Exit 2014 interieur

HITECTUUR RC

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INTERIEURA

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UHASSELT FACULTEIT ARCHITECTUUR EN KUNST _ Universitaire Campus, Gebouw E 3590 Diepenbeek, Belgium T 011 29 21 01

EXIT 14 Interieurarchitectuur

VOORWOORD - DESIGN FOR LIFE Rob Cuyvers - Kris Pint

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25 VOORWOORD

DESIGN FOR LIFE - Ir. ROB CUYVERS Decaan Faculteit Architectuur en kunst UHasselt

De faculteit Architectuur en kunst heeft dit jaar haar intrede in de Universiteit Hasselt niet gemist. Als kersverse faculteit kaapten we de Euregionale prijs voor masterprojecten weg met een project van architect Franky Larousselle, én leverden we de winnaar van de Vlaamse scriptieprijs: interieurarchitecte Paulien Smets.

De faculteit wordt steeds internationaler in onderwijs en onderzoek. Masterstudenten deden mee aan een workshop op de Business of Design Week in Hongkong. In Venetië ontwierpen onze studenten samen met studenten uit Milaan en Londen het masterplan voor een industriële site. Bachelorstudenten waren actief in Luik. Steeds meer studenten trekken naar het buitenland voor een studieverblijf of voor internationale stages. En we trekken ook internationale studenten aan.

De faculteit slaagde er tevens in om een VLIR-UOS beurs te verwerven om samen met de universiteit in Dar es Salaam in Tanzania een project rond duurzame ontwikkeling van de kust op te zetten.

En er werd een beurs toegekend voor een gezamenlijk doctoraatsproject met de universiteit van Kaapstad, CPUT, in Zuid-Afrika. Vanaf dit jaar bevindt de zetel van de EAAE (European Association for Architectural Education) zich in onze faculteit. Kortom, de faculteit gaat resoluut internationaal.

vaak ook op internationaal) niveau. In dit studiowerk ligt de basis en de kracht van de opleidingen. Het studiowerk is echter niet langer een eiland maar wordt een centrum waar theorie, onderzoek en praktijk elkaar ontmoeten en versterken.

In deze academische opleidingen wint het ontwerpend onderzoek en het onderzoekend denken en werken meer en meer aan belang. Dit ontwerpend onderzoek krijgt vorm vanuit een Vlaams en internationaal discours. Verscheidene (co)promotoren zijn dan ook buitenlandse hoogleraars. Samenwerkingsverbanden met gerenommeerde universiteiten zorgen voor een inbedding in het architecturaal onderzoekslandschap. Vanuit het onderzoeksinstituut ARCK wordt het onderzoek voor de opleidingen architectuur en interieurarchitectuur gecoördineerd en gestuurd. Het speerpunt van het onderzoek is ‘adaptive re-use’. Hierbij wordt zowel gefocust op ruimtelijk als op sociaalcultureel architectuuronderzoek rond maatschappelijk relevante thema’s. Een 40-tal onderzoekers, 13 doctoraatsprojecten en een aantal welomschreven onderzoeks- en dienstverleningsprojecten geven het onderzoek betekenis. In samenwerking met externe partners zoals onder andere de Vlaamse Bouwmeester, het VAI, het Nederlands Architectuurinstituut en verscheidene steden zoals Hasselt en Genk en het Provinciebestuur, worden onderzoeksprojecten ontwikkeld.

“Design for life” is ons motto. De mens staat centraal in de faculteit. Bouwen en ontwerpen doen we voor en met mensen. Interdisciplinair werken is zonder meer noodzakelijk. Toch krijgt elke student de kans om te focussen. In de opleiding architectuur kan de student kiezen tussen trajecten in beelding, bouwkunde, stedenbouw of cultuur. In de opleiding interieurarchitectuur vormen retail, herbestemming, scenografie en wonen/meubel de keuzetrajecten.

De ontwerpstudio is de centrale plek in elke opleiding.

Daar werkt de student met een gezonde onderzoeksattitude onder intensieve begeleiding. De begeleidende docenten hebben een sterke expertise op Vlaams (en

De Faculteit heeft duidelijk gekozen voor een degelijk academiseringsproces waarin onderzoek rond selectief gekozen speerpunten het fundament is.

De kracht van het korps, zowel academici als actieve ontwerpers, architecten en interieurarchitecten, maakt het ons mogelijk om samen met onze studenten een sterke ambitie te koesteren en waar te maken.

Overgoten met een sterke saus onderzoek en een directe input van het werkveld is de faculteit uitgegroeid tot een sterke speler in Vlaanderen. De vruchten tonen zich in het prachtige werk van onze 3

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25 PREFACE

DESIGN FOR LIFE - Eng. ROB CUYVERS Dean, faculty of Architecture and Arts, Hasselt University

The faculty of Architecture and Arts has successfully merged into Hasselt University. As a brand new faculty, we won the Euregional prize for master projects with a project of architect Franky Larouselle.

In addition, we delivered the winner of the Flemish Dissertation Award: interior architect Paulien Smets.

trained. The instructors have an extensive expertise at the Flemish (and often also at the international) level. This studio work forms the foundation and the strength of our educational programme. However, studio work is no longer an island to itself; it is a centre where theory, research, and practice meet and reinforce each other.

The faculty has become increasingly international in terms of its education and research. Master students participated in a workshop during the Business of Design Week in Hong Kong. In Venice, our students designed the master plan for an industrial site together with students from Milano and London.

Bachelor students were active in Liège. An increasing number of students go abroad in the context of a short study period or an international internship. In turn, we have attracted several international students.

In addition, the faculty acquired a VLIR-UOS grant to start a project to promote sustainable waterfront development together with the university in Dar es Salaam in Tanzania. A grant for a joint doctoral dissertation project with the university of Cape Town, CPUT, in South-Africa was obtained. Since this year, our faculty hosts the secretariat of the EAAE (European Association for Architectural Education). In sum, the faculty clearly goes international.

In these academic programmes, designing research and investigative thinking and working are increasingly important. This artistic research is based on a Flemish and international discourse. After all, several (co-)promoters are foreign professors. Joint ventures with renowned universities anchor us in the architectural research landscape.

Research for the architecture and interior design programmes is coordinated and guided by the ArcK research institute. A central theme in this research is “redesign/reconversion”. The focus within this theme is socio-cultural as well as spatial.

Our research entails about 40 researchers, 13 doctoral projects, and several well-defined research projects. Research projects are developed in cooperation with external partners, such as the Flemish Government Architect’s Team, various cities (e.g., Hasselt and Genk), the Limburg province, etc.

“Design for life” is our motto. Humans are the focal point in our faculty. We build and design for and with people. Interdisciplinary work is necessary to achieve this. Nevertheless, each student gets the chance to focus. Students in architecture can choose between different trajectories focusing on envisioning architecture, building construction concept, culture, and urban design. Students in the interior design programme choose between retail, reuse of buildings, scenography, and furniture design.

The design studio is central to each programme. In the design studio, research-minded students are intensely

The faculty has clearly decided on a sound process of academification based on selectively chosen cornerstones. The strength of the staff, which includes academics and active designers, architects and interior designers, makes it possible for us, together with our students, to have an ambitious goal and to accomplish it.

Due to our efforts in research and a direct input from the active profession, the faculty has developed into a strong player in Flanders. The result of this is witnessed in the excellent work of our last-year students.

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28 AANPAK

INTERIEURARCHITECTUUR De essentie van het huis ....

KRIS PINT

‘De essentie van het huis als architectuur is de binnenruimte’. Deze uitspraak van de Noorse architectuurtheoreticus Christian Norberg-Schulz heeft nog steeds niet aan belang ingeboet. Het is de taak van de interieurarchitect het verblijf in deze interieurs, van intieme woonruimtes tot publieke plekken, zo aangenaam en waardevol mogelijk te maken. Dat is een uitdagende en complexe taak. In de opleiding Interieurarchitectuur aan de Universiteit Hasselt willen we studenten dan ook in een creatieve, studentgerichte en genereuze omgeving opleiden tot breed inzetbare interieurarchitecten.

mogelijkheden van materialen worden belicht.

In de studio Mens en cultuur krijgt de student via psychologie, filosofie, sociologie, maar ook via de geschiedenis van architectuur en kunst, een beter inzicht in wat ons als mens kenmerkt.

In de studio Ontwerpen komen al deze aspecten samen in concrete, steeds complexer wordende ontwerpopdrachten, waarbij het mooie verzoend wordt met het functionele, en waarbij de gebruiker steeds centraal staat.

De opleiding profileert zich rond vier domeinen: Herbestemming, Retail design, Scenografie en Wonen/meubel. In de master kunnen studenten voor één van deze domeinen kiezen om zich als ontwerper te profileren vanuit hun eigen interesse. Centraal staat de masterproef, die bestaat uit een project waarbij de ontwerpkeuzes via onderzoek worden onderbouwd. Het specifieke van een academische ontwerpopleiding is dat je hierbij zowel voor klassieke als voor meer artistiek-ontwerpmatige vormen van onderzoek kan kiezen.

Ons onderwijsprogramma biedt een brede waaier aan kennis en vaardigheden waarover een interieurarchitect moet beschikken. Een goede interieurarchitect moet niet alleen goed kunnen ontwerpen, maar ook kunnen onderzoeken, ondernemen en communiceren. Al deze aspecten komen aan bod in de vier studio’s waaruit ons onderwijsprogramma is opgebouwd.

In de studio Beelding leert de student ruimtes visueel voor te stellen, zowel 2D als 3D, zowel via de computer als met de hand. Ook de verbeeldingskracht en de experimentele attitude die nodig is om de interieurs van de toekomst nu al vorm te geven, worden in deze studio gestimuleerd.

In de vakken van de studio Bouwkunde komen naast constructie en techniek ook comfort en duurzaamheid aan bod. De interieurarchitect moet meester zijn van het detail. Vandaar dat ook de fysische en esthetische

Dit alles maakt de opleiding interieurarchitectuur tot een bijzonder divers en rijk studiedomein. De resultaten van onze studenten tijdens dit academiejaar kan u in deze EXIT-brochure bewonderen.

