Exi2016 interieurarchitectuur UHasselt by Inge Lens

exit/16

EXIT 16 Interieurarchitectuur

VOORWOORD - DESIGN FOR LIFE Rob Cuyvers - Kris Pint

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

VOORWOORD

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

De Faculteit Architectuur en kunst voelt zich goed in de Universiteit Hasselt. Ook dit jaar vielen we in de prijzen bij de Euregioprijs voor masterprojecten. De faculteit heeft internationale ambities. Master studenten waren werkzaam in Hongkong, Londen en Dar-es-Salaam. Volgend jaar trekken we richting Vietnam en starten we de internationale Engelstalige master Adaptive Reuse. Steeds meer studenten trekken naar het buitenland, of voor uitwisseling in studieprogramma’s of om internationale stages te doen. De zetel van de EAAE (Europese associatie van architectuuropleidingen) is gesitueerd in onze faculteit en doet ons netwerk steeds meer groeien.

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. Er wordt gefocust op ruimtelijk en op sociaal-cultureel-maatschappelijk architectuuronderzoek. Een 60-tal onderzoekers, 33 doctoraatsprojecten en een aantal welomschreven onderzoeks- en dienstverleningsprojecten geven het onderzoek betekenis. In samenwerking met externe partners zoals oa de Vlaamse Bouwmeester, het VAI, het Nederlands Architectuurinstituut en verscheidene steden en gemeenten, zoals Hasselt, Genk, Sint-Truiden, Maasmechelen, Heers 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. Voor architectuur kan de student kiezen in trajecten in beelding, bouwkunde, stedenbouw of cultuur. Voor interieurarchitectuur vormen retail, herbestemming, scenografie en wonen/meubel de focus. De ontwerpstudio is de centrale plek. Daar werkt de student met een gezonde onderzoeksattitude onder intensieve begeleiding. De begeleidende docenten hebben een sterke expertise op Vlaams (en vaak ook internationaal) niveau.

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.

In dit studiowerk ligt de basis en de kracht van de opleiding. Het studiowerk is echter niet langer een eiland maar wordt een centrum waar theorie, onderzoek en praktijk elkaar ontmoeten en versterken.

Overgoten met een sterke saus onderzoek en een directe input van het werkveld is de opleiding uitgegroeid tot een sterke speler in Vlaanderen.

In deze academische opleiding wint het ontwerpend onderzoek en het onderzoekend denken en werken, meer en meer aan belang. Dit ontwerpend onderzoek krijgt vorm vanuit een Vlaams

De vruchten tonen zich in het prachtige werk van jullie, onze eindejaarsstudenten

PREFACE

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

The Faculty of Architecture and Arts feels good at Hasselt University. We again delivered the winner of the EAP-prize, the Euregional prize for master’s projects. The faculty also has international ambitions. Master students worked in Hong Kong, Venice, and Dar-es-Salaam. More and more students go abroad in the context of exchange programmes or international internships. Our faculty houses the seat of the EAAE (European Association for Architectural Education), which expands our network ever more.

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.

“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 architectural poetry, 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 trained. The instructors have an extensive expertise at the Flemish (and often also at the international) level.

Our research entails about 40 researchers, 20 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. 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.

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.

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.

In these academic programmes, designing research and investigative thinking and working are increasingly important. This artistic

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.

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 mogelijkheden van materialen worden belicht.

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. Kris Pint namens het team van Interieurarchitectuur

INTERIOR ARCHITECTURE

INTERIEURDESIGN The essence of the house...

KRIS PINT

â&#x20AC;&#x2DC;The essence of the house as architecture is the interior spaceâ&#x20AC;&#x2122;. 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.

of 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 Masterâ&#x20AC;&#x2122;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

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.

Kris Pint On behalf of the Interior Design team

EXIT 16 Interieurarchitectuur

BACHELORPROJECTEN 1, 2 en 3 BAIAR

BEGELEIDERS — LIEVE WERCKX, KATRIEN RAEDTS, WARD BERGEN EN GITTE HARZÉ FOTO’S — GITTE HARZÉ

1BAIAR

1. Jana Samoey, zitten 2. Bilian Ausloos, zitten 3. Elisa Bammens, overgaan -

4. Elisa Bammens, baden 5. Bente Aendekerk, observeren 6. Annemie Vanlangenaker, observeren -

4 6

7 9 5

Beschrijving werking 1BAIAR: In 1 bachelor wordt de nadruk gelegd op ‘mens en maat’. De student wordt geleerd zelf te bepalen hoeveel ruimte hij nodig heeft ifv het opgegeven programma van eisen. Alle aspecten van het wonen komen aan 5 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.

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

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

2BAIAR

1. Oef. 2.2 Larissa Morren, 90° 2. Oef. 2.2 Benita Niessen, 90° 3. Oef. 2.3 Maxime Berets, Parasite 4. Oef. 2.3 Larissa Morren, Parasite

5. Oef. 2.3 Leonie Maes, Parasite 6. Oef. 2.3 Marie Lodts, Parasite 7. Oef. 2.4 Maxime Bertels, One Home 8. Oef. 2.4 Melissa Morren, One Home

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. De invalshoek kan ook een constructiemethode of materiaal zijn.

We zetten vooral in op innovatief ontwerpen zowel op het vlak van ruimtelijkheid, conceptvorming, materiaalgebruik en detaillering. 4 8

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

3BAIAR MODULE SCENOGRAFIE

1. Caro Heuts 2. Linde Van Den Bosch 3. Sven Labie 4. Ellen Craninckx -

5. Lien Claessens 6. Martine Peeters, Ornella Elsen, Lisse Loos en Kobe Garmin 7. Michiel Houben 8. Michelle Clerix, Nadia Habiby Svetlana Popova en Ellen Craeninckx -

5. Robert Indiana

2. Armando Testa

1. Franz Ehrlich

7. William Walker

6. Constructie Scenografie In de module Scenografie krijgen de studenten een onderwerp toegewezen. Liefst één 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 de ontwijde kerk van Sint-Jan de Doper in Gerheide (Balen), een ontwerp Paul Neefs uit 1972. 3. Sonia Delaunay 4. La Brea Tar Pits

Omdat op papier alles mogelijk is vragen we om in de deelopdracht constructie scenografie een mini-theater te bouwen en te belichten in een zelfgekozen setting. Dit kan onder een brug, op het water of in een oude boksclub.

8. Constructie Scenografie

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

3BAIAR MODULE WONEN & OBJECT

1 & 2. Elke Hermans 3 & 4. Felicia Iman -

5 & 6. Martine Peeters 7 & 8. Svetlana Popova -

5 1

In de module Wonen en Object ontwerpt de student een meubel vertrekkend van een module. Het concept van het meubel wordt gedragen door een modulair systeem. Dit systeem heeft zowel betekenis in één module als in het geheel van de schakeling. De module is beperkt in afmeting en makkelijk te monteren, waardoor het ook een meerwaarde krijgt in het transporteren. Het meubel past in de brede context van het huidige wonen; een beperkte oppervlakte, mogelijkheid tot mobiliteit en transparantie. Het meubel draagt de functie van opbergen. Maar door zijn modulaire karakter kan het meerdere functies genereren.

4 8 18

BEGELEIDERS — NIKOLAAS VANDEKEERE & PHILIPPE SWARTENBROUX FOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE HERBESTEMMING

1 & 2. Jonah Veestraeten en Igor Duelen 3. Melissa Algarrada, Stefanie Baeten & Zoë Janssen 4. Elene Vernijns & Lize Vanhoof -

5 & 6. Dieter Vernijns & Annelien Swennen 7 & 8.. Mich Mermans, Bram Neuteleers en Lotte Vandebroek

6 2

3 Herbestemming van agrarisch erfgoed. Twee hoeves en een schuur krijgen een nieuwe betekenis voor hun omgeving.

7 4 4

BEGELEIDERS — KATELIJN QUARTIER & PHILIPPE SWARTENBROUX FOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE RETAIL DESIGN

1. Frederic Peeters en Elke Hermans 2. Niels Martens -

3. & 4. Caro Heuts 5. Martine Peeters en Heleen Cornelissen -

3. 1.

In de module Retail design kregen de studenten een concreet uitgangspunt voorgeschoteld: ’The future of retail design: in search of NO typology’. Het idee hierachter was studenten uit te dagen om van de gekende winkeltypologieën af te stappen en op verkenning te gaan nieuwe concepten en/of typologieën. Om hen hierin uit te dagen kregen de de de keuze tussen ogenschijnlijk niet-passende productcombinaties die samen in één winkel en één concept verkocht dienden te worden. De keuzes waren brood en ijzerwaren, verzekeringen en schoenen, papierwaren en vis, sportkleding en juwelen, vlees en auto’s. Daarnaast konden de studenten kiezen tussen een internationale oefening met de locatie in Milaan, waar ook een samenwerking in groep met studenten uit Milaan aan gekoppeld was, of een pand in Antwerpen op de Oudaan. Bij deze opdracht ging specifieke aandacht naar het bedenken van een origineel concept waarin beide productcategorieën samenkomen. Bij de uitwerking lag de focus op het scheppen van sfeer wat zich dan ook diende te vertalen in plannen en maquette.

