Research book New Parochial Spaces

APRIL 2019

INSIDE 1ST YEARS

STUDIO III Stanislas College Delft

MIXED THOUGHTS

visual research and position texts

one big thanks for Anne and Gerjan

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CONTENTS

MAPPING FUTURE RITUALS SHRIPAL SHAH

CONTEMPLATION AND SPIRITUALIZATION ARCHITECTURE FOR THE MIND DEVINA AMALIA

PAROCHIAL SPACES REVIVE THE SOURCE DAVIDA RAUCH

PEDAGOGY SPIRITUAL EXCERCISE & PRACTICE MARY FARWY

CONTEMPLATION AND SPIRITUALIZATION SECULAR SPIRITUALITY FOR CHILDREN NATALI BLUGERMAN

SHOOL AS HETEROTOPIA MICHEL BARCHINI

REUSE AND TRANSFORMATION EVENT OF TOGETHERNESS AUŠRA ČESNAUSKYTĖ

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LIGHT AS ORNAMENT LINUS FRIDÉN

NARRATIVE ARCHITECTURE SAMANTHA VOSSE

REUSE AND TRANSFORMATION DESIGN THROUGH TEMPORARY INTERVENTIONVS SEBASTIAN KOUKKIDES

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EXCLUSIONS A POSITIVE SOURCE FOR INCLUSION KEYI XIANG

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MAPPING FUTURE RITUALS Understanding modern rituals and patterns of worship, to reactivate the desolate chapel (at Stanislas College Delft), and the communities engaging with it.

To be human is to engage in rituals. Rituals are symbolic acts that we assign shared meaning to. We understand rituals as structured, repetitive acts that assert a belief. These acts, more often than not, are collectively recognized by society. These factors set rituals apart from routine and habit. Modern rituals tend to be more individualistic, suspended from religious or political framework.

While there are several historical examples of architecture for traditional rituals; typologies and spatial values to accommodate new forms of rituals and worship are yet to be defined.

Given the context of our project, it is important to identify and evaluate the emerging trends and patterns of new rituals within an educational context. These will provide important cues to establish (or formalize) a more relevant program at the chapel and the defunct dwelling attached to it. On the basis of initial site research, it was apparent that the students were not emotionally attached with the chapel building. While encouraged to do so more frequently, few students willingly entered the chapel to seek solitude or space for reflection.

Looking for cues for modern rituals amongst young adolescents, I observed that most students were actively engaged with their personal electronic devices such as their mobile phones or laptops. Further inquiry revealed that almost all students had an active social media participation. One can assume that there are parallel realities that the students co-exist in - the real and the virtual. The prevalence of these parallel identities provide key cues of emerging rituals. These rituals could be virtual, and may have little physical manifestation.

This research has helped me expand my inquiry of what this generation considers as sacred (Information technology, consumerism, social identity). This broadening of my understanding of what is the new sacred, will help me identify new forms (and icons) of worship, and thus, new spatial typologies to house them.

Shripal Shah 5

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m a p p i n g

m a p p i n g

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RITUAL AS INTEGRATION TO SOCIAL ORDER

RITUAL AS SUSPENSION FROM SOCIAL ORDER

Rituals are integral to maintaining social order, and to engage in rituals determines your position in society.

Rituals as a break from the cycle of everyday occurances. A symbolic engagement to seek solitude & reflection.

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CUES FOR EMERGING RITUALS & ICONS OF WORSHIP

ARCHITECTURE FOR THE MIND Belief has a form and in modern architecture, the belief is in architectural form itself.

Throughout the history, sacred architecture is formed by the basis of liturgical models. The challenge in reallocating such architecture has become a phenomenon in this post-religious society. What kind of sensibilities we should consider in reactivating these places? The extent of this findings lead me to further question on the foundation of a genuine spiritual architecture itself.

Starting with the observation at the chapel in Stanislas College, I found an interesting finding that the space is still often used as meditation and yoga practices. The fact highly intrigues me to think how Western society seems to still engage with the Eastern religion despite the secularization that happened in the past centuries.

Zen Catholicism, East meets West, the interfaith dialogue has achieved a balance between cross tradition and religion in the modern society in the past centuries as many modern Catholic monastery are born.

