pantheon// 2013 | food

tweemaandelijkse uitgave van d.b.s.g. stylos / nummer 1 / jaargang 2013

pantheon// food

dies natalis 4 hedonistic reuse 16 supermarchitecture 24 urban farming 26

bimonthly edition of the study association Stylos faculty of Architecture, TU Delft always printed on 100 % recycled paper

About the cover colofon jaargang 17, editie 1, februari 2013 oplage: 2.500 Stylosleden en vrienden van de Stylos Stichting ontvangen pantheon// vijf maal per jaar

Food is as much about architecture as it is the concept of taste. Experienced by all senses, especially the tongue. In the preface to Obra poetica, Jorge Luis Borges, an Argentine poet, writes:

redactieadres BG. midden 110 Julianalaan 132-134 2628 BL Delft pantheon@stylos.nl

‘The taste of the apple lies in the contact of the fruit with the palate, not in the fruit itself; in a similar way poetry lies in the meeting of the poem and reader, not in the lines of symbols printed on the pages of a book. What is essential is the aesthetic act, the thrill, the almost physical emotion that comes with each reading.’

eindredactie Margot Overvoorde redactie Nina Bohm Talya ten Brink Marie D’Oncieu Marthe van Gils Isabel Potworowski Roos van Riggelen Antje Roos Rosa Stapel Lillian Tran aan dit nummer werkten mee Pierre Mostert, Ilse Galama, Christian Maijstre, Linda Matser, Marissa van der Veer, Felix van Zoest, Maura Henkes. advertenties 13 | Waltman 23 | BNA 27 | Bouwwereld 27 | de Swart drukker De Swart, ‘s-Gravenhage omslag Made by Marthe van Gils

tweemaandelijkse uitgave van d.b.s.g. stylos / nummer 1 / jaargang 2013

pantheon// food

dies natalis 4 hedonistic reuse 16 supermarchitecture 24 urban farming 26

editorial Margot Overvoorde Two of our basic needs are food and shelter. In other words: architecture. Nowadays these two needs are combined in restaurants, cafes and supermarkets, a sheltered place were you can get your food on a plate or in a basket. The restaurants and supermarkets used to be only functional, people would go there with a clear goal, to eat or buy food. But there seems to be a change in the way these buildings are used, it isn’t about the food anymore, more important is the atmosphere, interior and the image.

Lately, there is a big shift in the way people are attracted to food

Het Delftsch Bouwkundig Studenten Gezelschap Stylos werd in 1894 opgericht ter behartiging van studie- en studentenbelangen van studenten aan de faculteit Bouwkunde van de TU Delft.

and eating. They tend to admire the local-grown food and eco-

bestuur 119 D.B.S.G. Stylos voorzitter: Pierre Mostert secretaris: Sebastiaan Huls penningmeester - evenementen: Marissa van der Veer onderwijs bachelor: Margot Overvoorde onderwijs master: Ilse Galama extern: Melanie van Laak

street markets and urban farming, the shift in food and architec-

adres BG. midden 110 Julianalaan 132-134 2628 BL Delft info@stylos.nl telefoonnummers bestuur 015 2783697 internet www.stylos.nl lidmaatschap Stylos 10 euro per jaar gironummer 296475 Stylos Stichting De Stylos Stichting vervult een vliegwielfunctie ter stimulering van initiatieven van en voor studenten van de faculteit Bouwkunde van de TU Delft. Zij kunnen bij het bestuur van de Stylos Stichting terecht voor financiële en inhoudelijke ondersteuning van hun project. Om u hiervan op de hoogte te houden ontvangt u elke 2 weken B-nieuws en 5 maal per jaar de pantheon//.

Wij vragen om een donatie van 45 euro per jaar (pas afgestudeerden betalen de eerste twee jaar 10 euro). Aan bedrijven vragen wij 90 euro. gironummer 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.

logical, biological and sustainable production. Which brings us to ture on a bigger scale. Urban agriculture continues to be a hotly debated topic, as the city hubs of the world attempt to solve population growth issues with densification, but how will this work in reality? You will find the answers in this pantheon//

stylos

food

algemeen

2 chairman’s note

12 from designing the food to designing around the food

28 @architect

Pierre Mostert

2 papier Maura Henkes

4 Dies Natalis Margot Overvoorde

5 food & architecture Felix van Zoest Linda Matser Marissa van der Veer

6 symposium

Marie D’Oncieu

Isabel Potworowski Talya ten Brink

14 food as design

30 cartoon

Marthe van Gils

Marie D’Oncieu

16 hedonistic reuse

31get inspired

Talya ten Brink

Roos van Riggelen

18 markets

32 agenda

Isabel Potworowski

Margot Overvoorde

22 colour perception

41recommended reading

Marie D’Oncieu

Lilian Tran Marie D’Oncieu

Christian Maijstre

8 think international

24 supermarchitecture Rosa Stapel

Ilse Galama

9 cheops

26 stadsimkeren Nina Bohm

Uitwisseling Chepos

26 urban farming Lilian Tran

16

28

4 18

12

31

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chairman’s note Pierre Mostert

The combination of food and architecture is a passion of mine. Separately they are, but the combination of food and the build environment brings a whole new psychological aspect into play. How often do you think about the journey your meal made before it came on to your plate? Did your meal really ‘ended’ on your plate? I was truly inspired by three philosophies which were stated in three books I read.

The first book I found through TED.com: The Omnivore’s Dilemma by Micheal Pollan. I found one part especially interesting; our perceived domination over the food chain. in a very simple but effective way. Take for example the honeybee that flies over a field of flowers and blossoms. The bee thinks he is in full control of his choice in which flower to get its nectar from, on the other hand the flower evolves to make it the most attractive flower for the bee. Let’s look at this relationship in the context of corn. Many types of corn cannot survive without the help of the human species to plant seeds, yet an enormous amount of our products contains corn syrup and other processed corn-products. Even the gloss on a magazine is partly made from corn. Now you might think its still the humans that are in control, but isn’t that what a junky junkie commonly states?

The second book I want to refer to is the famous Cradle to Cradle by McDonough and Braungart. It demonstrates the importance of a green environment to live and work in. It also made me realize the difficulty of changing a process to produce a more ‘human-friendly’ product or building environment. One must change a whole mindset; invent new traditions.

The last book, which, for me, combined the two points above, is Hungry City by Caroline Steel. This book discusses how cities eat. When you think that every day, for a city the size of London, enough food for thirty million meals must be produced, imported, sold, cooked, eaten, and disposed of, and that something similar must happen every day for every city on the earth, it is remarkable that those of us living in cities get to eat at all. This last book changed the way I looked at everything connected to food, which I discovered, is a lot...

Find more on this subject further ahead in this edition of the pantheon// and get as inspired as I am.//

2

onderwijs

duurzaam BK? Maura Henkes

In onze huidige samenleving wordt met het thema duurzaamheid hoge ogen gegooid. Het is dan ook niet meer dan logisch dat de TU Delft – en dus de faculteit Bouwkunde – er ook aan moet gaan geloven. Op dit moment spelen onder andere de projecten BK City STAY en BK City SLIM daarop in door het gebouw te verduurzamen.

Is dit echter genoeg om ons voor de toekomst te verzekeren? Zien we hier niet iets over het hoofd?

Iedereen denkt het, maar er zijn weinig mensen die er iets aan doen. Een van de grootste voorbeelden van verspilling op Bouwkunde is namelijk het gebruik van maquettemateriaal – of liever gezegd, de verspilling ervan. Elk kwartaal, als de nieuwe projecten beginnen, kopen alle studenten massaal bergen aan maquettemateriaal in. Dit leggen ze op atelier

gen? Waar moeten we beginnen?

Wel, het enige wat voor deze actie eigenlijk nodig is, is een hele grote bak. Deze moet op een centrale plek neergezet worden, het liefst in de buurt van de ateliers, waar het meest aan maquettes gebouwd wordt. De meest voor de hand liggende plek is op de tweede verdieping op de overloop bij de rode trap. Tijdens

neer, maar na een tijdje hebben ze het niet meer nodig of zijn ze het gewoon vergeten.

Hierdoor stapelen de platen foam en karton zich langzaam op. Het atelier is aan het einde van het kwartaal steevast een ongelofelijke bende. Dit is het moment dat de schoonmakers in actie komen, die alles wat nog rondslingert genadeloos in een grote container gooien. Maquettes, schetspapier en natuurlijk

projecten komen hier dagelijks vele studenten voorbij, wat dit tot de meest logische en praktische plek maakt. En dan? Tja, dan zijn er nog wat problemen waar een oplossing voor gezocht moet worden.

Het eerste probleem is de houding van de studenten. De studenten kopen het hele kwartaal door maquettemateriaal en houden altijd

‘Een van de grootste voorbeelden van verspilling op Bouwkunde is namelijk het gebruik van maquettemateriaal.’ die bergen materiaal. Het atelier is weer leeg en een paar dagen later kan het hele riedeltje zich herhalen.

We kunnen het er allemaal over eens zijn dat er hier een groot, gapend gat zit in onze studie. Het probleem dat hier speelt is namelijk een kwestie van geld- én materiaalverspilling. Als we erover nadenken, zou het echter heel makkelijk opgelost kunnen worden. In de Vormstudiehal is hier reeds iets voor gevonden in de vorm van een bak met restjes hout.

Een bak voor overig maquettemateriaal op atelier is vrij makkelijk te realiseren. Waarom is het er dan nog niet?

Dit gebeurt nu al jaar in, jaar uit. Het wordt tijd om met de duurzaamheidstrend mee te gaan en nu eens iets te gaan veranderen. Op initiatief van de Onderwijscommissie van Stylos is de FSR op dit moment de mogelijkheden aan het bekijken. Hoe gaan we dit voor elkaar krij-

s t y l o s // f o o d // a l g e m e e n

een hele hoop over. Ze zouden ervoor kunnen kiezen om tijdens het project hun materialen met hun medestudenten te delen, maar om de een of andere reden gebeurt dit meestal niet. Met het idee dat het later misschien nog van pas kan komen, blijven de stukken foam en karton altijd ongebruikt in de stellingkasten liggen. Dit blijkt meestal niet het geval te zijn, waardoor na de eindpresentaties grote hopen materiaal blijven liggen. Met hetzelfde gemak zouden studenten dit materiaal mee naar huis kunnen nemen en het daar bewaren, tot ze het ooit weer nodig hebben. In de praktijk blijkt dit bijna nooit te gebeuren: voor het opslaan van maquettemateriaal heb je aardig wat ruimte nodig en, eerlijk is eerlijk, de meeste kamers in Delft zijn ook weer niet zó groot. Bovendien is het vervoer op de fiets vaak behoorlijk onpraktisch – als de studenten al maar de energie kunnen opbrengen om aan het einde van de tentamenweek hun spullen

nog te komen ophalen. Je kan het bevestigen of ontkennen, maar studenten zijn in eerste in-

voor de hand liggende optie is hier dus om de schoonmakers te vragen of ze het bruikbare

Wat hebben we dus tot nu toe?

stantie vaak toch een beetje lui, begrijp je.

Wat we hieruit op kunnen maken, is dat studenten nooit uit zichzelf hun materiaal in deze bak zouden gooien. Tijdens het kwartaal menen ze hun platen nog nodig te hebben en als de eindpresentaties eenmaal achter de rug zijn, zijn er nog maar weinig studenten die zich vrijwillig op atelier vertonen.

Als we al deze feiten bij elkaar optellen, betekent dit dat we deze actie niet aan de studenten over moeten laten, maar dat we hier aparte mensen voor moeten motiveren, die pas aan het einde van het kwartaal het materiaal gaan verzamelen.

materiaal er tussenuit willen vissen en apart willen houden. Zie je het al voor je? Nee dus.

Op het moment dat je het ze vraagt, zullen ze waarschijnlijk een verbaasd en ietwat verongelijkt gezicht trekken: dit is alleen maar extra werk en ze worden hier niet voor betaald. Een nog belangrijker argument om ze niet te vragen, is bovendien omdat ze niet weten wanneer maquettemateriaal nog te gebruiken is.

Vaak is de grens tussen bruikbaar en onbruikbaar erg vaag. Als het erop aan komt, blijken de enige mensen weten of je een stukje foam nog kan gebruiken voor een maquette, de bouwkundestudenten zelf te zijn. Je kan het echter niet maken om drie tot vijf studenten een paar uur de ateliers af te laten struinen zonder daar iets tegenover te zetten. De meest ideale oplossing zou dus zijn om hier de hulp van een studentenuitzendbureau in te schakelen. Zij regelen vijf bouwkundestudenten die voor een kleine vergoeding op de dag van de grote schoonmaak al het bruikbare maquettemateriaal in een grote bak verzamelen.

