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Prepublication indesem ‘09 Supplement of Volume #19 March 2009
8&'()(#"g+," V68&2"6:"L8(? 2
Colophon Pre-publication of indesem ‘09 As a supplement to VOLUME #19 8&'()(#"g+,"/""V68&2"U:"L8(? Q(9:2"^&8H(5)82$"6:"A(;3&696>$ ]1;<92$"6:"E5;382(;2<5( c<981&1911&"0mq="dF/\fTA/0m+
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Preface 8&'()(#"g+,-"V68&2" 6:"L8(?
Nina Aalbers
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Hearing, feeling, seeing, smelling architecture Esther Verhoek & Šejla Lagumdžija
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Editorial board: j(6&8("\(998&>="('8265 d152"H1&"'(5"N66:2=";6/('8265 A8J("L91#=">5178;"'()8>& f58;"V3898CC1=">5178;")<CC652
Text by the indesem ‘09 crew: `8&1"E194(5) d152"H1&"'(5"N66:2 i(J91"j1><#'t8J1 TH(&"H1&"U6)2(& R6)1"R644(52)(& c1)C(5"T;311C f)23(5"L(536(G j(6&8("\(998&>
Contributors: A3(6"Q(<28&>(5 P1;38(9"H1&"Q65)2 T8#6&"Q566>" R648&"S(5))(&) T(5>("T;36(#1G(5" P1598()"R63#(5 U98H(5"A3899 V(2(5"L((&)251 V1<9"'("L58()
English copy editor: \(&'$"H1&"U)"/"A36#C)6&
Special thanks to: P1;38(9"H1&"Q65)2" N(5#1&"N(52O4(5>(5 Q(46513"N1<C2#1&& P8;38(9"R8('8JG
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Images: Esther Verhoek
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indesem ‘09 partners & sponsors: T28;328&>"E5;38)" Q5<GG(58J"Q8JG#1&"UM")(2="Q8(#(& E1&#(9'(5@&9" Q(9:2"^&8H(5)82$"6:"A(;3&696>$ ]1;<92$"6:"E5;382(;2<5( T28;328&>"8&'()(# T2$96) T2$96))28;328&> ^&8H(5)82(82):6&')"Q(9:2
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Lynch, K. (1997) The image of the city, Cambridge, MIT Press Zardini, M. (2005) Sense of the city: an alternate approach to urbanism, Montreal, Canadian Centre for Architecture
Point of View 8&2(5H8(?)
Esther Verhoek & Šejla Lagumdžija To introduce our theme, we interviewed architects who are involved with indesem ‘09. They were asked to choose 3 questions out of 9 and they had to answer those briely. On every page of this publication, one of the several outcomes is to be found.
Theo Deutinger How should young architects, according to you, break new ground? A3(" I<()286&" 82)(9:" ;6&218&)" 2?6" 122584<2()" 2312" '(2(5#8&(" H(5$" #<;3" 23(" 238&G8&>" 6:" 6<5" 28#($6<&>"1&'"&(?@"A3()("2?6"?65')")315("23("H(5$" )('<;8&>"<&'(526&("6:"g>66'D@"P1$4("4(;1<)("23($" );15("<)"?823"23(")1#("1&26&$#-"69'@ Y(2="82"8)")8#C9$"?56&>"26"1))<#("2312"23("&(?"8) 4(22(5"231&"23("69'="1&'"4(1<2$"8)"4(22(5"231&"<>98/ &())@"T<;3"238&G8&>"8)"C<5("#15G(28&>@"\8236<2"69' 23(5(" 8)" &6" &(?" 1&'" ?8236<2" <>98&())" 23(5(" ;1&D2" 4("4(1<2$@ T6"C(5)6&199$"%"4(98(H("82"?6<9'"4(">56<&'45(1G/ 8&>":65"15;382(;2)"8:"23($";6<9'"J<)2"966)(&"<C"1&' &62"8##('812(9$"4(");15('"6M""4$"23("69'"1&'"<>9$@
If everything is realizable, what then is the challenge of making architecture? fH(5$238&>"?1)"19?1$)"5(198)149("4(;1<)("?("31H( 19?1$)"4((&"'68&>"82@" E5;382(;2<5("8)"&62"5()C6&)849("26"g(H(5$238&>D="4<2" 26")6;8(2$@"T8&;("?("15("6&"23("?1$"26"1">96419")6/ ;8(2$=";<92<519"'8M"(5(&;()"15("966)(&8&>"<C"1&'"15/ ;382(;2)"15("4(8&>"1)G('"26"'()8>&":65"1"915>(5"n<9/ 28#12(o")6;8(2$@"%2"8)"6<5"5()C6&)848982$"26"#1&8:()2" 238)"3<#1&"<&878;1286&"C56J(;2@"E&'"8:="8&"65'(5"26 1;38(H("238)"18#="(H(5$238&>"?6<9'"4("C6))849(="?( ?6<9'&D2" 31H(" 26" 21G(" (H(5$238&>" 4<2" ?(" )36<9' >8H("(H(5$238&>@
Why do we need architects anyway? E5;382(;2)"15("1";<92<519"9<B<5$K"1")6;8(2$"#<)2"4( 149(" 26" 1M"65'" 23(#@" %:" 199" 15;382(;2)" ?(5(" 26" 96)( 23(85"G&6?9('>(p#8&'"6H(5&8>32="23("?659'"?6<9' )2899"4("23(")1#("1&'"6&9$"1"31&':<9"C(6C9("?6<9' &628;(@"A3("'1#1>("?6<9'"4(;6#("1CC15(&2"#<;3 912(5="?3(&"C(6C9(";1#("26"5(198)("23(5("?(5("&6 4<89'8&>)"2$C8:$8&>"2312"C1528;<915"C(586'"6:"28#(@
