue between the two dimensions and keeps their connection sta ble. The different floors of the building offer a glimpse into new ways of using space in combination with digital functions.

Those principles were extended to a portion of the city centre of Amsterdam. Here, a new metaverse is tested. The result is a landscape of uniqueness where all the citizen / user are adding spaces that reflects their own passion and inter est. In this bottom-up process of spontaneous generation of architecture, communities are formed.

In addition to the project, thanks to the discoveries made during this research, I wrote a small manual on how to do design in the digital environment.

PIERO VIDONI

MELTING POT A LIVING FACTORY FOR DUDELANGE

1 The routing, the inside-outside relation and the historical layers play an important role in the design of the carpet. After passing the park next to the cooling basins, the ensemble of happenings is the gate to enter the new district Neischmelz.

2 A collection of interventions creates the melting pot. They work together as a place of exchange and leisure. Adapting the existing structures was as important as working out the right program to activate the area. The different interventions merge the spaces together.

3 The melting pot emphasises the importance of collective memory and cultural heritage. The design and program aims to give a new meaning to the place, not forgetting the origin and the history of the site. Next to the architectural interventions, the social program plays an important role.

DISCIPLINE

Architecture

DATE OF GRADUATION 16.09.2021

GRADUATION COMMITTEE

Bart Bulter ( mentor )

Milad Pallesh

Gert-Jan Wisse

ADDITIONAL MEMBERS

Gianni Cito

Marlies Boterman

Melting Pot makes the hidden spaces of Luxembourg’s unknown industrial history accessible and brings public life to these sites. Cultural heritage needs not only architectural transformation but also an intelligent community-orientated program. This program is inspired by the history of the site and the values it has brought over the years.

Most former steel industries are vacant and on the verge of demolition and redevelopment. This project saves and reactivates cultural heritage and makes the values visible. Next to architectural values, social values play an essential role. The steel factories did not only employ the inhabitants, but they also had a very social side. This part of the factory should be brought back. The assignment is to design an en semble of spaces that works like a lively public living room for the city – a multi-use leisure centre.

The architecture finds full expression in creating spatial scenarios, a complete focus on the program, which allows form to follow the needs of the inhabitants. The user is at the centre of the design ; the goal is to create cultural exchange and space for social interaction to reach the broadest possi ble audience.

It is a space without clearly defined functions, form and meaning – a space that is simultaneously indispensable. Melting Pot forms a place one can go with no particular goal. Just see what is happening and where one can or want to join. One can be active and passive in the same place. It is a place for everyone. A place where everyone has the feeling of home. A heart for the new district based on the site ’s history and workers.

A collection of interventions creates the melting pot. They work together as a place of exchange and leisure. While listening to the existing buildings, their new purposes are found. Adapting the existing structures was as crucial as working out the right program to activate the area. After being abandoned for many years, it can now be seen as a living factory : relating to its past and building its present. The different interventions merge the spaces together.

Melting Pot emphasises the importance of collective memory and cultural heritage. The comparison with a living room refers to the freedom of this space. It is the room in a home where everything comes together, and everything can happen. Visitors have the freedom to choose where they want to be and what they want to do. The ensemble forms the key position between the new neighbourhood and the city. It was clear that it had to be a public place for the broadest possible audience, to entice people to enjoy culture and leisure and to participate in creating it.

The design and program aim to give a new meaning to the place, not forgetting the origin and history of the site. Activation is needed to preserve the national steel heritage of Luxembourg.

With the interventions, Melting Pot turns into a social connector : the steel factory once used to be. Transforming our built heritage has the power to change lives, communities, neighbourhoods and cities.

ANNE WIES

4 The idea to design showcases is to create a little workspace which is connected with the outside. People passing by become curious to see what the artists are doing and are motivated to participate.

5 The showcases provide a place for creation and not another gallery where people can exhibit their final products.

6

The amphitheatre reaches from inside towards outside. Depending on the needs, the whole stage can be used or closed in the middle. Visitors can be invited for interactions with the actors. With the different openings, new spaces such as side stages can be created. The scenery of the amphitheatre changes with the different seasons and user needs.

7

The former carriage workshop consists of a high and open space. The qualities of the building will be transformed into a restaurant with an industrial character. To soften the borders between the surroundings, a monumental arcade is designed, working as a significant hybrid space. The arcade is an urban filter, softening the relationship between life inside and life outside.

8

The design can be seen as a piece of furniture which goes into the building and forms an entresol with threedimensional connections. The holes in the ground will be transformed into planters.

9

The fireplace refers to the former image of the city. The city used to be covered by smoking chimneys from the steel factory. It was a landmark, used as orientation the cosiness of sitting together at ground level translates into a high, monumental chimney which is visible from everywhere in the city. It is literally the focal point.

LIMINAL ARCHITECTURE. THE PROJECT

Current architecture is ignorant. Current architecture is hypocritical. Current architecture is slow. Current architec ture is lacking aspiration. Current architecture is misleading. Current architecture must be stopped.

New unknown architecture is coming.

New unknown architecture is intangible. New unknown archi tecture targets minds, not senses. New unknown architecture serves people, not individuals. New unknown architecture is a collaboration of experts. New unknown architecture is fast. New unknown architecture is unknown yet.

Liminal architecture is a transition between current and new.

Liminal architecture represents neither old nor new values. Liminal architecture represents neither old nor new principles. Liminal architecture represents neither old nor new perceptions. Liminal architecture is non-referential and non-contextual. Liminal architecture is unbiased, objective, pure. Liminal architecture considers only fundamentals.

The project is an example of liminal architecture. The project is an open-source system to adapt to any demand. The project is adjusting its performance, structure, appear ance. The project is adjusting daily, seasonally, yearly. The project has no identity, only vitality. The project has no form, only a purpose. Yhe project is not a solution to problems, it is a symbol of solutions.

The project is not sustainable. No more new sustainable transport - do less transportation. No more new sustainable energy sources - do less energy usage. No more new sustainable urbanism - revitalize, reuse, remodel. No more new sustainable architecture - do less con struction. No more new sustainable design - do less overpro duction. No more sustainability - it is just common sense.

The project is an element of insular urbanism Insular urbanism is Manhattan, Singapore, Malé. Insular urbanism develops inwards and skywards. Insular urbanism is compact, efficient, self-sufficient. Insular urbanism is a place for people created by people. Insular urbanism is a coexist ence of paradoxes, a tensegrity of contradictions. Insular ur banism is an ultimate urbanism.

ALEKSEI KANIN

DISCIPLINE

Architecture

DATE OF GRADUATION 27.01.2022

GRADUATION COMMITTEE

Laurens Jan ten Kate ( mentor )

Jeroen van Mechelen

Alexey Boev

ADDITIONAL MEMBERS

Ira Koers

Uri Gilad

The project is an alternative reality, where everyone can afford to live in the city.

Two choices : to live in the city or to live in the countryside. Two choices : to live smaller or to live further. Two choices : to have a lack of space or to have a lack of time. Two choices : to be alone in the city or to have a family in the countryside. Two choices define the fate of a person and a whole generation. Two choices drive the supply, but do not satisfy the demand.

The project is the frame for life.

Live + work + free time is a self-sufficient urban element. Live +  work + free time is a model of sharing structure, energy, circulation. Live + work + free time is a model of sharing the vibe within a programmatic variety. Live + work + free time is a model of sharing and dividing between private and public. Live + work + free time is a model of non-forced human in teraction. Live + work + free time is a model of life with fewer constraints.

SOCIAL AWARENESS

This category involves designs created from the perspective of individuals, groups and communities, using their needs as a starting point.

Half of the ten designs in this category are housing projects ; the other half are publicly accessible places and spaces. To begin with the latter group, Juliana Perrone Celotti designed a floating park in Guanabara Bay, Brazil, where indigenous people can meet for debate and knowledge exchange. Other students designed meeting places in urban environments. With her Zusammenbrauhaus, Angelina Hopf proposed to convert an existing brewery in her hometown of Gundelfingen an der Donau into a community centre and hub for businesses focused on sustainable horticulture. With her project Kultywator Praga, Aneta Ziomkiewicz created a plan to revitalize the Praga district in Warsaw, Poland, through a multifunctional building that combines existing functions with a vocational horticultural school. Tom Vermeer designed a wooden, modular building for intangible cultural heritage, with space for exhibitions, studios, theatre and events. Steven van Raan made imaginative drawings for the Frederiksplein in Amsterdam, using surrealism as a design and innovation tool.

The housing projects – normally one of the most prosaic design assignments – also demonstrate imagination and social commitment. Ivo Clason designed a residential building for his entire social circle, to see if it is possible to design a single building structure in which, through individual modifications, all of his friends’ and relatives’ personal ideas of ‘home’ can find expression. An entirely different approach was taken by Daan Foks. He too was looking for unity in diversity, but by creating a design that is so generic that it can accommodate all forms of housing. His design, based on square grids, for the Bredius location in Amsterdam’s Spaarndammerbuurt accommodates 125 apartments. Jesse Stortelder researched the redevelopment of Philips’ former HCZ office building in Eindhoven. In the existing carcass, he proposed residential units with collective spaces. Ergin Kurt designed residential buildings for the Fikirtepe neighbourhood in the Kadiköy district in the Asian part of Istanbul. The most important characteristic of the typology is that it allows for more than one family or generation to stay together. Last but not least, Philip Mtenga Lyaruu designed a residential neighbourhood for Zanzibar city. High-density flexible housing creates space for communal social facilities, such as places for meeting, work and relaxation.

JULIANA PERRONE CELOTTI

IVO CLASON

DAAN FOKS ANGELINA HOPF

ERGIN KURT PHILIP LYARUU

STEVEN VAN RAAN

JESSE STORTELDER

TOM VERMEER ANETA

1 In 1500 the Portuguese people arrived on the coast of Brazil. With their culture, they changed the whole life of the people living there before. In 2022 the people are fighting against climate change and for a better environment – knowledge that the indigenous people kept for millennia. It is time to protect and learn from indigenous people.

2 A platform for indigenous people and the biodiversity above and under the water.

3 Model 1 : 500.

DISCIPLINE

Architecture

DATE OF GRADUATION 02.02.2022

GRADUATION COMMITTEE

Stephan Verkuijlen ( mentor )

Raul Correa-Smith

Jorn Konijn

ADDITIONAL MEMBERS

Abdessamed Azarfane

Jo Barnett

To protect the indigenous people is to protect the environment and the earth ’s future.

The indigenous protection law has always been a big discussion in Brazil. Still, this has been in considerable danger in the last few years because the current administra tion wants to open indigenous lands for mineral exploration. Miners and loggers put a lot of pressure on their land, putting the 305 different ethnicities at risk.

Nowadays, a movement of the young indigenous generation started to articulate accurate information about them and their cultures to inform people and ask for help. To do this, they use Instagram and other social media.

Through my analyses, I found a massive shortage in their representation in the country, especially regarding ar chitecture or their governmental organization.

Rio de Janeiro is the most history-rich city in Brazil ; it is the postcard of Brazil abroad. Sadly there is no indigenous representation in architecture or through a monument.

My proposal incorporates those problems and wants to add a platform to Guanabara bay for all indigenous people to debate, express themselves and exchange knowledge. A floating park which will not just invite people to learn more about nature but also be a place to live for different species of animals above and under the water. When you take something from nature, you have to give back in the way of protecting the environment. This is exactly what this green platform is and wants to do together with the museum of tomorrow.

JULIANA PERRONE

4 Model that shows the relation in scale with the Museum of Tomorrow.

5

The section that passes through the middle of the main square shows the fixed structure where the building is standing, as well as the floating structures.

6

Section with the floating structures and the incorporated boat from Guanabara Bay in relation to the Museum of Tomorrow.

7 Main square image.

8 Internal image from the first floor.

9 We are many ; we are powerful ! The building for debate and discussions.

HOW TO MAKE A HOME IN THE CITY ?

How to make a home in the city ? A simple yet complex question that deals with a variety of topics.

It is a dialogue between personal wishes and public needs. A tango between different layers of the intimate inside and the vibrant outside. What makes the difference between a house and a home ? How we define our home is very personal, your house is not my home. Home is a precious state that a place can hold for you. It is a meeting between the physical and the immaterial. How do you design for undisclosed inhabitants if the home is so important ?

In order to find out, I have designed homes for my entire social surroundings to see if my concept will fit their variety of expressions of what they consider home. The pro ject attempts to let the inhabitants be the centre point of the design. It is a place to root and express their version of home. So they can form a place that is able to evolve and adapt over time. The project isn ’t meant to be an ode to the city, but to the collection of individuals that reside there. Each their own –and their common objectives.

My project is about place definition and carefully de signing the layers of proxemics between the intimate and the public. After researching and visiting key projects in Osaka, Tokyo and Paris, I have made five elements of architecture that are key in making a home in the city.

With the use of these five elements, I make sure that the inhabitants can realize their own personal “ idea of home ” and that the future inhabitants can do this as well.

