PORTFOLIO A brief selection of work by Dominique de Rond
2
Resume
Graduation project: Beyond the White Cube
6
Museum for 20th century art
MSc 2: Take a Seat make a Set
26
Studiolo: C. M. van Moorsel
MSc 1: The Public Interior
34
Market hall for Oss
Winning competition entry
42
Anamorphosis: an urban intervention
Resume
PERSONALIA Dominique de Rond 15-04-1992 Address Schiebroekselaan 55A 3037 RK Rotterdam The Netherlands niekderond@planet.nl 0031-(0)658850444
EDUCATION Master Architecture and Building Sciences Delft University of Technology (Delft, NL)
01/2014
-
04/2017
Bachelor Architecture Delft University of Technology (Delft, NL)
09/2010
-
12/2013
High School Athenaeum Kees Boeke School (Bilthoven, NL)
09/2004
-
06/2010
Architectural Designer DaF-Architecten
06/2017
-
07/2017
Architectural Designer NUL architecten
09/2016
-
12/2013
Architectural Assistant Susanne Pietsch, Architect
12/2015
-
06/2010
Designer Studio Rameckers de Rond
06/2015
-
06/2010
Intern DaF-Architecten
12/2014
-
07/2015
Barista Het Nieuwe Instituut
01/2013
-
01/2016
Barista Nederlands Architectuur Instituut
03/2012
-
01/2013
WORK EXPERIENCE
ARCHITECTURAL PROJECTS
First price competition: Anamorphosis Studio_Rameckers_de_Rond Concordia Enschede
2015
HOYA Lens Proposal factory refurbishment NUL architecten
2016
Dolls Museum Reute Susanne Pietsch, Architect
2016
A museum for 20th century art in Berlin
A new museum, especially designed the late twentieth century. to house a twentieth century art It seems task of the architect collection will be added to the is reduced to managing and Staatliche museun Of Berlin. designing a logistically perfect Beyond the White Cube 2017 Situated on the Kuturforum, an building, able to house both art Faculty of Architecture area South of the Tiergarten in the collections and accommodate a Delft University of Technology Tiergarten Viertel, the new museum great many visitors. will be close to other sites including; In contrast to this interpretation, the Staatsbibliothek zu Berlin, the Carol Duncan’s writing about Berliner Philharmoniker (both by museums render the museum German architect Hans Scharoun), the Gemälde Gallerie by Hilmer & typology as a place for public ritual. The architecture prepares the Sattler und Albrecht and also Rolf Gutbrod’s Kunstgewerbemuseum. visitor for viewing art, but can also be provide a new level of meaning Arguably, most importantly, the location is also home to the Neue in the way the artwork is presented. National Gallery by Mies van der Rohe and the new museum will With this in mind, my proposed scheme for the new museum is one share the National Collection of the twentieth century. whereby the history and current qualities of the site are tastefully Viewing the museum as an institution that is ever changing, it is developed to create a series of joined spaces that deliver in preparing questionable whether architects should make essential curatorial and influencing the visitor just before and also during their museum decisions. The general development of the museum has seen a visit. This should not however result in a very directive architecture transformation from a place for study and the preserving of artefacts with only one thoroughfare, instead it was important to create a in the early nineteenth century, to a place with an increasingly ‘neutral’ museum that can be entered from multiple directions and once inside interior and iconic exterior which serves as the museums ‘billboard’ in then also provides a unique museum experience.
6
Exhibition space Model 1:20 Secondary Routing
Kulturforum 21th century Museum of Art Groundfloor plans
7
8
Above Private gallery Tiergartenstrasse 14
Above Apartments Margarethenstrasse 1
Below MatthaĂŻkirche House of Tourism
Below Villa in decay Kulturforum
Three important historical periods were researched and notions from all three of them are used to influence the design. Firstly, in the second half of the nineteenth century the cultural centre of Berlin developed, with the emergence of new museums and also the opera, a new cultural elite prevailed. This new upper-class built their houses in the areas close to the city centre - the Tiergarten Viertel. In big salons these people not only discussed art and politics but also invested in private art collections. Secondly, during the Second World War, the planned North-South axis through the Tiergarten district by Nazi architect Albert Speer meant the demolition of the luxury homes. After the smoke of the bombing of Berlin lifted, the area was left even further ruined. Thirdly, in the 1960’s a third phase reinvented the Tiergarten Viertel as a new cultural forum here the National Library, the Philharmonic and the Neue National Gallerie were erected.
