Sofie Standaert
/’mɒdju:lz/
a
Sindhuli case study
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
2
/’mɒdju:lz/ a
Sindhuli case study Sofie Standaert
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
Acknowledgments _________________ Academic promotor Ignaas Back And contributions by Klaas Vanslembrouck, Hilde Bouchez, Tom Callebaut, Lin Seminck and Wart Thys. “/’mɒdju:lz/, a Sindhuli case study” Master Dissertation Thesis 2016-2017. Finished and printed in June 2017. Layout and editing Sofie Standaert Printed by Gheysen Printing, Schooldreef 50, 8020 Oostkamp Contact Sofie Standaert sofie.standaert@hotmail.com +32 477 61 40 21
“International Master of Science in Architecture” KU Leuven, Faculty of Architecture, Campus Sint Lucas Gent Proofreading by Sien De Groot & Dries Hoste All rights reserved under International Copyright Conventions. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photo-copying, recording or by any information storage retrieval system, without permission in writing from the publisher or specific copyright owners. Work and publication made during the course of a personal master dissertation project.
©2017 by Sofie Standaert “The joy of making, learning, teaching”
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Intentions
07
a short introduction
01 Nepal, Sindhuli, Pipalmadi
A quick situation sketch - Location in Nepali Terai
11
- Extreme weather conditions - Earthquake region
02 On site = in Nepal
Observation of the school - Students vs teachers
19
- Teaching method - Community involvement
Spending a week in rural Nepal
A modular system
The charm of vernacular architecture
- A look at the fieldwork
- Site specific vs Sindhuli modular
- Why are these buildings functioning so well?
03 Modularities What?
39
- A module is not a new concept - Case studies world / Nepal
Nepali typologies
04 Design rules
67
Conclusions from case studies and research - Modules through time and space
05 Conclusions
75
Thank you note
105
Bibliography
109
Design choices
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 01 // morning routine KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Intentions
A short introduction 7
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Intentions a short introduction _________________ The /’mɒdju:lz/ project has as an aim to inspire the Nepali government in further developing their so called “government approved school buildings” into pleasant spaces for education and get public schools to the same level as private schools in Nepal. Education is a basic human right and should be given in the best possible conditions, also if fundings are low. With this project I try to show that creating this kind of environment does not have to be expensive and can still be developed from a central space. It is crucial to know the environment of the schools and to deal with it. This could be an example for other developing countries in showing that they can handle these issues in an efficient way without having to wait for (I)NGO’s to come with the big budgets, ideas and volunteers, since those charity projects are often more beneficial for the volunteers than for the locals. The main goal is to tackle to goal of (re)building 8000 Nepali schools in a mere three years in an cheap, quick and efficient way. The result will be a climate proof space for education where the children are inspired to learn, even if the teachers are not present at all times. The title of the project refers to the different layers of the word “modules”. This particular way of writing is the phonetic manner, reminding us of learning new words and languages, a crucial part of education.
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 02 // hariharpur secondary school surroudings KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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01 Nepal, Sindhuli, Pipalmadi A quick situation sketch
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
China
High Himalayas / highest point 8848m High Mountains
India Sindhuli in Nepal
Middle Mountains Siwaliks Terai / lowest point 59m
FIG. 03 // map of Nepal KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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01 Nepal, Sindhuli, Pipalmadi a quick situation sketch _________________ Nepal lies between China and India, on the border of the Indian and the Eurasian tectonic plate, which causes a lot of natural disasters. This is the first thing people refer to when talking about the country. Because of the big earthquake risk, this became the main focus in designing for Nepal. Building earthquake-proof seems to be a logical way of doing things, but architecture should be about a lot more than just keeping a building standing upright. Apart from natural disasters, Nepal is of course also known for its mountains, the Himalayas are the home to eight of the ten highest mountains on earth, all of them higher than 8000m.
People tend to forget that Nepal also has another side. There are five regions divided according to their height. They range from only 59m above sealevel up to 8848m, the highest point on earth. Sindhuli is located in the south-east of Nepal, in its flatlands. It is set on only 200m above sealevel, which means that the conditions are very different from Kathmandu (1300m) and the Mount Everest (8848m). Sindhuli can be called remote area, since it takes quite some time to get there. In wintertime you need about ten hours to travel there from Kathmandu. In summertime the conditions are very different, since Nepali summertime equals rainy season. This means the time to travel to Sindhuli increases up to two to three days, since the water level of the river rises enormously and the path to get there runs right through it. Pipalmadi is located west in the Sindhuli region, in an environment predominated by ricefields and far sights.
Pipalmadi in Sindhuli
FIG. 04 // map of Sindhuli 13
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
The climate in Sindhuli is a tropical climate, this means that the temperature is relatively high all year round and there is no actual winter and summer, but a rainy season and a dry season. In the rainy season, the region is very hard to reach, since all roads are inaccessible because of the rainfall. This period last sfrom april to october, causing the Hariharpur school site to be surrounded by flooded ricefields.
Of course these earthquakes do not need to be forgotten. The best way to tackle them is to avoid asymmetrical designs such as buildings in a T- or L-shape and split levels. Asymmetrical designs may be visually very interesting, but they are very susceptible to torsion. To prevent these forces, it is best to use cross-bracing. Apart from all this, the foundations are crucial. It is best to make the building and foundation move as one.
Another climatological factor is the wind. Although there is a relatively small amount of wind overall, cyclones may occur every now and then. Locals say these can cause greater damage than the earthquakes.
400mm
200mm
000mm Dec 2015
Jan 2016
Feb 2016
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Precipitation in Sindhuli
150hr
100hr
050hr
000hr Dec 2015
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Hours & Days of Sun
Days of Sun in Sindhuli
FIG. 05 // precipitation in Sindhuli // FIG. 06 // days of sun in Sindhuli KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Aug 2016
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+12,5mph +10mph +7,5mph +5mph +2,5mph Dec 2015
Jan 2016
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Wind - Maximum wind in mph - Average wind in mph
+30°C
+20°C +10°C +00°C Dec 2015
Jan 2016
Feb 2016
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Apr 2016
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Temperature - Maximum temperature in °c - Average temperature in °c - Minimum temperature in °c
75%
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25%
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Clouds and humidity
Humidity (%)
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FIG. 07 // wind in Sindhuli // FIG. 08 // temperature in Sindhuli // FIG. 09 // Clouds and humidity in Sindhuli 15
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
Nepal faces a great challenge, where the government wants to (re)build 8000 schools in only five years of time. This is nearly an impossible task, but designing a system to tackle their existing school buildings and making them education-proof again will be a great help. The 2015 earthquake of 7.8 on the Richter-scale destroyed over 5.000 Nepali schools and caused damage to over 16.000 schools. Two years later, a huge amount of schools is still left untouched, which causes an enormous amount of children either not to be able to attend class in a proper manner, or at all. The reason these school remain in their questionable state is that the schools have very little money to fix them, but also that they prefer to wait for the government to come in and build new school buildings rather than working with what they have on site already.
Since Nepali school buildings are like Ikea furniture, chosen from a catalogue and build on site, in disregard of the local situation, they can be looked at as modules. This allows a design strategy that is modular as well. When focusing on the Sindhuli region, the damage is less severe, since it does not lay in the center of the natural disaster, but there is damage nevertheless. The main structure of the school buildings could quickly be repaired, but as mentioned before, the school and government policy is not to rebuild, but to build. Simply looking at the site of the Hariharpur primary and secondary school in Pipalmadi, Sindhuli, we can acknowledge the fact that there are plenty of buildings on site, but some are not used. For the government, it is less expensive and more prestigeous to build new classrooms instead of tackling the existing ones and getting them in an acceptable shape.
