Hanneke van Deursen
hvandeur@syr.edu +1 (507) 990 3019
hvandeur@syr.edu
Content CV
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Academic Work The Machine
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An Ode to Signs
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Let’s Get Lost!
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Other Landscapes
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Professional Work Architecture Office
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Studio AAAN
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Contact
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Hanneke van Deursen hvandeur@syr.edu +1 507 990 3019
Education Syracuse University School of Architecture 3.9 GPA | Honors Program | B. Arch. | Expected May 2020
Mayo High School 4.0 GPA with Honors | 2010-2015
Work Architecture Office Syracuse | Research Assistant | 2017
Studio AAAN Rotterdam | Architectural Intern | Summer 2017
AV62 Arquitectos Barcelona | Architectural Intern | Summer 2016
Skills Adobe Illustrator |
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Photoshop |
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InDesign |
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Digital Modeling Rhino |
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VRay |
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AutoCAD |
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SketchUp |
Physical Modeling Laser Cutting | Vacuforming | Acrylic | Wood | Foam | Museum Board | Plaster
Language English |
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Dutch |
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Spanish |
Citizenship The Netherlands | United States of America
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The Machine Calibrating the individual to machine standards. This project began with intensive research on David Walentas’ gentrification of DUMBO. The Machine is a reaction to this research. If Walentas can carefully curate the transformation of a neighborhood, the Machine explores the potential to curate the transformation of those attracted to such a neighborhood. It also criticizes the fetishization of the insane, “starving artist” that DUMBO is built on. In the Machine, the two groups feed off each other. The Machine appeals to the Prospie’s (prospective residents) desire to be cool and their ability to pay for it, and it appeals to the Artist’s selfdestructive search for trauma to create “better” art. The Machine is the architectural imagination of a story. Its forms emerge from the narrative. It employs space to create class hierarchies and induce madness. A neighborhood pumped full of Machined people would lead to rebellion. The Machine will push gentrification to such an extreme that its proponents rebel and the bubble bursts.
In collaboration with Elena Echarri Myers.
5 Steps to Gentrification
Daekwon Park | Studio 2017
The Machine
Artist-Prospie Interaction Diagram
Hanneke van Deursen
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In collaboration with Elena Echarri Myers.
Prospie Emotio
Artist Emotion
Daekwon Park | Studio 2017
The Machine
onal Narrative
nal Narrative
Hanneke van Deursen
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In collaboration with Elena Echarri Myers.
Artist Spatial
Daekwon Park | Studio 2017
The Machine
l Narrative
Hanneke van Deursen
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In collaboration with Elena Echarri Myers.
Prospie Spati Daekwon Park | Studio 2017
The Machine
ial Narrative Hanneke van Deursen
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In collaboration with Elena Echarri Myers.
Floor 2 Plan
Daekwon Park | Studio 2017
The Machine
Section North-South
Hanneke van Deursen
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In collaboration with Elena Echarri Myers.
Full Presentation Drawing Set
Daekwon Park | Studio 2017
The Machine
Sectional Model 1/8� = 1’
Hanneke van Deursen
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An Ode to Signs Exploring the power of inscription as architecture Signage is everywhere. It is on our coffee cups, along highways, and plastered across buildings. Our world is orchestrated by the signs which proclaim the rules we choose to obey. Through an investigation of supergraphics, hand-painted signage, and the language of road signs, I explored the architectural potentials of both the appropriation of existing signage and the addition of new graphics to add an additional layer to the reality of a space. A dichotomy emerges: graphics as rules and graphics as imagination. Some spaces are highly regulated by the graphics inscribed in the ground. Other spaces exist as fields of objects whose only organizations come from the surfaces they occupy. When we allow a line to be as powerful as a wall, architecture can be reduced to a tattoo on the ground.
1.5 x 2 m model at 1:200 scale.
Field of objects
Francisco Sanin | Studio 2017
Overlay of r
An Ode to Signs
regulated and free space
Hanneke van Deursen
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Let’s Get Lost! A park for those who prefer not to know the way Located along the upper channel of Onondaga Lake, this park houses research and educational facilities which showcase the willow biomass crop and its lifespan. Organic pathways are carved into the mass of the willows. They connect the follies located at the grid’s intersection points. Harvested on a three year cycle, the various stages of the willow’s lifespan deliver a different experience every visit. The park is made for the flaneur, the wanderer. The site is relatively small, but the pathways are endless. By design, taking the same route twice through the mass of willows becomes nearly impossible. Greenhouses act as disorientation chambers to confuse the visitor’s sense of direction and their perception of the crop. Hidden between the willows, they encounter a cast of architectural characters.
Park Virgin
Only accessible by a single small path, the Virgin is the hidde ambulatory ramps. They may travel up and look at the park, bu The Virgin: the hidden garden is to be where the visitor could expect an entrance, he instead encounte admired, but not touched. Any intrusion to feasibly clamber beautiful, untouched park, but the garden must be into an actthe of aggression.
Francisco Sanin | Studio 2017
Classroom
ition
Let’s Get Lost!
Oasis
A long slit is made in the ground, and into it slides the exhibition. It is shy. It does not visitor must approach it and walk down into it to hear what it has to say. At the heart of t only the of the tallest visitor’s are visible moving through the landscape. Af Thetops Introvert: the long slit inheads the ground inside, one remerges slowly into the landscape with a new perspective developed does not cry for attention. Instead, one must slip into it, and listen closely for its meaning.
Hanneke van Deursen
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Process S Francisco Sanin | Studio 2017
Let’s Get Lost!
Sketches Hanneke van Deursen
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Evenly distributed greenhouses act a people in and making them f
Francisco Sanin | Studio 2017
as disorientation chambers, drawing forget from where they came.
Hanneke van Deursen
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Other Landscapes Meticulous mapping in pursuit of the other Exploiting traditional cartographic language and technique, each of the 2 x 2 m drawing’s layers explores the potentials of a particular map-making strategy. Using an aerial photograph by Alex MacLean for initial reference, the drawing was built up in layers and slowly departed from the reality of the initial photograph. The resultant landscape is not a reproduction nor representation of the MacLean photograph, but rather a new landscape in and of itself. The six layers accumulate to create a 1:1 representation of an “other” landscape. After the drawing was created, it was reimagined as a three-dimensional space. This space became the mold for vacuum forming techniques. The experimental models continue to push the potential “otherness” of the represented landscape.
Contour
Molly Hunker | Seminar 2017
Land Use
Annotation
Other Landscapes
Hatch
Color
Air Quality
Hanneke van Deursen
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Mapping onto the reimagined landscape
Molly Hunker | Seminar 2017
Other Landscapes
Layering the drawn and the physical
Hanneke van Deursen
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Professional Work Studio AAAN Rik de Ruiter | Luuk Stoltenborg Architecture Office Nicole McIntosh | Jonathan Louie Above: Model built and photographed with Studio AAAN
Studying the Wisconsin Corner where Switzer Built for Arch
Architecture Office 2017
Professional Work
rland and America have an abrupt encounter hitecture Office
Hanneke van Deursen
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Truss H Built for Arch
Architecture Office 2017
Professional Work
House hitecture Office
Hanneke van Deursen
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Merlijn Photographed and Photos
Studio AAAN 2017
Professional Work
n School shopped for Studio AAAN
Hanneke van Deursen
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Medische Plein Sec Drawn for St
Studio AAAN 2017
Professional Work
ctional Perspective tudio AAAN
Hanneke van Deursen
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Hanneke van Deursen hvandeur@syr.edu +1 (507) 990 3019