SKILLS
*SOFTWARE KNOWLEDGE(MAC & WINDOWS)
*PRACTICAL KNOWLEDGE
2D & 3D modeling Autocad 3ds Max Rhinoceros Vectorworks:
Advanced Good Good Basic
Rendering 3ds Max Vray-renderer Maxwell-studio
Good Good Basic
Jewelry design silver brass copper acrylate perspex aluminum
Graphic editing Adobe Photoshop Adobe Illustrator Adobe Indesign
Advanced Advanced Advanced
Web development Adobe Dreamweaver Basic Adobe Flash Basic Text editing M.Office Word Advanced M.Office Excel Good M.Office Powerpoint Good
Model making paper mache cardboard wood clay wax PUR (modeling) METALS/bronze-silver brass-aluminum-copper/ Prototype development @ Studio Job for: RangeRover Sergio Herman Swarovski Venini Groninger Museum
-a POP-UP -a POP-UP -a POP-UP -DESIGNER -PATRO(O)
Work Experience
Languages Dutch English French German
(jewelry
NOV2013-FEB2014 JAN2013-APR2013 summer 2012-2014 2012 FEB2011-AUG2011 AUG2010-JAN2011 2009-2010
Mother tongue Good Good Basic
: : : : : : :
Assistant Fine Arts Head Bar freelance Product d Intern -p Intern wo
Education 2014-2015: 2009-2013: 2006-2008: 2003-2006:
Jewelry design, Royal Academy Jewelry design, Academy for ar Master degree in Architecture Bachelor degree in Architectur
CV
MaRIEKEN meeuwSSEN NAME/
GENDER/ female
NATIONALITY/ belgian
DATE OF BIRTH/ 21.04.1984
PHONE/
+32 497 93 88 58
EMAIL/
mariekenmeeuwssen@gmail.com WEB/
mariekenmeeuwssen.TUMBLR.com
y)Exhibitions
P (H)ART SHOP / Hanolux, Turnhout(B) / 16-17 Nov. 2013 P (H)ART EXHIBITION / Warande Wonderland / Turnhout(B) / 14-15 Oct. 2013 P (H)ART EXHIBITION / Blokker, Gesthuisstr. / Turnhout(B) / 4 May 2013 RDAYS GENT–THE CITY TRAIL / Black Balloon / Gent(B) / 28-30 March 2013 )N / Zilvermuseum Sterckshof / Deurne(B- / 23 June - 24 October 2012
t to Lara Jensen, London (UK) s Teacher, Academy for Fine Arts, Beerse(B) Manager + People Manager @ PoléPolé Festivals, Gent(B) e 3D modeler (for the production of 3D prints) designer/assistant project manager @ STUDIO JOB, Breda(NL) product designer/assistant project manager @ STUDIO JOB, Breda(NL) ork, Ghent & Turnhout(B)
for Fine Arts (KASKA), Antwerpen(B) rts and crafts (IKA), Mechelen(B) e WITH DISTINCTION, Art and Science College St-Lucas, Gent(B) re, the Art and Science College St-Lucas, Gent(B)
LRY
JEWE
i
u ARCHITECTURE
a
INDEX PORTFOLIO INDEX CONTENT CONTENT CONTENT PORTFOLIO *WORK PORTFOLIO CONTENT *JEWELRY *WORK *ARCHITECTURE *JEWELRY *MISCELANEOUS *ARCHITECTURE 2007-2011 *MISCELANEOUS 2007-2013
During my architecture studies at Sint-Lucas Ghent (Belgium), I learned the beauty of designing and I explored my creative mind through the development of concepts, form-finding and computational techniques. My field of interests specifies itself also on smaller scale; material research and experimenting with different esthetics and techniques such as objects and jewelry. Being able to focus on the whole process from the first line to the finishing stage gives me great satisfaction. Nevertheless the interaction between concept and object is my ideal working area. This will be shown on the projects I worked on during my experience at Studio Job-atelier in Breda (NL). I really enjoy working on a conceptual level to find fitting, refined solutions on product scale and interior scale. Every time I seek for an ideal shape & function which follow out of interesting and well argued research. I am strongly attracted to the absurdity, imagery & craftsmanship of things and their translation.
