Faculty of Architecture, Master Thesis Paper: From Industrial Ritualism to Urban Behaviorology by Matilde Scali

Student: Matilde Scali Academic Supervisor: Marc Dujardin

FROM INDUSTRIAL RITUALISM TO URBAN BEHAVIOROLOGY The momentum of the ship-launch as trigger to design evocative scenographies for vacancy at the NDSM site in Amsterdam

ACKNOWLEDGEMENTS Thanks to Ruud Vaan der Sluis and the other members of the “Stitching NDSM Heerleeft” for providing us all the informations and the precious documents that we needed to start this project. Thanks to Ronald and David of the studio RAAAF for giving us the preliminary documents and data and introducing us to the topic.

FROM INDUSTRIAL RITUALISM TO URBAN BEHAVIOROLOGY The momentum of the ship-launch as trigger to design evocative scenographies for vacancy at the NDSM site in Amsterdam Author: Matilde Scali Academic Promotor: Prof. dr.arch. Marc Dujardin, arCsus and RAAAF joint design studio KU Leuven Faculty of Archtecture Campus Sint-Lucas Ghent International Master of Science in Architecture Academic Year 2016-2017 Publication June 2017

FROM INDUSTRIAL RITUALISM TO URBAN BEHAVIOROLOGY The momentum of the ship-launch as trigger to design evocative scenographies for vacancy at the NDSM site in Amsterdam

CONTENTS Abstract 9

1_ Introduction Untouched vacancies at NDSM

Research Question

2_ Theoretical Framework: approaches towards vacancies

3_ The NDSM shipyard

4_ The Y-Helling

The studio RAAAF Gordon Matta Clark Developing my own approach

Timeline The past as a place of cultural identity The actual situation: â&#x20AC;?The cultural and creative hotspot of Asterdamâ&#x20AC;? A variable atmosphere The ongoing development and the plans of the city Tension between conflicting interests Listed National monuments

A charming ambiguity: defining the design perimeter Objective Analysis Tilmeline An Anthropological look: The ritual of the ship launch

5_ Design Proposal

Evocation as starting point From Industrial Ritualism to Urban Behaviorology A radical action opens a new condition: unveiling the structure Conclusions: affordances on the IJ lake

Acknowledgements Bibliography

From Industrial Ritualism to Urban Behaviorology

ABSTRACT This master dissertation explores the potentials offered by vacant buildings or sites. In particular, new horizons for re-use are opened, understanding the specific qualities of a “vacancy” and exploiting them to create new, unexpected uses that are linked with its specificity. The case study is the abandoned NDSM shipyard in Amsterdam, Netherlands. The site is experiencing a fast growth, due to the proximity of the city centre and the contact with the IJ lake: in the near future the area will be intensified, but the municipality has not developed a plan for the empty buildings of the factory, listed national monuments, since it is hard to find new uses for these peculiar structures and at the same time heritage rules deny their demolition. The analysis is developed following the guidelines of the studio “Diversity, Vacancy, Demolition – Towards spatial strategies that provide handles to rethink both hopeful and seemingly hopeless vacancies” and the book “VACANCY STUDIES. Experiments & Strategic Interventions in Architecture”, edited by the studio RAAAF of Amsterdam. The aim is to question the current practices for re-use and develop new approaches linked with the issue of sustainability. As a result, it has been developed an architectural project that exploits the qualities of a former launching ramp, were ships were assembled and inaugurated. A floating building that lays in the edge of the ramp accommodates the multiplicity of the public events already present in the area and suggests new kinds of manifestations: it can work together on the ramp, or be used to serve other locations on the IJ lake.

From Industrial Ritualism to Urban Behaviorology

01_INTRODUCTION Untouched Vacancies at NDSM The problem of unused governmental, industrial or public buildings or sites represents a delicate and relevant issue, characterizing the built heritage of the cities of today. This cases are often associated with a sense of uncertainty: what do we have to do with them? Which role can they have in a society where their original purpose is gone? Do we have to consider them as an annoying burden of the past or as valuable leftovers that can serve other, new uses? The NDSM Warf (Netherlandsche Scheepsbouw Maatschappij) is a case of industrial heritage located on the northern banks of the IJ lake in Amsterdam: it was a ship building factory, where cargo ships long more than 200 meters were built and thousands of workers found their job. Unfortunately, in the 80â&#x20AC;&#x2122;s the company fell into bankruptcy and the site was definitely abandoned in 1984. The city of Amsterdam is currently implementing a renovation plan for the IJ lake banks, in order to transform them from monofunctional industrial areas to places for dwellings, working facilities and amenities. Within this framework, the NDSM area has a special plan for its re-development. In fact, the East part of the NDSM (in the picture) is kept free from additional buildings or programmatic demands: the reason is that many former buildings of the factory are still present and since 2007 they entered in the list of Dutch National Monuments. This means that, according to the regulations, these buildings canâ&#x20AC;&#x2122;t be destroyed, but just restored and maintained. Some of them have already been adapted to host offices, ateliers or hotels, but others are waiting for renovation: we consider them vacant.

The Y-helling at NDSM: it was the ramp where the biggest ships were assembled.

From Industrial Ritualism to Urban Behaviorology

Research Question

The aim of this research is to explore the potentials offered by vacant buildings or sites: in particular, this studio tries to develop a new approach to face this phenomenon, challenging the current practices and thus opening new horizons for re-use. In fact, what happens if all of a sudden we stop to consider a vacancy as a problem that we have to get rid of and we start to think of it as a trigger to stimulate new ideas for a future use? What happens if instead of re-using just for the sake of re-using, we take the spatial, material and immaterial characteristics of a vacancy as the starting point for a new project? Sometimes people are afraid to intervene with an old building, especially with a monument; on the other hand, by acting radically on a special building special conditions can be opened, experiences that before were not possible to have, that can make the building more interesting and more valuable than if it would have been left as a ruin. The NDSM werf is a good example where this principles can be experimented: there are huge bricks warehouses that hosted ships pieces and ships engines, long ramps used for the last assemblage of the pieces and for the ship launch and rails on the ground to move the pieces on the site. This area represents a cluster of special vacancies: they are just waiting for a special intervention.

The installation “Vacant NL”, Venice Biennale 2010. The art piece resembles 10.000 maquettes of dutch governmental empty buildings put toghether to form a “sea” of vacancies, drawing attention on the huge quantity of opportunities that they represent.

From Industrial Ritualism to Urban Behaviorology

02_THEORETICAL FRAMEWORK: APPROACHES TOWARDS VACANCIES The Studio RAAAF The current claim for sustainable development under the environmental and cultural pillars is influencing many aspects of our daily lives. Consequentely, the issue of re-use is acquiring an increasing importance in the world of Architecture. Within this framework, the studio RAAAF of Amsterdam is assuming a particular role: through a unique working method based on a multidisciplinary research with scientists and other specialist, their aim is to foster experimentation and innovative approaches towards vacant heritage, at the same time questioning the current practices and policies. Through temporary installations, architectural interventions and manifesto-books they marked the birth of a new professional field of study: in the future, the usual practice of “program seeks building” will become “building seeks program”, and specialists must be trained for this task. My research in particular follows the guidelines of their book “VACANCY STUDIES - Experiments & Strategic intervention in Architecture”, where the studio explains more in detail his approach together with his projects. Here I summed up the principles that I retain more relevant and that helped me to develop a personal vision. First of all, the studio doesn’t consider a vacancy as a problem, but as an enormous potential for innovation in a country like Netherlands, that wants to be at the forefront of the world knowledge economies: “to achieve this goal - they say - not only excellent education and research are requested, but also specific spatial conditions”. This means that re-thinking an unused building can lead to unexpected uses that contribute to the cultural growth of a country: the project “Secret operation 610” is a striking example of this vision, since the studio invented a mobile laboratory for aviation engineers and other researchers to use an abandoned military airbase. This artwork offers opportunities for innovative research programs that otherwise would be impossible.

The movable laboratory of the project “Secret operation 610”.

{

Knowledge Economy1_ Field of Economy that considers intellectual capabilities as the most important good, rather than physical inputs or natural resources. The Netherlands developed the “Knowledge Innovation Agenda”, which invests in nine top sectors: Life Sciences and Health, Agriculture and Food, Chemicals, Creative industries, Energy, High tech systems and Materials, Logistics, Horticulture and Propagation materials, Water.

1_Powell W., Snellman K., “The Knowledge Economy”, Annual Review of Sociology of Stanford, Annual Reviews, Stanford University Press, 20 February 2004, pp. 1.

} 13

The work of RAAAF is focused on governmental, public and industrial unused buildings or sites: vacancies that are mostly collectively owned and that are often listed monuments. Their scope is to recognize the specificity of this objects: lighthouses, water towers, factories, airports, bunkers are unique buildings constructed in different eras, with different techniques and materials. Their architectural, locational and spatial qualities are non-reproducible: it is in these qualities, like the enormous length of a an aviation base in the case of the project “Secret operation 610”, that the innovation for a new design lays. To better demonstrate this analytical approach, the studio published in 2010, with their installation for the Venice Biennale, the “DUCTH ATLAS OF VACANCY”, a book that mapped and catalogued 10.000 governmental empty Dutch buildings. This catalogue ordered every building according to its location, state of conservation, measures, typology, fire resistance, age and acoustic qualities, to have an overview of all the different possibilities for re-use. The studio claims “temporariness” as a strategy: in order to experiment and test the future uses for an empty site, a temporary project for it or a temporary appropriation from the inhabithans help to envision a possible future permanent use. When the temporary activity is not successfull, it can leave the way for another temporary use that best suits the location and its conditions. A temporary project is a good test beacuse requires less bureaucracy and permissions, and of course does not change the quality of a vacancy permanently. When dealing with vacancies, the studio place them in a knowledge network, an index of fields of study linked with it for practical or abstract reasons. This listing is important to understand which disciplines and skills are relevant for a place, so that to use them in the design process: the studio believes that this cross-fertilization is fundamental both for designers, to acquire a new knowledge, and for the vacancy itself, that can be seen under different points of view and thus rich and unique uses can be uncovered. For example, which fields of study are related with an UNESCO monument? Historians, architects, geologist constructors, lawyers, chemicals engineers, structural engineers, urbanists, landscape architects, art historians... all this people can play a role in developing new solutions. 14

Catalogue of un-used governmental buildings in the DUTCH ATLAS OF VACANCY.

From Industrial Ritualism to Urban Behaviorology

The RAAAF architects developed a design process called “strategic design intervention”. One of its key point is “using the forces of large scale development and processes”: what does the municipality of a vacancy want for the area in which it is? What does the country want for the city? The re-use of a vacancy can satisfy larger aims. In the Prix de Rome project “Generating Dune Scapes” the architect Ronald Rietveld exploited the large scale development of the city of Ijmond, that aimed at the renewal of the industrial waterfront, to create a resort for winter baths. By intervening on a building, the aim of RAAAF is also that of producing several “affordances”, to which they refer to as “relatioships between an aspect of the surroundings and a socio-cultural practice”. In their opinion the re-use of a building should not be strict, fixed or mono-functional, instead a design that has a long term ambition should provide predicted or unpredicted possibilities for use and generate a certain kind of freedom that results in a spontaneity of actions. For the sugar factory foundations that have been uncovered in the project “After Image” the studio did not provide any function: is it an underground theatre? A labyrinth of pales? A shelter from the sun to use as a gathering place? The intervention can ideally satisfy all this aims.

uoslis worthy to keep or to delete and by doing radical interventions on a building like cutting, uncovering, adding, deleting, new conditions are created, new experiences that before you cannot have, like a promenade between the foundations of pales of a factory. Often these interventions enhance the value of the monument itself and create a new attraction.

{

STANDARD IS NOT ENOUGHT TO FULL EXPLOIT THE POTENTIAL OF A VACANCY [...] WHICH GREATER SIGNIFICANCE CAN THIS BUILDINGS AND SITES HAVE FOR SOCIETY, TAKING AS OUR STARTING POINT THEIR UNIQUE QUALITIES AND SPATIAL CONDITIONS?2

}

Finally, the projects of RAAAF questions the “culture of demolition”: nowadays, we are used to be afraid when dealing with heritage, especially if it has to do with a listed monument. The obvious solution is often touching as less as possible of what is existing. On the other hand, the studio demonstrates that by wondering contin-

“ After Image”, the uncovering of the foundations of a former sugar factory in Groningen for public uses.

