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CHEPOS built environment magazine

3D CONCRETE PRINTING 61 INTERVIEW THEO SALET | DUBAI DIARIES | FOLLY ARCHITECTURE DEC. 2018

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CHEPOS built environment magazine

‘’Pain is knowledge rushing in to fill a gap’’ Comedian Jerry Seinfeld unrolls his theory on learning, in his brilliant and completely pointless Netflix series ‘Comedians in Cars, getting Coffee’. He refers to how pain can violently inform you about the position of the couch, for instance, in my case through my toe. It teaches you to not swing your legs aggressively in the neighborhood of heavy solid objects.

Many problems that occur can be ascribed to a lack in knowledge. In our last edition, we devoted a whole file theme to a topic underlining just that: reviewing. What have

we learned or can we learn from our faults or pains? What can we learn, for example, of WWII? And how can we apply that knowledge to current war-torn countries? The experiences of former civilizations, expressed in built form, retain important lessons on how to avoid pain in the future, but what if this cultural heritage is endangered by exactly that what it warns against?

technique in the future. Theo Salet talks about experiments that should expose problems with minimal pain involved and a column by Jacob Voorthuis is devoted to exploring the ethical side of dealing with newly gained knowledge.

Throughout the file we explore the opportunities 3D concrete printing brings us and we question it’s threats as well. All to minimize the damage new technologies can potentially do.

‘Everything you need to know, you’ll figure out when you need to know it.’ continues Seinfeld.

This rather laid-back attitude might work for relative minor problems such as hurting your toe, but issues larger than personal ones are not to be taken lightly. It does not suffice to wait for the pain informing us that we have ruined this planet for ourselves and other species for instance.

But don’t worry, reading this edition is not all heavy and painful. There is always room to be foolish and the stories are brightened up, just as the city is, by colorful street art. You can experience foreign adventures and what it is like living a day in the (near) future. And for those with time to explore another dimension there is an article about printing in 4D.

So how to deal with the larger issues at stake?

Would it not be great if we can turn it around, that we learn before the pain? In many ways the development of new technologies is trying to do just that. It does so through theories, tests, models and mock-ups. The file theme of this edition is devoted to one such technology: 3D concrete printing. In interviews we discuss the approach of our very own university on how to avoid making mistakes with this

Should your head hurt after reading all of this, remember that the pain is telling you that you have gained knowledge. Or, as Jerry Seinfeld puts it when referring to the couch incident: ‘’The pain is a lot of information (absorbed) really quickly’’ Have a great read!

Bart van Santen Editor-in-Chief

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FILE: 3D CONCRETE PRINTING

EDITORIAL 1 NL NEWS 4 EDITOURS 6 CHEPOST 8 PARTI 11

Column Maarten Willems BUILDING ELECTROMAGNETIC FREE 12 DUBAI DIARIES 14 DAYS OF THE FUTURE 16

THEO’S THEORY

Interview with Theo Salet REGAINING INDIVIDUALITY ABOUT CONCRETE 3D PRINTING

With Zeeshan Ahmed GO FORTH AND PRINT

Column Jacob Voorthuis THE WORLD OF OBJECTS THE STAGES OF METAMORPHOSIS

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11 THAT’S WHY AFTER THE WAR

Rebuilding Syria WRITING FOLLY STREET POEM

Explanation

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TOOLS 34 36 38

3D-PRINTING YOUR MODELS 40 PANTHEON 42 AGENDA 44 COLOPHON 45

INDEX 7

Patio houses Tilburg Nine new patio houses will be built in a common garden in Tilburg. This entails that the lots on which the dwellings are built should flow into the public space.

This also means there is no real place for front- and backyards.

Meanwhile, the design of the houses will ensure enough privacy for its future owners.

Text: Merel van Hooren & Karim Jaspers

Viewing platform Katendrecht The Fenix warehouse in Katendrecht, Rotterdam, used to be one of the biggest warehouses of the world. Now it is having a huge renovation. The historical warehouse is redesigned by Bureau Polderman, but the viewing platform and atrium are designed by the Chinese company MAD Architects. In Katendrecht one of the oldest Chinatowns of Europe was locate, hence the developers of the warehouse chose a Chinese firm to revitalize this part of history.

The atrium itself will be publically accessible. The organically shaped stairs in the atrium will continue above the roof and create a swirling viewing platform. On the first floor an exhibition will be made that focuses on the history of Rotterdam.

Renovation bridge Vianen Architectural firm cepezed has made a proposal for the old bridge of Vianen, which is no longer used as infrastructure.

With the focus on sustainability, they designed three new building layers on the deck of the bridge. The first two layers consist of energy neutral apartments and on top of that a restaurant and congress center. The extension is made of lightweight materials and ensures enough daylight for the apartments as well as a beautiful view on the Lek. This project managed to preserve the industrial bridge and yet adapt to the contemporary ideals of reusing aged buildings creatively. In addition to that, cepezed presents a novel view on how The Netherlands are used to living with water in harmony.

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Floris Alkemade Architect of the Year 2018 At the 8th of November Floris Alkemade, known as government architect of the Netherlands, won the price of Architect of the Year 2018.

With winning this prize he has left behind HappelCornelisseVerhoeven, Adriaan Geuze, Winy Maas and Kaan Architecten. First, it looked like HappelCornelisseVerhoeven was going to win, but at te very end Floris won with quite a margin.

Alkemade graduated at TU Delft. After this he launched his career at OMA, where he stayed 18 years, 8 of which as a partner. He founded his own firm in 2008, FAA with national and international projects. On the first of September he started as government architect and launched 3 design competetitions since then.

North/Southline Amsterdam - Benthem Crouwel Architects Special attention must be paid to the design of the Nort/ Southline Amsterdam by Benthem Crouwel Architects: they won this years ARC award in the category of best Architecture.

In 1996 BCA already started on the design of these new stations, nonetheless, it still feels very modern. Every station feels fresh and timeless. They do not function as loose buildings without context, but integrate in the street and behave as public space.

According to the jury, the stations reflect the infrastructural function in a very good way: “ingenious and current-time details and the generosity of elevation points and elevators”.

Pakhuismeesteren Rotterdam almost finished After three years of construction, the Pakhuismeesteren is almost finished.

The warehouse of the former Pakhuismeesteren company dates back to 1941 and becomes a hotel with 230 rooms after the renovation. With the renovation, the monumental façades are restored and two additional storeys with a wooden structure are installed.

The design proposal is from awg architecten, in combination with V-Architecten and Gewoon architecten.

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Images: 1. Render patio house (photo: Jan van Oevelen) 2. Atrium Fenix-warehouse (source: dearchitect.nl) 3. Render bridge Vianen (source: dearchitect.nl) 4. Floris Alkemade (source: De Volkskrant) 5. Photograph of one of the stations. (source: dearchitect.nl) 6. Photograph of Pakhuismeesteren

Sources: 1. Patiowoning Tilburg door Marc Melissen Architect.

2018. dearchitect.nl 2. MAD Architects ontwerpt uitkijktpunt Fenixwarenhuis. 2018. dearchitect.nl 3. cepezed ontwerpt circulair plan Lekbrug. 2018. dearchitect.nl 4. Floris Alkemade uitgeroepen tot Architect van het Jaar 2018. 2018. architectenweb.com 5. Winnaar ARC18 Architectuur: Noord/Zuidlijn Amsterdam – Benthem Crouwel Architects. 2018. dearchitect.nl 6. Transformatie Pakhuismeesteren begint. 2015. VolkerWessels.com

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Merel: “this phenomenal basilisque” As an architecture student, you are obliged to visit Sienna. I already did this before I came to the Eindhoven University of Technology, but now the time had come for me to see it with new eyes: eyes that have been taught the principles of architecture (or at least the beginnings, since I only finished my bachelor).

My goal: enlighten my family about this phenomenal basilique: the Cattedrale di Santa Maria Assunta (I mean - just say it out loud), better known as the Duomo di Siena. It is famous for its typical Italian Gothic and Romanesque architecture and it is mesmerizing. The building rises majestically on the city square of Siena, as if it had landed there from heaven. You can already feel the spirituality pulling at you. ‘’Come inside’’, the building says.

And when you do, you enter the so called “Gate of Heaven” as though you are climbing the ladder in Jacob’s dream that reached up to heaven with “the angels of God ascending and descending on it”.

I actually did not come to tell my parents all the architectural highlights. I was to busy recording the building for my own memory, looking at every detail and corner to not miss out on anything. I was literally blown away and gone to heaven.

SIENA THE EDITOURS MUMBA Where did our editors go?

Ananda: “an unmoving act” I sat in our compartment as the train halted at the Chhatrapati Shivaji Terminus. The wait is abridged by the bustling activities of the passerby. The small metal window in front of me like a cardboard puppet box sets the scene of an early Monday morning in Mumbai. Office workers in their usual costumes, white shirts and black trousers, hustle through the endless crowd. Vendors selling tea clamour “chai, coffee, chai, coffee” in a monotonous ring. Porters rush to their daily chores and the tiffin-wallahs ferry stacked steel bowls across the platform. The shopkeeper of a second-hand bookstore dresses the stand in Jane Austen, Charles Dickens and Enid Blyton and caps it with the daily newspapers.

And with this, a blanket of chaos is cast on the unmoved Victorian gothic railway station, the backdrop of this act. The concrete theatre with its intricate structure is imbued with blue construction tarps and steel scaffolding, concealing the stories of the past with those of the present. Like a kaleidoscope, the platform and the walls are just containers to hold. Finally, the conductor blows his whistle and the train chimes in. The train begins to move. Exit and now Act 1 Scene 2.

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Karim: “walking through a filmset” The German city of Dresden was heavily damaged after World War II, but instead of rebuilding the city center with cheap flats like most cities, the government decided to restore the old buildings in the exact same style. Churches and even an entire palace was resurrected to fit in with the old architecture. You could not easily tell which building was restored and which was genuinely old.

Although this ideology of restoring the past seemed to be fitting, I still had an eerie feeling when walking through the city center.

Rationally I knew these buildings were only fifty years old at most, yet visually they resembled the historic baroque architecture. It felt as if I was walking through a filmset in which the creators tried to make you forget that everything around you is simply fake. But precisely for that reason, you do start to think about the war and its destruction. The city center displays what Dresden could have been like without the bombing, while simultaneously showing the disasters of the war.

AI LISBON DRESDEN SIENA M Martha: “discover new parts” During my stay in Lisbon, Portugal, my friend Simone and me stayed in a lovely hostel in the popular neighborhood Bairro Alto.

We knew this neighborhood was famous for its nightlife and restaurants filled with Fado music, and I have to say: we were not disappointed. The first night we arrived quite late and we had a Mediterranean dinner with live Fado singers, so we were almost literally thrown into the Portuguese culture.

Bairro Alto is one of those revitalized neighborhoods that used to be poor and old, but now is very popular amongst young people. Even though the buildings still seem very neglected, the classic tile facades of the Pombaline-era are charming even when old and dirty. What makes the neighborhood interesting to visit during the day, is the fact that you can just stroll and look around, discover new parts all the time. The hilly and narrow streets bring out your curiosity: you simply want to know what is going on in the next street. During the night, these narrow streets are filled with people with drinks in their hands, and restaurants with amazing Portuguese food. All things considered, Bairro Alto is a must see when visiting Lisbon.

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ChePOST CALLUM AITKEN JUNIOR ARCHITECT ARCHITECTURE 25 YEARS OLD

Intern on time It’s 9.32; K carefully opens the door…. just a little too loud. K: ‘morning’, her colleagues respond while her bosses leave a telling silence.

K sits at her desk and powers on her computer.

It was her flatmates birthday last night and for all of her friends except her; Wednesday’s are perfect for staying out all night.

In the Netherlands, becoming a licensed architect is to choose between TU Delft and TU Eindhoven, completing a Bachelor and then Master Degree (MSc), after which graduates can find a job, join the Dutch Register of Architects (SBA) and sign up to complete a professional traineeship (BEP). This is similar to most professional accreditation systems in Europe, including the UK. However, in Britain, Bachelor graduates register with the RIBA and can begin this professional experience immediately. Although not compulsory, it is expected to complete at least one year in practice before continuing education; it is unlikely to be accepted into a Master study in the UK, without having done an internship. Fundamentally with such a vocational, practical and highly relevant study as architecture; shouldn’t we make experience in professional practice obligatory?