studio job
WORK
d MISCELANEOUS
The work of Studio Job is known for crossing boundaries between design and art due to the way many of its items demonstrate artistic design while serving a functional purpose. They are constantly balancing between “function” and “fashion” of an object. Their designs are often controversial and always filled with double meaning. Studio Job creates art where fantasy and functionality blend into a dreamworld that defies all fixed rules and taste. Symbols are exalted into beauty & art mixed with ugliness and banality. Perfection is achieved only by manual craftmanship. Their power lays in the fabrication of handmade pieces. It is love. No two objects are the same. There is always a clash between old&new, high&low, good&bad, constantly pushed to its limits. Nothing is what it seems. While working in the Breda-atelier, one’s boundaries are being pushed until precision is accomplished. It’s a learning process of extreme ideas, challenging materials, beautiful symbolism, ironic shapes and ingenious craftmanship.
WORK@ @_ WORK
STUDIO
INTERNSHIP+PRODU
STUDIO jOB INTERNSHIP+PROD ATELIER-BREDA (N STUDIO jOB 2010_2011 ATELIER-BREDA ( 2010_2011
_
O JOB
UCT DESIGNER
DUCT NL) DESIGNER (NL)
job lounge renovation OF
THE GRONINGER MUSEUM
_project RENOVATION GRONINGER MUSEUM_ THE “JOB LOUNGE”, december 2010 _client
Groninger Museum
_where
Groninger Museum, Groningen, NL
_with
In collaboration with: foundry KEMNER, MOOOI-design, VENINI
_what?
Prototype making (lamps, fountain), texturing (walls)
MoUlds (cooking implements) for SERGIO Herman’S RESTAURANT OUD
CAKE OF PEACE dim. 65x65x75mm
_project COOKING IMPLEMENTS FOR SERGIO HERMAN, 2011 _client
SERGIO HERMAN’S Star Restaurant ‘Oud Sluis’, Sluis, NL
_how
*Cake of Peace
*Rosary
PUR foam, modeling wax, silicone
Modeling wax, silicone
*Barbed Wire *Chocolates
PUR foam, modeling wax, silicone
PUR foam, modeling wax, silicone
_publ.
‘Sergiology’, book by Sergio Herman, 2011
_what?
Prototype making
SLUIS
ROSARY
dim. 210x290x9mm
BARBED WIRE
dim. 150x150x9mm
CHOCOLATES
dim. 55x34x23mm
_project CERAMIC DINNER PLATES FOR SERGIO HERMAN, to be finished in 2011 _client _with
SERGIO HERMAN’S Star Restaurant ‘Oud Sluis’, Sluis, NL
In collaboration with ‘Koninklijke Tichelaar Makkum’, Makkum
_how
*Prototypes PUR-foam, modeling wax, black paint
_size
large ca.300x300x150mm - small ca.130x130x30mm
_what?
*Final product porcelain Prototype making
m, NL
Prototypes ‘Ceramic Dinner Plates’ FOR Sergio HERMAN’S RESTAURANT OUD SLUIS
Mae West & Arnolfini
LAMPS FOR MILAN design WEEK 2011
_project LAMPS FOR MILAN DESIGN WEEK 2011, april 2011 _client
Milan design week
_where
Milan, italy
_with _how _what?
In collaboration with ‘VENINI’(Murano, Italy)
Coloured Murano glass, polished & patinated bronze Colour palet determination
_project SAFE & CUPBOARD, may 2011 _client _with _how _dim. _what?
Private collection
In collaboration with ‘SWAROVSKI’ & foundry ‘KEMNER’
Bronze, Swarovski crystals, marble, oak wood, gold leaf 187x88x88cm
Prototype making (globe), finishing of the rock, pot & safe
totem of love (WITH SWAROVSKI) hidden CABINET/SAFE_WEDDING PRESENT
QUACK CABINET FOR
A DOCTOR’S CABINET
_project QUACK/tools CABINET, 2011 _client
Sint Fiet
_where
Private collection (unique piece)
_how
*Moulds: PUR-foam, modeling wax, cardboard, black paint
*Bottles&Tools: polished & patinated bronze, brass
*Cabinet: marquetery of indian rosewood & multiple wood, glass panels, cork, PU-coating
_dim
187x200x60cm
_what?