Eén bak op de overloop op de tweede verdieping van de rode trap. Drie tot vijf bouwkundestudenten die worden ingehuurd om op de dag van de schoonmaak bruikbaar maquettemateriaal te verzamelen. Zie je wel dat het niet zo ingewikkeld is?

Dit is echter een idee dat nog niet eerder is uitgevoerd. Kunnen we ons het risico veroorloven om hier geld aan uit te geven als we nog niet eens weten of het wel gebruikt gaat worden? Zal de faculteit sowieso wel bereid zijn te dokken voor haar imago?

De beste manier om dit uit te vinden, is door het gewoon te doen. Door aan het einde van dit kwartaal een proef te doen, een test. Het grote moment van de waarheid.

Zou jij het gebruiken…?//

Dit werpt weer een volgende vraag op. Wie moet dit namelijk gaan doen?

Zoals hierboven al gezegd, kan je eigenlijk pas beginnen met het verzamelen van maquettemateriaal op de dag dat de schoonmakers langskomen (vóór die tijd loop je namelijk het risico dat je kostbaar maquettemateriaal van hamsterende studenten afpakt). De meest

s t y l o s // f o o d // a l g e m e e n

>> afbeeldingen http://www.cockx.be/ >> BK City SLIM http://issuu.com/10times/docs/tu_bk_city_digitaal

3

stylos

dies natalis Margot Overvoorde

Stylos is weer een jaar ouder, en dat moet natuurlijk gevierd worden! Naar aanleiding van onze verjaardag zijn er een symposium, excursie, feest en bioscoopdag georganiseerd. Allemaal in het thema van de week: Food & Architecture.

De week stond in het thema Food & Architecture en daar hebben de verschillende commissies zich ook door laten inspireren.

De symposium commissie zocht sprekers bij het onderwerp en kwam uit op hun eigen thema Urban Farming. Daarbij kwamen sprekers aan bod zoals van Bergen Kolpa, waarvan er later in de pantheon// een interview is te lezen.

Ludic had het idee opgevat om een maquette workshop te organiseren en in plaats van de normale maquette materialen groenten en fruit te gebruiken. Daarbij ligt de nadruk op vorm, textuur en compositie, net als in een ‘normale’ maquette. Deze workshop zal later nog plaats vinden.

Exhibition KunstCo

Met de excursie binnenland commissie is een groep studenten naar Rotterdam geweest om daar de markthal van MVRDV en de Uilever fabriek te bekijken.

Aphrodisiac sloot aan op de diesweek en valentijnsdag erna. Met muziek, een drankje en een mooie locatie was het een feestelijke verjaardag.

Naast alle Food & Architecture activiteiten is de Grote Reis inschrijving open gegaan en was er een borrel in de bouwpub om de reis naar Maleisie en Singapur te promoten.

Om van het feest bij te komen werden er donderdag architectuur films vertoont in de berlagezaal. Om zo de week af te sluiten en met een grote groep commissieleden op commissieweekend te gaan.

Over de hele week heeft de KunstCo in het west trapgat een expositie laten zien over kauwgom. Waaarbij de studenten die langs liepen mee konden helpen aan de kunst door kauwgom te kouwen en dit erbij te plakken.

De Eveneco heeft op woensdag een feest georganiseerd in theater de Veste. Het thema

Symposium Urban Farming

4

s t y l o s // f o o d // a l g e m e e n

To celebrate the 119th birthday of D.B.S.G. Stylos we organized a week full of activities. There was an excursion to the Market hall and Unilever Rotterdam, an exposition, drinks promoting the Study Trip to Singapore and Malaysia, a Dies party, a symposium about urban farming and a movie day to conclude the week.

dies natalis

food & architecture Marissa van der Veer, Linda Matser & Felix van Zoest

In het midden van de Diesweek, op de verjaardag van Stylos hebben er meerdere activiteiten plaats gevonden. Twee daarvan zijn een excursie naar Rotterdam, georganiseerd door de Binnenland Excursie Commissie en een feest in theater de Veste door de Eveneco.

Excursie Op woensdag 13 maart vertrokken wij met een groep studenten naar Rotterdam om daar twee gebouwen te gaan bekijken. Het onderwerp van de excursie sloot aan bij het thema van de diësweek van Stylos: Food & Architecture. Om deze reden was het eerste gebouw dat we bezochten het kantoor van Unilever, een van de grootste voedselproducenten van de wereld. Dit zeer in het oog springende gebouw bestaat uit een enorme brugconstructie die over de oude fabriek gebouwd is. De boter die daar nog steeds geproduceerd wordt, was goed te ruiken bij binnenkomst. Daarnaast stonden overal in het gebouw vitrinekasten met diverse Unilever producten, er was zelfs een winkel met alleen Unilever producten. Wij werden ontvangen door Pauline Hagen van Unilever en een van de architecten van het gebouw, Chris de Jonge, directeur van JHK Architecten. Wij hebben een rondleiding gekregen door de brug, die is ontworpen als een grote ruimte zonder aparte kantoren, waarbij de vides het contact tussen de verschillende verdiepingen versterken. In samenwerking met het interieur ontstaan flexibele werkplekken in een huiselijke sfeer. Het hoogtepunt van de rondleiding was de open werkplek van de directeur die in de hoek van de bovenste verdieping gesitueerd is. Vanachter het bureau heb je een fenomenaal uitzicht over Rotterdam.

Vervolgens liepen we naar de bouwplaats van de Markthal, gelegen naast station Rotterdam Blaak. De Markthal wordt de grootste overdekte markt van Nederland en sluit aan op de omliggende voorzieningen in de buurt zoals de Koopgoot en de buitenmarkt. De Markthal is een gebouw waar diverse functies in geïntegreerd zijn. Het marktplein wordt overdekt door een boogconstructie die gevuld is met woningen en penthouses. Naast de bouwplaats is de Markthal in schaal 1:10 nagebouwd wat dient als informatiecentrum, genaamd de Markthal Experience. Daar werden wij verwelkomd door Niek Roet, werkzaam bij Provast.

Hij startte met een bedrijfspresentatie waarin hij liet zien bij welke projecten Provast betrok-

ken is. Vervolgens gaf hij een presentatie over de Markthal, gevolgd door een filmpje over hoe het eindresultaat gaat worden en een filmpje over de complexe werkzaamheden op de bouwplaats. De presentatie eindigde met het opheisen van het presentatiescherm waardoor we over de bouwplaats uit konden kijken.

Feest Ter gelegenheid van de 119e dies van D.B.S.G. Stylos was het aan de evenementen commissie om een groots verjaardagsfeest te organiseren. Deze dag mocht niet onopgemerkt aan ons voorbij gaan en traditioneel worden afgesloten met een feest tot in de late uurtjes.

In de aanloop naar het feest hebben we meerdere locaties onderzocht en zijn we uiteindelijk gevallen voor Theater de Veste. De charme en uitstraling van deze ruimte sloten perfect aan bij ons thema Aphrodisiac. De tickets waren persoonsgebonden en iedereen was gelinkt aan een andere man of vrouw. Met als idee dat jou link je potentiele Valentijns date kon worden.

Wat betreft de muziek hadden we een bouwkundeverantwoorde line-up. De zaal werd warmgedraaid door Contrastgast gevolgd

door Oerblond & Boomlang en vervolgens was het aan Apenstreken om het dak eraf te draaien met als afsluiter Curly and Stagg.

Aphrodisiac Any of various forms of stimulation thought to arouse sexual excitement. They may be psychophysiological (arousing the senses of sight, touch, smell, or hearing) or internal (e.g., foods, alcoholic drinks, drugs, love potions, medicinal preparations). Most foods traditionally believed to beaphrodisiacs have no chemical components that would have such an effect. In some cases, their reputation may be based on a supposed resemblance to genitalia (e.g., ginseng root, rhinoceros horn).

Drugs such as alcohol or marijuana may lead to sexual excitation by lessening the user’s inhibitions. Few medical studies have been conducted; the only substances medically recognized as aphrodisiacs are extremely hazardous to the health.// link naar de filmpjes over de Markthal www.markthalrotterdam.nl

Unilever Rotterdam

s t y l o s // f o o d // a l g e m e e n

5

think international

become a buddy!

Ilse Galama

The buddy program is a success! Many international and Dutch students have attended the buddy program, organized by the Stylos Thinking International committee, which started in September.

Since the kick-off of the Buddy program last fall, multiple activities have been organized to improve the integration between the international and Dutch students within our faculty.

Thirty percentage of our master students is international. This means that integration is inevitable and necessary. The buddy program tries to make the integration more fun, social and learnable. In September the first group of international students attended the program.

‘We organize activities to improve the integration between the international and Dutch students.’

Because of all the encouraging reactions and enthusiastic students we considered that this was a good start for a new tradition and organised another edition of the buddy program. That’s why, this February, we have welcomed a new group of international exchange students and we started the second edition of the Buddy program. The Thinking International committee of Stylos has organized success-

Buddy DIner November 21th

6

ful activities for the buddies. Activities like a dinner, excursion and pub crawl which will be explained in the following paragraphs.

Buddy Dinner What is a better thing to do on a cold and dark evening in November than having a huge dinner in your own faculty? During this organized dinner, every buddy group made their own dish from their homeland. All kind of meals were presented on a buffet. This dinner was a

Museum night Rotterdam This weekend on Saturday the 9th of March, the committee joint the museum night in Rotterdam. The museum night is an national event organised in multiple cities in The Netherlands. Our committee took the opportunity to invite the students of Architecture to come to the Museum night. We gathered at the Rotterdam Port Museum on Schiedamsedijk at 8 pm where the opening of the evening took place. After the opening we had a drink

perfect way to get to know each other’s dishes and getting to know other cultures. Led by the band of Ben de Jong and a fireplace presented on the beamers, this evening could not have been any better.

with the group at a café nearby and then started the tour by visiting the most interesting museum in Rotterdam.

Pub crawl

These three activities, described before, will not be the only ones the Thinking International committee will organize. Another activity on our program will for example be another excursion to a hotspot in the Netherlands. Also an activity whiting our faculty will have our attention. For more information about our upcoming activities or the buddy program, feel free to ask us! You can email us (international@ stylos.nl) or step by at Stylos!//

The second event we organized was a pub crawl. The new international students would get to know the most famous student places in the city centre of Delft. The event started with a beer tasting at the Doerak. Three different Belgian beers and a lot of fun made a great start for the crawl. The following pubs were ‘t Boterhuis, the Bebop and the Ruif.

Pubcrawl Delft February 20th

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Further activities

maquettes

oh jee, wat nou? cameraw

Chepos is het onafhankelijke architectuurtijdschrift van de studievereniging Cheops van de Technische Universiteit Eindhoven. Iedere editie wisselen Chepos en pantheon// een artikel uit.

In plaats van één maquette vindt er vaak een massaproductie van renders plaats om een indruk te geven van een gebouw. Het gevolg is dat de maquette wordt verwaarloosd: tijdens presentaties worden ze neergekwakt en vergeten, terwijl een maquette het ideale presentatieobject is. Het levende bewijs is op de pagina hiernaast te zien. Met de juiste insteek en kennis kun jij ook zo’n plaatje maken en kan

(bijvoorbeeld F/16).

Je maquettefoto staat of valt met een goede belichting. Om een foto goed te belichten is het handig gebruik te maken van een felle lamp of een flitser. Harde schaduwen duiden op fel zonlicht, terwijl zachte schaduwen een bewolkte dag impliceren. Waar je naar op zoek bent is een kwestie van persoonlijke smaak.

Net als bij een stedenbouwkundige maquette is de belichting essentieel. Hierboven zie je het verschil tussen diffuus en direct licht. Ook het bepalen van het focuspunt kan een grote invloed hebben. Door je camera op ‘manual focus’ te zetten kan je ervoor zorgen dat dit punt op de voorgrond ligt. Zo creëer je een natuurgetrouw beeld van de ruimte.//

je de uren die je normaal gebruikt om te renderen in de maquette steken. Een goede maquette betekent echter nog geen goed beeld.

Je zult op zoek moeten gaan naar een mooie compositie en belichting. Cameraw is samen met Joep Rutgers de daglichtkamer ingedoken. Hieronder een tipje van de slui(t)er.

