Chepos 60

CHEPOS built environment magazine

THE REVIEW

SNEAK PEAK ATLAS | SHARED SPACE | ANIMAL ARCHITECTURE

60

JUN. 2018

Building the present, Creating the future

Innovatief en duurzaam BAM heeft de ambitie voorop te lopen in duurzaamheid en innovatie. Robotisering, 3D-printers en drones bieden nieuwe mogelijkheden in het bouwproces. Met internet of things, data en virtual reality kan slim worden ingespeeld op de behoeften van eindgebruikers. En wat is het effect van zelfrijdende auto’s op de infrastructuur van de nabije toekomst? De klant, de eindgebruiker en de omgeving staan centraal in ieder project, daarom zoeken wij voor elke vraag een duurzame oplossing. BAM vernieuwt. Jij ook?

Wil je weten hoe het is om te werken bij BAM? Kijk op onze website en social media voor verhalen van jonge BAM-medewerkers en lees wat jouw mogelijkheden zijn: www.bamcareers.com @WerkenbijBAM @WerkenbijBAM @WerkenbijBAM

Leidende posities in Nederland, België, het Verenigd Koninkrijk, Ierland en Duitsland.

Wereldwijd projecten in meer dan 30 landen.

Actief in alle fases van het bouwproces.

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CHEPOS built environment magazine

Introspection. It is perhaps one of the most impressive characteristics of human beings. The ability to be conscious about oneself, to know one’s own mortality, to reason one’s motives and contemplations. It allows for reflections on behaviour, thoughts and actions which, when connected to its consequences, enable men to learn and evolve. To review is an important part of being human.

In order for age to become valuable in the sense of experience, we have to consciously look back and learn from what we have done, preferably through both our own and others’

eyes. The file theme in this edition revolves around this topic. Reviewing our built environment and faculty from different perspectives.

From (external) students reviewing the built environment study and its students, to the general public reviewing architecture, to the architect reviewing her own buildings. Of course we also review our magazine itself and asked a few former editors from different stages in the sixty editions-old magazine to write about their experiences.

(Re)viewing the articles outside the theme, the reader learns about how to deal with the old and the young (buildings), vitality within the office and the transformation of the Railway Zone in ‘s Hertogenbosch. Next to that there is room to be puzzled by proportional systems, struck by sentiment and captivated by restrictive designs. Finally, after reviewing what once was and what is now, a glimpse into the future of man and the built environment is offered.

had to say goodbye to Eva Pabon, our former editor-in-chief. This edition is the first in quite a while without her direct input. Of course we try to consult her as often as she allows us to and I will try my very best to fill the rather large shoes, figuratively speaking of course, she left behind.

As always the new edition did not come to be without growing pains and struggles, something which we will have to review ourselves to evolve as a magazine. We most certainly will do so, but not before celebrating the arrival of the extra-large sixtieth edition of the Chepos!

Have a great read!

Bart van Santen Editor-in-Chief

This edition also marks a transition within the Chepos editorial board. We have a new chairman, new editors and myself as the proud new editor-in-chief. These changes often go hand in hand with departures. Luckily our former chairman Tafara Simons is still (very) active as a member of our editorial staff. Sadly we

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18 20 NOW EDITORIAL NL NEWS CHEPOST Faas Moonen MAKING OF: THE COVER THEMATIC DESIGN Column John Habraken SNEAK PEAK IN ATLAS WALK AND TALK A route to healthier meetings SHARED SPACE Guest article Rick Abelen 2 INDEX

FILE: THE REVIEW 1 4 6 7 9 10 12 16

“WHAT DO THEY THINK ABOUT THE BUILT ENVIRONMENT?” HOW DO NORMAL PEOPLE PERCEIVE ARCHITECTURE? FACADE FAILURE HOW REVIEWING CAN SAVE YOU(R BUILDING) A CHEPOS CHRONOLOGY Celebrating the sixtieth edition of Chepos

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34 THAT’S WHY HUMANTECTURE The new era begins...

SENTIMENTALITY A STORY OF THE NEW AND THE OLD ANIMAL ARCHITECTURE Unqualified, Unlicensed, unregulated EVOLVING ARCHISYSTEM THE PRITZKER Pantheon PRISON ARCHITECTURE A city confined

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AGENDA COLOPHON

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INDEX 3

Gasless after 1st of july

Text: Mats Rekswinkel

Minister of Economic Affairs, Eric Wiebes, has made it definitive that building requests for dwellings after the first of July can no longer make use of a gas connection. After concerns had been voiced from the building sector, who were concerned the transition into a gasless Dutch building stock was accelerated too heavily, the Minister decided definitely on the deadline of the first of July after consultation with all involved stakeholders. The ball is now in the building sector’s court.

The Green House The transformation of Utrecht continues. The latest addition, or rather conversion, to the city center can be found alongside the famous Rabobank headquarters on the Croeselaan. It is a pavilion housing a café, meeting space and even a greenhouse, called the Green House. It is also located on the plot of the recently renewed Luitenant Generaal Knoopkazerne, a governmental building.

However, in 15 years’ time a new tower will arise on this plot, exactly on the spot where the Green House is situated.

That might be a reason why architectural firm Cepezed was chosen to construct the pavilion using a circular approach. As a result the building has been rated with a percentage of 80 on the Building Circularity Index, which is the highest in the Netherlands.

Gelders Huis in Arnhem is best building of the year The 13th edition of the award has been granted to the Gelders Huis in Arnhem, by Team V architectuur. The building is a renovation of the House of Provinces, which is a national monument, and an added modern office wing. The building is part of the postwar reconstruction period and is a governmental building which offers a workplace for 1200 officials.

According to the jury it is “not only a stimulating environment, but also an iconic building which contributes to the livability of the city and – as the name suggests – provides the community with a home base and gathering place.”

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Start of building new landmark in Friesland The drilling for the construction of ‘It Goddeloas Fiersicht’ has started in the ‘Noardlike Fryske Walden’ (to the east of Leeuwarden). Next Architects have, in collaboration with artist Paul Edens, designed a monument which will house boulders that have been found during the construction of the Centrale As (a new motorway in between Holwerd and Nijega, in the north of Friesland).

The structure will be made of concrete and will represent a ‘soil drilling back in time’, showing the soil layers depicted by different layers of concrete. Moreover, it will function as a viewpoint from which you can view the surrounding landscape.

New plans for Eindhoven: 15.000 dwellings in four years The municipality of Eindhoven has presented new plans for expansion of the city, in the form of 15.000 new dwellings.

Together with Winy Maas the city is working on plans to eventually house 30.000 new residents. This will mainly be focused on rental and middle class apartments.

These dwellings will be centered around the station area and will go up in height in order to facilitate the apartments on the limited ground surface that is available. Part of the plan that has already been determined is called District E which will be located around the Philips stadium and will, amongst others, contain the highest residential tower in North Brabant.

MVRDV’s next stop: Paris Dutch architecture continues to expand beyond its borders, as now MVRDV opens up a new headquarters in the center of Paris at the Spaces Réaumur.

It is no surprise that the firm takes up residence in this part of the world, since they have had a large affinity with France for the past fifteen years. As Winy Maas explains: “we wanted to perpetuate our love for France through our presence in Paris.” Architect Bertrand Schippen will take up the leading role over the new branch.

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Images: 1. Buiksloterham nieuwbouw (photo: commons.wikimedia.org, 2016) 2.

The Green House (photo: cepezedl) 3.

Het Gelders Huis (source: cobouw.nl) 4. It Goddeloas Fiersicht (source: Next architects) 5. New station area Eindhoven (source: municipality Eindhoven) 6. Spaces Réaumur (source: commons.wikimedia.org)

Sources: 1. Bouwaanvraag vanaf 1 juli definitief zonder gasaansluiting. 2018. bouwwereld.nl 2. Te mooi om waar te zijn?. 2018. archined.nl 3. Het Gelders Huis BNA beste gebouw van het jaar.

2018. dearchitect.nl 4. Provincieshuis Arnhem. 2014. rijksmonument.nl 5. Bouwstart goddeloas fiersicht friesland door next architects. 2018. dearchitect.nl 6. Dan maar de hoogte in: plannen om de komende vier jaar 15.000 woningen te bouwen in Eindhoven 2018. omroepbrabant.nl 7. MVRDV opent kantoor parijs. 2018. dearchitect.nl

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ChePOST FAAS MOONEN ASSOCIATE PROFESSOR INNOVATIVE STRUCTURAL DESIGN (ISD)

The delicious flavour of pudding Even though it is already many years ago, I still remember the decisive factor for my study of the Built Environment; this was the combination of a practical approach alongside a solid theoretical foundation. But probably even more decisive was the thrill to be able to create something. Something that origins from just a small and unrealistic imagination; a sketch or just some lines, often simply some words or a reference haunting in my mind that I wasn’t aware of. And from that, at a certain moment, the idea established to become full scale. And beyond, to a scale that you even can walk around it and observe effects of design decisions on the daily life of people in it. The sense of wonder by bringing an idea to life through elaborations, calculations and endless discussions has never stopped afterwards. And that is not to mention the marvel of transforming digital representation into real spaces (I often hear: “the real building exactly resembles the renders”, not the other way around!). To mobilize this spark to students I find it essential to offer ambitious students a possibility to really realize a design. I completely understand that realizing a student’s design is difficult, timeconsuming, expensive, and in a certain way risky. And that this doesn’t fit in the rigid curricula with which we fenced our Bachelor and Masters. Nevertheless, the taste of making is a last step and essential step in the development of Architects, Structural Designers, Advisors, Engineers, Real Estate experts, and all other disciplines this Department educates.

the last 10 years I was yearly involved with students’ projects: from holiday cabins made from demolitions waste to festival boots, stages and pavilions. I even managed to obtain a formal place for these experiments in the curricula.

Sometimes a crazy idea fits well in the practical assignment BouwkundeWinkel. And if not, I can use the Honours Academy to push an idea to the limit.

However, none of the previous building projects can cope with the current project of teamVIRTUe that is on the grass in between Auditorium and Vertigo. Started already 3 years ago (assignment of the Honours Track Smart Cities), now, a student team of about 50-60 students has been working extremely hard to make a building to represent an apartment in an apartment block. The apartment is full of the latest innovative technologies and fantastic solutions from industry. This building has been built at the TU/e campus and exposed during the Dutch Technology Week.

Next, the house will be dismantled, put in sea containers and subsequently shipped to Dubai.

In the desert of UAE, students have to rebuild the house within 15 days (however, I still value our initial concept that we need no more than half of the building time; to enable us to watch the hard work of other participating teams from our loungers in the shade of our own building while enjoying our adiabatic cooling system …. ).

For this very special house, a multidisciplinary team is responsible for every facet of the building; for designing, elaborating, dimensioning, finding support from practice and acquiring additional funding, and more. As work progresses many students even become skilled on-site workers. The team is very international orientated incorporating 16 different nationalities (5 different continents) to enrich cooperation and team spirit. ……. from taking my first cautious steps in designing until today, I always embraced the traditional saying: “the proof of the pudding is in the eating”. Yet, it is by virtue of all hard working students involved in this project that this pudding is the best I have tasted in years.

I myself feel privileged that, when I was a student, I had a passionate teacher, Wim Huisman, who had the courage and the organizational talent to build life-size prototypes by a team of ambitious students. I guess that Wim’s well-intended attempts motivated me from the beginning to go beyond a digital result. And still, his perseverance is my example when I experience unexpected barriers. The result: in Have something you need to share? Send an email to chepos@cheops.cc and your article might get published!

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For the cover of the 60th edition of the Chepos we did not just want to use another – albeit slightly photoshopped - picture. We wanted to do something more personal and creative. And what better way to do that, than to ask some of the awesome artistic talent that can be found at this faculty? We asked Farah Abdullaa, Andrea Dolfsma, Karim Jaspers and Jovana Ivanovic if they wanted to help, and picked their brains for ideas for this edition’s cover.

tectural chaos does not really work well on the long term. This city, where about 50,000 people lived, had alleys where not even the sun dared to enter and prostitutes and preachers lived and worked next to each other. The most surprising thing about it all, though, is the fact that people actually lived their normal day lives in this so called city of darkness. In the end the government had to demolish it because of the increasing amount of criminality, so this nickname was accurate in many ways.

The file theme of this edition is the Review. This can mean all sorts of things, but mainly focuses on reflecting on the past or on other projects.

For the cover, we wanted to review a project (or more). During the first meeting with our artistic talents, we came up with many ideas for implementing this theme into a drawing. One thing was set on from the beginning: we wanted to do something with reviewing an existing build-

The biggest problem of Kowloon city was probably the fact that no architects or urban planners were in the picture whatsoever, there were no regulations or any kind of system.

Nowadays, it is turned into a city park where only the names of the streets remind you of what used to be there. The artists that worked on this cover reviewed the city in their own way

ing. So we had to find a building that is worth reviewing. This was very difficult, because four people would need to be able to give it their personal touch and still some of the original building should be visible. After the building was chosen, the artists picked a part and drew, sketched or painted it the way they thought this part should look like.

and came up with personal ideas of making this a better place. Though the ideas are all very different, everybody gave the inhabitants more open space and thus more sunlight. A big thing learned from Kowloon city, is that space can be transformed from a chaotic microcosm to a serene park, but please: do ask an urban designer for advice first.

The building that was chosen actually exists of multiple ones. It is called Kowloon city, located in Hong Kong, and used to be the most densely populated place on earth. Used to, as in it has been torn down because it turns out that archi-

We are more than pleased with the end result and hope that you, our reader, share this opinion with us. We would like to especially thank Andrea Dolfsma, Farah Abdullaa and Karim Jaspers for providing us with the amazing drawings.

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John Habraken As architect, theorist and professor, Habraken has made innumerous contributions to the world of architecture. This is the final of three columns about the theory and practice of open building.

Thematic Design

In Open Building designing an apartment building is no longer a single task. Part of it is now under control of individual inhabitants. In the early days proposing this distinction triggered emotional responses from architects. They argued that the user was not capable to take care of his own, the process would be complicated and more expensive, there would be technical problems, etc. Eventually someone would blurt out the real reason of their anger: the floor plan belonged to the architect, you could not just take that away from him.

In the environmental hierarchy designers operate on a specific ‘level of intervention’. Their expertise may relate to such a level of intervention.

The self image of the architect in full control of an art work is still entrenched in our professional culture. It stems from the Renaissance days when masters like Palladio and Alberti separated themselves from the tradition-bound master builder to pursue innovation and artistic freedom. For centuries that culture produced beautiful monuments but now it is outdated.

The vast majority of us lives from designing not monuments but workplaces, schools, shopping malls, sport facilities and, above all, dwellings. In short, we are now fully involved with everyday built environment which, as history shows us, can be very beautiful and long-lasting but was never considered Architecture with a capital A. The problem with everyday urban fabric is not that we should stay away from it but that we do not have the skills to professionally help cultivate such a complex living, long-lasting organism.

In addition to that, designers on a same level of intervention relate ‘horizontally’ by sharing particular form aspects. They share not only the higher level framework that they jointly inhabit but also building types, patterns and technical systems that help them to achieve a coherent whole.

