pantheon// 2024 | Mirroring

pantheon//

mirroring

Mirroring

pink and green like you and me

we complement each other we complement each other slightly flattered lights scattered in reflection I found my self-esteem rebound

colophon

volume 29, issue 1, June 2024

900 prints

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Betül Aniker

Dila Topal

Eise van Hemel

Isa Feijts

Jonne Rode

Merel van Casteren

Rosalie van Wageningen

Wout Roozendaal

BETÜL ANIKER

@RIJKSBOUWMEESTER: FRANCESCO VEENSTRA WOUT ROOZENDAAL

MIRRORING IN ARCHITECTURE

DILA TOPAL EXHAUSTION

EISE VAN HEMEL

VIRTUAL REALITY AND ITS USE IN ARCHITECTURE

EISE VAN HEMEL FROM DISCO BALLS TO

BETTER A GOOD COPY THAN A BAD ORIGINAL WOUT ROOZENDAAL

REFLECTIONS OF LOVE

WRITING COMPETITION

CYLIA DE VRIES

MIRRORING /\ MOTION

PHOTO COMPETITION

KARINA SULTAN

MIRRORS IN THE METRO

MEREL VAN CASTEREN

MOVING WITH WATER

JONNE RODE

LIKE FATHER LIKE SON

EISE VAN HEMEL

MIRRORS IN THE STREET

PHOTOGRAPHY

ROSALIE VAN WAGENINGEN

DAY IN THE LIFE: BACHELOR VS. MASTER

MEREL VAN CASTEREN

ARCHITECTURE STUDENT VS. NON-ARCHITECTURE STUDENT

JONNE RODE

ONE POINT PERSPECTIVE

CHEPOS

LUCA CECCA

BK FASHION

DILA TOPAL

YOU'RE SO VAIN

ISA FEIJTS

CRYSTAL CLEAR

ROSALIE VAN WAGENINGEN

GET INSPIRED

MEREL VAN CASTEREN

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EDITORIAL

BY MEREL VAN CASTEREN

This year, our editorial team began with a fresh start. pantheon// moved to a new printing house, which allowed us to reflect on the way in which we produce our yearly edition. Should we even be printing a paper magazine, in a digital age? Would it not be easier for students to read pantheon// from their phone, quicker and more sustainable for us to publish? Before presenting the beautiful print you have in your hands right now, I want to spend a few words on this year’s journey with pantheon// as a physical magazine.

I still feel like paper prints have value, but maybe the role of pantheon// in print can be open to change. Through Stylos and pantheon// students are able to independently explore and present what they find important. Perhaps we can be a better, more inclusive platform by complementing a thematic yearly edition with frequent online articles of a larger scope. This also allows us to be more selective in pantheon// print, as shorter articles would move to the digital platform.

This year we experimented with weekly online articles. We received mostly positive feedback, for which I am very grateful. But this does not mean that our physical magazine received less attention! By writing and publishing throughout the year, our editors were able to gain momentum for this conclusion in print.

In short, this year was a year of reflection. The closing statement is this pantheon// under the fitting theme ‘Mirroring’. Our editors find mirroring in similarities, like look-alike architecture, in opposites, like opinions, in reflections, like virtual reality and vanity, and in surfaces. The result is a broad range of articles, interviews and photography. Additionally, we are proud to present the winners of our yearly writing and photography competitions in print. We invite you to explore what mirroring can mean with us! //

JONNE RODE CHAIR

2023/2024

ISA FEIJTS EDITOR WOUT ROOZENDAAL LAYOUT DIRECTOR EISE VAN HEMEL LAYOUT EDITOR

BARY QQ STIJN KUIJSTERS QQ MEREL VAN CASTEREN EDITOR-IN-CHIEF DILA

BETÜL ANIKER EDITOR

C HAIRMAN'S

Mirrors, they are everywhere throughout the Faculty. You pass them every single day on your way to the atelier. Whether it's a new mirror serving as a design prop at BkBeats, the lustrum laughing mirrors that filled the hallway this February or the mirror of pantheon// that has moved through the faculty in recent weeks. It's always difficult to avert your gaze from them; they quickly capture stares.

When I looked in the pantheon// mirror a few weeks ago, I realised that this year had passed so fast. It dawned on me that I need to pause and reflect more on all the enjoyable experiences we've had. Because before we know it, this year will come to an end, and new adventures await us.

This year, Stylos as an association collectively turned its gaze towards the Mirror We celebrated our 130 years of rich history, reflecting and looking back on the years that went before us, but also on the years to come We celebrated the iconic lectures, all the events in the past years and our studies. But above all, we celebrated the friendships that we have built throughout our student years.

So the next time you find yourself facing a mirror, take an extra five seconds to pause. To enjoy this moment, this year, just a little bit more. I wish everyone the best with their studies and a fantastic summer.

See you soon! //

Mirte Giethoorn Chair of

the 130th Board of the D.B.S.G Stylos

BIG MIRRORING BUILDING

Mirrored buildings are modern marvels that reflect the soul of the city back at its residents, adding a tapestry of urban landscapes. These buildings act as canvases, encapsulating the dynamic skies, busy streets, and transitory moments of everyday existence.

Glass, both visually delicate and structurally robust, has always been a favourite among architects for its ability to merge a building with its surroundings while shielding it from the elements. It's no surprise that today's inventors are still delving into its various applications, treatments, and finishes, raising the basic need for shelter to the level of high art. Glass, whether mirrored to capture and scatter light beams, frosted to gently disperse it, etched with complex patterns, or bubbling to playfully twist vistas, overcomes the limits of more stubborn, opaque materials. It gives a building's facade a fluidity unrivalled by any other medium. Here, I will explore five remarkable buildings and their architects who have masterfully used glass to reimagine nonresidential spaces, transforming them from mere functional structures into sources of inspiration.

The first building that we are going to talk about is MAD Architects' latest endeavour, Hutong Bubble 218, that represents a captivating fusion of heritage preservation and futuristic design ethos. Nestled within Beijing's historic hutongs, this project stands as a testament to the studio's visionary approach toward urban revitalization.

Concealed within the labyrinthine alleyways, Hutong Bubble 218 emerges as a beacon of innovation, offering a glimpse into a harmonious coexistence between tradition and modernity. Two sculptural bubbles, delicately perched atop the ancient courtyard house, defy convention with their smooth mirrored façades. Reflecting the essence of their surroundings, these mirrored surfaces integrate into the fabric of the historic neighbourhood, casting an enigmatic allure. MAD Architects' use of mirrored stainless steel for the bubbles' exteriors not only emanates a modern aesthetic, but also pays homage to Beijing's rich architectural history. While seemingly opposed against the backdrop of historic structures, these futuristic

shapes develop a discourse with their surroundings that transcends temporal limits.

The second building that we are going to talk about is MVRDV's famous project, Depot Boijmans Van Beuningen. The project emerges as an architectural marvel within Rotterdam's Museumpark, enveloped in a captivating facade of mirrored glass and crowned by a verdant "rooftop forest."

Designed to consolidate the art collection of the Museum Boijmans Van Beuningen under one roof for the first time since 1935, this facility heralds a new era of accessibility and engagement with art. Its innovative concept transforms the conventional notion of art storage, offering visitors unprecedented access to the repository of cultural treasures.

Reflecting the vibrant energy of Rotterdam's urban fabric, the mirrored facade imbues the depot with a sense of dynamism and fluidity, transforming it into a captivating spectacle that evolves with the changing surroundings. A focal point of the depot, the central atrium invites exploration with its intertwining staircases and suspended glass display cases, offering rare

Wiki World Mountain and Cloud Cabins 1

glimpses into the meticulous care and maintenance of the museum's treasures. Above, the "rooftop forest" beckons with its lush canopy of 75 birch trees, providing a serene retreat amidst the urban bustle and offering panoramic views of the city skyline.

The third project that is worth mentioning is the stunning hotel concept that harmonises with its natural surroundings in a picturesque setting amidst the misty mountains of Yichang, Hubei province, by Wiki World and Advanced Architecture Lab. The Mountain and Cloud Cabins project is a testament to innovative design and sustainable architecture, offering guests an immersive retreat amidst the tranquillity of nature.

Set against the backdrop of lush greenery, the hotel comprises 18 timber cabins, each clad in mirrors that reflect the breathtaking landscape, blurring the boundaries between architecture and environment. These cabins, thoughtfully designed in five distinct typologies, cater to the diverse needs of tourists visiting the region, ranging from bridge cabins suspended above tea fields to spaceship-style loft cabins perched atop the slopes.

The design ethos of Mountain and Cloud Cabins celebrates the interplay between architecture and nature, with each mirrored structure blending into its surroundings. Cloaked in mist, the cabins take on an ethereal quality, evoking a sense of mystery and tranquillity that complements the serene atmosphere of the mountains. //

SOURCES

1 Wiki World + Advanced Architecture Lab (AAL). (2020, September 17). Wiki World Mountain and Cloud Cabins. Archdaily.com

2 OPEN Rotterdam. (2022, May 17). Rotterdam Architectuurprijs: Welk gebouw verdient de publieksprijs in 2022? Openrotterdam.nl

3 MAD. (2019, November 25). Hutong Bubble. dezeen.com

4 IGNANT. (2022, February 14). MVRDV’s Enormous Mirrored Art Storage in Rotterdam: Depot Boijmans Van Beuningen. ignant.com

5 Dezeen. (2021, July 9). Ten mirrored buildings that reflect their surroundings. dezeen.com

MAD Architects, Hutong Bubble. 3

Depot Boijmans van Beuningen 2

RIJKSBOUWMEESTER

FRANCESCO VEENSTRA

@ is a series in which pantheon// interviews an architect, landscape architect or urban architect. In this edition the founder of Vakwerk and chief government architect Francesco Veenstra talks about his interests, his work and his vision on designing.

