Gleaning - coming together Process book Oliwia Tatara Urban GlaneursArchitecture/Glaneuses
Glaneuses/Glaneurs2UrbanArchitecture
Glaneuses/Glaneurs3UrbanArchitectureII.I.INDEXIntroductionArchitecturalHistories of Urban Renewal III. Gleaning third places IV Stiching the city - masterplan for the paper factory V. Coming together - architectural intervention p.p.p.p.p.4107086120
The body of the factory today is a layering of additions and extensions, a district cut in pieces, full of dead-ends, fronts and fences. Different elements were gradually integrated into one organism resulting in the current situation, chaos. It exists as an endless space on the ground floor, a sequence of rooms, entirely open for production purposes, traversed by forklifts with stackings of freshly made paper. The grand ground floor is enclosed by the roofscape, a jumble of all types of roofs, stuck together in the strangest geometric configurations.
As paper production is slowly fading out, and its future is relatively undetermined, so is the city of Maastricht showing interest in the factory terrains. The measures taken are mainly aimed at increasing the flow of car traffic. Urban planners’ ideas indicate a more fragmentary intake on the side. Perceiving the factory lands as separate parcels from the basis seems to deny its vulnerable substance. If one allows himself to go on a traverse through the tangle of layers, a close reading, and appropriation of the site, one will reach
Glaneuses/Glaneurs4UrbanArchitecture
I. IntroductionContextThelocalizationof
the studio site is the Sphinxkwartier in Maastricht, the urban land currently occupied by the Sappi factory specializing in paper production. The former industrial estate stays in close proximity to the city’s center. Although the area does not have formal district boundaries, the edges of the factory are defined by significant infrastructural elements. The district underwent many changes in the last decades, but the factory remains a leftover piece that opens up many questions about the directions of future developments. It has not acquired a decisive urban form, but it’s not blank either.
Glaneuses/Glaneurs5UrbanArchitecturethe intricate quality of the maze that holds together the city’s narrations. Only by critically assessing a given urban context we might know how to find a new order, or re-direct it. photographs taken during factory visit
The practice of gleaning shows that arriving at the answers may be a process without an ending point, and it can be very relevant for architectural techniques as well. Suppose we see architecture as the creation of urban rooms.
In that case, these should be spacious enough to host more pieces in the future that will potentially rephrase the meanings of others, just like the artistic activity of Herve, one of the characters of Agnes Varda’s documentary “Les glaneurs et la glaneuse”. Herve travels the surrounding towns, preferably at night, by bike, locating bulky items. He brings them to his studio and combines them into art pieces. The objects are precious because they have already lived. He picks them up and offers new space. His night journeys and generosity in hosting them give them new meaning. Hervé is a supporter of “nothing,” of decline, in a way. For him, “recycling” is part of an artistic and ethical approach.
For the film, Varda traveled throughout rural and urban France to document various types of gleaners. These scenes are intertwined by recordings of trucks moving on a highway. These objects will not bear signs of being worn throughout the journey because the sealed shell of the truck protects it from rain, sun, and people. The trucks, and the goods that move at high speed symbolize efficiency, these scenes juxtaposed with the careful, precise work of gleaners are almost disturbing.
Gleaning The theme of Urban Architecture graduation Studio is gleaning, term derives from collecting second crops or other produce left by the reaper, picking and gathering pieces left in the fields. The phrase can also be interpreted as obtaining information that is hard to grasp. For the need of the studio, it is appropriated as a tool for approaching the given context.
Glaneuses/Glaneurs6UrbanArchitecture
Glaneuses/Glaneurs7UrbanArchitecturescreenshot from Ages Varda’s movie “Glaneurs / Glaneuses photograph of Ferdinand and me
Glaneuses/Glaneurs8UrbanArchitecture
apparatus for gleaning Storytelling is also very present in the works of an artist - Patrick Van Caeckenbergh. One of his art pieces, shown in MSK Gent in the exhibition
Ferdinand Like pickers in the field, we need to find our tools for gleaning. Collecting is not the aim itself. It is making sense of the nonsense. I remember such practices from childhood, especially those of my grandfather, who also practiced gleaning in various forms. He diligently gathered family mementos. He had a particular room intended for that, the most beautiful area of my childhood explorations, objects of unknown origin, creating one story of his. Not only was he a gleaner, but also a wonderful storyteller. Combined with his anecdotes, gleaned objects were almost like artifacts changing meanings over time. Sometimes we would find the exact pieces captured in photographs from years ago. The grandma’s coat, the metal basin then used as a flowerpot, was the same one in which an unknown child was having his evening bath. Those were the moments provoking outbursts of joy and whispered sensations around the family.
The Pantologue (Danke Schön) Chapeau! (Hats Off), represents an apparatus meant to categorize the world. As he calls it, Chapeau is constructed of a bicycle helmet, a table with a wooden structure for stability, round, openable box veneered with the representation of the universe. The interior of the box symbolizes the world. The box contains a series of drawers with maps on the fronts, the hat is topped with a plume. The drawers can store any records of the owners’ head collected by talking with people, as he walks. Patrick’s work suggests mobility and utility, the collection process happens on the go.
Glaneuses/Glaneurs9UrbanArchitecture
To start gleaning, we should take Varda’s intimate take on litter being a “cluster of possibilities’ and her humble way of explaining the subject without a flashy statement. With the same kindness as Herve, we must perceive opportunities that have been left as unwanted scraps. So as the gleaners gather crops left in the field, we pick from the factory and the city - the reading sources containing all the elements needed for the new ensemble. The harvest by the reapers depends on the goodwill of the people—likewise, our gathering on generosity in sharing stories, memories, recollections. The thoughts and narratives should be kept and organized into an apparatus of our perception, as the Caspers’ hat does.
Patrick Van Caeckenbergh - Chapeau! (Hats Off)
Jo Coenen / architect, the author of the Ceramique plan Ninke Happel / architect, co-owner of Happel Cornelisse Verhoeven Fred Humblé - an architect located in Maastricht, co-owner of Humblé Martens Willems
Maastricht has experienced many changes over time, which has led to the city of today. It is the oldest city and the first industrial city in the Netherlands.