2_ Rietveld E., Rietveld R., VACANCY STUDIES. Experiments & Strategic Interventions in Architecture, Rotterdam, nai010 publishers, 2014., p. 9.

Gordon Matta Clark

An other inspiration that helped me to think out of the box comes from the American artist Gordon Matta Clark. Beside his oeuvre is far from the sustainable discourse and architectural matters, I was fascinated by his revolutionary approach towards abandoned buildings. In fact, the artist work consisted in appropriating of buildings that were waiting for demolition, in order to intervene in them cutting their walls, opening holes in the ground, taking away parts of the facades and so on. His aim was to give the possibility, though for a temporary period, to have a different experience of the construction itself: you could see different views from the walls and into the walls, receive the light from new openings, watch through the layers of the floor. This radical openings has often been described as a metaphor of the ephemeral nature of an apparently stable built reality. This art pieces were meant to last few months, until the buildings were demolished. On the other hand, the strength of the experiences that they brought can still be studied for more innovative and long-lasting purposes.

Gordon-Matta Clark, Office Baroque, Antwerp 1977.

From Industrial Ritualism to Urban Behaviorology

Developing my own approach The readings of the texts and the examples previoulsy mentioned, together with the discussions had during the course hours, helped me to develop several statements as the starting points of my work. I consider this statements almost as a chart or a declaration of intentions, a good framework to keep in mind in every stage of the design, to use as a check-up whenever doubts could come: 1. Vacancies must be considered as a gift, not as a problem. Peculiar buildings like the industrial warehouses of the NDSM site have lost the peculiar function for which they have been built: which other peculiar experiences can this buildings offer? Which other particular new uses can we discover if we re-think them? Within the development of the IJ banks of Amsterdam, this buildings cannot be left ‘untouched’, but must assume a position, a new specific role.

5. Radical, strategic and specific interventions should be used as a tool: by cutting, uncovering, deleting or carving new conditions can be opened. Paradoxically, this invasive actions should lead to a more thight link with the site, its history and its spirit: there you can have experiences that you cannot find everywhere else. A new sense of place should then be created in an area that is now afflicted by uncertainty. 6. The project should consider the seasonal change of the site and its multiple users. Having a long-lasting vision, the design should offer space for temporarity, in the sense that it should host periodical programs or different programs at the same time. The concept of multiplicity of uses also plays a role in this consideration, guiding the project toward certain degrees of adaptability.

2. The project should honour the qualities of the vacant building or site taken in consideration. Every intervention should come up from a specific analysis of these characteristics: it should be possible to say that without those specific qualities that are only present in the former ship factory at NDSM, a project could not be possible. 3. The “Culture of Demolition” must be reconsidered. Prejudices about monuments should be overcame by design experimentation that continuosly question what is worthy to maintain or what is not. 4. The ongoing development at NDSM is guided by functional studies and market interests on the restoration of the IJ lake banks. On the other hand, in the case of the vacant buildings present in the older part of the site, the intervention should not start by having a precise function in mind, but these vacancies should suggest which uses could be suitable. In addition, a new use not only should be adequate for its location, but should also add something new to it, reinforce the qualities already present on a site or draw inspiration from its environment. 17

LOCATION 52°23’20’’N, 4°53’48’’E

Tuindorp Neighbourhood

The Netherlands

Westpoort

Buiksloterhaam

Houthavens

Overhoeks Amsterdam

NDSM Site

City Center

From Industrial Ritualism to Urban Behaviorology

03_THE NDSM SHIPYARD Timeline

1616

The site did not exist yet. There was just the water of the IJ lake.

1875

The construction of the Northen polder extracted land from water. The site was used for agricultural purposes.

1915

The NSM (Dutch Shipbuilding company) moves from Oostenburg to the considered site, due to the proximity of this with the Northen sea. Industrial and agricultural function coexisted. The first three ramps and the biggest warehouse were built.

1930

The development of the area continues, the NDM (Dutch Dry-dock Company) occupies the left part of the polder. Close, is it possible to see the first traces of the Tuindorp Oostzaan neighbourhood.

From Industrial Ritualism to Urban Behaviorology

1945

The two departments of NDM(left) and NSM (right) decide to become one: in 1946 they will become NDSM. There was the need, after the war, to repair ships and build new ones. Those were used more mostly for goods and people transport.

1961

The NDSM company experiences a fast growth: in order to build bigger ships the ramps 2 and 3 are unified into one, while a better connection to the land is provided.

1965

The Sixties are the golden years of the company. In this ages it was the biggest ship factory in Netherlands and it was considered one of the most advanced in the world.

1984

The company, already turned into its original name NSM in 1978, closes, beside its importance for the country and the amount of workers who lost their jobs.

From Industrial Ritualism to Urban Behaviorology

â&#x20AC;&#x2DC;90-â&#x20AC;&#x2122;00

The site lays abandoned for almost ten years, occupied only by squatters and skaters.

2002 Today

There is a renewed interest for the area from artists and festival organizators. The bigness, the openess of the area and the position are in fact appealing for this group of people.

The Princess Beatrix during the inauguration day of the shell-tanker Vasum, in 1955. In the picture a student shows to the Princess a maquette that reproduces the mechanism of the launch.

From Industrial Ritualism to Urban Behaviorology

The past as a place of cultural identity The history of the NDSM company is the symbol of the Dutch technological progress in the past century. Since its first moments, when the company was not formed yet but its ancestors were placed in the western part of Amsterdam, close to the actual Java-island, Dutch people could recognize in the shipyard their formidable and innate ability in ship-building and in “training” the sea for their purposes. The first traces of the company go back to the 1894, with the birth of NSM (Dutch Shipbuilding Company). The company was destined to grow and expand for other 90 years. In 1915, the need to build modern iron ships with mechanical propulsion let the NSM move to the Northern polder, a young piece of land on the other side of the IJ lake that was taken from water 40 years before. The polder was then empty and used for agricultural purposes: the arrival of the ship factory influenced enormously the development of the Northern part of Amsterdam. During the 20th century, new neighbourhoods for the workers, like the Tuindorp Oostzaan, gradually substituted the agricultural fields, together with a lot of different facilities often administered by the factory itself: the shipyard was considered as a “city” comparable to Amsterdam, but with a different profile. NDSM was the city for the workers.

NDSM also contributed to the colonial successes of Netherlands: before the Second World War often Indian waiters were employed on the ships, symbolizing the dominance of one culture over the other. Numerous videos of the time show the atmosphere that lingered on the site: it was a vibrant and noisy workplace, where thousands of people found the space for their everyday life (in the 60’s around 2.000 workers were employed in the factory), working on the construction of objects that you couldn’t find anywhere else or gathering with their closest friends during the moments of breaks. On the other hand, these videos show how NDSM was precious also for the population of Amsterdam. The site was their jewel, the source of the wellness of the city and of the country. During the inauguration day of a ship thousands of people used to go on the site, were workers, families, the princess and other important inhabitants of the city gathered to experience the magic moment of the shiplaunch, when a construction cycle was finished and the going away of the ship celebrated the hard and good work that was done in the factory. In the 1980’s, the Asian competition led fast to the obsolescence of the company, that closed its doors in 1984, leaving a great frustration among the workers and the whole population of Amsterdam.

The shipyard continued to grow despite the wars, the economic depressions and the numerous strikes. During the first world conflict the Netherlands were neutral and this let the factory have international clients like the Royal Navy. On the other hand, during the WWII the site received seriously damages, but it recovered in 1946 with the fusion of the two societies present on the polder NSM and NDM (Dutch Dry dock Company). The factory used to build ships for travellers and goods, especially directed to India, but in the 60’s technical improvements led to the construction of cargo ships long more than 200 meters and built in parts, lately assembled directly on the water. In those years, the ship factory was considered one of the most advanced of Europe and in the world. 25

The construction of â&#x20AC;&#x153;Oranjeâ&#x20AC;?, 1939. This ship was long 200 meters on the highest deck, the lenght of the ramp above which the last assemblage use to take place.

From Industrial Ritualism to Urban Behaviorology

Indian waiters at work in one of the travellers ships, 1924.

Workers on the site of Oranje, 1939.

The site during the construction of the cargo ship â&#x20AC;&#x153;Melaniaâ&#x20AC;?, 1969. This was one of the biggest ships that the shipyard could build - 325 meters long - it was built in two parts and then assembled on the water. The enourmous volume of the ship occupied the site for months or entire years, and disappeared in few seconds during the inauguration day.

From Industrial Ritualism to Urban Behaviorology

The picture above shows the construction process during the 60s, the period of maximum activity of the factory: first the pieces of the boats were moulded in the Scheepsbouwloads (1), then welded in the Laasloods (2), from which they could be assembled to form half ships on the Y-Helling (4) or on the X-Helling (3). After the second of the two halves was built, they were assembled on the water next to the Kraanspoor. In the picture on the left, half a ship is built on the Y-Helling, the biggest ramp on the site.

The Actual Situation: “The cultural and creative hotspot of Amsterdam” After the abandonment, the NDSM site was occupied by squatters and artists, who came in the area attracted by its free open space: there was no ferry connection with the city centre in the 90’s, the site was empty and artists could appropriate of the warehouses, the ramps and the cranes for their creative experiments. In 1995, the project for the redevelopment of the IJ banks, “Manhattan aan het IJ”, provided for the demolition of all the industrial heritage along the lake to make space for commercial high rises. A former group of occupants of the squatted buildings on the southern banks of the IJ created the “Guild Van Werkgebouwen” (Industrial Buildings Guild) with the aim to resist to this plan: the foundation promoted the idea of the city as a framework, using the existing buildings and structures for the new development, fostering a “bottom-up approach to city renovation by and for residents and users4”. These claims were successful: in 2007 seven of the former buildings of the factory were declared National Monuments, with the results that they can’t be destroyed, but just restored or adapted. Moreover, in the same year the Guild supported the construction of the “Kunststad”, the Art-City inside the Scheepbouwloods, the biggest warehouse of the NDSM where pieces of ships were moulded; the project follows the design principle of the Guild.

{

THERE WAS NO FERRY BACK THEN, YOU HAD A VERY LONG BIKE RIDE AND THEN YOU ARRIVED AT AN OBSCURE AREA. AS AN OUTSIDER YOU NEVER KNEW WHAT YOU’D FIND. FANTASTIC !3

}

The area developed until now under the supervision of both local corporations and the municipality: two ferry boats connect it to the city centre and this led to the construction of many buildings to host new businesses, while some of the most peculiar industrial buildings have been adapted for offices and others left to host temporary uses. The NDSM is still under development, but has become mainstream and is famous amongst the inhabitants of Amsterdam as the “Cultural and Creative hotspot of Amsterdam”.

3_ Geert J., Open NDSM Journal, Amsterdam, NDSM foundation, 2016, p. 5. 4_Eva De Klerk. “Guild of industrial buildings along the river IJ.” http://www.evadeklerk.com . http://www.evadeklerk.com/en/het-gilde-van-werkgebouwen-aan-het-ij/ (accessed March 10, 2017)

From Industrial Ritualism to Urban Behaviorology

The NDSM shipyard in a recent pictures. The big crane above the biggest ramp, that was high around 70 meters, fell down few years after the factory closed. The only crane left, in the picture, has been turned into a five stars hotel.

The first cause of this reputation is the capacity of the area of hosting high-profile events and temporary uses, mostly in the east part were lot of the original buildings still lay. Its open space is in fact suitable to host big scale and noisy festivals and huge crowds of people, together with its empty warehouses, small or big like the Lasloods, that can be rented for temporary events or private uses. The space and the buildings, thanks to their scale and their roughness are then flexible: they can be subdivided by exhibitions walls, painted and re-painted again and seized by skaters or market stands: that’s why people say that “freedom reigns at NDSM” . Flea market

Jan

Feb

Mar

Feb

Apr

Mar

May

Apr

Jun

May

Jul

Jun

Aug

Jul

Aug

Sep

Oct

Nov

Dec

Fashion shows

Electronic/ Tecno festivals

Dance shows

Art/History exhibitions

Theatre plays

In general the events, that are mostly outdoor, are more present during the easter and the summer. For the rest of the year, a monthly flea market and some theatre plays take place indoor.

