pantheon// 2017 | current by Study Association Stylos

pantheon// biannual publication of d.b.s.g. stylos / issue 2 / volume 22

current

current (adj.) [ˈkʌr(ə)nt]

Belonging in the present time, in progress, customary, popular, circulating, running, flowing; (n.) A steady flow, mass of air, body of water, etc., that has a steady flow in a particular direction, velocity of a flow, electricity, general tendency or course of events or opinion.

biannual publication of study association Stylos faculty of Architecture, TU Delft colophon volume 22, issue 2, October 2017 2.300 prints Stylos members and friends of the Stylos Foundation receive the pantheon// editorial office BG.midden.110 Julianalaan 132-134 2628 BL Delft pantheon@stylos.nl

to this issue contributed Mara Kopp, Marlies Rohmer, Willie Vogel, Jelle Mens, Nikolaj Liebregts, Jeroen Wassing, Marc den Heijer, Anneke Franssen, Mesut Ulku, Lena van der Wal, Joep Bastiaans,, Gijs Beckman, Liviu Paicu, Roel Kosters, ArchDaily, Rik de Bondt advertisements 18 | Design Express 19 | INBO

QQ (qualitate qua) Coen de Vries editors Melchior Bos Julia Kapinga Vita Teunissen

lay out Juliette Brouwer, Vita Teunissen & Bo Wielders

publisher De Swart, Den Haag Basia van Vliet Bo Wielders

cover Juliette Brouwer, Vita Teunissen & Bo Wielders

The Delftsch Bouwkundig Studenten Gezelschap Stylos was founded in 1894 to look after the study and student interests at the Faculty of Architecture and the Built Environment at the Delft University of Technology. chairman: secretary: treasurer: education bachelor: education master: external affairs: events and initiatives: contact D.B.S.G. Stylos Julianalaan 132-134 2628 BL Delft info@stylos.nl +31 (0)15 2783697 www.stylos.nl

CURRENT // 04

CHAIRMAN’S NOTE

MARA KOPP

@ARCHITECT: MARLIES ROHMER

WE REAL COOL POEM JULIETTE BROUWER

PANORAMIC OBSERVATIONS

YAP 2017

JULIA KAPINGA

CURRENTS IN ART: IMPRESSIONISM

BASIA VAN VLIET

VITA TEUNISSEN

40 14

STIJL, STIJL EN NOG MEER STIJL

JELLE’S KOT BO WIELDERS

BO WIELDERS

44 16

CAY EN TAVLA

STAIRWAY TO HEAVEN BASIA VAN VLIET

WILLIE VOGEL

46 20

MIND: ARCHITECTURAL PHOTOGRAPHY CONTEST BASIA VAN VLIET

RECENTLY GRADUATED MELCHIOR BOS

GET INSPIRED BO WIELDERS & JULIA KAPINGA

COPING WITH WATER JULIA KAPINGA

AESTHETICS OF IMPERMANENCE CHEPOS RIK DE BONDT

STEDEN ZO GROOT ALS NEDERLAND NIKOLAJ LIEBREGTS

HUMANS OF BK JULIA KAPINGA & MELCHIOR BOS

WHAT IF ARCHITECTURE WAS A WOMEN’S PROFESSION COMIC VITA TEUNISSEN

SWISS PERFECTION, DUTCH DIRECTNESS JOEP BASTIAANS

board 124 Mara Kopp Amber van der Voorn Lieke Voortman Lûte Biesheuvel Annemijn Kuiper Joost van Eijk Sam van Hooff

COMMITTEE

membership Stylos €10,- per year account number 296475

2016/2017

Stylos Foundation The pantheon// is funded by the Stylos Foundation.

MELCHIOR BOS EDITOR

The Stylos Foundation fulfills a flywheel function to stimulate student initiatives at the Faculty of Architecture and the Built Enivronment at the Delft University of Technology. The board of the Stylos Foundation offers financial and substantive support to these projects. As a friend of the Stylos Foundation you will be informed on these projects by receiving the B-nieuws every two weeks and four publications of the pantheon//. We ask a donation of €90,- per year as a company and €45,- per year as an individual (recently graduated friends of the Foundation will pay €10,- the first two years).

JULIETTE BROUWER LAY-OUT

account number 1673413 disclaimer All photos are (c) the property of their respective owners. We are a non-profit organisation and we thank you for the use of these pictures.

JULIA KAPINGA EDITOR-IN-CHIEF

EDITORIAL

VITA TEUNISSEN EDITOR

BY JULIA KAPINGA Current, a word that has many different meanings. Current can relate to time; it can be the now, the present day. It can refer to a flow, like water or electricity. Currents often occur in nature, especially when looking at the weather. It can be circulating, a currency, like the euro or dollars. Current can also mean popular or most recent. This issue, for instance, is current. There are so many ways to look at this theme, and therefore you can find a variety of articles in this issue. It is interesting to look back, to see how things have played out over the years and how these things are today. Architect Marlies Rohmer decided to do exactly this. She went back to the projects she has designed over the past 30 years and evaluated their value and impact today. It was, to her, the ultimate way to figure out if her work is as sustainable as she thinks it is. This issue contains an in-depth interview with Marlies Rohmer on page 5. A current topic of discussion, especially at our faculty, is about women and their

place in the world of architecture. To illustrate the extend of this topic, we have created a comic ‘What if architecture was a women’s profession’. The comic tries to shed a new light on the current discussion on both our faculty and our professions. In collaboration with the Media Committee of Stylos, we organised a photo contest for the members of our faculty. We received some beautiful photographs, all with a different approach to the theme ‘MIND’. You can find some of them on page 21. We want to thank all contestants and, of course, the Media Committee for the fruitful collaboration and inspiring result. This issue marks the end of this year’s pantheon// committee. Our focus was to make pantheon// even better than it already was. For the previous issue, Raw, we were armed with international forces and for this issue some old and new faces joined us to create another masterpiece. We hope you enjoyed the previous issue, and will enjoy the one currently laying in front of you!//

BASIA VAN VLIET EDITOR

COEN DE VRIES QQ

BO WIELDERS LAY-OUT

YOUR NAME HERE? Join the editorial board!

PAST EVENTS

A new board; new people. All of us immensely excited to start this journey, and to explore and develop our common view on the association, the faculty and the world of architecture and urban design in general. After a few weeks of working together, I can safely say that the rumours of 2006 are as unfounded in reality as they sound on paper. Our group dynamic is fully based on the variety of personalities, not on gender.

On 26 October, MVSA Architects will visit our faculty for a lunch lecture on architecture competitions, viewed from the perspective of an architecture firm.

With winter on our doorsteps, Christmas can’t be here too soon. In December, Stylos is once against here to serve. Join us for many, many drinks at the faculty in the last academic week of the year.

XMAS

This year, we want to be open-minded to the things outside of our usual agenda. We want to shed a critical light on the new developments in the fields of education and practice. If Stylos dares to play an important part in this, we can set an inspiring example to all students, including you.

UPCOMING EVENTS MVSA

Stylos is a place where people get to know themselves, get to know each other, and where friendships are built. Stylos is also the place where, maybe for their first time, students feel responsible for a bigger group. There is a lot of exciting events coming up. As they will be obvious to some, I won’t mention them here. I encourage all of you to check out our website to see what’s happening this year.

In September, filmmaker Tomas Koolhaas visited our faculty for the screening of his film about the architect Rem Koolhaas, followed by a Q&A session.

REM

In edition 3 of pantheon// 2006, the female chairman of Stylos wrote about the new board members, of which half were women. At the time, there were some rumours: people were wondering whether the women would end up quarrelling. Now, in 2017, board 124 of D.B.S.G. Stylos has started - with five women and two men.

REIS

CHAIRMAN’S NOTE

This Summer, a group of BK students set out to discover the many different sides of Dubai and China. Read more about their adventures on page 28..

Mara Kopp Board 124 of D.B.S.G. Stylos

in memoriam ISKANDER JOANNES NOORDMAN *10 mei 1970

20 augustus 2017

Commissaris Publiciteit en Sponsoring van bestuur 98 der Delftsch Bouwkundig Studenten Gezelschap Stylos

MARLIES ROHMER Marlies Rohmer studeerde Stedenbouw en Architectuur aan de TU Delft en begon in 1986 haar eigen bureau Marlies Rohmer Architects and Urbanists. Recentelijk heeft ze een onderzoek naar haar eigen werk afgerond, genaamd WHAT HAPPENED TO... Met een camper reed ze het hele land door, langs haar oude werk, om hierop te reflecteren.

@ARCHITECT Je hebt ook Bouwkunde gestudeerd aan de TU Delft. Hoe was jouw studententijd? Ik ben in 1978 begonnen en ik ben in ’86 afgestudeerd. Ik heb acht jaar gestudeerd, veel langer dan jullie nu natuurlijk mogen studeren. Ik heb les gehad van Jaap Bakema, Aldo van Eyck, Herman Hertzberger, Carel Weeber en Rem Koolhaas, en ben dus opgeleid in een heel gevarieerd architectuurklimaat. Het was nog een beetje het staartje van de volkshuisvestingsperiode waarin alleen maar werd gepraat en niet ontworpen, en op die grens kwam ik binnen. Het was echt een hilarische periode waarin veel architecten heel polemisch naar elkaar waren. Zo heeft Aldo van Eyck weleens tijdens een college gedaan alsof hij een baksteen naar Carel Weeber wilde gooien. Het was een rumoerige, maar vooral ook leuke tijd, en hierdoor heb ik een hele brede achtergrond gekregen om aan de slag te gaan. Tegen het einde van mijn studie ben ik bij Rem Koolhaas aan de slag gegaan. Ik had echt al zijn teksten gelezen en vond hem een erg interessant persoon, maar ik vond het toen wel moeilijk om steeds maar voor iemand anders te denken; ik raakte daarvan een beetje in de war. Ik heb toen besloten om meteen na mijn afstuderen, dus op mijn 27e, voor mezelf te beginnen. Zoals je net al zei, ben je in 1986 je eigen bureau gestart. Hoe heb je dit aangepakt? Om aan werk te komen heb ik de gele gids gepakt, bij de P van projectontwikkeling begonnen en twee weken de tijd genomen om iedereen van A tot Z te bellen of ik kon langskomen om mijn afstuderen te laten zien. Ik mocht overal langskomen en bij sommigen draaide dit uit op niks, maar zo’n 10% dacht: ‘oh, wat leuk, iemand met ondernemingslust’. En zo mocht ik dus bijvoorbeeld kantoren in het buitenland gaan tekenen voor ABN Amro en stedenbouwkundige plannen maken voor ING vastgoed. Dat was een soort opmaat om geld te