DISCIPLINE

Architecture

DATE OF GRADUATION 27.10.2021

GRADUATION COMMITTEE

Laurens Jan ten Kate ( mentor )

Ira Koers

Yukiko Nezu

ADDITIONAL MEMBERS

Rob Hootsmans

Henri Borduin

Starting with a generous frame that gives the general shape and could hold all technical support, the inhabitants have the freedom to choose their personal infil – in orien tation, plan and façade. This infill is not only based on their wishes but also a reaction to its surroundings. Because the units are freestanding, it creates informal paths between the houses. This ambiguous space is shared and in negotiation with its surrounding neighbours, and could be temporarily adapted to hold a collective function. This in-between space creates a place where co-dividuality can take shape. Because the ground floor is raised, it creates a new layer between the public and the private. With a maximum of five units, these inner connections have the potential to succeed, as they are small archipelagos. On the ground floor, there is space underneath the in-between filled with offices, studios and shops. This outer connection makes the building block integrated into the neighbourhood and city.

4 In-between.

5 Infill.

6 Inner-connection.

7 Outer-connection.

8 Interior home 4. 9 Top axo view.

LIVING – SPACE A PHILOSOPHY ON DWELLING

DISCIPLINE

Architecture

DATE OF GRADUATION 20.04.2022

GRADUATION COMMITTEE

Laurens Jan ten Kate ( mentor )

Marcel Lok

Vibeke Gieskes

ADDITIONAL MEMBERS

Machiel Spaan

Micha de Haas

Project ‘ living space ’ concerns a housing project. But, what should a home actually relate to when we do not know who will live there ? A study in the word ‘ dwelling ’ tells us this is the ‘ own ’ way in which we occupy space. So in that sense, dwelling is a very specific thing ; we are all different and have different needs. When you think about that, it ’s actually re markable that many of the homes we build, are built with the same format : dining / living room, master bedroom and possibly a spare room. The size of the room and the positioning of the kitchen unit largely determine how a space is used and arranged. A living space should actually offer more freedom to make it one ’s own.

Of course, there are housing concepts in which the home can be altered at one ’s own discretion, but on the one hand, not everyone has the need to physically change, and on the other hand, such a concept is also more unlikely for a tenant. ‘ Living space ’ focuses on the unknown tenant and seeks freedom to make it one ’s own without having to physically modify the dwelling.

By making living spaces equivalent in size, their use becomes interchangeable, and so freedom is created to de cide what each space is used for. Allocating a function to a space can thus take place on the basis of needs, orientation –each dwelling is oriented on two sides – or the interconnection of spaces. By building the spaces with materials that can stand the test of time – a structure of concrete beams and columns with a wooden insert – a simple but high-quality shell is created. Both materials are easy to paint, and here too, you are free to make them your own.

This housing concept takes shape through 125 apart ments in the Spaarndammerbuurt at the Bredius location. The plot, as a typical leftover space, offers the possibility of further densifying the city. But this is also a neighborhood where different ideas about living have been expressed. Here a new philosophy about dwelling is added.

A careful consideration between the housing concept and the relationship to the neighborhood results in a closed building block with a courtyard in which three archways cre ate all-sided access and connect the block to the Zaanhof. The rigid brick facades, as a consequence of the underlying residential program, form a new street wall. In this unity as a building, the use shows itself by means of folding window frames, which give an extra dynamic to the street. Here you find the entrances to the ground-floor apartments. The thickness of the walls in the plinth creates a buffer between the dwelling and the street and offers a space to make it one ’s own. This, together with a bar and a laundromat, creates space for encounters between the building and the neigh borhood. The apartments on the upper floors are accessed via the inner street and the upper street. Due to their excess size and location on the court, these streets also offer a nice space for residents to meet each other. And so, besides ‘ making one ’s own ’ at the scale of the house, there is also a ‘ making it ours ’ on the scale of the building and the neighborhood.

DAAN FOKS

4 Floorplan – bel-etage / first floor.

5

Fragment model – section.

6

Impression street.

7

Fragment floorplan.

8

Impression interior.

1 The inclusive town growing on its own identities.

2 Location of the former brewery between the old and new town centre.

3 Das Zusammenbrauhaus is connecting people.

DAS ZUSAMMENBRAUHAUS

A PLACE OF INCLUSION IN THE RURAL TOWN GUNDELFINGEN

DISCIPLINE

Architecture

DATE OF GRADUATION 04.10.2021

GRADUATION COMMITTEE

Pnina Avidar ( mentor )

Prof. Claudia Schmidt, Peter Defesche

ADDITIONAL MEMBERS

Micha de Haas

Furkan Köse

How can architecture help to make strangers into friends ? And how to awake a village from its deep slumber at the same time ?

Fugees : Shelter, employment, education, therapy, but most of all, encounter is crucial when building a new home in a foreign land. Even though migration is part of all of us, new comers are often being refused participation and inclusion –especially in closed communities of rural villages facing their personal challenges : loss of identity and deterioration of public life, both woven into their urban fabric.

Gufies : My hometown Gundelfingen a.d. Donau in Bavaria, Germany, forms the context of my work. Its rich past is yet visible in the colourful vernacular facades of the me dieval village core. However, the few leftovers of the once twelve breweries and even more inns, the market street, and vegetable farms increasingly fell vacant. Modern town expansions created exclusive islands of single-family homes in pseudo-Italian style, walled off by high hedges. For newcomers ( branded fugees ) and locals ( gufies, pronounced “ goofies ” ) alike, the lack of street life and casual encounters hin ders much-needed approachability. Which urban framing and architecture has a chance to bring them together and make strangers into friends ?

Holistic urban vision : Instead of appropriating some “ exotic ” shapes, applying them around a “ community centre ”, and hoping that someone will stray into it, an actual communal building must have functions that forge commitment daily. To find the right programme, my urban analysis inves tigates the strengths and characters of Gundelfingen. These are interrelated in a system of exchange : four identities rep resenting gufies and simultaneously creating a safe space for fugees and inclusion : vegetable farms, medieval gardens, vacant food industrial buildings and the central market are re-activated and programmed both culturally and economically. From within the system, one component is picked and worked out to become das Zusammenbrauhaus.

Open design : Das Zusammenbrauhaus is a hub for companies dedicated to sustainable horticulture and a pub lic living room. Located in a vacant brewery right between the old and the new town centre, it becomes a spatial and pro grammatic connector : It combines work ( offices, workshops, grow room, greenhouse, labs, seed bank ) and culture ( café, kitchen, storytelling, concert, club, exhibition space ). The public realm floods the ground floor, central courtyard, and adjoining inside and outside spaces. Strengthening the exist ing architectural language of stairways and passages creates points of visual and physical encounter. Porosity is introduced through vernacular elements ; melting routing and function enables communication. “ Human ” ( aka healing ) architecture based on natural light, ventilation, and materials lies the foundation of openness by bringing people into a state of physical well-being.

Das Zusammenbrauhaus casually connects employees, visitors, and passers-by. In praise of street life.

ANGELINA HOPF

4 Communication emerges by melting routes and functions.

5

Section through the connecting axis.

6 The public realm flows through the open building and its courtyard.

7

Porous walls and vernacular elements enable visual connections throughout the building.

8 Soft transitions and human architecture in living room and adjoining spaces.

9 Tearing down last borders in the subterranean club.

1

1 Istanbul / Fikirtepe – transformation of the Mahalle.

2 Mahalle 2.0 – Site plan.

3 New housing typology ( inspired by many of the traditional examples of housing typologies throughout Anatolia ).

MAHALLE 2.0 FLEXIBILITY & FREEDOM WITHIN URBAN DENSIFICATION

DISCIPLINE

Architecture

DATE OF GRADUATION 01.12.2021

GRADUATION COMMITTEE

Saša Rađenović ( mentor )

Winfried van Zeeland

Pnina Avidar

ADDITIONAL MEMBERS

Bart Mispelblom Beyer

Tess Broekmans

Urban transformation : In 2002, the go-ahead was given for an urban transformation on a grand scale in Istanbul. The first areas to be appointed are the so-called Gecekondu Mahallesi. ‘ The literal translation of Gece-kondu is ‘ placed at night ’. A specific typology of illegally and organically grown ur banization that took place during the Turkish industrialization.

Fikirtep : In 2006, the transformation of Fikirtepe ( Kadiköy / Istanbul, Asian part ) began. Fikirtepe has been split up into various areas for development. Current inhabitants sell their land to developers, and in return, an apartment is assigned to them. Large parts of the mahalles ( working-class neighborhoods ) are destroyed and replaced by high-rise resi dential towers. The well-being of the inhabitants has not been taken into consideration – the interests of the developers have the highest priority.

Project area : The projected area lies on the northern side of the Mandira caddesi ( street ), which functions as the main traffic artery and connects Fikirtepe with the ring road. I decided to reserve two plots of land which comprise a total of 52.000 m2. The project has an FSI of 4+, which means that ap proximately about 25% of the Mahalle 2.0 housing units can be assigned to the current inhabitants of this area.

Housing : The smallest component of a Mahalle was created by the development of a new housing typology, inspired by the traditional housing typologies throughout Anatolia. This typology allows for more than one family or generation to stay together. As well as being functional and flexible, it allows for the many different needs and compositions a family could require. A potential buyer gets an extensive list of options from which they can compose their desired floor plan. Additionally, each unit has a joined ‘ spare ’ area. This area is meant to be a terrace, but could alternatively be used as an insulated living space to be added to the unit.

Urban Block : The urban blocks have been realized by stacking and mirroring the previously mentioned components. The apartments and marionettes have a double orientation. Inspired by the garden courtyard references ( hayat ) that characterize the traditional Turkish houses, the units are accessible from an inner courtyard area. The parking garage can be found under the communal inner courtyard of each building block. The spaces between these blocks are connected and offer a generous invitation for its inhabitants to spend time together outdoors.

Neighborhood : As opposed to the high-rise residential towers ( 30-40 floors ) around the project area, the building blocks of Mahalle 2.0 will be eight floors high. The building blocks meander downhill in a snakelike fashion, following the Mandira caddesi. By doing so, inner and outer worlds are created in a natural organic manner. Throughout the middle of the project area lies the green heart that connects all the building blocks and offers lovely meeting places for the inhabitants of Mahalle 2.0.

ERGIN KURT

4 An example of the smallest component of a Mahalle. 5 3D section of an urban block. 6 Fragment of the inside ( hayat ) and outside ( park ) of an urban block. 7

Inner courtyard ( hayat ). 8

Inner courtyard ( hayat ). 9 Outside ( park ), the space between the urban blocks.

10

Outside ( park ), the space between the urban blocks.

HABARI YAKO !

URBAN REDEVELOPMENT IN ZANZIBAR CITY

DISCIPLINE

Architecture

DATE OF GRADUATION 30.08.2022

GRADUATION COMMITTEE

Berend van der Lans ( mentor )

Rachel Keeton

Abdessamed Azarfane

ADDITIONAL MEMBERS

Jolijn Valk

Susana Constantino

Being half Tanzanian and half Dutch, a strong compulsion to acknowledge my heritage came over me when I visited Tanzania for the first time – just before I started the Academy of Architecture. Now, using my last study course at the Academy, I try to find a way to contribute to the country of my father ’s birth through the use of Architecture.

Zanzibar ’s urban context is old but frail. Lack of planning and rapid population growth has led to a great number of challenges. Zanzibar ’s challenges are shared by many African cities. Poverty, pollution, and congestion threaten to make large areas of the city uninhabitable and limit the opportuni ties for its inhabitants to build better lives. In Habari Yako, I try to explore the possibilities of using an architecture project as a catalyst for change. By building denser, more flexible hous ing, space can be opened up for essential infrastructure to be introduced into the existing urban fabric.

The design focuses on translating the spaces of the vernacular dwelling typology to a modern and densified context without sacrificing living quality.

The current tradition in Zanzibar is to build single-floor dwellings for your own family, the Swahili house. These hous es are built around family life and offers a unique interaction with the public space around it through the Baraza and Uwani. Both the baraza as the uwani can be seen as transitions for the inhabitants into public space. The baraza being a public threshold much used by men and the uwani being a collective threshold much used by women. By providing these separately for both men and women, the traditional separation of household responsibilities is maintained without limiting the freedom of access for either group. Both use distinct parts of public space shaped around their role.

In the new urban life of Habari Yako these aspects form the basis of the urban layout. Blocks are shaped around collective “ uwani ” courts, creating a sheltered space for women and children. These courts form the heart of any block. Being mainly used for women to work together to do chores and household tasks, these spaces also give women much needed space for leisure. From the courtyard, all movement into and out of the block can be observed, giving the wom en also a role of social guardians of the block, checking who comes in and leaves.

Simultaneously the surrounding streets get a more open character with workspaces and collective “ baraza ” benches. By integrating these workspaces into the dwellings, an added layer of flexibility is added to the dwellings that fits the new streets and as such, does not require their inhabit ants to sacrifice living quality.

Ultimately Habari Yako shows how urban areas in Tanzania can be transformed to make them liveable and ac cessible without sacrificing their communities and their living quality.