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Kris Pint namens het team van Interieurarchitectuur

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29 INTERIOR ARCHITECTURE

INTERIEURDESIGN The essence of the house...

KRIS PINT

‘The essence of the house as architecture is the interior space’. This remark by the Norwegian architectural theorist Christian Norberg-Schulz is still relevant today. It is the task of an interior architect to make it as pleasant and valuable as possible to dwell in these interiors, whether they are intimate living spaces or public spaces. This is a challenging and complex task. In the Interior Design programme at Hasselt University we aim to educate students in a creative, student-oriented, and generous environment and turn them into widely employable interior architects.

materials are studied.

In studio Humanities the student develops a better insight in us, humans, through lectures on psychology, philosophy, sociology, and the history of architecture and arts.

In the Design studio all these aspects are brought together in concrete and increasingly complex design projects in which beauty and functionality are balanced, always in function of the end user.

Our educational programme is structured around four key domains: reuse of buildings, retail design, scenography, and furniture design/dwelling.

In the Master, students choose, in function of their own interests, for one of these domains in which they can profile themselves as designers. A central element in the Master programme is the Master’s test, which consists of a project in which design choices are underpinned by research. Specific to an academic design education is the choice option between classic and more artistic forms of research.

Our educational programme offers all knowledge and skills an interior designer needs to possess. After all, a good interior architect is not only a good designer, he/she is also an able researcher, manager, and communicator. All of these aspects are integrated in the four studios which are central to our programme.

In the Envisioning Architecture studio, students learn to visualize spaces, both 2D and 3D, by computer and by hand. Imagination and an experimental attitude, necessary to design the interiors of the future, are stimulated in this studio.

The courses of studio Building Construction focus on construction and technique, as well as on comfort and sustainability. An interior designer is a master of detail. Hence, all physical and aesthetic possibilities of

All of this renders the Interior Design programme a very diverse and rich study domain.

The results of the work of our students during this academic year can be admired in this EXIT-brochure.

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Kris Pint On behalf of the Interior Design team

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EXIT 14 Interieurarchitectuur

BACHELORPROJECTEN 1,2 en 3 BAIAR

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BEGELEIDERS — PETER FIRMAN, GITTE HARZÉ, KATRIEN RAEDTS, STIJN SCHAUWERS, LIEVE WERCKX FOTO’S — ????

1BAIAR 1. & 5. Ondergrondse tentoonstellingsruimte, Caro Heuts en Karlijn van der Werf 2. Rustplek voor wandelaars in de bergen, Kobe Garmyn 3. Drijvend badpaviljoen

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BEGELEIDERS — PETER FIRMAN, GITTE HARZÉ, KATRIEN RAEDTS, STIJN SCHAUWERS, LIEVE WERCKX FOTO’S — ????

1BAIAR Drijvend badpaviljoen: Frederic Massa (4), Nick Lammens (6) Lisse Loos (7) Buitenkeuken in de Provence: Ornella Elsen (8) Thaens Marie (9) -

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In de 1ste bachelor wordt de nadruk gelegd op ‘mens en maat’. De student wordt geleerd zelf te bepalen hoeveel ruimte 5hij nodig heeft ifv het opgegeven programma van eisen. Alle aspecten van het wonen komen aan bod, echter niet op de conventionele en vertrouwde manier. Op die manier wordt de student verplicht het programma grondig te analyseren en vervolgens de ontwerpoplossingen op een kritische manier steeds in vraag te stellen. Het resultaat is een rationeel opgebouwd, vernieuwend ontwerp. Aan het einde van het academiejaar wordt er een volledig woonprogramma geanalyseerd en vormgegeven.

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BEGELEIDERS —WERNER ALBERT , BART APPELTANS, PETER FIRMAN, LIEVE WERCKX BEELDING: WARD BERGEN, STIJN SCHAUWERS, LIEVE WERCKX / CONSTRUCTIE: ROGER VERVOORT FOTO’S —ELENA VERNIJNS, WERNER ALBERT EN LIEVE WERCKX

2BAIAR 1. Verbouwen van een interbellum woning voor een jong gezin, Lize Vanhoof 2. & 4. Oef. Verbeelden werkwoorden: (2) ‘Denken’ door Jonah Veestraeten en Nicky Van Dyck (4) ‘Innerlijke pijn’ door Eliana Vanheel en Elene Vernijns 3. Beelding: bouwstenen in keramiek -

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BEGELEIDERS —WERNER ALBERT , BART APPELTANS, PETER FIRMAN, LIEVE WERCKX BEELDING: WARD BERGEN, STIJN SCHAUWERS, LIEVE WERCKX / CONSTRUCTIE: ROGER VERVOORT FOTO’S —ELENA VERNIJNS, WERNER ALBERT EN LIEVE WERCKX

2BAIAR 5,6,7 & 8 ‘Ikea disobedients’ (5) (7) (8) Annelien Swennen (6) Linde Van Den Bosch -

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8 In de 2de bachelor werken we rond Wonen+. De studenten onderzoeken verschillende complexere woonprogramma’s in combinatie met andere functies. De oefeningen situeren zich meestal in bestaande panden, we kiezen de typologieën zo divers mogelijk. De student leert zo omgaan met de mogelijkheden en beperkingen van bestaande constructies en het inpassen van een opgelegd programma in een bestaande context.

We zetten vooral in op innovatief ontwerpen zowel op het vlak van het ruimtelijk concept als materiaalgebruik en detaillering.

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BEGELEIDERS — JO KLAPS, REMCO ROES & ROGER VERVOORT FOTO’S — JO KLAPS & ROGER VERVOORT

3BAIAR MODULE SCENOGRAFIE 1. Valerie Aegten 2. Zoë Cuyvers 3. Constructie Scenografie 4. Joyce Corvers -

2. Het Verdronken Land van Saeftinghe

1. Sou Fujimoto

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3. Teatime

4. The Founding Fathers 16

BEGELEIDERS — JO KLAPS, REMCO ROES & ROGER VERVOORT FOTO’S — JO KLAPS & ROGER VERVOORT

3BAIAR MODULE SCENOGRAFIE 5. Constructie Scenografie 6. Juline hagelsteens 7. Annelies De Winter -

5. Time to Remember

7. Marco Polo In de module Scenografie krijgen de studenten een onderwerp toegewezen. Liefst een waar ze nog niets over weten. Dit scherpt niet alleen hun onderzoekszin maar brengt hun ook op plaatsen waar ze nooit eerder kwamen. Alle middelen zijn toegelaten om het onderwerp te vertalen in een boeiende scenografie. Als locatie kozen we dit jaar voor een ruimte ge gebouwne van de voormalieg Koloniale Waren, een onderdeel van zaal België.

6. Lawrence of Arabia

Omdat op papier alles mogelijk is vragen we om in de deelopdracht constructie scenografie een collectie op ware grootte te tonen en te belichten in een zelfgekozen setting. Dit kan gaan van een boomhut of een oude mergelgrot tot een binnenschip.

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BEGELEIDERS — GILBERTE CLAES, RONALD JANSSENS & JOHAN LANGENDRIES FOTO’S — JO KLAPS & RONALD JANSSENS

3BAIAR MODULE WONEN & OBJECT 1. & 2. Toon Martens 3. Carolien Potter 4. Stany Siongers

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BEGELEIDERS — GILBERTE CLAES, RONALD JANSSENS & JOHAN LANGENDRIES FOTO’S — JO KLAPS & RONALD JANSSENS

3BAIAR MODULE WONEN & OBJECT 5. Sharon Wouters 6. Dennis Steeno 7. Froyen Aurélie -

5 In de module Wonen en Object ontwerpt de student een werkplek met eigen identiteit binnen de woning.

Deze werkplek moet een meubel zijn dat een plaats opeist in deze woonomgeving en toelaat om de nodige handelingen uit te oefenen en de gebruikelijke tools en gereedschappen op te bergen, en dit als een geheel dat constructief stabiel, functioneel en esthetisch verantwoord is.

Wat de uitvoering van het ontwerp betreft, worden de materialen beperkt tot hout en/of metaal, en afgeleide van deze materialen.

Beperkte toepassingen van andere verbindingsmaterialen zijn toegelaten, maar vormen niet de dragende structuur. Verlichting van de werkplek, direct of indirect, functioneel of als accentuering, dient eveneens te worden voorzien.

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BEGELEIDERS — PETER FIRMAN, KAREN LENS & PHILIPPE SWARTENBROUX FOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE HERBESTEMMING 1. Zoë Cuyvers 2. Toon Martens 3. Sven Stas 4. Sharon Wouters -

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BEGELEIDERS — PETER FIRMAN, KAREN LENS & PHILIPPE SWARTENBROUX FOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE HERBESTEMMING 5. Lobke Meyckens 6. Shannen Smets -

In de studio Herbestemming werden in samenwerking met Stebo drie Haspengouwse kerken geselecteerd, waarvoor men op zoek is naar nieuwe (neven-)programma’s, complementair aan de misviering. De studenten analyseerden in groep zowel erfgoed als context. Na een uitgebreide briefing door experten, uit diverse disciplines, zochten ze individueel naar een gepast antwoord op de herbestemmingsvraag voor religieus erfgoed. Dit resulteerde in gelaagde ontwerpen rond sociale, culturele, toeristische en spirituele functies die door hun sterke band met de omgeving een reële kans op slagen hebben.

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BEGELEIDERS — BART APPELTANS, KATELIJN QUARTIER & PHILIPPE SWARTENBROUX FOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE RETAIL DESIGN 1. Caro Weyens Dennis Steeno -

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In de module Retail design kregen de studenten een concreet uitgangspunt voorgeschoteld: transforming brands: differentiatie door lokalisatie. De studenten mochten een gekende (internationale) retailer kiezen die zich in Hasselt zou kunnen vestigen. Zo krijgen de studenten een houvast, een merk dat ze kennen, om te vertalen naar een winkel op maat van Hasselt en voor zijn bezoekers. Het was hierbij belangrijk dat de retailer/merk zijn eigenheid zou bewaren, maar met een compleet nieuwe vertaling naar het winkel interieur.

