Exit/17 Interieurarchitectuur by Inge Lens

exit/17

interiorarchitecture

EXIT 17 Interieurarchitectuur

VOORWOORD - DESIGN FOR LIFE Rob Cuyvers - Kris Pint

_ 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.

en internationaal discours. Verscheidene (co) promotoren zijn dan ook buitenlandse hoogleraars. Samenwerkingsverbanden met gerenommeerde universiteiten zorgen voor een inbedding in het architecturaal onderzoekslandschap.

De faculteit heeft naast de Limburgse en Vlaamse, een sterke internationale ambitie uitgeschreven. Master studenten waren werkzaam zowel in Vlaanderen als in de Euregio, Vietnam en Tanzania. De internationale Engelstalige master Adaptive Reuse is met succes opgestart. Steeds meer studenten trekken ook individueel 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 gesetteld in onze faculteit en doet ons netwerk steeds meer groeien.

Vanuit het onderzoeksinstituut ArcK wordt het onderzoek voor de opleidingen architectuur en interieurarchitectuur gecoördineerd en gestuurd. Er wordt gefocust op ruimtelijk sociaal-cultureel-maatschappelijk architectuuronderzoek. Een 65-tal onderzoekers, 35 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, het Provinciebestuur van Limburg en verscheidene Limburgse steden en gemeenten, 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 mens & cultuur. Voor interieurarchitectuur vormen retaildesign, 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 steeds meer ook op 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. Overgoten met een sterke saus onderzoek en een directe input van het werkveld is de opleiding uitgegroeid tot een sterke speler in Vlaanderen.

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.

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

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

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. The faculty also has strong international ambitions. Master students worked in the Euregio, Vietnam and Tanzania. 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.

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 group. The focus is on spatial socio-cultural and and societally relevant architectural research. Our research entails about 65 researchers, 35 doctoral projects, and several welldefined research projects. Projects are developed in cooperation with external partners, such as the Flemish Government Architectâ&#x20AC;&#x2122;s Team, Flanders Architecture Institute (VAi), the province of Limburg, and various cities and communities.

â&#x20AC;&#x153;Design for lifeâ&#x20AC;? 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, man & culture, and urban design. Students in the interior design programme choose between retail design, reuse of buildings, scenography, and furniture design/ dwelling. The design studio is central to each programme. In the design studio, research-minded students are intensely trained. The instructors have an exten- sive expertise at the Flemish and more often also at the international level.

The faculty has clearly decided on a sound process of academification based on selectively chosen cornerstones. The strength of the staff, which includes academics and active designers, architects and interior designers, makes it possible for us, together with our students, to have an ambitious goal and to accomplish it. Due to our efforts in research and a direct input from the active profession, the faculty has developed into a strong player in Flanders. The result of this is witnessed in the excellent work of our last-year students.

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. In these academic programmes, designing research and investigative thinking and working are increasingly important. This designerly research is based on a Flemish and international discourse. After all, several (co-)promoters are

AANPAK

INTERIEURARCHITECTUUR De essentie van het huis ....

KRIS PINT

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 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.

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

INTERIOR ARCHITECTURE The essence of the house...

KRIS PINT

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.

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

Our educational programme is structured around four key domains: reuse of buildings, retail design, scenography, and furniture design/dwelling. In the Master, students choose, in function of their own interests, for one of these domains in which they can profile themselves as designers. A central element in the Master programme is the Master’s test, which consists of a project in which design choices are underpinned by research. Specific to an academic design education is the choice option between classic and more artistic forms of research.

Our educational programme offers all knowledge and skills an interior designer needs to possess. After all, a good interior architect is not only a good designer, he/she is also an able researcher, manager, and communicator. All of these aspects are integrated in the four studios which are central to our programme. In the Envisioning Architecture studio, students learn to visualize spaces, both 2D and 3D, by computer and by hand. Imagination and an experimental attitude, necessary to design the interiors of the future, are stimulated in this studio. The courses of studio Building Construction focus on construction and technique, as well as on comfort and sustainability. An interior designer is a master of detail. Hence, all physical and aesthetic possibilities

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 17 Interieurarchitectuur

BACHELORPROJECTEN 1, 2 en 3 BAIAR

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

1BAIAR

1. Anneleen Dekkers, 1.1 zitten 2. Eline Lievens, 1.3 verblijven 3. Jasper Goris, baden 4. Gemeenschappelijke oefening

5. Lennert Haest, 1.2 observeren 6. Jasper Goris, 1.3 verblijven 7. Nevin Kucuktopal, baden

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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 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, KAREN LENS, PETER FIRMAN, STAN JACOBS, LIEVE WERCKX FOTO’S — WERNER ALBERT EN LIEVE WERCKX

2BAIAR

1. Laurien Borgers - Marie Venedrickx - Elisa Bammens, 2.1 Yes 2. Tessa Verreth, 2.3 Contained living 3. Sofie Van Esser, 2.3 Contained living 4. Annemie Vanlangenaker, 2.4 Meer dan wonen

5. -Annemie Vanlangenaker, 2.3 Contained living 6. Loes Maes, 2.3 Contained living 7. Emma Vanderwegen, 2.4 Meer dan wonen 8. Loes Maes, 2.4 Meer dan wonen

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.

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

3BAIAR MODULE SCENOGRAFIE

1. Leonie Maes 2. Larissa Morren 3. Benita Niessen 4. Simon Moons -

5. Lore CHampagne & Marie Lodts 7. Caro Gelders 8.Borekmans Celina, Koekenberg Jill & Nick Lammers -

2. Meissen porselein

7. Blek le Rat

1. Cornelius Cardew

5 5. Constructie Scenografie: Bataljon Para in Diest 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 hen 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 het hof van Busleyden in Mechelen. 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 vliegtuigloods.

3. Adrienne Bolland 4. John Coltrane

8. Constructie Scenografie : Dark Caroussel

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

3BAIAR MODULE WONEN & OBJECT

1. Jorn Braeken 2. Lore Champagne 3 Karen Geerits 4. Marie Lodts -

5. Benita Niessen 6. Simon Moons 7 Larissa Morren 8. Aandachtige jury -

5 In de module Wonen en Object ontwerpt de student een modulair meubel in een container: een zeecontainer in de “Tuin van Betty” in de Vennestraat in Genk en een wooncontainer van de firma Warsco in Genk-Zutendaal.

Het concept van het meubel wordt gedragen door een modulair systeem. In de Tuin van Betty heeft dit systeem zowel betekenis in één module als in het geheel van de inrichting die bijdraagt tot het bekomen van een sociale hub, een ontmoeting- en workshopruimte in de eco-container.

Voor de firma Warsco moet de inrichting d.m.v. het modulaire meubel de container verlossen van het stereotype beeld van werfcontainer of tweederangruimte om te wonen.

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De module is beperkt in afmeting en makkelijk te monteren, waardoor het ook een meerwaarde krijgt in het transporteren. Het meubel draagt de functie van opbergen. Maar door zijn modulaire karakter kan het meerdere functies genereren.

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BEGELEIDERS — MARIA LEUS & PHILIPPE SWARTENBROUX FOTO’S — STUDENTEN

3BAIAR MODULE HERBESTEMMING

1 - 3. Jori Hillen & Marie Thaens -

4 - 6.. Marie Lodts & Lore Champagne -

De module Herbestemming focuste dit jaar op het ontwerp van een nevenbestemming in het klooster van de Heilig Graf Zusters op de site Abdij van Herkenrode. De oefening bestond uit een analytisch vooronderzoek in groep (mbt. de betekenis van de religieuze orde, de bouwkundige geschiedenis, de stedenbouwkundige situatie, de programmatorische organisatie van het huidige complex enz.) gevolgd door een ontwerpend onderzoek in kleinere teams naar een nieuwe en maatschappelijk verantwoorde invulling van het klooster als hart van de site, waarvan de ondersteunende gebouwen reeds een nieuwe commerciële functie kregen. Hierbij werd vertrokken van de veronderstelling dat de bestaande zustergemeenschap aanwezig blijft. .

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De oefening had als doel het klooster in stand te houden door flexibele programma’s op maat toe te passen, respectvol om te gaan en interactie op te zoeken met de nog aanwezige spiritualiteit en de veerkrachtige kloosterarchitectuur. De studenten werden uitgedaagd een zorgvuldige, ruimtelijk interessante invulling te geven aan de leegstaande bouwdelen en de diverse buitenruimtes in en rond de site. Herbij werden verschillende programma-combinaties tussen uiteenlopende zorg en co-housing voorstellen uitgediept.