Do we need other design methods to communicate about spatial experience? \(";6&)21&29$"&(('"26"8#C56H("'()8>&"#(236')"26 ;12;3"<C"?823"6<5")(&)()="?389("?("&(('"26";319/ 9(&>("6<5")(&)()"?823"23(")C1;()"?("'()8>&@
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A historical review
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Literature: 1 Martin S. Briggs, (1974) The architect in history, New York: Da Capo Press p. 3, 11-21, 31, 44-46, 328-380. 2 Spiro Kostoff, (1977) The architect: Chapters in the history of the profession, New York: Oxford University Press. p. 73-75, 124-130, 157, 158, 3. 3 Paul Ekkers, (2002) van volkshuisvesting naar woonbeleid, Den Haag: Sdu Uitgevers bv p. 51-60. 4 Sigfried Giedion, [1941] (1967) Space, Time and Architecture: The Growth of a New Tradition, Harvard University Press p. 183 5 Bruno Taut, (1929) Modern architecture, A. & C. Boni p. 48 General literature: Ben van Berkel, Caroline Bos (1999) Deep planning ou le nouveau rôle de l’architecte, in: L’archtecture d’aujourdhui, mars 1999 Janny Rodermond, (2001) Architecten gaan op onderzoek uit, in: de Architect, januari 2001
Machiel van Dorst How should young architects, according to you, break new ground? Q6&D2"966G"12"8;6&)"8&"15;382(;2<5("1&'"15;382(;2)=" 4<2" 5(/8&H(&2" $6<5" 6?&" )2$9(=" )<82('" 26" 23(" C5()/ (&2"28#(@"g`(?">56<&'D"8)"1?15(&())"6:"23(";<92<519" 1&'")6;8(219";6&2(B2@"A38)"#1$"4(">96419"<541&8)1/ 286&=" ;98#12(" ;31&>(=" 4<89'8&>" 1)" 8:" C(6C9(" #12/ 2(5('="(2";(2(51@
What is your opinion about designing for the user? R(:(558&>" 26" 23(" 3<#1&" );19(" 1&'" )(&)65$" C(5/ ;(C286&@Q()8>&8&>" :65" <)(5)" ;6&)8)2)" 6:" 235((" )21>()@" ]85)2" 6:" 199-" 21G(" $6<5" ;98(&2" )(586<)9$K" " ?312"8)"38)"C(5)C(;28H("6&"5(1982$~"%2"8)"1")21528&>" C68&2" 6:" 23(" '()8>&" C56;())@" T(;6&'9$-" ?(" ;1&D2" '6" 238)" ?8236<2" G&6?9('>(" 6:" 4(31H86<5@" A312" ;1&" 4(" :6<&'" 8&" 23(" 982(512<5(" 6&" 15;382(;2)" :56#" 23(" )(H(&28()=" 4<2" #65(" 8#C6521&29$-" )2<'$" (&H8/ 56&#(&219" C)$;3696>$@" E&'" 2385'9$-" 78&'" 8&)C851/ 286&" 8&" 23(" <)(" 6:" 15;382(;2<5(=" :65" (B1#C9(=" 8&" 23("4(31H86<5"6:";389'5(&"65"8&";<92<519"'8H(5)82$@"""
Which sense, besides the eye, is the most important for perceiving architecture? Please explain why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
Do we need other design methods to communicate about spatial experience? A3("'()8>&"#(236'"?899"&62";31&>(="4<2"23(";6#/ #<&8;1286&"6&"23("'()8>&"?899@"d("1?15("6:"23("'8:/ :(5(&2"C(5;(C286&)"6:"'8M"(5(&2"1;265)"8&"23("'()8>&" C56;())@"T6"785)2"6:"199=";6##<&8;1286&"2669)"8&"23(" '()8>&"C56;())"?899"'(C(&'"6&"?36"$6<";6##<&8/ ;12("?823@"]65"23(":<2<5("8&314821&2)"6&("#1$";6&/ )8'(5"1"0-0");19("#6'(9@"d1;G"26"23("gd96GG(&319D@
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Bart van der Hooft
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“The computer image has too much become a goal instead of a design tool.” 6<2(5" 8#1>(" ?(" #<)2" :6;<)" 6&" '<5148982$" 6:" 23(" 8&&(5" <)/ 148982$@" A3(5(:65(" ?(" #<)2" :6;<)" 6&" 23(" 8&)8'(" 6:" 23(" 4<89'/ 8&>@" E5;382(;2)" 31H(" 1" #1J65" 21)G" 1&'" 23($" 15(" 2(#C28&>" 26" 4<89'"1&"8;6&"?8236<2"&6286&":65"23(":<2<5("<)(5)@"%2"8)"23("<)/ 148982$"2312"#1G()"23("4<89'8&>"'<5149("&62"23("8;6&8;"H19<(@"
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A36<>3"23(5("15("15;382(;2<519"6:78;()"?36")258'("1>18&)2"238)" '(H(96C#(&2="21G(":65"(B1#C9("U&8B@"A38)"8)"1"Q<2;3"15;382(;/ 2<5("6:78;("?38;3"C1$)"1"962"6:"122(&286&"26"23("<)(5/(BC(58(&;(" 6:" 82D)" 4<89'8&>)@" A3(85" 466G" ‘Awaiting signiication’" (2005)" )36?)"1"5()(15;3"6:"23("<)(5)D"1CC5(;81286&"6:"23(85"4<89'8&>" 1&'"8&"238)"466G"23($"#1G(";6##(&2)"6&"23(";6#C<2(5"1)"1"
“It is the usability that makes the building durable not the iconic value.”