De studenten hadden de keuze uit twee panden. Het ene lag in de hoofd-winkelwandelstraat van Hasselt (Demerstraat) en de andere op de Havermarkt.

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Bij deze opdracht ging specifieke aandacht naar het scheppen van sfeer in de winkel. Deze sfeer moest zich ook vertalen in plannen en maquette.

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BEGELEIDERS — BART APPELTANS, KATELIJN QUARTIER & PHILIPPE SWARTENBROUX FOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE RETAIL DESIGN 3. Dennis Steeno 4. Eline Jannis 5. Shannen Smets 6. Lorenz Nickmans -

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EXIT 14 Interieurarchitectuur

VARIA & STUDIEREIZEN

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BEGELEIDERS — STIJN SCHAUWERS EN GITTE HARZÉ FOTO’S — GITTE HARZÉ en STUDENTEN

STUDIEREIS 1BAIAR: KEULEN - ESSEN 1. & 2. Model golfclub, Mies van der Rohe, Krefeld 3. Richard Meier, Arp Museum, Remagen

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BEGELEIDERS — STIJN SCHAUWERS EN GITTE HARZÉ FOTO’S — GITTE HARZÉ en STUDENTEN

STUDIEREIS 1BAIAR: KEULEN - ESSEN 4. Zollverein, Essen 5. Kolumba museum, Peter Zumthor, Keulen 6. & 7. Bruder Klaus Kapelle, Peter Zumthor, Wachendorf -

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BEGELEIDERS — WERNER ALBERT, BART APPELTANS, PETER FIRMAN EN LIEVE WERCKX FOTO’S — WERNER ALBERT EN LIEVE WERCKX

STUDIEREIS 2BAIAR: VORARLBERG 1. Islamitische begraafplaats Altach 2. Office Baumschlager Eberle, Lustenau 3. Werkraum, Peter Zumtor, Andelsbuch

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BEGELEIDERS — WERNER ALBERT, BART APPELTANS, PETER FIRMAN EN LIEVE WERCKX FOTO’S — WERNER ALBERT EN LIEVE WERCKX

STUDIEREIS 2BAIAR: VORARLBERG 4. Museum Liner, Appenzell 5. & 6. Vorarlberg Museum, Bregenz 7. Islamitische begraafplaats Altach 6

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BEGELEIDERS — JO KLAPS & ROGER VERVOORT FOTO’S — JO KLAPS & ROGER VERVOORT

STUDIEREIS 3BAIAR: WEIMAR - BERLIJN - JENA 1. Kunstgewerbeschule, Henry van de Velde, Weimar 2. Bauhaus-Universität, Henry van de Velde, Weimar 3. Hansa Viertel, Oscar Niemeyer, Berlin 4. Diaspora Garden, Atelier Le Balto, Berlin -

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BEGELEIDERS — JO KLAPS & ROGER VERVOORT FOTO’S — JO KLAPS & ROGER VERVOORT

STUDIEREIS 3BAIAR: WEIMAR - BERLIJN - JENA 5. Städtische Museen Jena 6. Café Moskau, Berlin 7. Toegangspoort Buchenwald Memorial -

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BEGELEIDERS — ALLE BEGELEIDERS O.L.V. REMCO ROES FOTO’S — JO KLAPS

EXPERIMENTELE WEEK

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BEGELEIDERS — ALLE BEGELEIDERS O.L.V. REMCO ROES FOTO’S — JO KLAPS

EXPERIMENTELE WEEK -

De experimentele week was een intense oefening met alle studenten van de opleiding interieurarchitectuur. In groepen werd gewerkt richting een poëtische, beeldende en associatieve ruimtelijkheid, buiten de klassieke grenzen van wat men onder een interieur verstaat.

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VARIA Blids on Tour, Ontwerp van een kruk door Stephanie Kempeneers (1), Roger Vervoort (2) Jo Klaps (4), Liese Mertens (5) en Stefan Vanstraelen (6) 3. The Rojo’s on stage -

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VARIA 4. & 6. One Day Expo met ontwerpen van de module scenografie 5. Ontwerpen van een kruk voor Blids on Tour -

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VARIA 1. Bezoek aan de afdeling scenografie Bühnenbild van de Technischen Universität, Berlijn 2. Symposium n.a.v. de inauguratie van de faculteit Architectuur en kunst (ARK) van de Universiteit Hasselt 3. Paulien Smets wint de Vlaamse Scriptie Prijs met “De schoonheid van verval. De scenografische mogelijkheden van de ruïne.”

4. Doctoraatsverdediging Marijn van de Weijer

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VARIA 4. Publicatie met een overzicht van lopend onderzoek 5. & 6. Expo Een Nieuwe Kaart van Limburg in C-Mine, Genk -

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UHASSELT FACULTEIT ARCHITECTUUR EN KUNST _

TEAM THEORETISCHE EN PRAKTISCHE ONDERSTEUNING _

Universitaire Campus, Gebouw E 3590 Diepenbeek, Belgium T 011 24 92 00 F 011 24 92 01

Menswetenschappen Alida Van Wijck Jan Vanrie

Grafisch ontwerp: Jo Klaps,brusselslof.be

Cultuurwetenschappen Saïdja Heynickx Bie Plevoets Katelijn Quartier Kris Pint Koen Van Cleempoel

Redactie: Kris Pint & Jo Klaps Fullpage fotografie Roger Vervoort & Jo Klaps Druk: Drukkerij Paesen

Exacte en Toegepaste Wetenschappen Jan Bastiaens Elke Knapen Peter Firman Roger Vervoort Jo Langendries Dimitri Minten Griet Verbeeck

Papier: 150 gr Multidesign White Smooth Lettertypes: Adobe Cansion, Trade Gothic © 2014

Projectmanangement Walter Niewold Jo Langendries

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Schetsen & CAAD Jan Bastiaens Gitte Harzé Werner Albert Katrien Raedts Studiebegeleiding en Ombuds: Jan Posen Studieloopbaanbegleider Alida Van Wijck Bibliotheek Philip Speelmans Uitvoeringsatelier Stefan Vanstraelen 39

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A SELECTION OF MASTER ESSAYS

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A SELECTION OF MASTER ESSAYS

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MASTER DESIGN WORKSHOP

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MASTER DESIGN WORKSHOP

DESIGNING FOR SUBJECTIVE WELL-BEING IN INTERIOR ARCHITECTURE Rethinking communal space in a residential care center Today’s public discourse on the design of care centers for the elderly population is increasingly emphasizing the im-

portance of subjective well-being (SWB) and the value that architecture and interior architecture can have herein. We developed a short (2-weeks) intense design workshop for 10 groups of 4 master students of interior architecture in which

they had to rethink the communal space system of an existing residential care center (RCC) with the purpose of firstly increasing the residents’ SWB and secondly, adding potential value to the entire neighborhood.

This design exercise was developed from the dual perspective of (i) developing spatial solutions for improving the positive experience and perceived housing quality of elderly in residential care, and (ii) designing architectural spaces based on ethnographic research performed by the student-designers themselves.

As shown in the figure below, the exercise was set up in 3 phases.

Getting to know the user - Phase 1: preliminary research

To tackle a SWB-problem in a design challenge, we asked students to perform ethnographic research in the RCC facility prior to the design workshop. As we have argumented before, getting to know the target group or users of the building is a key element in being able to design for SWB. During phase 1 prior to the actual two week design workshop, the entire

group of 40 students was divided into four groups of ten students and each student-designer had to perform ethnographic

research in the RCC, to ‘experience’ and learn to grasp the environment in all its facets. Per group, students were assigned to a specific task, which they had to carry out individually. The first two groups of students were given tasks with a prima-

rily social, empathic character, and were asked to gather information on how people currently experience and how they wish to experience the RCC through several ethnographic and qualitative research methods. They had to physically and

psychologically immerse themselves in the RCC, empathize and speak with residents, staff and visitors and ‘experience’ the environment for themselves. Students from the first group escorted and assisted personnel in their daily tasks in the

RCC, talking to and helping residents, and students from the second group conducted interviews with staff, residents, visitors, friends and family. The other two groups of students were assigned tasks with a predominantly spatial character.

The students of the third group had to individually take in the architectural site of the RCC and the social network of the neighbourhood through observing, sketching, photographing, etc, and look for spatial opportunities for (interior)

architectural interventions. The students from the fourth group were asked to draw the architectural plans of the buildings and prepare a 3d-model of the site.

Designing process for SWB - Phase 2: actual design workshop

In phase 2, an intense two-week fulltime design workshop, students started designing. To start with, they were regrouped (see figure 2). Ten design groups of four members were formed out of the 40 students by composing four students that had performed different research tasks during phase 1.

Feedback - Phase 3: evaluation In phase 3, the outcome of the design exercise is exhibited in the RCC, and currently, residents are invited to give their valuable opinion on the different concepts and designs.

48

MASTER OF ADAPTIVE REUSE

JOLEIN VERSMISSEN | jolein_versmissen@hotmail.com | +32 478 37 44 27 THE CONVERSION OF CASTLE DE MOST

provides the initial contact, a childcare ensures that chil-

activities with a unique view of the surrounding nature.

