01 towards a future habitat

vision included

01

THE NETHERLANDS FOUNDATION FOR VISUAL ARTS, DESIGN AND ARCHITECTURE

issue 01 - nov 2010

a revolutionary magazine; defining the new vision for contemporary design practice; through conceptual exploration and visionary imagination

Towards a future habitat

we are archi we have an we imagine

itects agency the future

4

the architect

5

Architects could act as revolutionaries by using their environmental knowledge (meaning the understanding of cities and the mechanisms of architecture) in order to be part of professional forces trying to arrive at new social and urban structures.

Architecture and its spaces do not change society, but through architecture and the understanding of its effect, we can accelerate processes of change under way.

6

Bernard Tschumi, taken from ‘Architecture and disjunction.’

typical architect

re-active problem solving

Vision Included

pro-active activation,

creating opportunities

pro-activation

7

the ideal

8

authors: RM van Dam + M de Geus

The new ideal.

Contemporary design practices lack a coherent strategic approach that considers current global changes within the discourse of their design. What we need now is a radically updated vision that grasps individual potential together and actively confronts contemporary social cultural topics at hand.

But, how to create vision in contemporary society? How can we take position?

Conventional religious, political, economical and social values have lost the ability to define the way we live together. Cultural values are being questioned, political entities are in decline, the effects of environmental changes are yet to be truly grasped while the economic system is (still) in major crisis.

There is no consensus to choose direction. Not only architecture, or design practice, but western society at large has lost its ideals.

Therefore, we take position, with Vision Included.

Loss of Motif.

In the end of the 19th century Friedrich Nietzsche pronounced this loss of idealism. In his famous ‘Also sprach Zarathustra’ he announced the dead of God; the dead of religion as the start of losing ideals; death to ideals as the motif in Western society.

During the 20th century Nietzsche’s message was not properly understood, but now it seems he was right all along. Not only are we losing our religious values, also political, economic and social values originated in the spirit of enlightenment are losing their fundaments.

Global Confusionism.

As the contemporary postmodern world is driven by diversifying globalization, there is a growing awareness of relativism and an increase in nihilism. With the increase of people able to cross geographical borders, both physical and virtual, diversity in the national city scapes is increasing. Ideas from abroad are juxtaposed onto existing local cultural values. The search for truth or one’s true identity will give no single answer, only more possibilities and ‘ways to see’. The contemporary globalized world is in confusion, there are no ideals to admire.

Losing money.

Capitalism has come falling down. The pursuit for money was one of the ideals of contemporary western society that is being questioned at this moment. Since the latest economic crisis money cannot be legitimated as being once’s goal in life anymore. But, since we started chasing money it was the one and only goal, leaving the rest of the world for what it was. What is next?

End of Democracy.

Democracy also had its time.

Our rational democracy, based on the idea of equality, pushed us to pursuit ‘mediocracy’ instead of the ideal of ideals. In a world with so many ‘equal’ opinions the ideal is turning into compromise or a never-to bemade decision.

We lost our ideals, we lost the reason to act. The platonic idea behind life lost its value. After the creation of the ideal in ancient sages, religion, equality and money there is nothing more to live your life for now.

What then remains? And how can we work on a new ideal when nobody seems to care?

We are no doemdenkers.1 What remains is the tangible world we inhabit. What is left is our spirit to survive; our eager to innovate with new ideas and, what remains, is our contempt.

We see a world in which people have lost their ‘joie de vivre’, a world using up its resources and a world without mutual respect because of personal anxieties. We can’t stand this any longer.

Based on this contempt we know we care, based on this contempt we know other people care; we are ‘just’ lost in what we care about.

We believe in the possibility to grasp individual potential together and work as a collaborative team on a way to create ideals again.

A world in which the contemporary problems of the individual vs. the collective, ecological mayhem, economic instability and the political identity crisis are overcome. We trust our intuition instead of our rationale to explore this future habitat. We are optimists and believe we can make a difference. We as architects are also artists, journalists, philosophers, politicians and scientists; able to connect people and bring ideas together, able to dissect and define our discipline and able to create the new ideal for this future habitat. Consider our magazine a start, an intuitive exploration of the new ideal. Not to show the world how it should be, or to present our vision as a static ideal, but to create an environment through which you can connect.

1 doemdenker, Dutch for ‘pessimist’, literally:’imagining doom scenarios’.

9

10

the dream

11

12

Towards a new ... ?

13

Change

14

author: M de Geus

Societies are in transition; and we can not sustain the way we are living at the moment.

The first symptoms of global disharmony can be easily observed; climate change, the economic crisis, massive housing problems in developing countries, shifting of world political powers, etc.

We are interested in creating an integrated vision as an ideal that integrates these aspects.1 But to properly judge the complete situation, we have to diagnose it’s entirety.

That is why we want to introduce four change parameters that can describe our current state.

They consider the actors (people), the setting (planet), the structuring systems (prosperity), and the systems capable of negotiating these processes (politics). They form the basis for an analysis that identifies the overall patterns. Within this base the architect can serve in the position of translator, or ‘revolutionary’; by using our environmental knowledge (meaning our understanding of cities and the mechanisms of architecture) in order to be part of professional forces trying to arrive at new social and urban structures.