Prototype making (tools & bottles), finishing prototypes
_project FENCE, 2011 _where _how _dim _what?
House of job, Bergeyk, NL
Laser cutted steel 350x120x150cm
Computer editing
_project CUPBOARD, 2011 _where _how _dim _what?
House of job, Bergeyk, NL
Wood, paper mache, paint 230x200x40cm
Design of the cupboard
“the house of job“
house OWNED &DECORATED BY STUDIO JOB
_project BOOK OF JOB SPECIAL(S) _how _dim. _what?
Nr.4 in a serie of 4 (spoon, key, doorhandle, magnifying glass)
Polished bronze, glass, wood, Book of Job Box/62x32x14cm
Prototype making_magnifying glass, book setting
_project _client _how _dim. _what?
BOOK OF JOB SPECIAL & GOTHIC CHAIR ASSISTED PROJECTS
GOTHIC CHAIR FOR MOOOI, 2011 MOOOI design
Polyethylene, rotational moulded
90x44,5x46cm seating height: 46cm Prototype co-designing
ARCHITECTURAL RING/
LEBBEUS WOODS
jewelry jewelry SILVERSMITHING AND SILVERSMITH AND EXPERIMENTAL RESEARCH EXPERIMENTAL RESEARCH
RING
SILVER 94x32x24mm
Presenting different jewelry-design projects through an experimental, conceptual and technical approach.
the outer city
URBAN PATTERNS bracelet LAYERS AND TRANPARENCY of an uRBAN from my hometown-TURNHOUT(bELGIUM)
TISSUE/
the inner city BRACELET
ALUMINUM/LASERED PERSPEX/WHITE VARNISH
140x110x30mm PUBLISHED IN:
‘Patro(o)n’
BY Silvermuseum Sterckshof, Deurne(B)
3D PRINTING MEETS craft nECKLACES FROM 2 DIFFERENT WORLDS NECKLACES STERLING SILVER/BRASS/3D PRINTED UV-COATED NYLON (STEREOLYTHOGRAPHY)/PAINT/STAINLESS STEEL BOLTS pendant:160x80x35mm pendant:80x90x60mm For: Designerdays Gent 2013 - The city Trail Exhibited @ Black Balloon, Gent Exhibited @ Pop-up Art eXhibition, Turnhout
pendant:160x35x25mm pendant:105x135x25mm
WEDDING RINGS STERLING SILVER 925/DIAMONDS(VVS)/QUARTZ Him:22x22x9mm Her:19x19x10mm
wedding rings
rINGS made from love
‘iT’S A ZOOLOGICAL GARDEN’ ACRYLATE_rings THROUGH THE EYE OF
AN ANIMAL
RINGS
LASERED ACRYLATE
ca.40x30x3mm
A way of ACRYLATE_rin
RINGS
LASERED ACRYLATE small 40x25x3mm large 70x40x3mm
THE GUN ’K*LL THE KITTEN’
ngs WITH A SIGNIFICANT TWIST
BROOCH
BRASS
120x70mm
RINGS
SILVER ca 30x25mm
BROOCH SILVER 120x60mm
MISCELANEOUS TECHNICAL STUFF*$[ TECHNICAL JEWELRY solder/mould/saw/fold
THESIS/
LAGRIMAS NEGRAS fLAMENCO art CENTRE DESCRIPTION: PROJECT: PROF.: MENTOR:
Flamenco Art Centre W. Lievens (Nero) M. De Maeseneer (Mdma)
a
THEME: Flamenco (music) and the nomad way of living (architecture) mix together in an overwhelming cultural and musical confluence.
PROGRAM:
ARCHITECTURE ARCHITECTURE
DIFFERENT PROJECTS FROM masterSTUDIES DIFFERENT PROJECTS FROM masterSTUDIES
Music and architecture always had a loving relationship. AndalucĂa has a rich culture of living with and trough flamenco-music. The everyday life is loaded with a certain feeling of this typical flamenco-music way of living.