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BEGELEIDERS — STEPHANIE CLAES, KATELIJN QUARTIER & PHILIPPE SWARTENBROUX FOTO’S — PHILIPPE SWARTENBROUX

3BAIAR MODULE RETAIL DESIGN

1. Marie Lodts & Lore Champagne 2. Jori Hillen & Frederik Moens -

3. Celina Broekmans & Caro Gelders 4. Karen Geerits & Larissa Morren 5. Simon Moons & Kristien Ketelslegers. -

3. 1. in de module retail design lag de focus op het leren van de stiel. Om de studenten te laten nadenken over hoe consumenten winkelen, bewegen en zich gedragen in een ruimte, werd er gekozen voor een een vrij groot pand: de voormalige Florina in As.

Dit gebouw, dat bestaat uit 6 hallen met verschillende niveaus en verschillende daken, vormde de ideale uitdaging voor de studenten om een ‘goed’ grondplan te kunnen maken. De studenten waren vrij om te kiezen welke producten ze verkochten zolang het binnen de doe-het-zelf sector lag (in de brede zin van het woord). Na een onderzoeksfase van 4 weken, waar ze hun product leerden kennen en een concept leerden maken, mochten ze in teams van 2 het concept verder uitwerken tot een volwaardig winkelontwerp. Bij deze opdracht ging specifiek de aandacht naar een goede flow, een goede productindeling en een ruimtelijke vertaling van voorgaande in een samenhangend en leesbaar ontwerp.

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EXIT 17 Interieurarchitectuur

VARIA & STUDIEREIZEN

BEGELEIDERS — GITTE HARZÉ, KATRIEN RAEDTS EN WARD BERGEN FOTO’S — WERNER ALBERT

STUDIEREIS 1BAIAR: LILLE

1. Canadian National Memorial, Vimy 2. Villa Cavrois, Croix 3. Mons Memorial Museum, Mons -

4. Cimetière National de Notre-Dame de Lorette, Ablain 5. Lycée Hôtelier International, Lille 6. LAM-Lille -

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BEGELEIDERS — WERNER ALBERT, STAN JACOBS, PETER FIRMAN, LIEVE WERCKX FOTO’S — WERNER ALBERT & PETER FIRMAN

STUDIEREIS 2BAIAR: LYON

1. & 2. Châlons-en-Champagne, Centre National des Arts du Cirque 3. &4. Couvent de La Tourette, Le Corbusier

5. MuséoParc Alésia, Alise-Sainte-Reine 6. Colline Notre Dame du Haut; Le Corbusier 7. Couvent de La Tourette, Le Corbusier -

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

STUDIEREIS 3BAIAR: OSNABRÜCK - HAMBURG - LUBECK

STUDIEREIS 3BAIAR: BERLIJN - LEIPZIG - KASSEL

1. Felix-Nussbaum-Haus in Osnabrück 2. Museum und Park Kalkriese: Varusschlacht, Osnabrück 3. Tobias Grau, Hamburg, 4. KZ-Gedenkstätte Neuengamme -

5. Museum für Kunst und Gewerbe, Hamburg 6. Elbphilharmonie Hamburg, Herzog & de Meuron 7. Hansemuseum Lübeck, Studio Andreas Heller Architects -

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6 2

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BEGELEIDERS — PETER FIRMAN, JO LANGENDRIES, JO KLAPS § ROGER VERVOORT FOTO’S — IESBETH DRIESSEN

BEGELEIDERS — PETER FIRMAN, JO LANGENDRIES, JO KLAPS § ROGER VERVOORT FOTO’S — LIESBETH DRIESSEN

FACsTORIES

FACsTORIES -

FACsTORIES Gedurende 1 dag konden alle studenten Interieur deelnemen 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. Introductiedag 2. Dompeldagen 1Baiar 3 & 4. Infodagen -

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

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ONDERZOEKSGROEP ARCK – ACADEMISCH ONDERZOEK VOOR, DOOR EN MÉT STUDENTEN

RESEARCH GROUP ARCK – ACADEMIC RESEARCH FOR, BY AND WITH STUDENTS

Op 1 oktober 2016 mochten een aantal studenten van onze faculteit een Cera Award ontvangen voor hun herontwerp van een stopcontact en lichtschakelaar. Vanuit een Universal Design filosofie werkten zij samen met verschillende soorten gebruikers (o.a. senioren, kinderen, blinden, rolstoelgebruikers…) om tot een beter ontwerp te komen. Dit is natuurlijk in de eerste plaats een fantastische prestatie van de studenten zelf, maar het illustreert ook mooi de meerwaarde van de interactie tussen onderzoek en onderwijs in onze faculteit. Dit ontwerpend onderzoek kaderde namelijk binnen een opdracht die opgezet en begeleid werd door twee ArcK-onderzoekers, Elke Ielegems en Jasmien Herssens, die specifiek kennis en expertise rond Universal Design opbouwen en delen. Dit is uiteraard maar één van de vele voorbeelden van de interactie onderzoekonderwijs, want universitair onderwijs moet inderdaad “ingebed” zijn in onderzoek. Maar wat deze inbedding dan concreet betekent, kan natuurlijk sterk variëren. Voor onderzoeksgroep ArcK is dit echter heel duidelijk: wij willen academisch onderzoek uitvoeren voor, door en met onze studenten.

On October 1st 2016, a number of students from our faculty received a Cera Award for their redesign of a socket and a light switch. Working with a Universal Design mindset, they collaborated with different types of users (such as seniors, children, blind people, people in a wheelchair,…) to come to a better design. Obviously, this is first and foremost a great achievement by the students themselves, but it also nicely illustrates the added value of the close interaction between research and education in our faculty. Indeed, this research-by-design project was initiated and supervised by two ArcK researchers, Elke Ielegems and Jasmien Herssens, who are active in building and sharing knowledge on the paradigm of Universal Design. This is only one of many examples of the research-education interaction, because university education should indeed be “embedded” in research. But what exactly this embedding entails, can of course vary quite drastically. For research group ArcK, however, this is quite clear: we want to do academic research for, by and with students.

Met de onderzoeksgroep hebben we de ambitie om bij te dragen aan de verbreding en verdieping van het kennisdomein van de disciplines architectuur en interieurarchitectuur, meer specifiek rond de thema’s van herbestemming, ruimtelijke capaciteitsopbouw, duurzaamheid, het ‘ontwerpen voor meer’ en artistiek onderzoek. Deze kennisbijdrage vloeit terug naar onze studenten op een directe en indirecte manier: indirect door de verschillende soorten output die we genereren - (hand) boeken, artikels in internationale journals of professionele tijdschriften, tentoonstellingen enz. - maar onze onderzoekers zijn ook nagenoeg allemaal actief betrokken in het onderwijs en, waar mogelijk, precies op die plaatsen in het curriculum waar ze hun opgebouwde expertise direct kunnen delen met studenten (bijv. via hoorcolleges of bij 1-op-1 begeleiding bij de scriptie). Het academisch onderzoek binnen ArcK gebeurt echter niet alleen voor studenten, maar soms ook door studenten. Als onderdeel van hun opleiding krijgen zowel bachelor- als masterstudenten namelijk verschillende kansen om mee te draaien in lopend onderzoek binnen de faculteit. Dit kan op verschillende momenten en in verschillende gedaantes, van het uitvoeren van een specifiek onderzoeksopdracht in een theoretisch vak tot in de ontwerpstudio, waar elke student wel met het eigen, individuele ontwerp bezig kan zijn, maar waar ze met zijn allen net op die manier ook elk een steentje kunnen bijdragen aan het onderzoeksmatig proberen vatten en grip krijgen op een complex ruimtelijk fenomeen. De ultieme inbedding van onderwijs in onderzoek, waarin de symbiotische relatie tussen het opbouwen van kennis en het delen ervan effectief tot uiting komt, is natuurlijk het onderzoek dat echt samen met studenten gebeurt. Dat zijn die momenten waar studenten, individueel zoals bij de scriptie of collectief zoals bij het masterseminarie en ook steeds in nauwe samenwerking met meer ervaren onderzoekers, hun eigen onderzoeksverhaal schrijven. Dit worden onderzoeksverhalen die niet alleen de student zelf ten goede komen maar ook effectief een bijdrage leveren aan de ‘body of knowledge’ van de discipline. Dit zijn unieke leerervaringen voor de student in hun rol als ontwerper-onderzoeker, maar ook ervaringen die resultaten opleveren waar anderen, en niet in het minst de collega-onderzoekers binnen ArcK, iets aan hebben. Resultaten ook waar de wereld uiteindelijk beter of mooier van wordt. Zoals een nieuwe lichtschakelaar en een nieuw stopcontact die voor iederéén gebruiksvriendelijker zijn…