At MIT I taught those skills for a number of years as part of an advanced master program for students who already had a professional architectural degree. I called it a “Thematic Design” course for reasons that will be explained in what follows. Today there is a thematicdesign.org site where you can see works done that way.

To begin with, designing for change is an essential condition for environmental sustainability. What we design must adapt over time to follow the demands of inhabitation. Sometimes it can be around for a long time, sometimes it must be expected to have a short life span.

When we study patterns of change in the built environment we find a hierarchical structure. For instance an urban design makes a framework within which buildings come and go. An Open Building design makes a framework within which dwelling units or work units or shops come and go.

Designers on different levels of intervention relate to one another ‘vertically’. Looking upward one must do justice to the intentions of the higher level design. Looking downward one seeks to offer a framework with the capacity to stimulate lower level intervention.

When we make music together, different players identify themselves by making their own variation on a shared theme, architects make their variants to a type, pattern or system to identify themselves while contributing to the coherence of the whole.

In a vertical relation the higher level designer wants to make sure that his proposal makes possible the desired or expected thematic aspects on the lower level. What types of buildings may his urban design assume to be best? What patterns on the level of architecture will enhance the urban public space?

In other words thematics on any level in the environmental hierarchy are important for both horizontal and vertical relations among designers. To summarize, Thematic Design skills have to do with the handling of change over time, with the distribution of design tasks among designers, with maintaining vertical and horizontal relations and with sharing thematic forms by making variations in them.

The traditional modernist design culture believes good architecture demands single vertical control across all levels, believes sharing of thematic aspects is an undesirable limitation to originality and thinks change in general is in conflict with art.

Without Thematic Design skills architectural education and architectural theory are out of date.

COLUMN 9

Walk and Talk

The route to healthier meetings

During the Creathon on the 6,7 and 8th of June, many innovative ideas were created and advertised with the aim to promote a healthier lifestyle within our built environment. The CHEPOS committee already tested out one of the existing ideas, the walking meeting, and had a conversation with Roy van den Heuvel, one of the initiators of the Vitality movement within our university, to see if we could become more vital ourselves. Text: Bas Turk

You probably have gone through a situation like this before: when you leave your workplace at six o’clock to head home after a long day and you notice for the first time that the sun has been out and shining all day. The increasing amount of digitalized tasks that have to be performed, combined with meetings during the lunch break or after hours have led to a decrease in vitality of students and employees.

To tackle this issue, Eindhoven University of Technology has made Health in the Built Environment a priority issue on their agenda, following a national as well as European trend.

It actively tries to develop innovative and multidisciplinary projects to increase the health and well-being of all people working or studying at our University. One of the ways in which these ideas were advocated was through a Creathon on the 6,7 and 8th of June, a competition in which groups of 10 French and 10 Dutch students were working together in multidisciplinary teams.

One of the initiatives is called the TU/e Workwalk, which originated in a competition comparable to the Creathon. Developed by Ida Damen, it is unique in its way of combining and integrating activity with work. As a result it can form a solution to your overbooked agenda in which there is no space to be physically active. The Workwalk is a new 1,8 kilometer long line on campus, which forms a route of 25 minutes. It can give an interesting new dynamic to your usual meetings, as you can, for instance, set locations for different points on the agenda, indicating how far the meeting should have progressed when you arrive there.

Furthermore, the route can be booked through Book My Space, which makes it possible to invite others and to set a starting point for your walk. The Workwalk was carefully planned to stop by as many faculties as possible, and that it does not pass dangerous traffic locations. As indicated by Damen, it also makes it easier to

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discuss difficult topics by creating an informal setting.

The route is visualized by a blue line on the campus, which will hopefully help to create more awareness for different ways of working.

To improve this awareness even more and to stimulate people to take part in the different initiatives, Roy van den Heuvel and Ida Damen helped to develop Tweak.work. Using your own digital agenda and a fitness tracker, the app proposes suggestions to your schedule. For instance, it can introduce a walking meeting when it notices that you have been inactive for a long time. The only service takes into account the weather forecast and your location, and could even look into the menu of your department’s canteen, to personalize the healthy suggestions it makes. Moreover, it is self-learning, which for example means that it will propose different kinds of interventions when you have ignored a specific type of task.

“The strange thing is that we do not measure the effect of buildings on the users after commissioning, while it actually has a large influence on health,” says van den Heuvel. Data from Workwalk and tweak.work will hopefully change this in the future, for example.

Moreover, another initiative from the vitality movement is specifically focused on gathering such data, developed by students from the TU/e. The project, called Mivo, is an electronic device which can be installed on every table in a room, on which users can assess topics such as lighting, temperature, noise and air quality.

In this way, it clearly links to Marlies Röhmer’s book, in which she went back to the buildings she had designed to review how users value her designs (more about this on pages 28 and 29). Eventually, the received feedback can help to create better buildings in the future.

Together, the different projects will hopefully transform Eindhoven into a large living lab, in which data on health and vitality can actively

be used to design our built environment, and to substantiate the importance of investing in new initiatives.

When CHEPOS tested the Workwalk, the editors were divided into three groups. This was done because the preferred amount of attendees per walking meeting is three to four. Each group had their own agenda with different topics, own secretary and own chairman. We started at Koeveld, and discussed the agenda with the whole group before we started walking. To our surprise, the meeting was more effective than expected, since we discussed the same amount of topics as usual in almost half the time.

However, the walk also had its downsides, since taking minutes while walking was indicated to be a struggle, as well as eating a proper lunch. Moreover, preparing a walking meeting for such a large group takes a lot of preparation, since you have to make multiple agendas instead of only one. One could argue that, as a result, a walking meeting is indeed only favorable for a small group of people. Moreover, gatherings in which presentations, models or whiteboards are necessary are ineligible for Workwalks. The problem is that this excludes a very large amount of meetings held nowadays.

buildings themselves should provide the room needed for activities Nevertheless, initiatives as the Workwalk are important, since research shows that some diseases, such as diabetes and cardiovascular disease, are directly linked to inactivity. Sitting is therefore often referred to as the new smoking. We sit more than we sleep during a normal work day. This might be the reason that the CEO’s of LinkedIn and Facebook are participating in walking meetings.

Moreover, being active stimulates creativity, as a Stanford study showed that 81 percent of participants can come up with more and better ideas after they walk, regardless of the location.

Especially the last part of that statement is important to note. It implies that the same boost in creativity can be seen with people who walk inside or on a treadmill as people who walk outside. This dramatically increases the amount of possibilities in which the built environment can facilitate physical activity, as now also architects can contribute to the conversation besides urbanists. The university campus in Eindhoven provides an ideal location for

walking meetings, but this doesn’t mean that everywhere in the city such initiatives will be as successful. In such cases, buildings should provide the room needed for activities.

The student flat Op Dreef in Utrecht’s neighborhood Overvecht is a textbook example of this. The design by Team V Architectuur includes a series of green roof terraces, interconnected with stairs which form a good possibility for an outdoor walking meeting. In combination with a variety of sports facilities, the building actively contributes to a healthy lifestyle of its inhabitants. Closer to home, on the TU/e campus, the walking bridges that connect the different buildings offer an excellent alternative to an outside walk in case of bad weather. This means that you don’t have to worry about unpredictable weather when you plan a Workwalk.

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Images: 1. Walking meeting (photo: Tamar Henquet) 2. Notebook (photo: Tamar Henquet) 3. Writing notes (Tamar Henquet) 4.

TU/e Workwalk route (source: cursor.tue.nl)

Sources: 1. Conversation with Roy van den 3 Heuvel, 14-05-2018 2. The Built Environment and Its Relationship to the Public’s Health: The Legal Framework.

2003. ncbi.nlm.nih.gov 3. Patterns of Sedentary Behavior and Mortality in U.S. Middle-Aged and Older Adults: A National Cohort Study. 2017. annals.org 4. ‘Walk and talk’ langs twee kilometer lange vergaderroute. 2018. cursor.tue.nl 5. Get Up and Get Out: Walking Meetings Are Your New Creativity Booster. 2017. business. com 6. Stanford study finds walking improves creativity. 2014. news.stanford.edu 7. Opvallende studentenflat voor Utrechtse wijk Overvecht. 2017. stedebouwarchitectuur.nl 8. about tweak. work. 2017. tweak.work. 9. Mivo. 2018. tuecontest.nl. 10. Paper Ida Damen, Let’s Walk and Talk: A Design Case to Integrate an Active Lifestyle into Daily Office Life. 2018. dl.acm.org. 11. Buiten vergaderen in het mooie weer op een uitgestippelde route. 2018. amp. omroepbrabant.nl.

Looking back at our own walk, I feel that it was a success since it contributed to our group bonding, but I don’t think that the CHEPOS committee would do it again soon, primarily due to the group size. Nevertheless such initiatives are important, also because of the struggle we will encounter in the future with arranging rooms, when our department is flooded with a vast amount of new freshmen.

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Sneak peek in

ATLAS In September, the renovated Atlas building will officially be opened. Chepos Magazine already took a sneak peek inside the main building of Eindhoven University of Technology, on a tour given by the contractor of the complex project.

Text: Bas Turk

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It took ten weeks to pierce the 1.25 meter thick original concrete floor to make room for the new staircase, while extra reinforcement crosses had to be placed to ensure the building’s stability. Placing the orange stairs only took 1.5 hours.

Special nesting boxes for Swifts, a type of migratory bird, are installed behind the bottom of the facade cladding. Furthermore, the buidling offers lving spaces for bees and bats.

The floors are upgraded with audio induction loops, enhancing the sound quality for people with hearing aids.

The grid lines on this column indicate the locations where X-rays were made to investigate the positioning of the original reinforcement. The new contruction could then be connected to the old one.

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The triangular-shaped windows in the entrance hall all have unique dimentions and the glass has a thickness of 30 milimeters.

This orange staircase weighs nine tons and consists of only one piece.

The contractors weren’t allowed to make changes to the historical garden on the Metaforum side of the building.

All luminaires are given a unique IP adress, making it possible to control them individually.

Kijk eens goed om je heen, al je medestudenten zijn na je studie

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jouw concurrenten. Oriënteren en specialiseren tijdens de studie is dus nog niet zo’n slecht plan. Want direct je droombaan vinden na je afstuderen is niet vanzelfsprekend. Met de juiste persoonlijke begeleiding en kennis van de markt helpt Continu jou met die eerste stap in je carrière. Daarvoor zijn we tenslotte intermediair.

Je carrière wacht op je, waar wacht jij nog op?

Ga naar www.continu.nl, vind de vestiging bij jou in de buurt en kom in contact met één van onze adviseurs.

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Shared Space Developments in the Railway Zone of ‘s-Hertogenbosch From the beginning of the 20th century industry has been developing on the west side of the railway tracks of ‘s Hertogenbosch. In previous decades companies have been searching for new locations outside the city. The Railway Zone is seen as an advantageous area for the development and transformation into a district with a mix of living, work and leisure. At least that is the plan. After 25 years of development, architecture student and former Chepos editor Rick Abelen, together with an architect, a resident, a former city council member and an entrepreneur, reflects on the two kilometer wide Railway Zone of ‘s-Hertogenbosch.

Text & photos: Rick Abelen “Railway Zones originated as infrastructural areas outside the city and brought a lot of prosperity. Nowadays, the Railway Zones are located in a more urban environment as a result of the growth of the city”, according to architect director Jeroen van de Ven of Tarra Architectuur en Stedenbouw. We see these developments a lot in the Netherlands for example in Tilburg, Arnhem and Groningen.

Railway Zones often form a physical separation between two areas. Many cities struggle with the question how to connect these areas, which the architect confirms. Not every Railway Zone is the same, every city has its own challenges

Railway Zones and adjacent roads meander like a sort of gutter through cities and different questions. Van de Ven notices that Railway Zones and adjacent roads meander like a sort of gutter through cities. “Connections over and under the track bed, no matter how beautifully executed, are mostly logistical, the railway tracks therefore substantiate the barrier through the city. It is pitiful that this gutter does not get more attention on itself. Why, for instance, not a city park, a Central Park instead of a Central Station which you enjoy visiting and where opposite buildings can communicate more with each other.

Van de Ven emphasizes that what eventually matters is the experience. “With the construc-

tion of pedestrian bridges you will not get the feeling that you are integrating two city districts. Look at Maastricht, where water forms the separation, this evokes different feelings.

We associate water as a quality. Walking alongside the banks of the Maas differs from walking alongside the banks of the Railway Zone”.

Railway Zone of ‘s-Hertogenbosch as unique case study Roughly speaking, the Railway Zone of ‘sHertogenbosch can be seen as twofold. On one side of the city, the historical center is situated, on the other side there are the new development locations such as the Paleiskwartier. Besides, there are many transformation challenges, which van de Ven is involved with. “Industrial heritage should continue telling their own story and the story of the industrial development of the city. With respect for memory and context, but with the courage and desire of today.” An interesting example is De Gruyter Fabriek, a business location for almost 200 companies in the creative industry. In the past the factory of grocer De Gruyter was an important economical driving force for the city. Van de Ven saw the former logistical process within the factory as a route for future use. “In doing so you use the quality of the complex whereby you are subtly reminded of the past.”

The combination of old and new buildings in this context is fascinating. There is an interesting dynamics between industrial heritage, the court of justice, educational institutions, living, work, leisure, the hospitality sector and of course public transport. An important crossroads in this context is the train station. The station connects the north and south of the Netherlands, every important intercity station can be reached with a maximum of one transit. On a daily basis about 13,000 students walk from and to the Boulevard of Education. “Students are very important for the Railway Zone, even though it is often logistics”, according to Van de Ven. Local resident Cees Sanders affirms this point of view.

“We need to be fully conscious of who is using the Railway Zone, students play an important role in this.” Sanders has been working in the Railway Zone for more than 30 years. Recently, he has been living in the newly constructed neighborhood of Willemspoort. Besides this, he is a board member of interest group Spoorzone.

“I love living there. It is ideal because of the nature, the city center and the public transport in the vicinity.” It sounds like a Cité idéale, so is

everything perfect? “Well, the parking pressure is bothersome. I have the feeling that traffic problems are not being solved, but merely shifted. Concerning parking, we should cooperate more, for example by using the facilities of the Boulevard of Education. Of course there are many ifs and buts. For instance, if there is a school holiday you should see how empty it is.” Traffic problems in The Paleiskwartier are a familiar bottleneck. The cooperative association of The Paleiskwartier (Vereniging Wijkbelangen Paleiskwartier) offered solution oriented propositions to the municipality in 2016. The association pointed out that if no measures are taken, the accessibility for parking in the Paleiskwartier would be under great stress over time. Sanders wishes for a more decisive attitude in the future.

The combination of old and new buildings in this context is fascinating.

“Working together and understanding each other will be the key to make that happen.’’

The fact remains that unless you really need to be in The Paleiskwartier, you probably won’t go there. Usually, visitors of the city only visit the historical center and often are not aware that the area on the other side of the tracks is worth a visit as well. Sanders is adamant that the Railway Zone is of added value for the municipality of Den Bosch, which in the future will offer a large variety of inhabitants and companies. ´´Throughout the years I have seen an increasing amount of people connecting, but it would be good to have some more activity in the area. I miss the small scale business ventures like kiosks and flower stores.´´ On the other hand Sanders also remarks that ´´it only takes five minutes to walk from the court of justice in The Paleiskwartier to Jan de Groot with his Bossche Bollen in the historical city center´´.