The demographic changes of the last decades, such as

dren come into contact with the multigenerationhouse

TO A MEETINGPLACE FOR MORE GENERATIONS

at a young age and a pavilion at a pond gives room to do

dential units. These units are not intended for everyone,

nation of work and family becomes more complex, but

Taking into account the original function of the castle

mobility, mixed families and aging, have ensured that

families have more organizational problems. The combi-

(residence) the building will also be equipped with resi-

ronment, where everyone can enjoy.

experience on to young people and they can feel socially

they get themselves also a beautiful piece of the castle. In

rationhouse offers a solution to all these problems. It is a

stay socially active within the environment and commit

the possibility to enjoy their retirement for a long time

but only for seniors who are likely to get socially isolated.

yet people have the desire of a community. Also life ex-

pectancy is getting higher. This involves that seniors have and they want to spend these years useful. A multigene-

place where the elderly can pass their knowledge and life

important within the environment. Families can count on

By living in castle de Most these people get the chance to themselves to the multigenerationhouse and in addition short, it is an interesting concept within a unique envi-

support through childcare and offers for seniors. Doing

activities together or side by side creates a unique interaction between young and old. A well-designed bistro

47

MASTER OF ADAPTIVE REUSE

SOFIE VAN DEN BOSCH | sofie.vandenbosch@hotmail.com | +32 484 93 55 95 THE RECONVERSION OF THE SITE HEUVELHOF IN

sel-Lo into a new concept of ‘study house’ we want to

newing concept which can serve as a pilot project on a

Reconversion brings back the past into the present

offer an answer to these changing needs.

KESSEL-LO INTO A NEW CONCEPT OF ‘STUDY HOUSE

whereby the qualities of the old are combined with contemporary needs and expectations and as such offers an

This master project results in the development of a resmall scale to be rolled out on a large scale in a later stage.

answer to the meaningful use of buildings and sites of great value as well as the mere conservation.

Our changing society is characterized by ever changing

insights and needs as well as an increased performance pressure. Many people, including students, experience this pressure as too much, which is reflected, among others

in an increased number of burn-outs. As a remedy people

start looking for alternatives. There is a clear trend towards ‘collectivity’ and in a return to nature. Specifically within the student community there is a sense of ‘collectivity’ by studying together.

With the reconversion of the site Heuvelhof in Kes-

46

MASTER OF ADAPTIVE REUSE

JANNICKE SMOLDERS | smolders_jannicke@hotmail.com| +32 475 57 37 09 ARCHITECTURE FOR VULNERABLE CHILDREN

number of obstacles. Thanks to existing cases to visit and

The target group for this project is children witch pro-

Today still many people live in Belgium under the pov-

talking to people specialized in these sectors, I could take

IN SOCIETY

a better decision.

der the supervision of a juvenile court because it has done

Not only disadvantaged but also vulnerable families in

blems in their home environment.

erty line . We speak of 1 to 7 people or about 15 % of the population ( Vandam , 2011) .

The problem lies with themselves if the individual is un-

the environment , robbery , extortion , ... and in the worst

Hence my call to join care and architecture with each

certain acts that can not be tolerated. In society some ex-

society are sometimes forgotten, and that we can not ignore .

other I focus on children and young people of the af-

fected families, by offering in beneficial conditions . Their temporary, targeted care and accommodation. Architecturally it will go along with the domain called The Hobos in Overpelt . This town is also known for its commitment and support to large healthcare centers.

When we look at the target, especially in order to de-

amples are rebellion leading to danger to themselves and case murder.

Thanks to the writing of this thesis my knowledge grew again and I was able to delve into the world of disad-

vantaged children and young people and their place in society . Previously, this was still an ignorance for me .

termine this and to delineate, I was confronted with a

45

MASTER OF ADAPTIVE REUSE

DORIEN SERVAES | d.servaes@hotmail.com | +32 495 04 31 20 HOW CAN THE REASSIGNMENT OF A SMALL CHURCH SITE GIVE A FRESH BOOST TO THE COMMUNITY OF KUTTEKOVEN? The reallocating of St. John the Baptist Church in Kuttekoven to cultural center and mini-camp.

around the church and attend the local workshop, where

local products will be made into juices, jam, cakes, etc.

These people can also enjoy a concert or exhibition.

Due to the small scale of the St. John the Baptist Church, I provide additional functions, such as sanitary facilities,

The cultural center, which is located in the nave of the church, has various room set-up possibilities, depending

on the program in question. These are freely arranged by the user at that time. The church yard hosts a mini-camp for tourists who will enjoy a long stay.

The relationship between the cultural center and the

mini-camp is very important. On the one hand, both functions can work separately from each other. On the

storage, bar, kitchen, etc. in newly designed volumes, which are present around the church building as ‘para-

sites’. These volumes are designed in such a way that the prominent character of the church is preserved and the

‘parasites’ will therefore always be subordinate. These

‘parasites’ will each be provided with a separate entrance, which makes them accessible to the public if the cultural center is closed.

other hand, they can reinforce each other. I give an example: during the day, tourists will enjoy some beautiful hiking routes or cycle routes through the landscape of Haspengouw. At the evening, they will set up their tent

44

MASTER OF ADAPTIVE REUSE

ANNELIES PUTSEYS | putseysannelies@msn.com | +32 477 73 23 17 HOW CAN I USE AN OLD DAIRY TO GIVE THE BICYCLE AN IMPORTANT PLACE IN THE LIFE OF MANKIND AGAIN?

We can conclude that cycling definitely had a past and

deserves a future! And it’s this future where we have to work on so that the bicycle can play an important role in

Who made the balance after two centuries of cycling, will

discover that the bicycle has played an important role and

the society again. The neighborhood also has the need

for that in my opinion. My master’s thesis project seems the perfect opportunity for that. I didn’t want to open

in it. Soon came the idea to combine the bicycle concept

The bicycle is still the cheapest kind of transport en takes

attractive so that the new concept could catch on the us-

tourism where youngsters and families found the free-

just a normal bicycle shop in my chosen building (an old

is still of important meaning.

The bicycle was standing at the beginning of modern dom to make longer distances on a shorter time. the owner from house to house.

dairy), so I searched for ways to make this matter more

ers. The building is big enough to store multiple facilities

(repairs, purchase, renting…) with catering. Food and

ferent purposes and which would bring a solution for the

Virtually anyone can ride a bicycle, you hardly have to

The aim of the design was to create a cosy place, both

no noise, has little space and is therefore environmentally

drinks assure energy to move but can also be a factor of

Cycling is healthy and good for the condition.

The bicycle doesn’t produce any harmful gases, it makes friendly.

learn it and there are no special skills required.

relaxation and bringing people together.

inside and outside, where young and old can go for difproblems in the neighborhood.

43

MASTER OF ADAPTIVE REUSE

INGE MEYEN | inge_meyen@hotmail.com | +32 472 47 80 56

Repair cafes, that offer a social and ecomonic value which

Like cities, suburbs are also suffering from dilapidated

“fab-lab” on this site.

CREATIVE INDUSTRY IN COMMUNITIES

areas. As a designer we can play a role in this by creating possibilities and places that are pleasurable to stay

in. I will draw my attention to the former police station in Westerlo, which can make a difference for the whole

These “fab-labs” in the suburbs can be combined with aspire a more sustainable society where people can employ and explore themselves creatively.

This social event will be intensified with a wine bar which

site will be the new hot-spot in Westerlo.

especially in cities, good for the atmosphere and for the

is linked to banquet facilities. This can be hired for con-

neighbourhood.

In this design, i will focus on a creative industry, which is

certs, expositions, presentations and private parties. This

can also operate independently, this results in a flexible

use these spaces, for example for coworking, to make

This is a project which has economical, social and civil

The program will consist of office and shopping spaces

In the middle of this site, there will be a green courtyard

economical crisis.

which can be hired by creative entrepreneurs. They can

them stronger economically. Also there is one loft avail-

able, which aims at “artist-in-residence”. The social and

that will bring a little piece of nature in the build-up area. focus on creativity. The different aspects of this concept project with many possibilities.

civil aspect is represented by an an installitions of the

42

MASTER OF ADAPTIVE REUSE

LARA KINET | larakinet@hotmail.com | +32 474 64 74 59 AN ADAPTIVE REUSE WITH RESPECT FOR THE BUILDINGS AND THE PRIVACY OF THE OWNERS

cording of music. Furthermore one shed will be used for

cultural activities and events including for example the open monument day. To connect the farmhouses mutual-

The Castle Domain of Printhagen in Kortessem is

protected heritage and was renovated recently. Next to

ly with each other an architectural procedure was realized which is compatible with the current architecture.

the Castle there are farmhouses on this site which are

grouped around a courtyard. Nowadays these farmhous-

es are empty and there is no specific proposition yet for an adaptive reuse. During my research I searched for an

appropriate implementation in which respect for the cur-

rent state and the privacy of the inhabitants were impor-

tant criteria. The research resulted in a concept with four pillars which are founded on living, working, culture and events. The existing residence gets a new spatial implementation and the biggest part of the farmhouses will be

turned into recording studios. There are four studios for

the recording of audiobooks and two studios for the re-

41

MASTER OF ADAPTIVE REUSE

BIEKE HILLEN | biekehillen@hotmail.com | +32 472 81 77 50 THE STAGES OF LIFE FROM BEGINNING TO END ...

Reallocation of the old retirement home at Hoogstraten to a care centre with focus on the palliative care.

Life and death often seem to be very far away from each

other, but sometimes also very close. The beginning of life, birth, is a pleasant topic to talk about. But if the sub-

ject is death, we all take a step back. We don’t like to talk about it very often. This work aims to formulate answers

to the question whether we can combine three totally dif-

ferent stages of life and literally bring them under one roof at the former retirement home at Hoogstraten, namely: birth, college years and the end of life.

In my thesis I research how these different stages of life

take ‘shape’, but ultimately, my focal point is the final

stage of life, where I focus in particular on designing an as beautiful as possible ‘palliative care’.

40

MASTER OF ADAPTIVE REUSE

GERINCKX DRIES | Gerinckx_dries@hotmail.com | +32 485 56 23 57 URBAN FARMING AT ‘T EILANDJE, RECONVERSION OF AN INDUSTRIAL BUILDING

hood, once famous for the ‘Red Star Line’ connection, became a hotspot for developers and started to attract

tion, this because it would be the first of its kind, and

My design is based on the idea of integrating farming

more inhabitants. My project could be a pioneer in im-

INTO URBAN FARMING

into the city, and the notion of creating a place that

brings people together and enables people to buy fresh

quality products straight from farmers and market ven-

plementing Urban Farming and shopping on this loca-

secondly because it creates a lot of biodiversity into the city environment.

dors. It also gives people the opportunity to rent and

develop their own piece of land on the rooftop garden.