With the research group, our ambition is to contribute to the further development of the knowledge domain of the disciplines of architecture and interior architecture, more specifically on the topics of adaptive reuse, spatial capacity building, sustainability, ‘designing for more’, and artistic research. This contribution to knowledge feeds back to our students in both a direct and indirect way: indirectly through the different types of output we generate – (hand)books, papers in international journals or professional magazines, exhibitions, etc – but nearly all of our researchers are also actively involved in education and, where possible, precisely at those points in the curriculum where they can share their specific expertise directly with students (e.g., through lectures or 1-to-1 supervision with the thesis). However, academic research within ArcK does not only take place for students but also by students. As part of their educational programme, both bachelor and master students have different possibilities to participate in ongoing research within the faculty. This can take on many shapes and forms, from executing a particular research assignment in a theoretical course to the design studio, in which each student may well be working on an individual design project, but in which the whole group in this way also contributes to a broader research effort of capturing and understanding a complex spatial phenomenon. However, the ultimate way of embedding education in research, in which a truly symbiotic relation between building and sharing knowledge is established, is the research that is done together with students. This occurs when students, either individually as in the case of a thesis or collectively as in the master seminar and always in close collaboration with more seasoned researchers, write their own research story. These then become research stories that not only benefit the individual student but also effectively contribute to the body of knowledge of the discipline. The learning experience for the student, in their role as designer-researcher, is not only invaluable, but is also an experience which yields results that are useful for others, not in the least other researchers within ArcK. Results that can ultimately make the world a better and more beautiful place. Like a new socket and light switch which are more user friendly for éverybody… Jan Vanrie

Jan Vanrie

zomer 2016 internationale projectstages in Londen, Indonesië en Tanzania 28-29 juli Organisatie iswm ARDHI University Tanzania van “4th international conference on sustainable tourism in developing counties” in Dar es Salaam (Tanzania) 5 - 8 september Masterclass IBA, 1MA, TU Delft, Delft (NL) 18 - 23 september Masterclass IBA, 1MA IUAV, Venetië (IT) 19 september Lezing Lionel Devlieger (Rotor) als start van het academiejaar 23 september Apotheose 2 weken noeste arbeid en ontwerpwerk met expo Life Project Kolensporen te Genk (2MA) 7 oktober AHK#06: Architectenhuiskamer (door onze alumni) Editie 06 aan het station van Hasselt 11-15 oktober Universal Designweek met een symposium en workshopweek voor onze studenten Tevens de organisatie van het eerste UD Film festival in Hasselt 20 oktober Start Euregionale workshop „the productive city” (3BA) met studenten uit Siegen, Hasselt, Aachen, Maastricht en Liege in Z33 27 oktober Internationale avond van Fac-Ark voor al wie in het buitenland wil gaan studeren of er stage wil lopen

27 oktober Philippe Breels (alumni 2015) is laureaat van „Toegepast” in organisatie van Z33 29 oktober Opening tentoonstelling „verkavelingsverhalen” in de Provinciale Bibliotheek Limburg (Hasselt) met een debat en boekvoorstelling 12 november EAP proclamatie waar 6 van onze alumni 2016 genomineerd werden: Elien Bourgois, Dries Jehoel, Daan Sillen, Lore Smeets, Lize Vanhoof, Johan Veestraeten 14-16 november Bezoek van onze partnerschool Universidade da Coruna (UDC) in Spanje aan onze faculteit 15 november Wouter Verdickt (alumni 2016) behaalt de eerste plaats bij de Studenten STAAL prijs 2016 30 november Onze eredoctor Kunlé Adeyemi geeft in het Stuk in Leuven een lezing 5 december Lize Kelchtermans (alumni 2016) is genomineerd voor de EAM, European Architectural Medal for the Best Diploma Architect december Onze faculteit wordt omgedoopt tot de „warmste faculteit” aan de warmste universiteit in Vlaanderen. We schonken de opbrengst aan C-re-a.i.d. 26 januari Studenten architectuur en Alumni overhandigen petitie met meer dan 3000 handtekeningen tegen de verkoop en privatisering van het Hasselts Begijnhof. 10 februari Masterstudenten Architectuur nemen deel aan wedstrijd „Deadline 24”

23 september

zomer 2016

28-29 juli

12 oktober

28-29 juli

15 november

11-15 oktober

14-16 november

19 september

december

26 januari

29 oktober

7 oktober

10 februari

27 oktober

20 oktober

26 januari

5-12 februari Internationale Parallelle workshopweek „Stuio Can Gio” aan de Ton Duc Tang University, Ho Chi Minh, Vietnam (1MA) 14 februari Kick off van het Design/Build Lab van de studio Bouwkunde 15 februari Masterbeurs Hasselt 16 februari WTC1 – Discussion Salon „Hybrid Business Districts”. Masterclass (1MA+2MA) met Freek Persyn (51N4E) 21 februari A-Z night#1 met als thema „We don’t need no art education”, Kapel Clarenhof Hasselt 21 februari Tentoonstelling 3BA Studio „High Density Building” aan de Universiteit van Trier (D) 9 maart Studiedag en colloquium „Academie aan Diggelen” in organisatie van onze faculteit samen met het VAA, De Singel in Antwerpen. Rendez vous VAA is een nieuw en jaarlijks event georganiseerd door de drie opleidingen Architectuur en Ingenieurswetenschappen in Vlaanderen 21 maart A-Z night # 2 „From pact to act” in de kapel van het Clarenhof, Hasselt 18 april AHK# 07: Architectenhuiskamer (door onze alumni) Editie 07, Walking Through Spaces, Eames expo, C-Mine Genk

21 april “Masterclass Hasselt/Genk” over de ruimtelijke discussie en de impact van een mogelijke fusie o.l.v. Manu Gelders (Magma Architecten) 23 april Nationale jury “Multi Comfort House” i.o.v. Isover op onze faculteit 25 april Marie Moors (2MA) wordt laureaat van de Academic Architecture Award 4-6 mei Deelname en bijdragen aan X-festival „city of the future” oude gevangenis UHasselt 6 mei Lieven Baert, Steven Frenks en Charel Craps (2BA) winnen met „Solar Vijver” de Solarstad Award 2017 16 mei Philippe Breels, Daan Van de Velde en Stafanie Weckx zijn geselecteerd voor de Meesterproef Erfgoed en herbestemming van de Vlaams Bouwmeester 18 mei AHK#08: Tentoonstelling „Verloren Projecten” opent in Z33. i.o.v. Architectenhuiskamer (alumni) en Architectuurwijzer 25 mei Onderzoeksdag ARK: Reflective Scepticism - Critical Presentation of Research: PhD Seminar with The Cass, London & Hasselt University 1 juni „Umbracle”-team (2MA) presenteert in Madrid (ES) hun wedstrijdontwerp voor de internationale Isoverwedstrijd 23 juni Exit/17-tentoonstelling opent in C-mine Genk

21 februari / 21 maart

5-12 februari

18 april

23 april

1 juni

9 maart

6 mei 5-12 februari

21 februari

EX IT/

25 april

2 0 1 7

23/06 OPENING C-MINE 19.00 19.30

DEUREN OPEN

FEESTELIJKE OPENING UITREIKING WANATOEPRIJZEN

20.30 RECEPTIE 22.00 – 02.00 DRINK, DATE & DANCE DJ-SETS RIBAUX (ENRICO EN ERIK CHIAFELE)

MILLIONAIRE SOUNDSYSTEM (TIM VANHAMEL EN SJOERD)

EXPO OPEN C-MINE STUDIO PIET STOCKMANS 19.00 - 22.00

24-25/06 EXPO OPEN

PXL-MAD School of Arts Campus Elfde Linie Hasselt Elfde-Liniestraat 25 3500 Hasselt 011 77 50 50 www.pxl-mad.be Universiteit Hasselt faculteit Architectuur en kunst Campus Diepenbeek Agoralaan gebouw E 3590 Diepenbeek 011 29 91 01 www.uhasselt.be C-MINE CULTUURCENTRUM C-mine 10 3600 GENK

14 februari

21 februari

21 april

18 mei

2016-2017

ARCHITECTUUR AUDIOVISUELE KUNSTEN BEELDENDE KUNSTEN INTERIEURARCHITECTUUR PRODUCTDESIGN SPECIFIEKE LERARENOPLEIDING

Beeld & Ontwerp Luc Rerren — PXL-MAD

10.00 - 18.00 INKOM GRATIS LUCA School of Arts - MAD Campus C-mine Genk C-mine 5 3600 Genk 089 300 850 www.luca-arts.be

18 mei

JAAROVERZICHT 40

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 Vlad Ionescu Bie Plevoets Katelijn Quartier Kris Pint Koen Van Cleempoel

Redactie: Inge Lens & Jo Klaps Fullpage fotografie Liesbeth Driessen & Jo Klaps Druk: Drukkerij Paesen

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

Papier: 150 gr Multidesign White Smooth Lettertypes: Trade Gothic, New Veljovic Pro ISBN: 978-90-8913-049-5 (AANPASSEN!!!) D/2017/2451/xx

Projectmanangement Jo Langendries

Schetsen & CAAD Jan Bastiaens Gitte Harzé Werner Albert Katrien Raedts

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

EXIT/17 INTERIOR exit/17 ARCHITECTURE

interiorarchitecture

EXIT 17 Interior Design

MASTERPROJECTS

Object & Design - Scenography Retail Design - Adaptive Reuse International Master Adaptive Reuse

_ Universitaire Campus, Gebouw E 3590 Diepenbeek, Belgium T 011 29 21 01

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

MASTERPROJECT MASTER OBJECT & DESIGN

MASTERSTUDIO OBJECT & DESIGN 1. & 2. Nicky Van Dyck 3. Larissa Rogiers -

2 LARISSA ROGIERS | larissa.rogiers@gmail.com | +32 495 71 21 10 TRIANGULAR CONNECTIONS

Every centre has several common rooms to eat or to do activities. Mostly they use square tables they can

A residential care centre is a place most people try to

rearrange for different activities. A shape study shows

avoid. It’s the place where they will live their last stages

clearly that triangular and trapezoidal tables offer more

of life. But still, there is no one who can stop the natural

possibilities to create different arrangements. When

deterioration. Therefor it is important for architects

people sit in a hexagon shape, it will stimulate the social

and designers to make this place more comfortable and

connections because they’re functioning in a group. If

pleasurable for the residents.

space is an issue to the centre triangular tables can be transformed into a long setup, so it’s place saving.