FIG. 10 // abandoned classroom at Hariharpur KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 11 // isometrical drawing of oldest building on site 17
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 12 // waiting to be taught KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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02 On site = in Nepal Observation of the school Spending a week in rural Nepal A modular system The charm of vernacular architecture
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 13 // existing situation KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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02 On site = in Nepal existing situation _________________
Sindhuli
2.491km² - houses a population of 300.000 people
- covers an area of
Hariharpur primary and secondary school
264
- educates students - covers 349 households in the area - has men
17 teachers out of which 3 women and 14
- consists of - used in - with
5 school building typologies
7 school buildings
10 classrooms in use & 3 empty ones
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 14 gathering on the school grounds KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Observation of the school students vs teachers _________________ When observing the people on the school grounds in Pipalmadi, three groups can distinguished. There are the children (both students and non-students), the teachers and some passers-by every now and then. Since the school buildings and terrain are so open, all of these people have short interactions every now and then. When looking at the students, there is a very distinct difference between the boys and the girls. Here, a parallel with Western Europe shows up. The boys usually are quite easily distracted and are quite wild. During class, this often results in them looking through the window or tickling each other every now and then. All of this happens while the girls are trying to pay attention, some of them realising that getting an education is something relatively new to Nepali girls. This is a phenomenon that can be observed whenever they should be getting taught. “Should be”, because the teachers have a habit of not showing up at school or in class. Their priorities are not always with educating their students, but with their familiy or their crops on the field. They know that either way, they are getting paid by the government and there is very little supervision on what they do or do not do. Even when they are present, they are more than once just chatting with each other outside the classroom. No one really takes responsibility to counteract this behaviour. This attitude is being fueled by the status of the job, which is in contrast to European teachers, a job that is usually chosen as a last resort.
There is a lot of respect from student to teacher, resulting in a formal relationship, whereas in Europe, schools strive for more familial relationship, open for debate. This attitude is mostly clear from the morning session, where the present teachers stand on a podium to give the instructions to the lined-up students. Before the podium was there, they even stood up on the roof of the building, making the difference even bigger. After that, the children get the sign to go to their classes, where they wait for their “superiors” to come in. The third group of people, the passers-by also comprise the parents. Unfortunately they are very rarely seen on the school grounds for actual involvement in the school. This means they are only vaguely aware of what their children are getting taught there. A problem arises here, because Nepali parents do not have a good attitude towards going to school. They see it as a loss of hands to work on the field. Because they do not really know what exactly is taught in school and they are not invited to come and take a look, they do not always let their children come, taking away from their education. Other passers-by are simply people walking through or working on the ricefields or using the road next to the school, something that might distract the students, since the classrooms are entirely open. Every now and then a herd of cows is also passing. During the break, the older children and teachers all look for a space in the shade, something hard to come by on this particular site. Therefore the few spots under the tree are hugely popular and other students simply remain in class in the shade.
Not all of the teachers show a lack of interest, some of them really love their job and try to teach as good as possible. If this is so, the problem lies with the students, since they do not always show up and therefore do not always know what the last class was about. This is why sometimes it takes an entire hour to go over just one page.
FIG. 15 // being taught at Hariharpur // FIG. 16 being taught at Shree Tinkanya primary school
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
Observation of the school teaching method _________________
What better way to observe a school than to go sit in the back of a class and watch the students, the teacher and the activity on the playground? It is striking to see that there is enough space within the classrooms for the students that show up, but they all sit pressed together in the front of the class. Most of the teachers just stand before their students with a textbook in hand, trying to convey what is in there. Very few students take notes, usually this is not out of disinterest, but rather a practical problem. The students do not all know how to write very well. Also the teacher rarely asks them questions and they are not evaluated often, so they do not really need these notes. Not being evaluated often sounds great, but it has as a result that the students do not feel a lot of pressure to come to school all day, every day. In their case this means from 10a.m. to 4p.m. The question arises why they choose to teach in this particular way rather than use the landscape and its triggers. School is about much more than just textbook knowledge and should be a warm place that feels just like a family. When this happens, a sense of pride will be found with the students and their parents and they will be more likely to attend more often. The Nepali education system seems to be stuck around the 1950s, when the first public schools were opened. Since then, there has been very little evolution. Trying to find a way of teaching that goes back to their culture and is still contemporary should be the aim.
The subjects that are currently taught at Hariharpur are English, Nepali, mathematics, health and physical, population and environment, social studies, education and science. There are a lot of educational systems that focus more on the individual child’s progression, systems like Montessori, Dalton, Steiner, Freinet, Jenaplan and Reggio Emilia, but these all date from the same period as the educational system in Nepal. They try to help the children act on their own and guide them through that exploration, finding out what their interests are and respond to that with their courses. Another focus that is common to these systems is implementing playfulness within the education. Around the world, many people suffer from the increasing urbanisation and the associated “natrue deficit disorder”, which refers to the still increasing periods of time that children and adults spend indoors in the presence of artificial light. Concentration issues are just one of the results of this. Bringing the children back into nature and letting them use their environment and imagination as main toy to reduce these issues is what should be achieved in places where people spend a lot of time, starting with kindergartens and schools. This idea started a movement of forest kindergartens. In Germany and Sweden, at one point, there was a need for people to get out of the city and explore nature again (nature deficit disorder), something they tried to incorporate in their education. An outcome of this are the forest kindergartens, simply said these are kindergartens without walls. This method was developed to let the children explore, play and learn with only their own imagination. Of course this method is mainly for younger children and developed out of a very different landscape, but it could also be applied as a part of primary and secondary education in Nepal.
FIG. 17 // first and second grade at Hariharpur KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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What better way to observe students than to teach them a little class? One of the things that could help a lot in designing a good space for education is experiencing that education from both sides, from the point of view of the student but also from that of a teacher. The students are used to get taught in a very formal way, sitting in rows. This method came to the region during the British Colonial period in India. Since India has a big impact on Nepal, the same educational system came to Nepal as well. The preference was to do a hands-on class where participation is required. On the one hand, this is to see how the students cope with that, but on the other hand this could also function as a trigger for the teachers who usually teach in a very formal way. It soon became clear that the students are not used to this and they were very hesitant to adapt to having to come to the front of the class when we were trying to play a game of pictionary with them, a very informal way of teaching some English.
Observation of the school community involvement _________________ At this particular moment, the community involvement in the school is very low. The school is not perceived as a positive thing by everyone and there is a great lack of interest. If that issue could be tackled and there were more possibilities for the community in the school and on the schoolgrounds, that could change as well. Trying to get new initiatives to use the school terrain would be a first step. Another way could be to instigate the local people to come and teach some crafts, trying to educate the students in another way than just out of textbooks. The problem here is that they do not believe their knowledge and skills are valuable. By building a school that incorporates all those things, they will hopefully get a sense of pride and realise it is hugely valuable.
All of this shows clearly they are used to a teacher that interacts very little with them and just reads to them from the textbook. Therefore, the classes all are very theoretical. This again comes from the British system, which has changed very little since it was first brought to Nepal and hardly any adaptation has been done to fit to the country and its culture. This system is over 70 years old and based on a method that has already been questioned many times in Western Europe. It is an outdated idea where the teacher stands higher on the ladder than the student rather than on an equal level where dialogue is possible. Quite often, the touched subjects do not contribute or connect to the local needs and interests. Changing the classroom to a freer space, leaving more room for interpretation can be a key element in this.