Above Neue National Gallerie Mies van der Rohe
Above Berliner Philharmonie Hans Scharoun
Below Design Kulturforum Hans Scharoun
9
10
Ground floor 1:5000
There is a difference between the urban contexts along the Potsdammestrasse and the side of the Kulturforum. The character and configuration of the buildings is different on each side, this attitude towards ambiguity allows a building to complement its surroundings and thus create a different ritualistic progression. In contrast, the buildings along the Potsdammerstrasse are all similar in configuration, and it can be seen that all buildings exist of a wider plinth that narrows towards the top. The proposed museum emulates this configuration on the Potsdammerstrasse side. At ground level, the walled garden forms a low plinth. Then, set back from the garden
wall, the long two storey volume rises above, and in the middle of the building the volume curves out along the shape of the road. This results in the volume presenting itself towards the street as well as creating an enhanced corner. Thanks to this, the entrance towards both museum and to the garden is prominent. The building is elegantly topped by three cubes. On the other side, a public space which is currently undefined, is sectioned into increasingly more intimate squares. Finally, a second building defines both the edge of the tilted square central to the Kultuforum and a new church square.
Kulturforum Model 1:500 Museum in surroundings
11
From the Potsdammerstrasse, the visitor can enter the walled garden from a choice of entrances. The garden functions as the starting point of a sequence of spaces that together make up the visitors experience or the visitors ritual. The walled garden is intended as a secluded space, which takes the visitor out of the urban landscape and into a more tranquil environment. Routing through the garden directs and redirects the view from and towards the museum, this is intended to make the visitor aware of their surroundings. Only from the garden does it become clear that the building is made up of three wings linked by two open character
14
corridors. The whole resembles the closed city blocks that were typical of the Tiergarten Viertel in the 19th century. The building facade is made up of interlinked load bearing masonry, whilst on the ground flour the shadow gap in between the brickwork creates a plinth, from the first floor upwards with the mortar protruding outwards, to create both a more singular service as well as giving the building a informal look referencing the ruinesque state of the Tiergarten Viertel’s during and after the Second World War. Red brick is expressly chosen to aesthetically link the building to other brick buildings of the site.
Above Impression Main Entrance
Below 1:10 model Brick Pattern
1:10 model Brick Pattern
15
18
Entrance 1:10 model Brick Pattern
After passing through the garden, a long passage draws the visitor into the building. The red brick exterior tooths into white brick marking the transition from outside to inside. The enfilade itself borrows queues from Leo van Klenze’s Glyplothek: the space visually links all parts of the building, and furthermore it can be used as a place for exhibition, all wings of the museum can be entered from here. It forms both a threshold and the connection between exhibition spaces and the exterior.
After buying a ticket in the passage, the visitor enters a double height space in-between the northern and the middle wing – a space that connects the east and the west sides of the building. The space in between the middle and south wing functions as the oversized exhibition area. From this location, a view is provided towards the St.-MatthaïKirche and towards the cafe. Across the three wings and the two double height spaces, a route that shifts in the middle leads the visitor to the central space inside each wing.
Above Impression Main Entrance
Below 1:10 model Brick Pattern
19
20
Impression Oversized Exhibition Space
Impression Small Exhibition Spaces
21
22
Above Section:West-East 20th Century Museum of Art
Below Section: North-South 20th Century Museum of Art
Section Matthäikirchestrasse 51 1867
23
The images on this page show a first design for a gallery space. The ritual of a visitors arrival into a gallery was the starting point for this scheme. When considering the design of this space, the importance became apparent as to how material and configuration can guide the visitor along a route. The material that is first applied on the railing of the top floor is then applied on the staircase and later included in the plinth of the exhibition space. Multiple openings enable different views from one space to the next. Travelling down the stairs, the visitor is presented with the view into a next space not yet entered. This way of consciously using materials and openings to create routed became important to the final design.
