IVO DE JEU
About This portfolio is a collection of some of my works over the last couple of years while obtaining my Master’s degree in Architecture at the Delft University of Technology. It ranges from a wet dÊrive, a carbonfibre freeform air filter to a reflective dissappearing act in the polder and concrete philosophy. Enjoy!
_PORTFOLIO_Delft.indd 1
13-6-2012 23:23:15
BORDER CONDITIONS
“A designer´s approach to randomness on a riverbank in Kiev, Ukraine
_PORTFOLIO_Delft.indd 2-3
RANDOM SPECIFICITY or CHANNEL VISION?
e” KYIV UKRAINE
13-6-2012 23:23:16
BORDER CONDITIONS
The map is a graphic representa-
Studio
sions are drawn from the col-
tion which facilitates a spatial un-
The studio Border Conditions plays
lective investigation, while the
derstanding of objects, concepts,
with the idea of the blurred reality,
individual researches are taken
conditions, processes or events in
of the vague and the indecisive. It is
further into design proposals.
the human world.
out of this apparently uncontrolla-
The first part of this book focuses
Maps are parallel worlds, rich and
ble and actually misunderstood no-
on the collective effort of the stu-
powerful out of their own specific
tion of marginal that new concepts
dio. The second part is dedicated
properties, producers of new and
of space arise. It speculates on the
to the individual work, comprised
other spaces, of alternative and
potential of these urban patches
of the theoretical essay and the
unprecedented geographies. Maps
where the undetermined still leaves
personal investigation and map-
and cartographic practices are
room for interpretation. An inter-
ping.
perhaps more correctly rendered
pretation that is transformed into
as heterotopic projects, dealing
a strategy through a thorough and
with or seeking or suggesting
precise process of mapping.
counter-worlds, other territories,
The studio is set up in three devel-
new spaces. Contemporary geog-
opment stages. The first stage fo-
raphy and cartography knows that
cuses on creating an entrance point
maps create space, that maps
to the subject city by enunciating a
generate the territory, that maps
series of problem statements and
produce or generate the real.
developing a number of investigational methods. The entire team of
BB3, Pavilion no. 12 vol. 1
students work together in creating these, the collective effort is crucial to the success of the studio and can be seen as a defining aspect of the methods. At the same time students are required to formulate their own theoretical research and start developing it through essay
Mapping
writing and practical testing. The
The studio Border Conditions
methods are applied on site in the
is involved in the research and
second stage of the studio, extract-
development of potentially new
ing information and dissecting
design tools and methods. The
the subject locally. Along with the
investigation focuses on mapping
collective research students define
as a method of discovering and
their personal area of investigation
harvesting underlying attributes of
and start working on the individual
the contemporary urban condi-
projects. During the third and final
tions and everyday life; translating
stage of the research project the
these into spatial readings and in-
data is analyzed in depth and the
terpretations able to form a basis
information is converted through
for architectural design.
mapping into a design tool. Conclu-
_PORTFOLIO_Delft.indd 4-5
KYIV UKRAINE
Walking through Kyiv
universe accessible to the reader
The studio requires the develop-
through the map’s particular lan-
ment of a method of approach
guage. It is selective in its render-
to the subject city. Based on the
ing of information and offers a
developments of the first phase a
meticulously constructed image
navigation strategy was devised
out of the thousand images held
and applied on site. The way to
within the object. Each map can
approach a city is a key element in
unveil a different characteristic
grasping it. It is not merely a mat-
and each map can unveil a paral-
ter of moving through it randomly
lel universe extracted from the
or efficiently as much as a matter
same reality. The map offers not
of experiencing it from an architec-
only the precision of a reading but
tural and spatial stand point. The
the possibility of interpretation
act of moving through a city is re-
and variation.
evaluated and converted into a tool of comprehension. Exact details of how and why this movement is performed are established prior to the site visit. The validity of the navigation strategy and the specuGetting up close and personal
lations made are tested during the
During the first stage group
confrontation with the city itself.
effort focuses on creating an image of the city that will allow a
Mapping as a method
certain comfort with the environ-
The experience of the city is trans-
ment prior to the actual contact.
lated into an architectural dis-
Research begins by creating a
course through mapping. Mapping
collection of data from a large
provides the opportunity to extract
number of sources without any
and reassemble conventional con-
initial filtering. The collection was
cepts into spatial ones by shifting
then mapped onto a large scale
the perception of the viewer. It is a
satellite image of the city in order
translation tool of the everyday lan-
to create a spatial dimension
guage of the city into the complex
of the datascape. In the end a
and sometimes cryptic vocabulary
combination of the horizontal (the
of architecture. It appeals to the
data) and the vertical (the satel-
pragmatics of language in order to
lite projection) views taken on the
construct a new vocabulary.