The two shows many points of contact between their teaching and as no longer boundaries between them, they began to discuss many common secular issues rather than religion itself. As Science, Psychology is one of their great contribution, the Psychoanalysis therapy was inspired by a self-transformation idea that the religion provides.

The research is further executed by grasping the spatial quality which the chapel offers. The poetics of the space is readable through human experience as it gives a distinctive sense of silence which is also profoundly important in Zen Catholicism to evoke a meditative state of mind during prayer and ritual.

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While the discussion on religion is starting to fade, perhaps a next step we can take is to look carefully on the possibilities that the space could render in taking care of human being, for example in the field of psychology, without losing its spiritual character of the building.

In an increasingly individualistic society, what is the position of the new rituals?

What are the values of space defined by these rituals? How do you use these rituals as an instrument to reactivate space and communities engaging with it?

Devina Amelia

C o n t e m p l a t i o n a n d S p i r i t u a l i z a t i o n 10

East meets West

C o n t e m p l a t i o n

carl jung,father of analytical psychology

activities schedule of the chapel

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chapel in stanislas college by jan van der laan

C o n t e m p l a t i o n a n d S p i r i t u a l i z a t i o n -

prayer and meditative beads of catholicism and buddhism

st. benedictusberg abbey, vaals by dom van der laan

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PAROCHIAL SPACES HOW DO GROUPS LIVE TOGETHER? Davida Rauch Haagse Markt: a mixture of cultures “According to my colleague these vegetables are fro India.

I actually don’t know...Never tried them! I just sell it.”

C o n t e m p l a t i o n

The Haagse Market could be considered as an ‘Open City’-area.

The market is a rather synchronous area, where several activities mingle and all sorts of people come together.

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At the market most walls create border area’s: seperations are porous.

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The market has incomplete forms. Every stall owner can establish its stall the way it is convenient for his or her sellings.

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Graffiti on the high wall of the chapel.

REVIVE THE SOURCE

Once designed in the 50ies, the Stanislas College was built as a school building accompanied by two other buildings: a Catholic chapel and a fathers house. Back in the days, these buildings gave shelter to the spiritual source from which the school drew its identity and inspiration.

Nowadays, that is a bit different: the fathers have left and the chapels ceremonial use has slinked to twice a year.

With other words: The once so beautiful source has dried up.

In his book Buidling and Dwelling, the sociologist Richard Sennett describes the difference between a closed and an open city. A city with closed systems is characterised by control, rules and distinctions; where the ‘Open City’ has a dynamic, unpredictable and vibrant life.

At the moment, the whole - the school, the chapel and the fathers house does not function like an open city at all. The closed walls are too high, the windows are to curtained and the acces to the terrain too controlled.

As a designer, I believe the buildings carry potential to be the catalyst of the possible ‘Open City’- character of the college. I vision them to be de-armored and to rebecome the vibrant source of the school.

Camera’s rise the feeling being onder control.

alternative route through whole in the gate

For revival, only physical adaptions will not be enough: reprogramming is a necessity. At this moment, the buildings of the fathers house and chapel seem to be subordinated to the school, which has its references all around the terrain. Either this has to change, or the new function should be part of the existing community of the school.

With the flag, the gate, the road signs and pavement, the entrance of the terrain does not support the idea of being open for public.

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The second gate of the terrain opens only on the rush hour (3 pm - 4 pm), to let the students leave the bike parking.

As well as the large number of the net curtained windows of the fathers house, which look over the schoolyard without allowing any glance inside.

The pavement which leads to the entrance of the school building can be seen as a references to the school as priority of the terrain.

At the beginning of the public road towards the school is a sign of the Stanislas College located. This road does not only lead to the school, but also to the entrance of the public Wilheminapark.

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In order to analyze the Stanislas College as an (open) city, I find it important to study the area around the college.

By walking through the neigbourhoud I found out that porousity is not only about membranes.

It involves concepts of borders and boundaries, but also of control, safety, invitation, and space claiming.

POROUSITY OF THE CITY the neighbourhoud of the Stanislas College

PEDAGOGY A network of signs throught the neigbourhoud controls the area without help of human beings

Two different ways of claiming space: filling the space or defining the borderline.