Biography 1994-2017

Partner at Mecanoo

2019-2021

Chair Royal Institute of Dutch Architects (BNA)

2017-Now

Co-founder and Architect at Vakwerk Architects

2021-Now

Chief Government Architect

Work: 2017-2022

Isala Hospital and Revalidation Centre

2020-2024

Station Ede-Wageningen

2021- Now Spoordok - Leeuwarden

Francesco Veenstra, Picture: Lars van den Brink, Rijksoverheid

Where did your interest in architecture come from?

“Well, I actually did not have one. I talk to a lot of people who say they were destined to become an architect from an early age. I did not have that. I had envisioned a different career in the Royal Air Force. Unfortunately that didn't happen, it wasn’t meant to be. Around the age of seventeen I suddenly thought, oh crap, my future looks different now. What should I do now? At the time I lived in Leeuwarden and after working for a bit, I decided I should just study Engineering and Architecture (Bouwkunde en Architectuur) at the Higher Technical School (HTS). I also did the preparatory year at the academy in Groningen. That is when I thought, well maybe I should become an architect. I found the idea of being able to design, draw, imagine and ultimately to realise a project a very interesting thought. It became very concrete during my internship at Mecanoo when I especially worked on public buildings. So it wasn’t rooted in a deep-seated desire to become an architect.”

Why did you eventually decide to step away from Mecanoo to Vakwerk Architect?

“I, and that applies to my colleagues Paul Ketelaars and Ellen van der Wal as well, worked at Mecanoo for quite a long time, working on a lot of different projects. At some point we got the feeling that the firm was getting too big. All three of us had our own specific reasons for stepping away from the firm. But for me, the firm was becoming so large that the connection with both the projects and the people behind the projects was decreasing. I felt like I needed that connection with society and with the issues that clients and users face.”

Was it an urge to step away from mass production?

“Well, I don’t know, it's not really mass production, because each project has its own uniqueness. For many firms I know, each project is approached as a unique challenge and certainly at Mecanoo as well. I think it mostly was the scale of things that made me want a change. By the way, I had been working in England for ten years, simultaneously from the Netherlands. I was flying back and forth every week, and I felt that had been enough.

So, I wanted to set up a small organisation with two other partners, which quickly grew to about thirty people, something to give shape to ourselves, the place where we are now [red.

Vakwerkhuis]. We were able to unite this desire, which was shared in different ways by Ellen and Paul, into a Vakwerk Architects, but actually even broader into this place. We are an architectural firm, but the people from the coffee bar are also part of our extended team. We are even considering starting a pizzeria.”

So, the intention was to get closer to the people?

“Yes, and thereby we were able to give meaning to this place for the benefit of the immediate surroundings. The architectural firm is like a catalyst in that, but then this place [red. Vakwerkhuis] itself becomes a catalyst for the architectural firm as well, so there is a synergy. That actually works very well. We are happy with that.”

"We were able to give meaning to this place for the benefit of the immediate surroundings."

What did you think when you were asked to be the next Chief Government Architect?

“I did not see this coming, honestly. It did not seem like a clever idea to me at all to do it. I also heard from former Chief Government Architects that their initial reaction was similar. Many questions appeared to my mind like, what does the job mean? And what should I do then? And how does it relate to the work I do at Vakwerk? It took me a while before I could wholeheartedly say yes to the job.

This happened during the period of covid, between the first and second wave. Many firms were struggling at that time, including ours. We lost several large projects. If I wanted to start with the job, it had to be a bit later, as we needed time to prepare the firm for it as well.

As I started to think more about what I have to offer, I noticed that I was dealing with various

societal issues that translated into my work through architecture. At that time, I was the chair of the BNA, the Dutch Association of Architects. So, I had also written columns for Architectenweb and such. I found that I could express my ideas about these issues in those kinds of roles. And I think the role of Chief Government Architect is the ultimate position for that. I have grown into it now and I'm really enjoying it.”

What kind of issues do you deal with most in your work?

“It is quite diverse. It involves, as our Minister Hugo de Jonge calls it, the ‘reconstruction of the Netherlands’. I phrase it slightly differently, but we have all these major issues, such as enabling CO2 reduction, transitioning to a circular economy and working in a bio-based manner. Simply put, it is about working differently to ensure that we can achieve the major transitions properly translated in our living environment.

Processes are different now than they were ten, twenty, or thirty years ago, so we need more collaboration, participation, and dialogue. But also imagination, so the role of architects, of designers, is becoming increasingly important. This role would be working from connection, from a more central role, and having an overview as a kind of pivot. I've just come from a meeting about the Royal Netherlands Meteorological Institute (KNMI). They need a new facility. I'm going to help establish the principles for that accommodation. The requirements for the new accommodation need to be set up so that the architect fit for this job can be selected.

But I also focus, for example, on advising. Recently, on the news there was advice we provided regarding the repurposing of a prison from the Second World War era within the Vught penitentiary complex. Vught has one of the most heavily secured prisons in the Netherlands. They need more cell capacity for top-criminals. The idea is to house them in a nationally monumental building with a very dark Second World War history. We provided balanced advice on that. It is not really about designing, but

"I actually wish every client or everyone to be advised by an architect."

much more about realising the significance of it and what it means when you give it a different purpose. I find it interesting to think about such matters. Trying to find a broader coalition to do the right thing. That is the most complicated part, because what is the right thing? And what considerations and trade-offs do you make to make a choice?”

Do you get asked to work on a project or do you mainly respond to projects?

“Yes, both, those can often be projects, but sometimes my focus points are just general issues that exist in society. It can be about the housing shortage, where the mandate from the ministry is to build a lot of houses. There we ask the questions, but for whom are we building these and what is really the problem?

So, there are projects, but there are also just larger issues that require advice. Or a form of insight where the Board of Government Advisors, two other government advisors, and I, try to make an impact on the topics we advise on. This way, we try to ensure this insight does not just stay with one project, but that it can be used more broadly in society so other clients or stakeholders can learn from what has happened elsewhere and can also translate that into their own way of addressing societal issues.”

Do you think that due to the large scale of the central government and of its projects, people quickly distance themselves from contact with the smaller scale, such as the local environment and societal situations?

“Yes, that is indeed a significant risk. What you often hear from politics, but also in the execution of projects, is that we should try to simplify things or break down a project or task into manageable parts. So managing projects, whether it's a design issue or any issue, appears to be easier. I am strongly opposed to that because as architects, as designers, but also as contractors and everyone else in that chain, we are all capable of dealing with that

Francesco Veenstra. Picture: Lars van den Brink, Rijksoverheid.

complexity together. You must put effort into it though. Really, both from your personal involvement and from organising those processes well, you must work hard on that. The moment you start breaking down the process, you run the risk that the sum of those parts is different from the bigger picture. You also run the risk of people no longer feeling full responsibility for what you want to achieve together, and people may then become estranged from the core of the task. In that sense, you would bring back a bit of the original image of an architect, who was responsible for the entire construction. Well, in the current or modern times, so with all the parts of the process split up, but an architect who can bring it all together. Yes, I am strongly in favour of that.

I believe that this role is particularly important for architects, certainly not all architects, but in the essence of what makes an architect an architect, and that this role within a process should restore the old stewardship. And much earlier than what we are used to now. A client who decides what they want upfront, then at some point throws their project into a tendering process or selection procedure. After that an architect has to deal with that. While it's actually much smarter to involve the architect much earlier as a trusted advisor or with the experience that person has, to really help the client formulate the task properly. This way, I believe that processes also become faster, become better, deliver higher quality, and that they are also cheaper.”

Do you feel that your decisions have an impact on politics?

“That is a very good question. We are currently conducting an impact study within the atelier ourselves. Because that question is often asked, when you advise on something or do something, what does that lead to? Ideally, of course, it leads to change without much attention being drawn to it. It's not about us taking credit for the fantastic advice we give. It's about the advice that we give encouraging people to think. And perhaps even being placed on a different path if that path leads to something better.”

Do you have something else to say to the students?

“I do not know what the numbers are now, but roughly half of the architectural students become architects, and the other half do not. Even when not becoming an architect, the skills obtained by your study could be useful in other ways. I've mentioned in an interview before that I actually wish every client or everyone to be advised by an architect. But that does not necessarily mean it has to be an architect who draws or produces a building design. Many people simply lack the ability or do not have the capacity to imagine and look beyond their own world. Whereas there is actually much more than that. Architects are capable of helping in that regard.”//

Vakwerkhuis. Picture: Wout Roozendaal

Copycat or inspiration?

Or just a coincidence?

When looking at a building, it might remind you of a different one. Why do so many buildings look alike?

In the past, buildings used to reflect the culture of a society. Local communities built with local materials, based on their local climates. But over time, buildings in different countries have increasingly started to look alike, to mirror each other. Cities all over the world are becoming more and more similar. This common phenomenon, mirroring in architecture, can be explained by several factors.

Globalisation - the spread of ideas, technology and culture all over the world - has led to the homogenization of architectural styles. With travel and communication becoming more accessible, architects have started to incorporate ideas from all over the world. The increased cultural exchange through media has had a major impact on design and has influenced architecture in many ways. This way certain architectural trends gain popularity and influence new projects. For example, the evolution of skyscraper design happened globally, landing on a trend for open structures with smooth, glass facades. The One World Trade Center in New York (completed 2014, architect SOM) and Shanghai World Financial Center (2008, KPF) exemplify the global trend towards similar styles. Both towers feature sleek, shard-like shapes that reflect a modern aesthetic increasingly common in major cities worldwide.

Another example of trends creating similar buildings, but on a local scale, are the similarities between the San Remo and El Dorado apartment buildings in New York. Both of these buildings are located next to Central Park, were designed by the same architect (Emery Roth) during the 1930’s and look nearly identical. The close timeline means they share many contemporary design elements and building technologies of that era.

A strong resemblance arises from their structure and material. A solid mass forms the ‘foot’ of the building with two symmetrical (‘twinning’) towers on top, allowing essentially two thinner structures to share a single large plot and plinth. Several buildings in the central park area were constructed in similar fashion, but the San Remo and El Dorado buildings are matching to the extent of being a near copy of each other.