What does it mean that the area want to reinforce its role as a cultural and creative hotspot? In which way an area can be defined “cultural or creative”? In which waywant culture is manifested her? of which kind of culture areInwe speaking What does it mean that the area to reinforce its role as aAnd cultural and creative hotspot? which way anabout? area can be defined “cultural or creative”? In which way culture is manifested her? And of which kind of culture are we speaking about? Moreover, the artistic profile of the area is also engendered by the fact that NDSM LOCATION FOR CREATIVE INDUSTRIES gathers lots of creative industries and creative enterprises. Both well renewed international creative industries LOCATION FOR CREATIVE INDUSTRIES like MTV or HEMA and small start-ups of youngsters are present on the site: the big companies have their own building or are situed in the Kraanspoor, while most of the small start-ups find their place in the former Scheepbouwloods, today called “Kunststad” (Art City) for this reason.

From Industrial Ritualism to Urban Behaviorology

Creative Industry: Industries or companies who take culture as imput, but which products have a well defined function. This category is composed by the fields of design, fashion, advertisement and architecture.

Creative Enterprise: Cultural enterprises who produce or distribute goods or services linked to a specific form of cultural expression: visual arts, dance, theatre, cinema, TV, radio, new media, publishing industry.

35 Painting, sculptures and craft ateliers 35 Painting, sculptures and craft ateliers

Kraanspoor Kunststad

28 Architecture, interior design and furniture design studios 28 Architecture, interior design and furniture design studios 18 Music bands and Theatre companies 18 Music bands and Theatre companies 12 TV, film and video producers

37 Graphic/web/ product design 37 Graphic/web/ companies Photography studios 12 TV, film11and video producers product design 3 Advertisement 11 Photography studios companies Offices/ Press 3 Advertisement Offices/ Press

In general there are around 140 studios and companies bilonging to the creative industry: around 120 of them corresponds to the group of small start-ups of the Art-city, while the remaining 20 are big companies like HEMA, MTV, Red Bull, VIA COM. With the future development, more big companies will take place on the west part of the site. 1 Emilia Romagna StartUp.”Impresa Culturale e Creativa-definizioni.” http://www.emiliaromagnastartup.it . http://www.emiliaromagnastartup.it/it/creative/impresa-culturale-e-creativa-icc (accessed March 2017) ”Impresa Culturale e Creativa-definizioni.” http://www.emiliaromagnastartup.it . http://www.emiliaromagnastartup.it/it/creative/impresa-culturale-e-creativa-icc (accessed Emilia Romagna12, StartUp. March 12, 2017) 1

5_Emilia Romagna StartUp.”Impresa Culturale e Creativa-definizioni.” http://www.emiliaromagnastartup.it . http://www.emiliaromagnastartup.it/it/creative/impresa-culturale-e-creativa-icc (accessed March 12, 2017)

Finally, also the presence of educational institutions like schools and art galleries contribute to the cultural aspect of NDSM. Today, the educational institutions present in the area are the faculty ROC TOP and the Falck Formation Centre. ROC TOP in NDSM is a school of secondary formation that offers Economy, Business and Wellness courses. On the other hand, the Falck Formation Centre is an international learning centre for safety services, in this case in the maritime field. The centre trains professionals in a practical way, by using real simulations in school or on the water. For the future inhabitants is provided the collocation of an elementary school. Together with educational services, lots of students houses are provided, both in the same building of the school (ROC TOP hosts 380 students) and outside, like in the container houses. The accessible price make the area a desired place for students. As a consequence, it is possible to see in the future the location of more educational services and university faculties. At the same time, the area hosts three small, low profile, art galleries, named “Vous etes ici” (which presents also a small library), “Nieuw Dakota” and “Woodies aT BerLin”. These are galleries of abstract art and crafts, but different factors lead these places not to be really popular: for example, from outside it is difficult to recognize in them an exhibition space since they seem common corrugated sheet warehouses with little communication with the outside world. On the other hand, in 2018 will begin the construction of the biggest museum of street art of the world, in the former Lasloods building. This will lead for sure to an increasing number of visitors.

R O C R O C

Falck Formation Center Falck Formation Center

Lasloods Lasloods

Art Galleries Art Galleries

From Industrial Ritualism to Urban Behaviorology

A variable atmosphere

At the current state, the area presents a dual atmosphere: we can consider it the “creative and cultural beating heart of Amsterdam” just during the warmer seasons, from April to June, when most of the outdoor events and exhibitions are going on. The rest of the year, except the monthly ﬂea market and some small live music concerts at the Pllek restaurant the area is quite empty. NDSM passes from vibrant and exciting to void, harsh and windy with the cold weather. The people who works and live there says that there is not so much going on, but some of them like this character: they consider the area in winter as a fascinating open space, a sort of industrial park, where they can ﬁnd a moment of rest and peace compared to the close and overcrowded city centre.

The ongoing development and the plans of the city: tension between conflicting interests Within the framework of bigger development of the IJ banks (see next page) the NDSM occupies a focal point: its connection with the city centre and its rough cheap space made it appealing to many interests and targets, especially focused on “creativity”. The city of Amsterdam provided a plan for the area that has to be implemented in phases within 2025: the general vision is that the area has to “maintain and expand its role as one of the cultural and creative hotspot of Amsterdam”, at the same time “reaching the highest possible mix of functions and diversity of users”. In fact, to fit in the intensification of the IJ banks, the plan provided for the western part of the site a more dense development, with a multifunctional program of housing, (creative) enterprises, offices,

facilities for culture and education, restaurants and cafes, events, hotels and retail points. A lot of new, high-rises buildings are provided. On the other hand, in the East part of NDSM the important historical buildings are now being restored to host ateliers and other creative businesses, but is planned that this part should reinforce is attraction as public space and thus should be kept free from additional programmatic demands and open to host temporary events, movable restaurants, recreational and seasonal activities. NEW DEVELOPMENT GROSS SURFACE = 677.000 m2 housing 305.000 m2 commercial space 149.000 m2 offices 108.000 m2 ‘breeding grounds’ 23.000 m2

culture amenities parking spaces

Free from additional programmatic demands to the present ones, reinforce attraction as public space.

More dense development, highest mix of functions and high-rise buildings.

19.000 m2 73.000 m2 6.770 m2

From Industrial Ritualism to Urban Behaviorology

CITY PLANS The population of Amsterdam is increasing: actually, the number of inhabitants is around 815.000 and in 2040 is expected that 150.000 new people will come. On the other hand, Amsterdam is a compact city and doesn’t want to expand itself, but instead wants to establish its borders within the A10 highway and become the core of the metropolitan region.

+ 2040 = 150.000 new inhabitants.

Changes in the current port activities ask to re-think the port.

Changes in the current port activities on the IJ lake, as explained in the “Port-City Final Report6”, like new technological improvements that claim for more space, sustainability goals of reaching within 20 years cleaner and quieter port activities and vacant sites that are waiting for new developments gave in the last decade the opportunity to the city to think about an inward development. The industrial fringes on the IJ banks have constituted for many years a boundary between the city and the lake itself: Amsterdam is now studying the feasibility of a maritime-urban combination on the lake, where green industry is blended with housing and other facilities that have direct access to the main waterway of Amsterdam. The study area, identified as “Port-city”, is constituted by the western IJ banks. Within the Port-city, many sub-areas are defined: were the industry doesn’t exist anymore, new important facilities are added, like the case of the Eye film museum. The NDSM has a privileged position in this development: -The area lost his previous industrial functions; -The area is not a barrier to the IJ; -There is a mixture of new and old buildings and some of the last are monuments. Then, questions arise: which is the role of this area in the development of the IJ banks? What can give the renewal of a centre-placed industrial site to the city of Amsterdam? And to the IJ lake itself?

The inward development in the area defined PORT-CITY.

+ Amsterdam is studying the feseability of Urban-maritime combination or the relocation of the industries where is needed.

6_Gemeente Amsterdam. ”Port City-Three prospects for the western IJ banks.” www.portofamsterdam.nl. https://www.amsterdam.nl/ https://www.portofamsterdam.nl/docs/uk/Port-City%20final%20report.pdf (accessed February 10, 2017)

area ring oor the llek and ople but a in find ded

Tension between conflicting interests There is an ongoing confilct between original users and real estate developers of NDSM. The guild of artists that seized the area in 2000 created a unique cultural environment. This creative vibe and atmosphere drew the attention of the new developers linked to the large scale renewal project of the IJ banks, and made the area mainstream. As a consequence, NDSM is becoming less affordable and some of the original users had to move, as well as some of the temporary uses that have to leave space for permanent functions of big companies. Due also to an improvement in the transport system, the area is shifting from being an alternative and experimental free-zone to a commercially run space for cultural enterpreneurs and other businesses. Another reason can be found in the fact that the current events that take place are not so much profitable for the city, as well as their short and variable presence. The emptiness of the area doesn’t generate any income. It is then natural that the city plan is oriented in filling it with internationally renewed creative companies like MTV or HEMA, or generate in the old warehouses like the Lasloods a more attractive permanent function like the biggest street art museum of the world.

hat

}

The seasonal-changing atmosphere at NDSM.

filct uild ural tion the M is d to ace

a is to a her

{

“THE QUESTION IS WETHER TEMPORARY USES ARE JUST AN INSTRUMENTAL TOOL TO FACILITATE ECONOMIC REAL ESTATE DEVELOPMENT PROCESSES IN UNUSAL LOCATIONS, OR A NOVEL APPROACH TO CREATE SOCIAL SETTINGS AND URBAN SPACES WITH INHERENT VALUE.7”

The two schemes show that with the with future development and the restoration of the former buildings the usual temporary functions will gradually disappear. The Lasloods will become a Street Art museum, while the Y-Helling will be filled with small offices and ateliers underneath. Can then electronic or techno festivals take place above it in the future?

7_Gottdiener M., Budd L., Lehtovuori P., Key Concepts in Urban Studies, London, Sage Key Concepts editions, 2007, pp. 148.

The two schemes show that in the future the usual temporary

be at least 50 years old. Netherlands has around 51.000 designated national monuments.

monument (provinciaal a monument designated by a

maintainance of the heritage and a possible redevelopment through grants, tax breaks or loans.

biggest ship-building Netherlands.

company

From Industrial Ritualism to Urban Behaviorology

PROTECTED BUILDINGS ON THE NDSM AREA

Listed National Monuments

rlands there are only two assign monuments, North enthe. The designation allows o protect the monuments and the regulation of subsidy for Rijksmonument (National Monument) onuments. is the most important kind of monument at the national level. monument (gemeentelijk a monuments designated by a

monument is not of national it is important for the regionISorA NATIONAL MONUMENT WHAT s, is a duty of the city to register A Rijiksmonument is an heritage site of he heritage sites that the local national importance and is listed in the siders important. Register of Monument by the agency of National Cultural Heritage (RCE). To be inserted in the list an heritage site must be at least 50 years old. Netherlands has around 51.000 designated has around 1.500 listed national monuments. tes. These are site of national land or under the water. The PROTECTION AND MAINTAINANCE e visible remains such as Once the building is scheduled, a bs, shipwrecks and barrows.The permit is needed for any restoration, ge agency has the task to demolition or alteration, or any other eological subsoil monuments activity that may disturb or modify the he studies on field and the building or site. The country is then responsible to finance the maintainance of the heritage and a possible redevelopment through grants, tax breaks or loans. w is a landscape that has the nument. It can be a cultural overview on a city)NDSM or a natural Cultural HeritageSome agency buildings has of the NDSM site tect these kinds of landscape, have been declared National Monuments of Netherlands on the 25th of ernment itself has published May 2007 by the Ministry of Educaout the conservation of natural tion: the reason is that these buildings show the former industrial process of ship-construction of one of the biggest ship-building company in Netherlands and in Europe.