PHILIP MTENGA

4 Baraza street facade.

5 Public street facade. 6 Block concept scheme. 7 Masterplan. 8 Corner fragment. 9 Uwani court.

1

EXHIBITION FOR IMAGINATION

A CAPRICCIO OF AN INCOMPLETE PAST

The Utrechtsepoort, the Paleis voor Volksvlijt and the Nederlandsche Bank dissected into shapes, characters, materials and textures.

2 Fascination with drawing.

3 Design process : Cadavre Exquis.

DISCIPLINE

Architecture

DATE OF GRADUATION 04.05.2022

GRADUATION COMMITTEE

Rob Hootsmans ( mentor )

Marlies Boterman

Paul Kuipers

ADDITIONAL MEMBERS

Elsbeth Falk

Gus Tielens

In this graduation work, you will find my design for Het Frederiksplein in Amsterdam. Frederiksplein is a place with a rich history, of which unfortunately nothing is visible in its contemporary form. I aim to restore the old historical value by means of a layered design, which is based on a lot of research, while at the same time creating a lot of space for imagination, alienation and wonder.

In the design process, I tried as an architect to disconnect from the limitations that I consciously and / or unconsciously impose on myself – a process that I associate with drawing, a fascination of mine. I have used existing design techniques from surrealist art, another fascination of mine. This graduation work can therefore also be regarded as an investigation into the extent to which the process of making ( surreal ) drawings can yield a better, more exciting and more fascinating architectural design.

The architect as artist versus the architect as realist. Free and intuitive creation versus deliberate and structured working. These are two completely different design approaches that intrigue me. Building on my essay, in which I argue for a more surrealistic way of thinking of an architect, I would like to demonstrate in my project how these two design approaches can be brought together and how surrealism can bring innovation in architecture.

I begin this graduation work with a return to a personal childhood drawing of a city. A city that is unknown to me and originated from my personal fantasy and memory. The drawing offers room for imagination. It triggers curiosity about what goes on behind the door of the house. Moreover, this drawing also evokes emotion. Is this a cosy part of the city or does the absence of people on the street create a dis turbing feeling ?

As a child, you are brash, and you let go of any form of reality. This inspires me to think about how you, as an architect, can break free from the limitations you unconsciously impose on yourself. Therefore, the goal of my graduation is to ( re )design a place without any form of restriction and to give back to the historical experience of that place.

I searched for a method with which I could create compositions I could never have imagined before. I don ’t want to design a traditional building with a front door and several rooms. On the contrary, I am looking for a strategy to combine objects, spaces and materials that form interesting new spaces. The idea is to design the spaces first and then see if they will have a function, and if so, which one ?

The graduation work is a study only on paper in which there are no limits, and I do not allow myself to be hindered by the reality of architecture. I was inspired by surrealistic de sign techniques and I want to use this to explore the extreme side of architecture. With my different design techniques, I have had the opportunity to look at and design from different perspectives. I want to create a field of tension between architecture and art, but also between imagination and reality. I will go far in this. As far as I can, to eventually design absurd spaces in which people will continuously marvel.

STEVEN VAN RAAN

4 Design process : Cadavre Exquis. 5 Timeline. 6 The foundation + 12 stories. 7

Collages characters historical images. 8

Collages characters historical analysis drawings. 9 Collage model.

A CARCASS FULL OF LIFE

A MULTICULTURAL COMMUNITY IN THE CURRENT CITY CENTRE OF EINDHOVEN

The strength of a city is knowledge and diversity, and that certainly applies to Eindhoven. Due to the success of Philips and later the Brainport Strategy, Eindhoven changed in 100 years from a small village to a city where several mul tinationals are located. But at the end of the 20th century, Philips leaves the city. The Brainport strategy, a collaboration between companies, schools and governments, successfully absorbs this heavy blow. Brainport ensures economic growth and attracts many international knowledge workers to the city. Eindhoven is, just like a hundred years ago, a migrant city, but now it has its own problems. The flow of expats and interna tional knowledge workers to the city creates a divide. New de velopments in and around the centre, mostly fully furnished short-stay studio apartments, create islands of highly edu cated, internationally oriented residents. People tend to live more individually, experience loneliness, and there is segregation. How can we transform the city to stimulate exchange between different people and cultures ?

The HCZ, a former Philips office building that has stood like a concrete carcass in the city for ten years, provides answers to the above question. After Philips left the city, the office building became vacant. In the years since, squatters have shown how an international residential community can arise in this place. In 2010, the squatters were driven out to make way for new developments at this location. The facade has been removed to make habitation impossible, and since then, the HCZ carcass has stood abandoned in the centre of the city for years.

By making the carcass accessible, the opportunity is created for an international community to establish itself here again. New homes around the HCZ increase the use and initi ative for cultural and social activities in and around the build ing. Public routes connect the building with the new developments in and around the centre. Collective routes provide a gradual transition from the busy city to where your front door is and where you know your neighbours.

DISCIPLINE

Architecture

DATE OF GRADUATION 13.06.2022

GRADUATION COMMITTEE

Stephan Verkuijlen ( mentor )

Herman Kerkdijk

Alexey Boev

ADDITIONAL MEMBERS

Jarrik Ouburg

Ricky Rijkenberg

In the HCZ, public facilities are intertwined with col lective spaces. The newly added residential buildings each interact differently with the existing building. This creates communal living rooms in the HCZ, and places for people to work or play sports together in other places. By living together and being responsible for the initiative of activities and use of the HCZ, a new community is created. This project is a plea to use the potential of existing real estate in cities to stimulate exchanges between different cultural groups. The project is an example of how we can transform the existing city to live more collectively. Demolishing and starting over is not always the fastest way forward. Let ’s learn from the past and use it for the future.

JESSE STORTELDER

4 Willemstraat.

5 Long Section.

6 Maquette.

7 Urban Square. 8 Gallery. 9 Technical Section. 10 Library.

1 Square transformation.

2 Meetings in the pavilion.

3 Central section with pavilion schematics.

TANGIBLE INTANGIBILITY

INTANGIBLE HERITAGE AS A CATALYST FOR CHANGE

DISCIPLINE

Architecture

DATE OF GRADUATION 24.08.2022

GRADUATION COMMITTEE

Bart Bulter ( mentor )

Jeroen van Mechelen

Jeanne Tan

ADDITIONAL MEMBERS

Pnina Avidar

Stephan Verkuijlen

Contrary to material heritage, intangible cultural heritage is a living and dynamic form of heritage, which adapts to and changes with time. Intangible cultural heritage ( ICH ) constitutes the heart of that group of people, who often prac tise it with passion. ICH can give people a sense of belonging. ICH involves social customs, traditions, rituals, representa tions, expressions, particular knowledge of nature and craft skills that communities recognise as a form of cultural heritage. Another term used to describe intangible heritage is living heritage because it is something that is ever in motion and needs people to keep practising it to stay alive.

In our current society, the gap between high culture ( opera, theatre, art, etc. ) and everyday culture ( festivities, crafts, cultural knowledge, etc. ) is ever-growing. High culture has become the face of culture itself and has always been placed in prominent places in the city. In contrast, intangible heritage is being pushed back into community centres, sports halls, and libraries. They are left separated to fend for themselves. Yet, it ’s these communities that play a big part in defining a culture and shaping the future of society.

To help ICH communities revitalise their cultural her itage, they need three conditions ; practice, people, and dis cussion. When an area has a healthy ICH community, it helps strengthen social cohesion and can help revitalise otherwise dormant pieces of a city.

This project explores a strategy that brings together seemingly dissimilar typologies of ICH to exist side by side and manifest the importance of their ( shared ) history, relying on playfulness and discussion as a tool to propose a lasting typology that is specific yet timeless. By shockingly interven ing in the public space, with temporary barricades designed not to separate, but to bring together cultural communities with collectivism to bring about permanent change in an urban-disoriented context. By shifting the civic focus and redirecting the established view on culture in the urban context, creating reciprocity between city and communities.

Within this strategy, architecture is used as a tempo rary tool and carrier of activity in the form of a wooden, mod ular structure. The architecture serves its users and changes along the desired use. Within the structure, multiple spatial typologies can be formed to serve the varied spatial needs of the ICH communities. The location of the intervention is chosen along a series of conditions which can help ICH now and in the future. The pavilion is the catalyst of urban change.

The wooden structure is the first in a series of phas es that connects, activates, integrates and transfers ICH with the use of architectural and urban adjustments. Over time the structure will change and disappear while the activity in and around it finds a new home within the hearth of the city. Each of the phases activates different layers within the city structure to slowly embed the change and redirect the frequency of the city into a new culturally rich harmony. Making the intangible tangible.

TOM VERMEER

4 Change meetings in the open spaces. 5 1 : 200 situation model. 6 Atelier and exposition space. 7 Exploded axonometric. 8 1 : 50 section model. 9 Theater and event space.

3

KULTYWATOR PRAGA

VOCATIONAL SCHOOL AS AN URBAN ACTIVATOR OF PRAGA WARSAW

Kultywator Praga is a revitalisation project of the Praga district in Warsaw, Poland. Even though this area is for gotten and often inhospitable with an ageing population and high levels of unemployment, it is very strong in terms of ur ban planning and has strong craft roots. My proposal works with those features. On an urban scale, it intends to connect the existing environment with urban tissue by adding a new building in the middle of the urban block. It ’s a public mixeduse building with a vocational school focused on food cultivation and preparation, which would become a new neighbourhood centre. Through this action, the area is being densified and diversified.

1

2 The statement. New longitudinal building in the middle of the urban block creates a new routing within and new courtyards.

DISCIPLINE

Architecture

DATE OF GRADUATION 31.08.2022

GRADUATION COMMITTEE

Wouter Kroeze ( mentor )

Jana Crepon

Jarrik Ouburg

ADDITIONAL MEMBERS

Burton Hamfelt

Marc Reniers

Warsaw was severely damaged during the Second World War, although the right bank part of the city, where Praga is located, was not so harshly affected. This is why the district is so different from other parts of the city, with its unique pre-war residential building typology. In my opinion, there are opportunities there that are often overlooked by city authorities and developers, who often create buildings that do not work with their context.

My concept celebrates the uniqueness of Praga dis trict. This area has always been a productive part of the city, with gardens, orchards, markets and factories that supplied the right-bank part of the city. This also attracted a certain type of people who wanted to live there, such as craftsmen. To this day, these features are still visible in the district. I want to work with these qualities, its original enclosed block typology, trading and cultivating tradition and crafts tradition.

Kultywator Praga ( eng. cultivator )

1. A cultivator is a person who ensures that an element of cul ture is not forgotten and that it develops.

This is the element that was missing there. People who would make sure that the neighbourhood develops with its genius loci, cultivating its trading, craft and horticultural traditions. I realised a vocational school could be an excellent answer to that problem, as a place bringing young peo ple who could carry and develop further this heritage. The school ’s specialisation also arose from the unique culture of Prague, which in the past had many gardens and orchards that supplied the city with food. However, looking at the future of city life shows a new way of living in the cities, where its inhabitants are more connected to what they eat.

SOCIAL AWARENESS ANETA ZIOMKIEWICZ KULTYWATOR PRAGA

4 Public – semi-private – private. Vertical and horizontal gradations of the program. Contrast between urban street and lush courtyards.

5 Main facade.

6 Floorplan with detailed fragments of : a beer and cider tasting place, a market, a school and a botanical garden.

7 Courtyard. Part of the botanical garden.

8 Lecture hall.

9 Entrance from the main street to one of the courtyards.

HEALTHY COLLECTIVES

The nine projects in this category comprise public facilities, including care hotels, sports facilities, educational buildings and a city hall.

Two students took care hotels as the starting point for their graduation project. With his Care Hotel California on the Havenstraatterrein in Amsterdam-Zuid, Olivier Lodder designed a care building as a small city, with streets, squares, gardens and parks. For a site between the Vondelpark and the Overtoom, Niels Geerts proposed the Heelhuis, a plan for a care building that is entirely patient-centered.

Two sports facilities are by Nedyalko Balev and Heleen Bults. Balev designed a sports hall for a prominent location in downtown Varna, Bulgaria, with the goal of making sports an integral part of the city residents’ lives. Bults integrated sports facilities at the level of urban planning, by densifying housing developments in the Utrecht neighbourhood of Overvecht – where part of the population suffers from health problems –to make room for green and sports facilities, which should encourage residents to exercise more.

Three architecture students dealt with school programmes. Mickael Van Es designed a school in the De Berk neighbourhood of Zundert, which serves not

only as an educational institution but also as a community building, strengthening social cohesion in the neighbourhood. Myrna Eussen produced a plan for a school building in the city of Almere, where young people and adults study and interact. Floris Koelink, on the other hand, chose a rural location. He designed an Academy of Gastronomy in the Bantam estate in ‘s Gravenland, with restaurant, student housing and educational facilities.