'()8>&"#(1&)@"U&8B")36?)"2312"23("<)(5"21G()"1&"8#C6521&2" 569("8&"23(85"'()8>&")2512(>$@"E;;65'8&>"26"U&8B"gArchitecture is conceived with the aid of computers nowadays. There is a total transparency of the project on paper, resulting in buildings that are dematerialized as far as possible in order to be just as transparent. Buildings are no longer drawn, but modeled from the outside, as projected transparency. What was preciously conceived in the minds of the designers, with all the ragged edges and deiciencies that this entailed during construction, is now, as it were, already produced in the computer… … when architecture is conceived from within, as it were, and no longer from a single overarching perspective, this has far-reaching consequences for the production and the experience of this architecture. The result is no longer based on representation, but on the performative aspects s of construction’ q@ U&8B"31)"1"'8M"(5(&2"'()8>&"1CC561;3"1)";6##6&K"23($"31H(" 1" :6;<)" 6&" 23(" <)(5@" d<2" ?38;3" 623(5" '()8>&" )2512(>8()" '6" ?(" 31H(~" A6" 1&)?(5" 238)" I<()286&" 82" 8)" 8#C6521&2" 26" 21G(" 1" ;96)(5"966G"12"23("982(512<5(@"A3("466G"gT2$9()"6:"15;382(;2<519" '()8>&8&>D"n0,,!o"4$"E&26&"V@P@"H1&"d1G(9")36?)"1"5()(15;3" 26"'()8>&")2512(>8()@"L1&"d1G(9"'8'"1"23656<>39$"5()(15;3"6&" '()8>&" )2512(>8()=" 1&'" ;6&;9<'('" 82" ?1)" H(5$" '8:78;<92" 26" '();584(" '()8>&" )2512(>8()" 4(;1<)(" 6:" 23(" ;6#C9(B82$" 6:" 23(" C56:())86&@" fH(5$" 15;382(;2" <)()" 623(5" '()8>&" #(236')" 1&'" 23(" '()8>&" C56;())" ;1&" 4(" '();584('" 1)" ;31628;@" A3(" '()8>&" C56;())" 8)" &62" 1" 98&(15" C56;())K" 82" 8)" 1" 78(9'" 6:" ;6&)21&29$" ;31&>8&>" 8'(1)=" H8)86&)=" ;6&;(C2)" 1&'" 8&C<2)@" L1&" d1G(9" '8'" 1&" (BC(58#(&2" ?823" (9(H(&" 15;382(;2)" 1&'" 3(" '8)28&><8)3('" 78H("658(&21286&)"26"'51?"<C"38)"#6'(9":65"'()8>&")2512(>8()‚"
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“The three new orientations are; the concept, the context and the program. The intersection of these orientations is precisely the ield on which we should base the balance of our designs..” A3(")8B")2$9()";1&"4("5(C5()(&2('")6#(?3(5("8&"23("2581&>9(" ;6&)8)28&>" 6:" 23(" 235((" :(12<5()" gTD=" gVD" 1&'" gkD@" d<2" :56#" 23(" C5626;69"5()<92)"2?6"#65(":(12<5()"(#(5>('"&1#(9$"gUD"1&'" gQD@"%2"?1)"1>5(('"4$"23("15;382(;2)"2312"23()("8&'(('"15("9())" 8#C6521&2"8&";3151;2(58O8&>"23("C(5)6&19")2512(>8;"'()8>&8&>" C5(:(5(&;()"4<2"&(H(523(9())="23($"C91$"1&"8#C6521&2"569("8&"1" '();58C286&"6:"23(";6#C9(2("C56;())D!@" L1&" d1G(9" '8)28&><8)3()" )8B" )2512(>8()" 4<2" &6&(" 6:" 23()(" )2512(>8()"31)"1")258G8&>"569(":65"23("<)148982$@"A3("<)(5"8)"6&(" 6:"23("g623(5"C1528()D"?38;3"8)"&62";6&)8'(5('"1)"1&"8#C6521&2" C152"6:"23(")2512(>$@"A3("<)(5";6<9'"19)6"4("1C152"6:"23("gT82(D" 4(;1<)(" 238)" 658(&21286&" ;6&218&)" 23(" )6;819" 1)C(;2)@" %:" 23(" <)(5"'6()"&62"31H("1")258G8&>"569("8&"23("'()8>&=":65"?36#"15(" ?("4<89'8&>"1&$?1$~"A3(5(:65("1";6##(&2"6&"23(")2512(>8()" 6:"L1&"d1G(9";1&"4("1''('"26">8H("23("<)(5"1"#65("8#C6521&2"
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Useful architecture A3(5(" 8)" &62" (&6<>3" 122(&286&" :65" 23(" <)(5" 1&'" 23(" <)1489/ 82$" 8&" 23(" '()8>&" C56;())" 4(;1<)(" 23(" '()8>&" )2512(>$" 8)" 266" #<;3" :6;<)('" 6&" 23(" 8#1>(@" E" 962" 6:" 15;382(;2)" 31H(" #('81/ 122(&286&"1)"23(85"#18&">619"1&'"23($"25$"26":<97899"23(";98(&2)D" '(#1&'"4$"#1G8&>"1&"8;6&@"P6)2"6:"23("4<89'8&>)"2312"5(1;3" C<498;82$";1&"4(";12(>658O('"1)"8;6&)@"P1$4("2312"8)"?3$"23(" :6;<)"8&"23("15;382(;2<5("('<;1286&"8)"19)6":6;<)('"6&"23("8#/ 1>(@"T2<'(&2)"31H("26"#1G("1"5(198)28;"8#1>("?823"23("3(9C"6:" ;6#C<2(5)"1&'"23(5(:65("23("(#C31)8)"6&"23("C5()(&21286&"8)" >56?8&>"8&)2(1'"6:"23(":6;<)"6&"23(";6&2(&2@"%&";6&251)2"?823" 238)":6;<)"6&"23("8#1>(="?(";1&":6;<)"6&"23("<)148982$"1&'"23(" (BC(58(&;("6:"23("<)(5@"%2"8)"23("<)148982$"2312"#1G()"23("'()8>&" '<5149("1&'"8&"23(85")2512(>$="15;382(;2)")36<9'"C1$"122(&286&" :65"23("<)(5"1&'"38)")C12819"(BC(58(&;(@"E&"15;382(;2")36<9'"25$" 26"78&'"23("4191&;("4(2?((&"23(";6&;(C2="23("C56>51#"1&'"23(" ;6&2(B2@" P6'(9)" 1&'" 31&'/'51?8&>)" ;1&" 4(" 4(22(5" '()8>&" 2669)" :65" 23(" 21)G" 2312" 98()" 6&" <)-" 26" 238&G" 146<2" 23(" )C12819" 65>1&8O1286&" 1&'" 23(" )C12819" (BC(58(&;(" 6:" 82)" <)(5)@" A3($" #1$">(2"<)";96)(5"26"1"<)(5D)"C(5)C(;28H(="1&'"8&"238)"?1$"?(" ;1&"(#C1238O("8&"23(")C12819"(BC(58(&;("6:"6<5"6?&"'()8>&)@" A3(" 5()<92" 8)" 31&'" #1'(" 15;382(;2<5(" ?38;3" >8H()" 1" )C12819" (BC(58(&;("1&'"?38;3"?899"4("1CC5(;812('"4$"23("C(6C9(@