The ignatian pedagogy is the educational model followed in Jesuit schools. It is all about forming men and women for others. The core of this education is built upon experiencing, reflecting, action and evaluating, but did it turn into a biophily when examining the Stanislas college in Delft ?

Here is filling in / creates a

In relation to space, the school appears to be obsessively designed, there is no white space in the school where students’ behaviours won’t be either designed. Spaces are overloaded with inputs leaving less space for free inputs.

In relation to the learner-teacher relation; to a certain level it does react to the pedagogy where students are introduced into fields where they can experiment, but they do not get into the ultimate practice of the spiritual excercises and diving into consciousness. They are not trained to reflect inwards and listen to what is materialized. Subjects and workshops are built upon the teachers’ thinking. Though I believe that the teachers’ thinking is authorized only by the authenticity of the students’ thoughts on them. Authentic thinking, is that thinking concerned about reality and do not take place in an isolation tower.Jim Jarmusch: “ select your things to steal from that speaks directly to your soul. If you do this, your work will be authentic”

top: Line of scooters as border bottom: Chapel as boundary

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visible claiming border

how space area.

boundary

border

Thus I am up to a radical practice in trusting students. I am up to an education that stands as an exercise of anti-domination.I am up to conceiving education as the child’s responsibility; built upon not what teachers know, but upon evoking critical reflection.

I am up to achieving knowledge through more implified spirituality and spatial freedom. The chapel at the Stanislas college have a spiritual quality and less spatial input than the school. I believe it should be recharged with the essence of spiritual practices away from the academic knowledge where teachers and students are the same and more space to experience is allowed.

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SPIRITUAL EXCERCISE & PRACTICE

left: Path as invitation to not enter the grass right: Bench as invitation to walk on grass

Mary Farwy

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IGNATIAN PEDAGOGY (SPIRITUAL EXERCISES)

questioning , imagining tasting internally direct , vicarious ‘what is this?’ ‘how do I react to it?’

Teacher creates

UNDERSTANDING PEDAGOGY

student collects material + experience

understand in terms of facts , feelings , value and insight

Experience

The pheromone of education; A metaphor for Pedagogy.

fundamental dynamic of the spiritual exercise formative librating process to shape conscious Teacher engage studnets in techniques of reflection memory imagination feeling

internal human growth based upon experience

moving beyond knowing

The ignatian’s pedagogy goal is Forming men and women for others, ready to embrace all that fully human beyond academic excellence (freedom, dignity).

Action

essential means of validating human experience

pheromone is an excreted chemical substancetheory and practice of teaching that triggers a social response in members of the same species. It is produced or released into the environment by an animalschool affecting the behavior or psychology of othersstudents.

Reflection

The drawing above represents an ant mill. blind ants follow in circles the phoromone , it changes their social behavior until they die of exhaustion because they can not escap it.

The Cafe Project Mahatma Gandhi international school, India https://www.mgis.in/ourpedagogy/ P e d a g o g y 19

Making the Periodic Table accessible Mahatma Gandhi international school, India https://www.mgis.in/ourpedagogy/

Creating a Calendar Project Mahatma Gandhi international school, India https://www.mgis.in/ourpedagogy/

Body Awareness Mahatma Gandhi international school, India https://www.mgis.in/ourpedagogy/

P e d a g o g y 20

SECULAR SPIRITUALITY FOR CHILDREN

Classroom attendance is voluntary

School should be made for the child rather than the other way around

possition text possition text possition text possition text possition text possition text possition text possition text possition text possition text possition text possition text possition text possition text possition text possition text possition The Stanislas site was conceived as a space where children could be educated and raised under the Jesuitical values. Both this education and the consequent transfer of these values into society was the ¨fathers¨ responsibility, which used to live in the “Fathers´ house”.

Throughout the years, people became less religious and the Jesuit board was forced to retreat more and more. As a strategy, they neutralized the most important values of their religious commandments and “de-catholicize them”. Between those are, for example, “becoming a good person for the community” and “not hurting others”.

Teachers and students gather to solve conflects

The space did not follow these secular changes, and therefore, became out-dated and mostly empty.

What most children like about this chapel is the silence in there, and what they can find in this silence. To my eyes, this is potential.