Een ander belangrijk punt is de witbalans.

Wanneer je deze niet goed instelt, krijg je een ongewenste gele of blauwe gloed over je foto.

Dit heeft te maken met de kleurtemperatuur, die op vrijwel elke camera te regelen is. Als je foto’s maakt in .jpg-formaat, stel dit dan van tevoren in. RAW-foto’s zijn achteraf makkelijker te bewerken zonder kwaliteitsverlies.

Wil je meer weten over maquettefotografie? Cameraw organiseert in maart een workshop hierover, met live-uitleg in de daglichtkamer. Een spiegelreflexcamera en/of statief zijn NIET vereist, maar eventueel wel te leen bij Bureau Faciliteiten (Vertigo 1.11). Houd de posterborden in de gaten of informeer bij de CHEOPSbalie.

Er zit verschil tussen het fotograferen van maquettes op verschillende schaalniveaus. Bij een stedebouwkundige maquette is het gewenst om de totale maquette scherp in beeld te krijgen. Zorg dus voor een klein diafragma

Fotowedstrijd Stuur je mooiste maquettefoto vóór 8 mei 2013 naar cheposredactie@cheops.cc en win een een mooie prijs!

Bij het fotograferen van het interieur van de maquette zijn er andere aandachtspunten.

Ten eerste is een goed model vereist. Kies de schaal zo, dat de lens van je camera erin past.

s t y l o s // f o o d // a l g e m e e n

7

symposium Urban Farming Christian Maijstre

On the occasion of D.B.S.G. Stylos’ birthday, this year the symposium committee, in collaboration with the master class committee came up with the subject of the Dies-week: “Food & Architecture.” and to conform to the week’s subject “Urban Farming” was chosen for the symposium.

On the 13th of February, the symposium took place, concerning an often forgotten subject within the faculty curriculum, especially the bachelor-phase. The committee aims to shed light on mostly contemporary problems and developments through organising series of lectures, and to conform to the week’s subject “Urban Farming” was chosen. The theme was chosen because of the prevalence of modernday urban developments and population growth. In this context, awareness of the possibilities in integration of food production and

In the symposium multiple lecturers were given the chance to share their vision, project or experience about food production in relation to the built environment, resulting in a discussion: “Where lies the future?” Is it in vertical farming, a polder supermarket, or a combination of smaller initiatives? Or is there another solution elseware? We hope to offer a voice for the diversity of interpretations of this issue to put in motion a train of thought in everyone.

architecture is a necessity. Cities are growing exponentially and the food supply is growing more complex; these changes necessitate a change in the design process. When the needs of man are changed by surrounding developments, it is important to be able to plan for these changes as upcoming engineers of the built environment.

symposium was initiated by Jan Westra, Business Innovator at Priva B.V. where he works on multiple research- and development-projects.

The company Priva is a developer and producer of technological innovations in the field of conditioning and climate within the horticultural but also the built environment. During Westra’s lecture it became clear that the essence of greenhouse building was still the same, and the oldest systems are still applied, even here in the Westland. But food production also needs to become innovative once again, especially in terms of business models.

Westra suggests combining experience with food production: for example, reintroducing public participation in food production. He spoke about a future with a rediscovery of and attention to food, in which smaller venues all around the world sell supplies and materials needed for urban farming to the individual.

From this concept we can conclude that Urban Farming is more “alive” than we initially assumed, but it is just decentralised. Together with Van Bergen Kolpa Architects, who also spoke at the symposium, as well as others professionals, representatives from Priva gathered in the National Federation of Urban Agriculture (Nationale Federatie Stadsgerichte Landbouw) to aid individual expressions of Urban Farming by assisting them with distribution of knowledge, experience and material, but also by aiding in bureaucratic, juridical and financial sectors.

John Apesos’ system

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After a short opening and introduction, the

The next speaker, Francis Liesting, is a Master student currently active in the ExploreLab where she is developing an action plan for

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Urban Farming projects. Her introduction coveredthe factual creation of Urban Farming, which we can trace back to the feudal system where farmers were protected by the neighbouring lord, meaning the food produced was transported to the lord’s castle. So the phrase “Urban Farming” is not limited only to roof terraces filled with vegetable gardens, but in essence means food production specifically meant for a neighbouring city. Over time, cities grew so quickly that the surrounding agriculture dispersed and changed with it, turning Urban Farming into an exception rather than the benchmark it once was. Subsequently, as she explained her action plan, various parameters were exposed, such as amount of surface, kinds of food, the surrounding climate, climate systems and so on. These parameters are necessary because one will find it is quite hard to keep cattle in an apartment, but normal terraced houses could keep a goat in the backyard under certain circumstances.

The Dutch climate is also a major factor;not every plant can grow here, so a choice must be made between interior or exterior farming, and as well as whether to aid the plants with LED lights or greenhouses in their cultivation, for example. The steps of her action plan were supported by easy-to-understand graphs and tables in which it became which was the best route to follow in each step. The final step, the ultimate design, was not presented because her research analysis is not yet complete. Her research was a great transition to the subjects discussed by the former lecturer and the ambitions of the National Federation Urban Agriculture (NFSL), who aim to spread certain knowledge.

Next to speak was Jago van Bergen, partner at Van Bergen Kolpa Architects in Rotterdam. The office not only focuses on realising buildings, but also on vision development and research.

All these proposals reach through the scales, are characterized by powerful concepts, and are based on a broad study translated into clear spatial design. The office is also known for the Park Supermarket, a spatial development model in which integration of food pro-

duction and metropolitan public parks of the Randstad are used. The question Van Bergen Kolpa Architects hereby stated was: “Can these regions translate the food and recreational needs of the Randstad population, which by now knows 170 different nationalities, into a new role that promotes food and culinary traditions?” This question reoccuredin the lecture, where this study was highlighted and various conclusions or value statements were made. “It is enjoyable to physically connect to food production,” was one of his statements, and this grounding statement aided many of the proposed visions. Park Supermarket was not the only design in which “Functional Green” returned: multiple designs had this reoccurring concept, not limited to urban settings, but also in architectural interventions, like fruit trees designed that corresponding with the balconies of a building.

Merel Hofmeijer, a speaker whom we found trough of the Master class committee, spoke next. Her experience as a student at Wageningen University & Research Centre, allowed her to learn from several research projects, of which some contained the idea of ‘functional green,’ for example, flower containers with herbs and fruit treesmanaged by the residents.

This intervention activated the sidewalk, but also provided a minor source of food. This intervention was substantially smaller than other designs, for example the Park Supermarket, which spread over multiple acres, but was also effective: it was financially and legally more feasible compared than the park. In her speech she expressed the importance developments or innovations in food production . She also spoke of a more urban approach in which this was reflected. Utilizing an excellent and visually attractive animated presentation, her lecture was very interesting.

For the final lecture, John Apesos presented his ideas. Originally an American entrepreneur with a Bachelor of Arts-degree and a degree in Outdoors education, Apesos decided to enter the business world. After some detours he arrived in the Netherlands. He wanted to obtain a ticket to an event, but his only option to obtain a ticket was to participate in a TEDx event in Amsterdam and finish with the top speakers. At TEDx it became clear that he was

Van Bergen Kolpa Architects’ Park supermarkt

an excellent speaker, something that was also noticeable at our symposium. At TEDx he won the event and received an award at Amsterdam. His background in Urban Farming was virtually nonexistant, except for one job in a growth lamp business. With Metfarm, he developed a system of cultivating food inside buildings by means of hydroponic systems and LED-growth lamps. With only 4 square meters in a living room he was able to make over 200 salads for the kick-off of his system, by growing coleslaw in the preceding month. But it turned out that the original target, owners of empty office buildings, were not interested in his business model: on multiple occasions it would have been cheaper to tear down the building and build a new one, than to rent it for indoor food production. The result of this trial was that he aimed his food-growing weapons at the private sector, and now he is only working on making his construction more manageable or systemic, i.e. ‘IKEA-friendly.’

After Apesos’ presentation, the debate between the lecturers ensued, during which time questions were addressed that were left unanswered in the presentations. Both the committee members as well as the guests were thoroughly interested and the debate was exceptionally fruitful and lengthy. Finally an informal reception closed the day, where the discussion continued, albeit in a smaller

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company. It was noticeable that in both the approach to the symposium as well as in the discussions over drinks, architect Jago van Bergen was very much interested in the integration of food production in architecture.

Although during his lecture he gave clear and valuable solutions to the problem of urban food production, from his interest afterwards one could see that the application of urban food production in a more architectural sense still has a lot of room for new ideas and explorations. . And van Bergen proposed that perhaps the subject should return in a reoccurring event with “food & architecture” as a main theme, because although the complete seamless integration of food production in urban architecture includes winter gardens and systems such as entrepreneur John Apesos’, these examples are at this stagemore or less filler material for space, not a wholesome part of the architectural context of a building. After many more of these types of discussions the room was cleared and the symposium ended.

The committee’s first symposium was a success.//

>> John Apesos: http://www.symbicity.com/ >> Van Bergen Kolpa Architecten: http://www.vanbergenkolpa.nl/nl/ >> Priva B.V.: http://www.priva.nl/nl

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food

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Marie D’Oncieu

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from designing the food

to designing around the food Marie D’Oncieu

Is ultra-sophisticated molecular cuisine out? Some may say that local, traditional inns have always been more enjoyable than snobby high cuisine restaurants. But now, the trend is visible in critiques’ reviews. Natural is in, Architected food is out.

For years, the worlds of design and food have come together to create ordinary or sublime restaurants and cafés. Chefs team up with designers to create an identity, a brand, appeal to the consumer. This link is expressed in events like the Milan Furniture fair, in which many of the exhibitions involved food and design.

And much like restaurants introduce design into their spaces, chefs introduce design into the food. Marc Brétillot thinks of his culinary pieces like architectural projects; with a concept, research analysis and techniques to bring his work to the table. An example is “Krug in the air”, an imaginary meal destined to promote the consumption of champagne while floating in the air in a hot air balloon. Entrées are eaten on the ground and are linked to earthly tastes while the food evolves through the meal and the ascension.

explore the potential of the food. The trend is more about a naturalistic assemblage-based approach. Formafantasma’s baked objects at the Dutch Design week 9 reflect this. Here, food is used in a practical way, for objects such as vases, bowls… but the texture is left bare, baked and the elegance of the project rests in the way the elements are brought together.

“Personally I’m not really fond of really designed food like they do in the high cuisine restaurants like one stripe of vinegar and a few leaves almost like a piece of art. I like more the rustic part of the whole food expérience.”

For several years in a row, El Bulli’s molecular, ultra-designed cuisine earned it the claim of “most imaginative restaurant in the world”.

Every detail of a meal was a creation on its own, a piece of art of sophistication. Let’s just focus on an entrée; Margaritas of ice and foam with engineered olives; parmesan marshmallows, snow covered melon-caviar. Ferran Adrià, the head chef who earned the restaurant its fame, could spend hours on a single course, refining it to reach the desired effect.

In this sense again, the architectural project comes to mind. The minutious planning of details and attention to ensemble; the chef treats his course like the architect treats his building.

However, recently we can see the trend evolving.

Kiki van Eijk, Dutch designer of the Kiki rug, expresses: “Personally I’m not fond of really designed food like they do in the high cuisine restaurants, one stripe of vinegar and a few leaves almost look like a piece of art. I like the more rustic part of the whole food experience”.

Contemporary designers seem less interested in designing the food itself, they prefer to

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Maybe molecular gastronomy is going out of fashion. And what we see in its place is a more naturalistic, hand-crafted food, served in an informal way, with a great emphasis on local production, organic growth and slow fabrication. Instead of “messing with the food”, designers are focusing on the way to present, stage the consumption of food. This year, for

Noma - Copenhagen

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the first time, El Bulli was dethroned as the Michelin’s first restaurant in the world by Noma, a Copenhagen based restaurant which serves seaweed and curds from Iceland and musk ox from Greenland.

Therefore, the focus shifts from designing the food itself to design the experience. Restaurants that are enjoyed the most are no longer the white sophisticated dining halls with seven forks and spoons. Designers tend to admire the local and vernacular stylistic expressions which compliment the local-grown food. Or they turn to simple construction materials, untreated wood, recycled materials. The Global Street Food exhibition in 2009 took a look at food stalls from around the world as a gallery of junk art.

“In an effort to shape our way of cooking, we look to our landscape and delve into our ingredients and culture, hoping to rediscover our history and shape our future.”