verdienen en daarnaast deed ik prijsvragen om mijn eigen handschrift te ontwikkelen en los te komen van onder andere Rem Koolhaas. Zo ben ik gestart. In a nutshell. Heb je het idee dat er veel is veranderd in de afgelopen jaren? Ja, heel erg. Om te beginnen, toen wij begonnen was er een programma van eisen en een honderd procent opdracht tot en met de directievoering toe. Je was een allround bouwkundige en je kon het werk gewoon 1 op 1 krijgen. Nu wordt er gewerkt met tenders (Europese aanbesteding) en krijg je vijf telefoonboeken aan informatie. Daarmee maak je een ontwerp, vaak niet verder dan een voorlopig ontwerp of een definitief ontwerp. Je kunt je niet meer ontwikkelen als een allround ontwerpbureau. Door de intrede van BIM verliezen we het werken van grof naar fijn. Iedereen verwacht nu meteen dat je alles in BIM zet, waardoor je in een veel te vroeg stadium al te bouwkundig moet tekenen. Zo worden de denktank fase en schetsfase overgeslagen. Dus ik vind dat er ontzettend veel veranderd is in de beroepspraktijk. Het is uiteraard niet alleen maar kommer en kwel, maar ik vind het wel jammer dat het vak, het ambacht, teloor gaat. Het hele bouwproces is complexer geworden, opdrachtgevers halen er steeds meer adviseurs bij. Waar vroeger de beroepsuitoefening zeer allround was, is het nu veel meer gecompartimenteerd. Het vak is veel specialistischer geworden. Bijvoorbeeld, voor scholenbouw dien je nu drie andere scholen uit de drie afgelopen jaar te laten zien, voordat je een ontwerp mag uitwerken. Hierdoor focus je als bureau alleen maar op één gebouwtype en dat vind ik jammer. Ik vind dat je als architect juist meerdere gebouwtypen tegelijkertijd zou moeten maken. Zie je verschil in je werkwijze en aanpak van een project door de jaren heen? Is dit erg veranderd? Hoe mijn werkwijze veranderd is? Ik denk dat

ik vroeger sneller met een schetspapier begon. Terwijl ik nu het ontwerpen zie als een soort cyclisch zoekproces. Je zit eigenlijk simultaan te schaken op heel veel borden tegelijk. Je bent aan het programma van eisen bezig, je bent aan het schetsen, je bent aan het denken, je gaat naar een film en je kijkt een beetje naast je en denkt opeens, jeetje, dit is misschien een ingang. Elke keer kom je een beetje verder tot je er op een gegeven moment bent. Terwijl vroeger begon ik misschien sneller heel praktisch te tekenen. Dat is wel veranderd. Je bent teruggegaan naar je oude gebouwen en hebt onderzoek gedaan naar wat er mee gebeurd is na de oplevering. Zou je iets meer kunnen vertellen over je aanpak van dit onderzoek? Toen het woord ‘duurzaamheid’ zijn intrede deed, wilde ik eerst eens onderzoeken hoe duurzaam mijn eigen gebouwen van de afgelopen 30 jaar eigenlijk gebleken zijn. Ik had een subsidieaanvraag gedaan bij het Stimuleringsfonds en dan moet je heel systematisch te werk gaan. Dus ik heb eerst een plan van aanpak geschreven en toen hebben we allerlei onderwerpen bedacht waarop we een gebouw wilden testen. Daarnaast was ik van plan een boek over eigen werk te schrijven. Mijn uitgever zei al: ‘dat wordt weer zo’n suf plaatjes boek over een architect’, daar was ik het wel mee eens. En hier ontstond het idee. Ik wilde al mijn oude werk bekijken en heel eerlijk een boek schrijven over wat ik nu vind van mijn idealen van toen. Het boek is uiteindelijk, dankzij Hilde de Haan en Jolanda Keesom, een soort fragment van het onderzoek geworden. Het onderzoek zelf, dat zijn echt een paar van die multomappen dik met letterlijk uitgeschreven gesprekken met bewoners, opdrachtgevers, aannemers, enzovoort. Ook rapportages over aspecten zoals het binnenklimaat en de manier waarop de materialen zich hebben gehouden. Het plan was om er een jaar over te doen, maar uiteindelijk ben ik er vier jaar mee bezig geweest. Heb je het idee dat je over het algemeen goede en duurzame gebouwen hebt geleverd? Ja, dat denk ik wel. Niet alles heeft even goed uitgepakt, maar over het algemeen wel. Ik ben in de jaren 80 begonnen, toen was ik nog een beetje aan het zoeken en kreeg ik niet zo’n grote opdrachten. In de jaren 90 ontstond er een soort bouwexplosie en werd er heel veel geëxperimenteerd. In die periode heb ik bijvoorbeeld scholen gemaakt met sportvelden op het dak. Ik had ook ideeën over sociale duurzaamheid. Ik vond dat gebouwen

expressief moesten zijn en dat een goede overgang tussen binnen en buiten belangrijk was. Dat is een van de dingen die goed is gelukt, maar dan zie je ook bij sommige doelgroepen dat zij er geen behoefte aan hebben. Je moet eigenlijk heel erg specifiek voor je doelgroep ontwerpen, voor zover je al zo’n doelgroep kunt voorspellen. Want een gebouw heeft echt meerdere levens. Het begint in het hoofd en de fantasie van de ontwerper en daarna arriveren de gebruikers. Bij scholenbouw bijvoorbeeld, kan het heel goed zijn dat na de realisatie van het project de school alweer een andere directeur heeft. Daarom vind ik het ook heel belangrijk om een budget over te houden voor kinderziektes. Waar dus op één plek iets heel goed gelukt is, kan het op andere plekken totaal mislukt zijn. Er komen ook wel een paar van die oneliners uit, we hebben bijvoorbeeld veel in baksteen gebouwd en die gevels houden zich over het algemeen oogverblindend. Ik houd heel erg van baksteen. Ik kan nog steeds nieuwe dingen doen met baksteen. Zijn er nog andere projecten waar je met trots op terug kijkt? Ja, eigenlijk vind ik al mijn opdrachten leuk. Ik denk dat ik de eerste in Nederland ben geweest die sportvelden op het dak van scholen ging maken. Mijn eerste school, in Wateringse Veld, had zo’n sportveld op het dak en ik vind dat nog steeds een heel leuk gebouw. Het ziet er niet overal even mooi meer uit, maar het staat nog wel overeind. Ik heb veel gebouwen gemaakt met van die metselwerk patronen, die ik ook nog steeds zeer waardeer. Bijvoorbeeld de Zeester in Noordwijk, dat is een gebouw waar ik met psychiatrische patiënten patrijspoorten heb gekleid en gemetseld als een soort ornamentele huid, in metselwerk gegoten. En in Groningen heb ik een golvende baksteen gevel gemaakt met openingen in het metselwerk waardoor indirect daglicht in de sporthal komt. Heb je een favoriet? Een gebouw dat je als een van je hoogtepunten beschouwd? Een van mijn betere projecten is nooit uitgevoerd. Ik mocht een discotheek ontwerpen op zo’n vinexlocatie in Leidsche Rijn. De brandweer was echt hysterisch over vluchtwegen en uiteindelijk heb ik een gebouw ontworpen dat echt een dichte doos was, gehuld in een netkous van vluchttrappen die ook als zitjes dienden voor mensen die even buiten wilden gaan zitten. Ik was net in Brazilië geweest en had daar een gebouw bezocht waar de entree onder het gebouw was. Vanaf buiten was de ingang

JULIA KAPINGA

onzichtbaar - in mijn ogen een soort subliem ontwerp, waarin alles meer werd dan de som der delen. Uiteindelijk is de bouw van de discotheek niet uitgevoerd. En daar ben ik echt ziek van geweest. Wat is voor jou persoonlijk de belangrijkste les die je heeft geleerd door het doen van dit onderzoek? De belangrijkste les... Er zijn wel meerdere lessons learned. In ieder geval weet ik nu dat het ontzettend nuttig is om je oude werk te bekijken. Als je aan een ontwerp begint, heb je het altijd over what’s new, what’s next , what’s the thrill, maar het is zo goed om te kijken wat er later mee gebeurd is. Het gaat er natuurlijk om dat die gebouwen er over tien/twintig/ dertig/veertig jaar ook nog goed uitzien. Ik heb ook een documentje gemaakt met allemaal lessen die ik eruit geleerd heb. Dat lees ik heel vaak nog even door als ik aan een nieuw project begin. Ik ben wel anders gaan ontwerpen. Er zijn gebouwen waar ik heel veel vorm in gebruikte bijvoorbeeld, met enorm veel golvende wanden en ronde gebouwen. Ik denk dat ik nu eenvoudiger ben gaan werken en heel veel geld stop in een soort rijkdom en overdaad. Hele mooie huiden, hele mooie gevels, die ook echt prachtig verouderen en mooi vervuilen. Ik vind het ook heel belangrijk om een budget te reserveren

om na een jaar nog eens met die opdrachtgever de puntjes op de i te zetten. Ik denk dat ik niet meer zo snel aan experimentele materialen zal beginnen als ik niet zeker weet of ze het gaan redden. Ik vind het ongelofelijk belangrijk dat gebouwen goed vervuilen, maar ik ga wel het experiment op allerlei andere vlakken aan. Wat is naar jouw idee de kracht van Marlies Rohmer Architects & Urbanists? Ja, dat zou je dus eigenlijk aan anderen moeten vragen. Wij maken heel robuust werk. Sommige mensen vinden het een beetje zwaar. Ik denk dat onze kracht is, dat we van het grootste gebaar tot het kleinste detail heel goed doorwrocht werk maken. Ik schuw een groot gebaar ook niet. Toen ik van Delft kwam, kon ik helemaal niet detailleren. Dus ik moest in de avonduren mensen van andere bureaus erbij halen die mij dat detailleren hebben geleerd. Onze ontwerpen zijn doordacht van grof naar fijn, waaruit iets ontstaat dat meer is dan de som der delen en een twist heeft. Ze zijn niet in één keer leesbaar en dat is de kracht van ons bureau...// BRONNEN Photographs: ©Marlies Rohmer Architects & Urbanists

CURRENTs

in art: impressionsim

‘Current’ is an exciting word. It suggests movement, newness, nowness. But all that was and all that will be exists of millions of exciting current moments, too. One of the movements that illustrates this perfectly is impressionism. Halfway into the nineteenth century, impressionist art was revolutionarily new. Its paintings quavered with movement and its topics were very much of the now. Eager to learn more about such exciting times, I travelled to close neighbours to find out what this nineteenth and early twentieth century art movement was all about.