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EXIT 16 Interieurarchitectuur

VARIA & STUDIEREIZEN

BEGELEIDERS — WERNER ALBERT, GITTE HARZÉ FOTO’S — BILIAN AUSLOOS

BEGELEIDERS — WERNER ALBERT, BART APPELTANS, PETER FIRMAN FOTO’S — BILIAN AUSLOOS

STUDIEREIS 1BAIAR: KEULEN

1. Bruder-Klaus-Feldkapelle, Mechernich-Wachendorf 2. Langen Foundation, Neuss 3. Museum Ludwig, Keulen

4. & 5. Immanuelkirche, Keulen, Sauerbruch Hutton 6. Haus Lange, Krefeld, Ludwig Mies van der Rohe -

4 1 5

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BEGELEIDERS — WERNER ALBERT, PETER FIRMAN, NIKOLAAS VANDEKEERE, LIEVE WERCKX FOTO’S — LIEVE WERCKX

STUDIEREIS 2BAIAR: LISSABON

1. & 2. Paula Rego museum, Eduardo Souto De Moura 3. Woning Architect Jose Adriao

4. & 5. Santa Maria museum , Aires Mateus 6. Groepsfoto 7. Castle & archaeological Museum -

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BEGELEIDERS — JO KLAPS & ROGER VERVOORT FOTO’S — MICHIEL HOUBEN , JO KLAPS & ROGER VERVOORT

STUDIEREIS 3BAIAR: BERLIJN - LEIPZIG - KASSEL

1. Kragstuhlmuseum Tecta, Lauenförde 2. Tchoban Foundation, Berlin , Sergei Tchoban 3. Bauhaus Denkmal Bundesschule Bernau 4. Herinneringscentrum Wewelsburg 1933-1945 -

5. Tchoban Foundation, Berlin, Sergei Tchoban 6. Museum der bildenden Künste, Leipzig, Arch Hufnagel 7. Grimmwelt, Kassel, Kadawittfeldarchitektur -

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6 2

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BEGELEIDERS — ALLE BEGELEIDERS O.L.V. WESLEY MEURIS FOTO’S —VICKY VANGENEUGDEN & LIESBETH DRIESSEN

FACsTORIES

FACsTORIES -

FACsTORIES Aangezien Blids on Tour niet meer relavant was wegens het verdwijnen van blids.be, kozen we voor een nieuwe naam en een andere formule. Gedurende 1 dag konden alle studenten Interieur deelnamen aan diverse workshops waarbij de nadruk lag op het creëren en realiseren van ontwerpen. 's Avonds werden alle producten getoond in een tentoonstelling met op de achtergrond de muziek van The Rojo's.

VARIA

1. Bezoek Bourla Schouwburg Antwerpen 2 & 3. Visie-commissie op bezoek, jury 3de bachelor module Retail Design 4. Bezoek aan de Familistère te Guise. -

5 - 8. “One Day Expo” met ontwerpen van de module scenografie -

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ONDERZOEKSGROEP ARCK – RESEARCH IN ACTION!

RESEARCH GROUP ARCK – RESEARCH IN ACTION!

Onderzoeksgroepen bestaan in alle universiteiten en faculteiten. Onderzoek is nu eenmaal één van de kerntaken van een universiteit. Waarin deze groepen zich van elkaar onderscheiden, is waaróm en hoé ze aan onderzoek doen: wat wil zo’n groep bereiken en op welke manier geeft zij haar onderzoek dan vorm? Als onderzoekgroep van de faculteit Architectuur en Kunst hanteert ArcK hierover een duidelijke visie: we doen ruimtelijk onderzoek rond maatschappelijk relevante thema’s vanuit een internationaal academisch perspectief, maar met de ambitie om een reële impact te hebben in Limburg, Vlaanderen en de Euregio. Design for Life is immers niet toevallig het motto van de faculteit…

Research groups exist in all universities and in all faculties. Research simply is one of the core activities of a university. However, research groups do differ from one another, especially with respect to the ‘why’ and the ‘how’ of their research: what do researchers want to achieve and how do they design their research? As the research group of the faculty of Architecture and Arts, ArcK has a clear vision: we perform spatial research on topics that are societally relevant, from an international, academic perspective, but with the ambition to have a genuine impact in Limburg, Flanders, and the Euregion. After all, ‘Design for Life’ is the motto of faculty…

In alles wat we doen proberen we deze visie in de praktijk om te zetten; van het soort onderzoek dat we opzetten tot de manier waarop we de opgedane kennis terug communiceren. Onze maatschappelijke betrokkenheid uit zich in de eerste plaats in de thematiek van de vijf grote onderzoekslijnen: het groeiende belang van herbestemming als ontwerpstrategie (Trace), de uitdaging om àlle belanghebbenden te betrekken in ruimtelijke processen (Spatial Capacity Building), het stimuleren van duurzaamheid in de gebouwde omgeving (Sustainability), het centraal stellen van mensen, in al hun complexiteit en verscheidenheid, in het ontwerpproces (Designing for More) en de artistieke zoektocht naar nieuwe vormen van kennis en betekenis (FRAME). De visie uit zich ook in het soort projecten dat we doen. Naast onderzoeksprojecten zet ArcK bijvoorbeeld ook in op dienstverlening waarin we bedrijven, ontwerpbureaus, overheden en andere organisaties op een rechtstreekse manier ondersteunen. Effectieve impact kan maar bereikt worden als we de kennis opgebouwd via onderzoek ook echt aan het werk zetten. Dit start al op het meest lokale niveau: in huis. Nagenoeg alle onderzoekers zijn betrokken in onderwijs en via hoorcolleges, oefenzittingen en zeker de masterseminaries delen zij op heel directe manier hun groeiende expertise met onze studenten. Ook op het meest globale niveau zijn we zichtbaar, want ook dit academiejaar publiceerden onderzoekers van ArcK in gerespecteerde, internationale peer-reviewed tijdschriften of boeken (bijv. Interiors, Architectural Research Quarterly) en deelden ze hun kennis met collega’s op academische congressen wereldwijd. De nieuwe Internationale Master of Interior Architecture vanaf academiejaar 2016-17 zal deze globale zichtbaarheid ongetwijfeld nog vergroten. Maar zeker zo belangrijk voor ArcK is het niveau daartussen. Kennis komt immers écht in actie wanneer we een doctoral seminar organiseren rond duurzaamheid in België (‘DS²BE’) of een symposium en tentoonstelling rond schetsen (Field Notes and Dirty Drawings), wanneer we summer schools opzetten of een opleiding voor mensen uit het werkveld, wanneer we tentoonstellingen organiseren (van ’Verkavelingsverhalen‘ in De Singel tot ’Een licht op inclusie‘ in het UDWoonlabo) of presentatiemomenten voor het grote publiek (bijv. rond de herbestemming van parochiekerken in Sint-Truiden of Maasmechelen)… Ook op dat niveau kunnen we een verschil maken en een impact hebben. En dat is wat ons onderscheidt.

In everything we do, we aim to implement this vision; from the type of research we initiate to the way in which we communicate the resulting knowledge. Our engagement towards society is evident in the themes of the five main lines of research: the increasing importance of adaptive reuse as a design strategy (Trace), the challenge to involve all stakeholders in spatial processes (Spatial Capacity Building), stimulating and facilitating sustainability in the built environment (Sustainability), placing people, in all their complexity and diversity, at the heart of the design process (Designing for More), and the artistic search for new forms of knowledge and meaning (FRAME). Moreover, this vision also becomes apparent in the type of projects we do. For example, ArcK engages in a considerable amount of contract research in which we support companies, design agencies, governments, and other organizations in a direct way. Having a genuine impact can only be achieved if we also put to work the knowledge gained through research. This already starts at the very local level: in-house. Nearly all researchers are also involved in education and via lectures, practical sessions, and especially the master seminars, they share their developing expertise with our students in a very direct way. Also at the most global level we are visible: this academic year, researchers of ArcK have again published in respected, international peer-reviewed journals or books (e.g., Interiors, Architectural Research Quarterly) and have shared their knowledge with colleagues at academic conferences worldwide. The new International Master of Interior Architecture, starting next academic year, will certainly improve this global visibility even further. However, equally important is what we do at the middle level. Knowledge truly comes into action when we organize a doctoral seminar on sustainability in Belgium (‘DS²BE’) or a symposium and exhibition on drawing (‘Field Notes and Dirty Drawings’), when we set up summer schools or a training for professionals, when we organize exhibitions (from ’Tales of the allotment‘ in De Singel-Antwerp to ’A light on inclusion‘ at the UD Living Lab) or presentations and events for the public at large (e.g., on adaptive reuse scenarios for parish churches in Sint-Truiden or Maasmechelen)… Also at this level we can make a difference and have an impact. And that is what sets us apart. Jan Vanrie

Jan Vanrie

JAAROVERZICHT

15 september 2014

23-25 november 2014

Doctoraatsverdediging Bie Plevoets, “Retail-Reuse: an interior view on adaptive reuse of buildings.”

14 studenten nemen deel aan Euregionale Workshop (Universität Siegen) onder begeleiding van R.Coenegracht en L. Schouterden

6 oktober 2014

27 november 2014

Workshop + lezing Lonny Van Ryswyck (ATELIER NL)

StudentenSTAALprijs gewonnen door Kathleen Coenen (2ma AR, gedeelde eerste plaats) Kimberly Vandeborne (alumnus 12-13) krijgt een eervolle vermelding

3-7 november 2014 Cross-Over workshop Future Fictions ism Z33 met studenten Fac-Ark en MAD-Luca en MAD-PXL

5 december 2014 ahk03 _ Architectenhuiskamer: samen bouwen aan een nieuwe aarde, arch. Juul Vanleysen @ CIAP Hasselt

4 november 2014 / 19 mei 2015 Curating the library - docenten en studenten wisselen favoriete boeken en inspiraties uit.

11 december 2014 ONE DAY EXPO door de module scenorafie van 3BA IAR

14 november 2014 EAP2014 (Euregional Prize for Architecture):

11 december 2014

UHasselt student Rosalie Gielis wint de eerste prijs.

Liesbeth Huybrechts en Sarah Martens (ArcK) stellen in het kader van Future Fictions Godsheide de ‘krant van de toekomst’ voor in Z33

23 november 2014

4 februari 2015

Het wiki-house presenteert architectuur op de wetenschapsdag van de UHasselt

Talitha Lenaerts en Katrien Spaas (Master IAR – scenografie) genomineerd voor de Young Scenographers Contest georganiseerd door EUROVISION MUSEUM EXHIBITING EUROPE

23 november 2014

7 november 2014 4 november 2014 15 september 2014 6 oktober 2014

6 oktober 2014

27 november 2014

7 november 2014

27 november 2014

5 december 2014 GODSHEIDE IN 2024

BUURT START SCHOOL VIA “CROWDFUNDING”

EEN TERUGBLIK OP DE TOEKOMSTWORKSHOP IN EN OVER GODSHEIDE IN 2014

Bewoners verzamelen “Bij Vieke”.