In the final result, the building exists out of simple rectangular spaces following a grid. The bare brick materialisation of these spaces allows flexible use. While openings and spaces for routing are aesthetically distinguished due to their very specific materialisation and detailing.
24
Model 1:20 First Model
Model 1:20 First Model
Final design Central Salon
25
The starting point for the design of a tiny set is a chair. A chair designed in 1919 for a house converted into a monastery by C.M. van Moorsel, and it is part of the chair collection of the TU Delft.
Studiolo C. M. van Moorsel Take a Seat make a Set 2016 Faculty of Architecture Delft University of Technology
The set is inspired by Antonello da Messina’s painting of Saint Jerome in his study. It shares the ambiguity of the study as being both a piece of furniture, a room and, closely related to that, it plays with different scales. Da Messina applied a multitude of iconographical references in his painting. A first impression might lead one to question the scenery, but a closer look reveals finer details: St Jerome is found placed between two windows, the left window frames a view of a city, while the window on the right looks out onto paradise. Light enters the scene from multiple angles, suggesting that the picture is not affected by time or space, and together these are signs to indicate
26
Antonello da Messina St. Jerome in His Study 1445
that St Jerome and with him the space surrounding him, is nestled between the earthly and the divine. The theme of a space in between neither one nor the other formed the main interest of this project.
A door, reduced in size, reappears under the desk and suddenly the space under the table top transforms into a hallway, with the legs of the chair and the desk turning into columns. But it is not just a folly of resizing familiar elements: there’s also the transformation and reappearing of various parts of the chair and table in this compact room. The table top is copied in the ceiling and the back of the chair and its connection to the supports, is multiplied in the wall. The interior itself may be read as an aedicule, as an inverted fragment of the exterior of a church. And in this way the dark painted chair, designed for a monastery, forms the starting point for a whole range of associations this time built in unpainted plywood.
C. M van Moorsel Klokkenberg 1953
Exploded View Set Construction Van Moorsel Chair
27
28
Week 1 1:20 model Single room scale shift
Week 2 1:20 model Window and Door
The design process started by making a model every week. In the first week I explored the theme of public and private happening within the same parameter. With similar elements slightly adjusted, I experimented with the perception of scale and intimacy and formality. In the second week, the same door and window are used to create a more formal and a more informal environment. These scale shifts happening in a single model were further developed in week three, when the cloister chair of C.M. van Moorsel was introduced into the
assignment. The theme of public and private life in a cloister and the balance of these items influenced the design. In a small room, where elements of the chair are replicated, the chair is pushed against a desk. Underneath the desk, a second scale is introduced and the legs of the chair are now perceived as columns in a cloister hallway. In the weeks following, this theme of scale shifts and a space referencing both a church, a nun’s room, the chair and even the space itself resulted in a 1 to 1 self-build set piece.
Week 3 1:20 model Implementing chair
29
30
Week 4 1:20 model Nuns room
Week 5 1:20 model Implementing Church Elements
Week 6 1:20 model Triforium Option
1:1 Set C. M. van Moorsel Chair On display at BK City, Delft
31
32
Above and Right 1:1 set On display at BK City, Delft
33
Market hall for Oss
The city of Oss is a small sized functions as a supermarket with city in the southern province an area for stalls and an area for The Public Interior, 2014 of Noord Brabant. Historically checkout. This to me, would be a Faculty of Architecture the city has been home to much best fit concept for a small town Delft University of Technology industry. Sausages, plant based and a suburban location. To make butter, carpet and even super this supermarket-like market hall yachts are all made in Oss. exceed a traditional supermarket Expansion of the city in recent potential, the focus of the project years has caused a shift of factories was primarily aimed at creating a moving outwards. Nowadays the space that links the inner city to factories are replaced by housing, nevertheless the industrial history the suburbs, and the area around the train station and the cultural has left several traces through the city. It’s most outstanding industrial quarter. relic being the ruins of the old carpet factory of Berghoss in the Restaurants flank the north and south areas of the building. The Tapijt district. Parts of the ruin are now occupied by a hotel, while northern cafe is connected to an alley carved from the original factory the structure of the main production hall remains empty. Several volume, making it possible to pass from the inner city east side of the proposals for a cultural use initiated by the city council have proven building to the train station west side of the building. The atmosphere not viable, leaving a commercial function as the more feasible. The gained through the typology of an alley is more fitting to the innerMaster 1 Interiors Buildings Cities studio at the TU Delft worked city. A second restaurant on the south side of the building has a large with a client proposing a market hall in the location. sunny terrace and looks out in the direction of the cultural part of the A decision had to be made on the type of market hall which would be city. In the centre of the building, the roof of the hall is deliberately best fitting in the specific context of Oss and its history. A traditionally higher, above the area for the stalls. A wooden construction is added big city typology would likely not work in a small town environment. on top of the original structure. This middle part of the market hall is I chose to create a market that looks as might be expected but entered from the square to the east of the building.