None of these environmental tactics leads directly to a new social structure, No doubt. Architecture and its spaces do not change society, but through architecture and the understanding of its effect, we can ‘accelerate processes of change under way.’2

Introducing the change parameters:

1 economy Due to irresponsible behaviors within the fiduciaries of the financial world, current economic systems are failing.

Modernist thoughts have directed our environments into the hands of mono-functionally oriented economies, which is proving not to be a sustainable methodology; does this signal the collapse of capitalism as we know it?

2 environment The delicate environmental balance has been influenced by human interventions. Various contemporary initiatives show us the threats for future insurance of contemporary living qualities. In reaction, a paradigm shift will need to take effect moving from a ‘society of control’ which induces fear, to a ‘society of inter-dependency’ in which actions facilitate as opposed to exploit.

3 society Losing social-cultural values of ethical and religious matters due to globalization is already a fact. Anxiety about the native culture - its identity and the future perspectives - causes diffusion, fear, anger and nihilism. We’re increasing our frame of reference by social networks on the internet, world traveling with cheap flights or television. But we seem to lose moral judgement along the way.

4 politics There is no clear consensus yet about the direction of global power division within the current global frame. The admission of china into the World trade organization in 2001 was one of the tipping points showing us the rise of

a new world class economy.

But the development of India, Brazil and Africa will affect the global power divisions strongly as well. And in addition the division of powers instigates identity problems.

These parameters can provide a thorough tool in analyzing contemporary conditions.

But, although the diagnosis should always be the first step, we believe a new direction should also be considered. A direction that enables empowerment, as we notice that there is not enough critical implementation of topics addressed in think tanks throughout separate disciplines. What we need now is a radically updated vision that: 1

grasps individual potential together, and 2 embraces collaboration as a collective tool to, 3 implement an integrated

design process, that 4 provides a coherent framework in developing a sustainable society; towards our future habitat.

It is important to realize that we can design the conditions of life and are in control of the way the future is shaped. As long as we are able, and willing, to activate partners and establish consistent relations, we can define our future’s habitat.

Suddenly architecture has the power to act, to gain momentum, as we develop partnerships with collaborators around the globe, designing the discipline up front.

1 see text on page 9 for reference 2 B Tschumi

15

economy

16

four change parameters

environment

society

politics

17

only that wh and changin stays fresh and contem

hich is alive ng

mporary

birth

20

Beauty and temporality, Blackbox Delft, 2006-2009

life

death

21

we are no doemdenkers

22

we are no doemdenkers

23

green is the future

24

green is the future

25

hello new world.

26

Hello new world.

27

we make dreams feel like reality

ekam ew leef smaerd ytilaer ekil

the story

30

authors: M de Geus + S Seager

THE STORY Our story.

Story is everything.

From the moment we sit at our mothers breast we are held in security. We learn the rituals of consumption.

But even more importantly, as we grow and develop our being on this world, we learn the rituals of story: of separation, lack, need, rise, fall, love, beauty, desire, ambition. And above all, we learn to assemble our sense of self. From our surroundings. Our context. We do all this through story. why?

We started Vision Included as a possibility to construct a new reality, to develop a physical and virtual platform to inter- and exchange knowledge between various disciplines involved in the debate of contemporary design discourse. We want to define our sense of self, position our ideas in the context of our surroundings, to define a new movement filled with optimism.

To create a story ... diving into an unknown world. Giving over to new impressions, incentives and experiences; to create an individual fantasy as an inspirational environment. how?

Looking back in history it is easily noticed that during times of socialcultural change, a clear and progressive positioning defines the rise of revolutionary movements.

So, while we are currently working on developing an integral vision regarding our Future Habitat, we wanted to start engaging. To get inspired, stay in touch, be involved, inspire us.

We believe in the power of collaboration for a stronger collective implementation.

Exchange of ideas is essential to innovation. This magazine provides a stimulating and inspiring environment for debate, inspiration and innovation; connection and participation. wow!

The concept of the magazine should be seen as a solid start of our positioning; to define a manifest movement and instigate an open call for action.

When conceiving the idea to create a magazine, we returned to the basics of storytelling.

Storytelling as a means of understanding our time and constructing a narrative of response. But, how do you compose a narrative? How can you use a story to communicate ideas?

Creating the story. Designing the conditions of life.

Our story has no scenario; nothing is pre-determined.

You have to create your own path based upon the input we provide. In this way you assemble your position; by doing so you step into our realm of thinking and participate in defining our identity. Embracing Idealism.

THE INTERVIEW To explore the idea of storytelling, interpretation, and participation of the reader, we decided to organize a pre-launch of our magazine.

Months before it’s final conception, this gave us the possibility to test our approach, and interact with our audience to develop our intentions. This pre-launch was conceived as a pop-up exhibition space, in which we presented some of our designand theoretical concepts, as well as the status of the magazine at that point.

At the event we held a double-interview session with Martijn de Geus and Steve Seager (communications expert) to explore this territory. In order to provide more context to this idea of story and narrative, a small part is transcribed here; “ Steve Seager: Story is simply the ability to construct, for ourselves, a sense of reality to find our personal ‘truths’. But now, our lives are ordered, structured, and planned around safe havens, the cheap seats of spectatorship, have crippled our ability to create.

As an architect, how do you feel about this? Do you think a culture of architectural consumption has compromised our ability to participate?