K has spent the first hour of the day rotating a 3D model, pretending to work. R, her boss, asks her to make a round of coffees for a meeting which will be starting soon. She duly obliges and switches to her second role, as office barista.

The experiences gained while doing an internship go far beyond the skills you learn. Even the highest achieving students are suddenly thrown into a world where they’re the least useful in the office. In return for the skills and ‘know how’ they receive from their superiors and a meagre (or no) salary, their contribution to the team has to extend beyond the expected. This may sound like doom and gloom but actually presents great opportunities for students; often involved in exciting projects and competitions, while ‘fee earning’ colleagues are assigned elsewhere.

K has finished cleaning up after the office lunch and is working on her current project; enjoying her ever improving skills in AutoCAD; her colleague interjects: ‘you know there is a much faster way of doing that!’. K sighs and receives another condescending pointer.

The tips, tricks, techniques and general speed with using building software are exceedingly beneficial for a Master study. Improving these skills and gaining short cuts can make the difference when the quantity and quality of work expected of you towards the end of your studies increases.

Studying architecture can be abstract; designing projects with no budget or planning appeals from grumpy neigbours, never to be built. So do an internship and BUILD! On top of that you’ll build up a network, professional

relationships, friendships, your repertoire of CAD tricks, and some financial reserves to pay for your expensive models during your Masters.

It’s 16:00; the office is silent except for relentless mouse clicking. K tries to strike up a conversation: ‘guys, is it strange to meet up with an ex for coffee?’... R ignores the question, while a younger colleague ends the awkward silence with his take on the matter, to K’s relief.

Getting experience in a professional environment as early as possible develops not only one’s direct skills in architecture but how you communicate, present and manage time. I believe the most valuable factor of my internship was broadening my horizons. I went from having only lived in Scotland to a new country, and learning a new language and culture.

This adventure brought me new experiences, friends and inspiring colleagues; influencing where my life has gone since. I learnt what I was interested in. This allowed me to frame my study back in Scotland; choosing my courses and leaning my projects towards what I knew I was passionate about.

K is on the train home, exhausted; she cannot wait to be studying again. Although once tired of University, she now is exhilarated by the notion of working on her own designs, out with the restrictions of the professional environment. Inspired by her experiences, she continues her adventure into architecture…

Have something you need to share? Send an email to chepos@cheops.cc and your article might get published!

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Street art Bright things on the wall

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Images: 1. Street poem Leiden (source: wikimedia) 2.

Street art Lisbon (photo: Martha Boekestein) 3. Silly Walk Eindhoven 4. Street poem Hoorn (source: Wikimedia) 5.

Street art Eindhoven (source: wikimedia)

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Maarten Willems Maarten Willems is the new columnist of the Chepos. He is a teacher and researcher in the deparment of AUDE and he will write updates about what is happening at BE faculty.

Parti

Part I We introduce our new students, both the Bachelor freshmen (mind you; a population of 303 this year) as well as the preMaster students, to the obscure but exciting world of architecture. We particularly commit ourselves to provide them with a useful architectural vocabulary, a toolbox of ideas and concepts that architects use to communicate about their products and discipline. It is a big box. It contains a wide range of deceptively simple words as street, square, plan, to the presumed more complex jargon such as sequence, tectonics, morphology, zeitgeist.

One of the notoriously confusing concepts turns out to be the word parti. A beautiful, subtle, poetic word, derived from the French verb partir, to leave, and closely related to ‘departure’.

Parti signifies the starting point of an architectural design. Stripping down the very heart of a design to its bare essence, most commonly expressed in an abstract architects’ sketch. Tadao Ando, Renzo Piano and in particular Oscar Niemeyer made stunning parti sketches in just a few, but just the right, lines.

The sheer beauty of the word parti, and perhaps the reason for confusion, is the fact that it has both a tragic and a promising connotation. On one hand ‘to leave’ is a sad word. Partir c’est mourir un peu, to leave is to die a little. But on the other hand it implies that something new will emerge. Death and birth united in one concept. Leaving is both abandoning one thing, but at the same the time the start of another.

Part II Like designs, architecture schools and their programs themselves need to have a parti. We should have some sort of mission statement that brings down all the stuff, we cram into a 5 year educational program, to its quintessence. And indeed that is difficult. To formulate, and to constantly reflect on it. It’s not the ‘Where innovation starts!’ that you’ll find on banners at the campus entrance. That’s a rather hollow phrase, a bragging and boasting advertisement. I much more believe in what Christian Norberg-Schulz wrote back in 1980, ‘…the task of the architect is to create meaningful places.’ That’s not bragging, that’s helpful, encouraging and telling us what our societal responsibility is.

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Images: 1. Picture of Maarten Willems 2. Parti sketch by Renzo Piano (source: pritzkerprize.com)

COLUMN 15

Architecture and Electromagnetic Hypersensitivity What is the role of architecture for the human body? This may be a reasonable question, considering most designers do display care when contemplating the human element. We think about the human scale and how not to create monstrous environments. We experiment with notions, contemplating the balance between new and old. We muse at the idea of impact in a cultural terrain, and we daydream about the views and atmospheres meandering from inside to outside. In all attempts to be architecturally pleasing and subtle for a neutral experience of forgetting oneself, or more importantly, to be held by architecture. As a fellow daydreamer, the joy of designing and pushing the intellectual boundaries are rewarding and liberating. Most of you would go on to realise projects, interact with clients and hopefully become successful architects. In this light, I write concerning a lack of awareness about electromagnetic radiation sensitivity in the built environment. Text: Narindath Maraj The human body is a main occupier of the built environment, with more than 85% of human life spent inside buildings. Electromagnetic fields (EMFs) dominate the assembled world around us with increased applications of microwave frequencies such as Wi-Fi, mobile devices, smart meters and others. Relatively speaking, EMFs are a new radiation interaction with the human element. Levels of background radiation in this era are severely high, measuring millions of times greater than natural radiation levels. Health predicaments associated with EMFs, or the mass implication of electro pollution, continue to be a controversial topic.

However, research shows EMFs are capable of altering cell structures in humans and animals.

People experience varying sensitivities to EMFs: some can be in electro radiation but remain unaffected, while others experience severe health problems when exposed. These affected persons are categorised as Electromagnetic Hypersensitive (EHS).

EHS follows a proposed definition by the World Health Organization as: “a phenomenon where individuals experience adverse health effects while using or being in the vicinity of devices emanating electric, magnetic or electromagnetic fields.� Symptoms related to

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EHS are: skin irritation (redness and a burning sensation), fatigue, headaches, dizziness, nausea, heart palpitations and indigestion. A clear connection between electromagnetic radiation and EHS is not established because of a lack of comprehensive scientific research. Researchers are probing into psychological (Personality Scale, Psychological Functioning Scale and Quality of Life Scale) and physiological factors to determine the exact link. An outcome from these researches suggest the need for different clinical care associated to the multiple forms of hypersensitive ailments in the environment.

These can range from chemical sensitivity (pesticides used in agriculture), overexposure to industrial toxins, EHS and many others.

existent EMFs as refugee harbours for affected individuals. Switzerland for example, identified an ideal location close to the city of Zurich for a design competition. Architects were invited to design a four-story apartment building near the Entlisberg forest. This site was selected because of a nearby mountain region, that crated a protective barrier from high influences of EMFs. Winner Andreas Zimmermann designed fifteen apartment units equipped to function as a home for EHS occupants and persons with Multiple Chemical Sensitivity (MCS).

Realised in December of 2013, the constructed project is the first anti-allergic apartment building in Europe.

Despite the lack of a clear cause for EHS, it still stands to be a real and incapacitating problem Despite the lack of a clear cause for EHS, it still stands to be a real and incapacitating problem for a growing amount of people. Countries such as Austria, Sweden, Switzerland, Belgium and Australia have started to recognise the validity of EHS. These countries, among others, underwent identifying regions of low or non-

The costs were estimated at an additional 25% compared to a regular building of the same size and design. This was due to additional technological and material use. Zimmermann paid close attention to realise the final product with the appearance of a normal building. He valued the autonomy of the occupants in the

urban environment; signifying an importance to live comfortably. Constructing techniques utilised fiberglass frames instead of typical metal frames. Special EMF shielding covers were installed over electric wires and in the construction, to lower EMFs penetration. The building is layered as three concentric regions: the central core of elevator and staircase, the utilities of each apartment, and the living spaces. Zimmermann designed the central core as a semi-public space, where individuals visiting may not be aware of personal devices emitting EMFs. Layering the floor plans as such resulted in a buffering of internal EMFs to the living spaces.

He valued the autonomy of the occupants in the urban environment; signifying an importance to live comfortably.

Designing for EHS inhabitants requires substantial research into building materials, construction techniques, and smart organising of living spaces. Though some challenges exists, present designers are finding a rhythm for deconstructing different categories of complications. As a result, architects are constantly interacting with different disciplines to ensure design criteria are achieved. To envision a building that heals and harmonizes with the human body, architects ponder multiple scientific realms like physics, psychology, chemistry, anthropology and botany. Consequently, numerous types of design principles have been emerging. One such principle related to harmonizing the human responsiveness to the built environment is Biophilic, an emerging organising principle for the built environment, which concentrates on stimulating connection to nature through shapes, patterns, colours and natural elements. Biophilic by itself, is not a solution for designing an EHS building, as site location and construction materials are an unfortunate limitation. However, Biophilic can

reduce levels of stress and improve cognitive functions.

The ability to capture indoor atmospheres that are comfortable and pristine for working and production is maturing quickly with Biophilic.

To understand how Biophilic works, three distinctions can be made: 1. Direct connection to nature as a physical presence. For example, natural air flows, direct sunlight and visual connections to nature.

2. Indirect connections to nature, in terms of patterns, colours and shapes.

3. The human response related to perceptions of mystery, vastness and security.

Biophilic philosophies can provide an initial solution to the reliance of EMFs in the working domain. Designing for EHS individuals is problematic, but can be approached with smart monitoring of spaces, estimating the fluctuation levels of EMFs and identifying regions for relaxation. These regions in the working environment would revitalise the human body, providing an intermission from EMFs; ultimately gearing towards a healthier indoor environment for everyone.

Recent publications and documentaries (e.g.

Generation Zapped and Ubiquity) continue to highlight the lives of EHS persons. Capturing a range of increasing struggles that drive these people to empower themselves to live comfortably. From constructing underground bunkers to coating a living space with EMF shields. All in all, attempting to experience a moment of peace from the surrounding assembled world.

Predominantly, as aspiring designers, these issues offer a chance to generate an impact on the built environment and to create a setting for EHS individuals.

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Images: 1. Simon Zangger (source: stadtzuerich.ch) 2. Andreas Zimmermann (source: stadt-zuerich.ch) 3. Biophilic roofgarden (source: c1.staticflickr.com) 4. Ataria, connecting to wetlands (source: upload. wikimedia.org)

Sources: 1. Biophilic research by Terrapin Bright Green. terrapinbrightgreen.com 2. Electromagnetic Hypersensitivity, The World Health Organisation. who.int 3. Apartment building in Zurich. elettrosensibili.it 4. Floor plan from apartment building in Zurich. eiwellspring.org

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DUBAI DIARIES We received a warm welcome at the airport. Although it is one o’clock at night, the thermometer on the dashboard in the cab indicates an outdoor temperature of 29oC. It is my first day in Dubai. As part of Team VIRTUe I will be participating in the Solar Decathlon Middle East 2018, a competition to design, build and operate the most sustainable house, competing with 14 other teams from all over the world. Text: Bas Turk October 25th, 01:30; at least one stereotype is confirmed when looking out over the city. Even with my face pressed against the cab window, it is hard to see the top of some of the skyscrapers flanking the highway. Although Dubai has a tropical desert climate, where heavy rain is such a rear phenomenon that people record it with their phones, the whole panorama of the city towards the hotel is covered with green strips. Each plant is nurtured through an irrigation system and all this greenery takes away the feeling of being in a hot desert, when driving around in an air-conditioned car.

Two more things draw my attention during the ride: the names of Emaar and DAMAC. They are one of the largest property developers in the country, but can best be described as two video game players who are building their own city in “Sandbox mode”: no monetary restrictions and a large open site without history. From the viewpoint at the fountain show at the foot of the Burj Kalifa, the name Emaar is visible in big neon letters on top of twelve of the surrounding buildings. This includes the largest tower in the world itself and the Dubai Mall, which is (of course) also the biggest in the world. Real estate here is only considered as an investment, leading to imbalances on the housing market. You can find a lot of vacant

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high-end apartments, while still one out of every four cranes on Earth is located in Dubai to build more. At the same time, many poor people can’t afford a decent home in the city.