city provide the researcher with a
The specialized nature of the map
three-dimensional impression of
makes its reading uniquely ap-
which speculations and opinions
propriate to the mapped content
arise and become investigation
rather than the original. That is
topics.
to say the map generates its own
13-6-2012 23:23:16
BORDER CONDITIONS
Metromap
stations on foot, the other travelling
were used per group were photog-
Beforehand Kiev was defined as
by metro and just sampling two dif-
raphy (view), video (sound/view),
a city of contrast and extreme
ferent atmospheres at the station.
notes (smell, sound, touch), and sketch; the team member would
juxtapositions. The close adjacency of extremely different city
The metrowalk was our first real
be strictly confined to this single
atmospheres and their transition
introduction to the physical real-
method of registration. Together
zones are investigated through
ity of Kiev. The method to record
the team becomes a sensing body
the metrowalk. For this walk the
this experience aims at dissecting
moving through the city. After-
group was split in two, the area of
information into distinct sensorial
wards the obtained data is filtered
investigation was the metro line
experiences, recombining data in
and recombined. The various lines
on the east west axis of Kiev.
a later phase in order to obtain a
of sensory information are inter-
The purpose of the walk was to
complete multilateral image of
dependent and should be read
test the difference in percep-
the walk. Each member of the two
accordingly. Both the upper and
tion of the two groups walking
different teams was assigned a
lower half of the map represent
different intervals of the same
tool, a specific registration method
two completely different cities but
trajectory, one passing through
focussing on a specific perception
are in fact samples of one and the
the transition zone between two
of the trajectory. The tools that
same city, Kiev. Part of main urban segment District segment Local cluster Single item
Rush hour Roadside
Rainy wether
Highway
Highway
Fast speed
Water
Birds
Trees
Factory
Fishing
Calming
Rough pavement
Hubs
Walking passage Transport
18:45
18:40
17:30
17:25
15:45
15:20
14:00
18:10
17:20 17:00
15:50
19:20
18:30
caves
ur
SM BRUTALI
EXIT
flane
unde grou rnd
caves
er
mm
l
oria mem
mall
bridge
dark
highway
car
school
adds adds
communi(ty)s bikes m
AXIS
music garage sale
ZOO
parc
fo rres
worker
t
homelessSUV
storage
crossing
BUNKER
g
5 18
dogs
forest doors
bu ild
trash
in
powe heate r r
t casino
transi
casino
courtyard
lenin
rails rails
casino
under
s
casino casino
er
ss
woo
s
cro
cars
pipe
ut la dc enc
tram road r te wa
nment
hu
parc
bi
rd
s
abando
ve
ch
b
hu
chur
dance
classic
ismmar
ket
19:25
fishi
ng
Nyvky
Svyatoshyn
Zhytomyrs’ka
Beresteys’ka
Politeknichny Institute
Shulyavs’ka
Universitet
Vokzal’na
ss
elegant
FANCquiet Y
Hydropark
Dnipro
Darnytsya
Livoberezhna
Lisova
Chernigivs’ka
hair products embassy
teenagers
fishers
garages
market people
laughi
ng
on
us
new BIG
24:00 - 19:10
18:30
18:25
16:45
Car parking Empty casino
Slow passing car
16:40
14:50 14:45
Telephone boxes
14:05
20:15
19:30
18:00
17:50
trash
construction
pi
bottles animals
Youth groups
Rainy wether
minibuses
et et et markmarkmark
people eating market minibuses
Park
dogs
waiting minibusses minibusses minibusses
factory
new
16:00
19:25
Commuter Streetsale High heals
trees trees trees trees trees trees trees trees trees trees trees trees trees trees trees trees trees trees
sewer
carwash
big&old
Highway access Junction
Rough pavement
19:35
garages
old
circus
abandoned
s
mafia
spooky
house
trash
bridge
new concepts for dwelling..
underground
old cars s nice old house
color
CONTROL
empty
old BIG old old BIG old BIG BIG
empty
casino casino
empty empty
disco
mall
military zone..?
pigf at
shooting
mall
casinocasino empty empty empty empty
market
$$hoppingmall marketdea d rat
casino casino
FUN
market bars
market market
���������� ����� �
en
playground
dle s
ne
dancing
Arsenal’na
Khreschatyk
Teatral’na
..