Martijn de Geus: I definitely share your note concerning the development of a passive society. However, I think it has more to do with cultural tendencies that promote the safety of uniformity.

Relating to architecture though, you could say that this is largely due to a split in architectural practices relating to client

31

Words of power.

typologies. The rise of the consumer culture gave way to so called ‘commercial architecture’ that created the generic cities of uniformity (your ‘safe havens’). In these catered environments all interpretations is left out, it almost holds a plot to carry you through.

SS: Well, ‘plot’ is a culturally specific concept.

For us in the west, plot is goal oriented. Focused on a single destination. Single points, arranged in such a way that we are seduced by security. If we deviate from the plot, we risk that security, we risk losing control. Do we need to feel safe and secure in the hands of a master storyteller then?

Or do we have the ability to improvise? To create for ourselves?

MdG: I think the question is how much conformism and structure we need to still allow for personal experiences. Whether you always need somebody to tell you a story, or whether you can be pro-active enough to develop a foundation of your own, based upon interpretations at hand. I believe you need to leave the interpretation to the participator.

As Jeffrey Inaba said: ‘Stories are important to architects because they

32

authors: M de Geus + S Seager

form the foundation of architectural proposals.’ But these are not pre-conceived outlines, they are distilled from the context at hand.

SS: That makes perfect sense.

Stories are the fundamentals underlying the way we make sense of our world. If an architectural proposal does not give the opportunity to tell a story (as opposed to creating a predetermined plot) how can it be successful?

MdG: How could you then consider a comparison to the (architectural) design process? No scenario, nothing pre-determined, allowing the reader to fill in the gaps?

SS: Well, the openness of communications today (I’m thinking social media) already allows me to play different roles (spectator, creator, consumer, participant) according to my feelings at that moment. I think it would be a wonderful thing if architecture throughout the design process allowed me the same possibilities.

MdG: So you create a story, then find ways to communicate it. I believe in the power of the stories interpretation, not necessarily directing the story telling. Much more about open communication. Story should be considered a process rather then a pre-determined script then.

SS: A great insight. Predetermined scripts are part of the meta narrative. A true dialogue is a wonderful ambition. I would love to see that.

MdG: Ok, so what we tried to do in this space regarding our pre-launch, to show this idea of a subjectively interpretive story. We hide the linear coherency and then presented the various parts within the same space again.

In this way we want the ‘reader’ to go beyond bias and expectations, as we don’t show the world how it should be, or our vision as a static ideal. We rather create an environment through which you can connect. Does that work in the same way?

SS: A true invitation to connect is not only an invitation to ‘read’ or spectate, but to participate.

We have been force fed linear coherency for generations, positioned as readers by our current socio political meta narrative. Perhaps we have become too subservient to the meta narrative. The challenge now, is how will we participate? How can we create? Is this possible with architecture?

MdG: I believe so. And it has already been explored, by architects such as Van Eyck and Hertzberger. But in recent years this has become neglected; or abstracted beyond human readibilty.

Let’s take a rather direct translation of this idea of narrative connection in the architectural context.

Deconstruction spatially tries to enable the visitor to participate in the experience of space. Forcing the visitor to re-assamble his experiences and to recreate the narrative. Would you say that participative conditions apply here?

Steve Seager: Architectural de-constructivism. A kissing cousin of postmodernism. Although the fragmentation and dislocation of architectural elements may result in engagement of the individual, obscuring meaning in narrative only serves to confuse, not to engage. Serving as a guiding hand offers the possibility of security to spectate, with the potential to participate.

Don’t you think?

MdG: I agree here. Both in our architecture, as in the way we develop our office, the magazine, workshops, etc we try to follow this principle. To create bounderies, of space, of time, of ideas to allow for potential particpation. I don’t want to change or prescribe behaviours, but rather within the bounderies start from the input at hand. We try to then explore various impressions to describe a larger framework, like Walter Benjamin would describe his experiences in snippets, capturing various aspects of city life to describe the development of the modern Paris.

SS: I can agree here. And actually this has quite a history to it, as in many aboriginal cultures for instance, a collection of visual symbols - ‘U’ shapes, ovals, straight lines - drawn in the sand, or painted on a canvas, are used to represent the elements of a story. But often, the plot is missing.

The role of the spectator is to create a new story. And take action. Decide which plot holds truth.”

EMBRACING IDEALISM The globalization of architectural discourse since the industrial revolution led to a singular modern ideology; towards an ‘International Style’ in architecture; an identity without interpretative possibilities. Post modernism lead to the existence of multiple, coexisting singular identities.

While a top down definition could provide a framework of possibilities, it is always implemented in a specific context.

This is also relevant in the projects we design, and our view on architecture as a discipline, in which we embrace idealism as a tool for collective design innovation.

Segregated identity exists inside the city scape, in which the largest share of program consists of housing.

As a result of functional segregation in modern townplanning these dwellings have been grouped together as islands, or rows of detached towers, without identity, We try to explore new ways of identification. We, for example4, regard the skyscraper as an urban feature that enables to connect and catalyze within the urban fabric, rather then enabling gatedness.

traditional building block and blends with the urban plinth. This urban block already has the qualities of an integrated city in which needs can be fulfilled locally. The size of the skyscraper depends on the area that is served. It becomes part of the urban fabric that embraces its idealism.