For this project, I chose a building named ‘De oude Renault garage’ (The old Renault garage). The building is

located on the Italielei which is close to ‘Het Eilandje’.

I chose this building for the many design en redevelop opportunities it gave me, and it’s excellent location. Some

years ago, a new era started for ‘Het Eilandje’ and surrounding neighbourhoods. The old harbour neighbour-

39

MASTER OF ADAPTIVE REUSE

LISA ERNENS | lisa.ernens@hotmail.com | +32 494 77 66 87 RECONVERSION OF EDELHOF CASTLE INTO A MUSIC AND DANCE ACADEMY

seems to be floating above the river. To reach these two different levels, there is an inclined plane.

My project comprises the reconversion of a castle into a

music and dance academy for children between six and twelve years old. I located the music academy in the original building, whereas the dance academy was placed in a new expansion.

Edelhof castle is situated in a green environment, which I

found very important. This is why I always tried to incor-

porate that environment in my design of the new expan-

The music academy in the original building is provided

with all the necessary equipment. There are classrooms, rehearsal studios, rooms for administrative duties and a

place for students to meet each other and spend their free hours.

My main objective was to visually connect these two buildings by creating a glass roof which is secured to the two buildings.

sion by making use of a green roof. There is also a beauti-

ful view from the expansion thanks to the large windows.

In the expansion there are two new ballet rooms, one slightly bigger than the other. The big room is located partly beneath the ground which is clearly visible from

the outside. The other ballet room, which includes the changing rooms and a staff area, is located higher and

38

MASTER OF ADAPTIVE REUSE

CAROLINE CLAESEN | carolineclaesen@hotmail.com | +32 472 83 51 39 REALLOCATION OF THE HERKENRODE ABBEY.

new function for these buildings, it is essential to target the groups that already exist on site. The reallocation

The new conversion will not only be an accessible loca-

process that is very relevant in today’s society. Numer-

should thus not only be accessible for the target groups,

Empty buildings, either young or old, often ask for new

functionalities. The reallocation of these buildings is a ous factors lead us to those which have certain historical

but also for third party audiences.

tion for tourism and self-reflection, but also for organi-

and networking is to be centralized.

fascinating past. These are just a small handful of factors

zations and businesses. The infirmary and monastery are

values. In most cases, these buildings go side by side with

beautiful architecture, a meaningful environment and a which make the difference in contributing towards the reallocation of a specific building or structure.

summarized as social centers where meeting-interaction

Other functionalities include overnight accommoda-

tions, seminar-, workshop- and conference facilities.

tivity purposes.

the abbey are already underway, however some buildings

Besides all of the above, there is also room to install a

I have based this master’s thesis on the current situation

within the Herkenrode abbey. Redevelopment projects in remain untouched. Thorough research explores the dif-

restaurant with multi-usage for both chartering and fes-

ferent possibilities to recreate a whole new purpose for

these “lost treasures”, without loosing the feeling for the context of the location. In addition to the search for a

37

MASTER OF ADAPTIVE REUSE

AHMED ABBAS | sewan.architecture@gmail.com | +964 750 450 9531 (Kurdistan/Irak) CONVERSION AS BRIDGE TO THE FUTURE OF ERBIL Iraq has a very old and rich cultural history. Due to the

ducts and bathing clothes. Existing building volumes and

spaces will be left intact entirely, including their specific lighting. The outer side of the hammam will keep its

and steal lamellae are interspersed with natural rock, en-

of the citadel, and protect an important and valuable cul-

building, in contrast with the ‘closed’ character of the

tion. By redesigning the hammam, an important building

recoated, using typical Iraqi and Kurdish materials and

the citadel in the city of Erbil. Without the necessary

current and traditional appearance, and will be restored.

wars in the region, much of this history has been lost. This is also true for a large part of the project area, particularly

care, The 6000-year-old area is threatened with destrucin the upper city, I will try to stimulate the revitalization tural world heritage.

The inner side, on the other hand, will be almost entirely

techniques, implemented in modern ways. For the new

existing building, transparency has been selected. Glass graved with Arabic texts.

The basic idea of the design is to reshape the building

and to make it operational as hammam again. This has to be done with respect for culture and existing valuable

elements. A new building will be built, as a link between hammam and environment. A reception room will be added, as well as a hammam shop offering specific pro-

36

TEAM - VICTOR SIMONI & BIE PLEVOETS

MASTERSTUDIO ADAPTIVE REUSE 4. Dorien Servaes 5. Jolein Versmissen 6. Location -

5 4

The assignment for students of the design studio Adaptive reuse (revitalization) was to study the public space ‘De Strandjutter’ at Nieuwpoort. Important was to examine in a critical way on-site situations resulting in a script reflecting a specific method of approach. Students had to take into account that the new design should be an added value for the city according beach tourism as well as organised events. Although first-aid, public toilets, sport facilities and bar-restaurant had to be integrated, students were free for own interpretation concerning renovation, choice of material, furniture etc.

A presentation before the municipality of Nieuwpoort will be their first step towards a professional client-designer relation.

6

35

TEAM - VICTOR SIMONI & BIE PLEVOETS

MASTERSTUDIO ADAPTIVE REUSE 1. Dorien Servaes 2 & 3. Sofie Van Den Bosch -

1 1

2

3 6 34

MASTER OF RETAIL DESIGN

SOFIE VANDEWEYER | sofie.vandeweyer@hotmail.be | +32 478 77 14 92 THE IMPASSIONED STORE Is the store an “impassioned” store?

strong brands to measuring-scales in order to discover

the semantics in the shop. Subtle or pronounced semiotics is after all a conscious choice of the company.

over again.

and tangible. It is not enough that a brand is well-known;

to tune in shopping-experience. This is optimally done

Each store distinguishes itself by ‘what’ it really imper-

The secret of successful retail chains, as well as detached

By other means: Does the shopping-perception match with the one the store wants to emanate?

sonates. Hereby its reason for existence becomes visible it must also radiate certain values and standards.

or independent stores, lies in the knowledge about how by the sensations the brand wishes to emanate over and

tality results in an urban perception. Ikea City is a com-

store and the brand stand for is, over and over again, a

The challenge of my design lies in creation of the concept

You can only know where to go, once you know where

you came from. The continuous proclaiming of where the

in which the branch Ikea occupies the centre and the to-

stair, the floor level, the model furniture, the snack bar,

sociations. Retail-Design plays distinctively a stimulating

bined play of dynamics and standstill. The dynamics of

delicate assignment.

Sometimes the name and the brand barely raise any asrole in shaping the brand-vision and brand-personality.

The store-image fulfils an important bridging in translat-

ing the message of its brand(s). This thesis aims to subject

the surrounding urban life which translates in the main

opposing to the stagnancy at the presented inspirations, the workshops and the personal interactions.

33

MASTER OF RETAIL DESIGN

NATASHA SCHEPER | natascha_scheper@hotmail.com | +32 472 48 85 98 CREATIVE INNOVATION THROUGH CRAFTS

the city (Hasselt). With these crafts, my concept for the

often perceived “distance” between consumers and pro-

of the creative economy. For my master’s thesis, I chose

offer more than just products. The consumer wants to see

From the foregoing considerations, I chose to work with

products that provide him added value, and for products

also continue to attract them.

with experiences. The needs and goals of today’s consu-

By bringing these issues to the heart of the city, the city

In this study, the focus is on creating a retail concept in-

Cities today can also gain added value by combining new

IN THE URBAN CONTEXT OF HASSELT

volving craftsmanship and authenticity, in relationship mers have changed. The consumer is looking for unique that fit the self-image of the client. Today, stores need to how objects are produced and especially by whom. The

creative concepts with city marketing and city branding. can revitalize and attract young designers and artists, and

the concept of “ craft economy “. This is an essential part

five crafts on the basis of the history and the needs of

The study is completed with some relevant cases, and fi-

order to create objects that trigger personal and/or social

master’s thesis was built.

ducers needs to be reduced, and consumers like the exist-

ence of an opportunity to collaborate with a specialist in value. Workmanships and craftsmanship lend themselves very well for the realisation of these issues. Both are part of or belong to the upcoming ‘creative economy’.

nally at the end there’s a reflection on the finished thesis and the master design project.

32

MASTER OF RETAIL DESIGN

FREYA PEETERMANS | Freya Peetermans freya_peetermans@hotmail.com | +32 472 78 99 33 JAFRA, ARE YOU READY TO GO RETAIL? Being a Jafra consultant for a couple of years has made

sales channel seems to be missing: the actual store. In

example, this way of doing business is very cheap and

in the best possible way, we will first I first discuss the

tail environment, but via direct selling. This system has a

me decide to write my master’s thesis about this brand.

Jafra is a cosmetics company that doesn’t work via the classic distribution channels with the accompanying relot of advantages, but also a few big disadvantages. For

efficient. Companies can quickly branch out and divide to an extended network in different countries all over the world. Even so, a large target audience will never be

reached and this way of selling is quite an exception. And

To put Jafra into perspective and understand this brand

different sales channels. Up until today an important my viewpoint, when a Jafra store is designed, the brand will become widely known and it will be positive for their perceived professionalism.

advantages of an actual store, but avoids disadvantages

a downer for the company, but mostly for the salesmen

The master design project corresponds fully with the con-

because people are creatures of habit, a lot of them hold a

negative attitude towards this system. This is not so much and –women, the consultants who try to fight these habits. It is their duty to promote companies such as Jafra and defend them in every way, but this proves to be a tough goal to reach.

clusions of my research: a mobile pop-up store has all the such as competition for the local consultants due to its

temporary character. It is my belief that customers, who

couldn’t be reached by direct selling before, will get to know the brand this way.