Laasloods

Timmerwekplaats

Scheepbouwloods

Smederij

Helling 4 Kraan

Y-Helling

From Industrial Ritualism to Urban Behaviorology

04_THE Y-HELLING A charming ambiguity: defining the design perimeter

Amongst the vacancies that fill the NDSM site, the one that fascinated me the most is the “Y-Helling”: the ramp that used to work as a dry dock, were the ships were assembled and were launched into the sea. What is this vacant “object” now? Is it a building, even if it is made of a huge concrete surface at the walking level? Is it an outdoor public space, like a square, even if it presents a particular and accessible structure underneath that can be enclosed? This curious object gives a lot of space to intervene and is connected to the water of the IJ: for this reasons I see a lot of potential in it, taking into account the fact that Amsterdam wants to re-appropriate of the lake for public use. I started to envision the ramp as a “trampoline” towards the IJ, as a tool to connect the NDSM site with the rest of the city and to re-activate its main waterway, until now used mainly for industrial purposes. I tried to study this “vacancy” with different methods: firstly, I analysed it objectively, cataloguing its characteristics like the measures, the reachability, the structure, the materials and so on, partially following the way of cataloguing used by the studio RAAAF in the DUTCH ATLAS OF VACANCY8; secondly, I tried to understand how this space was experienced and perceived in the past and how instead it is now through the videos and pictures of the time and site visits.

8_RAAAF, ”DUTCH ATLAS OF VACANCY”, Vacant Netherlands Installation for Venice Biennale, Venice, 2010.

Objective analysis

THE THE Y-HELLING THE Y-HELLING Y-HELLING THE Y-HELLING

SPECIFIC DATA

GENERAL DATA

BROAD INFO

GENERAL DATA GENERAL DATA GENERAL DATA

THE Y-HELLING

BROAD INFO

SOUND

BROAD INFO

BUILDING TYPOLOGY: DryINFO dock ramp BROAD BROAD BUILDING TYPOLOGY: Dry dockINFO ramp

BUILDING TYPOLOGY: Dry dock ramp

BUILDING1918 TYPOLOGY: Dry dock ramp YEAR OF CONSTRUCTION: GENERAL DATA YEAR OF CONSTRUCTION: 1918

CONSTRUCTOR: GJCONSTRUCTION: Langhout OF CONSTRUCTION: YEAR OFYEAR 1918 1918 CONSTRUCTOR: GJ Langhout

VIEWS VIEWS MAIN VIEW: City centre MAIN VI SOUND ADDITIONAL VIEW: Ex-industrial/offices ADDITIO MAIN VIEW: City centre MAIN VIEW: City cent NORMAL SOUND RANGE: 55 dB ADDITIONAL VIEW: Ex-industrial/office VIEW: Ex CONCERTADDITIONAL DAYS: 120 dB

CONSTRUCTOR: GJ Langhout

BROAD INFO

CHANGES THECONSTRUCTOR: CONSTRUCTION: GJ Langhout 1950 ca. CHANGES IN IN THECONSTRUCTOR: CONSTRUCTION: ca. GJ1950 Langhout

CHANGES IN THE CONSTRUCTION: 1950 ca. BUILDING TYPOLOGY: Dry dock ramp

TYPE CHANGE: of two original TYPEOF OF CHANGE: UnionCHANGES ofUnion twoCONSTRUCTION: ramps that were CHANGES INthe THE 1950 ca. 1950 ca.ramps that INoriginal THE the CONSTRUCTION: TYPE CHANGE: Union of the two original ramps that were were onto site make a OF unique bigOFone. on site make ato unique bigYEAR one. CONSTRUCTION: 1918

WIND

on site to make a unique big one. TYPE OFTYPE CHANGE: Union ofUnion the two that were that were OF CHANGE: of original the two ramps original ramps CONSTRUCTOR DURING THE CHANGE: JD Postma CONSTRUCTOR THE CHANGE: Postma on siteDURING to make a unique big one. CONSTRUCTOR: GJ Langhout on site to make a unique big one. JD CONSTRUCTOR DURING THE CHANGE: JD Postma

REACHABILITY

LOCATION

TYPE OF CHANGE: Union of the two original ramps that were CITY: AmsterdamLOCATION on site to make a unique big one. LOCATION CITY: Amsterdam CONSTRUCTOR DURING THE CHANGE: JD Postma NEIGHBOURHOOD: CITY:Buikslooterham Amsterdam CITY: Amsterdam NEIGHBOURHOOD: Buikslooterham

NEIGHBOURHOOD: Buikslooterham NEIGHBOURHOOD: Buikslooterham

MATERIALS

LOCATION Buikslooterham NEIGHBOURHOOD:

FUNCTION

ORIGINAL USE: Ship buildingCITY: andAmsterdam launching. FUNCTION

FUNCTION

ORIGINAL USE: Ship building and launching.

STRUCTURE MATERIAL: CHARACT PECULIARITIES OFADDITIONAL THE SITE: Rail tracks, Crane & Reinforc Dridock PECULIA ADDITIONAL OTHER MATERIALS: Steel for the PECULIARITIES OF THE SITE: Rail track

PERCENTAGE OF ACTUAL USE DURING THE YEAR:Music 42 % Festivals USE: Seasonal PERCENTAGE OFlaunching. USE DURING THE YEAR: 42 % ORIGINAL USE: Ship building and

ACTUAL USE: Seasonal Music Festivals ACTUAL USE: Seasonal Music Festivals

ALTERNATIVE USEPERCENTAGE FOR RESIDUAL None OFMONTHS: USE DURING THE YEAR: 42 % SUSPENSION OF THE ACTIVITIES:USE 1984 ALTERNATIVE FOR RESIDUAL MONTHS: None

TYPE OF MONUMENT PECULIARITIES OF TH TYPE ADDITIONAL CHAR RELEVANCE: National Monument since 2007 TYPE OF MONUMENT RELEVAN

PERCENTAGE OF USETHE DURING THE YEAR: PERCENTAGE OF USE DURING YEAR: 4242%%

ALTERNATIVE USE FOR RESIDUAL MONTHS: Jan Feb Mar AprACTUAL May Jul AugNoneSep Oct Nov Dec USE: Jun Seasonal Jan Music FebFestivals Mar Oct Apr May Jun Jul Aug Sep Jan Feb Mar Apr May Jun Jul Aug Sep ALTERNATIVE USE FOR RESIDUAL MONTHS: None Nov Dec Jan FebPERCENTAGE Mar Apr May Jun Jul42 % Aug Sep Oct Nov Dec OF USE DURING THE YEAR:

Apr

May

Jun

Jul

Aug

ALTERNATIVE USE FOR RESIDUAL MONTHS: None STRUCTURE & DIMENSIONS STRUCTURE & DIMENSIONS

Sep

Oct

Nov

Oct

Nov

Dec

PECULIARITIES OF THE Rai TYPE OFSITE: MON RELEVANCE: National Monument sin

RELATED FIELDS OF STUDY

Dec

RELA RELEVANCE: National TYPE OF MONUMEN

RELATED DISCIPLINES: Water studies, DynamicOF architec RELATED FIELDS ST RELATED RELEVANCE: National Monume RELATED FIE RELATED DISCIPLINES: Water studies,

STRUCTURE & DIMENSIONS Feb&and Mar STRUCTURE TYPOLOGY: GridJan of columns beams/Apr Grid ofMay bearingJun walls STRUCTURE DIMENSIONS

Jul Aug Sep Oct Nov Dec STRUCTURE TYPOLOGY: Grid of columns and beams/ Grid of bearing walls

STRUCTURE &columns DIMENSIONS FOUNDATION TYPOLOGY: Pales of 20Grid meters STRUCTURE TYPOLOGY: and Grid beams/ STRUCTURE TYPOLOGY: Gridof of columns and beams/ of bearingGrid walls of bearing walls FOUNDATION TYPOLOGY: Pales of 20 meters

RELATEDFIELDS DISCIPLINES RELATED O

STRUCTURE TYPOLOGY: Grid of columns and beams/ Grid of bearing walls STATE: Restoration needed STRUCTURE & DIMENSIONS FOUNDATION TYPOLOGY: Pales of 20 meters FOUNDATION TYPOLOGY: Pales of 20 meters STATE: Restoration needed AREA: 9.500 m (surface above ramp) FOUNDATION TYPOLOGY: Pales 20 meters STATE: Restoration needed STRUCTURE TYPOLOGY: ofofcolumns and beams/the Grid of bearing walls STATE: Degradation ofthe the surfaces, bearing structure still working above ramp) AREA:Grid 9.500 m2 (surface

RELATED DISCIPLINES: Water st

2 SLOPE: 5% STATE: needed (surface above the ramp) AREA:(surface 9.500 mRestoration FOUNDATION TYPOLOGY: Pales of 20 meters AREA: 9.500 m2 above the ramp) SLOPE: 5%

the ramp) 9.500 m2 (surface HEIGHTSLOPE: OF AREA: THE5% SUBMERGED PART: above 5 meters

*scale [0; 140] dB OF (human hearing threshold) HEIGHT THE SUBMERGED PART: 5 meters

*scale [0; 140] dB (human hearing threshold)

SLOPE: HEIGHT OF5% THE SUBMERGED PART: 5 meters

*scale [0; 140] dB (human hearing threshold)

HEIGHT OF THE SUBMERGED PART: 5 meters *scale [0; 140] dB (human hearing threshold) *scale [0; 140] dB (human hearing threshold)

10 m

10 m 10 m 55 m 200 m 10 m

200 m

HEIGHT OF THE SUBMERGED PART: 5 meters Restoration needed 9.500 m2 (surface above the ramp) SLOPE: AREA: 5% STATE: HEIGHT OF THE SUBMERGED PART: 5 meters

SLOPE: 5%

MATE REACHABILITY

OTHER MATERIALS: Steel for the rails

OF THE ACTIVITIES: SUSPENSION OF SUSPENSION THE ACTIVITIES: 19841984

Mar

MAIN PUBLIC TRASPO

MATERIALS ADDITIONAL CHARACTERISTICS OTHER MATERIALS: S ADDI

ACTUAL USE: Seasonal Music Festivals SUSPENSION OF THE ACTIVITIES: 1984 FUNCTION ACTUAL USE: Seasonal Music Festivals

Feb

REAC

MATERIALS STRUCTURE MATERIAL: Reinforced concrete for the buil STRUCTU MATERIALS PUBLIC TRASPORT: OTHER MATERIALS: SteelMAIN for the rails and the craneFerry STRUCTURE MATERIAL: Reinforced co OTHER M STRUCTURE MATERIA

SUSPENSION OFORIGINAL THE ACTIVITIES: 1984building and NEIGHBOURHOOD: Buikslooterham USE: Ship launching. SUSPENSION THE ACTIVITIES: 1984 ORIGINAL USE: Shipand building and OF launching. ORIGINAL USE: Ship building launching

Jan

WIND

WIND REACHABILITY MAIN PUBLIC TRASPORT: Ferry from the city center (17 REACHABILI MAIN PU YEARLY AVERAGE DIRECTION AN MAIN PUBLIC TRASPORT: Ferry from t

CITY: Amsterdam FUNCTION

VIEWS

YEARLY AVERAGE DIRECTION ANDWIND SPEED: N-E WIND MAIN VIEW: City centreYEARLY A ADDITIONAL VIEW: Ex-industria YEARLY AVERAGE DIRECTION ANDDIR SPE YEARLY AVERAGE

CHANGES INDURING THE 1950 CONSTRUCTOR DURING THECONSTRUCTION: CHANGE: JD Postma CONSTRUCTOR THE CHANGE: JD ca. Postma

LOCATION

SOUN

SOUND NORMAL SOUND RANGE: 55 dB*SOUND NORMA CONCERT DAYS: 120 dB CONCER NORMAL NORMAL SOUND RANGE:SOUND 55 dB* RAN SPECIFIC VIEWS DAYS: 120 CONCERT DAYS:CONCERT 120 dBDATA VIEW