I. Architectural Histories of Urban Renewals
P1 group work / Lulu Song, Annebel Formsma, Pratika Chamankar, Frederique van Vuure, Oliwia Tatara
As a result, Maastricht has several strong identities. We were challenged to decide on specific locations within the city that would represent the most significant changes in the city’s urban tissue, but also the ones that would tell us more about the identity of Maastricht. The research was mainly based on the interviews with architects familiar with the context, reading the city’s history, and the archival research that allowed us to understand the policies and ideas behind it.
Glaneuses/Glaneurs10UrbanArchitecture
The preliminary research on the studio topic was group work. The central theme of our considerations was the architectural histories of urban renewals in Maastricht. The work results were presented during P1 exhibition, and the results of the research were captured in a movie with the voices of Maastricht that we interviewed. In addition to the video, the physical models of the four housing units presented a deeper insight into how these residential examples had very contrasting ways of approaching the urban change contexts. Voices Jacques van de Venne / civil servant at the Municipality of Maastricht, chief director of public works from 1955 to 1977, involved in the urban renewal of Stokstraat.
Case studies
Three case studies that we decided to work on are unique when it comes to the time when they were executed, sometimes very contrasting when it comes to how the urban designers or architects reacted to the existing and how the collectivity was coming together. They examine long-standing habitats or industrial sites and project new ideas, resulting in more radical gestures or subtle approaches.
Stokstraat
Glaneuses/Glaneurs11UrbanArchitecture
The Stokstraat street represents a renewal where the aim was to keep the medieval character of the city. Stokstraat was a restoration of historical facades of the old residentia. Fronts of the buildings were treated like a mask, whilst the insides of the blocks were excavated and the usage of the buildings was completely changed.
Hoogfrankrijk
Stoa
The former industrial site of Céramique, occupied by the Sphinx factory till 1987, was transformed into a mixed-use urban district for high-quality living and working. Ceramique involved rebuilding, where the old factories that
In the center of a renovated building block, old garages and storage were demolished to create a new housing project, including social and private housing. Instead of closed building blocks in a piece of the existing urban fabric, this renewal aims at open, accessible, non-privatized spaces. The new housing project gleans the existing inner space. Vanderhove, despite inscribing into the already dense city fabric, still finds a way of creating private gardens and the public square, achieving an engaging new public interior.
Glaneuses/Glaneurs12UrbanArchitecture
occupied the former industrial site were demolished and new development took its place. A highly conceptual master plan was conceived by Jo Coenen and various notable architects were invited to work on different buildings in the neighbourhood. One of the great impacts in the new urban fabric is the Stoa building, a radical building that resembles the old industrial scale and forms a memory of the factory wall. Snozzi, even though challenged by building a second city ‘fence’ on the other side of the river, manages to integrate the building with the left bank principle of greenery between the river strip and the residential area. Reflection As the focus/intent for each project varied, the results of the renewal and resulting consequences for the city also differed. Political ideas are highly influential, as demonstrated in Stokstraat, where the original residents were deemed to be ‘anti-social’ and ‘unsightly’ so were therefore displaced to make way for a cleaner, prettier image of the city centre. On the other hand, Hoogfrankrijk was a social housing project that was subsidised by the municipality – with this investment, high quality social housing was created, which is appreciated by the people of Maastricht. Hoogfrankrijk has a long waiting list of people who want to live there. Such a project may not be feasible in current times, where plots are bought out by developers and the government has a lesser role in public housing.
Glaneuses/Glaneurs13UrbanArchitecture
0 2 5m CASE STUDY: STOKSTRAAT
DE VENNE AND BOB SWEERING 1972
The Medieval Stokstraat is the oldest street in the city located in the center of Maastricht.
The bad reputation of the street in the 1950s, when the buildings were functioning more as slums, led to the idea of bringing new order to the ‘architectural chaos.’ This resulted in restoration, which transformed the street into a luxurious shopping district. The backyards of the neighborhood were carved out, creating space for new courtyards. The upper floors became one of the most expensive apartments in the city.
(left)[Image1.1]Stokstraat, one of the three chosen precedents is located in the inner city district / heart of Maastricht [Image 1.2] (right) Stokstraat Block Plan
Glaneuses/Glaneurs15UrbanArchitecture JACQUESSTOKSTRAATVAN
THE SITE [Image 1.3] This series of images from 1962, 1967 and 1972 show the transformation of Stokstraat, from a tightly packed block to the Op de Thermen square created in its core.
Glaneuses/Glaneurs16UrbanArchitecture
THE STREET
Glaneuses/Glaneurs17UrbanArchitecture
[Image 1.4] In the 1950s, workers from the nearby factories were housed in the buildings that lined the Stokstraat, and the main street served as a common social/meeting place for their[Imagefamilies.1.5] Since the renewal, the street has become the second most expensive shopping street in the Netherlands.
[Image 1.6] The street was the center of life for the residents of the Stokstraat, who were displaced after the urban renewal.
1950 s
[Image 1.7] In the Stokstraat and surrounding streets, many properties were bought by slum landlords, who rented the 1- or 2-room houses to families with sometimes more than ten people.
Glaneuses/Glaneurs18UrbanArchitecture
Glaneuses/Glaneurs19UrbanArchitecture2021[Image1.8]
The street was the center of life for the residents of the Stokstraat, who were displaced after the urban[Imagerenewal.1.9]
Today, this district serves as an elite shopping district, with some of the most expensive shops in the Netherlands. In the courtyards, the life of restaurants and small cafes goes on in the evenings.
