Burgerweeshuis Amsterdam by Aldo Van Eyck by Malak Mehta

CASE 22

Vazquez , J. (Julia) Mehta,M. (Malak) Case 22

CASE 22

Burgerweeshuis Amsterdam Aldo Van Eyck

Vazquez J. (Julia) Mehta,M. (Malak)

Case 22

Vazquez J. (Julia) ; Mehta,M. (Malak)

Fig. 1 Architect Aldo Van Eyck

Source : http://quentinzoo.com/building-by-aldo-van-eyck/ 4

CASE 22

Biography

Aldo van Eyck was a Dutch architect

member of the organization of architects

known for his marvellous role in archi-

Congrès internationaux d’architecture

tecture during the Post World War II. He

moderne, CIAM. This movement was

acted as a lead character in the move-

characterized by urbanistic functionalism

ment of Structuralism.

and zoning. Nevertheless by 1954, Van Eyck ideas differed from the ones that

Throughout his career, he applied him-

CIAM was promoting. Thus, he became

self to the exploration and the relation-

the co-founder of Team X, challenging the

ships between polarities, such as past and

urbanistic approach made by the CIAM.

present, classic and modern, archaic and

The group of young radical architect

avant-garde, constancy and change, sim-

gathered some well-known architects

plicity and complexity, the organic and

like Allison & Peter Smithson, Candilis or

the geometric. 1

Bakema. After 1959 the CIAM disbanded and the Team X took the lead. They

Aldo Van Eyck was born in Netherlands

advocated for urban structures based on

and brought up in England. His study pe-

different level of associations, mobility,

riod in England introduced him to clas-

density, development and flexibility.

sical learning. Under the influence of his father, who was a poet, Van Eyck was ac-

Van Eyck was also influenced by the cul-

quaint with the culture of art and litera-

tural movement Group Cobra. Further-

ture. Van Eyck graduated from the ETH

more, his trips to Africa also helped to

of Zurich in 1942 and stayed in Switzer-

create his critic vision of rationalism.

land until 1946 due to the European war

The second mid 50’s and 60’s were the

scenario. After that he moved back to

blossom of his architectural career; his

Amsterdam and started working in the

works, controversial texts and his teach-

municipality for the Department of Pub-

ing made him as a compulsory reference

lic Works. During this time, he designed

of architecture. Among his work, the

several children’s playgrounds through-

most significant is the Burgerweeshuis

out Amsterdam.

Amsterdam.

Van Eyck encountered several influences that impacted his work. He was a

1. Strauven, F. (2007). Aldo van Eyck – Shaping the New Reality From the In-between to the Aesthetics of Number. CCA Mellon Lectures, 19. Retrieved from http:// seventeenplaygrounds.com/ wordpress/wp-content/ uploads/2017/02/Shapingthe-New-Reality-From-theIn-between-to-the-Aesthetics-of-Number.pdf

Vazquez J. (Julia) ; Mehta,M. (Malak)

Fig. 2. Burgerweeshuis Amsterdam

Source : https://www.archdaily.com/151566/ad-classics-amsterdam-orphanage-aldo-van-eyck 6

CASE 22

Introduction

The “ Burgerweeshuis Amsterdam “ was

The design was based on the idea of

built by Aldo Van Eyck in 1960. It was not

“house as a city” and it focused on cre-

only a mere orphanage but a home for

ation of a small city in the outskirts of

the unprotected children of all the ages.

Amsterdam. As opposed to CIAM’s post-

It not only provided shelter for a per-

war architecture that lacked “human-ele-

manent period but also for temporary

ment”, the design of the orphanage was

times. It became the house for approx-

an exact translation of human behaviour.

imately 125 children.

The orphanage can be thus categorized as both, home for the children and a

The site of the orphanage was located

small city in itself. While the living areas

in the outskirts of Amsterdam, during

act as “houses”, the corridors act as the

the time when it was built. Now it exists,

interior streets connecting these “hous-

next to the highway from Amsterdam to

es”.

the Schiphol airport. The building spread on the site in the form of a cluster. It creates a pattern of mass and void over grid parallels to street’s axis.

“a house must be like a small city if it’s to be a real house, a city like a large house if it’s to be a real city” 2 - Aldo Van Eyck

The orphanage is mainly seated horizontally in the site, not only because of its organization but also due to its program, that is predominantly in the ground level. In so doing, it is articulated in two general zones: units designated to the children and administrative spaces.The living units included sleeping areas, study spaces, as well as service areas. Among the staff area, besides offices, doctors cabin also can be found. In order to connect these

2. Eyck, A.V. (1962). ‘Steps Toward a Configurative Discipline.’. Forum, (327343).

two different spaces, there are also the community spaces like the gymnasium, library and party room.