31

MASTER OF RETAIL DESIGN

KATHLEEN LANGIE | kathleenlangie@hotmail.com | +32 498 21 08 38 STREET OF THE 4 VIRTUES SHOP VACANCY IN MAASEIK

practice, creating a concept for the shopping street. To

support this concept of ‘street of the 4 virtues’, a corporate

Because of the big vacancy problems in the Bosstraat

identity and online and offline communication are de-

veloped. I designed street furniture and communication

the Bosstraat.

communication, the growing popularity of online shop-

is designed which combines all the results of this research

solution. After analysing Maaseik en the Bosstraat it was

at street level to improve the quality of the street. For this

of Maaseik, it was important to find a solution to this problem. The purpose of this study is therefore to find a clear that competing cities, the quality of the street, poor

ping and a limited shopping offer where the causes of the

reason some facades are adjusted too. Finally, a new shop

and serves as an example for the other store owners in

vacancy. A solution was sought through a literature study and case studies. The theoretical solutions are: working

with temporary insertions, a pawn bank, the selection of

product types, grants, street manager, a trader association, an attractor in the street adjusting rent, improving communication and quality of the street, stimulating living above the stores, looking at the street as one store and not working with vacancy. These solutions are then put into

30

MASTER OF RETAIL DESIGN

MAÏTÉ DEJEAN | maite_dejean@hotmail.com | +32 499 25 98 98 FROM A FINANCIAL CONCEPT TO...

AN INSURANCE STORE

addition, due to developments in digital media, the con-

sumer does not need to rely solely on shops and their restrictive opening hours. However, even with these de-

becoming easily seduced by the comfort and the choice

new clients, selling financial products and creating reve-

velopments it is unrealistic to assume that consumers

In comparison to some years ago, several items present a

challenge to the financial market of tomorrow: attracting nues occur in a completely different environment.

The environment of the financial market has definitive-

ly changed. The financial crisis of 2008-2009 influenced

clients’ demands. Support from consumer organizations

and changes in legislation frame the context of changes.

The new financial order dictates that financial actors must

will completely abandon human relations. People are

of services provided by the broker. After all, he plays an important role in the financial market.

The concept presented follows the same logic, whereby the broker plays a central role. The former role of the bro-

ker is consciously adapted in order to allow the client to

the broker in the financial market and to analyse how it is

This research focusses particularly on the role of the in-

experience the new technologies. This creates a space that

adapt in order to survive.

dependent Broker.

Changes in legislation and developments in consumer

is accessible to the client. Its goal is to establish the role of influenced by the development of modern technologies.

behavior have a great impact on the financial sector. In

29

MASTER OF RETAIL DESIGN

FATIMAH CHAUDHRY | fatimah.chaudhry@hotmail.com | +32 476 01 28 62 CULTURAL FUSION IN RETAIL The retail concept is based on two aspects: culture and

consist of goods such as clothing, accessories, fragrances,

be found globally representing traditions, customs and

commerce. Products and services will form a blend or

Culture and retail have a history that dates back to the beginning of human civilization. Various cultures can

representation of both cultures. The ground and first floor

the main aspect in the basement, as the floor functions

two different cultures are intertwined. Two groups have

maintaining and stimulating social interaction. In the

of familiarity, understanding and trust between two cul-

The sections are meant to be flexible, modular containing

factor found everywhere is undoubtedly the presence of

stationary etc. One can move from one space to another

beliefs of people. Despite their differences, cultures have

more similarities than one might assume. A common retail. Retail can play an important role to create a sense

tures. A space has been created where various aspects of been taken into account. At the giving end I chose the

while introvert workings have been taken into account. individual touches. They surround a central open space

meantime customers can consume delicacies. Culture is as a polyvalent space. Social activities take place such

tion. The result is a cultural fusion in retail.

of Brussels. Not only is Brussels of significant importance

as workshops, lectures and art exhibitions. The past and

Arab culture. The Western culture is on the receiving end

represented by the building, Saint-GĂŠry Hall, in the City

in Belgium and Europe, it is also suitable due to its de-

present of both cultures has been taken into considera-

mographics.

28

MASTER OF RETAIL DESIGN

LORE BEERTEN | lore-beerten@hotmail.com | +32 486 16 41 10 VACANCY IN COMMERCIAL CENTERS The Stalenstraat, a meeting point

for the final design. Vacancy may occur at different scales.

Therefore I have chosen to investigate four case studies,

each with a different size. These cases studied are a street,

positive impact on the area and have an interesting de-

more commercial properties are vacant as a result of the

a neighbourhood, a business with different functions and

The focus in this study lies on finding correct solutions to

the rising vacancy rate in commercial centers. More and

economic crisis, the deflection of stores to the periphery

an apartment building. All four of these projects have a sign.

can gather around, and just hang out. Here the great va-

the houses above the shops are in many cases uninha-

In the concept phase, a new identity for the Stalenstraat

and the rise of online shopping. But not only the com-

mercial properties in shopping areas are often empty, also bited. Together they provide an unattractive streetscape.

was developed. The street becomes a place where people riety of people from the area come together. In the design

the area around the Stalenstraat is set up. Finally, we’ll

possible to design a tailor-made solution. In this case the

phase, we’ll start making choices based on the concept

After a general research, it was necessary to examine and

investigate one specific case. So afterwards, it would be

phase. From this new identity, a new master plan for

commercial properties, six homes and a place to gather

ulation and the characteristics of the street and its envi-

take a closer look at one detail of the master plan, which

Stalenstraat (city of Genk) was chosen because of its high vacancy rates. After an investigation of the location, popronment, several case studies were analyzed as inspiration

is elaborated on a larger scale. This detail includes four around for young and old.

27

MASTER OF RETAIL DESIGN

CHARLOTTE BECKERS | Charlotte.Beckers@hotmail.com | +32 478 41 14 66 RENOVATING A SHOPPING MALL: DE GALERIJ

Apart from the external attraction and the interior, I also

included a circulation plan and the original passage in

The main goal of my design was to give Shopping 3 an

sometimes cry for change to adapt to contemporary styles

building and by making contact with a small outside gar-

are often large buildings and long-lasting important parts

the concept. Moreover, I decided to bring nature into the

As long as we can remember, shopping malls have been

part of our city centres and suburban areas. These malls of a city’s aesthetic look. As a consequence these malls

and trends, which often makes them the object of a largescale renovation.

The subject of my research was the renovation of shop-

shopping mall by allowing more natural light to enter the den inside the shopping mall.

upgrade through a strong concept in combination with

some large chain stores on the squares surrounding the shopping mall. These remain important to complete the

embody the contrast with these chain stores by accom-

able to find the necessary connections to thoroughly

consumers’ shopping needs and to complement the of-

ping mall ‘Shopping 1’ in the city centre of Genk. Thanks

to the personal relationship I have with this mall, I was observing this big renovation process. The conclusions I

fer of De Galerij. However, De Galerij mainly aims to

modating small retailers from all over the city of Genk in

large chain stores.

Genk: Shopping 3, which I transformed into ‘De Galerij’.

one place. These small retail stores and boutiques create

drew from this research were translated into an innova-

tive design for another shopping mall in the city centre of

a certain class and exclusivity which one cannot find in

26

TEAM - KATELIJN QUARTIER & PHILIPPE SWARTENBROUX

MASTERSTUDIO RETAIL DESIGN 5 & 7. Charlotte Beckers 6. Fatimah Chaudhry -

5

6 For the studio Retail Design the students were free (after analyzing the environment) to choose a commercial reuse of the main mining building in Heusden-Zolder. Next to developing a masterplan for the cite and main building, the students designed the entire interior in great detail.

7 25

1

TEAM - KATELIJN QUARTIER & PHILIPPE SWARTENBROUX

MASTERSTUDIO RETAIL DESIGN 1. & 4. Sofie Vandeweyer 2. Maité Dejean 3. Fatimah Chaudhry -

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4 24

MASTER OF SCENOGRAPHY

MANDY VAN DER PALEN | mandyvanderpalen@hotmail.com | +32 474 31 97 60 WATER FOR ELEPHANTS I made a theater scenography about the film Water for

elephants. It is not a regular theater performance that is played in a normal theater hallhall; it is played in a

circustent. The film is about a traveling circus troupe in 1930 who have to deal with drama and romance during their trip.

The base of the design is a wheel, because the circus is not able to travel and move without a wheel. The wheel

makes sure that the circus is able to continue with their shows and work. For my design it is the same, it is not able to work without the wheel.

My design is a circular platform that revolves around. The

platform displays different scenes and it has two floors.

The platform turns around such that the public is only able to see one scene at the time.

23

MASTER OF SCENOGRAPHY

DANA SCHOOFS | dana_schoofs@hotmail.com | +32 494 63 67 38 DANCE AS INSPIRATION FOR SCENOGRAPHY The dictionary describes ‘dance’ as the rhythmic move-

less than a minute, this film makes the exhibition clear to everyone.

ment of the body to the beat of the music. But there is a lot more to it. Actually, you can consider dance, just like painting, sculpture, photography,… as an art form

that belongs in a museum. Therefore, I designed a scenography that is based on a short choreography, in which dance is expressed in a unique and innovative way. The

goal is to make “invisible” elements of dance visible to the

visitor. Of course, these elements are not really invisible, but rather without being noticed because when you look

at a dance performance you see this as a whole, not as a combination of different elements. The dance elements that are shown are: kinesphere, dynamics, sound, sense of

touch and rhythm. This is done by means of art, projections, installations and experiences. Eventually the visitor

will arrive in a room where a short film is projected. In

22

MASTER OF SCENOGRAPHY

LISA PUT | Lisa_put@hotmail.com | +32 497 39 80 87 SCIENCE FICTION AS INSPIRATION FOR A SCENOGRAPHY.

a very large open space is retained. The modules create something extra, which motivates the visitor to walk

In my thesis I investigate how science fiction can be used

through the exhibition and enjoy it.

as a source of inspiration for a scenography. This research

has inspired me to create an exhibition on this subject, which is optimally integrated in the Evoluon. In the Interior of this iconic building I introduced modular volumes, which lead the visitor through the exhibition. The

design and appearance of these forms are inspired by the research: they are inspired by the formal language which

emerged from the four science fiction movies analyzed.