Also focused on the collective is Yvette Van Bakel’s graduation design, which creates a surprising combination between a logistics hub and a community centre in Utrecht’s Ondiep neighbourhood. By making the logistics processes visible to visitors, more awareness of processes normally hidden from view is created. Very poetic is Sebastiaan Van Heusden’s design for a city hall in Amsterdam, on the site of the current city hall. Instead of a fully designed administration building, he proposed an open structure reminiscent of a ruin, which can be endlessly filled in and used at will. In this way, citizens are involved in the creation process and an inclusive city hall is created.

YVETTE VAN BAKEL NEDYALKO BALEV

HELEEN BULTS MICKAEL VAN ES

NIELS GEERTS SEBASTIAAN

1 Logistical hub map of Utrecht.

2 Building build-up.

3 Built-up of the logistic blocks.

THE HYBRID HUB

WHERE LOGISTICS MEET THE SOCIAL

DISCIPLINE

Architecture

DATE OF GRADUATION 28.09.2021

GRADUATION COMMITTEE

Jo Barnett ( mentor )

Wouter Kroeze

Marc Reniers

ADDITIONAL MEMBERS

Gus Tielens

Saša Radenovic

Every day we transport large quantities of packages in and to the city. The amount is growing due to our cities ’ densification, consumption and delivery frequency increase, and getting used to an on-demand economy. The increasing logistics traffic has consequences for the quality of life in the city. Problems such as increased CO2 emissions, reduced road safety, and noise pollution grow with every order.

We see many logistic hubs pop up as a reaction to these problems. A hub is a logistics facility where goods from one or more suppliers come together before they reach the final recipient. It has the purpose of switching modes of trans port, bundle shipments and / or additional services to deliver. These hubs work very well on a logistical level. However, they cannot be properly integrated into the city on an architectural level.

The current logistic hub typology is a box-like building designated to business parks. The building lacks a relationship with its surroundings and is closed off, monotonous and monofunctional. The current typical logistic hub cannot integrate into the city structure. We are talking about a new type of function / building that we are introducing to the city, and we ’ll see a rise in the upcoming years, but the current typology is not sustainable for the future. For example : many business parks will become residential areas in the near future and because the city is densifying, we need to use space more multifunctionally than the current typology can.

This is the moment and opportunity to look critically at the role a logistic hub can play in our city and our neighbour hoods with the help of architecture. There is a need to invest integrally in space, mobility and logistics domains.

My ambition is to give a bigger meaning to this logisti cal function. I ’ve created a flexible typology wherein a logistic hub can adapt to its surroundings and work as a connector within a neighbourhood. It ’s a place where logistics can be experienced from up close in a social setting. The significance of this hybrid hub typology is that it ’s not designated to one type of location, size or function. It ’s adaptable.

My project focuses on the city of Utrecht. I ’ve created a new network around the city, resulting in a dozen strategi cally dotted-out hybrid hub locations. Together they cover the entire inner city with parcel service. Every hub will be combined with a plug-in program, which is a program tailored to the neighbourhood ’s needs. The plug-in works as the connector between the logistics and the residents and makes every hub unique because no place is the same and has the same needs.

I worked out one specific hub location in the Ondiep district. With my building design and concept, I ’ve created a public social place in the neighbourhood that connects the two adjacent green public spaces and opens toward the neighbourhood. The plug-in program is a repair shop that can be used by the local residents and neighbouring schools and professionally by the handyman. This building will be the new centre and heart of the neighbourhood where people can meet logistics and each other.

YVETTE VAN BAKEL

1 Approach from harbour.

2 Approach from city.

AN ECHO TO REVIVE

DISCIPLINE

Architecture

DATE OF GRADUATION 15.06.2022

GRADUATION COMMITTEE

Judith Korpershoek

Charles Hueber

Daryl Mulvihil

ADDITIONAL MEMBERS

Daria Naugolnova

Wouter Kroeze

“ An Echo To Revive ” reintroduces the idea of sports in the heart of the city of Varna, Bulgaria, by making it an ap proachable and interesting subject within the public domain of the urban fabric. Positioned in a key location in the city centre, this intervention aims to connect three distinct areas which have been neighbouring for a long time but have been physically disconnected due to their different nature. The Central area, the Sea Garden Park and the industrial harbour of Varna are all well-known and quite distinct. These different parts of the city are all positioned adjacent to each other, near the water on the North side of the city bay. A recently vacated industrial site has made room for more leisure-related public functions. Still, it has not included a more urban solution on how to connect to the rest of the city.

The project puts a building and a landscape in a key location which serves as a connection between the newly opened public harbour and the rest of the city. The building ’s primary function is a sports hall with various types of indoor and outdoor sports, mixed with a few public functions as well as lookout points to the sea, influenced by the character of the Sea Garden park. The aesthetic design of the building is made in respect to the industrial context it is positioned in, as well as inspired by the distinctive character of other notorious sports buildings in the city.

Introducing sports functions in the heart of the city creates a homage to the glorious sports history of Bulgaria. The building itself is designed to be an exhibition box for athletes making the activities inside observable by all peo ple passing by. This gesture of observing without getting in volved aims to create awareness of sports by making it part of the public domain and not something that happens behind closed doors or facades. The public routes through the build ing also encourage this communication between athletes and everyone else moving through. All passing people have the opportunity to look inside, stop or join the ongoing sports activities hosted there. The building and the landscape are to become a new destination rather than just a transition and hopefully become a social catalyst around the idea of sports in everyday life.

NEDYALKO BALEV

3 Street-level playing field.

4 Harbour skatepark.

5 Cafe and climbing hall.

6 Section C-C.

7 Urban move.

8 Axonometric.

OVERVECHT, VET GEZOND

TOWARDS A HEALTHY CITY DISTRICT

DISCIPLINE

Urbanism

DATE OF GRADUATION 29.11.2021

GRADUATION COMMITTEE

Martin Aarts ( mentor )

Pierre-Alexandre Marchevet

Herman Zonderland

ADDITIONAL MEMBERS

Ad de Bont Marijke Bruinsma

Utrecht Overvecht was designed in the 1950s based on a green principle, but the greenery has deteriorated. A large amount of car parking spaces now determines the im age of the public space, at the expense of space for sociability and relaxation. When the neighbourhood Leidsche Rijn was built around the year 2000, those with less money were left behind. Overvecht became the district with the highest crime rate, health problems, and social problems in Utrecht.

Utrecht expects to house 100.000 extra inhabitants by 2040, and the city must take measures to cope with climate change in the future. The inner city will have to be densified in order to preserve the landscape surrounding the city. In Overvecht, there is not only room to take on a share of the densification task, but such a task offers opportunities to make the neighbourhood more liveable and attractive.

More homes and a variation in typology can bring a diversity of inhabitants to the district. An important goal is restoring the original, green principle of Overvecht with an upgrade aimed at stimulating exercise, healthy living, and social interaction. Extra greenery is accompanied by an increase in biodiversity and better infiltration of rainwater.

Overvecht now mainly has single-strip buildings with a varying height from 2 to 10 storeys. The long-strip buildings on the edge of a residential area create a strong barrier between the green public space and the buildings fields, and many extra buildings have been built in the green public space. My design focuses on the development of Utrecht Overvecht South. I propose to cluster all buildings in the existing build ing fields so that the current volume of public space becomes available for greening. This is achievable with the introduction of residential towers that open the building fields to the sur rounding green public space. In this way, the greenery can be experienced from every front door. The building height of the residential towers is 15, 20 and 25 storeys. The new buildings ensure that Overvecht can densify and grow in population while simultaneously breathing new life into the area.

But there ’s more. The inhabitants of Overvecht are the unhealthiest in Utrecht. An essential part of my gradu ation proposal concerns interventions in public space that should inspire healthy behaviour. It is, therefore, necessary that sports and play facilities are prominently visible and easily accessible in the neighbourhood. This provides an entirely different setting for the residents of Overvecht, because it gives the public space back to the residents. The car is given less space and is stored in ( temporary ) parking garages. This creates more freedom of movement for pedestrians, cyclists and athletes. A sports path is a prominent element in the dis trict and connects other sports facilities. With the transition to bicycle and pedestrian, a boulevard becomes the primary access for slow traffic. This combination of a boulevard, densification, and providing accessible sports options creates sociability and variety on the street. It offers the residents of Overvecht opportunities to adopt a healthier lifestyle.

HELEEN BULTS

THE SCHOOL AS COMMUNITY CONNECTOR

While growing up in a small Dutch town called Zundert, I experienced a strong sense of belonging to a com munity – mostly because of the communal activities around Bloemencorso: a tradition that connects the villagers by mak ing big creations decorated with flowers. Unfortunately, not everyone in Zundert grows up with same experience. As re search shows, the ethnically diverse neighbourhood ‘ de Berk ’ lacks social cohesion. Bringing communal activities into the neighbourhood can stimulate social interaction and create a sense of community. My project is a school for the community that opens itself to the neighbourhood – creating space for activity, social interaction, and culture. There are three main aspects in the design of the school : opening the building to the public, introducing mixed functions and giving a perma nent space for Bloemencorso activities.

Opening the borders

By removing the fence around the existing school and creating a new building that is open for everyone, I invite people to enter the building while the learning process in the school can go on. There are multiple ways of interaction possible, from encountering each other at the meeting- and waiting plac es to only visual interaction between the children on the first floor and the people on the ground floor. More intimate spaces are created for children to give the possibility for multiple ways of learning, as well as particular architectural forms, are designed to provide recognition of the space and a sense of belonging.

Mixed-use

MICKAEL VAN ES

DISCIPLINE

Architecture

DATE OF GRADUATION 22.08.2022

GRADUATION COMMITTEE

Chris Scheen ( mentor )

Jeroen Baijens

Vibeke Gieskes

ADDITIONAL MEMBERS

Jarrik Ouburg

Tatjana Djordjevic

The introduction of mixed-use functions on the ground floor is motivating the people from the neighbourhood to participate in the public building. In the form of studios and workshops, these spaces are suited for different kinds of activities, from painting, sculpting or making music to working on the laptop alone or together with others. As there are no strict visible borders between the school and the public zone of the out door area, a number of facilities, for example a football field and a public garden, are accessible and can be used by both –the school and the neighbourhood.

Introducing culture

Another cultural connector of this project is the permanent Bloemencorso workplace in the school. The integration of this activity in the school will ensure that the young gener ations grow up with this tradition and pass it on to the next ones, creating a strong cultural bond with the rest of the town. The process of Bloemencorso is a seasonal activity – during the winter months, the space can be used for other purposes, for example, as an event venue or storage. These combined interventions can contribute to better social cohesion between groups within the district, stimulate the preservation of the local culture, and improve the image of the neighbourhood. Therefore, everyone growing up in Zundert can feel in volved, safe, and accepted in the local community.

4

Exterior impression of the school and integrated workspaces.

5

Exterior impression of the social activity – connecting workplaces and the public alley.

6 Multifunctional public playing area – used by the school as well as the district.

7

Interior impression of the school and classrooms.

8 Section. 9 Fragment of the alley.

1 Heelhuis and its gardens blend in on both sides : park and city.

2 Urban scale with an eye for the individual.

3 Heelhuis in different scales.

HEELHUIS

I WAKE UP AND… THEN WHAT ?

DISCIPLINE Architecture

DATE OF GRADUATION 03.02.2022

GRADUATION COMMITTEE

Machiel Spaan ( mentor )

Laura Alvarez

Jarrik Ouburg

ADDITIONAL MEMBERS

Jeroen van Mechelen

Stephan Verkuijlen

INITIATOR

Boukje Bügel-Gabreëls

Heelhuis is a proposal for a care building based entirely on the patient. The project is a response to the mani festo for the care of Boukje Bügel-Gabreëls, a fellow student who started the project. During her period of illness and re habilitation, she experienced the limitations of the current healthcare architecture. Boukje wrote down her experiences in diaries and shared them with her loved ones. She initiated spatial proposals where hope is central to all the pieces.

Heelhuis replaces the current Reade rehabilitation centre, which will move to the site of the OLVG West hospital. The current building turns away from both the city and the park behind it. Heelhuis does the opposite : it adapts to the immediate environment through urban life in the plinth and through a garden as an extension of the Vondelpark. In this way, Heelhuis is an inherent part of the city, and Heelhuis gives back space to the surrounding residents and visitors. Residents of Heelhuis are an inseparable and autonomous part of society.

Focusing on the patient : designing in the I-form The project has been entirely approached from the resident ’s point of view. During the design process, the question was constantly asked : “ I wake up.. and then what ? What do I do next ? What does my day look like ? ” The building has grown in this way. Step by step, spaces were added, and the scale of the design grew. Residents can determine to what extent they want to be part of the community and the environment at a given moment. This way of designing has led to a main set-up of three buildings : a residential building ( bed house ) on the Overtoom – where each house has a view of the quiet park side, as well as involvement with the city side, a health clinic at the park – where the route is continuous.

Heelhuis concerns a current issue : can architecture influence healthcare ?

