CHEPOS built environment magazine
52
November 2015
EDITORIAL
of human ingenuity. Composed of around two
villa, a failed modernist experiment, a hangar
and a half million stones, the pyramid of Cheops
renovation and changes in perspectives.
leaves a jaw-dropping impression even after only observing images, as I have yet to go there.
Change, vital when one goes beyond limits, has also gotten its grip on the Chepos. By now you
CHEPOS built environment magazine
The words you read at this very moment reach
Over four thousand years later we have a new
might have realized the magazine has departed
pyramid; the pyramid of the Louvre. This pyra-
from Dutch to English, congruent with the fully
mid is a modern feat of human ingenuity. Not
English program of the Department of the Built
constructed with heavy stones, but with glass.
Environment at the TU/e. I, as the new editor in
A natural material that has been developed by
chief, am also a factor of change. I have received
people into a product that gives us the possibility
the honor to fill this position in the editorial
to receive daylight, yet avoid freezing or getting
board of the Chepos and oversee the coming
wet; safeguarding one of the many collections of
about of new editions of the Chepos.
artistic interpretations of human civilization.
your eyes through the reflection of light particles
This issue caters to CHEOPS, a wonderful study
and if you are reading this in sunlight, these
In light of the 30th anniversary of CHEOPS,
association which for thirty years has provided
small light particles come from the sun. Light
Study Association of the Built Environment, and
all kinds of activities for students to excel on an
particles which have traveled a distance of 150
therefore her sixth lustrum, the editors have
intellectual, social and communicative level, yet
million kilometers and come from a sphere of
composed this Chepos bearing the lustrum
never forget to involve fun in doing so. I want to
energy with a radius of almost 670 thousand
theme ‘Beyond Limits’ in mind. The three File
congratulate the CHEOPS board members, and
kilometers, making it 109 times bigger than
themes are Small to Big, People to Product and
their predecessors, in doing so and wish them
Earth.
Visionary Ideas. Each of the File themes make up
the best of luck to continue this tradition.
ten pages which makes a total of thirty pages – The height of the pyramid of Cheops, which is
You get it? 30th anniversary – and deal with ‘Be-
And you, the reader, I wish a lot of fun in con-
280 cubits, fits exactly one billion times in the
yond Limits’ in relation to the built environment
suming this edition of the Chepos.
distance to the sun which is 280x10^9 cubits.
differently. This is illustrated by amongst others
Once the pyramids were a visionary idea, yet
humongous airports, an eclectic Los Angeles
Justin Agyin
now they are one of the oldest and biggest feats EDITORIAL
12 6 NOW EDITORIAL CHEPOST EDITORS ON TOUR CITY-TALK: BOTTOM-UP URBANISM INNOVATION? YOU MEAN CONTEMPLATION Column Adriaan Jurriëns BEYOND LIMITS CHEOPS turns 30 EXCHANGE DEAN
15 16 12 FILE: SMALL TO BIG
4 5 6 8 10
FROM SEAPLANE HANGAR TO MUSEUM 12 BIOMIMICRY 15 BIG, BIGGER, NOT BIG ENOUGH 16 SMALL TO BIG 18 A review on the Bjarke Ingels Group INNOVATE! CHANGE YOUR VIEW 20 Column Jacob Voorthuis
43
TOOLS AGENDA 4 | CHEPOS
44 INDEX
INDEX
28 30
34
26 FILE: PEOPLE TO PRODUCT
FILE: VISIONARY IDEAS
A ROUND IN THE WORKSHOP OPERATING PROCEDURE OF AN ARCHITECT BUILDING FAILURES DE BEVER ARCHITECTEN In conversation with Stefan de Bever 38 YEARS OF IMMORTALITY The legend behind the Winchester house
WHAT IS THE LIMIT TO INNOVATION? INFLUENCES OF UNBUILT ARCHITECTURE FROM LIMIT TO LIMIT On paradigm shifts in architecture DESIGNING SURINAME Ir. Peter Nagel THE LONDON PEDWAY
22 24 26 28 30
32 34 36 38 40
CHEPOS | 5
NOW
chePOST
Something on your mind you need to share? Send us an email on cheposredactie@cheops.cc, and your article will soon be published!
Name: Michiel Derikx Year: 2 Bachelor/master: Bachelor Field of Study: Architecture CHEOPS function: Most active member Subject: The practical experience you can not miss!
Architecture, Urbanism and Building Sciences is
there will always be a solution. Eventually, it is
half of the year we as a committee proved that
a practical study. Besides the necessary theory,
about having a great time and organizing fun
we could go on without active guidance of the
a lot of practical know-how is involved which
activities for others.
board, by organizing the Efteling-excursion.
can’t be taught in a lecture room. You have to
In my first year I was the chairman of the Ac-
Looking back, I can say that being an active
learn by doing. Eventually you will improve your
Cie. Together with my committee-members we
member of CHEOPS has taught me a many
skills like just doing things.
organized extra-curricular activities. We were
things. This year I started as emergency care
CHEOPS has given me the feeling to practice my
of course guided by the most helpful board of
respondent for the SkyBar! committee. Besides
practicality with loads of friends. Organizing ac-
CHEOPS, especially during the first half year.
keeping an eye on things, I actively partake in
tivities is a lot more work than you think at first,
This way you learn what the best approach is
making the SkyBar! Underground extra special
but with the help of fellow committee-members
to deal with certain situations. In the second
this year.
Initially I got in contact with CHEOPS during my
The way CHEOPS works, where an experienced
tion. Whenever something went wrong, there
first year at university. A foreign excursion to
member guides a committee and a group that
was of course some disappointment, yet on a
Frankfurt opened my eyes to the fact that study-
you enjoy yourself, motivates and stimulates
personal level this is the most educative. In such
ing was more than auditorium-learning. The trip
self-development.
way I learned not to be afraid of taking risks.
and the professional programming by students
Taking and giving responsibilities and exploring
Additional doors opened as I got to know more
themselves soon set an example. During the
your own qualities, makes you become more
fellow students and staff through a University
same year I co-organized a first year study trip,
self-conscious and assertive. During my board-
Council-membership, a foreign exchange, count-
the subsequent year excursions, lectures and
year I led committees and was responsible for
less networking possibilities and much more. I
a whole lot more. I have always been shy and
external relations. During this year I learned how
am convinced that I prepared myself for life after
cautious; via committee work I developed myself
to delegate, be assertive, taking on more respon-
university thanks to my work at CHEOPS, while
on a personal level and came out of my shell.
sibilities and (re)present myself and the associa-
in the meantime having loads of fun too.
Name: Christian Fredrix Graduated in September 2015 Work: De Bever Architecten, Eindhoven Field of Study: Architecture CHEOPS function: Member of 26th board Subject: What is CHEOPS for you?
6 | CHEPOS
CHEPOST
NOW
EDITORS ON TOUR Most of the time I am not very impressed by post-war architecture. However, this summer I went on holiday to Normandy (France) and visited the rebuilt city center of Le Havre and was really surprised by its beauty. Le Havre was bombed several times during World War II and not much of the center was left. Auguste Perret and his team made an idealistic design for the rebuilt, which was built in the period of 1945 to 1964. He preserved the historical street pattern and the few monumental buildings that were left after the war. The architecture of the rebuilt buildings forms a unity. The streets are wide, aligned with trees and the traffic is separated. The commercial ground floors of all the buildings are giving the street a lively and friendly feeling. Since 2005 the city center of Le Havre is on the World Heritage list of UNESCO. So if you are as sceptical about post-war architecture as I was, you should visit Le Havre and be surprised by its special beauty.
TEXT & IMAGE: JOLIJN VAN KEULEN
Le Havre
Singapore, Malaysia, Bangkok. This year’s holiday I went to southeast Asia. Although Bangkok was impressive and Malaysia was beautiful, Singapore was truly amazing. This former part of Malaysia has faced major growth since it parted from Malaysia. Therefore a lot of prestigious projects were realized in a very short period of time. The best example is the downtown area Marina Bay. It is connected to the Bayfront by the structural tube-like Helix Bridge. The first buildings to encounter are the ArtScience Centre and the well-known Marina Bay Hotel, both by Moshe Safdie. But for me, the real beauties of this area were the Gardens by the Bay, hidden behind the hotel. It is a 101 hectare large area filled with plants and architectural highlights. Two giant biomes by Wilkinson Eyre Architects contain Mediterranean and tropical mountain climates. Outside these domes, Grant Associates designed 18 Supertrees. These vertical gardens are packed with sustainable technologies and create a stunning view during the day and
TEXT & IMAGE: RENÉE THIERIJ
Paris
at night when they are illuminated. The power of the area is that it is hidden behind the curtain of the Marina Bay Hotel, concluding that you should always look behind the facade!
Last summer I went to Paris with some fellow students. Together we discovered Paris in five intensive days. We stayed in an apartment above a real boulangerie and enjoyed our Parisian view every morning from our balcony. Apart from all the real touristy stuff like the Eiffel Tower and the Centre Pompidou we also enjoyed some less common known areas of Paris. Such as the ‘Cité de l’architecture & du patrimoine’ where we ended up accidentally, but stayed all afternoon (and two of us even went back the following morning!). As you can imagine, it must have been an amazing architecture museum. They have got a really nice standard collection including a life-size apartment from Le Corbusier’s ‘Cité radieuse’. Besides spending afternoons in museums we also went to see some real architectural masterpieces, such as the Institute du Monde Arabe with its moving façade and the then nearly finished Philharmonie de Paris, both designed by Jean Nouvel.
EDITORS ON TOUR
TEXT & IMAGE: JIMMY HENDRICKX
Singapore CHEPOS | 7
CITY TALK:
The once firmly established practice of urbanism in the Netherlands is shaking on its foundations. Are zoning plans, spatial development strategies and the aesthetics committee becoming obsolete? The economic crisis has made the big project developers cautious and stimulated the development of new methods of city making. Citizens also want to participate more often in the creation of their own living environments and will no longer accept the standard solutions that a lot of big developments offer. That is why for the ‘City talk: BottomUp Urbanism’ 130 architects, urbanists, designers, public servants and
BOTTOM-UP
citizens involved in bottom-up urbanism practices and lots of eager
URBANISM
students gathered to exchange ideas and visions concerning this hot topic. This article provides the highlights of said city talk. TEXT: RICK ABELEN, JUSTIN AGYIN & BRAM NUIJTEN
Eleven former factory buildings form the base
initiative as a contact point for stakeholders for
value in this period and attract investors. The
of the NRE-terrain. A perfectly accessible area
instance. The process should be self-regulating,
iconic complex is located in the west of the city
at the end of the Eindhoven canal and on the
but municipalities have to safeguard the quality
and is easily accessible. At the Factory you can
edge of the city center. Nevertheless, this part of
of the project. Accordingly, a professional should
enjoy food and drinks, sports, music, art, culture
Eindhoven is unfamiliar territory for the ordinary
keep his or her status as such. The question that
and weekly events.
Eindhovenaar. Magdaleen Kroese, architect
we should ask however is; when can we still talk
at MAG Architecten and involved with the
of a bottom-up initiative?
The area is developed by architects who took
“Transform temporality into permanance”
the lead. There however was space for initiatives
development of the NRE-terrain, tells about the bottom-up initiatives at the NRE-terrain and the constraints, opportunities and threats. Kroese talks about the creation of the initiative. Since 2014 the municipality works with enthusiastic founders and future residents and users to transform the area. It has become a location
by other stakeholders, such as the beer brewers of Oersoep. It is essential to involve people and give them opportunities, accordingly to Bijl. Through involving people and by seeking for co-creation to promote development-concepts, it is possible to create a sound social urban development.
where the municipality has given people the
According to Arie Willem Bijl, the next speaker
opportunity to develop their own dreams, and
at the City talk, one thing we can be certain of is
It is important to respond to temporary entrepre-
where the rich history and industrial character of
that the conventional way of area development
neurship and create added value to projects.
the area is revaluated.
is definitely over. Municipalities should facilitate
Temporary entrepreneurship creates an attractive
initiatives of stakeholders. He introduces us to
effect on people, what results in social develop-
Magdaleen Kroese emphasizes trust between
the Honig Factory in Nijmegen as an example of
ment. Bijl states that, it is essential to transform
stakeholders to be crucial for such bottom-up
what he has been working on and how bottom-
the temporality into permanence. This is possible
developments. The intention is to create a proj-
up urbanism can be interpreted. The former
by making use of the positive energy that has
ect with social value. Therefore, the municipal-
Honig Factory is designated as the new hotspot
been created with this development.
ity should not steer the process, but coach the
in Nijmegen until 2022. The vision is to create From Nijmegen we move back to Eindhoven with Proeftuin040. With this platform Niek van de Klundert wants to break down the old stereotype of Eindhoven as an ugly concrete city, turn it into a city booming in urban farming and raise awareness amongst people about green spaces and the production in urban environments. The platform is a continuation of an urban camping Van de Klundert and his team set up during the Dutch Design Week of 2012, where they wanted to deal with urban wastelands in a creative way. The platform wants to contribute
8 | CHEPOS
CITY TALK: BOTTOM-UP URBANISM
NOW to citizens getting more control over the public domain. Citizens often have a lot of ideas for doing something with urban wastelands themselves, but do not always have the know-how to do so. Furthermore, a lot of their positive energy gets lost in the bureaucratic machine of rules and regulations. They feel like they are being sent from pillar to post. By initiating, monitoring and mapping urban farming initiatives and by providing opportunities for people to exchange ideas and information, Proeftuin040 tries to give citizens the possibility to contribute in making Eindhoven greener. By doing so, Proeftuin040 creates a network of urban farming initiatives to make sure
ment. “They handed me the keys and the build-
estate. Their goal was to create value in places
the popular term is backed up with practical ex-
ings were mine for the next five years.” They
where common top-down tactics were unable to
amples. By ensuring urban farming in Eindhoven
started the project off with strong branding of
do so. But bottom-up is often only a temporarily
gains enough critical mass, the platform can help
the area and used revenues from the completed
thing, so what will happen with the added value
urban farming go from hype to a structural part
projects to create more space for new projects.
afterwards?
arises, and also was asked by one of the audi-
“One of the most important factors of our plan
The Honig initiative already coped with that
ence members, is whether the platform will gain
was the central park”, explains Groot. This park
problem. The project developer will no longer al-
enough support to do so. Time will tell, but the
will become the central area of Coehoorn Cen-
low the continuation of the bottom-up initiative
prognosis seems positive, as is the energy of the
traal. At the time the location of the park was
started by Bijl as the problem is that the adjacent
people involved.
used by construction workers of Arnhem Central
living areas all increased in value due to the Ho-
of urban design and planning. The question that
Station to park their cars. To convince the local
nig initiative. The Coehoorn project and the NRE
Another ‘‘happy citizen” is Peter Groot who
government to clear out the area they made use
terrain both will suffer the same faith in a few
saw potential in the Coehoorn Area of Arnhem,
of the State Secretary coming to Arnhem, as an
years as well. “You need to start thinking about
which has been a troublesome part of the city
opportunity to offered her to plant the first tree.
the end of your term at an early stage in order
for the past twenty years. The area, located
This convinced the local government, which
to overcome these problems” states Groot.
between the Central Station of Arnhem and the
quickly cleared the area for the park. What is
city center, has known a high amount of vacancy
however the key to bottom-up development?