The idea, with current topics of fairtrade production, global warming and animal treatment, is to make the consumer feel like he is eating in the most natural way possible. In a way that brings us closer to nature.// >> Food and Design: a report by Dezeen for Scholtès

Marc Brétillot composition

Technische boekhandel Waltman is een van de oudere boekhandels in Nederland. Sinds de oprichting in 1863 heeft de boekhandel zich gespecialiseerd in technische en wetenschappelijk literatuur, studieboeken, populair wetenschappelijke boeken, en is er op de faculteit Bouwkunde een ruim assortiment aan kantoor-, maquette- en tekenartikelen.

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chef vs. architect

food as a design Marthe van Gils

Een gerecht – een klein bouwkunstwerkje op tafel. Er komt meer bij kijken dan alleen de verschijning op het bord. Het vormt een design van smaak, samenhang, textuur, geluid, geur en meer. Het is zowel prachtig als functioneel. Een heuse ervaring. Neigt dit dan niet naar architectuur?

‘Elke architect moet kunnen koken,‘ aldus Peter Kubelka, architect en filmmaker met een diep gewortelde interesse in gastronomie. Het lijkt veel gevraagd, maar hij is niet de enige die beweert dat de kookkunst als een tak van de architectuur kan worden beschouwd.

Topkoks zijn designers Al aan het eind van de 18e eeuw was er een man die de bereiding van voedsel zag als een verlengde van architectuur. Het was MarieAntoine Carême, de eerste en misschien ook wel de grootste kok die Frankrijk ooit gekend heeft. Vanwege zijn diensten voor vele koningen en hertogen droeg hij de bijnaam Kok van koningen. Deze man wordt beschouwd als de uitvinder van de Haute Cuisine. Naast aan-

‘Elke architect moet kunnen koken.’ dacht voor smaak had Carême een bijzonder ontwikkeld gevoel voor de presentatie van zijn gerechten. Zijn gerechten, met name zijn nagerechten, waren stuk voor stuk kleine kunstwerken, geïnspireerd op tekeningen van grote architecten als Palladio of Vignole. De desserts die hij creëerde, waren zelfs zo mooi, dat men ze niet opat, maar ze enkel als decoratie op tafel zette.

Ferran Adria, masterchef bij elBulli, een restaurant dat bejubeld wordt tot ‘s werelds beste eetgelegenheid, benaderd voedsel, het koken en het nuttigen van het eten op een manier

Ontwerpen en voedsel

vergelijkbaar met de houding van architecten ten opzichte van materiaal, het ontwikkelen en het ervaren van ruimten. Een gerecht zou gezien kunnen worden als een conversatie tussen de chef en de gast. Dit is vergelijkbaar met de visie van de Zwitserse architect Peter Zumthor over het dialoog tussen ruimte, materiaal en het persoon dat de ruimte ervaart. Met zijn benadering treedt Adria koken, als uitsluitend het bereiden van voeding, voorbij en beschouwd het als het creëren van een complete ervaring, net zoals architecten dit doen.

De eerste hap van een smaakvolle appel zou gelijk staan aan de ervaring van binnenkomst in een indrukwekkende ruimte. De benadering transformeert de traditionele betekenis van eten tot een moment waarin herinnering,

Fraaie gerechten van het bekende restaurant elBulli en meesterwerken van Marie-Antoine Carême

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ervaring en smaak samenkomen.

Koks als ontwerpers, als architecten. Het klinkt bijna buitensporig, maar dat food als design echt dicht bij architectuur staat blijkt uit Louis Sullivan’s bekende quote Form Follows Function en dat deze ook van toepassing zou zijn op eten. Omdat het naast de vormgeving van voedsel, ook de essentiële functie bekleedt van het stillen van honger. Het wordt bedacht als een antwoord op de vraag van de mens, om ze tevreden te stellen en om aan wensen te voldoen.

Primaire behoeften Sinds het begin van de mensheid vormen koken en bouwen een primaire behoefte in het

presentation tips & tricks leven van de mens. De relatie met voeding heeft zich in de jaren verfijnd, samen met de evolutie van de mens en zijn maatschappij.

Waar we begonnen met voeden als levensbehoefte, zijn we nu aangekomen op een punt waarbij we plezier beleven aan eten. Het is tegenwoordig een proces waarbij we al onze zintuigen gebruiken. Horen, zien, aanraken, ruiken en proeven. Beiden behoeften, koken en bouwen, zijn diep genesteld in ons dagelijks leven en ze omvatten allebei zowel culturele als esthetische aspecten. Er kan gesteld worden dat koken een expressie geeft aan een periode van culturele historie, zoals architectuur dat ook doet. Bovendien staat bij beiden kunsten materiaalgebruik centraal, beïnvloed

over de nieuwe methode van voedsel produceren. Kjeld van Bommel van TNO beschrijft de 3D-printer als een geautomatiseerde slagroomspuit. Waarmee je, computergestuurd, bijvoorbeeld schuimpjes kan spuiten. De wandjes zijn zo dun en de vorm is zo complex, dat er vormen gemaakt kunnen worden die met de hand onmogelijk zijn. Topkoks, maar ook levensmiddelenproducenten kijken met veel belangstelling naar deze ontwikkeling.

In de toekomst heeft wellicht iedereen zo’n 3D-printer in de keuken staan, maar voorlopig bereiden we de maaltijden nog handmade. En dat is waar architecten volgens Peter Kubelka goed in zouden moeten zijn. Dus wees, met de vergelijkenis tussen koken en ontwerpen vers

door maatvoering, proportionering, vormgeving en compositie. Voeg kleur en textuur aan dit rijtje toe en een gerecht vertoont vele gelijkenissen met een maquette. Wat betekent dat architecten een mooi gerecht zouden moeten kunnen maken en dat voedsel ook als

in het geheugen, het levende bewijs en maak deze avond nog een heerlijk architectonisch veantwoord maaltje. Om het helemaal af te maken hiernaast een aantal praktische presentatie tips.//

‘Dit is vergelijkbaar met de visie van de Zwitserse architect Peter Zumthor over het dialoog tussen ruimte, materiaal en het persoon dat de ruimte ervaart.’ maquette gebruikt zou moeten kunnen worden. Iets wat op de faculteit Bouwkunde aan de TU ook wel eens gedaan wordt. Zo werd er bij BK3000 ooit een maquette gebouwd van ontbijtkoek.

Zoals materialen in de bouw steeds vaker prefab aangeleverd worden, en maquettes vaker worden gelaserd, is er ook in de kookwereld aan automatisering niet achter te blijven.

Sinds oktober 2012 is het mogelijk voedsel met een 3D-printer te maken. Onderzoekers bij TNO in Eindhoven zijn razend enthousiast

Food is as much about architecture as it is the concept of taste. The sum of its parts to create the whole, the great attention to detail and the emotion of first bite like that of entering a memorable space for the first time. Different great chefs confirm the comparison between architecture and food. As it is both beautiful and useful at the same time.

Less is more. Elaborate plates can be just as bad as careless ones. Also, complicated plates can make both hot plates and cold plates into warm plates.

2-3 colors are more interesting than just one. Chicken, white beans and cauliflower vs roasted pepper, saffron chicken on spinach.

A variety in shapes is important. A plate of sprouts, meatballs and new potatoes might benifit from green beans or carrots in rounds.

Don’t mix temperature. Serve hot foods hot, on hot plates. Serve cold foofds cold, on cold plates.

A varied, balanced texture is important.

Think about the composition. Food that is arranged properly is the key.

>> http://www.archdaily.com/174340/the-architectureand-transformation-of-elbulli-from-worlds-best-restaurant-to-culinary-research-foundation >> http://parijslive.wordpress.com/2011/01/11/paris-deschefs-food-design-een-driedaagse-ontmoeting-tussenwereldkoks-en-vormgevers//

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future cafe culture

hedonistic reuse Talya ten Brink

The future directions for food culture are demsontrated in a sustainable cafe culture for the next generation. Three prototypes of this cafe culture from Berlin to Rotterdam.

Three prototypes of a café culture Our current culture, built on layers and remnants from the past, as well as our tastes and hopes for the future, has hedonistic ideas and tastes much different from past periods.

Hedonism is the claim that only pleasure has value; maximum pleasure is the ideal. Our tastes reflect our current idea of both our context and our future, as well as a new focus on sustainability, or the capacity to endure as a culture. Town planner Patrick Geddes established the idea of ‘think globally, act locally,’ and this sentiment is echoed in the café culture.

Three prototypes of this café culture are explained in this article. One is the Michelberger Café, an individualistic, rebellious café and lounge in Berlin. The mission of the hotel is to be “individual, charismatic, stylish, fun, rebellious and inexpensive, a place where anything goes, just like berlin itself.”1 In the café/lounge, a disco ball, blue stage lights, and a DJ create a hedonistic atmosphere. Couples and friends sit on Modernist warm-grey canvas cushions placed on a plywood board over second-hand

books caged inside of steel Gabian walls. On the cushions are placed flannel checkered blankets. On the low tables, made of plywood boards and black-painted steel, are placed different second-hand glass vases with a branch or two and a fresh flower, as well as a candle and a menu. In the seated café area, a variety of second-hand chairs cluster around the tables and the lampshade is made of second-hand books.

Michelberger Hotel Café The Michelberger Hotel Café has a conceptual hedonism; the books and furniture are minimal, second-hand, or cheap. The furniture is Do-It-Yourself; the materials can be unscrewed and reused, and the furniture and gabian walls allows for endless arrangement. The fresh flowers and candles in different crystal glass containers allow greater individuality to and enjoyment of each area of the café.

Prinzessinnengärten The second prototype is the Prinzessinnengärten, a Nomadic urban farm and nomadic café built of reused materials. The nomadic farm

Michelberger Hotel Cafe

Michelberger Hotel Cafe

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Harvest Map of Materials used in Moes Attribution: Superuse Studios

temporarily transforms unused spaces in the city like building sites into organic urban farms or neighborhood green spaces to learn about sustainable living practices. One of the aspects of their mission is: “Hedonism as we understand it: our garden is a place of pleasure and rejuvanation. Relax and enjoy watching the vegetables being harvested and freshly prepared in our small garden restaurant.”2 The café was seen in in Potzdamer Platz during the film festival, Berlinale 2013. The Prinzessinnengärten co-operated with Material MAfia, a company that uses donated materials. Donated bike tires and pine wood planks were used to make seating benches, tables, and containers that inclosed fresh basil and chives, to add to one’s plate.

The Prinzessinnengärten has many similarities with the Michelberger Hotel Café; a re-use of materials, fresh (in this case, growing) plants, and DIY, movable furniture. But the Prinzessinnengärten allows both increased hedonism; in the use of ultra-fresh plants in one’s food, and organic, local fare, and increased sustainability; in the processes used to create all of the food, and all of the furniture.

MOES The third prototype is MOES, a café in Amsterdam whose interior was designed by SuperUSE studios (formerly 2012 Architects).

The mission of the restaurant is to use seasonal, local products, and the architects also re-used local materials for the interior.

Cable reels from the street, light boxes from Schiphol, rubber rolls from an old print shop, and second-hand acoustic tiles from office buildings were all reused in the interior. The cable reels were used for benches, the metal components for tables, the light boxes for lighting and display, and the acoustic tiles to arrange the soundscape. The next step they have planned is to reuse the waste heat, water, and compost to grow new food to serve in the restaurant. MOES also has fresh flowers and candles on the table in re-used soda bottles, as well as an individualized mixture of secondhand plates. Behind the café is an outdoor event space arranged around a planted tree

Prinzessinnengarten mobile cafe

and vegetable garden.

Besides being currently at 11th position in Tripadvisor.com out of the 1800 listed restaurants in Amsterdam, MOES was also nominated for best restaurant concept at the VENUEZ Hospitality and Style Awards of 2012.

The Best Restaurant Concept category is for the restaurant with the best trend-setting concept. The award winner is not yet been chosen, but this nomination signals that MOES is one of a new generation of cafés.

From looking at these three café prototypes, we see that this new type of sustainable café results in three qualities in the café interior.

First, reuse of materials through a secondhand harvest and DIY mentality; resulting in a high quality of design.

Second, flexibility and use in arrangement of seating; allowing both a variety of settings and atmospheres, as well as a reuse of the materials in other, later contexts.

Third, an inclusion of planting with fresh flower arrangements, courtyard trees, or growing herbs to pick and place directly on your plate or into your mouth.