FIG. 18 // teaching English through pictionary // FIG. 19 // teaching English through repetition 25
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
Spending a week in rural Nepal a look at the fieldwork _________________ We all brought a model to the site to be able to show that schools do not look the same way everywhere and to try and get them to think about their own school buildings. Explaining the projects to the local community was not simple because of the language barrier, but luckily there was the English teacher that performed a great job as both moderator and translator. Some great pinpoints came out of this. This exhibition was held in an abandoned classroom to make the possibilities of those classrooms clear and to show that building a new one is not always the best option. This classroom has a marvellous view over the Sindhuli ricefields. The discussed projects were the floating school in Nigeria by NLÉ architects, plan selva in Peru by Elizabeth Añaños, the Louisiana Hamlet pavillion in the slums of Kenya by SelgasCano, the Nyanza education centre in Rwanda by Dominikus Stark architekten, the Mulan primary school in China by Rural Urban Framework, the floating in the sky school in Thailand by Kikuma Watanabe and the Suoi Re village community house in Vietnam by 1+1>2 architects. On the next page some of the remarks the locals had on these case studies are written. It is very clear that they are looking for a building that leans towards their building culture, something striking, because that is not clear at all when looking at their school now. They also had issues with corrugated metal sheets for the roof, not realising they have it now as well.
FIG. 20 13 -+22 14//+model 15 + event 16 // FIG. 23 // preparing the model event KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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+
-
1.
An open groundfloor
1.
Too many floors
2.
Lifted from the ground to prevent flooding
2.
Overheating
3.
Different playgrounds
3.
Corrugated metal sheet roofs
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A visual connection
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No windows
5.
A Nepali building style
5.
Army bunker
6.
Community kitchen
7.
A central tree
8. Green
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 24 // existing situation KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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A modular system site specific vs sindhuli modular _________________ Nepal has a tradition of building “government approved” schools. In practice this means that currently, there are about 80 school building types all over Nepal, neglecting their environment. You could look at these buildings as if they were picked from a catalogue and built on site, like you would choose a LEGO kit. It is impossible to start thinking of what is site-specific or local about these structures when their only aim is to try and mimic the classrooms of the so called first world countries. On site at the Hariharpur primary and secondary school, five different building types are to be found. These can be ranked in order of when they have been built. Some of these buildings have been on site for quite some time and have already suffered, but they still stand upright and can be converted into a good educational environment. These buildings are all planted there as if they were UFO’s. They have nothing in common with local typologies and culture, which would be very much based on local materials, skills and knowledge. This is the exact reason they get so worn down. The lack of knowledge about these materials and methods results in problematic conditions.
FIG. 25 - 27 classrooms at Hariharpur 29
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
These three school buildings are the oldest ones on site and located at the southern side. They are one of the oldest school building typologies in Nepal and can thus be found all over the country, neglecting the orientation and climate it has been placed in. These classrooms are always build up in the same way. They all have rows of benches that have suffered a lot already.
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00 0
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2 x 20 m² classroom
FIG. 28 - 29 // existing situation KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 30 isometrical drawing of the classroom 31
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
This building can be seen as an adaptation of the previous three buildings. It is placed at the northern side of the site. It is less open to the landscape, providing a situation that is better for acoustics, but unfortunately, overheating remains a problem. The classroom is very structured, with rows of benches.
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FIG. 31 - 32 // existing situation KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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This building typology is, again, based on the previous ones, the main difference is that it has a bigger footprint. It stands at the eastern side of the side, next to the two floor concrete building. The classroom is dark because of the small amount of openings, once again ok for acoustics, but it is a pity that the marvellous landscape is not incorporated within the class. Here as well, the classroom is stuffed with benches for the students to sit on.
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2 x 28m² classroom
FIG. 33 - 34 // existing situation 33
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
This building is part of the more recent building typologies that the government approved and stands in the northern part of the site. It has been designed in the mindset of concrete equals safety. The building is used as teachers’ room and storage space. The teacher’s room has the opportunity of having a great overview over the school, but it is not always used as such.
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2 x 25 m² classroom (teachers’ room / storage)
FIG. 35 - 36 // existing situation KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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The most recent addition to the school grounds is a two-storey concrete building containing four classrooms. It is looked at as a status symbol on site. Here as well, concrete means safety, neglecting the quality of that concrete and forgetting that the local knowledge about its maintenance is limited. It is occupied by the lower grades and one classroom functions as the teachers’ hostel. Since it can be seen as a kindergarten, the rooms can be used a little freer than the other ones.
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4 x 30 m² classroom (lower grades + teachers’ hostel
FIG. 37 - 38 // existing situation 35
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
The charm of vernacular architecture why are these buildings functioning so well? _________________
Every region in Nepal has its specific building typologies and methods. This particular one is common in the Sindhuli region and has been redeveloped over the past centuries, making it better every time. It is embedded in the local culture and adapted in the best way to its environment. These are the qualities European architecture is looking for, but unfortunately the Nepali are striving for something as far from this as possible. They want to use as much concrete as possible to portray buildings that make the think of far away places, far from their reality. As mentioned before, these buildings have a lot of qualities and are a major part of the local identity. This building identity is formed by using the local materials, that are perfectly well in dealing with the extreme climate. The techniques used to work with these materials have been developed to perfection through time. What is a shame is that a huge part of this know-how is being lost because a lot of the local youth is moving out to the big city of Kathmandu or abroad to study or work.
FIG. 39 - 41 // plans of the Sindhuli house KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 42 // isometrical drawing of the Sindhuli house // FIG. 43 // detail of the structure 37
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 44 // Sindhuli house² KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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03 Modularities What? Case studies world / Nepal Sindhuli house
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ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
module
- UK /ˈmɒdʒ.uːl/ US /ˈmɑː.dʒuːl/
one of a set of separate parts that, when combined, form a complete whole: one of the units that together make a complete course, taught especially at a college or university a part of a spacecraft that can operate independently of the other parts, especially when separate from them
typology
- /tʌɪˈpɒlədʒi/
classification according to general type, especially in archaeology, psychology, or the social sciences study or analysis using a classification according to a general type. the study and interpretation of types and symbols, originally especially in the Bible.
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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T/ Doric column
M-T/ Tatami
M/ CUBEX kitchen
M/ Eames house
M/ Shigeru Ban
M/ Habitat 67
M/ Just a minute
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M/ Temporary shelter
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
Building with modules is not a new concept, it has been applied all over the world in all sizes and shapes. When applied well, modules give a sense of harmony in the proportion of the building and proportion has always been considered a characteristic of beauty. This is a part of the charm of nature, because in nature, everything is in harmony and can be reduced to a ratio or a module, think about seed patterns or fishscales for instance. Modules have many advantages and are obviously not only applied to create harmony. The main reason they are used is that they can easily be reproduced and copied elsewhere, which makes them cost effective. It also adds a certain flexibility to a project so when a refurbishment is due or something has to be replaced, it can be done very quickly since all elements are standardised and might be mass produced. A lot of modules are designed to be constructed off site, which has the huge advantage when applied in school construction. The children will not be affected negatively by the construction itself. Apart from that, it also means limited waste production which is especially important in a country like Nepal, which does not really have a sustainable waste solution.