The angular shapes of the modules contrast with the cir-

cles and rounded shapes in the Interior of the Evoluon.

The modules are multifunctional and allow for differ-

ent exhibition methods (pictures, information, movies, objects, etc.). The result integrates harmoniously in the building’s beautiful original Interior. The impression of

21

MASTER OF SCENOGRAPHY

PIET PAESHUYSE | pitpaeshuyse@gmail.com | +39 348 22 31 183 (Italy) TRANSFORMING THE VISIT TO AN ARCHAEOLOGICAL WORKSITE INTO A TOTAL EXPERIENCE.

at the same time allowing the experts to continue their work undisturbed.

My project proposes a practical solution for the Grot-

The project aims therefore to provide a complete experi-

ence for visitors, also drawing on technological and nar-

words, it aims to transform an improbable visit full of risk

are revolutionising accepted preconceptions and propo-

that lived there for thousands of years and emphasi-

50,000 years, where discoveries of exceptional impor-

rative instruments, by communicating the cultural value

to of Fumane (I), an archaeological site of the Middle and Late Palaeolithic periods: a cave inhabited for some tance have been made. These crucially significant finds sing a completely new picture of Neanderthal Man and his relations with Homo Sapiens.

of the site, presenting the history of the human group zing the importance of the traces it left behind. In other

and difficulties into a complete and enjoyable experience.

Given the quantity of sedimentation, excavations are

expected to continue for many decades. As a result, the

excavation area will continue to have the appearance of a

worksite and visits will be possible only on appointment.

The challenge of my project is to find a way to make visits both safer and more interesting. This means making it

possible for visitors to observe the excavation area, while

20

MASTER OF SCENOGRAPHY

STEPHANIE MEYERS | stephanie.myrs@gmail.com | +32 474 66 31 55 A SCENOGRAPHIC PRESENTATION UNIT FOR

topic can be changed by placing replaceable presentation

is also possible to integrate a tablet or touchscreen in the

tiatives. All of them are committed to research and pre-

presentation showcase which can be used to display ob-

Flanders has numerous cultural heritage organizations,

panels into the unit, these panels can be printed with the

LOCAL HERITAGE ORGANIZATIONS

from large coordinating organizations to small local ini-

serve the cultural heritage of their area or region. These associations often have a wealth of information about the local history but do not always have the means to bring

information that needs to be displayed. The unit has a jects or valuable documents that need to be protected. It presentation showcase and a projector. The unit is foldable into a compact form so it can easily be transported.

single unit and in combination with multiple units. In

I researched the need for a physical aid for local heritage

I gave my presentation object the name “Modulus� to

it to the public.

refer to the modularity of my design, it is modular as a

flexible, durable and budget friendly.

object that can be used to exhibit in a variety of ways.

this way it is possible to create many different exhibition

organizations with which they can exhibit their work. My

research has led to the design of a modular presentation The object serves as a support and help to exhibit and

setups. Modulus is multi-functional, reusable, lendable,

promote local heritage. It is designed in a way that the topic and the location of the exhibitions are variable. The

19

MASTER OF SCENOGRAPHY

LIESE MERTENS | liese_mertens@hotmail.com | +32 498 76 90 92 THE RHYTHM OF THE STREET Looking for rhythm of the street through photography.

For my research I visited various city’s with my camera

and with these photographic results, I got inspired to

make an exhibition about my own street photography.

The self-made street photography was used as the subject

as well as the source of inspiration for the scenography.

The exhibition is located on the stairs of Montagne de Bueren in Liège. I chose this location because I wanted to bring the street photography back to the street. I

chose different spots at the stairs to make several designs for presenting the photographs. By spreading the photo-

graphs over the stairs and designing different presentations, I want the visitors to have a variety of experiences when they visit the photo exhibition.

18

MASTER OF SCENOGRAPHY

ELINE LOVERIX | loverix.eline@gmail.com | +32 479 84 17 24 A SCENOGRAPHIC INTERVENTION FOR PROMOTING THE SHARING ECONOMY IN AN URBAN ENVIRONMENT

ecological materials. By using recycled containers, insu-

lation material that is biodegradable and European wood

The sharing economy arose in response to the current economic crisis and the disposable economy. The con-

cept of “give and take” plays a major role in this economy.

More and more people trade objects such as books, toys

and clothing. Yet there are still many people who do not

from sustainably managed forests, this design will be eco-

logically justified. In my research, I became acquainted

with the various aspects of the sharing economy and the many benefits of container architecture. Hasselt is the first city that will be a host for this installation.

know what the sharing economy has to offer. That is why

I chose to make an installation to stimulate this type of economy. This installation is mobile and consists of five

cargo containers which are transformed into a repair café, a give-box, a car and bike share point and a collec-

tion point for fruit and vegetables from a local organic farm. The outer shells of the containers are graphically designed so passers are encouraged to participate in the

installation. The sharing economy aims to a lower eco-

logical footprint. I want to achieve this goal by using

17

MASTER OF SCENOGRAPHY

STEPHANIE KEMPENEERS | kempeneersstephanie@hotmail.com | +32 472 79 29 00 THE SPATIAL EXPERIENCE OF A MENTAL STATE: BORDERLINE

A crooked tunnel located on a staircase would make you feel instable.

A huge mirror from floor to ceiling emphasises the con-

pulsiveness of the wind.

seem very interesting to me. Why avoid them if they are

trast of the space. An installation of printed panels, which

Nowadays people all want to be happy. Everyone tries

to avoid feelings of sadness or loneliness. These emotions sometimes inevitable?

In this project I took Borderline Personality Disorder as a

source of inspiration. I investigated how the characteris-

spin around each time a train arrives, accentuates the imIn all metro stations of Line 1 I made subtle interven-

tions: All vending machines are filled with placebo med-

ication, where people can purchase their daily dose. This symbolises the overuse of medication in case of psycho-

background there isn’t the usual cheerful music. Instead

Brussels. These locations are all part of Line 1, which I

logical problems. Also advertisements are replaced by

tics of Borderline can be experienced spatially. I designed three installations in three different subway stations in renamed Border Line.

On these locations I did an intervention that refers to a

characteristic of Borderline. Instability, contrast and impulsiveness can be experienced in these subway stations:

posters representing different voices in your mind. In the

you can hear very strange sounds that give an awkward awareness of being underground.

Visiting Border Line will give people an impression of what it’s like to be Borderline.

16

MASTER OF SCENOGRAPHY

LOES JANSEN | loes.jansen.p@gmail.com | +32 496 32 12 21 FLY ME TO THE MOON

lived, like the Greek story of Diana and Endymi-

I’ve always had a passion for Astronomy. This master year

I had the possibility to bring an element of the galaxy

on. I see it as a chance to bring the moon to the earth.

The base for the design are the conclusions of my thesis.

I developed on a scenography. In my design I kept a

chose the moon, but why the moon?? The way I look

tween religious, mythological and scientific topics, popu-

45 years ago, Neil Armstrong was the first man on the

This is a visual study that examines the moon as a source

into scenography.

moon. The last time we went there is 42 years ago. I

of human imagination. It is a search for similarities belar culture and dream visions. I will apply the atmosphere

give astonishment.

of an extremely individual experience. At the same time

lot of churchly elements. Religion and omething like the

at the moon is different than the way you look at the

moon. Our closest celestial body gives us the opportunity it is also something collective, something we all share.

moon, art two things that are hard to understand, they

world for a moment of time.

Jozef in Lommel. It has lost its priest and and is now

My idea is to take the visitors on an extraordinary trip to

The location for this exhibition is a local Church, Sintpoorly used. The church is the house of God, of-

the moon. You don’t have to go 346.000 km to escape this

ten in history the moon was a place where the gods

15

MASTER OF SCENOGRAPHY

-

SANDRINA GEMELS | nell.m@hotmail.com | +32 497 31 45 47

als together form one great story, that of the station. Most

was last week or ten years ago, not much has changed.

that no one pays any attention to them.

SITE-SPECIFIC THEATRE

Each traveler carries its own story and all these individu-

Almost everyone has ever travelled by train. Whether it

travelers are so busy with themselves that they no longer

We find all types of people amongst the train passengers,

himself, he will also be the performer and as a plus he

go to our work or school and take no notice to the beauty

werp Central station, in which the ‘spectators’ will be the

same: travelers. Once the train has arrived at the various

see the full picture around them. Different stories will be

ranging from students, holidaymakers to diplomats. Al-

combined and translated into a theater set in the Ant-

though we all have different backgrounds, we are all the

actors. In my design the spectator will not only recognize

destinations, our normal lives will proceed. We hasten to

will learn something about the hidden treasures of the

of the station itself.

building.

The future of the Antwerp Central railway station has

been discussed frequently . Not so long ago, the plan was to destroy it, but fortunately this never happened. The

building has been renovated and is now one of the most

beautiful stations in Belgium. Many beautiful architec-

tural elements are hidden in the building but it seems

14

MASTER OF SCENOGRAPHY

SHANA EVERAERTS | shana_everaerts@telenet.be | +32 498 28 07 05 LIMBURG IN THE SPOTLIGHT Limburg doesn’t stop at the county borders.

of Limburg in the spotlight by using luminous pictures.

A picture says more than text, but a picture can’t replace a visit to a place or an event. However, it could trigger

pate in activities and attend small gigs.

as a tool for designing an installation that brings Lim-

value for the location itself. I integrated a space where

paigns are still desperately needed to continue attracting

interest in a subject.

Limburg has long been a popular destination for tourists from their own country. However, promotional camtourists and to pursue new activities. I used scenography burg literally closer to the Flemish people.