Project developers should realize the benefits of
and neglect. Groot saw potential in this part of
“The most important factor is that you keep
bottom-up initiatives. Often a restart is within
Arnhem and went to the local government as a
adding value to your project,” according to
the realm of possibilities and it could benefit
“happy citizen”, and not as an architect in his
Groot.
the surrounding areas, which the developers
traditional role.
can manage themselves. Until now bottom-up
SO WHAT NOW?
initiatives remained short-term, but with a new
After engaging in a dialog with the local govern-
The different speakers have some common
mindset from developers and initiators, bottom-
ment, Groot received access to the buildings in
ground. They are all professionals in either the
up could have a more positive long term impact
the area which were owned by the local govern-
field of architectural or urban design, or in real
on society.
City Talk: Bottom-Up Urbanism was organized by Architectuurcentrum Eindhoven and took place on Monday September 14 in NatLab. Guests: Magdaleen Kroese (MAG Architecten), Arie Willem Bijl (TitaanNetwerk), Niek van de Klundert (Proeftuin040) and Peter Groot (Coehoorn Centraal). Moderation by Fulco Treffers.
IMAGES 2
1
3
1. Impression Honig Factory (source: Architectuurcetrum Eindhoven) 2. The speakers in conversation (photo: Justin Agyin) 3. Map of urban farming initiatives (source: Proeftuin040.nl)
CHEPOS | 9
NOW
“I wonder why we should applaud for yet another revolution.”
COLUMN: Adriaan Jurriëns Adriaan Jurriëns is alumnus and former writer of Chepos Magazine. In every edition he writes a column about his daily findings as self-employed architect.
Recently I took part in an atelier in which
the surrounding landscape. So there is no reason
to focus attention on this every once in a while.
the role of the designer was explored in
for change. Yet, they do concern themselves
Some healthy distrust regarding rooted patterns
a new way of dealing with the spatial
with the disappearance of their village school,
is justified for a profession that has to survive by
development of the Netherlands. Together
the youngsters moving out and they debate
distrusting the status quo.
with other designers I was guided by the
a lot about the price of milk. In there lies the
municipality of Weststellingwerf and we
challenge. You as a designer cannot change the
Years ago I bought a book with the meaningful
spoke with several residents who each had
price of milk. You can however offer economic
title ‘Whatever you think, think the opposite’
their own interests. In this municipality, a
perspectives, by for instance making spatial
by Paul Arden to remind myself of this. Just its
number of challenges both social as spa-
interventions linked to tourism or by making
cover is enough for a periodical contemplation
tial are at play. In just three days we spoke
the built surroundings more sustainable. As a
of one’s own thinking patterns.
with the local middle class, entrepreneurs,
designer you are able to provide a new perspec-
farmers and people from the surrounding
tive to the existing world. A designer never takes
As much as I value a critical base stance, I also
countryside.
things for granted, but always looks for new
wonder why we should applaud for yet another
possibilities and chances.
revolution. Sometimes it seems as if reinvention
TEXT: ADRIAAN JURRIËNS
itself has become a purpose, however it remains
“SOME HEALTHY DISTRUST
the question how much of it really is about reinvention. You can constantly read about new
The idea behind the atelier was that designers could create smart connections between different challenges regarding the spatial order. By not just thinking in flat solutions, one can sometimes achieve more in a sense of spatial quality, but also in solving cultural, social and economic issues. The pitfall for every designer in such ateliers lies
REGARDING ROOTED PATTERNS IS JUSTIFIED FOR A PROFESSION THAT HAS TO SURVIVE ON DISTRUSTING THE STATUS QUO“
in just that; coming up with flat solutions. It is
revolutionary ideas and concepts that change the world – as if it isn’t new wine in old bottles – and years later never hear about it them again. I cannot withdraw myself from the impression that this drive for renewal is a relic of modernism after the 1950s. An interesting discussion would be what all that design freedom of the past decades has resulted in, regarding the entire tradition of building.
rather tempting to directly try to solve acute
This applies to both small extensions and as
Was not it Vitruvius who, subtly, noticed that
problems indicated by local village interests, such
well as entire area visions. In that way designers
a design challenge is related to other fields of
as traffic problems. Often, however larger un-
always think ‘outside the box’. The idea behind
knowledge?
derlying problems are at work. Residents of small
‘Beyond Limits’ in this Chepos has more to do
village communities will, understandably, not
with the method that designers use to step out
Thinking anew is never wrong, however, looking
put their problems on the table like that. They
into the world. People have the natural ten-
back to what we already know from time to time
do not always see the need for change and are
dency to stick to their way of doing things and
could never hurt.
proud of their beautiful village, it is serenity and
architects form no exception to this. It is good
10 | CHEPOS
COLUMN: ADRIAAN JURRIËNS
BEYOND LIMITS As a student at the Department of the Built Environment at the Eindhoven University of
Herman Hertzberger. On November 17,
Technology, you are always trying to find the limits. Whether you are an architect, an
the Gaslab will be crowded with people
urbanist, a building engineer or a real estate manager, you are always in search for the
debating about our own future. Architec-
possible means to brighten the built environment around you. You are in charge of what
ture proved to overcome its limits over and
the world around you will look like in a few decades. You will be in charge of the quality
over again, so why would the future of an
of life of many people. This year, CHEOPS, Study Association of the Built Environment,
architect have limits? What will the profes-
turns 30. In the last thirty years, CHEOPS has always tried to find her limits. Right now
sion of architect look like in a few decades?
is the time to celebrate the sixth lustrum by transcending our limits. How does CHEOPS search for those limits and how will we go beyond them?
The day after the debate, you will be able to see how companies related to the building sector present their
TEXT: ALEX DONKERS
professions within the building November 9th was the opening of the
The editors of this very Lustrum Chepos
sector. At the Bouwkunde
6th lustrum of CHEOPS took place. Elphi
took the chance to do something extraor-
Bedrijvendagen a lot of
Nelissen cut through the green ribbon
dinary with this latest issue of the Chepos.
companies come to
and opened a month full of possibilities
With exciting File themes and touch-
Vertigo to present
to go beyond our limits. In a cozy atmo-
ing upon architects as Bjarke Ingels and
themselves.
sphere, all those possibilities have been
Stephan de Bever, the Chepos shows that
This year,
announced. Stated that CHEOPS caters to
students are able to work together and
CHEOPS
every student, they all will get the chance
bring out a magazine which is appreciated
will
to excel and find his or her limits. The 6th
in the building sector. With a festive release
lustrum will be in light of education, as well
on the 16th of November, the Chepos
as recreation. Students, academics and pro-
shows how students with a passion for
fessionals will be brought together to learn,
writing can transcend their limits.
debate, create, experience, travel, behold but most of all enjoy themselves.
Let us not forget to mention the exhilarating CHEOPSx-
The crème de la crème of joy must have
Gaslab. The first lecture
been the Lustrum Gala. After a festival-
and debate evening
like ticket sale at the CHEOPS bridge, blue
in this new format
letters with a silver written message started
went viral after
to spread through the faculty building. In
the confirma-
a fully packed Ketelhuis, the gentlemen
tion of,
wearing their tuxedos asked their ladies for
inter
a dance. The night was full of elegance and
alia,
so it was the perfect start of the month.
12 | CHEPOS
SUBJECT BEYONDARTICLE LIMITS
NOW
CHEOPS TURNS 30 have a stall, where companies and students
uncommon materials, to widen our stance
were young, and who will build the best
can come into contect with each other and
regarding building materials and methods.
structure and win the LEGO Challenge?
Not only do materials still hold a lot of
Not only do we still have limits to tran-
As future building engineers, searching for
secrets for us. Our department building,
scend, the rest of the world has them too.
boundaries means creating something by
Vertigo, has its secrets as well. In the night
The world’s population has been getting
being innovative and creative. Building ma-
of the November 24 Vertigo’s Secrets will
more and more mobile in the last few
terials and methods are evolving and huge
be revealed. A number of playful acts will
decades. Where it was impossible to visit
innovative processes are being undertaken.
take place throughout the building. The
another city once, the possibilities have
We need to find the limits of materials
night will be closed off by a spectacular
been extended a lot. The photographers of
closing act. The joy will continue with the
the Photohunt International Excursion will
Lustrum Drink in the SkyBar! Underground.
try to break through the limits of traveling
The entire bar will be turned upside down
and hunt as many buildings in Europe as
and it will be a drink like never before!
possible in only four days.
Going back to his or her roots a building
The grand finale of our lustrum will be
CHEOPS.
and building methods and widen our perspectives to transcend those limits. At the Workshop Day everyone gets the possibility to build an object with
engineer will only
Beyond Vertigo. We will make the impos-
think of one thing:
sible possible and rebuild our faculty build-
playing with LEGO.
ing to the location where everybody can
Mostly, LEGO is
celebrate the sixth lustrum for the last time
used to build small
and rethink the limits they transcended.
cities and castles. At the 2nd of December, we are going to test the opportunities LEGO has, by building extraordinary structures. What are the possibilities of the
When the peace is restored in Vertigo and the lustrum month is almost over, a group of raptors will be flying in circles around the faculty building. After a month of hunting, the Scavengers are coming back to CHEOPS to flaunt their preys. Who will
toys we played
be the absolute winner of the Scavenger
with when
Hunt and proves he truly found out that no one should be guided by limits?
we IMAGES
1. Lustrum Pyramid of CHEOPS, Alex Donkers, (original photo: Erin Nell & Sierra Neblina, www.galacticu.com)
1
CHEPOS | 13
The word big is in place if you talk about the Seaplane Hangar in Tallinn, Estonia. This
The Seaplane Harbor in Tallinn was built in
8000 m hangar was built in 1915 as a place to store and restore seaplanes. The three
commission of Russia as part of the Peter the
massive 35 by 35 meter domes were the first to be made entirely of reinforced concrete.
Great’s naval fortress. This fortress in Tallinn had
Heinrich Laul, professor of the University of Technology of Tallinn said in 1962; “The
to block the access by sea to Saint Petersburg,
theory of double-curved shells was worked out only after World War II, so 30 years after
at that time the capital of Russia. Tallinn was of
the shells designed for the mine harbor (seaplane hangar). It is therefore obvious that we
strategic importance because the Gulf of Finland
are facing a mystery here. How was it possible to calculate the shells back then?”
is most narrow between Porkkala (Finland) and
This mysterious building has a long and interesting history. It survived two World Wars
Tallinn.
2
and was almost beyond repair. It is now renovated and transformed into the beautiful Maritime Museum of Tallinn. KOKO architects were able to emphasize the uniqueness of
A competition was held to select the best
this building and won the Grand Prix for this renovation project.
engineers that could build the seaplane hangar. Instead of aesthetics, which is the most impor-
TEXT: JOLIJN VAN KEULEN
tant factor in architectural competitions, the
SMALL TO BIG FROM SEAPLANE HANGAR TO MUSEUM
focus of this competition laid on engineering. The
the supporting pillars to support the weight of
getting bigger and construction works stopped.
hangar had to be a large hall, without intermedi-
the concrete domes. Afterwards, the wooden
Following the peace treaty between Germany
ate supports, with entries on all sides. The Danish
scaffolding was placed to cast the domes. There
and Russia in 1918, the hangar fell in German
engineering company Christiani & Nielsen won the
were several problems during the casting that
hands. In order to use the hangar the Germans
competition with their innovative design featuring
were solved on the spot. The diameter of the
had to make some temporary constructions. The
three connected reinforced concrete domes.
metal rods for example, varied in every corner
walls were boarded with wood, a wooden floor
of the dome. On top of each dome they built a
was constructed and a pathway to the water (for
lantern to provide the hangar with light.
the seaplanes) was created. After the Armistice
The construction work started in July 1916 with the foundation and supporting pillars. Because the
(ending of World War 1) was signed in Novem-
hangar was of great military importance to Russia,
In September 1917, the scaffolding was re-
ber 1918, the newly formed Estonian Army took
the army helped to increase the workforce and
moved and the domes with a thickness of just
over the hangar and the seaplane harbor. Until
transported building materials by rail. Before build-
8 to 12 cm were finished. In the autumn of
1940 the hangar was used as a seaplane storage
ing the domes, a tension belt was wrapped around
1917 however, the threat of World War I was
and restoration place.
THE DILAPIDATION
status. Because of this status the domes had to
is inside, but that cannot be seen. To enter the
In 1940, the Seaplane Harbor came under Red
look ‘historical’ from the inside. To achieve this,
exhibition, visitors have to climb the stairs to
Army control. During the Soviet period the
the domes were covered with a dark pigment
the second level, where they are surprised by a
building was used for several purposes, ranging
that was washed off afterwards to create an
magnificent overview of the large hanger. The
from an anti-submarine net warehouse to a
authentic look. Furthermore, a small part of one
exhibition is designed according to the clever
torpedo base. In 1994, the Estonian Minister
of the domes was left untouched to retain the
concept of KOKO architects. They divided the
of Defense took ownership of the harbor from
original look.
space in three layers; the underwater level with
Russia. However, the building was illegally taken
a submarine and shipwreck, the water level with
over by some suspicious firms who constructed
Simultaneously to the renovation, the transfor-
all kinds of boats and the above water level
offices in the building. The building had not
mation plan was made. In order to find the best
with seaplanes. Without physically dividing the
been renovated since 1968 and was in bad
design to transform the former Seaplane Harbor
hanger in levels they managed to make them
condition. Even the heritage protection status
into a Maritime Museum, a competition was
visible by using lights and the pedestrian bridge.
the building received in 1996 did not make a dif-
held. KOKO architects won the competition with
ference in the peculiar parallel ownership. It took
a strong concept for the museum and a clear
The first ideas for the transformation of the
nine years in court before it was officially handed
attitude towards the building. The main problem
exterior of the building were quite radical. It
to the state in 2006. By then the seaplane han-
of transforming the building into a museum was
was suggested to paint the building in a bright
gar was in an even worse state. In the absence
the required insulation. In order to obtain an op-
color or to make a roof garden. However, during
of a roof, the reinforced steel had started to rust.
timal climate, the inside of the roof was covered
the design process KOKO architects found that
Instead of reinforcing the concrete dome, it was
with a 10 cm layer of insulation. Furthermore,
a building of this scale needs simplicity in its
demolished from the inside. The originally 8 to
a unique seawater heating system was added.
form and a modest finish. On the northern and
12 cm thick roof was reduced to a thickness of
Floor heating was installed instead of radiators in
western façade massive rising gates were placed,
just 5 cm. However, the mechanical qualities and
order to keep the hangar clear of visual clutter.
as originally planned in 1916. These gates give playfulness to the building as well as a military
the chemical composition were good enough to renovate the building.