Of course there is also a certain risk to modular architecture. When using too much similar modules, a loss of design identity can occur. However the task of the architect is not only to design the module, but also to join them together in a proper way. Modular architecture in Nepal is very different than in Europe or the USA, since Nepali architecture is not used to working with concrete. This material is directly linked to modularity, thinking about prefabricated or prestressed concrete etc. Thinking about an efficient way of joining Nepali culture and western materials is key here. Not all modules in the world are architectural or to be found in nature. Other examples are solar panels and wind turbines, which are easy to be reproduced. These are perfect examples of modules since they are found all over the globe without any adaptation. The great risk in researching modules is getting them mixed up with typologies. This is why some of the casestudies can be seen as typologies as well.
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Shree Tinkanya primary school, Sindhuli a school under construction
FIG. 45 // Shree Tinkaya primary school 43
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 46 // isometrical drawing of the doric column KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
Doric column Greece 8th century BC 8:1 ratio 44
Modularity / World doric column _________________ Modules can already be found in the early Greek architecture. They are the first ones that refered to something called the “ideal ratio”, or what we call since the 16th century: the Golden Mean. This is a kind of module that focuses on proportions rather than fixed dimensions. This ideal ratio is based on things found in nature, like seashells or seed patterns and has been deduced back to the number 1,61. Ancient Greek designs were developed from the spot of a certain view on site. Everything in the design is altered to make that view the perfect one. This also means that no two columns are exactly alike.
/’gəʊldən/ /’mi:n/ noun
1. the perfect moderate course or position that avoids extremes; the happy medium.
Ancient Greek architecture uses this ratio in its temples for instance, but the real modules in these temples are the columns, copied throughout the buildings. When focusing on the Doric column, which is their oldest column typology and dates back to the 6th century BC, the first acknowledgement is that no two columns are the same. In each and every one of them, there is a certain deformation going on to appeal to the spectator, aiming for the perfect perspective. These columns may always differ a little, but their general look is always the same. A doric column is always wider at its base and has grooves from top to bottom. It always stands straight on the ground, not on a foot.
2. golden section.
This ratio was the direct inspiration for French modernist architect Le Corbusier. His showpiece was l’unité d’habitation, entirely based on the Modulor, a system that was entirely inspired by the golden mean and became his way of grasping the human scale in his projects.
FIG. 47 - 48 // doric column 45
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
tatami
> tatamu = to fold / to pile tatami/təˈtɑːmi/
A rush-covered straw mat forming a traditional Japanese floor covering. FIG. 49 // isometrical drawing of a room with tatami
90cm x 180cm
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Modularity / World tatami _________________ For a lot of people, when mentioning the word “module� the first thing that comes to mind is the Japanese tatami. This module can be compared with what brickwork means to Western Europe. Just as with brickwork, the way the elements are joint together is crucial. Different from brickwork, these tatami joints are coherent with omens. When arranged with T-shape junctions, the omens will be favourable, but when the arrangement forms a +-shape, it means bad fortune. Another difference is the multi-use. The size of the mats comes back in the shoji, sliding partitioning doors that appear in the same rooms as the tatami.
The size of the mats is what determines the size of the rooms and refering to a four-mat room (tea) room) or a five-mat room (shop) immediately gives a statement of what kind of room you are talking about. Tatami are not always exactly the same size. This is dependent on what Japanese region they are in. The size of these mats is always determined by the height of the people, since they were originally used to sleep on. In general, the dimensions always have a 1:2 ratio and approximate 90cm by 180cm with a 5cm thickness. These mats are susceptible to wear, but thanks to their modularity, they can very easily be replaced. Other than brickwork, tatami determine the entire design of the room and everything that is placed within that room is positioned as to be conceived from the perspective of a sitting person on the tatami.
FIG. 50 - 51 tatami 47
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 52 // isometrical drawing of the CUBEX kitchen
CUBEX kitchen 1930s Belgium 60cm x 60cm
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Modularity / World cubex kitchen _________________ Also Belgian architects started the journey of modular architecture. In the 1930s, Louis Herman De Koninck started the design of the CUBEX kitchen, a modular, standardised kitchen furniture system, based on the Modulor of Le Corbusier. This is one of the first examples of a non-custommade kitchen design. It is simple yet qualitative and functional. The very limited area is used to the maximum and the entire kitchen design is based on the height of the average 1930s woman so it is ergonomical in use. The revolutionary and different thing of this kitchen in comparison with the tatami for instance, is that it has been designed to be adapted to existing kitchen spaces, always differing in size. These kitchens can always be recognised by their typical handles.
FIG. 53 - 55 // CUBEX kitchen 49
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 56 // isometrical drawing of case study house #8
Case study house #8 1949 USA 2,25m x 6m
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Modularity / World case study house #8 _________________ Charles and Ray Eames designed their own home as part of the case study house project for Arts & Architecture magazine. The house is modular since it consists of simple boxes out of prefab industrial steel parts. It is a milestone in using industrial methods in housing construction. A whole bunch of different material and colour panels has been attached to the frame. Thanks to all parts being prefabricated out of standard components, the house could be constructed over the span of just a few days. Unlike the industrial nature of construction, the house does not feel cold or rigid. For instance, it has been cladded with warm woods and colours and been filled with their own designed furniture to counteract to the industrial way of building.
FIG. 57 - 59 // case study house #8 51
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 60 // isometrical drawing of habitat 67
Habitat 67 1967 Montreal, Canada 12m x 5m
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Modularity / World habitat 67
_________________ Big modular apartment buildings were showcased on expo’s all over the world, like the one in 1967 in Montreal, where one of the pavilions was the Habitat 67 by Moshe Safdie. This project can be labeled prefab modular architecture. It consists of 354 identical prefabricated concrete apartments which form a dense urban community. Unfortunately, this immense project focuses more on the configuration of the Lego blocks than on the liveability of the building and can be seen as a trigger to avoid other projects to have the same outcome. The Habitat 67 inspired projects around the world, and one of the most famous ones is the 1972 Nagakin Capsule Tower in Tokyo. Here, a tower is built up out of 140 micro-apartment capsules of 2,3 x 2,1 x 3,6m that are fully equipped. This project counts as the predecessor of the micro-apartments as we know them today. The advantage of this project is that the capsules are removable and replaceable.
FIG. 61 - 63 // habitat 67 53
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 64 // isometrical drawing of modular house
Modular house 2015 Nepal 90cm x 120cm wooden frames
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Modularity / Nepal shigeru ban
_________________ Modern day Nepal has been struck by natural disasters very often. As a reaction to this unpredictable behaviour of nature, a lot of modular buildings have been designed to be built up very quickly post-earthquake. The following three projects were developed in this mindset, postearthquake in 2015. Shigeru Ban is known for his work with paper tubes and has applied these principles also for this design. He was contacted by local Nepali authorities that came accross his earlier disaster relief work in Rwanda, Haiti, Japan, New-Zealand and Sri Lanka to provide up to 100.000 new houses for Nepal. The design aimed to use as little as possible elements that are time consuming. This is why they used duct tape for the first assembly of the buildings. Another way of doing so is only using materials the people had in their direct invironment, exploring local building techniques. He used rubble to infill the 90cm by 120cm wooden frames for the walls, showing the locals a different use of what used to be just rubble and giving a good connotation to brick instead of the “brick is danger� concept.