D R A W I N G A N A LY S I S

The drawing analysis showcases basic drawings of “The Amsterdam orphanage” designed by Architect Aldo Van Eyck. These drawings are derived from two books “Aldo Van Eyck - The Shape of Relativity” by Francis Struaven and “Aldo van Eyck Works” compiled by Vincent Ligtelijn. Further these drawings are analysed based on six themes.

B A S I C D R AW I N G S

CASE 22 – DRAWN ANALYSIS

Fig. 3. - Context plan (Scale 1:2500)

Indoor

Vazquez J. (Julia) ; Mehta,M. (Malak)

Served spaces Fig. 4. - Ground floor plan (Scale - 1:750)

Servant spaces

CASE 22 – DRAWN ANALYSIS

Served spaces Fig. 5. - Upper floor plan (Scale - 1:750)

Servant spaces

Vazquez J. (Julia) ; Mehta,M. (Malak)

Served spaces Fig. 6. - Terrace plan with elevations (Scale - 1:750)

Servant spaces

CASE 22 – DRAWN ANALYSIS

Served spaces Servant spaces

Section AA

Section BB

Fig. 7. - Living unit with sections (Scale - 1:500)

Vazquez J. (Julia) ; Mehta,M. (Malak) B

Served spaces Servant spaces

Section CC

Fig. 8. - Living unit with sections (Scale - 1:500)

D R A W I N G A N A LY S I S

CONTENTS 1.TYPE 2. CONSTRUCTION 3. GEOMETRY 4. SPACE 5. REPRESENTATION 6. FORM AND PROGRAM

TYPE

1.TYPE 1.1 Context 1.2 Module (Living cells) 1.3 Module (Structural cell) 1.4 Facade

Vazquez J. (Julia) ; Mehta,M. (Malak)

Fig. 1.1.1. - Analysis showing orientation of building in the context

Indoor s Axis

1.1 Context The building was designed taking into consideration the two axis of the adjoining main road. The different volumes of the building stand parallel and perpendicular to the roads. 22

Grid

CASE 22 – DRAWN ANALYSIS

Modules Fig.1.2.1. - Modules of living units on ground floor 1.2 Module (Living units) The living units act as a module which is repeated in the building. These units form the main space of the building and the rest of the spaces are designed accordingly. 23

Vazquez J. (Julia) ; Mehta,M. (Malak)

Modules Fig. 1.2.2. - Modules of living units on the upper floor

The living units acting as a module on the upper floor as well.

CASE 22 – DRAWN ANALYSIS

Fig. 1.3.1. - Repeated structural module 1.3 Module (Structural unit) The structural unit involves small domes resting on grid of beams supported by the columns. This small structural unit dome covers an area of 3x3 sq m. Where as the larger dome covers an area of 9x9 sq m. 25

Vazquez J. (Julia) ; Mehta,M. (Malak)

Fig. 1.4.1 - Types of facade system 1.4 Facade type The facade is a clear manifestation of order. The above mentioned facade types enclose different spaces enhancing the experience and function of the space. 26

CASE 22 – DRAWN ANALYSIS

Fig. 1.4.2. - Facade with two floors

CONSTRUCTION

2. CONSTRUCTION 2.1 Grid 2.2 Structure 2.3 Material

Vazquez J. (Julia) ; Mehta,M. (Malak)

Grid Fig. 2.1.1 - Grid on ground floor plan 2.1 Grid A grid of 2.85m x 2.85 is used for defining the spaces in the building.

CASE 22 – DRAWN ANALYSIS

Grid Fig. 2.1.2 - Grid on upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak)

Concrete Columns Beams Fig. 2.2.1 - Structure 2.2 Structure Structure of the building is seen as a combination of reinforced concrete columns and solid brick walls with beams resting on them. The reinforced concrete beams run forming a grid all over the space, providing base for the domes on top. 32

CASE 22 – DRAWN ANALYSIS

Fig. 2.2.2 - Structure

Vazquez J. (Julia) ; Mehta,M. (Malak)

Concrete Glass Brick Fig. 2.3.1 - Materials as seen on the ground floor plan 2.3 Material The basic structure is made up of concrete columns and solid brick walls. The other major material used throughout the building is glass.