KOKO did add three bigger structures that
look. The gates are opening the hangar to the
they wanted to distinguish as clearly as possible
rest of the harbor, which is also part of the mu-
THE RENOVATION AND TRANSFORMATION
from the old structure. These structures exist
seum. Here a few museum ships that are open
of a platform that is used to exhibit artillery,
to visitors are anchored. A visit to the Maritime
Renovation started in 2010. It was an extremely
a pedestrian bridge flowing through the big
Museum of Tallinn is a true experience. The
complicated process because of the scale, the
hangar and a reception area. The reception area
interesting story the museum tells, the history
amount of damage that was done (cracks total-
is the transition space between the in- and the
of the harbor, but above all the impressive big
ing 3.6 km in length) and the heritage protection
outside. It makes one curious as to what else
hangar is making this museum worth a visit.
IMAGES 1
2 3 44
5
2 3
1. Interior Maritime Museum Tallinn (photo: Jolijn van Keulen) 2. Seaplane harbour in use (source: www.ne-mo.org) 3. Hangar befor renovation (source: www.ne-mo.org) 4. Bird view Maritime museum (source: www.koko.ee) 5. Axonometric drawing (source: www.koko.ee)
SOURCES 1. “Tallinn’s seaplane hangar - from plane shed to museum”, Maritime Museum Tallinn 2. ‘‘Seaplane harbour - A symbiosis of engineering and marine history’ Carl-Dag Lige, www.koko.ee
16 | CHEPOS
SEAPLANE HANGAR SUBJECT TALLINN ARTICLE
FILE: SMALL TO BIG
BIOMIMICRY How would nature solve it? As a student doubting between studying biology and architecture it is interesting to see how much we, students of the built environment, can learn from nature. Biomimicry is an approach which mimics nature’s patterns and strategies to seek sustainable solutions to human problems. This often happens by scaling the ideas of nature from small to big. In this article I would love to show you how others in the built environment have enhanced nature in their designs. TEXT: RENÉE THIERIJ
When thinking of sponges you would not expect
The pavilion in which they have applied these
Besides animals there are some systems in nature
them to be very stirdy or stiff, but there are defi-
findings is not only a good example of biomim-
too, that can improve our buildings. For example
nitely sponges which have amazing structures
icry but is also made with the newest robotic
the responsive capacity of materials that is not
we can apply to buildings. For example: the
winding techniques. If you want to learn more
based on any mechanical or electrical techniques
Euplectella glass sponge which builds its struc-
about this fascinating project, take a look at the
but incorporated in the material itself. If we
ture from strong microscopic fibers. These fibers
website of the Institute of Building Structures
mimic this we can create a façade that does not
exist of thin layers of glass which are laminated
and Structural Design (ITKE) of the University
need an external energy supply but can adjust
together for even more strength to make them
of Stuttgart, which develops a so called bionic
itself to the outdoor conditions. Architect Achim
very hard to break. Additionally, the grid in
pavilion every year.
Menges explored this novel mode of ‘responsive
which they are arranged is embedded into glass
architecture’ by designing a wooden structure
cement. This idea is mimicked in the design for a
that closes and opens according to humidity
zero waste textile factory. The roof will be made
levels in the air. Although this project is not
of a lightweight steel structure that integrates
designed as a complete building but as an object
solar power harvesting and allows natural light
in the Centre Pompidou in Paris, it is amazing to
to enter the building.
see how beautifully and fluently this ‘meteorosensitive morphology’ changes.
Not only the glass sponge has developed an intelligent structure, an animal such as the beetle can teach us a lot too. A team of biologists, paleontologists, architects and engineers in Stuttgart have carefully investigated this little animal and concluded that the ‘Elytron’, a protective
IMAGES 1 2 3 4
shell for beetles’ wings and abdomen, has an
1. Glass Sponge (source: USGS Multimedia Gallery) 2. Zero Waste Textile Factory by Exploration Architecture (source: inhabitat.com) 3. ICD/ITKE Bionic Pavilion 2013-14 (source: morfea.com) 4. HygroScope by Achim Menges (source: slash-paris.com)
extremely efficient construction. The geometric
SOURCES
morphology of a double layered system gives
1. “Deep Sea Sponges Are Master Builders in Glass” July 07, 2005, npr.org 2. “Exploration’s zero-waste textile factory is inspired by nature, designed by science” February 2015, inhabitat.com 3. “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart”, July 08 2014, archdaily.com 4. “Hygroscope”, 2012, achimmenges.net
this clever shell its strength. The double layered system consists of natural fiber composite which even makes it a light weight structure. BIOMIMICRY
CHEPOS | 17
Dubai International Airport is, since the
Centre in China has a bigger floor area, beating
and shopping center, the terminal is more than
beginning of 2014, the biggest Airport in
Terminal 3 with ‘only’ 47,000 square meters.
just an airport building. The airport however is
the world. It leaves the famous airports of
not only transporting passengers. It is one of the leading airports in shipping cargo, with the
ond, third and fourth place with its 18.4
FROM EINDHOVEN TO ROTTERDAM ON A CONVEYOR BELT
million passengers in the first quartile of
While these numbers are already quite impres-
ing them as sixth cargo-airport of the world, and
2014. In 2014, Dubai International Airfield
sive, these are not the only big features the
approximately 4.1 million tons in 2020.
handled 70.5 million passengers. Given
airport has to offer. When Terminal 3 was
their maximum capacity of 75 million,
completed, the capacity of the airport more
NOT BIG ENOUGH
expansion is needed.
than doubled, from 32 to 75 million passen-
In 2014 however, there was a small decrease in
gers a year. It offers a staggering 23 places for
cargo-flights, due to the newly built airport Al
Airbus A380’s, one of the biggest aircrafts for
Maktoum International Airport. This new airport,
London, Hong Kong and Paris on the sec-
TEXT: SVEN VAN DER HULST
incredible figure of 2.4 million tons in 2014, list-
human transport in the world. 85,000 passen-
40 kilometers from Dubai International Airport,
Right now, the airport focuses on enlarging the
gers pass through terminal 3 every day. And in
will be completed in 2027. Planning on trans-
capacity of existing terminals in order to increase
this terminal alone, 168 check-in counters are
porting 120 million people a year, and 12 million
the accommodation to 80 million. The airport
available, a car-park of 177,000 square meters,
tons of cargo, it will become the world’s biggest
already counts three terminals with sizes that are
157 elevators, 97 escalators and a four and five
flying destination instantly. The airport opened
Dubai-worthy. The total floor area of the three
star hotel with more than 250 rooms and suites
its doors in 2010. Starting with one runway and
terminals combined is just a few square meters
combined can be found. The total conveyor belt
only cargo shipments, in the first quartile of
short of two million. In comparison, that is over
is being able to handle more than 15,000 pieces
2014 it shipped 102,000 passengers, 180 times
275 football fields combined.
of luggage an hour and reaches a length of 90
less than Dubai International Airport. By 2027,
kilometers. A distance comparable with a flight
Al Maktoum will be bigger than the Airfield of
The biggest building of the airport is Terminal 3,
from Eindhoven to Rotterdam. Altogether, this
Dubai and therefore the biggest airport in the
with its 1.7 million square meters the building
is quite astonishing, but that ought to be for the
world. But who knows, there is still 12 years to
with the second largest footprint in the world.
price of 4.5 billion dollars. On the other side,
make a plan for an even bigger aerodrome in
Only the multifunctional New Century Global
with a Japanese garden, gastronomic kitchen
the middle of some desert.
BIG, BIGGER, NOT
18 | CHEPOS
BIG, BIGGER, NOT BIG ENOUGH
FILE: SMALL TO BIG
BIG ENOUGH Dubai International Airport is the biggest airport for at least the next twelve years. IMAGES 2 1
1. Dubai International Airport bird’s eye view (photo: Umair Shaikh) 2. Dubai International Airport in the length (source: icsana.com)
SOURCES 1. “T3 revealed”, 12 november 2008, arabianbusiness.com 2. “Dubai’s Terminal 3 opens”, 14 october 2008, businesstraveller.com 3.” Dubai Airport nu grootste vliegveld internationaal verkeer”, 28 april 2014, upinthesky.nl 4. “Year to date cargo traffic”, Date unknown, aci.aero 5. “GROOT, VERDER, DUURST: ‘S WERELD’S MEEST EXTREME VLIEGVELDEN”, 23 october 2013, blog.tix.nl 6. ” Six-figure passenger numbers for Dubai’s Al Maktoum airport at DWC in debut quarter”, 30 april 2014, thenational.ae
SUBJECT ARTICLE
CHEPOS | 19
small to BIG: a review on the Bjarke Ingels Group The Bjarke Ingels Group, known as BIG, is
For every house to build, we need to build two
Since 2005, BIG grew in several respects.
an international architectural firm that was
houses, separated by a layer of insulation and
Projects became leading, and the workforce
founded in 2005. In the past few years it
waterproofing. Ingels propose to take the con-
enlarged considerably. Ingels started to collabo-
has grown into a reputable agency with
sequence and build the two houses as separate
rate with several partners, who together lead
over 280 employees in various locations
projects: an inner house and an outer house,
the Bjarke Ingels Group. In 2008, Sheela Maini
around the world. What is the genesis
joined by an inhabitable in-between.
Søgaard joined the office. Søgaard’s focus lays
of BIG? What are the visions and goals
on the cash flow, formalizing contract policy and
of the agency? How has BIG become the
The real ‘breakthrough’ of Ingels, however,
working with the organizational structure, the
office that it is now? And what are the
came through the project “The Mountain”, a
latter of which has most notably resulted in a re-
prospects for the future of BIG? Ten years
residential project in Copenhagen. This project
alignment in the Business Development area at
after its establishment: a review on the
was commenced by PLOT architects. The project
BIG. In 2009, Søgaard became partner and CEO
Bjarke Ingels Group.
won several awards including a prize for the best
of the Bjarke Ingels Group.
housing on the World Architecture Festival in TEXT: RICK ABELEN
2008.
THE VISION Is the vision of BIG the key to success? The
THE GENESIS BIG was founded in 2005 by Bjarke Ingels. Bjarke Ingels (1974) is a Danish architect who studied at the Royal Danish Academy of Fine Arts, school of Architecture. Before he opened his office in Copenhagen in 2005, he was cofounder of PLOT architects and he worked for the Office of Metropolitan Architecture (OMA),
heading on the website of the Bjarke Ingels
THE POTENTIAL OF
Group sounds at least promising, namely: ‘’BIG
ARCHITECTS AND DESIGNERS
Ideas’’. BIG is convinced that a design should
LIES IN THE TENSION BETWEEN
always starts a project with identifying key-
ANALYSES AND IMPLEMENTATION.
founded by Rem Koolhaas, Elia & Zoe Zenghe-
be design-driven. This means that the agency criteria: what is the biggest ‘problem’ and what is the greatest potential? Rather than arbitrary aesthetic or stylistic prejudice, all decisions are based on project specific information, therefore:
lis and Madelon Vriesendorp. Ingels acquired
design-driven.
recognition through a series of award-winning
During the project, the next question was
designs and projects which were considered as
crucial: What if the parking area became the
According to BIG, the potential of architects and
programmatic and technically innovative. An
foundation of the homes – like a concrete hillside
designers lies in the tension between analy-
example of a project is ‘‘Better and cheaper
covered by a thin layer of housing, cascading
ses and implementation. The influence of the
housing’’ from 2001.
from the 1st to the 11th floor?
architect is the translation of information into a
20 | CHEPOS
A REVIEW ON THE BJARKE INGELS GROUP
FILE: SMALL TO BIG material. In an attempt to increase the sphere of
According to Søgaard, young employees provide
THE FUTURE
influence on the built environment, they have
a different ‘approach’ at the office. The employ-
The question about how long the strong growth
established BIG IDEAS. BIG IDEAS is an internal
ees of BIG originate from different countries and
of BIG can continue is an important note. Is
technology driven special projects unit, expand-
regions in the world, namely: Thirty nationalities.
there a limit? And what if the ‘popularity’ of the
ing the traditional scope of the architect into the
The multicultural environment stems from the
office drastically reduces?
realm of information and material. BIG IDEAS
fact that BIG operates in different countries and
The agency is reserved with predictions, and
explores new intellectual territory in both the
regions in the world.
certainly with setting limits. The key point of the
digital and material realm through three specific areas, namely: technical simulation, product design and special projects.
THE GROWTH Thus, from 2005, BIG grew considerably. This was partially the result of “The Mountain” project, which has won several awards. In 2009, Søgaard became CEO of the company.
office is to investigate precise limits, and where
THE SUCCESS OF BIG IS
possible override them. According to BIG, this key point is the difference with other offices.
LARGELY DEVOTED TO THE
Where they see limits as constraints, the ideol-
FACT THAT THEY HAVE THE
and challenges.