In every way, the nineteenth century moved. Literally, as the newly invented steam locomotives raced off to faraway places. More figuratively, since the technological and social revolutions had lead to the abolishment of what was known in art and culture and introduced new ideas to fill the vacuums. Consider Paris: at the start of the nineteenth century, painters like Jacques-Louis David were drafting classical ensembles like the Death of Socrates (1787). In relation to Rafaël’s School of Athens (1509-1511) in the Vatican, which was completed almost 300 years earlier, art had definitely grown in quality and technique, yet hardly in theme, meaning and style. But suddenly, within fifty years after David’s death, Paris produced painters, like Cézanne and Renoir, who broke with centuries of convention within a few lifetimes. In theory, this fact is astounding. In practice, it has never managed to woo me. I have looked at Van Goghs and been inspired by their artistic progressiveness. I visited an exhibition on the work of Monet in Aarhus’ art museum and admired it for its technical novelty. But I don’t think I ever understood it. Up until this summer, I didn’t get people who abruptly exclaim: “Oh, that light!” when they look at a Vermeer. So, you will share my surprise that, when I went to a small exhibition on Flemish impressionism in Ghent, I suddenly felt able to relate to art on an emotional instead of a technical level. Ghent Amidst the buzz of the extravagant Gentse Feesten (an annual overload of music and culture), I stumbled upon the Caemers Convent in the picturesque Patershol district. The cool and quiet nave of the church had been transformed into a mini-museum, displaying the art that forms “the roots of Flanders” and covers a turningpoint in Flemish history. In the 19th century, Belgium had quite abruptly become one of the world’s most

important industrialised nations. The North-European Potato Failure had struck the country hard and farmers abandoned their homes to fill the once agreeable cities with slums, smoke and poverty. Especially in Ghent, the so-called beluiken (alleys and small courtyards where 500 people would share six open sewer toilets) were plentiful. Standing there, it is very easy to feel what these painters must have felt. Ghent’s artists, like Emile Claus, Gustaaf and Léon de Smet and Gustave van de Woestyne, escaped to the clean air of Latem, in the valley of the river Leie, and captured the serenity and nostalgia of the lost idyll in expressionist, cubist, pointillist and impressionist paintings. Compared to the masterful work of Monet and Van Gogh, these art pieces are hardly subversive. But there is something about their forthrightness and relative unknownness that makes their message very touching. Standing in the middle of the church and admiring the peace and simplicity of paintings like Emile Claus’ Meisje aan de Leie (1892), Rik Wouter’s De roze laan (1912) and Hubert Malfait’s De Fietsster (1927), with the blaring roar of the Gentse Feesten on the background, it is very easy to feel what these artists must have felt. Paris There is no doubt that Claus and his compatriots were inspired by what was happening in Paris. At the start of the nineteenth century, the artistic population of this growing metropole was largely divided into two sections: those who followed in David’s footsteps, and those who refused to. Instead of the nostalgia in Ghent, these rebels were inspired by a need for change. In the Paris of that age, artistic conventions were based on and fostered by two things: the sermons of the Académie

VITA TEUNISSEN

De Roze Laan by Rik Wouters, 1912 (Oil on canvas, 85,5 x 94,4 cm, The Phoebus Foundation)

des Beaux-Arts and the wishes of the rich. This resulted in works with classical themes, carried by well-balanced compositions. But outside of these paintings, the world had changed. Inspired by men like Joseph Mallord William Turner, the rebels in France captured the new colours, movements and everyday-life of a rapidly industrialising country. Although he was not the first, Éduouard Manet was an important figure in this – at that time – very unpopular movement. He discovered that what we see when we look at nature is not a composition of separate, monochrome objects, but a mixture of tones, colours and light. In his paintings, white dresses are not simply white, but splotched with soft pinks and strong yellows. A river is not cold and blue, but a serpentine of colourful blurs. A sketch of a horse race is a tangle of furious black lines and a female figure on the foreground is the only clear-featured individual in the crowded Bar at the Folies-Bergère (1882). Due to the invention of the metal paint tube, Manet and his contemporaries were now able to bring their canvasses en plein air and capture the strong contrasts between

daylight and shadows. Outside of their studios, their compositions were not carefully arranged and their models could not be kindly asked to please hold still. The artists had to paint fast and this resulted in twisting lines and flecks of contrasting colours. In a time where it was skill that set the good painters out from the bad ones, a painting like Route Tournante presented a joke that wasn’t actually funny. Manet had many followers and – although he himself did not join in – indirectly inspired a sequence of controversial exhibitions. Both critics and the public were revolted by the childishness of the new style and many unconventional paintings were banned from important Salons. At the time, these were the places where artists made money and therefore, in 1874, a selection of these unappreciated painters organised their own. Among them were the now immensely celebrated but then often rejected Claude Monet, Pierre Auguste Renoir, Camille Pissarro, Paul Cézanne and Edgar Degas. One of the paintings by Monet that was featured in the exhibition carried the innocent

Route Tournante by Paul Cezanne, c. 1905 (Oil on canvas, 92 x 112 cm, Courtauld Gallery)

Nymphéas by Claude Monet, 1916 (Oil on canvas, Musée Marmottan Monet)

name Impression, soleil levant (1873), which caused a honing critic to dub these amateurs ‘Impressionists’. London Those who want to admire the work of the Impressionists could go to the beautiful Musée d’Orsay, if only the Summer queues in Paris were not so discouraging. The good thing is that the once rejected Paris painters are now very popular and, consequently, their work has spread to the far corners of the world. Some of them are on display in the elegant Courtauld Gallery in London. Along Degas’ studies of ballerinas, pointillism-fanatic Seurat’s Young Woman Powdering Herself (1888-1889) and afore mentioned Bar at the Folies-Bergère (1882) by Manet, one will find Paul Cézanne’s Route Tournante (c. 1905) here. This painting is an excellent example of the fearsome novelty and innovation that the Impressionists represented. Think about this: looking back now, it is relatively easy to accept and admire impressionist paintings. In today’s era of high quality photography, it is the striking vision, imagination and creativity that we admire in art. But the anger and ridicule towards the first impressionist artists is not completely incomprehensible. In the nineteenth century and all that came before that, it was skill that set the good painters out from the bad ones. And the paintings by Manet and his followers were a far cry from what painters of the time could achieve as far as realism went. Impressionist paintings were regarded as childish and feeble; the admiration that their creators demanded was considered disrespectful towards their much abler contemporaries. A painting like Route Tournante, with its large surfaces of exposed canvas and nonchalant scratches of blue paint, presented a joke that wasn’t actually funny. Of course, London offers more than art from French people. The American James Abbott McNeill Whistler worked in the United Kingdom for most of his life and, although he didn’t always agree with them, he drew inspiration from the early French Impressionists. At TATE, you can admire his Nocturne: Blue and Silver – Chelsea (1871). Also part of this collection is Snow Storm: Steam-Boat off a Harbour’s Mouth (1842) by Londoner Joseph Turner, whose paintings presented a major inspiration to the Impressionists. And although Alfred Sisley spend most of his life in Paris, where he co-initiated the Impressionist’s exhibitions, he retained British citizenship until his death. Dublin Marching from one gallery to another, I quickly discovered that the one thing that is important when admiring nineteenth century art is space. You cannot look at a specific impressionist painting from one position, no matter how long, and grasp its full depth.

Standing with your nose to a painting by Monet, a sea of blue, green and pink fills your vision. You can see the marks that a brush’s tiny hairs left in the paint and specks of white where paint was too hastily blended. As you step backward, the colours become rivers, garlands and flowers, the specks of white form little waves that break the smooth surface of the water, until finally you see the painter’s beloved garden. You need space to take in the different levels of the As far as landscapes go, the Irish countryside comes closest to the wildness of impressionist art.

paintings and to admire it as a whole. The good thing about the Hugh Lane Gallery and the National Gallery of Ireland in Dublin is that they are not as prominent on a city tripper’s to-do list, which means one can actually see the painting without having to overlook iPadscreens and baseball caps. This corner of Europe, too, has Monet’s and Renoir’s, but also A Convent Garden, Britanny (c. 1913) by the Irish William John Leech. The Irish painter captured his wife, posing as a nun at the convent of Soeurs du Saint-Esprit. The detail of her partly sun-lit face is in sharp contrast with the soft, wide strokes of the grass and flowers. Like in Monet’s painting of his wife Springtime (1872), Mrs. Leech’s white dress is dotted with blues and pinks. Visiting the art galleries of Dublin after having been emerged for three weeks in Irish countryside is a very poetic experience. As far as landscapes go, the Irish countryside comes closest to the versatility and wildness of impressionist art. Here, the road sides are filled with brightly toned wildflowers, the rocky hills dotted with ruins and stone circles and the broad shores specked with tiny, faceless people in the distance. On top of the cliffs, the wind sweeps like the swirls of Van Gogh’s postimpressionism and valleys spread out like Cézanne’s vibrant landscapes. Shielded from the wind by an ancient stone, one can only feel like the city girls on Claus’ serene river banks.//

Selection of impressionist hotspots in West-Europe: France Musée d’Orsay and Musée Marmottan-Monet (Paris), Musée des Beaux-Arts André Malraux (Le Havre) UK National Gallery and Courtauld Gallery (London) Ireland Hugh Lane Gallery and National Gallery (Dublin) Netherlands Van Gogh museum (Amsterdam) Germany Wallraf-Richartz Museum (Cologne) and Pinakotheken (Munich) Portugal Museu Calouste Gulbenkian (Lisbon) Spain Thyssen Museum (Madrid) Switserland Kunsthaus (Zurich), Oskar Reinhart Collection (Winterthur), Rosengart Collection (Lucerne)

Meisje aan de Leie by Emile Claus, 1892 (Oil on canvas, 56 x 46 cm, The Phoebus Foundation)

A Convent Garden, Brittany by William John Leech, c. 1913 (Oil on canvas, 132 x 106 cm, National Gallery of Ireland)

BO WIELDERS

Tijdens de tramrit van Den Haag Centraal naar het Gemeentemuseum zie ik tientallen rood-, geel- en blauwkleurige elementen voorbijkomen. Posters, etalages en drijvende vogelplatformen… Je ontkomt er niet aan, in Den Haag niet en eigenlijk in heel Nederland niet. Onbevangen loop ik naar de eerste verdieping van het museum. Ik kom terecht in een Mondriaanwalhalla. Voor de tentoonstelling over architectuur en interieur en De Stijl moet ik weer naar de begane grond, vertelt een medewerkster mij terwijl ik wat onbeholpen zoek naar maquettes en stoelen tussen Mondriaans schilderijen.