CASE 22 – DRAWN ANALYSIS

Concrete Glass Brick Fig. 2.3.2 - Material as seen on the upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak)

Concrete columns Concrete beams overhead Fig. 2.3.3 - Use of concrete in the living units

CASE 22 – DRAWN ANALYSIS

Glass Fig. 2.3.4. - Use of glass in the living units

Vazquez J. (Julia) ; Mehta,M. (Malak)

Walls Partitions Fig. 2.3.5 - Use of bricks in the interior as well as exterior of living units

CASE 22 – DRAWN ANALYSIS

Glass Concrete Brick Fig. 2.3.6 - Materials in the facade modules

Glass Concrete Brick

Vazquez J. (Julia) ; Mehta,M. (Malak)

Sectioned concrete Projected concrete

Sectioned brick Projected brick

Sectioned glass Projected glass

Fig. 2.3.7 - Use of materials in Section AA

CASE 22 – DRAWN ANALYSIS

Sectioned concrete Projected concrete

Sectioned brick Projected brick

Sectioned glass Projected glass

Fig. 2.3.8 - Use of materials in Section BB

Vazquez J. (Julia) ; Mehta,M. (Malak)

Sectioned concrete Projected concrete

Sectioned brick Projected brick

Sectioned glass Projected glass

Fig. 2.3.9 - Use of materials in Section CC

G E O M E T RY

3. GEOMETRY 3.1Proportion 3.2 Space 3.3 Facade 3.4 Symmetry

3A 4A

2A A 2A

2A A 2A A 2A A

Vazquez J. (Julia) ; Mehta,M. (Malak)

Fig. 3.1.1 - Horizontal proportion observed in the ground floor plan 3.1 Proportion The basic structure is based on grid and the dimensions of spaces and facade are multiples of the unit dimension. (Here the unit dimension is ‘A’)

2A A 2A

2A A 2A A 2A A

CASE 22 – DRAWN ANALYSIS

Fig. 3.1.2 - Horizontal proportion observed in the upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak) 6A

2A A 2A

16A

2A A 2A A 2A

Fig. 3.1.1 - Vertical proportion observed in the ground floor plan

CASE 22 – DRAWN ANALYSIS 6A

16A

Fig. 3.1.2 - Vertical proportion observed in the upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak)

Analysis Fig. 3.2.1 - Proportion in the spaces as seen in ground floor plan 3.2 Space The spaces are multiples of a square or a box. The spaces are composed of different boxes double the small square, or 4 times, or 9 times. 50

Vazquez J. (Julia) ; Mehta,M. (Malak)

Analysis

Fig. 3.3.1 - Proportion observed in the facade modules Analysis 3.3 Facade A sense of proportion can be observed in the facade modules.

CASE 22 – DRAWN ANALYSIS

Fig. 3.4.1 - Proportion in the spaces as seen in ground floor plan 3.4 Symmetry The facade modules are symmetrical along a vertical axis.

S PA C E

4. SPACE 4.1 Dependency 4.2 Enclosure 4.3 Hierarchy 4.4 Natural lighting

Vazquez J. (Julia) ; Mehta,M. (Malak)

Served spaces Servant spaces Fig. 4.1.1 - Dependent and independent spaces in the ground floor plan 4.1 Dependency The living units and service areas act as independent and served spaces. Whereas corridors are dependent on these units and act as the servant spaces.

CASE 22 – DRAWN ANALYSIS

Served spaces Servant spaces Fig. 4.1.1 - Dependent and independent spaces in the upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak)

Indoors Inbetween spaces Outdoors Fig. 4.2.1 - Enclosed, semi-enclosed and open spaces in the ground floor plan 4.2 Enclosure The indoor space are fully enclosed on all sides with walls and roof. Where as the in-between spaces are semi-covered enclosed with envelope of walls on some sides and open from other sides. The patios act as outdoors and open to sky spaces. 58

CASE 22 – DRAWN ANALYSIS

Indoors Fig. 4.2.2 - Enclosed, semi-enclosed and open spaces in upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak)

Double height domes Single height domes Single height spaces Fig. 4.3.1 - Hierarchy of spaces in the ground floor plan 4.3 Hierarchy Hierarchy can be observed in the spaces such as spaces with large domes have double height. The living spaces with floor above are single height and without domes. The maximum surface area is occupied by the single height spaces with domes. 60

CASE 22 – DRAWN ANALYSIS

Double height domes Single height spaces Fig. 4.3.2 - Hierarchy of spaces in the upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak)

Double height domes Single height domes Single height spaces Fig. 4.3.3 - Hierarchy of spaces in the sections 4.3 Hierarchy The large domes spaces are placed right next to the single domed spaces.

CASE 22 – DRAWN ANALYSIS

Shadow Light Fig. 4.4.1 - Natural light as seen due to skylights in section 4.4 Natural lighting The domes are provided with skylights in order to let in natural light and prevent the spaces from being too dark. 63

R E P R E S E N TAT I O N

5. REPRESENTATION 5.1 Transparency 5.2 In-between space 5.3 Classical order in facade

Vazquez J. (Julia) ; Mehta,M. (Malak)

Glass Fig. 5.1.1 - Glass providing transparency in the ground floor plan 5.1 Transparency The exterior of the building is enveloped with glass, making a visual connection between the inside and the outside. The glass acts as a transparent plane between the exterior and the interior spaces.