October 27th, 16:00; An elegant skirt on a needle. That is the first comparison that pops up in my head when we return to the mall.

You can see that Emaar has learned from her design mistakes in the Burj Khalifa, when looking at the model for the successor of the highest building in the world called the Dubai Creek Tower. The Burj has a high vacancy rate due to high rental costs, while the neighboring buildings have a higher yield due to an increase in tourism. The tower itself is only profitable because of the 124th and 148th floor; the two observation platforms for tourists. Broadly speaking, Emaar has skipped the bottom of the tower in the design for their newest centerpiece. Only the top floors remain, including 10 observation decks, as a spool on top of a needle. As a result of the high center of gravity, Calatrava’s design is balanced by steel tension rods which fan out towards the ground.

At the end of the day I suddenly realized that after three days in this city, I couldn’t answer the simple question every Dutch person would ask: “how is the weather over there? It must

I couldn’t answer the simple question every Dutch person would ask

be hot.” You can easily spend a day (or three) here without going outdoors. Even the 800 meter walk from the metro line towards the Mall can be bridged through an air-conditioned tube. It feels like walking through an aquarium tunnel while skyscrapers act as the sharks that circle above your head.

November 5th, 13:30; Al Quoz Industrial Area 3 feels more like being in India than in the UAE. This area is located not far from the palm islands, but it is the complete opposite of the locations which you normally visit as a tourist.

Here you see many busses driving around, transporting the underpaid laborers which make up for a large part of the city’s population. Royal Apex, the building shop where we have to get our materials (a whole arsenal of screws and bolds and safety cones), looks dilapidated. So much so, that another team member felt uncomfortable getting into the shop. Luckily, their one star appearance was compensated by a five star service by a young man, who helped us patiently for more than 1,5 hours. We noticed that even though they sold the cones we were looking for, little safety rules apply in these areas. Steel rods were being cut with a circular saw on the ground, right next to a cardboard box and a duct tape covered power cable. Due to absence of PPE, the man cutting it had to look away from the blade to prevent sparks from flying in his eyes.

November 23th, 14:00; He looked up from his phone on which I had entered our destination a couple of minutes ago. After four years of being a cab driver, the large solar park near our competition site is still an area he had never driven to before. Growing up in Bangladesh, Anil came to Dubai 14 years ago to ensure a good income for his family back home.

Unfortunately, life in Dubai is too expensive to raise his family here, and Anil is only able to visit his wife and five months old child once a year on a holiday. Nevertheless, he is happy with his life in Dubai. “Although I have never visited another country, I know a lot about the world by talking to my customers. I know now that Dubai is a nice place to live. The country

One out of each four buildings should be 3D-printed by 2025

luxurious lifestyle that many inhabitants have, not to mention the large irrigation system needed for all the greenery and luxurious golf courts in the middle of a desert.

It might thus feel strange to compete in a sustainability competition in Dubai, since the city is mainly used by the government for marketing purposes; in line with the biggest, the tallest, you name it. Nevertheless, I hope that the solutions presented in our projects will receive a warm welcome by those who hear about it.

Images: 1. View from a car on the highway (Picture by Tamar Henquet) 1

Sources: 1. 1 op elke 4-gebouwen dubai zal tegen 2025 worden ge-3d-print (Marc Horckmans, 2018) nl.express.live 2. 15 mind-blowing facts about Dubai. 2014. businessinsider. com 3. Emaar completes foundation new tallest tower Dubai. 2017. gulfbusiness.com

is safe, the streets are clean and there is little corruption.” Thanks to the Sheik, who has boosted tourism by making everything “the biggest, tallest, or most luxurious”, Anil has a lot of work.

After having spent over four weeks in this city, I still haven’t figured out what to think about Dubai, mostly due to the large contradictions you can find here. On the one hand a lot of Asian workers are underpaid and live in poor conditions, yet a portrait of the sheik is still

displayed proudly behind the counter of Royal Apex. Anil is thankful to his government as well. As a European with a background in any orientation within the built environment, you can easily find a high paying job in a large scale project. However, the housing market is unstable due to lucrative investments. Furthermore, the government tries to present the city as a world leader in sustainability, where, for example, one in four buildings should be 3D-printed by 2025. These sustainability goals, however, are incompatible with the extreme

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Days of the Future You wake up by a ray of sunlight hitting your face. The curtains have been automatically opened1 and your surround sound system is reading you today’s headlines and weather2. Text: Sander de Meij While you make your way to the bathroom your favorite music starts playing and you wonder what song is playing right now, you’ve never heard it before but you’re digging it3. As you are brushing your teeth your mirror shows you your social media feeds and lets you post what’s on your mind instantly4. After taking a shower you consult your online fashion advisor and you pick your clothes based on her always infallible opinion5. Making you’re way down to the kitchen, the smell of freshly brewed coffee6 and slightly underdone toast7 welcomes you. Your coffee has been made to your personal liking as is your toast. Indulging in your breakfast, you ask your personal assistant8 to read you your schedule for that day: you have a few meetings at the office and tonight you will be having dinner with an old friend you recently got in touch with via social media. As you take the last sip of your coffee, you get a notification that your ride has arrived9.

Walking out the door, you step in the back of the car and you’re off to your destination. You notice the car is taking another route than usual, but as you pass the normal route you see that the road is under construction. During the relatively long ride, you prepare your meetings and you see you are assigned to a room on the 24th floor10, you wonder whether it will have a nice view, and you edit your personal working settings to “prefers working station with a view”.

Arriving at your office building, your drive quietly leaves for its next costumer, and you make your way to the large locked doors.

Noticing it is you, the doors open up11 and you greet the desk assistant. Stepping into the elevator, you get another notification telling you that it has been 2 weeks since you last called your mom, so you add it to your to-do list while setting your notifications to work mode. Entering your office, you are glad to see that this office indeed has a good view. Habitually you check the temperature of the room, you know it will be in accordance to your personal preference, but you check it anyway; it is perfect12.

Your meetings go as planned and you even find some time to work on your personal fitness goals by doing some push ups. You

20 NOW

see that a friend of yours is working on the 25th floor and you send him a message how he’s doing and if he wants to grab lunch together. He replies that he is very busy but that he will send you a meeting request for next week. The rest of the day is spent filing reports and making phone calls.

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At 6 o’clock you get a notification that your ride has arrived and you make your way downstairs as you do every day. You get in and realize you don’t know where you have agreed to meet your friend, so you ask your personal assistant: it’s that nice Italian place around the corner, your favorite. You enjoy dinner and show each other photographs of vacations, friends and family. During dinner, your personal assistant asks you at what time you will be leaving and you tell her that you’ll leave around 9. The time flies by and before you know it you find yourself back home, watching your favorite series again.

Exhausted, you lie in your bed. The curtains are being closed and the lights are being dimmed.

You look back on your day and are quite satisfied with what you’ve accomplished today. But then you wonder, how much have you really done?

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Images: 1.Somfy “Curtains. Somfysystem.com 2. Samsung 2018 “Wat is Bixby?” Samsung.com 3. Medium “How Does Spotify Know You So Well” 2017 medium.com 4. Prodisplay “Interactive Mirror” Prodisplay.com 5. Mashable 2011 “4 Online Platforms for Personalized Style Advice” mashable.com 6. Ideaing 2018 “Wake Up With These Smart Wi-Fi Coffee Makers” ideaing.com 7. Engadget 2017 “The world now has a smart toaster” Engadget.com 8. Kim Wetzel 2018 “What is Alexa? It’s Amazon’s virtual voice assistant” Digitaltrends.com 9. Uber 2016 “Steel City’s New Wheels” Uber.com 10. Cobot “How does Cobot help your Coworking Space?” Cobot.me 11. Stonelock “Stonelock” Stonelock.com 12. Nest “Nest Learning Thermostat” Nest.com

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NOW 21

INNOVATION NEEDS VARIATION At TNO countless specialists from so many different fields join forces in the most diverse projects, each of which has an impact on our society.

WHERE DOES YOUR CHALLENGE LIE AT TNO?

CHECK TNO.NL/CAREER FOR CURRENT VACANCIES Follow us on: tno_talent TNOresearch company/tno tno_research

THYMEN WABEKE Innovator “Each project is different, and there is so much choice.

At TNO you never do the same thing twice.”

Street art Bright things on the wall

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Images: 1. Street art Rotterdam (source: wikimedia) 2.

Street poem Leiden (source: wikimedia) 3. Street art Arnhem (photo: Martha Boekestein) 4. Street art Groningen (photo: Martha Boekestein) 5. Street poem the Hague (source: Wikiwand)

3D Concrete printing

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3D Concrete Printing

As contemporary industries evolve rapidly, the built environment tends to stay behind. The production process of concrete is illustrative, not having changed much since Roman times.

Concrete is poured into molds on site, or, more up to date, in factories to be installed on site at a later time. The downsides of this ancient technology are not only the limitations in design possibilities, but also the high CO2 emissions caused by the excessive use of cement. Currently, more than half of the concrete applied in buildings is just dead weight.

Printing concrete could solve these problems and more, as you will learn when reading the file! Text: Martha Boekestein

use this information in the right way, you can do anything. And that is what it is about for me: not the printing of concrete but creating a smart industry, where robots can translate a BIM model into a real building.

Theo’s Theory

During the brainstorm on the file theme of this edition, 3D concrete printing, we found out that we have a lot of questions about this concept. To try and get the best answers as possible, we decided that it would be great if we could ask the 3D expert of this faculty himself: Theo Salet.

Mats and Martha interviewed him and tried to find the answers to our burning questions!

We sit down at his desk in his small room on the 9th floor. After laying a pen and the paper with our questions on the table, and pushing “play” on our recording app, we ask Theo the first question we wrote down. Instead of answering, he says he wants to answer a different question first, if we don’t mind. We don’t, so we ask him what that question would be. “Well,” he says, “I would like to answer the question of why on earth we print concrete in the first place!”

That is a good question. Why do we print concrete?

Well, first of all: it is not about the actual printing of the concrete - that seems to be quite uninteresting. For me, it is all about contributing to the developments in our profession, and the way we are falling behind compared to the rest of the automated world. If you take a close look at the macro-economic developments, the way we are organized, you see that the industrial world grew from an industry 1.0, where physical labor is replaced by machinery, to industry 2.0 where it is all about mass production. Then came industry 3.0, where you

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simply enter some binary code in a computer after which a robot turns it into something physical. The world we are living in today, industry 4.0 if you will, takes things even further with artificial intelligence, deep learning, machine learning, and so on.

When you compare these automated industries with the building industry, it seems we are stuck in industry 1.0. We do have a control room and a shovel, but that is pretty much it.

There is some mass production in prefabricated facades - industry 2.0 - but there are hardly any robots let alone industry 4.0, since the processes of our design are not at all adjusted to one another. The actual idea of printing concrete is about eighty years old, but at that time there were no robots. Currently, the whole world is using robots, just look at the car industry, the pharmaceutical industry and so on. All these industries are robotized, leading to cheaper products, except for the building industry. If you have all the right information to put in your databases and, as a company,

Furthermore, 3D concrete printing creates possibilities that we have not dared dream about before. All kinds of shapes are possible now, in a relatively cheap and simple way. Also, there can be saved a lot on material by 3D printing it.

This very crucial, since concrete is the only building material that can be produced in these quantities, and it is a huge source of CO2 emissions. Especially the production of cement, which is responsible for about seven percent of all CO2 emissions worldwide. You cannot achieve the goals of the climate agreement of Paris by ignoring these problems. There is a so called “concrete agreement” in the Netherlands, so we are trying to do something about this. By printing concrete - also called additive manufacturing - I only put the material on places that I really need it. Currently, about 60 percent of the concrete is used in the floors, and about half of that is dead weight. If I leave out half of this, I saved about 30 percent of all concrete in the building, without taking into account the facades, columns or beams.

In short, for me it is all about this industry 4.0 and creating an intelligent loop, to help develop the building industry. The printing is mainly because of the freedom it gives and the way it can help save on material usage, to help meet sustainability goals. Therefore, printing is not just fun to do: it is also a necessity. We should

3D Concrete printing really start being critical and ask ourselves what we are doing to the world by simply pouring concrete into molds.

What is the (design) process going to look like in the future? And what will change when looking at the different disciplines?