The exponential economic growth and political developments of the last decades have led to a privatization of healthcare. At the same time, the current pressure on healthcare, an aging population and increasing population demand a revision of the healthcare vision. Workshops were held in the process with relatives, care providers and care developers. Two common denominators were striking : everyone wants to provide care ( ‘ the broad care team ’ ) and a general call to make the building very specific, but flexible at the same time. Every patient is unique and has their own needs. We need to look at more inclusive forms of living, where prevention, inspiration, and humanity are central.

Heelhuis is mainly intended as an instigator to think about better care buildings, in addition to showing several concrete design solutions. After all, many care homes have been designed as efficient care machines due to the privatization of care. In Heelhuis this is radically reversed : here, the resident, the next of kin and therefore the quality of life ( and death ) are central on all scale levels.

4

The dwellings have been designed with the bed as the starting point : from intimate and quiet to open and connected.

5 The idiom of the floor plans is then based on the room, the Vondelpark and the Overtoom.

6 Maquette verdiepte tuin.png A built, sunken garden as a spa for residents and the city.

7 Heelhuis joins as ‘ kintsugi ’ in the Vondelpark and the Overtoom.

8 A day at Heelhuis – different atmospheres.

9 Pilgrim in the Vondelpark – by Boukje Bügel-Gabreëls.

1 Situation.

2 Building as ruin.

3 Programme.

DISCIPLINE

Architecture

DATE OF GRADUATION 24.08.2022

GRADUATION COMMITTEE

Chris Scheen ( mentor )

Arna Mačkić

Uri Gilad

ADDITIONAL MEMBERS

Donna van Milligen Bielke

Miguel Loos

In the past, city halls were prominent buildings which reflected the wealth and power of a city. They were pub lic places where citizens saw sentences carried out, heard speeches from the mayor and got married in the represent ative halls. The functioning of the city hall has changed over time, and so has the building. It is, therefore, no longer of this time to make a city hall that radiates power and status in the way the city hall on Dam Square did. It is important for a city hall to express the image of the city, but nowadays, it is also important to make it an inclusive place.

The municipality makes developments to involve cit izens in the democratic process. By speaking with people at the municipality working on the environmental vision for 2050, I learned that the vision also describes how citizens can be better involved in decision-making, so not just by consulting people but by participation and co-creation. For this to work, the municipality must actively approach citizens because the same type of people often attends public consultation evenings and often manage to find their own way into politics.

An inclusive municipal policy requires a building that radiates this. Inclusiveness not only means that everyone is welcome – but also that people are actively approached. It is a new attitude that the municipality is adopting, which creates a new social context.

Just as the city hall on Dam Square ( now palace ) is a reflection of the time when it was built, what might today ’s city hall look like if it reflects the current context ?

The building as a ruin ; Unlike what we are used to with new construction, a ruin reminds us of the transience of the building. I believe a ruin holds a natural quality, and it is precisely by taking this as a starting point that we see the potential of such a structure. The walls that form the urban space are constructed first. The shape this structure takes is a reminder of the old Vlooienburg district, which stood at this location.

The presented design is my current interpretation of a contemporary city hall for Amsterdam. It is a proposal that lends from history, tradition and a sense of belonging, but has resulted in a completely new structure. The ruin that has aris en can be filled in and used, but it is an open end, which can be filled in and endlessly modified. Both the buildings and the squares. The new adjustments will be visible, and the story of Amsterdam will continue to be told that way. But the main structure will always be, at least partially, readable. “ Everything is transformation ”. I hope that my attitude as a designer aligns with the attitude I think the city should adopt. Open to its in habitants, open to change, without erasing its past.

SEBASTIAAN VAN HEUSDEN

4 Open corners making plan passable.

5

Zoning in flat pavement.

6

Programme as furniture pieces.

7 Adjustable over time. 8

Entrance with water element. 9

Hwa making details in the façade.

SPIJSLOKAAL

ARCHITECTURE, LANDSCAPE AND GASTRONOMY CONNECT AND STRENGTHEN US AND EACH OTHER

With this graduation project, it has been my goal to bring my two passions together ; cooking and architec ture. I did this with the idea of designing the Academy of Gastronomy. The Academy is essential because food is of great importance in our daily lives, simply because it keeps us alive. However, not everyone is yet aware of how it is con sumed within our society, let alone enough awareness of how and where our food is produced. This has many different causes ; proper education is one of them, teaching a new generation how things can be done differently. From education, the next step can be taken to create change ; innovation. Ultimately, education and innovation go hand in hand as they continue to feed off each other. Thus, old concepts can be re considered and brought together with new innovations. This allows ‘ the new food ’ to evolve.

And that is the essence ; preparing a new generation of chefs, and translating that vision of gastronomy into architecture.

The Academy of Gastronomy is the result of this ; the intention is to get future chefs more involved with nature. To focus on this, the course is divided into two disciplines, one that focuses on preparation and one that focuses on produc tion. So future chefs will also have their hands in the earth and go out into the landscape to search for new products and new flavours. The buildings and landscape will inspire and facilitate this in their own way to ensure contact with nature and the seasons, in a place where landscape and building work together to reinforce each other.

DISCIPLINE

Architecture

DATE OF GRADUATION 23.08.2022

GRADUATION COMMITTEE

Geurt Holdijk ( mentor )

Mathias Lehner

Kim Kool

ADDITIONAL MEMBERS

Bastiaan Jongerius

Furkan Köse

This will take place in ‘ s-Graveland, about 20 kilo metres from Amsterdam . ‘ s-Graveland is characterised by its elongated plot structure along the east-west axis. These plots are the result of sand mining. Sand was excavated here and transported by barge via the zanderij canals to Amsterdam, among other places. At the same time, a number of plots were used for buitenplaatsen ; here, gardens and houses were built according to mostly Renaissance ideas. Long lines reinforce the elongated plot structure. These human interventions have created an exciting whole between open and dense by alternating gardens, fields and woods. Within the whole, one buitenplaats stands out in particular : Bantam. This estate does not participate in the east-west structure but is located on a sandy area that was added a few years later. This added sand field, the Naarderveld, lies on the north-south axis. In addition, this is the only buitenplaats whose country house was demolished and nothing was ever built in its place. However, the landscaped garden, forest and field have remained intact. This interesting play, combined with the difference in altitude created by the sand bars, is an interesting breeding ground for the Academy of Gastronomy.

FLORIS KOELINK

3 Model of the restaurant.

4 Student accommodation.

5 Model of the student accommodation.

6

The academy building.

7 Model of the academy building.

CARE HOTEL CALIFORNIA

SUCH A LOVELY PLACE

DISCIPLINE

Architecture

DATE OF GRADUATION 25.01.2022

GRADUATION COMMITTEE

Laurens Jan ten Kate ( mentor )

Burton Hamfelt

Evelyne Merkx

ADDITIONAL MEMBERS

Geurt Holdijk

Elsbeth Falk

In our current participative society, everyone is expected to actively contribute to the quality of his or her own life and his or her social environment. The consecutive intro duction of market thinking into healthcare has not had the de sired effect everywhere. In most cases, it has led to a situation where efficiency-thinking has become the norm. Optimizing the population ’s health involves more than just caring for patients. It all starts with prevention and, at the same time, the pursuit of a healthy lifestyle for all residents. An interaction between the duty of care of the government and the duty of health of the citizen.

My project proposes a building that is fully in the ser vice of an optimal interaction between patients and caregiv ers. An alternative of care oriented to domestic logic on an in dustrial scale. Seemingly grotesque, yet human and delicate. A building without bias and without compromise. A necessity and an asset to urban life : Care Hotel California. A place in the city where one can recover after illness, an accident, a medical treatment or a prevention program.

Amsterdam, on the eve of a major urban densification The current spread of large care centers in Amsterdam is mostly concentrated along or outside the Circular Road, not designed to be part of the city. The extreme situation with the available space in Amsterdam invites us to critically question the current care housing in the city and to come up with innovative solutions. My eye was drawn to a unique spot : the Havenstraatterrein, for many an obscure part of the public domain. Located at the end of the Nieuwe Meer area, it forms the transition from city to nature. My project attempts to re turn the space it occupies to the city in the most diverse way possible. As a public building, the care hotel is meant to play a role in the densification of Amsterdam as a full part of the city.

The result is a building designed from the perspective of the most vulnerable and interested user : the patient. The well-known long corridors are interrupted by clusters of rooms and shared functions with identifying materials and decorations. These room clusters, consisting of single rooms, are designed so that patients can decide how much they want to be part of the building ’s community. It is a building that op erates as a city within a city, with plazas, streets, gardens, and parks. From public functions to private residence spaces, the building gives meaning to what it takes to work on the journey to recovery – to improvement. In addition to providing orientation through size and materialization, the courtyards offer a variety of routes through the building.

The roof garden is a presentation of height differ ences and trees, which, in addition to providing shelter, offer the necessary challenges for treatment programs. Elevated above the hustle and bustle of the city, it is a place that prevents hospitalization and encourages patients to work on their own rehabilitation and recovery.

OLIVIER LODDER

3 Cross section.

4 View along the Karperweg.

5 Second floor plan.

6 View on common area with patient rooms.

1 Primary school.

2 Courtyard.

3 Sections.

FROM 0 TO 100

THE SMALL TOWN IN THE POLDER LANDSCAPE

DISCIPLINE

Architecture

DATE OF GRADUATION

13.07.2022

GRADUATION COMMITTEE

Hans Hammink ( mentor )

Wouter Kroeze

Elsbeth Falk

ADDITIONAL MEMBERS

Saša Radenovic

Jochem Heijmans

Society ’s requirements for education are changing and will continue to change. Education is dynamic and seeks connection. However, many of today ’s educational buildings are static and not designed to encourage the desired devel opment and connection.

With the design 0 to 100, I have demonstrated that the architecture of a school building can make an important contribution to the quality of education.

In Almere ’s polder landscape, a small city is created where the young and old are connected. The choice of the new city of Almere is almost a matter of course for me as a na tive of Almere. The building is located in Almere ’s urban forest. The building ’s position connects Almere Poort, Almere ’s new est district, with Almere Pampus, a future district of Almere. The building establishes a clear connection with the polder landscape.

A key principle of the design is that connection becomes possible when you shift the focus from ‘ me ’ to ‘ we ’. One of the current educational concepts that explicitly addresses this is Kees Boeke ’s workshop – children ’s commu nity. This is not only about learning for the individual child, but also about learning to live together. This form of edu cation also links childcare, primary education and second ary education. Children of different age groups learn from and with each other. The basis of my design is Kees Boeke ’s Kinderwerkplaats in Bilthoven.

Education, like society, has three main themes : culture, sports and science. In the design, I have focused on these three functions. The spaces for culture, sports and science are designed so that both education and the envi ronment can learn and meet together. The spaces are open during, but also after, school. There is a restaurant, theatre, library and studio spaces to bring parents, grandparents and the neighbourhood together in a building where everyone can continue to learn. Where adults learn from the children, but where children also come into contact with the adults ’ professions.

Education and society are dynamic and constantly evolving. My design is adaptive due to the 9 by 9 module and can be easily adapted to a different educational concept. In the building 0 to 100, we are living together again, in the school of our children..

side.

side.

FLEXIBLE RESILIENCE

This category includes designs that seek to respond to the challenges of climate change, with sustainable landscapes and buildings that can adapt to change.

Of the ten graduation projects in this category, eight are in landscape architecture and two are in architecture. Of the landscape projects, three deal with former mining and quarrying areas, two with sea level rise, two with rivers and one with sustainable food production.

Sanne Janssen created a plan for the former mining region now known as Parkstad Limburg. The plan combines improving the identity of the area with sustainable energy production in the form of geothermal heat. Mark Vergeer focused on the redevelopment of the valley of the River Sambre, a former mining region in Wallonia, Belgium. The plan provides for the reintroduction of nature into this polluted area. Kasper Neeleman created a design for the revitalization of the Sint-Pietersberg hill to the south of Maastricht, which after World War II was used by cement producer ENCI for large-scale marl mining. The goal of the plan is to restore the relationship between Maastricht and the Sint-Pietersberg hill.

Two students took up sea level rise as a topic. Blake Allen created a design for the mudflats, marshes

and sand flats at the mouth of the Fraser River. On its banks lies the city of Vancouver in British Columbia, Canada. This tidal area is in danger of being lost due to sea level rise, which would mean the loss of a unique ecosystem. Jeroen Müller created a thought-provoking plan for the city of Rotterdam, based on the question: how will the landscape remain liveable with a 3-meter rise in sea level ? The answer is a design in which water and land are much more integrated than they are today. The problems of water management in the rivers were investigated by Justyna Chmielewska and Vito Timmerman. Chmielewska created a plan for restoring the Strzyza stream ( a tributary of the Vistula River ) in Poland. She focused on her hometown of Gdansk. Timmerman crafted a vision for the River Zenne in Belgium by turning the river into an adaptive climate beacon. Finally, Joske van Breugel dealt with the question of how to feed a growing world population by making the cultivation of vanilla pods in Madagascar sustainable and circular, in part by restoring the rainforest on half the land area.