Glaneuses/Glaneurs20UrbanArchitecture STOKSTRAAT,STORIESSEPTEMBER 2021
Glaneuses/Glaneurs21UrbanArchitectureSTOKSTRAAT, 1950'S
Glaneuses/Glaneurs22UrbanArchitecture Upper Floor Plan (1950s) Ground Floor Plan Stokstraat 24Upper(1950s)Floor Plan (1950s) FLOOR PLAN [Image 1.10] Original floor plans of Stokstraat 24
Glaneuses/Glaneurs23UrbanArchitecture0 5 m1 Ground Floor Plan (adapted to house a Jewelry store) Ground Floor Plan Stokstraat 24Upper(1950s)Floor Plan (1950s) [Image 1.11] Floor Plan of Stokstraat 24 adapted to house a Jewelry store
0 2 5m CASE HOOGFRANKRIJKSTUDY:
In the center of a renovated building block, old garages and storage were demolished to create a new housing project, including social and private housing. Instead of closed building blocks in a piece of the existing urban fabric, this renewal aims at open, accessible, non-privatized spaces. The new housing project gleans the existing inner space. Vanderhove, despite inscribing into the already dense city fabric, still finds a way of bringing gardens and the public square, creating an engaging new city interior.
(right) The housing project by Charles Vandenhove was inserted within an existing urban block.
Glaneuses/Glaneurs25UrbanArchitecture 1993-1994CHARLESHOOGFRANKRIJKVANDENHOVE
(left) Hoogfrankrijk, one of the three chosen precedents is located in the North west of [ImageMaastricht1.2]
[ImageCONTEXT1.1]
Image Landsa Copern cus Image Landsat / Copernicus mage Landsat / Copern
THE SITE
Glaneuses/Glaneurs26UrbanArchitecture
[Image 1.4] The partial social housing program and the high mark of architecture aimed to revitalize the neighborhood and give it a new quality.
[Image 1.3] Hoogfrankrijk block in Statenkwartier in 1982. The surrounding plots were used as allotment gardens.
Glaneuses/Glaneurs27UrbanArchitecture
[Image 1.5]
The layout showing the configuration of apartments on site.
Glaneuses/Glaneurs28UrbanArchitecture HOOGFRANKRIJK, 1982 GARDENS GARDENSPRIVATE GARDENSPRIVATE STORIES
Glaneuses/Glaneurs29UrbanArchitectureHOOGFRANKRIJK, 2021 BUILDINGGATE GATE ENTRANCE STREETSLOPING ENTRANCE ENTRANCE SQUAREPUBLICINNER courtyardItalian-looking
Glaneuses/Glaneurs30UrbanArchitecture FACADES © 2021 Goog e © 2021 Google © 2021 Google [Image 1.6] Outer facades of Hoogfrankrijk 16 along the Capucijnenstraat in 1963. [Image 1.7] Hoogfrankrijk 16 today, after Vandenhove's intervention and other transformations.
Glaneuses/Glaneurs31UrbanArchitectureTRANSITIONS[Image1.8]Theslopingstreetleadingtothecourtyardwithafountain.[Image1.9]Transitionandin-betweenspacescreateamoreintimateatmosphereinsidetheblock.
Glaneuses/Glaneurs32UrbanArchitecture Transition1.10]passage from the street into the inner court of Hoogfrankrijk. [Image 1.11] inner collective space. wall skirting
COMMON SPACES [Image
boards, are delineated and treated separately.
The
All elements, such as steps,
surfaces, columns, and
Glaneuses/Glaneurs33UrbanArchitecture[Image 1.12] Between the inner square and the outer line of buildings, private gardens were designed. View at the back facades of the residential[Imagehousing.1.13] classical, formal language
Glaneuses/Glaneurs34UrbanArchitecture LIVINGTERRACEROOM KITCHEN ENTREE BED ROOM 1 BED ROOM 2 KITCHEN ENTREE 0 5 m1 Ground Floor Plan (apartment no.s 1- 8) First Floor Plan Second Floor Plan (apartment no. 9) LIVINGTERRACEROOM KITCHEN ENTREE BED ROOM 1 BED ROOM 2 KITCHEN ENTREE 0 5 m1 Ground Floor Plan (apartment no.s 1- 8) First Floor Plan Second Floor Plan (apartment no. 9)FLOOR PLANS ENTREE KITCHEN BED ROOM 0 5 m1 Lower Level Plan Upper Level Plan [Image 1.14] The apartments split across two levels
"You have just the small kitchen windows and the door, and together they make a repetition, they make square walls, but in projects nowadays you see huge window glass facades, simple reason that is easy to build, but the two (private and collective) are not in balance, because you either live in a square fully, or the square comes into your house fully. "
- Ninke Happel , architect
VOICES
Glaneuses/Glaneurs35UrbanArchitecture
"The time is changing, so society is changing, from private ownership to sharing. Keeping collectivity also means that collective can decide for a change."
"What I think is a good project is when they combine the private interest of good housing with the collective interest of city, non-privatized space."
- Fred Humble , architect
"Vandenhove has his own autonomy, but also the dialect. His language is the language of the city.At that moment he tended to traditional, classical, and geometrical approach to architecture."
Glaneuses/Glaneurs36UrbanArchitecture HOOGFRANKRIJK 32, 1962
Glaneuses/GlaneursUrbanArchitectureHOOGFRANKRIJK 32, 2021 ROOFZINCROUND ORNAMENTSCONCRETECLASSICISTIC COLUMNCONCRETE
0 2 5m CASE STUDY: STOA
The former industrial site of Céramique, occupied by the Sphinx factory till 1987, was transformed into a mixed-use urban district for high-quality living and working. One of the great impacts in the new urban fabric is the Stoa building, a radical building that resembles the old industry scale and forms a memory of the factory wall. Snozzi, even though challenged by building a second city 'fence' on the other side of the river, manages to integrate the building with the left bank principle of greenery between the river strip and the residential area.