Prinzessinnengarten planting of chives and basil

We cannot predict the future, but these prototypes thoughtfully design our food culture to both use sustainable practices and create optimum dining pleasure.//

>> http://prinzessinnengarten.net/ >> http://michelbergerhotel.com/

MOES Interior. Photography by Allard van der Hoek, www.totmoes.nl.

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markets

an international tour Isabel Potworowski

To experience a city’s culture, one has to go to its markets. A tour of some of the world’s best-known markets – Barcelona’s market system, Taiwan’s night markets, and Istanbul’s Grand Bazaar – shows them to be a vivid expression of a region’s history, traditions and values.

BARCELONA Barcelona’s market system is a “functioning anachronism.” Whereas most European cities have seen their traditional markets displaced by the modern supermarket, in Barcelona this was not the case. Quite the contrary; its markets have evolved to accommodate modern production and consumption trends, and have remained a backbone of the city’s food system.

In antiquity, open-air marketplaces were the principal places of commerce, and were the predecessors of the great European public squares. They attracted activity and fueled the development of entire commercial districts.

As cities industrialized, however, the imperative was to improve the flow of traffic and modernize urban space, and the convenience of supermarkets came to be preferred to the congestion of traditional markets. As well, the shift towards a capitalist, laissez-faire economy meant that, in order to foster healthy competition, states had to take measures to regulate the informal market economy that had an unfair advantage over tax-paying competitors.

The modernization of Barcelona’s food system took a different path, for both economic and cultural reasons. Firstly, the changes brought by a shift towards capitalism were not as strong in Spain as in the rest of Europe; the country’s economic stagnation during the Francoist era made the starting up of new supermarkets unprofitable. Just as these circumstances allowed the country to resist the inroads of the modern supermarket, they also strengthened the traditional market system.

Even after Franco’s dictatorship, when the

Barcelona’s conscious decision to invest in markets during financially difficult times reveals the municipality’s awareness of their importance for the city. While this recognition has a lot to do with the logistics of food distribution, it also has roots in the region’s strong cultural traditions. Catalonia’s history was shaped by its constant struggle for independence from Spain, resulting in the conscious defense of its local culture, including its unique cuisine.

Spanish government was still financially disadvantaged, Barcelona’s municipal government sought new sources of income in the rent paid by market stall holders. It therefore invested in the construction of new marketplaces so that between 1957 and 1977, eighteen new produce markets were built.

tive flavours and traditional dishes, some of them dating back to medieval times. Based on four basic “sauces” – the allioli (garlic and oil), the picada (variety of ingredients, but often nuts-based), the samfaina (aubergine-based) and the sofregit (olive oil, onions and tomatoes) – the cooking is seasonal and takes full advantage of the region’s excellent seafood.

“The first mistake is to talk about old and new.

Whatever has managed to survive into the present is current, useful and contemporary.”

Santa Caterina Market.

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The Catalan culinary tradition has very distinc-

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Catalan dishes fearlessly mix different elements together, combining the sweet, the sour and the salty. Fish is combined with meat, and chocolate with chili.

Barcelona’s markets have promoted themselves as the source of ingredients for this distinctive cuisine, and have established an image for themselves as facilitators of a wholesome quality of life. The emphasis placed on wholesome eating is common to Mediterranean countries, where a large portion of family income is spent on produce. Food choice is based on quality over quantity, and customers will return to the same butcher as their parents and grandparents before them. In keeping with this custom, market owners have placed themselves entre la terra i taula (between the earth and the table). Some markets have even formed alliances with local healthcare centres, promoting eating fresh produce as a vital part of healthy living under the slogan cap al mercat a fer salut (to the market for good health).

Educational programmes are also part of the “wholesome lifestyle” initiative, with schoolchildren being taken on excursions to the market to learn about food production and distribution.

The promotion of Barcelona’s markets owes its success largely to the IMMB (Institut Municipal de Mercats de Barcelona). The very fact that such an organization exists tells of the importance of the markets for the municipality. Formed with the purpose of repairing the market buildings that were falling into serious disrepair by the beginning of the 1990s, the IMMB supports the city’s system of forty-three markets through research, development, marketing and management. It has promoted the “Barcelona Market Model” as a role model for other European cities, defining it as “a model that is putting the markets through an important modernization and remodelling process and that promotes a series of changed aimed at creating more competitive municipal markets, with modern facilities and the services citizens demand.” Exported both nationally and internationally, this model has led to Bar-

celona’s leadership of the European Network of Markets, Emporion.

The IMMB has funded nineteen architecturally significant renovation projects in the last twenty years. Following the Barcelona Model, the projects involve various levels of intervention: they aim to “restore the architectural value of the building and its artistic features,” make functional improvements by “moving the market’s logistics underground and creating parking spaces and unloading bays where possible,” and “promote the markets through commercial promotion and communication campaigns and through the publication of their own media.” Among the recently completed projects are Mercat de la Barceloneta, Mercat de la Concepcio, Mercat del Bon Pastor, and Mercat de Santa Caterina.

The renovation of Santa Caterina Market by Enric Miralles and Benedetta Tagliabue serves as a good example of the projects being commissioned by the IMMB. Both local residents, the architects created an iconic building that incorporated the original 19th C structure.

The colourful undulating roof with 325,000 hexagonal ceramic tiles represents the market produce, and pays homage to Barcelona’s rich architectural past. The same granite pavers of the surrounding streets are used for the floor to emphasize the market as public space. Functional improvements were also made, with loading, storage and customer car parking accommodated underground, reducing noise and congestion in the surrounding streets. The project expresses the Catalan mentality that has shaped Barcelona’s approach to its markets. As stated by the architects, “the first mistake is to talk about old and new.

Whatever has managed to survive into the present is current, useful, and contemporary.

And it permits us to move back in time in order to continue forward.”>>

Shida Night Market.

Stinky Tofu.

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TAIWAN “Tonight we’re getting together and going to the night market.

We’re putting on the latest fashions and applying our makeup.

Everyone’s there: men and women, the old and the young.

Lovers walk in pairs.

Let’s stroll back and forth amid the hubbub.

Stall after stall is packed with sweet-smelling delicacies.

Let’s listen to the gracious owners make their sales pitches.”

were often close to business districts and red light districts.

“Stall after stall is packed with sweet-smelling delicacies.”

Xiaochi or “small eats” are one of the ways in which the imported Chinese tradition of night markets evolved to become distinctly Taiwanese. Originating from the seafood-based Fujianese cuisine, these specialties form the backbone of Taiwanese cuisine and gave the night markets international popularity. They originated from the snacks that the Han people would bring to social gatherings. When

“Any new fad, come here and you will find it. Steak, qieya noodles, toys, cable TV decoders. Pikachu and Hello Kitty.”

These lyrics from the 1991 Taiwanese song by Zheng Jinyi embody the exciting chaos that characterizes Taiwan’s night markets. A juxtaposition of traditional and contemporary, local and global cultures, these markets are as varied as the cultural influences that have shaped Taiwanese history. While the persistence of Barcelona’s market culture reflects Catalonia’s struggle for independence from Spain, the eclectic nature of Taiwan’s night markets reflects the diversity of its cultural influences.

Only 2% of Taiwan’s population is aboriginal; the other 98% is made up of the Han people who, in the 17th century, crossed the Taiwan Strait from Fujian and Guangdong provinces to cultivate Taiwan’s virgin lands. The native traditions were incorporated into foreign traditions imported by the Han people, forming the basis of the modern Taiwanese culture.

“Everyone’s there: men and women, the old and the young….let’s stroll back and forth amid the hubbub.” These lines express an important aspect of the imported Chinese culture: renao (“hot and noisy”) and renqing wei (“human flavour”) are necessary qualities of any successful celebration. Chinese night life has always been characterized by the excitement and thrill of congestion, differentiating it from the Western tendency towards more private evenings spent with family and friends. Already during the Song dynasty (960-1279), night markets played a central role in night life, some staying open for twenty-four hours.

A few included restaurants and brothels, and

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they spent long hours cultivating the land, peddlers would take to the streets carrying prepared food on shoulder poles, calling out what they had to offer and delivering it to the fields. These peddlers also came together to form small local markets near popular gathering sites, such as temples and folk festival sites. Today’s xiaochi are based on these early “small eats”, but evolved further during the 1950s and 1960s with the influx of migrant labourers. Vendors created simplified versions of banquet dishes, using simpler cooking procedures, stronger flavours and cheaper materials, making them affordable to the new consumer class. These simplified dishes were very local, with many xiaochi taking the names of their originating towns, like “Zhanghua meatballs”.

They eventually attracted the attention of the local elite, and became the base of Taiwanese food culture. One of the most popular xiaochi is chòu dòufu or “stinky tofu”. It is a form of fermented tofu with a strong odour, usually deep fried and served with local sweet and sour pickled vegetables.

“Any new fad, come here and you will find it.

Steak, qieya noodles, toys, cable TV decoders.

Pikachu and Hello Kitty.

Shoot the balloons and scoop up the goldfish.

Pop music or nude albums.

All made in nine-city” The influence of global pop culture started appearing in the 1970s when, because of the global recession, the mass-produced, inexpensive products for which Taiwan became famous

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found their way to the night markets as “returned export”. The appeal of the imported pop culture took immediately, and even products that were intended for domestic sale were promoted as “returned export goods” or “cut products”. Even the famous xiaochi took on international flavours, with foreign influences such as Portuguese-style egg tarts, Middle-Eastern-derived shawarma and American steak.

The night markets’ local culture evolved to embrace global modern popular culture. They underwent their latest transformations in the 1980s and 1990s, when increasing prosperity and commercialization led to the use of neon signs, bright displays and loud music, making Taiwan’s night markets the lively attractions they are known as today.

ISTANBUL In any discussion about the insights that markets can give into a city’s culture, Istanbul’s Grand Bazaar is a revealing case study. The city emerged at the crossroads between two continents and was a trade city from the beginning of its history. Boats arrived at the Golden Horn – the inlet that formed a natural harbour for Greek, Roman, Byzantine, Ottoman and other trading ships – and a burgeoning commercial district developed around this area. After the Ottomans conquered Byzantium in the fifteenth century, in order to collect income for the newly converted Hagia Sophia Mosque, Mehmet II (1451-1481) invested in trade. He built two bedestens – secure masonry buildings based on the hypostyle mosque typology – to accommodate and protect trade. It was around these two enclosures, built less than fifty meters from each other, that the bazaar grew; in fact, by the end of Mehmet II’s rule, it had reached a third of its current size.

The Cehavir bedesten (Old bedesten or Inner Bedesten) originally protected the trade of valuable goods such as jewelry, weapons and sculptures. Although more ordinary goods are now sold there, the Cevahir bedesten retained its protective character; vendors use it to store their money and valuable goods, and the atmosphere is more serious and subdued than in the rest of the lively bazaar. The second bedesten – “Sandal bedesten” – was originally the place for auctions.

Just as the development of Barcelona and Taiwan’s markets expresses their respective societies’ traditions and values, so too does

the Grand Bazaar. The Turkish-Islamic society holds the virtues of honesty, fairness and modesty in very high regard, and these values find expression in the bazaar’s culture and structure. When auctions were still being held in the Sandal bedesten, the traders would enter in the morning and, positioning themselves in front of their stores, recite a prayer for the Sultan followed by an oath that there won’t be any “deception, trickery, monopoly on a good, and no purchases or sales without a guarantor.” Only then could the auctions begin.

tively attracting customers or praising one’s own goods was seen as shameful. This tradition is still evident today: instead of fabricating a certain image with advertisements and decorations, as in western culture, shops show their wealth with the abundance and value of the merchandise, displayed on shelves in a simple way. Some of these shops, appropriately called “closets”, are only large enough to accommodate the owner; he sits cross-legged on a knee high-platform, knows where everything is, and reaches for the goods that he sells.