Urbanisation, the process of rapidly growing populations and cities becoming significantly larger, contributes to the increasing demand for housing. Building for function prioritises practicality, which makes the form of a building less important. Modern buildings in large cities are often designed with a focus on practicality and cost efficiency. These factors lead to standardised designs, making buildings look similar. A standard design is cheaper than a personalised one. Take a look at some solutions to national housing crises, for example. In the Netherlands, standardised housing was applied around the 80’s in what we now call a Vinex model. These neighbourhoods were constructed often from scratch on the edge of cities, and are extremely recognisable for their cookie-cutter design. Building houses is urgent, therefore the aesthetics are less of a priority.

Another explanation for buildings looking alike is that there are simply no infinite possibilities of designs. After decades of architecture, the chance of designing something that had already been designed before is inevitable. It could just simply be a coincidence.

An example is the similarity between Guggenheim Museum in New York (1959, architect Frank Lloyd Wright) and Depot Boijmans van Beuningen (2021, MVRDV) in Rotterdam. Their shape looks the same, but the reasoning behind these designs is completely different. While the Guggenheim plays into its round shape in moving through the building, the roundness of the Depot is more external, using its surface to bend the reflection of Rotterdam’s skyline upwards. A few other examples of buildings looking alike by coincidence are the Turning Torso (2005, Santiago Calatrava) in Malmö and Shanghai Tower (2015, Gensler) by their spine-like twisting, and San Josemaria Escriva Church (2008, Sordo Madaleno) in Ciudad de México and St. Mary’s Cathedral (1967, Kenzo Tange) in Tokyo with their split shapes.

While mirroring in architecture could seem like a loss of uniqueness, it also shows the evolving nature of cities and societies. Getting inspired by the style of a building shows aspiration of the design of that building and gives the design a new life. Copying ideas isn’t necessarily something negative, and finding twin buildings all around the world can at least bring up some interesting conversations of comparison. //

SOURCES

Image sources in order of appearance: Architectuul (2017). The Gherkin. Klook (n.d.). Torre Glories. Engstrom, T. (2016). Dragons to return to the Great Pagoda at Kew Gardens.

Ryu, C. (2007). Linggu Temple in Nanjing, memory hall for NRA.

ArchDaily (n.d.). Museum of Liverpool / 3XN.

ArchDaily (n.d.). MAXXI Museum / Zaha Hadid Architects

ArchDaily (n.d.) One World Trade Center / SOM. Roberston, L. (n.d.).The Shanghai World Financial Centre. Gobetz, W. (n.d.). NYC - UWS: San Remo Apartments. Compass (n.d.). The Eldorado at 300 Central Park West - Manhattan, NY.

ArchDaily (n.d.). China’s Newly Completed Shanghai Tower Is Now the

2nd Tallest Building in the World.

ArchDaily (n.d.). Santiago Calatrava’s Turning Torso Wins CTBUH’s 10 Year Award

Museum Boijmans van Beuningen. (n.d.). Depot Boijmans van Beuningen.

The Guggenheim Museums and Foundation (n.d.). Frank Lloyd Wright and the Guggenheim New York.

ArchDaily (n.d.). Josemaría Escrivá Church / Javier Sordo Madaleno Bringas.

ArchDaily (n.d.). AD Classics: St. Mary Cathedral / Kenzo Tange.

ArchDaily (n.d.). Hanoi Museum / gmp Architekten.

ArchDaily (n.d.) Pavillion for Shanghai World Expo 2010.

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and its use in architecture VIRTUAL

Virtual Reality is already widely used in architecture. More and more architectural firms in the Netherlands and abroad are using technology to convey their designs as accurately as possible to clients and/or future users. Some architectural firms even claim that displaying a design through VR creates an experience comparable to physical architecture. This statement is open to debate; can VR convey the atmosphere, feeling and idea of a real situation?

Virtual reality is incredibly popular within architecture. Complete models are displayed, users can walk through, and experience the materialisation and feeling of a building. It is therefore not surprising that the use of VR is growing. In collaboration with other presentation mediums such as models and (render) drawings, a design becomes even easier to present for every type of user. This has many advantages. Because it is possible to present an even more clear and realistic picture, it becomes easier to convey your designs. This means that parts that may require changes can be adjusted before a building is actually constructed. This saves a lot of time, money, but also materials. This way, everyone involved has more time to work on other major projects, such as the much-discussed housing problem where the Dutch government indicated that it would be short of 390.000 homes by 2023.

Saving materials is extremely important in today's world. As designers, we must be more conscious than ever about our use of materials to develop sustainable designs. By using virtual reality, savings can be made in terms of sustainability. This can be done by using less materials because mistakes can be prevented and reconstruction can be eliminated, thus another nice plus.

What must also be taken into account when looking at the future prospects of VR within architecture is the 'novelty' surrounding the entire concept. VR is a very recent technical development, which means that companies that use it have a first. Once this novelty wears off, it will start to become a standard part of construction processes. As sometimes seen with other innovations it is possible that the decreasing novelty can result in a decrease of the popularity. It is smart to have this possibility in mind.

How did the rise of VR develop? VR is a very recent innovation. Only since 2000 digital 3D models have been increasingly used. After the digital breakthroughs around 2010 such as smart devices and VR headsets, the use of VR for digital architecture models was initiated. Within the digital design arena, different visual representations are possible. There are three

REALITY

main paths: VR, AR and MR. With VR, virtual reality, a completely artificial design is displayed. This is interesting to display isolated projects and really keep the focus on the building. With AR, digital information is projected over the real world. This can be very beneficial for renovation projects, or displaying a building in a busy urban environment. This way, designs can really be imagined in the places where they should be placed. Then we have MR where VR and AR are combined. A realistic model of the design location is used, on which an artificial design is placed that can be edited from anywhere in the world. This is very beneficial for the collaboration of architects all over the world.

A well-known Dutch architectural firm that is working on VR is Mecanoo. At Mecanoo they have been using VR during their design processes for some time, and are also working on a start-up, Arkio, that focuses entirely on developing software in which VR models can be created. But the uncertain position of an architect in the design process remains an ongoing problem. Architects are increasingly seen as pawns that can tackle parts of the project.

SOURCES

1 Ministerie van Binnenlandse Zaken en Koninkrijksrelaties. (2023, 1 August). Het statistisch woningtekort nader uitgelegd. Home | Volkshuisvesting Nederland.

2 Architectenweb. (n.d.). Gesprek met Johan Hanegraaf over ontwerpen in Virtual Reality. Architectenweb.

3 Filipeboni. (2024, 5 March). The Comprehensive Guide to Virtual Reality in Architecture. UGREEN.

While architects have an incredibly special quality: they have the ability to bring together all the different disciplines involved in the design and construction process of a building. This quality, if used properly, can have enormous benefits in the bigger picture as all the different inputs are processed into an optimal design. At the moment, a division of functions is taking place in our society. This means there is a danger that cohesion within a design will decrease. Therefore VR could help architects by making themselves more valuable because they can portray a design better than anyone else. Next to that VR creates a new possibility in the design progress: it is possible to design while standing at your design location, taking your surroundings as much with you as possible. By expanding your design possibilities like this, the use and position of an architect could possibly be positively influenced.

We can say that the application of VR can have enormous benefits for architecture. The design process can be optimised and presentation options can be expanded. With these types of new developments, it is always important for entire sectors to reflect and think about the impact of use. By actively working on this, new (technological) developments can help us enormously. In addition, it is always smart to think as an individual. What benefit do I gain from this development? Do I want to use this? If so: how do I want to apply it? //

4 Lang, B. (2021, 10 March). Designers Prototype New Approaches to VR Headset Ergonomics and Input. Road To VR.

5 Rodriguez, I. (2017, 10 November). Sunset Plaza view in virtual reality. Venturebeat.

THE ENDURING ALLURE OF DISCO

The shiny disco ball is the item that reflects the fascinating 1970s. The era where disco music emerged, vibrant fashion trends occurred and a thriving nightclub scene appeared. The disco years symbolise a new era, one that still exerts a surprising influence on our present time. Its reverberations still persist in modern times, evident in the sight of individuals revelling in flared pants and dancing to the infectious beats of the Bee Gees.

The birth of the disco years Disco was a new genre of up-tempo dance music that reached peak popularity during the 1970, but started in the late 1960s. The music was often being played at nightclubs and discotheques. Disco music was introduced in the nightlife to escape the social and economic issues of this era. People wanted to escape societal problems such as war, political scandals and the increasing race and homophobia riots. Disco is born in response to these social issues. An example of disco music reflecting social issues can be found in the lyrics of “we are family” by Sister Sledge. In the lyrics they sing: “We are family, I got all my sisters with me, We are family, Get up everybody and sing!" The message of solidarity can be interpreted as a response to societal challenges. The lyrics encourage a more social cohesion in the society. Disco gets very popular. Discotheques like Paradise Garage in New York City get a lot of different people to come together and dance. A positive vibe was created with funky sounds, reflecting disco balls and trippy lights. The positive vibe that occurred led to an uptick in the popularity of disco. It reached the mainstream audience when the movie ‘Saturday Night Fever’ released in 1977. The movie was a big success, and so was its soundtrack. Because of the popularity of the new genre, more mainstream artists like Queen began to incorporate disco elements into a few of their songs. Nowadays you still hear the popularity of disco songs in current pop music, for example in the music of Dua Lipa and Daft Punk.

Fashion in the disco years

The 1970s are known as the “polyester decade”. There were more possibilities for the production of synthetic fabrics. This new possibility meant that fashionable styles could be brought at any price point. This made synthetic fashion very accessible for a broader target audience. But also satin, paillettes and velvet were all over the dance floor. As the night scene became increasingly popular, women’s evening wear became more and more glamorous. Especially night clothes became really modern. Clothing was covered with new, crazy patterns, like animal prints and glitter. Men's clothing focused on highlighting a long, slender figure. Clothing items like turtle necks and flared pants helped to emphasise the silhouette. In addition, many men wore wide belts to accentuate their tender body. To complete the outfit, men topped it off with clothes being colourful and glittery.