The framework given by the skyscraper is adaptive and will provide possibilities to depict an ever-changing society. This enhances the durability of not only the building itself, but it also enhances the livability of the neighborhood.

The skyscraper generates identity for the neighborhood.

Instead of being part of a large generic city, a social community will arise around, throughout and because of the tower. The building is identifiable and defines the housing area as such.

The skyscraper could then provide urban identity and connected program mixture to function as a community hub. It evolves out of the

Notes: 1 Based upon an nterview that was held in Rotterdam, June 23rd 2010 at the ‘Great Leap Forward’ exhibition; edited for publication.

2 J. Inaba 3 See W. Benjamin’s ‘Illuminations’ 4 see our project ‘System

Internationale’

identifying idealism 33

34

Story board.

35

36

embracing idealism_ part 1

37

38

embracing idealism_ part 2

39

40

embracing idealism_ part 3

41

42

embracing idealism_ part 4

43

utopia/ reality

44

authors: M de Geus + AM Dijk

‘Utopia Station.

Around every Utopia, a garland of barbed wire.

But every architect carries the Utopian gene...

Utopia is a state, not an artists’ colony. It is the dirty secret of all architecture, even the most debased; deep down all architecture, no matter how naive and implausible, claims to make the world a better place. Like all of those touched by the Utopian, architects have been severely punished. In any balance of Utopian achievement, a handful of fragile prototypes is weighed against its disasters - a fluctuating body count that hovers around 100 million victims this century alone.’1 Architecture apparently cannot handle reality without it’s longing for utopia.

Therefore without a nonutopian reality architecture would be rootless. But the imagination of utopia has not been the exclusive domain of the architect.

Societies, religions, kingdoms and the likes have been considering the utopian world as a projection of their cultural ideals. Do we need these abstract utopias to provide us with a world of ideals to live up to?

1 the problem of creating utopia The relevant question now is, whether this concept of utopia can truly be a catalyst for contemporary change? Could this enable progressive cultural developments? Or is it simply a detached concept, or ‘power tool’, representing misplaced totalitarianism?

The problem of creating utopia lies in its nature as

a representation of the ideal society from a subjective, creator point of view, and cannot be used to conceive legitimate arguments regarding the implementation of actual demands rooted in reality.

It is a state, not a useful concept of transformation.

And certainly should not be thought of as a true guide to society.

2 facing reality But, within our position as visionary thinkers, we, as architects, can use our ability to interpret environmental and social cultural impulses to respond to changing realities.

Without leading away from the conceptual boundaries of space, our reality ultimately is a concrete entity and we have to consider it as a physical environment. We have to face reality.

Could we now imagine a new type of inspiring structure that could function as the leitmotif for interdependent global developments; towards a future habitat? An abstract principle that has a symbiotic relationship to its tangible fundament, feeding directly from the physical symptoms and acting back upon them?

upon your interpretation of your relevant (meta-)physical environment. In this way your imagination is always highly contextual. It is local. It represents the network you tap into, the regions you move about and the images you capture.

‘Just as a given meadow can only support a certain number of cows without being grazed bald, the reality of nature is progressively consumed under the simultaneous escalation of culture and density in the same spot.’3 Our dream could be a starting point as a place where you can develop a vision; be imaginative and act as a test ground for new concepts. A dreamland. An intricate way to digest reality.

A dream that activates people. A dream that makes you believe again.

3 a dream that empowers As ‘Intuition is the sum of the acquired knowledge’2, the dream has the power to subconsciously capture our incentives and to create a new world based upon them.

We propose a dream that empowers. Not a dream to hide away in, not a dream that creates an imaginary shadow world, but a dream that guides you through the night and provides inspiration for the day of tomorrow. Within it, all the narrative is based

Sources: 1 R Koolhaas 2 Le Corbusier 3 R Koolhaas

45

46

Utopia/ Reality

47

synchronisity

48

author: M de Geus

‘Throughout human history our species have faced the freighting and terrorizing fact that we do not know who we are and where we are going in this ocean of chaos.’1 As architects, we have the task to interpret the world around us. To contextualize our thoughts; to implement and intervene. To find out where we are going.

In order to understand how our environment works, and to grasp the processes that define the phenomena around us, we, as a human society, have developed models that provide an understandable framework for otherwise complex systems and situations. This understanding enables us to learn from these systems or processes, but can also help us modifying and interpreting their conditions to use them to our advantage.

These ‘models’ count as the simplified description of a system or process.

Starting with the Enlightenment, the idea of ratio and reason above believe or intuition became the dominant model in Western thinking. Throughout various layers of society, people believed that through a rational understanding of the world around them, they would be able to profit from it.

1 introducing parallelism throughout the design process But, engaging the creative profession means a letting go of direct paths and pure rational processing.

The design process instead consists of various parallel tracks that cross-breed new ideas without pre-conceiving.

An intuitive impulse enables efficient design developments as certain aspects suddenly fall into place.

2 synchronicity in occurring events These moments of sudden understanding, inspiration or connection could be thought of as purely coincidental; in which a coincidence lacks a definite causal connection.

But, ‘any given set of coincidences may be just a form of synchronicity, that being the experience of events which are causally unrelated, and yet their occurring together carries meaning to the person observing the events.’2 The theory of synchronicity claims a connective framework, or (sub-)consciousness that allows these incidents to prevail. And, in order to count as synchronicity, the events should be unlikely to occur together by chance. It argues that it is not the existence of individual events and thoughts that accounts for progressive developments, but that the key is the synchronization of these individual aspects.