(right)[Imagedistrictprecedents(left)[ImageCONTEXT1.1]Stoa,oneofthethreechosenislocatedinthenewCeramiqueinSouthEastMaastricht1.2]StoaBlockPlan
Glaneuses/Glaneurs39UrbanArchitecture LUIGISTOA 1993-2002SNOZZI
Glaneuses/Glaneurs40UrbanArchitecture [Image Industrial1.3]setting of Ceramique in 1996 [Image Ceramique1.4] district nowadays THE SITE
Glaneuses/Glaneurs41UrbanArchitecture[Image 1.5] Factories of Societe Ceramique, Wiebenga hall in the second plan [Image 1.6] View of the eastern facade from Bellefroidlunet street
Glaneuses/Glaneurs42UrbanArchitecture
[Image Société1.7]Céramique 1932 [Image 1.8] City residents relaxing in the river
during summer
Glaneuses/Glaneurs43UrbanArchitecture[Image Factory1.9]workers cooling horses after a working day [Image Société1.10]Céramique 1932
Glaneuses/Glaneurs44UrbanArchitecture THESTORIESPOTTERYBUILDING IN SOCIÉTÉ CÉRAMIQUE AROUND 1920
Glaneuses/Glaneurs45UrbanArchitectureARJEN AND DIRK SMOKING CIGARETTES BEFORE THE SECOND SHIFT, DISCUSSING WEEKEND PLANS
Glaneuses/Glaneurs46UrbanArchitecture SOCIÉTÉ CÉRAMIQUE, 1935 THE FACTORY WALL LANDSCAPECHIMNEY
Glaneuses/Glaneurs47UrbanArchitectureCERAMIQUE DISTRICT, 2021 LUIGISNOZZI-STOA MARIOBOTTA-LA FORTEZZA JOCENTRECOENENCERAMIQUE ALVARO SIZA - Block 8 Tower TRACESOFFORTIFICATION DEBORDENHALPIAZZA UN-DUTCH OPEN BUILDING BLOCKS AVENUECERAMIQUE-ALAAvenuedesChamps-ÉlyséesREPETITIONOFGREENERYSTRIPANDCITYWALLFROMTHEOTHERSIDEOFTHERIVER
Glaneuses/Glaneurs48UrbanArchitecture STOASTORIESRESIDENTIALBUILDING, CERAMIQUE DISTRICT, 2010 PORTRAIT OF A MAN WITH A CAT RESIDENTSOFOFEUROPAEXHIBITION
Glaneuses/Glaneurs49UrbanArchitectureEXHIBITION ORGANIZED BY BUREAU EUROPA SHOWING THE „SOCIAL CAPITAL” THE DISTRICT. INVISIBLE INNER WORLD CÉRAMIQUE - BIG PORTRAITS OF RESIDENTS IN THEIR OWN APARTMENTS EXCLUSIVE APARTMENT BUILDING REPEATED SERIES OF TWELVE SEVEN-STOREY T-SHAPED BLOCKS RAISED PLINTH FORMED BY THE PRIVATE GARDENS WITH PERGOLA
Glaneuses/Glaneurs50UrbanArchitecture Stoa[ImageSTOA1.13]andotherresidential buildings in Ceramique [Image Facade1.14]thatfaces the Charles Eyck Park and the Maas
Glaneuses/Glaneurs51UrbanArchitecture[Image 1.15] The pergola over the private[Imagegardens1.16] The pergola over the private gardens, built between the building and the park
Glaneuses/Glaneurs52UrbanArchitecture FLOOR PLANS ENTREE KITCHEN BED ROOM 0 5 m1 Lower Level Plan Upper Level Plan [Image 1.17] Typical apartment module in Stoa
Glaneuses/Glaneurs53UrbanArchitecture ENTREE KITCHEN BED ROOM BED ROOM BED ROOM BED ROOM BED ROOM Upper Level Plan ENTREE KITCHEN BED ROOM 0 5 m1 Lower Level Plan Upper Level Plan
Jo Coenen, architect, author of the Ceramique plan "The principle of this kind of plan is: make it with one hand, one could say. And that happened, not more than five people made the decisions."
is based on the more formal relation between the city and the human being. We make huge buildings, and by making buildings, we make the city."
"Look at this enormous scale. It's quite something that you dare to propose something like that."
Fred Humble, architect
Glaneuses/Glaneurs54UrbanArchitecture
"It uplifted Maastricht out of its provinciality. [ceramique plan]"
"TheVOICESwholeCeramique
Ninke Happel, architect "What is absolutely visible is the context in which it is situated.The area could be the echo of the other side.
Glaneuses/Glaneurs55UrbanArchitecture 15www.zuiderlucht.eu december 2010 1 Ruiterij / 2 Stadswoningen - Hans Zuketto / 3 Maaskantoren - Jo Coenen / 4 La Résidence - Aurelio Galfetti / 5 Derlon Theater/Café Zuid - Jo Coenen / 6 Maasappartementen - Jo Coenen / 7 Plein 1992 - Jo Coenen / 8 Centre Céramique - Jo Coenen / 9 Toren van Siza - Álvaro Siza / 10 Arco Íris / A Fachada - Alvaro Síza 11 La Fortezza - Mario Botta / 12 Porta I en II - Fons Rats en Theo Teeken / 13 Charles Eyck-park - Gunnar Martinsson 14 Stoa - Luigi Snozzi / 15 Résidence Sonneville - Bob van Reeth / 16 Résidence Cortile (Grote Circus) - Bruno Albert / 17 La Forme - Harry Gulikers / 18 Rijkskantorengebouw - Hubert-Jan Henket / 19 Piazza / Céramique - Jo Janssen en Henk Verheij / 20 Patio Sevilla - Cruz y Ortiz / 21 Jardin Céramique (Kleine Circus) - Mbm Arquitectes / 22 Bonnefantenmuseum - Aldo Rossi / 23 Wiebengahal - restauratie Aldo Rossi / 24 Maison Céramique - Charles Vandenhove / 25 Allogio Giardino - Christian Kieckens / 26 Il Fiore - Herman Hertzberger / 27 Vodafone - Arn Meijs / 28 Indigo - Wiel Arets / 29 Parc Céramique (Servatius) – Mathieu Bruls / 30 Rabobank - Han Westelaken 1 2 3 5 13 14 6 9 10 11 12 15 17 19 21 24 25 26 27 28 22 23 18 20 8 7 4 29 30 [Image Ceramique1.17]district urban plan by Jo Coenen
Glaneuses/Glaneurs56UrbanArchitecture EXHIBITION
Glaneuses/Glaneurs57UrbanArchitecture
Glaneuses/Glaneurs58UrbanArchitecture EXHIBITION
Glaneuses/Glaneurs59UrbanArchitecture
Glaneuses/Glaneurs60UrbanArchitecture EXHIBITION
Glaneuses/Glaneurs61UrbanArchitecture
VOICES
“A friend of mine grew up above his parents' shop, and he was a child. Every shop owner was living above his Fred Humble on urban renewal project of Stookstraat street
Glaneuses/Glaneurs62UrbanArchitecture
Glaneuses/Glaneurs63UrbanArchitecturehe always talked about the community in the '60s when own shop." street
Glaneuses/Glaneurs64UrbanArchitecture VOICES
„We made a lot of walks in the city. So you see all this of project, it fits the structure of Maastricht, the idea street is an urban place, but there are also courtyards Ninke Happel on a project of Hoogfrankrijk by Charles
Glaneuses/Glaneurs65UrbanArchitecture
fabric and the structure. And you also see that this kind of a city that is very much layered. Where not only the and there is something to discover in the city.” Vandenhove