Akademmistechko
Closed attractionpark Starting car
18:25
Busstop Waiting line
Part of main urban segment District segment Local cluster Single item
Legenda Legenda
Industry Industry
Industry Industry
Group 2 underground metro ride ride Group 2 underground metro
ParkPark
Group 2 walk Group 2 walk
Park Park Living and and commerce Living commerce
Group 2 walk
Group 2 ride walk Group 1 underground metro Group 1 underground metro ride
M
M
Metro line line Metro M
Depth perception line line Depth perception
Living andand commerce Living commerce Density Density
Group 1 walk Group 1 walk Sound perception line line Sound perception Group 1 underground metro ride Group 1 underground metro ride
Height Height Density Density Meating pointpoint Meating
Speed line line Speed
Height Height Meating point Meating point
_PORTFOLIO_Delft.indd 6-7
Legenda Legenda
Group 2 underground metro rideride Group 2 underground metro
RiverRiver
Group 1 walk Group 1 walk
Speed lineline Speed River River
M
Metro lineline Metro
Heavy builtbuilt border Heavy border Permeable border Permeable border
Heavy built border Heavy built border
Public green
Permeable border Permeable border
Depth perception lineline Depth perception Public green
Transportation Transportation Sound perception lineline hub hub Sound perception
Public green Public green Transportation hubhub Transportation
KYIV UKRAINE
Legenda
0 km/h
Walk diagram Bridge Index of social activity Dispersal of people Zoomed in courtyard
*
Visual orientation line
?
Point of (dis)orientation Train track Walk scheme Real walk
25
km
/h
Imagined walk Public transportation Public transportation_ night
/h
0 km
19:35
?
Public transportation_ night option 2 Hard border
50
Fir
/h
km
st wo
ial lig hts
men ent er
Heavy traffic barrier
us tr
Permeable enclosure
Ind
Telephone call Dachas
lost in
5min
Projection line Re d co
ss
ple
Ma
n d o
sa
a
ue
b
Gl
A
Industry
Aba ndo ned str eet s
at
Public greenery
n
lesm
e
an
d s t r e
19:45
? B l ac
Blac
k h at
25 km
s
mp
t
sta
e
19:25
Tram
/h
k h at
s
s
25 km /h
? Blac
k h at
s
Blac
k h at
s
of Lack
venture Tramad urney Tramjo ?
light
er riv
ge
brid
25 km
19:05
/h 18:15
?
0 km
/h
/h
ing dark
19:55 Gett
Str ipe/h less 0 km road
/h
2 km
25 km
19:58
Crowded
19:15
?
18:20-18:55
nk
ht ba
Rig
/h
25 km 18:10
re is The
Pe
in!
a tra
op
le
co me
fr
om
Pe o
wo
ple
20:05
D
D
is
rk
gr e
et
18:06
is
ta
ta
n
t
n
t
v
ie
25
v
ie
w
w
km
/h
/h
25
Legenda
25 km/
Heavy traffic barrier
Public greenery
0 km
nk er bu
smel l
/h
m
km 1
rruga
plasti 17:30 cs
m
3 km
/h
*
1 km
/h
17:20 17:10
truc p tion t site i
n
0 km 2 km /h /h
3 km
e
/h
s
s
1 km
/h 17:00
/h 0 km 20:30-21:00
notes, pictures and film. As one of the groups got lost, the mapping
which encircles the city. Discov-
a completely different meaning.
ering the impossibility of that
Instead of recording information
aim made the walk an attempt
about the surrounding, the sur-
to reach by two groups a certain
rounding becomes a tool to map
train station from opposite direc-
the trajectory.
Industry
17:50
17:45 2 km
3 km rgrou /h nd
this point the walk and the map get
Dachas
17:58
Calmness unde 20:15
through the pursuit of the railroad, Projection line
/h
ns
technique proved to be relevant. At
Telephone call
km
Co
walk was to experience Kiev Permeable enclosure
25
tra
E
h
The initial purpose of the train
ss
ted
Point of (dis)orientation
Public transportation_ night option 2 Hard border
bo
sy
/h
Train track Walk scheme Real walk
Public transportation_ night
ith
oi
ap co
Visual orientation line
Public transportation
sw
Che
Zoomed in courtyard
Imagined walk
ad
N
M
Dispersal of people
Trainmap
k he
ms
ts arke
Index of social activity
*
blac
hol
25
Bridge
com
Alco
mer
ht
Lig
km/h
Co /h lle ailb ct iv ox e es at en stre tra et nc e
18:04
ls
cia
Walk diagram
?
km
tions. The map of the trainwalk focuses Two metro stations, one on the
on the route itself and the difficulty
north and the other on the south
of orientation. Connection and
of the specified target, were cho-
displacement lines are used to rep-
sen as the starting points.
resent confusion about the actual
During this walk both groups had
location and the way the location is
a similar division of tasks; each
read on the map. The two converg-
person focused on the walk by
ing trajectories never meet and so
utilizing one specific tool: sound,
they are separated.