3 synchronicity in global developments Within contemporary interconnected societies, simultaneous developments are more able to be noticed. We are very aware of discourse, innovations and inventions that are conceived throughout the world. This enables the establishing of a broader world agenda, in which global developments are synchronized, without top-down control.

The current Green Movement, as a rise of collective environmental awareness is a striking example. connecting multiplicity When creating a multidisciplinary design firm, like we intend to, we find it encouraging to embrace this idea of connecting

inspiration. In this, the idea of synchronicity is that the conceptual relationship of minds, defined as the relationship between ideas, is intricately structured in its own logical way and gives rise to relationships that are not causal in nature.

Synchronistic events reveal an underlying pattern, a conceptual framework that encompasses, but is larger than, any of the systems that display the synchronicity.

5 search for wholeness We believe there are ways to encourage this exchange. If we want to exploit innovative developments and establish a global consciousness, we have to connect, or ‘synchronize’ with the right minds, at the right moments, To facilitate this process, we developed our ‘Agency’ concept. We provide an entity where minds, peoples and cultures from seemingly unrelated origin and without apparent causal relation can coalesce through the existence of an over arching framework. An identity in which all individually promising perspectives can synchronize.

‘People meet in architecture’3, can thus be seen not only as a physical facilitation of encounter, but can also be regarded as a conceptual outline for a new movement of inspiring potential.

4

Quotes: 1 T Leary 2 CG Jung 3 K Sejima

49

to be inspire stay in touch get involved inspire us

ed h d

Sanne van der Burgh

Albert Chu

Architect MSc. Delft University of Technology

Fashion/ PR/ Architect/ Designer MArch GSD Harvard University

BIO Sanne specializes in architecture, 3D design, conceptual modeling for preliminary designs, building information modeling for execution works and streamlining architectural workflow between 2D and 3D. She has elaborate experience as (project) architect on large scale and complicated projects in which she could test these tools in practice.

After graduating in Delft, where she first explored the possibilities of computer aided design processes, she worked at Erik van Egeraat for about 4 years in the Moskou, Budapest and Rotterdam offices.

She is currently employed by MVRDV and has recently started her own practice, called ‘Aspect ratio’.

BIO Albert received his Masters in Architecture from the Graduate School of Design at Harvard University. During which he did an exchange program in Vienna at Zaha Hadid’s design studio.

He worked at Johnson/ MarkLee in Los Angeles, where he was involved as exhibition curator, in research, architectural projects and office management. He left the practice in 2008 to start his own architectural design firm, but soon found that pure architecture would not suit his interests. In reaction he is currently working as an independent creative consultant for various private companies, inspiring their creative processing and communication strategies. He also started a fashion label, producing self-designed bags.

Stefan Koller

Katia Leuschner

Architect/ philosopher PhD Architectural Philosophy _ Delft

Industrial design/ student Msc Industrial Design_TU Delft

BIO Stefan is specialized in the relation between architectural practice and philosophical explorations.

He is trained as an architect and worked at the German firm Nickl and partner, in Munich.

He recently moved to the Netherlands, to pursue a PhD in cross-disciplinary philosophy integrated within the architectural discourse, at the faculty of Technology, Policy and Management in Delft.

After finishing high school in Germany, Katia Leuschner moved to the Netherlands to study Industrial Design Engineering at the TU Delft.

Stefan hopes to make progress by cross facilitating the competences of architects and philosophers, starting with a new multi-disciplinary course introducing philosophy at the Delft University of Technology.

Nathan Rozema

Steve Seager

social geographer/ etnic specialist BA Geography, University of Utrecht MA University of Amsterdam

Communications expert/ Writer/ PR BA Hons University of Manchester

He is the owner of ‘Labyrinth’ and ‘Extenzio’.

Labyrinth is a Research & Consulting company for real estate, city development, diversity, social issues, segregation, Retail, Sport &Leisure, Welness & Care, Education Extenzio is an expert center for retail, enterpreneurship and real estate.

BIO Steve specializes in strategy, communications, problem solving, C suite advisory & counsel, content direction, and in being generally inquisitive.

He is a senior communications professional, writer & PR guy, with around 18 years experience across of different industries, cultures & countries. He is President Elect of the Dutch Chapter of the International Association of Business Communicators & owner, strategy & comms director of his own company: We do communications.

He has a strong grounding in business management, processes & information systems & strategic communications.

And he loves what he is doing!

Rob Wesselink

Julie Wolsak

Architecture/ student MSc Architecture_TU Delft

Architecture student MSc Architecture_TU Delft

Rob Wesselink is specialized in architectural design and 3D visualization; and has a passion for photography. He is currently graduating for his MSc Achitecture at the TU Delft. The project is part of the ‘Interiors, Buildings and Cities’ department and concerns a proposal for a Flemish Culture center in the heart of Amsterdam.

Julie is specialized in architecture and entrepreneurship. Her aim is to integrate the architecture office with a pro-active entrepreneurship attitude.