I am tempted to rethink this building under the scope of Wabi Sabi: it is possible to make this “emptiness”, “abandonment” and “loss of meaning”, into a valuable part of the story of this whole space; not as a mistake, or as if something went wrong.

Children themselves know what is good for them.Students have the right to not listen to the teacher https://www.eudec.org/Videos

DEMOCRATIC EDUCATION SUMMERHILL SCHOOL SUVREK, ENGLANG 1921 1960>> free (alternative) schools

To embrace this story, I would jump over the religious aspect and focus directly on the conditions the space offers as a spiritual venue.

The chapel has a very special atmosphere, qualities and potential to transform it into a non-religious spiritual space.

Nowadays, there are many communal spaces where people can meet and have leisure time, but not so many where they have the space to be in silence and reflect, contemplate. Specially, there are not so many places like this for children.

In this sense, the fact that the chapel is next to the school is very convenient because it makes it accessible.

P e d a g o g y 21

BLACK MOUNTAIN COLLEGE ASHEVILLE, NORTH CAROLINA 1933

http://www.blackmountaincollege.org/

The challenge now is how to get children enjoy spirituality in non-religious ways and how to achieve it through spatial design.

Even if not many children might be interested in this at the beginning, engaging just a few of them would already give meaning back to this space.

Natali Blugerman

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WABI SABI

How would the Wabi Sabi of the Stanislas College be like?

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BLIND SPOT

SPATIAL RESEARCH THROUGH BLIND SPOTS ON SITE WITH THE STANISLAS STUDENTS

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AT THE “FATHERS HOUSE”

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SCHOOL AS HETEROTOPIA...

CONSIDERING PAROCHIALIZATION AS A POSITIVE INFLUENCE ON THE SCHOOL FOR THE SAKE OF SAFETY AND CREATING AN IDENTITY FOR THE PUPILS, HOW OPEN CAN THE SCHOOL BE TO SOCIETY ?

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In the search of public spaces, we can notice that relations and interactions among individuals change the nature of public space, Parochiality can be understood as an atmosphere of familiarity among friends and acquaintances ( often in a public space). Parochialization implies local and temporary appropriation.

STANISLAS STUDENTS DRAW HOW THEY REMEMBER THE SITE AND THEIR FAVOURITE SPACES

When it comes to design schools, we have to think of it as a place to teach children, support them, build their personalities and prepare them to be part of the society. Therefore, as a designer, I see the school as an “ open window to society”. The spaces within the school; on one hand, helps to form a direct interaction between pupils and public so the students can learn through experience. On the other hand, keeps the identity of the school in these spaces and give the pupils sense of belonging or owning the space.

By analyzing the Stanislas College and observing students and teachers, we can explicitly see signs of parochialization embodied in the behaviour of students. It appears that the schools offer a lot of spaces to be shared among pupils; classrooms change based on the subject, students have to move between classes and share spaces, lacking the sense of possession or the sense of being part of the school, school for them is a place to learn lessons and that’s all. The only private space for the students is the locker itself. On the other hand, the lockers are also one of the spaces where all the students from all ages meet. Here we can see the paradox where private and public realm meet in the same space.

Michel Barchini

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After interviewing some students and teachers to understand how spaces affect the behaviour of students and vice versa. It appears that the schools offer a lot of spaces to be shared among pupils; classrooms change based on the subject, students have to move between classes and share spaces, lacking the sense of possession or the sense of being part of the school, school for them isonly a place to attend classes and learn.

STANISLAS COLLEGE

Aula Brink

S c h o o l a s

Plein

Lockers

Lockers

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By mapping out the spaces within and around the school, we can differentiate between several types of spaces, separated based on students’ level of study, age, common interests... .

Inner courtyard

Priests house

Brink shared space used by students of levels 4,5,6.

Aula shared space used by students of levels 1,2,3.

Chapel

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EVENT OF TOGETHERNESS

Parochial space is dominated by a certain group or community but also open to other groups.

Communal space is a space shared between people from the same group or community.

Public domain is an experience at a location where the ‘code of behaviour’ is followed by groups with which we are not familiar.

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Nauisance Where people are so close to each other that inconvenience is possible, a great understanding arises naturally that may lead into a friendship or contact.

De-Clotting Breaking down that systems where people from the same group together, with the intention of bringing, different types of people from various groups, in contact together.