FIG. 65 - 67 // modular house 55
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 68 // isometrical drawing of just a minute
Just a minute 2015 Nepal 4m x 11m (2,5m x 4m when folded)
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Modularity / Nepal barberio colella ARC _________________ Another project in the same mindset is “Just a Minute� by Barberio Colella ARC. After the 2015 earthquake, hunderds of thousands people got homeless in a second. All of them were in desperate need of a new home, one that could be built as quickly as possible. Mass fabrication is the goal, so a modular design is the way to go here. This project can be built up entirely out of six materials only and it can be done so off site. It is a smart design in a sense, because it is a foldable structure that can be brought into earthquake-struck, remote areas by helicopter. These six materials are OSB panels from China, local Nepali bamboo, laminated bamboo from both Nepal and China, white juta from Bangladesh and India, donated recycled wool and a Chinese waterproof membrane. This limited amount of materials makes sourcing them easy, but it is a pity they have nothing to do with local skills and materials. The positive side of this is that very few people are required to open the structure, add the wool into the juta layer as insulation and place the waterproof layer in place. The building is linked with a photovoltaic panel system and a rainwater collector. These are real modules in a sense, because they can be linked together to form a bigger house or serve as a community center.
FIG. 69 - 71 // just a minute 57
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 72 // isometrical drawing of a temporary shelter
Temporary shelter 2015 Nepal
KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Modularity / Nepal charles lai + tahehiko suzuki _________________ The last example of a project designed within the same mindset is the temporary shelter by Charles Lai and Tahehiko Suzuki. They tried to develop a building strategy that could be distributed as fast as possible, this is why the plans are available online, because the internet is the quickest way of transport. As thus, the transportation to these remote areas is made easy, since everything is locally available. They chose to work with bamboo in order to be able to reach as much people as possible. Bamboo is widely spread throughout Nepal, which means they can use it in their buildings and they have enough skills to work with it. Skilled workers do not have to be brought to these regions since the details are pretty simple to be executed.
FIG. 73 - 75 // temporary shelter 59
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG.76 // // isometrical drawing of a kathmandu temple KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
60
Typology / Nepal kathmandu temples _________________ At first sight, Nepal does not seem to have a lot of modular buildings and designs. Taking a second look, their typologies also have a certain modularity to them. When simply looking at the temples that can be found all over the country, but mostly in and around Kathmandu, it is instantly clear they all have been built according to the same guidelines. These guidelines may not be called “preventing overheating” and “good ventilation”, but some of them certainly have that as a result. The guidelines that are used can be seen as religious guidelines. For instance, on a lot of these temples you can find birds at the corners of the roofs. These birds have an important task, namely to keep these corners up, preventing the spirits of going on the wrong path, to the underworld. A religious modularity is going on and makes all these temples very much alike.
FIG. 77 - 78 // kathmandu temple 61
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 42 // isometrical drawing of a Sindhuli house KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
62
Typology / Nepal sindhuli house _________________ When looking closely, Nepal is full of modular buildings that deal perfectly well with their environment. This is no different in the Sindhuli region. There, the homes of the people are a perfect example. Remembering that the Nepali communities are based on the caste system, it is important to mention the house that will be described here is typical for middle and high castes in Sindhuli. In the low castes and with the untouchables, the homes usually do not comprise two levels.
Some reasons for this are the very few openings and the thermal mass of the walls. They also do not use corrugated sheets for the roofs as are used in the school buildings, but a local technique of making cement roof tiles is used. What stands out in all these middle- and high class houses is the covered space in front of the house that serves as a transition area between the uncovered public area and the private interior of the home. They can be seen as the rural form of the pati that is found regularly in Kathmandu.
These types of houses have been around for a very long time, whitstanding the impact of the climate. Even though the buildings stand in a tropical climate, the interior remains cool, which means the design deals very well with heat and preventing overheating.
FIG. 79 // dharmaśālā in the Sindhuli house 63
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
धर्मशाला /dharmaśālā/ NOUN (in South Asia) a building devoted to religious or charitable purposes, especially a rest house for travellers. Originating from Sanskrit dharmaśālā, from dharma ‘virtue’ + śālā ‘house’.
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Typology / Nepal social architectural structures _________________ Within these temples and houses all over Nepal, some concepts recur. These structures are all spaces for social interaction, something crucial in the Nepali culture. These structures are referred to as dharmaśālā. One of these dharmaśālā structures is called a pati. A pati is a covered communal platform for people to sit, rest and talk to one another, mostly in combination with a water tap or reservoir for cooking
and bathing. It has the typology of a porch. It is a traditional structure to which nothing has changed for centuries. They are the core of the community, something the school should be as well. The pati has multiple functions on social, religious and economic levels, for instance, political meetings can be held here. It is an intrinsic part of their culture and the focal point of their social life. It appears in different forms depending on its setting, but the purpose remains the same. This is the exact reason it is odd that this principle is not used in the school buildings. The school lacks in being the center of social activity and adding elements like the pati can help with this.
FIG. 80 // dharmaśālā 65
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 81 // model event: exhibition KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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04 Design Rules
Conclusions from case studies and research 67
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 30 // existing situation in Hariharpur secondary school in Sindhuli KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 82 // new situation with module integrated 69
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
Design rules conclusions from case studies and research _________________ The appealing Nepali case studies all make use of local crafts and materials. They use materials such as the local tropical hardwood (sal wood), corn leaves that can be found anywhere and their typical thatched roofs or cement tile roofs that are locally made in the riverbank. Using materials that the locals have worked with for a long time allows them to be able to maintain the buildings very easily, because their knowledge about it is up to date. This is the way to create a comfortable educational environment that is more than just a temporary shelter. Using local materials and knowledge also implies making the buildings climate proof, because the local craftsmen have been working with them and developing their use.
An interesting side effect from this local involvement is that the locals are directly committed to the school buildings and the school itself. This makes it easier to reach them with education, but also shows them the value of their skills and knowledge, so they feel treasured and they want to pass this all on to the younger generation. Since the school is located within the Sindhuli fields, it could be useful to incorporate this into the school in some way. One possibility might be to store the hay for the animals to dry in the roofs of the classrooms, adding some mass there and preventing overheating at the same time.
FIG. 83 // scheme of the module and its three layers KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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When looking at the existing structures, they are clearly divided into three parts. They all have a clear plinth, a clear open part and a roof to shelter the classroom from the rain and direct sunlight. Apart from that, they all have a good classroom size, a beautiful view and a functioning structure, because they survived the major 2015 earthquake. Keeping this in mind, there are also some problems going on with the buildings. The plinth is in a good state, apart from the one in the utter north-west building, but there it can be repaired pretty easily, using a lot less funds than there would be needed to demolish the structure and build a new one. The open part creates some problems because of the acoustics. Schools are usually noisy places and this school is no different. Because the building is so open, there is often noise pollution from one class to another. Having said that, the metal structure used here is still in a good shape. It has rusted, which is a good cover to protect the steel, so it would be a pity to remove it. The roof construction here mainly protects against the rain, while it should do the same thing for the sun. Unfortunately, using corrugated metal sheets as the only roof cover, implicates an overheating problem, since they heat up really quickly.