Glaneuses/Glaneurs66UrbanArchitecture study trip to Paris
Glaneuses/Glaneurs67UrbanArchitecture
Glaneuses/Glaneurs68UrbanArchitecture
Glaneuses/Glaneurs69UrbanArchitecture
“Memory always unfolds in space, for when memories could not be located in the social space of a group, then remembrance would fail. Consequently, the activity of recollection must be based on spatial reconstruction.2”
III. Gleaning third places individual research An important part of my departure was the notion of third place. In the book “Great Good Place”1 Ray Oldenburg explains third place as the anchor of community life that facilitates and fosters more creative interaction between people. If the first place is our home, second is our workspace; then the third place happens between those two. Third places are often enzymes starting the processes of forming socially friendly neighborhoods. Oldenburg names few features that characterize third places. After many interviews and walks in the city I could recognize those features in many places that people kept on mentioning on the map of Maastricht. The features pointed by Olndeburg were introduced with the use of archival photographs of some of the third places I came across in my research about Maastricht.
Glaneuses/Glaneurs70UrbanArchitecture
1 Oldenburg, R. (1999). The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community (3rd ed.). Marlowe & Company 2 1 Boyer, C. M. (1996). The City of Collective Memory: Its Historical Imagery and Architectural Entertainments (1st tr pbk ed.). The MIT Press.
Research diagram third place case theatrearchitecturalstudiesbriefasathirdplacecityfabric?collectivememoryMAASTRICHT FACTORY archivalinterviewscitywalksreadingsresearch What were characteristic third places of Maastricht ? How can the case studies lessons help in integrating the former paper factory with the city ? six views on Maastricht Lucy Willems GroenLinks Municipality of Maastricht, Urban Development Committee Servé Minis specialist in the field of cultural heritage in the city of Maastricht FredarchitectHumble perspectival drawings - restaging spectacles
Glaneuses/Glaneurs72UrbanArchitecture
Art market in front of the café - restaurant “Du Casque”
Elephant from the „Manresa circus” makes a headstand in café „in den ouden Vogelstruys”
PLAYFUL MOOD
Glaneuses/Glaneurs73UrbanArchitectureBonbonnière Café In Den VogelstruyOuden ‘Sphinx’ - zaal Theater De Manege Maastricht city farm Staargebouw Statensingel - a complex of workers’ houses city walk with Serve
Glaneuses/Glaneurs74UrbanArchitecture Foyer of music hall Staargebouw A LOW ATTENTIONPROFILETO COLLECTIVE RITUALS Maas beach bath “Juliana”
Fred Humble on urban renewal project of Stookstraat street boat theatre on the occasion of the 40th coronation jubilee Queen Wilhelmina
Glaneuses/Glaneurs75UrbanArchitectureTHE MEMORYREGULARSCREATION
“A friend of mine grew up above his parents' shop, and he always talked about the community in the '60s when he was a child. Every shop owner was living above his own shop."
Glaneuses/Glaneurs76UrbanArchitecture research material on third places
Glaneuses/Glaneurs77UrbanArchitecture
1 Boyer, C. M. (1996). The City of Collective Memory: Its Historical Imagery and Architectural Entertainments (1st tr pbk ed.). The MIT Press.
Glaneuses/Glaneurs78UrbanArchitecture
After a few interviews and a city walk with Serve, I realized there were a couple of examples that were mentioned repeatedly. The gathered material about the third places was extensive, after a while I could also observe a pattern appearing in my research. Although the theater was not the target, it turned out that theaters were an essential element of the network of third places in Maastricht. Almost like the beer gardens in London, the cafeterias in Paris, theaters constituted a critical element of the coexistence of informal public places in Maastricht.
“In the city of collective memory, we are interested particularly in the creation of meaningful and imaginative public spaces.”1
With the lenses of third places and collective memory, I aimed to look at the city of Maastricht. Through city visits, archival research, interviews, and readings, I focused on a few case studies that people remembered as third places. The attempt was to try restaging specific spectacles that informed the architectural brief for the design in the later stage. If Maastricht is the city of spectacle, I was in particular interested in what were the meaningful and imaginative spaces that staged those spectacles. And second of all, how the knowledge of those spaces can be applied in the series of design tasks regarding the factory itself. As a result of individual research, I translated the gathered knowledge into perspectival drawings.
source -
Schouwburg De Manege In 1784, with the unusual urgency, French soldiers, after entering Maastricht, settled up the first improvised permanent theater in the old riding school Jekerstraat. After a while, it became a complete theater with two galleries serving soldiers and citizens as a place for entertainment, comedy, and relaxation. Photo collection GAM
Glaneuses/Glaneurs79UrbanArchitecture
Glaneuses/Glaneurs80UrbanArchitecture
Staargebouw
Theaters in Maastricht were always more aimed at entertainment and recreation, and fulfilled a more social than artistic function. Therefore, more can be said about its social position than its artistic function. There was a pattern that buildings for which the city had no clear purpose were often claimed as more or less formal public spaces, theaters per se. Maastricht’s theatrical history has long been more the history of the theater building than of the drama itself.