Disco design

Disco design was characterised by bold colours and flashy patterns. Mirrored surfaces, glittering disco balls, and shimmering fabrics like satin and velvet were iconic elements of disco decor. Futuristic elements inspired by space-age aesthetics, such as sleek, geometric furniture and metallic accents, added to the overall futuristic vibe of disco design. You can recognize the prospective ambiance of the disco era in design, just like you can recognize it in fashion and music.

Today, some 50 years later, the essence of the disco era continues to resonate in contemporary times. You can still hear the catchy songs in the supermarket and you still see some glitter flared pants on the dance floor. Though the disco era may be a distant memory, its vibrant spirit lives on, reminding us to embrace the rhythm of life and dance into the future with joy and freedom. //

SOURCES

Cochrane, E., & Heath, O. (2023, 5 Januari). The 1970s is the most influential decade for interior design. House Beautiful. MasterClass. (2021, 26 April). All About Disco: Inside the History and Influence of Disco Music - 2024 - MasterClass. Reddy, K. (n.d.). 1970-1979 | Fashion History Timeline. Fashion History Timeline.

Rucker, J. (2022, 1 November). Fashion on Film: The Disco Fever Style of the 1970s.

ballsto glitterpant

morf

Better a good copy

Let’s just admit, we all copied somebody else’s work once, right? Whether it was a smart solution to a design problem another peer came up with, or a simple homework assignment, we are all to blame. However, to what extent is copying considered negative?

During design courses the quote ‘Better a good copy than a bad original’ is often used to teach students that it isn’t bad to learn from others and their design ideas. In contrast to this way of thinking, plagiarism and violation of intellectual property is prohibited by law. But isn't copying a diplomatic word for stealing? When someone uses my ideas to improve their own designs, I’m not pleased. So who actually came up with the saying?

Pablo Picasso is often quoted to have said: “Good artists copy, great artists steal.” Whether he really said it and whether he was the first to say it remains unanswered, but the point this quote makes remains clear. Stating that artists get better by stealing goes against all principles of creativity. Picasso’s quote makes me wonder if being creative would be beneficial at

all, because the ability of creating something new isn’t even mentioned in this quote about rating artists. Isn’t the skill to be creative and the ability to make something new the key characteristic of any artist?

On the other hand, before Picasso the author W. H. Davenport Adams (1892) explained in his article ‘Imitators and Plagiarists’ that: “to imitate” is commendable, but “to steal” is unworthy. Adams later stated about the poet Tennyson he admired: “That great poets imitate and improve, whereas small ones steal and spoil.” The word ‘imitate’ literally means ‘to take as a model’ and I quite prefer this over copying. By taking something as a model, you use and appreciate the best of it to create something better of your own.

Picasso and Davenport do not seem to agree with the statement that you should be making a good copy, rather than creating a bad original. It was not since T.S. Eliot diverted Adam's quote to: “to imitate” is shoddy and “to steal” is praiseworthy. With this stating we came

than a bad original?

a bit further to Picasso's meaning that copying (or even stealing) is a good thing.

In my own design work, I sometimes stumble upon problems when I realise my work looks a bit too much like architecture or art that already exists. I nearly get the feeling that the more I learn about architecture, the harder it gets to create something original and iconic. Even if the design doesn’t need to be iconic, I feel like failing when my work doesn’t seem to be ‘new’.

From another perspective, I don’t want other people to copy my designs without consent. Within a school project, I find it more of a compliment that others use my idea’s. I really like the way students can learn from copying the work of others to get to a higher level, but I really love imitating others and using only the best aspects to create something new and brilliant. Just like referencing and learning from architecture movements in the past.

My personal opinion is that you could learn the most when imitating. By learning about and analysing someone else’s work you could improve your own designs to a level even higher than the original projects. This is why I do prefer Adam’s phrasing over Picasso’s, because the word imitating is slightly different from copying. Imitating is about using idea’s of other designs to improve your own work, while copying gives us the idea of not thinking on how you use the idea’s at all. Let’s rephrase: Better a good imitation than a bad original. //

SOURCES

1 Davenport Adams, W.H. (1892). Imitators and Plagiarists. The Gentleman's Magazine, 272, 627-628. Chatto&Windus, London.

2 Platt, K. H. (2020). Notopia: the copycat city and the rise of duplitecture. Architectural Review.

3 Quoteresearch (2013). Good artists copy; great artists steal. Quote Investigator®.

Reflections of Love

In moments unseen, a dance unknown, I mirrored the steps that were never shown. My mother's grace, my father's flair, In their shadows, I found my air.

Nine years old, a secret mime, Tracing paths, through space and time. My brother's ease with words so free, I emulated to find my glee.

A room, my father's kingdom grand, I watched and learned, his strength I planned. From friends, their phrases, woven tight, A cloak of speech, their light, my might.

Mirrored acts and borrowed ways, Crafting love in subtle displays. A canvas of gestures, borrowed, yet true, In mirroring, I found me and you.

A big thank you from pantheon// 130, to all who submitted their photography and writing for this past years competitions!

Karina Sultan won the pantheon// 2023 photo contest with this mirrored image of the Rotterdam metro, titled: "Mirroring /\ Motion". "Reflections of Love" by Cylia de Vries was crowned the winner of the pantheon// 2023 writing competition.

MIRRORS IN THE METRO

For the daily commuter and architecture enthusiast, metro stations are an incidental treasure. The Rotterdam-Den Haag metro network has some exceptional architecture to offer, as designers and engineers battle with the challenge of building underground. Throughout the whole system reflective surfaces create a cohesive tie between modern and older efforts. What stories are found in the blur of crowds and tunnels?

ei d sche n vee n

No o t do r p

Pij n acker C e n tr u m

B erkel W est po l d e r

Descending the stairs at Rotterdam Central, you enter the metro tunnels. This is the place where most people are introduced to the first and longest metro system in the Netherlands, for the Dutch a subject of gleeful pride. Its ceremonial opening in 1968 by princess Beatrix marked the beginning of a new challenge in Dutch engineering and architecture. Digging systems of tunnels in the Rotterdam clay is the city's solution to congestion issues, and continued growth. As such the metro stands as a symbol for a modern future, made possible through skillful engineering.

R o d e n rij s

do r p n c h t h o n we g

Of the seventy-one current stops, a majority still lies above ground. The metro lines are dug deep underneath the centre of Rotterdam, and emerge on the city's edges to continue on elevated tracks. Architects like Marc Verheijen, who designed stations between Schiedam and Hoek van Holland, attempt to create cohesion between stops through material and colour. These pieces of the system become a connected story, while others stand out as individual creations. Travelling past the successive stations by Verheijen, the first stop you encounter after Schiedam is Marconiplein. With its thick columns and colourful light installations by Atelier LEK it stands out from the rest of the line immediately.

dh u i s tt e r d am C en tra

The aim of the coloured lights at Marconiplein is to guide the traveller along the platform, similarly to the bronze ceilings at Alexander that stretch above walking areas. Material techniques are used to create places that are clear and easy to navigate, but they also play a major part in the safety factor. Social (or public) safety becomes an issue in any public transportation structure, especially underground. The metro is a unique melting pot in a confined environment, separated from the regular street. Such places experience a higher likelihood of misconduct like vandalism and harassment.

Marconiplein

Maassluis Centrum

In several of the underground stations, polished metal and mirrors work as part of the safety measures. After Marconiplein you arrive at Delfshaven, where reflective surfaces wrap around corners to create a space where it becomes impossible to stay hidden. Metro and train station Blaak employs the same technique. Architect Harry Reijnders used circular cuts and mirrors on the train and metro platforms to make it impossible to creep without being noticed. The result is a space that feels safe, and requires less surveillance. Above ground, structures are less massive and glass is used more often than reflections, but to the same end. Like decorations that have lost their initial function, shiny polished metal is still applied in these stations as part of an integrated style. Maybe even the inspiration behind Benthem Crouwel, MVSA and West8’s shiny Central Station, or just a happy coincidence?

Looking from the perspective of mirrors as part of social surveillance, the use of them above ground seems unnecessary at first glance. But designing safety is not only about surveillance, spaces can also provoke unwanted behaviour like vandalism. The Dutch have a term for designing against misuse and vandalism; ‘hufterproof’ (jerk-proof or ‘target hardening’) is a general rule in the design of public areas. Despite some voices protesting that this approach is a sign of mistrust in the general public and potentially provokes negative emotions and behaviour instead of mitigating, the

rule holds up in the practice of erosion vandalism. A damaged object is more likely to be further vandalised, which is why surfaces in public space should ideally be easy to clean, repair and replace. Polished metal panels are an example of such a material.

From another practical standpoint, reflective surfaces are also an excellent trick to reflect light in the dark underground. The metro platforms at Rotterdam Central – designed by Maarten Struijs – are surrounded by colour and light, reflected by metal surfaces to create a bright and spatially interesting experience. At Wilhelminaplein, ZJA uses colourful projections in combination with smooth and perforated metal to create an ambient experience. Large stretches of polished metal and white panels carry light from outside deeper into the tunnels. Incidentally, the metal tunnels take on a futuristic character that suddenly makes riding the metro feel like a high-tech experience.

Voorschoterlaan

Beurs

Coolhaven

The disorientation that can occur in busy underground tunnels, like those at Rotterdam Central, is eased by mirrors that help to spot stairs and corridors otherwise blocked from view. Glass panes allow for a view into the main hallway from the platforms, also aiding orientation. During rush hour mirrors allow for crowds to move quickly and safely, by helping to prevent people from bumping into each other around corners. At Beurs, mirrored ceilings at an angle make it possible to see the advertisements on the walls from any direction you face. As a bonus, discreetly checking your outfit on your morning commute has never been easier.