13-6-2012 23:23:20
BORDER CONDITIONS
t to go back
t to go back go back
ive and
grows and shrinks depending on the color which represents the to emotion
m rain to snow and growing more chaos less visibility
Legenda
f weather and visual experience
Hard build border Train Metro A few people want to go back More people want to go back Almost all want to go back
Connecting8-9 intuitive and _PORTFOLIO_Delft.indd traced drawing
KYIV UKRAINE
Snowmap
With the increase of rain and
The snowwalk was based on the
later snow both visibility and
original idea to follow a trajec-
enthusiasm dropped. The weather
tory along the Dnipro River and
determined the physical route and
see the northern city edge at the
the tempo by the stops we made;
Obolon district. Both the riverside,
for dry shoes, umbrellas, shelter
which splits the city in two parts,
and the warmth and speed of the
and the city edge, in large part
metro. The impossibility of record-
created by an abrupt ending of
ing with the predefined method
former Soviet housing, are defined
actually becomes the recording in
to be the most physical ‘border
itself for this map.
conditions’ in the city. Our primary plan to investigate the river and the city edge by use of different tools: sketching, notation, photographing, filming, proved to nt to go back ntuitive and ng
be impossible during the walk by a rapid change of weather conditions. From that moment on the weather
ich grows and shrinks depending on and the color which represents the ence to emotion
determined our walk.
t from rain to snow and growing ew, more chaos less visibility
Legenda
ge of weather and visual experience
Hard build border Train Metro A few people want to go back More people want to go back Almost all want to go back
So many nights I've heard the rain, Have heard ma matter weeping ... I am m alone, alone my mind is drawn Towards lacustrine dwellings. T To rd dss la d A though As ugh I slept on wet boards, A wave willl sla slap me in the back I start from sleep, ep, and it seems I haven't drawn the bridge from the bank. eb A void of history extends,
Connecting intuitive and traced drawing Trajectory which grows and shrinks depending on enthousiasm and the color which represents the visual experience to emotion
An sense how through so much rain And The heavy timber stilts are tumbling. So many nights I've heard the rain, Always starting, always waiting ... A I am alone, my mind is drawn Towards lacustrine dwellings ...
Development from rain to snow and growing obstacle of view, more chaos less visibility
George Bacovia (1881-1957)
Break City edge
13-6-2012 23:23:22
BORDER CONDITIONS
While on one of our groupwalks I stumbled upon the Lybid Canal. Part of Kyiv’s irrigation system. In total it is around 14 km long and it leads into the Dniepr river. The following mappings are an attempt to uncover the richness of what I have experienced while walking.
_PORTFOLIO_Delft.indd 10-11
KYIV UKRAINE
The walks After the discovery of the Canal, I started walking alongside of it, wherever possible. At some times there would be blockages, fences, tunnels or the water itself that prevented from continuing. But after a detour or some climbing the route would be continued. The mappigs The first mapping is a panorama of the complete route from start to finish captured in photographs, the first deformation. The second mapping is a tracing of the first mapping. Bringing it back to its essentials, the second deformation. Then I made an audio-collage of the route and let this digitally influence and alter the second mapping. This third mapping is a twodimensional distorted mapping, triggered by the audiocollage, it responds to the loudness and frequencies of the audiocollage and pushes away or pulls closer the elements of the drawing. The final mapping is another deformation of the previous mapping based on the same audio-collage. This deformation generated a threedimensional mapping. The amount of vertical extrusion depends on the loudness and frequencies of the audio-collage. The final result is still related to the first mapping but uncovers new territories.