100 jaar geleden werd De Stijl opgericht door de autodidacte kunstenaar en publicist Theo van Doesburg. De Stijl was de naam van een tijdschrift. Daarnaast was het ook de naam van een groep kunstenaars. Deze groep groeide uit tot een internationale en invloedrijke beweging. Ze streefden naar een radicale hervorming van de kunst. Een eeuw later wordt er in Nederland trots stilgestaan bij deze kunststroming. In het Gemeentemuseum Den Haag was van 10 juni tot en met 17 september 2017 de tentoonstelling Architectuur en interieur, verlangen naar Stijl te zien. Ik ging op pad.

aandacht voor wát er getoond wordt, maar ook hóé dit getoond wordt. Centraal in de tentoonstellingsruimte komen de wanden bijeen en vormen zij een wirwar van kijkgaten, staven en vlakken. Dit kunstwerk van Krijn de Koning was voor mij het meest verrassende object van de tentoonstelling. Een goede tentoonstelling. Interessante werken die een compleet beeld van de beginjaren van de Stijl weergeven op gebied van architectuur en interieur. Zó compleet dat ik na het museumbezoek alleen nog maar rood, geel en blauw zie. Ik verlang opeens erg naar een donkerbruin, allesbehalve modern schilderij van Rembrandt. Deze expositie gemist en zin in De Stijl? Niet getreurd, er is nog genoeg te beleven dit jaar. Zoals Van Abbe en De Stijl, een inzicht in kunst- en productontwerp vanaf De Stijl tot nu, inclusief context en impact, in het Van Abbe museum en De Stijl voorbij Gerrit Rietveld en de jaren vijftig, een tentoonstelling over de pavilioens en meubels van Rietveld in het Paviljoen Gerrit Rietveld bij De Zonnehof in Amersfoort.//

De tentoonstelling toont aan de hand van de thema’s technische innovatie, transparantie, ruimte, zuiverheid en kleur - ieder in een apart ruimte - de wortels van De Stijl. Elke ruimte richt zicht op een ander thema. De ruimtes zijn redelijk klein en overzichtelijk, waardoor het prettig rondkijken is. Er is een grote variatie aan objecten; 2D en 3D, gebouwen op schaal en kamers op ware grootte. Deze kamers doorbreken de voorspelbaarheid en weten de tentoonstelling toch uniek te maken. Het gereconstrueerde atelier van Mondriaan voelt aan als een schilderij waar je doorheen kan lopen. Tegelijkertijd vraag je je af of Mondriaan ooit prettig heeft kunnen werken in dit aterlier dat bomvol staat met gekleurde vlakken. Verder is er niet enkel Krijn de Koning

Temppeliaukio Kirkko, Helsinki Bas Leemans

C AY E N TAV L A h et v e r h a a l v a n ist a n b u l

Geboren op zeven heuvels – en daarmee een kopie van Rome – is Istanbul uitgegroeid tot een stad op zo’n 10.000 heuveltoppen, met meer dan 19 miljoen inwoners. De eerste tocht van het vliegveld naar mijn flat geeft een typerend beeld van de Turkse metropool. Aan mijn rechterhand het water met de wachtende schepen die met zonsopkomst van de Zee van Marmara via de Bosporus de stad in zullen varen en aan mijn linkerhand de uitdijende stad in aanbouw. Hier doet geld er niet toe – het beeld van een groeiende economie en een opbouwend land is strategisch gezien belangrijker. De taxi scheurt over de weg; de markeringen lijken niet te bestaan – net als snelheidslimieten. De politie knijpt een oogje dicht. Het blijkt een representatieve start van mijn half jaar exchange in de wereldstad Istanbul.

Mijn huis lag dichtbij de architectuurfaculteit, in de buurt van het Taksimplein. Een groot deel van mijn zes maanden in Turkije heb ik doorgebracht op deze faculteit. Mijn huisgenoten, afkomstig uit Engeland, Duitsland en Frankrijk, vonden dat maar gek, maar ook ver weg in Turkijke werken bouwkundestudenten nachten door. Maar de faculteit was een fijn gebouw en ook hier gold de cultuur van veel koffie en thee (cay) drinken. Na een maand vroegen Nederlandse vrienden hoe het met mij ging en of ik nare ervaringen meemaakte ten gevolge van de politieke situatie in Turkije. Nu is Istanbul een relatief vrije stad en tijdens mijn verblijf kreeg ik minder mee van het politieke tumult dan de mensen hier in Nederland. In de periode dat ik in Istanbul was, merkte ik wel dat meer politie zich op straat verzamelde en heb ik meerdere protesten meegemaakt. Ik heb in Istanbul misschien wel meer geleerd van politiek en cultuur dan van architectuur,

geholpen door mijn Turkse vrienden en professoren. Vaak maakte het niets uit waar je vandaan kwam: ‘politiek is politiek en daar laten we het bij. Wees trots op waar je vandaan komt! Ik schaam me ook niet voor mijn land,’ aldus een winkeleigenaar, nadat hij mij toch wel zag twijfelen of ik moest vertellen dat ik uit Nederland kwam. Na veel ronddwalen in deze grote stad begon ik mijn eigen lijst van adresjes en mooie routes op te bouwen. Istanbul bestaat uit verschillende wijken met ieder een eigen karakter. Als ik de veerboot nam, kwam ik aan in het Aziatische deel wat gek genoeg Europees aandeed. Vaak ging ik naar Kadıköy. Het is hier wijds en de mensen zijn relaxed. Üsküdar (ook aan de Aziatische zijde) en Kuzguncuk lijken haast onafhankelijke dorpjes die geografisch zijn opgeslokt door de grote stad. Dan heb je Beşiktaş waar het altijd druk is en waar mensen vaak een biertje gaan drinken. Karaköy, op de hoek bij de Bosporus en de Gouden Hoorn, en Balat, stroomopwaarts, zijn onderhevig aan gentrification en zijn goede plekken voor een kop koffie. Dan zijn er het oude centrum en Galata, waar men vooral heen gaat voor de toeristische attracties. ’s Ochtends werd ik wakker gemaakt door de autowasserettes, de broodjesverkoper en de groenteman. In Istanbul is het nooit stil, je moet de rust zelf vinden. Het lijkt af en toe een grote chaos, maar het is een stad waar je zelf je weg in kunt vinden. Maar dat vergt energie. Zowel mijn buitenlandse als mijn Turkse vrienden hadden dan ook een naam voor de dagelijkse vermoeidheid: het Istanbulsyndroom. Ik koppelde het vooral aan de luchtvervuiling, hitte, harde geluid en weinig groen. Maar de Turkse laid-back levensstijl deed mij ook reflecteren op de dagelijkse efficiëntie waar wij ‘noordelingen’ zo om bekend staan. En in dat opzicht kunnen we nog veel van Istanbul leren.//

WILLIE VOGEL

‘In Ist a n b u l is h et n o oit st il... ...je m o et d e r u st z e lf v i n d e n.’

SANTUÁRIO PAPA SÃO JOÃO PAULO II COURTESY OF CAIQUE NIEMEYER ARQUITETURA E DESIGN

Kruisbestuiving en ontmoeting zijn de sleutelbegrippen in het ontwerp voor de renovatie van het Gebouw voor Tandheelkunde, onderdeel van de Faculteit der Medische Wetenschappen van de Radboud Universiteit en de Hogeschool Arnhem Nijmegen. Het gerenoveerde gebouw combineert theorie en praktijk in onderwijs, onderzoek en patiĂŤntenzorg.

Energiezuinigheid, duurzaamheid en comfortverhoging stonden centraal. De oorspronkelijke brutalistische betonarchitectuur bood veel aanknopingspunten voor het toevoegen van innovatie en nieuwe kwaliteit. Gebouw Tandheelkunde ontving de NRP Gulden Feniks voor het beste renovatieproject van 2017. Lijkt het jou interessant om aan dit soort opgaven te werken? We zijn bij Inbo altijd op zoek naar nieuw talent voor onze traineeships. Neem cowntact op met Lotte Flick via HR@inbo.com of +31 (0)33 286 82 11.

MIND ARCHITECTURAL PHOTOGRAPHY

Jeroen Wassing

CONTEST

BASIA VAN VLIET

Jeroen Wassing

In the last issue of pantheon//, the Media Committee of Stylos announced a photography contest, themed MIND. We hoped that choosing a less than standard theme would trigger your creative minds to take out those lenses and cameras and shoot something revolutionary. As all of the submitted pictures were worthy of featuring in any architectural magazine, it was hard for us to choose an overall winner. However, we have come to the conclusion that the work of Jeroen Wassing represents the theme the best out of all the contestants. The theme MIND was interpreted by Jeroen as memories. Memories that lose their detail after a while, even though they still convey meaning. The vagueness of the pictures makes sure only the iconic value of the image is preserved.

Every picture has a person in it; they are all different, and they all have their own purpose in the city. One of them is a tourist, another is an inhabitant of the building, and the last is a regular visitor. Even though the poses are different, the vagueness makes the people indistinguishable from each other. Jeroen himself is even in one of the pictures: he is posing at De Rotterdam. The assignment specified sharpness as one of the aspects the photo would be judged on, and Jeroen decided early on that this would be a fun factor to play with. The vagueness of the pictures was actually created by a pinhole lens made by Jeroen himself. He cut a hole into the cap of his camera body to create the effect. The vagueness creates an interesting balance between painting and photography.//

RUNNER-UPS

Mesut Ulku

Marc den Heijer

Anneke Franssen

Lรถyly Sauna, Helsinki

coping with

Water

Â© Iwan Baan

JULIA KAPINGA

CENTRE

HAFENCITY

Historically, it is quite common to build a city near the waterfront. A means of transportation, a natural defense, water, and food. But the ever-changing rivers and seas just as easily become the enemy. Many harbour cities have experienced these challenges over the course of history. With the growth of our cities and the increase of water nuisance due to climate change, our urban landscape needs to be more prepared than ever. A good example of a city that is adapting to the challenges of water management is Hamburg in Germany, where the inhabitants have taken some unorthodox (or maybe very historic) measures to protect their city from flooding and heavy rainfall.

The city of Hamburg has often been challenged by the dangers that come with being so close to a boisterous river. Over the past decade, its people have had to cope with flooding, topped by increasingly heavy rainfall. Continuing its history as a free-thinking and innovative city, the water management program of Hamburg contains measures that deal with the water problems intelligently and sustainably. As become clear while examining the photo on the top of this page, the former harbour area of Hafencity lies outside of the protected area. Encircling the to-be-redeveloped Hafencity with dykes was not an option. The scope of such an operation would be immense; it would have taken years to finish and, more importantly, the dyke would replace the attractive river fronts, one of the more special charms of the city. Other measures had to be considered. Instead of keeping their feet dry, the people of Hamburg just lifted them of the ground. All new buildings in the area rise at least eight meters above sea level. The area

between the functional floors of the interior and the quay is used as parking garages. The next page shows a section of these elevated plinths, with stairs that are used as public space outside of the flooding period. Flooding is not the only challenge that Hamburg has to face. Climate change has increased the intensity and frequency of rainfall. Cities have a hard time coping with this excess of water. In Hamburg, the (temporary) collection of rainwater allows the drainage infrastructure to cope. The second illustration on the next page shows a concept of this. Water is collected from roads and buildings and stored underground. This stored water can be filtered and used for other purposes. More green is introduced in the city to absorb water and evaporation. The last illustration on the next page shows a scheme of the Hamburg Water Cycle. This program was first introduced in the Jenfelder Au neighbourhood. Its website explains the system as follows: ‘the HWC divides the household wastewater into three separate domestic effluent flows, which are then processed on an individual basis.’1 The three different flows are rainwater, grey water and black water. This program ensures that useful resources are not spilled and are used for other purposes.// SOURCES

HAMBURG WATER cycle (2017). The Innovative HAMBURG WATER Cycle®. Retrieved from http://www.hamburgwatercycle.de - STOWA & Atelier GroenBlauw. (2015). Werkbezoek Hamburg. Retrieved from http://www.deltaproof.stowa.nl - Hafencity Hamburg. Flood-secure bases instead of dikes: safe from high water in HafenCity. Retrieved from http://www.hafencity.com/ 1

DYKE

Illustration of the raised plinths: the stairs serve as a weir, as public space and a parking garage.

ÂŠ Atelier Dreiseitl Illustration water management on building block level: water is stored by collecting rainwater from buildings and roads. Greenery is introduced to further optimise the capacity to deal with heavy rainfall.

ÂŠ West 8 Illustration of the Hamburg Water Cycle. The first cycle collects rainwater to, for example, water lawns or fill ponds or other water structures. The second cycle collects grey water from daily use, which can be used for watering lawns or flushing toilets. The third cycle collects black water with other biomass waste in an aerobic digester, which converts the biogas into electricity.