As said before, 3D printing is about more than just concrete. All aspects and disciplines of this faculty are equally important during the process of 3D printing. The challenge is to create dwellings in which people can live comfortably, in order for people to have a positive association with the concept of 3D printed houses in the future. In reaching this goal, all disciplines will be equally responsible.

The process is about more than just concrete When looking at the design process, and more specifically the architect, it is important that the qualities of the printer are kept in mind.

Therefore, for now, we asked the architect to base his design on what the robot can do: think in angles. Every angle is possible and every angle can be different, as long as the design exists of only angles. Normally, in the prefab industry, you just produce straight walls that are mounted onsite. The printer can print every possible angle, increasing the possible design options, as long as the model does not collapse. Basically, we sat together with the architect and made a design using only the strengths of the printer.

Printing the first building will give us new insights into how to improve the process. The

first dwelling will only be one storey high and it will have a wooden roof, so we can focus solely on the facade. The next one is probably going to be a two storey building, meaning we would have to print a floor slab as well, making it more challenging. Everything needs to be right: the details, how the glass is mounted, how to prevent cold bridges, how to get high insulation values, where to put the conduit, and so on. After we have perfected the facades, we can start making multiple storeys and, eventually, a roof.

How many people can live in this dwelling?

Well, it is 100 square meters, so it can house about two people. You have to look at it as a kind of studio, but the next one is going to be somewhat larger of course. You need people who can deal with the fact people are going to come by regularly to see the house. The point is that everyone is trying to label the dwelling as a model dwelling which is mainly used as an attraction the first few years. It was meant as a dwelling for people to live in, not as a model dwelling! Then the whole experiment will be deemed a failure. If it becomes an attraction, and everyone is going to walk around it and peek inside, everybody will have their thoughts about the project. This is something I do not want at all! I just want people to live in it, so we can say: people are living in printed houses.

That is much more exciting than saying, we built a model house. Otherwise, the step towards the real thing has not yet been made.

How about the strength of the structure?

Yes, that is quite interesting. Actually, it is just strong enough to keep standing. It has a quality toothpaste also has: if you squeeze the tube, the paste will come out, without much effort. It basically flows out of the tube, but, to your own amazement, when it is on the toothbrush, it is form-retaining. This is a material property, that something can flow and becomes form-retaining straight away. The transition is unbelievably fast, you would not even realize it – maybe you will tonight, when you are brushing your teeth -and it is called thixotropy. This material property was also given to the concrete. It is strong enough to stack roughly up to a meter. After about one meter, you have to make sure the hardening process begins. This process should not start directly under the printer nozzle, because then you will have wet concrete on top of hardened concrete, which will not adhere, resulting in detached layers.

It is not a model dwelling, but still you want to learn something from it afterwards. What exactly do you want to learn of from this first dwelling?

In short: the facades. The foundation is just going to consist of plates, which we are going to insulate very well. The roof is going to be wooden, so not exciting at all. Of course we can change this, but we are not going to. We are not going to invest energy in those aspects.

Moreover, we are going to print the entire testing facade in here, at the university. We are testing its strength here, in the lab downstairs, after which we will transfer the knowledge to the printshop of Weber Beamix. This is the supplier of the mortar we use, also located in Eindhoven. They are now arranging their own factory as well, in order to print the facade elements themselves, since printing these facade elements on a large scale is far too much work.

One of their employees is now involved with the making of the mock-up. After we know exactly how to print this facade and everything is setup, he will go back to Beamix and print the facades overthere.

How does it work with insulation and installations? Are these applied after printing?

That is a good question, and there is still a lot of discussion going on about it. One side says to just include it in the floor and be done with it. The other side says we should put it in the walls for practice, because later, when we need to go to upwards to other storeys, the floor will not do anymore. So there are still some disagreements on this matter. Personally, I think it is very feasible to put the conduit in the walls, because these have a varying width - the inner wall is straight, the outer wall diverges - meaning there is space to place the piping in, without affecting the insulation value of the wall. For placing the insulation material, you can either add it straight away during the printing process, or wait for the concrete to dry and put it in then. We use the latter method, and just for the concrete to dry before adding the insulation material. After a certain height is reached, the pipes are implemented. Then we continue printing and bring in the rest of the insulation materials.

As you can see, printing these concrete dwellings will influence much more than just the efficiency of the production: architects will, in the end, get the opportunity to express much more design freedom and most of all, the amount of CO2 emissions will be brought back. As grey as concrete is: it can bring much color to the world!

Images: 1. Theo Salet (source: tue.nl) 2.

Render 3D printed houses (ed.nl)

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Regaining individuali ty through 3D printed houses The promising technology of 3D printing is all over the news. Eindhoven’s Project Milestone has gained international attention and the freedom that is created by this invention is very appealing to many architects. But is 3D printing just an autonomous design tool or could it be a solution to more important problems?

Could 3D printing be the next destination in the search of individuality for largescale housing developments?

Text: Karim Jaspers

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Images: 1. Mill Workers Cottages in Greenfield (photo: Paul Anderson) 2.

Robin Hood Gardens in London (photo: Steve Cadman) 3. Terraced houses in Houston, Texas (source: www.pixabay. com) 4. Kartal masterplan (source: Zaha Hadid Architects) 5. 3D printing of houses (source: all3dp.com).

Sources: 1. Emilie Chalcraft. “How 3D printing will change architecture and construction”. May, 2013. Dezeen.com 2. Swati Chopra. “Garden city. Urban planning”. 2018.

Britannica.com 3. Sarah M. El Mouled. “Parametric Design’s Influence on Today’s Architecture”. September 30, 2014.

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Industrial Revolution

Post-war architecture

During the industrial revolution, the standardized mass production pioneered

by Henry Ford was not only to be found in the production of goods by the use of assembly lines, but also in the way most big companies dealt with their employees. The working class was put to work on mindless and tedious tasks. It was all about production and making profit. This can be found in the designs of dwellings for the working class as well. Architectural design was seen as an unnecessary luxury which many of the big bosses did not intend to spend any money on.

Consequently, the working class had to live in endless lines of houses aligned to a long street, resembling the same assembly lines they had to work on every day. Due to this mass production of working-class houses, the concern for individual preferences and desires was lost. Everybody had to live in the same box. Every floorplan, window detail and door had the exact same design.

After the wars, entire city centres and neighbourhoods were demolished. The involvement of architects increased again as they could ensure an efficient and cheap building process to recreate cities and to create houses for the expected population growth. Back then, the new apartments were seen as very spacious and airy, attracting a lot of residents. The buildings were placed outside of the congested city centre, right in the middle of a green landscape. Post-war architecture was not only a means of accommodating dwellings for everyone as cheap as possible. It was also an age in which architecture was believed to be able to create a better future for all.

Archplanet.worldpress.com 4. Amy Frearson. “Eindhoven to build “world’s first” 3D-printed houses that people will live inside”. June 4, 2018. Dezeen.com 5. Seyed Ghaffar. “Here’s the science behind 3D printing in construction”. August 1, 2018. Citymetric.com 6. Halle, D. “From Autos to Architecture: Fordism and Architectural Aesthetics in the Twentieth Century”. American Journal of Sociology, 116(5), 2011, Pp. 1660-1662. 7. Bob Jessop. “Fordism, Economic History”.

2018. Britannica.com 8. Witold Rybczynski. “Parametric Design: What’s Gotten Lost Amid the Algorithms”. July 11, 2013. Architectmagazine.com. 9. Patrik Schumacher. “Let the style wars begin”. Architect’s Journal, May 2010, Pp. 1-9. 10.

Steven ZoBell. “Forgotten Lessons From The Assembly Line: Rethinking Modern Work For Greater Effectiveness”. July 16, 2018. Forbes.com

The problem, however, was that architects tried to impose a homogeneous order as a response to the diverse and overcrowded city centre. The people gained in personal space and quality of houses, but diversity was nowhere to be found. Similar to the dwellings of the Industrial Revolution, the individuality was lost by using a technocratic way of solving the housing problem.

3D Concrete printing

Modern terraced houses

Parametric design

3D printed houses

As a response to the homogeneous and ‘boring’ post-war flats, architects tried to regain individual differences in their designs of terraced houses. They no longer simply copied and pasted the smaller units but began to bring back the human element in their designs. Every façade in a long line of houses was different, reflecting the diversity of the inhabitants. Furthermore, some terraced houses had a flexible floorplan design, so clients could participate themselves in designing their own house.

One of the most popular architectural styles nowadays is parametric design, commonly associated with Zaha Hadid and Patrik Schumacher’s organic designs. Their buildings and urban designs frequently evolve into new, futuristic landmarks of many cities. But how does this large-scale design relate to the search for individuality? It is important to understand the theory behind parametric design to answer this question.

The term ‘parametric’ itself finds its origins in mathematics and modelling, in which models are created based on parameters to find the best solution for all the different parameters combined. In terms of a building, these parameters could be: acoustics, the amount of sunlight in a room, walking distances towards public facilities, the relation between different rooms and possibly, to a certain, extent human behaviour. The flowing forms of parametric architecture create the potential to accommodate the great diversity of a community in one building form. As Patrik Schumacher put it: “Parametricism pursues the very general aim to organize and articulate the increasing diversity and complexity of social institutions and life processes within the most advanced centre of post-Fordist network society”. None of the elements are the exact same and therefore each of the units is different in floor area, façade, volume and general appearance, while keeping the qualities of the unity. The individual is put first as well as the collective. However, there is one problem with most parametric designs: the building costs are too high.

What if parametric design were to be combined with the new technology of 3D printing entire houses? A 3D printer does not distinguish different forms and shapes, only the amount of used building material matters. These printers run on algorithms, which can be changed, using predefined parameters. The idealistic attention to both the individual and the collective can be realised by simply letting a machine pour concrete in specific shapes on site. Besides that, there is a huge potential in cutting down the costs for labour, transport, time and materials.

Nevertheless, the different terraced houses were built with an identical construction to keep the building costs low. Therefore, the diversity only exists in the exterior, the façade and some inner walls that can be changed according to the client’s desires.

The building shape and volume is still shared with its neighbours. There is only a superficial diversity.

An even greater opportunity could be the start of a mass-scale participation of clients in assembling their own houses using the parameters they choose themselves. They can draw their own house and still be able to afford it as they only have to pay for material costs. A huge diversity can be created by using 3D printers in the right way. 3D printing could be the depiction of present-day society of choice: a widespread and affordable architectural tool available for all.

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About 3D Concrete Printing With zeeshan ahmed We live in a world where technology changes constantly and rapidly, evolving together with us. Adapting to different techniques, trends and new waves comes naturally to peopwle.

The switch happens in all fields of our lives: communication, banking, mobility, education, but also in construction. The first houses made were really primitive: people used bones, fibers and everything they could grasp.

Today, we have high rise, smart construction, sustainable and durable buildings. However, it still does not seem to be enough. Therefore, 3D concrete printers appeared and made the construction and manufacturing process even more advanced. Eindhoven might not be a place with the world’s tallest or most famous building, but it is going to host the world’s first concrete 3D printed housing project.

Text: Jovana Ivanovic Layout: Henryk Gujda 3D printers these days, are taking over the market and are improving each year. This article gives a closer insight into how concrete 3D printers function, what their most important advantages are, but also their disadvantages. Since this big project is happening in the city where I currently live, and our university is directly linked to it, I couldn’t help wondering about how this whole concrete 3D printing works. In order to find out more about this technology, I visited the 3D printing workshop in Vertigo, where I had a chance to interview student Zeeshan Ahmed, a PhD who does research on concrete and integration of concrete printing into the overall built environment.

What exactly is your research about?

My research is on concrete. During my Master in London, I initially did research on 3D printing robotics and how to challenge 3D printers.

Now, I’m looking into process improvement.

For example, how to integrate structural process and architectural designs into 3D printing.

Basically, I look into ways how 3D printing can support the entire built environment.

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How does the 3D printing process work?

Very simply speaking, it’s the process that we have, it’s called FDM process. It basically deposits layers of material on top of each other and then we get a 3D object. One of the ways is inserting a usb with a photo, after which the printer will print the object. You put the cement powder into the machine and it mixes it with water.

How hard is it to work with 3D printing?