CASE 22 – DRAWN ANALYSIS

Patios Loggia Fig. 5.2.1 - In-between spaces in the ground floor plan 5.2 In-between spaces The loggia and patio act as the in-between spaces. These spaces provide a buffer between the inside and the outside , breaking the continuity.

Vazquez J. (Julia) ; Mehta,M. (Malak)

Column Arquitrabe Dome Fig. 5.3.1 - Classical order interpreted in the facade modules 5.3 Classical order A classical order can be observed in the facade system involving columns as classical columns, the space between the beams and columns as architrave and the beam and dome being part of the roof.

F O R M A N D P RO G R A M

6. FORM AND PROGRAM 6.1 Function 6.2 Voids 6.3 Entrance 6.4 Routing

Vazquez J. (Julia) ; Mehta,M. (Malak)

Living Spaces Public Areas Services Corridors Fig. 6.1.1 - Division of functional spaces in the ground floor plan 6.1 Function The functional spaces can be divided into living spaces for children and staff, service spaces such as kitchen, laundry rooms, public spaces such as gym, library, party room and administrative spaces.

CASE 22 – DRAWN ANALYSIS

Living Spaces Services Fig. 6.1.2 - Division of functional spaces in the upper floor plan

Vazquez J. (Julia) ; Mehta,M. (Malak)

Voids Fig. 6.2.1 - Voids in the ground floor plan 6.2 Voids These open to sky patios and spaces act as voids among the solid spaces. It is a connection to the inside as well as outside. 74

CASE 22 – DRAWN ANALYSIS

Main entrances Secondary entrances Fig. 6.3.1 - Entrances as seen in the ground floor plan 6.3 Entrances The building has main entrance from the main road on the north side. All the units and spaces are further provided with entry points to enter into the building. 75

Vazquez J. (Julia) ; Mehta,M. (Malak)

Main routes Secondary routes Main entrances Fig. 6.4.1 - Primary and secondary routes in the ground floor plan 6.4 Routing The route acts as an orthogonal connection between various modules. While the main route connects the entrance space with living modules, the secondary routes connect the interior areas. 76

E S S AY

House As A Tiny City

From the very beginning, Aldo van Eyck wanted to

The orphanage was designed as a combination of

formalize a project that allowed him to apply the

three traditions -Classical tradition, modern tra-

ideas of the Team X. The orphanage was designed

dition, influenced by Le Corbusier’s Maison de

under “house as a tiny city” idea.

week-end and vernacular, inspired by van Eyck’s travels to Africa. An amalgamation of these tradi-

“A house therefore should be a bunch of places.

tions expressed different cultures along with dif-

A city a bunch of places non less. Make a configu-

ferent spatial and formal values.

ration of places at each stage of multiplication, it will provide the right kind of places for each con-

“The first logical consequence of considering ar-

figurative stage and urban environment will again

chitecture as knowledge of reality is its division

become liveable. The city is the counter form of

into types.” [2] As mentioned in the text by Aldo

society’s reciprocally individual and collective re-

Rossi , the type is developed according to both

ality”. [1]

needs and aspirations to beauty; a particular type was associated with a form and a way of life, al-

The idea consisted on introducing different ele-

though its specific shape varied widely from socie-

ments of a city (houses, street, public spaces), divid-

ty to society. The concept of type forms the basis

ing the site in geometrical elements that adjoin and

of architecture, a fact attested to both by practice

juxtaposed together to create several connected

and by the treatises. [3]. According to Rossi, “type”

spaces. The orphanage is formed by normalized

is not only seen as an object that must be repeated

elements over a grid with some voids between

but as an element that plays its own role in archi-

them that give structural unity to the whole. The

tecture.With the upcoming of Modern Movement,

building can be characterized as “house as a tiny

type had become a “prototype”. For Rafael Mo-

city “introducing “pavilions” or living units as hous-

neo “Type (…) can mostly be defined as a concept

es and the corridors as streets. These units called

which describes a group of objects characterized

“pavilions” are like houses which are further are

by the same formal structure. (…) It is fundamen-

linked with the corridors that act as the streets.

tally based on the possibility of grouping objects

The building thus consists of a unified static and

by certain (…) similarities. (…) By looking at ar-

dynamic composition of spaces and elements such

chitectural objects as groups, as types, susceptible

that a systematic harmony is observed.

to differentiation in their

Vazquez J. (Julia) ; Mehta,M. (Malak)

Fig. 1. - Le Corbusier : Petite maison de week end(1935)