Figure B. 569("8&"23("'()8>&"C56;())@"%&"23("'81>51#"?("?1&2"26";31&>(" 23("2(5#"gT82(D"8&26"23("gk6&2(B2D="4(;1<)("23(";6&2(B2"19)6";6&/ 218&)"23("<)(5@"A3(5("15("235(("&(?"658(&21286&)K"23(";6&;(C2=" 23(" ;6&2(B2" 1&'" 23(" C56>51#@" E&" 15;382(;2" 31)" 26" 78&'" 23(" 4191&;("4(2?((&"23()("235(("658(&21286&)"1&'"1">66'"4<89'8&>" 8)"1"#8B2<5("6:"23()("(9(#(&2)@"%&)C85('"4$"L1&"d1G(9"?("#1'(" 6<5" 6?&" '81>51#=" ?38;3" 8)" )36?&" 8&" 78><5(" d@" A3(" '81>51#" )36?)"23("235(("658(&21286&)="23(">5((&"O6&("8)"23(")(;286&"6:" 23()("658(&21286&)@"V5(;8)(9$"2312")<5:1;("8)"23("78(9'"6&"?38;3" ?(")36<9'"41)("23("4191&;("6:"6<5"'()8>&)@"%:"23("C(5)C(;28H(" 1&'"C(5;(C286&"6:"23("<)(5"8)"&62"8&2(>512('"8&"23(")2512(>$"82" 9(1')"26"C5649(#)"8&"23("<)148982$"6:"23("4<89'8&>@
A useful experience A3(" 5()(15;3" 6:" L1&" d1G(9" )36?)" 23(5(" 8)" &62" (&6<>3" 122(&286&" 6&" 23(" <)(5" 1&'" 23(" <)148982$" 6:" 4<89'8&>@" E;;65'/ 8&>"266"L1&"'(5"L665'2"1&'"H1&"\(>(&"g1"H8219":<&;286&"6:"1" 4<89'8&>"8)")C12819"65>1&8O1286&"6:"1;28H82$@"Q()8>&8&>"#<)2"31H(" 1")6<&'"8&)8>32"8&26"C68&2)"6:"'(C152<5("64J(;28H()"1&'"?8)3()"6:" <)(5)-" 23(85" 1;28H828()=" 65>1&8O1286&19" )25<;2<5(" 1&'" (&)<8&>" )C12819";6&)(I<(&;()D"a@
Figure A. Source: Anton P.M. van Bakel (1995)
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1 Deyan Sudjic (2005) De macht van het bouwen, p. 8, Amsterdam: Anthos uitgevers 2 Marco Frascari. A tradition of architectural igures: A search for Vita Beata. In Body and Building, essays on the changing relation of body and architecture. Editors: Dodds, George and Tavernor, Robert (2002). p. 259 Cambridge and London: The MIT Press 3 Andree Iffrig (2008), http://architecture.suite101.com/article.cfm/iconic_architecture_redeined 4 Alex van de Beld (2005), Awaiting signiication, manifesto for an authentic experience of architecture, Rotterdam: NAi Publishers 5 Anton P.M. van Bakel (1995) Styles of architectural designing, Empirical research on working styles and personality dispositions, p 151-160. Eindhoven: Technical University 6 Theo van der Voordt and Herman van Wegen, Programming for Building. In Ways to Study and research, Urban, architectural and technical design. Editors: Jong, de, T.M. and Voordt, van der, D.J.M. (2005). p 271. Delft: DUP 7 Herman Hertzberger (2000) Space and architect, Lessons in architecture, p 256. Rotterdam: 010 Publishers
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Esther Verhoek & Šejla Lagumdžija
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4 How can students train their ability to empathize with the user?
be inhuman”
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“Architects are barely trained in empathizing, they usually just play around.” ;1&")2<'(&2)"8#1>8&("23(#)(9H()"8&")<;3"1")82<1286&~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
“Architecture cannot 6 Do architects make a lot of mistakes? \(99="%"238&G")6@"d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1 Since 1962 you have been involved in indesem. Could you describe your role in earlier indesem editions?
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2 In the seventies there was a great interest in spatial experience and the user. Why do you think this way of thinking came to an end? \(99="23(5("?1)"23("k%EP="k6&>5()"%&2(5&1286&19"'DE5;382(;2<5(" P6'(5&(@"A3(&"A(1#"e";1#("8&26"23("C8;2<5(@"A38)"?1)"23(" 2(&23" ;6&H(&286&=" 1&'" :56#" 2312" #6#(&2" 6&" 23(5(" ?1)" 1" >5(12(5"(#C31)8)"6&"23("1)C(;2"6:"&(154$"'189$"98:(@"%"'6"&62"
3 Could you describe what architects should always keep in mind when they are designing? A3(" 41)8)" 8)" 26" 4(" 149(" 26" 8#1>8&(" 6&()(9:" 8&" )82<1286&)" 1&'" )C1;()K" $6<" )36<9'" 4(" :1#89815" ?823" 36?" 238&>)" ?65G=" 1&'" 2312" 8)" 6:2(&" I<82(" '8:78;<92@" ]65" 8&)21&;(=" 36?" '6" $6<" '(19"
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5 What do you think of the globalization of architecture?"As an European architect it is possible to design dwellings in every other country. Is it dificult for us to design a dwelling in China for instance? %2D)"&62"25<("2312"1"k38&()("C(5)6&"&((')"'8M"(5(&2")2185)"231&" 1" P656;;1&" 6&(@" A312" 8)" )6#(238&>" 1&126#8;19=" 2312D)" ?312" ?(DH(" 4(;6#(" 4$" (H69<286&@" j66G8&>" 12" 1" H8(?" ;1&" #(1&" )6#(238&>" '8M"(5(&2" 26" 1" k38&()(" C(5)6&" 231&" 26" <)=" 4<2" %" '6&D2"1))<#("23($"?899"?1&2"26"'6"?8236<2"1&$"H8(?@"A38)"8)"1" ?(99/G&6?&")<4J(;2"6:"'8);<))86&"8&"?38;3"%"31H(":5(I<(&29$" 4((&"8&H69H('@"%"'6&D2"238&G"2312"6&(")36<9'"4("266";6&);86<)"