Normal construction works in a different way, in a sequential process: you first make a drawings, then the contractor looks at them, makes molds for construction etc.. In the 3D printing process, everything happens at the same time, in a simultaneous process. There is no compromise, everything needs to be 100% correct. In terms of how hard it is to work with: the most important fact is that you can’t think the way you would during a normal project. You need to change your mindset, improve your automation. Being just an architect is not enough: you need to understand a bit of materials, robotics, mechanics, structural design; a bit of everything actually. It is hard, but changing your mindset is necessary.

What are the applications of 3D printing?

3D Printing helps materializing from digital to physical platform. The speed of materialization depends on the printer and scale of the project.

How much freedom can you have as an architect with respect to 3D printing? Are there some sort of special drawings requiered?

Back in the days, people were using drawing boards and they would draw everything by hand, and at some point, they moved to AutoCad. And now, nobody can even imagine an office working with pencils, scales and everything, simply because that technology is obsolete and old fashioned. Nowadays, just making designs is not enough, because you need to fulfill the requirements of the robot, which means understanding them. Normally,

the process is top down: you make a design and someone else does all the calculations.

We use a bottom up approach, where you already understand how the manufacturing process works, and based on that, you make your design. Theoratically you can do anything with 3D printing, but you need to change the system of working.

What are the benefits of 3D printing?

The major benefit of 3D printing is that it accommodates everyone’s research. Basically, structural engineer, material scientist, and everyone can perform research on this process.

You deposit material exactly where it needs to be deposited, and it is a very powerful tool. Let’s say that we have three partners.

The 3D printer, in this case, would deposit material optimizing the needs of all the three partners. Talking about optimizing: when you

Nowadays, just making designs is not enough, because you need to fulfill the requirements of the robot, which means understanding them. look at a normal concrete column, you don’t need so much material. It’s just that you use it because of manufacturing process. With 3D printing, we can improve structural quality of materials and structures and less materials at the same time. The building process has three main costs: material, time and labor.

With 3D printing, labor is gone, and printing is much faster, because you can produce 24/7.

Therefore, by using 3D printing, you are saving a lot of money on material, time and overall construction cost is decreased. However, the whole quality remains the same. That is why you have always need to be 100% sure with

3D Concrete printing measurements and designs.

Does it take a lot of money and time to maintain the printer?

Yes, it takes time. If we talk about production facility, then no, because the printer is a robot and it can keep running for hours.

What influence will the 3D printer have on human labor, and how does this affect the construction market?

It’s always the same answer. Back in the days people used to draw with pencils, and when computers came, everyone started loosing their minds about computers taking their job.

It’s not that computer took their jobs, but instead, everyone learned how to use computers.

The 3D printers are not dependent on artificial intelligence. Therefore, we still need someone to control it. It makes the manufacturing process easier and more convenient, allowing one person to produce ten times more than before, maintaining the quality and efficiency.

What is the goal and direction of 3D concrete printing?

To cut down on the cost of construction, improve the quality of construction and to have more freedom to create designs that fulfill the requirements of people. This is called mass customization. Normally, customizing is expensive, but with 3D printing it will cost less and it will get the same quality.

Why is it not yet allowed to build 3D printed houses?

For construction there are some codes of practice. This technology is still not developed, and the codes are still not made for 3D printing. Tests still need to be done, and there are certain protocols for testing.

How expensive is it to print concrete in 3D? Initially, the cost is high, but eventually, the robots would work for years, which would compensate for the costs. Obviously, the technology is at the moment new and expensive, but the more accessible it is, the less expensive it will be.

It makes the manufacturing process easier and more convenient, allowing one person to produce ten times more than before, maintaining the quality and efficiency.

Finally, do you believe that generations educated “normally” will need a lot of time to adapt to this new way of thinking, needed for 3D printing?

It will depend on the individual. If you want to accept how it is, then it’s fine. Some people want to do construction old school and there is no harm in that, but if you want to keep up with the changing times, you will need to adapt. Of course, the technology has not been fully developed yet and there are a lot of changes happening constantly, but you need to adapt to them if you want to keep up.

In conclusion: we will constantly need to adapt to this changing world. One of the main tasks of new architects willing to work with this technology, as Zeeshan stated, is to change the way of thinking. Instead of using a topdown process, we need to think the other way around: bottom-up. Since concrete 3D printing has a lot of benefits, saving time, money and material, adapting to this new way of thinking all the more important.

What software is used to make the drawings for the 3D printer?

I usually use Rhino.

Are there any bad effects of 3D concrete printing, for example CO2 emissions?

When you talk about CO2 emission, it is related to concrete, but not 3D printing. In terms of the manufacturing process, I cannot think of any bad effects, it depends on the material used. However, if you don’t understand the process of 3D printing, and if you don’t make the switch in mindset I mentioned before, it will have a bad effect architecturally speaking: because you cannot 3D print your design.

Images: 1. 3D Concrete Printing experiments youtube.com 2. TU Eindhoven starts using kingsize 3-D concrete printer. phys.org

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Jacob Voorthuis Jacob is a publicist, associate professor and lecturer, who professes enthusiastically about philosophy and architecture.

Go forth and print An ethical perspective on 3D printing

“Would you please write us a column about the ethics of 3d printing?” “Sure”, I said, “No Problem”. And then having said it, I thought no more about it; the deadline was months away and I can only concentrate on one thing at a time. And now here I am, having to do my moral duty. What is there to say about the ethics of 3d printing? How does any particular technology have an ethical dimension that is significantly different to another technology? Does building in wood have different ethical concerns to say, building in concrete? I suppose it does.

We could ask: what do you have to take account of when building in wood and how is that different to what you have to take account of when building in concrete? The questions may be the same, but the answers will be different. But not that different. In building with wood, we might want to take account of the strength of the material, the strength and efficacy of the joinery, the effects of a wooden environment on our comfort and well-being, the responsibility we feel toward the environment in the harvesting and maintenance of resources etc. But the same concerns would count for concrete, except that the material will have different properties, the technologies to work with it will be different and this will affect the answers to these questions. Living in a wooden room is very different in acoustic terms to living in a concrete room. And so it will be with the products of 3d printing. We must not allow faulty construction or bad design to endanger the lives of people going about their business and we must use the material and the technology giving it form in a responsible way. So there is the end of my column, my advice: be wise when printing 3D! But surely there is more. Well, not really. But the reason for there not being much more is truly fascinating. Ethics is a subject that considers the means by which certain ends are pursued and puts the ends pursued in the spotlight with regard to their being means to some further end. Let me explain that.

If I want to build the tallest building in the world, to be ethically responsible would be to ask myself the question: “how can I do that without causing damage or hardship to other people or indeed the environment as a whole?” To answer that question

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fully, I have to ask myself what further good my wish to build the tallest building in the world is trying to serve. Say I want to do so in order to pimp the prestige of my company. An ethicist would then ask me whether I was doing that in a responsible way. To be able to answer that question she would want me to consider in what way the improvement of the prestige of my company is a means to some further end. Is it perhaps a means to increase profits? Then she would ask me whether I am pursuing that means responsibly. And part of the answer to that would be my answer to the question what purpose the increasing of my profits might serve. Is it to live more luxuriously and/ or to employ more people and give them the chance to live with dignity and a sense of self-worth? And so forth. With this endless line of questioning, which never really stops and which can go every which way and turn many circles as well as many other pretty figures, we arrive at the crux of the pursuit of knowledge and all technological innovation.

Is all technological innovation always good?

Knowledge and Innovation are no goods in themselves. They cannot be. And to test that claim with regard to the latter we need only to ask the question “is all technological innovation always good?” and if the answer to that question is unsatisfactory, which any honest person would have to admit, we might ask: “is any technological innovation always good” or “can any technology not be used badly or in the pursuit of some evil end from whatever point of view?” Again, an honest person would have a problem saying “yes” to either of these questions. We can find lots of examples of technologies, even seemingly harmless ones, being used as a means to some dubious end, or being used stupidly so that it produces bad consequences from at least some point of view.

God said: “Go forth and multiply”, and we did and enjoyed the means of pursuing that end. Now we are coming up against the

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perceived limits of the number of people we can accommodate comfortably on this planet. Some would say we have already exceeded that limit. Was it responsible of God to say what he said? Well, He may have added: “go forth and innovate so as to accommodate the product of your multiplications”. And we did. And it helped. We can accommodate many more people now than just 50 years ago and that is due to innovations in technology and culture. However, our innovative technologies are also and at the same time vastly increasing our multiplicatory potential. Is that a good thing? I do not think that that is a very interesting question to ask from an ethical point of view. The reason for that is this: how could we possibly know whether it is a good thing? What point of view would we choose to settle the issue? What purpose is our multiplication serving and what purpose is our technology serving? Neither are serving any one purpose, not at least any that we can find proper scientific evidence for, beyond our own ideological perspective on the issue and our own wish to multiply and innovate. So we have to turn the question around: How can we multiply responsibly for the resources we have available to us and how can we innovate responsibly to use the resources we have in the best way possible? That is being sensible.

After all, innovation can be used stupidly giving bad consequences and be used well in the pursuit of uncontrovesially good ends

sially good ends, which can become the victim of their own success, such as God’s advice to “go forth and multiply”. Nor can we know what the possibilities are of a technology until after it has been developed and fully explored. So we cannot before the fact say: this technology will be a bad idea. Not even with regard to nuclear weapons, never mind 3D printing. In the context of a world in which nuclear bombs are possible and can be discovered by anyone with the requisite knowledge and in a world peopled with creatures holding some very strange ideas, the idea of maintaining a balance of power is not a bad one. Of course, we would all want nuclear weaponry not to be technologically possible and we would all prefer a world without them, but they are here to stay and people hungry for power don’t always care what sensible people think. And to try to solve the problem by getting rid of people that are hungry for power will only make us hungry for power and scary, so that doesn’t work either. I laugh heartily at all the well-meaning people who say things like: “let’s forbid nuclear weapons; let’s throw them all away!”, just as I laugh at people who say “let’s not do genetic manipulation and let’s not integrate technology with our bodies”. My laughter is not meant unkindly, it is merely meant to show up the absurdity of the wishes (some of which I share!).

And so it is with 3d printing, but then differently. The technology has great and vast possibilities, most of which we have not even begun to understand. My only advice could be: go forth and explore its possibilities but always make sure you have your hand on the red button and try not to do anything your mum told you not to, but if you must and can’t help yourself because you are enjoying yourself, then at least be careful and try to be gentle and fair to others.

The only unfortunate thing is that every innovation can be used irresponsibly just as easily, if not more easily than that it can be used responsibly. After all it can be used by people wanting to do horrible things; it can be used stupidly giving bad consequences and it can be used well in the pursuit of uncontrover-

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Images: 1. Picture of Jacob Voorthuis 2. 3D printed mouses (source: wikimedia.org)

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The World of Objects

And how it relates to the current state of mind: food for thought In this article we reflect on two manifestos.

On the one hand Apparat und Gegenstand, an essay by Julius Posener, written in 1967 and on the other a more recent book called ‘The New Dark Age’, written by James Bridle. Both focus on the consequences of the Industrial Revolution. Their purpose is to let you reconsider the way technology is intruding in our most important object: the house. Text: Merel van Hooren In 1933 a movie about Modern Times was released about the consequences of the mechanization. Charlie Chaplin was forced to have his lunch break, being fed like a guinea pig, to promote efficiency among the factory workers. This led to very amusing situation, where Charlie spills his food into every direction but his mouth. This movie was very controversial at the time, showing the effects of the Second Industrial Revolution on society for the first time.

This particular scene shows the consequences of mechanization in which a human loses control over what the object is doing to him.

According to Julius Posener, an important architectural critic in the 19th century who wrote about the effects of the Industrial Evolution in his essay on ‘Apparat und Gegenstand’, there is a difference between the world of objects and the world of machines. This difference is based on the fact that we know how objects work in a direct relation, while the world of machines is still a mystery to most people.

When we talk about objects, the house seems to be a very important one in the human perspective. It is an object you should relate to, know the ins and outs of and feel, first and foremost, at home at. You must understand how it works, to completely relate to it. It relates to the part of your brain which

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feels stable, secure and, most of all, never changes. Posener writes: “Humans have a good reason not to say goodbye to a world that they can understand.” He states that the world of objects is decreasing, while the world of machines, the world of mystery, is increasing: “What humans understand best, is what is closest to their body: the blanket they wrap themselves in, the tools they use to eat their food, but also the chair they sit on, the window they open, the floor they stand on. These are the things that they will understand.”

But in 2018, this is already quite a tough definition for a house. For example, most of the time an inhabitant doesn’t even know how the internet connection follows its path through the wall, where it can connect to the WiFi. Following that argument, the same goes for electricity, gas and water.