YEAR OF CONSTRUCTION: 1918 BUILDING TYPOLOGY: Dry dock ramp

LOCATION

SPEC SPECIFIC SPECIFIC DATA DA

200 m

200 m 200 m

10 m

IMPORTANCE FOR THE IMP IMPORTANCE F POTENTIAL FOR RE-US POT IMPORTA POTENTIAL FOR IMPORTANCE

POTENTI

POTENTIAL F

From Industrial Ritualism to Urban Behaviorology

HE Y-HELLING HELLING THE THE Y-HELLING THE Y-HELLING Y-HELLING THE Y-HELLING HELLING THE Y-HELLING HE Y-HELLING THE Y-HELLING

SOUND

GENERAL DATA

NORMAL SOUND RANGE: 55 dB* MAIN VIEW:NORMAL SOUND RANGE: 55 dB* City centre CONCERTMAIN DAYS: 120 dB VIEW:CONCERT City centre CONCERT DAYS: 120 dB SOUND ADDITIONAL VIEW: Ex-industrial/offices DAYS:NORMAL 120 dB SOUND RANGE: 55 dB* Ex-industrial/offices NORMAL SOUND RANGE: 55 dB*ADDITIONAL VIEW:NORMAL SOUND RANGE: 55 dB* SOUND CONCERT DAYS: 120 dB VIEWS NORMAL SOUND RANGE: 55 dB* VIEWS VIEWS VIEWS CONCERT DAYS: 120 dB CONCERT DAYS: 120 dB WIND CONCERT DAYS: 120 dB NORMAL SOUND RANGE: 55 dB* WIND VIEWS MAIN VIEW: City centre VIEWS VIEWS MAIN VIEW: City centre YEARLY AVERAGE DIRECTION AND 4 mph MAIN VIEW:CONCERT CitySPEED: centre DAYS:N-E 120 dB MAIN VIEW: City ADDITIONAL centre VIEW: Ex-industrial/offices YEARLY AVERAGE DIRECTION AND SPEED: N-E 4 mph VIEWS ADDITIONAL VIEW: Ex-industrial/offices ADDITIONAL VIEW: Ex-industrial/offices MAIN VIEW: City centre MAIN VIEW: City centre MAIN VIEW: City centre VIEWS REACHABILITY ADDITIONAL VIEW: Ex-industrial/offices MAIN VIEW: City centre REACHABILITY ADDITIONAL VIEW: Ex-industrial/offices ADDITIONAL VIEW: Ex-industrial/offices ADDITIONAL VIEW: Ex-industrial/offices MAIN PUBLIC TRASPORT: Ferry from the city center min) MAIN VIEW: City(17centre WIND MAIN PUBLIC TRASPORT: Ferry from the city center (17 min) WIND WIND WIND ADDITIONAL VIEW: Ex-industrial/offices MATERIALS WIND YEARLY AVERAGE DIRECTION AND SPEED: N-E 4 mph WIND WIND YEARLY AVERAGE DIRECTION ANDMATERIALS SPEED:YEARLY N-E SPEED: 4 mph YEARLY AVERAGE DIRECTION AND AVERAGE DIRECTION AND N-E SPEED:4 mph N-E 4 mph WIND STRUCTURE MATERIAL: Reinforced concrete for the building/ Concrete for the Pales STRUCTURE MATERIAL: Reinforced YEARLY concrete forAVERAGE the building/ DIRECTION Concrete for the Pales AND SPEED: N-E 4 mph YEARLY AVERAGE DIRECTION ANDOTHER SPEED: YEARLY N-E AVERAGE 4 mph DIRECTION AND SPEED: N-E 4 mph WIND MATERIALS: Steel for the rails and the crane MATERIALS: Steel for the AND rails andSPEED: the crane YEARLY OTHER AVERAGE DIRECTION N-E 4 mph REACHABILITY

CONSTRUCTOR: GJ Langhout

BUILDING TYPOLOGY: Dry dock ramp CONSTRUCTOR: GJ Langhout D INFO CHANGES BUILDING TYPOLOGY: Dry dock rampIN THE CONSTRUCTION: 1950 ca. NSTRUCTION: 1918 CHANGES IN THE CONSTRUCTION: 1950 ca. BROAD INFO BUILDING TYPOLOGY: Dry dock ramp YEAR OF CONSTRUCTION: 1918

TYPE OF CHANGE: Union of the two original ramps that were TYPOLOGY: Dry dock ramp TYPE Union big of the two original ramps that were on siteOFtoCHANGE: make a unique one. YEAR OF CONSTRUCTION: 1918 OR: GJ Langhout on site to make a unique big one. YEAR OFBUILDING CONSTRUCTION: 1918 TYPOLOGY: Dry dock ramp CONSTRUCTOR: GJ Langhout CONSTRUCTOR DURING THE CHANGE: JD Postma ONSTRUCTION: 1918 CONSTRUCTOR: GJ LanghoutCONSTRUCTOR DURING THE CHANGE: JD Postma THE CONSTRUCTION: 1950 ca. CONSTRUCTOR: GJ Langhout YEAR CONSTRUCTION: 1918 950 ca. CHANGES IN THEOF CONSTRUCTION: 1950 ca. LOCATION TOR: GJ Langhout LOCATION CHANGES INramps THE CONSTRUCTION: 1950 ca. NGE:ca.Union of CONSTRUCTOR: theINtwo original that1950 were ca. 950 CHANGES THE CONSTRUCTION: GJ Langhout CITY: Amsterdam original ramps that were TYPE OF CHANGE: Union of the two original ramps that were CITY: Amsterdam ke a unique big one. N THE CONSTRUCTION: 1950 ca. on site to make TYPE a unique big one. NEIGHBOURHOOD: OF CHANGE: Union of the two originalBuikslooterham ramps that were NEIGHBOURHOOD: original TYPE rampsOFthat CHANGE: were INUnion of the two original ramps were CHANGES THE CONSTRUCTION: 1950 ca. thatBuikslooterham ontwo siteoriginal to Postma makeramps a unique big OR DURING THEof JD HANGE: Union the wereone. on site toCHANGE: make a unique big one.that E: JDCONSTRUCTOR Postma DURING THE CHANGE: JD Postma FUNCTION FUNCTION make a unique big one. TYPE OF CHANGE: Union of the original ramps that were CONSTRUCTOR DURING THEtwo CHANGE: ORIGINAL USE:JD ShipPostma building and launching. E: JD Postma CONSTRUCTOR CHANGE: JDORIGINAL PostmaUSE: Ship on site toDURING make aTHE unique big one. building and launching. ON TOR LOCATION DURING THE CHANGE: JD Postma SUSPENSION OF THE ACTIVITIES: 1984

REACHABILITY

SUSPENSION OF THE ACTIVITIES: 1984

CONSTRUCTOR DURING THE CHANGE: LOCATION ACTUALJD USE:Postma Seasonal Music Festivals dam LOCATION ACTUAL USE: Seasonal Music Festivals CITY: Amsterdam TION PERCENTAGE OF USE DURING THE YEAR: 42 % PERCENTAGE OF USE DURING THE YEAR: 42 % CITY: Amsterdam RHOOD: CITY: Buikslooterham LOCATION Amsterdam ALTERNATIVE USE FOR RESIDUAL MONTHS: None NEIGHBOURHOOD: Buikslooterham ALTERNATIVE USE FOR RESIDUAL MONTHS: None erdam NEIGHBOURHOOD: Buikslooterham Jan Feb Apr May Jun Jul NEIGHBOURHOOD: Buikslooterham Jan Feb Mar Mar Apr May Jun Jul CITY: Amsterdam ON Buikslooterham URHOOD: FUNCTION

Aug Aug

Sep Sep

Oct Oct

Nov Nov

Dec Dec

NEIGHBOURHOOD: Buikslooterham SE: Ship FUNCTION building andFUNCTION launching. STRUCTURE & DIMENSIONS unching. ORIGINAL USE: Ship building and launching.STRUCTURE & DIMENSIONS STRUCTURE TYPOLOGY: Grid of columns and beams/ Grid of bearing walls ORIGINAL USE: Ship building and launching. STRUCTURE TYPOLOGY: Grid of columns and beams/ Grid of bearing walls Nunching. OF THEORIGINAL ACTIVITIES: 1984 USE: Ship building 1984 and launching. FUNCTION 4 SUSPENSION OF THE ACTIVITIES: FOUNDATION TYPOLOGY: Pales of 20 meters USE: Ship building and launching. FOUNDATION TYPOLOGY: Pales of 20 meters SUSPENSION OF THE ACTIVITIES: 1984 Seasonal MusicORIGINAL Festivals Restoration needed 84 SUSPENSION OF THE ACTIVITIES: 1984and STATE: USE: Ship building launching. s ACTUAL USE: Seasonal Music Festivals STATE: Restoration needed ON OF THE ACTIVITIES: 1984 9.500 m (surface above the ramp) ACTUAL USE: Seasonal Music AREA: Festivals EsOF USEACTUAL DURING THE YEAR: 42 % AREA: 9.500 USE: Seasonal Festivals SUSPENSION OFMusic THE ACTIVITIES: 1984 m (surface above the ramp) AR: 42 % PERCENTAGE OF USE DURING THE YEAR: 42 % SLOPE: 5% E: Seasonal Music Festivals SLOPE: 5% PERCENTAGE OF USE DURING THE YEAR: 42 % 200 m USE42 FOR RESIDUAL MONTHS: None THE EAR: % PERCENTAGE USE DURING YEAR: 42 % OF THE SUBMERGED PART: 5 meters HEIGHT 200 m ACTUAL USE: Seasonal Music Festivals NTHS: None ALTERNATIVE USEOF FOR RESIDUAL MONTHS: None HEIGHT OF THE SUBMERGED PART: 5 meters GE OF USE DURING THE YEAR: 42 % ALTERNATIVE USE FOR RESIDUAL MONTHS: None *scaleYEAR: [0;None 140] dB (human threshold) MarNone AprPERCENTAGE May Jun Aug Sep Nov Dec NTHS: ALTERNATIVE USE FOR MONTHS: OFRESIDUAL USEJul DURING THE 42hearing %Oct Jun Aug Sep Oct Nov dB (human hearing threshold) JanFOR Jul Feb Mar Apr None May Jun*scale [0; 140]Dec Jul Aug Sep Oct Nov Dec VE USE RESIDUAL MONTHS: Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec FOROct RESIDUAL JunJan JulALTERNATIVE Feb AugMar USE SepApr May NovMONTHS: Jun Dec JulNone Aug Sep Oct Nov Dec b Mar Apr May Jun Jul Aug Sep Oct Nov Dec 2 2

Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov TURE & DIMENSIONS SIONS STRUCTURE & DIMENSIONS STRUCTURE & DIMENSIONS TYPOLOGY: Grid of columns and Grid of bearing walls SIONS STRUCTURE & beams/ DIMENSIONS mns and beams/ Grid of bearing STRUCTURE TYPOLOGY: Gridwalls of columns and beams/ Grid of bearing walls CTURE & DIMENSIONS STRUCTURE TYPOLOGY: Grid of columns and beams/ Grid of bearing walls N TYPOLOGY: Pales of 20 meters DIMENSIONS mns and STRUCTURE beams/STRUCTURE Grid TYPOLOGY: of bearingPales Grid wallsof& of20 columns meters FOUNDATION TYPOLOGY: metersand beams/ Grid of bearing walls

*scale [0; 140] dB (human hearing threshold)

MATERIALS

RELEVANCE: National Monument since 2007 MAIN PUBLIC RELEVANCE: National Monument since 2007 TRASPORT: Ferry from the city center (17 min) MATERIALS STRUCTURE MATERIAL: Reinforced concrete for the building/ Concrete for the Pales MATERIALS STRUCTURE MATERIAL: ReinforcedRELATED concrete for the building/ Concrete for theconcrete Pales for the building/ Concrete for the Pales STRUCTURE MATERIAL: Reinforced FIELDS OF STUDY