Events. Interested? Going? Not going? They appear and disappear from our feed as fast as they do from our minds. Milliseconds. There is no hierarchy in what we receive and most of the times, it is only leisure and consumerism what prevails. Mass media, the big influencer that forms our perception, draws a very shallow picture of an event.

I believe an event can have much more power if it aims to be the frame changer. Its temporality and compressed evolution have lots of potential in bonding people for way longer than the event itself. As a designer, packing your project in such a short time, you don’t need to predict the far future.

The fact that there is an expiration date, gives the possibility to be experimental as well as to work on the most relevant and urgent matters. You are here to ask, to criticize, to inspire, to be rebellious. In this context, there is space for the unexpected. There is little loss of resources if an event fails but in the case of success - it can make people cluster merging the interests and creating the attachment to surroundings. It leads to non-designers controlled initiatives which evolve to autonomous creations so event space with its program becomes a perfect medium for the new beginnings.

Building informal togetherness, at the age when individuality takes over the community feeling, is one of the most substantial strengths of an event. Lots of information and a variety of virtual alternatives consumes most of our time. We engage less with each other because we are less here and more there.

Feeling disconnected we tend to find our own way within the system rather than having initiative for its improvement and Stanislas school students are not an exception. Interviewed kids usually felt powerless, or with no interest in changing the space, they spend most of their time in. I believe the event should appear right now and right there. It is high time for ACTION! Aušra Česnauskytė

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THINKING ABOUT TIME analysing the site, researching setting goals

defining the program, predicting impacts, designing

opening, settling in, implementing the program

the peak of the program

building universal space

the program expires Space requires reuse, transformation and renovation New designing process

renovation process Implementing changes

final expiration date Demolition

the program reaches its peak.

Intense use of the space

Permanent space. Many many years

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opening, set of events

questioning, setting goals, predicting impacts, analysing site, defining program, designing

opening, the peak of the event, closing, dissolving building experimental space

reflection on the design, the impacts analysis failure: loss of resources (not very harmful)

Temporary space. Months - years.

permanent space

Designing an event. Days - months.

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reflection on the design, the impacts analysis new initiatives

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closing, dissolving

new thoughts & inspirations

TOGETHERNESS

r e u s e

building experimental space

WHAT COULD HAPPEN?

in case of error, space and program is flexible to be changed

changes in laws

setting goals, predicting impacts, analysing site, defining program, designing

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WHAT KIND OF TOGETHERNESS? FRIENDLY TALKS WITH KIDS OF STANISLAS site based

How would you like to use the empty spaces around? sleeping bags, place to lie down.A place for drinks, restaurant.Big screen to watch something.

It’s boring here.

It’s a strict school. We have lots of rules. And there are people watching you everywhere - teachers and staff.

RA. a USE cinem 015. TXP 2 d.

Madri

What would you like to have in those empty spaces here? some place to sit. drink a coffee.

The things you can do are very limited here.

You can’t do a lot

There are events of sports here.

We only have school parties here.

What do you do there?

It’s like a school dance. It’s also boring.

But is it compulsory?

No, It’s your choice if you want to go, but the music is not good

Would you like to make friends with other years students? not really.

Is it enough of connections? yes. do you make friends during the events here?

No. Its just with your own class.

The chapel is a bit scary if you are alone.

What would you like to Nobody is really interested do in the chapel? in the chapel anymore.

I would like to have a swimming pool there.

rr ee uu ss ee &&

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we go there (chapel) once a month and then we sing.

Do you like it? yeee!

Do you have some events here?

Yaaa, Sometimes. School parties.

What happens there? Do you like it?

Yaaa. With lights, and music, and FOOD Do you stay with classmates of you find other friends in these events?

Both.

What is a funny event for you?

FOOD with your friends. When sometimes you can buy something for charity.

What are you doing through the breaks?

Sitting, eating, phone.

And after school?

Extra lessons.

Are you friends with years above you?

Nooo.

Would you like to?

Yes. Mmm. Maybe.

interest based Do you think of those spaces? (fathers house, chapel) No, I kind of forget that it exists

. rk Yo w or Ne ab . ml ER au ST R BU 9.