Let us take a look at the news office of Deloitte, The Edge, which is packed with innovative technology. It is also referred to as a “computer with a house”. Light via ethernet, fitness equipment that generates energy, coffee machines that know your preferences and so on.

Do you, as inhabitant, even know how that works in your own home?

If a house is referred to as the most important object, what is the ranking of the office?

After all, most of the people are more at work than they are at home. What are you actually doing when you buy that coffee in the office? You push the button, but do you really know what the machine is doing and how it

remembers your preferences? Probably not.

The food you eat generates information. The computer knows which chair you should sit on and wether or not it is available. The window opens automatically. The floor needs to know how much people are in the room to heat it properly. The possibilities are endless, but is that really what we want?

Giedéon’s argument is that objects should be understandable and infuse trust. The service that they render is direct, which makes them reliable. While the whole society changes, the objects relate to that part of humans that has not changed. “The machines, however, are instrumental to the variables in humans and they themselves change continuously.” He concludes that part of us lives in the world of objects and is not prepared to depart from it under any circumstances.

Reflecting on 3D-printing and a new method of designing, the core of what a building is, is actually changing. The building process that we understand – just a simple cavity wall, the arts of the craftmanship of building – is changing. We lose touch with the simple matter. The Skilledin Office, which is designed by a model based on the requirements the programmer put into it, is an example of this type of designing. Its organic design balances program constraints and digital load-bearing optimization and fabrication possibilities. The machine does the thinking for you.

In his new book about “The New Dark Age” James Bridle elaborates on new technologies, which in his eyes is referred to as “the End of the Future” and that we no longer understand what is happening around us. Underlying all of these trends and new ways to design a building is one single idea: “The belief that quantitative data can provide a coherent model

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of the world, and the efficacy of computable information to provide us with ways of acting within it, resulting in a new Dark Age: a world of ever-increasing incomprehension.”

The problem with artificial intelligence is, as stated in the article by Jacob Voorthuis, that it is not neutral, but biased. We are building new products, based on what we have done in history: that is how these algorithms works. We use historical principles to build current-state buildings.

An example: if you built a house, this house will be based on the information you put into the algorithm. This algorithm is based on statistics the computer already knows. The result: a house that is produced on your personal needs and characteristics. This might seem nice for your current state of being, but what happens when personal needs and characteristics change?

Referring to the world of objects: if the cup breaks, you know how to fix it. However, do you really know how to fix your house if your persona breaks?

The problem of artificial intelligence is (...) that it is biased The original craftsman knows what to do. If he wants more light in the house, he will make more openings. But the inhabitant of the 3D printed house…? He just asks if he can add new input in the building, resulting in a completely new house, breaking the original design apart. The blanket that he will wrap himself in, is the result of data, generated by a biased and unpersonal machine who builds the most important object in your environment.

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Images: 1. Fragment of the movie Modern Times (source: prweb.com) 2. Cover of book of James Bridle (source: Verso Books) 3. Complicated techniques house (source: c.pxhere.com 4. The Edge, Amsterdam (source: Bloomberg.com) Sources: 1. Julius Posener. Aufsätze und Vortrage.

(1931) 2. James Bridle. New Dark Age. Technology and End of the Future. 2018, Verso Books.

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The Stages of Metamorphosis The architectural industry has been on a tumultuous path ever since the inception of the inkjet printer in 1976. Later developments in 1982 and 1984, introducing the possibility of printing with solid and specific materials, emphasised the symbiotic progress of the two realms, architecture and technology. On one hand, the developments in printing technology have left us navigating through transfiguring waters of architecture, making twists and turns to adapt to the ever-changing technology. And on the other hand, the proliferation of architectural ideas, that transcend the confines of the existing technology, call for progressive and adaptive printing devices. In recent years, 3D printing has reached its tipping point with its potential being recognised in different fields of the built environment. It has shaped buildings on different scales from their building physics and structures, to their social context and environments. Likewise, it has shifted the way in which architecture is sought, presented and perceived. Essentially, reshaping and reconfiguring the hard scaffolds and the indivisibles processes that makes up architecture. While this wave of 3D printing has brought with it new ways of constructing, its limitations and problems have led to new formulations and advancements in methods of printing. The new phase that follows is called 4D printing. Text: Ananda Jaganathan In a 2013 TED talk, showcasing his work at the MIT Self-Assembly Lab, Skylar Tibbits, a conceptual architect, introduces the term 4D printing. This concept has the economic, environmental, geopolitical and strategic implications of 3D printing while adding the dimension of time. The fourth dimension in 4D printing refers to the ability of material objects to change form and function in response to an external stimulus, such as heat and moisture. Thereby,

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providing additional capabilities and allowing for performance-driven applications. Tibbits demonstrates this idea with a series of videos.

In one video a single strand self-folds into the letters “MIT”. In another, a flat surface self-folds into a closed cube. In the last video, a single strand folds into a wireframe cube.

Though at first glance, these morphing objects may seem as straightforward as instructions for an origami crane, they become more complex as these properties are applied in larger scales.

They further gain complexity with the use of multi-material components and single material printing unlike the self-folding strands, which employ only two composites. While 4D printing may still remain a nascent technology, the distinct methods of printing and variants of materials utilized, makes a profound impact on the built environment.

Stage 1: Programmable joints Programming joints is an approach of 4D printing that relies on the fabrication of binary parts.

The first of which is an inert, rigid polymer and the other is a softer, active component, usually a hydrophilic polymer. The active members, printed in between two rigid sections, act as joints that allow for movement of the attached components. The direction of this bending movement and expansion of the active part is dictated by the design of the material. By arranging the active and inert components into segmented structures, the parts coalesce into a geometry that morphs when the active component is exposed to energy or water. This rudimentary method

of 4D printing with predictive geometries and unidirectional hinges is employed in Tibbits self-folding strands and self-folding cubes.

More importantly, it is also a stepping stone to the methods of 4D printing that follow.

Stage 2: Ingrained movement The Ingrained movement method is derived from a collaborative research on 4D printing between institutions in Colorado and Singapore. Unlike Tibbits binary printing method involving rigid and active parts, this method incorporates the active matter throughout the print. As a consequence, it enables multidirectional movement of the geometry. In experiments conducted by the collaborative research group, material intelligence is embedded in the entire print through a process called “programmed lamina and laminated architecture.” In this process, shape memory polymer fibres permeate within a thin plate reinforcing the elastomeric matrices. The distribution of the fibres defines the geometry and the shape deformation of the plate when introduced to an external stimulus. The freedom in design is greater in comparison to the previous method. Different mathematical surfaces can be produced based on the environmental exposure of the material. With a gradient material distribution of the active fibre, various adaptive states can be reached. Take, for example, the thin plate submerged in water.

Initially, the plate remains flat and has a uniform deformation. However, as the force

4D printing and its material possibilities not only blurs the lines between between different disciplines but also obscures the separation between form and function.

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applied on the material increases, the symmetry is broken with the formulation of the sinusoidal circumference shape. This shape-shifting form is an advancement of the programmable joint. It exemplifies a model of 4D printing, where prints embedded with a gradient material distribution have the complexities of their environment dictate their structure.

technology may still sail uncharted waters, it is rife with possible applications, ranging from self-adapting water management systems to reconfigurable spaces based on our needs, and from interactional commercial spaces to selfhealing buildings. In a way, 4D printing and its material possibilities not only blurs the lines between different disciplines, but also obscures the separation between form and function.

Stage 3: Fluid forms The third approach to 4D printing, provided by researchers at Harvard University, is based on biological shape morphing systems. This biomimetic method utilises a composite gell containing a cellulose microfiber, hydrogel cellulose fibril ink, which is derived from wood.

The workings of this particular technology are analogous to the microstructures in plants that enable shaping shifting thermonasty, a movement resulting from changes in temperature.

The hydrogel mimics the swelling process of the microstructures in strategic parts of the print. The cellulose fibrils aligned during printing encode the hydrogel composite with anisotropic swelling and stiffness. Anisotropy of the cellulose fibrils exhibits directional properties that are both predictable and controllable.

When the completed 4D print resembling a flower is immersed in water, the petals curl in the programmed direction. This final method combines the advantages of the programmable joints and ingrained movement methods. It encapsulates the predictability and controllability of the former and the multidirectional transformation and design freedom of the later.

The final stages of the metamorphosis 4D printing technology remains a transformative concept with its applications touching all the disciplines of the built environment and the fields beyond its borders. Though this

Moreover, this novel technology brings with it a new perception of the architectural practice.

Architecture becomes a multifaceted profession that requires new principles, skills and training.

Consequently, architects become multifaceted professionals who acquire new principles, skills and training. At the very core of this change are the educational institutions that have led the research of 4D printing. In the new paradigm that results from these conditions, students are free to think on the scale of the multifunctional dynamic object, while discovery and learning are initiated through intelligent physical models.

However, this process of acquiring and requiring is a continuous one, since stages one, two and three are only the foundations set by research and experimentation. The stages that emanate lead to other transformative technologies. hrough this ceaseless course, there lingers this unspoken pathos that comes with the metamorphosis of the architectural practice. Though the prospect of change is exciting it also remains daunting. Is this because there is a loss of what comes before it? Or is it because of the ambiguity and unforeseen changes and problems that new technology brings with it?

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Images: 1. 4D printing example using ingrained method. Daniel Dikovsky, Shai Hirsch, Skylar Tibbits. 2. 4D printing example with fluid forms. 4D print, resembling a flower, when is immersed in water results in the petals to curl. A. Sydney Gladman 3. 4D printing example with programmable joints. A single strand self-folds into the letters “MIT”. A flat surface self folds into a closed cube. And a single strand folds into a wireframe cube. The Self-Assembly Lab, MIT; Stratasys, Ltd.; and Autodesk, Inc.

Sources: 1. Thomas A. Campbell. Skylar Tibbits. Banning Garrett.

The Next Wave: 4d Printing Programming The Material World.

Atlantic Council, May 2014 2. Skylar Tibbits. 4d Printing: Multimaterial Shape Change. Mit January 2014. Architectural Design, Vol. 84, No. 1, 2014, Pp. 116–121 3. Novel 4d Printing Method Blossoms From Botanical Inspiration. January 23, 2017. Wyss Institute.

4. Blaine Brownell. 4d Printing and the Designed Environment.

January 28, 2016. Architecture Magazine. 5. “4D Printing.” MIT Self-Assembly Lab

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After the war: Rebuilding Syria Now that the conflict seems almost over, it is time to make up the score. What has been lost in the battle? What needs to be (re)built? Who will pay for it?

When talking about the Syrian civil war, everyone will have a different image from the news on their mind. Some will see a still of ISIS’ desert executions. Some might remember the Syrian boy who washed up face down on the Turkish coast. Some will picture the countless destroyed suburbs that fell victim to conflict between the government and the rebels.

Some might also remember the images of ISIS militants demolishing the ancient heritage site of Palmyra. Text: Joris van der Zwet Since the start of the Syrian civil war in 2011, almost half a million people have died. Around 6.1 million people have been displaced throughout Syria and another 5.6 million have fled the country. Although the war is not over yet, Bashar Al Assad has the upper hand and

The conflict in Syria has caused hundreds of suburbs and city centers to have become uninhabitable. This is due mainly to the way the war is fought. When the rebels hold a city or town the government wants to capture, Assad’s army follows a consistent and repetitive strategy. Siege, starve and surrender. Siege by all means: airstrikes, artillery fire, cluster- barrel bombs and allegedly, even chemical attacks. In a conflict, and specifically this conflict, the war effort is comes first, and everything else comes second. The bombings have destroyed hospitals, schools, markets and even mosques.

A brutal strategy, but it works for Assad’s forces. Without food and medical supplies, rebels quickly lose the ability to fight. Furthermore, the besieged civilians often start to cooperate with the government forces to make the attack stop as quickly as possible. Besides putting a terrible strain on the human population, it leaves a lot to rebuild after the war is over.

The people have paid a high cost: not only with their lives, but also with their cultural heritage

Although the Syrian Government is mostly responsible for the destruction itself, it cannot rebuild the country on its own. The UN says that the destruction due to the war is estimated at more than 388 billion dollars. It is clear that the Syrian government won’t near be able to pay that themselves. Neither can their closest allies, Russia and Iran. Due to international sanctions, they have little to spend and their war effort already puts quite a strain on their possibilities.

will most likely win. With the help of Russia and Iran, much of the lost area has been taken back from the rebels. This victory however does not come without loss. The people of Syria have paid a high cost. Not only with their lives, but also with their infrastructure, buildings and cultural heritage.