RIGHT PEOPLE IN THE RIGHT PLACE.
ogy of BIG is to see limits rather as opportunities
From an interview with Design Intelligence Council, Søgaard respond as follows on the
According to Søgaard, there is more behind the
questions above: ‘’We’re still very much in love
operation of the office than outsiders often con-
with what we do, so it’s really still about the
ceive. Remarkably, Søgaard speaks of a business
All these countries and regions have different
architecture for us, and about the projects, and
instead of an office or agency. Søgaard argues
cultures, aspirations, choices and considerations
it’s less about whether we are 500 people or
that the business tries to assign creativity to
that should be taken into account. In fact, the
whether we shrink back to 50 people. It’s about
where it actually contributes to the architecture.
agency is trying to respond to local data. This
being open and skilled enough to react on the
Few realize that an entire team is involved in
is where the information driven design turns
good opportunities that come by.’’
projects, they only see the ‘outside’ of the office,
back. In addition to respond to local data, BIG
according to Søgaard.
attempts to reason from the individual person. An example of this can be seen in the office. Em-
IMAGES 1 2
1. Sheela Maini Søgaard (source: graspmag.org) 2. Bjarke Ingels (source: arcspace.com) 3. The Mountain, Copenhagen (source: wordpress.com)
Søgaard speaks in several interviews about the
ployees in the office perform the tasks to which
‘’BIG culture’’. A culture within the company
they have the greatest potential. This may sound
that is driven by so-called youthfulness. BIG is a
cliché, but in practice it hardly occurs. In fact, it
relatively ‘young’ office, however, not only the
is a manner of efficient working. The success of
SOURCES
office is young: also its employees, partners and
BIG is largely devoted to the fact that they have
Bjarke Ingels himself.
the right people in the right place.
1. Bob Fisher. ‘’The Secret to BIG Success’’. 2015. di.net 2. Philip Kennicott ‘‘Exhibit highlights architecture as product of its environment’’. 2015. washingtonpost.com
3
CHEPOS | 21
INNOVATE! CHANGE YOUR VIEW. Architecture knows at least three paths
Spinoza strangely claims the world as it is right
can be measured. In order to make things more
to real innovation. Firstly, it can respond
now is perfect. How in heaven’s name can he
beautiful, we would have to score higher as
through design research to newly devel-
defend such a preposterous claim? Have we
designers with regard to the measure we are
oped techniques and materials. Secondly,
missed something? The world as I see it every
using. And in order to achieve a higher score
it can respond to new social realities. Both
day, hardly appears as perfect! To investigate this
we need to design in such a way that we are
can be described as real forms of inno-
claim I am going to focus on the subject of ugly
attentive to the measure we are taking as our
vation, transforming the appearance of
buildings rather than that of ugly people, simply
benchmark. The second possibility leaves the
buildings and their manner of functioning.
because it is a less sensitive subject.
product for what it is but changes the measure
There is a third way to innovate architec-
Don’t laugh, but I am something of a fan of
but not without noting that both are legitimate
ture: through the transformation of our
IKEA. IKEA is the direct heir to the Bauhaus
ways forward and, more importantly, neither
general view of the world and our view
ideals whereby products are conceived and
excludes the other. A standard or benchmark
of architecture in particular. Thus, it is our
designed through a carefully considered inter-
that has proven itself to work well is extremely
experience of a building that changes and
action of various factors such as usefulness,
valuable. At the same time it is also extremely
with it, our judgment. As a path to inno-
durability, attractiveness, as well as technical and
valuable to be able to adapt and change a
vation it is no less real than the other two.
economic considerations regarding production,
standard that does not work well, either because
use of materials, logistics and packaging. Above
it is not up to the task, or because the goalposts
all I just love putting things together. IKEA is
have changed. What we really want is to be able
LEGO for grown-ups. You can like having IKEA
to negotiate between the two possibilities.
itself. I shall concentrate on this one for a while,
TEXT: JACOB VOORTHUIS The road to this kind of innovation can start
furniture in your house or not. Personally I am
anywhere, really. It would be nice to start this
extremely selective and reserved in my judgment
A standard is, just like a building or a design, a
particular story with Umberto Eco’s controver-
regarding this, but that is not what this is about.
product of construction: we make them. In order
sial book On Ugliness (2011). Towards the end
What concerns me here is their new advertising
to function well, both standards and products
of the book he sticks up for ugly people. He
campaign in Holland with the slogan ‘Aandacht
we measure against them need to be evaluated
proposes we should feel a deep pity for ugly
maakt alles mooier’ which we could translate as
in the light of new demands and requirements.
people. The world is cruelly turned against them.
‘Attentiveness makes everything more beautiful’.
To pursue the analogy a little further, different
And that indeed appears to be the case. He is
That slogan might help us investigate Spinoza’s
products respond to different demands. You
not wrong. But there is another way of looking
strange claim. The slogan could be true on more
shouldn’t judge a church on the standards more
at the problem which I might suggest to be more
than one level.
appropriate to a house. Standards are intersub-
hopeful. You see, we are able to conquer the
jective constructions, requiring constant, or at
world by changing our view of it. This is a more
Here I offer two such levels: 1. Being attentive to
least regular maintenance and renegotiation.
peaceful way of conquering the world. Hence
design allows us to make things more beautiful
Even when they are cast in concrete, they must
we might even be able to save the supposedly
than they would otherwise be. 2. Attentiveness
be able to be recast when necessary. I don’t
ugly from our deeply ingrained cruelty against
allows us to find things beautiful that we usually
know whether this has ever happened to you,
anything that deviates from the norm. The way
dismiss as ‘ugly’. The first assume a benchmark
but it happens to me all too often. I am pre-
forward might be to confront Eco with Spinoza.
or standard against which the beauty of a thing
sented with a building to judge and it appears
22 | CHEPOS
COLUMN: JACOB SUBJECT VOORTHUIS ARTICLE
FILE: SMALL TO BIG
COLUMN: Jacob Voorthuis Jacob Voorthuis is a publicist, speaker and lecturer at the Eindhoven University of Technology. He professes enthusiastically about philosophy, art history and architecture. For this edition we asked him to write something concerning the arching theme ‘Beyond Limits’.
ugly to me. My judgment appears comfortably
too complex to dismiss or accept with a single
be found to contain beauty if I try. I know that
stuck in the standards that I consider important
judgment. A clear set of standards is needed
all people are capable of beautiful deeds and
to me at that moment. It is as if my criteria of
and valuable. But this standard needs to be
beautiful use. It is humanity, half submerged in
judgment have taken root and became one with
both adequate to the task and sophisticated and
the swamp of its small-mindedness that ought
the object. But then someone with a lot more
refined. It must not be allowed to reduce itself to
to be the subject of our pity and not its victims.
knowledge and wisdom than me wakes me up
some buzz word.
They are the heroes. It is humanity that makes
with their enthusiasm for the building and man-
the profound mistake of confusing its narrow-
ages to convince me that I was wrong to dismiss
minded standards with the perfection of the
the building off hand. I am often truly surprised at what other people manage to find beautiful. I am able to learn from other people’s taste. And by taking them seriously and questioning them, they extend or transform the criteria by which I am able to judge what I see before me. My initial opinion appears suddenly rather paltry and narrow, full of excess prejudice that has begun to obstruct the clarity of my thinking. With effort, I am capable of finding the ugly beautiful. In this way, the ugly transforms itself in the attentive reconstruction of my standard of beauty. Now, because such a standard is a serious thing not to be taken lightly, I counter accusations of fickleness and caprice by taking even greater care, as it behoves a professional aesthetician, in the attentive reconstruction of my opinions
“WITH
world at large. It is humanity that needs our pity and our attentive help to make things beautiful. Especially when people use their narrowminded-
EFFORT, I
ness to inflict harm upon themselves and their
AM CAPABLE
instruments to find it beautiful, when we judge
OF FINDING
judge such behaviour truly ugly.
THE UGLY
it is the result of careless and slovenly design
BEAUTIFUL”
environment. When we judge something to be ugly because we do not have the conceptual something ugly because we have found perverse pleasure in enjoying being hateful, we may
When we judge something to be ugly because without paying due attention to a properly constructed standard, we are right to judge such things ugly. Science and scholarship, art and philosophy have given us instruments to understand the role played by the things around
and the maintenance of my standards of beauty.
us. We have the tools to understand the world
Nevertheless the end result is that the repertoire
better than ever before. In understanding we
of ‘beautiful buildings’ is expanding steadily,
I understand Umberto Eco and his deeply felt
have the tools to construct and maintain more
allowing the strangest creatures to become a
sympathy for the ugly people of this world. At
sophisticated standards of beauty and goodness.
member of the club. Of course, there are build-
the same time I reject his approach. It is not the
Beauty, goodness, ugliness, and the bad are use-
ings that are easy to find beautiful. Others are
ugly of this world we should pity but the col-
ful container words that acquire meaning in our
extremely resistant to the idea of beauty. Just as
lective narrowmindedness of humanity at large.
daily use of them. They are instruments of judg-
importantly there are very good reasons to reject
In our hateful rejection of the ugly we show
ment to get a grip on our surroundings. Make
buildings or aspects of their design and classify
ourselves at our most brutal, cruel and narrow-
sure that your use of the word ugliness does not
them as ugly. A building tends to be much
minded. I have discovered that anything can
merely conceal your inability to see beauty.
SUBJECT ARTICLE
CHEPOS | 23
A ROUND IN THE WORKSHOP Gijs is working on the second master project
Royal library. When an unknown person comes
area. The main function of the square will be an
architecture together with Desley, Niels and
out of the station, he does not have any orienta-
‘outside lounge’, used by people who pass the
Martha. During a walk around the workshop, his
tion point. The structure is missing.
square and by visitors of the Royal library.
model stands out directly. It is big, abstract, and
When we look at the ‘normal’ way a student
plastic. Not worked out in detail, mostly existing
At the moment of interviewing him about his
works, just a few of them will be working on a
of volumes. When we interrupt him, he tells us
project, he and his fellow group members are
model in such an early stage of their project (the
about his model. The project, he said, is a hard
in the first ten weeks of the project: analyzing
project is only in week 5). But Gijs told us that
one, difficult and a little bit vague. The plan area
and looking at the possibilities of the plan area.
by making a model you will have a spatial view
is a messy area at the moment and has no clear
Their first idea is to split the area into two differ-
of the area, a spatial perception. Maybe it will
function in the city. Their assignment is of course
ent zones. Part one will be a transition area of
even help them to obtain new views, and maybe
to restructure the plan area.
the two zones in the plan area, the missing link
their entire first concept will change!
The project is about the station area of The
between the city center and the business district.
Hague. To be exact, between the station and the
Part two will be a compact square, central in the
TEXT: CHASTITY VERHOOFSTAD
PEOPLE TO PRODUCT
The art of architecture started as early as the Stone Age. Later on kings and landlords had their own ‘in-house’ architect to let buildings express their status. In the neoclassical time for example, the architect Gabriel designed the Place Louise XV in France, and he was named ‘Architect of the King’. His task was to design a building with significant grandeur and richness, to impress society. However, how does this work in contemporary society, and what are the tasks of the architect in the present and in the future? How far can we exceed existing limits of design?
Operating procedure of an architect
TEXT: MARTIJN CREEMERS
RECESSION
COMMISSION
Since 2008, the building industry has lost forty-
As an architect one is mostly shaping the public
make a design. The clients however did not have
three thousand jobs in the Netherlands alone.
realm as an organized urban whole. The Dutch
money to get new projects for the architects.
Architecture firms suffered extremely during this
for instance, are extremely controlling when it
Mostly governmental projects and wealthy
recession. The mid-range design offices have
comes to the organization of their public space.
companies could provide assignments for a small
suffered the most since then. New housing co-
Architecture from the past is used as an example
group of architects. With procurements the cli-
missions were also not given by the government.
for the future. Designing is not the only thing an
ent gives several firms the opportunity to get the
But in 2013 and 2014, the architecture firms
architect is doing nowadays. The architect more
assignment. The client provides a program, the
started to grow slowly again. Unemployed archi-
and more becomes a multitasker within a team.
location and the general ideas of the final user.
tects started their own firm or started working
Communication plays a major role in getting
Then the architect starts making the design and
for firms as self-employed. Keeping charges for
all aspects of building together, when work-
gathers a team together to check the possibilities
assignments at its lowest, profits were marginal
ing in a team. This team consist of a client, an
of the design. After the presentation and debate
and reserves were spent to keep the company
architectural draughtsman, building physicists,
in front of the council, a project design is chosen
propped up. The main focus for architects in the
construction engineers and city council. Besides
and the ‘lucky’ architect may start with further
Netherlands was on renovation and transforma-
that team, consultation can be acquired from the
designing the building. During the consecutive
tion of already constructed buildings. For an
contractors, subcontractors, installers, material
period the design will be discussed and evalu-
architect to differentiate the coming years, the
suppliers, soil experts and many other engineers.
ated, so that the design will suit the demands of
use of domotica and the use of BIM (Building
the client.
Information Model) are very important. This will
Before the crisis, a lot of assignments were
give the architect the directing role back and let
gained through acquisitions. This method was
Nowadays projects can also be commissioned
every party work optimally together.
used to gather assignments from clients and
through design competitions. After the contracts
26 | CHEPOS
OPERATING PROCEDURE OF AN ARCHITECT
FILE: PEOPLE TO PRODUCT
are signed by the client and the architect, the
online, in contrast to the printing and postal de-
detailing and materialization. When the realiza-
master builder can begin with a preliminairy
liveries before, to obtain a building permit. They
tion of the building starts, the architect will visit
design with his bureau. Later on the construction
will check if the building suits the zoning plans
the site frequently. To see the progress of the
and detailing will get shaped more specifically.
and the environment.
building and deliberate on mistakes during the
This will be done by the whole team, which
construction of the building. The architect needs
stimulates iteration on the design. With a good
Once the city council has granted the build-
to check that the planning, costs and quality
design the hardest task is however to keep the
ing permit, technical drawings are made, such
reach the desired level. When the project is built
monetary expenses from going through the roof.
as contract drawings, detailing and a specific
the architect needs to make a set of drawings
cost estimation by the several contractors and
with the final result. And then the job of the
REALIZATION
subcontractors. The client and architect will then
architect is done.
Transforming the first draft into a final design,
carefully choose the contractors. From this point
converges the concept from people to product.
on this group cosisting of client, architect and
CONCLUSION
The drawings will be sent to the city council
contractors will collaborate on the construction,
So then what is the future of architecture? It belongs to the unknown. With 3D programs, lasercutters and 3D printers, new ideas can be made
GETTING AN ADVANTAGE IN THE UPCOMING YEARS IS WORKING WITH BIM
and made into reality. Autodesk and Trimble (SketchUp) for instance, are currently collaborating with Microsoft Hololens. This will bring the 3D environment in real-time right in front of our eyes for us to design in and manage the constuction. Then we can also adapt and change design issues easier than on paper or monitor. Furthermore, with an internet connection, several people around the world can look at the
TOOLS
same model and part of the design, discuss the
As taught in our university, digital media and
V-Ray, Lumion, 3DMax or Photoshop are pro-
problem and give the best solution for it, with a
drawings getting more and more advanced.
grams to give more glamour to the product you
click of a button or a snap of our fingers.