Another example was Staargebouw located next to city palace at Sint Servaaskerk. The building mainly served as a rehearsal room, concert hall and stage.The first Stargebouw dates from 1906 to 1953. During the design phase, local communities argued that its foyer should host all types of neighborhood activities. Especially roller skating evenings, that is why the wooden parquet was exchanged for special sports flooring. Staargebouw served also as a free political ground for people to discuss over changes happening in town.
Bonbonnière
With time, the need for a bigger theater grew. The opportunity for a new theatre space was found in an empty Jesuit church building on the Bredestraat. But it had to be adapted. As a result, a stage tower was added to the front baroque facade. to easily exchange scenographic elements. Since then Bomboniere became an important public space for all kinds of events, artists venues. On regular basis it’s foyer also served as playful and cheerful, versatile space adaptable for all purposes for people to gather.
Bonbonnière, community theater, the western Baroque facade, was raised in 1955 to accommodate the new stage tower. Jesuit church 1879
Glaneuses/Glaneurs81UrbanArchitecture
Glaneuses/Glaneurs82UrbanArchitecture “Redoute”, Congress of the Association of Directors of Municipal Works, concert by the “Mastreechter Staar” conducted by Martin Koekelkoren Perspectival drawings / Bonbonnière How the collectivity comes together in case studies? 1955, source - Photo collection GAM 1970, source - Photo collection GAM
Bonbonnière “Redoute”, artist ball Bomboniere foyer around 1930 “it looked cozy, with cafe and reading tables, and for those whom that wasn’t enough, the billiard tables were added”
Glaneuses/Glaneurs83UrbanArchitecture
Glaneuses/Glaneurs84UrbanArchitecture Perspectival drawings / Staargebouw How the collectivity comes together in case studies? Explanation of the Maasboulevard project by the council of B&W, 1970 Staargebouw, 1953 Staargebouw, 1955
The flexibility of the foyer space was a priority. The municipality decided that the flooring must be suitable for roller skating popular among the local community Therefore, the wooden parquet wasn’t installed. Pipe smoking competition, 1958
Glaneuses/Glaneurs85UrbanArchitecture
P2 group work / Rik van de Wijgert, Diederik de Vries, Oliwia Tatara
Glaneuses/Glaneurs86UrbanArchitecture
IV. Stiching the city Masterplan for the paper factory
As the next step of the process together with Rik and Diederik we were working on the masterplan for the factory. As we discovered that the factory area has many ties to the topographical, memorial, social, and historical layers of the city, we decided to work with the entire area of the industrial puzzle. Although its area does not have formal district boundaries, thhe edges of the factory are characterized by large infrastructural elements. The site underwent many changes in last decades, still, the factory remains a leftover piece that opens up many questions about the directions in which city planning aims. The prospect of the project reaches out to twenty years ahead and assumes that the factory is no longer present in Maastricht. In the meantime, to our surprise, the factory announced the sale of its land in December 2021. Our investigations began on the scale of the city again. We wanted to understand all the layering of the site.The structure of the city is largely determined by the city walls and fortifications.The fortified city was created by concentric rings. The map represents the old fortifications of the city which today exist as a green ring around the city center. The factory though is the missing piece of this big city ring interrupting the continuity of the path around the city center. The border of the green ring existed on the line of Fransesignel street. Later the factory extended to the north, interrupting the old fortification line. Until the end of the 19th century, the history of the area around the Fransensingel was parallel with the fortress . After the demolition of the fortifications, the street was constructed as part of a quiet single road , which gradually lost its public character due to industrial expansion.
In recent years, Sappi has invested tens of millions of euros in machines for high quality packaging board “It is a well run pro�table company,” says Marco Eikelenboom, director of Sappi Europe "But not pro�table enough "
https://m.limburger.nl/cnt/dmf20211216_96945920 1/5
DE NACHT BRAKER DE OCHTEND MENS 10 Philippens, J. (2021, December 16). Maastricht compleet verrast door verkoop pa pierfabriek Sappi, een van de iconen van de stad. De Limburger Mobile. https://m. limburger.nl/cnt/dmf20211216_96945920
The Sappi paper factory on the Maas in Maastricht. (IMAGE: HARRY HEUTS)
The Sappi paper factory in Maastricht is up for sale. This has been decided by the management of the South African group. 500 people work in Maastricht who will probably find a new boss.
23.01.2022, 10:25 Maastricht compleet verrast door verkoop papierfabriek Sappi... - De Limburger Mobile
The history of the factory will become the next layering of the site. Industrial folies should inform us about the past. In our design, they form an important element as place makers as spatial and as articulations of the public spaces around the site. The design diagrams summarize our intentions. Firstly, the plan aims to reuse existing infrastructure within the factory (Franssensingel), extending the central axis toward the northern part of the factory. The large cross continues in smaller urban spaces—the Folies as place makers and monuments. The crucial point of departure were two longitudinal buildings of papermills that, in our proposal, become the main flow passages and principal axes of the southern part of the factory.
Glaneuses/Glaneurs87UrbanArchitecture
Maastricht completely surprised by the sale of paper factory Sappi, one of the icons of the city 16-12-2021 at 20:18
Glaneuses/Glaneurs88UrbanArchitecture 1840, Maastricht, fortifications source: https://beeldbank.rhcl.nl/detail.php?nav_id=0-1&id=6332707&index=2
Glaneuses/Glaneurs89UrbanArchitecture Sappi factory
Glaneuses/Glaneurs90UrbanArchitecture 1867, Maastricht, Fransesignel source : http://www.theobakker.net/menu_ maastricht_ pdf.html
Glaneuses/Glaneurs91UrbanArchitecture Sappi factory Fransesignel
Glaneuses/Glaneurs92UrbanArchitecture green ring
Glaneuses/Glaneurs93UrbanArchitecture
Glaneuses/Glaneurs94UrbanArchitecture green ring - continuation
Glaneuses/Glaneurs95UrbanArchitecture
perspective from the Maas river to the power plant and the new park in the northern part - contination of the green ring of the city
perspective from the square to the alley - the former paper mill building
Glaneuses/Glaneurs96UrbanArchitecture
perspective on the main factory street, opening to the square from the side of Bassin the silos as articulation of the main street
Glaneuses/Glaneurs97UrbanArchitecture
existing infrastructure - cardo and decumanus
The plan aims to reuse existing infrastructure within the factory (Franssensingel), extending the central axis toward the northern part of the factory.