“You must have a notion of differences, but at the same time underline what people have in common.” 8 What do you think the participants of indesem ‘09 should take into account? `6?1'1$)"(H(5$238&>"8)":6;<)('"6&"23("I<()286&"6:"?312"15/ ;382(;2<5("1;2<199$"8)"1&'"?312"82"8)">66'":65@"Q6"?("&(('"15/ ;382(;2)" 1&$?1$~" E&'" %" 1#" &62" 219G8&>" 146<2" 23(" 5(;())86&@" E" $(15" 1>6" 23(5(" ?1)" &6" 5(;())86&=" 4<2" 6:" ;6<5)(" 23(5(" ?1)" 23(")1#("I<()286&"146<2"15;382(;2<5(@"`6?1'1$)"15;382(;2<5(" 258()"26"4("1"G8&'"6:")C(;21;9(@"fH(5$238&>"8)"C6))849("1&'"238)" 8)")<CC6)('"26"4("4<892"8&"5(1982$@" A3(5("31)"26"4("5(1)6&8&>"4()8'()"()23(28;)"1&'";6##(5;(K"8:" $6<"?6<9'"1)G"#(="(H(5$238&>")36<9'"31H("1")6;819"5(1)6&8&>@
Peter Veenstra How should young architects, according to you, break new ground? U<5"98H8&>"(&H856&#(&2)"15(";31&>8&>"12":1)2"C1;(<541&"(BC1&)86&="2(;3&696>8;19"8&&6H1286&=";31&>/ 8&>" C69828;)" 1&'" ;<92<5(" 199" #1&8:()2" 23(#)(9H() 8&26"&(?"91&');1C()@"d$"5(;6>&8O8&>="5()(15;38&> 1&'"'()8>&8&>"&(?")C12819"C3(&6#(&1="$6<&>"15/ ;382(;2)" ;1&" ;6&2584<2(" 26" 23(" G&6?9('>(" 41)(" 6:" 6<5" )<556<&'8&>)@" %&" 238)" ?1$=" &(?" '()8>&" ;319/ 9(&>()";1&"4("5(;6>&8O('"12"1&"(159$")21>("1&'";5(/ 128H(")69<286&)";1&"4("C56C6)('@"A38)"1CC561;3";1& 9(1'" 26" 1" )$&(5>$" 4(2?((&" '()8>&" 1&'" 5()(15;3#65("23656<>3"'()8>&)"1&'"1CC98;149("5()(15;3()@
What is your opinion about designing for the user? Referring to the human scale and sensory perception? %&"#$"?65G"12"j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
Which sense, besides the eye, is the most important for perceiving architecture? Please explain why? d()8'()"23("($()="C(6C9("'(C(&'"6&"23(85"(15)"23( #6)2=" 6:2(&" ?8236<2" &628;8&>@" N(158&>" 8)" ;5<;819 :65" ;6##<&8;1286&=" 658(&21286&" 1&'" 5(;6>&8O/ 8&>"'1&>(5@"%&"26'1$D)"H8)<19";<92<5(="C(6C9("31H( 899/2518&('" (15)=" )(&'8&>" #<;3" 6:" 23(" 5(;(8H(' 1<519" 8&:65#1286&" '85(;29$" 8&26" 23(" )<4;6&);86<)@ A38)" 8)" 6&(" 6:" 23(" 5(1)6&)" 2312" 23(" )6<&'" 6:" 23( ;82$" >(2)" H(5$" 98229(" 122(&286&" 4$" '()8>&(5)" 1&' C91&&(5)@" k6#C15('" 26" 23(" H8)<19" ;82$=" 23(" 1<519 ;82$" )2899" 5(#18&)" 12" 1" ?89'/?()2" )21>(@" %&" 2(5#) 6:" &68)(=" 238)" ;1<)()" 962)" 6:" )25())" 1&'" 3(152" '8)/ (1)()K"8&"2(5#)"6:"(BC(58(&;(="1"962";1&"4(">18&(' 4$" )$&;356&8O8&>" 23(" 8#1>(" 1&'" )6<&'" 6:" C91;()@
In which way is sensory perception involved in your design process? \("&(H(5"#1G("1"'()8>&"?8236<2"H8)828&>"23("C56J/ (;2")82(="1&'"'6;<#(&28&>"82"?823"C8;2<5()="H8'(6)= )6<&'" 5(;65'8&>)" 1&'" 8&2(5H8(?)@" A3(" 1<519" C(5/ ;(C286&"6:")C1;("31)";1<>32"6<5"122(&286&"()C(;819/ 9$="1&'"23(5(:65("?("15("(BC(58#(&28&>"?823"?65G/ 8&>"26>(23(5"?823")6<&'"1528)2)"12"23("(1598()2")21>( 6:"23("'()8>&"C56;())@"%&"65'(5"26"(BC1&'"6<5"g)6&8; 266946BD"8&"23("'()8>&"C31)(="?(")2152('"1"5()(15;3 C56J(;2"8&";69914651286&"?823")6<&'"152";699(;28H( T2119C9112" T6<&')$)2(#=" ;199('" k6#C6)('" k82$@"
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“the task of industrial designers has changed, becoming more focused on sensory perception of - and emotional response to products” Comparing two different ields of design N(&'58G"`@c@"T;38M"(5)2(8&"1&'"k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`6?="8:"?("?(5("26" 5(C91;("23("?65'"C56'<;2"4$"4<89'8&>p15;382(;2<5(="1&'"23(" ?65'";6&)<#(5"4$"H8)8265p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“it is up to the architect to see that the variety of methods and tools in the ield of product design can be of good use”
Creating useful methods for architectural design E)" $(2" ?(" 31H(" 6&9$" ;6&)8'(5('" 23(" )8>&878;1&;(" 6:" n#<928/o )(&)65$" C(5;(C286&" 8&" (BC(58(&;(/" 1&'" (#6286&/'58H(&" '(/ )8>&@"%&"1''8286&="?("&(('"26";5(12("<)(:<9"#(236')"1&'"'(/ )8>&"2669)"26"1;2<199$"1'1C2"238)"1CC561;3"8&"1"3<#1&/;(&25('" '()8>&"C56;())":65"15;382(;2<5(@"E;;65'8&>"26"V8(2(5"c1&"T21C/ C(&)" 1&'" f98O14(23" T1&'(5)" WQ()8>&(5)" &(('" 8&)8>32" 8&" 23(" '8H(5)(";6&2(B2)")<556<&'8&>"1"C56'<;2D)"<)(Z"m %&" 23(" '6#18&" 6:" C56'<;2" '()8>&=" >(&(5128H(" 1&'" (H19<128H(" 2669)"31H("4((&":65#('"26";6&2584<2("26"23("'()8>&"C56;())@" ]65"(B1#C9(-"W%&"23("'()8>&"'(H(96C#(&2"C56;())=">(&(5128H(" #(236')")<;3"1)";6991>8&>";1&"4("<)('"26>(23(5"?823"623(5" #(236')" 8&" 1" ;6&H(5>8&>" C(5)C(;28H()" 1CC561;3" nT1&'(5)=" *+++o" 2312" '51?)" )8#<921&(6<)9$" :56#" 235((" C(5)C(;28H()-"
1. P. M. A. Desmet, (2002) Designing emotion. Introduction xiv, ix 2. H. N. J. Schifferstein and C. Spence, (2008) Multisensory product experience. In: H. N .J. Schifferstein and P. Hekkert, (2008) Product experience, p. 137,151,152 Amsterdam: Elsevier 3. P. J. Stappers and E.B.N. Sanders (2004) Generative tools for context mapping: tuning the tools In: D. McDonagh, P. Hekkert, J. van Erp and D. Gyi (2004). Design and emotion: the experience of everyday things. p 77 London: Taylor and Francis