This target group is precious and has a need for social contact. One of the main problems here is the time pressure on the nurses. They can’t give more attention to the residents then needed. It’s important that the residents can share their stories and connect with each other. A deeper study has been done to determine how furniture can help in this challenge.

4 2

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

MASTERSTUDIO SCENOGRAPHY

ABBEY OF THE DUNES, KOKSIJDE 1. Andrew Chan Ming Hung 2. Ellen Craninckx 3. Magalie Durieux 4 & 5. Jury -

MEIN KAMPF, GEORGE TABORI 6. Studentsportrait 7. Lotte Steens shows the link between art & politics 8. Presentation

6 1

The German-Hungarian playwriter George Tabori portrayed Hitler in Mein Kampf as young artist while staying in a Vienna boarding house. The masterstudents designed two different scenographies in which the played could be performed. The theatre is located in Schaarbeek, Brussels.

5 Ten Duinen was a Cistercian monastery at Koksijde. It was one of the richest and most influential religious institutions in the medieval County of Flanders. It later relocated to the city of Bruges. The master students redesigned the museum that tell's the interesting story of the abbey.

4 4

8 5

MASTERPROJECT MASTER OF SCENOGRAPHY

ELLEN CRANINCKX | ellen.craninckx@student.uhasselt.be l +32 476 35 45 73

HELENA DEPOORTERE | helena_depoortere@hotmail.com | +32 497 32 99 59

A MOVING SCENOGRAPHY AT PAPER FACTORY DE NAEYER

Trough the paper forest there is a wooden path where

HORST

Usually scenographies are static, while visitors walk

that will lead the visitors trough the four seasons. These

The castle of Horst is a beautiful monument in Sint-

eyes of..”

trough it. The visitors have to undergo an action in orde

seasons are represented with paper, but also with a lot of

Pieters-Rode.

During your visit you will hear six stories of six characters.

to see, hear or even smell the exhibition. With my design

different technologies. It becomes a walk to remember

When you visit it all the rooms are empty, you do not get a

The characters are based on real people that lived here

I change the relationship between them and reverse the

where the visitors undergo a total experience. Every

lot of information and the visit is pretty boring. I want to

throughout time. There are two rooms per character. In

roles.

season has its own characteristics. For example, during

change that.

the first room you will have the chance to hear the story,

The third thing I changed is the way you visit the castle itself. The new concept is: “Look at the castle through the

the visitors can walk on. The path is a demarcated space,

the second room has a higher exhibition atmosphere.

the autumn there are leaves falling down from the trees The subject of the exhibition is paper and it will take place

and squirrels collecting food. When winter arrives it will

To solve all the problems that occur now I made a design

There you can find more information about one specific

at the paper factory of Louis De Naeyer at Willebroek,

become very cold, with snow falling down. And if you look

that consists of three components. First of all, I changed

topic mentioned in the story.

Antwerp. On the area there are different buildings and

closely, you’ll even see a fox. When switching to spring

the whole site by moving the parking lot further away and

even a protected water tower. Next to this tower we

birds will begin to whistle and flowers will start to grow.

by adding a new entrance building.

All the proposed additions inside the castle are sober,

find the pump room, where the water was filtered for

And during summer there will be a lot of flying insects and

Secondly, I designed a path that runs over the pond that

small and easy to move. That is to make sure that the

the production of paper. In this high room with several

butterflies.

surrounds the castle. On this path, you will find a timeline.

atmosphere and the authenticity of the building are

This will give the visitors an overview of the interesting

conserved. I hope to even amplify the power this building

history of the castle and the events that happened here. It

possesses by my design and make sure that the visitors get

will also try to convince the numerous hikers that come to

a chance to get to know the history and the interesting

the domain to visit the castle.

stories this building contains.

columns I create a paper forest. The tour in the paper Overall, an expercience for young and old!

forest will stimulate the senses of the visitors: hearing, seeing, feeling and smelling.

MASTERPROJECT MASTER OF SCENOGRAPHY

CÉLINE GORRENS | celinegorrens@gmail.com | +32 498 68 34 24 SPEURNEUS

MAGALIE DURIEUX | Magalie_Durieux@hotmail.com | +32 473 21 01 90

In response to a personal lack of the value of historical sites in the city of Antwerp, I have designed a modern pageant that stops on different places. On a city plan,

LOFF

be referred specifically to the process after a burn-out.

visitors can see where and when there is a show. The

LINE OF LIMITS LIMITS OFF-LINE

A Burn-out is something very topical today, but despite

‘Detective Nose / Speurneus’ is an educational street

of that there’s still a lot of taboo around that subject. For

theater for children from 7 years old. The name is derived

My master project is a scenography designed for a dance

this show there will be focussed on the process after a

from the curiosity of children. They learn something

show at, in and on the sea. The show would take place in

burn out, after crossing the personal boundaries when

about the history of Antwerp in a playful, creative and

Nieuw-Haamstede, in The Netherlands. The public will

new boundaries have to be made. The natural limit will

interactive way. The stories are based on the comics of

calm down and relax making a walk through the dunes

be visible in the surroundings. The tidemark will be closer

Suske & Wiske, Jommeke and Kiekeboes. The theater

from the parking to the seaside. Standing on the last dune,

and closer by the dunes, there’s the boundary of the

consists of rotating, white, magnetic walls where the decor

they will get an overview of the site, a jetty of poles that

horizon, the dunes can be a boundary between water and

can be placed in a fast way. It also forms a drawing board,

breaks the horizontal line of the beach. Near that, there

land, etc.

which allows the environment to be sketched. In this way, many decor changes are possible in a short period

will be a pontoon with some rowing and sailing boats laying on the dry where the public can be seated in. While

Once the show is finished, the public can elevate the

of time. This concept has been matched in the cartoon

the show is playing, the dancers will be dancing in the sand

symbolic sails and head off to the beach while rowing.

characters that have been translated into hand puppets,

in front of the pontoon but also on the pontoon when the

Arrived at the beach there will be the possibility to parrot

with different emotions being drawn on the faces and later

water rises due to high tide.

at the bar until the dancers show them the way to the

wiped away. Instead of the spectators standing still waiting

‘Boundaries in equivocalness’ will be the theme of the

parking through the dunes.

for the cars to pass, they are part of the piece and walk

show which is further affected in natural boundaries and

LOFF is a show that will be a full experience where ‘limits’

around the car.

personal boundaries. For the personal limits there will

is the central subject.

MASTERPROJECT MASTER OF SCENOGRAPHY

PATSY HOUTMEYERS | patsyhoutmeyers@hotmail.com | +32 497 65 41 99

MASTERPROJECT MASTER OF SCENOGRAPHY

LISSE LOOS | lisse.loos@student.uhasselt.be | +32 472 31 44 36 PERJALANAN – MEMOIRES ON THE ROAD

BRUIKBAAR - USEFUL The boxes can be stacked on to each other so that it can For my master thesis I did research on reuse of the

grow. I made this possible with a twist on the tooth and

scenography in the Flemish musea. During my research I

groove connection. Because it is a twist on this connection

found out that there is still room for improvement when it

it is still possible to stack the boxes and put a plate (glass,

comes to reuse of materials and objects in the musea.

MDF, …) in between them.

I wanted to make a piece of furniture that would solve the

As a side project I also designed a website which serves

problems that are now the main reasons for musea to trow

as an online platform for the Flemish musea. Here they

furniture away. I designed boxes that can be stocked flat

can find information about reuse and the organizations

packed, therefore it doesn’t take many space in the depot

who work around reuse in musea. They can also put the

of the museum.

furniture that they don’t use online so it also works as a second hand online store.