Glaneuses/Glaneurs98UrbanArchitecture
Glaneuses/Glaneurs99UrbanArchitecturefolies Structures that carry industrial reminiscence are kept and become place -makers as follies in the new proposal.
PM6 PM5 PM4 PM1
Glaneuses/Glaneurs100UrbanArchitecture paper mills logic
The master plan follows the logic of the paper mills, preserving the spatial morphology that constitutes the site.
newbridgenew bridge newbridge transport renovation of the existing Massboulevard tramline, cycling path, pedestrians lead to the center of the factory, bringing the natural flow of public life to the heart of the site the pedestrian and cycling path is continued along the river line additions of three new bridges
Glaneuses/Glaneurs101UrbanArchitecture
renovationrenovation
Glaneuses/Glaneurs102UrbanArchitecture Existing situation
Glaneuses/Glaneurs103UrbanArchitecture situation 1:500
Glaneuses/Glaneurs104UrbanArchitecture Demolishion
Glaneuses/Glaneurs105UrbanArchitecture Demolishion plan 1:500
Glaneuses/Glaneurs106UrbanArchitecture New interventions
Glaneuses/Glaneurs107UrbanArchitecture interventions 1:500 new interventions outlines of demolished buildings
Glaneuses/Glaneurs108UrbanArchitecture A Masterplan
Glaneuses/Glaneurs109UrbanArchitectureB C Masterplan 1:500
Glaneuses/Glaneurs110UrbanArchitecture continuation of pedestrian path along the river line new connections - integratiing the factory
Glaneuses/Glaneurs111UrbanArchitecture factory with the city done by infrastructural decisions connection Frontenparkwith connection offactory with Lumiere
Glaneuses/Glaneurs112UrbanArchitecture section Fransensingel,A-A alley in the former papermill building section C-C new residential buildings with the northern park entering Fransensingel section courtyardB-Bbetween two papermills
Glaneuses/Glaneurs113UrbanArchitecture
Glaneuses/Glaneurs114UrbanArchitecture big boxes typologymonuments
Glaneuses/Glaneurs115UrbanArchitecture typologymonumentsstudies pavillions
Glaneuses/Glaneurs116UrbanArchitecture northern silhouette of the park and the power plant
Glaneuses/Glaneurs117UrbanArchitectureperspective of the tramline and the new square
Glaneuses/Glaneurs118UrbanArchitecture model photographs
Glaneuses/Glaneurs119UrbanArchitecture
Glaneuses/Glaneurs120UrbanArchitecture
IV. Coming together - architectural project community theater and a housing project in between two papermills “As important as timing, and closely related to it, is the location of the third places. Where informal gathering places are far removed from one’s resi dence, their appeal fades.”
1 1 Oldenburg, R. (1999). The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community (3rd ed.). Marlowe & Company.
“Third places, are not constructed as such. Rather, establishments built for other purposes are com mandeered by those seeking a place where they can linger in good company. Usually, it is the older place that invites this kind of takeover.”
Glaneuses/Glaneurs121UrbanArchitecturemodels developed during P3
Glaneuses/Glaneurs122UrbanArchitecture initial ideas for the theatre and courtyard development
Glaneuses/Glaneurs123UrbanArchitecture
Glaneuses/Glaneurs
Glaneuses/Glaneurs125UrbanArchitecture
Glaneuses/Glaneurs126UrbanArchitecture design sketches
Glaneuses/Glaneurs127UrbanArchitecture
Glaneuses/Glaneurs128UrbanArchitecture structural analysis of the existing buildings
Glaneuses/Glaneurs129UrbanArchitecture
Glaneuses/Glaneurs130UrbanArchitecture factory visit
Glaneuses/Glaneurs131UrbanArchitecture
Glaneuses/Glaneurs132UrbanArchitecture factory visit / context study
Glaneuses/Glaneurs133UrbanArchitecture
Glaneuses/Glaneurs134UrbanArchitecture study trip to Antwerp and Ghent
Glaneuses/Glaneurs135UrbanArchitecture
Glaneuses/Glaneurs136UrbanArchitecture study trip to Antwerp and Ghent
Glaneuses/Glaneurs137UrbanArchitecture
Glaneuses/Glaneurs138UrbanArchitecture study trip to Antwerp and Ghent
Glaneuses/Glaneurs139UrbanArchitecture
Glaneuses/Glaneurs140UrbanArchitecture study trip to Antwerp and Ghent
Glaneuses/Glaneurs141UrbanArchitecture
Glaneuses/Glaneurs142UrbanArchitecture study trip to Antwerp and Ghent
Glaneuses/Glaneurs143UrbanArchitecture
Glaneuses/Glaneurs144UrbanArchitecture study trip to Antwerp and Ghent
Glaneuses/Glaneurs145UrbanArchitecture
Glaneuses/Glaneurs146UrbanArchitecture
Until a few years ago, the site was home to the DIY shop run by the Standaert family, for a long time a popular spot for self-builders from Ghent.