Perhaps we will soon see more interesting ways to deal with underground architecture, as Rotterdam expands and plans for new metro lines lie in wait. At Rotterdam Lombardijen, preparations for a potential metro stop have been made with the construction of a stand-alone ‘ghost station’. The future access points to this platform are marked by blue floors in the upstairs train station. Perhaps even the metros themselves will change, as Mecanoo is working on a radically new interior for the carriages to increase capacity. Or should we instead be focussing our attention on advocating for extension of the metro system, perhaps a new Delftse lijn? //

H o e k v a n Holl a nd Stra n d

H o ek va n H o l l an d Ha v e n

Stee ndij k polde r

Maass lui s W es t

Maass lui s Ce n tru m

As we’re all aware, climate change presents a significant challenge for our generation. With building materials being one of the greatest polluters, architects have a big responsibility. The rising sea levels, a consequence of climate change, underscore the urgency of incorporating sustainability into our studies and beyond. We should realise that it is not only a challenge, but it also creates opportunities for innovations, new ideas and solutions.

Climate change affects more than just the temperature. In nature everything is interconnected, therefore the climbing of the world's temperature has more consequences than just hotter summers. The water level is rising at a faster pace than ever before. This increase can be explained by the thermal expansion of the sea water. Also the melting of the Antarctic ice caps results in the rise of the sea level. The rise in sea levels can cause more flooding and erosion by the coastal cities. This calls for new and innovative solutions. In Busan, a big coastal city in South-Korea, they are working on a master plan to expand the city into the ocean. Coastal cities are extremely popular lately and growing fast, while also dealing with these new problems. This masterplan makes sure the city can still grow while also tackling the problems that climate change proposes. The idea behind it is to not work against the water, but with the water and use the force of the water to provide the city with sustainable energy. This way the expansion of the city can be seen as a solution for the upcoming challenges that come with this age.

due to destroying a protective natural barrier, like mangroves. The goal for the OCEANIX project is the opposite, they want to find a way to expand the city and help regenerate the marine ecosystem, instead of destroying or damaging it.

This is why they have chosen to use BioRock as one of the key materials in the floating platforms.

Developed by architect Wolf Hilbertz in 1976, BioRick technology stands as a unique marine construction material that not only grows stronger with age, but also possesses self-repairing capabilities. It not only grows hard limestone rock for structural purposes but also increases growth of corals and all marine organisms. It has, for example, been successfully applied to growing limestone breakwaters to protect islands and coastal areas from erosion and rising sea levels. This technology allows the marine ecosystems to survive and recover from damage caused by climate change among other things.

A project where architects saw the opportunity to work with water is OCEANIX. OCEANIX is a platform that designs and builds floating neighbourhoods for the coastal cities that are dealing with growth and are in danger because of the rising sea level. The city will consist of different hexagonal platforms with each a different function. "We've based it on this modular idea of a hexagonal island," Bjarke Ingels, founder of BIG architects, explained in the presentation at the first UN Roundtable on Sustainable Floating Cities. "It has the omnidirection of a circle but it has the modularity and rationality of something man made." The platforms would be built on land and then towed into place and anchored to the seabed. The floating platforms offer adaptable solutions to rising sea levels, ensuring that as the ocean level increases, the neighbourhood will rise with it.

The project takes sustainability and the environment very much into account. The whole city will be provided with netzero energy, created by the sun, the wind, the sea and waves. Also the fresh water supply will be through the latest water harvesting, filtering, recycling and distillation systems. They also aim for closed-loop processing which will turn waste to energy.

The rise of the sea level is nothing new for the Dutch, since 26% of the land of the Netherlands is laid below sea level. That’s why they have gotten really advanced and creative in ways to control the water. OCEANIX could be a new initiative that could be integrated into the Dutch waterworks. With the popularity of the coastal cities, the floating city might be a good outcome. Imagine ‘de pier’ of Scheveningen not being above water but on the water. It is time to see what we can build on the sea. //

The decision to make floating platforms instead of expanding the city onto ‘reclaimed’ land in the water was easy if we are to believe Oceanix cofounder Madamobe: “you basically obliterate everything that’s in the ocean by dumping debris”. Another disadvantage of reclaiming land is that this makes the ‘new’ and existing land more likely to be hit by the sea level rise

SOURCES

1 Gibson, E., & Gibson, E. (2022, 9 February). BIG unveils Oceanix City concept for floating villages that can withstand hurricanes. Dezeen.

2 Rijksoverheid (n.d.). Kleine Kansen, Grote Gevolgen. Themasites.pbl.nl.

3 Nelson, T. (2022, 14 May). 7 Surprising facts about the world’s first floating city. Architecturaldigest.

OCEANIX/BIG-Bjarke Ingels Group Busan, Busan, South Korea

"My father also did something with this subject." I have been hearing this statement more and more often lately. Since I have been studying architecture, I have come to realise that a large percentage of students at our university have at least one parent who works, or has worked, somewhere in the construction industry. These statements make me think: how is it possible that so many people are following in their parents' footsteps? And thereby: do students from a family of architects have an unfair advantage over others? Does this effect create opportunity inequality and if so, what are the effects of this possible opportunity inequality?

First, let's dive into science for a moment. Do children subconsciously absorb and integrate their parents' career paths and interests into their own developmental trajectories and life choices? A study of this effect within the engineering world clearly answers this question: Yes, it does. This study looked at the influences of parents working as engineers with subsequent job choices of their children. In the conclusion of the study, the following statement was made:

“Both fathers and mothers significantly affect the career choices of their sons and daughters. These effects are large direct effects… In other words, the parental coefficients remain large even in full model with extensive controls.”

(Jacobs, Ahmad et al. 2017).

While this study primarily focused on influences within engineering, it is reasonable to infer that similar dynamics may operate within the field of architecture.

Whether children with parents in the same workfield have an advantage is not really a question. In many cases these parents have quite some experience in their field and can therefore support their children well. They can observe a design assignment, give some brief tips or inspire with their own designs. In addition, networking plays a big role. In the social system we have in the Netherlands, and throughout all of Europe, an extensive network is super useful. You can often get a lot done quickly and get clients more easily. So we can conclude having parents in the same profession results in an advantage, but what can you make of this advantage?

Understandably, there are opponents of this disparity. There is a greater inequality of opportunity which can be considered unfair. The tricky thing is that there is no easy solution. It's natural for children to be influenced by their parents, and it wouldn't be socially beneficial to entirely suppress these influences. What we can strive for, and what we've made considerable progress with in the Netherlands compared to the rest of the world, is to minimise or eliminate as many factors contributing to opportunity inequality as feasible.

One of these factors is a person's economic situation. By ensuring that many costs of studies can be reimbursed from the government, the opportunity rises for more people to pursue their passions. In my opinion, identifying these influences is very important in order to achieve minimal opportunity inequality. I strongly believe that individuals should have the freedom to pursue their passions, as it often leads to the most fulfilling and successful outcomes.

I also noticed this myself. My own father's field of work is also within construction and architecture. I notice that this not only helps me with the earlier mentioned network, but also definitely creates a strengthened bond. It is always nice to be able to talk about common interests together. This not only gives me inspiration and motivation to continue and develop myself, but is also part of my bond with my father.

If we come to a conclusion it can be inferred that there is inequality in this area between students with and without parents in the same field of work. Is this inequality very bad? Of course, this can be debated and everyone will have their own opinion on this. Some may find their parents' profession and passion for architecture deeply inspiring, leading to a natural inclination towards the field. Others may forge their own path independently of parental influence. It's essential to acknowledge and embrace our individual differences, leveraging them to support each other's growth and development. Of course, it is up to you to think for yourselves whether you align with my perspective or hold a different view. I am convinced it's crucial to engage in open dialogue and reflection on this topic. Therefore, I would like to ask you: what effect do your parents have on your development as an architecture student? //

SOURCES

Jacobs, J. A., et al. (2017). Planning a Career in Engineering: Parental Effects on Sons and Daughters. Social Sciences 6(1): 2. https://doi. org/10.3390/socsci6010002

MIRRORS IN THE STREET

VVS S

Day in the life: Bachelor Master Bachelor Master

How different are the lives of bachelor and master students, and how do they spend their time? I spoke to Rosalie, second year bachelor’s, and Sofia, first year master’s of Architecture, about their schedules and study stress.

What does a typical day in your life as a BK student look like?

Rosalie: Sofia:

“I normally study at the faculty. The days I have a work group I arrive at 8:45, that means I leave home at 8:35 because I live on campus. After climbing the high red stairs and dropping all my stuff at the table, I talk to some friends that are in the workgroup with me and then I make a cup of tea. After trying to be productive at my workgroup, sometimes more successfully than the other, me and my friends usually take a break around 11. We walk downstairs to Stylos to get a snack or we go to the espresso bar to get a cup of coffee and talk to some other people. In the afternoon I have a meeting with my Stylos Committee, and I study some more at the atelier. Around 5pm the productivity wears off and me and my friends are going to the Bouwpub, or we eat together at a friend’s house.”

“I usually come to the faculty everyday of the week, because I live super close and prefer studying here so much more than at home. My courses will be either in the afternoon or morning, the rest of the day I will spend in the library, working. For lunch I try to bring my own food, but it doesn’t always work out so I will often go to Ketelhuis. Or when the weather is nice, hopefully, outside. I am also doing some courses at X, it depends whether I am signing up for stuff in the morning, then I will start my day later, or I will sometimes sign up for things after 5pm. That shuffles my days a bit, but I think that’s nice”. Outside of courses, Sofia also works at the faculty and participates in the honours program. She spreads these obligations throughout her week. “I tried, actually, to have one day dedicated to honours, and one day dedicated to work. Just eight hours every week, so two days and then three days for my courses. but that didn’t work, so it shuffles a little bit.”

What do you look forward to the most in your week?

“Probably socialising with friends, whether it is in the Bouwpub, atelier or somewhere else on campus. I spend most of my time at the faculty, so I feel really at home in the community.”