MATERIALS MATERIALS

MATERIALS RELATED FIELDS OF STUDY

STRUCTURE MATERIAL: Reinforced concreteConcrete for the building/ Concrete for the Pales OTHER MATERIALS: Steel forbuilding/ the rails andarchitecture theReinforced crane STRUCTURE MATERIAL: Reinforced concrete for the building/ for RELATED Water studies, Dynamic &the Floating buildings MATERIALS STRUCTURE MATERIAL: concrete STRUCTURE the MATERIAL: Concrete for Pales concrete for the building/ Concrete for thethe Pales Pales OTHER MATERIALS: SteelReinforced for the rails andDISCIPLINES: thefor crane OTHER MATERIALS: Steel for the rails and the crane RELATED DISCIPLINES: Water studies, Dynamic architecture & Floating buildings STRUCTURE MATERIAL: Reinforced concrete for the building/ Concrete for the Pales OTHER MATERIALS: Steel for the rails and the crane

OTHER MATERIALS: Steel forthethe andMATERIAL: theforcrane OTHER MATERIALS: Steel for the rails and OTHER cranerails MATERIALS: Steel theReinforced rails and the crane for the building/ Concrete for the Pales STRUCTURE concrete ADDITIONAL CHARACTERISTICS OTHER MATERIALS: Steel for the rails and the crane ADDITIONAL CHARACTERISTICS ADDITIONAL CHARACTERISTICS OTHER MATERIALS: Steel forCHARACTERISTICS the rails and the crane ADDITIONAL IMPORTANCE THE PECULIARITIES OF THE SITE: Rail FOR tracks, Crane & CITY Dridock Gate ADDITIONAL ADDITIONAL CHARACTERISTICS 10 mPECULIARITIES OF THE CHARACTERISTICS SITE: Rail tracks, Crane & Dridock Gate IMPORTANCE FOR THE PECULIARITIES OF THE SITE: RailCITY tracks, Crane & Dridock Gate 10 m ADDITIONAL CHARACTERISTICS

ADDITIONAL CHARACTERISTICS

PECULIARITIES OF THE SITE: Rail tracks, Crane & Dridock Gate ADDITIONAL CHARACTERISTICS POTENTIAL FOR RE-USE PECULIARITIES OF THE SITE: Rail tracks, CranePECULIARITIES & Dridock GateOF THE SITE: Rail tracks, Crane & Dridock Gate

FOR RE-USE PECULIARITIES OFRail THE SITE: Rail tracks, Crane & & Dridock Gate OF MONUMENT PECULIARITIES OFTYPE THEPOTENTIAL SITE: tracks, Crane Dridock Gate TYPE OF MONUMENT TYPE OF MONUMENT

PECULIARITIES OF THE SITE: Rail tracks, Crane & Dridock Gate TYPE2007 OF MONUMENT RELEVANCE: NationalTYPE Monument TYPE OFNational MONUMENT OFsince MONUMENT RELEVANCE: Monument since 2007 RELEVANCE: National Monument since 2007

TYPE OF MONUMENT

RELEVANCE: National Monument since 2007 TYPE RELEVANCE: OF MONUMENT National Monument since 2007RELEVANCE: National since 2007 TYPE OF Monument MONUMENT

RELATED FIELDS OF STUDY RELEVANCE: National Monument since 2007OF STUDY RELATED FIELDS OF STUDY RELATED FIELDS RELEVANCE: National Monument RELEVANCE: since 2007 NationalFIELDS MonumentOF sinceSTUDY 2007 RELATED RELATED DISCIPLINES: Water studies,FIELDS Dynamic architecture & Floating buildings RELATED FIELDS OF STUDY RELATED OF STUDY RELATED DISCIPLINES: Water studies, Dynamic architecture & Floating RELATED DISCIPLINES: Water buildings studies, Dynamic architecture & Floating buildings RELATED FIELDS OF STUDY RELATED DISCIPLINES: Water studies, Dynamic architecture & Floating buildings RELATED FIELDS STUDY RELATED DISCIPLINES: Water studies, Dynamic RELATED architecture DISCIPLINES: & Floating Water buildings studies,OF Dynamic architecture & Floating buildings

Dec

E TYPOLOGY: Grid of columns and beams/ Grid of bearing walls FOUNDATION TYPOLOGY: Pales of 20 meters needed 0ration meters FOUNDATION TYPOLOGY: Pales Grid of 20ofmeters STRUCTURE TYPOLOGY: columns and beams/ Grid of bearing walls STATE: Restoration needed ON TYPOLOGY: Pales of 20 meters STATE: Restoration needed 2 m (surface above the ramp) STATE: Restoration needed 2 FOUNDATION TYPOLOGY: Pales amp)AREA: 9.500 m (surface above the ramp) of 20 meters 10 m toration needed 10 m AREA: 9.500 m2 (surface above the ramp) 2 AREA: 9.500 amp)SLOPE: (surface above the ramp) STATE:mRestoration needed 5% 10 m 00 m2 (surface above the ramp) 200 m SLOPE: 5%2 200 m 200 m 10 m HE SUBMERGED PART: 5 meters SLOPE: 5% 9.500 m (surface the ramp) meters HEIGHT OF AREA: THE SUBMERGED PART: 5above meters 200 m 200 m PART: 5 meters 200 m HEIGHT OF THE SUBMERGED 5 metersHEIGHTSLOPE: OF THE5% SUBMERGED PART: 5 meters 200 m anTHE hearing threshold) SUBMERGED PART: 5 meters *scale [0; 140] dB (human hearing threshold) 200 m HEIGHT SUBMERGED *scale [0; OF 140] THE dB (human hearing threshold)PART: 5 meters

REACHABILITY

YEARLY AVERAGE DIRECTION AND SPEED: N-E 4 mph ADDITIONAL CHARACTERISTICS ADDITIONAL CHARACTERISTICS REACHABILITY MAIN PUBLIC TRASPORT: Ferry from the city center (17 min) REACHABILITY REACHABILITY MAIN PUBLIC TRASPORT: Ferry from the city center min) PECULIARITIES OF THE SITE:(17 Rail TRASPORT: tracks, Crane & Dridock MAIN PUBLIC FerryGate from the city center (17 min) REACHABILITY PECULIARITIES OF THE SITE: Rail tracks, Crane & Dridock Gate MAIN PUBLIC TRASPORT: Ferry fromMAIN thePUBLIC city TRASPORT: center Ferry (17from min) the city center (17 min) REACHABILITY MAIN PUBLIC TRASPORT: Ferry from the city center MAIN PUBLIC (17 min) TRASPORT: Ferry from the city center (17 min) TYPE OF MONUMENT MATERIALS MAIN PUBLIC TRASPORT: Ferry from the city center (17 min) TYPE OF MONUMENT MATERIALS

TION

uman hearing threshold)

SPECIFIC DATA

SPECIFIC DATA SPECIFIC DATA SPECIFIC DATA SPECIFIC DATA SOUND SOUND55 dB* SPECIFIC DATA NORMAL SOUND RANGE: NORMAL SOUND RANGE: 55 dB* SPECIFIC DATA SPECIFIC DATA SOUND NORMAL RANGE: CONCERTSOUND DAYS: 120 dB 55 dB* SOUND SPECIFIC DATA SOUND CONCERT DAYS: 120 dB CONCERT DAYS: 120 dB VIEWS SPECIFIC NORMALVIEWS SOUND RANGE: 55 dB*SOUND DATA SOUND SOUND

GENERAL DATA AL DATA GENERAL DATA BROAD INFO BROAD INFO GENERAL DATA GENERAL DATA BUILDING TYPOLOGY: Dry dock ramp INFO BUILDING TYPOLOGY: Dry dock ramp ALBROAD DATA INFO YEAR OF CONSTRUCTION: 1918 YEAR OF CONSTRUCTION: 1918 BROAD DATA INFO GENERAL POLOGY:BROAD Dry dock ramp INFO

RELATED FIELDS OF RELATED STUDY DISCIPLINES: Water studies, Dynamic architecture & Floating buildings

RELATED DISCIPLINES: Water studies, Dynamic architecture & Floating buildings

IMPORTANCE FOR THE CITY IMPORTANCE FOR THE CITY IMPORTANCE FOR THE CITY IMPORTANCE FOR CITY THE CITY 10 m IMPORTANCE FOR THE CITY IMPORTANCE FOR IMPORTANCE THE CITY FOR THE 10 m IMPORTANCE FOR THE CITY POTENTIAL FOR RE-USE POTENTIAL FOR RE-USE POTENTIAL FOR RE-USE IMPORTANCE FOR THE CITY 10 m POTENTIAL FOR RE-USE POTENTIAL FORFOR RE-USE POTENTIAL RE-USE POTENTIAL FOR RE-USE POTENTIAL FOR RE-USE POTENTIAL FOR RE-USE

10 m

REACHABILITY REACHABILITY

REACHABILITY

LEGEND

BUS STOP STENENDOK

Ferry line

Ferry Bike lanesline

BUS STOP STENENDOK

BusBike linelanes Main and cyclable route Buspedestrian line

BUS STOP KLAPROZENWEG

Mainfrom pedestrian cyclable route DURATION _ travel Central and Station to NDSM site Ferry boat

17min.

Bus Ataturk Ferry boatstop

19min. 17min.

BUS STOP BUS STOP KLAPROZENWEG ATATURK

_ travel Bus DURATION Klaprozenweg stop from Central Station 16min. to NDSM site Bus Klaprozenweg stop 16min. Walking distance of the bus stops from the NDSM site Bus Ataturk stop FREQUENCY

19min.

Walking distance of the bus stops from the NDSM site

Ferry boat

15 min.

Bus Ataturk stop

10 min.

Bus FREQUENCY Klaprozenweg stop

Ferry boat

Bus Klaprozenweg stop Bus Ataturk stop

BUS STOP ATATURK

6 min.

FERRY STOP NDSM

8 min.

NDSM FERRY STOP NDSM

15 min. 8 min.

NDSM Ne ve rit aw eg

10 min.

Ne ve rit aw eg Fr an sm an

id g

Fr an

sm an

ation Central St

Westerdokd

ijk

ation Central St

Neveritaweg, the street in front of the Y-Helling, is mainly crossed by walking people and bikes, both coming from the Ferry boat stop, that want to reach the bridge. This is an important data to keep in mind thinking about a future function of the ramp that takes in account the direction from which people come and how they move.

Westerdokd

The Fransman Bridge is a pedestrian and cyclable bridge. Thus Neveritaweg, the street in front of the Y-Helling, is mainly crossed by walking people and bikes, both coming from the Ferry boat stop, OBSERVATIONS that want to reach the bridge. This is an important data to keep in mind thinking about a future function of the ramp that takes in The Fransman Bridge a pedestrian and account the direction from is which people come andcyclable how theybridge. move. Thus

ijk

OBSERVATIONS

id g

From Industrial Ritualism to Urban Behaviorology

LOOTERHAM) WIND WIND (BUIKSLOOTERHAM)

BUIKSLOOTERHAM)

This scheme shows how the wind influences the site: the sensations on the ramp in winter

Wind effects

moderate,

moderate, Climate

Climate

Wind effects

is totally exposed to it. A building placed on the ramp would be affected from a big wind pressure.

oceanic moderate, oceanic moderate, Climate Annual average temperature Climate Annual average temperature 9,9° oceanicoceanic 9,9° Annual average temperature Annual averageprecipitation temperature 9,9° 9,9° Annual

Altitude

838 mm 838 mm mm -2

838 mm

Annual precipitation

Annual precipitation838 Annual precipitation Altitude

Altitude

-2

Sunshine

1662 hrs

Sunshine

-2

Sunshine

1662 hrs

Channel effect: The alignment of buildings along the pre

Channel effect: The alignment of buildings along the prevailing

direction guides the wind. Channel effect: The alignment ofwind buildings along the prevailing wind direction guides the wind. Channel effect: wind direction guides theThe wind.alignment of buildings along the prevailing

1662 hrs

wind direction guides the wind.