The two architects in this category each dealt in their own way with the challenges climate change poses to the built environment. Jasmijn Rothuizen designed a new typology for power plants, combining energy generation with recreation. Irene Wing Sum Wu investigated whether microalgae can be integrated into a building, or even used as a building material.

BLAKE ALLEN JOSKE VAN BREUGEL

JUSTYNA

JEROEN MÜLLER

MARK VERGEER IRENE WING SUM WU

ROEL VAN LOON

COASTAL ACCRETION

GROWING A NEW CULTURAL LANDSCAPE THROUGH RESILIENCE, AESTHETICS AND TIME TO ADDRESS COASTAL SEA LEVEL RISE IN METRO VANCOUVER, CANADA

Due to the consequences of climate change, Metro Vancouver in British Columbia, Canada is projected to expe rience 1m of SLR by the year 2100. Coastal Metro Vancouver ’s growth over the past 10,000 years was created through sedimentation and deltaic processes of the Fraser River. These natural processes shaped the land scape, as well as the histories and cultures of the Coast Salish First Nations peoples that have inhabited the landscape since time immemorial. With the introduction of Western society into the region, a new relationship with nature was imposed onto the landscape, where controlling natural systems and defining borders was an extension of their society. Today, the legacy of this period is typified by sprawling and outdated in frastructure, urban development growth, and jurisdictional boundaries. This greatly stagnates coastal water management measures today and threatens the natural, built, and cultural landscapes of Metro Vancouver.

This project places emphasis on the transition spaces between land and water – the convergent, dynamic points of exchange and interaction between daily flooding and dryness. These sites have the capacity to connect, given their position at the intersection between land / society, and water / nature. Three sites were selected to develop resilience and were selected based on their urgency in SLR management, their unique ecotypes based on their proximity to the Fraser River, and their distinct cultural contexts : sandflats, marsh and mudflats. These landscapes have the potential to adapt to SLR, although in the current condition of control when com bined with SLR and storms, are at risk of being lost entirely.

BLAKE ALLEN

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 24.08.2022

GRADUATION COMMITTEE

Throughout this project, resilience is made by using the existing natural systems and qualities of the landscape to inform and lead growth towards resilience. Through har nessing the ( currently underutilized or lost ) materials of the Fraser River, new opportunities arise to grow these existing coastal landscapes. Within each site chosen in the project, new potentialities of the landscape are shown. These are interactive forms of layered resilience – showing how the influ ence of society can be harnessed in either directly producing that resilience ( mudflats ), experiencing resilience ( marsh ) or interacting with resilience ( sandflats ) that attenuate and dissipate wave energy offshore with various breakwaters, reefs, and wetlands. When combined, the natural systems of the landscape interact with these interventions to create a new landscape, new forms, and new co-created languages of resilience.

ADDITIONAL MEMBERS

Jana Crepon

The resulting proposal is formed through decades of landscape growth, as well as generations of new cultur al practices and experiences. I hope other people also see themselves in this project, and that new interpretations of this methodology could be designed based on differing local contexts and cultures. SLR contains the potential for society to reconnect to nature through time. Given the extremely longterm nature of these challenges, this is a landscape I will never know – but the one that I would hope to help initiate.

4 Sandflats plan.

5 Marsh details.

6 Marsh plan.

7

Mudflats details.

8

Mudflats plan.

9

Mudflats : producing resilience.

1 Ny vahiny : the Malagasy translation for the exotic / the stranger / the traveller, three descriptions that connect vanilla with Madagascar.

2 Spatial representation of contemporary slash and burn agriculture and deforestation in the district of Sambava.

3 Spatial representation of a future sustainable symbiosis in the district of Sambava.

NY VAHINY

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 13.12.2021

GRADUATION COMMITTEE

Maike van Stiphout ( mentor )

Lodewijk van Nieuwenhuijze Maidie van den Bos

ADDITIONAL MEMBERS

Roel Wolters

Robbert Jongerius

Vanilla, the black gold, is the second most expensive spice in the world. 80% of the world ’s vanilla cultivation is in the hands of Madagascar. But despite this position in the world market, Madagascar is in poor economic condition. 93% of the population lives on less than two dollars a day, 40% is malnourished, and climate change threatens the peo ple and vanilla cultivation.

As a landscape architect, I am interested in natural processes, especially the imbalance created by human influences. In this context, I read De Voedselzaak, a research report by the Volkskrant about one of the most significant issues in the world : How to feed 10 billion mouths in 2050 ? Three major world problems, namely population growth, cli mate change and decline in biodiversity, result in a fourth problem decline in agricultural productivity.

One of the hardest hit countries is Madagascar, a unique island that we also call the eighth continent. The vast majority of Madagascar ’s vanilla cultivation takes place in the northeastern region of Sava. An area with a mosaic landscape of natural typologies which forms the habitat of various en demic species ( species that do not occur anywhere else in the world ). This region ’s very wet climate lies on the cyclone route from the Indian Ocean. It is a remote, fragile landscape where 80% of the population lives below the poverty line and depends mainly on Madagascar ’s largest economy : vanilla cultivation.

By immersing myself in the landscape and the exotic vanilla, I found out what is needed to sustain the cultivation and increase the quality of life. Because even though vanilla cultivation does not belong here, it is the lever to a sustain able future in the Sava region. I propose a new symbiosis to integrate the exotic vanilla cultivation into the landscape in a sustainable circular way ; A new mosaic of land use that transforms the current food production system and vanilla cultivation by restoring at least 50% of the land area with tropical rainforests.

The spatial impact of the new symbiosis is composed of five design tools : nurseries, canals, sawas, plantations, and tropical rainforest. Together, they bring the landscape and ecosystem back into balance. A landscape where vanilla can be harvested, there is food security and where an exotic species keeps the economic engine running. But above all, a landscape with a higher quality of life that becomes visible in the model village Ny Vahiny.

The new symbiosis Ny Vahiny significantly impacts the landscape and its inhabitants, but it needs time to change. The development and complete functioning of the cultur al side of the model village takes ten years. For the tropical rainforest, it means that only after 80 years, a human lifetime, will the forest be fully restored. But suppose that in 10 years, the model village can serve as an example ; from then on five new villages will be started each year, then in the year 2110 all vanilla plantations in the district of Sambava will have been converted to the sustainable symbiosis Ny Vahiny.

JOSKE VAN BREUGEL

4 Calculation of a livable income for a Ny Vahiny farmers ’ cooperative.

5

Scale model of the regional design in the district of Sambava.

6 Spatial design of the plantation where there is a living function, vanilla and food cultivation, protection from climatic influences, and space for flora and fauna.

7 Section of the plantation and protection zone with households, water buffers, and food cultivation.

8 Visualization of the plantation.

9 Development perspective of the five design tools : nurseries, canals, sawas, plantations, and tropical rainforest.

1 Strzyza stream flowing in between the buildings in the dense parts of the city.

2 Every few years Strzyza floods the city of Gdansk. ( dark gray surface ) Only in these moments the stream reappears, while for most parts of the year it reminds invisible to the eye ( red line ).

3 Local governments, to protect people from the reoccurring floodings, buy sandbags, which are most often the only protection. However, in this choreographed movement people re-connect with their re-surfacing during the floods rivers, strengthening their presence.

CHOREOGRAPHING RESILIENCE

CHOREOGRAPHING COMMUNITY RESILIENCE AROUND THE FLOODING STRZYZA STREAM

Each year there is less of them. Some have disappeared underground, from time to time reappearing in a lit tered ditch between the buildings, to sink again somewhere in the ground. This is the fate of Strzyza stream and other trib utaries of Vistula river.

Almost all of Vistula ’s tributaries have disappeared from the landscape of Polish cities. In Poznań, the stream was interrupting city development, so it was moved. In Krakow, all rivers except Vistula have disappeared. Wrocław ’s streams were forgotten, they disappeared, and when they reappeared during the floods, 40% of the city was underwater. Each sum mer Rawa stream dried up more until one day, it completely vanished from Katowice. In Gdansk, 2 kilometres of Strzyża were placed in the underground pipes.

Over the past 30 years, I have observed the slow disappearance of Strzyża stream from the landscape of my hometown. The government sold many kilometres of Strzyza to diverse investors. Some of her pieces belong to the national treasury, some to commercial companies, and the rest is still in the ownership of Gdansk ’s municipality. As a result, the river has no coherent planning, and many of her pieces have uncontrollably disappeared underground. The consequences of these money-driven actions are catastrophic : during heavy rainfall, the stream floods the city. The destroyed stream ’s biotope ( degraded topsoil and wiped-out riparian vegetation ) is unable to absorb the rainwater, which leads to floods. Only in these moments Strzyża reappears, while for most parts of the year it remains invisible to the eye.

It is necessary to act now to minimize recurring floods. In the age of climate crisis, bringing our lost rivers back to life is a necessity. The goal of my graduation project is to restore the physical presence of buried underground Strzyza ’s eco system and, as a result of that action, to minimize the floods. All of the designed interventions aim to improve the preparedness of citizens of Gdansk for living in a flood zone.

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 21.12.2021

GRADUATION COMMITTEE

Nikol Dietz ( mentor )

Jarrik Ouburg

Anna Fink

ADDITIONAL MEMBERS

Marie-Laure Hoedemakers

Berdie Olthof

The only way to restore Strzyza is through various interventions : from engineered city investments on the grounds belonging to the municipality to simple community actions, which will take place in the areas owned by privatized neighbourhoods. Diverse ownerships around the river make it impossible for a single top-down plan. At this moment, the only way to fight the floods and the disappearance of the stream is by local collaborations. Only together will we be able to deal with the consequences of the lost river ’s ecosystems. Re-naturalizing rivers should serve future genera tions who are going to deal with even more severe floodings. My project can serve as an example for other Polish cities which have to deal with similar issues. With time people will be able to slowly accept the streams they once turned away from. Restoring the presence of Strzyża stream represents the interests of other Vistula ’s tributaries, which have disappeared from the landscapes of too many Polish cities.

4 Inspired by the existing actions of placing sandbags, my approach was to design a choreography of resilient actions, which instead of just protecting, prepare people for upcoming floods. All of the resilent actions aim to strengthen the presence and ecological value of Strzyza.

5 Neighbours, given new resilent actions, work together to re-shape their collective space around floodig Strzyza.

6 Collecive garden around Strzyza with re-surfaced underground concrete pipe. During heavy rains, uncovered alluvial soils, slowly overgrowns with riparian vegetation.

7 In the areas belonging to the Municipality, engineered solution uncoveres Strzyza from under the street.

MIJN-PLEK

1 The many fault lines have pushed the layers of coal relatively close to the surface. The multiple coal mines transformed the region into one of the largest industrial areas of the Netherlands. After the closing of the mines, the water level is rising in the old mineshafts, which threatens the environment of Parkstad.

2 The MIJN-route adds a scenic way of experiencing grief. The different scenes make visitors experience the various emotions that people pass through while grieving as well.

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 12.07.2022

GRADUATION COMMITTEE

Thijs de Zeeuw ( mentor )

Yttje Feddes

Marc Nolden

ADDITIONAL MEMBERS

Bram Breedveld

Jan Maas

Parkstad is the only shrinking urban area in the Netherlands and has multiple issues related to this shrink age, for example, poverty, high levels of unemployment and a high crime rate. For many years the region of Parkstad has used thoughtless, short-term solutions. This results in a re gion filled with post-stamp-sized plans that mask and erase the real identity of this region.

The region of Parkstad was previously known as the ‘ Oostelijke Mijnstreek ’ and has been the largest industrial area for some decades, thanks to the ten coal mines. The many fault lines in the landscape pushed the layers of coal to the surface, which made it relatively easy to exploit. The coal mines provided work and wealth for the region and attracted many workers from the rest of the Netherlands and foreign countries.

Halfway through the sixties, the announcement for the closure of the mines was made. All the mines were closed and wholly demolished within a few years. All the recognizable landscape elements were gone, and by this demolishment, the so-called ‘ Koempelcultuur ’ was destroyed as well. With no decent jobs as an alternative, the region got quickly stuck in a downwards movement. Parkstad ended up as a grieving community and landscape. Because of the rising mine water levels, we can no longer ignore the past ; action is needed.

A quartz sand quarry south of the Brunssummerheide connects this grieving region. The radical mark in the landscape stimulates different emotions that are part of the grieving process. A system of bridges refers to the invisible mine shafts that will partly disappear due to the rising water levels in the coming 40 years and will fade away like some memo ries will while grieving.

All layers of the historic and future identity of Parkstad are connected at the MIJN-plek. The terril will be more visible, and new references to the train tracks and old buildings are added. Time changes the location ; at some parts, planting is allowed to grow, and the hills of quartz sand will be spread by the wind and collected again to form new hills. The old forms of landscape exploitation will change over time which helps the visitors with their loss of these times.

The MIJN-plek is the place for the new identity of Parkstad. The heat from the mine water and the cold temperatures of the water in the quarry will be the source of renewable energy which can provide whole Parkstad. At the MIJNplek the warmed water will be cooled down in the cooling basin, and the cooled water will be warmed at the sun-boiler that uses the black terril, before the water goes back to the system. This form of renewable energy connects the old ex ploitation of the coal and the quartz sand and transforms it into a new way of exploiting this landscape which will for the new identity of Parkstad.