But every design begins with a line, a sketch or
want to sell to the client. Tip: visit CHEOPSxGaslab to further discuss this subject.
a diagram on paper. It is the quickest way to get your ideas and visions visualized. For the
Some helpful sites which give more inside of
more accurate drawings AutoCad is used mostly
programs and bring some new ideas:
IMAGES
as a 2D program. Were Sketchup, Revit and ArchiCad are also drawn in 2D, but generates
• Lynda.com (video tutorial website also on
a model in 3D with the given input data. Add-
youtube.com)
ons like Dynamo, Rhino and Grasshopper give
• VisualizingArchitecture.com (embellish your
information by programming of the software.
drawings)
For rendering and editing of pictures or drawings
• Vyonyx.com (tutorial for Photoshop)
several plugins or programs can be used.
• Color.adobe.com (Making color schemes)
SUBJECT ARTICLE
2
1. Tire swing (source: design.dunster.nl)
11 3
SOURCES
1. Buijs, M. “Visie op de sector”. 2014. insights.abnamro.nl 2. Buro Sipma, “Werkwijze”. 2014. www.burosipma.nl 3. Microsoft. “Microsoft Hololens”. 2015. www.microsoft.com 4. Rory Stott. “Architecture Software Tutorials”. 2015. www. archdaily.com
CHEPOS | 27
WITH GREAT BUILDINGS Some great buildings, often designed by equally great architects, were the outcome of progressive architectural thinking. This progressiveness however was not always met in the detailing. And although making mistakes is human, sometimes these mistakes could have been avoided quite easily. These next examples show where limits were pushed, but unfortunately led to architectural failures. TEXT: ILKE BROERS
FRANK LLOYD WRIGHT – FALLING WATER (1938)
who did not recommend to proceed with the house. Wright was not too happy about this, but
RAFAEL VIÑOLY - WALKIE TALKIE TOWER (2014)
To start off with one of the most famous build-
agreed on increasing the amount and diameter
It might not be one of the most famous build-
ings in modern architecture. Falling Water was
of steel in the structure. This clearly was not a
ings or architects, but this story was picked up
a milestone for Frank Lloyd Wright, a turning
superfluous luxury as we now know.
by many news stations late 2013. This London
point in his career. Although being honored as one of the greatest architects of all time,
skyscraper does not have any major known
“A DOCTOR CAN BURY HIS MISTAKES, BUT AN ARCHITECT CAN ONLY ADVISE HIS CLIENTS TO PLANT VINES”
structural flaws, but was placed very unfortu-
of tensioned cables was devised to stabilize the
Frank Lloyd Wright is also known for making
This was not even Viñoly’s first ‘death ray’
house.
some famous quotes, especially when talking
building. The curved Vdara Hotel in Las Vegas
about the flaws in his buildings. “Move the
also channels a beam of sun rays onto a nearby
This could possibly have been avoided if Wright
table” was once Wright’s response to a client
area. This problem was noticed forehand and a
spent more time on the design. The improbable,
who phoned him to complain of rain leaking
film was placed on the south façade glass panels
but by many confirmed, story tells how Wright
through the roof of the house onto the dining
which scatters more than 70 percent of reflected
procrastinated for nine months before draw-
table. Perhaps the most infamous was: “A doc-
rays. This is still not enough however, tales of
ing the whole design in two hours. The client
tor can bury his mistakes, but an architect can
scorched hair and a twenty degrees increase of
had these drawings checked by an engineer,
only advise his clients to plant vines”.
ground temperatures are known.
Wright’s career was filled with buildings that had structural flaws, leaking roofs and cracking foundations. Falling Water was one of them. Although it had many problems, the main problem was the lack of proper support in the cantilevers. The impressive balcony of the second floor master bedroom has an overhang of around 1.8 meters. By using ferro-concrete (reinforced concrete) this revolutionary idea became possible. Unfortunately, this was not enough support and soon after the balcony floors were poured, cracks began to show. By the turning of the millennium, some of the cantilevers had sagged
natly. Due to its distinct curvy glass design, the south façade channeled the sun’s rays into a beam that was hot enough to melt car parts and scorch store fronts. Frying an egg on the pavement was even possible. Viñoly did design horizontal sun louvres, but these were cut due to the high costs. He claims he did not have the appropriate tools and software to further investigate the effect and thought the temperature would be around 36 degrees Celsius, yet it comes closer to 72 degrees.
almost 18 cm. To avoid a total collapse, a system
28 | CHEPOS
BUILDING SUBJECTFAILURES ARTICLE
FILE: PEOPLE TO PRODUCT
COME GREAT FAILURES ERICK VAN EGERAAT – METZO COLLEGE DOETINCHEM (2006)
To solve the heat problem, the school installed
issues are fairly minor,” Gehry says, “M.I.T. is
a ‘tornado roof’; a construction of PVC coated
after our insurance.” He adds: “The chances of
Architectural failures can also be found closer to
polyester fabric to keep the sun out of the
it ever getting done without something colliding
home. The Metzo College in Doetichem has an
courtyard. On the east, south and west façade
or some misstep are small.”
innovative design that even won the Scho-
sun proof foil was applied which lowers the
lenbouwprijs of 2006 for the best new school
temperature by two to three degrees.
building. Yet, the pyramid-like structure has
Within months of opening, Gehry was asked to revise the design but he declined. The poor
multiple flaws. The main problem is the heat; the
Meanwhile, the ‘disappeared’ report was found
drainage led to considerable masonry cracking,
temperature rises so much in the summer that it
by a consulting firm. It says: “no clear glass”.
and the costs of repair were more than $1.5 mil-
is impossible to teach in some of the classrooms.
lion. Additional problems were also discovered,
FRANK GEHRY – RAY AND MARIA STATA CENTER (2004)
like sliding ice and snow from the building’s
ing the floor; the synthetic resin would not set. Eventually the floor was laid at night.
To close off, another ‘starchitect’ named Frank.
emergency exits and damaged other building el-
Known for his incredibly progressive take on
ements. Gehry responded by saying this was the
The problem is mainly caused by the use of clear
architecture, Frank Gehry designed some of the
fault of ‘value engineering’. “There are things
glass in the façade. This in combination with no
world’s most famous buildings, like the Guggen-
that were left out of the design,” he said. “The
cooling and no shades or screens, a major heat
heim museum (Bilbao), Dancing House (Prague)
client chose not to put certain devices on the
problem is imminent. Main contractor Schutte
and the Walt Disney Concert Hall (Los Angeles).
roofs, to save money.” After this back and forth
Workers already experienced this heat when lay-
already foresaw this problem and tried to warn
bickering, the lawsuit was settled in 2010 with
the project leader (an architect working for Van
As with more progressive architecture, unusual
Egeraat), but he casted these warnings aside.
forms can cause some major detailing problems.
In the building plan there was a reference to a
This is evident in Frank Gehry’s Stata Center
technical report regarding the glass used in the
for the Massachusetts Institute of Technology
façade, and Schutte asked the architect multiple
(M.I.T). The $300 million building is what Gehry
times about this, but it never surfaced. While
describes as “a party of drunken robots who
choosing the glass, the project leader chose the
got together to celebrate”. In 2007 however,
clear glass. Alkondor, the façade builder, also
M.I.T. sued Gehry and the involved construc-
placed critical notes with this choice. They later
tion companies claiming they provided deficient
stated: “maybe the architect was busier with
design and construction services resulting in
aesthetics than technics”.
leaks, cracks and drainage problems. “I think the
SUBJECT ARTICLE
window boxes and slanted areas, which blocked
most of the issues being resolved. IMAGES
1 22
3 4
1. Falling Water (source: Wright House) 2. Walkie Talkie Tower (source: Huffingpost) 3. Metzo College (source: Alkondor Hengelo) 4. Ray and Maria Stata Center (photo: Philip Greenspun)
SOURCES 1. Wiebe, C. “Frank Lloyd Wright, Falling Water.”. Khanacademy.org 2. Dezeen. “‘We made a lot of mistakes with this building,’ says Walkie Scorchie architect Vinoly”. September 6, 2013. Dezeen. com 3. De Gelderlander. “Bouwers wisten dat Metzo een oven werd”. November 16, 2007. Gelderlander.nl 4. Pogrebin, R. & Zezima, K. “M.I.T. sues Frank Gehry, citing flaws in Center he designed”. November 7, 2007
CHEPOS | 29
“AN ARCHITECT SHOULD KEEP TRACK OF TRENDS, HOWEVER AN ARCHITECT SHOULD NOT BUILD TRENDY BUILDINGS” In conversation with Stefan de Bever, the youngest generation of De Bever Architecten De Bever Architecten have been designing the cityscape of Eindhoven over the past 120 years. They are responsible for many landmarks in the City of Eindhoven. The designers of Philipsdorp, the Hermes Drukkerij, the Evoluon and both the original design and renovation of the Catharina Ziekenhuis are all related. I spoke with the youngest generation of architects, Stefan de Bever, about his heritage, the bureau and his most famous product, Eindhoven Airport. TEXT: JEROEN POSPIECH
BEFORE THE BUREAU
and more general things. But she has some proj-
CHARACTERIZING THE BUREAU
“I might be a descendant of generations of
ects too. She is a true designer after all, which is
Often I am asked: “What characterizes bureau
architects, but eventually I did not plan on
great because we can constantly feedback each
De Bever?” But these four generations actually
working for De Bever Architecten. Instead, I
other.
differ from each other quite a lot. My great-
wanted to work for the architects who were
grandfather has designed seven listed monu-
being published, the big names. Those architects
MANAGING THE BUREAU
ments; he was a prominent architect already.
were not situated in Eindhoven, but in the west
De Bever Architecten only employs architects, in
Starting as a carpenter, he came to Eindhoven
of the country, or abroad. While I studied at
contrast to the major bureaus which have many
to realize there were no architects there. So he
the TU Delft I had already worked for Ben van
layers. Therefore our architects should be very
started his own bureau and was involved with
Berkel, after graduating I started at Herman
all-round. They should have knowledge of the
the rapid expansion of the city of Eindhoven,
Hertzberger’s bureau. Those were the appealing,
built environment, architectural drawings and
and a great deal of city planning in its wake. My
trendy bureaus. After working for Hertzberger, I
designing, basically they should be able to run
grandfather, Kees de Bever, on the other hand,
moved to New York City with my wife, Heleen
their own company. Primarily, my wife and I are
worked a lot for the church. He applied many
van Heel, and worked there for two more years.
the architects for everything, but on secondary
pure forms. The whole of Brabant is filled with
Only then, it started to dawn upon me that I
level, the project leaders are responsible. Tertiary
his churches. His son, my father Leo de Bever,
should take the chance to return to Eindhoven.
are the assistants who support the project
studied in America. He was very ambitious; he
There are large differences between The Neth-
leaders. They are architects too though; if they
had an international perception of architecture.
erlands and America. In America, the architec-
show entrepreneurship, smart solutions and
He made many concrete buildings such as Felle-
tural society is far more traditional, one really
understanding, they will become project leaders
noord, the Catharina Hospital and the Rabobank
has to prove his skill, only later in life there are
too. But we remain in charge; we are responsible
complex, with quite some concrete awards as a
opportunities. Contrary, here in The Netherlands
for the final image and try to guard a certain
result.
a young architect has a lot more possibilities
continuity and quality. An architect should keep
through competitions and selections.
track of trends, however an architect should not
We often work in a context. Because the setting
build trendy buildings. Over the past twenty
is already there, projects are often about restruc-
OWNING THE BUREAU
years as an architect, something that underlies
turing, expanding buildings or implementing a
Entrepreneurship is something which is supposed
my projects starts to show.
new structure in existing surroundings. It is very
to come natural, I always knew I wanted to create buildings on my own. Other architects choose to work in service of a bureau all their life. Formally, I took over the bureau in 2000, together with my cousin. But the cooperation was not great. So when the crisis hit in 2007, we separated and I continued with my wife. I have been doing the finances from then onwards. I am mainly responsible for the projects and administration, whereas she handles the personnel 30 | CHEPOS
FILE: PEOPLE TO PRODUCT difficult to give signature to a building when it also has to fit in, because everything has a different context. I like to work with a strict netting, however I find it important to keep a certain dynamic in my designs. Irregularities in designs often make a building more intriguing.
DESIGNING THE AIRPORT In 1999 I have designed the masterplan for the airport. We have been developing on that plan since then. We have destructed all the buildings my father built, which were not sufficient for the growth. After that we built the terminal, that was phase one. Phase two was the further expansion of the terminal, as well as the hotel. In the future there will be phase three, four, and probably many more. As I have been involved
only licensed taxis are allowed. The business
not see this happen. I think the airport should
in each phase, gradually the masterplan takes
model of Eindhoven Airport is not based on fly-
keep expanding, Eindhoven keeps growing and
shape. The netting was already there in 2005.
ing. Airports are profitable, because people have
so does its Brainport, the airport should grow
We have been developing this netting, this back-
to wait in an attractive area, they will consum-
according to this.
bone, without being too rigid.
mate, thus the airport will earn money.