FIG. 84 - 85 // scheme of old and new layers 71
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
Modules are usually used to create fast and cheap structures with a human scale that are often temporary. An interesting thought is to look at these modules in a way that is not temporary but that can last for a long time. In a school building, the human scale means the kids’ scale of course, and in a remote area like Pipalmadi, one keyword needs to be added, easy transport. Placing a module in Pipalmadi has to follow some guidelines. Of course, the most obvious thing is that it has to be earthquake resistant, so symmetry is key here. Also, keeping it local means that knowledge about the available dimensions of the materials is really important, it is not an option to start working with laminated wooden beams for instance. Also, heavy tools are not on site, so everything should be able to be executed by manpower only.
Last but not least, designing a school means designing an environment suited for children. It should provide some triggers to activate their imagination and playfulness, making them remember they are still children and they have their entire life ahead of them. Hariharpur primary and secondary school will serve as an example for schools in the Siwalik, Terai and Middle Mountain area.
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High Himalayas / highest point 8848m High Mountains
Middle Mountains Siwaliks Terai / lowest point 59m
FIG. 03 // map of Nepal 73
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
FIG. 86 // one of the unused classrooms KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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05 Conclusions Design choices
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x6
FIG. 24 // existing situation KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Conclusions design choices _________________ The focus of the design lies with the three classrooms at the southern part of the site. The developed system is one that can be applied to the other older structures as well. Therefore, the choice was made to work within the structure, because it is still very valuable. When visiting the Hariharpur site, it was striking that three classrooms were unused while they were digging foundations for two new buildings, more or less the equivalent of what is now empty. The government always opts to build instead of to rebuild or refurbish, because it is more prestigious and it is easier to attract foreign investors to do so, but it is interesting to see the possibilities when working with the existing to say the least.
Ricefields
Classroom
Roof import
New part on top of the old one
Opening
/ make local Classrooms open / closed import
Plinth
/ make local Flexible / pleasant to sit existing
Playground
Ricefields
Indoor
Outdoor
classroom
classroom
Playground
FIG. 83 // three layers // FIG. 87 // old situation // new situation 77
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
The module _________________ Since the module is a project that intertwines the existing class structure with a new addition within the same footprint, there are a lot of layers. Starting at the ground, all of these layers will be adressed. The higher the layer, the more it is both new and imported.
FIG. 88 // all new materials aligned KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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11 new roof: second layer of polyester corrugated sheets 10 new roof: second steel structure with windbracing
09 new roof: first layer of polyester corrugated sheets with opening and a steel corrugated sheet detail 08 new roof: first steel structure with windbracing
07 new roof: horizontal steel bars to connect the new and the existing 06 existing roof: metal corrugated sheets with a steel corrugated sheet detail 05 existing roof: horizontal steel bars to connect the corrugated sheets to the structure 04 new roof: doubling the existing structure to deal with the added weight 03 existing roof: the existing slender steel structure
02 new openings: shutters out of steel and mango wood to regulate the classroom climate 01 new plinth: locally woven mats out of the available materials (e.g. riceplant leaves, corn leaves, bamboo) 00 existing plinth: concrete base for earthquake resistance
FIG. 89 // exploded view of all building layers 79
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
The plinth _________________ As said before, the plinth is in a good state in most of these buildings, and the ones that are damaged, like the utter north-west one on site can be repaired easily. This plinth should remain to serve as the base of the building, since they have proven to be earthquake resistant.
Layer 00 This layer is the existing in cement covered plinth. The only thing that needs to be done here is repairing it, because in some cases that is needed, but most of these buildings remain to have an intact plinth.
There are however some issues, since the entire plinth has concrete cover. Classrooms should be environments that constantly evolve. Subject related posters on the wall, children’s drawings and what more. Unfortunately, these walls do not provide this option. The floor also brings up an issue. The ideal classroom is a classroom with a lot of flexibility. Sitting on the floor, lying on the floor, sitting on benches, chairs and so on. This concrete floor is too cold to be comfortable.
FIG. 90 // isometrical drawing of the three plinths // FIG.10 & FIG. 86 // existing classrooms KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Layer 01 The second layer and the first addition is one that is entirely local. During the site visit, the many types of woven mats caught the eye. These mats vary in size and form and are woven by the local women out of leftover local materials, like riceplant leaves or corn leaves, but the ones that have access to bamboo also often use that. Using a combination of a mat that covers the entire floor and some loose mats offers great flexibility. Adding to the idea of flexibility, is what happens with the benches that are currently in the used classrooms. These are very heavy and do not meet the requirements of a healthy class environment. Therefore the suggestion of breaking them apart and making 2 lighter benches out of each one. This guarantees they can be moved, so the classroom setup can vary or they can even be taken to the courtyard to have an outdoor class or meeting.
FIG. 91- 92 // intervention with the benches // FIG. 93 - 94 // locally woven mats 81
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
The openings _________________ In the existing building, there can barely be talked about windows. The entire building is open and the windowframes are empty. There purpose is debatable. Therefore, these will be taken out and brought back to Kathmandu to be converted into the new shutters that will be added.
The second type of shutter opens towards the outside as well and is also built up out of 2 different sides, one for chalk, one for paint. On top of that, these are perfect to hang things that are relevant for the lessons or just to brighten up the room.
Layer 02 There are two kinds of shutters, one type to be used in the facade facing the playground, the other for the backfacade. The first type is a shutter that can be opened towards the courtyard and can serve as a seating area. This design choice was made as a reference to the dharmaśālā structures that were referred to earlier. Since this site and a lot of other Nepali schools have to work with whatever the government or charity programs offer, they usually have enough classrooms, but the comfortable outside seating areas have been neglected. These kind of shutters offers the opportunity to sit in the shade on a raised platform. Also, because of the mats and these shutters, classes can be taught outside. The outside of these shutters can be used as a blackboard, since it received a special coating for this. The side the children can sit on is made out of mango wood, which is not strong enough for construction, but perfect for these kinds of elements. A bucket of paint is delivered with that to offer them the opportunity to paint their school and make it their own.
FIG. 95 // windowframes in the existing structure // FIG. 96 - 97 // intervention KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 98 // after intervention 83
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
summer sun 84°
winter sun 40°
summer sun 84°
winter sun 40°
c
ricefields
1m Section through the building, when used as classroom.
FIG. 99 // section A KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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d
ar
ty
r ou
The roof _________________
Layer 05 These horizontal bars are existing as well, they connect te previous two layers to each other.
The new roof has been added to ensure maximum ventilation in the classrooms, to react to the temperatures that rise high in the south part of Nepal. This is the case in the entire Middle Mountain, Siwalik and Terai region, where the module would be built. The roof also refers to the vernacular Nepali architecture, an architecture that consists of a lot of layers in combination with beautiful intricate handcrafted details. These are translated here to another material, namely green steel corrugated plates. The angle and dimensions of the sheets was determined by the position of the sun at the Hariharpur secondary school in Sindhuli, which serves as a casestudy. Layer 03 This first existing roof layer consists of the very slender steel structure, one frame every 3,5m. They stay like they are now.
Layer 06 The existing corrugated steel sheets are partially kept. The top is removed to open up the roof. These are connected by means of hooks to the previous layer. Layer 07 The new roof is connected to the old one by means of these new slender green horizontal bars.
Layer 04 To carry the new roof, there is an additional steel frame inbetween each existing one. The structure is now doubled, as will the weight of the roof, logic reasoning ensures that this holds up. This structure is coated in green, to symbolise every new layer.
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0. Existing situation with a corrugated sheet roof, concrete plinth and steel structure.
1. Removing top part of the roof to open the building up and ensure ventilation in the classroom.
2. Removed top part means an open classroom. First 2 classes to be tackled are the abandoned ones, that way two grades can move in there before starting to work on the others.