PROCEDURE: The idea is to recover the public space and to improve the heart of the flamenco-city. Through a given site in Jerez de la Frontera (Spain) and a predefined theme there is a holistic approach towards architecture. Through a synthesis of related art forms the theme will be investigated and translated into new architectural mutations.
d
p
CERTAIN BASIC MOVEMENTS THROUGH GUITARS AND HANDCLAPPING DIFFERENT COMBINATIONS
A B C D AB
AB
BC
BD
CD
ABBCABBD BCCD
DIFFERENT RESULTS THROUGH THE SAME ELEMENTS
The flamenco-experience is not an introvert happening. It’s all about the “presence” of seeing and being seen. People all get dressed up to go to an exhibition, to go out, even for just go walking in the street. Their architecture is about openness, transparency and visibility. People are living more outdoors and “with” each other. It might be interesting to link all the architectural functions that will be created through transparent elements to guarantee the experience of seeing and being seen. Through flamenco, there is will be an architectural creation of different atmospheres with specific functions, PLUS the development of interactions between different spaces by means of TRANSPARENCY, VISIBILITY AND SPONTANEOUS CIRCULATION.
*FLAMENCO It is difficult to describe what flamenco really is about. It is a collective name for music, songs and dance like it was found in Andalucía. It is been said that flamenco is highspirited, expressive and strong. But also that it is more than just ‘music’, actually… it is a way of living. Flamenco is all about expressing a certain feeling, which can vary from intense sadness to overwhelming joy and happiness, depending on the rhythm of the music and how that rhythm is being used. There are a lot of different styles in flamenco. With each style there is a feeling connected. During a flamenco performance it happens that different styles and atmospheres are fluently mixed. Here the idea developed of bringing DIFFERENT CHOICE-OPTIONS in the architecture through one common element and also to bring different atmospheres in the architecture which go together with different functions but with a linked common element.
*MORESQUE PATTERNS IDEA TAKEN FROM THE ENVIRONMENT: 1.Calligraphic patterns 2.Arabesque patterns
3.Space filling patterns
If these patterns appear in a twodimensional surface, a basic shape will constantly repeat itself, so there is no focus point.
A pattern is based on 3 characteristics: * unity: a figure, a shape, … * repetition: figure-shape repeats itself * organization-principle: A GRID Based on a grid, a pattern is being organized.
The site is a gap in a very d needs a redistribution integrate better A very important element on the ACCESS ROADS. They come up to t places and they have very di Another very important element is that you never “bump” into a you are being “sucke It would be interesting ORGANIZATION-PRINCIPLE to gener t
*SITE
dense environment. It n (as for density) to r in its environment. e site is the several the site on different issimilar directions. to “flow� on the site a wall, but more that ed� into the terrain. g to use a GRID AS AN rate architecture and to redevide the site.
FUNCTION 1
FUNCTION 2
TRANSFORMATION THROUGH GRID
*SHAPE & FUNCTION There will be searched for the IDEAL SHAPE that gives the best solution concerning entrance and approach on the site. It is very interesting to use an H-shape as an architectural idea. One will enter in a common room/space with the functions spread on both sides. The common rooms/spaces will be linked with other common rooms/spaces. The directions of the basic H-shapes are adapted on the entrance-roads of the terrain. Most important: the sequences are kept the same. Also; the density of the environment and the architectural space are respected. This form-language contains different architectural qualities which can be filled in. An architectural shape-possibility is created which can combine functions and entrance roads and which respects the density of the environment. Because of the qualities of the created shape-design (INTERWEAVING), the idea arises to do something with the zones in between the four elements. Two functions can be linked through the integration of a third element. THE IDEA OF TRANSPARENCY AND SIGHTS WILL BE CENTRAL.
flamenco
patterns
1. 2. 3. 4. 5. 6. 7. 8. 9.