The money will not come from the West either.

Although they have played a role in the war and are willing to give (humanitarian) aid, they refuse to support reconstruction in areas under rule of the government, unless Assad resigns.

This is quite a problem, because the whole reason for this war is that Assad wanted to stay in

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power. A country that has less moral objections to an Assad government and plenty of money to spend is China . They are more than willing to fill the vacuum and thereby increase their influence in the Middle East, through their One Belt, One Road programme.

Assad may have won the war, but it is not yet over. The government has vowed to regain all the land that it owned before the conflict.

Looking at the map, they are still a long way off. During the war, all rebel groups have been fleeing from Assad’s forces, mostly to the most northwestern province Idlib. Furthermore, the Kurds have a strong control over the northeast part. In the meantime, Russia, in the person of Vladimir Putin, is eager to find a diplomatic solution . However, the prospects seem grim and difficult. For the sake of the Syrian people, let us hope that they are able to find one, soon.

The vision is to rebuild the ancient city exactly as it was before, preferable with the same stones where possible Loss of cultural heritage As previously mentioned, some recurring media headers covered the destruction of Syrian cultural heritage by the Islamic State.

During their brutal campaign to found an Islamic caliphate in both Syria and Iraq, IS destroyed many ancient historically important sites that the countries houses, both religious and nonreligious. Churches, ancient Roman sites, synagogues and many mosques that had been built centuries ago and fulfilled important societal and cultural roles, have been removed from this world in less than the four short years that IS has been around.

In their quest for their own extremist version of a puritan Islamic caliphate, there was no room for other religions or interpretations of Islam. Even special units were deployed , with the sole function to track down and demolish cultural heritage conflicting with their views.

When destroyed, it is gone for good. But, there are some initiatives emerging that try to document the cultural heritage and conserve it for future generations. For example, the Institut du Monde Arabe has in collaboration with Ubisoft (the developers of Assassin’s creed) recreated multiple sites that have been destroyed by IS, like the Ancient City in Aleppo, the Al Nouri

Mosque of Mosul and Palmyra. With the use of virtual reality, heritage that has been destroyed can be brought back to life, and can be experienced by current and future generations.

Palmyra Not only virtual, but also in real life, efforts are made to conserve what is left and reconstruct what is lost. Not bound by the western dismay to collaborate with the Assad government, UNESCO is committed to make plans and implement them, for example in the Ancient City of Aleppo. Detailed plans are ready for restoration of the medieval mosques, bath houses and the city citadel, says a spokesperson . The vision is to rebuild the Ancient city exactly as it was before, preferable with the same stones where possible.

In between the human suffering, cultural heritage seems like a detail. But it is also a part of hope for the next generation. After the war, cultural heritage will help them in their search for common identity. After all, the cultural heritage in Syria especially, is a reminder of the times when people of different cultures and religions lived together with respect for others religions.

Anciant City of Aleppo Also a UNESCO world heritage site, the ancient city of Aleppo was mostly unchanged since its construction from the 12th century until the 16th century. The pictures show the Citadel of Aleppo, a large medieval fortified palace in the center of the old city, before, and after the war. The destruction of this site illustrates the fate of most historical buildings.

A lot of them have been built on geographical strategic locations, and therefore serve as strategic defensive strongholds in the war.

An oasis city on the edge of a desert, which used to be a caravan route between the roman empire and Asia, the so-called silk routes. In both 2015 and 2017, the historic UNESCO city was overrun by IS militants. In the beginning IS published videos of an unharmed Palmyra, to the relief of the world . This turned out to be strategic propaganda, as it only functioned as a call for attention, which was later followed by the destruction of multiple tombs and temples.

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Images: 1. Partially destroyed Khaled Bin Walid mosque in Homs (source: AFP) 2. Map of factions controlling Syria, September 6, 2018 (sources: Liveuamap, Al Jazeera) 3&4.

Citadel in Aleppo, before and after (source: Reuters) 5. ISIS demolition of Baal Shamin temple, Palmyra (source: AFP)

Sources: 1. NDTV. Cost Of Syria War Destruction At $388 Billion, Says UN. August 09, 2018. NDTV.com 2. Neil Thompson. Is China coming into Syria for its “One Belt, One Road”?. January 22, 2018.

Juancole.com 3. Sami Moubayed. Putin seeks breakthrough for Syria at talks in Astana. November 26, 2018. Atimes.com 4. Dennis MacEoin. The Destruction of the Middle East. December 27, 2014.

Gatestoneinstitute.org 5. Frank Renout. Vernield door IS, maar virtueel weer als vroeger. October 6, 2018. Algemeen Dagblad. 6.

Angus McDowall. Aleppo’s Old City can be rebuilt, UNESCO official says. August 3, 2017. Reuters.com

Syria: who controls what?

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W R I T I N G F O L L Y 40 THAT’S WHY

This article is not an extensive research into the origin, meaning or function of the folly. Nor is it a balanced piece in which opinions on the folly are shared and carefully weighed, to eventually arrive at a certain conclusion. Of course, inevitably, there will be some background information, some examples and perhaps even a new insight to be gained from this text, but it is not its purpose. Much like the subject (or object) itself, this text is written with minimal context and minimal function. These are the musings of an architecture student, trying to reach in and grab the scattered pieces of abstract thoughts and ideas that flow through his head at lightspeed and pin them down, concretizing them into words, sentences and, hopefully, a coherent story. The article may well be described as my very own written folly.

Text: Bart van Santen

Defining the folly The folly, like most concepts in architecture, is ambiguous in its definition. The word itself derives from an old French word for madness or foolishness. Nowadays the word ‘folie’ has different connotations such as ‘delight’. Even though the meaning of the word has changed, surprisingly the word is still fitting when describing architectural follies.

The folly originated in the English landscape gardens in the early 18th century. At the time, follies were small buildings scattered throughout the garden, used as focal points and serving a mostly aesthetic purpose. The buildings often resembled romantic notions of former civilizations, different takes on Greek temples and medieval castles, sometimes built in ruinous form. For some architects, however, the folly was more than just a romantic take on former

glory. To them, the folly was an opportunity to formalize thoughts on architecture, without the constrictions of function and context. This resulted in peculiar formal qualities, which often made the building appear as if accidentally dropped from another place and time, another planet even.

Examples of this are the famous drawings of Louis Étienne Boullée and Claude Nicolas Ledoux. The design for a cenotaph for Isaac Newton, for instance, a design of the former,

...the folly was an opportunity to formalize thoughts on architecture depicts a massive autonomous structure dropped into otherwise natural surroundings.

To define the place of the folly within the field of architecture, we have to define architecture itself. Picture architecture as a multitude of scales, each with its own topic and opposing extremes. All those active in the field of architecture balance on these scales and debate to what end of each scale the profession should position itself.

The blanc canvas One such scale is devoted to context. Many architects will argue that a design should be based on a concept, which in turn is based on the immediate context. Reacting to this context, whether the architect seeks to assimilate or to contrast with it, is a useful vantage point.

On the dreaded blanc canvas for a new design, outlines have already been sketched by the situation in which the design will be placed.

Designing a folly is facing the ultimate blanc canvas When designing this way, it is the direct environment that gives significance to new design, it is shaped by the unique features of the context, and the autonomy of the design itself is reduced. All methodologies in architecture are, to varying extent, connected to this approach.

The folly might be an exception, since it does not react to its environment. It is an autonomous entity, not relying on context to give it its significance. It enables the architect to explore ideas formally, without the concern of the consequences the design has for its immediate surroundings. Designing a folly is facing the ultimate blanc canvas.

It is impossible, however, to write or conjure up ideas without context. Creativity is not so much about making something out of thin air. Rather, it is about making new connections between what is already there. In order to be truly creative, you need to engage with context. The context of Boullée’s Cenotaphe, for instance, is historical. His and Ledoux designs may seem without context, but they are a broadening of the term context as it was used in architecture at that time. Again, the ingredients for their ideas existed beforehand, like the fragments of thoughts and ideas in

everyone’s head. Connecting the elements and then expressing them formally is what made their designs new and influential.

The function of no function Another scale describes the attitude towards function. The extremes being designing purely for function (form follows function) or designing purely for form. The definition of function is much debated as well, some using the term in a narrowed scope, referring mainly to material problems, others expand the term to also include psychological problems. Again, the folly positions itself on one extreme of the scale, that of form. Having no, or very little, material function, it enables the architect to explore ideas, to create without the constraints of program.

The dichotomy between function and form lies deep at the root of the folly. If the function is determined by logic or sense, omitting function is leaving logic behind or taking leave of your senses, in other words, to be folly.

Conclusion The folly as a formal expression of architecture, is difficult to pin down. It is at its best when pushing the boundaries of architecture, especially those connected to context and function.

The lack of context in the cases of Ledoux and Boullée are perhaps fed by the blanc canvas on which they were designed. However, in their disregard of context, the architects initiated a new discussion within the field of architecture; showing an architecture in which the buildings express their identity formally for the first time.

The folly itself does not (necessarily) have a function. It is the process of creating the folly that is functional. To create a folly is to search inside oneself, the abstract world of thoughts and feelings. These thoughts and feelings are not necessarily explicable or logical, they just are. They are not bound by place or time. They

can be triggered or fed by these things but are not relying on them as such. Within the constraints of the built environment it is difficult to concretize these ideas within a building, due to its complexity, stakeholders, program, context and so on. Where in those cases the building usually is the goal, a folly is just a means. It is a method to venture new ideas. It is a tool

...the building usually is the goal, a folly is just a means for expression, whether it is about expressing societal issues, a political agenda or the glory of the architect her/himself.

Writing folly The concept of this written piece was to approach the article in a similar way as one would when designing a folly; by allowing the thoughts to drift and then trying to capture them and express them in written form. To come to a publishable article, however, these thoughts have been rewritten numerous times and some background information has been added. A more or less structured scheme makes the story flow, sort of. In the end, the article has probably been much more useful to the author than the reader. At least in that sense, it can be considered a folly.

Images: 1. Cenotaphe for Isaac Newton (source: Wikimedia) 1

Sources: 1. Jonathan Scelsa. “The Folly of Contingency”. 2015. Op-al.com 2. Katherine Belkofer. “In Search of Ideal Forms: The Space Between Architecture and Sculpture”.

2007. apps.acsa-arch.org 3. Clare Farrow “Pure Folly”. Blueprint 334.:Blueprint Magazine, 2014.

THAT’S WHY 41

STREET POEM Street art Bright things on the wall Public space is a difficult thing to design, especially when you are dealing with the presence blind facades. People tend to doodle unwanted graffiti on these walls, making the whole area feel like a neglected place. Of course, graffiti could also be seen as art and it can improve the atmosphere of the public space when done right, but this so called street art often asks for regulations - either top down or bottum up. Authorities all over the world have come up with many projects over the years, to try and brighten up these blind facades. Text: Martha Boekestein One of the most popular tactics, is to ask an artist to paint so called street art on the walls.

If you walk the street and really look for it, you start noticing more and more hidden pieces of street art. In Eindhoven we have the Dommel viaduct at the campus, where you can see the Silly Walk of Mony Python. Another form of street art, street poetry, can be found in quite a lot of Dutch cities. Leiden, for instance, has street poetry all over the city, from many different cultures and in many different languages. In Arnhem, street art is often used

42 THAT’S WHY

to improve the atmosphere of neglected neighborhoods. In Berlin you can find one of the most famous examples: the Berlin Wall - being covered completely with street art. The nice thing about street art, is that you are invited to stand still for a while to read or just look, really making you take notice of the world around you. Maybe you understand it, maybe not: at least you thought about something else, rather than your work, studies, or other stressful factors in your life.

In this 61st edition of the Chepos, some pages are dedicated to street art: from poems to simple doodles, most of them planned, some of them unplanned. The question is not whether you like it or not, but whether it fulfills its purpose: preventing vandalism and making public space a better place. Once you know street art is out there, you keep an eye out to see if there is more. Every street could possible contain a hidden pearl, pulling you away from this harsh world we live in and making you think about something else completely, or help putting your own problems into perspective.