DE TOEKOMST IS VANDAAG

KERK WORDT NIEUW BUURTHUIS

DE TOEKOMST WAS ER AL IN 2004. OVER MOVE, EEN BEWEGING VAN TOEKOMSTDENKERS EN -MAKERS

De bewoners plaatsten in 2014 een bom onder de manier waarop de school werd onderhouden.

Tien jaar na de instorting van de buurtschool in Godsheide, vond gisteren een feestelijke opening plaats van de nieuwe klasjes. Hiermee komt er een einde aan het verblijf van kinderen en leerkrachten in de scoutslokalen. De bouw van de nieuwe school werd mogelijk door de crowfunding initiatieven van het sterke verenigingsleven in Godsheide. De idee achter crowdfunding is dat veel mensen een klein bedrag investeren en dat al die kleine investeringen samen het project volledig financieren.

“Het werd tijd”, zeiden de organisatoren, “jaren van vrijwilligerswerk en spaghetti-avonden konden de vorige school enkel oplappen en verfraaien”. In de rampzalige nacht van 29 op 30 november 2014 stortten de containers en een deel van het schoolgebouw aan de Kleinstraat in. Tot op de dag van vandaag blijft het onduidelijk wat de precieze oorzaak was. Was het te wijten aan de gebrekkige en onveilige infrastructuur of was er kwaad opzet in het spel? Het buurtonderzoek van de politie bracht nooit helderheid.

2024 IS VANDAAG!

Uit deze workshop bleek vooral een nood aan publieke ruimte en platformen om visies, plannen, wensen en verschillen uit te wisselen en acties te initiëren. De bewoners gaven Godsheide vorm als een groeiende groene leefomgeving. Deze omgeving wordt volgens hen gedreven door lokale dienstverlening (bijvoorbeeld een eigen school, lokale zorg) en gedragen door een lokale economie, zoals werk in eigen buurt, maar ook andere vormen van economie, coöperatieve en deeleconomie.

Deze krant is een samenwerking tussen de bewonersvereniging Unie Godsheide, onderzoeksgroep ArcK (van de Faculteit Architectuur en Kunst van de Universiteit Hasselt), FoAM (netwerk van transdisciplinaire labs voor speculatieve cultuur). Het is een verslag van de Future Fictions Godsheide workshop (verbeelding van de toekomst van Godsheide in 2024) op 29 en 30 november 2014 en werd uitgegeven naar aanleiding van de tentoonstelling Future Fictions die loopt van 5 oktober tot 4 januari 2015 in Z33, Hasselt.

BEWONERS GODSHEIDE: Michel Achten, Joachim Bekkers Frank Bekkers, Caroline Boesmans, Lieve Gelders, Manu Gelders, Luc Jollings, Patrick Jonckmans, Bart Lambrichts, Anne Moerman, Renaat Nijs, Ward Opdekamp, Renaat Roekaers, Bart Schepens, Esther Vandebroek, Kristel Vanquaethoven Arnoud Vervoort, Luc Vlekken. WORKSHOP BEGELEIDERS: Maja Kuzmanovic en Katleen Melis (FoAM), Liesbeth Huybrechts en Sarah Martens (ArcK, UHasselt)

Deze meer open ideeën kregen vorm in een aantal concrete initiatieven. Met de coöperatie “Citydepot Godsheide” namen de verschillende actoren en bewoners handel en dienstverlening in eigen handen. Ook de nieuwe buurtschool kwam via crowdfundinginitiatieven van lokale verenigingen tot stand. De actievoerders van het collectief Goodli(f)e onderstreepten met hun ludieke actie dat er op vlak van mobiliteit en infrastructuur nog heel wat werk aan de winkel is: “Beloften en infrastructuur blijken in Godsheide niet altijd een goed huwelijk” aldus een vrolijke actievoerder. Op de toestroom en opvang van nieuwkomers werd door de bewoners destijds goed geanticipeerd via het opzetten van verschillende evenementen en activiteiten rond de pastorie, de kerk, de activiteitenbrug en café “bij Vieke” waar mensen elkaar kunnen leren kennen. Vandaag zijn deze initatieven nog steeds inspirerende voorbeelden voor steden, gemeentes en particulieren die hun toekomst in eigen handen willen nemen. De titel van deze krant luidt niet toevallig: “De Toekomst is vandaag”.

27 november 2014

www.fo.am www.fac-ark.squarespace.com/arck/ www.verkavelingsverhalen.be www.z33.be/en/projects/future-fictions www.godsheide.be/de-unie-godsheide/

STUDENTEN: Wannes Boonen, Alexander Brepoels, Rien Cleuren, Xim, Dams, Marijn Degerick, Valerie Dupont, Ruben Geudens, Bart Houben, Lize Kelchtermans, Jeroen Lamber, Thomas Meers, Niels Menten, Robin Prickaerts, Dorien Roumans, Zander Rutten, Katrien Schepers, Christophe Truyers, Mathias Vankriekelsvenne, Bart Vanmuysen, Dimitri Voordeckers, Michelle Vrolix, Lotte Willems

4 februari 2015

De opening van het buurthuis ging ook samen met de bekendmaking van de nieuwe brug die de twee dorpsdelen van de kern van Godsheide zal verbinden. De brug wordt aangelegd op zijn voormalige locatie (de brug werd opgeblazen in WOII), een ligging die altijd een goede verbinding vormde met het centrum van Godsheide en dus ook met het nieuwe buurthuis.

De opening van het buurthuis in de oude kerk geeft dus het startschot voor grootse plannen. Genoeg redenen om de overschotten van de miswijn te kraken.

Bewoners simuleren noodzakelijke brug aan het kanaal van Godsheide.

GOODLI(F)E ORGANISEERT LUDIEKE ACTIE OM BRUG Elke bewoner van Godsheide weet het nog. Voor de oorlog was er een brug die de twee zijden van Godsheide verbond. Tijdens de tweede oorlog bombardeerden de bewoners deze brug om de Duitsers tegen te houden. Na de oorlog werd de brug vervangen door een tijdelijke constructie die helaas iets later omver werd gevaren. Ter vervanging van de brug werd er een veerboot ingezet om de bewoners en heel wat schoolgaande kinderen dagelijks over te varen. Deze veerboot

23 november 2014

De bewoners zagen de instorting als de figuurlijke “bom” onder de aanpak waarmee de school was onderhouden. Deze bom vormde de mascotte van een reeks stilteprotesten in de stad die de verschillende noden, wensen en stemmen over scholenbouw en - onderhoud tot uiting brachten. Vandaag kunnen we deze bom vervangen door een “like”, want de school is een zelden gezien voorbeeld van wat bewoners samen kunnen bereiken.

Niet enkel in 2014 droomden en dachten ze over de toekomst. Reeds in 2004 zetten de bewoners van Godsheide het MOVE project op waarin ze een visie uittekenden over het groen in hun dorp, ontmoeten en wonen. Ze benadrukten de nood aan publieke ruimte en platformen om elkaar tegen te komen door een diversiteit aan activiteiten te organiseren, gaande van sportevenementen en een kunstenparcours. Bart Lambrichts was een van de trekkers van dit initiatief en ook vandaag nog, in 2024, zeer actief in de bewonersvereniging Unie Godsheide. Hij is blij te zien dat 20 jaar later de toekomstplannen die MOVE voortbracht, voor een groot deel realiteit zijn geworden: “Het beweegt vandaag in de goede richting en dat is mooi om te zien”.

Exact 10 jaar geleden, op een zonnige en koude novemberochtend vonden een 15-tal bewoners van Godsheide elkaar in het warme café “bij Vieke”. Zij verzamelden zich na een oproep van de bewonersvereniging “De Unie Godsheide”. Ze zouden daar de nabije toekomst (2024) van Godsheide verbeelden tijdens een tweedaagse workshop, samen met het departement architectuur van de Universiteit Hasselt en kunstencollectief FoAM. Ze hadden alvast een gedeelde droom: een open en betrokken beleid, ondersteund door een sterk cultureel leven. Ze waren geïnspireerd door goed werkende, positieve acties uit het verleden (van papieromhaling tot kermisactiviteiten), gedreven door gepassioneerde mensen uit de gemeenschap (zoals pastoors en schoolmeesters).

Gisterenavond organiseerden de bewoners van Godsheide samen met het Hasseltse beleid een groot feest. Zij vierden hun gezamenlijke beslissing om een nieuw buurthuis te openen in de oude kerk. Deze plek zal allerlei sociale activiteiten bundelen, zoals kinderopvang, ouderenzorg, allerlei culturele en ecologische initiatieven.

Bewoners en beleid zien de brug als een activiteitenbrug, een nieuw publiek plein waar je – onder meer - fantastische zonsopgangen en zonsondergangen kan meemaken. De brug is expliciet toegankelijk voor iedereen, ook voor minder mobiele mensen, maar niet voor de auto. Bovendien zullen er zich vanuit en rond de brug alternatieve woonvormen ontwikkelen, zoals dijkwoningen. Deze woningen situeren zich typisch op, aan, onder of langs een dijk.

DE INWONERS EN HET BELEID KEUREN SAMEN NIEUWE BESTEMMING GOED IN GODSHEIDE.