Rosalie: Sofia:

“Bouwpub! I think it’s very nice. Also now that the weather is getting nicer. It’s such a relaxed environment, a place to meet everybody at the end of the day.”

What is your least favourite moment of the week?

Rosalie: Sofia:

Laughing: “Maybe the lectures, but I don’t attend them often anyways... Sometimes I get fed up with the seminars too, they don’t always feel like the most productive way to spend your time. But that is not always the case, there are some seminars that I really enjoy as well.”

“There is not one specific thing that I don’t like. It’s rather when more intensive periods of work, for example, combine with intensive periods of courses. That can clash a bit. But I like the combination of all the things I’m doing, actually. I think they enrich one another.”

How do you deal with stressful periods, and what do those look like?

Rosalie: Sofia:

“I have to admit I am a bit of a planning-freak. I like to plan everything out, always. That helps with the stress, but even with perfect planning it is impossible to avoid working from nine to twelve at night some weeks. Fortunately most of my friends have the same courses as me, so we can study together and I don’t have to miss out on social activities. I don’t have to worry about FOMO, at least.”

Do you feel pressure to always be busy or productive?

“It sounds really bad, but I don’t think I have many stressful periods. Often, I found that in my bachelors I was having way more of those. I don’t feel a lot of stress from my courses. Maybe what I do have is this specific feeling, that stresses me more than the content of courses or things like that, where I feel like I should be doing more.”

Rosalie: Sofia:

“Not really. I’ve found out early on that a full schedule does not make me happy, I need time to clear my head as well. I like to keep one or two nights a week free to just be home and do nothing, I don’t see this as unproductive at all. This is time I need, to be able to perform well the rest of the week.”

“That is a real thing, and I think we should be talking more about those things. I feel like you see it a lot, it is an issue of our generation maybe.” So is it important to schedule time to do nothing? “I enjoy a lot of the things that I am doing. Part of my productive time is also reading a book or watching a movie, but I feel like I could not call it doing nothing. So I would say I can keep going, but my keeping going also includes these things in my life.”

What would you change about your schedule, if you could?

Rosalie: Sofia:

“I wouldn’t change a lot really. Only the deadline weeks are a bit much for me, working from 9-12 as a norm is not necessary at all. I haven’t heard of anyone being able to avoid having these ‘deadline periods’, which really says a lot about our faculty. I always try to make time in my schedule for other priorities, like my job. But these periods force you to put some things on the back burner.”

“The courses I have right now are a lot about tutoring, and then it’s a lot of free time searching for input and working, and then talking about it. I think that’s nice, but I do miss the big lectures of History or Positions or things like that. I would like to add that. But I guess I could go to the public lectures because there are a lot of those happening.”

Lastly, what is your favourite thing to do, or place to be at the faculty?

Rosalie: Sofia:

“I like going to lunch lectures, Bouwpub, making models in the hall.. A lot of things really. Last week I spent two whole hours just getting coffee at the Espressobar and chatting with people in the hallways. It’s so easy to run into people here, to get caught up in conversation, to go for lunch in the sun outside. That makes me happy.” //

“To go to Bouwpub, or outside having lunch when it’s sunny. Outside is always my favourite place I think.” //

VS

Architecture student Non-architecture student

Living in an architecture bubble, it can be difficult to see beyond it. How do other people perceive architecture and do they also see the importance of it? To look into this I interviewed Liza, an architecture master student and Nina, a MST bachelor student about their view on architecture.

What is your favourite building and why?

“My favourite building is the Schindler house, designed by Schindler. I really love modernist architecture, especially because they work a lot with refined materials. In addition to that I also find residential housing very beautiful, because it focuses on working with human scale.

Specifically for the Schindler house I find it very beautiful that a lot of wood has been used as a natural material and as an aesthetic material."

“As of right now it would be the Duomo in Milan, which is very cheesy, but I just lived there for half a year and everytime I would pass it I would think: ‘Wow, it really is a beautiful building.’ Everytime I would see more details and I would think: ‘They really built this 400 years ago.’ It is very imposing and I think it is a very unique building. I have never seen a building this big with so many detailing and statues on the outside.

Although I love the outside of the building, the inside is kind of an anti-climax to me. The inside is dull and not cohesive in colours and design. I have often gone back to the Duomo during my time in Milan to see it at a different time of day, in different lighting. Despite having walked past it many times, I still found it beautiful and it would pique my interest every time."

What does designing mean to you?

“This is an interesting question because with my studies, I learn all about this, of course. Designing, for me, is a process of experimentation. You receive a task, and you conduct experiments to fulfil that task. This can be done using various techniques, such as sketching, making models or visiting the location to understand what the task entails. I think designing is really about the action, not the outcome."

“Designing is shaping something, adjusting an idea. In my field, if you want a specific product there are certain requirements associated with it. You have to adjust the product, and thus your idea, to meet these requirements.”

How would you describe architecture?

“I always find it very hard to say what architecture is. I find it kind of the same question as ‘what is art?’. I see architecture as a combination of art and technology. For one person, a banana, placed on a white canvas with duct tape may not be considered art at all, while for another, it might be. The same can apply to architecture. Something can be considered architecture, this is where the technical aspect will play a role compared to art, when it must meet certain criteria. It must be a functional home for people for example, in addition, it can be interesting if it has some societal relevance or if it is an original design. However I think architecture can be presented in very different ways and people don’t always agree on it. Many experts would probably agree on whether something is architecture or not, but laymen may find different things beautiful compared to architects. When you become an expert in a field of work, you start to appreciate different things within your discipline."

“I really see it as designing buildings and resources for the living space. What will a building look like and how it would fit in a space. Also for the detailing. For example if the window frame is squared or rounded, how big it is and with what purpose it was built.”

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What does the built environment look like in 30 years?

"Hmmm, I think it is difficult to determine. I do believe that the population is going to grow tremendously, that will create a big change in the street scene. There are many ongoing discussions about whether there should be more densification within cities or if more development should occur outside of urban areas. And the decision, which municipalities will make, will determine how the streetscape will look. Nevertheless I actually think that both approaches need to happen, so there will be densification within cities as well. When I then zoom in on cities, I think we will see a lot more high-rise buildings, meaning the low-rise buildings that are so prevalent in the Netherlands will be less common. I do think there will still be a focus on greenery, ensuring that there is enough green space interspersed throughout the streets. Not necessarily more, as Dutch streets are already quite green, but I think there will be a big emphasis on it, also because it contributes to a better living environment. As for architecture, thirty years is definitely a time frame where change can occur. With my studies currently focussing on creating energy-neutral buildings, we are essentially inventing a lot of new architecture. This will undoubtedly have a significant impact on the visual landscape, but what it actually will look like… I don’t know."

"I think there will be more integrated solutions for generation of energy, for example lampposts with solar panels. But not to the extent that it would take over the entire street image. I also envision more efficient use of space, at least that is what I am hoping for. That the big houses, that now are occupied by one grandma, can be split into more homes so more people can live there. I really hope that happens, but I can imagine it won’t. There would probably also be more water management, because we will reach a higher sea level. So there will be more safety systems in the city, more locks for example, so the water has somewhere

to go. Maybe there would even be different vehicles, with hydrogen? By that time there will be totally different designs for them. I do think there will still be a lot of cyclists, since it has proven to be so efficient over time and it is so ingrained in our culture, I don’t expect that to change."

Do you think AI will have an influence on architecture in the future and if so what does this mean for architecture?

“I think so, because I believe AI can be used in a similar way as when the computer was first invented. When the computer emerged, it became much easier for architects to perform certain calculations or generate certain forms. They could also work much faster and more efficiently, allowing them to spend more time on designing. I think because of AI, even more tasks can be handed over. Because of this, I believe architecture can become even more advanced. Certain techniques that we are not familiar with yet, might become possible with AI. Perhaps the new inventions needed, to make buildings energy-neutral, will be a combination of AI and our own imagination, allowing for the creation of unique shapes or combinations while still using sustainable materials. I don’t think AI will ever replace architects. I think it will be used extensively as a tool for architects. If we completely hand over everything to AI, the world would become very boring because there won’t be a human designing brain behind it. It will truly become a tool to support architects, not take over architects. At least, that is what I hope.”

“I often use AI when I need inspiration. I will ask it to generate a lot of ideas for me. For architects, it might work more as a supportive system in the decision making process. It may be used to design buildings, maybe there will be an algorithm to create buildings that are built more efficiently. But ultimately, it is still a human who makes the final decision. For instance whether a building gets built or not. AI could be very useful and provide good support, but it could never stand on its own. ”

Liza Verdonk (22) MSc Arch, TU Delft

Nina de Bruijn (22) BSc MST, TU Delft

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“That’s what’s fascinating about architecture; it never stops.”

What makes you most enthusiastic about modern architecture outside of AI?

“I think I enjoy the experimentation with materials that previously were not even considered relevant for use. For instance, now there’s a search for more natural materials, leading to the use of rammed earth. This wasn’t previously considered because concrete was simply a very useful and innovative material. Now, alternatives are being sought, and it’s interesting to see these ancient methods being used again. It is like solving a puzzle. That’s what’s fascinating about architecture; it never stops, and it has real societal relevance, which means the field is constantly evolving. In fifty years, there will be a new problem that requires a new solution. Overall, I find it interesting that there is a search for materials and techniques that ensure the building can be given back or could be passed along. For example, the earth can be given back to nature or using connections that can be disconnected and reassembled elsewhere, like modular construction.”

“I am very enthusiastic about the idea of efficiently organising spaces. What I mentioned before about splitting houses into more space for people to live in for example, but also creating spaces that are smaller but just as functional. I am a big fan of creating functional spaces, especially because it is what we really need right now. And using what already exists to achieve that. I like to see existing buildings being recycled. Not just demolishing and building something new. I believe this is also a very relevant topic in the studies of architecture right now.”