MUSEUM POLYVALENT SPACES FLAMENCO CENTRE: SHOP/WORKPLACE DANCE SCHOOL MEDIA-LIBRARY DANCESTAGE + STAND AUDIENCE SQUARE/RESTAURANT RESTAURANT/BAR SUBDIVIDED WALLS-COMMON FUNCTIONS
3
1
4
2
5
B
A
E
D
F
K
C
D G
H K
I 6
J
J
9
A. MEETING ROOM B. KITCHEN C. SHOWCASE/VITRINE D. DANCEROOM E. VIDES F. BAR G. SANITARY H. READING AREA I. MUSEUM J. SHOPS + WORKPLACE K. STAND AUDIENCE
7
8
*PROGRAM
*0
*1 *1
*VIEWS
*ATMOSPHERE
*INTERIOR
TRANSITION ZONE(s) social CENTRE/STATION DESCRIPTION: Project: Prof.:
Social & cultural centre M. De Maeseneer (Mdma)
i
THEME: One can wonder how imaginary and prosaic transition zones are and how intermediary passages are. How can memories of the “secure house of one’s childhood” survive and go together with the constant confrontation of the changing reality. Is there a connection between writing en lyrics, between writing and the city, … .
PROGRAM: The idea is to look at ‘double agendas’ (places with a changing identity). How does human behaviour change in these zones and how do relationships take place? Also, is there a way to load these zones with narratives to transform them in non-linear stories where the daily life is the priority and the ‘bad/ strange/negative’ connotation of heterotopias is being broken? To activate this process, fragments of all types can be used in relation to the ‘double agendas’: pieces of film, text, landscapes, myths, … in combination with everyday situations.
o
PROCEDURE: Through narration, the mental meaning of a transition zone is being investigated. The research will implicate literature and philosophy as a tool to become a new kind of architecture. The research will be translated into an architectural program, form and structure.
g
The trainstation Brussels Chapelle is located five meters above ground. The neighbourhood around it is split in two because of this “wall”. Every contact between the two areas has vanished because the people are afraid to go into the tunnel (under the station). The entire identity of the neighbourhood is gone. Through theoretical, historical research concerning modernism the question arises if there is better living through architecture (modernism/CIAM) or not. Conclusion of this research: -Inhabitants get isolated -Socio-economic problems -Disappearing of the identity– alienating. There is the need for individuality and identity. POSTMODERNISM gave an answer: different styles and spaces were renewed and changed PLUS, they were being interlarded with ornaments and historical references (cfr. Eisenman). Solution/ INTEGRATE A DIVERSITY OF CULTURAL ELEMENTS AND HISTORICAL FRAGMENTS IN AN EXCITING AND LAYERED SOCIETY. Finding a two-way traffic between platform and object, structure and happening. The best way to do this is through the use of layers. Historical layers are used to give the environment a new identity. Layers are used as a search for an infrastructural solution.
*SITE CIAM
?
People fought back with the one thing they could control: words. They were using LAYERS IN THE FORM OF graffiti AS A SOCIAL SOLUTION. Through graffiti different horizontal layers give depth, texture and meaning to a vertical dimension.
*LAYERS
977
1062
1550
1640
1777
1835
ES LIN HT-
1930
SIG
5
USE OF LAYERS AS A SEARCH FOR DESIGN AND FUNCTIONALITY. Different horizontal layers are gathered from the urban plan of Brussels (and from the historicity of the site -based on the graffiti-idea). Typical elements are taken from the site, together with other contextual elements and they will help to find an ideal location and interpretation. See which layers (streets) were present in the past and which are not anymore. Every layer represents another face in history and another mentality and feeling. Bringing back the historicity on the site and with that, giving back its identity. Which layers were located where in the past? By placing the oldest ones on top the site has again gained again its historical heart and its identity.
*PRINCIPLE
GROUND
A: B: C: D: E:
C A
B
FUNCTIONS
SIGHT-LINES
D
E
PARTY BUSINESS YOUTH CULTURE STATION
party
-6M
party
central hall workplace business
bar
-4M
polyvalent spaces
youth centre
education
restaurant
-3M
museum station
bar/restaurant
open stage skate area
-2M
-1M
station hall
0M
3M
*EXTERIOR/outside
*ATMOSPHERE
ZERO PROGRAM
NO PROGRAM_BUILDING/
DESCRIPTION: Project: Free to choose Prof.: K. Van Weert (Viva AR) In collaboration with: L. Van Kerckhove & J. Berghmans
THEME: What is the definition of a zero-program on a ‘zero-activity’-terrain and how can it be translated and manipulated.