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The pictures show the interior of Visio seen by sighted people and by two different visual handicaped persons. The second picture shows the world seen in large objects and the third picture shows the world seen trough a clear dot. images: Esther Verhoek
Marlies Rohmer photo: Marina Habsburg Lothringen „
How should young architects, according to you, break new ground? %"?6<9'"?8)3"$6<&>"15;382(;2)"8&2(>519"Ejj/RU^`Q";6&/ 2569"6:"23("C56:())86&@"%&"238)"5()C(;2="1&"(&I<858&>"#8&'= 8&'8H8'<19" ;3151;2(5=" :1);8&1286&=" 1))6;81286&=" '8196><( 1&'"5()(15;3"15("H(5$"8#C6521&2@
What is your opinion about designing for the user? With reference to the human scale and sensory perception? %&"0,,.="6<5"C51;28;("n?38;3"31)"4((&"8&"(B8)2(&;(")8&;( 0,[ao" 5(;(8H('" 1" ;6##8))86&":65" 1" '8);623(I<(@" %2" ?1) 6<5"785)2"'()8>&")C(;878;199$":65"23("$6<&>(5">(&(51286&@ A38)"?1)":6996?('"4$"1"$6<23"362(9"1&'"?(")66&")2152(' 1;;(C28&>";6##8))86&)"26"'()8>&");3669)@"%")2152('";69/ 9(;28&>" &(?)C1C(5" ;<228&>)=" C3626>51C3)=" 1528;9()" 1&' )2<'8()"146<2"$6<23";<92<5("1&'"5(912('"26C8;)@"A38)";69/ 9(;286&"31)">56?&"8&26"1")<4)21&2819"15;38H("6:"2(B2"1&' 8#1>()=" ?38;3" (H(&2<199$" C56H8'('" 23(" 41)8)" :65" 238) 466G@ \823"23(";6&H8;286&"2312"23(";<55(&2")82<1286&"6:"$6<&> C(6C9(";1&&62"4(";6&)8'(5('")(C1512(9$":56#"23("?659' 2312" )<556<&')" 23(#=" ?(" <&'(5266G" 1" ?8'(/51&>8&> 1&19$)8)"6:"&(?"'(H(96C#(&2)"8&")6;8(2$="?823"1")C(;819 :6;<)"6&"23("569(";389'5(&"C91$"8&"82@"A3("5()(15;3"?38;3 <&'(598()" 238)" 466G" ;6&&(;2)" 6<5" '()8>&)" :65" 36<)8&> 1&'");3669)"?8238&"23(85"<541&";6&2(B2"26"1"?8'("51&>( 6:")6;86;<92<519"8))<()@"d<89'8&>":65"23("`(B2"F(&(51286& n`E8"V<498)3(5)="*++.o@ \(" )36?" 36?" 1&" <&'(5)21&'8&>" 6:" $6<23" ;<92<5(" 31) 3(9C('"<)"(9146512("1&'"5(78&("23("C56J(;2"5(I<85(#(&2)= 1&'"36?"23()("5(I<85(#(&2)";1&"4("251&)C6)('"8&26"'(/ )8>&)"1&'"#6'(9)"12"H1586<)"9(H(9)@"%2"31)"4((&"6<5";6&/ )21&2" >619" 26" ()21498)3" 1" C51;28;(" 6:" #65(" 96&>/91)28&> 4<89'8&>":65"$6<&>"C(6C9("4$"C<5)<8&>"8&2(>519")69<286&) :65"#(256C69821&"C5649(#)@
In the context of designing for the user, which architect do you think is inspiring? E)"1":65#(5"(#C96$(("1&'")2<'(&2"6:"R(#"S669311)"1&' N(5#1&"N(5O4(5>(5="%"25$"26"'51?"6&"23("1;38(H(#(&2) 6:"23()("2?6"15;382(;2)@"P65("231&"1&$6&(="R(#"S669311) #1'(" 82" ;9(15(5" 26" #(" 36?" '189$" 98:(" 1&'" )6;819" 25(&') 1&'"C3(&6#(&1";1&"4("1")6<5;("6:"8&)C851286&"26"15;38/ 2(;2<5(@"d623"6:"23(#")C<55('"#("6&"#$"C(5)6&19"I<()2@ \("31H(";6&'(&)('"23("?65G"6:"#1&$"5()(15;3(5)="23(6/ 58)2)"1&'"1<2365)"8&26"1"<&8I<(")$&23()8)"?38;3":65#(' 23("41)8)":65"23("C<498;1286&"6:"#$"466G"d<89'8&>":65"23( `(B2" F(&(51286&" " n`E8" V<498)3(5)=" *++.o@" E" &<#4(5" 6:" 1<2365)" 31H(" 4((&" ()C(;8199$" 8&79<(&2819" 8&" 6<5" 8&H()28/ >1286&)=" &1#(9$" E5&69'" R8J&'65C=" j81" S15)2(&=" c6G(" H1& '(5"ƒ?115'"1&'"V1<9"T;3(M"(5@"%2"8)"23(85";6&;9<)86&)"2312" C56H8'("6<5")21528&>"C68&2@
Which building that you designed is widely appreciated by its users? Do you know why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n79(B848982$o"65")C(;878;"n8'(&282$o@ A3("C56J(;2"g]<)86&D="1"#6)I<(";6#C89(5"4<89'8&>="8)"'(/ H(96C('"8&";6/6C(51286&"?823"65'8&15$"C(6C9(":56#=":65 (B1#C9(="23("R8:"P6<&218&)"8&"P656;;6="1&'"f1)2(5&"A<5/ G($@"k6##<&8;1286&"266G"C91;("?823">()2<5()"1&'"1"962" 6:"3<#6<5@"P(1&?389("23("4<89'8&>"31)"4((&"5(198)('@"E 4<89'8&>"?38;3"23($";6<9'"4("C56<'"6:="1&'"8&"?38;3"199 23(85"?8)3()"1&'"'5(1#)"31H("4((&":<97899('@"E2"23(")1#( 28#(="23("4<89'8&>"8)"1"3$458'"6:"23("1'J1;(&2"gE#)2(5'1# T;3669D"1&'"E5148;"15;382(;2<5(@
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f#6286&"8&" 15;382(;2<5(" N6?"26"'()8>&"12#6)C3(5()" 122<&('" 26" 23(" ;6&;(5&)" 6:" 23("<)(5~" Simon Droog MSc & Paul de Vries MSc ”There was a time when I experienced architecture without thinking about it. Sometimes I can almost feel a particular door handle in my hand, a piece of metal shaped like the back of a spoon. I used to take hold of it when I went into my aunt’s garden. That door handle still seems to me like a special sign of entry into a world of different moods and smells. I remember the sound of the gravel under my feet, the soft gleam of the waxed oak staircase, I can hear the heavy front door closing behind me as I walk along the dark corridor and enter the kitchen, the only really brightly lit room in the house. [...] Memories like these contain the deepest architectural experience that I know. They are the reservoirs of the architectural atmospheres and images which I explore in my work as an architect.”