STREET POEM

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2

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4 5

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Images: 1. Street art Arnhem (photo: Martha Boekestein) 2. Street art Leiden (source: Wikimedia) 3. Berlin wall (source: wikimedia) 4. Street art Arnhem (photo: Martha Boekestein 5. Street poem Leiden ( 6. Street poem Leiden, Hebrew (photo: Martha Boekestein) 7. Street poem Lisbon (photo: Martha Boekestein)

THAT’S WHY 43

3D-Printing your models Add that extra dimension Spending seemingly endless hours carving and scraping your MDF models is, besides rewarding and valuable, also a time-consuming task. If you find yourself with less time on your hands than initially anticipated, you will of course have the option to lasercut a digitalized plan of your model.

If you want to be truly effective in making your model, though, you do not want to put together an all over the place puzzle in a fashion that even

by IKEA’s standards would be deemed unorderly. 3D printing offers a far different experience. You can simply use your digital models and have it printed in one go. In order to leave all that hassle behind, this article will give you three locations in Eindhoven where you can get your fantastic 3D model printed. Text: Mats Rekswinkel

HP Proto & Prints This company is hot off the press. Since it was only station established in 2018, HP Proto & Prints is still a business that is growing. Don’t expect the professional appearance station many other services may have.

Still, they offer to help you with lichthoven designing your 3D-model, asstudenthotel you will need special file extensions for printing. This will bring about extra costs however.

Strijp klokgebouw As for further costs, their actual prices can very with every printing ketelhuis job. Moreover, you are limitedvershal to a design of 30 by 30 by 42 cm. space-s This may seem small, however,broeinest for most models this will do just

fine. Of course you can also print your model in parts. Furthermore their service is always accessible, so your model will be processed quickly and with care. HP Proto & Prints take special care to help their customers and produce high quality prints. For more professional outfits, however, Eindhoven offers other options.

44 TOOLS

MakerPoint MakerPoint is a national company, with branches in Rotterdam, Utrecht, Harlingen, Arnhem and Eindhoven. This is of course accompanied by extra expertise. They are situated at the Torenallee in Strijp-S, housed in the Innovation Hub. Besides offering a printing service they also provide lasercutting service and sell printers. But, let us not kid ourselves, your budget should actually allow for this of course.

So for now, back to the printing. Via their website they offer little service regarding help with printing your 3D files. It is therefore best to visit them at their office in the Innovation Hub. Here they will provide you with excellent help and expertise. Pricing depends on the printing job itself. Lastly, sadly, if your pace extends the normal five-day work week, they are closed on weekends.

Lay3rs They sell themselves as the 3D Printing Experience Store and this suits their ideology. Lay3rsstation believes 3D printing is an important step towards a new industrial revolution and they want to station provide people with the experience of 3D printing. They want to lichthoven be involved from idea until thestudenthotel final product. You can therefore expected to receive extensive help when you go here to print your Strijp model. Should you wish to apply your design to their print store, klokgebouw sending the request is easy andketelhuis tutorials for setting up your design vershal for it to be suitable to be printed are offered. space-s broeinest

Their price per printed job is 10 Euros. Besides this they also participate in selling printers themselves. One drawback of this agency is that they are moving towards becoming a consultancy for industrial enterprises and will therefore become less focused on private customers and smaller printing jobs.

Converting your files Many printing services make use of .stl or .obj file formats. You will need to convert your files containing your 3D model into one of these types of format.

Exporting your AutoCAD file into .stl is by far the easiest, because this option is present in the default version of the program. Simply use the export option under file and choose other formats. This is a common type of format for 3D printing, but if you want to create a file which also contains textures, you should export to .obj. Exporting to .obj for-

mat, however, requires downloading a special plugin software. An example of this is OBJ exporter by Prototech. For this software only a trial version is available, meaning you can use it for free up to ten times, after which you’ll have to purchase it. For simple models .stl will therefore suffice.

STL is a plugin you can get off of there, which works very well with Sketchup software. For the .obj format, software by the name of TIG: OBJ exporter can easily be downloaded from sketchucation.com. You will have to set up an account, but this takes no time at all. After which you can get your stuff ready to be printed!

For Sketchup you will have to make use of external plugin software altogether. This can very easily be installed, by making use of Sketchup’s extension warehouse. Sketchup

TOOLS 45

In every Chepos an article is published from the Pantheon// and vice versa. [introduction]

Living inside a mushroom, a pig or a plastic bottle?

Unusual materials with a promising future Materialization, one of the most important aspects in an architectural project. Materialization of the loadbearing structure or the façade is one of the things that can make your project extraordinary. But the wrong use of a specific material can also downgrade your whole design. However, as an architecture student you can only learn so much about materials.

Which mostly limits us to the use of common materials like wood, steel and concrete for the loadbearing structure and bricks and glass for the façade. Yet, there are way more interesting materials for grabs: especially in this century of innovation. In this article four innovative materials are discussed.

Pavillion made of In vitro meat

46 THAT’S WHY

In vitro meat In the future you might be living inside of a pig. This might sound weird but no worries for the vegetarians and vegans amongst us: no animals were harmed in the process of making a meat home. Meat cells are grown in laboratories for the buildings. Until today only scale models have been made but the concept gives an insight of how meat cells could replace traditional building materials. The cells are 3D printed in all sorts of shapes. Sodium Benzonate is added for the preservation but also to kill yeast, bacteria and fungi. This makes the meat last for a fairly long time.

The sight of the scale models isn’t very attractive but the idea itself is quite interesting. Envision walls made from tissue, bones and skin which will replace insulation and where muscles function as windows which can open and close by themselves.

SOPHIE VAN HATTUM

Mushroom-brick The organic biodegradable bricks consist of farm waste and a fungus which grows in a brick-shaped mold. The bricks are made of corn stalks and the fungus makes sure the corn stalks stay together. Corn stalk doesn’t have another function otherwise and would just go to waste, which makes the bricks very sustainable. The bricks are grown in five days and can then be stacked to create a structure. One brick can carry the weight of multiple cars. The fabrication of the bricks leaves no waste, no input of energy is required and there are no carbon emissions. After using the bricks, they can be composted and can be turned into fertilizer.

For now, the bricks haven’t been used in big architectural projects. However, MoMa in New York did construct three interwoven towers from the bricks. It’s not likely that the mushroom bricks will replace steel or concrete anytime soon, but the towers showed that there might be a future.

Cardboard Cardboard, everyone has heard of it but most of us see it as a useless material which you throw away as soon as you take your purchased item out of the box. However, cardboard can be used for more useful purposes including architectural purposes. For example, after the earthquake in Christchurch, New Zealand the cathedral was destroyed. Yet a place was needed for the victims to be honored. Shigura Ban came with the idea to create a church with cardboard as main material. The church is constructed from cardboard tubes which are coated with a waterproof and a flame-retardant material. The cardboard tubes support the polycarbonate roof. The church has a life span of 50 years and will replace the cathedral until a new cathedral emerges. A big plus of the structure is that the cardboard is not likely to be affected in case of another earthquake. Another benefit was that within a month after the earthquake the church was ready to be used.

Used plastic bottles Like cardboard everyone uses plastic bottles.

Nevertheless, plastic bottles and all other plastics are a huge environmental issue. A lot of the plastic isn’t recyclable and ends up in landfills or even worse: in the ocean. However, it could serve a better cause.

Studio Klimoski Chang Architects used 53.780 plastic bottles to create a pavilion: 53.780 is the exact number of plastic bottles that is thrown away every hour in New York. The used bottles were collected from offices, schools and businesses throughout the course of a few months. Each bottle is filled with a different amount of water and blue coloring. The exterior is completely made out of big plastic jugs. The pavilion is shaped like a cloud and has the fitting name: Heads in the Clouds. It’s a place where New Yorkers can put their head in the clouds and rest in a chaotic city. The pavilion not only stands for all the plastic bottles that are thrown each day but also hopes to inspire others to create structures with used products or plastic bottles.

Dare to experiment with unknown materials and try to do your own research instead of always falling back to the usual materials. //

The towers constructed from mushroom brick:

SOURCES - http://www.terreform.org/projects_habitat_meat.html - Kushner, M. (2016). De toekomst van architectuur in 100 gebouwen.

Amsterdam, Nederland: Amsterdam University Press.

- https://www.archdaily.com/521266/hy-fi-the-organic-mushroombrick-tower-opens-at-moma-s-ps1-courtyard - https://www.dezeen.com/2014/07/01/tower-of-grown-bio-bricksby-the-living-opens-at-moma-ps1-gallery/ - http://www.terreform.org/projects_habitat_meat.html - https://www.archdaily.com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand - https://www.archdaily.com/415655/head-in-the-clouds-pavilionopens-in-nyc

THAT’S WHY 47

Okt 19 - Mar 10

Jan 11 - 2 Jun

Prix de Rome Architecture 2018

Collective Comeback

Architect Alessandra Covini (1988, Milan) received the Prix de Rome Architecture 2018 from the Dutch Minister of Education, Culture and Science, Ingrid van Engelshoven. Covini receives her award for ‘Amsterdam Allegories’, her proposal for the Sixhaven area in the North of Amsterdam. The award comes with a 40,000 Euro cash prize and a work period at the American Academy in Rome. The Prix de Rome Architecture is awarded once every four years to talented young architects, urban designers or landscape architects. The work of all nominees is exhibited at Het Nieuwe Instituut in Rotterdam

Collective living and building is making a comeback in the architecture of Amsterdam, just like in the period of 1965-1985, when architects designed communal spaces and services in a large amount. With models, drawings, photos and videos of iconic buildings of that period, Collective Comeback will mirror the collective architecture of the past with the present.

Feb 4 - 8 National Building Fair Utrecht

Dec 19 New Developments 3D Concrete Printing In De Zwarte Doos, a symposium is held about the new developments in 3D concrete printing. During the symposium, new technologies are elaborated on, research of both the Saxion in Enschede and our own university is presented, and the 3D concrete printer in Vertigo will be visited.

Jan 10

The National Building Fair is the conference for executive building. With live demonstrations, new and innovative products, solutions for the building challenges of tomorrow and lovely entertainment. The edition of this building conference takes place in the Jaarbeurs in Utrecht.

Feb 6 - 10 Art Rotterdam Week Every year Rotterdam houses one of the largest art events in Europe, inviting art lovers from all over the world to this city. The week is filled with shows, exhibitions and lectures about all aspects of art, including architecture!

TNO Lunch Lecture TNO does research in loads of fields within the scope of engineering. TNO will visit us at Vertigo on the 10th of January, to give us some insight in all of their innovations within the field of the built environment.

Agenda CHEOPS & Built Environment 48 AGENDA

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@chepos_magazine

Photo by Lennart Arpots.

For the next edition the theme will be hybrids. The final submitting date will be announced.

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 editorial board: Martha Boekestein (final editor), Niels Dusseldorp (board responsible), Henryk Gujda, Merel van Hooren, Jovana Ivanovic, Ananda Jaganathan, Karim Jaspers, Sander de Meij, Mats Rekswinkel (chairman), Bart van Santen (editor in chief), Bas Turk, Joris van der Zwet Chepos is a publication of CHEOPS, Study

Association of the Built Environment. Content may be used for research and study purposes, if credited properly. Exceptions include copyrighted imagery; these may not be reproduced or published without specific consent by the original author.

Collaborations: Callum Aitken, Narindath Maraj, Maarten Wilems, Jacob Voorthuis, Study associations Stylos Acknowledgements: Zeeshan Ahmed, Theo Salet Images: Cover: leftover 3D printed concrete, edited

by Henryk Gujda, image by Bart van Santen • Editorial: leftover 3D printed concreted, image by Bart

van Santen• Index: 3D printed houses, dezeen.com • Index: Theo Salet, weekblad.cobouw.nl • Index: parti sketch Piano, bloomberg.com • Index: Dubai, photo by Tamar Henquet • Index: metamorphosis, wikipedia.org • Index: individuality, grasshopper3d. com • Image page: concrete with reinforcement, pxhere.com • Agenda: Amsterdam Allegories, architectuur.nl • Agenda: Art Rotterdam week, acitymadebypeople.com Offset: Drukkerij Snep BV, Eindhoven, circulation: 1200

Chepos, built environment magazine: ISSN: 1873-183X • chepos@cheops.cc www.chepos.nl • www.fb.com/CheposPage • www. issuu.com/chepos_cheops Advertisements & exploitation: Niels Dusseldorp: pr@cheops.cc Co-Main sponsor Chepos: CarrièreTools, BAM Want to be an editor? Want to share your opinion?

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