HBVG 2014 — REDACTIE: LIESBETH HUYBRECHTS & SARAH MARTENS — VORMGEVING: NIEK KOSTEN— CONTACT: SARAH.MARTENS@UHASSELT.BE

MISTIG

4°

-2° 1020 mBAR

NR. 234 — JAARGANG 5 — X

MAANDAG 2 DECEMBER 2024

HET BELANG VAN GODSHEIDE

DE TOEKOMST IS VANDAAG UITGEVER DE UNIE GODSHEIDE

6 oktoberr2014

veroorzaakte – wat nog altijd bekend staat als - de ramp van Godsheide: 35 kinderen en 2 volwassen verdronken. Omdat de dood van die kinderen nog heel erg leeft in deze deelgemeente van Hasselt, is er na de ramp geen verbinding meer gekomen. Godsheide is sindsdien in twee gesplitst. Het beleid en enkele bewoners in Godsheide kondigden gisteren nog aan dat ze de brug opnieuw willen bouwen (zie vorige pagina).

De lokale actiegroep Goodli(f)e hecht daar echter weinig belang aan, omdat al vaker beloften niet nagekomen werden. Daarom voeren ze met respect voor de geschiedenis van de ramp van Godsheide, een ludieke actie om de brug terug te vragen aan het beleid. Samen met een aantal bewoners simuleren ze een brug in het verlengde van het oude padje aan café “De Zwaan”. Men verwacht een grote opkomst, omdat de brug hoog op de agenda staat bij veel Godsheidenaren.

Bewoners vieren de opening van hun buurthuis in de oude kerk.

4 februari 2015 14 november 2014

JAAROVERZICHT

3 & 24 februari, 10 & 24 maart 2015

7-29 mei 2015

A-Z project in detail, uitgebreide namiddaglezingen op de faculteit architectuur door de A-Z genodigden

Image Talks, tentoonstelling door onderzoeksgroep FRAME (MAD-PXL Research en ArcK, UHasselt).

20 april 2015

21-22 mei 2015 Oswald Devisch & Sarah Martens organiseren conferentie

Francqui-leerstoel, inaugurale lezing Emilio Tunon

‘Design, Social Media and Technology to Foster Civic Self-Organization’, oude gevangenis Hasselt

20-24 april 2014 Francqui-leerstoel, workshop ‘untouchables’ met Emilio Tunon

22-25 mei 2015 Expo & lezing over de rol van maquettes in de opleiding architectuur bij TOPOS during Kunsttour 2015, Maastricht

28 april 2014 Nathalie Kavse, Robbe De Geyndt, Philippe Breels, Michelle Vrolix, Lien Raskin en Marie Frioni winnen voorronde

19-21 juni 2015 EXIT/15 Herckenrodekazerne Hasselt

‘ISOVER Multi-Comfort House Students Contest Edition 2015, Residential function in cold climate – Astana, Kazakhstan’ 7-9 mei 2015

21 juni 2015

pop-up expo testbeeld, beelding tweede bachelor interieur presenteert projecten in Hasselt centrum

ahk04 _ Architectenhuiskamer @ ?

7-8 mei 2015

18-28 augustus 2015

Image Talks, symposium door onderzoeksgroep FRAME (MAD-PXL Research en ArcK, UHasselt).

summer school seamless retail design in samenwerking met TUDelft en Politecnico di Milano 7 mei 2015

22 mei 2015

24 april 2015

28 april 2015 28 april 2015

22 mei 2015 7 mei 2015

7 mei 2015

23 mei 2015

20 april 2015

7 mei 2015 28 april 2015

24 april 2015

28 april 2015

23 mei 2015

21 mei 2015

23 april 2015

21 mei 2015

7 mei 2015 7 mei 2015 7 mei 2015 21 mei 2015 21 mei 2015 A-Z in detail 7 mei 2015

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: Inge Lens & Jo Klaps Fullpage fotografie Roger Vervoort & Jo Klaps Druk: Drukkerij Paesen

Lettertypes: Trade Gothic, New Veljovic Pro

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

ISBN: 978-90-8913-049-5 D/2016/2451/ 45

Projectmanangement Walter Niewold Jo Langendries

Papier: 150 gr Multidesign White Smooth

Schetsen & CAAD Jan Bastiaens Gitte Harzé Werner Albert Katrien Raedts

Studiebegeleiding en Ombuds Ozlem Yalci & Marieke Swerts Studieloopbaanbegleider Alida Van Wijck Bibliotheek Philip Speelmans Uitvoeringsatelier Stefan Vanstraelen & Luc Mertens _ 42

T/16 EXIT/16 INTERIOR

ARCHITECTURE

EXIT 16 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

TEAM - LEO AERTS, SAIDJA HEYNICKX & GILBERTE CLAES PHOTOS: STUDENTS

MASTERSTUDIO OBJECT & DESIGN

1. & 2. Tom Clijsters 3. Michelle Cops -

4. - 6. Carlo Swers -

In the masterstudio Object & Design we focus on techniques to make furniture more ergonomic and multifunctional and techniques that create more possibilities for the user. The essence of this exercise is to work with actual models within the design process.

3 6 2

MASTERPROJECT MASTER OBJECT & DESIGN

TOM CLIJSTERS | tom.clijsters@student.uhasselt.be | +32 494 10 90 75

CARLO SWERS | carlo.swers@student.uhasselt.be | +32 476 36 22 04

THE IMPACT OF DIGITISATION ON THE MANUFAC-

wooden plate hovering over the stool base. We divided

C A M P E R – B O X:

the same quick way. The design aspects were a low budget,

TURING PROCESS OF A SMALL SCALE CARPENTER

it further into two plates which function as support of

MOVABLE TINY-SPACES THROUGH THE HISTORY

durability, ecology, flexibility and weight. The result is an

the stool. The seat is carried by a small, wooden support

OF THE VOLKSWAGEN TRANSPORTER.

interior consisting of four individual modules made out of plywood. Combined with some existing facilities, they

Nowadays, it is impossible to imagine a manufacturing

with laser-cutted, rounded corners; vanishing subtle

process without digitisation being involved. This observa-

underneath the seat. The stool base has the shape of the

I asked myself the question: “How can a modern version

create a tiny interior in the cargo space of the car. First,

tion is our starting point. We will investigate the potential

seat pattern. Four thin seat legs support on the floor and

of the original, 65 year old, Camper-Box by Volkswagen/

there is a storage-module in which plastic boxes can be

added-value of a laser cutter for a small scale carpenter.

divides the pressure. By adding a small portion of glue the

Westfalia provide added value when it comes to entertain-

stored with all kinds of camping materials, then there is

Can a laser cutter simplify and support a manufacturing

stool is transformed into one sturdy whole. In addition, it

ment and recreation while keeping the aspects of flexibil-

a drawer-module that can be pulled out from the back

process? Solid wood was chosen to apply the laser cutting

takes very little manufacturing time.

ity, ecology, durability and usability in mind?”

to store things like clothing and dry-foods. Next there is a sanitary-module that’s hung on the side of the car and

techniques on, because of its characteristic qualities and nature. We tried to approach the solidity of the wood

The original idea from 1950 was to transform a daily-

that rests on the inside of the wheel arch. Last but not

differently and to translate it into something new. To

driver workman’s Van into a camper for the weekends

least there is a kitchen-module that pops out of the sliding

maintain the simplicity and subtlety of the furniture, it

with minor interventions. Also important was that for

door on the side of the car. The modules are organized as a

was important to work with as few materials as possible.

the rest of the year the separate modules were usable as

seating area that can be transformed as a sleeping area for

furniture for a guestroom at home. In this masterproject

two persons and the four separate modules have a second

We analysed and experimented with different patterns.

I tried to create a modern interpretation of that idea by

use outside the car as storage spaces, a medical cabinet or

The acquired knowledge was used to develop new patterns

taking a Multi-purpose vehicle (in this case a Volkswagen

an outdoor kitchen.

that affect solid wood. Subsequently, these patterns were

Caddy), and than transforming it to a weekend-camper in

translated into a furniture design: a wooden stool of which the seat gives along with the body, enabled through a 4

TEAM - JO KLAPS, KRIS PINT & REMCO ROES PHOTOS — JONAH VEESTRAETEN & VICKY VANGENEUGDEN

TEAM - JO KLAPS, KRIS PINT & REMCO ROES PHOTOS — VICKY VANGENEUGDEN

MASTERSTUDIO SCENOGRAPHY

VICE VERSA 1 & 2. Lize Vanhoof, Jonah Veestraeten & Dieter Vernijns: Paul Van Ostaijen 3. Vicky Vangeneugden: John Massis -

ONE OBJECT, MANY VISIONS 5. Lotte Ilands & Valierie Eens: Stephan Vanfleteren 6. Rachel Baerten & Saskia Ilsbroux: Roger Raveel 7. Femke Spelmans & Charlotte Vandermeulen: Louis Paul Boon

5 1

The Vice Versa project is a collabration between the masterstudents Scenography of UHasselt and ESA St- Luc Brussels in which different teams make a low-budget narrative installation about a Flemish or Walloon cultural or political icon. The exhibition was held at C-Mine in Genk and was supported by the King Baudouin Foundation. viceversaproject.be 2

3 7 6

MASTERPROJECT MASTER OF SCENOGRAPHY

RACHEL BAERTEN | rachel.baerten@student.uhasselt.be l +32 476 62 17 62 15

STEFANIE BAETEN | stefanie.baeten@student.uhasselt.be | +32 478 48 49 33

FROZEN IN TIME

WHEN MAGIC HAPPENS ON THE FESTIVAL SITE

Through the spaces of the factory, an elevated trail made

list, desires and dreams of all the festivalgoers. Pukkelpop festival always aims to be a platform for young, talented

of recycled wood with traces of a distant past will be conMy research and design tell you how a world of abandoned

structed. Hereby visitors will experience the feeling and

My research and design are based on two main elements:

artists. The art zone will be a place for young artists to

amusement parks and an empty factory building meet

the adrenaline of a roller coaster ride. They will be con-

festivals and happiness.

show their artworks. A lounge area is created with the

each other. After researching the origin and the essence of

fronted with traditional but also mysterious pictures about

Music brings people together. This is very noticeable on a

fabric of flags. These flags originate from the previous

amusement parks in their historical environment, I came

deserted amusement parks. By combining these images

festival. Everyone joins with the same desire: to spend an

edition. There will also be a place on site that shows the

to the conclusion that I would like to show the past glory

with the industrial atmosphere and the special light effects

extraordinary weekend with friends, good weather and

collaboration between the Pukkelpop festival and Oppi

of some amusement parks through an inspiring exhibition

caused by the many windows of the factory, a nostalgic

good music. Festivals can be found all over the world. They

Koppi, a South-African festival.

design. Abandoned places where the spirit of a glorious

atmosphere full of memories will be created.

all aim to create a unique experience for their visitors.