The importance of ensuring fairness and order also influenced the development of the streets surrounding the bedestens. Today, each street is named after the profession for which it is reserved: slipper-makers (terlikçiler), wash-cloth makers (keseciler), fez-makers (fesçiler), silk-

The bazaar is a place not of advertisements and quick sales, but of honest trade through discussion. Thus, some “closets” have small chairs placed in front of them for bargaining and discussion. Although negotiation through bargaining is a way to lower the price of a sale,

thread makers (kazazcilar), polishers (perdahçilar), fur-makers (kürkçüler), etc. This organization is a result of the guild system, adopted for price uniformity and control. When there was a sufficient number of traders of a particular kind, they formed a licensed trade monopoly that stabilized their numbers and work places (a particular street or alley).

it also ensures that customers are making an informed purchase.//

Customer relations in the Grand Bazaar also reflect Eastern values. In line with the noble unambitious attitude of Islamic society, ac-

Barcelona >> Tangires, Helen. “Great Public Markets.” Architecture Week. 09 July 2008. Web. 20 Feb. 2013. >> “Barcelona Market Model.” W110.bcn.cat/portal/site/ Mercats. Ajuntament De Barcelona. Web. Accessed 29 Feb. 2013. >> DeHenzel, Chris. “Interview with Miguel Usandizaga, Sant Cugat.” Web log post. Stocking the City. Archinect Blogs, 18 July 2012. Web. Accessed 12 Feb. 2013. >> Espsater, Anna Maria. “Slow Food in Barcelona.” Transitionsabroad.com. Transitions Abroad. Web. Accessed 25 Feb. 2013. >> Fava, Nadia, Manuel Guardia, and Jose Luis Oyon.

Map of the Grand Bazaar showing Cevahir and Sandal bedestens (outlines added by author)

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“Publiversus Private: Barcelona’s Market System, 18681975.” Planning Perspectives 25.1 (2010): 5-27. JSTOR. Web. Accessed 25 Feb. 2013. >> Michel, Rachel. “Between Earth and Table: The Markets of Barcelona.” Assemblepapers.com.au. Assemble Papers, 10 Jan. 2013. Web. Accessed 20 Feb. 2013.

Taiwan >> Hsu, Jack. “Shilin Night Market - Taiwanese Culture after Dark.” Culture.tw. Ministry of Culture, Republic of China (Taiwan), 09 July 2008. Web. Accessed 24 Feb. 2013. >> “Taiwan.” Wikipedia. Wikimedia Foundation, Mar. 2013.

Web. Accessed 25 Feb. 2013. >> “Taiwanese People.” Wikipedia. Wikimedia Foundation, 03 Feb. 2013. Web. Accessed 25 Feb. 2013. >> Teng, Sue-feng. “Bustle, Not Romance: Taiwan’s NightMarket Culture.” Taiwanfoodculture.net. Trans. Jonathan Barnard. Ministry of Foreign Affairs, Republic of China (Taiwan), n.d. Web. Accessed 24 Feb. 2013. >> “Xiaochi.” Wikipedia. Wikimedia Foundation, 03 Feb. 2013. Web. Accessed 25 Feb. 2013. >> Yu, Shuenn-Der. “Hot and Noisy: Taiwan’s Night Market Culture.” The Minor Arts of Daily Life: Popular Culture in Taiwan. Honolulu: University of Hawaii, 2004. 129-49.

Print.

Istanbul >> “Eminonu Grand Bazaar Walking Tour.” Whereist Istanbul. WordPress. Web. 25 Feb. 2013. >> Escudero, Jose Luis Revilla. “Istanbul, the Bazaar of Cultures.” Web log post. WORLDWIDESHARES. 02 June 2010. Web. 20 Feb. 2013. >> “Grand Bazaar.” Guides of Istanbul. Hakan Gurger Travel Agency, 2005. Web. 25 Feb. 2013.

Images >> Santa Caterina Market. Source: barcelonaprojects. gatech.edu >> Shida Night Market. formosatravel.net >> Stinky Tofu. xmarxchicago.wordpress.com >> Map of the Grand Bazaar showing Cevahir and Sandal bedestens (outlines added by author) whereist.com/eminonu-grand-bazaar-walking-tour/ >> A vendor at the Grand Bazaar. uajti.deviantart.com

A vendor at the Grand Bazaar.

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visual food colour perception Marie D’Oncieu

Think about the food you’ve had today. Now think of the colors of this food. Probably plenty of greens as well as red, orange and browns or pinks. I’m guessing not much blues or purples... Why is that exactly? And how do designers take advantage of the visual impact of food?.

Humans are very visual beings and our consumption of food is greatly influenced by the vision of it. Therefore we’ve developed a response to different colors. We will associate greens to salad, or vegetables; red to meat and blue… usually to nothing, except maybe blue cheese, which is essentially mold.

The fact is, we connect blue, purple and black, to warning signs of toxicity, because of the way our ancestors assessed food. This is why blue comes in first place of least appetizing co-

Every restaurant or food chain decides on a concept theme and chooses its defining colors around it. This branding is a great part of our appreciation of the product. Think of some brands you know and what you associate them with. Colors are a big part of that.

Subway sandwiches use the yellow and green to emphasize on freshness and fast turnover, Coca-Cola’s simple red letters reflect the idea of action, dynamism; Its no wonder most ice-cream vendors use blue and white colors to evoke cooling while cafés usually prefer

lors. If you use blue artificial coloring on food, yogurt for example it will immediately seem less tasty. And if you paint a room blue, it becomes an appetite suppressor.

Colors can produce an effect on us which we transfer into a feeling. When they are introduced in our eating experience, they can influence the way we behave.

browns and earth tones for warmth.

It is not surprising then, that restaurants, cafés and food chains use colors as a major tool in their marketing strategy.

The brown color, other than reminding us of the product: coffee, is, as previously mentioned, a great way to create a cozy atmosphere. Using mostly natural light and comfortable leather furniture contributes to this Starbucks’ main objective was to distance itself from other coffee brands and establish itself as a unique product. They did so by focusing on quality, environmental concerns and ethical sourcing. The earth tones and green colors reflect these good intentions.

More specifically, Starbucks uses a green of a drarker tone. This color, indeed, is said to appeal to a wealthier demographic and to justify paying a higher amount for a product. With its 5€ lattes, they made the right color choice.

Red: Increases heart pressure and stimulates appetite.

Orange: Increases oxygen supply and stimulates appetite.

Blue: Has a calming effect on body and mind, but is an appetite suppressant Grey: Neutralizes anxiety but is an appetite suppressant.

Yellow: Makes you happy and energized; stimulates your appetite. However, it is the hardest color for the human eye to process and it quickly becomes irritating.

Green: Easiest color to process, it is immediately linked to nature and a fresh, healthy image.

Light & cool colors recede from the eye and make a space seem bigger while darker colors advance towards the eye and give a sense of coziness.

Pastels encourage lingering (think of tea parlors) while bold colors encourage movement and action (and are used by most fast-foods or family-oriented restaurants).

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Starbucks interior by Marie D’Oncieu

Starbucks A particularly successful example of color branding is Starbucks. Everyone can recognize Starbucks’ color palette of browns and dark green.

But far from alienating the younger clientele, Starbucks made a strategic move when they decided to soften their logo and add wifi to appeal to students coming to work or hang out with friends. In this respect, the Starbucks browns played a key role. Indeed, while dark browns evoke masculinity and virility, light browns evoke femininity and sensuality.

Paired with the leather furniture and subdued atmosphere, it gave these new target consumers a sense of maturity.

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McDonald’s old interior by Marie D’Oncieu

McDonald’s new interior by Marie D’Oncieu

McDonalds

The New McDonalds

Now lets talk about McDonalds. We all know the famous yellow M on the red background.

The Amercian super-brand used colors seen in many other fast-food chains (think Burger King, KFC, etc.) for simple reasons. Red and yellow are both colors that stimulate appetite.

Red favorizes action and makes you eat faster while yellow becomes irritating after a while, insuring a good turnover and quick restoration. The bold color choice also appeals to the chain’s key demographic: children. Children who then beg their parents to go order a Happy Meal McDonalds’ strategy made it the first brand

The revolution began in France with Philippe Avanzi’s design of the restaurant at La Défense and quickly spread to Europe where restaurants tend to be more active on both the environment and animal well-being. The logo was changed from a red background to a green one, reflecting the environmental focus and giving the impression that the brand was upgrading its quality. The interior decoration shifted as well, with timber cladding and colorful seating and an organization of space more fitted for casual hang-outs than rapid restoration.

“We want to clarify our responsibility for the

of fast-food chains for years, with international fame. But the appeal was always the prices rather than the quality of the product. In 2002, after the first bad numbers were revealed and clients were starting to take measures against malnutrition, Mcdonalds decided to change its image.

preservation of natural resources.” Reads McDonalds’ website. The color shift is certainly a way to express this. And while green and wood dominate in Europe, America is also starting the makeover, using a palette of earth tones, pumpkins, ocres and sand.

Now think about colors next time you visit a

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restaurant or café. Feeling cozy and at home?

Probably due to browns and earth tones. Feeling happy and youthful? Must be yellows, pinks or bold colors. Feel out of place and slightly uncomfortable? Might be too white or grey. Colors do not only send messages about the quality, taste or food and the atmosphere of the restaurant, they can also be powerful tools to subtly manipulate us to specific eating patterns. Imagine a very big room dominated by the color orange (with maybe even a giant staircase in the middle). If this was in a school (again, just imagine), as orange stimulates appetite; wouldn’t it be the perfect location to have an espresso bar nearby?//

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supermarchitecture Rosa Stapel

In de hedendaagse maatschappij genieten wij het gemak dat er bedrijven bestaan die onze voeding op een presenteerblaadje aanreiken: de supermarkten. Wat is de connectie met de ontwerpersbranche en zijn we ons wel bewust van het feit dat wij beïnvloed worden door onze eigen systemen?

“Jumbo wil de ideale supermarkt zijn. Elke dag weer doen we onze uiterste best om te zorgen voor 100% tevreden klanten. Want dat is waar het om draait bij Jumbo.” (website supermarktketen Jumbo)

Kassa!

Ook wel "impuls gebieden" of "grabbelzones": de rekken bij de kassa met snacks en dranken. "Ze zijn er niet voor het plezier van de klant," zegt ScamellKatz. "Ze zijn er om geld te verdienen en de beste manier om dat te doen is om klanten producten te laten kopen als beloning voor zichzelf: de klant heeft een goed gevoel en de winkel verdient eraan.

Shop-in-shop “Houten vloeren, planken en mooie verlichting in het wijngangpad wekken de illusie op van een bijzondere omgeving,” zegt Scamell-Katz. Tests tonen aan dat we meer grote aankopen doen met grotere winstmarges als supermarkten een ideaalplaatje verkopen.

Kopschappen Op de koppen van de schappen staan doorgaans de speciale aanbiedingen. “Deze veronderstelling zit er bij ons zo goed ingebakken,” zegt Scamell-Katz.

“Toen de Amerikaanse keten CVS begon met het plaatsen van niet-afgeprijsde artikelen op de koppen onder reclame die eruitzag alsof het om een stunt ging, steeg de omzet.

Ze vechten om ons, de grote supermarktketens van Nederland. We voelen ons vereerd klant is immers koning - en spelen de kritische consument en zoeken altijd naar de laagste prijzen en de beste service. Vechten zullen ze!

Tegelijkertijd speelt er ook een duurzame bewustwording in supermarktenland. In 2008 werd het eerste filiaal van biologisch duurzame supermarkt Marqt geopend om de klant duurzame producten aan te bieden uit de regio, maar dan wel volgens het supermarktconcept.

Ook urban farming is al een aantal jaar hot topic. We lijken graag te willen zien waar ons eten vandaan komt en op welke manier het wordt geproduceerd, terwijl we daar eerder, ten tijde van de enorme superstores met ongelimiteerd assortiment, graag onze ogen voor sloten. We verwachten tegenwoordig dus grote investeringen, milieubewustzijn en maatschappelijke verantwoordelijkheid van supermarkten, terwijl we zelf nog steeds graag concessieloos genieten van het comfort van alle producten in één winkel. We moeten we ons wel realiseren dat we hier te maken hebben met een privaat bedrijf, dat uiteraard aan het eind van het jaar het liefst zo positief mogelijk uit de cijfers komt. Echter zien we wel dat de supermarkten voldoen aan onze vraag.

Luxe en comfort of duurzaam en verantwoord?

Er is een tweedeling te ontdekken in de ontwikkelingen van de hedendaagse supermarkt.

Aan de ene kant zien we dus (voornamelijk in Europa) een duidelijke beweging richting duurzame, milieuneutrale supermarkten. Aan de andere kant maken de opkomende economieën kennis met de luxe van de superstores en zij huren dan ook graag westerse architecten in om hen te voorzien van glimmende, kleurrijke supermarkten. De Lotus Fresh Supermarket in Shanghai (zie afbeelding) is daar een prachtig voorbeeld van. De supermarkt oogt met haar strakke lijnvoering, glimmende vloer en kleurrijke producten in de schappen als een luxe warenhuis. Hier zal je niet worden geattendeerd op duurzaam bewustzijn: de supermarktketen verplaatst haar focus juist van 100% locale merken naar een groter assortiment van buitenlandse producten om te concurreren met de andere ketens in Shanghai. Gek genoeg staat dit dus lijnrecht tegenover bijvoorbeeld het streven van supermarkt Marqt om uitsluitend locale producten in de schappen te hebben.