Lรถyly Sauna, Helsinki

STEDEN ZO GROOT ALS NEDERLAND “I come from a place far away from here. A small place, with only three million people…” Wacht even meneer Wang? “Three million people”? Classificeert u dat als een kleine stad? Jazeker, onze vriendelijke Chinese gids vertelde dat hij uit een kleine stad met slechts 3 miljoen inwoners kwam. Met dit in gedachte is het 850 duizend inwoners tellende Amsterdam opeens wel een erg kleine stad. Als er één ding is opgevallen tijdens de Stylos Grote Reis naar China afgelopen zomer is dat de schaal en perceptie van steden totaal anders is in Azië. Tijdens onze reis zijn we langs zeven verschillende steden gekomen, aan de hand van Beijing, Shanghai en Shenzhen, zal ik laten zien hoe mijn ervaring ten opzichte van steden compleet is veranderd.

NIKOLAJ LIEBREGTS

In Beijing bezochten we de School of Architecture van de Tsinghua Universiteit. Op de kaart van Beijing leek dit toch echt vlakbij het Olympisch Park te liggen dat we dezelfde dag zouden bezoeken. Maar volgens de routeplanner was het toch 7 kilometer lopen, niet een afstand die je even te voet aflegt. Vervolgens was de reistijd van de Universiteit terug naar het hostel 1 uur en 7 minuten met de metro. Waar wij normaal in die tijd al van Amsterdam naar Rotterdam zijn, zijn dit reistijden die inwoners van Beijing dagelijks afleggen voor woon-werkverkeer. Dit kan ook haast niet anders, Beijing bedekt pakweg 16.800 km², ongeveer de helft van Nederland. Er wordt weleens gezegd dat een mens zich snel aanpast, Nederlanders in het bijzonder. Een restaurant op 2,1 kilometer afstand werd opeens ervaren als vlakbij en een uur reizen voor bezienswaardigheden was al snel een normale reistijd. De - qua inwonertal - grootste gemeente ter wereld, Shanghai (24 miljoen inwoners), is een bijzondere stad. Met meer dan 1000 buslijnen, 14 metrolijnen, 364 metrohaltes en 2 vliegvelden is het een komen en gaan van mensen. We bezochten hier het Urban Planning and Exhibition Centre. Aan de hand van een maquette van de gehele stad was goed te zien hoe enorm, maar ook hoe dichtbebouwd de stad is. Ook was er een tentoonstelling over hoe de stad in de loop van de eeuw is gegroeid tot wat het nu is. Waar in 1993 de eerste metrolijn nog werd geopend ligt het record nu op 11,6 miljoen vervoerde passagiers per dag. Mede hieruit blijkt dat Shanghai een enorme groei heeft doorgemaakt aan het einde van de vorige eeuw. De populatie steeg in rap tempo en de infrastructuur en bebouwing hebben zich hier snel op aangepast. Wat betreft efficiëntie is de stad onovertroffen. Dit was goed merkbaar toen we door de stad liepen, veel brede straten vol met auto’s en enorme hoogbouw om iedereen te kunnen huisvesten. Of dit op termijn de ideale leefkwaliteit in een stad bevordert is sterk de vraag. Echter is Shanghai ook inventief in het omzeilen van problemen. Bij drukke punten konden we altijd wel via verhoogde voetgang-

erspaden het kruispunt oversteken. Zelfs boulevards zijn geheel verhoogd ten opzichte van de weg. Voor ons, als voetgangers, was dit een erg prettige manier om ons door deze megastad te bewegen. Als laatste wil ik nog even kort Shenzhen toelichten. Weliswaar een veel minder bekende stad dan Beijing en Shanghai, maar toch even het uitleggen waard. De twee dagen in deze stad waren een geval apart, er is namelijk geen sprake van een natuurlijk gegroeide stad. In de jaren ‘70 had deze stad nog maar 70.000 inwoners, vandaag de dag zijn dit er naar schatting ongeveer 14 miljoen. Kun je je voorstellen dat een stad als Noordwijk in 2050 de grootste stad van Nederland is met miljoenen inwoners? Ik niet, maar in China kan het. De invloed van de overheid is hierin enorm: alle grond is van de staat en zij kan hier uitvoeren wat ze wil. Hierdoor is de snelheid van bouwen bizar hoog, zeker als de overheid hiertoe opdraagt. Dat Shenzhen een snel gegroeide stad is, was zichtbaar in de korte periode dat we daar verbleven. Overal is over nagedacht. Vijfbaanswegen in twee richtingen doorkruizen het midden van de stad, gigantischewinkelcentra en hypermoderne architectuur bepalen het straatbeeld. Een stad die in 40 jaar uit de grond is gestampt, wat een bizarre ervaring. Na 3 weken China is de hele perceptie van steden verandert. Door de imposante systemen en enorme afstanden in deze megasteden is niet alleen het beeld van steden verandert, maar ook dat van Nederland in zijn geheel. Afstanden zijn veel meer relatief dan ooit gedacht, Nederland voelt niet langer als een land, maar als één uitgestrekte megastad. Zou je de “stad Nederland” in China plaatsen, dan krijg je een geweldige metropool waar de Randstad het centrum is, de Veluwe het stadspark en steden als Maastricht, Groningen en Zwolle de voorsteden. Laten we blij zijn dat we geen volgepakte steden van 10 miljoen inwoners hebben die in 40 jaar uit de grond gestampt zijn, maar alles geleidelijk ontstaan en relatief verspreid is. Maar laten we tegelijkertijd ook leren van China, hun efficiënte manier van openbaar vervoer, inventieve oplossingen voor kruispunten en wie weet, één groot metronetwerk dat heel Nederland met elkaar verbindt. Waarom niet?//

A rchitecture women ’s A rchitecture rewriting history:

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women ’s pr ofession

In 1917, the first male architect, with the now completely forgotten name of grady Wolffensperger, graduated from the university of technology in delft. o f

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In 1917, the first male architect, with the now completely forgotten name of grady Wolffensperger, graduated from the university of technology in delft. c l a s s

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None of his works ever reached the newspapers or architectural yearbooks. his challenging designs for grand modern towers were at loss in the world of feminine sensibility...

1 9 1 7

encouraged by a masculist* uproar, the percentage of male architecture students started to grow. But in the 1940s, at the outbreak of World war II, the amount of testosterone in delft shrank once again. the german führess was obviously not interested in empowering men.

during the 1920s, however, there’d been a sudden peak of male students. Unlike wolffensperger, these men worked on many assignments, but always in the shadows of their female partners and spouses.

r le ol

* advocacy of the rights or needs of men

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1905

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19% 15%

ja n

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rob e r t v e

% male architecture students in Delft

t ise sco t b r o w

den

2% 1940 together, they wrote the famous ‘learning from las vegas’, but denise got all the fame...

VITA TEUNISSEN

during the 1920s, however, there’d been a sudden peak of male students. Unlike wolffensperger, these men worked on many assignments, but always in the shadows of their female partners and spouses.

mar g a r e l-k r o p h

r le ol

1905

r frede i k s t a a

st a a

19% 15%

ja n

i ur nt

rob e r t v e

% male architecture students in Delft

t ise sco t b r o w

den

2% 1940

* advocacy of the rights or needs of men

the first male architects did not oppose to gender based roles within the domestic sphere. they found men to be excellent architects of housing as they were far more knowledgeable on household efficiency.

together, they wrote the famous ‘learning from las vegas’, but denise got all the fame...

in the 1960s, a new group of masculists arose. next to the societal, professional and political position of men, and unlike their predecessors, they did criticise the way housing confirmed the oppressed position of men.

the current system of housing is a manifestation of inequality

looking back today, men have come a long way. But we are not there yet. Even though the ratio between male and female students is now 50/50, this is not reflected by our academic staff. out of every eight professors at the architecture faculty in delft, only one is male.

this is not the end

Swiss perfection, Dutch directness Our faculty is ranked third in the QS World University Ranking 2017 for top architecture schools. But what does ‘being third’ mean? Most students are proud of this ranking and we all like the fancy video that our faculty posted on Facebook. Why is BK City appreciated so much? What is it like to be a student at another architecture school?

To experience the faculty through other eyes, Stylos organised an exchange program in the Spring of 2017, together with another architecture school. For one week, we followed in the footsteps of architecture students studying at the ETH Zürich. They showed us what it is like to study at the other ‘well-known European architecture school’ (ranked 5th in the QS ranking) and we returned the favour. Before we left for Switzerland, we introduced our new Swiss friends to the the TU Delft style of living while they were couch surfing at our student houses. How different do you think life is at the ETH? Contrary to the centrally located TU Delft, the road to ETH is much longer: it takes 20 minutes of cycling uphill to get from the city centre to the architecture faculty. There are not a lot of bikes around, but many busses and a special ETH shuttle that transports students and employees for free between ETH Hönggerberg and ETH Zentrum. On top of the Hönggerberg, there are six faculties (of which two are brand-new), a sports centre

and a lot of new student houses. While looking at the grazing cows, you’re escaping the city of Zürich. The Departement Architektur can be found next to the bus stop. All students have 24/7 access to the building, so besides studying, some people seem to practically live there. Just like our faculty, you will also find a printing office, a bar/restaurant (including Swiss prices for meals), a shop, woodwork machinery and self-help laser cutter service. Every student also has their own desk, which is why you can find drawings, styrofoam and models everywhere in the studio space. The ones with an eye for detail will even find some cans of Chopfab, the locally brewed beer. While the exterior of the faculty looks like a bank building from the 70s, the inside shows a creative community that works hard in order to complete the time-consuming design projects. Swiss perfection The Dutch are well-known for their directness and loud conversations in public, whereas the Swiss seem to behave as their opposites. As I experienced, the ‘silent’

Work pressure Creative freedom at study Status of professors among students Extracurricular activities Average price of a campus meal

€ 3,80

€ 7,50

Average price of a student room

€ 312,-

€ 430,-

Number of helpers before graduation

≈

JOEP BASTIAANS

compartment in a Dutch train is noisier than a complete Swiss train in rush hour. Also, at the architecture faculty, I didn’t find many students gathering near the coffee machine. Besides that, most students from the exchange group said that they don’t get much timeoff, since there are a lot of successive deadlines. With one deadline almost every two weeks, architecture in Zürich is seen as one of the most intensive programmes and the dropout ratio in the first year is almost 50% (compared to 25% in Delft). Perhaps it is because of this that there is not such a thing as an organised freshmen’s weekend or a Bouwpub. The pin-up moments are very different as well. Instead of vague icons and conceptual sketches, you’ll find neatly drawn plans with an extraordinary eye for detail. Swiss politeness and Dutch directness are central to the interaction we have with our teachers while pretending to be a Zürich student for a day. While we assertively argue why our concept is a good solution, the Swiss teachers give their review without contradiction during

the presentations. You probably won’t find a poster in the main hall of the faculty on which you see the face of the dean photoshopped on Erdogan’s body with a critical subscript. It seems that Swiss punctuality and cleanliness doesn’t only apply to its people, but also to its organisation, buildings and education. Although Switzerland is only a 1 hour and 45 minutes’ flight from Amsterdam, the differences in culture are significant. This one-week exchange is hard to capture in a short article and I would advise you to experience it yourself. There really is a lot to learn from the Swiss. Dutch habits really stand out in a totally different (Swiss) context, and vice versa. “Do you Dutch guys really go to the pub three times a week?” If you would like to examine why studying in Delft is like this, change your perspective. The next time that you are complaining about your teacher while choosing a Sodexo meal after you only had time for one beer in the Bouwpub because you have to finish your poster for the only design critic in your project: think twice. We are studying at a great place.//

We real cool. We Left school. We Lurk late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon. - Gwendolyn Brooks

Panoramic observations. Frustrated, I stare down at my camera. Both the device and my photographic eye are incapable of capturing the magnificence that spreads before me. From this bend in the road, I have an almost 270-degree view over the breath-taking Healy Pass (Beara Peninsula, County Cork/Kerry, Ireland), with the cool blue water of the Glanmore Lake and rocky hills on the left and a checker board of irregularly hedged fields on the right. You can grow used to the solid greenness that covers every corner of Ireland, but the way these views knock you off your socks never gets old.