Hopefully, this proposal opens new perspectives. After all

This has led to my research question. Can we improve the

art can lead to an unforgettable festival experience.

past is only a memory. Then I started searching for a location that could reinforce

At that moment an encounter between scenography and

happiness of the festivalgoers? Art and scenography are

the melancholic atmosphere of these deserted places.

a forgotten world of amusement takes place in a well-

integrated on the festival site to increase the curiosity of

The building of my choice is The Chocolate Factory

chosen space. This interaction makes it possible to show

the visitors.

Rosmeulen in Tongeren. An abandoned factory building

not only the charm and the past glory but also the decay

that reveals traces of a rich past, just like the forgotten

of abandoned amusement parks and a historical building.

I’ve chosen the Pukkelpop site, situated near the city cen-

amusement parks. Both places from a distant past, once

It becomes clear that the concept ‘melancholy’ runs like a

ter of Hasselt, as my location for this project. The design

vibrant and full of life, but where nowadays only a deafen-

red thread through my exhibition and brings a forgotten

consists of four elements. The ‘Temple’ is a poetic and

ing silence remains.

world alive … briefly.

restful place. Walls of chalk will be covered with the bucket

MASTERPROJECT MASTER OF SCENOGRAPHY

LOTTE ILANDS | lotte.ilands@student.uhasselt.be | +32 479 96 94 35

SASKIA ILSBROUX | saskia.ilsbroux@student.uhasselt.be | +32 487 45 48 11

HALLUCINATIONS AS AN INSPIRATION FOR A

With hallucinations as my inspiration I went on a quest

‘UP IN THE CLOUDS’

inform people about the desire of men to fly throughout

SCENIC EXPERIENCE DESIGN.

to design an experience, which combines the primary

THE DESIRE OF MAN TO FLY

the ages. The experience is translated into inclining levels

features of this term. In this scenography visitors can leave

of abstract clouds. These ‘clouds’ are connected by fragile

With this scenography I want to tell a story and create an

reality behind, and let their imagination take control. It

Since the beginning of time, men dreamed of flying.

looking tubes, allowing people to crawl from one level to

experience, both combined in one journey.

is a passive journey where the senses are stimulated by

We looked up to the birds and wanted to fly so we could

another, testing their limits. One of the emotions one will

In the first part of the scenography, the visitor becomes

unexpected proceedings; a journey where, afterwards, the

discover the world without boundaries or restrictions.

encounter inside the installation is the conflict between

acquainted with the definition of the term hallucinations,

visitors dare to believe in the unbelievable.

Gods were granted these powers, myths were told, illusions

fear and fascination of heights. A person has to step out of

played with the spectators mind, … but until this day we

his comfort zone to participate in the installation, taking

as well as its meaning in different cultures. In our Western culture the term has a negative connota-

Based on my research I chose for a suitable location. The

have not been able to fly on our own.

him throughout the abstract cloud landscape.

tion, in our society it is often mistakingly seen as a precur-

chapel in the former neuropsychiatric hospital Salve

People began building flying devices. This led to the cur-

My design is situated in the balloon hangar from Schaffen,

sor of insanity.

Mater in Lovenjoel accommodates perfectly with the

rent aviation.

Diest. Currently this hangar functions as a shelter for a

In other cultures hallucinations are deliberately pursued

medical, cultural and religious background of the term

We can fly further, faster, higher, but we still depend on

zeppelin balloon used to train parachutist.

for religious purposes. To experience these visions is

hallucinations.

devices. This way our body isn’t able to physically feel

considered a privilege.

the effects of flying, such as wind, dazzling heights and

This contrast between different cultures is highlighted by

weather conditions.

the playful and colourful experience, which takes place in

In my design I focus on both information and experience.

the second part of the scenography. This design will com-

With my installation I try to take people one step closer to

pletely push the negative connotation to the background.

the experience of flying. Prior to this experience I want to

MASTERPROJECT MASTER OF SCENOGRAPHY

FEMKE SPELMANS | femke.spelmans@student.uhasselt.be | +32 497 02 16 09

LIZE VANHOOF | lize.vanhoof@student.uhasselt.be | +32 471 11 82 23

A MOMENT’S REFLECTION

WHAT’S UNDERNEATH?

concept is universal. This concept, based on emotions, is

What’s underneath? takes place at Nemo33 in Brussels.

translated into an installation which stimulates the senses

The pool is 25 by 25 meter en exists of 5 levels of depth.

Nowadays we can barely imagine life without stress, dead-

of the visitors.

Water is a word that entails a lot of content. Water is a

The deepest point is located in a twelve-angled pit and

lines, massive traffic jams and so on. My research and de-

The exhibition takes place on the staircase of the Wel-

formula. Water is the sea, a river or a lake. Water is ice

measures about 34 meters to the bottom. For the scenog-

sign are the result of my personal interests and curiosity.

lington hippodrome in Ostend. The hippodrome has a

and water is gas. With water we wash ourselves. Our body

raphy, I designed an experiential space reflecting different

Ever since I was a child, I’ve been fascinated by horses and

rich history and was recently renovated. Nowadays the

consists more than half of water. In short, water is the

aspects of my research. The visit to the area has to be done

the special bond which can arise between us. During my

building hosts races during summer, as well as concerts

foundation of a whole range of things existing on planet

barefoot. Concepts such as anxiety, darkness, ignorance

research I stumbled on Equine Assisted Therapy: a fairly

and other events. The staircase is quite remarkable be-

earth. A life without water is impossible, but at the same

and vulnerability coalesce into a dark and mysterious

new form of therapy, which is still growing. EAT comes in

cause it consists of a double spiral staircase. This allowed

time it has the power to take away our lives. In my re-

scenography. The highlight of the visit is the descent into

many forms, whereby it’s beneficial for people who suffer

me to wrap the inner stairs with rear projection screens,

search, water is a metaphor for anxiety and power and the

the 24 meters deep and dark pit, which is accompanied

from both physical and mental problems.

to immerse the visitors in another world. At the end of the

tension between both. The mystery and uncertainty that

by visuals and sounds. Virtually, you go underwater and

In my research I tried to figure out why EAT is so effective

staircase the highlight takes place: the visitor experience

runs between these two concepts is the guidance through

experience some fearful and groundbreaking minutes.

in solving modern diseases. I studied the history of our re-

how it feels to be cured.

the design. The power of water, both to steal lives and to

The design lets you get acquainted with the dark side of

lationship with horses and found similarities between the

create lives, brings forward a dark, double feeling. A feel-

the phenomenon of water and is reflected by your deeper

way horses live and Taoism. Additionally I studied causes

ing that I want to use for making people aware, translated

emotions.

and consequences of the way we currently live.

into a scenography.

The design is based on the different stages of EAT. The course of the therapy is different for everyone, but the

MASTERPROJECT MASTER OF SCENOGRAPHY

VICKY VANGENEUGDEN | vicky.vangeneugden@student.uhasselt.be | +32 494 68 31 39

JONAH VEESTRAETEN | jonah.veestraeten@student.uhasselt.be | +32 474 70 34 29

IN THE LIGHT OF DARKNESS

EACH MEMORY HAS A SOUNDTRACK OF ITS OWN

visitors a taste of urban exploration without the building

location. The “Park Hotel” in Mechelen, Belgium forms a

dominating the exhibition. The chosen location is an old

lost structure in the middle of a dense forest. Based on my

The beauty of decay is the main theme of my research,

theater building because of the structure but also because

As human beings, we live our lives surrounded by music.

research I opted to introduce seven installations that are

concentrating on urban exploration. For many, urban

of it scenographic meaning. The exhibition consists of

When a memory is formed in our subconsciousness, then

intertwined with the characteristics of their location.

exploration is an unknown term; it means that certain

three parts. The first part and thus the introduction will

the specific sound of that moment stays with us. Remem-

people visit abandoned (sometimes forbidden) places and

give visitors a general image of the unknown term ‘urban

ber when you were driving your car and a song brought

Every installation is different from the next one, yet fol-

they may or may not take pictures of them. For many

exploration’. The second part is the transition and the first

you back to a time where everything was better. This

lows it in form and meaning. They all frame a certain

urban explorers these are places of inspiration, this is

step towards the main part of the exhibition. In this sec-

correlation between two, seemingly different concepts

threshold between reality and the subconsciousness,

certainly the case for me.

tion, a part of the building as it is now is shown to give the

started a journey towards a design solution. In my re-

which visitors have to surpass. With the use of visual and

For my research I did some exploring myself. When I

vis itor a real life experience. The final part, the black hole,

search I aimed to explore the dimensions of reality and the

auditory stimuli I try to influence visitors in their way of

visited abandoned places I took some incredible pictures.

is the most important part of the exhibition. When visi-

subconsciousness, with sound and memory in mind. With

thought. In one installation for example, I use a glass floor,

These pictures are presented in an exhibition. The main

tors enter the auditorium, they are surrounded by black,

psychology as a norm, I tried to establish a visual correla-

coated with thermochromic paint, which reacts to heat.

purpose of this exhibition is to show people the beauty of

stretched canvases where photos of the visited places will

tion between sound and the human memory, eventually

By stepping on this black floor, the visitor activates the

decay and to inspire them. Decay is not an ugly thing but

be projected. In this black hole people will have to find

deducing that our mind works through sound waves and

paint and discovers water underneath his feet. At this mo-

it is another state in the purpose of life, it also has a mean-

their way towards the end.

finding a form in this exploration that binds both concepts

ment, his reality becomes distorted. While he observes the

together as one.

waves beneath him, I use sound domes to send out specific

ing. Abandoned places are not only areas without rules but

sound waves and thus try to influence the waves already

also spaces where you can let your imagination go wild. The exhibition will take place in an urbex location, to give

present in our minds.