Geheel aan de andere kant van het spectrum vinden we dan de Climate Protection Supermarket in Graz, Oostenrijk. Hier is het uitgangs-

Graaihoogte Merken betalen notering of plaatsingsprovisies aan supermarkten, die corresponderen met de plek van het product in de schappen. Logischerwijs zou je denken dat producten op ooghoogte het beste verkopen. Uit het onderzoek van Scamell-Katz blijkt echter dat we wat lager kijken dan ooghoogte, ergens tussen middel en borst. Zo werd de grabbelhoogte de meest gunstige plek in de schappen en paste supermarkten hun plaatsingsprovisies aan.

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Lotus Fresh Supermarket. Shanghai, China – HEAD Architecture and Design

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Extra meters maken in de winkel Heb je je ooit afgevraagd waarom de melk en het brood aan de achterkant van de winkel zijn weggestopt? De theorie hierachter is dat het creëren van afstand van de ingang betekent dat we worden blootgesteld aan meer potentiële aankopen en aanbiedingen onderweg naar de ‘basisboodschappen’.

Uit Scamell-Katz's onderzoek blijkt dat deze afleidingstactieken beladen zijn omdat de shoppers met een vooraf vastgesteld doel naar de winkel komen en dat het niet prettig is om gedwongen te worden verder te lopen dan nodig.

Entree Climate Protection Supermarket in Graz, Oostenrijk – Love Architecture

punt een klimaatneutrale supermarkt: het gebouw levert zelfs nog meer op dan dat het gebruikt en sluit ook met een biologisch assortiment aan op de vraag van de hedendaagse consument.

Het plan Park Supermarkt van Van Bergen Kolpa (zie ook het interview op pagina 28) is op een andere manier duurzaam: hun concept is het voedselassortiment aanbieden in een groot park op een educatieve manier. Je zou letterlijk kunnen zien hoe je eten ‘groeit’!

Paradoxale werkelijkheid Als architecten spelen wij in beide gevallen een grote rol in het realiseren van deze supermarkten. De plannen ogen voorbeeldig, maar de vraag is echter of wij ondertussen wel door hebben wat voor trucs de supermarkten in de strijd gooien om ons te misleiden?

Daarom in de kaders aan beide zijden van dit artikel staan de zogenaamde ‘tricks of the rat-trapped store’ van Siemon Scamell-Katz, die gespecialiseerd is in het analyseren van consumentengedrag in de supermarkt. Ook in het ontwerp van de supermarkt worden deze aspecten vast en zeker geïntegreerd.

Wat mij intrigeert is de vraag of wij als ontwerpers ons ook laten leiden door deze principes of dat wij hierin meer inzicht hebben. Leven we niet in een paradoxale werkelijkheid als we supermarkten hervormen tot verantwoorde, educatieve voedselcentra terwijl wij ons on-

dertussen nog laten verleiden door de trucs van de supermarkt BV? Is het niet tijd om de geheimen van de supermarkt te onthullen?

Laat je niet langer verleiden en wees je bewust van de dagelijkse invloeden van de supermarkteigenaar op jouw keuzes. Want de klant is toch koning?//

Om de psychologie van het winkelen en alle misleidingen die daar bij horen te begrijpen de volgende filmpjes die afrekenen met de gedachte dat wij, mensen, rationele belissingen maken... >> Siemon Scamell-Katz’ TEDx talk: Persuasion: Influencing the rational decision maker

>> Australisch filmpje over supermarket psychology - ‘trolleyology’

>> ‘The secrets of our supermarkets’ by Simon Usborne.

The Independent, 27-10-2012 >> ‘Climate Protection Supermarket / LOVE Architecture’ ArchDaily, 15-02-2012. >> ‘Lotus Fresh Supermarket in Shanghai by HEAD Architecture and Design’ by Jaime Derringer.

Supermarkets always try to fulfil the clients wishes and nowadays reach towards the demand for a sustainable but customer friendly marketing strategy. Hereby a dichotomy is visible: some supermarkets offer biological products in a sustainable environment (Climate Protection Supermarket), while others focus on comfort and design (Lotus Fresh Supermarket). However, despite of these good looking strategies, do we realise that supermarkets still anticipate on our psychological weaknesses to get us to spend more money?

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Supermarkten moeten proberen om in te spelen op alle mogelijke winkelmissies, waarvoor de entree van de winkel cruciaal is. Kleine, aantrekkelijke producten als broodjes, chips, kranten en bloemen zorgen voor een warm welkom in de winkel. Daarna kom je direct terecht op de groente- en fruitafdeling. Helaas haalt Scamell-Katz ons uit de waan: "Je koopt eerst alle kwetsbare dingen die vervolgens geplet worden onder de rest van je boodschappen, maar je hebt wel het idee ingeprent gekregen in een winkel te zijn aangekomen vol aangename, verse producten.”

Omgevingsreclame Dit omvat de uitstraling van een winkel en – cruciaal – de visuele signalen die "korting" of "speciale aanbieding" schreeuwen. Dit zijn de reclames in en buiten de winkel. "We hebben geleerd dat mensen er maar zelden naar kijken," zegt Scamell-Katz. "Maar ze suggereren dat er iets bijzonders aan de hand is.

We adviseerden een winkelier om te stoppen met het kostbare wekelijks veranderen van de reclames.

Ze geloofden ons niet, dus daarom herdrukten we de reclames voor hem, in dezelfde kleuren maar zonder woorden. Dit maakte geen verschil voor de verkoopcijfers.”

Less is more We denken misschien dat meer keuze beter is, maar onze hersenen denken daar anders over. Het gemiddelde huishouden verbruikt 300 producten in een jaar. Een grote supermarkt heeft 80.000 producten in de schappen liggen. Hier geldt vaak less is more: yoghurtproducent Danone kregen het advies hun assortiment met 40 procent te verkleinen. Slechts 15 procent van de consumenten zag dit en de verkoop steeg met 20 procent.

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stads imkeren Nina Bohm

urban

farming Lilian Tran

Urban agriculture continues to be a hotly debated topic, as the city hubs of the world attempt to solve population growth issues with densification – but how will this work in reality?

Ik ben niet goed in urban farming. De kruidenplantjes van Albert lijken gewoon niet gelukkig te kunnen worden op mijn studentenkamer. Het muntplantje van vorig jaar heb ik één keer geoogst om een kopje thee van te kunnen zetten. Daarna bleef het arme ding er weken uit zien als een geplukte kip, totdat de overgebleven blaadjes bruin werden. Er was geen andere optie dan pot en plant met het gft-afval mee te sturen. Zelfs de decoratieve vetplant, die in de woestijn nog in staat is zich voort te planten, is de afgelopen maanden nog geen millimeter gegroeid.

Agriculture in the city

De gestripte versie van stadslandbouw, die ik in mijn vensterbank probeer te onderhouden, is niet te vergelijken met idyllische renders van de gemiddelde urban farming website. Leegstaande kantoorpanden, die worden omgetoverd tot kostbare vierkante meters courgette plantage, dat is niet alleen een geiten wollen sokken concept; stadslandbouw is al enige tijd bekent als stedebouwkundige trend.

lopments.

Op stadslandbouwkundig gebied blijven zich nieuwe ontwikkelingen voordoen. Maar tussen de volkstuintje op het dak doet zich nu wel een erg opmerkelijk fenomeen voor: stadsimkeren. In New York bekent als ‘urban beeing’, vliegt de trend via Londen en Berlijn langzaam ook onze kant op. Het is nog maar lastig voor te stellen; imkerkasten op het balkon. Toch is het volgens de Nederlandse website hoognodig om de massale bijensterfte tegen te gaan. De website biedt dan ook een cursus bijen voor beginners aan. De cursus biedt vier workshops aan, die alle gemotiveerde cursisten tot heuse stadsimkers belooft te maken. De bedoeling is dat in alle grote Nederlandse steden dan steeds meer imkerkasten op duiken. De stadse bijenvolkjes verspreiden dan stuifmeel van het ene urban farming initiatief naar het volgende. Met als gunstig neveneffect: muntthee met honing. Vooral leuk voor iedereen, die een muntplant wel in leven kan houden.//

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In the September edition of the pantheon// 2012 was an article about urban farming, it featured some positive examples of garden roofs, window farming, and even hydroponics in the city of Amsterdam. To supplement that piece, it is also worth considering agriculture on a wider scale; thinking about how people can integrate healthy, locally-grown food into their busy lifestyles, and how architecture can be used to tool for future agricultural deve-

Now more than ever, we as an urban population experience a psychological detachment with what we eat: where does our food actually come from? How is it produced? A possible way to reconnect people with agriculture is through vertical farming, or sky-farming; a concept of cultivating crops in tall buildings and skyscrapers.

Bioclimatic skyscraper A well-known successful example of vertical farming is the Menara Mesiniaga building in Malaysia, designed by Ken Yeang in 1992.

The mixed-use high-rise building combines commercial offices with open-air spaces to cultivate plant life, so that users have the opportunity to grow food on a personal and communal basis.

Such a design intervention of course would not force individuals to be healthier, but could certainly motivate people to think about what they eat and make healthier options easier, cheaper, and more readily available.

Food supply Another problem that must be tackled is how to produce enough food to feed the growing number of people on our planet. According to the UN Population Fund, the global population is estimated to exceed 9 billion people by 2050. A predicted 80% of those people will be living in urban centres, and therefore funda-

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mental changes will be needed for the current food supply to meet this demand.

The Vertical Farm project The ecologist Dr. Dickson Despommier has proposed his own version of vertical farming to try to solve this issue. He argues that tall buildings could be solely used for intensive agricultural production and wholesale distribution. Crops would be grown using hydroponics and aeroponics in a controlled internal environment, which would decrease energy consumption by reducing transport to consumers.

However this simplistic idea seems to surpass the possibilities of urban farming. Critics of the theory question whether the urban location of vertical farms would offset the energy requirements to maintain an internal environment for cultivating plant life, especially the amount of light and therefore electricity needed as a result of farming indoors. The value of urban spaces and the floor area needed to produce food on such a scale would most likely make it economically unfeasible.

Feed the world Though we may not spare much time or thought to it, food production is quite obviously fundamental to life, so as the global population continues to increase dramatically, it is becoming ever more important to encourage sustainable agriculture and rural development, and find a way to meet the challenge of feeding our world.// >> http://www.unfpa.org/pds/trends.htm >> http://www.globacorp.net/vertical-farming.html >> http://www.emporis.com/building/menaramesiniaga-subangjaya-malaysia >> http://www.verticalfarm.com/

Kobaltstraat 27 2544 ET Den Haag Postbus 53086 2505 AB Den Haag

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070 – 308 21 21 070 – 308 21 29 info@kds.nl www.kds.nl

@architect

van bergen kolpa

Talya ten Brink & Isabel Potworowski

During the Stylos dies week, Architect Jago van Bergen was invited to speak at the Food and Architecture symposium, in which he presented his project, PARK SUPERMARKET, an innovative approach to bringing food production to the city.

Dutch farming is based on the tradition of making polders. How do you relate in your design approach to this tradition and current agriculture?

In our work we constantly relate to the tradition of making polders; For instance the tradition of civil engineering creating the perfect conditions for growing food in a sweet water delta below sea level. But we also relate to the cultural heritage of the polder landscape, celebrated for instance by the Dutch painters in the 16th and 17th century like ‘Gezicht op

trying to move forward, instead of standing still and looking back.

Haarlem’ by Jacob van Ruysdael. As they make part of our history these images are very important when you propose future transformation. But to stir the discussion: This fine tradition of making polders is a bit stuck. It is not developing anymore, it is standing still and turned into a certain kind of museum, like a living version of those paintings from the 16th century. It is a landscape in coma, kept alive with agricultural subsidies but under heavy pressures of climate change, intensive food production and urbanization. So the design question is: How can this system be improved?

Can we make this landscape more efficient, while also giving it more quality, perhaps giving it recreational value? Can we use the system to solve certain ecological problems like rising water tables and salinization? Can we increase the variety or types food that our landscapes can grow? So it is about adding up,

for example, is conceived as an arrangeable agricultural floor space based on the existing polder grid. Starting with one-hectare sites and the possibility to rent space, there could be opportunities to start small scale – a family farm – and grow to a larger scale. What we propose is a flexible system that you can plug into. So it is not about traditional family vs corporate farming, but a model directly involving entrepreneurs and people from the city in food production.