SANNE JANSSEN

3

The newly introduced system of bridges adds connections to the quarry. They represent the invisible mineshafts. Some of the bridges will disappear over time because of rising water levels.

4

MIJN-plek is the central area where the mining past, the current exploitation of the quartz sand, and the future energy from the rising mine water connect. It is a place to grieve –but also a place where the new identity of Parkstad is made visible.

6

5

Four elements shape MIJN-plek : the entrance and hills of quartz sand shift over time, and the cooling basin and sun boiler make a new identity visible.

The history of the mines shapes the new identity of Parkstad. The old mineshafts create the base for a system where new, green energy can be exploited from this landscape that has been exploited for many years. The past shapes the future for Parkstad.

WITH A SIGH OF RELIEF EMBRACING THE WATER

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 11.07.2022

GRADUATION COMMITTEE

Maike van Stiphout ( mentor )

Bieke van Hees

Kevin Logan

ADDITIONAL MEMBERS

Mirjam Koevoet

Yuka Yoshida

“ One day, we will give back this land to the waves with a sigh of relief, ” said Johan van Veen.

He was a hydraulic engineer and the ‘ father ’ of the Deltaplan. What he said sounds quite paradoxical, or did he have foresight ? Due to climate change, more extreme weath er arises in which water plays a dominant role, both from land and sea. Sea level rise is such a change. Only the height and speed of the rising sea level are very unpredictable. There are many different studies, in which a KNMI ( Royal Dutch Meteorological Institute ) study predicts a possible rise of 3 meters, around the year 2100.

I assume that the current system is not viable and, therefore, can ’t be maintained for the long term. Many news papers in recent years have already reported a much higher sea level rise than has been predicted before. How does the landscape remain liveable with a sea level rise of 3 meters ? This increase is not a threat but an opportunity to shape a landscape where water and land emerge together as a whole. The city of Rotterdam can transform into a water city, which embraces the future sea level rise.

Rotterdam has always had a connection with water. In the Middle Ages, a wide estuary flowed here into the North Sea. Today, the Maas, followed by the Nieuwe Waterweg, is a tame and canalized river wedged between large harbours made of concrete with stone quays. I believe the water should be integrated again and part of one extensive landscape system. Water and land should gradually merge into each other again. Rotterdam becomes a city that embraces the wa ter. Therefore edges need to be softened, monumental sites must be protected, and the current harbour will transform into a new water city. The location for this water city is at the former Rotterdamsche Droogdok Maatschappij ( RDM ), gar den village Heijplaat and the Quarantine area. This location is well above sea level and therefore favourable in relation to the future sea level.

The landscape becomes a place with more water, more beaches, more vegetation, more animals and more food –a landscape with a lot of biodiversity that embraces the future sea level. By the end of the 21st century, the sea level may have risen 3 meters. The design for this new water city is an answer to the question : How will our landscape remain liveable with a sea level rise of 3 meters ?

It is not a threat, but an opportunity to reunite water and land in coherence. Due to a gradual transformation of approximately 80 years, people have time to get used to this new landscape. To me, it seems possible to take a different path so that the lower-lying Netherlands remains a nice place to live. So let ’s face the future and embrace the water with a sigh of relief.

JEROEN MÜLLER

3

Rotterdam water city.

4

Harbour transforming into city.

5

Concept – landscape becomes water and harbour becomes city.

6

Masterplan – landscape surrounding RDM and Heijplaat in 2060.

7

Heijplaat, RDM and Quarantine island.

8

Heijplaat beach.

1 Landscape park Sint-Pietersberg –At the junction of the natural and artificial.

2 Proposed transition of the postindustrial landscape.

3 Striking views over the transformed quarry.

FROM QUARRY TO MOUNTAIN

THE FUTURE OF SINT-PIETERSBERG AFTER 100 YEARS OF INTENSIVE EXPLOITATION

For centuries, the Dutch landscape has been exploited. Peat extraction on the moors, gas extraction in Groningen, and the mining industry in East Limburg have left deep trac es in our landscape. Following these exploitation landscapes, ENCI ( First Dutch Cement Industry ) grew into a national point of pride. With large-scale limestone extraction from southern Limburg, the company claims to have been at the forefront of post-war reconstruction in the Netherlands. Despite fierce resistance, the local population has turned a blind eye to how the Sint-Pietersberg has disappeared bite by bite in sacks of cement. What remains is a large void in the heart of SintPietersberg, the hollow mountain of Maastricht. Since its clo sure in 2020, persistent economic problems and conflicting interests have led to a frugal and unambitious transformation plan. A missed opportunity.

Major spatial challenges have arisen because the relationship with Maastricht, the Meuse, and the adjoining Jeker valley has been lost. From Quarry to Mountain explores the potential of the entire Sint-Pietersberg as an integral landscape task as a zone between city and landscape. A unique landscape typology as an alternative to rigidly designed city parks or extensive nature reserves. An intermediary between city and countryside that gives shape to urgent tasks in the field of water and nature development, but in which a liveable and accessible landscape for the region can also be created.

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 24.11.2021

GRADUATION COMMITTEE

Pierre-Alexandre Marchevet ( mentor )

Yttje Feddes

Hannah Schubert

ADDITIONAL MEMBERS

Harma Horlings

Mirte van Laarhoven

The entire Sint-Pietersberg can be revitalised as a multifunctional landscape park that is firmly anchored in the landscape with the former ENCI quarry as its beating heart. A park where nature is not erased or isolated, but opens up to the city and region. It facilitates the interaction between nature and city – and at the same time provides a robust landscape that is committed to the development of existing and new biotopes. New interventions will create a collection of interventions that reinforce the characteristic landscape substrate. Much attention is paid to optimal connections between city and mountain. Recognisable entrances provide access to the park and recreational routes lead along histor ical estates, marl caves, and forgotten valleys. For residents of the surrounding residential areas, the park and the larger landscapes are suddenly accessible thanks to the wealth of paths that connect to the neighbouring city.

Within the great variety of landscapes, selective interventions expose the typical grove landscape. This activates the park, enhances accessibility, and creates opportunities to create a new climate for plants and animals to settle. These projects act as catalysts within the development of the park with designs that make the landscape experienceable in its pure form. They showcase the unique quality in all its beau ty with spectacular views, grand steep walls, hidden forest paths and carefully designed areas. This offers opportunities for an adventurous new landscape that is characterised by a wide variety of gradients, from intensive to extensive and from natural to artificial. The ultimate link between city and landscape, where urban activities alternate with total stillness and ruggedness.

KASPER NEELEMAN

4

4 Intervention  ’the cut ’ – dramatic incision at the narrowest part of the quarry.

5 Site-specific interventions to regenerate the quarry.

6 Intervention ‘ the base ’ – cultural and economic hot spot.

7 The tidal quarry lake as the beating hart of the park.

8

Intervention  ’the passage ’ –reclaimed logistic tunnel.

9

Giving space to natural processes like decay and growth.

1 The Plant.

2 Energy strategy and location.

3 Urban plan with heat- and cold square.

THE PLANT

A

NEW TYPOLOGY FOR SUSTAINABLE POWER PLANTS IN THE CITY

DISCIPLINE

Architecture

DATE OF GRADUATION 22.03.2022

GRADUATION COMMITTEE

Machiel Spaan

Jeroen Atteveld

Kamiel Klaasse

ADDITIONAL MEMBERS

Dafne Wiegers

Floris Hund

The energy transition is a huge effort to provide the Netherlands with sustainable energy. Generating energy is on the eve of a major change. Coal and natural gas power plants are making way for wind farms and solar fields. A posi tive change in our energy transition. Not only the Dutch coun tryside, but also our cities are facing this inevitable change. These require a new approach within the urban area. Where now energy is mainly generated outside the city, more and more local sustainable power plants are popping up within the city.

To prevent our cities from once again having to deal with a new generation of anonymous and meaningless util ity buildings – elusive, inaccessible, unwanted – it is vital to see these power plants as an architectural task in their own right. This way, we prevent these new buildings from blocking the city, and the energy processes become experienceable for the resident. As an architect, I want to ensure that these power plants are given a place in the city, where we not only create space for the development of renewable energies, but through which we can also enhance urban liveability.

My thesis research is a search for a new typology of the power plant. Here, it is important that power plants become accessible, have a recreational function, and the technology can be integrated from various perspectives. A positive change in our energy transition. Not only the Dutch countryside, but also our cities are facing this inevitable change ; these require a new approach within the urban area. Where now energy is mainly generated outside the city, more and more local sustainable power plants are popping up with in the city.

‘ The Plant ’ is a decentralised energy supply that meets the heat demand of people living in the immediate vicinity of the plant. The new strategy transforms the large urban heat network for the city into a local network for local residents. Residents can literally experience where their heat comes from.

With minor adjustments in the development plan, the power station becomes the heart of the neighbourhood. Precisely a place for all residents. Several paths for walk ers and cyclists run through and around the building in the city park. As an icon, the power station gives identity to the neighbourhood.

By turning the building inside out, technology is made visible. The different facets of technology are pulled apart to make the building permeable and accessible. By adding pub lic functions, which make use of the different energy flows in the building ( food production, catering and various accom modation functions ), it becomes a multifunctional power station. This will make the new plant a pleasant place to visit, enter and use the building.

‘ The Plant ’ shows that energy facilities need not be hidden away, but can actually add value to the living environment in the neighbourhood.

4 Heat square with the geyser bath and the cold square with the cooling basins.

5 Model with the heat network.

6 The Plant in the middle of the park and the neighbourhood.

7 Different routes through and around the building.

8 Production tower.

9 Heat route connected with heat functions in the building.

WATER POWER

AN ADAPTIVE VISION FOR THE ZENNE AS FLUVIAL COMMONS

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 23.08.2022

GRADUATION COMMITTEE

Yttje Feddes

Claire Laeremans

Dingeman Deijs

ADDITIONAL MEMBERS

Marieke Timmermans

Dirk Sijmons

‘ The ugliest land in the world ’ : that is the title of the pamphlet that architect Renaat Bream wrote in 1968. A piece that criticized the urban sprawl of Belgium, a result of the pol itics of post-war reconstruction that put most of the responsi bility and solution on the Belgian households. Which resulted in an unconfined and widespread builded area which makes up the most of Belgium. The letter of Renaat was not only a critique ; it was also a call. A call to find solutions for this spatial problem that makes up Belgium. More than 50 years later, these problems have only increased. With my graduation project, I wanted to make a proposal for a spatial improvement and to raise affinity with landscape in general.

The fragmented urban landscape of Belgium has a lot of challenges for the future. At this moment, the spatial struc tures are not working together. There is a need for a holistic approach. The transition that Belgium is facing makes for an interesting task. For my graduation project, I take the water structure as a starting point as this structure is, in essence, already connected or should be. It is the ideal starting point for doing spatial proposals for a fragmented landscape. For my research location, I have chosen the valley of the Zenne river. This river rises in the French part of Belgium and flows to and underneath Brussels. Where it later flows through the Flemish part of Belgium towards the sea.

During my research, I came across a big hydrological problem in the river system. Now the river is working together with the channel of Brussels-Charleroi. But flooding after an extreme weather event in 2010 showed clearly that the wa ter system was not working. My proposal wants to change the river into an adaptive climate beacon that flows through the valley. And doing so improves the spatial qualities with it. I ’m using the dynamic space that is normally part of the river system as a medium for this. With subtle interventions that take place in different parts of the river : Upstream, before the built environment, in the built environment. Together they make the valley ’s water system strong again, to even protect against a T100 rainfall.

All interventions have a similar approach, where there will be hard and soft interventions taking place. The hard in tervention formed by walls, Zennewalls. And soft interven tions by excavating and creating topography. The walls are positioned in relation to the river and the strategy it is part of, but always forming a connection between people and river. The soft interventions are creating a richer river gradient and habitats for fauna and flora. All the interventions were tested in a water table, and adjusted by the results of the tests.

Three areas were worked out in depth. All are part of a different stage in the strategy. Where the upstream inter vention was done in the river, reconnecting a village with its landscape. The intervention before the built environment was done along the river, giving again meaning to a city ’s edge. And where the intervention in the built environment was done parallel to the river, transforming a parking axis into a park axis. The result is not only hydrological but also in raising af finity with the Zenne as a river, resulting in an adaptive and working valley where water is a strength once again.

URBAN WILDERNESS

RENATURALISATION OF THE PAYS NOIR

DISCIPLINE

Landscape Architecture

DATE OF GRADUATION 21.10.2021

GRADUATION COMMITTEE

Jorryt Braaksma ( mentor )

Ingeborg Thoral

Marieke Timmermans

ADDITIONAL MEMBERS

Roel van Gerwen

Pierre-Alexandre Marchevet

The valley of the Sambre was originally part of one of the rare large-scale water structures in Wallonia. During the Industrial Revolution, the valley transformed into the centre of the mining and steel industries, firmly anchored in the ur ban network of the industrial city of Charleroi. After the mining and steel industries collapsed, Charleroi faced large-scale social and economic problems. The industrial sector left, and the valley became a deserted area. In recent years, the situation in Charleroi has stabilised, and the valley has been designated an urban development zone. This graduation project is a countermovement to the planned urbanisation in the valley and investigates a landscape transformation.