The key question was: how can an installation be a useful

addition to promote a region, but also give an extra di-

Claiming a place in another province must also provide visitors can relax and enjoy their surroundings or partici-

The result is a modular installation that revolves around the focus words: ‘discover’, ‘learn more’ and ‘meet’.

mension to its location?

In order to leave a lasting impression, it is important to approach the public personally and to give them a place

where they can come together and discover what Limburg has to offer. I translated this into a mobile installation containing a photo exhibition and an accompanying

information point in which we (literally) put all facets

13

MASTER OF SCENOGRAPHY

SHQIPONJE BEKA | shqiponjebeka@hotmail.com | +32 499 03 19 75

story, but they are very abstract. When you hear the text

our basic need of seeing in the dark. Light is something

watch my design, would have to watch how images are

Light is a basic need in our life. When it gets dark we put

into my design of the story. I tried to make light painted

TELLING A STORY WITH LIGHT

on the light. But we can do more with light than to fulfill fascinating. This is why I chose to tell the story of Os-

car et la Dame Rose (Eric-Emmanuel Schmitt) with light

painting. A camera can capture this immaterial wonder,

images based on the graffiti. The spectators who would built on several walls. Those images have a link with the

of the monologue and you watch those images your imagination is supposed to take over.

we call light, and something beautiful can be made. The monologue of Oscar et La Dame Rose is composed out of 14 letters. Each letter tells the story of the last days of a

young boy with leukemia. He lives every day as a period of 10 years, this way he dies as an old man.

I chose develop this story underneath the Europabrug at

Vilvoorde. This place is a hanging place for the youth.

There are soccer fields, pingpong tables, etc. The most in-

teresting part of this location is the grafitti on the walls

that support the bridge. I attempted to include these

12

TEAM - JO KLAPS, KRIS PINT & REMCO ROES FOTO’S — JO KLAPS & STUDENTEN

MASTERSTUDIO SCENOGRAPHY 6. Sceonography and Politics 7. Ballon Bridge 8. Showcase Loes Jansen 9. Showcase Stephanie Kempeneers -

6

7 8

9

In the masterstudio Scenography we focused on an experimental showcase for a collection, a parasite exhibition in a Brussels Museum and searching for the link between scenography and politics. Students also designed a theatrical scenography for Caligula by Albert Camus and showed the results at De Vooruit in Ghent.

11

TEAM - JO KLAPS, KRIS PINT & REMCO ROES FOTO’S — JO KLAPS & STUDENTEN

MASTERSTUDIO SCENOGRAPHY 1. Showcase by Shqiponje Beka 2. The Scenorama team 2014 3. Showcase Shana Everaerts 4. Parasite by Jansen Loes 5. Showcase Liese Mertens -

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MASTER OBJECT & DESIGN

STEFANIE NEVEN | stefanie.neven@hotmail.com | +32 494 29 07 75 DIGITALISATION IN DESIGN:

because of its light-wood tones through the veneer sheets.

La Sigrita is also made for outdoor use, this is La Sigri-

to make a physical model in our design process and to

your interior.

ly prototyping with laser cutting. Experiments in laser

is just flat. An other special item about this design is that

La sigrita is an illuminated side table. It’s a result of a

La Sigrita consists of two elements. Each has a different

PROTOTYPING EXPERIMENTS

study of prototyping in the design world, particularcutting proved that the laser cutter is a good method

height and shape. One has a removable tray and the other you can stack them up. It’s like a luminous sculpture in

replaced by a weather-resistant material such as plastic,

orities, namely time, construction, materials and tactility.

ta Outdoor. It creates more atmosphere in your garden.

improve our design. It can offer a lot of advantages for

certain materials. La Sigrita was designed with four priWith these four priorities we pushed laser cutting to a

The concept of La Sigrita is the same but the veneer is translucent PVC. It’s also available in different colors. It’s

atmosphere. A cappuccino or maybe a cocktail by your

the basis of the design. This construction is coated with

A warm touch in your home or garden, an original light

La Sigrita is a nice addition in your interior, it exudes

a playfull, colorfull element in your garden.

higher level.

coziness. A strategically puzzled acrylic construction forms

Laser-cut strips of veneer. This creates a cosy atmosphere

and a fashionable element. This object creates a more cosy side has never been so much fun as with La Sigrita.

8

MASTER OBJECT & DESIGN

LORE HERMANS | lore.hermans@telenet.be | +32 474 29 55 82 BETWEEN TREE AND BOOK: THE TACTILITY OF PAPER Paper is not just an ordinary material. Yet we don’t realize

how much paper we use everyday. The concept of ‘Papier

Fixé’ grew out of personal interest in our environment and my solicitude towards logging, which is inextricably linked to the papermaking industry.

By studying artisan and culturally bounded methods of

subtle pattern applied on the delicate surface of the mate-

rial. The stitching provides the material of reinforcement.

‘Papier Fixé’ is a very labour-intensive design and was made with a lot of patience. It’s also a pleasant thought

that last week’s newspaper got a destination other than

the bin. When ‘Papier Fixé’ reaches the end of its life cycle, it can still be recycled as paper.

papermaking combined with a generous dose of experiment, I developed my own method to process paper

waste into a new material with a very particular tactility and the properties of paper as well as textile.

‘Papier Fixé’ is a very light folding screen with a honest

and simple construction. This folding screen is made of only three materials; handmade recycled paper, wood and

thread. The tactility of handmade paper is enforced by a

7

MASTER OBJECT & DESIGN

PIETER-JAN HERINCKX | pieterjanherinckx@msn.com | +32 497 80 92 40 (S)CARVED BOX

To translate this concept into an object, I compared it

(S)carved box grew out of four pillars which shape

craft into a substantial object. These four pillars are: the uniqueness of creating and inventing, the wood joint, materiality and sustainability through nurturing.

to a portable toolbox. In essence, this involves a massive wooden box in which craft is steering for the perception

and use. Specifically, this includes a solid wood worktop

resting on a wooden frame, in which the tools are stored.

The initial value of this object lies in the ‘portability’ of

between the user and the material. By sketching on a

an activity, which is very important to me. Additionally I

craftsmanship and in the fact that you can carry it any-

Based on these four pillars I have aimed the results of my

object at a craft activity, namely sketching. Sketching is could easily adjust the design to my needs.

where. As a second value, I refer to the close relationship solid wooden surface I tried to improve the tactility be-

tween the user and his equipment. A third value relates

whereby it will stand the test of time.

encourages concentrated work and thinking. In addition,

to careful storage and preservation of the necessary tools.

The inspiration for this design is derived from the evolu-

tion of the traditional workshop. I sought an object that the object needed to provide a place to store the tools that

These actions make it possible to really cherish this object

I need for sketching. This includes the storage of paper, my favourite sketch pen, pencils and charcoal.

6

MASTER OBJECT & DESIGN

LIEN GRAULS | lien.grauls@gmail.com | +32 476 36 66 49 LIVING WITH A DISABILITY,

I worked with six boxes which have different colors and

As a result of my research on the rehabilitation of persons

Everything must be placed on the changing table before

APHASIA AS A CASE FOR A FURNITURE DESIGN

with aphasia, I came into contact with a young pregnant woman. This woman has aphasia and hemiplegia. To help

the baby is laid on the cushion. To make this process easy, icons.

The first box is open from the top and has subdivisions.

on the color the caregiver immediately knows in which

The nursing pillow consists of two parts, an organic ele-

other five boxes provided at the front of drawers. If a sub-

All the important elements needed for the care are placed

Each division has a specific color and is accompanied by

her, designed a changing table to suit her problem.

on the right side.

ment and a flat element.

The organic element is higher on the left than on the

an icon. The colors of the subdivisions are reflected in the division is empty, the icon tells what is missing and based drawer that is to be found.

right side. By increasing the pad on the left, I tried to

create a sense of security for the mother and a protective feeling for the baby. The flat element of the cushion is wider than the usual care cushions, because for care the baby needs to be rolled on its side.

5

MASTER OBJECT & DESIGN

ADRIAAN BEIRINCKX | adriaan.beirinckx@gmail.com | +32 495 82 94 99 CABINET DE CUROSITÉ

the idea of the collector and his collection . For some col-

The Cabinet De Curiosité is a design with a sense of

discovery and collecting. This design should include the

lectors the research is almost as important or even more important than the collection itself.

sliders and boxes that were present in the original Cabinet De Curiosité. I wanted to incorporate this in my design in a modern way. These slides also create differ-

ent depths. In the niches or on bulges you can exhibit elements of your collection. This is to indicate the open nature of a collection. As a collector you have a great pas-

sion and pride for your collection. And it’s just collecting that has been appealing to us as humans for hundreds of

years. In my Cabinet De Curiosité I had the intention

that the user can exhibit just a limited amount of objects.

This limitation is important to allow the object to stand for itself and to emphasize it. The Indescribable value of the object. This cabinet is intended to have the capacity to store. The research also forms a very important part of

4

TEAM - LEO AERTS, SAIDJA HEYNICKX & GILBERTE CLAES FOTO’S: STUDENTEN

MASTERSTUDIO OBJECT & DESIGN 5. Lore Hermans 6. - 8. Pieter-Jan Herinckx -

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6

8

7 In the masterstudio Object & Design we focused on technique, which makes furniture more ergonomic and multifunctional and which creates more possibilities for the end consumer.

The work in progress is an essential part of the exercise.

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TEAM - LEO AERTS, SAIDJA HEYNICKX & GILBERTE CLAES FOTO’S: STUDENTEN

MASTERSTUDIO OBJECT & DESIGN 1. & 2. Adriaan Beirinckx 3. & 4.Stefanie Neven -

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EXIT 14 Interior Design

MASTERPROJECTS

Object & Design- Scenography- Retail Design - Adaptive Reuse

UHASSELT FACULTY OF ARCHITECTURE AND ARTS _ Universitaire Campus, Gebouw E 3590 Diepenbeek, Belgium T 011 29 21 01

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INTERIEUR • 4

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fac-ark.be