ENVISIONING THE FUTURE
“WE HAVE DESTRUCTED ALL THE BUILDINGS MY FATHER BUILT”
The growth of Eindhoven Airport should always remain within certain boundaries. We will advise against expansion if this does not seem like a smart decision. After all, an architect is also responsible for his buildings; he should not only
DESIGNING THE TERMINAL
In the future, there will also be a new access
be in it to produce. If we design a building which
The terminal has been built up piece by piece,
route. The routing will come straight from
is out of place, we will lose credibility and the
each with the same profile. These pieces are
the east starting at the A2 and possibly a new
building will lose quality. The phase we are going
connected in linear fashion, so the terminal can
railway station in the Northwest of Eindhoven,
to build now has been thought up fifteen years
be stretched either way. We purposely build all
across the new Brainport Innovation Campus,
ago, yet we are only building it now. And phases
new buildings perpendicular to the terminal.
lateral to the runway and the terminal. This new,
will follow afterwards, Eindhoven Airport will
Contrary to Schiphol, I wanted the airport’s
parallel approach will be with one-way traffic,
never be finished.”
buildings to stand square to the terminal; this
which circulates at the new building and then
leaves the option for all guests to look both
back eastwards again. The entire building has
ways, at the air- and landside, and the routing
been adapted to this circulation which will hap-
becomes much clearer too. The terminal is the
pen partially inside this building.
intersection of all the traffic which goes through
IMAGES 3
1
the airport; from there people can go to every
The city of Eindhoven favors the growth of
specific function they need. This results in a
Eindhoven Airport, so does the government
futuristic, dynamic appearance, yet with a clear
who would like to see Eindhoven and Lelystad
concept. An airport should not need signage;
take away some of the pressure from Schiphol.
one should come in, see an airplane and know
However, the surrounding villages would rather
2
4
1. ir. Stefan de Bever (source: Norbert van Onna) 2. Eindhoven Airport (source: archdaily.com) 3. Future of the Eindhoven Airport foreground (source: Stefan de Bever) 4. Future of the Eindhoven Airport masterplan (source: Stefan de Bever)
SOURCES
1. Conversation with ir. Stefan de Bever on the 8th of Oktober, 2015
where to go.
DESIGNING THE FUTURE We have the ambition to do something with the foreground of the airport. As of now, there is a large, unattractive parking space. In the future, we envision a hub with bus traffic, kiss + ride and exclusive parking, combined with some commercial space. Between the building and the terminal, a green corridor will be formed where IN CONVERSATION WITH STEFAN DE BEVER
CHEPOS | 31
38 YEARS OF IMMORTALITY The legend behind the Winchester House
with her spirits. The house itself only reinforced the legend. Rooms were built in many different styles, every five years or so a new style would be introduced. It became a complex structure with all kinds of ornamentation, towers and atriums in an American Victorian architecture. As word travels fast and with the strange house as evidence, neighbors could only speculate about Sarah Winchesters’ life.
THE MYTH A mansion exists in San Jose, California, containing over 160 rooms with 2,000 doors,
Mary Jo Ignoffo, historian and writer of Captive
47 fireplaces, 40 bedrooms, 40 staircases, 17 chimneys, 13 bathrooms, 6 kitchens, 3
of the Labyrinth: Sarah L. Winchester, Heiress to
elevators, 2 basements and 1 shower. For 38 years a few dozen workers worked day and
the Rifle Fortune, is convinced Sarah Winchester
night to complete the project until its owner’s death in 1922. The building was almost
was never delirious or haunted. Based on letters
completely self-sufficient, with a small farm, its own water tower, draining system, air
written by Sarah to her lawyer and family, she
heating system and gas manufacturing plant. Yet, the house did not become famous for
debunks the myths surrounding Sarah’s life and
its grandeur, craftsmanship or innovative design, but for the mystery surrounding it.
comes up with a different theory about the mansion. After Sarah Winchesters’ death in 1922,
TEXT: EVA PABON
the house was leased to John H. Brown, inventor and builder of one of the earliest rollercoast-
THE WIDOW
ers and many other amusement devices. The
In 1862 Sarah Pardee Lockwood married William
of hammers did not cease in the house or on
Winchester house was perfect as a ‘House of
Wirt Winchester, treasurer of the Winchester Re-
the grounds”, she would be immortal. And so
Mystery’ and so John Brown presented it as
peating Arms Company. In 1866 the couple had
she bought an old farm house to remodel. Each
such. Little adaptations were necessary to make
a daughter, Annie, who died shortly after she
month new rooms would rise and the workers
the house mysterious. According to Ignoffo, one
was born. Sarah’s father in law and owner of the
would build: 24 hours a day, for 38 subsequent
of the adaptations were the famous references
Winchester Repeating Arms Company, Oliver
years. The result: a labyrinth of rooms and
to the number 13. Carpenter James Perkins,
Winchester, died in 1880, followed by the death
connected buildings where, so the legend says,
once a worker on the house said: “The number
of her husband William a year later. Sarah was
the spirits could wander. Fourty bedrooms were
13 in chandeliers, the number of bathrooms,
left a grieving widow, with almost 50 percent
built, so Sarah could sleep in a different room
windows, ceiling panels and other things were
ownership of the company and a 20.5 million
every night to escape the ghosts that haunted
certainly put in after Mrs. Winchester died.”
dollar inheritance. Making 1,000 dollars a day,
her. Part of the mystery are particular segments
An empty room can easily be named a ‘séance
an equivalent of 23,000 American dollars nowa-
of the house: doors and windows leading to
room’ in tours and with the right journalists and
days, she moved to California and purchased the
nothing but walls, doors opening to a two-story
storytellers, the mystery surrounding the house
old farm house that would later be known as the
drop outside and stairs leading to closed ceilings.
and its former owner would grow easily.
Winchester Mystery House. The number 13 seems to be hidden everywhere,
Ignoffo challenges every part of the Winchester
THE LEGEND
but mostly in the so-called séance room, sup-
legend. She never found a medium by the name
According to legend, Sarah Winchester visited a
posedly meant to talk to the spirits in the house.
of Adam Koombs and suspects Sarah never
Boston medium by the name of Adam Koombs
Sarah would keep to herself and rarely com-
visited the medium, or at least did not build the
after her husband’s death. The man channeled
municated with others, besides her workers and
house for restless spirits or immortality. It was
William’s spirit, who told her she would always
servants. When she did go outside, she was cov-
not guilt for the money she made by selling
be haunted by the spirits that had been killed
ered in a veil and wore gloves to cover her body.
Winchester rifles that caused her never-ending
by Winchester rifles, the guns responsible for
As time went by, the house and its inhabitants
need to keep building. It would just have been a
Sarah’s sizable inheritance. She was ordered to
became more and more part of legend to the
good ghost story surrounding the famous ‘gun
build a house for these spirits to rest. As long as
outside world. Sarah would be depressed, mad,
that won the west’. Although the real story can
the workers kept building, or as the New York
psychotic and delirious, living in her labyrinth
never be told with certainty, Ignoffo presents us
Times wrote in 1911: “(…) so long as the sound
of never-ending rooms and hallways together
some alternatives to Sarah Winchesters’ story.
32 | CHEPOS
WINCHESTER HOUSE
FILE: PEOPLE TO PRODUCT
THE ARCHITECT Ignoffo describes Mrs. Winchester as financially
is unknown. The legend of Sarah living in this
1898 shows Sarah might also have been using
savvy and forward thinking, someone who loved
haunted house for the remainder of her life is
the never-ending building process as an excuse
building and experimenting. Her house was con-
utterly wrong.
to deny relatives a visit. In the letter she asks her
sidered innovative for having electricity, a central air heating system and water drainage system.
husband’s sister to keep away until the house Even so, for many years after the earthquake
was properly built and guests could feel com-
the workers kept working on the house, building
fortable. Obviously this would not have been for
Some parts considered mysterious may actually
new structures where others were destroyed.
a long while.
have had a very practical nature. Sarah was
The rooms do not seem to be built as eerie and
thought to have arthritis, causing her hands and
were often highly decorated. With architec-
Never stopping remodeling your house to avoid
feet to look deformed and making it difficult for
ture full of ornaments, stained glass windows,
house guests might be a bridge too far in the
her to walk the stairs. The many fireplaces and
expensive imported chandeliers, patterned
theory of Sarah’s motivation. More likely is to
heating system would ease her pain by heating
wallpaper and handcrafted woodwork, Sarah
say that Sarah Winchester thoroughly enjoyed
up the house and the gloves she wore would
Winchester was said to have an impeccable style
designing and building and had the means to
just have been to cover her arthritis. To make it
and she spared no expense. The stained glass
do so. In a way, she made being an architect a
easier for her to walk the stairs, she had special
windows are a particular example of her love for
lifestyle. She would probably not have liked the
staircases made with slanting and low steps,
design. The house is full of them, all in differ-
way it happened, but she did become immortal.
creating a ramp-like zig-zagging structure.
ent styles. Sarah possessed a large collection of
At least that part of the legend is true.
custom designed windows, some not even used, The stairs, windows and doors leading nowhere,
in all shapes and sizes. Was it this, an expensive
can be explained by the many adaptations that
hobby that led her to build such a structure?
were made to the house. The biggest made
IMAGES 1
after an earthquake in 1906. A large part of the
Ignoffo provides some additional theories. She
house was destroyed, with Sarah still trapped
might have started to expand the house to ac-
in one of the bedrooms. Although the legend
commodate relatives who moved to California.
says otherwise, Ignoffo uncovered Sarah hardly
Communications between Sarah and her sister
ever lived in the house after the earthquake, but
Isabelle Merriman showed the two were very
started living in other homes. Whether this was
close and Sarah’s niece, Marion “Daisy” Merri-
because of the earthquake or for other reasons
man, lived with her in the house. A letter from
2
1. Winchester House before the earthquake, ca. 1900 (source: Winchester Mystery House) 2. Winchester House, aerial view (source: Historum)
SOURCES 1. Mars, R. “Episode 162: Mystery House”. April 28, 2015. 99PercentInvisible.org 2. “Winchester’s Widow Dying”(New York Times, 1911) 3. Ignoffo, M.J. Captive of the Labyrinth: Sarah L. Winchester, Heiress to the Rifle Fortune (Missouri: University of Missouri, 2010)
CHEPOS | 33
What if the limit is reached? What if technology
A building with a height of thousands meters,
Let us be honest, do you want to live, work,
gives us the opportunity to build higher, but it is
why would anybody use that building? For the
shop or whatever, on a height of four kilometers
no longer necessary? Will buildings keep getting
view? After ten kilometers you will find the
in a building with a total area of 10,000 square
higher and larger for prestige? A building of
cloud cover, and after thirty kilometers you
kilometers?
thousands of square kilometers, why would we
cannot naturally breathe. Is that something to
want something like that? Will it operate like
aspire? Or is it a better purpose, to aspire ‘the
A visionary plan and practical example is the
a building? And is it possible to find a proper
ideal’ surrounding?
Sagrada Familia of Gaudi. The first drawings of
function for such a building, or will it be a total mess?
the basilica were made in 1875, and as of today, Burj Khalifa in Dubai has been the highest
the building is still not finished. Was it a ‘too
building since 2007. The tower reaches up to
visionary’ idea? And is it at this moment still?
In the society where people want and expect
828 meters and has 163 floors. But a significant
more and more, promises will be fulfilled, but do
amount of floors are occupied by installations
those promises have any value in the end?
and are not open for public.
TEXT: CHASTITY VERHOOFSTAD
Visionary ideas
Influences of unbuilt architecture HOW PROJECTS THAT HAVE NOT (YET) BEEN BUILT INFLUENCED URBANISM Every project starts with an idea. This idea is then elaborated upon into a design. After the design phase, the building plans are drawn and the project is being built. When the building has been completed, it is being used and later demolished, transformed or re-used. However, not all ideas become designs and even less designs are actually being built. Though less familiar in the real world than realized projects, some of these unbuilt designs have played an important role in architecture and urbanism, while others are just fascinating. TEXT: JIMMY HENDRICKX
THE PLUG-IN CITY
three years for a room capsule.
One that is both fascinating and known among
The plan for the Plug-in City tackled many prob-
architecture students is Plug-In City from
lems that gave the metropolitan city an unsus-
Archigram’s Peter Cook. The Plug-in City is not
tainable image. It offered answers to land use,
a building or a definitive plan, it is an idea for
traffic and population growth. This enormous
an ever evolving city. The city can be seen as a
rise of population in the 60s had already been a
big Meccano building set; parts could be added,
problem in the 20s, when Le Corbusier came up
replaced or removed all the time. This would all
with the city of three million inhabitants, better
be done by giant cranes, constantly busy moving
known as the Radiant city.
so called “capsules” from one place to another. Apart from taking the weatherproof tubes or the
THE RADIANT CITY
fast monorail to work, work could also come to
The Radiant City was imagined as a tabula rasa,
you.
or clean sheet. The intention was to create a water-tight formula for new urban planning.
Because of this constant coming and going of
The plan was a response on urban planning at
capsules, the city can also be seen as a me-
the time, which went into battle without an
tabolism. One that uses considerable amounts
objective, according to Le Corbusier. The tabula
of oil and power. However, no factories or oil
rasa did contain a river, but it was placed far
refineries were drawn in the plan. The Plug-in
away from the city. Le Corbusier thought of it
citizen was almost certainly a white-collar office
as a liquid railway which transported goods. He
worker. Also there were no technical details
compared it to servant’s stairs, which do not
drawn in the plan. Cook figured that this would
go through the drawing room even if the maid
be done by those who knew more of this high-
(boat) is charming.
tech discipline. Another way to look at the city as a metabolism was through the life expectancy
To solve the problem of the growing population,
of a structure. Cook calculated 40 years for a
Le Corbusier figured that an increased density
structural tube, 20 years for a hotel core and
in areas where business took place was the
36 | CHEPOS
INFLUENCES OF UNBUILT SUBJECT ARCHITECTURE ARTICLE
FILE: VISIONARY IDEAS solution with the advantage of smaller traveling distances. The skyscrapers in his plan would occupy 1200 inhabitants to the acre. Compared to Paris (213 inhabitants) and London (169 inhabitants) this was an extreme number at the time. However, this verticality also had an upside: there was more room for green space. A city that contained that many citizens needed a large lung capacity to keep the air fresh. The CIAM thought of light, air and space was thus applied here. Apart from the large green space contained in the city, a belt of protected forest, woods and sport facilities was planned outside the city. Though protected, the land was also reserved for the growth of the city as laid down by the municipalities. At the end of the green zone were the garden cities, which were supposed to house two million people. At the center of the city would be the station, since this is the only logical place and all other places wouldn’t make any sense according to Le Corbusier. The station would include all layers of transport. Three underground levels would house the tubes which connected the city to itself and the suburbs. On ground level would be the entrance and ticket boots. Floor 1 would be used for the arterial roads which ran from east to west and from north to south (also at floor 1). The top floor would then be occupied by an aerodrome where aero taxis could land. Already in 1924 they imagined vehicles flying around. Yet today the idea of flying vehicles is in designers’ heads. SOFT Blimp Bumper Busses are going
into ecological pathways which include soft
have been playing a large role in urbanism and
to scoop up passengers in 2028 if the plans,
cushion based vehicles. Those vehicles will
architecture. The ideas of the radiant city can
made by Mitchell Joachim’s Terreform One, are
actively take a part in the center of the city. The
be found partially in Brasilia’s Plano Piloto by
executed. These balloon-like vehicles travel at 24
center does not contain churches or offices, but
Costa and Niemeyer and the Centre Pompidou
km/h and the seats float only inches above the
exists of the infrastructure of the city.
by Rogers and Piano were inspired by Cook’s
ground.