Fig. 2. - Small domes forming the roof

Fig. 3. - Loggia next to the residential unit

Fig. 4. - Patio between two residential units

CASE 22 – House As A Tiny City

Fig. 5. - Structural unit

Fig. 6. - Living unit

secondary aspects.”[4]. In the orphan-

Furthermore, various architecture el-

age everything is conceived from a mod-

ements used in the orphanage have

ule established by the grid. The combi-

their own role to play. On one hand,

nation of the little module creates new

the roof acts as a connecting element

modules, therefore a “type” Fig. “In this

throughout the span of the building. On

continuous process of transformation,

the other hand, elements composing

the architect can extrapolate from the

the roof enhance their own space be-

type; changing its use (…) transforma-

low them. There is use of two sizes of

tion of scale; he can overlap different

domes- large and small.The small dome

types to produce new ones.”

itself acts as a unit or module. These small domes are used in repetition

The aspect of repetition can be ob-

forming bulged and boxy ceiling joining

served in the orphanage in various are-

different spaces together. These domes,

as - The façade system, the roof and the

contained in a square grid of beams, are

organization of spaces as well.The living

present not only in private living spaces

units for the children also act as a mod-

but also in the public spaces and corri-

ule and the corridors linking them are

dors. Whereas, the large domed spaces

designed such that they are dependent

are specifically present in the communal

on these units. These unit can be dis-

areas with a higher space than others.

tinguished into two different types, L shape and T shape living units. Fig

[1] Strauven, F., & Eyck, A. (1998). Aldo van Eyck - the shape of relativity. Amsterdam: Architectura & Natura. [2] - Monestiroli, A. (2005). The metope and the triglyph: Nine lectures on architecture. Amsterdam: Sun. [3] Rossi, A., Eisenman, P., Graham Foundation for Advanced Studies in the Fine Arts, & Institute for Architecture and Urban Studies. (1982).The architecture of the city. Cambridge, MA: MIT Press. [4] - Moneo, R. (1978). On Typology. Oppositions, (13), 22-45.

Vazquez J. (Julia) ; Mehta,M. (Malak)

The design of the orphanage involved

materiality of the building”. [5]. Howev-

a complex arrangement of units rath-

er, for Monestiroli “Order, proportion

er than the contemporary axial one.

and décor are the principles to which

He introduced the “in-betweeners”,

the construction responds”. [2] Details

spaces between the inside and the

also play an important role in con-

outside to break down the hierarchy

struction and help keeping up to order

of spaces within the built parts. These

and proportion as well. According to

in-between spaces were introduced as

Frascari, the art of detailing is really the

loggias and patios. While loggias were

joining of materials, elements, compo-

more like semi-covered areas, patios

nents, and building parts in a functional

were open to sky spaces connected to

and aesthetic manner. [6]

the built areas with flooring. Form is the final definition of the elThe living units in the orphanage are

ements of construction. Forms must

placed on an orthogonal grid.  Each

match the forces present in materials

unit has two axis providing the unit

themselves; they must highlight them

with multiple exterior facades. There is

and represent them in a stable way.

flowing connection between the spac-

As explained by Frascari, details are

es rather than a linear start-end one.

the joints in different architecture el-

The spaces are connected to the out-

ements. [6] The structure system in

side with buffer spaces but also in the

the orphanage showcases and order

inside with open to sky areas.

and detail. The whole construction of the orphanage is dominated by

According to Gregotti there are three

the grid, formed by a square module

ways that techniques are applied n ar-

of 3,36x3,36m. In the center of each

chitectural project: as tectonics, struc-

module there is inscribed a concrete

ture of the building, as physiology, in

dome of 3m of diameter and 85cm

terms of services that can be con-

high. Sometimes the little domes are

trolled and activated, and as an exer-

crowned with skylights. In certain spac-

cise of detail. Furthermore “Ornamen-

es where 9 modules are combined, a

tation can therefore within the process

new module is created. These new

of forming a project not only as a style

spaces are covered by larger domes.

but also as a complex notion of space, a

The domes rest on top of the con-

strategy for an articulate use of materi-

crete beams’ grid, and this is supported

als, a mediation between the form and

by system of concrete columns and a

[2] - Monestiroli, A. (2005). The metope and the triglyph: Nine lectures on architecture. Amsterdam: Sun. [5] - Gregotti,V. (1996). On Technique. In Inside Architecture (pp. 51-60). Cambridge, MA: MIT Press. [6] - Frascari, M. (1984). The Tell-the-Tale Detail. In Theorizing a new agenda for architecture: an anthology of architectural theory 1965-1995 (pp. 498-515). New York, NY: Princeton Architectural Press.