The boxes themselves are lightweight but together they form a solid and firm construction. These boxes are made

You can find the website trough this link: https://

out of 4 plates which are connected to each other with an

patsyhoutmeyers.wixsite.com/bruikbaar.

own interpretation on a Japanese connection, Hana-sen, A

a draw pin joint.

child. This provides an extra dimension to the journey element of my scenography. The exposition will take place

I’ve chosen to work with storytelling and experiences in

in the evening. This way I can light up the trains from the

my scenography master project. I’ve designed a personal,

outside and bring the atmosphere I want to the inside. In

intimate exposition in which I deepen the life story of

the end I want to immerse the visitor in an intimate world

my grandmother. Her life is filled with memories and

of memories and stories.

events. I translated these to a scenography in a former train station in Hombourg. At this location there are many abandoned wagons left behind, what makes this a perfect place to use in my project. I made a construction where I designed a passe-partout wherein the visitors can walk through the wagons and feel the experience in every wagon. This experience is spatially and sensory formed by the memories and stories from the life of my grandma. Perjalanan, the title of my exposition, is the Indonesian term for journey. This refers to both the train element and the journey as a life story. My grandma has an Indonesian origin, and fled from Indonesia to The Netherlands as a

MASTERPROJECT MASTER OF SCENOGRAPHY

LIEZE SMETS | smets_lieze@hotmail.com | +32 476 70 99 06 HEXA

Parents can watch their kids; the kids can play on itâ&#x20AC;Ś The second zone will be a zone where the different cultures

The inhabitants of social housing blocks and residential

come together and meet. The third zone can be a city

areas usually know each other briefly or not at all. There

garden for the inhabitants. The green square is currently a

is a lot of vandalism and crime so they are not that open

playground with different toys and benches.

to know their neighbours. This creates an unpleasant

The green square will be shared by the inhabitants and will

atmosphere in residential areas. I want to make some

be a place where they can come together.

scenographic changes to try to strengthen the social One of the activities can be an event where the people

cohesion

make their own curtains. So they can decorate their own home and make it a better place to walk outside at night.

I would like to place some multifunctional elements on a green square in Linkeroever. These elements will grow

MASTERPROJECT MASTER OF SCENOGRAPHY

KARLIJN VAN DER WERF | vanderwerfkarlijn@gmail.com | +31 6 2019 2040 BRIKKEN

experiment and learn. As a landmark on the site there is a green facade, a big stand overgrown with Hop. In this

Brikken is a project, designed for Sphinxkwartier in

green landmark people can play, climb, enjoy the view on

Maastricht. Sphinxkwartier, an abandoned industrial

the site or search for secret places to hide and escape from

site in the city centre of Maastricht, is in transition and

the city. Visitors can also enjoy a photo-exhibition about

a lot of buildings will get a new destination. One of these

the old Sphinxkwartier, since it had great meaning for the

buildings will become an international student hotel,

city of Maastricht.

therefor residents are afraid that they will dissociate from this historic area.

With this scenographic design the site will flourish again, enabling the creation of new stories that will enrich this

To achieve unity, where residents and international

historical site.

students are able to meet, I decided to use the Brikken building as point of focus on site. Around this building

with the inhabitants. They can add something what they

I made a scenographic design where a range of cultural

like and can make it their own space. It will be a place

activities take place, based on creativity and social

where the inhabitants can meet up, watch their children,

encounter.

have a garden, help each otherâ&#x20AC;Ś The green square is divided in 3 different zones. In the first zone will be a

The designed is based on three core words; play,

multifunctional element with the main function children.

BEGELEIDERS — JO KLAPS & REMCO ROES FOTO’S — JO KLAPS

MASTER OF SCENOGRAPHY: VISITING LONDON

1. Lecture Designing Exhibitions in the British Museum 2. Students of University of Lincoln and UHasselt

3. & 4. British Museum behind the scenes -

MASTER OF SCENOGRAPHY: PRESENTATION IN KOKSIJDE

Ellen Craninckx , Lisse Loos and Lotte Steens gave a presentation about the redesign of the Ten Duinen Abbey museum

1. Lisse Loos 2. Lotte Steens, Ellen Cranickx and Lisse Loos 3. Ellen Craninck 4. Victory Jump -

TEAM - KATELIJN QUARTIER, PHILIPPE SWARTENBROUX & ANN PETERMANS

MASTERSTUDIO RETAIL DESIGN

MASTERPROJECTS: MASTERSTUDIO RETAIL DESIGN

1. & 2. Caro Heuts 3. Ornella Elsen 4 & 5. Theresa Sieben -

6 & 7. Fréderique Peeters 8. Fréderique Peeters 9 & 10. Britta Cerneels Make it a Lovemark: through research of their own identity, the students design a store that is a representation of themselves. They had to do this for a product they really hate. The students choose a material that fits their personality best, which is then used to create the store. The scale of the store is kept rather small so the students have the chance to design it in every detail, with a surprising use of the chosen material.

Key words: Crocs - Newspaperwood - Over de grenzen heen kijken Dialoog tussen natuur en machine.

5 Key words: een LG Experience Store and cork

7 9

Key words: Crocs

8 Key words: Carrefour Fit! - Mohair - Roze bril - optimisme

3 18

MASTERPROJECT MASTER OF RETAIL DESIGN

CARO HEUTS | info@caroheuts.com | +31 6 46 03 68 35

FELICIA IMAN | Felicia.iman@student.uhasselt.be | +31 6 81 12 72 64

HEALING ENVIRONMENT

BEL & BO (BELGIUM, LANAKEN)

Within today’s society the merging of the hospital

This project is linked to my thesis that’s about routing in

into a ‘home’ creates a decreased barrier for hospital

clothing stores. For this project I will make a new design

visits. Attention to personal (living) conditions and the

for a clothing store, the Bel&Bo.

strengthening and utilization of the patient’s (remaining)

The Bel & Bo is a family-oriented store and offers

possibilities, are a crucial part of this. Different social

affordable clothing with high quality products. In

interactions, atmospheres and activities, continuously

addition, they are also committed to sustainability. The

overlap. The building, environment and interior should

collection consists of many colorful prints and patterns.

contribute to the wellbeing of the user. When approaching

The slogan of Bel & Bo is: “time for color”. The concept

the atrium of Maastricht University Medical Center+ as

of the store has therefore become “The Colorful Box”

a garden, it creates different zones, which have both a

inspired by the block box.

public and private use. In this setting, organic refers to the

In the current design there is little daylight in the store.

living nature, plants and animals. It also sees humans as a

Opening the front façade by incorporating shop windows

living being in a safe environment.

will lead to more natural light in the store. In addition,

In the current situation most customers can’t find their way in the store. By working with a clear routing, signalization and many eyecatchers, the customer will be guided through the store. The colors ensure a clear distinction between the different departments so that the customer has a good overview of the store and will not be disoriented. In the new design a lot of presentation displays will be incorporated, that will bring the customer inspiration and that will seduce them through the store. The walls are used as eyecatchers on which the prints and patterns of the collection can be found. The self-designed cabinet system is flexible and can be customized, which also allows the colors of the rear walls of the cabinets to be

large domes are placed on the roof to provide more

chosen. To keep the interior calm, the base of the store has

natural light at the back of the shop to make shopping

neutral colors. Colorful accents inspired by the Bel&Bo

even more enjoyable.

logo will be combined with these colors.

MASTERPROJECT MASTER OF RETAIL DESIGN

RETAIL TRIP TO NEW YORK 1. Groepsfoto 2. World Trade Center Transportation Hub, Santiago Calatrava 3. Snapshot moment at Brooklyn Bridge 4. Empire State observation deck -

FRÉDERIQUE PEETERS | Frederique.peeters@student.uhasselt.be | +32 499 34 12 01 DIEST, MY CITY

design, an object or a graphic line that links with the city. The visitor is encouraged by the visual information walls

By actively introducing the visitor to the cultural offer of

and the corresponding gadgets one can buy. Through

the city we put it back on the map. The Demer is the city’s

the infobooth’s (omnichannel), the visitor is encouraged

vain and the main focus within this project. The visitor

to retrieve information through the app and actively

arrives via the path along the Demer right on the dock.

revive the city. On the first floor of the building there is a

Here he is captured by the new information platform. This

connecting exhibition space that shows the development

place becomes an anchor point in the city, thus forming a

and future plans of the city. This space can also be rented

connection between the past and the future of the city. In

by local initiatives or the art academy. Thus, this space

the facade we work with the typical iron sandstone, also

is designed with a lot of flexibility and has a varying

called Diestiaan and with cortenstaal that is also present in

character. Thus, the city of Diest profiles itself through a

the new path along the Demer.

synergy between the cultural offer with a retail approach.