This major role for infrastructure in the city is
Plug-in City. That raises the question, what
an idea all of the above three projects have in
will the future do with Terreform One’s city of tomorrow?
TERREFORM ONE
common. Peter Cook’s Plug-in City mentioned
Terreform One also has projects that rethink
the moving of livable capsules across the city
the entire city. One of these is the city of the
as the main dynamics. Le Corbusier thought of
future: Urbaneering for tomorrow. This design
having two arterial axes of transport through the
for Brooklyn 2110 is supposed to provide all vital
city , the motto for these axes was that “A city
needs for the city, like food, water, air, energy,
made for speed is made for success”. And now
waste, mobility and shelter, within its accessible
Terreform One states that the city center of the
physical borders. The plan also includes vertical
future is its infrastructure.
agriculture, and housing merged with infrastructure. The former streets become livable space
Whether these ideas could have worked or
with renewable energy sources and productive
not we will never know, as none of them has
green rooms. These streets will be transformed
been built. The two historic examples however,
SUBJECT ARTICLE
IMAGES 1
5 2 3 4
6
1. Plug-In City (source: Archdaily.com) 2. Plan Ville Radieuse (source: Mediaarchitecture.at) 3. Model Ville Radieuse (source: Archdaily. com) 4. SOFT Blimp Bumper Busses (source: en.wikipedia.org) 5. 6. City of the future: Urbaneering for tomorrow (source: architizer.com)
SOURCES 1. Simon Sadler, `Architecture Without Architecture`, 2005, MIT Press 2. Le Corbusier, `The City Of Tomorrow And Its Planning`, 1929, Dover Publications, Inc. 3. Mitchell Joachim, `Terreform One`, consulted on the 4th of October, www.archinode.com
CHEPOS | 37
FROM LIMIT TO LIMIT On paradigm shifts in architecture
In celebration of Cheops’s 30th anniversary, this edition of Chepos is dedicated especially to the revolutionary players in our field of profession, going beyond the limits of today’s architecture. Architecture has the tendency to evolve in episodes rather than linearly. Each period in the history of architecture is defined by a paradigm that predominates the professional field. Revolutionary architects play a central role in shaping those paradigms. TEXT: RIK DE BONDT Architects are essentially puzzle-solvers. They or-
how to deal with the built environment.
normally well cooperating players in the field,
ganize the pieces of the program into a coherent
If we would constantly question the fundamen-
on the search for new methods. The organiza-
design proposal. We know which problems will
tals of the paradigm we work in, architecture
tion tumbles down and production is unstable.
be addressed, how we are going to approach
would be worse off.
At that moment, the fundamentals upon which
them and how to assess possible solutions.
architects make their designs are back on the
As architects, we can not constantly question
CRISIS
the arbitrary factors that influence our design
Sometimes a puzzle firmly resists solution.
decisions nor the conceptual boxes to force the
Because architects will tolerate quite some tem-
They gain special interest in philosophy and
world in when observing or doing research.
porary trouble without abandoning conventional
unusual experiments are carried out. To illustrate
table for discussion.
methods, they will first blame themselves for not
this mechanism, think of the early modernist
Through our systematic ways, we can be effi-
being able to apply them well enough. Anyhow
urbanists and architects around the beginning
cient puzzle-solvers, with an incredibly volumi-
architects don’t treat these constantly arising
of the twentieth century, who were trying to
nous production of architecture worldwide every
anomalies as refutations of conventional meth-
define and establish a new architecture through
year. Systematic methods also make us able to
ods; a paradigm does not break down easily. But
spectacular experiments, like Ebenezer Howard’s
focus on the tiny details of built environmental-
as problems keep arising all across the board, a
concept of Garden Cities, and Antonio Sant’Elia’s
related problems, like the perfect lighting condi-
critical mass builds up.
speculative design drawings.
of architects may seem insignificant, but it shows
A critical mass of unsolvable puzzles will put
By breaking down existing assumptions, room is
how we can really deepen our knowledge of
the field of profession in a crisis, dispersing the
created for a new conceptual framework.
tions of an office space. This detailed attention
38 | CHEPOS
SUBJECT PARADIGMS ARTICLE
FILE: VISIONARY IDEAS
“IDEAS NEED SOME PROTECTION, ELSE THEY COULD NEVER BE PROPERLY DEVELOPED.� REVOLUTION
a different language. The differences may be
tionary and normal architecture becomes clear;
Only by a strikingly successful achievement or
subtle, but surely pre-modernist architects were
balanced resistance of paradigms against rejec-
experiment, architects can be convinced of the
talking about something else than modernist
tion makes architecture productive and healthy.
potential of a new paradigm. Whatever this
architects when discussing, for instance, beauty.
If paradigms were constantly questioned, puzzles
achievement is, it must be a source of inspiration
Being in a paradigm, an architect can easily tell
could never be solved and knowledge of how
to others and suggest a way to investigate the
why his paradigm is better than others, but seen
to improve the built environment could never be
built environment and solve new design puzzles.
from above, it will seem as if the architects in
deepened. Ideas need some protection, else they
CIAM and the Weissenhof Estate, its built mani-
opposing paradigms are talking past each other.
could never be properly developed. However,
festation in Stuttgart, are strong examples of
The paradigms are actually incomparable worlds,
if paradigms were never questioned, and archi-
such achievements, as they have inarguably had
so discussing whether a shift in paradigms is
tecture were completely irresponsible to failures,
a big influence on architecture in the twentieth
rational or progressive is a complicated business.
conceptual advance would grind to a halt.
century.
A paradigm shift is thus not a leap over limits, but rather a leap to other limits.
1
Such a revolutionary achievement functions as the core of a new paradigm. The new paradigm
BALANCE
is based on different standards, a new out-
Architectural paradigms are social mechanisms
look on the world, and sets a new agenda. A
that can sustain cooperative work on one hand,
paradigm shift is like a gestalt switch. Architects
but also break down and reconstitute themselves
working in opposing paradigms seem to speak
in new paradigms. Now the role of both revolu-
SUBJECT ARTICLE
IMAGES 2
1. Exemplar of a paradigm? Weissenhof Estate, Stuttgart (source: www.studyblue.com) 2. Destruction of a paradigm? Destruction of Pruitt-Igoe, St. Louis, Missouri (source: wikimedia)
SOURCES 1. Peter Godfrey-Smith (2003) Theory and Reality: an introduction to the philosophy of science
CHEPOS | 39
DESIGNING SURINAME IR. PETER NAGEL My father was born in Suriname in 1951
Peter Jacobus Nagel studied Architecture at the
reunion on the island. For five years Nagel and
and lived there until 1969, when he left
University of Delft between 1938 and 1946.
his wife resided in Aruba, but when they learned
for university in the Netherlands. He used
During this period, he witnessed a razzia per-
Suriname was in desperate need of an archi-
to tell me how the Art Deco style architec-
formed by the German occupiers. The Germans
tect, they founded a new firm in Paramaribo.
ture from the Floridian beaches reminded
randomly selected 215 students during a lecture
They lived in Paramaribo until 1963 when they
him of the brilliant streamlined build-
that were sent to concentration camp Vught; the
returned to the Netherlands, but Nagel ac-
ings in Paramaribo. Soon I found out that
rest was allowed to leave. Nagel was in the latter
cepted Surinamese projects until 1969. His wife
most of these Surinamese buildings were
group and immediately went into hiding until
Marie compiled a book containing his life work
designed by one man, born in 1921 in the
the liberation in 1945. He graduated in 1946
after Peter Nagel died in 1997. All the images
Watergraafsmeer, Peter J. Nagel.
and traveled to Aruba to start an engineering
on these two pages originate from her collec-
firm with his brother Jan, leaving behind his
tion and give a stunning impression of Nagel’s
fiancée. They married straight away after their
architecture.
TEXT: LENNART ARPOTS
OGEM (1956)
Hollandsche Bank-Unie N.V. (1957)
My father recognized the architecture Peter Nagel introduced in Suriname
The design of the Hollandsche Bank-Unie might remind you of Dutch mod-
as 1930s styled, and that isn’t surprising. Nagel started studying Architec-
ernist architecture, mostly found in designs for expensive department stores
ture in Delft in the late 1930s until he was coarsely interrupted by the Ger-
from the 1950s. Nagel was a great admirer of Willem Marinus Dudok.
man occupation during World War II. Few construction projects were real-
Dudok designed many department stores in Dutch city centers, such as the
ized during the war. After graduating Nagel immediately left the country.
Bijenkorf in Rotterdam which was partially destroyed in World War II and
Therefore his vision became a snapshot in a time of pre-war architecture.
eventually demolished in the 1960s. Dudok was well-known for his artistic
From then on he was mainly influenced by tropical architecture in Aruba,
ability of carefully placing volumes to create striking compositions. Dudok’s
hence the reminiscence of southern Floridian architecture. Rounded corners
influence is clearly visible in many of Nagel’s designs. Nagel plastered most
and horizontal lines dominate the Art Deco district in Miami Beach, as well
of his buildings and used colorful natural stone for accents. In addition, he
as vertical blinds against direct sunlight. These elements can be spotted on
used traditional wooden siding on his design for the Hollandsche Bank-Unie
the prominent OGEM building that was completed in 1956.
to magnify the horizontality, in contrast to the vertical window bays.
40 | CHEPOS
DESIGNING SURINAME
FILE: VISIONARY IDEAS
De Surinaamsche Bank N.V. (1959)
Central Post Office (1960)
Peter Nagel designed many public buildings in Suriname, among which are
Modern architecture in Suriname only started to appear as late as 1940.
three banks. Nagel was very creative with his designs for publicly accessible
During the principal part of the 19th century, buildings were constructed
buildings and invited a number of artists to collaborate on his projects. De
following 18th century techniques and eclectic architecture was not present
Surinaamsche Bank (DSB, not to be mistaken with Dirk Scheringa Bank) for
until the late 1880s. In the same way, constructions from 1900 till 1940
instance, featured many artworks. Erwin de Vries designed six decorative
were more closely related to architecture from the 1800s than to their own
window grates made of wrought iron, which flank the main entrance. Cen-
century. The opening of the Central Post Office in 1960 definitively intro-
tered in these grates are six glass panels that portray important Surinamese
duced Suriname to the modern era. This -for Surinamese standards- bulky
economical activities such as the citrus culture, rice cultivation and bauxite
building housed many public functions and caused modern architecture to
extraction. In front of the building stands a sculpture designed by De Vries,
really integrate with the Surinamese cultue. Following the OGEM building
symbolizing the connection between DSB and its clients. In addition, Nic
and the Hollandsche Bank-Unie, the Central Post Office is the third building
Loning painted an impressionist mural near the main staircase.
adjacent to the Church Square designed by Peter Nagel.
CHM (1962)
Architectural legacy
Much like the Netherlands in the 1950s, Suriname experienced an enor-
When standing on the corner of the Church Square, one can really experi-
mous economical growth after World War II. For the Netherlands this
ence the influence Peter Nagel had on the nation. His buildings distinguish
growth has been continuous ever since. In contrast, after the Surinamese
themselves from traditional Surinamese construction by the use of modern
Independence in 1975 and the revolution started by Desi Bouterse in 1980,
materials such as plaster, steel and reinforced concrete. Nagel was the
the Surinamese economy declined. Therefore, the period of 1950 till 1970
first modernist of Suriname and he put his stamp on the city by pushing
has been extremely important for the appearance of Paramaribo, and Peter
Surinamese architecture beyond its boundaries. In fact, many of Nagel’s
Nagel echoed the economical growth in his architecture. In 1957, Nagel
buildings have actually been featured on Surinamese postage stamps. Nagel
travelled to New York to gain inspiration for a design for the Curaçaoan
worked in Suriname for twelve years and had to leave because of health is-
Trade Company (CHM). This resulted in probably the most striking of
sues caused by the tropical climate, but his legacy will continue to decorate
Nagel’s designs. The large canopy was realized using a so-called balance
Paramaribo for years to come.
construction, counterbalanced by the weight of the floor.
IMAGES All images related to this article originate from the book “Achteraf Bekeken, Architectuur in Suriname 1951 tot 1969: Bouwwerken ontworpen door ir. P.J. Nagel (1921-1997)” (2005) by Maria Nagel - de Groot. If you are yearning for more historic imagery or the personal account of Peter Nagel’s wife, you can look up the book in the TU Delft online repository, and costlessly download it in PDF format.
SOURCES 1. “Bouwkunst in Suriname: drie honderd jaren nationale architectuur” (Hilversum, 1966), J.L. Volders 2. ‘‘ir. Nagel, Peter Jacobus’’ October 10th 2015, nai.nl.
CHEPOS | 41
THE LONDON PEDWAY Looking up in the City of London, one might wonder what those bridges in the sky are. Are those bridges going anywhere and why do they seem unreachable? Those that are accessible however, allow you to wander in a London that could have been, but never really was.
TEXT: JUSTIN AGYIN
The elevated pedestrian walkway, or pedway
ally the vertical segregation of traffic flows was
the podium and the tower. From 1945 the dual
as the planners of the City of London called
inverted, as in Hilberseimer’s Hoghhausstadt
carriage ways were being built and these were
them, was an abstract planning concept that
where the pedestrian, instead of the car, was
lined by a sequence of towers that were placed
was commonly used in 1960s urban planning.
elevated. The two approaches differ in the sense
angularly to the carriage ways and connected to
The planners at the time were all architects and
whether the car or the pedestrian is elevated,
each other via elevated pedestrian walkways and
thought that people would follow architecture.
but what they do have in common is that they
podiums. These towers on the one hand looked
With that in mind, those architects had a utopian
got rid of the traditional street completely.
like those coming from the Bauhaus architects,
dream. They had a dream of a perfect walking
infused with the latest from New York. On the
environment, a pedestrian realm of vistas and
After the war, the architects in London were
other hand there were the architects working
comfort where you could easily get from one
still fairly conservative and wanted streets to
with concrete, inspired by Le Corbusier as master
place to another.
exist and buildings to look traditional. They
of the ‘béton-brut’. They used raw concrete and
however had to listen to the architects of the
made a fortress out of it, called the Barbican.