The transference of this research to a design started with a

MASTERPROJECT MASTER OBJECT & DESIGNN

MASTERPROJECT MASTER OBJECT & DESIGN

CHARLOTTE VERMEULEN | charlotte.vermeulen@student.uhasselt.be | +32 476 49 97 67

DIETER VERNIJNS | dieter.vernijns@student.uhasselt.be | +32 472 69 04 00

PUBLIC INTERACTION

My design will be placed in the passageway that connects

ANIMAL DISPLAY:

aspect. But at the same time it is also a form of animal

the railway station of Brussels-Central with the subway. It

A SEARCH FROM ZOO TO MUSEUM

behavior, such as courtship or defense. In both definitions

People are social creatures. Meeting other people makes

is located in a vibrant city with a lot of diversity. The pas-

us feel good. But when we walk in public, we often act

sage also represents our society with its undetermined and

My research led me from the historical evolution of ani-

differently. We tend to shut ourselves out from all stimula-

rushed character. That is why it seemed the perfect spot to

mal collections to the form in which we recognize them

tions, from ‘strangers’ and from new experiences. We do

place a meaningful design where people can put their lives

today: the zoological garden and the museum. A brief

The entrance hall of Antwerpen-Centraal railway station,

this by creating a separate world of our own through social

on hold for a moment and interact with other people.

study on the fear of animals helped me to understand

nearby the zoological garden of Antwerp is the location

the stigma that surrounds certain animals. By combining

of my design. It offers the passer-by a view in the life of a

media or by listening to music for example. Nevertheless

of display the exhibiting of the animals is important in order to form an informational image.

the world is full of interesting people. The streets are the

I created a meaningful path where people dissolve in the

these studies I examined how display techniques can posi-

living animal in a different and objective perspective with

ultimate place to broaden your mind and discover new,

moment. They get absorped by the experience and don’t

tively influence a negative stigma surrounding animals.

relevant information nearby. It’s my goal to positively

interesting personalities. With my thesis and project, I try

think of anything else for a moment. The journey that

Together with various case studies I conclude that the

change the opinion of the viewer towards the exhibited

to point this out to people and give them a little positive

you make through the installation is not obligatory at all.

negative image of certain animals can simpley be rectified

animal. The form of my design is related to the anatomical

push in the right direction. I examine why people shut

People can do and feel whatever they want. The instal-

by presenting the correct information. This should take

theatre, although I reversed the position of the observer

themselves out a lot and in which ways I can offer an

lation creates possibilities. The possibility for unforced

into account the fact that not only the subject, but also the

and the observed.

answer through my project. People’s experience on the

interaction, for amazement or for a moment of mental

display method and the surroundings provide information

streets is crucial.

meditation. The possibilities are endless.

to the viewer. Display refers first and foremost to the exhibition method, the vessel in which the animal is shown as a scenographic

TEAM - KATELIJN QUARTIER, PHILIPPE SWARTENBROUX & ANN PETERMANS

MASTERSTUDIO RETAIL DESIGN

MASTERPROJECTS: MASTERSTUDIO RETAIL DESIGN

1 - 3. Annebel Thijs -

5 & 6. Amal Hallouss -

5 1

6 Design of Lovemark: through research of their own identity, the students design a store that is a representation of themselves. They choose a material that fits their personality best, which is then used to create the store. The scale of the store is kept small so the students have the chance to design it in every detail, with a surprising use of the chosen material.

3 18

MASTERPROJECT MASTER OF RETAIL DESIGN

AMAL HALLOUSS | amal.hallouss@student.uhasselt.be | +32 475 50 42 57

GAËLLE HARDY | gaelle.hardy@student.uhasselt.be | +32 476 400 338

THE (TRAIN)STATION – HOW CAN THE AARSCHOT

Then, the public space has been studied in terms of activi-

FESTIVALITIS 2.0 – CAMPING IN A POP-UP HOTEL:

TRAIN STATION BECOME A MEANINGFUL DESTI-

ties, quality and features. This part shows that the activi-

NATION WITHIN ITS ENVIRONMENT?

ties that take place in a public space are closely related to the quality of a public space. Finally, this theory was tested

Waiting or changing trains at a train station is not always

by means of case studies and have provided inspiration for

an enjoyable experience. For this reason, only travellers

the redesign of the Aarschot train station.

who must take the train will be encountered at the train station. The train station’s design is functional and does

By adapting the functional character, and by responding

not invite the passenger to go out and discover, even

to the needs and wishes of the passenger, the comfort

though the passengers’ needs are safety, comfort and ex-

element can be enhanced in a train station. By improving

perience. The aim of my research is to answer the question

the quality and providing retail functions that connect to

how the Aarschot train station can become a meaningful

both the passenger and the environment, activities will

destination within its environment.

expand from mandatory to optional activities. This will promote social activities and encourage people to return.

First, the history of the train station, its function and

In time, people will then identify the train station with the

passenger needs are mapped. History shows that trains

city, and a connection will grow between the train station,

stations’ styles have changed from a neoclassical style to

the people and the environment. This will have a positive

an eclectic, and finally classic style.

impact on the city’s image.

text, the pop-up concept is very important. This concept will serve as a basis for the design of the festival hotel. It’s

Rock Werchter is one of the most famous music festivals in

also important to get familiar with the whole campsite

Belgium. Each year this four-day festival receives 150.000

issue. To get a clear idea of the situation I compared the re-

visitors. The site is equipped with car parks and camping

sults of an own survey with the results of a survey on Rock

sites but unfortunately the organisation doesn’t manage to

Werchter commissioned by Live Nation and the village

fill these camp sites anymore. For various reasons the visi-

Rotselaar. Research into precedents is also necessary to

tors increasingly look to stay at another location or return

understand which facilities may or may not be necessary

home during the festival and this has a negative impact on

to create a proper environment for a festival.

the atmosphere.

Great importance is attached to materiality. Selecting a

It is a negative evolution that I, as a regular festival visitor,

material that will be suitable for both the concept and the

hav ewitnessed over the years. This problem surfaced mainly

site is an important fact.

since the privatisation of the campsites. The deterioration of

The design is closely aligned to the conclusions arising

the facilities becomes more and more visible.

from the investigation. The main purpose of the festival

Festival campsites can easily be placed in the pop-up class

hotel will be to provide residence for groups. Besides that

due to common features such as temporariness, material-

I aim to improve facilities at the campsite. This way the

ity, a.o.

amazing camp atmosphere will not vanish and the festival

To be able to better understand this and put this in con-

atmosphere will return.

MASTERPROJECT MASTER OF RETAIL DESIGN

INEZ NIJS | inez.nijs@student.uhasselt.be | +32 477 05 68 28

ANNEBEL THIJS | annebel.thijs@hotmail.com | +32 472 81 27 53

THE MARKET OF NEIGHBOURGOODS, A NEW

volved, such as a central community garden as the beating

WELL-BEING OF BODY AND MIND

DESIGN FOR THE ALREADY EXISTING MARKET

heart of the new marketplace.

CONCEPT

After researching how it is possible to create a sports area where people love to sport and where they can become

We live in a society where many people sit a lot and barely

new people, I based my concept on two ideas: the help

To generate this, I took a closer look at several topics such

work out. Therefore, it is important that it is made suf-

from personal trainers and the philosophy of the oriental

For centuries, the phenomenon of the fresh market exists

as globalisation, localisation, social integration, commu-

ficiently clear that exercise is necessary to obtain or main-

fighting sports. Combined with an environment of nature,

in several forms. The question is whether these fresh

nity gardens, Slow Food and sustainability. To support my

tain a healthy life. Through advertisements, investigations

this could be a place where the athlete will become totally

markets are always efficiently ‘designed’. Due to the limited

literature study I did four case studies in order to examine

and newspaper articles, we are increasingly confronted

zen. As a result, they can rediscover themselves and

opening hours those markets are organised at the town

the functioning of markets in practice. In addition to these

with the idea to exercise more. The question is whether to-

become healthy.

squares not everyone is in the possibility to participate.

four case studies, I did two small case studies about com-

day’s fitness centers can ensure that you become healthy.

Natural materials appear throughout the design so it

People like to go to the market to buy fresh products but

munity gardens.

After all the mental factor is equally important to be able

would feel like the athletes are exercising outside.

in addition they also love the social aspect that the market

to sustain.

entails. The market also serves as a meeting place where

Based on the results of my research process I designed a

Therefore, I need to develop a space in which people can

people love to come together and enjoy a drink at the

brand new market concept. This market concept should

become happier and where they can grow as a person.

local bar afterwards.

go beyond the trade of food and goods and should create

The building that in my opinion looked perfect for a new

a community feeling. These new involved features should

form of fitness was the Sint-Jakobusgasthuis in Tongeren.

take place in a location that reinforces the concept.

It’s the old hospital of Tongeren. A place where health was

The purpose of this thesis is to research the design of a new upgraded marketplace, attractive for all. In this new

very important.

concept different kinds of activities and terms are in-

MASTERPROJECT MASTER OF RETAIL DESIGN

ELENE VERNIJNS | elene.vernijns@telenet.be | +32 476 59 42 24

SHANA VLIEGEN | shana.vliegen@student.uhasselt.be | +32 474 34 10 73

THE BELGIAN DESIGNER PRIDE IN THE COSMO-

design with characteristics of Belgian design. Addition-

PROUD OF THE ‘PAUWENGRAAF’.

families, surrounded by nature.

POLITAN CITY HONG KONG.

ally I also want it to be set in the host city, by showing

VACANCY IN MAASMECHELEN.