In an interactive way using omnichannel and physical elements in the space we make the visitor aware of Diest’s assets. The development of interest and curiosity for the city with the tourist is the focus in this design. This is stimulated in different ways: by material use, a particular

TEAM - VICTOR SIMONI

TEAM - VICTOR SIMONI, BIE PLEVOETS & KOEN VAN CLEEMPOEL

MASTERSTUDIO ADAPTIVE REUSE

1 & 2. Peter Vanstraelen 3. Niels Martens -

4 & 5. Heleen Cornelissen 6. Michelle Clerix -

In this year’s adaptive reuse exercise we studied the possibilities for the reuse of the former welfare building located in Kampenhout. Students were invited to the site and received information from a representative of the municipal of Kampenhout. Research concerning needs, wishes and possibilities was made and each student made a design in reuse of this heritage. Possible destinations are : chambres d’hôtes, wellness center, bicycle café with accommodations, meeting place for people and associations … 1 4

2 5

MASTERPROJECT MASTER OF ADAPTIVE REUSE

MICHELLE CLERIX | Michelle.clerix@gmail.com | +32 496 65 14 25

HELEEN CORNELISSEN | heleen1993@hotmail.com | +32 498 49 42 32

ADAPTIVE REUSE SINT-LUTGARDISCHURCH ‘T HASSELT

ADAPTIVE REUSE BONNETERY DU PARC REFORM OF THE CURRENT PLANS

fully fitted kitchen and an aria to do the dishes. There is a hot and a cold kitchen that can be used by a catering or as a cooking class workshop. The visitor can handle different

Through precious research, a program has been prepared

functions. These spaces can go from a party, yoga class

for the Sint-Lutgardischurch. This allows me to make

to a meeting room, you name it. the rooms are located in

a masterplan for a re-destination. After thoroughly

such a way that everything is connected. In this way, one

research of the church and domain, it’s been clear that

can determine the size and shape. It’s a beautiful project

the church was located in a rural setting. Behind the site

that can change with time and continuously meet all the

is one of the most important cycling routes of the city of

needs of his user. Its’s a place that brings people together.

Bree. It is an interesting issue that can certainly provide

By the addition of cultural workshops and training programs, low satisfaction rates of the average Aalstenaar

For my masterproject, I have chosen to investigate

will be redeemed. The workshops and training courses

Bonnetery Bosteels-De Smeth, better known as Du Parc.

will reflect the handicraft that was already present at

The site is located in Aalst and was one of the larges

Bonnetery Bosteels-De Smeth during their early times. On

stocking factories of its period.

the other hand, there will also be innovative workshops

At the moment, the city of Aalst is already preparing

where people learn to work with new machines and

an adaptive reuse plan for Du Parc. In these plans they

materials.

provide a trampoline park, indoor playground, skate

added value to the design and its tourists aspect. This

park, a FabLab and various social-cultural organizations.

master plan explains the focus on both, the lay-out of

Furthermore, the current plans do not provide a new

multifunctional spaces for associations and residents, as

function for a large part of the building. The purpose

well as the relationship between ‘nature’ and ‘architecture’.

of my project was two-folded. Firstly, I analyzed if the

In addition to these multifunctional rooms there is also a

current plans respected the genius loci of the building

bar/ dining room that is accessible to everyone. It can be

and if they addressed the real needs and shortcomings

rented completely for a party or another event. On the

of the population. Based on the findings of the research

other side of the church there are several rooms with one

part, I could reform and strengthen the current plans by

implementing new thoughts and findings.

The art department will also have a completely new exhibition space. After many hours of dedication and creativity of the participants, a number of works will be exhibited. The former bonnetery becomes a place for sports lovers, culture lovers and food lovers. Du Parc must be a place where people try out new things, learn and relax in a group.

MASTERPROJECT MASTER OF ADAPTIVE REUSE

NIELS MARTENS | niels_martens@msn.com | +32 472 68 79 66

MARTINE PEETERS | martine.peeters@student.uhasselt.be | +32 470 94 35 37

THE REUSE OF THE SAPITTELMOLEN IN DIEPENBEEK

These features added value to the watermill. They will

REHABILITATION OF THE OLD GRANARY, CAPE TOWN

Watermills had a large impact on the history of mankind.

tourist, the whole site will be a profitable company,

We used these buildings since the start of the Roman

causing the existence of the watermill not in danger.

bring back more concern for the crafts. Thanks to the

Empire for processing our grain into flour. Nowadays these buildings fall into decline. They lost there features

The mill building by itself stands in the middle of the

thanks to the rise of mass production and the Industrial

spotlight. The visitors could see the mill mechanism and

Revolution. Thanks to adaptive reuse, these buildings will

the crafts of a miller. Thanks to the good relationship

be revalued and will keep there historical value.

between the miller and the baker earlier, I came to a judgement to bring both crafts together. The visitors got

The Sapittelmill is a grain watermill that lies in the heart of

the oppertunity to see both craftsmenship.

Diepenbeek and falls, like many watermills, into decline.

The other features that came into the site are: a bed and

The site was built in 1272. Over time side wings were built

breakfast, a bar and a horse hotel. These features wil make

and rebuilt until the state in which it is now.

the company profitable.

working classes. The new program invented for the rehabilitation of The Old Granary will be the one of an incubator. The border

My project takes place in South Africa, in the most

position of the building makes it perfectly located as

sophisticated city, namely Cape Town. The building I

incubator. In the incubator creativity is the key to success.

chose for my rehabilitation is named the Old Granary. This building is built at the border of the east city. This

There are different formulas personally fit with the

aspect is being strongly connected to the urban design of

abilities of the users. The program includes co- and shared

the east part of the city. The building is situated in a new

working office spaces but also atelier space and maker

Design District for Cape Town named The Fringe what

spaces, which are more accessible. It is the intention that

means literally ‘border’.

creative business people share their knowledge to less educated people instead of paying rent for their office

The Fringe is at first aimed at focusing on the creative

spaces. By this they will create new collaborations, new

industry for Cape Town’s economic growth. Secondary

networks and learn from each other. To bring out and

importance goes to the development of a common

share creativity there are inside and outside event and

identity for the area and social cohesion between the

Giving the site a new feature was a must. After Research

social spaces for cultural events, exhibitions or other

citizens. Citizens of Cape Town consist of different

I ended up with a conclusion. The watermill could not

creative activities.

ethnicities, nationalities, cultures and graduations in

survive on his own. That’s why I searched for new features.

MASTERPROJECT MASTER OF ADAPTIVE REUSE

PETER VANSTRAELEN | peter_vanstraelen@hotmail.com | +32 486 68 97 31 A SIDE DESTINATION IN THE FORM OF SHARED USE SPACES FOR LITURGY, MEETING AND STUDY FOR THE SAINT MARTEN CHURCH IN SINT-TRUIDEN

MASTERPROJECT MASTER OF ADAPTIVE REUSE

LAUREN VAN HELDEN | Lauren.143@hotmail.com | +32 485 32 19 10

remains always accessible. The second sacristy is rebuilt

HET JOC: MULTICULTURAL YOUNG

a link between these spaces. I have tried to become these

into public toilets.

TRANSFORMATION OF THE ‘REGIEGEBOUW’ IN

link by using the same floor and by working with white

EISDEN GARDEN INTO A YOUTH MEETING CENTRE

broken coloured walls. To bring playfulness and vibrancy

The central room is also accessible via the

(properties linked to children and youngsters) in the

Saint Marten square is rebuilt in favour of the local

portal in the tower and will be shaped to a silent meeting

food and beverage business, and is equipped with a new

area for urban residents and passers-by. The images of

The transformation of the Regiegebouw into a Youth

rooms by using accent colors.

access to the nearby church. The arches in the wall of the

saints create here a sacred atmosphere. A reception room

Meeting Center (JOC) relates to the history of the

The café and the polyvalent room have there own character.

southern transept-area are broken up and replaced with

with access to the cloakroom is placed beneath the organ-

building, namely bringing people together. The JOC also

The choice for this is made because it’s accessible for everyone

a portal framed by a steel construction. The patron Saint

loft. The sofas can be drafted in a flexible way, and the

focuses on bringing people together. These youngsters

and unrelated to the other rooms in the JOC. These rooms

Martin stands in a glass enclosure. Via this new access the

cloud-shaped felt-lighting promotes the acoustics.

have different cultural backgrounds. In the JOC the

are decorated in the original character of the Regiegebouw. In

church can be entered towards the liturgical section and

youngsters will be split up in 2 categories: 6 to 12 years and

the café I use the accent color orange (reference to the orange

also to the other zones.

study. Between the circular arcades book-cases are placed

12 to 18 years. The complations of the JOC are: places for

façade) and wood (reference to the wooden interior- and

Saint Marten church retains its religious function from

in a framework of glass. In both transept-areas a first

happiness strategies (6 to 18 years), a room to relax (12 to

exterior doors). In the polyvalent room I also worked with

the choir to the crossing area.

floor is created, connected by a walkway. An office space

18 years), homework guidance / study rooms (6 to 12 years

wood and the color gray, which is a link with the metal rafters

is provided on the north side and a meeting room on the

old and 12 to 18 years), childcare / child guidance (6 to 12

that are present in this space.

stackable chairs are placed in front of the altar in a semi-

other side. During eucharistic celebrations the religious

years), Chiro (6 to 18 years old), polyvalent space for all

In the halls and corridors is chosen for the same floor and white

circle with a carpet in the middle. The chapels on both

area can be closed by a curtain.

kind of activities and café.

broken coloured walls because they make the connection

sides of the choir become devotion areas, and the northern

In the design for shared use spaces for liturgy, meeting

The rooms specific to the age categories are in contact

between all rooms. I think it’s important that they have the

transept-area becomes a silent chapel. The burial chapel

and study are provided without disturbing each other.

with the common rooms therefore it’s important to create

same character that suits all rooms resulting in 1 whole.