To understand the driving force behind this
City of London and these architects were young
These were two radically different camps and
grand plan, we have to go back further in time,
and radical and thought that the city had to do
they were both there, working on the City of
back to the Second World War. The blitz of
something more daring. So they came up with a
tomorrow.
1940 evaporated a third of the City of London
radical vision that was based on the principles of
and literally left London with a hole in its heart.
THE DOWNFALL
At first nothing happened, leaving it an urban
With the opening of the Barbican Arts Centre
wasteland. Planning did not exist until 1947, so
some cracks began to appear in the utopian vi-
the first who had something to say were the en-
sion that was being realized. When the Art Cen-
gineers. These engineers were striving for a new
tre opened, a lot of people had difficulty with
and modern London, and therefore introduced
finding their way on the walkways. People did
dual carriage ways for cars to whiz into the
not realize they had to climb stairs to get there
City without roads being crowded and without
and continuously had to ask for directions. The
hindrance. To achieve this, a solution had to be
Barbican at that time was almost an elevated
thought off for pedestrians crossing this dual
enclave in a city of normal ground movement.
carriage way at every intersection. At the same
More cracks in the dream of a new London
time they had to be protected from the dangers
started to form when Paternoster Square, at St.
of motorized vehicular traffic. So in 1947 a plan
Paul’s Cathedral, was completed. It was a square
was made by William Holford and Sir Charles
surrounded by characterless buildings where
Holden to elevate these dual carriage ways, simi-
functionalism was taken to its extreme. The
lar to the Ville Radieuse of Le Corbusier. Eventu-
planners however thought that they were doing
42 | CHEPOS
THE LONDON SUBJECT PEDWAY ARTICLE
FILE: VISIONARY IDEAS something picturesque with twists and turns
the podiums, and it turned out to be difficult to
plan, therefore offices were allowed to use the
and different heights of the elevated decks for
get bar and shop owners to leave the comfort
walkways as an interim extension of interior
pedestrians to ascend on. In contrast, they made
of the sidewalk and move to strange and largely
office space, that later could be converted back
something so grim and plain that the dissonance
deserted decks.
to a walkway again. These “temporary” of-
between planner’s ideals and the general public became painfully evident. It was Prince Charles in his speech at the annual dinner of the Corporation of London Planning and Communication Committee in 1987 who voiced these concerns: “…countless people are appalled by what has happened to their capital city, but feel totally powerless to do anything about it. Nowhere is the problem more acute than in that special area around St Paul’s Cathedral.” (…) “Did modern planners and architects in London ever use their eyes? Those planners swept away the lanes and alleys, hidden-away squares and courtyards
fice spaces are still recognizable by the glazed
“DID MODERN PLANNERS AND ARCHITECTS IN LONDON EVER USE THEIR EYES?”
which in most other European countries would
arcades in facades of office buildings from that time. In those same facades strange holes with balustrades can be observed. These strange anomalies in otherwise coherent building envelopes are actually dead bits of pedway, where someday a connection in the shape of a bridge should have come.
FINAL BLOW The final blow to this scheme of the elevated pedestrian walkway came from the conservationists in the 1980s. Together with the big architecture projects of that time, the pedway
have been lovingly rebuilt after the War.” (…)
Another major drawback was the positioning of
meant the destruction of a lot of historic build-
“You have, ladies and gentlemen, to give this
the buildings in relation to the wind. In contrast
ings. In response, conservationists massively
much to the Luftwaffe: when it knocked down
to the alleys of the old city, which protected
started to get listing orders on individual build-
our buildings, it didn’t replace them with any-
people from the wind, the pedways did not.
ings in a kind of patchwork. This meant that you
thing more offensive than rubble. We did that.”
Furthermore, there also was a maintenance
could no longer put bridges between buildings.
It must therefore have not come as a surprise
problem. The lighting of dark pedways was
At that same time urbanism became a study and
that only after twenty years of its rebuilding
problematic and their legal status was unclear.
the traditional street started to make a come-
it was decided to remodel Paternoster Square
Drains often got blocked and thus puddles of
back, putting an end to the development of the
which after a lengthy process was finished
water started to form on walkways that ironically
pedway system.
twenty years later.
were meant to provide a comfortable pedestrian environment shielded from rain.
The only place where the pedway still works is in the Barbican, but only because it has been well
The planners started to realize that a lot more needed to be done to get people elevated, as it
The biggest problem of them all however, was
executed. The rest of the pedway system how-
turned out that people do not follow architec-
that the pedway system in fact never really was
ever has mainly been reduced to another layer in
ture. Londoners were in fact very resourceful
conceived as a system. There was not one plan.
the relics of architectural and urban experiments
in staying at ground level, because the path of
Buildings were required to build a walkway, but
in London. The bits and pieces that are still left
least resistance hardly ever involves climbing up
how these fragments were going to be stitched
provide the City with remnants to something
flights of stairs, which had to be done to make
together was not always clear. Adding the bridg-
that was going to be the future; providing
use of the Pedway system. Therewithal it was
es to these buildings was also very expensive.
people an elevated walkway to float above the
fairly late that bars and shops were added on
In the eighties there still was no comprehensive
city in a perfect walking environment.
IMAGES 1
2
3
4
1. Pedway in the Barbican (photo: Jacek Barcikowski) 2. London Wall in the 60s (source: flickr) 3. 140 London Wall (photo: Robert Lamb) 4. Pedway bridge towards the Barbican (source: “The Pedway: Elevating London”)
SOURCES 1. “The Pedway: Elevating London” by Chris Bevan Lee (vimeo. com) 2. Clarence House. “Speeches”. 2015. Princeofwales.gov.uk.
CHEPOS | 43
STYLOS In every Chepos an article is published from the Pantheon// and vice versa. Pantheon// is the magazine of Stylos, Study Association of the Built Environment, Delft. This article is an interview of two deans; one foreign, one Dutch.
THE EXCHANGE TEXT: VEERLE ALKMADE
Dean
For this article, we have interviewed a Dutch
to work as an architect, where I also started
Can you name some differences in academics
dean working abroad, and a foreign dean
teaching. First at the University of Arts in Berlin,
between the Netherlands and India, Anne?
working in Delft, to learn about their views
later at the Institute of Building Production in
Anne: Practically, there are very few differ-
on education. We have interviewed the Dutch
Carlsburg, and after that in Aachen, where I also
ences. Our bachelor program is five years and
Anne Feenstra, graduate of Architecture at
became dean.
more students here continue to teach at CEPT,
Delft University of Technology and dean at
assisting one of the professors. We are quite a
CEPT University in Ahmedabad, India. We also
When I was approached as a possible successor
bit smaller than Delft, with only 1600 students in
interviewed the Canadian Peter Russell: gradu-
of Karin Laglas, the previous dean of the Delft
total. A lot of teachers are practicing architects,
ate of Environmental Design Studies at Dalhousi
faculty, last year, I realized that at this point in
so that is the same as in Delft. Every semester
University in Halifax, and current dean of the
my career, this could be an interesting change
we also have a lot of summer or winter schools,
Faculty of Architecture and the Built Environ-
of pace and scope. There is only a certain scale
an intense, two week period, which is very at-
ment in Delft.
of things you can tackle or undertake as a chair,
tractive to (international) students and young
and you can do larger things in a group. There
professionals. Climatically and physically, it can
Anne, what brought you to India?
are some things in architecture I am interested
be a lot tougher than in Delft. With daytime
Anne: Mostly curiosity, My parents love to travel
in that need the size of a faculty to tackle. That
temperatures going up to 48 degrees in May
so I was exposed to different cultures from an
ability to be ambitious and tackle larger prob-
and June, one needs to be careful what to eat
early age onwards. After graduating from the
lems was what really interested me to apply for
and drink.
TU Delft in 1993, and a decade of working in
the job.
Europe, I had the chance to travel to Kabul in
Is there anything the Dutch can learn from the
2004. What an incredible place!
What are some of these larger issues?
Canadians?
I got inspired by the people there, and by the
Peter: Well, let us look at the refugee crisis, as an
Peter: I do think that there is a difference in
history and the amazing landscapes. I went back
example. If we take a look at what is going on,
the North American and European mindset.
there the same year and taught architecture pro
we see so many people who do not have access
In America, if something is not prohibited, it
bono for four and a half years at the University
to clean drinking water, to housing, to a job or
is allowed. So if there is a sign that says ‘no
of Kabul. I was inspired by the opportunity to
do not even have the prospect of one. Whereas
smoking’, you are allowed to do anything else,
contribute in an actual way to a country that
I do not think that a faculty of Architecture and
just not allowed to smoke. In Europe, however,
has suffered enormously. With my Afghan col-
the Built Environment can solve this problem,
you will see that if it’s not allowed, then it is
leagues, I wrote the forty-year-old curriculum. I
there are two things that we can do. One of
prohibited.
also met my wife, a journalist/writer from India
those is to be adamant about good governance.
People in North America ask: ‘Is anyone against
there in Kabul.
If you look at countries that have had good
doing this?’, and if no one is against it, it is fine.
governance over the last ten to twenty years,
It is the opposite of asking everyone: ‘Can I
I continued to work in South Asia as its complex
you see that the people there believe in the law
do this? Can I do that?’, by the time you have
and challenging cultures inspire me and force me
and that they are willing to invest in society and
finished getting all the approvals, it is too late or
to grow continuously as an architect, a teacher
invest in the infrastructure, which leads to a
someone else has already done it. It comes down
and a human being.
healthy middle class. What we as architects can
to something that I often say to people: it is a
do is make sure that the buildings and cities that
whole lot easier to ask for forgiveness, than to
What brought you to the Netherlands?
people invest in are in excellent shape so that
ask for permission. It takes a bit of courage, but
Peter: After I graduated in Halifax I got an offer
they retain their value. What we can do as one
I think that is what we need. We need people
to work for an office in Switzerland. I worked
of the leading faculties of Architecture in the
to say: ‘I don’t know if it is right, I don’t know
there for a year and a half, but after that my
world, in a network of other universities, is to
if everyone is going to approve, but this is what
visa would not be extended, because a recession
ensure that the way we train people here, could
we should do.’ If we can teach people about, it
was going on at the time. Thus, I went to Berlin
also take place in other countries.
would be a great thing.
STYLOS
CHEPOS | 45
TOOLS
CHEOPSxGaslab
17 NOV
After a great opening of the lustrum year through the gala, the CHEOPSxGaslab is the
Beyond Vertigo The 10th of December CHEOPS will end its VIth
next marvelous activity on the agenda. The theme of this evening will be
10 DEC
‘The future practice of architects’. The lecuture of Rory Hide, and that of
inside the building of the Faculty of the Built Environment, Vertigo! Have
Herman Hertzberger will leave your horizon broadened and your limits
you ever wanted to party inside a faculty building until the early hours?
exceeded.
This is the place to be! There will be three stages with three different kinds
Gaslab
of music.
lustrum with an incredible party. This party will be
Vertigo
Cultural evening
24 NOV
Christmas recess
During the night of Vertigo’s Secrets, Vertigo will be the stage of several different kinds of acts.
19 DEC - 4 JAN
During these weeks the TU/e will have the
Think of theater, music and comedy. This evening will be organized by
Christmas recess. The whole campus will be closed. CHEOPS will have its
CHEOPS in cooperation with Studium Generale.
final drink of the year on the 17th of December. Meet your friends here for
Vertigo
the last time, win one last round of pool and have the final ‘sandwich of the week’ in 2015! TU/e
Amsterdam Light Festival
28 NOV - 17 JAN
Company excursions Has the recently finished lightart event
5 - 6 JAN
CHEOPS kicks off the new year by organizing the company excursions for BAU. Freshmen
Glow not fulfilled your yearn for colorful light installations? Then head out
will be able to get in touch with companies of their preferred discipline. You
to our captial city Amsterdam! During the Amsterdam Light Festival several
have the possibility to choose several different excursions, so you can form
artictic light installations are set up throughout the city to brighten up the
a better opinion about what discipline to specialize in, during your Bachelor.
gloomy winter evenings to be visited on foot or by boat.
Eindhoven
Amsterdam
Photohunt International
4 - 7 DEC
On the 4th of December, the Photohunt International will take place! It will be an
Parents day
18 FEB
Are your parents interested in what is keeping you busy all day long as a freshman? Have you ever
amazing four day trip across Europe existing of hunting buildings with your
wanted to show them what you are working on daily? This is the oppor-
camera. Does your group have what it takes to beat the competition?
tunity to do so! There will be several student activities organized by the
Across Europe
P-Council to show your parents what it is like to be a student at the Faculty of the Built Environment! Vertigo
Agenda CHEOPS & Built Environment 46 | CHEPOS
AGENDA
COLOPHON CHEOPS, Study Association of the Built Environment Eindhoven University of Technology Groene loper 6, Vertigo 1.15 Mailbox 513 5600 MB Eindhoven T 040-2473140 info@cheops.cc www.cheops.cc Chepos, built environment magazine ISSN: 1873-183X cheposredactie@cheops.cc www.chepos.nl www.facebook.com/CheposPage www.issuu.com/chepos_cheops Chepos editorial board Rick Abelen, Justin Agyin (editor in chief), Lennart Arpots (chairman), Rik de Bondt, Ilke Broers, Martijn Creemers (final editor), Jimmy Hendrickx, Sven van der Hulst, Jolijn van Keulen, Pim Labee, Eva Pabon, Jeroen Pospiech, Renée Thierij, Chastity Verhoofstad Chepos is a publication of CHEOPS, Study Association of the Built Environment. Content may be used for research and study purposes, if credited properly. Exeptions include copyrighted imagery; these may not be reproduced or published without specific consent by the original author. Collaborations Study associations Stylos, Adriaan Jurriëns, Jacob Voorthuis and Alex Donkers Acknowledgements Stefan de Bever, Architectuurcentrum Eindhoven, Geordy van Bussel and Wouter Loomans
Images Cover: Louvre pyramid (2011), Pete Sloan Photography Editorial: Sun (2015), NASA Spread image page 12-13: photo by Jolijn van Keulen (2015) Spread image page 22-23: photo by Jen’s Viewfinder (2012) Spread image page 32-33: photo by Chastity Verhoofstad (2015) Colophon: Ancient Egypt, history.com Offset Drukkerij Snep BV, Eindhoven Circulation: 1200 Advertisements & exploitation Pim Labee: pr@cheops.cc Want to be an editor? Want to share your opinion? Contact the editorial board via cheposredactie@cheops.cc