E 00 AC 2 SP

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DESIGN THROUGH TEMPORARY INTERVENTIONVS

Through researching about vacancy and reactivation of vacant buildings i found some interesting design approaches that made a lot of sense when it came to reactivating a vacant building or space. Vacancy can happen through many different ways, but mainly is the diminishment of the programs that the spaces were built for.

Though a space built for a specific program is hard to be repurposed without any changes to it. Though reactivation through intervention can become a method that is quick, cheap and slightly more radical than jumping straight into redesigning a space without having a program for it. Interventions can become a tool for inviting programs into a space.

Although they are temporary, interventions can inform a more permanent design in the future. I believe that a continuous reactivation process could be much more interesting and risk free solution for a vacant building. The fact that places become vacant is a good time to take a step back and understand how the vacancy happened. I believe time has a lot to offer when having to deal with vacancy. Letting a vacant unused space sit vacant for a long period of time is key to let it sink into peoples mind and make the community notice it.

When action is taken it will be more mature and feel quite rewarding. When a space has certain characteristics that ideally would be good to preserve, if a space would have a dual program. Reversible interventions would be ideal to make use of the space while using it for a different program than what it was intended for. Taking into consideration what should be reused or transformed within the frame of temporariness in design and usage. Temporary interventions can be the tool that keeps reactivating a space constantly in a cycle of reactivation and deactivation.

Sebastian Koukkides Do you feel like you would like to use the garden of fathers house? no.

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Ramulabor TAZ.LAB 2015 - THUD 2015 Berlin Germany

TEMPORARY INTERVENTIONS

Creating a network like structure through temporary intervantion redesigning the way people interact when they are in the same space. Depending on the pogram, the layout changes accordingly without changing the structural charachteristics of the space.

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TOESTAD TEMPORARY COMUNITIES La bulle

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Toestad is planting the seed of the idea that you can reactivate a space, but do not stay untill the space is completely reactivated.

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Spree Park Berlin.

Abandoned since 2002.

small notes small notes

notes small notes small

NARRATIVE ARCHITECTURE

small notes small notes small notes small notes small notes

Ornamentation is used to tell stories, in literal and more abstract ways. Within a church, they are used to support the written information.

But it is not just in the ornaments, also the layout and materials support the understanding of the experience.

Narratives can be found in any architectural structure and create strong relationships with its users. The elements of ornament, material, layout, and function show history, represent some deeper meaning or affects the way we feel through its atmosphere.

Spaces must be understood on a multisensorial level to not just experience them, but for them to transform the user’s perspective.

Corporeal feeling is not only physically feeling something, but also feeling how this makes us feel. This bridge between the physical and the mental understanding of spaces creates a deeper understanding of them.

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The park was visited and used.

Not for its intended purpose but definently not an unused space.

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What did time had to offer for Spreepark in Berlin? Did time create a sense of urgency to use the space?

Like many other buildings, the chapel and fathers house at the Stanislas collage in Delft were built as a whole, not to be seen as separate elements, but over the years objects have been added to it, materials have started to show signs of age and use and the functions have changed.

Small temporary structues added to create the sense of authority.There to control the direction of reactivation?

By looking at the materials of the buildings out of context, I added more value to them as individual starting points of something new.

They can now be experienced in their true strength and be put together in new formations that were not possible before because of the static nature of the architecture. The interest lies not just in their appearance but also in the way they feel and sound.

Vision separates us from our surroundings whereas the other senses unite us with it. We have to go beyond vision to understand and connect to our surroundings on a more personal level and thereby create a more sustainable relationship with the world around us.

Samantha Vosse

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Inside the Chapel Experiencing spaces only through sound.

Jewish Museum Berlin

Walking in the Fathers house

Daniel Libeskind

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Entering into the museum you are lead downstairs, changing the atmosphere and with that your mood. Throughout the building, there are several other elements that tell us a story. The stairs that don’t lead anywhere, the columns violently piercing the building, empty voids and cold materials all contribute to the story of the Jewish history.

Ornament and Identity Neutelings Riedijk Architects

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Ornament is Crime Matt Gibberd and Albert Hill

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Sound samples of some materials in the Fathers house

The books discuss the opposite sides of the ornamentation spectrum. One finds stories in the materials themselves and the shape of the buildings, listening to the material.

The other finds them in the images and man-made details, shaping the material. But they are not as different as one might think.