1662 hrs

Exposure

Annual prevailing wind direction SWW

nual prevailing wind direction SWW

Draught effect: low pressure on the top of buindings placed upwind, can effect: be used to purge outDraught air

Annual prevailing wind direction SWW Jan

Jan

Wind direction

Feb

Mar

Feb

Apr

Mar

May

Apr

Jun

May

Feb Jan MarFeb AprMar May Apr Jun May Jul Jun Aug Jul

Jul

Jun

Sep Aug

Aug

Sep

Jul

Oct Sep

Oct

Aug

Nov Oct

Sep

Dec Nov

Evaporation on water: air flow above bodies of water creates evaporative cooling on the ambient air.

Year Year Dec

Average wind speed

Wind probability (%)

Aver. air temperature °

nd %)probability (%)

r. air temperature °

Aver. air temperature °

Monthly statistics

18 4

offices: Isolated roughness

Turbolent skyline Between the ramps and the offices: Isolated roughness flow; Between the ramps and the offices: Isolated roughness flow; Turbolent skyline

Turbolent skyline

Small Ramp: Isolated roughness flow (full flushing of courtyards or street canyons)

Big Ramp (Y-helling): Stepping effect

Big Ramp (Y-helling): Stepping effect Evaporation on water: air flow above bodies of water creates evaporative Ramp (Y-helling): Steppingeffect effect Evaporation on water: air flow BigBig Ramp (Y-helling): Stepping Evaporation on water: air cooling flow above onabove the ambient air. of water creates evaporative bodiesbodies of water creates evaporative Back pressure effect: the wind on the Two Shipyard buildings: Isolated roughness flow cooling the ambient cooling on theonambient air. air. 4

Average wind speed

rage wind speed ed

Between the ramps and the offices: Isolated flow; the Between theroughness ramps and Turbolent skyline

Small Ramp: Isolated roughness flow low pressure on the (full flushing of courtyards or street canyons) top of buindings placed upwind, can Small Ramp: Isolated roughness Draught effect:effect: low pressure on the the Small Ramp: Isolated roughnessflow flow Nov Dec Year Draught low pressure be used on to purge out air (full flushing of courtyards ororstreet top oftop buindings placed upwind, can (full flushing of courtyards streetcanyons) canyons) of buindings placed upwind, can be used to purge out air be used to purge out air Oct Nov Dec Year

Wind probability (%) Wind direction

nd direction

ure °

Wind effects

are really harsh, since it is oriented almost along the prevailing wind direction and thus WIND (BUIKSLOOTERHAM)

facade of the buildings generate a pressure that can be used for air harvesting

(full flushing of courtyards or street canyons)

Back pressure effect: the wind on the Two Shipyard buildings: Isolated roughness flow facade of the buildings generate a (full flushing of courtyards or street canyons) Back pressure effect: the wind on buildings: Isolated roughness flow pressure thatthecan be usedTwo forShipyard air Back pressure effect: the wind on the Two Shipyard buildings: Isolated roughness flow facade of the buildings generate a (full flushing of courtyards or street canyons) harvesting facade of the buildings generate a (full flushing of courtyards or street canyons) pressure that can be used for air pressure that can be used for air harvesting

harvesting

Monthly statistics (https://www.windfinder.com/windstatistics/amsterdam_buiksloot)

(Krautheim M., Pasel R., Pfeiffer S., Schultz-Granberg J., City and Wind, Climate as an Architectural Instrument, DOM publishers, 2014.)

ADDITIONAL CHARACTERISTICS

ADDITIONAL CHARACHTERISTICS ADDITIONAL CHARACHTERISTICS RAILTRACKS_ On this RAILTRACKS_ On side this side several rail tracks are still several rail tracks are still present: they were built in in present: they were built different yearsyears according to to different according changes in thein use changes the of usetheof the crane.crane. Now aNow couple of tracks a couple of tracks are still by the are used still used by crane the crane that isthat left.is left.

RAILTRACKS 2_ On2_the RAILTRACKS Oneast the east side side of the the the of Y-theHelling Y- Helling trackstracks are a are littlea buried with with little buried earthearth and sand and covered and sand and covered with vegetation. with vegetation.

CRANE_ One of CRANE_ Onetheof former the former cranescranes that used to work on on that used to work the site is left. It has the site is left. It been has been restored in 2013 and now restored in 2013 and isnow is an an hotelhotel calledcalled “Hotel“Hotel Faralda” with three expensive Faralda” with three expensive suites.suites.

From Industrial Ritualism to Urban Behaviorology

DRY-DOCK GATE _ This lock is characteristic of every dry-dock, a space

in touch with water used to build and repair ships. It is composed of a steel box, that can be flooded or filled with air. The lock of the site is actually broken, due to erosion during the time of disuse.

The lock is filled with water and starts to sink. Once it is completely filled, it acts as a wall between the seawater and the ramp itself, keeping it dry, in order to protect the operations of construction or reparation of ships.

When the ramp needs to be flooded to let a ship go, the lock allows the water to flow inside by a pump.

Once the ramp is flooded, the lock throws out the water and starts to float. Then it can be moved by tug boats, and the ships can move out or come into the dry-dock. The Y-Helling was used to build ships, but not to repair them.

FIELDSRELATED OF STUDY FIELDS OF STUDY

d linked someHere fieldsare of study in my mind when listedthat andcome linked some fields ofthinking study that come in my mind when thinking about the Y-HellCIT. g Ramp, that constitute “knowledge of a vacancy ing Ramp,the that constitutenetwork” the “knowledge network” of a vacancy. These can provide another perspective to look to to a vacant cangive giveway way to experimentation. another perspective to look a vacantbuilding building and and can I treid to describe the ramp with key words and link them with a discipline. on.

he ramp with key words and link them with a discipline.

DISCIPLES RELEVANT TO THE Y-HELLING: Help in the Design Process Water Studies

KEY WORDS

Shipbuilding Engineering

- ramp - concrete - rails - water

Dynamic Architecture

Floating Buildings

- ships - wind

Wind & Architecture

- bunker - launch ramp

Concrete Structures

- festivals - crane

Light & Architecture

- sloping Festival Architecture

Theatre Architecture

Sound Engineering

From Industrial Ritualism to Urban Behaviorology

VIEWS

From the top of the Y-Helling, the most attracting view is that one of the city centre of Amsterdam on the other side of the IJ. Specifically, the west part of the city centre is the most visible: in the picture we can see the Silodam and some recent buildings on the IJ river.

The â&#x20AC;&#x153;back viewâ&#x20AC;? can be considered the one that we have when we turn the shoulders to the city centre. Straight to the eye there is the huge building of the Scheepsbowloods.

STRUCTURE The structure of the ramp consists of a grid of columns and beams, reinforced in the middle, along the longitudinal direction, where the keel of a ship was placed: this “spine” is the most bearing part, since it had to support the weight of an entire ship. We can see that the ramp has three spines: originally, there were two twin ramps, but in the 50’s the factory joined them into one, in order to build bigger ships. The spine of the 60’s is then the most bearing part of the whole structure. Today, this kind of dry-dock is unusual: it is more common to see deep and flat dry-docks, or floating ones.

From Industrial Ritualism to Urban Behaviorology

+1.00

-1.00 0.00

N. A. P.

10 m

Timeline

1920 - 1950 ca. The Y-Helling was originally composed of two ramps: from the right we can see the ramps 1,2,3 and 4. They were used to build both passengers ships and cargo ships of 20 meters width.

From Industrial Ritualism to Urban Behaviorology

1950 ca. - 1984 The Y-Helling is used to build for the most cargo ships of more than 200 meters lenght and 40 meters width. The ramp 1 and 2 on the two sides were used as temporary storages of the pieces during the construction process.

1984 ca. - 2002 The ramp lays abandoned. only squatters and skaters go around the site.

From Industrial Ritualism to Urban Behaviorology

2002 - Today The renewed interest for the area made the ramp a particular venue to host festivals and other outdoor events, both happening in the period from April to September. The rest of the year nothing happens above it.

The stages of the Ritual : analytical drawings of the movement, the void and the crowd.

From Industrial Ritualism to Urban Behaviorology

An anthropological look: the ritual of the ship launch In his paper “Ritual Spaces in India: Studies in Architectural Anthropology” Jan Pieper investigates the meaning that the built forms of architecture and urban space have for a society, how they express its culture and usages and how different kinds of urban spaces are shaped in order to engender different human responses to the built environment. He places his research in India, where traditional societies have preserved a “behavioural context around architecture in the narrower sense which seems a prerequisite for a correspondence of urban life with urban space, for all those societal reactions to architectural forms that are no longer generally found in industrialized civilisations.” The researcher believes in fact that the functional way of building of the Western countries has led to an impoverishment of our culture, where architecture is not anymore a mean of public expression and does not generate any reaction. By analysing the spatial structure of Suchindram, a small town located in the South of India, Jan Pieper illustrates how the urban space is shaped according to the religious rituals of the town: a ceremonial path that leads the visitor to the temple, a processional road, a low temple entrance and a series of aquatic structures designed for floating festivals and daily baths. The structure of the town reflects the culture and the traditions of its inhabitants.

tion of Amsterdam and the workers used to gather around the ramp to celebrate the end of the working cycle, to experience the moment of greeting of a new ship, when in few seconds this enormous volume placed on the ramp quickly slid into the water, and a new cycle had to start again. It was actually the movement of the ship, and not of the people, that constituted this ritual: we can re-name the ship launch an industrial ritual, in which the people from Amsterdam could express their cultural belonging, exemplified by the ship that was there. Today, the ramp is occasionally used as a gentle slope of an architectural amphitheatre, nothing more: the emotions linked to the ship launch are disappeared, since in the festivals that are occasionally going on nothing reminds the users of what this ramp was before, of the deeper meaning that this inclined concrete surface had in the past. Then, a question arises in my mind:

It would be possible to reconnect, even in an abstract way, the collective uses of today with the past feelings of the moment of the launch, giving to the NDSM a new sense of place that is indissolubly linked to a former ritual?

The structure of the NDSM site can be considered enormously far from the town of Suchindram: in the factory, the space is shaped according to the best movements of the pieces of the ships across the site, the warehouses and their doors were sized for the maximum bigness of the pieces and of the engines, the length and width of the ramp are the same of the biggest ships that could be built. Apparently, the space was not made for human rituals, nor for specific movements of the human body, but with the aim to accommodate the best construction process. On the other hand, during the days of inauguration of a ship a “collective staging” use to take place in this industrial space: the popula9_Pieper J., Ritual Space in India: Studies in Architectural Anthropology, London, Flexiprint Limited, 1980, pp. 7.

{

“ People stare numb, in bewilderment, at the hull of the ship. Will it now? We hear the audience bursting into cheers. And it seems so listeners, it seems that the ship started to move. And you can hear from the growing noise...yes, yes the ship is moving. I see one, two, three millimiters of light appearing between the hull of the ship and the cranes behind it. Oh, how slowly it goes. But still the moment hasn’t come yet. We hear applause and cheers. Ahh, this is unbelievable, this is the moment we have been looking for! The national anthem...and the ship rushes towards its natural element. And the workers, after so much tension, shake each other’s and their director’s hands! Listeners, this is an historical moment of the Dutch shipping industry!” (The National Radio, Inauguration day of the ship Neverita, 31 August 1967, arranged by Space TV)

on day of the motor-thank ship Neverita, 31 August 1967.

nal Section 1:200

50 49

48 47 46 45 44 43

42 41 40 39 38 37 36 35

33 32 31 30 29 28 27 26 25 24 23 22 21

19 18 17 16 15 14 13 12

9 8 7 6 5

4 3 2 1

}

From Industrial Ritualism to Urban Behaviorology

NEVERITA

50 49 48 47 46 45

43 42 41 40 39 38 37 36

34 33 32 31 30 29 28 27 26 25 24 23 22

20 19 18 17 16 15 14 13

11 10

9 8 7 6

4 3 2 1

From Industrial Ritualism to Urban Behaviorology

05_ DESIGN PROPOSAL Evocation as starting point the ship above the launching ramp was the trigFROM INDUSTRIAL RITUALISM The TOmovement URBAN of BEHAVIOROLOGY

to start the design: to NDSM evocate gesture, The momentum of the ship-launch as trigger to design evocativeger scenographies for vacancy at the site inthis Amsterdam.

the proposal is a floating building, that is placed in the last part of the ramp, close to the dry-dock gate. Once the ramp is kept dry, the building is in his place and activates the ramp surface; on the other hand, when the gate is opened, the building starts to float and can be moved with a tug boat to other locations on the IJ lake.