13-6-2012 23:23:24
BORDER CONDITIONS
“From panorama to draw drawing and into the 3rd d _PORTFOLIO_Delft.indd 12-13
KYIV UKRAINE
wing to exploded dimension� Small S ll fragments f t off the th mappings i showing h i the th development d t
14-6-2012 7:59:45
BORDER CONDITIONS
Translation from drawing to models
_PORTFOLIO_Delft.indd 14-15
KYIV UKRAINE
13-6-2012 23:23:48
BORDER CONDITIONS
“A sequential stitched dou axonometric section, top-
fishing pond bbq deck bio filter
cs
-s
cs-r
exercisedeck
swimmingpool
ls-s level -1613mm
bio filter
divingpool
ls-r custom 90-90 axonometry level +250mm
ls-s level -1750mm
solardeck
level +250mm
kitchen
terrace level -4000mm
bar
level +280mm
cs-r
-s cs
_PORTFOLIO_Delft.indd 16-17
ls-r
KYIV UKRAINE
uble-flipped - and bottomview in one�
fish farm
fish farm
fish farm
laboratory
bio filter
fish farm
water treatment
custom 90
floorplan water/ground level scale 1:200
13-6-2012 23:25:18
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BORDER CONDITIONS
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KYIV UKRAINE
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BORDER CONDITIONS
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KYIV UKRAINE
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CITY FOYER R’DAM
“A digital buildings a movement
_PORTFOLIO_Delft.indd 24-25
research in shaping according to t”
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A VISITOR’S HUB
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CITY FOYER R’DAM
“Simulations of traffic flows deform a plane to become a shelter”
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A VISITOR’S HUB
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CITY FOYER R’DAM
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A VISITOR’S HUB
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CITY FOYER R’DAM
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A VISITOR’S HUB
“Digital development of the structure” 13-6-2012 23:26:37
CITY FOYER R’DAM
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A VISITOR’S HUB
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ERASMUS HOUSE
“A warm concrete gesture to a Rotterdam square”
_PORTFOLIO_Delft.indd 34-35
A PHILOSOPHICAL CENTER
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PUSHIN PULL OUT 13-6-2012 23:26:43
ERASMUS HOUSE
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_PORTFOLIO_Delft.indd 36-37
A PHILOSOPHICAL CENTER 39520 35380 5185
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4140
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A
D
D
cafe p-1500
entrance/infodesk p-1100
D
foyer p+3250
D
reading room p+8000
D library p+8000
13480
entrance/infodesk p-1100
kitchen
lift
13550
cafe p-1500
10140
bar
D
lift
lift
shop
expo p+3250
bar sound&vision p-1500
auditorium p+3250>p+4750
auditorium p+3250>p+4750
garderobe expo p+8000>p+9500 41165
expo p+3250>p+4750
B
B
41780
B
B
40200 39765
staff kitchen p-1500
B
garden p+9500
B
105m2
garden p+4750 20950
220m2
20950
meeting/lunch p-1500
temporary expo p-1100>p=0
garden p+4750
auditorium p-2500>p-1500
220m2
sound&vision p+4750 storage p=0
office p=0
E
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ERASMUS HOUSE 17900+p 17150+p
13150+p 12400+p
8000+p 7250+p
Fragment scale 1 to 20 1 sealant, 2-component fine stopper 2 sedem green roofing 3 concrete 4 thermic interruption between concrete and insulating concrete 5 insulating concrete 750mm 6 lighting device concreted in 7 thermal activation heating pipes concreted in 8 cavity floor construction 305mm 9 wooden floor construction 30x180 mm larch boarding 50mm battens on cavity floor ventilation duct 10 20 mm drainage pipe 11 fixed glazing in 100x200 wooden windowframe 12 reglit U-glass 200mm thick, max wind bearing span unsupported: 9m 13 staircase insulating concrete 14 safety glass 15 negge painted and used for seating
p-1500
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TECHNICAL DETAILING OF FRAGMENTS
14250+p 13500+p
9500+p 8750+p
4750+p 4000+p
2500+p
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g concrete allows the double as benches� 13-6-2012 23:27:27
ERASMUS HOUSE
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A PHILOSOPHICAL CENTER
“A hommage to the staircase of Bouwkunde”
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CONCEPT•NL
“A new Catshuis disappearing in the Polder”
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PRIME-MINISTER’S RESIDENCY
”
REFLECTIVE PERSPECTIVE 13-6-2012 23:27:40
CONCEPT•NL
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PRIME-MINISTER’S RESIDENCY
the reflectiveness of de, digital and physical”
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CONCEPT•NL
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elect ronica en techniek tbv bediening deuren
peil+1000mm, bovenkant water = bovenkant vloer conferentiezaal peil+750mm, bovenkant verhoogde voer peil+500mm, bovenkant verhoogde vlo er peil+250mm, bovenkant verhoogde vloer peil = 0, bovenkant afgewerkte vloer
maaiveld, peil-70mm VE RWARMING
peil+25mm, bovenkant tegelvloer
elect ronica en techniek tbv bediening deuren
peil-415mm, bovenkant atoomkelder
peil -1115mm, onderkant isolatie
_PORTFOLIO_Delft.indd 46-47
PRIME-MINISTER’S RESIDENCY RVS gepolijst dakbedekking waterkerende folie houten klos tbv bevestiging dakrand en verholen goot isolatie staalprofielplaat RVS gepolijst profiel om glas heen gevat voor bevestiging RVS dakbedekking verholen goot