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LIGHT AS ORNAMENT MATERIAL LIBRARY OF THE FATHERS HOUSE & THE CHAPEL AT THE STANISLAS COLLEGE IN DELFT

I order to understand light as an ornament, we need first of all answer the question, what is ornamentation? The descriptions from dictionaries, literature by theorists, artists and common peoples own interpretation are many times different from each other. In the society with the language we already have taught by norms we might refer ornaments as objects with physical qualities, decorative elements in space which act as makeup for the main architectural ideato bloom, which was described in Franz Sales Meyer’s book A Handbook of Ornament from 1896. On the other end away from precisely mathematical calculated mapping systems, the Danishartist Jorn Asger described in his book What is an ornment from 1948 that ornamentation isabout a relationship between the object,its user and the persons own experience in that moment of a certain context. For him, anything can be an ornament only if it can achieve a narrative quality.

For me, ornamentation is created by human, an experience between two elements which one of them is the user and on the opposite site something visible but not certainly have physical qualities.

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Due to contemporary aesthetics, physical architectural ornamentations are today marginalised which can been seen both in religious and non religious context. Therefore defining light as ornament can be relevant and in a democratic way display narratives, because light can be economically to tame, simple to understand and gives the audience a way to interpret their own stories without requirement and tell stories which is beyond the power of physical bodies. Light is an odd ornamentation because it’s constantly in motion, alive and makes the space to pulse which reflect our own contemporary society. Light makes us aware of our surroundings, the volume and essence of the space both exteriorly and interiorly because architecture is a tool to tame the light and the shape defines its presence. There are many more attributes which light holds over physical ornamentations which not even the sky is the limit.

Linus Fridén

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PRINCIPLES OF NATURAL LIGHT IN ARCHITECTURE

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Crevice light Figurative shadow Spot light Back light Ceiling light Refraction Reflection Gradient light Figurative light

BENEFIT OF LIGHT AS ORNAMENT

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Light ornamentation can be a tool to gather people during a certain time in a non strict manner in order to create solidarity.

Contemporary churches are many times simple in its expression, often without physical ornamentations. Light become therefore a way to create that bridge between audience and the unknown.

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Light is shaping the architecture and makes us aware of our surroundings both for those who creates and uses the space.

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THE IMPORTANCE OF LIGHT

EXCLUSION AS A POSITIVE

SOURCE FOR INCLUSION

Contemporary social exclusion can occur in many situations and for various reasons.

Some examples include cultural, religious or even, class exclusion.

A study done in the Netherlands about exclusion and group identity showed that asylum-seekers (aged 9-14) from northern Africa were viewed in more critical and negative terms than children from other groups. Participants in this study gave their reasons for the exclusion of asylum-seekers based on personal and conventional reasons, not moral ones.

This exclusion might potentially contribute in a bad way to stereotypes about minority, which are often based on lack of information about historical patterns of cultural group identities, leading to unconscious discrimination.

From various studies, I found that the main cause of exclusion usually originates from ignorance of the differences, and the hierarchy between the majority and the minority, which results in isolation of the later.

Most studies are devoted to reduce favoritism and create an inclusive environment.

But for the minority, excluding the majority could help them gain self-assertiveness and make the majority notice the exclusion they usually perform. This is why, from my perspective, exclusion could be used as a tool that could lead to equality.

Hence, I would like to think about ways to use exclusion in a positive way to help people understand the richness of the different backgrounds and personal qualities, especially in children aged between twelve and eighteen. l i g h t a s o r n a m e n t 45

Light has the ability to define space without physical boundaries and people are unconsciously drawn to those places.

Light ornamentations are created and defined by human but it can also be matters of coincidences in the space since light is constantly in motion and unpredictable.

I did a questionnaire about Inclusion/Exclusion to 148 international students in The Netherlands that shows that when there’s exclusion, there are more students (48%) willing to invest their energy on developing their own self-identity rather than on becoming part of a group (20%).

In the specific case of Stanislascollege, students were not allowed to enter the Father’s house, which means that the fathers chose to exclude themselves from the students to gain the quality of seclusion, do their practices and serve God. This led to the fact that even now, after the fathers moved away, the students still feel that they are not welcome in this building. In addition, most students at the Staanislas College come from immigrant families and have diverse religious backgrounds.