The grand scheme and the details The court of justice, designed by Belgian architect Charles Vandenhove, was an important driver in the development of The Paleiskwartier, the latter owes its name to the building complex. This national government initiative, situated directly besides the entrance of the station, led to numerous private initiatives. Former

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city council member Geert Snijders confirms the fragmented situation of the Railway Zone in the early days. ´´As city council member for urban and regional planning, I always tried to find connections and dynamism. One of the issues at hand was how to work together with all stakeholders.´´ Many companies, schools and residential buildings would follow. Snijders explains the vision to add quality to the city, ´´we wanted to make something proper for the city´´.

The idea was to create a highly urban area, with functions of a size and scale unfit for the historical inner city. The economic crisis influenced the development considerably, causing delays for many projects. ‘s-Hertogenbosch distinguishes itself because it started relatively early with the developments. ´´From an urbanistic point of view, the question is how you can create a unity and a connection with the historical inner city.

The fact that the Railway Zone is not considered to be a unity can be contributed to the fragmentary manner of its development´´. When asked what the lessons would be from this process, Snijders answer is clear. ´´The area should be multimodal and multifunctional, more than it is now. Next to that, the underground parking diminishes the quality of the street scene.´´ Looking at specific projects, Snijders regrets the closure of the Vershal Van Heinde. ´´Restaurants and shops function well in the area, they should be stimulated.´´ The former city council member emphasized once again that it is important to bare the demands and demanded quality in mind. ´´The focus should always be on the ultimate objective, and yes, sometimes you have to divert, but perseverance is important. Always

18 NOW

try to be fair towards all stakeholders and have a substantive discussion.´´ That substantive discussion is raised on many areas in the Railway Zone. For instance, the Kop van ´t Zand, at the Northern part of the Railway Zone. The area is known for its former factories which were converted to a cultural hotspot.

This is where I have a meeting with Jos Sleegers of the World Skate Center. Sleegers explains the role of the WSC as a gathering place for a diversity of target groups. The center combines

The question is how you can create a unity and a connection with the historical inner city. sport, education and culture and it functions as a breeding ground for new initiatives. ´´We complement each other well, the World Skate Center fits perfectly as a puzzle piece in the lively parts of the Railway Zone. Together with our neighbours we organise festivals, art nights and pop music events. ´´The industrial vibe fits the WSC well, the old factory building aligns with the WSC activities, according to Sleegers. The general coordinator explains that this did not happen by accident. Sleegers had to convince the municipality that their target group was large enough to sustain the WSC.

´´Skating is one of the biggest urban sports.

Children are interested in new and challenging sports. But the Skate Center appeals to a larger audience on this location. The location is nice, also because of its accessibility and the fact that we can skate inside throughout the year. That is why the WSC attracts people from all over the Netherlands, many professional sports players practice at the WSC.´´

Critical vision It is difficult to make the Railway Zone part of the historical inner city of ‘s-Hertogenbosch, despite the increase in variation of functions in the area. According to Snijders, the inhabitants of ‘s-Hertogenbosch are not proud of The Paleiskwartier. ‘’Traditionally, the focus lies on the center of the city and ‘s-Hertogenbosch is a conservative city.’’ At the same time he is very proud of all the developments around the area. ‘’It is a unique city transformation.’’ Architect Van de Ven remarks that we allow the historical inner city to develop itself for centuries. However, we expect the Railway Zone to gain a similar quality and diversity within a few decennia. ‘’It is a good thing that, as a city, we broaden our vision. It would be good to develop the city around the two qualities, modern on the one hand and historical on the other. We are already a step further.’’

Images: 1. Hofvijver with Jheronimustoren (photo: Rick Abelen) 2.

Hofvijver with court of justice (photo: Rick Abelen

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ORIGIN OF CHEPOS

file:

The Review

This monumental facade in Vienna stayed the same during its long lifetime, while the vibrant city contantly grew and changed aound it. In doing so, it also changed the way in which we see and review this facade over time. The knowledge of new innovative facade claddings has stimulated some to radically change the way in which they design, while others try to preserve the heritage our ancestors have left behind. Text: Bas Turk, Photo: Boris Koselka

“What do they think about the Built Environment?”

This is what the Chepos committee was wondering in reviewing our discipline. We interviewed three students, each from different faculties, each members of their own magazine. We talked about their magazine, the typical TU/e student and how they really think about the Built Environment. This leads to, of course, some funny quotes but also some interesting insights.

Text: Merel van Hooren

How would you describe the typical engineering student?

Stijn: Comparing to other cities, a Technical University student is more introvert. I think they can be open to you, but you will have to ask. They are not really the kind of people that will approach you. But if you do get in touch with them, they are the coolest people you’d ever meet.

Lars: That’s a tough one. Well, I would describe an active student as someone who likes to go out and is present at social events... but those are the people I know. If you compare the Eindhoven students with Leiden and Groningen, we will probably look better because of the whole sorority thing. If you compare us with alfa studies, we are more insight-oriented, I think. We always keep our studies in the back of our mind.

Joep: Sober (realistic and calm I mean, not like no-alcohol, haha), analytical and determined.

The typical engineering student can tackle every problem in a unique and especially effective way. I think that is a quality that is well developed in this university. I think there is a little language barrier between alpha- and beta students, we find it hard to communicate to the other group. This is why I think it is important to give attention to the development of personal skills and to follow interdisciplinary courses. In this way, the prevailing taboo of science students without communication skills is tackled by training a new generation of allround engineers.

What are the differences between the magazines?

Stijn: Your magazine looks good because it is consistent. I noticed on another edition that an article continued an the back of the page, that didn’t look so good. But I like your base style.

Both magazines are in colour, which is different from other magazines of the TU. Hmm, your magazine is more creative I think, ours is more conservative. In our association people can’t handle change. In the Chepos, every page

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looks different.

Lars: I think your magazine actually looks like some sort of Elsevier. It really has the same look. It’s polished, really polished. I like it! Our magazine is more informal. For example: we have articles that range from pie recipes to album reviews, you name it. We are busy with lay-out though. Yeah, our magazine is more ordinary, more connected with the student.

industrial design students are more hipster, students from mechanical engineering are more retro Joep: That lay-out, holy crap! The variation in layout between the articles is refreshing, the recurring color palette per edition provides structure again, and the figures look pretty and very clear. The only bad thing I can think of is perhaps the monotony: I see that every edition has a certain theme to a larger extent, and I can imagine that you are easily bored if you are not fond of the theme. That is not the case in our magazine. I think the main difference between our magazines is that our magazine is a hybrid in Dutch and English articles in contrary to yours, which is fully English. Currently we are struggling with the fact that we need to adapt to the international guidelines of the TU/e and of course the anglicization of our study program. This is not an ideal situation.

What are the differences between the type of student that goes here?

Stijn: There are definitely some differences

there! It is, of course, not that black-and-white, but for example Industrial Design students are more hipster, while students from Mechanical Engineering, Electrical Engineering and Applied Physics are more retro. I don’t know, there are more customs and mores among the students there. The seniors of Mechanical Engineering, Electrical Engineering and Applied Physics kinda decide how the freshmen are shaped, as it were. Again the conservative. They have a younger faculty of course, but they also think “now it is my time to shine!”. They have their own taste and style. Students from the Built Environment, especially architects, are more stubborn. I know this because there is this an architect who worked on Flux and he is mega stubborn and you cannot change anything about his building.

Lars: Well, you expect some punchlines of course. Some stereotypes we always use. We, all the students, create these punchlines, from faculty to faculty. We make the differences, but I do not know if they are actually there... For example they say about the Built Environment that you only play with blocks and draw squares, haha. But, contradictionary, about Applied Mathematics they say that the social people are the outcasts.

Joep: First answer? Yes! But if I really really think about it… Not really. Well, there are indeed relatively more men at Computer Science, Applied Physics and Electrical Engineering if you compare it to Biomedical Engineering and Industrial Design, but that is probably not what you want to hear. I think we engineering students look more alike than we want to admit. In three words students from the Built Environment are: creative, dreamers, goal oriented. In addition I think that they are obsessed with things that no one would ever think about. For example: who would have thought walls were so interesting?

If I think of you guys, I think of Ted Mosby of

The Review

From e.t.s.v. Thor, the first interviewee, is Stijn van Himste. Stijn is 20 years old and is originally from Eindhoven. He chose Electrical Engineering because he always was fascinated by robots, the circuits and motors and how you can make something. He chose Eindhoven because he did not want to go to Leiden and Enschede was “even more peasant” than Eindhoven.

The second student is Lars Verstraelen from GEWIS. He is also 20 years old and originally from North Limburg. In high school he started to see mathematics from his textbook as puzzles he had to solve. A dream came true when he figured out there was a study where you could apply this. He chose Eindhoven because of its study program and because it is nearby.

How I Met Your Mother: often an unguided projectile at the start of a project, not afraid to dream ambitiously and, thanks to willpower, still be able to deliver good results.

What do you thik about the quote: Architecture, Urbanism and Building Sciences and Industrial Design are not really worthy of the title engineer.

Stijn: Well, you study for it, it doesn’t happen to you... If you make a mistake, at the airport when you work at BAM for example, then that is a catastrophy. You cannot make mistakes.

The whole package has to work out, you have to know what to do. An Engineer always thinks: “how can I make the best building?”

This is also the case for AUBS. You need to know about all the things around you. That’s a requirement for an Engineer.

Lars: I think they are. There is a lot of technical stuff in a building. Things you wouldn’t immediately think about. I know this because I followed a course of your faculty in Acoustics.

But I think there is a difference between AUBS and Applied Mathematics or Physics. We are busy with the fundamentals and try to expand on this, you use the fundamental and design with it. It is another point of view.

Joep: I do not agree with that. Unfortunately, I do not know many of you, but I do live with three industrial designers. It is very easy to laugh about the subjects they are offered if you compare them with, for example, Applied Physics courses, but industrial designers often learn a lot of technical skills that we physicians do not learn. The design of Printed Circuit Boards, the manufacture of electronic circuits for a huge variety of applications, but also the repetitive reflection and development of a vision, these aspects all contribute to growth as a good engineer. Perhaps these developments are less applicable to AUBS students, but I suspect that you too develop skills that belong

The third interviewee is Joep Nieuwdorp, master student at Applied Physics. He is from Breda and has lived in Eindhoven for two years now. He first studied Psychology and Technology but is now very glad he made the switch, because he developed theoretical and scientific skills. He chose Eindhoven because he likes the atmosphere.

to good engineers. I think that a good engineer right now is different than an engineer was before. First, when you wanted to be a good engineer, you only needed an enormous toolbox (metaphor for a good couple of brains) and one instrument. For example, if your

you can have a very good idea of a water amusement park with unicorns, but what’s the point if you can’t make it? instrument is a hammer, the university gives you a variance of hammers for your toolbox. If your toolbox consists of a saw, the university gives a variance of saws. If a company needs a hammer, you could start there immediately because you had a lot of hammers that could probably fit there. But nowadays, companies want you to have a hammer, a saw, and so on. This is a metaphor for the engineer of the future: you have to know about every discipline. This gives a lot of pressure on every student. Crazy huh, that increasing number of burn-outs among students?

What do you think about design and engineering? How do they combine?

Stijn: I think those two combine pretty well.

For example with the 3D concrete printer. You

are like, busy with innovation and making new stuff, which makes it engineering.

Lars: Of course you need the creative aspect, but you also need engineering to realize what you want to create. A Dutch Design Week is a good example of creativity and engineering working together. I think they even should correlate with each other, hold hands. You can have a very good idea of a water amusement park with unicorns, but if you can’t make it...

What’s the point? You have to know what is possible and what is not. It is all about balance: is it possible and nice to watch?

Design in technology is essential, but I am very grateful if I have nothing to do with it later on. I rather think about the realization and efficiency of technology, design in contrary requires much more factors. Think of the financial and social aspects, but also sustainability and aesthatics. During the Dutch Design Week there is a lot of outside the box thinking on the design of technology, and for someone who does not often think about it as I do that is certainly very refreshing. It is annoying that we dwell on the question of whether design is important in technology, while we could go one step further and think about how we can best apply this design in technology.

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Images: 1. Logo from e.t.s.v. Thor (source: https://fse.tue.nl) 2. Logo from study association GEWIS (source: https://twitter.com/svgewis) 3. Logo from SVTN “J.D. van der Waals (source: https://www.vdwaals.nl)

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How do normal people perceive architecture?

Taste is something very personal. Sometimes we find things beautiful that others might not.

However, different tastes and preferences of people in a particular town or society have not always been taken into account when constructing buildings. Opinions have been and will always stay divided, because, again, everyone perceives everything differently. But do normal people really look at the architecture much differently than architects, and does their review ever matter? Text: Jovana Ivanovic

Architects vs normal people To start with, it shoud be clear who normal people are. In this article, they will be defined as doctors, computer scientists, musicians, children, old people, young people and all other people who don’t have any formal architectural education. Architects and architecture students are on the other hand professionals.

What do architects need to know?

According to Vitruvius, one of the first architects who set standards we still use today, architects need to “have a dip of knowledge” into many other disciplines in order to be successful: - geometry, drawing and art: for the obvious reasons;

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- history and philosophy: to be respectful, honest and work with integrity; - music: to create symphonies with the elements of the buildings; - and even medicine: so they know how to create a healthy environment for people to use.

Clearly, there are many aspects that one architect or a whole team needs to take into account in order to come up with the best solution for a given problem: designing a building.

Therefore, much analysis and research needs to be performed in order to justify their propositions at the start of design. Even students at the TU/e, learn that everything revolves around the mystery words: concept and content. As long as there is a good reason to do something, which is based on the outcomes of thorough research, and there is no searious harm to the surroundings, it is possible to do anything. Of course, taste and style play an important role in this process, as well as all the stakeholders. At the end of the day, a good building is, again by Vitruvius, defined as the building that satisfies three criteria: - firmitas: to be strong and stable; - utilitas: to be useful; - venustas: to be symmetrical and beautiful.

Sometimes, it is not possible to have all criteria at the same level, so there must be some trade-offs. The end result is a building that has all these three aspects, more or less, and will hopefully become timeless, appreciated and admired by the society.

What do normal people see?

However, if the architects are pleased with their work, does it mean that other, normal, people will also be? Do they also think about all the aspects behind one building or do they only look at its appearance? We have all been a part of a “this building is really ugly”-discussion at least once, with our friends, family, colleagues, etc. After all that thinking, research, analyzing, designing and caring about all the three aspects, normal people often comment only on the look of the building. At least, that is mostly what makes them like it or not. However, how people understand the environment is one of the central issues in environmental psychology. Environmental psychology is that persistent process during which a person selects information about their surroundings based on their needs. Therefore, the process of perception is highly dependent on many aspects such as culture, values and attitude of the person. This process is, then, always connected to the human cognition.

It was found in a study at Tehran University that environmental knowledge is the result of interactions between “visual perception” and “cognition”, experienced in the human mind.

This means that any personal experience may affect the perception of one’s environment, in this case, a building. Therefore, different culture, standards and background of person will alter their perception of a building. So, it is not

The Review only that people see the environment differently than architects because of their difference in knowledge and experience, but also between themselves.