Do you feel like you play or are going to play a big role in the climate crisis? Do you feel responsible?

“Yes, we just talked about it a bit as well, the built environment is a massive industry. It has a tremendous impact, and I do feel responsible. The study as well is now completely designed to deal with this responsibility and the regulations you have to adhere to, so being responsible happens automatically. Perhaps this is a bold statement, but I might even consider people having a place to live as more important than the climate crisis. That is the dilemma. Building a building is not sustainable, in any case, it is just not possible because every product emits something. However, having a place to live is also a necessity. As an architect, you try to solve this dilemma as best as possible and try to minimise the impact as much as you can.”

“I think so, because I have to change the entire industry in my field of expertise. Everything that is currently produced on an industrial scale, think of all the factories on the Maasvlakte, has to eventually be sustainable, carbon neutral and it is a big challenge to find long-term solutions that are also cheap and as efficient. The trick is to find something that allows our economy to run on a different kind of energy source.

Regarding responsibility, I don’t have the urge to become the next Nobel Prize winner who has found the solution to the energy transition, but I do feel the need to work in that specific field. I want to dedicate the knowledge that I am acquiring right now to find solutions to the energy transition."

Do you think architecture is important in day-today life?

“Yes, I certainly think so. This could also be a continuation of what I just said. If you were to only build super sustainable buildings with minimal impact, you might not even be concerned with how it looks architecturally, so it might become very dull. But the built environment is everywhere, and I believe architecture can have a huge impact on people’s behaviour and the quality of life. It is ubiquitous. As Vitrivius said, architecture is based on three principles: “venustas, firmitas en utilitas” also known as: “beauty, durability and utility”. Finding the right balance between these three principles can have a significant impact. That is the puzzle architects need to solve.”

“YES, because there is a housing crisis and people need to live more efficiently in their homes. I really believe that architecture is important, in other ways too. We are probably facing a whole change in the infrastructure with new energy provisions. There need to be thoughts about how to deal with that. Where do we build and how do we design all those provisions? Is it, for example, fine by everyone to have a charging pole outside of their doorstep? Especially for the enjoyment of life, it is very important to ensure everyone has a home and that it is a livable space. That it just makes sense.” //

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

One point perspective is a common technique used in all different kinds of visual arts: from cinematography to photography, from painting to architectural drawings. It is a very effective means that gives a certain importance to a desired subject, usually placed at the vanishing point. By choosing the framing of the view, different elements of the surrounding can be included in the view, contributing to the perspective telescopic effect. Among the first examples of this technique, there are the famous drawings for the Ideal city by Fra Carnevale and Piero della Francesca, who managed to organise a city square in a pragmatic and systematic manner, by means of the rigorous technique of the one point perspective. It is nowadays easier to create such drawings, either by means of digital design tools or even by hand, following a certain set of rules and guidelines, codified over the centuries. But let’s now consider the physical, built environment. How can this 2-D technique translate to a 3-D architectural reality? Surely, you could argue that every rectilinear street can easily create the aforementioned “perspective telescope” if looked at it from an unobstructed central point of view. However, when was this technique really applied consciously by an architect, or by an urban planner, to really achieve an extraordinary effect? And what were the consequences, either intended or not, of such powerful interventions?

To answer these questions, we have to make a short trip back in time, to understand the origins and motives that led to the one point perspective being regarded as an urban design tool. One of the first examples is that of the Baroque plan for Rome. In the late 16th century, the current Italian capital city still preserved its urban medieval structure mostly intact, despite the vast number of Renaissance palazzi and churches populating it. This was to be considered as a problem, especially due to the large number of pilgrims coming from all over Europe for religious purposes. Pope Sixtus V understood the severity of the issue and, using it as a prompt to showcase the grandiosity of his pontificate, he decided, with the help of Ticinese architect Domenico Fontana, to redraw a new, massive masterplan for the city. This comprised the use of long rectilinear streets, connecting landmarks, monuments and churches kilometres apart both physically and visually. The best and most successful result of the plan is surely the redesign of Piazza del Popolo (lit. People’s Square), a “trident” of streets departing from the centre of the square, demarked with a (stolen) Egyptian obelisk.

Jumping forward in time to the early 19th century, Russian monarch Peter the Great founded and developed under his command the new capital city of Russia, named after him St. Petersburg. At the very core of the city centre, around the Admiralty and the Winter Palace, he organised three radially departing streets, clearly inspired by the Roman model. The most famous of the three is probably the Nevskij prospekt (literally coming from the word “perspective”), which runs uninterrupted for 4.5 kilometres until it meets with the river Neva. However, his most peculiar and interesting intervention in the city is a much smaller one. It is that of Rossi Street, a 220 meters long alley designed by architect Carlo Rossi, connecting the Alexandrinskij theatre to the Locomosov bridge. Its peculiarity lies in the fact that both the widths and the heights of the street correspond to exactly 1/10 of its length, hence being 22 meters. This creates a perfect square section framing the central theatre. Furthermore, all of the building facades are unified in style and colour, thus creating a rhythm of columns and windows similar to

that of the theatre’s façade. Finally, in a pure mannerist style, the latter is much wider than the 22 meters street, creating an almost overwhelming effect the closer you move towards the building.

If we travel in space and time to the 1860s Paris, we notice how this lesson had been quickly learned and applied on a kilometrical scale by the Seine prefect Baron Haussmann. In fact, in the 1850s he got appointed by Napoleon III to clean up the city fabric of Paris, demolishing many of the problematic medieval neighbourhoods in favour of much cleaner boulevards. This was done also and most importantly to celebrate the power of the emperor, by means of a reinterpretation of the baroque Roman plan. Haussmann however really brought this concept a step further. The strong façade boundary between the street and the private sphere got peculiar attention from the urbanist, who not only built a continuous edge along the street but also gave it the same height and vertical organization throughout the entirety of each one of the boulevards, in a similar fashion from boulevard to boulevard. The result is a sequence of telescopic views around the city, dominated by rhythmic facades that range between 15 and 20 meters in height, with two uninterrupted strips of balconies crossing them in correspondence with the first and fifth floors. This rhythmic sequence of windows and elements, together with urban furnishings such as lampposts and trees, all converge towards the city monuments or main crosses. For instance, Rue de Rivoli and Boulevard Sébastopol meet in one of the main city intersections, the Grand Cross; Avenue de l’Opéra aims at the main city theatre, whilst Avenue des Champs-Élysées connects the obelisk of Place de la Concorde to the Triumphal arc, in a pure Roman style.

Critiques to this approach did not hold themselves back for long, both throughout the higher classes, condemning the heavy exploitation of land and demolishing of overpopulated districts, and within the art circles, pointing out the alienation created by these fascinating, yet monotonous environments. Caillebotte decided to depict in his post-impressionist style this uniform but anonymous setting. The repetitiveness of the facades, the trees, the clothes, and the faceless silhouettes; all crowd his paintings, in a spiritless and almost systematic manner. The elevated bourgeois style, that of the 19th century flaneur, has turned into a fashion label where everyone appears the same, and everyone has to adhere to such conformity in order to fit in. It is only inside of the dwellings, behind the anonymity of the façade, that each individual becomes themselves, exploring his interests, his desires and his own persona.

All this fuss did not stop Mussolini from his grandiose intentions. In 1920s Rome, the network of streets previously described had been under constant development for centuries, with the successors of Sixtus V continuously expanding his initial masterplan. However, the Duce felt that Rome was still crowded by old medieval neighbourhoods, lacking in a clear organization and logic, that were defacing the classical imperial beauty and cleanliness of the capital. This thought was supported and therefore associated with the physical lack of a connection between St. Peter’s square (hence Vatican City), and St. Angelo’s Castle, since the medieval quarter of Spina di Borgo was persisting between the two. These reasons were sufficient for Mussolini to order the complete demolition of the area, which happened in less than a year. In 1950, Via della Conciliazione was completed: it is an impressive boulevard designed by state architects Piacentini and Spaccarelli, opening up the view of the St. Peter’s church from roughly a kilometre away (almost 2, if we consider that the street is visible from the other side of the river Tiber).

However, it has been one of the most openly criticised urbanistic plans of the latter century: similarly to Haussmann’s actions, Mussolini took away from Rome one of its most important neighbourhoods, with its renaissance palaces and medieval residences. But most importantly, with Spina di Borgo he destroyed the original access to St. Peter’s square, that being not a frontal one, as we know it today, but from the sides of the colonnade. Italian actor Alberto Sordi recalls: “I was four when I first saw St. Peter in 1925. I was with my father, we were coming from Trastevere, where I was born in Via San Cosimato and where I lived with my family. We arrived along the alleys, which were later destroyed, of Borgo Pio: a cluster of hovels, small squares, and narrow streets. Then, behind the last wall of a house that opened like a curtain, I saw this immense square. Bernini’s colonnade, the dome. A sight to behold.”

We now go back to the initial questions that we asked ourselves. Rome, Paris and St. Petersburg. Three cities are dominated by perspectives from different centuries. All with similar means, in more or less refined ways, and all with the same goals in mind: power, unity, and order. However, they all have their own different shortcomings and negligences, victims of much too oblivious states. Were the medieval centres actually a better environment than these grandiose boulevards? Is such detachment from the surroundings a degeneration of the flamboyant flaneur lifestyle, of the hunger for power, or a concomitance of the two?

I do not have the answer, but I would like to reflect on something I witnessed the other day that might push us a bit closer to a solution. I was in Antwerp, nearby the station, for a project site visit. Suddenly, while exploring the urban tissue, I noticed a very atypical building. It was a three-storey high row house painted white. It looked like a totally ordinary dwelling, one like many others that you would encounter during your everyday routine. However, there was something very peculiar about it, that immediately caught my attention. After a closer inspection, I figured out what was the source of my dilemma: while being decentred from the street axis, probably due to the size of the assigned plot, the architect decided to line up its entrance with it. The result is that, as can be seen from the picture, the blue door reacts to the perspective view created by the street, breaking the symmetry of the house façade.