CASE 22 – House As A Tiny City

connecting concrete architrave. This el-

heights are derived, and any single de-

ement becomes a constant through the

tail is measured after it. Then all the

building, between the masonry and the

parts of the building will stand to each

roof. It emphasizes the horizontality of

other in a direct and intelligible rela-

the building.

tionship. He also introduced another aspect asserting that proportion is the

Moreover, construction involves join-

use of relations in a measurement. The

ery of enormous materials along with

elements of his module are traditional

the elements. According to the text by

and extremely simple: square, double

Ungers, for architecture three funda-

square, and divisions into extreme and

mental demands are required: useful-

mean ratios. [6]

ness, truth to the materials and design execution (Gestaltung) [7].The orphan-

Van der Laan started from the idea that

age showcases different combination of

one reads a building through its parts,

materials within the specific functions

their interrelation and their connection

to produce desirable spaces. A combi-

to the whole. [8] Similarly, Wolfflin also

nation of concrete, glass and brickwork

mentioned that, “The decisive factor in

is used giving various effects in the ex-

architecture is the dimensions, the re-

terior as well as the interiors.

lations of height to width” (Hermann Grimm) [9].The entire geometry of the

The quest for symmetry, balance, and

orphanage is based on the grid defining

proportional relationships lies deep in

certain proportions within the dimen-

human nature. Dom Hans van der Laan

sions of different elements. Further-

tried to understand and define the po-

more, the spaces are observed to be

etics of order. From Vitruvius, he bor-

in the form of squares, double squares

rowed spatial concepts such as symme-

and thus in relation to each other.

try and eurhythmy, defining a concept of rhythmical dispositions through Vit-

Another important aspect of geometry

ruvius’ categorized densities based on

is symmetry. For Wittkower, symmetry

the column- inter column beam rela-

is the balance of parts between them-

tion. [8]

selves and the whole, is a primary aspect of proportion. [10] According to

Frascari (1984) stated that, “A basic

Wolfin, the principle of horizontal ar-

measure, or module, is the norm from

ticulation is referred to as symmetry.

“which all the lengths, widths, and

Symmetry is only the requirement that

[6] - Frascari, M. (1984). The Tell-the-Tale Detail. In Theorizing a new agenda for architecture: an anthology of architectural theory 1965-1995 (pp. 498-515). New York, NY: Princeton Architectural Press. [7]Ungers, O. M. (2006). Architekturlehre: Berliner Vorlesungen 1964 - 1965. N. Kuhnert, S. Kraft, J.Von Mende, A. L. Ngo, & M. Luce (Eds.). Aachen: Arch+ Verlag GmbH. [8].Voet, C. (2012).The poetics of order: Dom Hans van der Laan’s architectonic space. Architectural Research Quarterly, 16(2), 137-154. [9] [10]-Wittkower, R. (1960). The Changing Concept of Proportion. Daedalus, 89(1), 199-215.

Vazquez J. (Julia) ; Mehta,M. (Malak)

the parts flanking a dissimilar center

orphanage enveloped by columns, glass,

must be similar to each other. In or-

solid bricks, and the domes overhead.

phanage too, a sense of symmetry can be observed in the façade modules.The

Moreover, it can be observed that hier-

geometry of the façade system follows

archy is absent as a composition in the

repetition of the module creating an

building and yet present in the spaces

assembly of the part of façade with the

that are formed within. A sense of hier-

whole facade.

archy is observed in the spaces formed with use of large and small domes jux-

Dom van der Laan introduces phe-

taposed next to each other. This sense

nomenological concepts to explain the

of hierarchy can moreover be connect-

relation between mass and space, and

ed to the program and form as well.

the interrelation of spatial elements.

The pavilions are categorized with dif-

According to Laan, when one reads

ferent sizes of domes ultimately chang-

space, one judges its size by relating

ing volumes of that space. Whereas

it to a reference with the process of

the large domes on the ground floor

“counting”. [8]

constitute a higher volume, the large domes on the upper floor are certainly

Wright distinguished from the other

over a lower height.

great architects of his generation that space was submersed under structure.

With upcoming of Modern architec-

As per Wright, space was regarded as

ture, Monestrioli states that “The visual

the twin partner with structure in the

independence of these uninterrupted

creation of architectural composition.

planes was scored by connecting areas

(Schumacher) As opposed to that,

with plate glass: windows as holes in the

Schumacher stated that however rhet-

wall disappeared and became, instead,

oric effect a space may create, it is still

interruptions of wall to be discounted

dependent on structure. [11]

by the eye as a positive element of the building. According to him, one of the

Nevertheless, the spaces in the or-

rules of the game was to “maintain the

phanage are enveloped by the struc-

volumetric correspondence between

tural elements. The columns define a

inside and outside”. This coupled with

visual barrier along with giving porosi-

the idea of continuity between inside

ty to the space. Different experiences

and outside, further specified the ar-

of enclosures can be observed in the

chitects’ attitude toward the exterior

[8].Voet, C. (2012).The poetics of order: Dom Hans van der Laan’s architectonic space. Architectural Research Quarterly, 16(2), 137-154.