Moreover, a study by Alan Davis, the editor of The Urbanist, claims that people like the old buildings for two reasons: they see complex details in them, and because of the “romantic dimension” to them. He believes that some of the traditional architectural styles evoke emotional associations that are probably based on what we have read or seen. This is again similar to the fact that cognition and perception are correlated. Thus, if one gets emotionally attached to things, they already become more attracted to them. Hence, it might not only be about the appearance of the building, because it is more or less according to one’s taste, but also about the feelings that a certain building evokes in a person. Affection and admiration are some of them. However, there are many people in this world and therefore many different emotions and opinions. For this reason, to write this article, a bit of informal research was carried out to gain an understanding of normal people’s opinions about architecture.

What normal people think 1) What does architecture represent to you ?

“Architecture is art. I like to watch buildings, but I have no clue what happens inside. I live in a building and I do not like how it looks. For me, architecture is to design buildings so they look cool from the outside and serve some purpose.” - Filip, 20, computer science student.

“Architecture is drawing beautiful buildings and helping people create their homes. You

also need to make sure that the building does not collapse.” - Marija, 13, elementary school student.

“For me the beautiful building has a historic signature and ornamented outside walls of the 17-18th centuries.” - Tamara, 23, opera singer.

“I love architecture because it gives me my daily portion of art which I see spontaneously walking down the street, without even realizing.

That is why I feel enlightened without going to the museum or theatre every day.” - Jovan, 50, civil engineer.

“A building that is blended with nature, with a lot of glass and not much concrete. I believe that concrete does not belong to nature. “ - Milica

“Architecture is the art of balancing fashion and function, applied to the physical space.” Nathan, 39, working for the New York Stock Exchange.

“Yes, definitely. Depends on the building, location and style, buildings evoke feelings like fear, anger, inspiration, hope, desire and comfort in me.” - Nathan

2) What is the first thing you notice on a building?

“I love my house because my family is there and it is the most beautiful place on Earth”.

- Nikola

“The height and façade. I like tall buildings.”

- Filip “The orientation and details like windows and balconies. I love when the building is full of light and has the right proportions. The first thing I think about is if I would be able to live there.”

- Jovan “The first thing I notice is the number of windows on the building or the relationship between the glass and other materials. I do not like small windows and a lot of concrete for example. Only Gaudi is the exception.“ - Milica, 38, working for United Nations.

4) Do you get special emotions from buildings?

Conclusion These answers only give a small glimpse into how diverse the opinions of people are when considering architecture. At the end of the day, we are all different. Architects might act like they know better than everyone else. Beauty is in the eye of the beholder, and as long as a building evokes feelings, different images will be created in their minds. Emotions and previous experience influence perception. Therefore, before asking: Is this building beautiful? one more question should be asked: How do you feel about this building? The answer to the second question gives a more precize review on a building and architecture in general.

3) What is a beautiful building for you?

“A building that is made of white stones and has big and tall windows, like my house. “ - Nikola

Images: 1. “Barcode neighborhood, Oslo, Norway. Photo by Jovana Ivanovic.

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Sources: 1. Marcus Vitruvius Pollio, Ten Books on Architecture, written between 30 and 15 BC. 2. Alan Davies, “Why do we love old buildings so much?”, 11 May 2011, “The Urbanist”, https://blogs.crikey.com.au/theurbanist/2011/05/11/why-do-we-love-old-buildings-so-much/.

3. Motallebi and Ghasem, Environmental Psychology: A New Knowledge in the Service of Architecture and Urban Development, Journal of Fine Arts (52-67), Issue 10, Tehran University, 2001.

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Façade failure For many people the façade, or at least the exterior, defines the building. It is the first thing you see when you approach any architectural wonder and it is often the first thing you describe the building with. The importance of the façade is obvious to (most) architects, it separates the inside from the outside, embeds the building in its surroundings and is an important medium to communicate with to the outside world. It is perhaps the most important layer for building physicists as well, battling the forces of nature and keeping the inside climate in check. In many cases it is the façade in which the Holy Trinity, the structural engineer, building physicist and architect, come together in the tiniest of details. It is therefore of the utmost importance that the façade functions well, not just literally but also symbolically.

The consequences of failing to deliver a good façade range from diminishing the quality of the building to the destruction of buildings and human lives altogether. This article summarizes some of the façade failures in recent history of architecture. Text: Bart van Santen

2600 West Harmon Avenue, Las Vegas; 20 Fenchurch Street, London In 2009, Las Vegas saw the opening of the Vdara hotel & spa, an impressive composition of three tall slab-like volumes, designed by Rafael Vinoly Architects. The shimmering thin curved slabs promise the visitors a world of luxury, a five star hotel with spa and outdoor pool, right in the center of the city. Its most impressive feat, however, is the ability to heat the pool deck using the concave shiny glass façade as a solar collector. This unintentional feature caused plastic furniture to melt and meant skin burns for visitors in the wrong place, at the wrong time. To resolve the issue, the façade is now clad with a film in order to scatter the sunlight rather than reflect it into a unified direction.

This did not solve the problem entirely, which is the reason for the many large sunscreens on the pool deck.

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The Review

Often architects are late bloomers. A reason for this is that it takes a considerable amount of experience to be able to understand the risks and pitfalls involved in designing and building. It is therefore of grave importance that an architect learns from his or her mistakes. Rafael Vinoly Architects, however, did not.

In 2014, just 5 years after the Vdara hotel & spa debacle, the work on 20 Fenchurch Street in London was completed. The building, better known as the Walkie Talkie, is an office tower with reduced footprint, expanding towards the top. The resultant of the increasing floor area towards the top is a smooth curved exterior.

Again the building is clad in glass and together with the curve this results in yet another solar collector, powerful enough to damage cars and fry eggs on the pavement of the street opposite the building. Incidentally, rather than taking his own share of the blame, architect Rafael Vinoly blames inadequate modelling software as well as climate change for the ‘death ray’ building.

333 South Wabash Avenue & 200 East Randolph Street, Chicago; 200 Clarendon Street, Boston In the north of the United States in the seventies, three different buildings in two cities showed similar symptoms due to a similar problem: heat stress. Both the CNA Center, designed

by Graham, Anderson, Probst & White and the Standard Oil Building, designed by Eduard Durell Stone were built in the early 1970’s in Chicago and both decided to shed their skin.

The Standard Oil Building (200 East Randolph Street) was, in design, an engineering feat. A clever design of triangular steel columns on the façade to support the metal tube exterior meant a both expressive and economic building skin.

As cladding for the building a new product was chosen. Due to improvements in marble cutting technology, it was now possible to slice elegant thin slates of Carrara marble. The problems of using marble in the city are the corrosion of the stone due to humidity and acid fumes. On the façade of the Standard Oil Building, the marble was attached too rigidly, leaving little room for thermal expansion. The combination of the thinness of the stones, the humidity and acid fumes and the way the stones were attached to the structure caused the marble to buckle

and, eventually, come loose. The result was a complete refurbishment of the façade, changing all marble panels with thicker granite ones.

For the CNA Center (333 South Wabash Avenue) the glass parts of the façade expanded due to temperature increase. When the heated areas of glass came in contact with cooler parts, the resulting heat stress cracked the windows.

The cracking of the glass happened at a very early stage, the problem already occurred during construction. Several studies acknowledged that heat stress was the cause of the problem and in 1995 a pedestrian got injured by falling glass from one of the cracked windows.

However, the cracking of the glass was deemed not dangerous enough to justify a multimillion dollar refurbishment of the façade, until in 1999 a woman was killed by a large piece that had come loose. After the tragic accident, all windows were replaced. Despite the problems,

thin slab-like design of the building swayed in the wind more than what was acceptable by law. Expensive reinforcements in the steel structure were carried out but this did not resolve, nor fully explain the failing glass panels.

Ultimately it was discovered that the lead solder inside the double glazed windows was too rigid, transmitting the forces of the expanding and contracting volume of air between the glass panes instead of dampening them. This in turn caused metal fatigue of the frame in which the window was set, dropping the glass during strong winds. After refitting the entire façade and, later on, discovering the cause of the failure, it became apparent that the problems with this type of window existed in other buildings as well, it was just the application on such a large scale in combination with the movement of the tower that caused the failure of the façade.

Conclusion

It is the façade in which the Holy Trinity, the structural engineer, building physicist and architect, come together in the tiniest of details. the building has become an important part of the city skyline. The red façade stands out and brightens up the otherwise bland pallet of greyish blue and white.

The John Hancock Tower in Boston (200 Clarendon Street), a sleek modernist volume clad entirely in glass, designed by I.M. Pei & Partners was riddled with technical difficulties from the very start. During excavation for the foundation of the building, the retaining steel walls buckled causing damage to surrounding buildings. Further on in the construction, glass panels started to crack and come down during strong winds.

Initially the structural integrity of the whole building was considered to be the problem. The

In many cases the problems occurring in facades are due to multiple factors. With the use of new materials, new techniques or new design testing software there always will be risks. In the case of the ‘Walkie Talkie’ building these risks could have been easily avoided by an architect who should have known better. The problems with the glass elements of the John Hancock Tower had already been documented, however, the many problems of the tower aggravated the damage to the windows and the sidewalks on the buildings periphery. In the cases reviewed in this article, none of the buildings have been torn down after their problems, some of them actually take an important place in the architectural history of their cities. Both the CNA Center and the Standard Oil Building are an asset to the skyline of Chicago. Most façade failure cases actually help stimulate research on the structural integrity of facades and can, in that way, help to create a safer building environment.

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Images: 1. The John Hancock Tower in Bosten as seen from the Charles River (Illustration, Bart van Santen)

Sources: 1. M. Levy & M.Salvadori. Why buildings fall down, how structures fail.(New York: W.W. Norton & Company, 1992) 2. L. Kiernan. ‘‘CNA Window Death Settled for $18 million’’. Chicago Tribune, February 2002. 3. O. Wainwright. ‘‘Walkie Talkie architect ‘didn’t realise it was going to be so hot’’’. The Guardian, September 2013.

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How reviewing can save you(r building) The project of Fusion, a mosque in Amsterdam, born from a conflict between client and environment: Rohmer made a brick facade, complementing the Amsterdam School style of the neighborhood, with a Turkish Moroccan brick pattern befitting the users.

According to architect Marlies Rohmer, contemporary architects are already thinking of their next project when working on a current one. Does always looking forward have a positive influence on the personal development of the architect? Rohmer did the exact opposite and went back 30 years to see for herself how her buildings survived the test of time. This brings up a question many architects and urban designers ask themselves: to what extent can I influence the way people will use my building and how do I make sure the architectural performance of my buildings does not decrease on the long term? Text: Martha Boekestein In 2012, in the middle of the economic crisis, Rohmer started her journey into the past.

She became interested in the durability and sustainability of her own buildings. Each project is as a baby for an architect, everything is well thought through and all things are of importance. Therefore it can be confrontational to find out that your building hardly has any ventilation or is missing a drainage system for the rain, creating a waterfall above the front door. This makes the seemingly simple act of Rohmer all the more impressive. During her trip, she found out that there are five themes that kept coming back. These themes – context, façade materials, immediate surroundings, interior space and legal obstacles – will also form the structure of this article.

famous architect you so admire. As an architect, you should be careful to prevent yourself from creating a patchwork building where every opinion is very visible. The important people – like the client and future users – need to be heard of course, but you should never lose track of your own personal style. Context is something that can help you as an architect as well. That designing without context can be problematic, is visible in the VINEX neighborhoods of the nineties. Rohmer herself has designed buildings with a lot of (historical) context as well as buildings without any.

Both can end up being interesting when well thought through.

Things never go as they should, only as they do.

Oh cruel context…

The difficult thing about putting your (future) building into context, is finding the right balance between the different voices of the environment. Some parts of the context are easy to define, like the surrounding buildings.

Apart from this, though, there are the voices from the residents, clients, but also from that

Façade materials According to Vitruvius, the starting point for the design of an architect should always be material. This relation between materials and architecture seems to be quite obvious, but

Both Fusion and Smarties, a student housing complex in Utrecht, suffered from rules and regulations. Fusion was a secret project, denying Rohmer opportunities to create space for the actual mosque. Now the Iman does not have enough space in his prayer recess. For Smarties, safety was the issue. Each hallway got a separate key, contradicting Rohmer’s idea of making the hallways the places where students can meet.

28 FILE

The Review ever since the profession got further split up into multiple disciplines, architects have been enjoying designing space rather than materials. After designing all the spatial relationships, a desperate search commences to find the appropriate materials. However, many clients do not realize that a cheap contractor can ruin the vision of the architect by simply saying: “let’s use plastic in the façade instead of aluminium!” When designing a façade, it is always important to keep in mind the influence of the sun and the façade maintenance. Many examples can be given where plastics in the façade are colored by the sun, or where the plastic simply could not stand the weather.

Save now, pay later: this applies to architecture as well.

Your building can be very flexible but will never work that way if the users are not.

Immediate surroundings Whether it is a garden, a balcony or a small bench at the front door – most residents and other users of buildings like to have a transition area between their indoor and outdoor spaces.

The immediate surroundings of a building are maybe the most difficult part to design, since this space is often personalized by the residents later on. Play it out well, and people will have great interaction in a courtyard or on the veranda in front of their houses. It can also go very wrong, when the view of the architect clashes with the opinions of the residents. It is important to always keep in mind that people will most definitely give a personal touch to their homes. Respect this as an architect and you will be fine. Still, you have a choice as an architect in how much you want to intervene or steer the choices the users make. Marlies

Rohmer has varied between creating an actual building kit for her houses, to letting it all go.

In the end it all depends on the actual users.

As Marlies Rohmer put it in her own words: “things never go as they should, only as they do.”

Flexible interiors?

Flexibility seems to have been key over the years. School gyms can be transformed into churches or theaters, offices can be transformed into dwellings (or the other way around). Rohmer has also built a lot of these flexible buildings. According to her, some ended up being great and some… well, not so great. The thing with flexibility is that your building can be very flexible but it will never work that way if the users are not. As an architect you can come up with many creative ways of making the interior flexible, for instance with flexible work spaces in an office. If the actual users are very keen of having their own office, this concept will never work. The same applies to most things in the designing process. Communication with the actual users is important when it comes to defining a flexible interior space.

Important conclusions Rohmer got from her journey are: communication is always key, and most of all: safe now, pay later. Whether it comes to the facades or the ventilation system, investing in quality products is very important.

Rohmer often regretted not intervening and preventing contractors from making mistakes.

New mistakes are easily made, though. So try to write down mistakes you make – we all know you have a spare notebook somewhere – and look back at it once in a while. Trust me: your present mistakes can be your future’s savior.

Images: 1. Fusion facade 1 (source: jpmm.

Flickr, 2009) 2. Fusion facade 2 (source: jpmm.