I hate clichés as much as the next person – especially when they are true – but travelling is about memories to me. I want to be able to reconstruct this three dimensional image in my mind when I am back in the flat country. But I am aware that human memory is very, very lacking. Did you know that the existence of human eidetic memory has never been proven? I will never remember, let alone re-experience, this euphoric state of mind in even half of its original strength. But the fact that this feeling belongs to me right now, that we humans are capable of experiencing such enchantment, is comforting enough.

Architectureâ&#x20AC;&#x2122;s leading scientist wins

YAP 2017

BASIA VAN VLIET

For the past 18 summers, the Museum of Modern Art (MoMA) and MoMA PS1 in New York have given an emerging architect the opportunity to build an innovative project in the courtyard of MoMA PS1. The remarkable (and often unusual) installations of the Young Architects Program (YAP) have shed a welcome light on firms that are on the verge of international recognition—such as SHoP in 2000, nARCHITECTS in 2004, and WORKac in 2008. Institute for Biological Studies, la Jolla, California 6

This year’s winner has managed to create one of the most inventive installations yet. Lumen, an immersive, interactive installation by Jenny Sabin Studio, has been on display in MoMA PS1’s courtyard during the summer of 2017. Working at the intersections of design and material science, Sabin surpassed an impressive group of other contestants in order to win this year’s Young Architects Program. Sabin’s structure of “knitted light” does not only transform from day to night but also responds to visitors who interact with it. During the day, the structure’s responsive textiles display subtle colour in sunlight and absorb ultraviolet radiation. And at night, they emit the light in a soft glow. Made of over one million yards of digitally knitted fibre, Lumen’s largescale cellular canopies feature 250 hanging tubular structures and 100 robotically woven recycled spool stools, putting Jenny Sabin’s exploratory approach to new materials on full display. The structure also includes “misting stations” that refresh visitors during the day. The misting system responds to the movements of visitors, activating fabric stalactites that produce a cooler “microclimate” depending on the proximity of the visitor. The selection The Young Architects Program (YAP) remains one of the most significant opportunities for young architects and designers from across the country and world to build radical yet transformative ideas. This year’s finalists are no exception. Their projects illustrate a diversity of approaches and refreshing ideas for architecture today. Sean Anderson, Associate Curator in MoMA’s Department of Architecture and Design and member of the selection panel this year, commented the following on this year’s winner. “Jenny Sabin’s catalytic immersive environment, Lumen, captured the jury’s attention for

imaginatively merging public and private spaces. With innovative construction and design processes borne from a critical merging of technology and nature to precise attention to detail at every scale, Lumen will no doubt engage visitors from day to night in a series of graduated environments and experiences.” Both socially and environmentally responsive, Lumen’s adaptive architecture is inspired by collective levity, play, and interaction as the structure transforms throughout the day and night, responding to the density of bodies, heat, and sunlight. Lumen applies insights and theories from biology, materials science, mathematics, and engineering. The result of this collaboration across disciplines is the integration of high-performing and adaptive materials into a structure where code, pattern, human interaction, environment, geometry, and matter operate together. Jenny Sabin Having started college in biochemistry, then navigating into fine arts, Jenny Sabin has an impressive portfolio including a BFA in ceramics and a BA in interdisciplinary visual arts from the University of Washington, before finally doing her graduate work about six years later in architecture at Penn Design. In her eyes, architecture is a profession that integrates science, technology, and arts, and that exact mix has always been fuelling her work. Science, however, has not only had an impact on the kind of work she produces but also on the design methods the uses. It’s not just the tools or the advanced digital technologies. It’s a way of thinking that’s about relationships. By bringing a skillset that projects into these scientific problems architects and designers have the opportunity to be really creative and transformative about how they approach these problems. That’s what makes an “architectural scientist” so valuable in this SOURCES modern world and Jenny Sabin a pioneer in her new 1 Larson, K. (2000). Louis Kahn: Unbuilt Masterworks. New York, The found profession. Monacelli Press. Leslie, T. (2005). Louis I. Kahn Building Art, Building Science. New York, NY: George Braziller, Inc. The otherC.finalists for the Young Architects Program 3 Wiseman, (2007). Louis I. Kahn – Beyond time and style: A life in Architecture. New York, NY: W.W. Norton & Company, Inc. Joanna 2017 were Bureau Spectacular (Jimenez Lai and 4 Rosa, J. (2010). Kahn. Steyl: de Volkskrant & Taschen. Grant), Ania Jaworska, Office of III (Sean Canty, Ryan 5 Freedman, L. (1953). Louis Kahn [Photograph]. Retrieved from Golenberg, and Stephanie Lin), and SCHAUM/SHIEH http://www.archdaily.com/ 6 Salk Biological Institute. (2014). Salk Biological (Rosalyne Shieh and Troy Schaum). // Institute [Photograph]. Retrieved from http://architizer.com/ 2

Jelleâ&#x20AC;&#x2122;s KOT Kot is wellicht niet de juiste benaming voor dit prachtpand waar Jelle sinds mei in woont. De 24-jarige werktuigbouwkundestudent woont antikraak in een oud postkantoor in Den Haag. Het heeft heel wat voeten in de aarde gehad om er een bewoonbare plek van te maken. Bij de zevende kringloop die hij bezocht, liep Jelle tegen de perfecte eetkamer stoelen aan, nu is zijn vertrek zo goed als af.

BO WIELDERS

Jelle heeft een grote werkplaats met veel apparaten. ‘Ik ben nu twee machines aan het reviseren, zorgen dat ze het weer doen. Ik heb ze kapot en vies gekocht en hoop ze straks weer te kunnen gebruiken. Ik vind het heerlijk om met mijn handen bezig te zijn. Ik maak alleen nooit wat af, dat is vervelend.’

De woonkamer is omringd met doeken en zeilen, met binnenin een extra kacheltje. ‘Er is geen andere manier om het hier warm te krijgen. In het begin was het hier tien graden, dat is niet prettig.’ De grote ruimtes zorgen ook voor andere ongemakkelijkheden, al dan niet iets minder ernstig: ‘Wanneer ik een vork vergeten ben en al in de woonkamer zit, doe ik er rennend meer dan tien seconden over om een vork te halen.’

Een A0-tekentafel waar momenteel de plattegrond van het gebouw op ligt.

De grijze bank is Jelle’s favoriete plek. ‘Ik kom meestal pas laat thuis, dan is het heel fijn om gewoon lekker op de bank te gaan liggen, even uitrusten.’ De ruimtes buiten ‘het gordijn’ zijn minder favoriet. ‘Vooral in de ochtend ben ik blij dat ik pantoffels heb. In de douche is het dan meestal 13 graden, dat is koud.’//

THE EDITORS OF ARCHDAILY ON

THE CURRENT STATE

OF ARC HITECTURE interview with James Taylor-Foster (European Editor-at-Large), Rory Scott (Managing Editor) and David Basulto (co-founder)

Providing new content every hour, readers expect ArchDaily to present them with the most current topics and developments within the architecture scene. No one else knows trends in architecture better than the editors at ArchDaily, which is why we asked them to shed some light on some current developments that affect architecture as we know it. With input from James Taylor-Foster (European Editor-at-Large), Rory Scott (Managing Editor) and even ArchDaily's co-founder David Basulto, this article sheds a light on our future.

Branding itself as the words most visited architecture website, ArchDaily is at the top of its game as one of the fastest growing databases for good and up-to-date architectural content. Providing inspiration to fellow architects “ArchDaily serves as architects’ main source for tools, information and inspiration”, according to their website. With 10 million architects visiting the website each month, it’s no surprise that everyone reading this has heard of this platform. Though it started out in 2008 as a platform to share good examples of projects and architectural products to help architects create better architecture, nowadays they are a fast growing technology company that connects engineering firms and their products with prospective architects all over the world. Making use of innovative technologies and rapidly uniting the global community of architects through their content they strive to improve the quality of life for the future inhabitants of the cities that architects of today have to design in. How do technological developments influence the kind of content ArchDaily presents? Technological developments—by which I mean both new technologies and changing behaviors relating to technology—can be both an opportunity and a challenge. ArchDaily pushes for the adoption of new and meaningful presentation and representation techniques such as virtual reality, augmented reality, 360-degree images and videos, and embedded 3D models. We

have to predict whether each new development will catch on as a tool for architects, as each of these technologies offer a different appreciation of three-dimensional space which can lift a reader’s understanding beyond that offered by photographs and drawings alone – although there is also an important place for both of these! Even GIFs, a technology that is now decades old, have only recently come into their own as a powerful presentation tool for architects, expanding the number of ways that architects can present their works and therefore the type of designs they can effectively present. Technological developments also challenge us, as an editorial team, to keep abreast of changing media consumption trends; as more and more people turn to social media as a tool to curate their media consumption, ArchDaily and other outlets have learned that competing for people’s attention against other media and even our readers’ friends and family is the new normal. While I wouldn’t say this has dramatically changed the kind of content we publish, it has forced us to learn how to optimize our content for certain platforms—and with aggressive companies like Facebook and Google changing their algorithms and priorities multiple times a year, this is a process that is constantly evolving.

BASIA VAN VLIET

Could you tell us, based on your personal and professional experience, what new trends you have observed over the time, relating to developments in technology but also political, social and climate changes? How long does it take for architecture to respond to these issues? That depends on exactly what you mean by “trend” and “architecture.” Of course, the big trend of the past decade has been a move away from the ostentatious formalism of the early 2000s to a more modest and socially conscious architecture since the financial crisis. But buildings take a long time to construct, and in 2017 we’re still seeing major projects completed that were conceived in the pre2008 architectural context. So, I would argue that architecture has yet to fully settle into that trend. Meanwhile there are smaller trends—many of them a part of the larger trend mentioned before—that you can see rise and fall in a very short space of time when you are embedded as deeply in readership data as we are. For example: a lot of people are talking of a “brutalist revival,” but from our perspective it looks like interest in brutalism among architects might already be in decline; when I started working for ArchDaily in 2013, the idea of open source architecture was really a novelty, but now you can download architectural designs from website of a Pritzker Prize winner; a fascination for biological systems and materials, which developed in the early 2010s, is still on the rise. None of these smaller trends has had a dramatic, long-lasting effect on architecture yet, but we will likely see that younger practitioners, who absorbed these ideas as they were learning about architecture, find and receive opportunities to put them into practice on a large scale in the coming decades. To add to the question stated before, has Brexit or the Trump election led to the same reaction in terms of architectural trends and projects as for example the refugee crisis (IKEA’s refugee shelters) or climate change (green trend of durability and self-sustainable buildings)?