After finishing high school in France she moved to the Netherlands to study architecture at the TU Delft. In her second year she was responsible for the financial aspects of the BlackBox pavilion, incorporating financial tasks, contracting aspects of the building process as well as the building site coordination. She currently works as student assistant at YES Delft, center for entrepreneurship. organizing the third edition of the entrepreneurial course “Starting New Ventures”, for the founding managing director of the MIT entrepreneurship centre; Kenneth P. Morse.

BIO Nathan specializes in research and advice regarding city renewal, enterpreneurship in relation to neighbourhoods and cities, neighbourhood development, location empowerment and multicultural research.

He is an etnic specialist and founder of Etnopanel.

He is a lecturer and instructor at the Design Informatics Chair at TU Delft. He gained architectural experience at DKV Architecten in Rotterdam. Together with Sanne van den Breemer and Edwards Schuurmans he was awarded 2nd prize in the Europan 2010, location Dunkerque, France.

52

introducing the Agency

She is interested in user participative design processes, and her deisgn methods include user focus groups to enable design feedback in early design stages. Katia works very well in distilling creative momentum within brainstorm groups and is able to quickly define priorities.

She is also interested in the use of computer aided design, beyond the bounderies of her own discipline. So exploring her mult-disciplinary interest she curently is an instructor at the Design Informatics Chair at TU Delft, faculty of Architecture.

Bart van Dulmen

Ivo Hagemans

Fashion designer Barts Amsterdam Fashion Institute

Industrial Designer Msc Industrial Design Engineering _TU Delft

BIO Bart is not inspired by the shape of clothing as a static product, but sees fashion as indicator for temporal processes. For him the context, experience and development fascinates more then the final shape. In this way fashion can be a translator of the unconscious and precarious character of the individual, while at the same time representing the social conscious in all its variety.

Bart’s 2008 graduation collection at the AMFI for example, was inspired by the five archetypical mental states of mind. He named it ‘personalitypasses the mind’ and it was awarded the Rotterdam Fashion Award.

He also has experience as a fashion designer with Dutch top designers Francisco van Benthum en Alexander van Slobbe and at the Dutch Music Theather.

Ivo is a specialist in sustainable transport innovations and team management.

Born and raised on the Dutch Caribbean island of Curacao, Ivo moved to The Netherlands to study at the TU Delft. Here he recently completed his MSc at the faculty of Industrial Design. He also attended business courses in entrepeneuring.

During his study he was involved in the design, production and management of several innovative TU Delft projects like the Nuna4 solar powered car (winner of the 2009 Solar Challenge) and the Superbus (run by prof. ir. Wubbo Ockels), all focussing on a more efficient and sustainable way of movement. He currently works as a designer for Extreme Ribs, a carbon fiber boat producer in Naarden, the Netherlands.

Cathelijne Nuijsink

Kristi Paulson

Writer/ Editor/ Critic MSc Architecture MSc + PhD Architecture

Architect BSc University of Washington MArch University of British Columbia

TU Delft Tokyo University

BIO Cathelijne is specialized in the discourse surrounding contemporary Japanese architects and their urban context.

She graduated from both TU Delft and Tokyo University and has continued to live in Tokyo to finish her PhD about the position of the young Japanese architect in contemporary design practice. She has moved back to the Netherlands last year and is currently a freelance writer, editor and critic for some of the most influential architectural journals today, including Mark magazine, Architectural Review and Metropolis Magazine.

Her PhD research will be published in a comprehensive book, availble in 2011.

BIO Kristi specializes in the concepting and implementation of public, sustainable, socially engaged architectural projects.

She went to school in Seattle and Vancouver and did an exchange semesters in Athens, Greece and Egypt.

Upon returning to the USA she worked as a senior project architect with LMN in Seattle, completing a multi-use ice hockey arena, amongst others. She later moved to Los Angeles, to work with Behnisch Architekten, where she has been appointed a project partner for the Los Angeles-office. She is currently in charge of several projects, including a student housing project at UC Berkeley in California.

Hans Smolenaers

Robert Wefers Bettink

Urbanism/ Architecture student BSc Landscape Design _ Larenstein MSc Urbanism + Architecture _ Delft

Fashion designer BArts Amsterdam Fashion Institute

BIO Hans Smolenaers is specialized in large scale urban planning, garden design and landscape architecture. After finishing his bachelor in landscape design at the University of Applied Science Larenstein he decided to pursue a combined master’s degree in urbanism and architecture at the TU Delft, where he also took part in a design/ research project, regarding the new town of Alicante, Spain.

In Delft he is currently researching the planning and design of world expo’s. This relates to his graduation project; a proposal for the next world expo in Milan. Besides his study in Delft he is a tutor in landscape architecture at his former University Larenstein and works freelance for various designers/ architects and private clients.

Academic Network Delft University of Technology Delft Center for Entrepreneurship Tsinghua University, Beijing Leiden University Erasmus University Rotterdam University of California, Los Angeles University of Applied Science, Amsterdam We connect to a global, multi-disciplinary academic network. The connections into various high-profile academic institutions enable access to innovative research, theory and design developments.

Our attitude towards the discourse of our profession is to allow for a strong connection between the academic and the practical environment. In this way we can reflect on contemporary changes and implement new academic insights.

BIO Robert is co-owner and creative director at Studio Sober, a fashion label he founded together with Cissy Noorderloos, The Sober philosophy combines workmanship, attention to details, and a sincere devotion to high quality. Sober approaches its Dutch origin and the Calvinistic spirit as a source of inspiration for shape, color and mood, and translates this into small, refined collections.