Flickr, 2009) 3. “Smarties” facade (source: 9 2 arch20, 2018) 4. “Smarties” interior (source: 3 4 5 7 8 arch20, 2018) 5. Nationaal voedsel en waren 6 autoriteiten headquarters Utrecht (source: Apdency. wikipedia.org, 2015) 6. Floating houses IJburg (source: Wojtek Gurak. Flickr, 2013) 7. Bredeschool de Matrix (source: Henk Jan v.d. Klis. Flickr, 2012) 8. Canal houses Java Eiland (source: MartinD. Wikipedia.org, 2009 ) 9. Bloemensingel Groningen (source: Hardscarf. Wikipedia.org, 2017) 1

Sources: 1. De Haan, H., & Keesom, J. (2016). What Happened to My Buildings. Rotterdam, Nederland: Nai010 uitgevers.

2. Rohmer, M. (2012, November 14). What Happened to... [Youtube video]. Retrieved May 14, 2018, from https://www.youtube. com/watch?v=dKGjGMSeEtM&t=2s

Regulation overload Architects have a love-hate relationship with the Dutch Building Code. The Netherlands is ruled by a bureaucratic system that often causes irritation and frustration. Many conflicts can arise during a building project and all those rules and regulations sometimes make you lose track of the bigger picture. From the width of a hallway passage to the regulations for climate control: many problems came to light during Rohmer’s journey. In the end, the conclusion was drawn that good communication between all parties – from contractor to architect to project manager – is of high importance during a building project. Another reason to really start thinking about going BIM...

The Bloemsingel in Groningen fits in great next to the older, industrial buildings. The project was meant to create more density in the city and in that way it worked really well. A small problem that arose during the crisis was the fact that the plinth became vacant. This had a negative effect on the atmosphere around the building.

The “flexible” interior of the NVWA headquarters was completely misused by the final users, claiming flexible work spaces as their own.

White facades can be great, when kept clean. The costs of cleaning the facade of the primary school de Matrix, can go up to 10.000 euros. This was not taken into account when designing the building. For the floating houses in IJburg the water created algae in places that are difficult to clean.

Even though not everything is practical, the immediate surroundings do create interaction between residents.

The contemporary canal houses on Java Eiland, designed by many different architects, among whom Marlies Rohmer, show that fitting in the historical context of a city can be done in a modern and flexible way.

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A Chepos Chronology Celebrating the sixtieth edition of Chepos As you might have noticed, the edition you are reading right now, is the Chepos 60. Sixty is a number closely associated with time; sixty seconds make a minute and sixty minutes make an hour. Also, being a round number makes it an anniversary edition of the Chepos, the sixtieth.

Or maybe not? Truth is, no one is entirely sure how many editions there have been. The current incarnation of the Chepos started with the Chepos 45. Before that, different variations of numbering systems which have followed each other up make it impossible to be sure. Nonetheless, the magazine can be traced back to its origins in 1995. Text: Jeroen Pospiech From its inception, Chepos has intended not only to be an association magazine, but also include technical articles about the Built Environment itself. However, the initial Chepi showed a much closer resemblance to other association magazines than the more recent editions; they contained articles about study trips, upcoming events and general members meetings as well as in-depth articles.

Nowadays, such things are often reported on through the website, Facebook and email of CHEOPS, but in a time with internet not being as natural as today, it makes sense to communicate about such things in the faculty magazine.

From then onwards, minor layout changes happened on both the cover and the inside of the magazine, but the first major leap forward happened in 1999. For the first time, the Chepos started to incorporate images in full color on some of the pages. Also, the simplistic layout of the first five years was replaced by one incorporating text boxes and black edges, a lot more space was left for the articles and more images were included, contributing to a more coherent appearance of the magazine and improving the readability of the articles.

Finally, the cover had a touch-up: the covers were lined by a black side in which the title and edition of the Chepos was put. Later, this was replaced by black lettering without a side, but the general layout lasted over five years.

The second, massive transformation came in the winter of 2005. The most important change was the introduction of a theme; that which would later be called FILE. This improved the coherency of the articles in the Chepos, and marked the departure from being an association magazine to a built environment magazine – fairly independent from the study association. Furthermore, this transition was indicated by the introduction of a recognizable, cohesive cover; white, with an image covering only a portion of the front, colored according to the theme. A new numbering, starting from 001, indicating this is just one of many more to come. Each element of the cover, carefully aligned to one another, accentuated by the line which encases the title of the theme. Such lines can be found throughout the booklet, bringing order to the magazine. Moreover, the density of text is increased, altogether giving these Chepi a very professional look.

“A little boring,” the next generation must have thought. The third incarnation of the Chepos distances itself from the previous layout by giving much more freedom in design to each individual Chepos. Their deviation from the previous Chepi is clearly declared by the new numbering, starting from 3.1, acknowledging the previous layouts, while rendering them obsolete. The differences between this layout and the previous (ironically titled “Carte Blanche”) are so large, it is surprising five of

The Review more popular than their mother association, CHEOPS, and tended to function solitary.

We believed in unity, especially towards the future. This is why attention was directed towards improving the relation, structuring and presentation of CHEOPS and her subassociations. “People should no longer be able to ignore us.” Since the time of internet, at least compared to nowadays, had yet to begin, there was not a website yet. The Chepos was the means of communication, and our goal was clear!

Looking at how the Chepos looked, it appears that the edition from ’91-’92 was published in A5 format. In ’93-’94, this was changed into an A4-format, yet it formed, in fact, no more than a pile of copies stacked in between a colored cover, held together by two staples, with all due respect. More differences can be found in the lack of sponsors and the presence of the section associations, though their sections had little coherence. While it proved difficult to gain sponsors, it was a necessity in order to make the next step. We sent many letters and I recall trying to persuade sponsors at a building fair, but after all we managed to haul enough sponsors in. Companies were interested for sure, but CHEOPS itself still needed an introduction. In the end, this meant the back cover would no longer be showing the beer prices of the Skybar, but an advertisement by Trespa.

This allowed us, also partially because of a contribution by the faculty, to make the next step; the Chepos suddenly looked more professional and more copies were printed.

the seven editors of the 3.1 worked on the 014 as well. As for the interior of the magazine, the trend of increasingly present imagery is continued with large, even page-filling images; sometimes even spilling into the text. Furthermore, the text layout returned to a lighter style, giving more space to the text and allowing for an easier read. Another development was the introduction of the sections which can still be seen in the Chepos today: Now, FILE, That’s Why and Tools. From its covers, the third carnation might look less coherent than the previous, but the layout equals it at least.

An interesting fact is that the covers of these Chepi were often edited by the editorial board themselves, making these covers very unique, Sometimes even hand-drawn or painted.

While looking at all of these Chepi, it is interesting to note that for every incarnation of the magazine, the final few before renewing the magazine already start to deviate from the original intent. The third is no different, the last two differ quite some from the previous ten.

However, the turnover to the newest incarnation is still large. Days and days have been put into assembling this new layout, the one which is mostly still used in the Chepos you are reading right now. By resetting the number once again, this time with the 45 as starting point, this generation acknowledges all the Chepi which have come before, while expressing it is a product of all those previous generations.

Cover-wise, the initial Chepi had a strong twotoned character. This faded somewhat over the course of the past sixteen Chepi, but nonetheless holds an important character within the covers. This layout of the magazine shows

Moreover, it was important to increase the familiarity of the section associations. Starting at their presence on the cover, but we also tried to get good contributions for their pages in the magazine. We had to cover CHEOPS as well as the section associations respectively.

Jeroen was one of the editors during Chepos’ humble beginnings, and the editor-in-chief from 1995 until 1998.

When I joined the editorial board, the interest in and importance of CHEOPS lay under pressure. Cause of this was the enforced rules regarding study financing, with students being less able and willing to spend time on extracurricular activities as a result. At the time there was little compensation for the board, while it is essential to have an active board for such an association. The faculty also considered their contribution, as they might not have been as convinced about the purpose and necessity of CHEOPS. Likewise, the section associations such as FAGO, VIA, and especially SUPPORT were not so convinced either. They were

Although there used to be a layout before, a more firm one was put in place. To be honest, it was the layout which I used for my presentations, adapted in order to serve this goal. At the time, this was also a very logical step, as the computer became more and more common, making it a lot easier to do this than our predecessors. Back then I used Adobe PageMaker, actually the first desktop publishing application, the precursor of Adobe InDesign.

I am still very proud of the progression we have made at the time, and enjoy looking back at it. The Chepos itself sets a nice example: we formed the foundation for who and what came after us, just like our predecessors did before us. This is not as logical as it may sound; time and time again students have to be willing to make an effort for CHEOPS and the Chepos, besides studying and without study credits or compensation. Times have changed. But CHEOPS still being so active is a compliment to the board, the active members and all their precursors. Chapeau!

FILE 31

some more slight changes, but the coherency between the past sixteen is still immaculate.

At that time Martijn had just finished doing a huge overhaul of the Chepos layout and graphic design, bringing it from a rather “oldschool” black and white publication to a more contemporary and full color version. Knowing this, there was not much for me to do on the layout, but it was awfully difficult to fill the pages with a team of just three editors, and no online presence. So my goal as leader of the team was very clear, get more editors on board, and increase online presence.

Pieter joined the committee in 2009, and within a year became editor-in-chief of a then very small committee. He contributed to its growth to a solid editorial board by the time he left in 2012.

I still remember the day Martijn Kruijf asked me if I would like to join the Chepos commission. I was a young and enthusiastic first-year student doing my best to impress my atelier professors, and it had never crossed my mind that after just 1 year as an editor I would be voted in as editor-in-chief of the magazine.

32 FILE

And so it started, I was editor-in-chief with a team of editors who were at least 2 years ahead of me, and we had to work nights to meet the deadline and send a meager 24 to 36 page edition to printing press. However, by shifting our attention to engaging and visible release events, our team slowly started to grow. By the time I left the commission we had a great team of 10 editors.

About that online presence: well, you can’t have it all, if you want to drink the occasional beer or so in the Skybar! Underground.

Finally, there is one more transition the Chepos has made. When the Bachelor of the Built Environment switched from Dutch to English, CHEOPS, and the Chepos with it, followed suit. This meant the arrival of some editors – both Dutch and international – who liked to practice their English writing while working on the magazine, while it meant the departure of others who preferred to write in Dutch.

Changes were made in order to safeguard the level of English; where the grammar subgroup of the committee used to simply correct others’ spelling and grammar mistakes, the new English group is also involved with suggesting better translations and forms of speech.

While working oneself through many old versions of the Chepos, it turns out it can be a quite entertaining. Many of the articles from the past can now be placed into context. In some cases, they even predict things about the future, a future that is now. One of these articles is “Twintig jaar vooruitkijken” in the Chepos 3 ‘99-’00, which makes some predictions about the state of the Built Environment,

The Review

20 years in the future, back in 1998. Some reflect the spirit of the time, such as “Toekomst van het Bouwteam?” in the Chepos 3 ‘98-’99.

Others might be articles about ambitious buildings and projects being planned or built at the time, which have now either proved themselves, or been subject of critique, such as “B-hoog” in Chepos 1 ‘98-’99. So, the next time you find yourself with some leftover time, ask for the key of the bookcase which holds the old Chepi at CHEOPS. Open it, find yourself a nice edition from the past, and have a nice read, compare some of the crazy layout designs we have had and see if some of the predictions from the past have come true.

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3 4 5 6 78 9 11 12 13 14

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Images: 1. Cover (source: 1 ‘95-’96, 1995) 2. Cover (source: 3 ‘98-’99, 1999.) 3. Cover (source: 1 ‘00-,’01, 2000) 4. Cover (source: 3 ‘02-’03, 2003) 5. Cover (source: 003, 2005) 6. Cover (source: 011, 2008) 7. Cover (source: 3.1, 2009) 8. Cover (source: 3.7, 2011) 9.

Cover (source: 50, 2015) 10. Cover and back (source: Winter ‘91-’92, 1992) 11. Een nieuw Millenium, een nieuwe bar (source: 3 ‘00, 2000) 12. KOE in progress (source: 004, 2006) 13. Apps voor Bouwkundestudenten (source: 3.8, 2011) 14. Under Concstruction: Nationaal Militair Museum (source: 46, 2013) 15. 11 dagen Turkije (source: 3 ‘98-’99, 1999) 16. Systems in Motion (source: 008, 2007) 17. Blob Technisch Hoogstandje? (source: 3.4, 2010) 18. Over(koepelend) staal? (source: 48, 2014)

It was in the process of making Chepos 3.11 when I joined the editorial board. Back then, the editions were named according to a - in our eyes - far-fetched logic, in which the “3” meant that it was the third Chepos layout, and the “11” corresponded to it being the eleventh issue in this style of layout. That is not a wrong logic in itself, but the layout began to look outdated and as an editor it felt like pushing your text in a straitjacket. Together with fellow editor Patrick van Dodewaard I started designing a complete new look and feel, while maintaining - and emphasizing - its sections.

Oh, and we got rid of that incomprehensible numbering and decided to count in absolute numbers, starting at Chepos 45.

Basically, the concept of this new layout was to make the magazine more attractive and coherent. We have achieved this by creating a uniform cover design with the logo, choosing a theme colour for each edition, picking a new font and creating tools that makes it possible for each editor to have the freedom to design their own articles within the coherence of the magazine.

Taeke, together with Patrick van Dodewaard, redeveloped the Chepos layout into its most current form.

I think that this redesign has improved the appearance of the Chepos and even though some adjustments have been made, I’m proud that it still stands firmly to this day. The 50th Chepos was my personal highlight and the 51st was the last one I contributed to. I can’t believe the sixtieth is already there and wish everyone involved all the best with writing, editing and layouting to the next anniversary!

FILE 33

Humantecture The main aspects of designing buildings do not only include the architectural object itself but also the relation to the human environment. The contemporary Building Regulations is a well-known guide book providing instructions to design a building which correlates with the human proportions.

Another contemporary example is the study of Ergonomics, which focusses primarily on the design process of products and systems, improving their usability and user-safety.

Although these developments claim to enable a better agreement between human and building, their statements are based on normative standards while humans are not normative at all. Like the architectural curator and writer Federica Buzzi noted in her critique on the modern standards: “…architectural forms are all tellingly calibrated on a similar standard, the healthy white male body. Considering this fact, it is easy to understand why the LC2 armchair turns into a trap for the plump body of an eighty-six years old lady with limited mobility.” The question arises whether or not standards are the exclusive answer to designing buildings suitable for all. To be able to give an answer to this question, the development of the relation between body and building throughout time has to be unfolded first.

Text: Celine Böhmer One of the first notions of the importance of the human body was written down by the philosopher Protagoras around 420 BC which claimed that the dimensions of the human body should be used in all aspects of life including architecture. Several philosophers and theorists like Plato, Aristotle and also Vitruvius used his knowledge to underpin their own theories. Aristotle indicates the human body as the perfect creation of God and therefore the perfect example when designing Godrelated architecture. It is therefore no wonder that the proportions of the classical orders like Doric, Ionic and Corinthian are all derived from the human body. According to English architecture historians Dodds and Tavernor, the columns in the Greek Temple were derived

34 THAT’S WHY

from the phalanx and represented a feeling of safety. A phalanx is a military formation representing a square-like shape of hoplite soldiers.

Each column represented a soldier and therefore the spatial form of the column was based on man. The flutes in the shaft, for example, were derived from the blades of spears or swords and the capital at the top included lionlike claws or shield-like leaves. Although it is questionable if the column order of the Greek Temple was indeed derived from a military formation, the influence of the human body in the classical order is proven without doubt. For example, in the Olympian Temple of Zeus in Akragas (Sicily) which was built in 480 BC, the columns have the form of a man, respectively a God, also called atlantes (caryatides when the columns are female figures).