The altar is moved backwards. The new

The aisles are transformed into a room for

TEAM - AN FONTEYNE - SAIDJA HEYNICKX - KOEN VAN CLEEMPOEL - NIKOLAAS VANDE KEERE

INTERNATIONAL MASTER ADAPTIVE REUSE

INTERNATIONAL MASTER ADAPTIVE REUSE 1 -4. Linde Van Den Bosch, Plus est en vous - Gruuthuse Palace, studio 1 van An Fonteyne -

In the design studio of the International Master Adaptive Reuse the students made three different research by design exercises. The first two each took place during seven weeks in semester 1. The third was a workshop exercise during two weeks at the beginning of semester 2.

The students spent four days in the convent to measure and analyse the existing building and its surroundings. The aim of the project assignment was to give back the abandoned site to the city. This firstly by introducing a conceptual framework for the transformation of the inner area into public space based on the reoccurring typology of the Hortus Conclusus. Secondly by reviving the old convent through its transformation into a co-housing project.

Plus est en Vous – The Gruuthuse Palace in Bruges by An Fonteyne. The Gruuthuse Palace was originally a patrician house built in the 15th century. It was restored and partly reconstructed as a museum at the end of the 19th century by the architect Louis Delacenserie, who envisaged to restyle Bruges as a medieval town according to the gothic revival. Today, Bruges is an example of heritage as a source for mass tourism. When we look at the historical centre, its daily life is totally focused on this industry of visitors, often day-trippers. In order to attract as many people as possible, the monuments are secured in an artificial condition, allowing visitors to walk through and look at a fixed scenography of objects belonging to the past. In the studio the students investigated what would happen when the buildings would be re-integrated in the presence and would house contemporary functions relevant for the city’s inhabitants. Studying the case of Gruuthuse Palace revealed the historical, social and urban potential of the site. Hortus Conclusus – The Convent of the Zwartzusters in Antwerp by Nikolaas Vande Keere.

Hybrid Business Districts – The North Quarter in Brussels by Freek Persyn. The North Quarter in Brussels is a business area largely constructed in the 1960-70’s. The plans for the transformation of this part of the city were controversial since they implied the expropriation and erasure of a large neighbourhood. Today the area is a combination of various high rise office blocks of which many are underused and outdated. The students participated in an on-site master class and lecture programme. They looked at this areas through the lens of adaptive reuse, not by planning it once more from the top down, but instead investigating how a transition could be imagined, building on its (odd) qualities and the forms of use that have already taken shape there. Organised on the 19th floor of the emblematic WTC1 tower, the studio opened up to the public, triggering a discussion and an experience beyond the scope of architecture. By doing so, the studio itself became one moment in the occurring transformation of the North Quarter.

The convent dates back to the 14th century and is one of two monasteries historically dominating the neighbourhood of Saint Paul in the old centre of the Antwerp. Together with the built heritage, most of the inner gardens of the city block originally belonged to these monasteries and have therefore a religious character. Today their remains are still visible but largely underused with some of the buildings partly in ruin.

Workshop WTC Brussels o.l.v. Freek Persyn

Foto' s Filip Dujardin 34

MASTERPROJECT INTERNATIONAL MASTER OF ADAPTIVE REUSE

MOHAMAD AL KOUR RIFQAH ALLIE | rifqah1@hotmail.com | +32 479 64 41 78 THE CAPE GUILD INSTITUTE

The intended outcome being to display the dual functions

The following thesis addresses the historical and artistic

which protected buildings could serve; the first being that

value given to heritage in Cape Town and also forms the

the building itself forms part of an architectural heritage,

basis of the Masters’ project which attempts to provide an

and secondly it could also act as an agency in maintaining,

alternative approach to the treatment of listed build-

developing and cultivating other material and immaterial

ings. This approach will be done through the process of

heritages – for instance, the ‘forgotten’ crafts of the early

adaptive reuse of The Old Granary building in Buitenkant

inhabitants of former slaves and exiles. In this way, creat-

Street, Cape Town, South Africa.

ing an awareness and appreciation to the local inhabitants

The project intends to serve as an extension of the sur-

in Cape Town today by displaying our heritage in such a

rounding universities and colleges by housing facilities

manner that it speaks for itself - actively narrating and

which are not provided by these institutions. The typology

celebrating our past through interaction and confronta-

of the intended program seeks to integrate the new art

tion with contemporary crafts. This displays also the

and design disciplines used and taught in these tertiary

possibilities in which these heritage buildings may be

institutions and integrate them with the traditional crafts

reused – by revealing the building to the public in a man-

of Cape Town which are steadily disappearing. The aim

ner other than the typical conversion of it into a museum

being to provide a platform where the old and new craft

– but instead showcasing a living heritage and allowing it

practices interact and influence one another in an attempt

to survive and progress, a sort of experiential palimpsest

to develop an ethnorelative style from which the South

of both material and immaterial heritage in order to gain

African identity may still be recognized.

present day value and recognition.

The aim of the project is to give houses for refugees in the

refugees to access the labor market, participate in the

CCN building through adaptive reuse. The CCN Building

economic system and become independent as result this

Located in Brussels North Quarter.

will reduce the financial pressure on the authorities.

This area nowadays lacks the social connectivity, open

Another quality is the building location which can be

spaces, and mixeduse buildings. The design program

taken as social mobility. Moreover, the complexity of the

will be use as win-win strategy for both refugees and the

surrounding neighbors and its socio-cultural dynamism

building itself. Taking advance of the refugees housing

makes it ideal for integration allowing refugees to benefit

shortage, affording appropriate houses in the building will

from social interaction with locals. These qualities will

be the key to introduce social activities in the north quar-

help refugees to integrate in the society, and will reduce

ter where buildings will not be considered as closed blocks

segregation within the society.

but rather as spatial for social connectivity and interac-

The design provides flexibility in each apartment, in case

tions between users and architecture. However, the design

of individuals and families. This could also be attractive

program will tackle the building with small interventions

for local students or elderly people which can be ideal for

or “bottom-up” strategy.

one-to-one integration, and in case of elderly people

Which means the design will be the seed for further steps

could encourage refugees to take part in volunteering and

in the future where more functions could be included in

help. Adaptive reuse in this project will be examined as an

the building or in another building in the area, which can

optimal solution and tool for refugees housing and their

be mixed-use rather than office buildings as it is now.

integration in the society on one hand, and on the other

The building and its site has special qualities such as

hand to integrate buildings back into the urban texture.

economic iconic and job opportunities which can help

MASTERPROJECT INTERNATIONAL MASTER OF ADAPTIVE REUSE

MICHIEL HOUBEN | michiel.houben@outlook.com | +32 470 855 439 BEHIND THE FACADE OF THE FIELD CHAPEL The field chapel is an evident reminder in the memory of our Flemish landscape. But still today, a lot of people know something about the chapel in their street, on a crossroad where they pass by every day, etc. When we see one in the field, completely abandoned, we would never ask ourselves why the building is standing there. It became a normal view in our daily life, a shrine standing between the trees or houses. Nowadays a lot of chapels are not used anymore and they fall into decline. The chapels need a new function to revive and to pass through time. In this project, I reinterpreted the chapel as a room in a suburbanized area. A notable aspect of a room is the domesticity. The chapel can become a place where nobody is required to play host, however the feeling of being home is of great importance. It will function as

SVEN LABIE | svenlabie@outlook.com | +324 79 73 44 01

an extension on the spaces present in our home. I researched three types of chapels: the chapel

HERITAGE HERESY. CURATING DECAY OF RELIGIOUS ARTIFACTS

was. It are landscape interventions surrounding chapels

suburbanized area) and the chapel as a pitstop

One aspect that seems to be neglected when repurposing

confronting visitors with the landscape and personal

(chapels in a suburbanized area). The rituals that

a building of religious origin is the presence of artifacts.