PROGRAM: A given site, the Doel-dock in Antwerp, Belgium is an empty, useless terrain in the middle of a lively harbour. Is there a possibility that an empty site can revive or have a (new) function? How can man use the meaning of a program that doesn’t exist (yet) in an environment that didn’t get a translation so far?
g
PROCEDURE: Through a given site and a zero-programidea there will be a search for concepts and systems outside of architecture.
x
a
NH4 PO4 NO3 P
NO2
CU ZN
O2
*micro & macro
There is a profound connection between the movements of electrons which are find within an atom and the movements of the planets in our solar system. Also on the site are 2 elements present on this matter; the elements of the Doeldok-water (elektrons) and the socio-economic centers in the environment. Here the idea arises to make a PROJECT BASED ON THIS MICRO-AND MACRO-SCALE AND CONNECT THEM TOGETHER IN AN ARCHITECTURAL LANGUAGE. The first research concerns the connections these micro-elements make in the water. Certain formal interpretations are made concerning the combination of these elements. How can they be used as an architectural element and how can they transform?
Similar to this micro-scale-research there is the macro level. Points of interest out of the environment will be connected with each other (powerlines), each with their socio-economical interests. The intention is to find a centre between all these points so a location (for the project) will be found.
SPORTS
NATURE
CULTURE
YOUTH
TOURISM
LIVING
Also there is the development of new centres of gravity where later the functions will be located. These powerlines will bend around the centrepoint through the new found location points. The new lines are called chainlines and they give the DEGREE OF INFLUENCE OF THE SOCIO ECONOMIC SITUATION. These zones are interesting for locating functions of the architectural design. Socio-economic centres out of the environment are chosen and represented in the design, the macro-scale situation is projected on the design on micro scale. Also the micro-design principle off the bolls and lines will be used and investigated. They are placed the way the electrons in the water are formed. Corners and lengths of the connections are respected.
TRANSFORMATION
ROADS
*DESIGN APPROACH
STRUCTURE
RESIDENCES CINEMA/THEATRE INFORMATION POINT CULTURAL CENTRE RESTAURANT TOURISM FITNESS CENTRE FIRST AID SWIMMING POOL SPORTS HALL CHANGING ROOMS
*EXTERIOR CULTURAL CENTRE
*ATMOSPHERE
DYNAMIC SKIN DYNAMIC LIVING UNITS DESCRIPTION: Project: Dynamic living units Prof.: M. Herman In collaboration with: E. Lesthaeghe
w
THEME: The construction of a residence-building located by the water in Kortrijk, Belgium.
PROGRAM: Sights and light are two very important elements in the realization of living units. One side is located by the water-stream and the other side has only building-backs views. How can a design be created so that every unit has got (slight) visions of the water views and also it will have enough light?
IDEA: Hollow and solid-ideas can create interesting design perspectives.
k
The idea of a funnel guarantees a slight transition from the back of the building to the front. The plastic form is constructed from a primary carrying-structure designed from a raster. The skin follows this dynamic as a secondary carrying-structure so it can adapt when needed. Because of the base-shapes used, there is a new flow of openness in the structure. Because of the large transparency of the building, visions from everywhere are guaranteed.
Architecture can become a manifest through language and/or image(s). Creating an architectural manifest that is readily perceived by the eye and by placing it in a different and experimental context. What happens if buildings are placed out of scale? Can their image be used someplace else and be as strong as the original? _no
MANIFEST ARCHITECTURAL
MANIFEST through images
LIVING IN A BOX HOW CAN A ROOM BE IDENTIFIED?
The principle of a ‘room’ is removed from its context and placed in another reality.
PHOTOGRAPHY IMAGES
FIN
SCETCHES IMAGES
FIN