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emotion
A3("36<)("gk1&"](98OD"#1'("4$"c‡5&"^2O6&"26")6#("(B2(&2"89/ 9<)2512()" 23(" C56)C(;2" 26" 5(:<>(" ;6&;(C2@" F51&2" N89'(451&'" )1$)"8&"38)"466G"gU58>8&)"6:"E5;382(;2<519"V9(1)<5(D-" “Here, on the right, an interior refuge has been developed by opaque walls, a lesser loor-to-ceiling dimension, and a low light level. Continuously on the left, a complementary zone of interior prospect has been created by a somewhat greater loor-to-ceiling dimension, walls with extensive transparent surfaces, and a much higher light level”@"m
The vinex design is not stimulating appraisal
stimulus
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]65"#65("8&:65#1286&"65"I<()286&)"C9(1)("H8)82"6<5"?(4)82()-"" /"www.simondroog.nl - www.pauldevries.eu
concerns
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Literature 1 P. Desmet, (2002) Designing Emotions. Delft: Delft University Press 2 J. Appelton, (1975) The Experience of landscape (p. 73). London: William Clowes & Sons. 3 G. Hildebrand, (1999) Origins of architectural pleasure (p. 30). California: University of California Press. 4 R. Veenhoven, (2000) Leebaarheid, betekenissen en meetmethoden.
The need of sensations
New design process
M.J. van Dorst, (2005) Een duurzaam leebare omgeving (p. 86) Delft:
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Eburon, 2005 As quoted in ZUMTHOR, P. (2006) Thinking Architecture (pp. 7-8). Swiss:
ig. 3 View from side street toward cathedral, Orvieto
Birkhäuser Basle
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In which way is sensory perception involved in your design process?
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ZUMTHOR, P. (2005) Thinking Architecture
A different approach
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ig. 2 Napes Needle, English lake district
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Jasper Schaap The Visual Image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g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•"8&)2(1'"6:"4(8&>"1&"64J(;2"?823"'8M"(5(&2"91$(5)"6:"(B/ C(58(&;("•""8)"5('<;('"26"23(")8&>9("91$(5"6:"H8)86&@"E;;65'8&>" 26" c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
“How is the ground on which we walk, how is the sky above our heads, or in general: how are the boundaries which deine the place.” - Christian Norberg-Schultz 6:"5(C5()(&21286&@"TC(('="1"'8#(&)86&"8&)(C15149("&6?":56#" )C1;(/28#(="8)"C(5;(8H('"?823"23("(&285("46'$"1&'"8&"C1528;<915" 2356<>3"23("H()284<915="1")8B23")(&)("2312="&1#('"1:2(5"23("8&/ &(5"(15="1;;6<&2)":65"4191&;(="#6286&")8;G&())="'8OO8&())"1&'" H(528>6Z[@""S8&()23()81"8)"&62"1"'85(;2"8&2(5C5(21286&"6:"6<5")<5/ 56<&'8&>)"4$"23(")(&)()="?38;3"#1G()"82")6#(?312"'8:78;<92"26" (BC918&@"fH(&"236<>3"(H(5$46'$"<&'(5)21&')"82"1)")6#(238&>" ?823" ?38;3" 23($" 15(" 465&@" E9)6" 4$" 1;28H(" (BC9651286&" 6:" 23(" (&H856&#(&2="1"'85(;2"5(91286&"?823"26<;3"1&'"#6H(#(&2"(B/ 8)2)"1&'"23(5(:65("?823"31C28;82$"1)"?(99@""A38)"#1G()"82"H(5$" 8#C6521&2" :65" 15;382(;2<5(=" 4(;1<)(" #6H8&>" 2356<>3" )C1;(" ?823"23("46'$="65"J<)2"#6H8&>"?823"23("($()"#1G()"<)"(BC(/ 58(&;(" 15;382(;2<5(" 8&" 1" 9())" )2128;" ?1$@" " E" >66'" (B1#C9(" 6:" G8&()23()81"8&"23("<541&"(&H856&#(&2"8)"C15G6<5,@""A38)")25((2" )C652"<)()"23("<541&"(&H856&#(&2"1)"82)"'6#18&@"A3(">619"8)" 26">(2"1)"I<8;G9$"1)"C6))849(":56#"6&("C68&2"8&"23(";82$"26"1&/ 623(5"6H(5;6#8&>"<541&"64)21;9()@"%:"G8&()23()81"8)"21G(&"8&26" 1;;6<&2"8&"23("'()8>&"C56;())="82"8)"C6))849("26">(&(512("15;38/ 2(;2<5(="1)"?(99"1)"<541&8)#="1)"1"#65("#<928/91$(5('"(BC(58/ (&;(@" j8G(" 1" ?19G" 2356<>3" 23(" :65()2=" )28#<9128&>" #6H(#(&2" 6:"23("46'$@"