kit op rugvulling L-profiel op staalconstructie bevestigd tbv klos
stalen U-profiel tbv bevestiging plafond
staalconstructie
40 mm dubbelglas
electronica en techniek tbv bediening deuren
verlichting in lijn met glasgevel tbv perspectief
flexibel siliconen rubber "kozijn" om glas in te passen gezet stalen profiel om glas te bevestigen kit
rubber "stootkussens" afwerklat
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peil+250mm, bovenkant verhoogde vloer peil+25mm, bovenkant tegelvloer
peil = 0, bovenkant afgewerkte vloer elect ronica en techniek tbv bediening deuren
maaiveld, peil-70mm VE RWA RMING
peil-415mm, bovenkant atoomkelder
langsdoorsnede A-A' schaal 1:50 13-6-2012 23:27:56
CONCEPT•NL
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PRIME-MINISTER’S RESIDENCY
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CONCEPT•NL
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PRIME-MINISTER’S RESIDENCY
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BORDER CONDITIONS
ARCHITECTURE & DRAWING “architects do not make buildings, they make drawings for buildings.” –Robin Evans 1 This essay is an attempt to discuss the role of drawing in architecture. By taking a look at how drawing and architecture have been closely connected, from the Renaissance to the Russian avant-garde and into the last three decades, some of the underlying forces and processes could come into focus. It is not only an attempt to discuss, but also to try and understand the relationship between drawing and architecture and what that means for present and future architecture. Already Alberti writes in his De re aedificatoria about the important role of lineaments, linear constructions projected “in the mind” in preference to the physical material reality of buildings. But it is a bit blunt to simply oppose those projected constructions to actual buildings. Robin Evans writes in The Projective Cast: “What connects thinking to imagination, imagination to drawing, drawing to building, and buildings to our eyes is projection in one guise or another, or processes that we model on projection” 2 Projections are the way how the architect bridges the gap between the idea and the material. So let’s take a closer look at some of the projections. The invention of perspective enabled painters and architects to recreate their surroundings in a natural but scientific way by geometrical means, finding a mathematical logic in everything. The Golden Section and its Divine Proportions illustrate this by putting Man, and thereby the creator of man, God, at the center of all creations. The fact that man is forced in an uncomfortable and unnatural pose to prove this mathematical logic was being ignored.(fig. 1) Now it became possible to represent space on a two-dimensional surface in a natural way. By the introduction of depth and thereby space in the drawing, also time was introduced in the drawing. The viewer could “travel” through the represented perspectival space which creates certain sequences and a possibility of a narrative. Architects could add a new tool to their palette. Stan Allen writes about this “In architecture, the smooth space of mathematical reason allowed the architect to reverse perspective’s temporal vector and project precisely imagined constructions into the future.” 3 But there was unease about how perspective could be used in the realization of actual spaces. The use of perspec-
_PORTFOLIO_Delft.indd 52-53
1. De architectura libri deci
ESSAY
tive relies on the vanishing point to complete the composition. But when the viewer is not at the predetermined viewpoint, the composition could fall apart. That is why the perspectival projection was used more conceptually in Renaissance architectural theories of perception and proportion. “[…] design is not visualization (empirically “testing” successive versions) but rather the manipulation of a series of highly abstract devices–primarily the orthographic projections of plan and section–that serve to describe and construct the space.” 4 These projections, orthogonal or perspectival, are no autonomous objects; they represent relationships between aspects of the drawing. These relationships can be interpreted and reconfigured in different ways and representations while “reading” the drawing. In analogy to the reading of drawings; can the production of drawings be called “writing”? El Lissitzky explained “Perspective limits space; it has made it finite, closed.” Axonometry “has extended the apex of the finite visual cone of perspective into infinity [...]” 5
2. El Lissitzky Proun Spacedrawing, 1923
3. El Lissitzky Proun Space, Berlin 1928