FIG. 100 - 102 // what happens with the existing structure KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Layer 08 The connection between the first layer of new corrugated plates and the second is made by this layer. It is also coated in green. The additional windbracing was added for horizontal stability, to withstand the forces of the occasional strong winds.
Layer 09 This is the first layer of green corrugated polyester sheets. This material was opted for because it deals very well with high temperatures and rain. They will not wear as quickly as the metal sheets they have now.
Layer 10 This is the second layer of vertical bars, connected by wind bracing. Additionally, there is a L-shaped bar over the full length where the first layer of corrugated polyester sheets will be connected to.
Layer 11 The top layer is once again a green corrugated polyester sheet. The dimensions were chosen as such to prevent the heavy rains from going inside the building. The advantage of having this threelayered roof is mainly the constant ventilation with a comfortable classroom climate.
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FIG. 103 // new elevation KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 104 // new plan 89
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FIG. 105 // flexibility KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 106 // flexibility 91
ON CONTINUITY AND IDENTITY _ THE IDEAL SCHOOL NEPAL
The actual challenge _________________ Assembling the building is relatively easy. The whole structure can be constructed by three to four workers in a limited amount of time. The hard work, the foundation, is available already. The actual challenge that pops up is the transportation from the central depot in Kathmandu to the most remote school sites in the middle and Southern part of Nepal. Taking this into account, every package should be able to fit in the back of a pick-up truck instead of a regular truck. The wooden box in which it will be stored consists of the mangowood for the frames.
Taking into account the size of the loading area of the pick-up truck, the box will be 244cm by 122cm by 244cm. These standard sizes are easy to come by and can later be reused on site to make additional benches to sit on.
Transporting to Sindhuli for instance poses a difficulty already, because the road can only be ridden in wintertime. A usual Nepali pick-up truck has a loading area of 257cm by 174cm. This means that the options of usable materials are fairly limited. Also, the driving time from Kathmandu is not to be underestimated. A relatively close area like Sindhuli is already 12 hours away. This is one of the quickest, most efficient and easy ways of distributing the packages to their destination.
FIG. 88 // all new materials aligned KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 107 // the box 93
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the new site plan _________________ When we go look at the site, what is striking is that the site plan mainly remains the same. The footprints of all buildings is equal, but the usable footprint is very different. The classroom design is pointing out the opportunity of the informal outside classroom. Flexibility is key in this project, since the actual used classroom can double in size without putting more foundations in the soil.
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FIG. 108 // site plan after intervention 95
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FIG. 109 // section through the site KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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For the passer-by, all of this flexibility might not directly hit the eye, but what will is the way the site and its environment brightens up with a little color and some typical Nepali principles brought in a modern way. For the user, the school will noticeably be more flexible. Since the current situation leaves three rooms unused, these will be the first to be tackled, making them the example for the rest of the school. This project can be realised easily in phases, which makes it interesting budgetwise, because the government budget for schools is limited. It is also an option to only tackle one building and use that as the central space of the school. The space is suitable to be used as an eventspace, kitchen area, meeting space but first and foremost as a classroom.
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FIG. 110 // existing view KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 111 // view after intervention 99
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FIG. 112 // interior KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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FIG. 113 // section through site after intervention KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Conclusions After the intervention _________________
Hariharpur primary and secondary school
264
- still educates students - covers 349 households in the area BUT can take care of more - has men
17 teachers out of which 3 women and 14
- consists of - used in - with
5 school building typologies
7 school buildings
13 classrooms in use & 0 empty ones
FIG. 06 103
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FIG. 114 81 // saying goodbye to the host family KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Thank you / धन्यवाद 105
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(*)
धन्यवाद
/Dhan’yavāda/ Thank you
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धन्यवाद (*) _________________ First of all, I would like to thank my academic promotor Ignaas Back and contributors Klaas Vanslembrouck, dr. Hilde Bouchez, drs. Tom Callebaut, Wart Thys and Lin Seminck. They have been great guides throughout the project both in Nepal and back in Belgium. Their and lectures and advice made this project to where it is at today. I would also like to thank Pieter Slock for his structural guidance that gave me a lot of new perspectives. Also my fellow students have been a great support while discussing our projects every wednesday in the studio. When we were in Nepal, we were amazingly guided and informed by Teeka, Michael and the rest of CEPP, who were so kind to accompany us on our journey through the wonderful Nepal. The road to Sindhuli was long and bumpy, but it brought a wonderful experience with it, which brings me to my hospitable host family. Bishnu and her family were the most welcoming and helpful people anyone can ever imagine. Last but certainly not least, a sincere thank you to my friends and family who supported me on every step of the road. Their interest in what I was doing was marvellous and through my discussions with them I gained a lot of insights. Thank you.
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FIG. 115 // schoolgirls at Hariharpur KULEUVEN - FACULTY OF ARCHITECTURE _ SOFIE STANDAERT_/’mɒdju:lz/
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Bibliography 109
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Bibliography
FIG 25, p.29
General photos
Figure list
FIG 26, p.29
General photos
_________________
FIG 27, p.29
General photos
Note that all photos marked by “general photos” are taken by one of these students: Davide Agostini, Jessica Bardella, Orphee Konings, Nesma Sharrouf, Sofie Standaert, Charlotte Vercauteren or Lize Weyenberg.