Studio Sober is the overarching organization under which we find Sober, the brand. The philosophy behind the company Studio Sober is to employ the brand in order to create, produce, sell and communicate using a clear concept, good quality and an attractive price.

THE AGENCY

Because Vision Included is a pro-active, integrated design collaberative we come accross a wide range of inspirational individuals. To better use and organize this potential, we have established our agency.

Our agency is an exclusive, multi-disciplinary pool of young, ambitious, aspiring and highly talented individuals, companies and public institutions. We select individuals because we feel they’re strongly connect to our way of thinking and we want to endorse them in further collective development. We can help you connect and find a truly remarkable person for your task at hand in no time.

For more information on how to join or get in touch with our contacts, please inquire through agency@visionincluded.com.

53

zerstreuung

54

author: M de Geus

Denn ein äußerlich Zerstreuen, das sich in sich selbst zerschellt, fordert inneres Erneuen, das den Sinn zusammenhält.

The influx of post-modern discourse has led to a believe in the multiplicity of thinking. Our current world view is composed of constant, disconnected influences from various media, disciplines and idols.

Can we still take a critical position ourselves? Have our opinions become scattered, do we reason in the collages of our times?

The architect is able to balance this constant differentiation and is strengthened by it.

Architecture resembles a masked figure. It cannot easily be unveiled. It is always hiding: behind drawstrings, behind words, behind precepts, behind habits, behind technical constraints. Yet it is the very difficulty of uncovering architecture that makes it intensely desirable.

Architecture is a fuzzy amalgamation of ancient knowledge and contemporary practice, an awkward way to look at the world and an inadequate medium to operate on it. Maybe architecture doesn’t have to be stupid after all. Liberated from the obligation to construct, it can become a way of thinking about anything - a discipline that represents relationships, proportions, connections, effects, the diagram of everything.

Modern life demands, and is waiting for, a new kind of plan both for the house and the city; let us state the problem. Let us shut our eyes to what exists:

- A house, a shelter against heat, cold, rain, thieves and the inquisitive. A receptacle for light and sun. A certain number of cells appropriated to cooking, work, and personal life.

- A room, a surface over which one can walk at ease, a bed on which to stretch yourself, a chair in which to rest or work, a work-table, receptacles in which each thing can be put at once in its right place.

- The number of rooms, one for cooking and one for eating.

One for work, one to wash yourself in and one for sleep.

Such are the standards of the dwelling.

Then why do we have the enormous and useless roofs on pretty suburban villas? Why the scanty windows with their little panes; why large houses with so many rooms locked up?

Why the mirrored wardrobes, the washstands, the commodes?

And then, why the elaborate bookcases? The consoles, the china cabinets, the dressers, the sideboards? Why the enormous glass chandeliers?

The mantelpieces? Why the draped curtains? Why the damascened wall-papers tick with colour, with their motley design?

So architecture seems to survive only when it saves its nature by negating the form that society expects of it. I would therefore suggest that there has never been any reason to doubt the necessity of architecture, for the necessity of architecture is its non-necessity. It is useless, but radically so.

Its radicalism constitutes its very strength in a society where profit is prevalent. Rather than an obscure artistic supplement or a cultural justification for financial manipulations,

architecture is not unlike fireworks, for these empirical apparitions produce a delight that cannot be sold or bought, that has no exchange value and cannot be integrated in the production cycle.

If ‘The Environmental Trigger’ gave an overly optimistic account of the potential for economic collapse to generate social transformation, it also analyzed the potential role of the architect in the process of change. The question was: How could architects avoid seeing architecture and planning as the faithful product of dominant society, viewing their craft, on the contrary, as a catalyst for change?

Could architects reverse the proposition and, instead of serving a conservative society that acted upon our cities, have the city itself act upon society?

Perhaps in the future, landscapes will exist only in the imagination of city dwellers’ hearts. Buddhist meditation teaches us how to see that a mountain is not a mountain, that water is not water. But what would happen if that actually became true?

Once we’ve destroyed the natural landscape and replaced it by a seemingly real one, once the environment has been so drastically changed, will a traditional spirit continue to exist? Will there still be any refuge? ... the architect takes it’s position.

Input by: Le Corbusier M de Geus JW von Goethe R Koolhaas B Tschumi Y

Yang

55

Johannesburg South Africa Contemporary cities are vast urban conglomerates in which juxtaposed ‘ecologies’ allow for urban specificity. It is fascinating to witness how these entities (co) exist to create a fertile city-scape. In this cityscape social and economic reconciliation is paramount; architecture is a powerful force for that reconciliation.

Los Angeles, CA United States of America A split character signifies the impact of urban inequality to the development of social segregation.

Being cut off from the broader social structure and the facilities that would enable social developments.

Architecture has the power to assimilate, cooperate, and co-create.

56

Urban ecologies.

Paris France Within urban space, people both activate space and define places.

Identity is thus established by spaces that are designed to be inhabited, occupied, and above all, transformed.

A strong urban frame can develop over time while, its main characteristics are - and should be strongly outlined from the beginning.

Kyoto Japan In Japanese philosophy, the elements of combined division and connection are grasped together in the term of Ma, describing a force, feeling or characteristic that is always present between two opposing elements. It symbolizes unification as a dynamic element, not able to exist on its own.