There were still some shops located in the eastern part of

my respect for the existing building and by making the

the street, but in addition to the existing retail I created

August 26, 2015, my first steps in Hong Kong as an

interior as flexible as the cosmopiltan city in a way that it

The ‘Pauwengraaf ’ in Maasmechelen was seen as the

three concepts that are partly retail, partly residences.

exchange student. I wanted to explore, look for other

can change together with every new collection.

commercial center of the municipality for years. Unfortu-

Therefore the street starts with all retail concepts in the

cultures and new, maybe even better places. I went looking

The result of my experience and research is a retail design

nately the vacancy rate has increased over the past years.

east, followed by concepts of my design, and ends with

for personal enrichment. And enrichment I received, in

concept in which I want to refresh and amaze by portray-

Mainly the western part of the street has suffered tremen-

only residences at the west.

a different way than I expected, though. I lived there for

ing Belgium with its abilities in design, this placed and

dously from this.

One of the three concepts I designed is a day care for

four months, I adapted to the city, but something was

designed according to my personal vision.

The purpose of my study and design was to find solutions

children of parents living in the ‘Pauwengraaf ’, with resi-

that can help solve this problem.

dences on the first and second floor. The second concept

missing.

is an office for start-ups or companies who are in need of

I was subjected to many choices in this big city where different cultures are more dominant than its own culture.

In first instance the design of the street had to be taken

a temporary workspace. This concept is also combined

However, between all these cultures, I could not find

care of. The street was mostly dominated by parking spots,

with residences on the upper levels. The third concept is a

my own. My home country was missing in the crowded

the street furniture was outdated and there was not a lot

space where people can practise their secondary occupa-

streets. This gave me the idea to design a showroom in

of nature. Therefore I created a new design for the street,

tion and sell the products they make in their studio. On

Hong Kong, where nothing else than Belgian designer

which makes it a lot more liveable.

the other levels there will also be a residence.

pride, such as art, design and fashion will be presented

In the western part of the street, were the vacancy level

and introduced. For me and my concept, it is important to

is the highest, I created a residential zone for all kinds of

TEAM - VICTOR SIMONI, BIE PLEVOETS & KOEN VAN CLEEMPOEL

MASTERSTUDIO ADAPTIVE REUSE

1. Annelien Swennen 2. Mich Mermans 3 & 4. Jeroen Mattheus -

5. Valerie Spreuwers 6. Annelien Swennen

5 1

In this year's adaptive reuseâ&#x20AC;&#x2122; exercise we discover the possibilities for the reuse of the "Veldeman" building at the Hasselt harbour. Once this was a showroom for design and office furniture. The City of Hasselt owns the building and since this became part of a residential area, it needs a new function. Possible destinations are: exhibition space, reception-room or a neighbourhood centre.

2 4

MASTERPROJECT MASTER OF ADAPTIVE REUSE

FREDERIK BASTIAENS |frederik.bastiaens@gmail.com | +32 491 18 43 69

HANNE CEUNEN | hanne.ceunen@student.uhasselt.be | +32 499 62 45 66

FROM A YOUTH DETENTION CENTER

available in Belgium. One of the approaches found was co-

ADAPTIVE REUSE OF MONASTERIES

De Ark community provides a place where people with

TO A COLLECTIVE HOME.

living; residents own their private living space but share

A HOME FOR ‘DE ARK’ COMMUNITY

and without mental disabilities live and work next to each

communal areas such as a kitchen, a mess hall, a laundry

other. It is a community where the members can develop

The number of available parcels of development land in

room, a workroom, a fitness, a sauna, a library and a small

Religious groups reduce or disappear because the tradi-

themselves in the best way possible. They are equal but

Flanders at the end of the year 2012 was 247.553. For this

cinema. Often small projects are being implemented in

tional way of commemorating faith lessens. This leads to

have the opportunity to be their own person.

reason, we as Belgian citizens are imposed to handle our

newly built houses but are still not an answer to our lack

the vacancy of religious buildings. These buildings often

Based on my research I searched for a suitable location.

living conditions differently. Some of the new approaches

of space and need for different lifestyles. Co-living could

have a valuable significance in terms of historical, cultural

I selected the Franciscan monastery in Sint-Truiden,

are renovation and collective houses. We have tried to

be easily implemented in existing buildings. The design

or social aspects. Monasteries are often extensive struc-

because of the specific way the friars spent their lives. It

unite both possibilities in one single project.

I have created for the detention center in Mol shows the

tures. They form landmarks which are often located cen-

reflects the lifestyle of De Ark community.

Co-living is a type of living which has been implemented

possibilities for this institution which has been closed 26

trally in a city or a village. All of these components make

in Denmark starting in the early seventies and is still being

years ago and is still looking for a different approach in

that there are a number of ways to reuse these buildings.

used today. In that time, collectives have emerged from a

use today.

I didn’t start with a specific monastery in mind. I started

shortcoming of residences.

with searching for a new use for monasteries. I wanted to

Denmark is a model and great inspiration within the

The majority of the design exists of co-living. People of

involve the way religious groups used to live in monaster-

subject of collective living.

different generations living together and sharing facilities.

ies. I searched for aspects that were important to this

The project contains multiple collective facilities: a com-

way of life and elements that could serve as a source of

The analysis starts with finding the appropriate model of

munal dining room, kitchen, laundry room, work room,

inspiration for a new use. This lead me to a community

co- living. We have looked for the different approaches

fitness, sauna and garden.

called ‘De Ark’.

MASTERPROJECT MASTER OF ADAPTIVE REUSE

ELKE DEKORT | elke.dekort@student.uhasselt.be | + 32 476 37 89 88

JANA HAESEN | jana.haesen@student.uhasselt.be | +32 473 50 71 75

ADAPTIVE REUSE OF A PRESBYTERY

home brewery, the residential aspect is preserved and the

NATURE TAKES OVER: ADAPTIVE REUSE BERIN-

The mine site and director’s park will be connected by

building can once again revive under the form of a small

GEN-MIJN’S DIRECTOR RESIDENCE

an underground passage, inspired by the mine tunnels. While walking through the passage, the story of the resi-

Over the last several years, many presbyteries have lost

company where its own products are being produced

their respective functions and are now turning into histor-

and sold. By creating a place collocated with the home

A forgotten gem , that’s how I would describe Beringen-

dence will be told by pictures and texts so visitors can learn

ical monuments in the heart of the villages. This process

brewery, where one can enjoy the locally brewed beer, the

Mijn’s director residence. Across the street from the mine

its history before arriving.

of decay is also applicable to the presbytery of Groot-Vorst,

presbytery will once again become a vivid meeting place.

site, in a large park, you can find the director residence.

In the villa you can find a coffee and tea bar where people

Where once stood a nice villa, representing the wealth and

can relax and get inspired by the nature and surroundings.

where the building has been abandoned for multiple years, but is still in good shape. My personal quest for a

Additional investigation was the incentive to the design.

fame that prevailed among the directors, now only a ruin

The pure of the coffee and tea and the traditional way of

new function has sprouted, departing from the idea that

Multiple elements from the eighteenth century, in the

remains.

making it, reference to the pu-rity of the coal, a natural

adaptive reuse can offer an appropriate answer for the

style of Louis XVI, were preserved in the main building.

Nevertheless, through the devastation you still can see

product with the possibility to achieve many things.

revival of the parsonage and can counteract its unfortu-

These elements formed my primary source of inspira-

the beautiful building it used to be, a building with a

The banquet facilities can be found under the renewed

nate decay. From this, the importance of its historical use

tion and are thus present throughout the entire Bed and

fascinating and lively story. This fascinated me and made

roof. Here, you can really feel the relationship between old

pushed forward: The presbytery wasn’t only a residence

Breakfast-design, which offers a certain cosy feeling. This

me want to learn the story behind the villa while adding a

and new with an excellent view on the crumbling ruin.

for the local priest, it also harboured an active farm. In

cosy atmosphere is also traceable in the brewery, only in

new chapter to it such that nature taking over wouldn’t be

Scattered in the park you can find guest facilities, each

the extensions of the residence, primary products were

a more contemporary sense. In doing so, a contrast arises

the last one.

with a unique view of nature.

fabricated, which were not only for proper use, but were

between the strict typology of the main building and the

Giving it a new purpose where you can feel and experience

also sold to the parishioner. By remodelling the parsonage

more flexible typology of the adjacent buildings

all the aspects of its history.

It is a place where many people can relax in different ways and where they can reminisce and relive the past of the

into a Bead and Breakfast, in combination with a small

MASTERPROJECT MASTER OF ADAPTIVE REUSE

JEROEN MATTHEUS | mattheus.jeroen@hotmail.com | +32 479 59 43 09

MICH MERMANS | michmermans@hotmail.com | +32 478 69 74 61

ADAPTIVE REUSE OF WINDMILLS:

My concept is based on the the association with wind

REINTEGRATION OF DISADVANTAGED PEOPLE IN

It became a place where people meet, learn and live. The

A NEW FUNCTION FOR THE WITTE MOLEN IN

power. Wind power as we know it today has evolved from

THE MOTHER CITY:

building will be transformed into a large social work place

AARSCHOT

the principle of the original windmills, namely the practi-

A THEORETICAL BUNDLING OF SOCIETY, A FUTURE IN

with different sections forming one big network. By pro-

cal use of wind power.

POVERTY AND CHANCES IN ‘THE RAINBOW NATION’

viding training courses, activities and job opportunities a

centuries, but since the rise of steam engine and electricity

Three principles underly my design concept: the history

The societal problem surrounding the poverty that has

basic services are offered to the active visitors.

they fell into disuse. The preserved historical windmills

of the windmill, the environment and the genius loci of

formed throughout the rich history of South Africa

The site is located on the edge of the colourful Bokaap;

do not have any economic use today and are often located

the place. With a research of its history I learned that the

brought this project into life. The gorgeous city centre

the literal border between rich and poor. A characteristic

in ruinous state. Yet, windmills still form an iconic monu-

mill was originally surrounded by an artificial hill. This

and its surroundings that Cape Town has to offer became

corner building functions as an active working place. The

ment in their environment because of their impressive

made me return to its origins and stretch this hill in a

the home of many homeless who couldn’t find the path

architecturally contrasting outhouse is seen as symbolic

typology. In order to save these monuments I looked into

shape so that all the new functions could fit underneath it.

out of the vicious circle of poverty. As a result of this

by the local society in which both extreme poverty and

possibilities to make them useful in today’s society and

An analysis of the environment made clear wich activities

design project, a day centre has been created that could

riches live together. Transparency throughout the design

prevent them from further decay. In my master project I

take place in the surroundings, so I could make the new

form a possible bridge between a poor life on the streets

guarantees openness and freedom while attracting con-

focused on one particular windmill - the Witte Molen in

function part of it. Finally a study of the genius loci of the

and a more fortunate future with a self-reliant existence.

frontation, inspiration and dialog.