In short I would say no, since Brexit and Trump are not immediately architectural issues—which is not the same as saying they aren’t issues that should concern architects, just that they are bigger than architecture. There are some elements of these issues, most obviously Trump’s border wall proposal, where the input of architects can be valuable. However, I would say that the various architectural proposals for “friendly walls” or “anti-walls” have been weak, precisely because they have been unable to resolve the incredible complexity of the political circumstances to which they are responding. In the case of climate change or the refugee crisis, designers know what sort of political response they would like to see to the problem and how their design could play a part in that political response. But if politicians are unable to form a coherent political response to the political phenomena of Trump and Brexit, why would we expect architects to form a coherent architectural response? Are more new possibilities due to technological innovations within architecture and its presentation a blessing or a curse? Polished VR renders or Frank Gehrylike sketches, new technologies or old, which way is the way to go? I feel like this question is often oversimplified. Peter Zumthor’s favorite presentation method is to use physical models, since they show off his sense of phenomenological materiality and physicality very well. If I were Peter Zumthor, I wouldn’t be about to switch that for VR rendering. However, architecture is going through a period of incredible pluralism; personally, I believe architecture is gradually working its way towards a style for the 21st century, similar to how architecture 100 years ago was gradually developing into Modernism. So, from ArchDaily’s perspective, embracing new technologies is clearly “the way to go” since every architect deserves the chance to present their work in its best light. If, as publishers, we restricted ourselves to just photographs or just drawings, we might be guilty of suppressing one type of architecture in favor of another, and ultimately of guiding architecture in the wrong direction.//

STAIRWAY TO HEAVEN

This September, Dutch studio KAAN Architecten was selected to design a new terminal for Amsterdam’s Schiphol Airport, beating competitors including MVRDV, SOM, OMA and UNStudio.

a riverside Rotterdam bank into its own studio. Other projects by the firm include the new Supreme Court of the Netherlands, and a study centre for a Rotterdam hospital partly designed by Jean Prouvé

The new terminal will form an expansion of Schiphol’s existing terminal and will adjoin Departure and Arrival Halls 1, allowing for Schiphol to retain the one terminal concept, and ensure that all the facilities are under one roof. The last time that Schiphol permanently expanded the terminal was in 1993, when the current Departure and Arrival Halls 3 and 4 were built. In the following years Amsterdam Airport Schiphol will be expanding the airport considerably to include a new pier (2019) and a new terminal (2023). The expansion is required in order to strengthen the competitive position of Mainport Schiphol, keep pace with the growth in aviation and continue to develop the position of “Europe’s preferred airport” among both airlines and passengers. Schiphol’s ambitions for the new terminal are to set a new standard in the aviation world. The new terminal must embrace Schiphol’s DNA and evolve it into the future by being sustainable, future proof and making use of the latest digital solutions.

KAAN Architecten’s winning 100,500-square-metre Amsterdam Airport Schiphol Terminal will cater to 14 million passengers a year, alongside the 50 million already served in the existing airport. It will be built on the Jan Dellaertplein to the south of the Schiphol Plaza, the main point of entry for passengers arriving from the Schiphol train station and the A4 highway. Tall glass walls wrapping KAAN Architecten’s terminal are designed to provide a clear visual connection to these points of entry for both the general public and departing passengers. The terminal will be separated into a reception hall for departing passengers and a check-in point. In the heart of the new terminal, a raised plateau will create extra height for the baggage reclaim hall below, as well as privacy for the security and check-in areas. The plateau will be covered in wood and provide a platform for passengers to have a clear overview of the reception hall which is topped by a huge flat roof measuring 180 by 150 metres. Large light wells filled with greenery will make sure there’s plenty of daylight inside and enables passengers to admire the typical Dutch skies. Completion of the Amsterdam Airport Schiphol Terminal is slated for 2023.//

KAAN Architecten was founded in 2014 by Kees Kaan, Vincent Panhuysen and Dikkie Scipio, and has offices in both Rotterdam and São Paulo. It recently transformed

BASIA VAN VLIET

ENTRIES

MVRDV with KPF and Meinhardt (Innovative thinkers: Gehl, Denmark &

O.M.A. together with WSP I Parsons Brinckerhoff (Innovative thinker: Trevor

Northernlight, The Netherlands)

Paglen, Germany)

The winning design was selected above four other proposals, including av garden-topped terminal devised by Dutch firm MVRDV with American firm Kohn Pedersen Fox, and engineers Meinhardt. Designed to impress not by sheer shiny surfaces but by content, this design has a sense of place, that echoes the Dutch way of life, culture and landscape.

Rem Koolhaas’ firm OMA suggested creating a building from a series of parallel tubes for passengers to walk under and through. Aiming to express the Airport one remaining certainty, movement, their design is a reflection not of things, but of relations between things.

UNStudio together with HOK and Arup (Innovative thinker: Allegro S.O.M. together with ADPI (Innovative thinker: John Curran, United Kingdom)

INNovations, The Netherlands)

Also featured on the shortlist was Amsterdam-based architecture firm UNStudio, with a design developed with global firm HOK and engineering firm Arup. Integrating a sheltering artificial sky with microclimates that physically contribute to passenger experience into the horizontal, transparent and no-nonsense character of Schiphol Airport, this design follows through on the concept of “spectacular simplicity” while keeping passenger experience priority number one.

Also vying for the project, international firm Skidmore, Owings & Merrill and airport designers ADPI imagined a sustainable wooden structure to accommodate a more welcoming, safe and familiar atmosphere in their proposal called “Schiphol Huis”.

recently graduated Liviu Pacu Complex Projects

For my graduation project I investigated the creation of a â&#x20AC;&#x153;sustainableâ&#x20AC;? international air hub in the Caribbean region. The aspect of sustainability has multiple implications not only obvious ones such as electricity or carbon footprint, but also social, economic and cultural. The task of the project quickly became very complex. Apart from designing new airways, taxiways and aprons, phasing the construction and researching the economic feasibility, I also had to make sure that the airport became the cultural gate to Cuba and a symbol of their identity. Based on their historical cultural heirloom, I devised a concept where passengers entering Cuba would pass through the different Cuban architectural/cultural phases and passengers leaving the country experienced a transition from the identity formed by the airport to a global identity. After a universal architectural concept was established, in order to achieve a certain level of feasibility, I turned towards multiple simulations software. First, in order to accomplish an efficient airplane taxi time. the design of the taxiways was simulated using multiple CAD software. The next simulation was done upon part of Havanaâ&#x20AC;&#x2122;s infrastructure. I needed to know how the increase in passengers flow would impact the already outdated Cuban road/high-ways. Therefore, multiple simulations were done upon the routes towards the airport and mainly on the existing and newly designed junctions around the airport. At the same time, I also made an infrastructural concept of renewing the railway path from/towards the airport. After I finished the infrastructural design and I established all the in- and out-flows, I went back to the architectural concept and within a global terminal masterplan, I created a simulation of passenger flows. This process, also known as behaviour modelling, was necessary in order for the final architectural design to have an efficient passenger

movement. Therefore, within a passenger flow simulation software I assigned multiple actors, such as family members (that drop or pick up), passengers (who have checked in or not, with luggage or not), staff members etc. During the simulations, certain patterns started to appear. These patterns eventually became architectural embodiments. Of course, after the design was finalized, I reran the simulation in order to see if it was as efficient as designed. After completing all the simulation and having a sound base for an architectural design, I started shaping the terminal. In order to tackle this task I relied heavily on physical models as well as on sketches. Nevertheless, as soon as my design reached its full size and scale, of 1 km by 500 m, it was very hard for me to work within the realm of scales models, I needed to experience the design on a 1:1 scale. This is why I turned to the tools provided by the Virtual Reality environment. With the help of our faculty VR Lab led by Arno Freeke and Arend-Jan Krooneman, I was able to place an immense amount of CAD information in Virtual Reality, the entire airport design. Then at certain phasing moments, I used the VR model in order to design and make certain geometrical and material changes. Most of the time I was doing these changes alone, nevertheless, at some points I also did this together with my tutors. While they were experiencing my design in VR, they could point out certain areas/details that needed to be tackled. This entire process of research, simulation and design resulted in my final graduation work. //

MELCHIOR BOS

Roel Kosters Architecture & Dwelling

Since the massive suburbanization in the ‘60’s and ‘70’s, the relationship between families and the city has been lost. However, the recent revitalization of cities reveals a modest counter process: the city is growing in popularity among families. A rapid increase in working motherhood is an important explanation for this trend: dual-earner families give a high priority to living near the workplace. Social connections and the near presence of a broad range of amenities also play an important role in the positive choice for the city. The city used to be seen as unhealthy and threatening for families and especially children, but contemporary parents stress the educational dimension of growing up in the city. However, the city doesn’t seem to be prepared. Research shows that most families living in Amsterdam are unhappy with their house or living environment. Important reasons for this are the dominance of motorized traffic, too small houses, a feeling of unsafety, and a lack of outdoor space. As a result, a lot of families decide to move out to surrounding municipalities. That is a big problem for the city: families have a large influence on the city economy, are an enrichment of the city population and contribute to tight social networks and a safer city. Families in the city positively value their urban environment, but also prefer space and shelter. This sheltered urbanity has social and physical characteristics: a neighborhood with more families with children, accessible amenities for children, qualitative outdoor space and the absence of fast traffic. Children need an environment that allows them to expand their action range when they grow up, but most urban neighborhoods don’t offer the space and shelter that children need in order to do so. A spacious house with a private outdoor space is favorable, but often unaffordable in Amsterdam. For urban families, an apartment is an acceptable alternative, if it is able to adapt to changing family configurations, able to unite different, conflicting activities and has good access to collective outdoor

space. However, the supply of such apartments is very limited in Amsterdam. This analysis forms the starting point of the design of housing block for urban families on the Apple Market in Amsterdam. The location is situated on the border of the inner city of Amsterdam and covers one of the few remaining vacant spots in the city centre. The plot is currently dominated by a modernistic parking garage that was built in the ‘70’s, which is structurally vacant for 25-30%. As a starting point for the design, the two upper, unused layers of the parking garage are removed. The remaining structure serves as a basis for a new housing block, constructed as a lightweight wooden structure. By doing this, the plot is densified while at the same time the opportunity to redevelop the square into a sheltered playground is created. The housing scheme contains 70 varying family apartments which are grouped around a collective courtyard. By gradual transitions between private, collective and public domains, the housing block facilitates children to safely expand their action range when they grow up. As private outdoor spaces, verandas are used as an architectural element to form the transition between the private domain of the house and the collective courtyard. The different apartments are designed in such a way that they have a short-term- and a long-term flexibility. The short-term flexibility, achieved by using sliding and folding interior walls, enables families to unite different activities in one house. The long-term flexibility, which is achieved by carefully placing the fixed elements in the layout of the apartment, allows inhabitants to adapt their apartment when the family expands or when children move out.//