The combination of the relief, the large-scale vacancy, and the negative image of the currently inaccessible valley offers opportunities to initiate a transformation of great value on both a landscape and an urban level. Belgium is facing a significant climate challenge, of which water is an important part. I see an essential role for the Sambre valley in this challenge for both climate and water. One of the solutions contributing to this is the introduction of overflow areas : ecological ly valuable zones where water can be stored to prevent both drought and flooding.

The mining and steel industry has polluted large parts of the valley floor. At the heart of the Urban Wilderness intervention lies a soil remediation strategy that prevents contact between the polluted soil and the surface water in the overflow area. A new relief is created in the valley that defines the contours of a new landscape park. This new relief is not an im itation of a natural landscape but consists of sharp contours in which different biotopes develop into urban wildernesses within the conditions created. Urban Wilderness assigns a new landscape identity to the region and stimulates the cur rent process of naturalisation. The valley distinguishes itself from other landscapes by using the existing industrial heritage as identity-defining objects that in time will merge into the wilderness as ruins.

Cultivated interventions increase the experiential val ue of the varied landscape park and contrast greatly with the rugged character of the valley. Gentle park zones are char acterised by adventurous paths that lead the user through a varied landscape of wetlands, forests and terrils. Along these routes, industrial relics are located, each of which forms a unique ruin through the process of decay. The accessible parts of the landscape park are linked to new connections between the two valley sides. They will become important routes within the urban network to prevent further segrega tion from Charleroi.

The water task is the main driver of the landscape transformation and, combined with the remnants of the in dustrial era, forms an identity-defining framework for the landscape park. The landscape transformation gives the valley an essential role within the climate and water task, but at the same time introduces an accessible green structure within the urban network of Charleroi.

MARK VERGEER

4 Soil pollution as base for new landscape conditions. 5 Impression of wetlands. 6 Impression of network. 7 3D model of Carsid area. 8 Plan drawing of Carsid area.

1 Material experiment pallet.

2 Situation.

3 Situation / maquette.

ALIVE ALGAE ARCHITECTURE

ALONG THE PATH INTO THE CHARMS OF MICRO-ALGAE

It is an innovative project.

It is a material-based project.

It is research of microalgae.

It is built from microalgae.

It is built for the material.

It is built for the ecosystem.

It is built for the landscape.

It is about nature-culture.

It is about the basics of life cycle, also in architecture.

Alive Algae Architecture is a project combining the knowledge of science, art and architecture. Research as a scientist, craft as an artist and design as an architect. For this project, it is seen as innovative research. I search for the new potential building material and promote its use for the future next to designing architecture. It is focused on bio-based material with the scale of microbiology and combines it into architecture.

Say ‘ algae ’ : most people immediately think of pond scum – but what they do not realise is that we would not ex ist if algae didn ’t exist. Microalgae are the oldest organisms on Earth ; they are the beginning of a food chain. In the past few years, it has been made clear that we can no longer ig nore the threats to climate change, the economy and future energy security. Microalgae can help address all these major issues. They can absorb CO2 ; produce oxygen, power, fuels, and food ; purge water during their own growing system ; and produce a large amount of biomass. Even though it has so many advantages, the development is very small and expen sive. Therefore, this project aims to boost the market field and demand for micro-algae to encourage faster and cheaper development of the micro-algae system. Or at least broaden the public ’s horizon about this new potential material through this graduation.

DISCIPLINE

Architecture

DATE OF GRADUATION 29.08.2022

GRADUATION COMMITTEE

Jeroen van Mechelen ( men tor )

Laura van Santen

Marlies Boterman

ADDITIONAL MEMBERS

Lada Hrsak

Milad Pallesh

Alive Algae Architecture demonstrates the built environment ’s opportunities with microalgae. This project explores how microalgae can be integrated into the building or if they even can become construction material. With the quality of the location – Het Twiske – to enhance the quality and atmosphere of this new material in a self-sufficient eco system with diverse experiences of the landscape. Over time, the building changes dynamically, and the express building is no longer a permanent shelter, but it can be a living object and contains life.

With a rich quality of different types of landscape : for est, open grass field, reed field, inner still water and open wavy water. Five towers ( Consolidating > Growing > Dissolving >

Transiting > Waving ) are created representatively, allowing you to experience the material and landscape one by one in a different atmosphere and perspective. The towers are connected by different bridges, which also harmoniously reflects this feature of Het Twiske : from spot to spot by bridge to bridge. This design will provide a poetic experience for the visitors toward the material and landscape : It aims to provoke discussion of using algae as a future material or resource.

IRENE WING SUM WU

4 5

4 Impression / 5 watchtowers.

5

T1-Consolidating / material mockup / ramp algae.

6

T2-Growing / impression / reflection of landscape.

7

T3-Dissolving / material mockup / dissolving bricks.

8

T4-Transiting / maquette.

9

7 8

1 Harvested materials and processed building materials.

2 Building the first dwelling.

3 Excavating resources to build the settlement with.

LANDMADE

TOWARDS A LANDSCAPE-BASED BUILDING CULTURE

DISCIPLINE

Architecture

DATE OF GRADUATION 23.08.2022

GRADUATION COMMITTEE

Machiel Spaan ( mentor )

Uri Gilad

Anouk Vogel

ADDITIONAL MEMBERS

Marlies Boterman

Ard Hoksbergen

Since the Industrial Revolution, we have changed from a slow and local orientated building culture towards a short-term, global and fragmented building industry. In just a few generations, the obvious relationship between people and the landscape has completely disappeared. We lost our knowledge about our ecosystems and how to work with their resources sustainably. Today we start to see the consequences of this lost relationship. The way we extract, transport, process and build with natural resources is rapidly damaging and polluting the natural environment. Large acres of land are being conversed for our consumption, which leads to the destruc tion of the ecosystem of which we are part.

If we want to build a sustainable world for future gen erations, we must change our contemporary building culture radically, and start long-term thinking again. As designers, we need to rethink how we inhabit our landscapes and use their resources, and strive for long-term building systems which can coexist with the ecosystem of the place. ‘ LANDMADE ’ is an attempt to sketch such a story. It is a proposal for an experimental building project which is slowly being developed with traditional crafts and continued over generations in rhythm with the ecosystem of the Millingerwaard. Instead of Staatsbosbeheer digging out the silted area every few years, I propose to connect the landscape to a community of multiple self-builders who function as caretakers of the floodplain. This community can harvest those resources to build a settlement.

The building literally grows out of the landscape. In this sense, the landscape gives the condition for the pro gram, location, materials, building process, and building speed of the design. The ecosystem is characterized by four subsystems ; the ewe forest, grasslands, river dunes and in land water channels. Those systems deliver a small amount of wood, straw, sand and clay each year, which can be built with. Harvesting resources will be a seasonal activity to harm the ecosystem as little as possible. The resources will be transported towards the spot of the old industrial shed and chim ney. Here the resources can be processed into building ma terials for the rest of the year. The shed and chimney provide an ideal starting structure for building a small workshop and material storage.

The four different ecosystems of the landscape can be experienced in the dwellings themselves. Earth is used to make the mound, an elevated level which functions as the foundation of the building. Masonry, which can resist heat and has long durability, is used as the technical core. Wood, which can make long spans and rejects water, is used for the roof and outer skin. Straw, which has a good insulation capacity, is used for a flexible and comfortable infill of the rooms in the dwellings.

Over time, a new settlement will slowly be formed with the dwellings situated around the renovated factory. Improvements will be seen in connections, details and material treatments. Different states of ageing of materials will give an extra layer of time to the architecture of the ring.

ROEL VAN LOON

EXAMINERS 2021 – 2022

ABDESSAMED AZARFANE

AD DE BONT

ALEXEY BOEV

ANNA FINK

ANOUK VOGEL

ARD HOKSBERGEN

ARJEN SPIJKERMAN

ARNA MAČKIĆ

ARNOUD GELAUFF

BART BULTER

BART MISPELBLOM BEYER

BASTIAAN JONGERIUS

BERDIE OLTHOF

BEREND VAN DER LANS

BIEKE VAN HEES

BRAM BREEDVELD

BURTON HAMFELT

CEES VAN DER VEEKEN

CHARLES HUEBER

CHIARA DORBOLÒ

CHRIS SCHEEN

CHRISTOPHER DE VRIES

CLAIRE LAEREMANS

CLAUDIA SCHMIDT

DAFNE WIEGERS

DARIA NAUGOLNOVA

DARYL MULVIHIL

DAVID KLOET

DINGEMAN DEIJS

DIRK SIJMONS

DONNA VAN MILLIGEN BIELKE

ELSBETH FALK

EVA RADIONOVA

EVELYNE MERKX

FELIX MADRAZO

FLORIS HUND

FURKAN KÖSE

GERT-JAN WISSE

GEURT HOLDIJK   GIANNI CITO

GUS TIELENS

HANNAH SCHUBERT   HANS HAMMINK

HARMA HORLINGS   HARRY ABELS

HEIN VAN LIESHOUT   HENRI BORDUIN

HERMAN KERKDIJK   HERMAN ZONDERLAND

HIROKI MATSUURA

INGEBORG THORAL IRA KOERS

JAN MAAS

JANA CREPON

JAN-RICHARD KIKKERT   JARRIK OUBURG JEANNE TAN JEROEN ATTEVELD JEROEN BAIJENS  JEROEN VAN MECHELEN  JO BARNETT

JOCHEM HEIJMANS

JOLIJN VALK  JORN KONIJN

JORRYT BRAAKSMA

JOYCE VAN DEN BERG

JUAN PABLO CORVALAN HOCHBERGER

JUDITH KORPERSHOEK

KAMIEL KLAASSE

KEVIN LOGAN

KIM KOOL

LADA HRSAK

LAURA ALVAREZ

LAURA VAN SANTEN

LAURENS JAN TEN KATE

LISETTE PLOUVIER

LODEWIJK VAN NIEUWENHUIJZE

LORIEN BEIJAERTS

MACHIEL SPAAN

MAIDIE VAN DEN BOS

MAIKE VAN STIPHOUT

MARC NOLDEN

MARC RENIERS

MARCEL LOK

MARCEL VAN DER LUBBE

MARIEKE TIMMERMANS

MARIE-LAURE HOEDEMAKERS

MARIJKE BRUINSMA

MARLIES BOTERMAN

MARTIN AARTS

MATHIAS LEHNER

MICHA DE HAAS

MIGUEL LOOS

MILAD PALLESH

MIRJAM KOEVOET

MIRTE VAN LAARHOVEN

NANCY VAN ASSELDONK

NIKOL DIETZ

PAUL KUIPERS

PETER DEFESCHE

PETER VEENSTRA

PHILOMENE VAN DER VLIET

PIERRE MARCHEVET

PIERRE-ALEXANDRE MARCHEVET

PNINA AVIDAR

RACHEL KEETON

RAUL CORREA-SMITH

REMCO VAN DER TOGT

RICKY RIJKENBERG

RIËTTE BOSCH

ROB HOOTSMANS

ROBBERT JONGERIUS

ROEL VAN GERWEN

ROEL WOLTERS

RONALD RIETVELD

RUWAN ALUVIHARE

SALINE VERHOEVEN

SAŠA RAĐENOVIĆ

STEPHAN VERKUIJLEN

STIJN DE WEERD

SUSANA CONSTANTINO

TATJANA DJORDJEVIC

TESS BROEKMANS

THIJS DE ZEEUW

TOMAS DEGENAAR

TXELL BLANCO DIAZ   URI GILAD

VIBEKE GIESKES  WILLEMIJN LOFVERS

WINFRIED VAN ZEELAND WOUTER KROEZE

YTTJE FEDDES

YUKA YOSHIDA   YUKIKO NEZU

ADVISORY BOARD

ROSA JONKMAN

JAMES HEUS

MADELEINE MAASKANT

JANNA BYSTRYKH

MARKUS APPENZELLER

JOOST EMMERIK

DAVID KEUNING

COMMUNICATION

MILDRED ZOMERDIJK ROOS BEKKENKAMP

EDITOR ROOS BEKKENKAMP

GRAPHIC DESIGN MAINSTUDIO ( EDWIN VAN GELDER, PATRICIA DIEMUNSCH )

PRINTING

PUBLISHER

LIBERTAS PASCAL

AMSTERDAM ACADEMY OF ARCHITECTURE

WATERLOOPLEIN 213 1011 PG AMSTERDAM

THE NETHERLANDS + 31( 0 )20 531 8218

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ACADEMYOFARCHITECTURE.NL

© 2022 Amsterdam Academy of Architecture

ISBN 9789083207414

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.

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ARCHITECTURE LANDSCAPE ARCHITECTURE URBANISM