The perspectival projection on a plane represents a three-dimensional space, whereas the axonometric projection is “the ultimate illusion of irrational space” that makes it possible to navigate through and around the subject, “constructing new worlds”. Although perspective is a mathematical invention and has scientific roots, it has mostly been used in a pictorial way, imagining the known world according to worldly principles. When the revolutionary avant-garde of the early twentieth-century wanted to construct new worlds they chose to use axonometric projection, it communicates abstract information, is measurable and precise. Axonometric projection has its origin in the military, was taught at engineering schools and became very important during the industrialization period. If perspective is related to the École des Beaux-arts than axonometry is related to the École Polytechnique. Axonometry is not trying to map vision; it deals with construction and measurability. These very aspects attracted the avant-garde. Perspectival drawing eventually ends in the vanishing point, closing it up in space and time. Axonometric drawing has its vanishing point at infinity, which “suggested a continuous space in which elements are in constant motion.” Attempts to realize axonometric works in a physical built form have had similar results as the anamorphous projections on church domes; the impact and energy of the drawings was lost. When visiting El Lissitzky’s Proun Space in the Van Abbemuseum in Eindhoven (fig. 2&3), it can feel quite disappointed. When experiencing the space physically, the potential and dynamic that
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BORDER CONDITIONS
it could generate from looking at the drawings wasn’t there. Or when looking at the model of Van Doesburg’s Café Aubette it also looked much more static and flat than the drawings suggest. So there is a difficulty in translating these avant-garde axonometric visions to a true physical experience. This difficulty resulted in a role in the margins of architecture for axonometric experimentation for approximately fifty years; until the so-called de-constructivist experiments of for example Daniel Libeskind (on paper) or Peter Eisenman (also in models, fig. 4) among others. What was the backdrop of the rise of a new avant-garde who became the “starchitects” of today? In the early 60’s innovations in arts and film inspired for “architectural speculations on paper”. The ’68 strikes fueled a “distrust of […] institutions and social conventions” and architecture came to distrust conventional type and program; and the conventional “collaborating architecture–would soon, and easily, be replaced by a more radical, democratic, free, uninhibited world.” 6 The perspectival drawing method became synonymous for the collaborating corporate architecture and had to be opposed. The oil crisis of the 70’s slowed down the building production and talented promising architects took on teaching positions, “where the graphic experimentation […] condensed into a primary mode of research.” 7 Architecture was preparing itself to take the lead in radical social and political reinvention. This condensation led to the objectification of the drawing as a means on its own, as a strategy to launch the architectural debate. The drawings were able to reveal a reality that goes beyond any built reality. These multiple interpretations and readings of the drawings show a richness that is outside the scope of the physicality of the building. Daniel Libeskind gives a very clear description of the state of architectural drawings at the time of his 1979 project Micromegas: The Architecture of Endspace: “Architectural drawings have in modern times assumed the identity of signs; they have become the fixed and silent accomplices in the overwhelming endeavour of building and construction. In this way, their own open and unknowable horizon has been reduced to a level which proclaims the a priori coherence of technique. In considering them as mere technical adjuncts, collaborating in the execution of a series made up of self-evident steps, they have appeared as either self-effacing materials or as pure formulations cut off from every external reference.” 8
_PORTFOLIO_Delft.indd 54-55
4. Peter Eisenman, axonometric model House X, 1975-78
ESSAY
The drawing becomes, once again, more than depicting the various views of the building, they construct a narrative and show not only the appearance of the project but also its meaning in a broader sense. A dialogue is opened by this narrative that questions the formal and spatial dimensions, subjective content and interpretations are taking into questioning the supposed objective realistic perspectival view. Spatial and physical continuity, best represented in the perspectival view are undermined by cinematic and choreographic techniques like in Bernard Tschumi’s Manhattan Transcripts (fig. 5). Which is 5. Bernard Tschumi, Manhattan Transcripts 1976-81 a mix of an anti-hero involved in the Russian avant-garde meets Georges Bataille and Jacques Derrida, has the subversiveness of Archigram and is on a Situationist dérive through Manhattan. All represented in photographs, conventional architectural drawings and motion diagrams. Or Rem Koolhaas’ AA thesis project Exodus (fig. 6), “A work set in three equal registers: a scattershot set of emaciated, anemic parodies of traditional architectural drawing; a storyboard of colorful collages; and a text/script.” 9 Or like Peter Eisenman’s 6. Rem Koolhaas a.o., Exodus 1972
House I–XI series ( fig. 7), who used the analogy of language with its fixed set of words, to liberate design from the burden of functional and contextual requirements by proposing the transformation of a fixed set of elements like walls, columns and stairs into a “process-driven design”. So by explaining parts of the projects/ process in the drawing instead of “depicting the resultant form” the “evolution of the concept” becomes the subject of the project. Patterns emerge that are as much part of the project as the final form.