My proposal is to utilize the history of exclusion in this building to create a space where events for inclusion and exploration of self-identity could be held.

Either for the students who want to become “included” and those who want to remain by themselves. I think this would be very helpful for them because they are at an age where they are building their personalities. Starting to create a strong sense of awareness about the consequences of inclusion and exclusion could debunk their preconceptions and give them tools to feel confident and know how to act whenever they are part of either a minority or a majority Keyi . Xiang

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‘SEGREGATION’ BY DESIGN

10 cm 10 SUBTITLES 10 cm

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SOCIAL EXCLUSION

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M i r r o r - W a s h - Microwave ov-

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Case 1 : A room is always 10cm shorter- A slight design exclusion This is my room. Since I am a typical Chinese person, I always feel the exclusivity of design when using room items. Of course, i guess the designer did not intentionally do this, butI think this unconscious excludes mijority as a a question that designers should think about.

Case 2 : Cities’ exclusive design a-Don’t you dare try to sit.

(Rory Hyde via Flickr)

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b-Benches designed to make sleeping impossible. (Denna Jones via Flickr, William Murphy via Flickr)

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If maps are the visual manifestation of a design process, then designers can quite literally put discrimination on paper. Take, for instance, 1930s-era redlining maps, which color coded neighborhoods based on their “desirability” to banks and investors. Areas with the lowest rating were outlined in red — and often traced inner city black neighborhoods. The effects of those demarcations are still visible today.

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Case 3: Low overpasses on a Long Island parkway. (Doug Kerr via Flickr This is a notorious example: Moses designed a number of Long Island Parkway overpasses to be so low that buses could not drive under them. This effectively blocked Long Island from the poor and people of color who tend to rely more heavily on public transportation. And the low bridges continue to wreak havoc in other ways: 64 collisions were recorded in 2014 alone (here’s a bad one).

Example: Aquestionnaire about 148 international students and chinses-dutch children .3

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Case 4: Original Home Owners’ Loan Corporation redlined map of Brooklyn, New York. (Urban Oasis)

Being an internalmenber of our society and mojority can bring many advantagies.But thses four magnets(poverty, ill health, discrimination and lacke of education/ jobs/housing) can literally drag people away from the core part of society to the fringes and as we move away from the center. these people are experiencing social exclusion.

As individuals can find themselves being pushed orrelegated to the periphery of society. When that happens they really lose or prevented from participating in many ways.moreover they may have reduced access to resources and opportunities.

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In secondary school

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the proportion of no feeling of cultural exclusion the proportion of having the feeling of cultural exclusion

THE CONSEQUENCES OF SOCIAL EXCLUSION

There are twoe main resoults of exclusion- segregation and isolation. first of all, contemporary society has not used obvious boundaries to exclude minority, but uses design to exclude.Just like the shaded part of the circle, the design is an invisible line that distinguishes between the majority and the minority. Another more serious consequence is social isolation, which makes individuals to live on the fringes of society.

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STANISLAS COLLEGE -A JESUIT SCHOOL IN DELFT

a-Glass ceilingof lobby b- A hallyway E x c l u s i o n a s

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c An observation: A boy sitting on the wheelchair in Stanislascollege

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Hallway Hallway Lobby When we first visited this school, the boy on a wheelchair almost caught everyone’s attention, because we all saw him was left behand by all other students. Based on three-day site research in stanislas college, i found he is indeed excluded by boys. activities ,because he can not move fast.

But he is still always companied by girls. In those different palces( lobby ,hallway, classroom),I just saw once he is alone.

So he might be excluded by boys, but he is not alone.

Then, as a designer, I think what we should consider is to help him to find his self-identity,in stead of jioning boys again.

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The empty father’ rooms

The example of student ‘s answer From students interviews, I asked them what is the meaning or feeling of this chaple and fathers rooms. All students said it means nothinng, because they are not allow to enter this building.

Therefore I try to consider using this ‘exclusive’building to hold some ‘positive’ exclusive events for reminding them what is exclusion. Meanwhile making school be more interesting ,since every students said this school is quite boring.

v i s u a l r e s e a r c h & p o s i t i o n t e x t s I N S I D E