As a result of a neighborhood initiative, the city of Gent acquired the land of this former hardware store in 2013. Following the inhabitants’ wishes, the site was reconverted into a meeting space for the community. The design focuses on the park, a reconverted shed, and a canopy. The park ranges between two streets and underneath the shed, located in the middle of the site. While the building houses multipurpose rooms and ateliers, the large canopy made of recycled trusses with a double side bench at the edge of the area offers a space for summer activities, where one’s welcome is not conditioned by ordering food in the cafe.
detail study / Standaertsite M U R M U U R, CARTON123, AE
Glaneuses/Glaneurs147UrbanArchitecturevapor barrier water barrier vapor barrier airgapPURpolyconcrete foundation plate column in view outsideinside jointplywoodperforated edge insulation edge insulation concreteconcreteCellularblock concretebrushedconcretebrickxps benchwooden benchwooden bench connection detail 1:5, own sketch
Glaneuses/Glaneurs148UrbanArchitecture case studies Gafpa / Reconversion Industrial site – House Gent, 2012 – 2016
Glaneuses/Glaneurs149UrbanArchitecture
Glaneuses/Glaneurs150UrbanArchitecture case studies LaCol / La Borda / cooperative housing building / cost-effective construction
Glaneuses/Glaneurs151UrbanArchitecture
Glaneuses/Glaneurs152UrbanArchitecture case studies LaCol / La Borda / cooperative housing building / cost-effective construction
Glaneuses/Glaneurs153UrbanArchitecture
Glaneuses/Glaneurs154UrbanArchitecture case studies jo taillieu architecten / a greenhouse and countryside educatio n centre in Belgium
Glaneuses/Glaneurs155UrbanArchitecture
Glaneuses/Glaneurs156UrbanArchitecture adhocism ad hoc - for this particular reason “Adhocism denotes a principle of action having speed or economy and purpose or utility, and it pro prospers like most hybrids on th edge of respect ability. Basically, as in architecture, it involcer using an available system in a new way to solve a problem quickly and efficiently.”
1 1 Jencks, C., & Silver, N. (2013a). Adhocism, expanded and updated edition. Amsterdam University Press.
Nathan Silver, Dining Chair, 1968, Made up of a tractor seat, insulating foram andwheels from and orthopedic supply house
Glaneuses/Glaneurs157UrbanArchitecture
The parts found in place need to find a new purpose so that they still indicate what they were made for and how they were put together. Adhocism was used as a method for bringing together things that were previously divided, a recon moment. Existing building subdivisions that formerly served as papermills, silos, and complex building combinations have been recontextualized into a new housing estate with a public center - a community theater with an open garden that hosts social interactions amongst the community. The existing roofs, large openings, and level differences that were formerly created to optimize paper production have become spacious terraces, high streets, and viewpoints. Still, the new intervention is “infinite,” just like the existing situation. The new architecture is not ‘complete.’ Its elements and compositions still indicate a certain eccentricity in composition, the lack of one pattern, rooting from the initial source.
“Coming together” proposes borrowing good practices that the inhabitants of Maastricht have developed over the years. Modes are enzymes in the development of housing estates, which have a strong identity with vibrant social dynamism. “Coming together,” a community theater and housing project, is a response to the existing on three scales. On the city scale, as a continuation of exemplary patterns of third places of Maastricht used for social gatherings. On an urban scale – an intake on stitching the industrial puzzle under transition with the more consequential tissue of the city, and on the architectural scale as a recontextualization of complex structures and machines into the neighborhood with hidden gardens, passages, and public venues.
Vernieuwend Wonen Maastricht Analysis of activities held in the neighborhood of a housing cooperative helped me think of social interactions that should be possible for people initiatives in the theatre project—seeing people coming together was a starting point for imagining similar opportunities in the proposed spaces. For example, low-budget meals are served in the Garden Room of cluster De Bron on Saturdays.
Glaneuses/Glaneurs158UrbanArchitecture
Glaneuses/Glaneurs159UrbanArchitecture
Glaneuses/Glaneurs160UrbanArchitecture 1. foodcourt 2. housing in a threshold 3. housing in the shed 4. summer theatre 5. elevated street 6. hidden courtyard 7. community theatre 7 6 3 4 2 1 5 7 rooms
Glaneuses/Glaneurs161UrbanArchitecture
Glaneuses/Glaneurs162UrbanArchitecture
Glaneuses/Glaneurs163UrbanArchitecture
Glaneuses/Glaneurs164UrbanArchitecture
Glaneuses/Glaneurs165UrbanArchitecture
Glaneuses/Glaneurs166UrbanArchitecture
Glaneuses/Glaneurs167UrbanArchitecture
Glaneuses/Glaneurs168UrbanArchitecture
Glaneuses/Glaneurs169UrbanArchitecture
Glaneuses/Glaneurs170UrbanArchitecture
Glaneuses/Glaneurs171UrbanArchitecture
Bloemen,BIBLIOGRAPHYC.(1964). Drie eeuwen Maastrichts theater. Leiter-Nypels. Boyer, C. M. (1996). The City of Collective Memory: Its Historical Imagery and Architectural Entertainments (1st tr pbk ed.). The MIT Press. Cillekens, C., & Bartholomeus, V. (2005). Van Ravelijn tot rivvelusie. Mooi Limburgs Boekenfonds. Cullen, G. (2012). Concise Townscape. Taylor & Francis. Dingemans, P. A. W., & Evers, I. M. H. (1994). Ach lieve tijd. Waanders. Jencks, C., & Silver, N. (2013a). Adhocism, expanded and updated edition. Amsterdam University Press. Kim, M. B. S. C. M. (2013). Borrowed City: Motoelastico. Damdi. Oldenburg, R. (1999). The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community (3rd ed.). Marlowe & Company. Ritchi, N., & Coenen, C. (2003). That’s why Maastricht : the past, the present and the future. WEAN International. Rossi, A., & Eisenman, P. (1984). The Architecture of the City (Oppositions Books) (Reprint ed.). The MIT Press. Scalbert, I., & Architects, A. (2021). Never Modern. Adfo Books. Sphinx Inside Out book. (2020). the artist + the others. Ubachs, P., & Evers, I. (2010). Tweeduizend jaar Maastricht. Walburg Pers bv.
Glaneuses/Glaneurs172UrbanArchitecture
Glaneuses/Glaneurs173UrbanArchitecture