value of artifacts. hand to integrate buildings back into the

take place in a religious space (f.e. the purification)

It seems that these are being shoveled away in several

urban texture.

are part of my concept. The objects standing in the

depots as a quick means to get rid of them while still trying

chapel are designed to resemble the strength of the

to preserve their perceived cultural value. Canon Law is

altar. An altar in a chapel is the main focus point

very descriptive that religious artifacts ‘out of function’

when entering the space. The chapel as a ‘réfuge’ is

are to be demolished through burial, ignition or dissolved

a space where one can refresh, rest and study. The

in water.

design of the chapel as a collective room is focused

This design proposal takes the destructive aspect and

on the collective activities happening inside and

interprets it to create a softer approach for dilapidating

outside. Refreshing and ‘refueling’ is part of the

these artifacts. This is achieved by creating a setting linked

design of the chapel as a pitstop. In summary, the

towards a historical and cultural group of religious build-

field chapel becomes a reinterpretation of the

ings of which the artifacts can be collected. This collection

domestic spaces and functions.

is presented as a scenographic entity in which the artifacts

as a ‘réfuge’ (chapels in a rural environment), the chapel as a collective room (chapels in a medium

are pressed in concrete and allowed to dilapidate leaving a mark, shadow behind over time of the artifact that once

of choice combined with a symbolic funeralistic program

MASTERPROJECT INTERNATIONAL MASTER OF ADAPTIVE REUSE

IQRA QADEER | Iqra_afaq@hotmail.com | +324 954 915 52 RESTORING THE URBAN FABRIC OF MEDIEVAL CITIES: A CASE STUDY OF THE WALLED CITY OF LAHORE The walled city of Lahore is one of the three culturally rich historic cores in Pakistan and the only one in good condition. Located in the heart of a city which is known as the cultural hub of the country, this city houses over 2000 sites of high architectural merit. Moreover, the rich tangible and intangible heritage of this area makes it an important asset in the national heritage of Pakistan. Since its origin roughly 2000 years ago, this area has been home to many cultures and dynasties. All this is reflected in the day-to-day lives of the Walled city’s residents, arts, traditions, architecture and the very layout of its narrow, winding streets. As layers of history were deposited on the area, its urban fabric deteriorated. Properties which were owned by one person were divided among multiple

TAHNEE TURELINCKX | tahnee.turelinckx@hotmail.com | +32 478 47 60 94

descendants. Quality of life decreased over time and the area got increasingly commercialized. Population density has now increased to 40,000 people per sq.km. This created many problems which are

CASTLES IN DECAY Decayed buildings and ruins have always existed. Build-

destroying the urban fabric of the area. The main

ings lose their function, or get destroyed by violent

problem in the area however, is the lack of public in-

conflicts or natural elements. Today our architectural

terior for the residents and visitors of the walled city.

landscape is filled with abandoned buildings. Among them

This project attempts to devise a model which sets

are a lot of castles. Once glorious buildings, are now left

an organic process in motion for the rehabilitation

to decay. They don’t seem to be valued anymore although

of the urban fabric and creation of public interior

they are a big part of our architectural history. Over time

in the walled city. This is done by identifying 105

these buildings will simply disappear.

properties which have been divided over time into

An example of an abandoned castle that is now in ruins,

smaller units. Of these, one site has been chosen as a

is the castle Rochendaal in Sint-Truiden, built in 1881

model which contains a valuable Haveli (mansion)

and during the Second World War used for military

of high heritage value. According to the Walled City

purposes. This castle is sited on a military site that is going

Authority (WCLA), the Dinanath Haveli needs to

to be transformed into a domain with housing units and

be conserved and used as an art and culture center. Therefore by opening up a few of the properties in the vicinity of the Dinanath Haveli, an interior space is formed which activates surrounding area as well.

Since healing of the body requires healing of the soul first. Repairing the urban fabric of the walled area of Lahore requires more than provision of utility facilities, painting houses and building roads. Creating public interior will cause the adjoining properties to grad-

reuse of this castle. To work further on the new master plan, the castle will get a new function as a place where people can gather, meet and sit together. To integrate the ruin as an idea and strategy, some of the rooms will become exterior spaces. In some parts of the building nature will thus keep taking over. The important spaces on the ground floor, like the original drawing room and dining room, will be closed off again to be used as indoor spaces. This strategy towards the adaptive reuse of a castle ruin keeps the uselessness and genius loci of the ruin. It shows the genius loci of the castle, in its new programme, and of the ruin again simultaneously. The spirit of the ruin is not neglected and the idea of the typology of the ruin

cohousing projects by Architects Achtergael and Atelier

becomes one unified whole with the revival and the idea

Kempe Thill. To develop a strategy that aims to give a

and programme of the castle.

castle ruin a new use, without completely removing the idea of the ruin, this master project consists of an adaptive

ually open up and reduce fragmentation in the area.

MASTERPROJECT INTERNATIONAL MASTER OF ADAPTIVE REUSE

LINDE VAN DEN BOSCH | lindevandenbosch@gmail.com | +32 494.32.14.49

LIESL VAN NOTEN | lieslvannoten@gmail.com | +32 470 05 29 21

ADAPTIVE REUSE THROUGH TRANSFORMING TIMEFRAMES: A LAYERED READING OF THE ST. GODELIEVEABBEY IN BRUGES

A NEW USE FOR THE ROOSENBERG ABBEY IN

The new program for the St. Godelieveabbey in Bruges

spaces, the 7 steps to enter the building and the way we

aims to be an added value for the neighbourhood. Where

WAASMUNSTER

the nearby Concert Hall by Robbrecht & Daem relates to

The Roosenberg Abbey in Waasmunster, one of the iconic

features. Many of these are implemented in the design for

Located in the historical centre of Bruges yet distinctly

the historical towers of Bruges, the abbey humbly blends

buildings of Dom Hans van der Laan, is in need for a new

the new extension, however in a more contemporary way.

isolated from the crowded areas, the abbey walls enfold a

in the streetscape. The complex functions as a centre

use. In this project an extension is made to the abbey for

In the Roosenberg Abbey the qualities that are already

remarkable site. Its 11.000 m2 have been waiting for a new

for children’s education based on artistic expression by

it to become a study, congress and conference centre. The

there are enlarged. Many of the rooms can stay within the

life since the remaining Benedictine nuns of St. Godelieve

encouraging creative freedom, providing a prolonged

Roosenberg Abbey is a relatively young, built in 1975, reg-

same mindset as they were initially designed for, although

handed them over to the city of Bruges in 2014.

stay for groups. This includes creative ateliers and theatre

istered monument. It is one of the most iconic buildings

contributing to the needs of the study and congress centre.

workshops.

The new extension contains a lobby, a foyer with a bar and

The rich, layered history of the site is present in the

The religious identity of the site allows to retreat in ‘quiet

developed by Hans van der Laan.

when needed a catering service and the auditorium where

complex evolution of the abbey, the building campaigns

zones’ and encourages contemplation. These facilities

The Roosenberg Abbey stands out in its green surround-

the congresses, a lecture or even a small concert can take

written on the façades and the religious focal points spread

allow among other things after-hours and holiday work-

ings. The horizontal architecture of the building makes it

place. The way the light is captured and how the nature

around the gardens, addressed by the vegetation and exist-

shops for neighbourhood children. The cultural function

look modest, however being completely white it is clear

and the abbey can contribute to the experience inside the

ing vistas. The religious roots run deep and are present in

is open for families of Bruges through youth theatre and

that Dom Hans van der Laan wanted to make a statement

building is one of the most important design features.

the Hortus Conclusus, the traditional Christian motif of

performances. The south garden and orchard are gifted

with his architecture. It makes the building look ridged

the enclosed garden. The site can be read as an assemblage

to the neighbourhood as an enclosed public space while a

within its surroundings, which gives it an introvert pres-

of enclosed gardens, each with their own identity.

small-scale farming organisation operated as a sheltered

ence. The way in which he played with the light coming

workplace occupies the north part of the outdoor area.

in, the framed views, the materialisation, the entering of

tend to measure a space are the most important design

MASTER ESSAYS

MASTER JURY

6. 7.

8. 2. 3.

1. Helena Depoortere 2 & 6.Magalie Durieux 3,4,&5. Jury 7. Ellen Craninckx 8. Karlijn Van der Werf 9. Lisse Loos 4.

9. 48

MASTER JURY

1-3. Larissa Rogiers 4. Felicia Iman 5. Caro Heuts 6. Frederique Peeters

MASTERPROJECT ERASMUS

UNIVERSITY OF LINCOLN

POLITECHNIKA GDANSK, POLEN

Helena Depoortere -

Lieze Smets -

MASTERPROJECT ERASMUS

CAPE PENINSULA UNIVERSITY OF TECHNOLOGY

POLITECNICO DI MILANO

Martine Peeters -

Tine Meert -