7. Peter Eisenman, House VI 1976
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BORDER CONDITIONS
But the most radical attempts, in approaching architectural drawing from a completely different angle, are carried out by Daniel Libeskind in his Micromegas and Chamber Works series. (fig. 8 & 9) In these drawings all preconceived conventions about architectural drawings are being destroyed, and all that is left is a state of architectural anarchy. The drawings are almost autonomous works of art. The Micromegas works can be seen as the final step in axonometric drawing and fit perfectly in El Lissitzky’s description as “the ultimate illusion of irrational space”. It is as though a multitude of Prouns have collided that are in a constant flux. Or consider Libeskind’s Chamber Works drawings of which John Hejduk writes: “This phenomenological work of Libeskind has turned the body inside out, but with a difference. Before there was the possibility of transcendence, of the release of a soul that could be free in the unknown heavens. Now, the new drawings produce the antithesis. […] But here we also have the soul being discarded, carried by a landscape of inexplicable meaning. […] Libeskind silences all; we see the very soul.” 10 So, did Libeskind’s drawings announce the end of/the final stage of the evolution of the architectural drawing? Is it like Malevich and his White on White (fig. 10) or Black Square paintings? Libeskind himself writes about his Chamber Works drawings: “[…] This work in search of Architecture has discovered no permanent structure, no constant form and no universal type. I have realized that the result of this journey in search of the ‘essentials’ undermines in the end the very promise of their existence. […]” 11 Libeskind certainly maneuvered himself in a very difficult position. He not only silenced all, he almost silenced himself. In Pandora and the modern scale model machine Albert C. Smith writes that by engaging in the construction of three scale model machines Libeskind wants to re-enter the realm of architecture. In his Three Lessons in Architecture (fig. 11,12&13) he builds a Reading machine to teach (himself?) the process of building. He then builds a Memory machine, which “consists of what can still be remembered in architecture.” And finally he builds the Writing
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9. Daniel Libeskind, Chamber Works 1983
ESSAY
8. Daniel Libeskind, Micromegas, Little Universe 1979
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BORDER CONDITIONS
machine that “teaches the artless and scienceless making of architecture�. These machines can be seen as an attempt to provide Libeskind a new framework and a set of reference standards to test his concepts. It certainly proved impossible to compete with these drawings on a similar platform. 10. Kazimir Malevich, That’s when the attention Suprematist Composition shifted to the diagram during White on White 1917 the nineties. Which allowed for continuous, folded surfaces and smooth transitions, as opposed to conflict and instability. What is the position of architectural drawing today? The rise of the computer in the design studio and the development of Building Information Modeling (BIM) could change the role of the architectural drawing once again. In the communication between architect, client and contractor, 3D computer models are becoming more and more important to express the ideas of the architect. Not only in photo-realistic representations but the complete building can exist in virtual reality. The architectural drawing could be less and less designed to express the idea of the architect, but a result or revelation of complex processes of which the architect is the director. Does that lead to good architecture? Sometimes a bad script results in a good movie, sometimes a good script results in a bad movie and sometimes a good script results in a great movie. It all depends on the director.
_PORTFOLIO_Delft.indd 58-59
11. Daniel Libeskind, Reading Machine 1985
12. Daniel Libeskind, Memory Machine 1985
13. Daniel Libeskind, Writing Machine 1985
ESSAY
NOTES 1 Allen, Stan Practice: architecture, technique and representation p.1 2 Ibid p.183 (notes) 3 Ibid p.7 4 Ibid p.7 5 Ibid p.17 6 Kipnis, Jeffrey Perfect Acts of Architecture p.10 7 Ibid p.11 8 Libeskind, Daniel Countersign p.14 9 Kipnis, Jeffrey Perfect Acts of Architecture p.14 10 Libeskind, Daniel Countersign p.122 11 Ibid p.111
IMAGE CREDIT Figure 1. De architectura libri deci, source Smith, Albert C. Architectural Model As Machine Figure 2. El Lissitzky Proun Space drawing, 1923, source http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/305.html Figure 3. El Lissitzky Proun Space, Berlin 1928, source http://www.tate.org.uk/research/ tateresearch/tatepapers/07autumn/berndes.htm Figure 4. Peter Eisenman, axonometric model House X, 1975-78, source http://blog.miragestudio7.com200708peter-eisenman Figure 5. Bernard Tschumi, Manhattan Transcripts 1976-81, source Kipnis, Jeffrey Perfect Acts of Architecture Figure 6. Rem Koolhaas a.o., Exodus 1972, source Kipnis, Jeffrey Perfect Acts of Architecture Figure 7. Peter Eisenman, House VI 1976 source http://www.kjabaird.blogspot.com/ Figure 8. Daniel Libeskind, Micromegas, Little Universe 1979 source Libeskind, Daniel Countersign Figure 9. Daniel Libeskind, Chamber Works 1983 source Kipnis, Jeffrey Perfect Acts of Architecture Figure 10. Kazimir Malevich, Suprematist Composition White on White 1917 source http:// en.wikipedia.org/wiki/Image:Marevich,_Suprematist_Composition-_White_on_White_1917.jpg Figure 11. Daniel Libeskind, Reading Machine 1985 source Smith, Albert C. Architectural Model As Machine Figure 12. Daniel Libeskind, Memory Machine 1985 source Smith, Albert C. Architectural Model As Machine Figure 13. Daniel Libeskind, Writing Machine 1985 source Smith, Albert C. Architectural Model As Machine
BIBLIOGRAPHY Allen, Stan (2000) Practice: architecture, technique and representation. Routledge Forty, Adrian (2000) Words and Buildings. A Vocabulary of Modern Architecture Thames & Hudson Kipnis, Jeffrey (2001) Perfect Acts of Architecture Thames & Hudson Libeskind, Daniel (1991) Countersign Academy Editions Smith, Albert C. (2004) Architectural Model As Machine Architectural Press
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PORTFOLIO
ir. IVO DE JEU Address: Anemoonstraat 10-I 1031 GX Amsterdam
_PORTFOLIO_Delft.indd 60
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