[11] - Schumacher, T. L. (1988). The Skull and the Mask: The Modern Movement and Dilemma of the Façade. Cornell Journal of Architecture, 3, 4-11

CASE 22 – House As A Tiny City

surface. [2]

ruled by identified norms. [2]

The orphanage has a spread-out glass

The design of orphanage is paraphrase

surface throughout its facade giving the

of the program. Function is what caus-

transparency between inside and out-

es the passage from life to forms. It is

side. Opposed to that, “Loggia and Pa-

through knowledge of function that ar-

tio” act as the in-between spaces con-

chitectural form can be found. [2]

necting the inside and the outside in the building. While glass provides conti-

Sir John Summerson explains the se-

nuity from inside to outside with visual

quence of changes to theory in his

connections, these in-between buffer

seminal essay “The Case for a Theory

spaces produce an ambivalent relation

of Modern Architecture,” in which he

from inside to outside.

states, “The source of unity in Modern Architecture is in the social sphere, in

According to Gregotti “Naturally, tech-

other words in the architect’s program.

niques of assemblage can themselves

“[11]

become techniques of composition (….).” [5] Van Eyck uses the structure

The orphanage is mainly seated hori-

to compose the façade. He is influenced

zontally in the site, not only because

by the classical orders of the Greek

of its organization but also due to its

temples. The façade is based on the

program, that is predominantly in the

columns holding the architrave. Grassi

ground level. In so doing, it is articulat-

stated that “The portico is the unifying

ed in different zones: units designated

element that brings together the dif-

to the children, administrative spaces

ferent buildings around the courtyard.

and community spaces. All this three

(…) As a structural element it can be

are connected by the interior streets.

read as a formal gesture that ties to-

Since the orphanage was conceived as

gether the different parts (…) through

bidirectional, instead of a central axis

the rhythm of the facades.” [12]

and static composition, there is shifting of architecture volume in the form of a

The classical quality of Mies’s architec-

zig-zag pattern.

ture reveals itself through the two principles that define it: the first, and most

Due to its lack on hierarchy, there are

important, is the intelligibility of forms;

several entrances connected to the

the second, consequential to the first,

routing.The main entrance of the build-

states that design is a cognitive activity

ing is from the North side towards the

[2] - Monestiroli, A. (2005). The metope and the triglyph: Nine lectures on architecture. Amsterdam: Sun. [5] - Gregotti,V. (1996). On Technique. In Inside Architecture (pp. 51-60). Cambridge, MA: MIT Press. [11] - Schumacher, T. L. (1988). The Skull and the Mask: The Modern Movement and Dilemma of the Façade. Cornell Journal of Architecture, 3, 4-11 [12]- Grassi, G. (1979). Architecture as craft. In The rationalist reader: Architecture and rationalism in Western Europe, 1920-1940/1960-1990 (pp. 300-303). London: Routledge.

Vazquez J. (Julia) ; Mehta,M. (Malak)

main road. The public realm interlocks

The architecture of the Orphanage

with the main road with the forecourt

showcases juxtaposition in spaces as

that supports the admin wing on top

well elements. Various twin phenome-

and provides a sweeping inviting en-

non can be noticed in the design such

try into the center of the building. The

as – unity-diversity, part-whole, large-

visitor thus enters the settlement via

small, inside-outiside, open-close, etc.

a generous in-between area where the inside and outside worlds interpene-

The design involves focus on the tran-

trate, a large ‘doorstep’ that articulates

sition spaces such as patio and loggia

into an urban square.*

that act as large open squares between inside and outside. The facade mani-

Conclusion

fests the classical order with the use of architrave with void in combination

To conclude you can say that the or-

with the dome and slender columns.

phanage is based on its various re-

The functions are organized with the

lationships of spaces and elements

living units as independent identity

complementing each other. Moreover,

while the communal spaces and corri-

it is also an amalgamation of the three

dors are dependent on the former.

traditions which are profound in the designs of Aldo Van Eyck – classical,

Ultimately, the living units act has

modern and vernacular. The orphanage

“houses” in a city and the corridors

showcases the concept of “balanced

act as “streets” connecting the houses.

community” with a new urban vision.

The building thus becomes “a house as a tiny city”.

The orphanage is the application of the ideas of van Eyck during his time in the Team X, with a more plural and human side of architecture and urbanism. His municipal orphanage of Amsterdam was his first building that proved his understanding of architecture as a “configurative discipline” and it was probably the prelude of the mat buildings, including the Venice Hospital and the Free University of Berlin.