Man is the measure of all things (Protagoras, 420 BC) Another notable mention of architecture based on the human body is the use of modules like the Vitruvian man of Leonardo da Vinci and the Modulor of Le Corbusier. During the Renaissance, Da Vinci created the drawing of the Vitruvian man based on the theories of Vitruvius. The module explores a resemblance between the human body and geometric centralized volumes: a circle and a square. Because of this resemblance, the volumes could be considered as perfect forms and were therefore used in buildings with a certain status. An earlier example of a building based on this theory is the Pantheon in Rome which has a plan including a circle attached to a square.

The module was not only used to create buildings based on human-derived proportions, but also to create buildings which were based on the idealistic human body and thus became idealistic architecture. Besides perfect forms, the idealistic systems of proportion also included the use of ancient perfect numbers based on the measurements using parts of the

The new era begins... human body: like foot, inch, digit, etcetera. An example of superior numbers are the numbers six, ten and sixteen resulting of the fact that the human body contains ten digits and that a foot is one-sixth of a man’s height. The façade of the Santa Maria Novella in Florence, completed in 1470, is an example of the application of the idealistic architecture of the Renaissance. The entire façade of sixty units is based on the unit of a square, a perfect form, while the rose window is situated thirty-six units above the entrance platform. The ratio thirty-six to sixty is derived from the idealized human body which is sixty inches tall and has his center point, his navel, thirty-six inches off the ground.

Le Corbusier’s Modular Man, created in 1948, is derived from the Vitruvian theories as well.

It provided him with a system to tackle the problems in Modern architecture. The idea was to create a universally applicable range of measurements based on the human scale.

However, as Buzzi already noted, Modulor Man, such as all the earlier mentioned theories, is based on a normative figure, in this case a healthy white male with certain fixed measurements, a figure which is not applicable to the whole humankind.

The reason to refer to the human body changed over time from a more representing into a more mathematical approach; however, all these theories try to achieve a certain idealized form of architecture while claiming to base their assumptions on real-life human body-derived measurements. Comparing these theories with contemporary approaches, a similar phenomenon can be deduced. Instead of adjusting the design to the human body, the human body has to adjust itself to the design.

A simple example can already be noticed in an everyday household, like the standardized height of a balustrade or the rise and tread of a staircase, they often seem too low or too high. Another example is the lack of available entrances for people confined to a wheelchair.

Although most doors have the appropriate

width, the heightened threshold always causes troubles when entering a building.

Standards do provide certain possibilities.

However, the use of a normative figure does not guarantee the usability of these standards. Although the range of figures has been extended into more than one, the building regulations do take into account more than one normative figure, they are still not applicable to the common man, since the normative man does not exist. According to Léopold Lambert, the chief editor of the magazine The Funambulist, the continuing application of idealized and normative figures is even dangerous because the architecture will force everyone to adapt itself physically to this normative figure: Humankind will become a machine of normatization. The solution suggested by Lambert is to use only universal standards “…which actually applies indifferently to everybody and therefore constitute a legitimate standard”. The question is if the entire set of standards could be transformed into a universal approach. If not, are we still able to create architecture at all? Is it time for a new architectural era?

Sources: 1. Buzzi, F. ‘Human, All Too Human’: a Critique on the Modulor. May 25th, 2017. failedarchitecture.com. 2. Dodds, E., Tavernor, R. Body and building: essays on the changing relation of body and architecture. 2002. Massachusetts Institute of Technology.

3. Dohrmann Consulting. What is Ergonomics? 2014. ergonomics. com. 4. Lambert, L. A subversive approach to the ideal normatized body. 2011. thefunambulist.net

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Images: 1. Standards provided by teh study of Ergonomics from thefunambulist.net 2.

Vitruvian man by Leonardo da Vindi from fineartone.com 3. Modulor by Le Corbusier from neermanfernand.com 4. An atlante from storify.com 5. Ground plan of the Pantheon from smarthistory.org 6. Santa Maria Novella by Georges Jansoone on 12 October 2005

THAT’S WHY 35

That pen, that shirt, that building. All of them are capsules of time, filled with memories good or bad as they may be. From these memories we attach value and meaning to objects which may be the determining factor of how we treat them. Here the word sentimentality can be of use. Sentimentality can be defined as a powerful emotion, rational or not, towards something. This emotion could be of nostalgia or joy but in principle it is tied to an event that brought about such feelings. One of the purposes of architecture is to capture moments and connect with people on an emotional level. These exaggerated or rather evocative feelings have a need to be translated from the abstract into the physical solid. These emotions want to be captured in time and space to establish their permanence, but how are these emotions perceived as time passes? Sentimentality, for instance, relates to certain individuals and, to some extent, relates to the moment. These moments are related to periods of time. How does a permanent object rooted to such a particular moment existing beyond it still establish its relevance to the new age? Is the connection still existent? This not only relates to buildings that have been built as monuments or as a commemoration to an individual or a certain event but it could also relate buildings that have become politically charged over time, like colonial buildings.

Text: Tafara Simon & Bart van Santen

Sentimentality

36 THAT’S WHY

The different types of buildings as mentioned are handled differently. There is the issue of the already built, colonial buildings for instance, and of those yet to be built, like monuments.

Is a building truly the best act to signify sentiment or is it used merely as a superficial act to induce possibly temporary feelings or a political gimmick. For the colonial buildings, the meaning attached is mostly debatable.

There is a certain aura, some may say, that is felt around such buildings. This is due to events that transpired around them. However, does the building truly become a symbol of pain and suffering after such events or does it simply remain just a building? Architecture is simple and complex. Understanding the

relationship, a human and a building gives better insight into the what and how aspects of the perception of the building. Sentiment and memory fade away but architecture pursues to capture them throughout time. The new city of Chandigarh was built to commemorate and celebrate the newfound independence of India by Le Corbusier and his team. Looking at the design brief, the choice of Le Corbusier as the architect seems logical. The buildings were meant to reflect a radical break with the past, they were to be modern without concession and embody the optimism of India in the 1950s. Le Corbusier’s architecture fit this description perhaps best out of all modernist

It is a matter of a static element in a dynamic world. architects. And that is exactly the problem.

Now, nearly 70 years later, the buildings are still revered by many, even listed on the UNESCO world heritage sites, not due to its symbolism of the new India, however, but as monuments to Le Corbusier’s Modernism. In a sense architecture is or should, according to most, always be a testament to contemporary culture/society (Zeitgeist). Martha Thorn and Renzo Piano, for instance, discuss that great architecture should, among other things, be a “manifestation of their time”. How can a building connect to both the broad topic of contemporary culture and the very specific topic of the historical event in question?

Chandigarh was to be the new state capital of India. The directive had come from the Indian Prime minister Jawaharla Nehru. Chadingarh had to exude the feeling of modernity and progress, detaching the country from its colonial past. The city of Chandigarh was meant to signify a new India. However, the project was commissioned to Le Corbusier, a Swiss-French architect. Prior to the selection of Le Corbuisier, Matthew Nowicki a Polish architect, and Albert Mayer an American

architect had been selected. A new India built by non-Indians. During this period, there were also Indian architects but they did not get the commission or at least there is no mention of any efforts to have Indian architects build Chandigarh. Would it not be logical that one would hire a native architect to work on such a project? Can a foreign architect understand and express the national pride of a country?

Within the spectrum of understanding the building-human connection a factor that comes into play is the architect.

Le Corbusier took on this project with the mindset of wanting to test out his theories on architecture and urban planning. At the beginning of the project he wanted to apply his Unite d’Habitation concept but this was met with negative responses. In this case there is the architect’s vision and the vision of the people. This relationship is important as it is integral in how the message is articulated through the building. In principle, the way people perceive the building establishes its importance within the context. This perception is one that should, or rather is expected to, remain the same over time. The reason for this is to keep the sentimental value of such a building existent. The aspect of sentimentality gives the building a place in people’s hearts and minds. The physical message should be an echo throughout time. However, it is difficult to predict whether the people’s understanding of the message remains the same over time.

Emotions are not predictable and they will change. Whether for a building these emotions are to be constantly the same or be of an evolving nature is of another discussion. The key principle is that there should be some connection with the building. If the connection is lost we could say the building has failed in its emotional purpose.

In contrast to Chandigarh, for the erection of Brasilia, the Brazilian architect Oscar Niemeyer was commissioned. It was to be the new capital city and one of the most important goals was to foster economic development.

Niemeyer built most of the government and

sentimentality gives the building a place in people’s hearts and minds residential buildings in the city, influenced

by Le Corbusier’s Modernism. The buildings speak volumes of Niemeyers character in the language that people understood. This is a key difference between the Chardingah building

by Le Corbusier and projects by Niemeyer. The sentimental value of a building does not only relate to events that transpired, or the time at which a building was built, but also to the architect. This sends a strong message to both the people of that time and future generations.

On one hand this sentimental feeling towards buildings carrying on throughout time is an ideal situation to architects but on another it might not matter if the meaning in the future is lost. Important is that it fulfils its purpose in the moment. This moment may be long or short giving hope and speaking to the people. It is a matter of a static element in a dynamic world.

Understanding sentimentality in architecture is not easy to summarize in a few words.

Architecture is capable of capturing sentiment but it is important to not only consider the building but also the architect. In the case of Chadingarh, a more modest approach of the architect might have been appropriate.

On the other hand, in the case of Brasilia the rather flamboyant attitude of the architect was exactly what was needed.

The true art is capturing the sentiment.

Architecture does lend itself for that purpose but whether it is the ideal medium to do so depends on the architecture itself, the architect, the situation and the ideology that is to be immortalized.

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Images: 1. Locks on lock bridge, France (source: https://farm8.staticflickr.com. Photographer unknown)

1 Sources: 1. Vikas Shah mbe, The role of Architecture in Humanity’s Story, 18 June 2012, www.thoughteconomics.com 2. Arna Mackic, Mortal cities and forgotten mornuments, 9 April 2014, www.failedarchitecture.com 3.Wikipedia editors, Oscar Niemeyer, 22 April 2018, www.nl.wikipedia.org 4. Wikipedia editors, Brasilia, 22 April 2018, www.nl.wikipedia.org 5. James Crabtree, Le Corbusier’s Chandigarh:an indian city unlike any other, July 3.2015, www.ft.com

THAT’S WHY 37

A story of the new and the old The modern city seems to be forever veiled in a curtain of scaffolding mesh and construction fence covers. A simple stroll through any present-day city will find itself almost always obstructed by some sort of screen, shielding off whatever is being built up behind it, leaving the ordinary passer-by only to wonder what the streetscape will look like after the curtains will have been drawn up again. The built environment around us is, simply enough, never finished and will always have to adapt to the changing needs of an ever-evolving society.

The answer? Renovation. Text: Mats Rekswinkel Renovation of discarded or degraded buildings has namely steadily garnered popularity over the past few decades and this trend is continuing. In Eindhoven, for instance, restaurant Kazerne is currently expanding by renovating the rest of the old military police station it is already located in at the Paradijslaan, and what to think of our very own Atlas building, which builds on the legacy of the modernistic central building of the TU/e campus. The latter of which is especially exemplary since it falls under the worldwide trend of creating a sustainable global economy. As a result of this development, adaptation of existing building stock to modern-day standards has been pushed more and more to the forefront. It is here that terms like renovation, restoration and transformation come into play, but these are ambiguous terms, open to individual interpretation. So does the challenge lie with getting everything in agreement, or is this doomed to be a fallacy?

Since its origin, the field of renovation has been one much of much controversy, which has never fully been met with a general consensus . In this sense, the situation of today is no different from the situation even multiple centuries ago. Wim Denslagen, in his book Architectural restoration in Western Europe: controversy and continuity, steadfastly takes a preservative stance: “declarations of principles are not popular, because they appear to restrain creativity. Nevertheless, it seems to me that historic architecture has a right to a certain protection against the excessive creativity of the present day.” Here he outlines the struggles the field of renovation has with setting up a general set of principles. But what this moreover indicates is what is actually the main question at hand here: What place should the new take alongside the old?

This is, however, not a contemporary discussion, but is in fact one that has lingered on for centuries. It was William Morris who published the

38 THAT’S WHY

unofficial first guide to renovation for the Society of Protection of Ancient Buildings in 1877, in which he urged for an overall preservation of past buildings in their historic state through renovation. Specifically he mentioned these buildings as works of art “that modern art cannot meddle with without destroying.” In order to restore one should therefore put “Protection in the place of Restoration”.

This adoration of the architectural expressions of the past was not only pertained to this time in history or to England alone. Architect Eugène Viollet-le-duc’s Commision des Monuments Historiques in France had already formulated a concise point of view of the matter some decades before Morris, saying that “every building or part of a building must be restored in the style of that building or of the part concerned, not only with regard to the form but also to the structure.” Clearly there would be no room for individual architectural expression in renovat-

Protection in place of Restoration ing according to these principles. Nevertheless, the Commission never managed to formulate a detailed set of regulations due to conflicting opinions. Still, the message remains clear: the style of the original building must be conserved by all means.

In Germany and the Netherlands similar voices arose in the late nineteenth century, although also opposing voices emerged. The emergency of urban renewal saw this development accelerated and influences of movements like Modernism completely shifted the general consensus with the focus on the future rather than the past. For instance Theo van Doesburg indicated “that romantic sentimentality”, indicating the movement striving for complete conservation of ancient buildings, would find itself incompatible with the needs of the future city. Later the destructions the Second World War had brought about led to an abandonment of prior renovation principles, which saw an entire wave of Modernist influence in the rebuilding of Europe’s cities.

The challenges society faced back then, are, in a way comparable to the challenges modern-day society faces now. To a degree the movement towards a sustainable world economy has brought new life into the topic of renovation as whole

generations of building blocks have found to be in need of transformation. Transformation in terms of building performance but at the same time renovation in terms of the inherent architectural qualities that give these buildings their intrinsic place in society. We would therefore certainly benefit from a resurgence of the ancient debate surrounding renovation practices as it not only determines the outlook of our future built environment but also decides our collective connection with the past.

Denslagen himself, for example, reflects back on the previously mentioned views, such as those of Botta and Wortman, in his book, but he himself is of the opinion that these postmodern

Indeed in recent times new voices have surfaced. For instance, Swiss architect Mario Botta said in 1988, “the old needs the new in order to be recognizable and the new needs the

convictions do not give “any right to indulge in impudent confrontations with the art of previous generations.” In the same book Denslagen must conclude that any attempt to a declaration

time during which the renovation took place.

Moreover, one can say that the preserving of ancient buildings becomes meaningless if not supported by the society that is in an, even

old in order to enter into a dialogue with it.”, which perhaps indicates a correct state of mind but nevertheless fails to provide any concrete answers. Dutch architecture critic Arthur Wortman gave a more concise formulation in 1990, which said that through renovation architectural expressions of our own time should be added to historical buildings. “Exaggerated respect for the old” should be replaced by “postmodern” principles.

of universal principles has thus far been and will, for the time being, be inept. Yet it can also be said that the discussion has just not been framed right.

though often passive, direct relationship with them, thereby simultaneously deeming the work unsustainable for future times. So, still the ambiguity remains, but the terms renovation, restoration and transformation all apply to story being told, the course of which is to be decided by the writers, us.