FIG 28, p.30
by Sofie Standaert
FIG 29, p.30
General photos
FIG 30, p.31/68
by Sofie Standaert
Cover image
by Sofie Standaert
FIG 31, p.32
by Sofie Standaert
FIG 01, p.6-7
General photos
FIG 32, p.32
General photos
FIG 02, p.10-11
General photos
FIG 33, p.33
by Sofie Standaert
FIG 03, p.12/73
by Sofie Standaert
FIG 34, p.33
General photos
FIG 04, p.13
by Sofie Standaert
FIG 35, p.34
by Sofie Standaert
FIG 05, p.14
website / by Sofie Standaert
FIG 36, p.34
General photos
FIG 06, p.14
website / by Sofie Standaert
FIG 37, p.35
by Sofie Standaert
FIG 07, p.15
website / by Sofie Standaert
FIG 38, p.35
General photos
FIG 08, p.15
website / by Sofie Standaert
FIG 39, p.36
by Sofie Standaert
FIG 09, p.15
website / by Sofie Standaert
FIG 40, p.36
by Sofie Standaert
FIG 10, p.16/80
General photos
FIG 41, p.36
by Sofie Standaert
FIG 11, p.17
by Sofie Standaert
FIG 42, p.37 / 62
by Sofie Standaert
FIG 12, p.18-19
General photos
FIG 43, p.37
General photos
FIG 13, p.20-21
by Sofie Standaert
FIG 44, p.38-39
General photos
FIG 14, p.22
General photos
FIG 45, p.43
General photos
FIG 15, p.23
by Sofie Standaert
FIG 46, p.44
by Sofie Standaert
FIG 16, p.23
by Sofie Standaert
FIG 47, p.45
website
FIG 17, p.24
General photos
FIG 48, p.46
website
FIG 18, p.25
General photos
FIG 49, p.46
by Sofie Standaert
FIG 19, p.25
General photos
FIG 50, p.47
website
FIG 20, p.26
General photos
FIG 51, p.47
website
FIG 21, p.26
General photos
FIG 52, p.48
by Sofie Standaert
FIG 22, p.26
General photos
FIG 53, p.49
website
FIG 23, p.26
by Ege Baki / Sofie Standaert
FIG 54, p.49
website
FIG 24, p.28/76
by Sofie Standaert
FIG 55, p.49
website
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FIG 56, p.50
by Sofie Standaert
FIG. 87, p.77
by Sofie Standaert
FIG 57, p.51
website
FIG. 88, p.78/92
by Sofie Standaert
FIG 58, p.51
website
FIG. 89, p.79
by Sofie Standaert
FIG 59, p.51
website
FIG. 90, p.80
by Sofie Standaert
FIG 60, p.52
by Sofie Standaert
FIG. 91, p.81
by Sofie Standaert
FIG 61, p.53
website
FIG. 92, p.81
by Sofie Standaert
FIG 62, p.53
website
FIG. 93, p.81
General photos
FIG 63, p.53
website
FIG. 94, p.81
General photos
FIG 64, p.54
by Sofie Standaert
FIG. 95, p.82
General photos
FIG 65, p.55
website
FIG. 96, p.82
by Sofie Standaert
FIG 66, p.55
website
FIG. 97, p.82
by Sofie Standaert
FIG 67, p.55
website
FIG. 98, p.83
by Sofie Standaert
FIG 68, p.56
by Sofie Standaert
FIG. 99, p.84
by Sofie Standaert
FIG 69, p.57
website
FIG. 100, p.86
by Sofie Standaert
FIG 70, p.57
website
FIG. 101, p.86
by Sofie Standaert
FIG 71, p.57
website
FIG. 102, p.86
by Sofie Standaert
FIG 72, p.58
by Sofie Standaert
FIG. 103, p.88
by Sofie Standaert
FIG 73, p.59
website
FIG. 104, p.89
by Sofie Standaert
FIG 74, p.59
website
FIG. 105, p.90
by Sofie Standaert
FIG 75, p.59
website
FIG. 106, p.91
by Sofie Standaert
FIG 76, p.60
by Sofie Standaert
FIG. 107, p.93
by Sofie Standaert
FIG 77, p.61
website
FIG. 108, p.95
by Sofie Standaert
FIG 78, p.61
website
FIG. 109, p.96-97
by Sofie Standaert
FIG 79, p.63
by Sofie Standaert
FIG. 110, p.98
by Sofie Standaert
FIG 80, p.65
by Sofie Standaert
FIG. 111, p.99
by Sofie Standaert
FIG 81, p.66-67
General photos
FIG. 112, p.100
by Sofie Standaert
FIG 82, p.69
by Sofie Standaert
FIG. 113, p.102-103 by Sofie Standaert
FIG 83, p.70/77
by Sofie Standaert
FIG. 114, p.104-105 General photos
FIG 84, p.71
by Sofie Standaert
FIG. 115, p.108-109 General photos
FIG 85, p.71
by Sofie Standaert
FIG 86, p.74-75/80 General photos
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Bibliography
Bibliography
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_________________
1. Ahlers, J., Buursink, R., Dallinga, J., Kelpin, F., Möller, J., Romijn, L., Weyers, H. and de Winter, F. (1982). Wat is dat voor een school?. 1st ed. Deventer: Van Loghum Slaterus.
1. Encyclopedia Britannica. 2017. tatami | Britannica.com. [ONLINE] Available at: https://www. britannica.com/technology/tatami. [Accessed 11 April 2017].
2. Ceulemans, H. (2013). Belgium’s Best Design. Antwerpen: Luster. p64 - 67
2. CloClo – www.cloclo.be. 2017. ART DECO VS. RETRO – www.cloclo.be. [ONLINE] Available at: http://www.cloclo.be/art-deco-vs-retro/. [Accessed 11 April 2017].
Books (alphabetical)
3. Dudek, M. (2008). A design manual, schools and kindergartens. Basel, Boston, Berlin: Birkhäuser. 4. Ehmann, S., Borges, S. and Klanten, R. (2012). Learn for life. 1st ed. Berlin: Die Gestalten. 5. Hertzberger, H. and Swaan, A. (2009). The schools of Herman Hertzberger. 1st ed. Rotterdam: 010 Publishers. 6. Kunz, M. and Schönwetter, C. (2005). Outdoor Living. 1st ed. Basel, Boston, Berlin: Birkhäuser. 7. Noll, T. and Buthod-Girard, I. (2003). Houtverbindingen. 1st ed. Utrecht: Forte Uitgevers. 8. Von Vegesack, A., Kries, M., Dethier, J. and Bachmann, U. (2000). Grow your own house: Simón Vélez and bamboo architecture. Weil am Rhein: Vitra Design Museum. 9. Wang, S. (2011). Play. 1st ed. Berkeley, CA: Gingko Press.
Websites (in order of first visit)
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tims-built-by-unskilled-workers-three-days/. [Accessed 13 April 2017]. 11. ArchDaily. 2017. Temporary Shelter in Nepal / Charles Lai + Takehiko Suzuki | ArchDaily . [ONLINE] Available at: http://www.archdaily. com/769890/temporary-shelter-in-nepal-charleslai-plus-takehiko-suzuki. [Accessed 13 April 2017]. 12. Cedarsong Nature School. 2017. Forest Kindergarten | Cedarsong Nature School. [ONLINE] Available at: http://cedarsongnatureschool.org/ forestkindergarten/forest-kindergarten/. [Accessed 14 April 2017]. 13. ArchDaily. 2017. AD Classics: Habitat 67 / Safdie Architects | ArchDaily . [ONLINE] Available at: http://www.archdaily.com/404803/ad-classicshabitat-67-moshe-safdie. [Accessed 14 April 2017]. 14. Eames House and Studio (Case Study House #8) | Los Angeles Conservancy. 2017. Eames House and Studio (Case Study House #8) | Los Angeles Conservancy. [ONLINE] Available at: https://www.laconservancy.org/locations/eameshouse-and-studio-case-study-house-8. [Accessed 15 April 2017]. 15. ArchDaily. 2017. A Virtual Look Into The Eames Case Study House #8 | ArchDaily . [ONLINE] Available at: http://www.archdaily.com/620033/avirtual-look-into-the-eames-case-study-house-8. [Accessed 15 April 2017]. 16. 99% Invisible. 2017. The Modularity is Here: A Modern History of Modular Mass Housing Schemes - 99% Invisible. [ONLINE] Available at: http://99percentinvisible.org/article/modularitymodern-history-modular-mass-housing-schemes/. [Accessed 15 April 2017]. 17. Arch2O.com. 2017. When Beauty and Efficiency Meet: Modular Architecture - Arch2O. com. [ONLINE] Available at: http://www.arch2o. com/language-modular-architecture/. [Accessed 15 April 2017]. 18. Schooltypen in het basisonderwijs — Anababa. 2017. Schooltypen in het basisonderwijs — Anababa. [ONLINE] Available at: http:// www.anababa.nl/school/basisschool/kiezen/ schooltypen/. [Accessed 16 April 2017]. 19. Mary Shepherd Slusser and Gautamavajra Vajrācārya: Two Medieval Nepalese Buildings. 2017. Mary Shepherd Slusser and Gautamavajra Vajrācārya: Two Medieval Nepalese Buildings. [ONLINE] Available at: http://asianart.com/articles/ buildings/index.html. [Accessed 22 April 2017].
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KU Leuven Faculty of Architecture Campus Sint Lucas, Ghent www.arch.kuleuven.be www.internationalmasterofarchitecture.be