CASE 22 – House As A Tiny City

Fig. 7. - Manifestation of classical order

Fig. 8. - House as a city

L I S T O F R E F E R E N C E S F O R E S S AY

CASE 22 – House As A Tiny City

List of References -Strauven, F., & Eyck, A. (1998). Aldo van Eyck - the shape of relativity. Amsterdam: Architectura & Natura. -Eyck, A., Ligtelijn,V., & Ball, G. (1999). Aldo van Eyck. Basel: Birkhäuser Verlag. - Frascari, M. (1984). The Tell-the-Tale Detail. In Theorizing a new agenda for architecture: an anthology of architectural theory 1965-1995 (pp. 498-515). New York, NY: Princeton Architectural Press. - Grassi, G. (1979). Architecture as craft. In The rationalist reader: Architecture and rationalism in Western Europe, 1920-1940/1960-1990 (pp. 300-303). London: Routledge. - Gregotti,V. (1996). On Technique. In Inside Archi-tecture (pp. 51-60). Cambridge, MA: MIT Press. - Moneo, R. (1978). On Typology. Opposi-tions, (13), 22-45. - Monestiroli, A. (2005). The metope and the triglyph: Nine lectures on architecture. Amsterdam: Sun. - Rossi, A., Eisenman, P., Graham Foundation for Advanced Studies in the Fine Arts, & Institute for Architecture and Urban Studies. (1982). The archi-tecture of the city. Cambridge, MA: MIT Press. - Schumacher, T. L. (1988). The Skull and the Mask: The Modern Movement and Dilemma of the Façade. Cornell Journal of Architecture, 3, 4-11 - Ungers, O. M. (2006). Architekturlehre: Ber-liner Vorlesungen 1964 - 1965. N. Kuhnert, S. Kraft, J.Von Mende, A. L. Ngo, & M. Luce (Eds.). Aachen: Arch+ Verlag GmbH. .- Voet, C. (2012). The poetics of order: Dom Hans van der Laan’s architectonic space. Architectural Research Quarterly, 16(2), 137-154. - Wittkower, R. (1960). The Changing Con-cept of Proportion. Daedalus, 89(1), 199-215. 1_Wolfflin_H_Prolegomena_to_a_Psychology_of_Architecture_Form_and_its_Moments

CASE 22 – House As A Tiny City

List of References for images (Essay) Fig 1 - Strauven, F., & Eyck, A. (1998). Aldo van Eyck - the shape of relativity. Amsterdam: Architectura & Natura Fig 2, Fig 3 , Fig 4 - https://www.archdaily.com/151566/ad-classics-amsterdam-orphanage-aldo-van-eyck Fig 5, Fig 6 , Fig 7 , Fig 8 - Self made illustrations .

R E F L E C T I V E R E P O RT

Vazquez J. (Julia)

Reflective Report

During this course, I had the opportunity to an-

In conclusion, the main thing I got from reading

alyse the Orphanage in Amsterdam of the Dutch

the texts is that in theory of architecture, every

architect Aldo van Eyck. A t first I was kind of

author has its own thoughts,and they are going

Disappointed of the cases study because had no

to differ their ideas especially if they are from

idea what building it was or who the architect

different centuries. However, it is good to have

was. So as an Erasmus student from Spain, it has

different perspectives, it helps to develop the

been a wonderful chance to start to get famil-

analysis with a critical eye.

iarized with this architect and his work. It was not only opportune occasion to learn about the Orphanage but also to study other works of van Eyck like playgrounds in Amsterdam and Nagele school as well as the last years of the CIAM, their ideas, the rise of the TEAM X and their new urbanism and the subsequent influence in future architecture. However, putting the architectural contexts aside, this course was nothing like I expected. I thought that “Types and Methods” was more of a historical approach, but instead it was focused on the analysis from a theoretical point of view. This gave me the opportunity to begin to read texts and books about theory of architecture.

Mehta,M. (Malak)

Reflective Report

The course “Types and Methods in Architecture”

A profound analysis of the building gave me an

was a good learning experience for me.

insight on the idea that architecture is not merely

Working in a team with Julia, I realized how the

designing. Architecture is designing while keeping

same building can be analysed with different

in focus the human element.

perceptions. With those specific themes and the corresponding lectures, it was easier to

The best part of pursuing this course for me was

Understand the texts and what exactly are the

logical thinking and analysing the project with

views of different architects regarding those

different themes. I also found development of

themes.

essay by relating the information in the texts with the analysis a greater challenge. But at the end,

In the beginning, we started with reading about

the analysis and essay part further helped me to

the building and the architect. Amsterdam

improve the way I perceive architecture in daily

orphanage or “Burgerweeshuis Amsterdam “as

life; not just superficial but way deeper in both

known in Dutch, is a very experiential building in

practical and theoretical manner.

itself. The architect Aldo Van Eyck has designed it beautifully with use of elements which are Translation of human behaviour. The spaces suit the user in every way. The analysis of the building as per the six themes further aided in understanding the concepts and ideas behind the design. It helped to comprehend how the spaces can be enclosed with different materials and how the in-between spaces create pause between inside and outside and glass gives transparency and continuity from inside to outside.