the private domain - the house

the collective domain - the courtyard

the public domain - the square

Gijs Beckman Delta Interventions

Delta Interventions is an interdisciplinary studio, which deals with transformations of delta landscapes. In this case, the San Francisco Bay Area. The area is faced with the threats of sea-level rise, flooding and earthquakes. The Resilient by Design challenge asked students, and architecture firms, to come up with ideas that address these threats in a resilient way. This challenge was the basis of my graduation project. With my design of a museum in the Hunters Point Crane, I transform current industrial heritage into a landmark that reinvents the waterline of the Bay Area. To the South of San Francisco lies Hunters Point Shipyard. The shipyard is not in use anymore and contains more than 100 vacant buildings, including a massive crane. The Crane was built in 1947 and used to load and unload ships. With its huge size â&#x20AC;&#x201C; 220 meters wide and 110 meters high â&#x20AC;&#x201C; it is the landmark of Hunters Point. The crane represents all the important characteristics of the site. By transforming the crane into a museum, a unique experience of the crane and the bay is created. By hanging the volumes on to the crane, the strength of the crane is emphasized and its former function is renewed. After entering the crane through the columns, transparent walking bridges provide the transition from crane to volume. The user will experience the crane and the bay in every volume in a different way. The northern volume is a bay experience centre where history and future meet. Large screens show current views

of San Francisco but also what a flooding of the city would look like. The middle volume is all about art in combination with the crane. Through roof openings the crane itself is experienced as a work of art. The framed views in combination with the incoming shadows of the roof openings make for a unique experience of the crane. The southern volume serves as an art garden without a roof. Here the crane itself becomes the roof of the garden. The facade material strengthens the extraordinary appearance of the crane. When users see the crane for the first time, the question in their minds should be: Is this building real? By using the semi-transparent material polycarbonate this effect is created. From the inside, the outer view becomes unclear, giving a surrealistic effect. Am I in the crane, floating above the bay or somewhere in between? A slightly magical feeling for every user of the crane.//

Project Section Project Accessibility

Video Elavator

Delta Interventions Gijs Beckman

Bauhaus-Archiv, Berlin Vita Teunissen

AUTHOR

nspi i t e g

red

Photo: Christopher Griffi

BO WIELDERS JULIA KAPINGA

ART DECO @ Gemeentemuseum Den Haag

HOW TO BE MORE CREATIVE

Art deco: Paul Poiret was a big innovator in fashion at the beginning of the 20th century. His influence reached much further than just fashion. He worked together with designers, architects and artists, who helped him with the promotion of his own creations.

Einstein said that we’re all born geniuses. This is good news: we need all the ingenuity we can get to thrive in our evermore rapidly changing times. So why do we still let ourselves be inhibited by that old myth that creativity is a rare gift? How can we reclaim our creative potential instead?

14 October 2017 t/m 04 March 2018

This class of The School of Life is devised to help us gain practical techniques for improving our creativity through experiment and discussion. We’ll discover how to boost our creative confidence. We’ll explore why intuition, play and daydreaming are essential to innovation. 13 November 2017 (Dutch, tickets €44,-)

THINGS TO DO

DEBUIKVANROTTERDAM.NL ‘De Buik van Rotterdam’ is an independent journalism platform with all sorts of interesting facts on the food culture of Rotterdam. Both the website and Facebook page show everything that Rotterdam has to offer in this field. There is a lot of attention for new restaurants, cafés, eateries and clubs. And it will keep you up to date on festivals, workshops and markets.

Artist Barato creates ‘Google art’. He found that the popular search engine’s algorithms can generate harmonious and well-structured patterns. He uses Google’s search machine for images and creates digital minimalist street art that can be found all around europe. These colorful palettes emerge by changing search terms with specific colour relationships like “Snow”, “Fire”, “Real Madrid”, “Mondrian”, “Fog”, “Forest” and “Blue Klein”. The google algorithm creates rectangles with the dominant color of each image, which distributes along the screen according to the size and proportion of the images before showing all the pixels.

WEBSITES TO VISIT

CARGOCOLLECTIVE.COM/BARATO

BOOKS TO READ The Japanese House Reinvented Philip Jodidio wrote a book about contemporary Japanese Architecture and the unique factors that architects in Japan need to deal with. The book is an overview of 50 recently built houses in Japan that show the innovative character of contemporary Japanese Architecture. Inspirational and a book full of beautiful pictures.

Dijkshoorn kijkt kunst Nico Dijkshoorn is author, columnist, blogger, poet and musician. He created a audio-tour for the museum KrĂśller-MĂźller. He wrote texts and poems for the artworks. In this book he continues the combination of text and art. The book creates a new way of looking at art. A book full of humor and inspiration.

What Happened to My Buildings? Marlies Rohmer bought a camper, put the words WHAT HAPPENED TO... on it and drove around the Netherlands to visit her old projects. The book is only a small part of a big research, but shows how important it is to revisit your old accomplishments. The book mainly focusses on the lessons learned from the research and is therefore a great reference work for other architects, students or people that simply love architecture.

@sammyslabbinck

@tinyhouse

Sammy Slabbinck is a Belgian artist. His eye for muted tones and surreal compositions make his work engaging, memorable and humorous.

Tiny House is an independent instagram account that posts photos of inspirational tiny houses. Itâ&#x20AC;&#x2122;s a database of low footprint houses that are as beautiful as they are efficient.

I N S TA G R A M S T O F O L LO W

@natgeotravel

@christianaslund

The official account for National Geographic Travel. An Instagram filled with beautiful photography of nature, cities and other topics.

Christian Aslund is a Swedish photographer based in Stockholm. His photos are true pieces of art.

RIK DE BONDT

chepos Chepos is the independent architecture magazine of study association Cheops of the Technical University Eindhoven. For every edition, Chepos and pantheon// publish one of each other’s articles.

aesthetics of impermanence. Plastic The name of this commonplace material directly relates to its formability, as if it has no other properties. Typical plastic objects are created by heating granulate, and pressing it into a mould – a negative of the final object. There are no stages in between this process, no semifinished products. Granulate, mediated by a mould, directly forms into an artefact. In an essay from 1957, Roland Barthes wrote: “Plastic is not so much a substance as the notion of infinite remodelling. It is, like its ordinary name indicates, the omnipresence that has been rendered visible. And that is exactly why it is a truly miraculous substance – the miracle being a sudden conversion of nature every time. And plastic is infused with this astonishment: it is not so much an item as the trace of a movement.” Plastic can be turned into anything at any moment. With 3D-printing, the mould – a costly investment that had to be made for each artefact taken into production – becomes redundant. 3D printing offers the possibility of a high level of detail and variation without a rise in labour and production costs. 3D printing has the potential to yield more personalized and customized designs, it is more democratic. Within a few years, we will be able to behold the true potential of plastic: infinitely formable, unrestrained by the production costs of moulds. DUS Architects is a Dutch office that is exploring this new potential of plastic. DUS Architects is investigating the possibilities of 3D printing for architecture. They can print objects up to several meters high. Part of their work is a pavilion for the Dutch EU presidency. The forms of the objects they print have this expression of movement and uncertainty, both technically and expressively products of this digital age. Up close the visible and tangible 3D printed layers make the whole thing a bit hazy, as if the artefact moves by the camera at high speed. DUS are attempting to print a full scale Amsterdam canal house with a container-sized 3D printer, baptized the Kamermaker, which they developed themselves. DUS regards the 3D printed canal house as a learning-bydoing project. Although the architects currently work with plastic, as they are most familiar with using this material for 3D printing, they expect that in the long term the project will grow and more materials will be used. Already they have experimented with printing wood fibres. Apparently, plastic has influenced the way

the architects look at other materials; they now expect the same plasticity from wood and concrete as from polymers. On the other hand, traditional materials like wood and concrete offer a tactile experience that plastic has not been able to bring about. Plastic is associated with cheapness, fakeness, hollowness. In the aforementioned essay, Barthes is critical about the tactile qualities of plastic: “Regardless of its particular state [plastic] keeps its flaky appearance, something vague, something creamy and solidified – an inability to attain the triumphant smoothness of nature.” Certainly, plastic is not like stone or wood or steel, but it has its own tectonic and tactile qualities. In one lifetime it will be a canal house but who knows what it will be in its succeeding life, adding to its impermanence. Impermanence DUS Architects are, of course, not the only ones experiencing with plastic. In 1995, American artist couple Christo and Jeanne-Claude wrapped the Reichstag in a skin of polypropylene fabric and rope – transforming a grand monument of Democracy into a soft and vulnerable lump of tissue, like a cocoon. Bureau ALS and Overtreders W designed a pavilion at the Noorderpark in Amsterdam, which will be constructed completely out of recycled plastic litter. They developed a production line to turn plastic waste into roof and façade shingles. In multiple ways, plastic has its own aesthetic. Peter Cook’s alien and Christo’s wrapped Reichstag show that its high formability makes it possible to shape something that looks alive, organic and transforming. The experiments of DUS Architects show that 3D printed plastic is never in its final state; it could be shredded and reincarnated in another form again and again. Its fluidity is its state. The very forms they print seem to express this property: the objects show a variety of forms with a grainy, distorted surface. Plastic is alive, it can take all forms and it can assume new forms, thanks to good recyclability. It was not made to last an eternity like stone and metal. Its flexibility and ambivalence are its qualities. Its aesthetic is that of impermanence.//

THIS IS AN EDITED VERSION OF THE CHEPOS ORIGINAL. FOR THE FULL ARTICLE, PLEASE CHECK OUT CHEOPS’ PUBLICATION.

MELCHIOR BOS JULIA KAPINGA

HUMANS OF BK CITY A new year of BK life, a good time to ask students about their goals for the future. What are they currently working towards, what do they want to achieve?

Sebastiaan Brouwer (MSc) Improving the world, that is my goal. Creating a better place and living a happy life. Architecture can be very powerful. If you design something beautiful and well-functioning, it can truly contribute to the world. I think that people often underestimate the impact of the built environment. A sustainable house alone can already make a change for the better.

Juul ten Hove (BSc) My goal in life is to ultimately do something that I really like. This may sound a bit vague, but I just really want to get satisfaction out of the things I do. I like to challenge myself, with my studies, but also with rowing. I would like to stay that way, or I might get bored. I did not exactly have a specific goal that I wanted to achieve when I chose to study here. I just want to study well and enjoy it.

Daan van Schie (MSc) Short term, Iâ&#x20AC;&#x2122;d like to get more experience. To work on a lot of projects and get feedback from people that are experienced. Currently, I am mainly interested in learning more about circularity and modularity. In the bachelor program, the notion of sustainability is something that you start thinking about towards the end of the project, while now, in the master program, it is your task to see how you can implement sustainability in a design for a building. I am not sure about my long-term aspirations. I do not necessarily have an end goal; I will see where life takes me.