Two common farming models are the individual family farm and the large-scale corporate farm. Is there anything in between?

What is the model that you propose?

As an architect, I cannot approach this question from an economic or business point of view, as your question implies; but I can elaborate on what we think, from a spatial point of view. Our proposal Park Supermarket,

How can the cycle of food production, logistics and consumption be used to rethink the design of our cities?

When we talk of cycles, we prefer to talk of a balance between three elements. In the context of sustainable city development, this means working with the people (the social aspect), the planet and its resources (the eco-

profile

name: Van Bergen Kolpa Architects established: 2000 city: Rotterdam principal architects: Jago van Bergen

Evert Kolpa contact: www.vanbergenkolpa.nl/ watch: www.vanbergenkolpa.nl/parksupermarkt

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logical aspect), and production (the economical aspect). If the current food system is looked at in light of these three elements, we can see that the logistical heart of the food chain, the supermarkets, are controlling this cycle and make the most money. The farmer earns almost nothing, and we consumers are used to low food prices. So the economic part of the cycle, which has traditionally been concentrated on production costs, has shifted to the logistical costs of food distribution. But if the different players of the cycle were to be more involved with each other - i.e. when the consumer is connected with the production – the supermarket chains are no longer needed. This kind of rearrangement with mutual benefits is likely about to happen in Nijmegen, with one of our clients. Fifty farmers organized themselves in a farmer’s corporation called Oregional, with the aim of producing for the city of Nijmegen instead of for a global market. They set up an internet platform to be more visible to the city inhabitants, and they opened up a pop-up shop in the city center where you can buy fresh juices and produce. Now they’re aiming to have an outdoor landscape supermarket of thirty hectares at the border of the city, where the representative farmers grow the variety of food of a regular supermarket. It’s the Park Supermarket concept operated by local farmers where you can see and enjoy their various food production.

Why are fresh produce markets owned by immigrant cultures in the Netherlands becoming more popular?

What you bring up is a very interesting point: logistics. The market is the place where produced food is being put on display and sold to the consumer. In Mediterranean countries, because of their climate and celebration of food as an essential part of public life, there are fantastic markets. They embody a city’s cultural identity at the culinary level. It’s also interesting to see how these markets are framed with architecture. In Sao Paolo, for instance, the market has glazed stained windows that offer a panoramic view onto the production world.

It’s also a double-layered market, with food

courts on top of the vendors’ stands. Markets are a fantastic opportunity to see what position food has in a city, and could also provide a nice introduction to the current situation in Holland. We are becoming a society with 170 nationalities, each with its own food growing and buying traditions, making for a much more interesting development than the uniformity of the traditional Dutch markets.

what we have to start thinking about. With our firm we also proposed using the flat roofs of post-war developments to collect rainwater and produce food in a do-it-yourself way.

Another, more high-tech proposal suggests producing algae within the window louvers of an apartment tower. Both of these examples are added layers to existing structures rather than new buildings. After all, 95% of our built

the production aspect, there is the organizational aspect (business models and finance) and the ecological aspect (reusing resources from the surrounding landscapes and cities).

You need to find representatives from these different sectors and start up a joint conversation. That’s exactly what we’re doing now with a consortium in a Green Deal with the Dutch government, a research project on different

What can we do as individuals to reflect your choices as an architect?

I cannot advocate a certain lifestyle in food choices; organic or high-tech. What I do advocate is a Dutch metropolis lifestyle, where everyone who lives in the city should have access to interesting and valuable green space in or around the city within a ten minute bike ride. That could be feasible. Once we start working on that, and combine that with food, you could have access to fresh produce being grown around you, from fruit, to vegetables to dairy, and so forth. In a way it is already possible, but the food currently being grown is not for the city; it is for the global food suppliers, and we need to buy it back through supermarkets or through strange logistical transportation lines, from the farmer who is actually right around the corner. So opening up that situation with architectural means, that is what we can do. And that is what we propose constantly.

What are the implications for the design of individual buildings? Does bringing food closer to the city imply typological changes?

All of our proposals are made at 1:500, a scale between urban design and architecture. To address the building scale, what has to be dealt with is not soley food production, but its combination with other building functions – for instance, with recreation. To give an example, I was very intrigued by John Apesos’s indoor food production that was presented at the Symposium: an appliance that you can simply plug in and open the door for fresh vegetables. But instead of being tucked away like appliances I imagine it could radically rearrange our housing lay outs. It could occupy a proud place, becoming a social and culinary heart where food is being grow and cooked.

So these types of overlapping functions are

environment will exist in 2050 as well. Just as Park Supermarket is a retrofit of the existing polder landscape, we have to think about how to retrofit our existing cities. This extra retrofit layer is another means of adapting to climate change, making it into something positive through food.

How can this discussion be brought into the university?

It requires strong cooperation with academic and professional experts in the whole food chain. You cannot think that the architect, with food production charts symbolized in computer rendered models can change the world.

Quite the opposite; this approach – which describes certain movements in TU Delft – is the end of the food and architecture engagement.

Rather than crunching numbers, architects have to look into the more physical aspects of growing food, together with the people who are involved with the food production. Besides

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‘‘We have to think about how to retrofit our existing cities. The extra retrofit layer is another means of adapting to climate change, making it into something positive through food.’’ scales of urban agriculture in and around the city to find out how it currently functions.

What keeps coming up with such interdisciplinary research is that food is not a single issue; it’s always a sort of disguise for other functions – for a smarter way of dealing with ecological problems, or creating a nice place where people can meet. Of course, thinking about the techniques and conditions for growing food is important, but that’s just one part of it: the technology. But if we only consider this aspect, we’re just walking down the same path we have been walking since food went global, when production started to scale up and intensify. Somewhere along the way, we forgot about where it touches society and architecture.// >> Photo left: Urban design for the Park Supermarket >> Photo top: Jago van Bergen & Talya ten Brink

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cartoon Marie D’Oncieu

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get inspired Roos van Riggelen

the Cube The Cube is a small restaurant that temporarily transforms the skyline of European. It moves from one big city to another and its distinct structure rests on top of well-known landmarks, offering world-class cuisine, views and ambience.

The Cube’s journey started in March 2011 in Brussels, placed on the Cinquantenaire Triumphal Arch. It then went to Milan where it overlooked the Piazza del Duomo, continued to the Royal Opera House in Stockholm, and is currently on top of the Royal Festival Hall in London.//

the High Line New York The High Line is a 1-mile-long (1.6 km) New York City linear park built on a 1.45mile (2.33 km) section of the former elevated New York Central Railroad spur, which runs along the lower west side of Manhattan; it has been redesigned and planted as an aerial greenway. A similar project in Paris, the Promenade plantée, was completed in 1993. The recycling of the railway into an urban park has spurred real estate development in the surrounding neighborhoods.//

maquette Terada Mokei Terada Mokei makes scale paper models of people, animals and objects we use in daily life. You can use them in your architectural building models and play endlessly with how they should stand or sit. They’re sold in different scales and colors. Whether you’re making Noah’s ark or designing a shopping mall, you’ll find every detail you’ll ever need to make your models as lively as you want.//

UAR With UAR, the NAI’s mobile architecture application, you can explore the city by yourself – at your own pace. By means of text, images, archival material, film and 3D models UAR shows you what the city used to look like, and how it will appear in the future. The app also contains thematic walking routes for certain areas.//

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agenda Margot Overvoorde

Restaurant week Delft March 1-10 Delft

Dining in a top restaurant is usually an expensive affair. But not during the Restaurant Week. From Friday 1 March to Sunday, March 10 Delft restaurants serve six 3-course dinner for a bargain price. Theparticipating restaurants: Proeverij de Waag // Artusi // ‘t Crabbetje // Bistro de Pijpenla en Restaurant Le Mariage // Les Copains // Van Der Dussen.

Museum Night Rotterdam March 9 Rotterdam

Start off Museum Night on March 9 roaring with laughter and enjoy a packed programme with tranquil moments and over-the-top craziness with the rising water in the starring role. Hold on tight for a splashing night when no one can keep it dry! See the complete programme www.rotterdamsemuseumnacht. nl.

The New York Five - Xmas Meier Maart 21 // 19.30 uur Theater de Lieve Vrouw Amersfoort

A film by Ila Bêka and Louise Lemoine, the makers of Koolhaas HouseLife. Xmas Meier is about the impact of the construction of a church in the suburbs of Rome. Architect Richard Meier is known as a rationalist architect. In The Hague he built the “Ice Palace” (the town hall).

Symposium Energetic City March 26 Mediamatic Fabriek Amsterdam

The Creative Industry Fund organised a symposium The Energetic City, a sequel to the annual symposia on urbanism. The innovation of the planning practice is a central topic, next to the internationalization of the discipline. Key questions are: Who are the new clients? Disappears public urbanism from the Netherlands? What are the work areas of urbanism studios and where can they be found?

Space Drawings till April 14 Kade // Amersfoort

Kunsthal KAdE presents an exhibition entitled Space Drawings. The show features 10 three-dimensional drawings created by 11 contemporary artists. The works are site-specific installations that redefine and rediscover the art of drawing. They shrug off the constraints of the flat surface to invade three-dimensional space and invite the viewer to step inside them. Traditional drawing materials like pencil and paper are supplemented – or replaced – by materials like rope, wood, wool and foam.

Like Pastoe - 100 years of design innovation till June 2 Kunsthal // Rotterdam

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In the spring of 2013, the Kunsthal Rotterdam will be presenting a comprehensive exhibition to celebrate the 100th anniversary of the Dutch furniture brand Pastoe. Since it was founded in 1913, Pastoe has grown to become an internationally recognised designer label. The brand stands for simplicity, timelessness, quality and craftsmanship. Over the past years, Pastoe has acquired an excellent circle of designers including Maarten Van Severen, Shigeru Uchida and Scholten & Baijings.//

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recommended reading Lilian Tran, Marie D’Oncieu & Nina Bohm

CPULs

Architecture Now! Eat Shop Drink

CPULs, an acronym for Continuous Productive Urban Landscapes, proposes the case for urban agriculture as an important and fundamental part of sustainable urban infrastructure. It is a design concept for cities to introduce green landscape networks primarily for food production, which would complement the built environment as well as bring fresh food into the city. Initially the idea of ‘the city as a farm’ can appear far-fetched, however the book makes a convincing argument by analysing the example of Cuba’s transition from an oil-import economy to a more agricultural model, from which half of the city’s fresh vegetables now come from community gardens, rooftops and balconies.

The author makes a comparison with London’s urban agricultural history of growing food in gardens and allotments during World War II, and suggests how lessons might be learnt from Cuba. He envisions a scene in which there are green spaces throughout London, connected by cycle paths and walkways that combine food production, recreation, leisure use, and more. Whether or not CPULs can become a reality, the book certainly highlights the extent of food security issues and how the West could deal with it.

The book ‘EAT SHOP DRINK’ mostly inspires you with all kinds of beatfiful pictures of beautiful eateries, bars, and boutiques worldwide.

It’s shows the newest architectural designs that have to do with our basic needs; eating, drinking (and shopping).

Fifty-two designers present in four to eight pages, complete with desk and location addresses, a brief outline of the vision of the firm, the sketches and the design, with clear pictures.

Philip Jodidio // Tashen // 2012 // 24,99

Food for the City - A future for the Metropolis Impossible to miss this book in Waltman’s Bookshop. The striking eggs invite you in, and you won’t regret it!

Food for the city explores the issue of feeding our planet from 2050BC to 2050AD. Great visuals, timelines and graphs as well as evocative pictures and projects like those of the Why Factory will give you a clear and aesthetic knowledge of the global food crisis.

13 professionals, from chefs to philosophers and sociologists; from architects and artists to activists present, in essays, different aspects of the problem and ways to make a change to reach a solution in 2050. What if art could feed the world?// Johannes S.C. Wiskerke, Jorge Mario Jáuregui, Vandana Shiva e.a. // Stroom Den haag // 2012// 24,50

Andre Viljoen // Architectural Press // 2005 // 49,00

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food

shelter

urban agriculture fruit

markets

supermarket

van bergel kolpa

local cafe restaurant art cooking ingredients

composition colour grand bazaar design

cuisine

architecture fast food

sustainable

vertical farm

biological international culture

park supermarket always printed on 100% recycled paper