A small-scale one point perspective, created by the rectilinear alley and enhanced by the wittiness of the architect. And maybe this is the right compromise. Because in the end, there is no need to build immense boulevards or place stolen Egyptian obelisks to catch the viewer’s attention. All that was necessary was a door on a white façade for the house to be noticed, admired and photographed by a casual passer-by. //

IMAGES

1. One-point perspective in the urban plan of paris. (edited: Sam Offermans)

2. Vatican City: past and present. (edited by Luca Cecca (picture left: Diliff, picture right: L’Asino d’Oro))

3. Paris, A Rainy Day. (Gustave Caillebotte, 1877, Art Institute of Chicago)

4. A street in Antwerp creating a one-point perspective to a house. (photo by Luca Cecca)

//BK FASHION ©

THE FASHION OF THE BOUWKO'S

Everyone can make their own statement, in architecture and in fashion

YOU’RE SO VAIN

In a society fueled by social media, selfies, and filters, vanity has become increasingly prevalent and visible. Being vain is often regarded as a negative characteristic. It’s associated with narcissism, and the desire to feel better than others. For example, in the song of Carly Simon ‘you’re so vain’. In this song Carly Simon links vanity to the thought that the world revolves around you. But what does being vain actually mean? Where does being vain come from and does vanity also have positive consequences? Is it just the desire to look good to increase one’s sense of self worth or is it deeper than that?

Vanity is defined by a dictionary (dictionnary.com) as ‘excessive pride in one’s appearance, qualities, abilities and achievements’. But when I asked strangers to describe how they perceive a vain person, I often got an answer that a ‘vain person’ is someone who looks a lot in the mirror. So where do we draw the line between vanity and self-consciousness?

The word ‘vanity’ derives from the Latin word ‘vanitas’, meaning emptiness or worthlessness. In many religions, being vain is in the list of the commandments. Being vain is portrayed as a belief that one deserves to be admired because of one’s perceived superior beauty, status or talent. The Bible tells us that vanity is about the desire to replace God, resulting in its sinful connotation in Christianity. But the fact that ‘vanitas’ means emptiness also says a lot about how people interpret the characteristic ‘vanity’.

Being vain relates to the fact that people strive to be the prettiest and the best in everything they do. We can see this in our daily lives: people try to give the right answer on a test, people try to be the fastest runner in a marathon and people fix their hair in the mirror and try to look better. But what makes us strive to be the best version of ourselves? Where does this tendency come from? When we ask ourselves this question, narcissism, the close cousin of vanity, comes into the picture. Narcissism is derived from Narcissus, a character from Greek mythology. In the mythology Narcissus falls in love with his own reflection. Striving for perfection can be a manifestation of narcissism when it becomes an

obsession with one’s own image or achievements, driven by an insatiable need for admiration and validation from others.

This phenomenon becomes visible in society through tendencies to make praise and attention more tangible, such as striving to get many followers and likes on social media. You also can see this phenomenon in real life, such as the classic struggle for popularity amongst teenagers. In this situation you can see clearly the desire of people to be the perfect version of themselves.

The desire to be better than others is something that’s human. But maybe we should rather be conscious of the fact that we can not be perfect. Maybe we should rather be laughing about our own reflection, and take a step back in this world where everything is about the amount of fame you receive from your surroundings. And even if you are being vain, I bet you think this article is about you ;) //

SOURCES

Dictionary.com (2021). Vanity. Dictionary.com | Meanings & Definitions of English Words. Globo, & Globo. (2023, 21June). Why do they call it a vanity? Renoz. Christian Pure. (n.d.). Is vanity a sin? (What does the Bible say about vanity?). christianpure.com. Wikiwand (n.d.). Narcissus (Caravaggio). wikiwand.com.

CLEAR

Something unique about walking through the streets in the Netherlands at night is that you can take a look inside people’s homes. Many homes in the Netherlands do not have curtains and as a result, you can see people dining, watching TV, cooking and children playing. From the outside of the house, you can have a sneak peek of somebody else's life by looking through their window. This window makes a connection between you and the person inside without knowing anything about each other. In this way, glass is see through, so much so that somebody else's life becomes a little transparent in the process.

But when we take people out of the equation and just look at the material itself, is glass really see through? When we take a closer look at glass incorporated in buildings, we can conclude a few things. One of them is that the use of glass can make a building less obstructed. You can have a clear view of what is going on inside the building, much like walking through Dutch streets at night. Because of the light on the inside of the homes, glass becomes see-through, which creates a difference in transparency from the outside. In other cases, glass becomes much like a mirror, which

can result in a closed off look of the building. This reflectiveness of glass is a result of sunlight hitting the glass. In contrast to the dutch homes the light comes from the outside instead of the inside of the window. The difference in light defines the transparency of the glass. It creates a border between the outside and the inside, if that border of transparency is open or closed depends on a lot of factors.

A great example is The Hague’s Ministry of Finance building. Originally built in 1975, this structure stands as a testament to brutalist architecture.

However, its essence was revitalised in 2009 by MVSA. The renovation aimed to bring its facilities up to contemporary standards of comfort and energy efficiency. Among other solutions, one of them was the complete encasement of the original facade in glass. This not only served as a climatic and acoustic shield, it also preserved the integrity of the original design and make it more approachable at the same time. However, when you look at the building, you don’t see the original building anymore. What you do see is a lot of reflection from the environment around the building. This design choice doesn’t make the old building visible, on the contrary the original building becomes hidden. This example lets us think that glass is always reflective and never really see through. However, this is not always the case.

When we take a look at the glass facade MVRDV designed for a store in the middle of Amsterdam in 2016, we see other ways glass presents itself. They took a glass facade to another level by using glass bricks, glass window frames and glass architraves. The glass facade mimics the original design, down to the layering of the bricks and the details of the window

frames. When you look at it from a distance you can see through the glass facade. From a distance the glass is transparent, you are able to see the whole store and what is inside. When you walk closer to the facade, it becomes less and less see-through and more reflective. The closer you are to the glass, the less transparent it and the store become. This case shows us that the transparency of glass is not always dependent on the material itself. The transparency of glass is also dependent on the perspective of the person looking at the glass.

Ministiry of Finance building before renovation 2

Ministiry of Finance building after renovation 2

What is interesting about perspective is that it is different for every person and every position, which means that you never see the building the same way as you saw it before. There are so many ingredients that make up a point of view. One day the sun might shine, the other it rains, one day you feel great, the other day you don’t. These aspects have a big impact on the way you look at a building. A point of view is personal, it has to do with your emotions and your surroundings, it is never exactly the same. Besides these factors, there are also the obvious ones, like where you stand or how tall you are. These also have a big impact on your perspective when you take a look at a building. However perspective is not the only thing that makes glass transparent or reflective.

Another important component we have to take into account is light. Take, for instance, the Markthal in Rotterdam, which exemplifies this notion vividly. This project also shows us the relevance of perspective. The glass facade, depending on the viewing angle, can transition from complete transparency to a blend of reflection and transparency, or even to full reflectiveness.

The transparency of the glass also changes with different angels. With some angles it is fully transparent, with others it is reflective as well as transparent, but if you stand somewhere else it can also be fully reflective. Light plays a pivotal role in this scenario; at night, the building's interior illuminates, overshadowing the reflections of its surroundings with its own radiance. During daylight hours, the likelihood of observing reflections rather than the interior of a building is high, offering a markedly different experience of navigating a

city compared to nighttime. In daylight, your attention may gravitate towards the architecture, the street, or the people bustling about. However, at night, the allure of the illuminated interiors draws your focus inward, providing a clear view of the activity within the buildings.

Is glass really see through? Not really, but also yes? Glass incorporated in buildings can be see-through, however there are many different aspects that make the material transparent or reflective. The answer to the question is subjective, it changes with every person, every moment and every point of view. One person might think of transparency in a different way than another

person, even though they stand in the same position. The transparency of a building depends on light, perspective, type of material, but most of all it depends on the person looking at it. How that person translates transparency, crystal clear to the inside or mirroring the outside. //

SOURCES

1 Architectenweb (n.d.). MVRDV heeft traditionele gevel in PC Hooftstraat verglaasd. Architectenweb.nl.

2 Fabrique (2011, 1 January). Ministry of Finance - MVSA Architects.

3 Architectuur.nl (2016, 25 April). Gevel van glazen stenen MVRDV.

4 Grievink, E. (2016, 25 June). Is glas het materiaal van de toekomst? FD.nl.

5 MVRDV (n.d.). Crystal Houses.

6 MVRDV (n.d.). The Markthal is five years old today.

Glass facade in Amsterdam 3

Markthal Rotterdam by day 6

Markthal Rotterdam by night 6

Visit - Kunstmuseum Den Haag

The kunstmuseum Den Haag was designed by H.P. Berlage and finally completed a year after the architects death, in 1935. The colourful building is full of rythm and decorative brick and tile. The entire structure seems to 'fall' into a pond that separates its entrance from the street.

Brothers Lucas and Arthur Jussen are a piano duo, who have aquired national as well as international fame together. They are known to occasionally play quatre-mains (simultaneously - with four hands). Their music is loved by fans of classical pieces, and is great for those long nights of studying. I N S P I R E D

E T

Rotterdam art collective Rotganzen is known for their series of art pieces 'Quelle Fête', Dalí-like deflated disco balls that interact with everyday objects. The pieces have risen to the status of a collectors item, and can be found at trendy spots all over Rotterdam.

Instagram: @rotganzen

Movie - Single white female

This 1992 thriller by director Barbet Schroeder is a story full of manipulation and obsession. When a new roommate enters Allisons (played by Bridget Fonda) life, she slowly starts to not only copy Allison, but tries to become a mirror image of her.

Read - pantheon// online !

This year pantheon// started publishing weekly articles on the stylos website. You can also follow us via the stylos instagram, so you are always up-to-date on pantheon// !

Art - Quelle Fête

Listen - Jussen brothers

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