Still, past years have not brought about any form of coherence on the way this modern wave of renovation should take place.

role in the debate, as the way in which buildings of past times are to be renovated indicates not only something about the time in which the building was originally built but also about the

the old needs the new in order to be recognizable and the new needs the old in order to enter into a dialogue with it.

Thus far the discussion has mainly revolved around the different notions whether respect for the past is due, or whether the new and old should form a relationship in which both sides are bilaterally honored. But amidst this the term sustainability has not once been brought up, despite it being of concern to the legacy of the whole of society. Therefore, perhaps it is the societal voice that should take up a more central

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Images: 1. Concrete and brick wall texture. (source: wallhere.com) Sources: 1. Architectural restoration in Western by Wim Denslagen (1994). Architectura & Natura Press 2. Why warehouse conversions are sweeping the globe. 2017. edition.cnn.com

THAT’S WHY 39

ANIMAL ARCHITECTURE Unqualified Unlicensed Unregulated

When we hear the word architect we know that we are talking about a person. But perhaps this is a quick assumption to make.

With an estimated 7.7 million species within this planet’s animal kingdom, human beings make up less than 0.000013%. It then seems almost naïve to assume that only within this percentage can something have the capability of becoming an architect.

Text: Kim Sinnige Though this assumption is not incorrect, as formal definition of an architect almost always involves the word “person”, it is worthwhile considering our architectural comrades from other parts of the genome spectrum. The result is often unique and remarkable.

The reasons behind these spectacular constructions is usually one of three. Protection, catching prey and communication are the underlying goals of nearly all animal architecture. Because all three cover an immense range of information, this article will only consider that arguably closest to human architecture: building to protect.

When it comes to protection, this can be from a number of things. Most commonly climate and predators pose the greatest threat. One of the most impressive examples of a protective animal architect would be the beaver in North America, sometimes hailed as “mother nature’s engineer” and for good reason. Known to fell trees using their iron-reinforced teeth and build

40 THAT’S WHY

dams with up to 50 tons of wood. Beavers use these dams to regulate local water levels, which in turn allows them to protect the entrance to their ‘lodge’, create new food sources and transport food and building materials.

tectural stage within this category. Using only their beaks, weaver birds (as their name suggests) weave carefully chosen grass fronds into a precise and delicate structure. A male weaver bird will construct a form which allows for the upbringing of nidicolous hatchlings (vulnerable baby birds which will remain in the nest for some time), which maintains a warm temperature, prevents hatchlings from rolling out, and shelters from the elements. An extended entrance also ensures tree snakes

The beaver ‘lodges’ are designed with only one access, underwater, preventing predators from entering. Mud and wood create a wall up to one meter thick protecting from outdoor temperatures. Within this fortress, new generations are born and raised.

Mammals are not the only capable builders.

Birds also take their place on the animal archi-

cannot reach the eggs. But before the knots and loops are tightened, the nest must be inspected. A female will judge the nest, and upon this judgement decide whether or not the male is worthy to father her children. If not, the male will tear apart the nest, and begin again. This building technique is also suited to more social weaver species, which can join

outsourcing. This includes design, sourcing of materials, construction, maintenance and sometimes even destruction. Emphasis is also placed on trial and error, leaving only successful structures standing. Because animals do not really design their structures beforehand like people do, there are no designs left unbuilt.

nests together to create near impenetrable strongholds.

In contrast to these somewhat solo artists, the Australian spinifex termite builds with a team of up to three million colony members, creating towers of up to six meters high. The colony consists of a number of roles: worker ants mix tiny balls of mud with their saliva and place them to expand or maintain the structure, while soldier ants (equipped with much larger pincers) watch over them and protect from predators. Not only are these structures an im pressive example of group coordination, they possess sophisticated building physics qualities.

The mounds chimney-like form allows for a ventilation system maintaining an optimum inside temperature of about 30 degrees Celsius.

Different species of termite in various parts of the world all have variations on this ventilation

termites across Southern Africa tilt their towers so that the ‘chimney’ points north, avoiding the harshest sun rays, and creating a temperature and pressure difference which creates an airflow through the chimney. So if you are ever stranded in the Australian or Southern African bush and looking for bearings; look for termite mounds. On top of this, the mounds are often not alone, with a cityscape of them rising across expanses of land. These tiny creatures averaging just under a centimetre in length are creating their own skylines.

We are talking about survival of the best architects.

What was brought into human architecture in the 20th century as part of the modernist movement was known in animal architecture long before: form follows function. Each structure is built and has been perfected through thousands of years of evolution, catering to the specific needs of each species. In a dramatic way survival of the fittest has left the best builders standing. We are talking about survival of the best architects. Would our buildings be as optimized in this unqualified, unlicensed and unregulated environment?

From just three examples across the animal kingdom, an extreme range can be demonstrated. From independent to communal efforts, mammals to insects, and small to large, it is clear that architecture crosses many genetic boundaries and has significant effects on the landscape. It becomes possible to draw parallels and contrasts between our world and theirs. tactic. The compass termite creates large, flat mounds, extending three meters high and orientated so that the smallest surface is exposed to direct sunlight. Similarly, the fungus-growing

Although we too build to communicate, and perhaps also to catch prey, the overlap is apparent particularly in protection. The evolution of our threats has meant that we too have evolved from building fortified cities to building with carefully engineered climate control. These buildings allow us to live in places which we would otherwise perish in, and the concept of ‘homelessness’ alone acts as an indicator that our houses and homes are an integral part of how we exist as a species.

Perhaps we should stop considering anthropogenic architecture as a separate, or rather the only category of architecture, but instead one within the wider categories of animal architecture. Because in the long run, human architecture is as much about survival as animal architecture is.

Unlike in the human world, animal architects personally take on responsibility for all roles in the process of construction, there is no

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Images: 1. Termite mounds in Liwonde National Park, Malawi (photo: Kim Sinnige, 2018) 2. Beaver lodge (source: USDA, n.d.) 3.

Beaver lodge (photo: USFWS, 2014) 4. Baya weaver male making nest (photo: J. M. Garg, 2009) 5. Weaver constructing nest (photo: Noel McShane, 2007) 6. The Prince of Wales next to a termite mound (photo: The Popular Science Monthly, 1914) 7. Magnetic termite hills (photo: Neil Liddle, 2004)

Sources: 1. Ingo Arndt. Animal Architecture. New York: Abrams, 2013. 2. Lisa Margonelli. “Collective mind in the mound: how do termites build their huge structures?”. 2014. Nationalgeographic. com. 3. BBC.“Animal Homes: The Nest”. 2016. youtube.com. 4.

BBC Natural World. “Animal’s House with David Attenborough”.

2011. Dailymotion.com.

THAT’S WHY 41

The evolving

ARCHISYSTEM Humans have this deep-seated motivation of moving forward and progressing. To become better at things, to create and to connect.

The computer age brought us the internet, social media, mobile phones and laptops. It advanced our ways of thinking and computing of our lives. ‘The internet of things’ (IOT) is rapidly evolving, and we, humans are the ones steering these developments. There is a big distinction between science and the heart, but also wisdom from the heart dictates: “If you go off into a far, far away forest and get really quiet, you’ll come to understand you are connected” (Alan Watts). How is this connectedness influencing the built environment?

This article handles ways to manage this connectedness and what it may lead us to.

Text: Thimo Hillenius According to the United Nations ‘‘climate change is now affecting every country on every continent. It is disrupting national economies and affecting lives, costing people, communities and countries dearly today and even more tomorrow.’’ To create a climateneutral and environmentally sustainable world, there is the need to know how to produce zero waste and be very efficient with materials and resources. In natural systems, every organism plays its part, but is also reciprocal to the system. A tree in a forest, while maintaining and growing itself, is giving lots of animals and other plants a place to live as well, without wasting materials. So how can we design buildings in this way? Well, with computers we can optimize buildings, and their processes.

For example: indoor climate, energy efficiency, personal wellbeing, security and material flow.

If we are going to build houses like this, the house should be able to play its (reciprocal) role in the big system. One might say that architects are modelling a system that may self-regulate itself by computing.

Daniel H. Kim, an organizational consultant and co-founder of the MIT Center for Organizational Learning writes ‘‘In the most basic sense, a system is any group of interacting, interrelated, or interdependent parts that form a complex and unified whole that has a specific purpose.’’ Without such interdependencies it would be just a collection of items

like the tools in a toolbox. If you think about it, a standard house contains a lot of systems. A man using two systems is connecting systems and thus acts as a mediator. All systems have an intricate purpose and for a system to work, all necessary parts must be present and usable.

To ensure the stability in systems, positive and negative feedback play a big role. Also, the time-delay between steps in the system is important. Using the output of one system as input for the next system is basically the way of introducing a zerowaste built environment.

Architecture is not the only profession dealing with systems. This field connects among other disciplines economists, managers, biologists, industrialists, mathematicians and designers.

The (built) environment is a system that has physical implications

Self-regulating buildings One building that shows what it can mean to participate, follow, maintain or design the system we live in is The EDGE in Amsterdam.

It measures the activity of its users and modifies the building climate and energy in an optimal way.

It uses heatpumps, a closed loop water system and an intelligent lighting system. All the data it harvests is analyzed and used by a central computer to manage climate, energy, big data and user experience. With technology everything can be optimized, in theory. In reality more research is still needed to analyze all the data the 30,000 sensors ‘see’ and ‘feel’.

Also the smartphone app feature, that lays at the base for personal feedback, is not adopted by most employees. Making an intelligent building is one thing, making it adapt to the social and behavioral patterns of its inhabitors is a second.

The most efficient processes we have on this world are natural processes, because nature has to do everything low-energy and everything that was not efficient was ended by the process of natural selection. If a building functions like a tree it would be best if the building serves the direct human, technological

42 THAT’S WHY

and natural environment, and uses efficient natural processes or

passive building techniques itself. One building that searches for a mutual relationship between people, building and nature is Lumen, a research building at Wageningen University, designed by Stefan Behnisch Architecten.

When the plot became available it was a barren, overfertilized and nutrient-exhausted farmland. The design strategy focussed on the remaining ecological qualities to create a new diverse habitat with vegetation that both

served animals and the organization’s staff.

Behnisch Architekten describe: ‘‘elements such as

How do we as people remain the boss of our created systems?

drystone walls, scattered tree groves and alleys, hedges, berms, ponds, swamps, and water channels were introduced, creating intricate, varied microclimates and restoring delicately balanced ecosystems.’’ Two indoor gardens function as common ground and test bed for the researchers and as lungs for the building.

It might be interesting to research to what extent indoor natural systems can regulate the building and offer ecosystem services like food

and clean air. Plants provide oxygen, materials like loam control humidity by acting as a buffer material, constructed wetland controls water quality and various materials are able to store heat and cold.

However, there is also a lot to say about why we should not integrate all our systems.

One characteristic of a system is the interdependence and necessity of the functioning of the parts. This can make a system very vulnerable, since when one element does not function it may ruin the system.

Imagine a futuristic building with electric fields as walls to protect it from the weather, and suddenly the power is gone. Another example is a currently ongoing research at Wageningen University about plants in buildings, to help people stay productive and healthy. While the overall research is going well, there is one location where they needed to stop the experiment, because the soil of the plants contained the eggs of Sciaridae (rouwmug). An insect that quickly became a plague in the building.

Add ecosystem services into a computer regulated building, and you may get this wanted building as a tree.

However, if the building’s computer is hacked, it is also possible to create a kind of arena, where the computer can steer the whole climate and other conditions in the building. Some resemblance to the arena in the Hunger games is appropriate here.

Explore connectedness A mind-boggling article on the website waitbutwhy explains Elon Musk’s vision about his company Neuralink. With this company Elon is setting his mind upon enhancing the connection between humans and technology once more. People communicate more as language is evolving. The minds of all people together create a collective intelligent network, that functions like one huge system. The Human Colossus. Human Colossus invented the computer, which is now forming through the internet a Computer Colossus. With this new Colossus the Human Colossus can think out new inventions much faster. Only one issue is still remaining. We communicate with each other via voice. Would it not be lovely to communicate in a faster way? Possibly the hardest engineering task in human history is to make

the human brain itself relate to machines. Scary is; some of this is already happening. Brains are able to learn, and when thinking one way makes it possible for a paralyzed person to move a cursor over the screen, and another one makes it able to give a rough vision back to a blind person, imagine these technologies being the classroom size computers of a few decades ago and what this might develop into in the coming decades.

The ongoing travel of human kind towards progess and optimization of the systems of his world produces positive and negative effects.

However, we are all part of the development, and we will always strive to make things better and more efficient. The question is; how difficult are we going to make it for ourselves?

Will we be able to thrive in our evermore complex systems? Maybe the way to live in this new natural world of biotic, abiotic and technological conditions is to make ourselves more complex, or by taking our limits into account and balance life between our physical, emotional and mental cores. The self-regulating building - or in broader sense the Archisystem - should reflect all those parts, and not even only for people, but for all living things. Maybe we should accept that we have an enormous impact on earthly systems and beings, and take our humble responsibility for maintaining them.

Imagine this system...

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Images: 1. The Edge (image: OVG Real Estate, 2014) 2. Lumen (source: behnisch. com) 3. People 4. Animals 5. Planet earth 6. Plant 7. Sensors (source 3,4,5,6,7: allfree-download.com)

Sources: 1. Engeli Kummeling. Gebouw als organisme. 2016. kummeling.wordpress.com 2. Daniel H. Kim. Introduction to Systems Thinking. 2016. thesystemsthinker.com 3. OVG Real Estate.Case study The Edge. Amsterdam, 2014. 4. Jane Wakefield.

Tomorrow’s buildings: Is world’s greenest office smart? 2016. bbc. com 5. Behnisch Architekten. IBN - Institute for forestry and nature research. 1998. 6. Project: plants for a good interior climate. 2018. wur.nl 7. Tim Urban. Neuralink and the Brain’s Magical Future.

2017. waitbutwhy.com 8. 44. Sanne Bloemink. Kan artificiële intelligentie de natuur redden? Wildernis in algoritmen. De groene amsterdammer. 2017.

THAT’S WHY 43

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

Pantheon// is the magazine of Stylos, Study Association of the Built Environment, Delft.

This article reviews the 2017 Pritzker prize winners, the only occasion during which multiple winners were awarded

the

PRITZKER Frank Gehry, Renzo Piano, Glenn Murcutt. All famous names of solo architects whose personal take on architecture still has a large influence on the urban developments we see today. However, it may seem as this solo architecture era is over, as for the first time the Pritzker prize has been awarded to a team of three architects. As Thomas J. Pritzker, the chairman of the Hyatt Foundation remarks himself: “The intensely collaborative way of working together for nearly three decades, where the creative process, commitment to vision and all responsibilities are shared equally, led to the selection of the three individuals for this year’s award,” adding: “Mr. Aranda, Ms. Pigem and Mr. Vilalta have had an impact on the discipline far beyond their immediate area.”