34
Section of the Market Hall 1:50 model
Plan of the Market Hall
35
The original factory building was designed by Oscar de Leeuw, an architect mostly known for his expressive building styles in brick. Today the factory is a ruin, only two walls and the steel roof construction remain. The strategy was to respect both the remaining pieces of the ruin as well as Oscar de Leeuws architectural principles. To close the perimeter, new brick walls have been added. Instead of the originally suggested openings in the bricks, these new walls have an open masonry letting plenty of natural daylight into the
36
interior of the building. The steel construction was maintained, while a new wood and steel construction is added on top. In this part of the building, the now raised ceiling creates a hall-like atmosphere and the market stalls are expected to be placed underneath this area of the roof. In lower roofed parts of the building, the old steel construction is replaced by a wooden construction. Outside, the construction continues in the same grid and turns into a pergola, because the extrusion of the construction from the building, it is a reminder of the ruinous state the building was in.
Bergoss Factory Oscar de Leeuw 1956
Bergoss Factory RuĂŻn 2014
Market Hall 1:200 model
37
40
1:10 Section Roof & Facade Construction
1:50 model Above: Exterior Below: Interior
41
Anamorphosis
As part of Studio Rameckers_ at each end of the Richtersgang. de_Rond, I created a perspective The image of the windows of the First prize competition entry artwork for Arts Centre Concordia Jacobus Church across the street Studio_Rameckers_de_Rond in the city centre of Enschede. from the location are duplicated Concordia Enschede Two vast murals, spanning across and can therefore already be the entire wall of the Richtersgang, viewed before actually rounding show the windows of the Jacobus the corner and seeing the church. Church and the distinctive The exact same effect is achieved by red spiral staircase inside the the projection of the red staircase exhibition space of Concordia. which makes it possible to see the The murals each consist of a 2- dimensional image which is projected staircase before rounding the corner in the alley and seeing the real into the alley from opposite entrances. The effect that is obtained from object that has a central spot inside Concordia’s exhibition space. The this projection, is one that the pictures can only be perceived as a flat combination of an element part of the city and an element part of image from a specific viewpoint. As a result of the alley turning in the Concordia creates a connection between the city and the institution. middle, the far end of the alley cannot be seen when entering the alley. Through this intervention we were able to influence both the visual The images are both an abstraction of an object in the urban interior perspective and the urban perspective.
42
Concept model Line projection Competition entry
Concept Drawing Line projection St.Jacobuskerk windows
Concept Drawing Line projection Concordia Staircase
43
The installation of the two drawings was only possible at night time. A large beamer was used to project the images onto the building walls. It was important to have the beamer project the images at eyelevel, as this ensured that the later colouredin projection is easily perceived as a flat image by people walking in the street. After the projection was scaled to a large enough size that was also feasible to paint, the entire projection was retraced in pencil. A painter then painted the traced pattern, with suitable paint. The projection is not limited only to the building wall and window frames, but also a large piece of window pane was also coloured in, through the application of different media in the exact same colour.
44
Installation Beamer Projection St.Jacobuskerk windows
This image shows the tracing of the projection on the wall before nightfall. The red staircase was projected precisely around a drain pipe, creating the illusion of the drain pipe functioning as the central column supporting the staircase.
Installation Beamer Projection Concordia Staircase
45
46
Final Result Anamorphosis Concordia Staircase
Final Result Anamorphosis St.Jacobuskerk windows
47