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sensory deprivation creates an environment for the future user that seems to be turning into a non-existent area. 1 Juhani Pallasma (2005), An Architecture of Visual images: The Eyes of the skin, p. 30, Chichester: John Wiley & Sons. 2 Juhani Pallasma (2005), An Architecture of Visual images: The Eyes of the skin, p. 30, Chichester: John Wiley & Sons. 3 Christian Norberg Schulz (1996) The Phenomenon of Place in Kate Nessbit, Theorizing a new agenda for architecture: an anthology of architectural theory 1965-1995, p. 420, New York:Princeton Architectural Press. 4 Kamiel van Kreij (2008) Sensory intensiication in Architecture, p. 25 5 James J Gibson (1968) The senses considered as perceptual systems, p. 102, London: Allen and Unwin. 6 James J Gibson (1968) The senses considered as perceptual systems, p. 135, London: Allen and Unwin. 7 As quoted in; Juhani Pallasma (2005) Multisensory experience: The eyes of the skin, p.42 , Chichester: John Wiley & Sons, 8 Diana Agrest (2000) Representation as articulation between theory and practice in Stan Allen, Practice: Architecture, Technique and Representation, Amsterdam: G + B Arts International 9 http://en.wikipedia.org/wiki/Parkour , accessed on 22-022009 10 Gernot Bohme, on Syneashtesia in Daidalos 41, pp26-36 p.31 11 David Canter (1974) Psychology for Architects , p. 76, New York: John Wiley and Sons, 12 Aristotle, De Anima, II, 1-2 13 Juhani Pallasmaa (1996) The Geometry of Feeling: A look at the Phenomenology of Architecture in Kate Nessbitt, Theorizing a new agenda for architecture: an anthology of architectural theory 1965-1995 , p. 450, New York: Princeton Architectural Press. 14 James J. Gibson (1968) The Senses considered as Perceptual Systems, p.269 ,London: Allen and Unwin. 15 Juhani Pallasmaa (2005) The Task of Architecture: The eyes of the skin, p. 72 , Chichester: John Wiley & Sons,
Oliver Thill How should young architects, according to you, break new ground? \("4(98(H("82"8)"H(5$"8#C6521&2"26")2152":56#"1"C(5/ )6&19":1);8&1286&"1&'"1"C(5)6&19"H8(?"6&")6;8(2$@"%2D) 8#C6521&2"26"1)G"$6<5)(9:"?3$"$6<"4(;1#("15;382(;2~ \("1'H8)("41)8&>"'()8>&"?65G"6&"1";9(15"1&'"51286&19 1&19$)8)"6:"C69828;19=")6;819"1&'"(;6&6#8;"";6&'8286&)@ %:" $6<" ;1&" <&'(5)21&'" 23(" 38)265$" 1&'" C56'<;286& ;6&'8286&)" 6:" 15;382(;2<5(=" $6<" 15(" 4(22(5" 149(" 26 ;6&;(C2<198)("$6<5"?65G="?389("4(8&>"C152"6:"1";6#/ C98;12('"1&'"6:2(&"85582128&>"C56;())@"%:"$6<"15("149( 26"C8&C68&2"G($"I<()286&)"6:"6<5"28#(="$6<"#8>32"19)6 ?823"$6<5"?65G"4("149("26">8H(">(&(519"1&)?(5)"?823 ;9(15"H19<()":65"3<#1&")6;8(2$@ What is your opinion about designing for the user? Referring to the human scale and sensory perception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•" 5(912('" 26" C56C65286&=" #6&<#(&21982$" 1&'")$##(25$"•"8)")2899"5(9(H1&2"4(;1<)("3<#1&"C(5/ ;(C286&"31)"&62";31&>('"#<;3@ In which way is sensory perception involved in your design process? \312"?("25$"26"5(1;3"8)"1"I<1982$";199('"g)C(;878;"&(</ 251982$D@"A312"#(1&)"785)2";5(128&>"1"&(<2519")C12819"41/ )8)"2312";1&"4("<)('"8&"'8M"(5(&2"?1$)-"1")C12819"I<1982$" 2312"8)"6C(&"26"8&2(5C5(21286&"1&'"8&H82()n<&G&6?&o <)(5)"26"6;;<C$"23(")C1;(@ N6?(H(5=" 23(" )C1;(" )36<9'" &62" 4(" &(<2519" 8&" 2(5#) 6:"3<#1&"C(5;(C286&="4<2"6M"(5"1&"8&)C858&>"g)C(;878;D 12#6)C3(5("2312"258>>(5)"3<#1&")(&)()"1&'";5(12() 23("12#6)C3(5("6:"1"gC91;(D@"\("31H("1";(5218&"8&2(5()2" 8&"2?6"2$C()"6:")C1;()-""6&"23("6&("31&'="23("H8)<19 6C(&"46B"?3(5("23("5(91286&)38C"?823"23("(B2(5865"8) 1&"8#C6521&2"C152"6:"23(")(&)65$"(BC(58(&;(="6&"23( 623(5"31&'"23("3(5#(28;"#6&<#(&219"3199"?3(5("23( '8196><(" 4(2?((&" 23(" )8O(" 6:" 23(" 3<#1&" 46'$" 1&' 23(");19("6:"23(")C1;(";5(12()")C12819")(&)1286&)@ If everything is realizable, what then is the challenge of making architecture? %&"23(65$"(H(5$238&>"?6<9'")((#"26"4("5(198)149(="4<2" 8&"C51;28;("?("15(":1;8&>"H(5$"98#82('";6&'8286&)="8:" $6<";6#C15("23("C5()(&2")82<1286&"26"4<'>(2)"1H189/ 149("8&"C1)2";(&2<58()@"f)C(;8199$")C12819"#6&<#(&/ 21982$"•"23("#6)2"8#C6521&2"G($"8))<("6:"15;382(;2<5( •" 8)" &6?1'1$)" 315'" 26" 1;38(H(" 4(;1<)(" 82" 5(I<85() )<4)21&2819" 78&1&;819" 8&H()2#(&2)@" A3(" ;3199(&>(" 6:" 26'1$" 8)" 26" ;5(12(=" ?823" 98#82('" 5()6<5;()=" )C1;() ?823" #6&<#(&219" '8#(&)86&)@" TC1;()" 2312" 8&H82( C(6C9("26")21$"1&'"&62"26"();1C("n1)"8)")6"6:2(&"23( ;1)(o@" TC1;()" 2312" )28#<912(" 1" :1);8&128&>" '8196><( 4(2?((&" 23(" 3<#1&" 46'$" 1&'" 23(" 15;382(;2<5(" 1&' 23(" 6<2)8'(" ?659'@" TC1;()" ?3(5(" C(6C9(":((9" 31CC$" 1&'";1&"9(15&")6#(238&>"146<2"?312"8)"())(&2819":65 23("3<#1&"98:(@
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All the lectures are open to the public More information and the up-dated program can be found at our website www.indesem.nl Part of the lectures are organized in cooperation with the organization of Capita Selecta, Stylos and Building for Bouwkunde.