Aarschot – and searched for a suitable new use. Finally I

place showed the strenghts of the site, which gave me the

Theoretical research was inspirational and resulted in the

Because of the multifunctionality of the interior, the

redesigned this windmill as an office for a company that

chance to create an ideal experience of the windmill and

creation of four main pillars that provide support within

possibilities are unlimited. While I, as interior designer

deals with wind power.

site.

the design: ‘personal values’, ‘talents and skills’, ‘contribu-

am offering these means, the building will continuously

tion’ and ‘relationships’.

change, just like its visitors.

perspective into a better future is offered. Along with this,

Windmills have been an important tool for farmers for

MASTERPROJECT MASTER OF ADAPTIVE REUSE

RENATE SPREUWERS | renate.spreuwers@outlook.com | +32 479 70 74 97

VALERIE SPREUWERS | spreuwers.valerie@gmail.com | +32 497 86 71 73

I SEE WHAT YOU DON’T SEE

hotel is fairly small with eight rooms, in a renewed open

ADAPTIVE REUSE OF CHARBONNAGE DU GOUFFRE:

part of its culture.

thriving city called Overpelt. The hotel is located close

REINTEGRATION OF COLLIERIES IN MODERN SO-

For many of us it is more than normal to see everything

to the North-South connection of limburg, the industrial

CIETY

and rely on sight. With the caption “I see what you don’t

zone, bike paths and walking trails, a cultural center, …

see”, I want to draw attention to the visually impaired in

Therefore it can attract for both businessmen and tour-

After a few decades of economic turmoil, coal mining has

to achieve this by means of a new programme, which will

our society. For my thesis I will investigate what being

ists, everyone is welcome. The design takes into account

become an activity of the past. Nowadays, collieries are

build upon a new vision of the future as well as the objec-

visually limited means and how the visually impaired per-

the knowledge of the visually impaired. The interior is

not being built any longer. This has lead to an increased

tives drafted by the city council of Châtelet. The site will

ceive space. According to my research, I could conclude

designed in such way that it is pleasant to walk around

sense of appreciation for the historically invaluable con-

house an art institute, which will offer a broad cultural

that the way in which the visually impaired perceive an

and navigate in the building for visually impaired. But

struction typology of these buildings, which ought to be

programme, ensuring further cultural and touristic devel-

area also has a value for others. Everyone uses multiple

still, these design choices don’t stand out in the interior.

well preserved for the future. The construction of these

opments in the city. This programme will appeal to a large

senses to experience a space, but not everyone is aware

We work with different kinds of textures, colors, shapes,

collieries has played a major role in the history and de-

audience and provide few leisure activities and enriching

of it.

acoustics, light, … But we also take into account the de-

velopment of Belgium, more particularly Wallonia. Char-

experiences for its visitors. Charbonnage du Gouffre will

Through my research I found out that many hotels

tails such as menus and other information which will also

bonnage du Gouffre accurately represents the zeitgeist

once again become a crowded place, offering a range of

represent themselves as an accessible hotel but many of

be available in a larger font and in Braille.

and past of Châtelet. However, despite its contribution to

activities and events where visitors are being challenged to

them only are wheelchair accessible. That’s why I found

Belgium’s history and development, this site has yet to be

explore and introspect.

it an interesting fact to design a hotel for my thesis. I

assigned a proper function in the present, as its buildings

designed a hotel that is accessible for everyone. The design

are currently in poor condition. Unless action is taken, the

is based on the experience of the visually impaired. The

colliery will likely decay and Châtelat will lose a significant

By means of adaptive reuse, the site will once again prove useful, as it will be actively used in modern society. I aim

MASTERPROJECT MASTER OF ADAPTIVE REUSE

AXELLE STRACKX | strackxaxelle@gmail.com | +32 491 13 80 69

ANNELIEN SWENNEN | annelienswennen@outlook.com | +32 494 88 04 83

A REHABILITATION CENTRE IN WHICH THE HAPPINESS AND HEALING OF CHILDREN WITH RESPIRATORY PROBLEMS IS ENCOURAGED.

habilitation centre treats a wide range of different patients

ADAPTIVE REUSE OF THE RED MARBLE QUARRY

redeveloped by trying to retain as many original features

I concentrated on children with respiratory problems

“CARRIÈRE DU BEAUCHÂTEAUX”.

as possible, passing hikers, cyclist and even tourist can rest whiling enjoying the beautiful scenery of the quarry. After

between the ages of 6 and 21.

I was hospitalised several times when I was little. Because hospitals always gave me an anxious and unpleasant feeling, I became fascinated with the way a medical environment has an influence on children. I know how it feels when a very ill child is taken away from its surroundings. You end up in an environment that is not familiar, a number of medical examinations are carried out, you have no

Literature review showed that interior parameters such

In Belgium at this time there are 50 quarries at various

their rest they are welcome to explore the quarry at their

as lighting, appearance, choice of materials, but also the

stages of their lifecycle. The remaining working quarries

leisure following a footpath that has been built in the quar-

activities patients participate in have a positive influence

still carry a high importance to the stone industry whilst

ry. Via the footpath, that takes them around the lake, they

on their recovery and happiness. I analysed the different

the abandoned quarries have only been returned to natu-

reach the information center where they can learn about

parameters in Pulderbos and took into account what is

ral. Even abandoned quarries could remain as an attraction

the quarry’s history.

important for children in a hospital environment in order

if developed correctly. An example of this is the “Carrière

to make improvements. I also selected 4 specific activities

du Beauchâteaux” quarry.

Overall, the project has given great attention to the modern interpretation of the quarry's layout, material and

for this target group that I integrated into my design.

idea what is happening. I am convinced that a comfortable environment is very important in those circumstances, in order to a child to ‘heal’ calmly, to feel at ease and maybe even a little bit happy. With all this in mind I started looking for a location and I ended up in the rehabilitation centre Pulderbos. As this re-

Based on this information I created a pleasant and familiar

The “Carrière du Beauchâteaux” is a beautiful red marble

beautiful colouring. The intention of the redevelopment is

environment, a place where a child can rehabilitate at its

quarry that has not been in operational production since

to bring life back to the quarry by making it a tourist at-

own pace, a place where it can build a future and be joyful.

1950. To help redevelop the old quarry the old factory

traction, which over time, could lead to larger events tak-

building is being converted into a model brasserie along

ing place between the factory building or the site's central

with a new construction to enhance the existing cliff face.

square.

Within the factory building, which is being sympathetically

MASTER DESIGN WORKSHOP

1. - 3. Annelien Swennen - Lize Vanhoof - Dieter Vernijns - Elene Vernijns 4. Melissa Algarrada - Igor Duelen - Jeroen Mattheus - Carlo Swerts 5. Tom Clijsters - Mich Mermans - Bram Neuteleers - Jonah Veestraeten

MARIËNLOF

Mariënlof

2 This year the joint workshop of all the design studios in the

The students introduced new functions ranging from di-

master Interior Architecture this year was a design re-

verse agricultural activities and traditional craftsmanship

search exercise on the (adaptive) reuse of the monastery of

(like the ones originally present) over cultural or health-

Colen, or Mariënlof close to Borgloon. The monastery is of

care services for different target groups to more symbolic

historic value being founded in 1431 by the Catholic order

interventions emphasizing the spiritual nature of the place

of the Kruisheren and is located on a hill in the undulating

and the mystical character of the landscape.

rural landscape of Haspengouw. It’s a unique example of untouched religious heritage in Flanders. Ithas acquired

The workshop took place during two weeks (2nd – 12th

its compact lay-out and spatially layered quality during

of February). The design tools were ‘unplugged’, mainly

different construction phases throughout time.

model making and sketching.

Taking into account the condition of the maintained

The concept of the studio was developed by Nikolaas

presence of a small community of remaining Cistercian

Vande Keere and Karen Lens. They conducted the exercise

Sisters, the research question focused on the re-activation

together with Herman Van Meer and Philippe Swarten-

of the economic part of the monastery. The assignment

broux.

was to develop a programme for the underused buildings around the courtyard of the Neerhof and to define a spatial

solution for its unfinished northeast wing with its façade facing the valley and the small town of Kerniel. The aim of the exercise was to find the means for the restoration and (sustained) survival of the monastery in the future while respecting or reinforcing its religious origins and the monastic way of life on the site.

5 1 38 38

A SELECTION OF MASTER ESSAYS

MASTER JURY

MASTERPROJECT X-TRA

2. 1. - 3. Elene Vernijns 4. Stefanie Baeten 5. Lize Vanhoof 6. Jonah Veestraeten 7. Axelle Strackx

MASTERPROJECT X-TRA

1. Tom Clijsters 2. Inez Nijs 3. GaÃ«lle Hardy 4. & 5.Rachel Baerten 6. Valerie Spreuwers

6. 50

MASTERPROJECT ERASMUS

HONG KONG DESIGN INSTITUTE

POLITECNICO DI MILANO

Elene Vernijns -

Inez Nijs -

MASTERPROJECT ERASMUS

ESAD COLLEGE OF ART AND DESIGN PORTO

CAPE PENINSULA UNIVERSITY OF TECHNOLOGY

Stefanie Baeten -

Mich Mermans