The aim of the design is to use the experience of the launch to reconnect the current activities with the specificity of the site, at the same time suggesting new kind of uses and offering space for experimentation that exploits the fact that the building is floating and moving. The building becomes then a floating event hall that can: accommodate festivals and work with the ramp surface, where you can party inside and above the building roof; host theatre plays in movement; give space for travelling exhibitions on the IJ lake; give shelter to markets that are usually above the ramp; be used for historical voyages with projections on the IJ lake; be the â&#x20AC;&#x153;swimmingâ&#x20AC;? van for travelling festival crews... People celebrating during the inauguration day of the motor tank ship Neverita, 31 August 1967.

Crowd saying goodbye to the artists, that go away on the floating hall after a music festival. 2017.

Student: Matilde Scali

Evocation has been also a key word for the choice of the shape and the materials: the main reference is the architecture of the ships, their sizes and their construction principles with thousends of steel or wood spines. These references help to do an intervention linked with its context. Following this principle, the floating events hall is designed to be light and transparent, opposed to the heavy concrete surfaces of the NDSM shipyard. In this way it is clear the distinction between the new addition and the old parts of the site. Picture of the ship Oranje, 1939, NDSM.

From Industrial Ritualism to Urban Behaviorology

Trial maquettes by the author

Trial maquette

From Industrial Ritualism to Urban Behaviorology

In this project evocating the shape is not only a matter of form, but also a matter of acoustic: the round shape of ships work as a sound box, as the body of a guitar. In the pavillion Prometeo (in the picture above), Renzo Piano used a skeleton of wood â&#x20AC;&#x153;lamellasâ&#x20AC;?, closed with different kind of panels, straight or round, to create different conditions of sound propagation.

The panels could also be changed in materials, from the more absorbing wood or textile to the sound-reflecting metal, allowing a certain flexibility of use to the project.

Trial maquette

The building wants to show its naked structure, its bones, at the same time creating the atmosphere of being inside the belly of a shipâ&#x20AC;&#x2122;s hull.

From Industrial Ritualism to Urban Behaviorology

Actual situation plan

From Industrial Ritualism to Urban Behaviorology

Intervention plan

From Industrial Ritualism to Urban Behaviorology According to the studies of the Japanese firm â&#x20AC;&#x153;Atelier Bow-Howâ&#x20AC;?, Architectural Behaviorology is about combining in the best possible way the different behaviours of people, climate and of the building to achieve a design that is multi-layered and can serve at best these three components. This discourse in enlarged at an urban scale in these thesis, in order to consider the different combinations of behaviours of people above the ramp and inside the hall, of the harsh dutch climate and of a building that wants to move and not be fixed in one spot.

The behavior of the crowd of people during the inauguration days becomes now the crowd for a concert, the behaviour of the workers in their daily life becomes the evening theatre play on the site...

Atelier BOW-WOW, Miyashita park, Tokyo. Drawing that maps the different behaviours of people in the park.

From Industrial Ritualism to Urban Behaviorology

Final proposal: the floating event hall is leaving the crowd after a concert to reach other destinations of the IJ lake, during a travelling festival.

Sketch that resumes all the behaviours inside the building: who wants to participate actively in the play, who wants to take a moment of rest and enjoy the panoramic view in the corridors, who wants to have a moment of peace in the roof or take a drink at the cafĂŠ at the top level. Next page. View of the main facade during a concert: people are everywhere, the big industrial doors of glass let the sound that resonates inside the building flourish, crouds of people get in and give permeability of view to appreciate the landscape of Amsterdam and let it be a scenography for the stage. 72

From Industrial Ritualism to Urban Behaviorology

STAGE 10 x 14 m +1.00

0.00

Ground Floor plan/ Festival configuration: the industrial doors are open. Ground Floor Plan/ Festival Configuration Scale 1: 200

From Industrial Ritualism to Urban Behaviorology

STAGE 10 x 14 m +1.00

TICKETS + WARDROBE

ENTRANCE HALL

0.00

Ground Floor plan/ Floating theatre configuration: the central void is separated from the rest with acoustic curtains to focus the croud on the scene. Ground Floor Plan/ Floating Theatre Configuration Scale 1: 200

+ 3.70

Sitting place with a panoramic view

Outdoor terrace to have a moment o break

+ 4.00

First Floor plan/ Festival configuration

First Floor Plan/ Festival Configuration Scale 1: 200

From Industrial Ritualism to Urban Behaviorology

+ 3.70

OUTDOOR TERRACE

ETFE membrane used for the panoramic spots, to free the view from obstructions

White polycarbonate is used for the distribution spots, that lets the visitor have a perception of the outside but then guides him toward the place with a better view

+ 4.00

First Floor plan/ Floating theatre configuration First Floor Plan/ Floating Theatre Configuration Scale 1: 200

There is a double height in the corridors with a panoramic view to better appreciate the outdoor landscape

+ 8.00

Second Floor plan/ Theatre Configuration Second Floor Plan/ Floating Theatre Configuration Scale 1: 200

From Industrial Ritualism to Urban Behaviorology The backstage has the best view, while an artist that goes to the changing room can have a glimpse on the crowd underneath

BACKSTAGE/ LOUNGE

CHANGING ROOMS F.

CHANGING ROOMS M.

This floor hosts bedrooms for the stuff of a music group or for a person who wants to try the experience of sleeping there

CAFE'

The cafĂŠ has both views, inside the void and towards the outside. The sitting places are positioned toward this two views.

+ 16.00

Fourth Floor plan/ Floating theatre configuration Fourth Floor Plan/ Floating Theatre Configuration Scale 1: 200

The glass solar shutters on the roof regulate the light that enters and make the building self sufficent. The top windows are also used to evacuate warm air

Cross Section/ Festival Configuration Scale 1: 200

From Industrial Ritualism to Urban Behaviorology

Cross Section/ Floating Theatre configuration Scale 1: 200

Longitudinal Section/ Floating theatre configuration

From Industrial Ritualism to Urban Behaviorology

Longitudinal Section/ Festival configuration

From Industrial Ritualism to Urban Behaviorology

South-West Facade/ Floating theatre configuration

From Industrial Ritualism to Urban Behaviorology

View inside the central void

Sitting towards a panoramic view

From Industrial Ritualism to Urban Behaviorology

View from the outdoor terrace

A radical action opens a new condition: unveiling the structure The ramp needs an entrance. The structure underneath is a dense forest of concrete columns that used to hold the weight of huge motor-thanks, and nobody can see it. Moreover, it presents the layers of the past, since it has been modified during the years. The design involves this part by not adding a program to that, but by simply uncovering its top surface to let the light pass through, to leave it untouched, to give to it in this way the status of a monument that can be observed by people passing by. A promenade between the pillars creates then a threshold for the following experience above the ramp and in the floating event hall. It contributes to create the story of a journey.

From Industrial Ritualism to Urban Behaviorology

Entrance through the forest of pillars underneath the ramp

Conclusions: affordances on the IJ lake The design intervention does not want to be just part of an area in redevelopment, like the Eye-fim museum or the Nemo along the IJ banks. The Floating Events hall wants to be more than this: it is a device to encourage people to re-appropriate of the main waterway of Amsterdam, for too many years used only for industrial or logistic purposes. The building can serve to attract the attention on neglected but valuable spots along the IJ banks or to expand on the water public spaces along the lake that donâ&#x20AC;&#x2122;t have enough room on the land. Experimentation is the first goal of the project, and I hope that the concept of a Floating Event Hall could turn on the light bulb of Amsterdammers and help them to develop a new approch to take advantage the natural qualities of their city.

From Industrial Ritualism to Urban Behaviorology

SAILING MUSIC FESTIVALS Many places along the IJ, like the Stenen Hoofd, are often the location for informal music festivals and parties. The F.E.H. not only can provide the appropriate tools for these events, but can expand on the water the room for fun.

OUTDOOR CINEMA The Hembrug Terrain is an example of Industrial Heritage (it was an arms factory) along the IJ lake. The F.E.H. can be used as a device to reproduce historical representation of the site during the two world wars.

From Industrial Ritualism to Urban Behaviorology

BEACH RESORT The IJ lake is becoming cleaner and cleaner, thus some people started to unofficially dive in it. In front of the Hotel de Goudfazant someone placed a diving board: the F.E.H., thanks to his visibility, can encourage people to use the lake also for swimming and leisure. 97

From Industrial Ritualism to Urban Behaviorology

Thanks to my professor Marc Dujardin, for his precious suggestions and for teaching me that Architecture must be seen from different points of view. I hope that he can continue his work in the best way, so that his future students will enjoy the priviledge that I had this semester of working with him. Thanks to my family for all the support that they always gave to me, together with an infinite, eternal, oversized love. I feel lucky to have you and I hope you are proud of me. Thanks to Vittorio for his incredible patience, his constant presence and for always reminding me that is better to take the bull by the horns, not by the tale. Without you this thesis could not be the same. Finally, thanks to my colleagues of the Sint Lucas Family for the great time, the conversations, the hours of working together (day and night) and the huge laughs. These two years went fast, but went special.

BIBLIOGRAPHY Atelier Bow-Wow, The Architectures of Atelier Bow-Wow: Behaviorology, New York, Rizzoli, 2010. Krautheim M., Pasel R., Pfeiffer S., Schultz-Granberg J.,City and Wind, Climate as an Architectural instrument, Berlin, DOM, 2014. Ged F., Péchenart E., Wang Shu: Construire un monde différent conforme aux principes de la nature, Paris, Editions des Cendres, 2012. Goodden C., Hovagimyan G., Bex F., Navarrete C., Owens G., Gordon Matta-Clark: Experience Becomes the Object, Madrid, Ediciones Poligrafa, 2016 Gottdiener M., Budd L., Lehtovuori P., Key Concepts in Urban Studies, London, Sage Key Concepts editions, 2007. Pieper J., Ritual Space in India: Studies in Architectural Anthropology, London, Flexiprint Limited, 1980. Powell W., Snellman K., “The Knowledge Economy”, Annual Review of Sociology of Stanford, Annual Reviews, Stanford University Press, 20 February 2004. Rietveld E., Rietveld R., VACANCY STUDIES. Experiments & Strategic Interventions in Architecture, Rotterdam, nai010 publishers, 2014.

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WEB REFERENCES

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Emilia Romagna StartUp.”Impresa Culturale e Creativa-definizioni.” http://www.emiliaromagnastartup.it . http://www.emiliaromagnastartup.it/it/creative/impresa-culturale-e-creativa-icc (accessed March 12, 2017) Eva De Klerk. “Guild of industrial buildings along the river IJ.” http://www.evadeklerk.com . http://www.evadeklerk.com/en/het-gilde-van-werkgebouwen-aan- het-ij/ (accessed March 10, 2017) Gemeente Amsterdam. ” Documenten, plannen en notities NDSM-werf.” www.amsterdam.nl. https://www.amsterdam.nl/projecten/ndsm-werf/documenten-plannen/ (accessed March 11, 2017) Gemeente Amsterdam. ”NDSM.” www.amsterdam.nl. https://www.amsterdam.nl/projecten/ndsm-werf/english-engels/ (accessed March 11, 2017) Gemeente Amsterdam. ”Port City-Three prospects for the western IJ banks.” www.portofamsterdam.nl. https://www.amsterdam.nl/ https://www.portofamster dam.nl/docs/uk/Port-City%20final%20report.pdf (accessed February 10, 2017) News Docks Activities Stories Members. “Mediawharf.” http://www.ndsm.nl. http://www.ndsm.nl/en/bedrijf/mediawharf/ (accessed March 11, 2017) News Docks Activities Stories Members. “About NDSM.” http://www.ndsm.nl. http://www.ndsm.nl/en/over-ndsm/ (accessed March 12, 2017)

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