57

Beauty and the

appreciation of

slowness.

58

author: M de Geus

In a world that is increasingly evolving around the fast and the ugly, we should go back to a future in which the necessity of the fast, is being replaced by an environment that brings excitement in a profound experience; lasting; true and intense.

BEAUTY. PURITY. VIRGINITY. SACRALITY. FEELING. INTENSITY. CONNECTION. VULNERABILITY. DISTANCE. THINKING. QUALITY. EXPERIENCE. PERCEPTION. APPROPRIATION. SOLIDNESS. MATERIALITY. SUBVERSIVENESS. LOVE. LIFE. Two things are crucial in this experience of beauty.1 1 Beauty in itself Let’s get rid of the idea that mediocracy should be the norm. People admire beauty. So, let’s make life beautiful.

2 The appreciation of beauty Slowness. Slow means thorough. In body and mind.

An experience needs time to be truly valued. Beauty is not a static given, and you need to feel the incentives of change, temporality and its effect on your lasting experience.

How about architecture? What of those characteristics can be transposed on the experiences and interpretations throughout ones further life?

For me, the concept of beauty provides a prescribed value, to be valued and to create.

Thus, these thoughts give meaning, and go beyond, the depressing hype of mediocracy.

Beauty is... the intense green of ferns after a spring rain; the sturdy red of mosses above the tree lines; the light brown of a beech in early autumn, later turning into the dark brown carpet that covers the forest floor; the virgin light blue of frozen mountain lakes; the white of fresh snow melting with the clouds above; the smell of freshly cut trees; the sound of flowing waters sprung from the mountain sides; the weeping of a willow.

Note:

And all the memories there of.

1

While others might regard beauty to only be a valid objective for a certain elite, it is, rightfully so, valued by all members of society.

I acknowledge the existence of a higher, more evoking presence of beauty5. But, for me these two concepts should not need to be dissected, as their origin is the same.

I doubt that ‘the sublime’ is a different state of beauty, but it can only occur at times when true beauty is rightly appreciated.

Your personal approach ultimately engages the sublime, to reach a state of subliminal experience.

‘a village living in the valley of life’2 ‘to fathom the power, to witness the beauty’3 To understand the fundamental roots of Beauty, I recommend to take time alone. Being alone and the experience of intensity.

Who still knows what it’s like to be alone these days? Or, better said, who still dares to separate sometimes? And who dares to reflect, experience the intensity that comes with such a pure experience? To have a sense of self, to think independently.

‘I may find comfort here, I may find peace within the emptiness’4

Beauty and the sublime.

This idea of the experience of the sublime is not only related to the moment of the first encounter and the impression on the observer.

It is the lasting of the experience that defines its full potential and the impact it makes towards the appreciation in time.

Impression can be fast, but then its beauty is not truly grasped.

Thus, beauty is the key. The sublime can be activated within individuals, tapping into their subliminal mind of operations.

Quotes: 2 Eche (M de Geus + ST de Waard) 3+4 Tool (MJ Keenan) 5 P Healy, ‘beauty and the sublime’

59

60

the world

61

NEXT ISSUE, 02

out in April 2011

addressing environmental change

political change

GET A SUBSCRIPTION NOW! 2 years: 75 eur 1 year: 35 eur/ 300 rmb first issue: 15 eur/ 100 rmb* Please send your contact information to info@visionincluded.com, or contact Renske at +31-6-20539592 for further inquiries. *special edition first issues available in signed, limited (20) edition, luxury box set, incl. extras Ă 45 eur.

TOWARDS A FUTURE HABITAT

visionincluded.com

Credits Editor Martijn de Geus Co-editing Renske van Dam Steve Seager Albert Dijk Research Martijn de Geus Renske van Dam All images by Martijn de Geus (except 3rd and background picture p16/17 by SKGM Pieters; 1st photo p20 by PJV Mannaerts, 3rd photo p21 by U Knaack; pictures 1,4,7,9,10,12 p52/53 part of individual copyrights)

Vision Included is an interdisciplinary and internationally engaged practice that pro-actively engages in contemporary design discourse; designing the conditions of life.

We specialize in the field of architectural and urban (research)-projects.

We reverse the traditional architecture practice that re-actively follows market trends, towards a pro-active, socially responsible entrepreneurship that defines it’s own agenda.

T-shirt design by Martijn de Geus Renske van Dam Thanks to Albert Dijk, Sean Pieters, Hanna Timmers, Roos van Dam, Hans Smolenaers, Steve Seager, Albert Chu, Julie Wolsak, Ivo Hagemans, Rob Wesselink, Katia Leuschner, Milou Foole, Stephan de Waard, Henny van Halen, Remco de Geus, Mark van der Waal, Ellen Streng, Amanda Deen, Bart van Dulmen T-shirts, posters and more are sold online at www.visionincluded.com For information regarding publishing, contributing and subscriptions, please contact: info@visionincluded.com

Thank you.

Copyright All the content of this magazine is copyright protected, Š Vision Included 2010.

All rights reserved.

Any redistribution or reproduction of part or all of the contents in any form is prohibited without permission of the copyright holder.

This Issue is financially supported by the Netherlands Foundation for Visual Arts, Design and Architecture; with Vision Included.

Turning statements into reality.