The three architects, originally from Olot in the Catalonian region of Northeast Spain, have worked together collaboratively since founding their firm RCR Arquitectes, in their hometown in 1988. Resisting the call of the metropolis in favour of remaining closely connected to their roots may be the reason why the architects are not widely known.

El Petit Comte Kindergarten, Basalú, Girona

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Barberí Laboratory, office of RCR Arquitectes in Olot, Spain

Nevertheless, they came to the attention of the Pritzker prize jury. “Their works admirably and poetically fulfill the traditional requirements of architecture for physical and spatial beauty along with function and craftsmanship, but what sets them apart is their approach that creates buildings and places that are both local and universal at the same time,” the jury report said. Their works range from public and private spaces to cultural venues and educational institutions and their ability to intensely relate the environment’s specific to each site is a testament to their process and deep integrity. The La Lira project (2013) in the Spanish Ripoll is a perfect example of how their works relate to the environment they are set in. The project consists of a bridge leading to an urban void in the city walls that used to house a theater. The square is connected to the neighbouring buildings by a frame and, therefore, does not lose the spirit of the theater and the possibility for people to interact. Although the roof, walls and floor all have a different vibe to them, they are all made from the same material, corten steel. By making the space between the corten steel panels larger, the solid material becomes surprisingly light and airy.

BASIA VAN VLIET

Public space teatro La Lira, Ripoll, Spain

Materiality In its architecture, RCR Arquitectes tries to select only a few materials in order not to disturb the experience of space.

Whenever possible, the architects select natural and authentic materials, with a lot of resistance and very different finishings.

Within this uniformity of materials, but with different and subtle changes, they hope to create a framework for space that allows the space to emerge with greater strength: “We have believed in trying to do the maximum using the minimum,” says Pigem, “by using just one material, we hope to be able to create a very pure and positive atmosphere.”

Beauty “We like to speak of creating atmospheres. We have always tried to create architecture that makes people ’feel’ it, to evoke feelings and transmit a sensation of well-being and beauty.

We like to speak of beauty. We believe in this – architecture that conveys beauty,” explain Aranda. Nature and landscape have always been important for the three architecture friends.

Being surrounded by it from an early age has taught them a lot, making their relation with it frank and direct. Nature has instilled many of the values that they have tried to apply to their architecture and their lives. It is a continuous learning experience.

Community Community is another word that comes to mind when speaking of the work of Aranda, Pigem and Vilalta. Both in the bright and colorful El Petit Comte Kindergarten (2010) in Besalú in Girona and the Sant Antoni – Joan Oliver Library, Senior Citizens Center and Cándida Pérez Gardens (2007) in Barcelona, those who will inhabit the buildings are at the forefront of their concerns. It is obvious when seeing the rainbow colors of the tubes that define the exterior of the school that this is for children’s enjoyment, creativity, and fantasy. The library – like many of RCR’s projects the commission was won through a competition – is situated within the fabric of an existing city block, is a needed amenity in this busy part of Barcelona.

Visitors are welcomed into the library. The richness and variety of spaces invite exploration and are casual enough to create a relaxed and friendly atmosphere. The library also acts as a gateway to an interior courtyard. The senior citizens center looks onto this space where children, library visitors, neighbours and seniors can mingle.

“By using just one material, we hope to be able to create a very pure and positive atmosphere.”

In other works, such as their own office (2007), a transformation of a former foundry built at the beginning of the 20th century, the juxtaposition of past and present is undertaken in a most thoughtful, clear and respectful way. Just as exterior and interior are closely intertwined in their works, so are new and old. All of the original industrial building that could remain, was left “as is”. By adding new elements only where needed and in contrasting materials, the architects demonstrate their love for both tradition and innovation. The resulting building, which they call Barberí Laboratory, is comprised of varied, flexible and highly functional spaces. While Rafael Aranda, Carme Pigem and Ramon Vilalta have a deep sense and knowledge of history, they use materials and modern construction to create spaces that could not have been created before.

“They have demonstrated that unity of a material can lend such strength and simplicity to a building,” says Glenn Murcutt, Jury Chair. “The collaboration of these three architects produces uncompromising architecture of a poetic level, representing timeless work that reflects great respect for the past, while projecting clarity that is of the present and the future.”//

SOURCES

• Mairs, J. (2017) RCR Arquitectes wins Pritzker Prize 2017. Retrieved on 19 April from https://www.dezeen.com/ • The Pritzker Architecture Prize on https://vimeo.com/pritzkerprize

THAT’S WHY 45

Between 1749 and 1750, Giovanni Battista Piranesi issued a collection of fourteen etchings entitled Carceri d’invenzione. A decade later he radically reworked them to darker and more complex pieces. These imaginary prisons are imbued with never-ending architectural elements and sinister machinery made with cables, pulleys and levers. And trapped within them are elusive figures climbing the endless staircases. From these musty gothic dungeons to the electronically surveyed and controlled concrete cell blocks of nowadays, prisons have grown to take the shape of the values of the society that oversees it. These values are of control and freedom, punishment and rehabilitation, and exclusion and inclusion.

Text & images: Ananda Jaganthan Over time, through different cultures and eras, the concept of prison as a penal space, to confine criminals committing heinous crimes, has been redefined. Precedent to the Modern Age, punishment was considered a public activity. Accordingly, prisons instead as a place for punishment were a way to impede the prisoners escape until their execution. Contrary, the contemporary world, in the beginning, tried to use penalty to impose the established norms rather than for frightening and shaming.

Later on, a new role of prison architecture had been proposed: as a center for rehabilitation.

As a result, we produce a spectrum of prison architecture. On one hand of this spectrum are the hermetically sealed spaces of the high-risk management unit at the Goulburn Correctional centre in New South Wales. And at the other extreme are the Scandinavian prisons with open plans which aim to normalize the penal environment. What lies in between is the combination of humane concerns and penalties forming the hard structures of the prisons.

They manifest themselves in the layout, functional and spatial organisation, management systems, distributive features, and the morphology of the prison.

Circular The image of the Bentham’s panopticon is ever so prominent: a central tower that rises above the cells that surround it. The officer is positioned in the watchtower and the prisoners in the cell. While the tower is cast with light allowing the watchman to see everyone in the cell, the prisoners remain blinded in the dark.

“He is seen, but does not see; he is an object of information never a subject in communication.” tells French philosopher, Michel Foucault in his 1975 book Discipline and Punish. The

46 THAT’S WHY

deprived deprived prisoner prisoner policies policies himself himself in in terror terror ofof penalty. penalty.

Though Though several several prisons prisons and and institutionalised institutionalised building building incorporate incorporate elements elements from from the the panpanopticon, opticon, the the closest closest approach approach toto the the design design is is seen seen in in the the Presidio Presidio Modelo.

Modelo.

This This 1920s 1920s Cuban Cuban prison prison is is infamous infamous forfor corruption corruption and and cruelty. cruelty.

And And asas a result, a result, it itis is now now abandoned. abandoned.

Bentham’s Bentham’s panopticon panopticon does does not not just just represent represent the the “the “the principal principal ofof central central inspection”, inspection”, the the circular circular design design gradually gradually becomes becomes a powerful a powerful symbol symbol ofof self-imprisonment. self-imprisonment.

He Heisisseen, seen,but butdoes does not notsee; see;he heisisan an object objectofofinformation information never neveraasubject subjectinin communication. communication.

Rectangular Rectangular What What follows follows the the panopticon panopticon is is the the “congre“congregate” gate” system, system, also also known known asas the the “Auburn” “Auburn” system. system.

This This rectangular rectangular type type forms forms the the 1861 1861 Auburn Auburn Correctional Correctional facility facility in in New New York, York, United United States.

States.

The The organisation organization is defi is defi ned ned byby silence, silence, corporal corporal punishment, punishment, and and economic economic productivity. productivity.

The The prisoners prisoners work work in in association association yetyet in in silence silence during during the the day day and and areare then then kept kept in in solitary solitary confi confi nement nement byby night. night.

This This disciplindisciplinaryary and and administrative administrative system system is is established established byby the the stringent stringent and and ordered ordered layout layout ofof the the facility. facility.

Cell Cell blocks blocks areare stacked stacked vertically vertically and and arranged arranged back back toto back back in in the the middle middle ofof the the prison prison buildbuilding, ing, limiting limiting asas much much contact contact asas possible. possible.

This This rectangular rectangular congregate congregate form form is is reprerepresentative sentative ofof the the need need forfor order order and and discipline discipline in in the the early early 19th 19th century century western western societies. societies.

Industrialization Industrialization and and demographic, demographic, economic, economic, and and political political upheaval upheaval were were simultaneously simultaneously accompanied accompanied byby a decline a decline in in the the orthodox orthodox controls controls ofof community community and and religion. religion.

AA crime crime was was seen seen asas anan outcome outcome ofof this this social social chaos. chaos.

And And asas a consequence, a consequence, a structured a structured environenvironment ment which which would would discipline discipline the the deviants deviants ofof the the social social norms norms was was required. required.

Unlike Unlike the the panopticon panopticon whose whose purpose purpose is is toto control, control, the the purpose purpose ofof the the rectangular rectangular system system is is toto reform reform and and restructure. restructure.

Radial Radial The The radial radial system system combines combines elements elements from from both both the the Panopticon Panopticon and and the the Auburn Auburn system. system.

The radial type is exemplified in John Haviland and William Strickland’s Eastern State Penitentiary. This prison from 1871 Philadelphia, Pennsylvania, consists of seven cell blocks which radiate from a central Rotonda. On one hand, the central vantage point and single entrance permit surveillance and control over the prisoners (a prominent element in the Panopticon). And on the other hand, similar to the Auburn system, the primary penal method is that of solitary confinement. However, in this case, the complete confinement is supposed to foster patience and encourage reformation through self-reflection. The design, through the individual dimly lit cells, consisting of peeping holes and skylights, adheres to the “separation philosophy”. This is further emphasized as each cell opens up to an individual exercise yard, allowing the prisoners to work, sleep, and exercise in complete solitude.

Telegraph pole Between 1975 and 1980 penal policy in Europe emphasized the importance of rehabilitation and reintegration of prisoners. Sir Edmund Dulan’s Wormwood Scrubs prison, in London, UK, began to introduce services into the constrained prison layouts. These programs and services such as the chapel, hospital, and shops were located in smaller units in between the cell blocks. The complete layout was formed by four cell blocks and the smaller units connected by a central corridor or “pole”. While the services humanized the prisoners, the central passageway remained a tool for control and surveillance. Moreover, the architectural plan allowed for bright spaces with optimal lighting and cell blocks with windows opening to the exterior. Overall, the amalgamation of rehabilitation and control is illustrated by the composition of the structured grid and organic addition of smaller units.

Courtyard The basic setup of the courtyard is such that the functional units and services on all sides of the perimeter open up to the exterior, which becomes the center for circulation. The courtyard typology is fostered in Alfred Normand’s Prison Central de Rennes, in France. The prison consists of multiple octagonal courtyards formed by groups of three-story buildings.

Whilst the communal facilities are located at the bottom tire, the living spaces are places on the higher tires. These architectural complexes provided several advantages over the other types. To begin with, the open courtyards were

enhanced with green spaces and the cell blocks with better ventilation and lighting. Both improving the quality of the prison environment. Moreover, the open arcade is at its core a symbol of freedom. The free circulation, as opposed to the lack of movement seen in the other prison facilities, renders the courtyard type prisons as a more humane place of confinement. Though Normand’s prison was one of the few prisons containing a courtyard, they became more prevalent in the later prisons such as the Virginia women’s multi-custody correctional facility and in the original plan for Occoquan.

Campus The socially progressive Scandinavian countries take an innovative stance on prison design.

Discarding the overpowering and evasive penalty architecture, Danish prison and Probation Service architecture firm CF Moller have designed what is called the world’s “most humane” maximum security prison. The Storstron prison, in Gunslev, is more like a university campus than a penal space. The prison design hinges on a decentralised approach. All the programs are spread across the campus and are connected by a path imparting the freedom of movement. The distributed spaces create an urban fabric that creates day to day experiences and that treats the prisoners as autonomous and responsible entities.

The concept of daily life is as essential to a prison design as water is to fish. The workings of the built environment are premised upon facilitating the needs of our daily life. Looking at the evolution in prisons, we are left with the idea that as architects “we shape our buildings; thereafter they shape us”. However, these vast and nuanced waters blur the lines between the different functions of a prison and spool out to pose more complex questions. At the present time, what is the function of the prison: is it to punish, rehabilitate, reform, or provide security? And finally, how can an architect design a suitable prison combining these juxtaposing functions?

Sources: 1. Thomas McMullan. What does the panopticon mean in the age of digital surveillance? The Guardian. (2015, July 23).

2. Imaginary Prisons: Giovanni Battista Piranesi Prints | Princeton University Art Museum. (n.d.). Ruault) 3. Emily Lodato. Redefining the Prison Milieu. (Fall 2014) 4. Robert L.Davison. Prison Architecture. The ANNALS of the American Academy of Political and Social Science. (1931) 5. Diana Budds. Changing Inmates’ Behavior With Architecture. (2017, December 20). 6. James Krueger & John A. MacAllister. How To Design A Prison That Actually Comforts And Rehabilitates Inmates. (2015, April 30). 7. G. Deniz DOKGÖZ. Prison Architecture A Typological Analysis of Spatial Organizations in respect to Punishment Systems. Izmir Institute of Technology Izmir, Turkey. (September, 2002)

THAT’S WHY 47

June 27

Sep 13 -15

Smart City Event

Concrete Trade Fair

Do you want to be part of the future of the Built Environment? This event will provide you with lectures and talks by leading professionals in this part of innovation in the Built Environment. Join us in The Hague for this amazing event.

Combining forces with two other major trade fairs in there field, the Concrete Trade Fair will be bigger and better than ever. This fair will teach you about the current state of the profession, product innovation and will allow you to present yourself in the world of concrete.

Aug 20 - 24

Sep 26 - 27

Introduction Week

Day of Public Space

During the Introduction Week the TU/e campus will be full with activities for new and current students! These activities will range from sports to course-related lectures, so keep an eye on your social media feeds to keep up to date with the programme!

Whether you are interested in the maintenance of streets or smart city applications, the Day of Public Space congress has it all! This congress will be filled with the expertise of more than a hundred companies, combined in lectures, stands and professionals roaming the three different congress halls of the Jaarbeurs in Utrecht.

Sep 11-13

Okt 3

Installation Trade Fair

National Steel building Day (Staalbouwdag)

Do you want to stay up to date about the current developments in the field of the installation branche? Then the Installation Trade Fair is the place to be. This three day event will provide you with all there is to know through meet and greets, company lectures and lots more.

If you are committed to the steel branche, either through studies or work, the National Steel building Day is the place to be for you. This annual event is the best oppertunity to meet fellow enthousiasts for this material.

Sep 6

Okt 9 -11

Inauguration 33rd board of CHEOPS

Bouwcompleet 2018

After the 32nd board has made the foundation for creation the 33rd board will take over on the 6th of September. During the day there will be a change of boards, the General Members Meeting and the Inauguration drink in the SkyBar! Underground.

This three-day event will provide you with al the know-how and updates about all different layers of the Built Environment. A diverse mix of participants will present new products, trends and challenges from the field.

Agenda CHEOPS & Built Environment 48 AGENDA

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